Made available in DSpace on 2015-07-22T20:50:03Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-09-29. Added 1 bitstream(s) on 2015-08-11T03:26:25Z : No. of bitstreams: 1 Publico-271a.pdf: 760175 bytes, checksum: 76726b9e647b22ad12857a6923c40f39 (MD5). Added 1 bitstream(s) on 2015-08-11T03:26:25Z : No. of bitstreams: 2 Publico-271a.pdf: 760175 bytes, checksum: 76726b9e647b22ad12857a6923c40f39 (MD5) Publico-271b.pdf: 1825657 bytes, checksum: 1297d315e50c3106d6603f181e47def1 (MD5). Added 1 bitstream(s) on 2015-08-11T03:26:26Z : No. of bitstreams: 3 Publico-271a.pdf: 760175 bytes, checksum: 76726b9e647b22ad12857a6923c40f39 (MD5) Publico-271b.pdf: 1825657 bytes, checksum: 1297d315e50c3106d6603f181e47def1 (MD5) Publico-271c.pdf: 638856 bytes, checksum: 74b06edb83770e11e18ce12162406267 (MD5) / O presente estudo buscou compreender a percepção que os moradores de um condomínio no município de São Paulo possuem do estresse e condições de vida, com objetivo de estabelecer uma reflexão crítica baseada em uma proposta etnoepidemiológica. Empreendemos pesquisa descritiva no condomínio residencial “Projeto Viver Celso Garcia CPV”, localizado no bairro do Belenzinho, zona leste da capital paulista, tendo aportes da antropologia (etnografia) e epidemiologia descritiva como principal meio para melhor compreensão de nosso objeto de estudo. As entrevistas permitiram complementar a coleta de dados. Entrevistamos 16 moradores e um informante-chave não residente, por meio de formulário adaptado a partir de Peluso & Blay (2008), Lipp (1999), Holmes & Rahe (1976) e Cohen et al (1983). As entrevistas foram realizadas durante o segundo semestre de 2009 e a análise e tratamento no primeiro semestre de 2010. As respostas foram categorizadas interpretadas com base na adaptação da técnica de “Análise de Conteúdo” de Pondé et al 2009) e Minayo (2007). A etnografia foi fundamentada nos conceitos de Georges Canguilhem em sua obra “O Normal e Patológico” (2009) e os dados epidemiológicos foram pesquisados nos bancos de dados a partir do SIAB - Sistema de Informações da Atenção Básica. A abordagem etnoepidemiológica possibilitou encontrar, no caráter polissêmico e multifacetado do estresse, uma predominância de sensações polarizadas entre os descritores “frustrantes e gratificantes”, evidenciando enfrentamentos diferenciados dependentes dos modos de andar a vida. Permitiu também perceber estresse enquanto “fidelidades ou infidelidades” associadas à relação totalidade orgânica individual-meio de acordo com a produção de normas individuais ou coletivas que modulam os modos de andar a vida, segundo conceitos de Georges Canguilhem. O estudo mostrou-se adequado como recurso para compreensão da capacidade e necessidade de produção de normas em sistemas complexos como os que estão envolvidos na síndrome geral de adaptação e as desordens adaptativas nas condições urbanas de morar e viver. / This study investigated the perception that the residents of a condominium in the city of Sao Paulo have about their stress and life conditions, with the goal of establishing a critical reflection based on a ethnoepidemiologic proposal. We employed descriptive research on residential condominium called "Projeto Viver Celso Garcia – CPV” in the district of Belenzinho, east of the state capital, with contributions of anthropology (ethnography) and descriptive epidemiology as the main means for better understanding our object of study. The interviews allowed us to complement additional data collection; held with 16 residents and a key non-resident informant, using a questionnaire adapted from Peluso & Blay (2008), Lipp (1999), Holmes & Rahe ( 1976) and Sheldon Cohen et al (1983). The interviews were conducted during the second half of 2009 and the analysis and treatment in the first half of 2010. The responses were categorized and interpreted based on adapting the technique of "content analysis" in Pondé et al (2009) and Minayo (2007). The ethnography was based on the concepts of Georges Canguilhem in his book "The Normal and Pathological" (2009) and epidemiological data were based on research to databases from the SIAB - Information System of Primary Care. The approach allowed ethnoepidemiologic find in the multifaceted and ambiguous character of stress, a predominance of polarized feelings among the descriptors "frustrating and gratifying" showing different ways dependent on the ways of walking life. It also allowed us to see the stress as "faithfulness or unfaithfulness" associated with “individual organic whole – environment” according to the production of individual or collective norms that modulate ways of walking life following ideas of Georges Canguilhem. The study was suitable as a resource for better understanding of the need for capacity and production of norms in complex systems such as those which are involved on the general adaptation syndrome and adaptive disorders in urban conditions of living as well. / TEDE / BV UNIFESP: Teses e dissertações

ALBUQUERQUE, Kelly Moreira de. Investigação epistemológica sobre as dualidades conceptuais normal/patológico e saúde/doença em Freud: uma perspectiva lewiniana. 2012. 122f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Psicologia, Fortaleza (CE), 2012. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-11-25T13:13:52Z No. of bitstreams: 1 2012-DIS-KMALBUQUERQUE.pdf: 1155745 bytes, checksum: 8316916ef6742d4e73993b755c02eaea (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-11-25T13:50:38Z (GMT) No. of bitstreams: 1 2012-DIS-KMALBUQUERQUE.pdf: 1155745 bytes, checksum: 8316916ef6742d4e73993b755c02eaea (MD5) / Made available in DSpace on 2013-11-25T13:50:38Z (GMT). No. of bitstreams: 1 2012-DIS-KMALBUQUERQUE.pdf: 1155745 bytes, checksum: 8316916ef6742d4e73993b755c02eaea (MD5) Previous issue date: 2012 / We search here about two kinds of conceptual dualities in Freud: health/disease and normality/pathology. By means of Kurt Lewin’s epistemological perspective, we seek to know how these dualities could correspond to Galilean and Aristotelian ways of scientific thought. Having evidenced that Freud had shown an oscillation between the modes of scientific thought, we have sought, through Freud’s own works, some indication which would help as a supplementary Galilean reference. We considerate, then, that Freud’s view on plasticity and adhesiveness of libido present the idea of a continuum between the two phenomena. That is, instead of opposing them in the way of the Aristotelian dichotomies, Freud has dialectically connected them as dualities and series of phenomena which show internal and continuous variation among themselves. This testifies the existence of some phases of transition between normality and pathology and health and disease. Once Freud had only conceived but never formalized his idea in epistemological terms, we have tried to do this. By means of Canguilhem theory life normativity and the differences between normality and health as well as abnormality and pathology, we have found out that: (1) the above mentioned dualities correspond to the Galilean way of thought; this occurs mainly when Freud refers to neurosis; Freud conceived them as a series of phenomena that show internal and continued interconnection. (2) Despite the difference between their fields of reference, the logic found in Freud is somewhat comparable to what Canguilhem attributed to life normativity. / Trata-se de uma investigação sobre as dualidades conceptuais saúde/doença e normal/patológico em Freud. Mediante a perspectiva epistemológica de Kurt Lewin, buscamos saber o quanto estas dualidades expressariam o modo de pensamento galiléico e o que há do modo aristotélico. Ora, uma vez que Freud oscilou entre as duas formas de pensamento, procuramos, no seu próprio texto, algumas indicações que pudessem servir como referência galiléica suplementar. Consideramos que ao falar sobre plasticidade e adesividade libidinais, ele teria estabelecido um continuum entre estas categorias em relação: em vez de opô-las em dicotomias aristotélicas, ele as teria conectado dialeticamente como verdadeiras dualidades ou séries de fenômenos que compreenderiam uma variação contínua entre si. Tal justificaria o reconhecimento de que fases de transição estariam sempre presentes entre a normalidade e a patologia, e saúde e doença, respectivamente. Supondo que Freud tenha apenas raciocinado mediante tal lógica, não chegando a formalizá-la epistemologicamente, tentamos formalizá-la com a ajuda do que Canguilhem expôs sobre a normatividade de vida e as diferenças entre normalidade e saúde e, anormalidade e patologia. Verificamos que (1) as dualidades acima referidas expressam amplamente o modo de pensamento galiléico, mormente quanto às neuroses; ele as concebeu como séries de fenômenos que compreendem uma variação contínua entre si. (2) Apesar da distinção entre seus campos de referência, a lógica que descobrimos haver em Freud é algo comparável com o que Canguilhem atribuiu à normatividade vital.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-15T17:39:08Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-18T13:07:46Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Made available in DSpace on 2017-05-18T13:07:46Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação Ana Paula experiência interior na obra narrativa de samuel beckett versao final 2.pdf: 1038395 bytes, checksum: 245a30783cab0781ca93b1d33e41e260 (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é analisar os aspectos da experiência beckettiana que se pode caracterizar como “interior” devido às suas implicações para a subjetividade, partindo da noção de experiência interior apresentada por Georges Bataille em seu livro homônimo de 1943. A discussão centra-se em torno da figura do sujeito beckettiano e a da forma como ele se inscreve na linguagem na novela O Calmante e nos Textos para nada. Este sujeito se apresenta como narrador-personagem de sua própria história e, ao encenar seu processo de escrita, demonstra a insuficiência do código face à diversidade do “eu” e do “mundo”. Através do desenvolvimento de seu caminho narrativo, que questiona e desconfia constantemente da linguagem, ele realiza sua experiência singular. Neste percurso abre-se a possibilidade de tensionamento dos limites da razão, da moral, da lógica, do “eu” e da linguagem / The aim of this dissertation is to analyze the Beckettian experience that can be characterized as “interior” because of its consequences for the subjectivity, starting from the notion of inner experience developed by Georges Bataille in his book of 1943. The discussion is centered around the figure of the subject that presents himself as the narrator-character of his own story and, by dramatizing his process of writing, demonstrates the insufficiency of the code regarding the diversity of the “I” and the “world”. Through the development of his narrative, that constantly questions and doubts the language, he realizes his singular experience. This process opens the possibility to tension the limits of reason, moral, logic, of the “I” and the language

Projeté pour des musées nationaux et municipaux d’art moderne à l’occasion de l’exposition universelle de 1937, le Palais de Tokyo à Paris est aujourd’hui un centre d’art contemporain international, connu aussi en lien à l’esthétique relationnelle proposée par son cofondateur (avec Jérôme Sans) Nicolas Bourriaud. Une étude de sa genèse jusqu'au site contemporain manquait jusqu’alors. En se fondant sur des expositions centrales et des vastes matériaux d’archives de la politique et administration des Beaux-Arts, cette étude traite dans un premier temps des pensées et institutions l’occupant dès sa conception : MNAM (1937-1977), conception du Centre Pom-pidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHE-AP, 1988-1990) préfiguration d’Orsay, Maison de la Photographie (1984-1993), projet du Palais des Images/Palais du Cinéma (1984-1998, avec Cinémathèque, FÉMIS, BIFI), puis Site de créa-tion contemporaine (2002-). Dans un deuxième temps nous présentons son rôle en tant que mo-nument de la pensée du rôle de l’art dans la société: Dès sa genèse dans le contexte d’un échan-ge international sur les musées modernes des années trente, jusqu’au débats contemporains d’une esthétique politique, notamment de l’art relationnel, du discours de l’art participatif, du « New Institutionalism » et l’esthétique philosophique. L'étude se propose aussi d'apporter une compréhension générale de la genèse de l’esthétique relationnelle et ses critiques principales. Le Palais de Tokyo est conçu comme monument, espace d’une mémoire sociale de l’art selon Aby Warburg et un cadre théorique s’appuyant sur Walter Benjamin, qui informe de son rôle décisif dans le développement de critères formels de la théorie sociale de l’art au 20ème et 21ème siècle. / Projected for national and municipal museums of modern art on the occasion of the 1937 world fair, the Palais de Tokyo in Paris today is an international centre of contemporary art, known, too, by virtue of relational aesthetics brought forward by its co-founder (with Jérôme Sans) Nicolas Bourriaud. A monographic study of its genesis up to the contemporary site was yet mis-sing. This study examines the thought and projects that occupied it, based on central exhibitions and vast materials from the archives of cultural politics and arts administration: National Muse-um of Modern Art (1937-1977), the conception of the Centre Pompidou, Musée d’Art et d’Essai (1977-1986), Institut des Hautes Études en Arts Plastiques (IHEAP, 1988-1990), préfiguration d’Orsay, Maison de la Photographie (1984-1993), a project for Palais des Images/Palais du Ci-néma (1984-1998, with Cinémathèque, FÉMIS, BIFI), Site de création contemporaine (2002-). The study also focuses on its role as monument of the thinking of art’s function in society, from the context of an international exchange on modern museums in the thirties, up to contemporary debates of political aesthetics, particularly of relational art, the discourse of participatory art, ‘New Institutionalism’ and philosophical aesthetics. The study also provides a global view on the genesis of relational aesthetics and its principal critiques. Thus, the Palais de Tokyo is consi-dered as monument, a space of social memory of art following Aby Warburg and a theoretical frame based on Walter Benjamin, informing on its crucial role in the development of formal criteria of theories of art’s social role in the 20th and 21st centuries.

The project examines how German- and English-speaking translators of selected Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural and linguistic specificity, with a view to shedding light on how culture and language translate. Following a survey of different theories of translation, an integrated theory is applied in order to highlight what Simenon’s translators have retained and lost from three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of linguistic and cultural specificity is facilitated by application of an integrated theory of translation coupled with the methodology devised by Hervey, Higgins and Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of detective fiction across the three cultures involved, and Simenon’s biography and wider oeuvre, help elucidate the salient features of the selected source texts. In view of the translators’ decisions, strategies for minimising various types of translation loss are presented. While other studies of translation theory have examined literary and technical texts, this study breaks new ground by focussing specifically on the comparative analysis of detective fiction in translation.

Un corps humain n’est pas le réceptacle passif d’impressions. Il n’est condamné à aucun « réel » qui s’imposerait à lui. Tout au contraire crée-t-il, continûment et spontanément, des images singulières de la réalité. Cette faculté d’imaginisation est le sujet de la présente thèse, ainsi que la conséquence qui s’ensuit, pour chaque individu, de ne pouvoir que croire en une réalité toujours déjà imaginisée. L’imaginisation sera envisagée selon une double visée :en tant que faculté (laquelle produit des effets concrets, historisants), et en tant que qualité originelle de l’être humain.<p>Poser que l’imaginisation est la qualité qui définit l’appartenance à l’humanité induit entre autres que la raison est renvoyée à un statut second :elle est un choix possible à l’intérieur d’une création incessante d’images-réalités, par où se constitue singulièrement une fiction enveloppante de la vie. Notre objectif n’est pas de déprécier le choix en faveur de la raison en indiquant qu’il serait, à tout coup, contraint et réducteur. Mais ne plus être en mesure – parce que l’être humain est d’emblée appréhendé en tant qu’être de raison (ens rationis) – de penser que la raison requiert un choix et qu’elle ne « va » pas de soi, c’est se couper de tout accès à la question :« Qu’est-ce que l’homme ?».<p>Nous voulons considérer l’être humain en tant qu’il imaginise le réel en y adjoignant une part fictive qui, à la fois, précède, intègre et outrepasse la « simple » raison. Fiction enveloppante forcément ignorée par le rationalisme positiviste, alors qu’elle est attachée de façon indissoluble à la vie de chacune et de chacun ;tous étant les acteurs individuels d’une histoire personnelle et collective.<p>Avant d’être un être de raison, l’homme est un être vivant qui imaginise singulièrement les choses, les situations, les évènements, ses semblables… Il en résulte une complexité telle qu’aucun échange, aucune relation, aucune cohabitation, ne peuvent à priori être déterminés rationnellement. Dès lors, si les présentes recherches ne portent pas directement sur le politique, celui-ci en constitue l’horizon, voire la finalité ultime. L’expérience nous apprend en effet que pour qu’une philosophie politique puisse être politiquement pertinente et utile, il faut qu’elle soit fondée non pas sur ce que l’on voudrait que les hommes soient, mais sur ce qu’ils sont. Non pas sur les hommes rationnels que la théorie souhaiterait qu’ils fussent, mais sur des êtres ayant un corps fait de mémoire, de peurs et de rêves. <p>En ce sens, nous partageons le questionnement quant à la nécessité d’une approche qui prendrait en compte « la totalité des dimensions de la vie humaine, le mythe comme la raison, le religieux comme le juridique, non pour les confondre, mais pour les articuler ensemble » .Notre plaidoyer est double, mais non contradictoire :il s’agit de penser une plus grande complexification du politique que celle définie par la raison identitaire – héritée de l’ère moderne et des Lumières – et qui est factuellement dépassée par le monde/mondialisé qui constitue désormais le territoire de toute politique. Cela n’est possible qu’en affrontant le fait que les hommes ne sont pas que raison, mais sont avant tout des imaginaires singuliers. Fonder, en ce sens, une politique requiert préalablement la définition de ce que l’on entend par imaginaires singuliers, et impose d’en repérer les modes d’agir, non plus seulement au niveau de l’histoire, ni même d’une histoire culturelle, mais d’une génésie culturelle :tel est l’objectif des recherches que l’on va lire. Celles-ci sont illustrées principalement par deux exemples paradigmatiques :la mythologie chrétienne, et le cinéma en tant qu’art de l’univers mytho-technique.<p> / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Leaving aside the classical world, Dance as an art form (as distinct from folk-dance) emerges with the renaissance. Combinations of dance and drama are seen in the court entertainments sponsored by Catherine de Medici in France and in the masques of Ben Jon-son, John Milton and Henry Lawes , the composer, in England. These dance-dramas shared the contemporary fondness for lavish sensuous spectacle, with mythological and allegorical subjects full of youth and beauty. The seventeenth century saw, in this new form of art, the development of stage and set-design as well as the emerging importance of the individual performer. The foundation of Richelieu's L 'Academie Française (1635) which concerned itself with language and literature was paralleled by Louis XIV's L'Academie Nationale de Musique et de la Danse (1661). The baroque and rococo characteristics of other arts are reflected in the ballets of Lully and Rameau. In the eighteenth century, theoretical works appear in which the dance is treated as parallel to the other arts. The Lettres sur la Danse (1760) of Jean-Georges Noverre (a friend of Garrick) stresses "nature" and design as do the literary treatises from Dryden to Samuel Johnson, (e.g. Dryden's An Essay of Dramatic Poesy (1668), Johnson's Preface to Shakespeare (1765), and Lives of the Poets (1779-81). Carlo Blasis' Treatise on the Art of Dancing (1803) is as much concerned with perfection of technique as the most ardent proso-dists of the period. The so-called "Classical Ballet", however, was the expression of romanticism at the beginning of the nineteenth century as much as in literature and the other arts. It sought to add strangeness and wonder to beauty and to escape from reality into fairyland or dreamland. It dominated ballet throughout most of the century and is seen in well-known works like Giselle, Swan Lake, and The Sleeping Beauty. Literary and artistic parallels abound, of course. However, the Dance is the last of the arts to develop a critical theory as it is the last of the arts to emerge as an aesthetically self-conscious, serious and professional form of expression from what had been vestigial and fragmentary. Even musical and dramatic renditions have left at least the score and the script. But the Dance, after its last performance, was largely a matter of fast-fading memory and variable hearsay. This thesis will endeavour to trace the development and changes in aesthetic outlook of the latter eighteenth and early nineteenth centuries through a comparative study of the writings of Jean-Georges Noverre, Heinrich von Kleist and Théophile Gautier. As far as one can judge from any available materials and sources of reference, bringing together these three writers whose work contains both literature and dance criticism, poetics and what might be called "balletics", has not been undertaken before; this is also the first time that Kleist has been given a significant place in a discussion of dance theory. It is the chief aim of this study to point out and elucidate the pattern of relationships between dance as an art form and literature. The relationships of theory and practice in the arts are no less complex here than in any other periods. Noverre, for example, as a theorist, was a consistent and articulate late eighteenth century classicist (looking forward to romanticism); but as a professional man of the theatre, he had a keen eye for popular taste, even if it catered to fashions he must have considered antiquated or cheap. Gautier, on the other hand, though he possessed no practical knowledge of the dance, he analyzed it so persuasively, so variously, and had such a wide audience that he strongly influenced the public taste for these aspects of romantic dance. It is doubtful whether Kleist was known to the world of dance, whether he was really influenced by it, or had any direct influence on it in any way. Yet, his essay Ueber das Marionettentheater (1801) might well serve as a manifesto for the new romantic form of dance when it was just being born. As a result of the analysis of these writers, it becomes apparent that all three, Noverre, Gautier, and Kleist, represent stepping-stones in the development of dance from the early stages of superficial extravaganzas, through the clearly defined measures of eighteenth century dance, to the natural expression of spontaneous movement in the next century. Hence, they can be said to define the basic progression from classicism to romanticism in the art of dance. / Arts, Faculty of / English, Department of / Graduate

The symphonie concertante, a product of the late eighteenth-century Parisian concert societies, provided a vehicle for display of the virtuoso style sought by contemporary audiences. The works of the Chevalier Joseph Boulogne de Saint-Georges, one of its chief exponents, served as strong influences on the development of the form and its diffusion throughout Europe. The symphonies concertantes of Opus VI, No. 1 and Opus X, No. 2 (according to thematic numbering of Barry S. Brook) date from ca. 1775 and 1779 respectively. A complete set of parts for each is to be found in the private collection of M. Andre Meyer in Paris (Opus VI) and in the Universitetsbiblioteket at Lund (Opus X). The thesis contains background material on contemporary Parisian musical society and the life of Saint- Georges, and a modern scoring of the above symphonies concertantes with analysis and conclusions.

No description available.

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