Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2019-03-13T16:12:16Z No. of bitstreams: 1 Maurício Fernandes da Silva_.pdf: 1093963 bytes, checksum: 885381ce26dbf370ae0ca4f500914c19 (MD5) / Made available in DSpace on 2019-03-13T16:12:16Z (GMT). No. of bitstreams: 1 Maurício Fernandes da Silva_.pdf: 1093963 bytes, checksum: 885381ce26dbf370ae0ca4f500914c19 (MD5) Previous issue date: 2018-12-04 / Nenhuma / As tecnociências atingiram uma posição basilar na sociedade contemporânea marcada principalmente pelos avanços expressivos nos campos da biotecnologia e das engenharias genéticas, o que marcou significativamente o ambiente intelectual de finais do século XX. A questão da técnica ocupa um papel importante na obra de Habermas desde seus primeiros ensaios ainda na década de 1960, passando por sua obra magna na década de 1980 e seus mais recentes escritos, apresentando-se como um eixo temático-dialogal vivo e recorrente na arquitetônica do pensamento de tal filósofo. Podemos enxergar uma evolução do pensamento de Habermas acerca do fenômeno tecnológico, um interesse crescente acerca de tal fenômeno presente desde sua crítica às propostas de Herbert Marcuse e de outros integrantes da Escola de Frankfurt na década de 1960 até sua crítica aos impactos das intervenções biotécnicas no horizonte de nossa autocompreensão Ética da Espécie em 2001 e 2014. Porém, mesmo com uma explícita retomada da questão da técnica em seu pensamento, Habermas não aparece nos debates em Filosofia da Tecnologia, e também não aparece como um autor referencial dente contexto. Nesta pesquisa, nos direcionaremos para o desenvolvimento teórico-conceitual sobre o fenômeno técnico no pensamento de Habermas, tematizando a existência de uma Filosofia da Tecnologia em sua arquitetônica intelectual, e apontando para elementos que nos indicam os traços de um pensar fecundo sobre tecnologia presente em sua trajetória intelectual. Neste sentido, argumentaremos a existência de uma linha de continuidade entre os primeiros escritos de Habermas e sua crítica mais recente, o que nos revelará uma Filosofia da Técnica que pensa tal fenômeno em marcos importantes do século XX e inícios do século corrente. O problema que nos direciona nesta pesquisa é um esquecimento deste aspecto do pensamento de Habermas no campo dos debates em Filosofia da Técnica. Assim, procuramos além de tematizar a existência de uma Filosofia da tecnologia, apontar para as contribuições de seu pensamento aos debates atuais em Filosofia da Tecnologia e também bioéticos. / Technosciences reached an important position in contemporary society marked mainly by the expressive advances in the fields of biotechnology and genetic engineering, which marked significantly the intellectual environment of the late twentieth century. The question of technique has played an important role in Habermas's work since his early essays in the 1960s, through his opus magnum in the 1980s and his most recent writings, presenting himself as a lively and recurrent dialogical thematic axis in the architectonic of the thought of such philosopher. We can see an evolution of Habermas's thinking about the technological phenomenon, a growing interest in such phenomenon since his critique of the proposals of Herbert Marcuse and other members of the Frankfurt School in the 1960s until his critique of the impacts of biotechnical interventions on horizon of our Self-Understanding Ethics of the Species in 2001 and 2014. However, even with an explicit resumption of the question of technique in his thinking, Habermas does not appear in the debates in Philosophy of Technology, nor does appear as a referential author in this context. In this research, we will focus on the theoretical-conceptual development on the technical phenomenon in Habermas' thought, thematizing the existence of a Philosophy of Technology in his intellectual trajectory. In this sense, we will argue the existence of a continuity line between the first writings of Habermas and his most recent criticism, which will reveal to us a Philosophy of the Technique that thinks this phenomenon in important marks of century XX and beginnings of the current century. The problem that directs us in this research is a forgetfulness of this aspect of the Habermas thought in the field of the debates in Philosophy of the Technique. Thus, we seek beyond thematize the existence of a Philosophy of technology, pointing to the contributions of his thought to the current debates in Philosophy of Technology and bioethics.

Cette thèse développe une réflexion épistémologique autour de la notion de biomarqueurs dans le cas de la maladie d’Alzheimer. Elle est centrée sur le transfert des connaissances du domaine de la biologie à celui de la pratique médicale et clinique, avec une attention particulière aux techniques de diagnostic précoce et aux Big Data. La maladie d’Alzheimer présente une temporalité particulière, son apparition étant insidieuse et sa phase asymptomatique longue. Elle se différencie des cancers en ne se prêtant pas à l’analyse génomique de cellules spécifiques, et permet ainsi d’aborder différemment le statut épistémique des biomarqueurs. Le biomarqueur (que ce soit une molécule, un réseau d’interactions, voire un algorithme), est porteur d’information sans pour autant établir un lien de causalité directe avec la maladie. C’est essentiellement un indice et non la représentation de la condition réelle d’un sujet ; c’est ensuite un objet entouré d’incertitude ; c’est enfin un objet dont la maîtrise n’est pas totale, un objet qui n’est jamais complètement donné. Enfin, les relations entre le biomarqueur et le milieu extérieur font partie intégrante de son fonctionnement. Les biomarqueurs sont essentiels dans la transformation des pratiques médicales vers l’anticipation et le suivi de l’évolution de la condition d’un sujet. En mettant en évidence des éléments transformant des facteurs de risque en une pathologie, les biomarqueurs invitent chacun à se surveiller et permettent un accompagnement des personnes dans une situation où elles n’ont encore aucun signe clinique d’une maladie évolutive. / This dissertation develops epistemological reflections on the notion of biomarkers in the case of Alzheimer’s disease. It focuses on the challenge posed by the transfer of knowledge from the field of biology to medical and clinical practices, with a special attention to the techniques of early diagnosis and especially the role of Big Data. Alzheimer's disease presents a particular temporality, its appearance being insidious with a long asymptomatic phase. It differs from cancer by not being amenable to genomic analysis of specific cells, and thus allows a different approach to the epistemic status of biomarkers. The biomarker whether it be a molecule, network of interactions, or even an algorithm, sheds light on the disease in the absence of any direct causal links between the biomarker and the disease. It is primarily an indicator rather than the representation of a body condition. As a consequence, it is always surrounded by uncertainty and never fully mastered, nor fully given. The biomarker is an object whose relations with the environment are an integral part of its functioning. Biomarkers are essential in transforming medical practices towards anticipating and monitoring the evolution of a subject's health condition. By highlighting elements that transform risk factors into a pathology, biomarkers invite everyone to monitor themselves and make it possible to support people well ahead of the appearance of clinical signs of an evolving disease.

Cette thèse de doctorat se rapporte aux films du cinéaste japonais Ozu Yasujirô (1903-1963) suivant l'hypothèse principale que les enjeux de la destruction qui y sont mis en scène, sous la forme de la disparition des liens familiaux et de la mort, ne peuvent être éclairés par la narration, dont le caractère non dramatique est notoire. En figurant la dislocation de la famille, les films d'Ozu rendent plutôt compte de la vulnérabilité du monde à la prise cinématographique : la destructivité du médium s'y énonce comme sa capacité à mobiliser ce qui entre dans son champ et à le transformer en faire-valoir de son aptitude à produire des effets. Cette étude fait ainsi apparaître les images animées, en tant qu'elles relèvent de la logique technique régie par la modernité, comme une forme de désastre, qui atteint la famille comme expérience de la communauté, c'est-à-dire comme rapport constitutif à un hors-de-soi. Mais à cette destructivité fait également face, au sein même de la pratique cinématographique d'Ozu, une autre possibilité du cinéma, qui peut restaurer ces liens menacés. Cette étude du cinéma d'Ozu montre sa profonde affinité avec la pensée du désœuvrement élaborée par Giorgio Agamben, les films du cinéaste et les travaux du philosophe s'éclairant mutuellement. Le concept de désœuvrement permet de reconsidérer les enjeux essentiels des films d'Ozu à un niveau à la fois thématique et formel, immatériel et matériel, articulant ces deux facettes pour en considérer le registre proprement médiatique. Le propos n'est pas essentiellement esthétique ou formaliste, mais s'intéresse avant tout au travail d'Ozu du point de vue des enjeux éthiques du cinéma, qui se formulent en termes de relation à sa puissance. Celle-ci concerne aussi bien l'attention d'Ozu à la vie collective que le soin qu'il porte aux potentialités expressives du cinéma, c'est-à-dire à la manière dont il se rapporte aux limites de son médium. / In this dissertation, the films of Japanese director Ozu Yasujirô (1903-1963) are studied according to the main hypothesis that the destruction they picture – disappearing family bonds, death – cannot be accounted for by plot development, its non-dramatic stance being well-known. As it is depicted in his films, family dissolution in fact testify for the world's vulnerability to cinematographic take: the medium's destructivity is especially expressed as an ability to mobilize what comes into its range and to transform it as a stooge for its own capacity to produce effects. This study then portrays moving images, inasmuch as they conform to the logic of modern technology, as a kind of disaster affecting family as a commununity, as an experience of being out-of-oneself. But Ozu's cinematographic practice shows as well ways to face such a destructivity, and points to another, restaurative potentiality for cinema. This study of Ozu's cinema shows its profound affinity with Giorgio Agamben's conception of inoperativeness, the filmmaker's work and the philosopher's thought throwing light on each other. Through the concept of inoperativeness, the issues at the heart of Ozu's films are considered anew at a level both thematic and formal, immaterial and material, articulating these two aspects in order to tackle their very mediatic register. My approach, then, is not foremost aesthetic or formal but focuses on Ozu's films from the point of view of practice: it deals with ethical issues raised by the cinematographic medium, which express themselves in relation to power (or potentiality). This ethical concern relates to Ozu's attention to collectivity as well as to his care for cinema's expressive potentialities that is to say to the way in which his films face their medium's limits.