[pt] A dissertação tem como objeto de investigação a gênese do conceito de trabalho imaterial amplamente desenvolvido e difundido por Antonio Negri. Na perspectiva da esquerda italiana, analisaremos, inicialmente, o impacto da Depressão de 1929 e os dois principais dispositivos, Fordismo e Keynesianismo, desenvolvidos e intensamente expandidos para superar este primeiro grande ciclo de crise do século XX. Na sequencia, trataremos do Operaísmo - movimento surgido na Itália em meio às lutas operárias das décadas de 1960 e 1970 - em seu contexto histórico e temas centrais. O Operaísmo, enquanto movimento que reuniu inúmeros jovens pensadores em torno da proposta de uma releitura da obra marxiana, não se limitou a uma construção teórica, e procurou, sobretudo, criar instrumentos de crítica e de ação para as lutas operárias que se desenrolaram no segundo grande ciclo de crise do capitalismo nos anos 1970. Por fim, passaremos a tratar do conceito de trabalho imaterial - um conceito em construção, razão pela qual são diversas as disputas em tornos dos seus elementos fundamentais. A dimensão biopolítica, os aspectos subjetivo e econômico-político desse conceito serão abordados com base nas formulações elaboradas por Antonio Negri. / [en] The paper has as object of research the genesis of the concept of immaterial labor developed and widely disseminated by Antonio Negri. From the perspective of the Italian left, we analyze, initially, the impact of the Depression of 1929 and the two main devices, Fordism and Keynesianism, developed and expanded intensively to overcome this first major cycle of crisis of the twentieth century. In the sequel, we tackle the Workerism - movement emerged in Italy amid labor struggles of the 1960s and 1970s - in its historical context and central themes. The Workerism while movement that brought together many young thinkers around the proposal of reading Marx s work, sought not merely a theoretical construct, but, above all, create instruments of criticism and action for workers struggles that unfolded in the second great cycle of crisis of capitalism in the 1970s. Finally, we will discuss the concept of immaterial labor - a concept under construction, which has several disputes on lathes of its fundamental elements. We will discuss the biopolitical dimension, and subjective, economic and political aspects of this concept based on formulations developed by Antonio Negri.

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Made available in DSpace on 2016-04-26T20:29:19Z (GMT). No. of bitstreams: 1 Sylvio do Amaral Rocha Filho.pdf: 1233618 bytes, checksum: 9fa8d06c34df8f3b347019f0be4931fb (MD5) Previous issue date: 2009-05-29 / Geographic Indications (GI s) do not have uniform treatment in the world-wide doctrine what is reflected in the diverse manifestations about it as demonstration of itself, therefore in each place the institute is treated as peculiar and unique. Even in only one country GI s have, many times, different treatments. We understand Law ex facto oritur jus (from the fact law is born) and from that, we create our agreement of what it is happening in the domain of the Geographical Indications. Geographical indication is a set of words that aims to transmit only one concept, but in fact, it apparently transmits two disconnected concepts that are not: 1 - Geographical indication is the official nomination of one certain place where a Good of the same name occurs and is typical, regional and peculiar with guarantee of origin and with traditional and recognized quality for the loyal, responsible and constant repetition. 2 - Geographic indication is the typical, regional and peculiar Good, with a certain name officially recognized as originating of a place, region or country, named differently but granting quality, reputation and characteristic recognized for the loyal, responsible and constant repetition. Geographic indication is for the target of this work the sort from which flows out the two types: Indication of Source (IS) and Appellation of Origin (AO). It must be noticed that in the same region or place the two types can coexist, that is, a same place can present Indication of Source and Appellation of Origin, depending. An Indication of Source is a local manifestation of more generic character; an Appellation of Origin is a local manifestation of very typical character and, consequently, more generous. Beyond these trouble makers factors there are others: the doctrine does not deal with and does not even mention the several internal classifications of quality that permeate a Geographical Indication and tint it; it insists only on the mention to Geographical Indication, Indication of Source and Appellation of Origin as if it was enough, without informing that almost always there is a proper qualitative internal system of each Geographical Indication, system that enlarges, accentuates or diminishes the classic divisions into Geographical Indication and its species Indication of Source and Appellation of Origin with which it always coexists, case by case / Indicações Geográficas (IG s) não têm tratamento uniforme na doutrina mundial o que se reflete nas diversas manifestações a respeito fazendo do tema uma demonstração de si mesmo, pois em cada lugar o instituto é tratado como peculiar e único. Mesmo dentro de um país as IG s têm, muitas vezes, tratamentos diferentes. Entendemos que em Direito ex facto oritur jus (do fato nasce o direito) e daí criamos nosso entendimento do que se passa no domínio das Indicações Geográficas. Indicação Geográfica é um conjunto de palavras que visa transmitir um só conceito, mas, na realidade, transmite dois conceitos aparentemente desconexos entre si, mas que não são: 1 - Indicação Geográfica é a nomeação oficial de um local certo em que se dá Bem do mesmo nome e que seja típico, regional e peculiar com garantia de procedência e com qualidade tradicional e reconhecida pela repetição leal, responsável e constante. 2 - Indicação Geográfica é o Bem típico, regional e peculiar, com nome certo e reconhecido oficialmente como originário de local, região ou país nomeado diferentemente, mas que lhe confere qualidade, reputação e característica reconhecida pela repetição leal, responsável e constante. Indicação Geográfica é para o escopo deste trabalho o gênero de que defluem as espécies Indicação de Procedência (IP) e Denominação de Origem (DO). Remarque-se que na mesma região ou local podem conviver os dois tipos, ou seja, um mesmo local pode apresentar IP s e DO s, dependendo. A IP é manifestação local de caráter mais genérico; a DO é manifestação local de caráter muito típico e, assim, mais generoso. Além destes fatores motivadores de confusão há mais outros: a doutrina não aborda sob nenhum prisma e nem sequer menciona as diversas classificações internas de qualidade que permeiam uma IG e dão-lhe matiz; insiste apenas na menção à IG, IP e DO, como se isto bastasse, sem avisar que quase sempre há sistema classificatório qualitativo interno e próprio de cada IG, sistema esse que expande ou acentua ou diminui as clássicas divisões em IG e suas espécies IP e DO com as quais sempre convive, caso a caso

Made available in DSpace on 2016-04-25T20:22:53Z (GMT). No. of bitstreams: 1 Berenice W Pompilio.pdf: 4623209 bytes, checksum: f8f19e6ac13297f7a082b0a7d510de68 (MD5) Previous issue date: 2009-08-25 / This study aims to make an incursion in the daily lives of the inhabitants of the Amapá, especially with the remnants of quilombos and riverside communities of the archipelago of Bailique. From an ethnographic research carried out since 2004, this work was inspired, mainly, on the ideas of Maurice Halbwachs, Pierre Nora and Ecléa Bosi, about collective memory and its peculiarities, hand in hand with the historical memory and local experience. As additional theories related to discursive memory, were used the thoughts about the silence of memory and the ideas of Barthes about the noise of the memory found in speech. Bringing initially an overview of Amapá, with its historical and cultural events, the study shows a kind of diary of the journey, narrating from the preparations for the interviews beyond the theoretical canonicals of methodology for its implementation. Information from the corpus, then analyzed, guided the discussion of collective memory and its role in shaping the cultural link between the real with the memories of abstractions fruit production of a speech that creates meaning and transfers knowledge. Guided the analysis of the corpus to considerations about the opportunity to collect something from the people and their memories, it establishes a place that deserves further research on the intangible right of property, land, gestures, objects, singing and speech. The analysis revealed in intangible wealth leads, indeed, a testimony of strength of associations of remnants of quilombos , at present in the fifth generation, which remain alive outlining areas, reminding rights, scheduling changes, reprinted parties and dances, without losing of the sight the past that preserved them and the way that encloses them / O presente estudo tem como objetivo fazer uma incursão no cotidiano dos habitantes do Amapá, especialmente junto aos remanescentes de quilombos e comunidades ribeirinhas do arquipélago do Bailique. A partir de uma pesquisa etnográfica desenvolvida desde 2004, este trabalho foi inspirado, principalmente, nas ideias de Maurice Halbwachs, Ecléa Bosi e Pierre Nora, sobre memória coletiva e suas particularidades, de mãos dadas com a memória histórica e da vivência local. Configuraram-se, ainda, como teorias complementares, relacionadas à memória discursiva, as que tratam do silêncio, além das ideias sobre os ruídos da memória, encontradas no discurso de Barthes. Trazendo, inicialmente, uma visão geral do Amapá, com seu histórico e manifestações culturais, o estudo apresenta, logo em seguida, uma espécie de diário da viagem, narrando desde os preparativos para a mesma até as entrevistas realizadas no local, além dos paramentos teóricos e metodológicos para a sua realização. As informações do corpus, posteriormente analisadas, orientam a discussão da memória coletiva e de seu importante papel na formação cultural entre a articulação do real e do vivido com as lembranças frutos de abstrações produtivas de um discurso que cria significados e transfere conhecimento. Encaminhando as análises do corpus para considerações sobre a oportunidade de recolher algo entre os habitantes, como suas lembranças, é estabelecido um lugar que merece aprofundamento de pesquisas sobre o direito de propriedade imaterial, a terra, os gestos, os objetos, os cantos e o discurso. A riqueza imaterial revelada na análise conduz, ainda, para um testemunho de resistência das uniões de remanescentes de quilombos, hoje na quinta geração, que permanecem vivos nos seus habitantes, delineando espaços, lembrando direitos, agendando mudanças, reeditando festas e danças, sem perder de vista o passado que os conservou e o meio que os cerca

Made available in DSpace on 2016-04-26T14:57:46Z (GMT). No. of bitstreams: 1 Berenice W Pompilio.pdf: 4623209 bytes, checksum: f8f19e6ac13297f7a082b0a7d510de68 (MD5) Previous issue date: 2009-08-25 / This study aims to make an incursion in the daily lives of the inhabitants of the Amapá, especially with the remnants of quilombos and riverside communities of the archipelago of Bailique. From an ethnographic research carried out since 2004, this work was inspired, mainly, on the ideas of Maurice Halbwachs, Pierre Nora and Ecléa Bosi, about collective memory and its peculiarities, hand in hand with the historical memory and local experience. As additional theories related to discursive memory, were used the thoughts about the silence of memory and the ideas of Barthes about the noise of the memory found in speech. Bringing initially an overview of Amapá, with its historical and cultural events, the study shows a kind of diary of the journey, narrating from the preparations for the interviews beyond the theoretical canonicals of methodology for its implementation. Information from the corpus, then analyzed, guided the discussion of collective memory and its role in shaping the cultural link between the real with the memories of abstractions fruit production of a speech that creates meaning and transfers knowledge. Guided the analysis of the corpus to considerations about the opportunity to collect something from the people and their memories, it establishes a place that deserves further research on the intangible right of property, land, gestures, objects, singing and speech. The analysis revealed in intangible wealth leads, indeed, a testimony of strength of associations of remnants of quilombos , at present in the fifth generation, which remain alive outlining areas, reminding rights, scheduling changes, reprinted parties and dances, without losing of the sight the past that preserved them and the way that encloses them / O presente estudo tem como objetivo fazer uma incursão no cotidiano dos habitantes do Amapá, especialmente junto aos remanescentes de quilombos e comunidades ribeirinhas do arquipélago do Bailique. A partir de uma pesquisa etnográfica desenvolvida desde 2004, este trabalho foi inspirado, principalmente, nas ideias de Maurice Halbwachs, Ecléa Bosi e Pierre Nora, sobre memória coletiva e suas particularidades, de mãos dadas com a memória histórica e da vivência local. Configuraram-se, ainda, como teorias complementares, relacionadas à memória discursiva, as que tratam do silêncio, além das ideias sobre os ruídos da memória, encontradas no discurso de Barthes. Trazendo, inicialmente, uma visão geral do Amapá, com seu histórico e manifestações culturais, o estudo apresenta, logo em seguida, uma espécie de diário da viagem, narrando desde os preparativos para a mesma até as entrevistas realizadas no local, além dos paramentos teóricos e metodológicos para a sua realização. As informações do corpus, posteriormente analisadas, orientam a discussão da memória coletiva e de seu importante papel na formação cultural entre a articulação do real e do vivido com as lembranças frutos de abstrações produtivas de um discurso que cria significados e transfere conhecimento. Encaminhando as análises do corpus para considerações sobre a oportunidade de recolher algo entre os habitantes, como suas lembranças, é estabelecido um lugar que merece aprofundamento de pesquisas sobre o direito de propriedade imaterial, a terra, os gestos, os objetos, os cantos e o discurso. A riqueza imaterial revelada na análise conduz, ainda, para um testemunho de resistência das uniões de remanescentes de quilombos, hoje na quinta geração, que permanecem vivos nos seus habitantes, delineando espaços, lembrando direitos, agendando mudanças, reeditando festas e danças, sem perder de vista o passado que os conservou e o meio que os cerca

Je n’ai pas de rapport serein à la peinture. Si elle constitue un espace d’expression et d’appartenance à soi-même sans limites, j’appréhende l’immensité de cet espace. Où aller ? De quelle manière ? Comment surmonter les hésitations ? Comment être sûre de prendre les bonnes décisions ? Quelle piste ou quelle exploration privilégier ? La pratique de la peinture relève d’une immersion. Au sein de l'atelier, au cœur du travail du peintre, se jouent de multiples opérations plastiques et mentales spécifiques. Une dynamique est en jeu, celle d’une marche vers de nouveaux possibles au sein de laquelle s’intercalent des choix et des prises de risque. C'est ici, dans cette tension entre ce qui n'est pas anticipé et ce qui tente de se déterminer que mon travail pictural existe. Comme il est fait d’errances, d’expériences, d’avancées mais aussi de pannes, j’ai souhaité m’attacher à l’étude des difficultés inhérentes au travail de peintre. Quelles en sont les causes ? Comment les processus créatifs sont-ils impactés et quelles remédiations peuvent-elles être envisagées de la part des artistes ? L’hypothèse de cette thèse est que l’informatique constitue une réponse possible à la recherche de lâcher-prise de l’artiste dans sa pratique picturale. Si la photographie, le cinéma, ou la vidéo ont chacun, à un moment donné de leur histoire, interrogé leurs relations à la peinture, qu’en est-il aujourd’hui pour l'informatique ? Comment informatique et peinture partagent-elles leur contemporanéité au sein de la création artistique ? Comment y dialoguent-elles ? Sous quels angles l’informatique soulage-t-elle le peintre et peut-elle conduire à une forme de lâcher-prise ? Dans la perspective où « la » peinture échappe aujourd’hui à toute tentative de définition exhaustive, nous verrons comment l'informatique appréhendée comme outil mais aussi comme médium du peintre poussera à reconnaître la présence renouvelée, écartelée mais flagrante de la peinture sur de nouveaux supports et à la définir comme immatérielle et dynamique. Les expériences menées au sein de mon travail artistique ainsi que les enquêtes de terrain menées auprès d’artistes peintres exploitant l’informatique nous amèneront à élargir notre compréhension du lâcher-prise mais aussi à éprouver les limites de l’alliance technique. / I do not have a serene relationship with painting. While it creates a space for self-expression and a sense of belonging to oneself without limits, I fear the immensity of that space. Where to go? By which means? How to overcome hesitations? How to be sure to make the right decisions? Which paths to follow, which leads to explore? The practice of painting is an immersion. Within the studio and at the heart of a painter's work lie a number of unique plastic and mental processes. A dynamic is at stake, allowing a step towards new possibilities where making choices and taking risks are intertwined. There, in the tension between the unanticipated and what is tentatively determined, is where my pictorial work exists. Because of the wandering, the experiments, the breakthroughs but also the failures, I wanted to focus on the difficulties inherent to the painter’s work. What are their causes? How is the creative process impacted and what remedies can artists turn to? The hypothesis of this thesis is that computer and digital processing is a possible answer to the artist’s quest of letting go in his or her pictorial practice. If photography, film or video each have, at some point in their history, questioned their relationship to painting, what about today’s computer-assisted art? How do digital technologies and painting concurrently exist and share the artistic scene? How do they interact? In which particular ways does digital processing relieve the painter and enables a form of letting go? Admittedly, no definition of "painting" as we know it today can be exhaustive. However, we will take a look at how computers – apprehended as tools, but also as a medium for the painter – make it possible to identify the renewed, distorted, yet flagrant presence of painting within new artistic mediums and to redefine it as immaterial and dynamic. The experiments carried out in my artistic work as well as the surveys conducted with painters using computer-assisted techniques, will lead to a broader understanding of the process of letting go but also to experience the limits of the technical alliance.

Made available in DSpace on 2016-12-23T14:36:44Z (GMT). No. of bitstreams: 1 Tania Maria Silveira.pdf: 737098 bytes, checksum: ed78c7fa1892b4d871352d5fd0375676 (MD5) Previous issue date: 2012-10-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Esta dissertação estuda o papel do desenvolvimento tecnológico no capitalismo e consiste em revisão teórica baseada em duas linhas de pensamento, a análise de Karl Marx e a tese do capitalismo cognitivo segundo a proposição de Yann Moulier-Boutang. Além de apresentar como Marx explicitou a inovação tecnológica e suas consequências no processo de produção, analisa por que os pensadores do capitalismo cognitivo sustentam que o modo de produção, baseado nas novas tecnologias da informação e da comunicação, modifica o capitalismo. Dado a abrangência do assunto, foram adotados como elemento principal de análise os efeitos das tecnologias informacionais sobre o processo de trabalho e a valorização do capital. Neste ponto estudado verificou-se que essas teorias são convergentes quanto à centralidade do trabalho e divergentes quanto à compreensão do trabalho produtivo. Em Marx, é a força do trabalho que produz valor, e a exploração do tempo de trabalho excedente valoriza o capital; em Moulier-Boutang, o valor é resultado da exploração do trabalho imaterial e da força-invenção pelos cérebros conectados em rede de computadores, portanto, o conhecimento é considerado fator econômico / This dissertation approaches the role of technological development in capitalism. It consists in a theory review based on two lines of thought: Karl Marx s analysis and the thesis of cognitive capitalism according to Yann Moulier-Boutang s proposition. Besides presenting the way Marx viewed technological innovation and its consequences to the production process, this study analyzes why scholars of cognitive capitalism sustain that the mode of production, based on information and communication technologies, modifies capitalism. Given the broadness of this issue, the effects of information technologies on the labor process and valorization of capital were adopted as the main element in this study. Concerning this point, the study found those theories to converge in relation to centrality of labor, but to diverge in terms of understanding productive labor. For Marx, labor produces value, whereas the exploitation of exceeding labor-time values capital; for Moulier-Boutang, value is the result of exploiting immaterial labor and inventive-force, i.e. the computer-network brains. Therefore, knowledge is considered an economic factor

Cette thèse vise à éclairer le rôle économique de la science et de la technologie dans le cadre du capitalisme. À cette fin, elle s’enracine d’abord dans une discussion des thèses développées à ce sujet par Karl Marx à l’égard du capitalisme industriel qu’il avait sous les yeux. En tenant compte de la transition du capitalisme industriel au capitalisme avancé, elle s’intéresse ensuite au rôle que joue la production scientifique et technologique dans le contexte spécifique du capitalisme avancé. Prenant le contrepied de la théorie de l’« économie immatérielle » développée par Michael Hardt et Antonio Negri, l’objectif de cette thèse est double. Elle vise, d’une part, à mettre au jour et reconstruire la façon dont Marx problématise le rapport de la science et de la technologie à la dynamique économique de son époque et, de l’autre, à éclairer les modalités et les enjeux liés à l’intégration de la production scientifique et technologique au sein de la dynamique économique contemporaine. / This dissertation aims to clarify the economic role of science and technology within capitalism. To this end, it is first rooted in a discussion of the ideas elaborated by Karl Marx on this topic in respect with the industrial capitalism that was unfolding before him. Taking into account the transition from industrial to advanced capitalism, this dissertation then seeks to question the economic role of scientific and technological production into the specific context of advanced capitalism. Supporting an opposing view to the theory of “immaterial economy”, as developed by Michael Hardt and Antonio Negri, this dissertation has a twofold objective. On the one hand, it aims to uncover and reconstruct the way Marx problematizes the relationship of science and technology to the economical dynamics of his time and, on the other hand, to clarify the issues relating to the integration of scientific and technological production into contemporary economical dynamics.

ZERO apparaît le 24 avril 1958 à l’occasion de la septième « exposition d’un soir » qui a lieu à Düsseldorf, dans l’atelier d’Otto Piene et de Heinz Mack. La thématique de cette exposition, « Le tableau rouge », rejoint celle du premier numéro de cette nouvelle revue d’artistes, ZERO. S’ensuivent deux autres numéros, respectivement sortis en octobre 1958 (« Vibration ») et en juillet 1961 (« Dynamo »). Autour de la revue pilotée par Mack et Piene se nouent alors différents projets collaboratifs et expositions collectives, à partir desquels ZERO devient une sorte d’échangeur entre plusieurs tendances nées au tournant des années 1950-1960. Cette recherche monographique a pour ambition première de renouveler les perspectives sur une revue et une mouvance artistique peu étudiées en France, et ce à partir de la question de l’immatériel réfractée au prisme de la technique. L’optimisme technologique présumé de ZERO est réexaminé à l’aune du « discours autorisé », de la poïétique des œuvres, de l’expérience esthétique et de leur réception critique. Dès lors, les œuvres et les discours dévoilent une image bien moins nette du passé, tissée de contradictions, qui traduit d’une part la difficile négociation d’un tournant sociétal marqué par la mécanisation et l’automation, l’information, l’accélération et la menace nucléaire et, d’autre part, l’ambition pour l’art dynamique (vitaliste) et « idéaliste » de ZERO de jouer un rôle actif dans la définition de l’époque, en s’adressant aux imaginaires et en occupant les territoires de l’expérience sensible. / ZERO was created on the 24th of April 1958, on the occasion of the seventh « Night Exhibition », which took place in Otto Piene’s and Heinz Mack’s studio in Düsseldorf. The theme of this exhibition, « The Red Painting » was the same as the inaugural edition of ZERO, a new artist magazine. Following this initiative, two other issues were published, one dedicated to “Vibration” (October 1958), the other to “Dynamo” (July 1961). Various collaborative projects and collective exhibitions revolved around the magazine edited by Mack and Piene, from which ZERO became a platform between several tendencies which had come into being by the early 1960s. This study aims at renewing and enriching knowledge of both a magazine and a movement that have not been the subject of any extensive examination so far. For this purpose, this research focuses on the immaterial art of ZERO as refracted through the prism of technology. ZERO’s alleged technological optimism is explored by the light of the “authorized discourses”, the poietic of the works of art, their aesthetic experience and their critical reception. Therefore, the works of art and the discourses reveal a far less clear picture of the past, which is not free of discrepancies. On the one hand, this reflects the complex issue of dealing with societal shifts characterized by mechanization and automation, information, acceleration, nuclear threat; and, on the other hand, this demonstrates the ambition for ZERO’s both dynamic (vitalist) and “idealistic” art to play an active role in defining the spirit of the era by addressing imaginaries and by occupying territories of sensitive experience.

This thesis deals with compensation for immaterial damages in the Czech Republic and Germany with focus on personal injuries and a specific question of wrongful birth and wrongful life actions. Its aim is to describe the differences between both legislations. In the first part my work is concerned with a theoretical analysis of the conditions of damage liability in the tort law in both countries. The second chapter follows up with the definition of material and immaterial damages and the way and extent of their compensation. The third one is concentrated directly on personal injuries, it introduces the term and the range of persons entitled to a compensation and it analyses the way and extent of the compensation for personal injuries (above all the damages for pain and suffering) in the Czech Republic and Germany, with specific emphasis on the Methodology of the Czech Supreme Court on the compensation for immaterial damages in case of personal injuries. The fourth chapter is focused on an ethical and legally complicated question of wrongful birth and wrongful life actions.