Tese (Doutorado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-02-06T12:21:38Z No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-02-06T14:05:33Z (GMT) No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Made available in DSpace on 2013-02-06T14:05:33Z (GMT). No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Partindo do exame de alguns dos mais importantes textos que compõem o escopo filosófico-literário do pensamento de Georges Bataille, destacaremos o fato de que, assimilada a herança de Sade, de Nietzsche e de Freud, Bataille fez de seu projeto estético-filosófico uma via de acesso ao deslimite, via que conduz à paradoxal experiência do impossível. Ao longo da primeira parte de nosso trabalho, dedicada integralmente a Bataille, enfatizaremos que o pensamento batailliano, consagrado ao impossível, aponta para a possibilidade de uma experiência com a vida a se realizar fora do campo das injunções morais, na intensidade própria à convulsão e à vertigem. Na segunda parte desta tese, estabelecidas as conseqüências da submissão de um corpo vivo ao regime de linguagem, rastrearemos, em Freud e em Lacan, as alternativas possíveis para lidar com o mal-estar na civilização. Ao final, depois de examinar as mutações do gozo no pensamento lacaniano, demonstraremos que a relativa viabilidade de Georges Bataille ressalta uma dimensão indispensável à compreensão do saber-fazer lacaniano, a identificação a um modo de gozo singular. Tal como veremos, tal identificação compareceria em decorrência da transcriação do nome próprio: artifício por meio do qual um sujeito qualquer não apenas renuncia aos ideais que o suportam, como trata de enxertar, na carne do Outro, aquilo que nele há de mais heterogêneo, a mais heteróclita das paixões. ______________________________________________________________________________ ABSTRACT / Starting from an examination of some of the most important texts that compose the scope of the philosophical and literary thought of Georges Bataille, we will emphasizes the fact that, assimilated the legacy of Sade, Nietzsche and Freud, Bataille made his aesthetic-philosophical project one route that leads to the paradoxical experience of the impossible. Throughout the first part of our work, fully dedicated to Bataille, we emphasize that the bataillian thought points out to the possibility of an experience with life to be held outside the field of the moral injunctions. In the second part of this thesis, we will track out in Freud and Lacan, possible alternatives to deal with the malaise in civilization. At the end, we will demonstrate that the relative viability of Georges Bataille enphasizes a vital dimension to the understanding of the lacanian savoir-faire: the identification to a singular mode of enjoyment. As we shall see, this identification takes place as a result of the own name re-writing: the artifact through the means the subject can graft on the flesh of the Other the most singular kind of passion.

Esta pesquisa teve no debate teórico sobre ready made, pop art e arte conceitual, sua motivação inicial, surgida da crítica ao fechamento intelectual e estético presente nos cânones exigidos pelos currículos escolares no Brasil. As implicações destes conceitos são discutidas em paralelo à elaboração de uma visão crítica das classificações europeias e norte-americanas como matrizes adequadas para a compreensão da criação de artistas como Arthur Bispo do Rosário, Brasil (1919-1988) e de Georges Adéagbo, Benin (1942). De forma complementar, o percurso do pesquisador-artista participa do processo de compreensão e análise. O foco recaia de um lado no material e matéria dos objetos do cotidiano, utilizados na obra de Arthur Bispo do Rosário e nos itinerários das obras de Georges Adéagbo, artista autodidata que expõe suas ideias e narrativas em forma de objetos escultóricos, ocupações de espaços públicos. Eles têm ainda em comum, as metodologias e os processos que espelham conceitos próprios e arqueologias de saberes ligados às suas próprias culturas e sociedades, além de constante construção de suas identidades. Esses processos de pensamento envolvem a ação mental (conceituação ou projeto mental) e a execução das ideias que se reflete em seus trabalhos de arte. O interesse principal de ambos está na análise do cotidiano representado por objetos de origem endógena e exógena que são fundidos e geram aspectos diferentes à materialidade, à narrativa, à desconstrução do próprio objeto como fenômeno (logia) da metamorfose a ele impressa, retirado de seu espaço de significação original, resignificado e ambientado no espaço-ser da arte como pensamento a partir do objeto de Bispo e, na auto-arqueologia inversa de Adéagbo. / This research had its initial motivation the theoretical debate on ready-made, pop art and conceptual art, which comes up from criticism of intellectual and aesthetic closure present in the canons required by the school curriculum in Brazil. The implications of these concepts are discussed in parallel with a critical view of the European and American statements of these matrices for understanding the creation of Arthur Bispo do Rosário, Brazil (1919-1988) and Georges Adéagbo, Benin (1942). In addition, the path of the researcher-artist himself, participates on the understanding and analysis proposed. The focus lies on the one hand, in the everyday objects materials used in the work of Arthur Bispo do Rosário and in the routes of Georges Adéagbo, who is a self-taught artist that exposes his ideas and narratives shaped objects \"sculptural\" and public spaces interventions. They still have in common, their methodology that mirror their own concepts and archaeologies of knowledge linked to their own cultures and societies as well as constant construction of their identities. These thought processes involve mental action (concept or mental project) and implementation of the ideals reflected in his works of art. Both have as their main concern the everyday life presented by fused endogenous and exogenous objects that generate different materiality, narrative and even the deconstruction of the object itself as phenomenology of its metamorphosis, once it was removed from its place of original of meaning, reframed in space-being for Bishop, or in reverse self-archeology for Adéagbo.

Orientador: Luiz Roberto Monzani / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-17T16:03:39Z (GMT). No. of bitstreams: 1 Pontes_SuelyAires_D.pdf: 1151541 bytes, checksum: 8a52fd085a90a61c2557af7717071ca2 (MD5) Previous issue date: 2011 / Resumo: Neste trabalho propomos apresentar uma hipótese simples, mas que julgamos desconsiderada no campo da filosofia. Acreditamos poder defender que os questionamentos lacanianos em torno da noção de sujeito são derivados da clínica, mais especificamente da clínica das psicoses. Para defender e sustentar nossa hipótese, escolhemos percorrer um caminho delimitado, qual seja, (1) trabalhar a tese de Lacan, datada de 1932, de modo a enfatizar a interlocução com autores da psiquiatria de seu tempo e suas proposições clínicas e teóricas; (2) percorrer o período intermediário da produção lacaniana compreendido entre 1936 e 1953, isolando as diferenças e buscando as inversões dos parâmetros e problemas que esse autor vem construindo desde o período da Tese e (3) situar em 1955-1956 a formalização teórica construída para sustentar uma clínica com pacientes psicóticos. Desse modo, buscamos demonstrar a necessária articulação entre os movimentos conceituais lacanianos sobre o sujeito e a intervenção clínica em casos de psicose / Abstract: In this research, we propose a simple hypothesis, but we judge disconsidered the philosophy field. We believe in the defense that the lacanian questions surrounding the notion of the subject are derived from clinical, more specifically the psychosis clinic. To defend and support our hypothesis, we choose to follow a path delimited, namely, (1) to work with Lacan's thesis dated 1932, emphasizing dialogue with psychiatry authors of his time and his clinical and theoretical propositions; (2) to go through the intermediary period of Lacanian production between 1936 and 1953, we pretend isolate the differences and seek the inversions of the parameters and issues that this author has been building since the period of the Thesis; e (3) situated in 1955-1956 to formalize theoretical built to sustain a clinic with psychotic patients. Thus, we pretend demonstrate the necessary link between the conceptual movements Lacanian on the subject and clinical intervention in cases of psychosis / Doutorado / Filosofia da Psicanalise / Doutor em Filosofia

Orientador: Osmyr faria Gabbi Jr / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-03T18:36:09Z (GMT). No. of bitstreams: 1 Pontes_SuelyAires_M.pdf: 8071090 bytes, checksum: 25ff622e387b446f0e1bf8ebcbcc3361 (MD5) Previous issue date: 2003 / Resumo: Neste trabalho nos propomos comparar as diferenças de uso e de construção do conceito de inconsciente na psicanálise freudiana e lacaniana à luz das críticas formuladas por Politzer, em especial em relação aos pressupostos de anterioridade do significado e do mito do teatro interno. De forma tangencial, discutiremos as implicações clinicas do conceito de inconsciente / Abstract: This research is aimed to compare the differences in the use and in the formulation of the concept of unconscious based on the Freudian and Lacanian psychoanalysis brought to light by Politzer critics, concerning the assumption of the anteriority of the meaning and the myth of the inner theater. Furthermore, we will discuss the clínical implications of the concept of unconscious / Mestrado / Mestre em Filosofia

Cette recherche se donne comme défi de retracer les enjeux normatifs liés au développement du sous-domaine de l’intelligence artificielle appelé machine learning. Bien que celui-ci connaisse un impressionnant regain d’intérêt depuis le début du XXIe siècle, et ce à travers un nombre croissant d’activités sociales, son émergence remonte au moins à la première moitié du XXe siècle. En effet, l’idée de concevoir des machines capables de modéliser l’apprentissage organique est largement concomitante au projet cybernétique de fonder une science du contrôle et de la communication. A force de modéliser l’apprentissage, il devient progressivement possible d’envisager à partir des années 1940 et 50 que les machines elles-mêmes seraient capables d’apprendre. C’est par l’observation des comportements des machines qu’une formalisation algorithmique de l’apprentissage s’impose. A partir de cette mise en scène, nous chercherons à montrer en quoi l’apprentissage algorithmique n’est pas nécessairement une question d’automatisation de l’apprentissage et que le comportement permet, au contraire, de problématiser la normativité des algorithmes apprenants en ce qu’ils participent activement à certaines activités sociales (travail, enseignement, guerre, etc.). Il s’agira, à partir des philosophies de Georges Canguilhem et Gilbert Simondon, de montrer en quoi les effets normatifs induits par l’apprentissage algorithmique, comme mode de gouvernement au sein d’activités sociales données, peuvent se comprendre à l’aune du concept de "répertoire de comportements potentiels". / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The purpose of this thesis is to examine those works of Maurice Constantin-Weyer and of Georges Bugnet set in the Canadian West. Because both writers were fascinated by the exotic challenge of the western wilderness, it seems appropriate to apply to their works the myth of Antaeus, this giant representing, in his apparent invulnerability, the primeval forest and, by extension, the aborigine who inhabits it; the intruder who learns to master them both is therefore Hercules. The main theme of the novels is thus seen as one of struggle. Historically, we are also concerned with delimiting the Canadian West and explaining the rise of the Metis, a people whose very existence created problems which both authors set out to interpret. Constantin-Weyer’s avowed purpose in the Epopée canadienne is to paint a vast fresco of the Canadian West. The works of the series falls into two categories: novels allegedly based on history and novels of adventure, his essays being classified with the latter. In the first chapter his two historical novels are examined and evaluated. Vers l'Ouest meets with Walter Scott's standards for the historical novel, but it might also be classified as a roman de moeurs because of the predominance of exotic -description. La Bourrasque, on the other hand, is an anomaly in the ensemble of the Epopée canadienne. Louis Riel, its chief protagonist, had been dead only thirty-nine years when the book was published, yet Constantin-Weyer did not hesitate to present the participants in the Rebellion in an outrageous and shocking fashion, naming them by name. Hence, chapter two is devoted to an investigation of the problem of the author's misanthropy. In the light of historical scrutiny, the outrageous portraits are indeed found to be defamatory. Moreover, the novel often twists or suppresses the facts for sensational effect -- a clear violation of the basic rule governing the historical novel. Nor can the work be justified as a roman de moeurs, since descriptive passages and local color are almost totally absent. The novel's violence of tone can, in some measure, be traced to the influence of Naturalism, and its misanthropy to the hardships of the author's ten years in Canada. We contend that the hatred and bitterness of this novel was a catharsis for the writer, a conclusion supported by the fact that no subsequent work of his displays the vindictive tone of La Bourrasque. In chapter three, Constantin-Weyer’s novels of adventure are examined with particular attention given to the exoticism of his teeming and colorful panorama of the Canadian West, and to the Life-Love-Death theme which unifies the Epopée. Perusal of these novels uncovers two main facts: that Constantin-Weyer was an incorrigible braggart and that an aura of eroticism permeates his writing. His perception of the hundred intimate dramas of the forest and his flair for depicting the wild animal in its daily Life-Love-Death struggle make him one of the best animaliers in Canadian letters. His anthropomorphism transfigures not only the animals of the forest but inanimate natural forces as well, and it is this capacity for erotic empathy which constitutes a novel and heretofore unknown quantity in the Canadian literature of French expression. Georges Bugnet is in many ways the antithesis of Constantin-Weyer. Though a teacher and journalist, he shunned the more populated areas of his adopted country to settle in the very heart of the forest. To him, nature in Canada was a goddess to whom sacrifice was due. Chapter four explores his literary and philosophical views, especially his concept, --amounting to an original myth in Malinowski's sense, -- of nature in Western Canada. Bugnet was in temperament a classicist, by design a realist, and an avowed anti-romantic, yet elements of Romanticism pervade his verse which is essentially a vehicle for his metaphysical ideas. The latter part of this chapter assesses his prose poem Le Pin du maskeg, a synthesis of his literary and metaphysical creeds. Chapter five evaluates his two chief novels. Nipsya, an early work on the problem of the Metis and the relationship of man with Nature, is essentially à roman à thèse, the life of its characters being continually sacrificed to an abstract scheme. His last novel, La Forêt, one of the four or five best French-Canadian novels, triumphs over his earlier didactic tendencies. Its characters spring to life and dictate their own destiny, portraying the presumptuous Europeans who try to master an impassive land by brute strength rather than awe and understanding. Within this struggle, a lesser takes place: that between man and wife as they become aware of their innate incompatibility. To these and others of Bugnet's characters, Antaeus' flaw remains hidden. Constantin-Weyer and Bugnet are alike in their strong attraction to a pristine land, their predilection for Naturalism and their preoccupation with the theme of struggle -- that of man with nature and of man within himself. But the similarities are far outweighed by their differences. Constantin-Weyer, following in Cooper's tradition of exoticism, adds to it verve, humor, color and passion, qualities which won for Canada an enthusiastic audience in France. The underlying eroticism we detect is his original contribution to French-Canadian literature. Bugnet, on the other hand, deficient in these qualities, more than redeems himself by an uncompromising discipline, a sincerity and a certain mystic perception which brought forth a work of lasting value — La Forêt. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

Orientador: Osmyr Faria Gabbi Junior / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-07T15:48:59Z (GMT). No. of bitstreams: 1 Rosim_AlexisDaniel_M.pdf: 446545 bytes, checksum: 8d940c6fa440664cbd1cc606229b1793 (MD5) Previous issue date: 2006 / Resumo: Na presente dissertação procuramos reconstituir os antecedentes teóricos da Critique des fondements de la psychologie, de Georges Politzer, a partir de sua adesão à filosofia kantiana, registrada em seu artigo ¿Introdução¿ como adesão a uma epistemologia de cunho radicalmente não realista. Por outro lado, procuramos mostrar como, partindo da estrutura epistemológica em questão, seu programa para uma psicologia concreta deveu completar-se no anonimato de um antihumanismo teórico. Em outras palavras, a crítica de Politzer à ¿psicologia clássica¿ não se limitaria a refutar pressupostos empiristas como o paralelismo psicofisiológico ou a noção de imagem mental, mas trazia consigo a negação de toda ¿filosofia da consciência¿. De fato, a Critique... sobreviveu na geração do pós-guerra ao destino de seu autor, mas ao preço desta ter ignorado o alcance de seu fundamento crítico. Entendemos que, se a Critique... não consagrava o advento de uma psicologia, finalmente, concreta, não se tratara de uma falta de alcance teórico de seu autor ou de uma conversão ideológica ao stalinismo, em detrimento de sua investigação sobre a psicologia, mas, ao contrário, de certa maneira, antecipava a crítica de Michel Foucault ao ¿sonho antropológico¿ implicado nos projetos fenomenológico e existencialista de reforma da psicologia. Neste sentido, a gravidade de seu manifesto não teria sido completamente decifrada por seus contemporâneos e pela geração que se seguiu: ¿a dissolução do mito da dupla natureza humana¿, anunciada no começo da Critique..., encontrava seu verdadeiro desfecho pela recusa a toda temática em torno do ¿homem¿ tout court, como objeto de uma metapsicologia, de uma redução fenomenológica, de uma análise existencial, etc. Cada um desses discursos tomaria para si a mesma estatua herdada do empirismo, procurando reanimar a Idéia ¿clássica¿, agora, rebaixada e recortada, por uma duplicação empírico-transcendental, à altura da nova figura do homo psichologicus / Abstract: In this dissertation one searches to reconstruct the theoretical antecedents of the Critique des fondements de la psychologie, by Georges Politzer, from its adhesion to the Kantian philosophy, registered in his article ¿Introduction¿ as adhesion to an epistemology of essence radically non-realistic. On the other hand, one searches to show how, departing from this epistemological structure, its program towards a concrete psychology should be complemented in the anonymity of a theoretical anti-humanism. In others words, Politzer's critic to ¿classical psychology¿ wouldn¿t be limited to refusing empirical presuppositions as the parallelism psycho-physiologic or the notion of mental image, but would bring in itself the denial of ¿conscience philosophy¿ in a hole. As a fact, the Critique... survived, in the post-War Generation, to the destiny of its own author, but under the price of ignoring the reach of its critical fundament. One understands that if the Critique... didn¿t materialize the rise of a psychology, finally, concrete, it didn¿t occur due to a lack of theoretical reach of its author or a ideological conversion to Stalinism, in detriment of his investigation over psychology. On the contrary, in a certain way, it anticipated Michel Foucault¿s critic to the ¿anthropological dream¿ implicated in the phenomenological and existentialist projects of reformation of psychology. In this sense, the gravity of its manifest wouldn¿t have been completely deciphered by his contemporary and the following generation: ¿the dissolution of the myth of the double human nature¿ announced at the beginning of the Critique..., found its real end in the denial of all the thematic surrounding the ¿man¿ tout court, as the object of a metapsychology, of a phenomenological reduction, of a existential analysis, etc. Each and all of these speeches would take for itself the statue inherited of empirism, looking for reliving the ¿classical¿ Idea, now lowered and cut out by a duplication empirical-transcendental, of the stature of the new character of homo psichologicus / Mestrado / Mestre em Filosofia

Georges Kastner's (b Strasbourg 9 March 1810; d Paris 19 December 1867) Traite général d'instrumentation (1837), an important contribution to instrumentation study, is often overlooked because of its chronological proximity to Berlioz's Grand traité d'instrumentation (1843). Kastner's complete and concise treatise discusses the standard orchestral instruments and several obscure and ancient instruments. Intended principally for young composers, it provides the most detailed descriptions of the standard wind instruments of his day and discusses recent developments like the ophicleide and valved brass instruments. After the publication of the Traité, Kastner released a supplement including Aldophe Sax's newest innovations, entitled Cours d'instrumentation, which included musical examples of principals discussed in the Traité. Both the Traité and the Cours were accepted by the Academy and adopted by the Paris Conservatoire.

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