Conselho Nacional de Desenvolvimento Científico e Tecnológico / O objetivo da nossa investigação é a ideia de identidade, a partir do lugar central que ocupa nas discussões sobre a experiência subjetiva na contemporaneidade. Partindo inicialmente das formulações de Giddens em torno da identidade como narrativa do eu, procuramos indicar os vínculos entre tal noção e o que chamamos racionalidade moderna, destacando assim a própria identidade como ideia especificamente moderna e vinculada a determinadas categorias fundamentais ao pensamento ocidental a partir do século XVIII, como indivíduo e estado-nação. Nesse percurso, introduzimos ainda uma discussão sobre a vinculação no modelo identitário, entre a afirmação de si e a sujeição às instâncias de poder e soberania. Em seguida, trabalhamos com a ideia de initeligível, que parece percorrer de modo fundamental a lógica identitária interrogando o seu poder mortífero frente ao que, sendo estrangeiro, e escapando aos padrões de inteligibilidade dessa racionalidade moderna, se apresenta como impossível de ser absorvido pelo sistema e pelos identitários vigentes. A partir dais, procuramos vislumbrar modos alternativos para a enunciação de si, fora de uma lógica identitária e não submetidos a essa racionalidade moderna. Para isso, recorremos sobretudo ao pensamento de Freud em torno das categorias de desejo e fantasia. / The object of our investigation is the idea of identity, from the central position it occupies on the discussions about the subjective experience nowadays. Beginning with Giddens formulations about identity as a narrative of the Ego, we aim to indicate the links between this notion and what we call modern rationality, thus emphasizing identity itself as a specifically modern idea and likes to some fundamental categories of the accidental thought from the eighteen century on, such as individual and statenation. In this path we introduced yet a discussion about the bond, in the model of identity, between the self-affirmation and the subjection to the instances of power and sovereignty. Afterwards, we worked with the idea of unintelligible, that seems to go through, in fundamental way, the logic of the identities, questioning its deathly power in front of which, being foreigner, and eluding the patterns of intelligibility of this modern rationality, presents itself as impossible of being absorbed by the system and by the actual models of identity. From this point, we tried to glimpse alternative ways for the self-enunciation, away from this logic and non-submitted to this modern rationality. For this purpose, we made use of, above all, Freuds thought about the categories of desire and fantasy.

O presente estudo tem como objetivo identificar como ocorreu o processo histórico da prática do automobilismo de rua em Porto Alegre, no período de 1926 a 1956. A pesquisa foi sustentada em fontes impressas e orais, bem como na apresentação de fotografias disponibilizadas pelo acervo do Museu Brasileiro do Automobilismo, localizado na cidade de Passo Fundo, Rio Grande do Sul. Os resultados obtidos demonstram que o automobilismo de rua contribuiu para construir uma representação de modernidade, a partir do cenário esportivo, delineado em Porto Alegre. Esta prática teve seu início em meados da década de 1920, registrando a realização de um grande número de provas automobilísticas, na década de 1930, com a criação da segunda equipe de competição do Brasil, a Escuderia Galgos Brancos. Os gaúchos sofreram influência, nos traçados das provas e nos modelos de carro – as carreteras - dos países vizinhos Uruguai e Argentina, não só técnico, mas de pilotagem. No período de 1950, o Rio Grande do Sul torna-se polo do automobilismo nacional, com o maior número de provas realizadas e destaque para os pilotos gaúchos nas provas automobilísticas. O automobilismo estimulou a indústria nacional automobilística e de autopeças, estabelecendo em seus regulamentos a obrigatoriedade dos competidores usarem, em seus carros, componentes de fabricação nacional. Por fim, evidenciou-se que, no período estudado, o automobilismo estava inserido no imaginário dos gaúchos como uma prática de modernidade, paixão e vitórias dos ases do volante. / This study aims to identify how the historical process of street racing took place in Porto Alegre, from l926 to l956. The research is supported in printed and oral sources as well as in the display of photographs provided by the Brazilian Automotive Museum, located in the city of Passo Fundo, Rio Grande do Sul, a southern state of Brazil. The results achieved demonstrate that street racing has contributed to build a representation of modernity departing from the sports setting outlined in Porto Alegre. This practice began in the mid-l920 decade and, in the 1930 decade, a large number of motor racing was recorded due to the creation of a second competition team in Brazil, the White Greyhounds racing cars owners pool – Escuderia Galgos Brancos. The so-called gaúchos – people from the southern state of Brazil – have been influenced on competition layout and car models – carreteras – by Uruguai and Argentina, neighboring countries, not only in technical, but also in piloting aspects. In the 1950 decade, Rio Grande do Sul became the main center of Brazilian motor sport because it was the state where the largest number of car competitions took place and also because of the oustandingly performances of the southern pilots in them. Car racing has stimulated the national motoring and auto parts industry by establishing in its regulation a basic requisite: the competitors had to use components, manufactured in Brazil, in their cars. Finally it became evident that during the period that has been studied car racing was inserted into the imagination of the gaúchos as a practice of modernity, passion and victories of the the steering wheel aces.

This dissertation studies the cultural imagination of Manchukuo the nation (1932-1945). As a nominal nation-state imposed upon Chinese Manchuria by the Empire of Japan, Manchukuo is a contradiction between sovereignty and coloniality, both due to the historical competition of geopolitical powers in the region and its multiethnic composition of the national community. In its short political life, Manchukuo bears witness to an unprecedented flourish of literary and film production. This textual corpus remains understudied and its relationship to Chinese literature and culture or Japanese literature and culture is insufficiently explored. Armed with postcolonial and minority discourse, this project examines how Manchukuo cultural production mediates the notion of the nation and sovereignty in the context of Japanese imperialism. The close reading and critical interrogation of this body of literary and filmic texts shall generate provocative questions for the reconstruction of Chinese literary studies and East Asian studies. The body of the dissertation consists of four interrelated arguments. Framing the reading in the context of recent scholarly debate on “the Sinophone,” Chapter two considers Manchukuo literature as a “minor literature” whose distinction lies in its writers’ use of “deterritorialized” Chinese, Japanese, and Russian. Multilingualism and multiethnicity are therefore the (trans)national features of Manchukuo literary production. This literary “sovereignty” is then re-examined through the representation of Manchukuo’s women and family in Chapter three. Interpreting coloniality through reading gender relations, this chapter highlights the unusual progressive portrayal of women in Manchukuo. This discovery of Manchukuo women’s autonomy and mobility is reinforced in the interpretation of Manchukuo’s dramatic feature films. Working through feminist critique of gender division and looking into magazines of the era, chapter four and five analyze the films’ explanation of a contradiction within Japanese imperialism. This contradiction of “sovereignty” and “submission” gets further elaboration in Chapter five. An interpretation of the star text of Ri Kōran reveals her stardom and Manchukuo film musical provides a unique anti-romantic “affiliation” of the Manchukuo nation.

The present essay approaches two different conceptions of Enlightenment and modernity. The first part considers Michel Foucault’s understanding of modernity as an “attitude” or “critical ethos” belonging to that age, that necessarily questions that which we have come to be in various contingent processes (how we have constituted ourselves as subjects); the second part considers Jürgen Habermas’s proposal, which invites us to understand modernity as an “unfinished project”, as a certain potential or rational ideal that is still to be carried out. Towards the end of the essay both stances are confronted, whereby an attempt is made to engage elements retrieved from each in a productive dialogue, and to raise some criticisms and observations regarding the sociohistorical conceptions of each author. / El presente trabajo busca aproximarse a dos concepciones distintas sobre la Ilustración y la modernidad. La primera parte considera la comprensión del filósofo francés Michel Foucault sobre la modernidad como una “actitud” o ethos crítico de la propia época, que pasa necesariamente por una problematización de aquello que en distintos procesos contingentes hemos llegado a ser (cómo nos hemos constituido como sujetos); la segunda parte se enfoca en la propuesta del alemán Jürgen Habermas, que invita a comprender la modernidad como un “proyecto inacabado”, como un cierto potencial o ideal racional aún por realizar. Hacia el final del ensayo se confrontan ambas posturas, tratando de que emerja un diálogo productivo que nos permita rescatar elementos de cada proyecto y planteando algunas críticas y observaciones soore las concepciones sociohistóricas de cada autor.

My argument is that the Wong Fei-hung film series, Once Upon a Time in China (Tsui Hark, Chapters 1, 2, 3), not only affirms the ideas of Confucianism but also criticizes them. Tsui Hark’s film series express Hong Kong’s tension of selecting eastern tradition and western modernity before it returned to mainland China in 1997, which represents the selection of entirely different values between East and West. Though the film series was made from 1991 to 1993, Hark started considering how to eliminate the uncertainty in selecting ideology after Hong Kong’s return. He provides his answer by combining eastern Confucianism and western modernity to lead Hong Kong to build a more inclusive nationalism. This new nationalism not only transforms tense uncertainty into positive potentiality but also avoids the intense conflict between those who select eastern values and those who select western ones. Tsui Hark's affirmation to Confucianism includes the traditional moral principles which are kindness, righteousness, wisdom, sincerity and “father guides son”. Meanwhile, he affirms the individualism and anti-tradition of modernity. For Hong Kong, Hark's implication is to let them take the Chinese nation as the prerequisite for safeguarding the unification of China and abiding by the leadership of state sovereignty, as well as accepting the traditional Confucian morality. In addition, as a modern city, Hong Kong should continue to carry forward individualism and anti-tradition of modernity to satisfies the individual's reasonable desires and challenge the traditional with creativity. In this thesis, I support this argument by analyzing two aspects of these films: character and genre.

This thesis Ostalgie in Czech art summarizes recent history of art aimed to fifties and sixties of the twentieth century and also the fundamental notion of Czech cultural time - socialist realism. In opposition to the term 'socialist realism', there is a term 'ostalgie', which is focused on a nostalgic memories during normalization. In the theoretical part of this thesis author presents and explains the two main terms and focuses on the cultural aspects which were brought or denied to the nation by to the socialistic system in those times. In the practical part the author follows the theoretical part, especially in creating posters, which is influenced by nostalgic spirit.

Este estudo procura analisar e mostrar as lições de dança que a mídia vem configurando e suas estratégias de governamento (ou desgovernamento) dos corpos na pós-modernidade. Pensar sob a perspectiva de lições permitiu desenhar a idéia da mídia como um dispositivo pedagógico para a dança e ampliar a investigação para as implicações não apenas da dimensão tecnológica que a mídia vem esboçando para a dança, mas também o seu papel na formação de sujeitos dançantes. A perspectiva dos Estudos Culturais e seus desdobramentos na Educação foram opções teorica-medodológica para trabalhar as relações entre dança, mídia e educação. A partir deste referencial buscou-se avançar na articulação do conceito de midiatização e de como tal processo possibilita a operação de estratégias de subjetivação e governamento. Para tal entendimento foi fundamental a contribuição trazida por Michael Foucault e Gilles Deleuze quanto ao conceito de biopoder e a possibilidade de pensá-lo a partir das mudanças que se colocam frente à sociedade de controle e seu desdobramentos na pós-modernidade. Para proceder a tal análise assumiu-se um corpus plural que se deu no imbricamento de discursos e práticas presentes em filmes, videoclipes, blogs, sites, revistas, jornais, brinquedos eletrônicos, programas de televisão, entre outros, que constituem a maneira heterogênea com a qual se é interpelado pela dança midiatiza na cultura contemporânea. A partir da análise deste contexto, percebi dez lições que se esboçam de maneira recorrente na mídia, operando na configuração de sujeitos dançantes, em políticas de gestão da vida. Táticas de administração dos sujeitos na pós-modernidade, tanto promovendo o gerenciamento de singularidades, como a potencialização de novos modos de ser estar no mundo contemporâneo. / This work aims to analyze and show the dance lessons that the media has been setting and its strategies of body control in post-modernity. From the perspective of lessons it was possible to picture the idea of media as a pedagogical device to dance itself and to enlarge the investigation to its implications not only of the technological dimension that the media has been outlining to dance, but also its role on the formation of dancing subjects. The perspective of Cultural Studies in the poststructuralist path and its follow-ups in Education were methodological and theoretical options to investigate the connections between dance, media and education. Based on this referent an advance towards the articulation of the concept of mediatization and how this process allows the operation of strategies of subjectification and control was pursued. The contributions of Michel Foucault and Gilles Deleuze were vital to such understanding, particularly the concept of biopower and the possibility of thinking it from the changes that confront the society of control and its outspread in post-modernity. In order to proceed such analysis a plural corpus was assumed and this was made through the overlapping of discourses and practices present in movies, video clips, blogs, sites, magazines, newspapers, electronic toys and television programs among others, which compose the heterogeneous way one is questioned by the mediatized dance in the contemporary culture. It was possible to set ten lessons that are recurrently delineated in media, which operate on the constitution of the dancing subjects, on life management policies. They present administration tactics for subjects in post-modernity, by promoting not only the management of singularities, but also the maximization of new ways of being and living in the contemporary world.

Submitted by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T19:10:04Z No. of bitstreams: 1 dissertacao-mayra-rafaela-closs-bragotto-barros-peterlevitz.pdf: 964609 bytes, checksum: 3b88a1ca3a647d56f4358369e87ca68c (MD5) / Approved for entry into archive by Andrea Hayashi (deachan@gmail.com) on 2016-06-20T19:10:35Z (GMT) No. of bitstreams: 1 dissertacao-mayra-rafaela-closs-bragotto-barros-peterlevitz.pdf: 964609 bytes, checksum: 3b88a1ca3a647d56f4358369e87ca68c (MD5) / Made available in DSpace on 2016-06-20T19:10:35Z (GMT). No. of bitstreams: 1 dissertacao-mayra-rafaela-closs-bragotto-barros-peterlevitz.pdf: 964609 bytes, checksum: 3b88a1ca3a647d56f4358369e87ca68c (MD5) Previous issue date: 2015-04-15 / Esta dissertação tem como objetivo analisar as críticas que Nietzsche dirige à música e à política alemãs do século XIX por meio da figura de Richard Wagner, bem como críticas dirigidas propriamente ao compositor, tratando de seu conteúdo e das características que as destacam dentro do pensamento crítico do filósofo. Nesta análise, serão apresentadas também posturas de Wagner sobre música e política, a partir de textos selecionados de sua extensa obra em prosa. Por meio da contraposição dos escritos do filósofo e do compositor, encontram-se suas distintas visões de mundo: as ideias que Wagner defendia por meio de suas obras teóricas (e inseria em suas obras musicais) eram vistas por Nietzsche como expressões da negação da vida, própria da moral dos homens fracos. Enquanto Wagner propagava a crença na redenção da alma e alinhava-se ao nacionalismo alemão, Nietzsche louvava o espírito trágico e rechaçava qualquer submissão da arte aos interesses do Estado. / This dissertation aims to analyze the criticisms that Nietzsche directs the German music and German policy of the nineteenth century through the figure of Richard Wagner, as well as the criticisms directed to the composer himself, dealing with its content and the characteristics that make it stand out in the philosopher's critical thinking. In this analysis, Wagner’s thoughts about music and policy will also be presented, based on selected texts from his extensive prose works. By the contraposition of the philosopher’s and the composer’s writings, their different worldviews can be found: the ideas that Wagner defended by his theoretical works (and inserted in his musical works) were seen by Nietzsche as expressions of the denial of life, proper of the weak men’s moral values. While Wagner propagated the belief in redemption of the soul and aligned to the German nationalism, Nietzsche praised the tragic spirit and rebuffed any submission of art to state’s interests.

A presente pesquisa tem como objetivo pensar o cinema de George Méliès, na virada do século XIX para o século XX, como um prisma através do qual refratam-se espectros da modernidade, ou seja, elementos recorrentes em seus filmes que desdobravam questões caras àquele período, e que se ressignificam de diferentes maneiras à luz da chamada pós-modernidade. / The present research aims to think George Méliès' films, at the turn of the nineteenth century for the twentieth century, as a prism through which refracted specters of modernity, that is, recurring elements in his films, each one unfolding differente meanings about that period, and each one of them ressignfying themselves in different ways in the light of the so-called postmodernity.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / A pesquisa tem por objetivo pensar uma possível oscilação que caracterizaria a obra poética de Ferreira Gullar, no que se refere à aproximação e ao distanciamento das categorias da poesia moderna. O estudo dos diálogos com a vanguarda artística, enquanto exploração dos poderes da linguagem desviada de seu uso trivial, constitui o caminho para pensarmos a seguinte questão: ainda que o perfil multifacetado de Gullar o insira na categoria dos artistas modernos, acostumados ao trânsito entre os diversos tipos de arte, que ele tenha participado de um dos principais movimentos da vanguarda brasileira, o Concretismo, e tenha criado o Neoconcretismo, ao optar pela comunicação, estaria ele se afastando da tradição da poesia moderna? / The researchers purpose is to think a possible oscillation that characterizes Ferreira Gullars poetic work regarding the approximation and the distance of the modern poetry categories. The study of Gullars dialogues with the artistic vanguard assumed as the exploration of the powers of the language diverted from its own ordinary use, leads to the following question: even so Gullars multifaceted profile places him in the category of modern artists, used to move through several kinds of art, that he took part in one of the most important movements of the Brazilian vanguard, the Concrete poetry, and created Neoconcrete poetry, when choosing for the communication, would he be going away from the tradition of modern poetry?