O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

O que me predisponho a fazer: dialogar com imagens de arte no espaço expositivo e suas formas de reprodução. Promover encontros entre a minha forma de ver (singular) e a multiplicidade de transmissão dos modos de ver (plural). O que pratico: registro fotográfico de desvios do ponto-de-vista padrão (frontal e focado). O que pretendo: ao observador, oferecer o benefício da dúvida (o que é isto que vejo? Como foi feita esta imagem?), deixando a leitura em aberto. No âmbito teórico, acionar uma reflexão sobre a singularidade da experiência artística e a latência de diversas outras leituras possíveis em uma imagem de arte, que vão além da informação imediata fornecida pelo objeto de observação. O que apresento neste estudo: a discussão desta forma de olhar, a partir da análise comparativa entre a minha produção e a de outros artistas, levando em consideração procedimentos como: 1. o processo em abismo e a busca do registro subjetivo; 2. as escolhas, sejam de enquadramento ou valorização de reflexos; 3. a fundamentação teórica e a reflexão sobre a relação observador-obra, reprodução de imagens em contraposição à singularidade do embate com a obra de arte, processo de formação destas imagens, suas formas de utilização e análise de conceitos fundamentais; 4. o pensamento acerca do que é apresentado na presente pesquisa. / That is what I am determined to do: to dialogue with the images of art in the expositive space and their forms of reproductions. To promote meetings between my singular way of seeing it and the many transmitions of the ways of seeing . What I practice: Photography diversions register of the standart point of view (frontal and focal point). What I intend to do: to the observer I offer the doubt benefit (what I see? How was made that image?), leaving the reading open. On theory scope, I intend to set a reflection about the singularity of the artistic experience and the latency of many others possible readings on an art image, that go beyond the immediate information given by the observation object. What I show in this study: a discussion of this way of seeing from the comparative analysis between my production and the analysis of the other artists, considering the procedure as: 1) the process in abyss and the looking for the subjective register, 2) that the hoices must be by squarely or by reflexion's valorization, 3) a theoretical ground and a reflection about connection of observer and the work of art, reproduction of images in contradiction to the singularity comparison with the work of art, the formation process of these images, their ways of uses and analysis of fundamental conceptions and finally 4) the thought about what is in this search.

L’objectif de cette thèse est de montrer qu’Ève, en tant que métaphore du manque et sujet femme désirante, n’est pas étrangère au désir de Dieu. Pour cela, nous commencerons par repérer que ce que nous connaissons du personnage d’Ève dans le texte de Gn 3 est le fruit de la perception de ce que nous définirons comme « la Tradition » et de son interprétation de ce texte. Cette perception, sur le versant de « la femme-objet », est une réalité fondée par le regard d’hommes croyant que la femme est par nature plus faible, parce qu’incomplète, manquée, et donc manquante. En explorant comment les interprétations du récit de Gn 3 mettent en scène les figures d’une Ève tantôt dangereuse, tantôt inférieure, tantôt gommée par la figure idéalisée de la Vierge Marie, nous verrons comment les a priori culturels propres à une lecture androcentrique ont profondément marqué la façon même de relire le texte, de l’entendre et de le comprendre. En prenant acte de la manière dont cette Tradition a entendu et masqué tout à la fois la différence sexuelle homme-femme, notre propre analyse discursive du récit de Gn 3 déroule comment la figure d’Ève peut aussi devenir la représentante du manque désiré par Dieu lui-même. Le manque voulu par Dieu, dont Ève est la métaphore, apparait à la fois comme l’ingrédient nécessaire à la vie, à la parole et au désir, et comme le fardeau que doit porter Ève pour marcher sur les chemins de son propre destin de femme qui ne peut pas plus échapper à la question de la maternité. Notre axe de relecture, qui tient compte de la dimension du sujet parlant, nous conduit à cerner le rôle actif d’Ève. De sa posture de « pas-toute », elle prend place dans la création de l’adam comme celle à qui s’adresse le serpent venu d’ailleurs. C’est avec le serpent que le premier dialogue s’instaure et qu’Ève s’éprouve comme sujet parlant et désirant. Par la parole, Ève déborde. Une fois l’interdit parlé, il devient lieu de l’inter-dit, là où, entre les lignes, quelque chose du désir singulier d’Ève devient transmissible à l’adam. La transgression en acte rend alors possible le regard porté sur la différence sexuelle, en rendant aussi possible la transmission de la vie humaine comme acte de création. À ce moment du récit, Ève devient un sujet, sujet de désir, femme-sujet, en écart de ce que l’homme la veut, une femme intrinsèquement et expérientiellement habitée par la question du maternel et de la maternité. Si pour les hommes comme pour les femmes, le maternel est le premier accès à la femme, le récit montre que la parole d’une femme est dépendante de cette structure subjective, qui rend chaque femme singulière. Sa subjectivité d’être-femme dont le corps est troué vient nécessairement orienter son être au monde, à l’Autre et aux autres, en mettant en jeu autant sa responsabilité que son éthique, dont Ève est la figure qui les représentent toutes. Cette thèse vise donc à participer à une réflexion et une discussion sur l’être femme, non plus considéré comme objet à soumettre, posséder, ou dont le corps pourrait être réduit à procréer, mais comme l’expérience d’un sujet singulier, un sujet de désir, un parlêtre de chair et de sang dont le dire et le désir sont à prendre en compte en écart du discours universel. Nous espérons que notre thèse apportera une contribution significative à ce que les femmes soient reconnues dans leur énonciation singulière et subjective comme participant à l’à-venir du monde, qu’elles soient reconnues comme souffle qui émerge du manque et qui fait brèche dans le fantasme de l’Un. / The objective of this dissertation is to show that Eve, as a metaphor of the lack and as a desiring subject-woman, is related to the desire for God. To do this, we will begin by pointing out that what we know of the character of Eve in the story of Genesis 3 is the result of the perception of what we will define as “The Tradition” and of her interpretation of this text. This perception, on the side of the “woman-as-an-objet”, is a reality based on the gaze of men who believe that the woman is weaker by nature, because she is incomplete, a miss, and therefore missing. By exploring how the interpretations of the Gn 3 narrative stage the figures of an Eve, sometimes dangerous, sometimes inferior, sometimes erased by the idealized figure of the Virgin Mary, we will see how the cultural a priori of an androcentric reading have deeply marked the very way of rereading the text, of hearing and understanding it. By taking in account the way this Tradition has both heard and masked the sexual difference between man and woman, our own discursive analysis of the story of Gn 3 unfolds how the figure of Eve can also become the representative of the lack that God himself desires. The lack that God desires, of which Eve is the metaphor, appears both as the necessary ingredient for life, word and desire, and as the burden that Eve must bear in order to walk the paths of her own destiny, as a woman who cannot escape the question of motherhood either. Our axis of rereading, which takes into account the dimension of the speaking subject, leads us to identify Eve’s active role. From her “not-all” posture, she takes her place in the creation of the adam as the one to whom the snake from elsewhere talks. It is with the serpent that the first dialogue is established and that Eve experiences herself as a speaking and desiring subject. Because she speaks, Eve overflows. Once the forbidden has been spoken, it becomes the place of the "inter-dit", where, between the lines, something of Eve's singular desire becomes transmissible to the adam. The transgression in act then makes it possible to look at sexual difference, making also possible the transmission of human life as an act of creation. At this point in the narration, Eve becomes a subject, a subject of desire, a woman-as-a-subject, at bay from what man wants her to be, a woman intrinsically and experientially inhabited by the question of the maternal and the motherhood. If for both men and women, motherhood is the first access to the woman, the narrative shows that a woman’s speech is dependent on this subjective structure, which makes each woman singular. Her subjectivity of being a woman with a hole in her body necessarily tends her being to the world, to the Other and to others, bringing into play both her responsibility and her ethics, of which Eve is the figure that represents them all. This dissertation therefore aims to participate in a reflection and a discussion on being a woman, no longer considered as an object to be submitted, possessed, or whose body could be reduced to procreate, but as the experience of a singular subject, a subject of desire, a being of flesh and blood whose words and desire are to be taken into account at bay from the universal discourse. We hope that our thesis will make a significant contribution to the recognition of women in their singular and subjective enunciation as participants in the becoming of the world, and that they are recognized as the breath that emerges from the lack and which breaks through the fantasy of the One.

Este trabalho tem por objetivo adensar o efeito performativo da leitura que se pode fazer aqui e agora de diferenciados rasgos das obras do poeta francês Stéphane Mallarmé e da escritora brasileira Clarice Lispector. Sem a intenção de fazer um estudo exegético da totalidade dos escritos desses autores, procederemos por eleger pedaços de suas produções ficcionais que nos afetaram corporalmente e que compõem a trilha do desejo de escrita que se erige a partir deles. Na releitura que fazemos desses dois artistas, evidenciada pela intersecção de ambos aqui promovida, alguns veios temáticos neles recorrentes se fazem notar tais como: a configuração de objetos estéticos que se colocam em relação de similitude com seus padrões referencias; a assunção da palavra que nada designa; certa santidade laica; a orquestração do rumor; o mergulho na premência do instante-já; a impotência diante da linguagem; e o desaparecimento do eu. Das paisagens discursivas que aí vislumbramos, imputamo-nos a tarefa não de responder à pergunta o que, no fundo, tais textos significam?, mas sim o que eles nos fazem desejar escrever? / This work aims to deepen the performative effect of reading that can be done here and now various tears of works of the French poet Stéphane Mallarmé and the Brazilian writer Clarice Lispector. Without intending to do an exegetical study of all the writings of these authors, we opted to elect pieces of his fictional productions that affect our bodies in and composing the score for the desire of writing that is established from them. In rereading what we do these two artists, as evidenced by the intersection of both promoted here, some recurring themes shafts in them are remarkable such as the configuration of aesthetic objects that arise relationship of similarity with their reference standards; the assumption of the word that does not means nothing; certain secular holiness; the orchestration of the rumor; the dip in the urgency of the now-instant; impotence towards the language; and the disappearance of the self. Discursive landscapes glimpsed there, we gave ourselves the task does not answer the question \"what, in the background, such texts mean?\", but rather \"what they make us want to write?

Este trabalho tem por objetivo adensar o efeito performativo da leitura que se pode fazer aqui e agora de diferenciados rasgos das obras do poeta francês Stéphane Mallarmé e da escritora brasileira Clarice Lispector. Sem a intenção de fazer um estudo exegético da totalidade dos escritos desses autores, procederemos por eleger pedaços de suas produções ficcionais que nos afetaram corporalmente e que compõem a trilha do desejo de escrita que se erige a partir deles. Na releitura que fazemos desses dois artistas, evidenciada pela intersecção de ambos aqui promovida, alguns veios temáticos neles recorrentes se fazem notar tais como: a configuração de objetos estéticos que se colocam em relação de similitude com seus padrões referencias; a assunção da palavra que nada designa; certa santidade laica; a orquestração do rumor; o mergulho na premência do instante-já; a impotência diante da linguagem; e o desaparecimento do eu. Das paisagens discursivas que aí vislumbramos, imputamo-nos a tarefa não de responder à pergunta o que, no fundo, tais textos significam?, mas sim o que eles nos fazem desejar escrever? / This work aims to deepen the performative effect of reading that can be done here and now various tears of works of the French poet Stéphane Mallarmé and the Brazilian writer Clarice Lispector. Without intending to do an exegetical study of all the writings of these authors, we opted to elect pieces of his fictional productions that affect our bodies in and composing the score for the desire of writing that is established from them. In rereading what we do these two artists, as evidenced by the intersection of both promoted here, some recurring themes shafts in them are remarkable such as the configuration of aesthetic objects that arise relationship of similarity with their reference standards; the assumption of the word that does not means nothing; certain secular holiness; the orchestration of the rumor; the dip in the urgency of the now-instant; impotence towards the language; and the disappearance of the self. Discursive landscapes glimpsed there, we gave ourselves the task does not answer the question \"what, in the background, such texts mean?\", but rather \"what they make us want to write?