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La période de la latence est analysée à travers ses objets culturels ( jouets, livres, dessins animés, jeux vidéo). Il ressort de ce matériel que la latence élabore l’archaïque en créant des interprétations qui ont valeur de « constructions » . La question du double transitionnel est très présente, symbolisée par l’animal de compagnie imaginaire. L’éprouvé caractéristique est le sentiment de « merveilleuse étrangeté ». Le processus de symbolisation a ceci de particulier que le game soutient le play. Puis, est proposée la notion d’ « un processus de reconnaissance mutuelle » et est alors abordée la question des particularités de la latence. Enfin, la latence est interrogée au fil de l’analyse clinique du suivi de trois enfants latents en Centre médico psychologique. / Latency period is analysed through cultural material corresponding to this age ( toys, books, cartoons, vidéo games). It appears from the material that latency works up the return of the archaic by suggesting interpretations that have value of « constructions » in the sense of Freud. The question of a transitionnal double is very present and symbolized by the fictionnal pet. The characteristical experience of latency is the feeling of « wonderful strangeness ». The process of symbolization during latency is particular in the way that game induces playing. The notion of a « reciprocal acknowledgement » and finally the main features of latency taken are considered. And then latency is interrogated with three latent children at the mental health center.

Un objet ancien dont on ne se sert plus aujourd’hui continue cependant de vivre dans notre vie contemporaine. Il se présente à nous avec un autre fonctionnement et souvent avec une autre définition : ce n’est plus l’objet utile ni l’outil pratique qu’il a été. Dans cette thèse, la valeur de l’objet ancien est étudiée dans sa dimension immatérielle et spirituelle. Ainsi nous renouvellerons sa définition en réfléchissant sur son essence et sa forme d’un point du vue contemporain. La première partie de cette thèse présente les concepts de la valeur de l’objet ancien de nos jours sous un angle sociologique. Ensuite, nous proposons une approche du concept de l’objet ancien comme une chose mi-humaine mi-objet. Puisqu’un objet ancien d’une autre époque possède toujours en lui cette vie de l’époque révolue, est-ce que cet objet peut vivre comme s’il était une chose animée ? Dans la seconde partie, nous avons recherché quelles caractéristiques pouvaient donner à l’objet ancien cette sensation de vie humaine ? Peut-être tout d’abord les traces des gens qui se sont accumulées sur lui visiblement et invisiblement ? La notion coréenne de « sonté » nous a permis de traduire et d’exprimer ces traces visibles et invisibles sur l’objet ancien. Dans la dernière partie, l’objet ancien est étudié dans le domaine de l’art contemporain. Les artistes contemporains voient l’objet ancien comme un nouvel objet et lui donne une autre forme et une autre essence qui, bien souvent, est une allégorie de la destinée humaine. / An ancient object that is no longer in use today continues however to survive in our contemporary life. It is presented to us with another function and often with another definition: it is no longer the useful object nor the practical tool that it used to be. In this dissertation, the value of the ancient object is studied in its immaterial and spiritual dimensions. We will thus renew its definition by reflecting on its essence and form from a contemporary viewpoint. The first part of the dissertation presents the concepts around the value of the ancient object in our time from a sociological angle. Next, we propose an approach to the concept of the ancient object as half-human and half-object. Since an ancient object from another era always keeps within itself its life in the period gone by, could this object exist as if it were an animated entity? In the second part, we have sought what characteristics could offer the ancient object this sensation of human life. Perhaps, first of all, the traces of people that it has accumulated visibly and invisibly? The Korean notion of “sonté” allows us to translate and express these visible and invisible traces on the ancient object. In the last part, the ancient object is studied in the field of contemporary art. Contemporary artists see the ancient object as a new object and give it another form and another essence which often is an allegory of human destiny.

Made available in DSpace on 2016-04-25T20:21:43Z (GMT). No. of bitstreams: 1 CSO - Danielle Franco da Rocha.pdf: 874791 bytes, checksum: 53b89c93ff870d8813c2c325f2c66a26 (MD5) Previous issue date: 2006-10-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study is to investigate alienation and strangeness (Entfrendung) in banking work, taking as an specific case study, the analysis of the UNIBANCO employees experience in the turn of the 1990s. That is a moment of great changes in the labour world that reinforces the ways of obtaining non-paid work and the consequent imposition of value in the productive world. The specificity of this kind of work and its function in the global capital system is to transform the money commodity, which is a capacity separated from men, in interest producing capital. This process occurs and takes the appearance of money producing more money . In this context, the globalization of capital helps the huge increase in capital flow to be incorporated and done by the bank employees, which increases the contradiction to the daily bank work routine and its relationship with the social reproduction of life. Still in this sense, this study shows the role of credit in the capitalist accumulation process and its impacts in Brazilian economy. In this sense, the labour banking world, as a true agent, entails the whole system of human life production in which labour becomes stranged in its alienated form / Esta pesquisa pretende problematizar o estranhamento no trabalho bancário tomando a particularidade do trabalho no UNIBANCO na virada da década de noventa. Momento de grandes transformações na esfera do mundo do trabalho enuncia o acirramento das formas de extração do trabalho não-pago e a conseqüente imposição da realização do valor produzido no mundo produtivo. A especificidade desse trabalho e sua função dentro do sistema global do capital é transformar a mercadoria-dinheiro, capacidade alienada do homem, em capital produtor de juros, num processo que toma a aparência de dinheiro criando mais dinheiro. No bojo desse processo, a mundialização dos capitais coopera para que o vultuoso aumento dos fluxos desses capitais seja incorporado e realizado pelo trabalho bancário, fator intensificador das contradições no chão de banco e no seu inter-relacionamento com a reprodução social da vida. Ainda nessa direção, a investigação aponta para o papel do crédito na acumulação capitalista e seus impactos na economia brasileira. Atuando de forma contraditória, esse crédito é, ao mesmo tempo, - alavanca e estrangulamento da expansão da acumulação brasileira. E o mundo do trabalho como seu verdadeiro agente, impulsiona e viabiliza todo um sistema de produção da vida humana em que seu trabalho torna-se hostil e, portanto, estranhado

Made available in DSpace on 2016-04-26T14:56:08Z (GMT). No. of bitstreams: 1 CSO - Danielle Franco da Rocha.pdf: 874791 bytes, checksum: 53b89c93ff870d8813c2c325f2c66a26 (MD5) Previous issue date: 2006-10-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The objective of this study is to investigate alienation and strangeness (Entfrendung) in banking work, taking as an specific case study, the analysis of the UNIBANCO employees experience in the turn of the 1990s. That is a moment of great changes in the labour world that reinforces the ways of obtaining non-paid work and the consequent imposition of value in the productive world. The specificity of this kind of work and its function in the global capital system is to transform the money commodity, which is a capacity separated from men, in interest producing capital. This process occurs and takes the appearance of money producing more money . In this context, the globalization of capital helps the huge increase in capital flow to be incorporated and done by the bank employees, which increases the contradiction to the daily bank work routine and its relationship with the social reproduction of life. Still in this sense, this study shows the role of credit in the capitalist accumulation process and its impacts in Brazilian economy. In this sense, the labour banking world, as a true agent, entails the whole system of human life production in which labour becomes stranged in its alienated form / Esta pesquisa pretende problematizar o estranhamento no trabalho bancário tomando a particularidade do trabalho no UNIBANCO na virada da década de noventa. Momento de grandes transformações na esfera do mundo do trabalho enuncia o acirramento das formas de extração do trabalho não-pago e a conseqüente imposição da realização do valor produzido no mundo produtivo. A especificidade desse trabalho e sua função dentro do sistema global do capital é transformar a mercadoria-dinheiro, capacidade alienada do homem, em capital produtor de juros, num processo que toma a aparência de dinheiro criando mais dinheiro. No bojo desse processo, a mundialização dos capitais coopera para que o vultuoso aumento dos fluxos desses capitais seja incorporado e realizado pelo trabalho bancário, fator intensificador das contradições no chão de banco e no seu inter-relacionamento com a reprodução social da vida. Ainda nessa direção, a investigação aponta para o papel do crédito na acumulação capitalista e seus impactos na economia brasileira. Atuando de forma contraditória, esse crédito é, ao mesmo tempo, - alavanca e estrangulamento da expansão da acumulação brasileira. E o mundo do trabalho como seu verdadeiro agente, impulsiona e viabiliza todo um sistema de produção da vida humana em que seu trabalho torna-se hostil e, portanto, estranhado

Orientador: Jun Takahashi / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Fisica Gleb Wataghin / Made available in DSpace on 2018-08-11T10:21:35Z (GMT). No. of bitstreams: 1 Vasconcelos_GeraldoMagelaSeverino_M.pdf: 4363414 bytes, checksum: 50c5bd667b62ccab57088d6b77e1ec81 (MD5) Previous issue date: 2008 / Resumo: As colisões de íons pesados em energias relativísticas permitem estudar o comportamento da matéria nuclear em condições extremas de temperatura e alta densidade de energia. Nessas condições, espera-se uma transição de fase da matéria onde seria formado um estado de quarks e glúons livres, conhecido como Plasma de Quarks e Glúons (QGP). Com o objetivo de estudar a formação deste novo estado e suas características, o experimento STAR, situado no Laboratório Nacional de Brookhaven, Nova Iorque, mede vários canais observáveis das colisões de íons pesados. Uma das marcas da formação do QGP é o aumento da produção de estranheza. O objetivo deste trabalho foi estudar a produção dos bárions multi-estranhos X e W produzidos nas colisões de Cu+Cu com energia de 62,4 GeV=A no referencial do centro de massa (CM), medidos no experimento STAR. Foram obtidos os espectros de momento transverso dessas partículas e a partir deles foi extraída a abundância de produção por unidade de rapidez na região de rapidez central (dN=dy)y=0. A produção desses bárions foi comparada com os resultados de um outro sistema (Au+Au) na mesma energia para estudar a dependência da produção de estranheza em função do tamanho do sistema formado. Os resultados mostraram que a produção de estranheza cresce com o tamanho do sistema, e que este aumento é ligeiramente maior para o sistema de Cu+Cu do que Au+Au. Os resultados deste trabalho são inéditos e complementam um estudo sistemático da produção de estranheza. Também são importantes para a compreensão dos mecanismos de produção de estranheza em diferentes energias / Abstract: Relativistic heavy-ion collisions allow us to study the behavior of nuclear matter at extreme conditions of temperature and energy density. In these conditions, we expect a phase transition of matter where a free state of quarks and gluons would be formed, and that is known as Quark-Gluon Plasma (QGP). With the aim to study this new state of matter and its features, the STAR experiment was built at BNL (Brookhaven National Laboratory), New York. The STAR experiment measures many observables of heavy-ion collisions and in particular, the strangeness enhancement in QGP is of special interest. The aim of this work was the study of multi-strange baryon production, X and W , at collisions of Cu+Cu in the center of mass energy of 62.4 GeV=A measured at the STAR experiment. Transverse momentum spectra and integrated yields for X and W at mid-rapidity are presented in this work. We also compared Cu+Cu and Au+Au systems in order to study the dependence of strange particle production with the system size. The results showed that strangeness production enhances with the system size, and strange baryons yields in Cu+Cu are slightly larger than Au+Au for the same energy. The new results obtained here complement a systematic study of strangeness production in heavy ion collisions and are important to understand the strangeness particle production mechanism in different energies / Mestrado / Física Nuclear / Mestre em Física

Alors que les individus dans la société contemporaine sont unis non par une propriété mais par un devoir et par une dette, par un manque, par une limite prenant la forme d’une charge pour celui qui en est affecté, la postmodernité rend à la mort et à l’absence toute sa densité. À travers la répétition, entre jubilation et désespérance, les artistes figurent la temporalité de l’épreuve par une écriture qui travaille l’instant. Ils racontent ces évènements infimes qui sont les plus fragiles, les plus précaires, ayant pourtant une forte efficacité. Il s’agira ici d’étudier les nouvelles postures devant l’événement historique, quand l’artiste se tient au plus singulier. / While individuals in contemporary society are united not by property but by a duty and a debt, a lack, by a limit taking the shape of a responsibility for the one who is affected, postmodernism returns to death and absence all its density. Through repetition, between jubilation and despair, the artist represents the temporality of the event. His writing works the moment. He tells these tiny events that are the most fragile, the most precarious, having nevertheless a strong efficiency. This thesis will try to study the new postures in front of the historic event, when the artist stands in the most singular.

Concentrating on six plays in the 1610s, this thesis explores the ways theatrical visual effects described as “strange” channel the period’s moral anxieties about rhetoric, technology, and scepticism. It contributes to debates in repertory studies, textual and material culture, intellectual history, theatre history, and to recent revisionist considerations of spectacle. I argue that “strange” spectacle has its roots in the materialisation of morality: the presentation of moral ideas not as abstract concepts but in physical things. The first part of my PhD is a detailed study of early modern moral philosophy, scepticism, and material and textual culture. The second part of my thesis concentrates on Shakespeare’s Cymbeline (1609-10) and The Tempest (1611), John Webster’s The White Devil (1612), and Thomas Heywood’s first three Age plays (1611-13). These spectacular plays are all written and performed within the years 1610-13, a period in which the changes, challenges, and developments in both stage technology and moral philosophy are at their peak. I set these plays in the context of the wider historical moment, showing that the idiosyncrasy of their “strange” stagecraft reflects the period’s interest in materialisation and its attendant moral anxieties. This thesis implicitly challenges some of the conclusions of repertory studies, which sometimes threatens to hierarchise early modern theatre companies by seeing repertories as indications of audience taste and making too strong a divide between, say, “elite” indoor and “citizen” outdoor playhouses. It is also aligned with recent revisionist considerations of spectacle, and I elide divisions in criticism between interest in original performance conditions, close textual analysis, or historical-contextual readings. I present “strangeness” as a model for appreciating the distinct aesthetic of these plays, by reading them as part of their cultural milieu and the material conditions of their original performance.

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration. / Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show.

Les trois premiers récits de Nelly Arcan présentent des narratrices (Putain, 2001 ; Folle, 2004) et des protagonistes (À ciel ouvert, 2007) habitées par un état d’absence à soi et au monde. Paraissant n’être jamais tout à fait là, elles ont en commun une présence au monde spectrale ainsi qu’un sentiment de vacuité dont émerge le désir de pousser à son paroxysme l’effacement de soi. C’est à ces personnages féminins dont la subjectivité paraît rompue d’emblée que s’intéresse ce mémoire, en proposant de qualifier cet état trouble de « dépersonne », terme employé par Marguerite Duras pour décrire l’héroïne de son roman Le ravissement de Lol V. Stein (1964) avec qui les personnages d’Arcan partagent plusieurs ressemblances mais aussi certaines divergences. Il s’agira d’interroger, dans une perspective féministe et à la lumière des concepts psychanalytiques de l’inquiétante étrangeté et du stade du miroir, les manifestations et conséquences de la « dépersonne » en postulant qu’elles s’articulent principalement autour du rapport qu’entretiennent ces figures féminines à leur corps-objet et à l’altérité. Il sera question du décalage entre la conscience et le corps que produit « l’acharnement esthétique » qui cristallise l’image d’un vide intérieur et inscrit sur le corps et dans la psyché le paradoxe spectral d’une présence/absence. De cette obsession du corps naît également une difficulté à se différencier de l’autre féminin, de sorte que se profilent l’inquiétante figure du double ainsi qu’une conception sérielle de la féminité, lesquelles compliquent un rapport à autrui déjà fragilisé par un besoin désespéré, chez ces personnages, d’être vues et désirées, comme pour éprouver leur propre réalité sans cesse remise en doute. / Nelly Arcan’s first three publications feature narrators (Putain, 2001; Folle, 2004) and characters (À ciel ouvert, 2007) afflicted by a state of absence from themselves and the world. Seemingly never quite there, they share a spectral presence, and a sense of emptiness from which emerges a desire to bring their self-effacement to its completion. This dissertation focuses on these female characters whose subjectivity seems fractured from the outset, proposing to name this troubled state “dépersonne”, a term used by Marguerite Duras to describe the protagonist of her novel Le ravissement de Lol V. Stein (1964), with whom Arcan’s characters share many similarities but also some divergences. From a feminist perspective, and in light of the psychoanalytical concepts of the uncanny and the mirror stage, this research will examine the manifestations and consequences of this “dépersonne”, postulating that they mainly revolve around these female figures’ relationship to their bodies and to others. It will analyse the offset between the conscience and the body that is produced by the relentless work the characters operate on their physical appearance, which is called by Arcan “l’acharnement esthétique” and which crystallizes the image of an inner void and inscribes on the body and psyche the spectral paradox of a presence/absence. This obsession also creates a difficulty in differentiating oneself from the feminine Other: this evokes the troubling figure of the double and a serial conception of femininity, both of which complicate a relationship to alterity that is already fragilized by a desperate need in Arcan’s characters to be seen and desired, as to test their own reality constantly called into question.