My dissertation examines how representations of physical and mental suffering in literary texts reveal paradoxes in the structure of sympathy that remain under-explored by literary scholars. In the philosophical thought of Shaftesbury, Hutcheson, Hume, and Smith, sympathy was a feature of the "moral sense," an aesthetic intuition that, with proper training, could compel individuals to act ethically in society. However, because sympathy allowed individuals to feel the experiences of others, not just through the imagination, but in connection with the body itself, the motivation for sympathizing with pain presented a significant problem for Enlightenment philosophy. Largely divested of its religious contexts, pain was increasingly classified as a mechanism that registered distress or pathology in the body, and as an experience that human beings instinctively avoid. Terry Eagleton, Adela Pinch, and G. J. Barker-Benfield, among others, have analyzed sympathy and the culture of sentimentality in terms of their moral relativism, derivative emotionality, and regulatory influence on gendered behavior and social norms. My dissertation makes a needed contribution to the field by focusing on the ways pain reveals structural contradictions in sympathy's claim to penetrate the boundaries of subjective experience, an experience that was becoming "buffered"-- to use Charles Taylor's term -- from the influence of others. Each chapter of my dissertation positions a landmark text--Aphra Behn's Oroonoko (1688), Samuel Richardson's Clarissa (1748), Goethe's The Sorrows of Young Werther (1774), and William Wordsworth's The Prelude (1805) -- within the context of Enlightenment moral sense philosophy to highlight the intentional and unintentional ways literary authors modified philosophical formulations of sympathy to create the ethically complex pleasure of sympathizing with the pain of others. Because the concepts of pain and subjectivity were taking on modern shapes in these texts, literary critics must reconsider how ethical claims were made by the aesthetic practice of connecting representations of pain with the pleasure of sympathizing. Globalized media are bringing increasingly distant experiences of pain to our attention in increasingly intimate ways. These technologies can be invaluable for promoting a sense of social responsibility for the pain of even the most distant others, but only if we hold ourselves accountable for how and why we look.

Orientador: Antonio Carlos Rodrigues de Amorim / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-18T09:59:06Z (GMT). No. of bitstreams: 1 Oda_PamelaZachariasSanches_M.pdf: 2739353 bytes, checksum: 0745236c9fb9041f805ae85982a8f120 (MD5) Previous issue date: 2011 / Resumo: Os videoclipes, que originalmente eram produções audiovisuais destinadas a fazer a propaganda de um artista, ainda mantêm sua finalidade original, mas, ao longo do tempo, modificaram-se de tal forma que desenvolveram uma linguagem característica e foram a gênese de várias inovações técnicas e narrativas, que fizeram com que perdessem seu caráter de propaganda e assumissem o status de arte. Esta dissertação tem o objetivo de analisar videoclipes como produções artísticas responsáveis por produzir forças geradoras de caos, de mudanças em sua própria estrutura e também no espectador. O indivíduo, ao assistir a um videoclipe, entra em contato com várias imagens e sons que atuam, naquele acontecimento, como forças ativas que podem produzir transformações no eterno devir. Para tais discussões foram utilizados os conceitos de Gilles Deleuze e toda a sua reflexão sobre sentido e acontecimento, bem como foi analisada a obra do francês Michel Gondry, diretor de videoclipes consagrados e responsável pela criação de uma linguagem inventiva e inovadora na produção de videoclipes. / Abstract: The music videos, that originally were audiovisuals productions made for artist publicity, still keep their original purpose, but, along of time, they have changed so that developed a characteristic language and were the genesis of many narrative and technical innovations that have made they lost their feature of publicity and took over the status of art. This text have the purpose to analyze the music videos like artistic productions responsible for generate chaos forces, changes in their own structure and also in the spectator. The person, when watch a music video, get in touch with many images and sounds that act, in that happening, like active forces that produces transformations in the eternal devir (emergence). For that discussions, the concepts of Gilles Deleuze were used, just as his considerations about the meaning and the happening, and was analyzed too the work of the renowned French director Michel Gondry, the creator of an inventive and innovative language for the production of music videos. / Mestrado / Educação, Conhecimento, Linguagem e Arte / Mestre em Educação

Orientador: Arley Ramos Moreno / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-23T11:30:34Z (GMT). No. of bitstreams: 1 Francisco_AntonioMarcos_M.pdf: 1498266 bytes, checksum: d034937dfd7ddf91412ce63d596737d9 (MD5) Previous issue date: 2013 / Resumo: O intuito do presente trabalho é expor e associar dois momentos do pensamento de Gottlob Frege - um situado na obra Conceitografia, publicada em 1879, e outro presente a partir da distinção entre sentido e referência articulada, principalmente, no artigo Sobre o Sentido e a Referência, publicado em 1892. O objetivo é explicitar que apesar de existirem significativas diferenças entre as duas épocas é possível perceber uma profunda continuidade no desenvolvimento de um projeto único, e também uma clara conexão entre as duas obras, apesar de o léxico filosófico fregeano ter passado por expressivas alterações após a concepção da distinção entre sentido e referência. Este trabalho está dividido em quatro partes: a primeira apresenta o que motivou o matemático Gottlob Frege a dedicar-se à análise da linguagem e elaborar uma "conceitografia" para representar o que é fundamental na proposição - o conteúdo conceitual; o momento seguinte, capítulo II, expõe como o problema da identidade de conteúdo culminou com um esboço de uma teoria semântica na obra de 1879; a parte três expõe a conexão entre a teoria semântica de 1879 e de 1892; a parte final, capítulo IV, é uma tentativa de expor como os temas do artigo de 1892 estão intimamente associados com as questões apresentadas na obra Conceitografia / Abstract: The purpose of this work is to describe and to connect the two moments of thought of Gottlob Frege - one found in the work Conceptual Notation published in 1879 and the other one in the article On Sense and Reference published in 1892, which presents the distinction between sense and reference. The goal is to explain that although there are significant differences between the two moments it is possible to perceive a deep continuity in the development of a single project. There is also a clear connection between the two works despite of the Fregean technical terms having gone through major changes after taking into consideration the conception of the distinction between sense and reference. This work is divided into four parts: the first one introduces what motivated the mathematician Gottlob Frege to devote himself to the analysis of language and develop a formula language to represent what is fundamental in the proposition - the conceptual content; the second in the Chapter II exposes how the problem of identity content culminated with a sketch of a semantic theory in the work of 1879, the third one explains the connection between theory and semantics from 1879 and from 1892, and finally, Chapter IV , is an attempt to expose how the themes of the article of 1892 are closely associated with the work Conceitografia affairs / Mestrado / Filosofia / Mestre em Filosofia

This work examines British inquiry into the human mind in the early nineteenth century using a multivalent structural analysis of ideas and practices within traditions established by Hume, Hartley, and Reid. While these traditions were propagated into the nineteenth century by such figures as Thomas Brown, James Mill, Sir William Hamilton, and Alexander Bain, this later period has received a dearth of attention in the history of psychology, the history of philosophy, and the history of ideas in general. This conspicuous lacuna forms the basis for two simple questions: What was the situated significance of work on the human mind in nineteenth century Britain? What was it supposed to accomplish, or be about? In particular, I focus on the differentiation of science from philosophy as a particular kind of non-science, investigating a set of existing formulations of the respective characters of the two. Using this historiographic survey as a springboard, I establish an analytical apparatus based upon four structural dimensions that I term conceptual, expository, iconic, and genealogical. Taken together, these four elements form an historical problematic, a set of persistent features and issues that structured work on mental subjects. With respect to conceptual structure, I propose a set of a dozen persistently central, but fluid, concept clusters involved in the study of mind. Regarding texts themselves, I situate my subject in terms of specific audience groups, patterns of expository development, and topical scope. I also examine the limiting influence of authorial and editorial practices on the appearance of the conceptual systems these texts convey. Iconic structural patterns focus even more closely on textual content, demonstrating shifts in the density, nature, and extent of citation within the intellectual community. These four dimensions interact significantly, reflecting the complex character of an active community of intellectual discussion. Having established this analytical space, I return to the basic terminological distinction between science and philosophy to investigate what was at stake in distinguishing these two fields in the nineteenth century. The dichotomy was far from definitive: British mental inquiry from the time of Hume's Treatise to that of Bain's first two major works never established a firm division of science from philosophy, but the evidence suggests several directions of tension along which this split would subsequently emerge. As demonstrated by evidence from the first volume of the journal, Mind, founded by Bain in 1876, discussions among students of the human mind in the nineteenth century established a position for mental philosophy itself as arbiter of the new science-philosophy dipole. In this light, the establishment of Mind can be viewed as the creation of a boundary-object that itself constituted this distinction in psychological terms. / Ph. D.

Orientador: Anna Regina Lanner de Moura / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-17T19:24:52Z (GMT). No. of bitstreams: 1 Martin_AdrianaOfretoriodeOliveira_M.pdf: 2312535 bytes, checksum: 433f54f42b21934aaa5325fe22d7e728 (MD5) Previous issue date: 2010 / Resumo: Esta pesquisa tem como objetivo principal analisar os sentidos pessoais sobre os espaços formativos para o ofício de ensinar produzidos por quatro estudantes-estagiárias do terceiro ano do curso de Pedagogia da UNICAMP-SP-Brasil. As referidas participantes desenvolveram atividades formativas - narrativas reflexivas, projeto de ensino desenvolvido em grupo, portfólio reflexivo e seminário de adensamento teórico - relacionadas ao contexto de ensino de um Projeto de Integração Disciplinar (Projeto Integrado), desenvolvido sob a responsabilidade de três docentes da Faculdade de Educação e financiado pelo CNPq. Trata-se de uma investigação interpretativa (GINZBURG, 2003) voltada para narrativas escritas e orais produzidas pelos sujeitos da pesquisa a respeito de suas experiências formativas. Tais relatos foram realizados no segundo semestre de 2008, na disciplina de Estágio Supervisionado, que se relaciona ao Projeto Integrado (PI). Para a constituição do corpus, foram consideradas quatro produções escritas de cada sujeito e uma entrevista com cada grupo de desenvolvimento do projeto de ensino. Na análise, busca-se interpretar, à luz da teoria da atividade de Leontiev (1970?, 1983, 2004) e Engeström (1999), os significados e sentidos sobre o ofício de ensinar produzidos por esses sujeitos e relacionados aos espaços formativos. Mediante a análise das reflexões das quatro estudantes, produzidas ao longo de um semestre, assim como de seu relato oral, foi possível perceber que as atividades formativas, solicitadas no contexto da disciplina de Estágio Supervisionado e vinculadas ao PI, constituem-se como espaços de formação para essas alunas, na medida em que estas atribuem sentido pessoal à realização de tais tarefas. Foi possível perceber também, com maior ou menor ênfase, dependendo de cada sujeito, uma tendência à produção de significações voltadas à expectativa de formação para o ofício de ensinar nos aspectos da relação com o estágio, com a criança e com a prática futura de ser professora. Além disso, pode ser observada a recorrência na mudança de sentidos que ocorre do início ao final do semestre nas quatro estudantes cujas reflexões foram analisadas. / Abstract: The main purpose of this research is to analyze the personal senses about the formative spaces for teaching practice produced by four students from the third year of the Pedagogy course at UNICAMP-SP-Brazil. The participants developed formative activities - reflective narratives, group teaching project, reflective portfolio and seminar of theoretical densification related to the teaching context of a Disciplinary Integration Project (Integrated Project), developed by three professors at the Faculty of Education and supported by CNPq. This is an interpretative study (GINZBURG, 2003) aimed at oral and written narratives produced by the individuals of the research about their formative experiences. Such reports were made in the second half of 2008, during the Supervised Training subject, which is related to the Integrated Project (IP). To compose the corpus, four written compositions of each individual and an interview with each group of the teaching project development were considered. In the analysis, we seek to interpret, in the light of Leontiev?s activity theory (1970, 1983, 2004) and Engeström (1999), the meanings and senses about the teaching practice produced by these individuals and related to the formative spaces. Through the analysis of the reflection of the four students, produced throughout a semester, including the oral report, it was possible to realize that the formative activities, requested in the context of the Supervised Training subject and linked to IP, consist of spaces of development to these students, since they attribute a personal sense to the execution of such tasks. It was also possible to notice, with more or less emphasis, depending on each individual, a tendency of meanings production aimed at some expectation of education for teaching practice in the aspects of the relation with the training course, with the child and with the future practice of being a teacher. Besides, we can observe the recurrence of meaning changes that happens from the beginning to the end of the semester with the four students whose reflections were analyzed. / Mestrado / Ensino e Práticas Culturais / Mestre em Educação

La condensation :un outil conceptuel pour la théorie de l’art / Résumé.<p><p>Notre étude sur la condensation tente de montrer l’intérêt d’une voie peu explorée dans le débat sur la nature de l’art, à savoir l’économie sensible des représentations symboliques. Nous donnons tout d’abord consistance au concept de condensation en suivant les écrits de Freud. Freud, un des rares auteurs à avoir thématisé cette notion, fournit dans L’interprétation des rêves les linéaments principaux du concept. Dans l’analyse de cet ouvrage, notre effort se porte sur la distinction entre une approche plastique et une approche symbolique de la condensation, c’est-à-dire l’obtention d’une condensation par composition de différentes figures ou par répétition d’une même représentation. En relation marginale avec la condensation, la méthode d’analyse des rêves nous montre l’importance des thèmes de l’idiosyncrasie et de la totalisation, lesquelles se révéleront en affinité étroite avec celui de la condensation. Nous procédons ensuite à l’analyse du second ouvrage d’importance rapporté à la condensation chez Freud, Le mot d’esprit et sa relation à l’inconscient. L’accent est porté, d’une part, sur la relation entre condensation et économie, et, d’autre part, sur la distinction entre deux états ou attitudes d’esprit révélée par le Witz. <p>Sur base de la thématisation freudienne, nous poursuivons la construction du concept de condensation à partir de l’expérience esthétique ordinaire. Cela comprend, tout d’abord, la simple considération du fonctionnement collégial et simultané de nos différents sens. Nous procédons ensuite à l’analyse de deux modes de représentation, tous deux fondés sur un rapport sensible au réel :la photographie et le cinéma. Par ces analyses, nous tentons de mettre en lumière les caractères élémentaires de la représentation sensible. Avec la photographie nous abordons l’économie sensible de la représentation, c’est-à-dire les transformations quantitatives et qualitatives qui sont au fondement du concept de condensation. Avec l’analyse du cinéma comme mode de représentation, l’effort est porté sur l’explicitation de la tension paradoxale entre présence et représentation dans le droit fil des développements sur le jeu des dimensions sensibles et l’hétérogénéité impliqués dans la représentation photographique. Cette deuxième partie assoit la validité objective du concept de condensation.<p>Dans un troisième temps, nous étayons cette validité objective du concept en la rapportant aux différents intervenants impliqués dans la réalité artistique (principalement, œuvre, créateur, récepteur). Enfin nous confrontons le concept de condensation à deux aspects de la théorie de l’art :un versant spéculatif, l’antinomie du jugement de goût avec les questions de la subjectivité et de l’objectivité, mais aussi et surtout celle de la communicabilité ;un versant plastique, les œuvres atypiques de Marcel Duchamp. Préalablement à l’analyse de ces deux aspects, nous consacrons un chapitre important à une définition du signe tenant compte de la responsabilité du sujet dans la constitution sémiotique. C’est sous le paramètre de la liberté dans notre rapport au symbolique que se rejoignent les deux aspects de la théorie de l’art abordés. <p><p><p><p><p><p>Condensation: A Conceptual Tool for the Theory of Art / Summary.<p><p><p>\ / Doctorat en philosophie et lettres, Orientation philosophie / info:eu-repo/semantics/nonPublished

Cette thèse révèle les schémas historiques et les occultations intentionnelles du matérialisme qu’ont imposés en France les conceptions uniformes de l’écriture de l’histoire de la philosophie de Degérando, Cousin et Damiron. À côté de l’anti-matérialisme généralisé des premiers historiens de la philosophie du XIXe siècle, à l’exception toutefois de Paul-Marie Laurent, l’auteur souligne aussi la genèse de leurs innovations conceptuelles :l’apparition, en 1801-1804, via Kant et Villers, de la catégorie doctrinale, alors inédite en France, de « sensualisme ». Omissions et innovations dont les effets courent encore jusqu’à nous et dont l’oubli occasionne bien des anachronismes.<p><p>Occulted Materialism and the Genesis of « Sensualism ».<p>Histories, Written and Real, of Philosophy in France<p><p>This thesis reveals the historic schemes and the intentional occultations of materialism as imposed in France by the uniform conceptions of the writing of the history of philosophy of Degérando, Cousin and Damiron. Beside the anti-materialism generalized by the early nineteenth-century historians of philosophy, with the exception of Paul-Marie Laurent, the author also underlines the genesis of their conceptual innovations :the appearance, between 1801 and 1804, through Kant and Villers, of the doctrinal category of « sensualism », at that time unheard of in France. The effects of both omissions and innovations are still affecting us today. Forgetting them brings about a good bit of anachronisms.<p><p> / Agrégation de l'enseignement supérieur, Orientation philosophie et lettres / info:eu-repo/semantics/nonPublished