Cette thèse de doctorat se rapporte aux films du cinéaste japonais Ozu Yasujirô (1903-1963) suivant l'hypothèse principale que les enjeux de la destruction qui y sont mis en scène, sous la forme de la disparition des liens familiaux et de la mort, ne peuvent être éclairés par la narration, dont le caractère non dramatique est notoire. En figurant la dislocation de la famille, les films d'Ozu rendent plutôt compte de la vulnérabilité du monde à la prise cinématographique : la destructivité du médium s'y énonce comme sa capacité à mobiliser ce qui entre dans son champ et à le transformer en faire-valoir de son aptitude à produire des effets. Cette étude fait ainsi apparaître les images animées, en tant qu'elles relèvent de la logique technique régie par la modernité, comme une forme de désastre, qui atteint la famille comme expérience de la communauté, c'est-à-dire comme rapport constitutif à un hors-de-soi. Mais à cette destructivité fait également face, au sein même de la pratique cinématographique d'Ozu, une autre possibilité du cinéma, qui peut restaurer ces liens menacés. Cette étude du cinéma d'Ozu montre sa profonde affinité avec la pensée du désœuvrement élaborée par Giorgio Agamben, les films du cinéaste et les travaux du philosophe s'éclairant mutuellement. Le concept de désœuvrement permet de reconsidérer les enjeux essentiels des films d'Ozu à un niveau à la fois thématique et formel, immatériel et matériel, articulant ces deux facettes pour en considérer le registre proprement médiatique. Le propos n'est pas essentiellement esthétique ou formaliste, mais s'intéresse avant tout au travail d'Ozu du point de vue des enjeux éthiques du cinéma, qui se formulent en termes de relation à sa puissance. Celle-ci concerne aussi bien l'attention d'Ozu à la vie collective que le soin qu'il porte aux potentialités expressives du cinéma, c'est-à-dire à la manière dont il se rapporte aux limites de son médium. / In this dissertation, the films of Japanese director Ozu Yasujirô (1903-1963) are studied according to the main hypothesis that the destruction they picture – disappearing family bonds, death – cannot be accounted for by plot development, its non-dramatic stance being well-known. As it is depicted in his films, family dissolution in fact testify for the world's vulnerability to cinematographic take: the medium's destructivity is especially expressed as an ability to mobilize what comes into its range and to transform it as a stooge for its own capacity to produce effects. This study then portrays moving images, inasmuch as they conform to the logic of modern technology, as a kind of disaster affecting family as a commununity, as an experience of being out-of-oneself. But Ozu's cinematographic practice shows as well ways to face such a destructivity, and points to another, restaurative potentiality for cinema. This study of Ozu's cinema shows its profound affinity with Giorgio Agamben's conception of inoperativeness, the filmmaker's work and the philosopher's thought throwing light on each other. Through the concept of inoperativeness, the issues at the heart of Ozu's films are considered anew at a level both thematic and formal, immaterial and material, articulating these two aspects in order to tackle their very mediatic register. My approach, then, is not foremost aesthetic or formal but focuses on Ozu's films from the point of view of practice: it deals with ethical issues raised by the cinematographic medium, which express themselves in relation to power (or potentiality). This ethical concern relates to Ozu's attention to collectivity as well as to his care for cinema's expressive potentialities that is to say to the way in which his films face their medium's limits.

La philosophie politique contemporaine est chargée d’une histoire qu’il reste encore à déblayer, tant la « guerre civile européenne » du siècle dernier a forcé son autodafé. Dans ce mémoire, nous prenons Georges Sorel, figure de proue du syndicalisme révolutionnaire des années 1900, comme figure archétypique de ce qui demeure en reste de cette histoire. Archétype non seulement de la manière dont des théoriciens de premier plan peuvent tomber, par la force de l’histoire, dans l’oubli le plus absolu, mais aussi archétype de ces forces mêmes, alors que Sorel est considéré par l’histoire intellectuelle comme le penseur ayant dressé le pont entre l’extrême-gauche et l’extrême-droite. Ce mémoire ne s’affaire pas directement à lui attribuer la « paternité du fascisme » ni à l’en disculper. Il s’agit bien plutôt de procéder à une déconstruction de ses principales idées à partir d’un angle essentiellement philosophique, procédé connaissant peu d’antécédents. Plus précisément, notre travail consiste à en dégager une définition de l’éthique, alors que le geste théorique principal de Sorel apparaît bien être une réduction du politique à l’éthique. Pour ce faire, nous mobilisons la philosophie contemporaine, notamment Gilles Deleuze et Giorgio Agamben, en raison de la forte affinité théorique qu’ils ont avec Sorel, particulièrement dans la définition de l’éthique. / Contemporary political philosophy is fraught with a history still to be discharged, as much as last century’s “European civil war” forced its concealing. In this masters thesis, we seize Georges Sorel, figurehead of the 1900s revolutionary syndicalism, as an archetypical figure of what is “in remaining” of this history. Archetype not only of the way in which popular theorists can be easily forgotten by the force of history, but also archetype of these forces themselves, as Sorel is considered by intellectual history as the thinker having set up the bridge between extreme left and extreme right. This master does not directly intend to attribute to Sorel the “paternity of fascism”, or to exonerate him. It rather develops a deconstruction of its principal ideas from an essentially philosophical standpoint, method virtually unprecedented. More precisely, our work consists to extricate Sorel’s definition of ethics, whereas his major theoretical gesture appears like a reduction of politics to ethics. To do so, we mobilize contemporary philosophy, especially Gilles Deleuze and Giorgio Agamben, because of their strong theoretical affinities with Sorel, particularly in their definition of ethics.

Den här uppsatsen analyserar och jämför skildringar av konsumtion i Karin Boyes Astarte (1931) och Denise Rudbergs storlek 37 (2002). Detta görs utifrån teoretiska utgångspunkter i Zygmunt Baumans tankar om konsumtionssamhället, samt texter av Max Weber, Walter Benjamin och Giorgio Agamben som diskuterar kapitalismens förhållande till religionen. I Astarte är religionen framträdande som tematik och metaforik i relation till konsumtionen, och det som skildras är ofta hur konsumtionen ersätter religionen, men också hur dessa liknar varandra. I storlek 37 är konsumtionen starkt kopplad till identiteten, och fungerar både som en trygghet och ett måste. Skillnaderna i romanernas skildringar återspeglar konsumtionens roller under två olika tidsperioder: i Astarte är konsumtionen ett relativt nytt fenomen i sin moderna bemärkelse, och i storlek 37 är den i högre grad central för tillvaron, och som sådan mer oreflekterad och självklar. I Astarte finns en tydlig kritik mot konsumtionen, som förs fram genom skildringar av den som ett ändlöst begär eller en illusion. I storlek 37 kan konsumtionen stundtals problematiseras, men framstår som oundviklig. / This essay analyzes and compares depictions of consumption in Karin Boye’s Astarte (1931) and Denise Rudberg’s storlek 37 (2002). The theoretical framework consists primarily of Zygmunt Bauman’s thoughts on the consumer society, as well as texts by Max Weber, Walter Benjamin and Giorgio Agamben discussing capitalism’s relationship to religion. In Astarte, religion is a prominent theme, and often used metaphorically in relation to consumption. Consumption is often depicted as replacing religion, in a way that emphasizes a resemblance between them. In storlek 37, consumption is strongly connected to identity, and functions both as a certainty and a must. The differences between the depictions in the two novels reflect the roles of consumption in two different eras: in Astarte, it is a relatively new phenomenon in its modern sense, and in storlek 37 it has become more central to human life, often occuring without reflection and perceived as a matter of course. Astarte sets out a visible critique of consumption, depicting it as an endless desire or an illusion. In storlek 37, consumption is sometimes questioned, but portrayed nevertheless as inevitable.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-04-04T19:15:18Z No. of bitstreams: 2 Dissertação - Frederico dos Santos Araújo - 2016.pdf: 1175231 bytes, checksum: a8e5c8f6fcc772bc2845c8bc68adb25e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2017-04-05T10:50:23Z (GMT) No. of bitstreams: 2 Dissertação - Frederico dos Santos Araújo - 2016.pdf: 1175231 bytes, checksum: a8e5c8f6fcc772bc2845c8bc68adb25e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-04-05T10:50:23Z (GMT). No. of bitstreams: 2 Dissertação - Frederico dos Santos Araújo - 2016.pdf: 1175231 bytes, checksum: a8e5c8f6fcc772bc2845c8bc68adb25e (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-08-04 / The initial purpose of this essay is to look for evidences that the work of the italian writer Giorgio Agamben influences the Latin American academic politic literature in a significative way. In a complementary manner, it intends also to evaluate if the own latin american history represents an incentive to researchers of different knowledge's areas get help in the Agamben's teachings, in reason to a convergency of theories (Homo Sacer, State of Exception, bare life, biopolitic, camp, etc) and facts (colonization, dictatorial regimes, violence state, etc.). At the end, original manners to enrich reasonings and debates about important social political problems will also be evaluated, using, for that, concepts developed by Giorgio Agamben, writer that, necessary to register, owns a theoretical framework rich, dense, sometimes complex, but, first off all, quite appropriate to face actual questions related to the natural tension between the State and the Individual and, therefore, related to the own life. / A proposta inicial desta dissertação concentra-se, principalmente, na procura de indicativos de que a obra do escritor italiano Giorgio Agamben influencie de maneira significativa a literatura político acadêmica produzida na América Latina. De modo complementar, pretendese avaliar também se a própria história latino americana representa um incentivo para que pesquisadores de diferentes áreas do conhecimento recorram aos ensinamentos de Agamben em razão de uma convergência entre teorias (Homo Sacer, estado de exceção, vida nua, biopolítica, campo, etc) e fatos (colonização, regimes ditatoriais, violência estatal, etc). Por fim, serão avaliadas também maneiras originais de enriquecimento de raciocínios e debates elaborados sobre importantes problemas sociopolíticos, utilizando, para tanto, conceitos desenvolvidos por Giorgio Agamben, autor que, necessário registrar, possui um arcabouço teórico rico, denso, algumas vezes complexo, mas, acima de tudo, sobremodo apropriado para o enfrentamento de questões atuais e relacionadas à tensão natural entre o Estado e o indivíduo e, portanto, à própria vida.

There is great interest in testimonies, both in society at large and as a theoretical concept. Within educational research testimony is used to understand and develop epistemological, political or ethical thinking. In this thesis I investigate what testimonies and the act of witnessing can do in relation to education. More specifically, I investigate what kind of pedagogical possibilities there are in witnessing and testimony, in relation to teaching as well as outside schools. Focusing on three different aspects (of these phenomena), namely representation, subjectivity and emotion I discuss different examples of testimonies. These are Collateral Murder, The Living History Forum’s book Tell Ye Your Children…, Gruva by Sara Lidman and Odd Uhrbom, and pictures with Alan Kurdi from 2015 taken by Nilüfer Demir. I examine the pedagogical possibilities of testimony and witnessing based on the idea that such possibilities are situated in human imperfection and lack of ability, where the knowledge is placed in the impossibility, in our not-knowing. This dialectical understanding, drawing on Giorgio Agamben, implies a different formulation than previous research, by highlighting the impossibility of witnessing and of testimony, for example by how the testimony does not stand outside the political, and in Western society more specifically, the capitalist system. Through the analyses of the different aspects (representation, subjectivity, emotions) I show how testimonies can serve as a way to control the students' emotions and perceptions (drawing on Sara Ahmed), and influence the perception of the society in which the students live. I have also shown how the act of witnessing can be done at the witness’ own expense (by drawing on The Latina Feminist Group). It can mean that testimonies work as a way to reproduce various stereotypes of different people's suffering and thus consolidate existing power structures and identities. The conditions surrounding witnessing and testimonies make witnessing an act that can be perceived as a poetic testimony, as well as an exploitation or expropriation of already vulnerable people. With this said, I also argue for the value of bringing into teaching testimonies that testify of suffering. Testimonies stand between the past and the future and have important things to speak of. If testimonies are not heard in teaching, there is a possibility of silencing and forgetting the wounds in history. It is in teaching where the repetitive work of a literary reading (Gayatri Chakravorty Spivak) can take place. A literary reading that emphasizes the difficulties in testimonies and one’s own part of and relation to it. It is the effort of the repetitive work in teaching that can lead to pedagogical possibility, and through that, enter the future.

Made available in DSpace on 2016-04-27T17:27:00Z (GMT). No. of bitstreams: 1 Jonnefer Francisco Barbosa.pdf: 1451287 bytes, checksum: 4a8ac398f7c4c388e91be584717c42ca (MD5) Previous issue date: 2012-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present thesis aims to address the problem of the relations between politics and time in the work of the Italian philosopher Giorgio Agamben, which is situated within four thresholds where this question is further developed: a) the problem about bare life and forms-of-life; b) the community problem; c) the state of exception; d) the relation among time, memory and history. From the inventory that Agamben will make out of the originating concepts of the treaty of Aristotle Peris Psykhês as well as the archaic Roman Law towards the definition of bare life , to the Agamben s readings on the reflections of Walter Benjamin, Hannah Arendt and Michel Foucault, which will be tackled as biopolitical hypothesis , by going through surveys on the Schmitt s exception and the reine Gewalt in Benjamin s, the thesis is intended to expose the inevitable threshold of the political problems with the discussions on time and memory within Agamben s philosophy presented below, in addition to some of the main difficulties, implications and contradictions involving its formulation. Thresholds (Schwellen) must be understood herein not only in a methodological but also epistemological sense the way that Agamben thinks its philosophy, through ontology, politics, law and esthetics and the temporary sense, the specificity of the thresholding concept to characterize the unique relation about the human time with the memory, the history and the politics / A presente tese objetiva abordar o problema das relações entre política e tempo na obra do filósofo italiano Giorgio Agamben, situando-o a partir de quatro limiares onde esta questão é ali desenvolvida: a) a problemática da vida nua e das formas-de-vida; b) o problema da comunidade; c) o estado de exceção; d) a relação entre o tempo, a memória e a história. Do inventário que fará Agamben de conceitos oriundos do tratado aristotélico Peris Psykhês e do direito romano arcaico para a definição da vida nua , às leituras agambenianas das reflexões de Walter Benjamin, Hannah Arendt e Michel Foucault a partir do que chamaremos de hipótese biopolítica , passando pelas pesquisas sobre o estado de exceção schmittiano e a reine Gewalt em Benjamin, esta tese pretende expor a inevitável imbricação da problemática política com os debates em torno do tempo e da memória na filosofia agambeniana, apresentado, ademais, algumas das principais aporias, implicações e antinomias envolvendo sua formulação. Limiares (Schwellen) devem ser entendidos aqui tanto em um sentido metodológico e epistemológico a forma como Agamben pensa sua filosofia, na passagem entre a ontologia, a política, o direito e a estética quanto em um sentido temporal, a especificidade do conceito de limiar para caracterizar a singular relação do tempo humano com a memória, a história e a política

Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-04-11T18:47:14Z No. of bitstreams: 1 Dissertacao Karina Souzaseg.pdf: 467180 bytes, checksum: 86aad574118d56e6f1b1733299df0d05 (MD5) / Approved for entry into archive by Maria Alice Ribeiro(malice@ufba.br) on 2013-05-02T16:02:22Z (GMT) No. of bitstreams: 1 Dissertacao Karina Souzaseg.pdf: 467180 bytes, checksum: 86aad574118d56e6f1b1733299df0d05 (MD5) / Made available in DSpace on 2013-05-02T16:02:23Z (GMT). No. of bitstreams: 1 Dissertacao Karina Souzaseg.pdf: 467180 bytes, checksum: 86aad574118d56e6f1b1733299df0d05 (MD5) Previous issue date: 2008 / A entrada na esfera pública brasileira de novos fatos e relatos sobre a violação dos direitos humanos cometidos na ditadura militar tem um significado para além da comprovação desses excessos e do julgamento dos responsáveis. A luta pelo resgate das memórias subterrâneas também diz respeito à possibilidade de dar sentido às experiências vividas por quem sofreu a violência de Estado. A discussão teórico-metodológica sobre relações entre memória, esquecimento e linguagem, parte das propostas metodológicas de Hannah Arendt, segundo a qual, somente as histórias narradas dão significado ao passado e possibilitam a compreensão necessária à reconciliação com o mundo e consigo mesmo. Entretanto, outros autores aportam importantes contribuições à discussão, como a idéia de fragmentos da memória em Walter Benjamin, a discussão da relação entre memória e história em Michael Pollak, o conceito de vida nua de Agamben, etc. Buscamos ver, nas falas de três filhos cujos pais sofreram o arbítrio estatal, o que os move e o que os dificulta na transmissibilidade de suas narrativas. / Salvador

The thesis offers an interpretation of Paul's political thought and political theology in the context of current philosophy. The first part presents a methodological basis of the work: the concept of political theology is conceived as a methodological tool that enables us to concentrate on interrelations and mutual effects of religion and politics and to expose implicit or explicit political meanings and implications of religious ideas. The second methodological subchapter deals with Max Weber's approach to "economic ethics of world religions": Weber concentrates on historical crossroads and switches which are a result of random chain of coincidences and factors forming a specific relation to values (Wertbeziehung) which enables us to understand further historical development. Paul's missionary activity and theology is seen as such historical crossroad with far- reaching social consequences. Another part elaborately deals with the most important and influential interpretations of Paul in current non-Christian philosophy: Jacob Taubes, Alain Badiou, Giorgio Agamben. The attention is given not only to presentation of their interpretations but also to utilizations and interpretative gaps, which could be observed in the way these authors read and understand Paul. Though for different reasons, for all of them...

The thesis offers an interpretation of Paul's political thought and political theology in the context of current philosophy. The first part presents a methodological basis of the work: the concept of political theology is conceived as a methodological tool that enables us to concentrate on interrelations and mutual effects of religion and politics and to expose implicit or explicit political meanings and implications of religious ideas. The second methodological subchapter deals with Max Weber's approach to "economic ethics of world religions": Weber concentrates on historical crossroads and switches which are a result of random chain of coincidences and factors forming a specific relation to values (Wertbeziehung) which enables us to understand further historical development. Paul's missionary activity and theology is seen as such historical crossroad with far- reaching social consequences. Another part elaborately deals with the most important and influential interpretations of Paul in current non-Christian philosophy: Jacob Taubes, Alain Badiou, Giorgio Agamben. The attention is given not only to presentation of their interpretations but also to utilizations and interpretative gaps, which could be observed in the way these authors read and understand Paul. Though for different reasons, for all of them...

[pt] A presente tese investiga o que o filósofo italiano Giorgio Agamben chamou de a semiologia do ponto de vista da Esfinge em seu livro Estâncias: a palavra e o fantasma na cultura ocidental. No capítulo A imagem perversa: a semiologia do ponto de vista da Esfinge, o filósofo propunha um modelo de significação calcado não no significado, mas na barreira resistente à significação que, para ele, seria a marca indelével de uma objeção à imposição do sentido. Para ele, Édipo seria o paradigma da cultura ocidental na qual o que ele chama de metafísica do significado foi forjada, na medida em que o personagem trágico resolve o enigma da Esfinge. Assim, Agamben repensa o estatuto da linguagem enquanto adequação do significante ao significado para construir uma perspectiva calcada na dissonância implicada no signo e na assunção do enigmático enquanto modo de operar da linguagem. Tendo em vista a afirmação de Agamben de que na estética essa formulação do desacordo do signo aparece como exemplar, desenvolvo nesta pesquisa um estudo sobre a semiologia do ponto de vista da Esfinge e sua relação com a arte contemporânea. Para realizar esse objetivo, no primeiro capítulo faço um diagnóstico do modo como o pensamento sobre a linguagem se torna preponderante para a arte do século XX a partir do linguistic turn e do advento da Linguística e da Psicanálise; no segundo capítulo, investigo o conceito de demoníaco, na medida em que Agamben afirma que o signo é formado pela distorção demoníaca do nexo que une cada significante ao próprio significado e, por fim, abordo o tema da infamiliariedade (estranhamento) na relação entre arte e linguagem, tendo como ponto de partida o ensaio Das Unheimliche, publicado por Freud em 1919, uma das referências para Agamben pensar sua noção de semiologia esfíngica. / [en] The present thesis investigates what the italian philosopher Giorgio Agamben called the semiology from the point of view of the Sphinx in his book Stanzas: word and phantasm in western culture. In the chapter The perverse image: the semiology from the Sphyns s point of view , the philosopher was proposing a signification model that was not grounded on the signified, but on the barrier resisting signification that, for him, was the indelible mark of an objection to the imposition of meaning. For him, Oedipus would be the paradigm of the western culture, in which it was forged what Agamben called the metaphysics of the signified, given that the tragic protagonist solves the Sphinx s enigma. Therefore, Agamben rethinks the status of language as the adequacy of the signifier to the signified to build a perspective centered on the dissonance implied in the sign and on the assumption of the enigmatic as a means of language operation. In view of Agamben s affirmation, that in aesthetics this formulation of the sign s discord exemplarily appears, I develop in this research a study on the semiology from the point of view of the Sphinx and its relations with contemporary art. To accomplish this goal, in the first chapter I make a diagnosis on the way that the thinking on language becomes preponderant to twentieth century art since the linguistic turn and the advent of Linguistics and Psychoanalysis; in the second chapter, I investigate the concept of demonic, according to Agamben s affirmation that the sign is formed by the demonic distortion of the bond that unites each signifier to its own signified and, lastly, I approach the theme of unfamiliarity (uncanny) in the relationship between art and language, with the starting point being the essay Das Umheimliche, published by Freud in 1919, one of the influences to Agamben for thinking on his notion of Sphinx s semiology.