Apresentamos neste trabalho um estudo sobre a processualidade das relações da escola pública com a comunidade, enfocando os agenciamentos que operam na constituição de diferentes modos de relação em uma instituição situada na região metropolitana de Porto Alegre. Sob os referenciais de Gilles Deleuze e Félix Guattari, procuramos pensar as relações como acontecimentos, efeitos de sentidos, agenciados coletivamente por instâncias heterogêneas que compõem o real social. Nosso problema se inscreve no âmbito do discurso e da subjetividade, partindo da hipótese de que é possível pensar as relações nas instituições, para além das representações individuais, para além das relações interpessoais, para além do pressuposto da reprodução social. Procuramos articular conhecimentos da Análise de Discurso na vertente Francesa com as discussões empreendidas por Deleuze e Guattari sobre uma Filosofia da Linguagem e uma Teoria da Subjetividade. Utilizamos o recurso cartográfico proposto por estes autores, trabalhando com os discursos produzidos no encontro da escola com a comunidade. Para tal acompanhamos as atividades de uma escola durante um ano, realizando entrevistas, observações, leitura de documentos, participando de reuniões e encontros festivos. Encontramos em nosso estudo algumas dobras das relações da escola com a comunidade, dobras que nos falam da sua complexidade, a qual temos deixado escapar, ao entendermos as relações, marcados pelo modo-indivíduo de subjetivação, que ganhou força desde a modernidade. Nossa cartografia registrou várias dobras, algumas um pouco mais intensas, como a dobra burocrática, a qual impede que outras forças possam ser potencializadas na escola. Procuramos aqui construir um modo de pensar as relações nas instituições, um pensar nas dobras, para regar um pouco o campo da Análise Institucional no âmbito da Psicologia e da Educação. / This research present a study on the manner of proceeding of the relations between public school and community, focusing on the agencement that works in the constitution of the different ways of relations in an educational institution of the metropolitan region of Porto Alegre. Based on Gilles Deleuze and Félix Guattari, we try to think of the relations as events, effects of meaning collectivelly agenced by heterogeneous instances that compose the real social. Our problem concerns the field of action of discourse and subjectivity , assuming the hypothesis that it is possible to conceive the relations in the institutions beyond the individual representation, the interpersonal relations and the postulation of the social reproduction. We intend to join the knowledge of the Discourse Analysis of the French trend to the discussion proposed by Deleuze and Guattary on a Philosophy of the Language and a Theory of Subjectivity. We use the cartographic resource proposed by these authors, working with the discourses produced by the interaction between school and community. To accomplish such proposal we attended school activities during a year , having interviews, observations, documents reading as well as participating in meetings and festive gatherings.In our study we found some foldings concerning the relations between school and community. These foldings show us the complexity of this relations which we have ignored when trying to understand it based on the individual mode of subjectivity which has become stronger since modern times. Our cartography recorded many foldings, some more intense like the bureaucratic folding which prevents other forces from being more powerful at school. We intend to develop a way of thinking of the realtions in the institutions, a thought of the foldings, to feed the field of the Institutional Analysis of Psychology and Education.

Orientador: Silvio Donizete de Oliveira Gallo / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-09T15:40:50Z (GMT). No. of bitstreams: 1 Marques_Davina_M.pdf: 421552 bytes, checksum: 2226fd4158b7b4d1e3c394f4308af82c (MD5) Previous issue date: 2007 / Resumo : Reafirmando as potências que existem na filosofia e na literatura, através de encontros entre textos de Gilles Deleuze-Félix Guattari e de contos de João Guimarães Rosa, este trabalho discute a educação como plano de imanência, como promotora de agenciamentos, como experimentação. Destacam-se também, neste texto, além de imanência e agenciamento, o conceitos de rizoma; territorialização/desterritorialização/reterritorialização; e rostidade. A discussão teórica é atravessada por textos literários que vibram os conceitos. A literatura pulsa criação, é ritmo que convida a. A arte, tão presente nos escritos de Deleuze-Guattari, atualiza também aqui os conceitos filosóficos, repetindo-os. Nessa repetição, em uma escrita-experimentação, repleta de movimentos, atravessada, que pulsa, que segue caminhos tresloucados, que faz fugir e agir, que evita um único rosto, reafirma-se a potência da educação. Cumprindo seu papel de dissertação de mestrado em Filosofia da Educação, o texto busca movimentar o nosso pensamento em uma área aberta, povoada por filósofos e artistas, que a atravessam com seus saberes. Por sugestão dos membros da banca examinadora, anexei à dissertação o filme-apresentação em DVD que fiz para a exposição deste trabalho no dia da defesa. Uma experimentação também, outra linguagem para falar desta e pensar a educação / Abstract : Reassuring the potentiality of philosophy and literature, through encounters of texts by Gilles Deleuze-Félix Guattari and short stories by João Guimarães Rosa, we have considered education as a plane of immanence, as a possibility of assemblage, as experimentation. Other philosophical concepts will be observed in education: rhizome, territorialization/deterritorialization/reterritorialization, and faciality. The theoretical argument will be related to literary texts which are connected to the concepts. Literature pulses creation, it is an inviting rhythm. Art, so present in Deleuze-Guattari¿s writings, actualizes the philosophical concepts, and it repeats them. In repetition, in na experimentation-writing, full of movements, crossings, pulsations, that follows surprising paths, that causes flight and acting, that avoids an only face, we can assure the potentiality of education. It is a master¿s dissertation in Philosophy of Education that aims to make our thoughts of education more open, by interconnecting philosophy and art, and the ways their specific knowledge is intertwined. A film-experimentation used to present this dissertation is attached to the written material, as suggested by the examining board / Mestrado / Filosofia da Educação / Mestre em Educação

Made available in DSpace on 2017-07-10T18:26:08Z (GMT). No. of bitstreams: 1 Anemar M W M Ansolin.pdf: 725842 bytes, checksum: 7b6ef8a1003ab1174919c089f014e28e (MD5) Previous issue date: 2014-08-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Les inquiétudes concernant la sexualité nous ont poussés vers l élaboration de cette cartographie. Elle explicite une défense de la diversité articulée à des concepts des philosophies de Foucault et de Deleuze, avec le but de générer un mouvement positif quand on prétend penser en minorités . Tous les deux philosophes valorisent la question de la multiplicité, complément pour toute la construction théorique qu on a visée, articulée à d autres concepts qui ont élucidé encore plus le multiple et qui ont permis l élaboration de cette défense. Notre cartographie est faite en appliquant des concepts deleuzo-guattariens dans l Histoire de la Sexualité créée par Foucault; nous y discourons sur la thèse qui soutient que la sexualité compose un rhizome et que sa compréhension ne se fait pas à travers des connaissances statiques et transcendantes. Pour indiquer cela, nous montrons, à partir de la théorie des lignes de Deleuze et Guattari, le mouvement des vérités produites sur la sexualité abordées dans la riche étude foucaldienne. Tout en transitant parmi les concepts de Pouvoir (Foucault) et de Rhizome (Deleuze et Guattari) nous avons éclairci des proximités entre les théories de ces philosophes qui ont permis de penser un devenir de la sexualité. D autres concepts deleuziens et foucaldiens y sont aussi traités, comme le concept de différence et celui de multiplicité (Deleuze), de même que celui de gouvernementalité (Foucault). Avec eux, nous essayons d articuler une défense de la diversité comme étant une pièce fondamentale pour une vie e une pensée plus créative et moins perplexe avec la sexualité. Nous avons tenté, avec ça, de penser la constitution d un sujet qui mène sa vie de façon plus autonome et, dans ce mouvement, pense sa sexualité dans la sphère de la singularité. Pour que ça puisse être pensé, nous avons agencé à cet apparat conceptuel l idée de soin de soi-même. C est bien cette idée qui a permis de discuter la constitution d un sujet avec une sexualité autonome, en la pensant dans le jeu d une esthétique de l existence. Notre élaboration théorique va à la rencontre, d une certaine manière, avec quelques mesures politiques brésiliennes, celles qui essaient de fixer des vérités sur la sexualité dans un contexte hétéronormatif, qui ignorent un regard positif autour de la diversité, en essayant de modeler une société utopique constituée dans l hégémonie hétérosexuelle, en dévalorisant la diversité comme une possibilité de perception de la vie. Ce qui m a mené à la recherche de ce thème-là a été la non acceptation de discours qui prétendent modeler la sexualité sur des patrons de références, discours que nous appelons dans la dissertation d homogènes/hégémoniques. Homogènes car ils prétendent assurer la permanence d une forme spécifique de visualisation de la sexualité qui ont des prétentions d hégémonie, donc hégémoniques. Le contact avec les uvres de Foucault et de Deleuze nous a donné la chance, d un côté, d apercevoir comme les discours de vérités sur la sexualité peuvent être pensés hors de la logique homogène/hégémonique, et, de l autre, affirmer la positivité de la différence, tout en permettant la production d un discours favorable à la diversité. / As inquietações a respeito da sexualidade nos moveram para a elaboração desta cartografia. Ela explicita uma defesa da diversidade articulada a conceitos das filosofias de Foucault e de Deleuze, com o intuito de gerar um movimento positivo quando se pretende pensar em minorias . Ambos os filósofos valorizaram a questão da multiplicidade, complemento para toda a construção teórica que se pretendeu, articulada a outros conceitos que elucidaram ainda mais o múltiplo e permitiram a elaboração desta defesa. Nossa cartografia é feita aplicando conceitos deleuzeguattarianos na História da Sexualidade criada por Foucault; nela, discorremos sobre a tese de que a sexualidade compõe um rizoma e seu entendimento não se dá por conhecimentos estáticos e transcendentes. Para evidenciar isso, mostramos, a partir da teoria das linhas de Deleuze e de Guattari, o movimento das verdades produzidas sobre a sexualidade abordadas no rico estudo foucaultiano. Transitando entre os conceitos de Poder (Foucault) e de Rizoma (Deleuze e Guattari), elucidamos proximidades entre as teorias desses filósofos que possibilitaram pensar um devir da sexualidade. Outros conceitos deleuzianos e foucaultianos também são abordados, como o conceito de diferença e o de multiplicidade (Deleuze), assim como o de governamentalidade (Foucault). Com eles, tentamos articular uma defesa da diversidade como sendo peça fundamental para uma vida e um pensamento mais criativo e menos perplexo com a sexualidade. Tentamos, com isso, pensar a constituição de um sujeito que leva sua vida de forma mais autônoma e, nesse movimento, que pense sua sexualidade na esfera da singularidade. Para que isso possa ser pensado, agenciamos a esse aparato conceitual a ideia de cuidado de si. É essa ideia que possibilitou discutir a constituição de um sujeito com uma sexualidade autônoma, pensando-a no jogo da estética da existência. Nossa elaboração teórica vai de encontro, em certa medida, à política brasileira, àquela que tenta se concretizar por meio de um pensamento heteronormativo, que ignora um olhar positivo em torno da diversidade, tentando moldar uma sociedade utópica constituída de uma só identidade, desvalorizando a diversidade como possibilidade de produção de vida. O que levou a propor e a executar a pesquisa desse tema foi a não aceitação de discursos que pretendem moldar a sexualidade dentro de padrões de referências, discursos que, na dissertação, estão identificados como homogêneos/hegemônicos. Homogêneos porque pretendem assegurar a permanência de uma forma específica de visualização da sexualidade que têm pretensões de hegemonia, por isso hegemônicos. O contato com as obras de Foucault e de Deleuze oportunizou, de um lado, perceber como os discursos de verdades sobre a sexualidade podem ser pensados fora da lógica homogênea/hegemônica e de um padrão de referência; de outro, afirmar a positividade da diferença, possibilitando a produção de um discurso favorável para com a diversidade.

Thesis Across the Line of the World: On Poetics of Being on the Road in the Central and East European Novel of the second half of the Twentieth Century dissert on the phenomen of vagabondism in a given space and time. Analysis of eight texts (Albahari, Bachmannová, Bernhard, Bondy, Chwin, Miłosz, Müllerová, Sebald, Velikić) through the concept of smooth and striated space (Gilles Deleuze, Félix Guattari), and Milan Balaban's exegesis on the Biblical Exodus shows four basic principals of this rather intensive than extensive vagabondism: nothingness, sense for smoothness, melancholy and fragmentarization. Central and East European Novel Vagabondism Smooth and striated space (Gilles Deleuze, Félix Guattari) Exodus (Milan Balabán) Melancholy Nothingness Sense for smoothness Fragmentarization

My dissertation critiques Western culture’s vertical command of “growing up” to adult completion (rational, heterosexual, married, wealthy, professionally successful) as a reductionist itinerary of human movement leading to subjective sedimentations. Rather, my project proposes ways of “moving rhizomatically” by which it advances a notion of a machinic identity that moves continuously, contingently, and waywardly along less vertical, less excruciating and more horizontal, life-affirmative trails. To this end, my thesis proposes a “rhizomatic semiosis” as extrapolated from the philosophy of Gilles Deleuze and Félix Guattari to put forward a notion of language and, by implication, subjectivity, as dynamic and metamorphic. Rather than trying to figure out who the child is or what it experiences consciously, my project wishes to embrace an elusiveness at the heart of subjectivity to argue for continued identity creation beyond the apparently confining parameters of adulthood. This dissertation, then, is about the need to re-examine our ways of growing beyond the lines of teleological progression. By turning to Deleuze’s child, an intangible one that “makes desperate attempts to carry out a performance that the psychoanalyst totally misconstrues” (A Thousand Plateaus 13), I wish to shift focus away from the hierarchical, binary, and ideal model of “growing up” and toward a notion of movement that makes way for plural identities in their becoming. This endeavour reveals itself in particular in the work of John Wray, Todd Field, Peter Cameron, Sara Prichard, Michael Cunningham, and Cormac McCarthy, whose work has received little or no attention at all—a lacuna in research that exists perhaps due to these artists’ innovative approach to a minor literature that promotes the notion of a machinic self and questions the dominant modes of Western culture’s literature for, around, and of children.

No description available.

Gold Foil Figures or guldgubbar (henceforth GFFs) are precious metal artefacts from the Scandinavian Late Iron Age. This master's essay offers a new approach to GFFs. As opposed to the established understanding of GFFs as representational images with real or mythic referents, belonging to an aristocratic milieu, this essay instead attends to GFFs in terms of their material and Figural traits. The material for this study consists if 42 GFFs from the find site of Västra Vång, Blekinge, Sweden. A comprehensive presentation of this artefact material is a secondary aim of this essay. With the aid of a neomaterialist theoretical apparatus that draws heavily on the work of Gilles Deleuze, Félix Guattari, and Wilhelm Worringer, the 42 GFFs undergo two separate analyses. In the first, the material traits expressed in the sequence of GFF production and deposition is studied in terms of a chaîne opératoire. In the second, I attend to the non-significatory expressive qualities of form and expression, or Figural traits, belonging to these 42 GFFs within the wider artistic milieu of Animal Style Ornamentation. I conclude that GFFs were as a rule artefacts made for purposes of immediate disposal, not display, as a mode of dispersing gold. Västra Vång’s GFFs offer several indications that handling between the cutting operation and deposition was minimal, such as the fresh, unworn edges. The thin, brittle foils are ill suited to display. Approaching the designs on these artefacts as various sets of Figural traits being expressed allows me to contextualise the GFFs within the wider artistic milieu of Animal Style Ornamentation. New territorial rhythms can be established only as certain elements are freed from a settled state, and made to act together with new elements, in new terrains. GFFs bring about new territorial rhythms of form and expression to gold matter, gold made to circulate as it becomes deterritorialised from a monetary function within the Roman economy. A flow of gold is extended as gold is brought to Scandinavia from continental economies. The influx of this flow of gold is not contained to an élite social stratum. Individuals in possession of minute amounts of gold returned to Scandinavia, having acquired gold as payment for involvement in military operations on the continent. This ownership of gold may have hindered their harmonious reintegration into a society based on other economic principles. The GFFs emerge as a vector of dispersing gold. The artistic expression of Figural traits is equally energised by movements of de- and reterritorialisation. Understanding that the Figural traits expressed on the GFFs from Västra Vång are part of a wider artistic milieu of Animal Style Ornamentation, alongside other systematised expressions making up parts of a collective assemblage of enunciation, makes their appearance on artefacts that were deposited immediately upon their manufacture easier to grasp. The particular procedures of miniaturisation allowed for an acceleration of the expression of variation in the conjunction of a flow of artistic expression onto a flow of gold matter. The dispersive handling of gold must be traced to both the material premises and the expressive artistic ones. Gold is not chosen because it is precious, or because of what it connotes, but because it is available, because the artisan smith is attendant to its traits as a metal matter.

This thesis explores the creative function of the pseudonym Sara Sand, used by the author Stina Aronson for four literary works in the late 1920s and early 1930s. Två herrar blev nöjda (Two gentlemen were content), Fabeln om Valentin (The tale of Valentin), Tolv hav (Twelve oceans) and Syskonbädd (Siblingbed) are modernist and experimental works that I approach with an experimental way of reading. In order to emphasize what I find to be an inherent strive for freedom within these texts, I draw from Gilles Deleuze and Félix Guattaris notion of desire as a productive force and their view of the text as a rhizomatic structure, as presented in Anti-Oedipus (1972) and A Thousand Plateaus (1980). The characters in Sara Sands writing are in constant movement and in continuous processes of becomings which challenges any kind of fixity, whether that be social structures and hegemonic discourses or simply the individual self.

No description available.

Thèse en recherche-création Cette version de la thèse a été tronquée des éléments de composition originale. Une version plus complète est disponible en ligne pour les membres de la communauté de l’Université de Montréal et peut aussi être consultée dans une des bibliothèques UdeM. / Cette recherche-création est issue de ce questionnement : qu’est-ce qui est en jeu dès lors qu’il s’agit d’intégrer et d’imbriquer l’improvisation (l’écoute active, corps agissant et réagissant au son en devenir) et la composition (écoute répétée, traitements fins, auscultation de la matière) dans une pratique électroacoustique ? Pour y répondre, j’ai développé un dispositif d’improvisation multipiste — intitulé le projet MissTake — axé sur des technologies hybrides (analogiques et numériques), l’instabilité et la non-linéarité dans une approche morphologique et ondulatoire des flux sonores. Trois compositions sont issues de ce questionnement. Mes pièces Volt_#1, Volt_#3 et Dancing on the Edge of Darkness, créées avec les matériaux sonores du dispositif, ont généré un processus de délestage dans les gestes compositionnels et les mouvements de spatialisation. L’analyse de ces œuvres utilise les concepts puisés dans le nouveau matérialisme et la philosophie de Deleuze et Guattari. Le projet MissTake, conçu autour d’un magnétophone à cassettes quatre pistes configurées en sans-entrée, est l’aboutissement de cette recherche-création. Le choix du multipiste, des sonorités bruiteuses et de l’improvisation libre a apporté un changement de visée fondamental dans ma pratique et donné lieu à un processus de décélération sur le plan temporel. En me concentrant sur le matériau sonore évacué du signifié, dans la perception et l’abstraction, j’ai pu développer une pensée de la musique comme ouverture sur l’indéfini, dans le sensible et l’inachèvement de la forme. / This research-creation begins with this questioning : what is at stake when it comes to integrating and coalescing improvisation (active listening, embodied gestures, acting and reacting to the sound in the making) and composition (repeated listening, refine and detailed treatments, auscultation of the material) to an electroacoustic practice? To answer this, I developed a multichannel improvisation device – called the MissTake project – focused on hybrid technologies (analogue and digital), instability and non-linearity in a morphological and undulatory approach to sound flows. Three compositions come from this questioning and device. My pieces Volt_#1, Volt_#3 and Dancing on the Edge of Darkness have generated a process of step-down compositional gestures and spatialization movements. The analysis of the works is based on concepts drawn from the new materialism and philosophy of Deleuze and Guattari. The MissTake performance, designed around a four-track cassette recorder configured in no-input is the culmination of this research-creation. The choice of the multichannel, noise aesthetics and free improvisation brought a fundamental change of focus in my practice and gave rise to a deceleration process at the temporal level of sound. By focusing on the sound material evacuated from any meaning, in perception and abstraction, I was able to develop a thought of music as an opening on the indefinite, in the sensible and the incompleteness of the form.