O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.

This master thesis explores health as a primarily active process and what role theoretical and practical medicine should play in health. Health is divided up into four rooms: the room of the theoretician who works in medicine, the meeting between the theoretician and practician, the meeting between practician and patient, and lastly the individual’s cultural room. By phenomenologically unveiling the transmutation of life defined as death within the cartesian framework of mind-body dualism and its influences on modern Western medicine it becomes apparent that health as defined by biomedicine (lack of disease) is a problematic concept in regard to the experience of being ill in the individual’s room, which is the phenomenological starting point. In the West there exists a cultural tendency among both natural scientists and laypersons to use natural science and medical theory to explain and give meaning to individual diseases and healths, which has also lead to a cultural crisis in the ill individuals’ identity as the cartesian mind-body dualism is more complex than two opposing forces – it is more correct to describe this relation of mind and body identity as a ‘trialism’. The thesis mainly rests on the works of Drew Leder and Jenny Slatman; their works on health and illness in relation to cartesian dualism, and on their concepts of authentic materialism and differential materialism respectively, to formulate a phenomenological theory of health (from the room of the individual) understood as primarily an activity. It concludes that health within the individual’s room is an activity in the now that consists in accepting one’s bodily state and the choices one has made in life to land oneself in the body one now experiences. A healthy choice is grounded in a will to be one’s self, to be one’s own body, although one does not coincide with it. The role of practical medicine is to help the individual want to be themselves, their own body, – by working with the two concepts of health presented as the theoretical health (absence of disease) and the phenomenological (will to be oneself).

Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.

The Becoming-other of the Existence, Essay on Contemporary Phenomenology, is both a systematic and a historical study of phenomenology. By choosing a systematic problem of becoming-other of the existence it attempts to present and to confront five major contemporary phenomenologists in France within a single phenomenological field: Henri Maldiney, Claude Romano, Jean-Luc Marion, Renaud Barbaras, and Marc Richir. The study enters phenomenology with Edmund Husserl and presents some key original concepts invented by two generations of post-husserlian authors who marked out the road to contemporary phenomenology: Martin Heidegger, Erwin Straus, Maurice Merleau-Ponty, Jan Patočka, Emmanuel Lévinas. Then it turns to "evential empiricism" in the work of Maldiney and Romano who consider the existent and the world in their belonging-together: the event is thus understood as co-birth of the subject and the world. Nevertheless, because of the fact that the existence that "becomes-other" is necessarily a finite existence, a radically separated existence from the metaphysical transcendence of the world, three other authors must become involved in the discussion: Marion, whose adonné is a limit of the givenness, and then Barbaras and Richir who explore the most archaic layers of the subjectivity within a...

This essay attempts to listen to meaning in the borderland, and asks in between which faculties and senses, through which we see and/or listen to the world, do we seek sense? My writing is located on this border, or more precisely on the erased border that I call an interspace or an interval, the place where we look for sense in the relation between language, philosophy, politics, and music. I have done this through the reading of three contemporary philosophers: Jacques Derrida, Jean-Luc Nancy, and Angela Davis. Derrida and Nancy have provided me with a theoretical and philosophical background for my approach to Davis’s philosophic and political claims. My analysis sets out from Derrida’s différance and what it reveals in the sign system of language. This is continued through a discussion of Nancy’s question: Is philosophy capable of listening, in all senses of the word? Is the philosopher not someone who always hears? In my reading, this connection is established through the blue notes. Davis, finally, provides me with a support for my claim that we, in the political significance of blues, in the traces of meaning that it contains, might be able to listen to Derrida’s différance. Keywords: Listening, meaning, différance, blues, sonority, blue notes, in between, border, subject, Jacques Derrida, Angela Y Davis, Jean-Luc Nancy. / Denna uppsats syftar till att försöka lyssna till meningen i gränslandet – mellan vilka relationer i våra förmågor och sinnen, av att se och/eller lyssna till världen, söker vi mening? Jag vill skriva om den gränsen, eller mer kanske den utsuddade gränsen i platsen jag kallar mellansfär och mellanrum, som den plats där vi söker mening i relationen mellan språk, filosofi, politik och musik. När vi idag söker mening och talar om varat, om individen och subjektivitet, kan det vara så att vi inte längre kan göra det genom fasta tecken, system och former? Istället för att stanna kvar i ett tillstånd av upprepande och separerande som landar i uteslutande och förtryck, i värdeskalor och normer, istället för att endast höra klassiska notsystem, eller förstå språkliga regler hos fasta teckensystem; kan det vara så att vi idag får vända oss till lyssnandet och mellansfären i de blå tonernas différance för att förstå olika individer och subjektivitet i relation till världen? Genom att göra en analys av Derridas term différance i hans text med samma namn: ”Différance” ur boken Margins of philosophy, ska jag försöka närma mig Nancys bok Listening samt läsa hans text genom tanken på différance i Nancys teori och förståelse om lyssnandet.  För att undersöka hur lyssnande och musik kan få ett praktiskt uttryck, av de teoretiska meningarna vi söker i différance, vill jag använda musikgenrerna blues och jazz och de blå toner som bluesen förhåller sig i och mellan. Min teori är att bluesen kan ge en plats (av flera) för var skillnader möts mellan text, värld och musik; platsen där différance kan lyssnas till, synliggöras och hörs. I den teorin vänder jag mig till Angela Davis bok Blues Legacies and Black Feminism som stöd för bluesens utveckling. Det jag ämnar närma mig hos Davis är just bluesens meningssökande och plats i samhället

[pt] Esta tese reflete sobre o estatuto contemporâneo da voz no cinema a partir do tratamento a ela dispensado em um recorte de trabalhos audiovisuais cujos procedimentos artísticos singulares convidam à investigação — em especial no que tange ao que se tem reconhecido como manifestações espectrais da voz acusmática. O trabalho se compõe de três ensaios complementares, que investigam de que maneiras e com que efeitos estético-políticos as produções em exame subvertem formas historicamente calcificadas de destituir a palavra de qualquer corporeidade, o que inclui a materialidade da voz. Com esse horizonte, o estudo se debruça sobre as seguintes criações: A paixão de JL (2016), de Carlos Nader; Hilda Hilst pede contato (2018), de Gabriela Greeb; Imagem e palavra (2018), de Jean-Luc Godard; e Vaga carne (2019), de Grace Passô e Ricardo Alves Jr. Por atenção aos modos como esses filmes trabalham e pensam a matéria vocal, distinguem-se e exploram-se três manifestações interligadas da voz acusmática: (1) propomos pensar como vocobiografias espectrais os tratamentos dados por Nader e Greeb aos arquivos de voz de Leonilson e Hilst, com destaque para os movimentos que se ali desdobram entre presença e ausência, indivíduo e coletivo, ficção e realidade; (2) derivamos a noção de um vozerio tátil dos procedimentos com que Godard atende ao imperativo pensar com as mãos, que abre Imagem e palavra, no plano da miríade de vozes ali convocadas; e por fim, (3) refletimos sobre a invenção de uma voz polimorfa no média-metragem de Grace Passô e Ricardo Alves Jr., que, disparado por encenação (2016) e livro (2018) homônimos de autoria da atriz e dramaturga, tem como surpreendente protagonista uma voz com o poder de transitar por diferentes matérias. Mostra-se como, ao mobilizarem a materialidade da voz por diferentes caminhos e com diferentes ênfases, os filmes estudados agem no sentido de deslocar modos arraigados – e passivos – de escuta. / [en] This thesis reflects on the status of the voice in contemporary cinema by examining a selection of audiovisual works whose unique artistic procedures invite investigation — especially with regard to what has been recognized as spectral manifestations of the acousmatic voice. The work is composed of three complementary essays, which investigate how and with what aesthetic-political effects these productions subvert historically calcified forms of depriving the word of any corporeality, notably of the materiality of the voice. With this horizon, the study delves into the following creations: JL s passion (2016), by Carlos Nader; Dead ones, do you live? (2018), by Gabriela Greeb; The image book (2018), by Jean-Luc Godard; and Dazed flesh (2019), by Grace Passô and Ricardo Alves Jr. By attending to the ways in which these films work with and think about the vocal matter, we distinguish and explore three interconnected manifestations of the acousmatic voice: (1) we propose to think about the treatments given by Nader and Greeb to the voice archives of Leonilson and Hilst as spectral vocobiographies, with emphasis on what evolves in between presence and absence, individual and collective, fiction and reality; (2) we derive the notion of a tactile buzz from the singular ways in which Godard combines the myriad of voices he summons, as yet another means to respond to the imperative that opens the film, namely, to think with the hands; and finally, (3) we reflect on the invention of a polymorphous voice in the medium-length film by Grace Passô and Ricardo Alves Jr., which, triggered by homonymous staging (2016) and book (2018) by Passô, has as its surprising protagonist a voice with the power to transit through different subjects. I show how, by mobilizing the materiality of the voice through different paths and with different emphases, the studied films act in order to displace entrenched — and passive — modes of listening.

Est-il possible de se reconnaître et de se sentir interpellé par la Parole de Dieu encore aujourd'hui? Voilà la question qui sous-tend la présente recherche et qui a conduit à rendre compte d'un parcours de découverte de soi en vérité par l'intermédiaire d'une attention portée à soi-même au cœur de la vie quotidienne et d'un approfondissement d'un texte biblique. Deux outils méthodologiques ont servi à encadrer la démarche. La découverte d'une structure vivante de l'être qui invite à avancer toujours plus dans sa vérité a été rendue possible grâce à l'inscription du processus dans le cadre de la recherche heuristique. Par la suite, la pratique réglée de lecture appelée sémiotique a permis de construire, à partir de la péricope de Luc 5, 1–11, des significations éclairantes quant aux possibilités, pour la Bible, d'être signifiante parce que révélatrice de ('expérience humaine et de la présence de Dieu au cœur même de cette dernière.

Le rédacteur lucanien termine son évangile par la scène conventionnelle où le Christ ressuscité charge ses témoins d'une mission. Ainsi, le kérygme pascal résume le cœur de l'annonce de la Bonne Nouvelle aux Juifs et à toutes les nations. La forme brève de cette révélation finale est souvent signalée par tous ceux qui désirent comprendre le projet global de Luc. Cependant il est possible d'approfondir le sens de Le 24, 46-48 à la lumière des discours missionnaires du Livre des Actes des Apôtres. Notre hypothèse de recherche consistait à déterminer comment, à l'intérieur des discours missionnaires, Luc reprend et développe le schéma fondamental du kérygme chrétien livré pour la première fois par le Christ, au jour de Pâques. A l'aide des méthodes historico-critiques jointes à la perspective de l'analyse structurelle, nous avons d'abord étudié Le 24, 46-48, en soulignant les interrogations que soulevait cette péricope. Puis, nous avons analysé les discours missionnaires en considérant de quelle manière le rédacteur lucanien répond lui-même à ces questions. Cette recherche a permis de confirmer l'unité entre l'ensemble du troisième évangile et les Actes. L'étude des discours missionnaires a démontré la cohésion et l'amplitude du schéma de la révélation pascale comme base de tout discours chrétien, selon la perspective de Luc.

Contaminated soils are a worldwide problem. Polycyclic aromatic hydrocarbons (PAHs) are common contaminants in soil at former industrial areas, especially at old gasworks sites, gas stations and former wood impregnation facilities. Risk assessments of PAHs in contaminated soils are usually based on chemical analysis of a small number of individual PAHs, which only constitute a small part of the complex cocktail of hundreds of PAHs and other related polycyclic aromatic compounds (PACs) in the soils. Generally, the mixture composition of PAH-contaminated soils is rarely known and the mechanisms of toxicity and interactions between the pollutants are far from fully understood. The main objective of this thesis was to characterize remediated PAHcontaminated soils by use of a chemical and bioanalytical approach. Bioassay specific relative potency (REP) values for 38 PAHs and related PACs were developed in the sensitive H4IIE-luc bioassay and used in massbalance analysis of remediated PAH contaminated soils, to assess the contribution of chemically quantified compounds to the overall aryl hydrocarbon receptor (AhR)-mediated activity observed in the H4IIE-luc bioassay. Mixtures studies showed additive AhR-mediated effects of PACs, including PAHs, oxy PAHs, methylated PAHs and azaarenes, in the bioassay, which supports the use of REP values in risk assessment. The results from the chemical and bioassay analysis showed that PAH-contaminated soils contained a large fraction of AhR activating compounds whose effect could not be explained by chemical analysis of the 16 priority PAHs. Further chemical identification and biological studies are necessary to determine whether these unknown substances pose a risk to human health or the environment. Results presented in this thesis are an important step in the development of AhR-based bioassay analysis and risk assessment of complex PAH-contaminated samples. / <p>Other funders: Sparbanksstiftelsen Nya and Ångpanneföreningen</p>

Thèse diffusée initialement dans le cadre d'un projet pilote des Presses de l'Université de Montréal/Centre d'édition numérique UdeM (1997-2008) avec l'autorisation de l'auteur.