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It is the contention of this paper that, contrary to his own belief, John Stuart Mill did not, after his "mental crisis" of 1826, succeed in his attempt to achieve a meaningful integration of the analytical and the affective, through his cultivation of the feelings by poetry. On the contrary, through his subsequent detemination to place these two attributes (the analytic and the affective) in a clearly proscribed xelation to each other (by virtue of his postulation of the exclusive presence of the former in science or logic and the latter in poetry), Mill only succeeded in creating, in this codification, what we can describe as an image of his {to use T. S. Eliot's somewhat unfashionable phrase) "dissociated sensibility." / Thesis / Master of Arts (MA)

La sensibilité est souvent assimilée à cette part de l’homme peu fréquentable, subversive, empêchant la maîtrise toute, dans une civilisation dominée par le contrôle, la rentabilité et les technosciences. La question de la sensibilité se limite souvent à une approche parcellaire de la culture des sens. C’est pourquoi nous avons approfondi notre réflexion d’un point de vue épistémologique pour en cerner davantage les enjeux pour la clinique et en déduire une réflexion enrichissante pour le champ éducatif, dont le résultat témoigne d’un entrelacs constant entre réflexion, pratique, analyse et recherche. Pour ce faire, notre méthodologie de recherche a pris appui sur une approche résolument psychanalytique, à partir du noeud borroméen de Jacques Lacan. Ainsi, nous poserons que l’Homme est fragile par sa dimension paradoxale : appelé à jouir par sa dimension incarnée, il se retrouve à être sexué et mortel, confronté ainsi à une finitude le marquant du sceau du « Pas Tout », et qu’il est riche potentiellement par ce que nous nommerons sa dimension ternaire ou Tridimensionnelle – soma (le corps) – psyché (l’âme) - pneuma (l’esprit) – afin de prendre en compte non seulement ses potentialités somatiques, psychiques mais aussi pneumatiques. Nous soulignerons que la sensibilité a été régulièrement pensée en termes de « dualité » et non dans une logique de « ternarité ». Puis nous proposerons une conceptualisation ternaire, borroméenne et paradoxale de la Sensibilité du Sujet, espérant apporter une certaine stabilité et consistance à ce concept, à partir d’une clinique psychanalytique, pour l’éducation d’un Sujet vivant en de-venir. / Sensibility often relates to that part of man that is disreputable, subversive, refraining man’s total self-control in a civilisation obsessed with control, profitability and technoscience. The topic of sensitivity often limits itself to the fragmented approach of the culture of senses. That is the reason why we have focused our attention upon the epistemological angle in order to further understand what is at stake for the clinic and draw a valuable reflection out of it for education, whose result reveals the constant interaction between thought, practice, analysis and research. To achieve this, our methodology of research is centred upon a highly psychoanalytic approach, based on Lacan’s Borromean knot. Thus, we postulate that Man is fragile through his paradoxical dimension: he finds himself a sexual and mortal being making the most of himself through his incarnate dimension and is faced with a finiteness that binds him to the “notall”. Furthermore, he has such a rich potential drawn upon the ternary or three-dimensional dimension–i.e. soma (the body), psyche (the soul), pneuma (the spirit)–that he has become aware of his somatic, psychic as well as pneumatic potentialities. We want to highlight the fact that Sensibility has been regularly thought in terms of “duality” rather than a logic of ternarity. We propose that the Subject’s Sensibility be based upon a ternary, Borromean and paradoxical conceptualisation with a view to bring some stability and consistence to this very concept through a psychoanalytical clinic for the education of a living Subject to be-come.

While literary scholars have written extensively about sensibility in the past two decades, most of the studies have treated either the history of sensibility itself or how it interacted with a particular aspect of English culture and literature, such as sexuality or politics. My project instead examines how a single author, Maria Edgeworth, used sensibility in her writing over the course of her career. I analyze the use of sensibility in three of her novels: Belinda (1801), her first full-length novel; The Absentee (1812), her influential Irish national tale, written at the height of her popularity in the middle years of her career; and Helen (1834), her last novel. This analysis illustrates the changing attitude of both Edgeworth and English society to sensibility and its representations in literature. In Belinda, Edgeworth uses sensibility to demonstrate the virtue and superiority of the characters who possess it, and also to rehabilitate the concept itself. She differentiates between mere affectation and true sensibility by creating both positive and negative examples of sensibility in Belinda – characters clearly possess true sensibility, and those who only pretend to it. In The Absentee, Edgeworth adheres much more closely to the conventions of sentimental fiction than she had in her previous society novels. In my discussion of The Absentee, I demonstrate how Edgeworth uses the conventions of sentiment both to make Irish culture accessible to her English audience and to justify the Irish estate system which put Anglo-Irish landowners in a position of authority over native Irish tenants. My final section focuses on Edgeworth's last novel, Helen, which marks a return to the genre of the society novel with which she began her career. While Edgeworth still uses sensibility as a sign of virtue in Helen, she is also much more interested than previously in the interplay between education and inborn qualities of personality – the very qualities whose existence she was so skeptical of in her education manual, Practical Education, published two years before she began her career as a fiction writer.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Jane Austen is an important English writer at the turn of the eighteenth into the nineteenth century. She is praised for her vivid description of the English society, the development of important narrative techniques, and the deep psychological treatment of her characters. In her six novels, Austen discusses social and literary issues that were important in her day. Therefore, Austen’s fiction has been the subject of a wealth of critical studies. Nonetheless, there is an aspect of her fiction that has not been sufficiently studied yet, namely, the notions of reading and readers. Two novels are especially meaningful to discuss this issue: Pride and Prejudice (1813) and Sense and Sensibility (1811). Thus, this study aims to identify and discuss the notions of reading and readers in both novels. The characters/readers of each novel are analyzed with regards to their individual attitude as readers of fictional and non-fictional texts and of the circumstances they live. The analysis enables us to discuss the notions of reading and readers that the author defends or criticizes. We can affirm that this topic was not only an important subject for Jane Austen and the English society, but also an internalized and structuring aspect of her novels. The reading and re-reading process experienced by Austen’s characters allows for their psychological depth once the narrative voice penetrates into the characters’ consciousness or moves away from them in order to comment on and evaluate their attitude as readers. In both novels, the author discusses the process of internalization and subjectivation of reading. Therefore, through the different notions of reading and readers present in Pride and Prejudice and Sense and Sensibility, Austen not only defends the importance of reading and re-reading for the reader’s intellectual and emotional maturity (an issue that is still topical), but also opens up new perspectives for the novel as a literary genre. / Jane Austen é uma importante escritora inglesa da virada do século XVIII para o XIX, aclamada pela vívida descrição da sociedade inglesa, pelo desenvolvimento de importantes técnicas narrativas e pelo aprofundamento psicológico de suas personagens. Além disso, em seus seis romances, Austen discute questões sociais e literárias importantes para sua época. Assim, a obra de Jane Austen possui fortuna crítica extensa. Todavia, há um aspecto de seus romances ainda insuficientemente estudado: as concepções de leitura e de leitores neles elaboradas. Dois romances representativos dessa questão são Pride and Prejudice (1813) e Sense and Sensibility (1811). Em vista disso, este estudo discute as concepções de leitura e de leitores nesses dois romances. A análise das personagens-leitoras, em cada romance, permite perceber suas posturas individuais quanto aos textos que leem e às circunstâncias que vivem, e discutir quais concepções de leitura e de leitor são defendidas ou criticadas pela autora. Conclui-se que a questão de leitura e de leitores era tanto um assunto relevante para Jane Austen e para a sociedade inglesa da época como também um elemento internalizado e estruturante dos romances da autora. O processo de leitura e releitura, com o qual as personagens de Austen estão envolvidas, permite o aprofundamento psicológico das mesmas através da voz narrativa que ora penetra na consciência das personagens ora se afasta delas para comentar e avaliar sua postura como leitores. Nos dois romances, a autora discute o processo de internalização e subjetivação da leitura. Assim, por meio das diferentes concepções de leitura e de leitores presentes em Pride and Prejudice e Sense and Sensibility, Austen defende não só a importância da leitura e da releitura para o amadurecimento intelectual e emocional do leitor (tema ainda de interesse contemporâneo), como também abre novas perspectivas para o romance como gênero literário.

L'oxaliplatine, largement utilisé dans le traitement du cancer colorectal, se singularise par la survenue très précoce, dés le début du protocole de chimiothérapie de troubles douloureux associés à la perception du froid (hypersensibilité au froid). De nombreux traitements ont été testés pour ces symptômes sans grand succès, c'est pourquoi le développement de nouveaux analgésiques est nécessaire. Le but de ce travail est de développer un modèle souris reproduisant cette hypersensibilité au froid et d'en rechercher les mécanismes physiopathologiques. Comme chez les patients, l'administration aigüe d'oxaliplatine entraîne une amplification importante de la perception du froid chez la souris. Nous montrons que ces symptômes sont médiés par les nocicepteurs exprimant le thermorécepteur TRPM8. Sur le plan du mécanisme physiopathologique, l'oxaliplatine favorise l'excitabilité de ces nocicepteurs en diminuant de manière drastique l'expression des plusieurs canaux potassiques (TREK1 et TRAAK en particulier), et en augmentant l'expression de canaux proexcitateurs tels que les canaux cationiques activés par l'hyperpolarisation (HCN1 notamment). Ces constatations sont confortées au niveau comportemental par l'analyse de la lignée de souris double KO pour TREK1 et TRAAK, et par l'utilisation de l'Ivabradine, un inhibiteur pharmacologique spécifique des canaux HCNs. L'ivabradine, déjà utilisé en clinique pour le traitement de l'insuffisance cardiaque, entraîne une disparition de l'hypersensibilité au froid induite par l'oxaliplatine. Collectivement, ces résultats suggèrent que l'oxaliplatine exacerbe la perception du froid en remodelant le patron d'expression de plusieurs canaux ioniques qui coordonnent la réponse au froid. L'ivabradine peut ainsi représenter un traitement sur mesure pour les neuropathies induites par l'oxaliplatine. / The hallmark of oxaliplatin-induced neuropathy is a hypersensibility to cold that develops in nearly all patients ultimately leading to cessation of this chemotherapy treatment. To date, classical pain management strategies have failed to alleviate these painful symptoms, and hence there is a need for developing new and efficient analgesics. Here we report that, as in patients, oxaliplatin mediates a clear development of exaggerated perception of cold temperatures in mice. These symptoms are mediated by nociceptors expressing the thermoreceptor TRPM8. Mechanistically, we find that oxaliplatin promotes excitability in nociceptors drastically lowering the expression of distinct potassium channels (TREK1, TRAAK) that act as excitability brakes for cold perception, and by increasing the expression of pro-excitatory channels such as the hyperpolarisation-activated channels (HCNs). These findings are corroborated by the analysis of the TREK1-TRAAK null mice, and by the use a specific HCN channel inhibitor abolishing the oxaliplatin-induced cold hypersensibility. Collectively, these results suggest that oxaliplatin exacerbates cold perception in cold sensing neurons by transcriptionally remodeling a combination of ionic conductances that together shape the final response to cold. A direct promising clinical consequence of these findings for patients would be that the HCN inhibitor ivabradine could represent a tailored treatment for oxaliplatin-induced neuropathy.

Dans l’apologétique de Blaise Pascal, le rôle du corps est ambigu. Source des concupiscences, le corps éloigne les hommes de la connaissance des vérités. L’homme, composé d’âme et de corps, n’a aucune similitude avec Dieu, être purement spirituel. Mais selon Pascal, c’est ce constat qui fournit à l’homme les raisons de la nécessaire croyance en Dieu, et qui fait que celle-ci exige l’existence du corps. La première en est que la foi ne se donne pas pour objet des connaissances démontrables par la raison humaine. Elle est le seul moyen d’accès à la vérité de Dieu, que la raison seule n’est pas capable d’atteindre puisqu’elle est privée de sa fonction originelle depuis que l’homme est doté de sa chair. Ensuite, la foi prend la forme de pratiques physiques, du moins dans son stade initial : l’adoption des actes d’un autre qui est déjà croyant. L’initié, pratiquant des mouvements rituels sans s’interroger sur leur sens, est persuadé de la justesse de sa foi. Enfin, d’après l’apologiste, la dévotion à Dieu permet à l’homme de jouir de l’espérance d’une autre vie ; or c’est là le suprême bonheur de la vie terrestre. L’être humain n’obtiendrait la béatitude au moment de sa mort qu’après avoir passé sa vie dans un effort sincère et continuel pour mériter d’obtenir la grâce de Dieu et dans la crainte permanente d’être délaissé de lui. En assumant ce devoir, on acquiert un bonheur incomparable, puisqu’il offre la possibilité de réaliser l’énorme gain que représente la félicité infinie et éternelle à la suite de sa brève existence. La foi, selon Pascal, c’est le chemin vers la certitude du salut, autrement dit, la béatitude en puissance. / We comment on the epistemology, ontology and axiology of the notion of man as a body or “corps” according to Blaise Pascal, in order to shed light on the concept in relation to his apologetic views. According to Pascal, “customs” and “sentiments”, the two fundamental ways of understanding the human form, provide man with secular and religious beliefs, which both allow and yet prevent him from transcending his earthly state. This equates to the ambiguous nature of realities which Pascal calls “corps”: The term refers both to purely profane matters considered as objects for scientific research, and to religious ones with their inherent symbolism, the subject of veneration. To Pascal, man, being of flesh and blood, is fated to be caught between greatness and misery; it is this axiologically ambiguous position that demands from man faith — the hope for the eternal and spiritual life, which is denied him in life on earth.

A raiva é uma encefalomielite aguda causada por um vírus da ordem Mononegavirales, família Rhabdoviridae, gênero Lyssavirus e espécie Rabies virus (RABV). É um vírus RNA de fita simples, senso negativo que acomete todas as espécies de mamíferos. Seu diagnóstico é obtido de modo definitivo por técnicas laboratoriais. A imunofluorescência direta (IFD) é uma prova de triagem rápida, considerada padrão ouro pela OMS e OIE, pois possui alta sensibilidade e especificidade diagnóstica. Esta técnica utiliza como teste confirmatório o isolamento viral em camundongos (IVC) ou em cultura de células (IVCC). Uma vez que o RABV não infecta todas as estruturas do sistema nervoso central (SNC) de modo uniforme, a detecção deste agente pode ter resultados variáveis. Algumas situações exigem o desenvolvimento e implantação de metodologias alternativas, tais como transcrição reversa seguida de reação em cadeia da polimerase (RT-PCR), RT-PCR em tempo real (RT-qPCR) e imunohistoquímica (IHQ), que possuem vantagens e apresentaram resultados bastante promissores. Para tanto, foram utilizadas amostras de SNC[tálamo, córtex, hipocampo, cerebelo, tronco encefálico (bulbo, ponte e mesencéfalo) e medula cervical]de 127 bovinos provenientes da Seção de Diagnóstico da Raiva do Instituto Pasteur, durante o período de março de 2015 a abril de 2016. As diferentes regiões do SNC dos animais foram identificadas e alíquotas foram separadas para a realização das técnicas de identificação viral, totalizando 689 fragmentos. A presença viral foi observada pela IFD e confirmada tanto pelo IVC quanto pelo IVCC. A distribuição do vírus pelas diferentes porções do SNC foi observada pelas técnicas de IFD, IHQ e RT-PCR para detecção do gene N em 40 animais que foram considerados positivos. Os 40 bovinos positivos na IFD confirmaram sua positividade na IHQ e IVC, apresentando concordância de 100% dos resultados. Entretanto houve diferença em relação aos resultados dos isolamentos virais, uma vez que, dos 38 animais positivos que foram submetidosaambas as técnicas, três foram negativos para a presença do RABV no IVCC, indicando uma concordância de 92,1%, (3538) quando comparado ao IVC. Em relação às técnicas moleculares houve diferenças, a RT-PCR apresentou positividade de 100% (4040), enquanto que a RT-qPCR observou-se que 97,5% (39/40) dos bovinos foram positivos. Na IFD, de modo geral, não houve disparidade entre os fragmentos em relação à positividade, porém ocorreu diferença quando se analisou a intensidade de fluorescência entre os fragmentos. Quando comparadas, a IHQ e a IFD apresentaram resultados semelhantes, embora a IHQ tenha apresentado positividade em 100% fragmentos (209209) e a IFD em 99,51% dos fragmentos (205206). Conclui-se, pelos resultados obtidos, diferenças na intensidade da distribuição viral e na concentração de RNA viral nas diferentes porções do SNC (padrões de neuroinvasividade) em bovinos; fato este que poderia interferir nos resultados obtidos no diagnóstico de rotina da raiva. / Rabies is an acute encephalomyelitis caused by a virus belonging to the Mononegavirales order, Rhabdoviridae family, Lyssavirus genus and Rabies virus (RABV) species. It is a single-stranded RNA virus, negative sense that affects all species of mammals. The definitively diagnosis is obtained by laboratory techniques. Direct fluorescent antibody test (dFAT) is a rapid screening, considered the gold standard by WHO and OIE, as it has high diagnostic sensitivity and specificity. However, it´s recommended the mouse inoculation test (MIT) or rabies tissue culture infection test (RTCIT) as a confirmatory test. Once RABV does not infect all central nervous system (CNS) structures uniformly, the detection of this agent may have varying results Some situations require the development and implementation of alternative methods such as RT-PCR, RT-qPCR and immunohistochemistry (IHC), which have advantages and showed very promising results. Therefore, CNS structures [thalamus, cortex, hippocampus, cerebellum, brainstem (medulla, pons and midbrain) and cervical cord] from 127 cattle were selected from the Rabies Diagnostics Section of the Instituto Pasteur during the period March 2015 to April 2016. The different CNS structures were identified and aliquots were separated for carrying out the viral identification techniques, totalizing 689 structures. The viral presence was observed by dFAT and confirmed by both the MIT and the RTCIT. The distribution of the virus by different portions of the CNS was observed by dFAT, IHC and RT-PCR for detection of the N gene in 40 animals considered positive. The 40 positive cattle in the dFAT confirmed their positivity on IHC and MIT, with agreement of 100% of the results. However there was a difference from the viral isolation since the 38 positive animals tested in both techniques, three were negative for the presence of RABV in RTCIT indicating an agreement of 92.1% (35/38) when compared to MIT. The dFAT, in general, showed no disparity among the fragments relative to their positivity, however, a difference was observed when analyzing the fluorescence intensity between the fragments. When compared IHC and dFAT presented similar results, although the IHC has presented a 100% positivity in the fragments (209/209) and 99.51% in dFAT (205/206).Regarding the molecular techniques, RT-PCR showed positivity of 100% (40/40), meanwhile RT-qPCR showed 97,5% (39/40) among the positive animals studied. In conclusion, the results suggest that there is variability in the intensity of virus distribution and in the virus concentration in different parts of the CNS (neuroinvasiveness patterns) in cattle. This fact could affect the results obtained in the diagnosis of rabies routine.

Esta é uma investigação sobre a formação do arquiteto em sua dimensão sensível. A visão persistente de que ser artista é uma condição inata de alguns seres humanos tem gerado dificuldades na ação de criar, entre os aprendizes de arquitetura, à revelia das descobertas da Ciência sobre as capacidades cerebrais do ser humano, descobertas que interferem nas reflexões sobre como acontece o conhecimento. Ainda dificulta essa formação, um mundo atual consumista e negativamente pragmático que interfere na missão formadora da instituição escola de arquitetura, querendo forçá-la a ser mero curso profissionalizante. Esse panorama apresenta uma estrutura de formação sem a condição de poder alcançar a sensibilidade do aprendiz para fazê-lo perceber, intuir, criar espaços com sua dimensão que supera a função de abrigo das atividades humanas: sua condição de Arte. Este é o motivo desta Tese: propor uma modificação na fisionomia das estruturas vigentes de formação do arquiteto para que ela possa ser mais estimuladora da sensibilidade de seus aprendizes. / This is a research on architect formation in its dimension of Art. The predominant and persistent view that to be an artist is an innate condition of some human beings has been producing difficulties in the action of creation, among the apprentices of architecture, which ignore the science discoveries about the human beings brains. Another difficulty to this formation is the present consumer and pragmatic world which interferes on the formative mission of the school of architecture institution, pretending enforced it to be a mere professional course. This scene presents a formation structure without a condition that could allow to reach the sensibility of the apprentice in order to make him perceive, feel, create spaces with his own dimensions which overcome the function of sheltering human activities: its Art dimension. This is the leitmotiv of this thesis: to propose another physiognomy to the present structure for the architect formation as a way to make it more stimulating to the sensibility of its apprentices.

Esta dissertação procura discutir como a obra de Edmund Burke, Uma Investigação Filosófica sobre a Origem de nossas Idéias do Sublime e do Belo, introduz um sentido novo de sublime, distinto daquele presente nas poéticas e retóricas clássicas, a partir do rompimento dos paradigmas da clareza e do prazer. Ao caracterizar a experiência do sublime como marcada por incertezas, ambigüidades e contradições, em que os objetos da contemplação são vistos apenas de maneira parcial e obscura, Burke descreve uma experiência que não depende do primado da visão e que, portanto, abrange os demais órgãos do sentido e seus vocábulos. Essas questões são pensadas a partir do modo como o autor reorganiza três antigas dicotomias do pensamento clássico: dor e prazer, corpo e mente, palavra e coisa. No capítulo primeiro, acerca dos pressupostos da experiência do sublime em Burke, (as paixões violentas e mistas e o sentimento de autopreservação), discutimos como prazer e dor não se articulam no autor como ganho e perda, mas enquanto relações efetivas de oposição, e como isso se mostra na fruição do espectador, sobretudo em relação aos espetáculos trágicos, sejam eles fictícios ou reais. No capítulo segundo, a descrição das paisagens vastas e ilimitadas servem de argumento para a restrição de Burke à atuação da visão na experiência do sublime. Ao ser incapaz de estabelecer os contornos do objeto que contempla o espectador se vê diante de um jogo de expectativa e surpresa (tensão e relaxamento) que mais se assemelha às ascensões e quedas de uma peça musical, ou aos movimentos respiratórios do corpo, criada por edifícios arquitetônicos e jardinspaisagens. No capítulo terceiro, discutimos a defesa de Burke de uma linguagem não imagética, que não comunica ou afeta por idéias sensíveis. Não mais vista como imagem, ou representação, a palavra ganha um estatuto de coisa em sua dimensão concreta, áspera e irregular. A poesia e a retórica também estão entre os temas debatidos, sobretudo a partir de seu contraste com a pintura e em oposição ao princípio humanista do Paragone, ou a comparação entre as artes. / This dissertation aims to make a discussion on how Edmund Burkes A Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful introduces a new sense of the sublime, distinct from the one conceived by classical poetics and rhetoric, due to its opposition to the paradigm of clarity and pleasure. Once Burke portrays the sublime experience as being tinged with uncertainties, ambiguities and contradictions, where the objects of contemplation are only seen partially and obscurely, the experience he describes doesnt depend on the supremacy of vision and, as such, comprises the other senses. These questions are tackled by looking at the way the author rearrange three old dichotomies in classical thinking: pain and pleasure, body and mind, word and thing. In the first chapter we make a discussion on the grounds of Burkes sublime experience (the violent and mixed passions and the sense of self-preservation), and how pleasure and pain are no longer thought by the author as a loss and gain relation, but as truly and effectively oppositions. This is also shown in the pleasure the spectator feels while contemplating a scene from a real or a fictitious tragedy. In the second chapter, the descriptions of vast and boundless landscapes serve Burke as a further argument on the restricted role vision plays in the sublime experience. Incapable of setting the bounds to the contemplated object, the spectator sees himself winded in a game of expectation and surprise (stress and relief) which somehow resembles the rises and falls of a musical piece, or the breath movements of the body, created by buildings and landscape gardens. In the third chapter, we discuss Burkes attack on the opinion that words communicate and affect by sensible images. Disentangled from the image, or representation, words can then be seen as things, in their tangible, rough and irregular shapes. Poetry and rhetoric are also among the topics discussed in this chapter, especially from their contrast with painting, and from Burkes opposition to the humanistic Paragons principle.