[pt] Na sociedade chamada pós-moderna, a questão do individualismo vem se tornando uma realidade problemática, porque, como conseqüência de um longo processo iniciado na Modernidade, está se desenvolvendo, conforme Gilles Lipovetsky, um processo de personalização: sendo o individualismo o fator preponderante, o ser humano assume a imagem mitológica de Narciso tornando-se, assim, mais fechado em si mesmo. E o resultado disso é uma sociedade notadamente individualista, antifraterna e anti-solidária, em que os indivíduos se encaminham para o esvaziamento do sentido da vida. Mas o ser humano, homem e mulher, imagem e semelhança de Deus, é chamado a construir um projeto de fraternidade, contrapondose ao narcisismo, pernicioso à convivência humana. Nesta dissertação, em vista da possibilidade de superação do citado narcisismo, procuramos desvelar o pecado subjacente a ele e propomos o caminho salvífico da abertura à graça de Deus como fundamento teológico do projeto de fraternidade, na fé. Em nossa reflexão, fundamentamo-nos no pensamento de González Faus e, para a realização deste projeto, valemo-nos de mediações, algumas das quais indicamos no presente trabalho. / [en] In the so-called postmodern society, the individualism issue has become a problematic reality, because, in the wake of a long process that started in the Modernity, - according to Gilles Lipovetsky - a personalization process arose, wherein individualism is a preponderant factor, and wherein the human being adopts the mythical image of Narcissus, increasingly becoming closed in itself. From this results a society marked by individualism, anti-fraternity and anti-solidarism, wherein the individuals go to an emptying of sense of life. But the human being, man and woman, image and likeness of God, has been called to work out a project of fraternity, counterpointing with community destroying narcissism. In this dissertation, having in view the possibility to overcome the mentioned narcissism, we try to unveil the underlying sin, and we propose the redemptive way of openness to the grace of God, as the theological basis of the fraternity project, in faith. In our reflection we base ourselves on the thoughts of González Faus and, for the execution of this project, we also make use of some mediations which are indicated in this study.

In Gonzalez et al. v. Mexico, a case decided by the Inter-American Court of Human Rights in 2009, a context of discrimination and violence against women was known to target particular subgroups of women, of which the claimants were constituent, distinguished inter alia by their age, socioeconomic and, in some cases, migrant status. Despite this, the judgment of the Inter-American Court focused almost exclusively on sex discrimination and violence against women as a broader social phenomenon. With this judgment forming the background for the critique, the author will develop an anti-essentialist framework for the analysis of discrimination and violence against women claims where the discrimination was compounded by various identity factors. Intended to assist the Inter-American Court with its articulation of norms and standards in such cases, the ultimate value of this framework should be measured in terms of the assistance it can offer the Court at the reparations stage.

In Gonzalez et al. v. Mexico, a case decided by the Inter-American Court of Human Rights in 2009, a context of discrimination and violence against women was known to target particular subgroups of women, of which the claimants were constituent, distinguished inter alia by their age, socioeconomic and, in some cases, migrant status. Despite this, the judgment of the Inter-American Court focused almost exclusively on sex discrimination and violence against women as a broader social phenomenon. With this judgment forming the background for the critique, the author will develop an anti-essentialist framework for the analysis of discrimination and violence against women claims where the discrimination was compounded by various identity factors. Intended to assist the Inter-American Court with its articulation of norms and standards in such cases, the ultimate value of this framework should be measured in terms of the assistance it can offer the Court at the reparations stage.

This practice-led research was initiated in response to a series of violent encounters that occurred between my fragile installations and viewers. The central focus of this study was to recuperate my installation practice in the wake of such events. This led to the development of a ‘responsive practice’ methodology, which reframed the installation process through an ethical lens developed from Emmanuel Levinas’ ethical phenomenology. The central propositions of this research are the reconceptualisation of ‘violent encounters’ in terms of difference whereby I accept viewers responses, even those which are violent, destructive or damaging, and secondly that the process operates as a generative excess for practice through which recuperative strategies can be found and implemented. By re-examining this process as it unfolded in the three phases of the practical component, I developed strategies whereby violated, destroyed or damaged works could be recuperated through the processes of reconfiguration, reparation and regeneration. Therefore my installations embody and articulate vulnerability but also demonstrate resilience and renewal.

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Made available in DSpace on 2016-04-26T18:17:07Z (GMT). No. of bitstreams: 1 Fabiana Amelio Faleiros.pdf: 1035369 bytes, checksum: 645568e91e00d3beb6c485f2dba5ca75 (MD5) Previous issue date: 2008-04-18 / This study discusses the ways in which the technologies of communication create ways of life resulting in forms of subjectivity. In the first part of the work, we discuss the concepts of subjectivity and its links with the viewing technology, in light of concepts and studies of Michel Foucault and society of the spectacle of Guy Debord. In the second part, from the concept of Relational Aesthetics of Nicolas Bourriaud, in dialogue with the work of Dominique Gonzalez-Foerster, seeking to show how this artist create the singularization of the relationship with the spaces shared through your project in video and film Parc Central. In the third part of the work, dialoguing with On Kawara, with focus on the work I am still alive - series of telegrams made from 1969. Thus, it is sought to understand how these two artists, each one in their own way, are interrelated the singularization of subjectivation processes from speaking in first person. In the fourth part we intended to create tensions between that sentence of On Kawara in the context of permanent connection of the subject in the contemporary through an "action" of the author in the city of Sao Paulo, which included posters with the phrase "I am still alive" and distribution of a video by e-mail. Confronting this "action" with the authors and artists studied, the conclusions indicates that it is through interventions in the ways of life homogenous created by the new technologies of communication that we can create spaces for singularization of contemporary subjectivity / Esta pesquisa discute as formas pelas quais as tecnologias de comunicação criam modos de vida implicando em formas de subjetividade. Na primeira parte do trabalho, discutimos as noções de subjetividade e seus vínculos com tecnologias de visualização, a luz de conceitos e estudos de Michel Foucault e da sociedade do espetáculo de Guy Debord. Na segunda parte, a partir do conceito de Estética Relacional de Nicolas Bourriaud, em diálogo com a obra de Dominique Gonzalez-Foerster, buscamos mostrar a forma como esta artista singulariza a relação com os espaços compartilhados através de seu projeto em vídeo e película Parc Central. Na terceira parte do trabalho dialogamos com On Kawara, com foco na obra I am still alive - série de telegramas feita a partir de 1969. Assim, buscou-se compreender como esses dois artistas, cada um a sua maneira, articulam processos de subjetivação singularizadores a partir da fala em primeira pessoa. Na quarta parte pretendeu-se criar tensões entre essa frase de On Kawara no contexto de conexão permanente do sujeito na contemporaneidade através de uma "ação" da autora na cidade de São Paulo, que incluiu cartazes com a frase "Eu ainda estou vivo" e a distribuição de um vídeo via correio eletrônico. Confrontando esta "ação" com os autores e artistas estudados, as conclusões indicam que é através de intervenções nos modos de vida homogeneizantes criados pelas novas tecnologias de comunicação que se pode criar espaços de singularizarão da subjetividade contemporânea

This study investigates effects on the ephemeral artwork and its ephemeral quality when documented and archived. To define the ephemeral artform a definition presented by Mary O’Neill in her thesis Ephemeral Art: Mourning and Loss (2007) is used, and two ephemeral artworks are studied: Zoe Leonard’s Strange Fruit (for David) (1992-1997) and Felix Gonzalez-Torres' ”Untitled” (Portrait of Ross in L.A.) (1991). Results from these case studies are compared to each other and to Peggy Phelan’s critical stance on the possibilities of documenting time-based and performative artforms in Unmarked: The Politics of Performance (1993). Results show that the ephemeral artwork becomes ephemeral through slow degradation and the experience this degradation generates in the observer; processes in time that cannot be documented. However, documentation can affect the observer’s experience of ”here and now,” which may alter the artwork’s communicative abilities and its effectiveness in creating a sense of presence within the passing of time. / I denna studie studeras påverkan på det efemära konstverket och dess efemära egenskap när det dokumenteras och arkiveras. För att definiera den efemära konstformen används en definition som presenteras av Mary O’Neill i avhandlingen Ephemeral Art: Mourning and Loss (2007), och två efemära konstverk studeras: Zoe Leonards Strange Fruit (for David) (1992–1997) och Felix Gonzalez-Torres ”Untitled” (Portrait of Ross in L.A.) (1991). Resultat från verkanalyser av dessa verk jämförs mot varandra samt mot Peggy Phelans uppfattning att performance-baserad konst inte kan dokumenteras i Unmarked: The Politics of Performance (1993). Resultat visar att det efemära konstverket blir efemärt genom sin långsamma nedbrytning och genom betraktarens upplevelse av denna nedbrytning – temporala processer som inte kan dokumenteras med exakthet. Dokumentering kan dock innebära att betraktarens upplevelse av ”här och nu” påverkas och således verkets förmåga att kommunicera effektivt om passerande tid och frambringa närvaro i nuet.

We obtain a generalization of the Sokhotskii formula for the forth degree by means of methods of theory of residues. We obtain relations of Mikusinskii and Gonzalez – Dominguez type that connect distributions and hyperdistributions. We obtain an analog of the Sokhotskii formula for an arbitrary positive integer. / Получены обобщения формулы Сохоцкого для четвертой степени методами теории вычетов. Получены соотношения типа Микусинского и Гонсалеса – Домингеса, связывающие распределения и гиперраспределения. Было получено обобщение формулы Сохоцкого для любого натурального числа.

Propõe-se na presente dissertação divulgar e apresentar à pesquisadoras e pesquisadores a organização da informação e a educação aberta, a plataforma Zotero, uma ferramenta de gestão de referências, por meio de oficinas e tutorial. Expor o contexto histórico de construção desta ferramenta, na perspectiva das humanidades digitais, mostrar sua utilização para coleta, organização, citação, formatação, compartilhamento e contextualização histórica do conhecimento.Como exemplo de organização da informação foi utilizada a coleção de documentos da Lélia Gonzalez, do Projeto Memória, assim como a disponibilização do tutorial para uso da plataforma Zotero como um Recursos Educacionais Abertos (REA). Os procedimentos metodológicos adotados, a partir da abordagem qualitativa e exploratória, do levantamento bibliográfico que compõe a fundamentação teórica, no aspecto comparativo das ferramentas de gestão de referências, Zotero e Mendeley e a escolha pela Zotero para a organização da coleção Lélia Gonzalez, refletem as perspectivas das humanidades digitais, assim como as perspectivas da educação aberta para a aplicação das oficinas à pesquisadoras e pesquisadores. / This dissertation intends to publicize and to present to researchers the organization of information and the open education, the Zotero platform, a tool for management of references, through workshops and tutorial. It also aims at exposing the historical context of the making of that tool, from the perspective of digital humanities, to show its use for collecting, organizing, citing, formatting, sharing and historical contextualization of knowledge. Lélia Gonzalez's collection of documents from “Projeto Memória” (Memory Project) was used as an example of organization of information, as well as the tutorial regarding the use of Zotero platform as an Open Educational Resource (OER). Based on the qualitative and exploratory approach of the bibliographic survey that composes the theoretical foundation, the methodological procedures adopted on the comparative aspect of the reference management tools, Zotero and Mendeley, and the choice by Zotero for the organization of Lélia Gonzalez collection reflect the perspectives of the digital humanities, as well as the perspectives of open education for the application of workshops to researchers.

Propõe-se na presente dissertação divulgar e apresentar à pesquisadoras e pesquisadores a organização da informação e a educação aberta, a plataforma Zotero, uma ferramenta de gestão de referências, por meio de oficinas e tutorial. Expor o contexto histórico de construção desta ferramenta, na perspectiva das humanidades digitais, mostrar sua utilização para coleta, organização, citação, formatação, compartilhamento e contextualização histórica do conhecimento.Como exemplo de organização da informação foi utilizada a coleção de documentos da Lélia Gonzalez, do Projeto Memória, assim como a disponibilização do tutorial para uso da plataforma Zotero como um Recursos Educacionais Abertos (REA). Os procedimentos metodológicos adotados, a partir da abordagem qualitativa e exploratória, do levantamento bibliográfico que compõe a fundamentação teórica, no aspecto comparativo das ferramentas de gestão de referências, Zotero e Mendeley e a escolha pela Zotero para a organização da coleção Lélia Gonzalez, refletem as perspectivas das humanidades digitais, assim como as perspectivas da educação aberta para a aplicação das oficinas à pesquisadoras e pesquisadores. / This dissertation intends to publicize and to present to researchers the organization of information and the open education, the Zotero platform, a tool for management of references, through workshops and tutorial. It also aims at exposing the historical context of the making of that tool, from the perspective of digital humanities, to show its use for collecting, organizing, citing, formatting, sharing and historical contextualization of knowledge. Lélia Gonzalez's collection of documents from “Projeto Memória” (Memory Project) was used as an example of organization of information, as well as the tutorial regarding the use of Zotero platform as an Open Educational Resource (OER). Based on the qualitative and exploratory approach of the bibliographic survey that composes the theoretical foundation, the methodological procedures adopted on the comparative aspect of the reference management tools, Zotero and Mendeley, and the choice by Zotero for the organization of Lélia Gonzalez collection reflect the perspectives of the digital humanities, as well as the perspectives of open education for the application of workshops to researchers.