Made available in DSpace on 2016-04-27T17:26:54Z (GMT). No. of bitstreams: 1 Alessandro de Lima Francisco.pdf: 837566 bytes, checksum: 6af0f2e27c8cf806a5fc65db124d0efa (MD5) Previous issue date: 2011-02-28 / This study aims at rebuilding Michel Foucault s elaboration during his course presented in 1982, and called L herméneutique du sujet, on the following theme: mastering, that is, the relationship between master and disciple, through a systematic reading of his classes, and a final proposal to ponder on Philosophy and Education, as well as on the understanding of Michel Foucault s thought. This study allows a new reading perspective of this thinker s writings based on the nation of mastering, re-emphasizing the theme of the relationship with the other on the general perspective of taking care of oneself / Este estudo busca reconstituir a elaboração de Michel Foucault ao longo do curso proferido em 1982, denominado L herméneutique du sujet, a partir do tema da mestria, relação entre mestre e discípulo, realizando uma leitura sistemática de suas aulas e, ao final, levantando reflexões concernentes à Filosofia e à Educação, bem como ao entendimento do pensamento de Michel Foucault. O presente estudo possibilita abrir uma perspectiva de leitura dos escritos deste pensador a partir da noção de mestria, recolocando o tema da relação com o outro em destaque no quadro geral do cuidado de si

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-03-16T12:13:59Z No. of bitstreams: 1 Celina Dias Azevedo.pdf: 4854913 bytes, checksum: 295b55404a50beaf2c781d6a8a2b2c01 (MD5) / Made available in DSpace on 2018-03-16T12:13:59Z (GMT). No. of bitstreams: 1 Celina Dias Azevedo.pdf: 4854913 bytes, checksum: 295b55404a50beaf2c781d6a8a2b2c01 (MD5) Previous issue date: 2018-02-22 / We provide a series of texts with the objective of discussing how aging is presented in contemporaneity, its subjectifications, its models based on the precepts of active aging – which permeate a large part of the reflections on aging –, and its guiding documents, as well as possible forms of resistance. The guiding questions were: How can the fear of disease, of frailty, of dependence, of old age, of a non-standard body be produced, mobilized and transformed into an engine of obedience to prescripts for a good aging? How do the demands of neoliberalism back the creation of a market of educational and cultural projects targeted at old people and establish the figure of the old person who is the Entrepreneur of him/herself as the model to grow old? In what way does the reflection on old age, preferably grounded on biological aspects and on health, neglect other dimensions of life and incorporate and strengthen the idea that life must be guided by knowledge and specialists who dictate norms to longevity, based on viewing the biological body as the object of an action that does not need the participation of the person who receives such action? The answers might be in one’s care for oneself, in the perception of singularity, in experimentation, in the construction of small forms of resistance in daily life. Thus, permanent education, health, control by means of fear, and the neoliberal notion of the entrepreneur of oneself were the axes selected to interrogate and visualize what lies beyond what is proposed by documents that prescribe active aging as the formula for a good aging. References to fragments of movies and literary works pervade the entire text and help in the construction of the current reflection. The fragments talk to each other, take root, and connect with the text in a creative flow, opening themselves to other reading possibilities and forming a multiple and diverse look that cuts paths and points to other directions. Spinoza, Nietzsche, Deleuze and Foucault, “philosophers of the potency of life”, have stimulated us to take philosophy as a tool, a lens for this observation / Apresentamos uma série de textos com objetivo de discutir como se apresenta o envelhecimento na contemporaneidade, suas subjetivações, seus modelos com base nos preceitos do Envelhecimento ativo - que permeiam grande parte das reflexões sobre o envelhecer - e seus documentos norteadores, além das possíveis resistências. A partir das seguintes questões: como o medo da doença, da fragilidade, da dependência, da velhice, do corpo fora dos padrões pode ser produzido, mobilizado e transformar-se em motor de obediência a ditames para o bom envelhecer? Como as demandas do neoliberalismo respaldam a criação de um mercado de projetos educativos e culturais voltados aos velhos e estabelecem a figura do velho Empreendedor de si como modelo de envelhecer? De que forma o olhar sobre a velhice fundamentado, preferencialmente, nos aspectos biológicos e na saúde, acarreta além do descuido e negligência a outras dimensões da vida, a incorporação e reforço da ideia de que a vida deve, necessariamente, ser orientada por saberes e especialistas que se encarregam ditar normas para a longevidade, baseada na tomada do corpo biológico como objeto de uma ação que prescinde da participação de quem a recebe? As respostas poderiam estar no cuidado de si, na percepção da singularidade, na experimentação, na construção de pequenas resistências no cotidiano. Assim, a educação permanente; a saúde; o controle por meio do medo; a noção neoliberal do empreendedor de si foram os eixos selecionados para interrogar e visualizar o que está para além do que propõem os documentos, que prescrevem o envelhecimento ativo como fórmula para o bom envelhecer. Perpassando todo o texto, referências a fragmentos de filmes e obras literárias auxiliam na composição da reflexão. Os fragmentos dialogam entre si, deitam raízes, conectam-se com o texto, em fluxo criativo abrindo-se para outras possibilidades de leituras. Um olhar múltiplo e diverso que corta caminhos e aponta para outras direções. Spinosa, Nietzsche, Deleuze e Foucault, “filósofos da potência da vida”, nos instigaram a tomar a filosofia como ferramenta, como uma lente para essa observação

This research assessed psychosocial and cognitive factors influencing well-being, utilising a positive psychological perspective. The theoretical framework of this research was provided by two of the sub-theories of Self-Determination Theory – Basic Needs Theory and Organismic Integration Theory – along with Gender Role Theory, and Beck’s Cognitive Triad, with each of these theories relating differentially to the concept of control or self-determination. More specifically, the current research examined the relationship between gender role schema and the experience of childhood trauma with psychological, physical, and social well-being in adults. Two studies were conducted. Study 1 employed a random sample of 410 participants from Central Queensland, Australia, to develop the World Beliefs Inventory (WBI). This 21-item inventory was developed to assess world beliefs, based on a translation of Aerts et al.’s (1994) philosophical conceptualisation of world beliefs into common terminology. Developing the WBI enabled the assessment of world beliefs, which along with beliefs about oneself (operationalised as perceived control), and the future (dispositional optimism) constitute Beck’s (1976) cognitive triad. Statistical analyses indicated that the inventory provided a good representation of the world beliefs construct, as well as possessing favourable concurrent validity (e.g., positive views regarding the nature of the world were associated with decreased frequency of depressive symptoms experienced, and greater general psychological health and self-esteem). Study 2 was designed to investigate the direct and indirect relationships between gender role schema (masculinity and femininity) and the experience of childhood trauma with psychological, physical, and social well-being, being mediated by (a) the satisfaction of the basic psychological needs for autonomy, competence, and relatedness, (b) beliefs about the world, oneself, and the future, (c) the self-regulation of withholding negative emotion (SRWNE), and (d) somatic amplification. Study 2 employed a separate random sample of 605 participants from Central Queensland. Psychological, physical, and social well-being were each assessed independently to determine whether patterns of significant relationships were similar or different across the different types of well-being. In order to test the theories underlying the structural models of well-being, five hierarchical models of each type of well-being were analysed and compared. Satisfaction of the basic psychological needs for autonomy, competence, and relatedness, and beliefs about the future (dispositional optimism) were found to play a role in the process via which masculinity, femininity, and the experience of childhood trauma influenced all three forms of well-being, while world beliefs were additionally found to influence social well-being, and the SRWNE additionally influenced physical well-being. Results therefore support Basic Needs Theory and provide partial support for Beck’s cognitive triad. They also provide evidence of the utility of the concept of the SRWNE, which was developed in accordance with Organismic Integration Theory.

This thesis deals extensively with ‘the Art of Leading Oneself’. In the course of this paper, an understanding of the term ‘leading oneself’ is given. Furthermore a reflection upon the reasons why it is necessary in nowadays society and business world to lead oneself is provided. The core of the thesis constitutes a thorough discussion of possible elements of the art of leading oneself. In conclusion it is to be said, that on the basis of the knowledge of an individual’s frames of references, a framework of personal values and vision should be created. In a second dimension it is necessary to deeply reflect upon the inner Self and to gain insight about the authentic Self. Through the acknowledgement that an individual can learn from failures, the principles of the crucibles are described. In a third dimension, the bridge to ‘the Art of Leading Others’ is build and a rough overview of the necessities of sensegiving in the communication process is given. Concluded, it can be said, that it is of utmost importance to know and incorporate the authentic Self in every activity. / Diese Masterthesis behandelt und beschreibt im ausführlichen Maße ‚die Kunst sich selbst zu führen’. Innerhalb dieser Arbeit erarbeite ich ein Verständnis über das Konzept des ‚sich selbst Führens’. Des Weiteren wird über die Notwendigkeit der Selbstführung in der schnelllebigen Berufs- und Sozialwelt reflektiert. Der Kern der Arbeit konstituiert eine ausführliche Diskussion über mögliche Elemente des ‚sich selbst Führens’. Zusammenfassend kann gesagt werden, dass auf Basis des Wissens über die individuellen Bezugssysteme ein persönliches Wertesystem und eine darauf aufbauende Vision erstellt werden soll. In einer zweiten Ebene ist es notwendig eine tiefe Reflektion über das Innere Selbst durchzuführen um Erkenntnis der tieferen Einsicht des authentischen Selbst zu erlangen. Durch die Anerkennung und Wertschätzung seiner persönlichen Misserfolge sollte das Verständnis geschaffen werden, aus Fehlern zu lernen. In einer dritten Dimension wird die Brücke zur ‚Kunst andere zu Führen’ erschaffen und ein grober Überblick über die Notwendigkeiten einer sinnstiftenden Kommunikation wird gegeben. Resümierend kann gesagt werden, dass es von äußerster Bedeutung ist, sich selbst zu kennen und sein authentisches Selbst in jeder alltäglichen Aktivitäten zu integrieren.

Through the triple changes which include the variation in society, time and space, the intelligentsia in Wei and Jin Dynasties came to a realization that life is capricious. They combined the thought of Tze-Shi (carefree and footloose) and Gui-wuo (emphasize the unique value of oneself) together with the tolerance of physical desire and worship of nature to develop two theories: Zhong-shen (consider body as the foundation of all) and Le Sheng (carpe diem/seize the day), which remain the keynote of the viewpoint towards body in Wei and Jin Dynasties. Wei and Jin Dynasties followed the theory of Chi-transformation in Han Dynasty, as well as the idea that form and spirit are one, and develop a complete viewpoint towards body which interprets body and mind as one unity. The Chi flows in the body and becomes the medium of body and mind, then goes outward to the relation between body and nature; human body itself forms a complete micro system, which, through the flow of emotion and Chi, echoes or responds with the macro system of nature. The intelligentsia in Wei and Jin Dynasties considered etiquette and music as the embodiment of nature and human body as the territory where culture and nature are embodied. Kuo-Shian interpreted the relation between body, etiquette and music with the theory of Shi-Jai-Ti-Chung (ease and comfort within the body). Etiquette and music was made in a situation in which ¡§ease and comfort¡¨ are in harmony with body and also communicate with the heaven, earth and man in a way that ¡§ease and comfort¡¨ harmonize with the nature, and brings heaven, earth and man in concordance. When etiquette fails to bring ¡§ease and comfort¡¨ to the body, the intelligentsia used body as a tool to fight against the rigid etiquette, in order to arouse introspection over Li-Yuan-Zen-Ching (etiquette should be made with human beings as the first consideration, and eschews rigidity or affectation), and at the meantime brings reformation and feedback to the society. The intelligentsia¡¦s rising consciousness of selfhood and body makes the relation between body and society an active instead of a passive one. The intelligentsia, while perceiving the change of society and understanding the fact that human nature is unalterable, were contented to remain the status as Chung-Zen (mediocrity, people who are between genius and fools), and pursuit the fulfillment of their dreams as well as the feeling of carefree. Those intelligentsia emphasized the value of themselves and preferred to be themselves while understanding completely the truth and limitation of life, and they responded changes of the society and time with the idea of Shi-Shin-An-Min (follow and accept your own nature, be contented).

When difficulties appear concerning the environment and the social relationships in teams, leading others become very interesting as well as challenging. I am sharing in this research an understanding of the concept of hardship in order to point out a main leadership issue, which is to lead others in extreme situations. It is a new and innovative approach of leadership within the business area based on the literature and completed by sailors’ experiences of hardship.Offshore sailors have the use to handle hardship situations alone as well as in crews, and they cannot avoid it when they are far away from the coasts. Thus when a problem occurs they must fix it themselves. During offshore races and expeditions, sailors have to deal with teams issues and cannot quit for going back home. Thereby, a boat, which is going to sail for few months without stop, is a real laboratory of leadership and social relationships.The starting point of this approach concerns the art of leading oneself, which represents a prerogative for a great leadership in extreme conditions. Indeed when a leader loses his or her self-control in extremes situations, he or she will probably not be able to lead others. Thus, in order to illustrate the literature approach to this concept, this thesis has been completed with an auto-ethnographical approach. I as a sailor have experimented hardship alone on my boat during some offshore sailing trips. I present an analysis of these experiences to explain the issues of leading oneself in such conditions. Thanks to the participation of some sailors experts in hardship, I illustrate the possibility to lead others in hardship context with the inspiration of their experiences. It is possible to lead others in very extremes conditions, and offshore sailors that I called hardship experts could represent a real inspiration to leaders, for a real and great leadership.

O estudo busca contribuir para a reflexão sobre a experiência do bailarinoator sobre a cena contemporânea, onde se exige a presença de um corpo concreto, mas igualmente um corpo pensamento; um corpo capaz de captar seu espaço exterior e ao mesmo tempo um corpo transparente, revelador de seu avesso. Na intersecção dança e teatro, o estudo reconhece o papel preponderante de Vaslav Nijinsky, Pina Bausch, Antonin Artaud e Jerzy Grotowski no surgimento deste novo sujeito da cena e a influência do fazer no bailarino em Porto Alegre e examina, à luz de referenciais filosóficos questões referentes ao movimento como impulsão vital, ao corpo-pensamento, a autoria e a presentificação. Nesta perspectiva, o movente imaginado por Artaud e delineado por Nijinsky encontra eco no bailarino-ator de Pina Bausch. Grotowski e a coreógrafa alemã encontramse no empenho pela libertação do corpo e na realização de procedimentos capazes de promover o mergulho profundo do artista sobre si mesmo. Assim, o bailarino aparece, em última instância, como autor de um novo corpo, obra artística que incita à recriação da organização do mundo. / This study seeks to contribute on the reflection about the dancer-actor experience on the contemporary scene, which demands the presence of a concrete body but equally a thought-body: a body able of capturing its external space and at the same time able of being a transparent body, that reveals its inside out. On the theatre-dance intersection, the study acknowledges the preponderant role of Vaslav Nijinsky, Pina Bausch, Antonin Artaud and Jerzy Grotowski in the emergence of this new scene subject and on the influence of Porto Alegre's dancer performance. Through philosophical references, the thesis looks at questions concerning movement as vital impulse, as well as the thought-body, the authorship and the presentification. In this perspective, the dancer imagined by Artaud and shaped by Nijinsky finds his/her resonance on Pina Bausch's dancer-actor. Grotowski and the German choreographer meet on the commitment for the body freedom and in the creation of procedures that promote the deep immersion of the artist on him/her self. Therefore, the dancer emerges, as last resort, as author of a new body, work of art that arouses to recreate the world organization.

O estudo busca contribuir para a reflexão sobre a experiência do bailarinoator sobre a cena contemporânea, onde se exige a presença de um corpo concreto, mas igualmente um corpo pensamento; um corpo capaz de captar seu espaço exterior e ao mesmo tempo um corpo transparente, revelador de seu avesso. Na intersecção dança e teatro, o estudo reconhece o papel preponderante de Vaslav Nijinsky, Pina Bausch, Antonin Artaud e Jerzy Grotowski no surgimento deste novo sujeito da cena e a influência do fazer no bailarino em Porto Alegre e examina, à luz de referenciais filosóficos questões referentes ao movimento como impulsão vital, ao corpo-pensamento, a autoria e a presentificação. Nesta perspectiva, o movente imaginado por Artaud e delineado por Nijinsky encontra eco no bailarino-ator de Pina Bausch. Grotowski e a coreógrafa alemã encontramse no empenho pela libertação do corpo e na realização de procedimentos capazes de promover o mergulho profundo do artista sobre si mesmo. Assim, o bailarino aparece, em última instância, como autor de um novo corpo, obra artística que incita à recriação da organização do mundo. / This study seeks to contribute on the reflection about the dancer-actor experience on the contemporary scene, which demands the presence of a concrete body but equally a thought-body: a body able of capturing its external space and at the same time able of being a transparent body, that reveals its inside out. On the theatre-dance intersection, the study acknowledges the preponderant role of Vaslav Nijinsky, Pina Bausch, Antonin Artaud and Jerzy Grotowski in the emergence of this new scene subject and on the influence of Porto Alegre's dancer performance. Through philosophical references, the thesis looks at questions concerning movement as vital impulse, as well as the thought-body, the authorship and the presentification. In this perspective, the dancer imagined by Artaud and shaped by Nijinsky finds his/her resonance on Pina Bausch's dancer-actor. Grotowski and the German choreographer meet on the commitment for the body freedom and in the creation of procedures that promote the deep immersion of the artist on him/her self. Therefore, the dancer emerges, as last resort, as author of a new body, work of art that arouses to recreate the world organization.

De la danse à l’écriture, le parcours de Claude Pujade-Renaud se caractérise par l’hétérogénéité des pratiques sportives, artistiques, universitaires et littéraires. En soulignant les rapports étroits de l’histoire vécue et de l’œuvre littéraire, cette thèse met l’accent sur les interactions permanentes entre les mots et les corps. L’étude du corpus, composé de treize romans, cinq recueils de nouvelles, une correspondance et une« duobiographie », montre combien l’écriture se construit bien avant les premières publications. Elle se nourrit des premières confrontations aux mots et à la langue orale ou écrite, s’inscrivant dans un rapport singulier aux personnes, aux lieux et aux temps. Pressentie, l’écriture devient quête d’une histoire tue. Il s’agit de montrer de quelle manière Claude Pujade- Renaud interroge l’usage de la forme – romanesque, novellistique,« duobiographique » ou épistolaire – pour ressaisir un personnage et l’usage-même de l’écriture. Il s’agit aussi d’étudier les métamorphoses du corps à travers les âges et l’évolution de son rapport aux mots. A travers des étapes successives – vie fœtale, enfance, adolescence, âge adulte et extrême vieillesse –on assiste moins à une réflexion sur le temps qui passe qu’à une méditation sur ce que les mots, dits, écrits, tus, font naître d’eux. Réinterrogeant les âges, les mots conduisent alors à la quête intime d’une identité singulière. / From dancing to writing, Claude Pujade-Renaud’s personal trajectory is characterized by heterogeneous sporting, artistic, academic and literary activities. With a heavy emphasis laid on the tight links between real-life stories and narrative plots, this Phd thesis stresses the permanent interactions between bodies and texts.The idea that a literary work is shaped well before its publication will be developed thanks to the analysis of a body of reference works made up of thirteen novels, five collections of short stories, a literary correspondence and a dual autobiography.A literary work is enriched by the initial attempts to put it down into words, using a written or an oral language. Hence, it establishes a particular relation to people, places and time.As an element that is often only sensed, the process of writing seeks to transcribe an untold story. This Phd thesis will show to what extent Claude Pujade-Renaud questions literary genres – a novel, a shot-story, a dual autobiography, a correspondence – to recapture characterization and the necessity of writing. Also, this thesis focuses on bodily metamorphoses throughout time and the writer’s evolution in her choice of words. Through the successive steps of foetal life, early childhood, adolescence, adulthood and old age, we are not just led to consider an analysis on time passing by, but rather, a meditation on the creative potential of words, when they are written but also when they not uttered. As words re-examine the various ages of life, they guide use during an intimate quest for a particular identity.

O estudo busca contribuir para a reflexão sobre a experiência do bailarinoator sobre a cena contemporânea, onde se exige a presença de um corpo concreto, mas igualmente um corpo pensamento; um corpo capaz de captar seu espaço exterior e ao mesmo tempo um corpo transparente, revelador de seu avesso. Na intersecção dança e teatro, o estudo reconhece o papel preponderante de Vaslav Nijinsky, Pina Bausch, Antonin Artaud e Jerzy Grotowski no surgimento deste novo sujeito da cena e a influência do fazer no bailarino em Porto Alegre e examina, à luz de referenciais filosóficos questões referentes ao movimento como impulsão vital, ao corpo-pensamento, a autoria e a presentificação. Nesta perspectiva, o movente imaginado por Artaud e delineado por Nijinsky encontra eco no bailarino-ator de Pina Bausch. Grotowski e a coreógrafa alemã encontramse no empenho pela libertação do corpo e na realização de procedimentos capazes de promover o mergulho profundo do artista sobre si mesmo. Assim, o bailarino aparece, em última instância, como autor de um novo corpo, obra artística que incita à recriação da organização do mundo. / This study seeks to contribute on the reflection about the dancer-actor experience on the contemporary scene, which demands the presence of a concrete body but equally a thought-body: a body able of capturing its external space and at the same time able of being a transparent body, that reveals its inside out. On the theatre-dance intersection, the study acknowledges the preponderant role of Vaslav Nijinsky, Pina Bausch, Antonin Artaud and Jerzy Grotowski in the emergence of this new scene subject and on the influence of Porto Alegre's dancer performance. Through philosophical references, the thesis looks at questions concerning movement as vital impulse, as well as the thought-body, the authorship and the presentification. In this perspective, the dancer imagined by Artaud and shaped by Nijinsky finds his/her resonance on Pina Bausch's dancer-actor. Grotowski and the German choreographer meet on the commitment for the body freedom and in the creation of procedures that promote the deep immersion of the artist on him/her self. Therefore, the dancer emerges, as last resort, as author of a new body, work of art that arouses to recreate the world organization.