O fio condutor desta tese é o caso de uma vala clandestina, oficialmente descoberta, em 1990, no Cemitério Dom Bosco, no bairro de Perus, em São Paulo, no qual foram encontrados mais de 1500 sacos plásticos contendo remanescentes mortais humanos, alguns deles identificados como sendo de desaparecidos políticos executados pela ditadura brasileira. A partir desse caso, a tese realiza um duplo movimento: primeiramente, trata-se de mostrar os limites das elaborações de Foucault, Esposito e Agamben para a compreensão da vala clandestina de Perus. Mais fecundas para isso se revelam as teorias do sociólogo camaronês Achille Mbembe sobre a especificidade das relações entre poder e morte nas regiões coloniais, imperiais e neocoloniais, nas quais ele identifica a existência da necropolítica, isto é, de um poder que produz morte e cria condições mortíferas para subordinar populações. Simultaneamente, o segundo movimento que realiza a tese consiste em explorar as contribuições que a análise do caso da vala de Perus, em particular, e dos dispositivos desaparecedores, em geral, oferecem para a complementação das teorias de Mbembe. Com efeito, esses dispositivos, dentre os quais os sepultamentos clandestinos ocupam um lugar importante, resultados, no Brasil, da associação entre diversos mecanismos de desaparecimento na ditadura militar, revelam um aspecto da necropolítica pouco explorado por Mbembe e que chamamos de necrogovernamentalidade. Com esse termo, queremos chamar a atenção para o fato de que a necropolítica, como mostram os dispositivos desaparecedores, não apenas utiliza da maximização das condições mortíferas para governar, como se ocupa, também, dos processos post-mortem, isto é, da administração dos corpos, dos rituais fúnebres, das rotinas burocráticas da morte e da gestão do luto. Assim, explicita-se o nexo entre necropolítica e subjetivação, pois, como novamente revelam os dispositivos desaparecedores, a necrogovernamentalidade, ao distribuir de maneira desigual a possibilidade de prantear publicamente as mortes, induz a generalização de formas de subjetividade melancólicas e, por isso, submetidas à dominação. / This thesiss guiding thread is an illegal common grave officially discovered in 1990, in the Dom Bosco Cemitery, in the neighborhood of Perus, São Paulo. In this grave, more than 1,500 plastic bags were found containing mortal remains, some identified as being political victims of enforced disappearance perpetrated by the Brazilian dictatorship. Taking its cue from this case, this thesis argues for two main points: first, we show the inadequacies of Foucaults, Espositos, and Agambens political theories in dealing with this particular case. Here, the Cameroonian sociologist Achille Mbembes theory are much more fruitful, especially his account of the particularity of the relationship between power and death in the colonial, imperial, and neo-colonial regions. Mbembe identifies in those regions the existence of a necropolitics, that is, a kind of power which produces death and that creates deadly situations in order to subjugate local populations. Nevertheless, Mbembes theories also have their own inadequacies, so the second main point of this thesis is to show how an adequate understanding of the phenomenon surrounding Peruss common grave and, more generally, what we call the disappearance dispositif, can help us to overcome these deficiencies. Indeed, this dispositif, which comprises, as an important part, the illegal burial, can be thought as of resulting from, in the Brazilian case, the association between, and unification of, several disappearance mechanisms by the Brazilian dictatorship. This type of association and unification reveals a necropolitical aspect not explored by Mbembe, namely what we call necrogovernmentality. We coined this term, necrogovernmentality, in order to call attention to the fact that necropolitics, as is uncovered by a careful analysis of the disappearance dispositif, not only maximizes deadly conditions in order to better subjugate, but also manages the post-mortem processesthe management of the bodies, of the burial rites, of the bureaucratic routines of death and mourning. This is important, because we are thus able to uncover a deep connection between necropolitics and subjectivation: the disappearance dispositif and its associated necrogovernmentality distributes in an uneven manner the possibility of public mourning, and hence induces a dissemination of melancholic subjects, subjects that are therefore more easily subjugated.

University of Macau / Faculty of Arts and Humanities. / Department of English

A reflexão sobre a melancolia, na produção estética de Giorgio De Chirico, compõe o arcabouço da presente pesquisa. Neste estudo, são considerados sentimentos e ressentimentos que permeiam aspectos biográficos e estéticos ligados direta e/ou indiretamente às questões da melancolia na obra do artista Giorgio De Chirico. A constituição melancólica de sua produção seria sustentada pelas referências do artista? Isto é, a reconhecida influência de filósofos como, Nietzsche e Schopenhauer e de artistas como Arnold Böcklin e Max Klinger forneceria o embasamento à postura melancólica de De Chirico? O contexto vivido na Europa, no século XX (cercado por duas Guerras Mundiais) contribuiu para a adoção desta condição? As circunstâncias biográficas direcionariam o artista para a expressão da melancolia em seus trabalhos? E, por fim, De Chirico utilizaria o que poderia se chamar de uma estética da melancolia como um dos eixos de sua reflexão poética? A elucidação dessas perguntas pode residir nas fontes históricas que unem melancolia e arte desde os escritos dos filósofos gregos, passando pelas questões do Renascimento e chegando ao ideário moderno do qual De Chirico é fruto. / The melancholy reflection on the aesthetic production of Giorgio De Chirico makes up the framework of this research. In this study, the feelings and resentments that permeate biographical and aesthetic aspects related directly or indirectly to issues of melancholy in Giorgio De Chiricos works are considered. Would the melancholy constitution of his production be sustained by the references of the artist? That is, would the recognized influence of philosophers like Nietzsche and Schopenhauer and artists such as Arnold Böcklin and Max Klinger provide the basis for de Chirico\'s melancholy posture? Would the context experienced in Europe in the twentieth century (surrounded by two world wars) contribute to the adoption of this condition? Would the biographical circumstances steer the artist towards the expression of melancholy in his works? Finally, would De Chirico make use of what might be called an \"aesthetics of melancholy as one of the pillars of his poetic reflection? The elucidation of these questions may lie in the historical sources that combine art and melancholy from the writings of the Greek philosophers, through questions of the Renaissance and coming to modern ideas - of which De Chirico is a result.

Esta dissertação tem como objetivo analisar o romance Em câmara lenta (1977), de Renato Tapajós, e suas relações com o contexto histórico da Ditadura Militar no Brasil (1964-1985), marcado pelo uso da violência extrema como mecanismo de repressão a manifestações artísticas e políticas contrárias ao poder autoritário. Considerando algumas abordagens teóricas sobre a configuração estética do romance moderno, bem como estudos sobre violência, suas ramificações e consequências para a constituição do sujeito, procuramos compreender o romance de Tapajós como produção literária que incorpora em sua elaboração formal os processos antagônicos de sua realidade histórica. / This thesis aims to analyze the Renato Tapajós novel Em câmara lenta (1977), and its relationships with the historical context in Brazil\'s military dictatorship (1964-1985), marked by the use of extreme violence as a mechanism of repression of artistic and political manifestations against the authoritarian power. Considering some theoretical approaches on the aesthetics of modern novel, as well as some studies on violence, its ramifications and consequences for the constitution of the self, we seek to understand the Tapajós novel as a literary production that incorporates in its formal structure some antagonistic processes of its historical reality.

Medicine was an important aspect of ancient Greek philosophy, which also associated sanity with reason. The Platonic and Aristotelian threads initiated then were intertwined in the Middle Ages. Medieval Scholasticism equated insanity with the gift of prophecy and melancholy with heroism. As the seventeenth century opened new horizons in science, characters suffering from mental illness and despair were frequently depicted in Restoration semi-opera and song. The term "mad song" refers to a solo song with continuo accompaniment in which the singer impersonates an individual who is genuinely mad or feigning madness. Songs of despair typically share some characteristics of the earlier lute-song tradition and display a fast harmonic rhythm. Healing songs induce a state of hypnosis during which the mad individual no longer suffers. I attempt to show how seventeenth-century English continuo song reflects the evolution from neo-Platonic philosophy to scientific thinking both thematically and structurally. Early songs of melancholy reflect the notion that the individual afflicted by love-sickness may be regarded as a martyr. Any conscious scheme in form or text underlay is absent, and specific word-painting is minimal. Large-scale text-painting plays a more significant role. In the Purcellian mad song the scene changes radically. Iatromechanical scientific thinking, based on a Cartesian causality that evokes Aristotelian neo-Scholasticism, seems evident in the precision of the word-painting. Composers connect words and figures of speech to specific harmonic structures in the bass. Causality is also apparent in that the loosely defined melancholy of earlier songs is now largely replaced by a realistic depiction of insanity. Scientific progress was reserved for scholars working within university enclaves, but theatergoers could experience a reflection thereof reproduced on stage. Although the theme of madness was essential in seventeenth-century plays, there is a gap in the academic literature with regard to the depiction of mental disease in English vocal music. One must view music and words as cotexts bound to serve Baroque rhetorical purposes. Detailed analysis of these songs throw new light on the medical, cultural and social factors which shaped aesthetics in seventeenth-century England.

Made available in DSpace on 2016-04-27T17:27:08Z (GMT). No. of bitstreams: 1 Mariana dos Reis Gomes de Castro.pdf: 662855 bytes, checksum: 0b4fabeab02687efaeefc8487657c2b5 (MD5) Previous issue date: 2014-09-02 / The aim of this work is to circumscribe tedium notion in modernity. The first chapter is dedicated to A Philosophy of Boredom (1999), Lars Svendsen book, which will enable us to differentiate diverse kinds of apathies which occurred along mankind history, by philosophy and literature. The second chapter is destined to verse about some writings which the philosopher Walter Benjamin destined to Charles Baudelaire, notedly the essay On Some Motives in Baudelaire (1939) and some fragments of his survey Paris of the Second Empire (1938). In the third chapter, we will dedicate to the part of the Essays in contemporary psychology (1883), Paul Bourget book, destined to analyse Charles Baudelaire and to insert him in what the literary critic calls nihilism, pessimism. In the fourth chapter we will examine tedium in Baudelaire from the perspective by an Erich Auerbach article and, also, the Jean Starobinski reflections concerning the figure of the melancholic. Finally, we will use passages of Claudio Willer doctorate thesis to think about the body and the death in Baudelaire poems / O objetivo desse trabalho é circunscrever a noção de tédio na modernidade. O primeiro capítulo é dedicado ao livro Filosofia do Tédio (1999), de Lars Svendsen, que nos ajudará a diferenciar diferentes tipos de apatia que se deram ao longo da história da humanidade, através da filosofia e da literatura. O segundo capítulo é destinado a versar sobre alguns escritos que o filósofo Walter Benjamin destinou a Charles Baudelaire, notadamente o ensaio Sobre alguns motivos na obra de Baudelaire (1939) e alguns fragmentos de seu estudo A Paris do Segundo Império (1938). No terceiro capítulo, nos dedicaremos ao capítulo do livro Essais de Psychologie Contemporaine (1883), de Paul Bourget, destinado a analisar Charles Baudelaire e a inseri‐lo no contexto que o crítico literário denomina niilismo, pessimismo. No quarto capítulo, nos dedicaremos ao tédio em Baudelaire recortado a partir da perspectiva criada em um artigo de Erich Auerbach e, também, a reflexões de Jean Starobinski acerca da figura da melancolia. Finalmente, utilizaremos passagens da tese de doutorado de Claudio Willer para pensar sobre o corpo e a morte nos poemas de Baudelaire

O fio condutor desta tese é o caso de uma vala clandestina, oficialmente descoberta, em 1990, no Cemitério Dom Bosco, no bairro de Perus, em São Paulo, no qual foram encontrados mais de 1500 sacos plásticos contendo remanescentes mortais humanos, alguns deles identificados como sendo de desaparecidos políticos executados pela ditadura brasileira. A partir desse caso, a tese realiza um duplo movimento: primeiramente, trata-se de mostrar os limites das elaborações de Foucault, Esposito e Agamben para a compreensão da vala clandestina de Perus. Mais fecundas para isso se revelam as teorias do sociólogo camaronês Achille Mbembe sobre a especificidade das relações entre poder e morte nas regiões coloniais, imperiais e neocoloniais, nas quais ele identifica a existência da necropolítica, isto é, de um poder que produz morte e cria condições mortíferas para subordinar populações. Simultaneamente, o segundo movimento que realiza a tese consiste em explorar as contribuições que a análise do caso da vala de Perus, em particular, e dos dispositivos desaparecedores, em geral, oferecem para a complementação das teorias de Mbembe. Com efeito, esses dispositivos, dentre os quais os sepultamentos clandestinos ocupam um lugar importante, resultados, no Brasil, da associação entre diversos mecanismos de desaparecimento na ditadura militar, revelam um aspecto da necropolítica pouco explorado por Mbembe e que chamamos de necrogovernamentalidade. Com esse termo, queremos chamar a atenção para o fato de que a necropolítica, como mostram os dispositivos desaparecedores, não apenas utiliza da maximização das condições mortíferas para governar, como se ocupa, também, dos processos post-mortem, isto é, da administração dos corpos, dos rituais fúnebres, das rotinas burocráticas da morte e da gestão do luto. Assim, explicita-se o nexo entre necropolítica e subjetivação, pois, como novamente revelam os dispositivos desaparecedores, a necrogovernamentalidade, ao distribuir de maneira desigual a possibilidade de prantear publicamente as mortes, induz a generalização de formas de subjetividade melancólicas e, por isso, submetidas à dominação. / This thesiss guiding thread is an illegal common grave officially discovered in 1990, in the Dom Bosco Cemitery, in the neighborhood of Perus, São Paulo. In this grave, more than 1,500 plastic bags were found containing mortal remains, some identified as being political victims of enforced disappearance perpetrated by the Brazilian dictatorship. Taking its cue from this case, this thesis argues for two main points: first, we show the inadequacies of Foucaults, Espositos, and Agambens political theories in dealing with this particular case. Here, the Cameroonian sociologist Achille Mbembes theory are much more fruitful, especially his account of the particularity of the relationship between power and death in the colonial, imperial, and neo-colonial regions. Mbembe identifies in those regions the existence of a necropolitics, that is, a kind of power which produces death and that creates deadly situations in order to subjugate local populations. Nevertheless, Mbembes theories also have their own inadequacies, so the second main point of this thesis is to show how an adequate understanding of the phenomenon surrounding Peruss common grave and, more generally, what we call the disappearance dispositif, can help us to overcome these deficiencies. Indeed, this dispositif, which comprises, as an important part, the illegal burial, can be thought as of resulting from, in the Brazilian case, the association between, and unification of, several disappearance mechanisms by the Brazilian dictatorship. This type of association and unification reveals a necropolitical aspect not explored by Mbembe, namely what we call necrogovernmentality. We coined this term, necrogovernmentality, in order to call attention to the fact that necropolitics, as is uncovered by a careful analysis of the disappearance dispositif, not only maximizes deadly conditions in order to better subjugate, but also manages the post-mortem processesthe management of the bodies, of the burial rites, of the bureaucratic routines of death and mourning. This is important, because we are thus able to uncover a deep connection between necropolitics and subjectivation: the disappearance dispositif and its associated necrogovernmentality distributes in an uneven manner the possibility of public mourning, and hence induces a dissemination of melancholic subjects, subjects that are therefore more easily subjugated.

Hippocrates, and later Galen, hypothesized that a person's character was influenced by a combination of four humors that governed the body: black bile, phlegm, yellow bile, and blood. Centuries later, the Elizabethans adopted these ideologies to their medical practices, and associated each humor with one of four temperaments: melancholy, phlegmatic, choleric, and sanguine. References to the four temperaments may be found embedded in a number of William Shakespeare's texts, most notably Hamlet, Henry IV, Part 1, Macbeth, and Twelfth Night. While many figures in Shakespeare embody many humoral traits, allowing for character development throughout the play, several characters possess a superfluity of one particular humor. As these characters motivate the action of each respective play, the play provides textual evidence that identifies the traits associated with each temperament. Hamlet exemplifies the melancholy temperament, Sir John Falstaff the phlegmatic temperament, Lady Macbeth the choleric temperament, and Viola the sanguine temperament. The respective personalities of these characters are revealed not only by their actions in the plays but by numerous textual allusions to each humor. In examining these four characters, the reader may become familiar with the humor that each character represents, and, in turn, possess a greater knowledge of the driving forces behind many of Shakespeare's heroes, heroines, villains, and clowns. Moreover, these examinations may also shed light on the beliefs of early modern England and the beginning of character study and development.

No description available.

Jeanette Winterson’s novel Written on the Body asks what it means to express love not through language but through the body, where it is felt, challenging the boundaries placed between body and language. Using Winterson’s novel and Roland Barthes’s A Lover’s Discourse as points of inquiry, this thesis examines conceptions of love based on heteronormative and romanticized visions of present and healthy bodies. This thesis asks how a body that is diseased and dying can express an emotion that is predicated on these very notions of presence, absence, and health. The narrator of the novel sees love as a scripted story that, once adhered to, determines the (successful) experience of love. Louise’s cancer threatens these scripts of love, as it destroys the narrator’s conception of both love and Louise. Despite the fact that Louise is absent and dying, the narrator begins to write a new story that will allow him/her to have a perfect relationship with Louise, so that s/he can reconcile the contradictions of the scripts that the relationship exposed. Using Slavoj Zizek’s “Melancholy and the Act” and Richard Stamelman’s Lost Beyond Telling as frameworks of mourning and melancholy, the narrator’s melancholy over a lost presence thus emerges as a way that allows him/her to create a perfect love story. To make Louise appear perfect in this perfect love story, the narrator manipulates the language of disease that reconstructs Louise's physical absence as a textual presence. The discourse surrounding Louise thus begins to operate out of the desire to compensate and supplement what is missing; in Louise's case, the narrator is supplementing her with a "normal," healthy body. Looking in the shadows of the narrator’s memories, Written on the Body emerges as not only an account of the narrator’s love story, but also an account of Louise’s story, a story of a body that refuses to be written on and demands to be heard. Winterson demonstrates how the body is always in the process of creating knowledge and meaning that can only be obtained by questioning what is normal, both for the body and for the scripts we all adhere to.