Made available in DSpace on 2016-04-29T13:31:17Z (GMT). No. of bitstreams: 1 Rodrigo de Oliveira Feitosa Vaz.pdf: 2224647 bytes, checksum: b67c795b4c4173a9c7d1d07d5ed4c712 (MD5) Previous issue date: 2015-04-06 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This thesis deals with the practices of care on harm reduction (forged in a context/field of fights) that challenges its constitution as an effective common policy for alcohol and other drugs. The Cartographic attention used as a methodology in this study, sets out to follow the daily life of care practices in harm reduction undertaken by a living center for drug users in social vulnerability in the city of São Paulo - Centro de Convivência É de Lei. The following activities were accompanied and observed in the Center: team meeting; assembly; Chá de Lírio; and video and hip hop workshops. During the activities, a team that produced ways of care was formed through participant observation and daily life conversations (in a way that all participants had a good neighborly relation). From these actions, it was possible to extract some clues for the analysis. It was also used as field analysis the notion of self care in Foucault, and we situated the emergency and the paths of health policies in regard to the use of psychoactive substances and the ways that harm reduction appears in it. Such practices, that we named as cuidar con-vivendo/con-viver cuidando (Care living together / live together care), constitute a certain precarious dimension and challenge, when harm reduction becomes a war machine, a narrow defile. We consider that such proposals of the care center are also affirmed when passing borderlines and crossroads / Esta dissertação se debruça sobre as práticas de cuidado em Redução de Danos forjadas em um contexto/campo de lutas que desafiam a sua constituição enquanto uma efetiva política do comum para álcool e outras drogas. Nosso trabalho, ao utilizarmos da atenção cartográfica como metodologia, propõe-se a acompanhar o cotidiano de práticas de cuidado em Redução de Danos empreendidas por um centro de convivência para usuários de drogas em vulnerabilidade social na cidade de São Paulo o Centro de Convivência É De Lei. Foram acompanhadas algumas das atividades do Centro: reunião da equipe, assembleia, o Chá-de- Lírio, as oficinas de vídeo e hip hop, quando pudemos, por meio de observação participante e de conversas no cotidiano, nos colocando numa relação de vizinhança com conviventes e equipe nos modos de produzir o cuidado e delas extrair nossas pistas de análise. Tomamos também como campo de análise a noção de cuidado de si em Foucault e situamos a emergência e os trajetos das políticas de saúde relativas ao uso de substâncias psicoativas e os modos como a Redução de Danos aí comparece. Tais práticas que nomeamos de um cuidar con-vivendo/con-viver cuidando, constituem-se numa certa dimensão precária e desafiadora, quando a Redução de Danos se faz máquina de guerra, desfiladeiro estreito. Consideramos ainda, que tais propostas de cuidado do Centro se afirmam também pelas encruzilhadas e fronteiras por onde passa

Made available in DSpace on 2016-04-25T20:21:29Z (GMT). No. of bitstreams: 1 Flavia Lucchesi de Carvalho Leite.pdf: 8227727 bytes, checksum: 69c6ad3cff4c1371abee5ecbdab5c429 (MD5) Previous issue date: 2015-07-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The riot grrrl, a feminist strand of the punk movement, appeared in the early 1990 s in the United States. They were tired with the male chauvinist conduct and minor fascisms imposed on their lives also inside the punk movement. These girls created a new way of life that strengthened their struggle against such conduct. Whether the rocker women who preceded the riot grrrl faced obscure paths to produce their rock and roll, the riots emerged a new way of writing, playing, and singing: they liberated their howl. They drew from the rock maxim sex, drugs and rock and roll and were thus considered by many: sluties. The riot grrrl adopted this word and experienced their sex liberated from the control of sexuality and macho violence. Faced with increased girls interest in the riot grrrl, the music market tried to invest in them but failed since the girls had an clear anti-capitalist attitude, which was radicalized by the Russian riots Pussy Riot around 20 years later. In this sense, the musical market launched products and entertainers that could capture the latent unrest of the young girls attracted by the riots, targeting them as potential consumers. Instead, the market launched rock pop women singers moderately foul-mouthed, or they launched popstars who used a certain feminist discourse that today is largely known as veracity of market. Far from the riot howl against male chauvinism, the women popstars assumed the family and the feminine discourse. In hand against the market and surpassing the riot scene appeared an anonymous girls association, the Pussy Riot, creating their performances by direct action based on feminist punk rock in the streets and private properties of Moscow. This thesis has intent to show the metamorphosis of riot grrrl war machine in the society of control / O riot grrrl, vertente feminista do movimento punk, eclodiu no início dos anos 1990, nos Estados Unidos. Esgotadas com as condutas machistas e os pequenos fascismos que incidiam sobre as suas vidas também no interior do punk, essas garotas inventaram um novo estilo de vida que as fortaleceu no embate contra essas condutas. Se as mulheres roqueiras que as procederam foram empurradas por caminhos tortuosos para conseguirem fazer seu rock n roll, as riots irromperam uma nova maneira de escrever, tocar e cantar: liberaram seu berro. Se ao provarem da máxima roqueira sexo, drogas e rock n roll as mulheres eram tidas como sluties [vadias], as riots se apropriaram dessa palavra e experimentaram seu sexo livre do governo da sexualidade e das violências do macho. Diante do crescente interesse de garotas pelo riot, o mercado da música investiu em contratá-las, mas foi recusado pela atitude anticapitalista anunciada por elas e radicalizada pela riots russas da Pussy Riot, cerca de 20 anos depois. Assim, o mercado lançou produtos e entertainers que pudessem capturar a inquietação latente daquelas jovens que se atraiam pelo riot e fazê-las potenciais consumidoras. De um lado, lançaram cantoras de pop rock moderadamente desbocadas, de outro, lançaram popstars que enunciaram um certo discurso feminista que hoje ganha amplitude como veridicção de mercado. Diferente do berro riot contra as condutas machistas, essas popstars reafirmam a família e a conduta feminina. Na contramão do mercado e avançando para além da cena riot, acontece a Pussy Riot, associação de garotas anônimas que faz suas obras por ação direta ao som de punk rock feminista pelas ruas e estabelecimentos privados de Moscou. Esta dissertação procura mostrar as metamorfoses da máquina de guerra riot grrrl na sociedade de controle

Made available in DSpace on 2016-04-26T14:55:29Z (GMT). No. of bitstreams: 1 Flavia Lucchesi de Carvalho Leite.pdf: 8227727 bytes, checksum: 69c6ad3cff4c1371abee5ecbdab5c429 (MD5) Previous issue date: 2015-07-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The riot grrrl, a feminist strand of the punk movement, appeared in the early 1990 s in the United States. They were tired with the male chauvinist conduct and minor fascisms imposed on their lives also inside the punk movement. These girls created a new way of life that strengthened their struggle against such conduct. Whether the rocker women who preceded the riot grrrl faced obscure paths to produce their rock and roll, the riots emerged a new way of writing, playing, and singing: they liberated their howl. They drew from the rock maxim sex, drugs and rock and roll and were thus considered by many: sluties. The riot grrrl adopted this word and experienced their sex liberated from the control of sexuality and macho violence. Faced with increased girls interest in the riot grrrl, the music market tried to invest in them but failed since the girls had an clear anti-capitalist attitude, which was radicalized by the Russian riots Pussy Riot around 20 years later. In this sense, the musical market launched products and entertainers that could capture the latent unrest of the young girls attracted by the riots, targeting them as potential consumers. Instead, the market launched rock pop women singers moderately foul-mouthed, or they launched popstars who used a certain feminist discourse that today is largely known as veracity of market. Far from the riot howl against male chauvinism, the women popstars assumed the family and the feminine discourse. In hand against the market and surpassing the riot scene appeared an anonymous girls association, the Pussy Riot, creating their performances by direct action based on feminist punk rock in the streets and private properties of Moscow. This thesis has intent to show the metamorphosis of riot grrrl war machine in the society of control / O riot grrrl, vertente feminista do movimento punk, eclodiu no início dos anos 1990, nos Estados Unidos. Esgotadas com as condutas machistas e os pequenos fascismos que incidiam sobre as suas vidas também no interior do punk, essas garotas inventaram um novo estilo de vida que as fortaleceu no embate contra essas condutas. Se as mulheres roqueiras que as procederam foram empurradas por caminhos tortuosos para conseguirem fazer seu rock n roll, as riots irromperam uma nova maneira de escrever, tocar e cantar: liberaram seu berro. Se ao provarem da máxima roqueira sexo, drogas e rock n roll as mulheres eram tidas como sluties [vadias], as riots se apropriaram dessa palavra e experimentaram seu sexo livre do governo da sexualidade e das violências do macho. Diante do crescente interesse de garotas pelo riot, o mercado da música investiu em contratá-las, mas foi recusado pela atitude anticapitalista anunciada por elas e radicalizada pela riots russas da Pussy Riot, cerca de 20 anos depois. Assim, o mercado lançou produtos e entertainers que pudessem capturar a inquietação latente daquelas jovens que se atraiam pelo riot e fazê-las potenciais consumidoras. De um lado, lançaram cantoras de pop rock moderadamente desbocadas, de outro, lançaram popstars que enunciaram um certo discurso feminista que hoje ganha amplitude como veridicção de mercado. Diferente do berro riot contra as condutas machistas, essas popstars reafirmam a família e a conduta feminina. Na contramão do mercado e avançando para além da cena riot, acontece a Pussy Riot, associação de garotas anônimas que faz suas obras por ação direta ao som de punk rock feminista pelas ruas e estabelecimentos privados de Moscou. Esta dissertação procura mostrar as metamorfoses da máquina de guerra riot grrrl na sociedade de controle

With this study we analyse and expound the leitmotif that underlies G. Deleuze's philosophy. M. Foucault stated: "The XXI century will be Deleuzian". We will centre on G. Deleuze's first period works, above all on Différence y répétition, Logique du sens, L'Anti-Oedipe and Mille plateaux. In this works Deleuze establishes the foundations of all his further thought. It is a question of showing the way Deleuze carries out the Nietzschean proposal of reversing Platonism. Reversing Platonism is for Deleuze Thinking about the future. This Deleuzian attempt to make a real and positive philosophy of what is to become will be the subject of the first part of "The adventure of difference".The Adventure of Difference has two main moments: a) the construction of a transcendental empiricism, underlain by an aesthetics or ontology of intensity and b) the drawing up of a metaphysics of eventuation and ghost.In the second part, we tackle the reducing to practice of that philosophy in "the sqizoanalysis: a theoretical proposal, a war machine".Deleuze and F. Guattari state that squizoanalysis aims at: the capitalist machinery, its rational pathology and the irrational ground it builds upon. As well as the revolutionary mechanisms or war machine used to fight against repression powers that sap and undermine from the inside desire and the social.This task, that is by no means outside the reversal of Platonism, gets updated in two phases, the one named "Adventures and misfortunes of desire" (true history is the history of desire, Deleuze said); and the one called "The machine-like unconscious: a thousand plains do not make a mountain".In the first part, Deleuze y Guattari suggest a machine-like conception of the unconscious and of desire. L'Antioedipe develops this conception. In the second part Deleuze carries out what we might call the building, the own creation of the said unconscious, worked out in Mille Plateaux. Several approaches, several plateaux, make up the new system: rhizomatic, process of stratification, pragmatics, micropolitics, nomadology, will become now the figures of squizoanalisys. In Mille plateaux, squizoanalysis is presented as a map, a network, a diagram of lines of power that cross reality. Finally it should not be forgotten that squizoanalysis has a political and revolutionary side, or even better, it intends to be a revolutionary practice of political-wishing liberation and of free experimenting. "Thinking is experimenting, creating!" ¡What better reversal of Platonism!Terms: abstract machine, agencyment, body without organs, consistency plane, countenancing, war machine, reversal of Platonism, squizoanalysis, difference, repetition, micropolitics, nomadology. / .El objetivo de este estudio es analizar y exponer el motivo que recorre toda la filosofía de G. Deleuze.Su amigo M. Foucault, anunció: "El siglo XXI será deleuziano". Nos centraremos en las obras de la primera etapa, sobre todo en "Différence y répétition", "Logique du sens", "L'Anti-Oedipe " y "Mille plateaux" En ellos Deleuze sienta los fundamentos de todo su pensamiento posterior. Se trata de exponer cómo Deleuze realiza en la práctica la propuesta nietzscheana de llevar a cabo la inversión del platonismo. Invertir el platonismo es para Deleuze pensar el devenir.La tentativa deleuziana de hacer una verdadera y positiva filosofía del devenir será el tema de la primera parte "La aventura de la diferencia".La aventura de la diferencia consta de dos momentos principales: a) la construcción de un empirismo trascendental al que subyace una estética u ontología de las intensidades y b) la elaboración de una metafísica del acontecimiento y del fantasma. En la segunda parte, abordamos el momento de la puesta en práctica de dicha filosofía en "El esquizonálisis: una propuesta teórico práctica, una máquina de guerra".Deleuze y F. Guattari afirmar que el esquizoanálisis tiene por objetivo: la máquina capitalista, su patología racional y la irracionalidad sobre la que se levanta; así como los mecanismos revolucionarios o máquina de guerra con la que luchar contra los poderes de la represión que socavan y minan desde dentro el deseo y lo social. Esta tarea, que en absoluto es ajena a la inversión del platonismo, se actualiza en dos etapas, la titulada "Las aventuras y desventuras del deseo" (La verdadera historia es la historia del deseo, dirá Deleuze); y la titulada "El inconsciente maquínico: Mil planicies no hacen una montaña"En la primera parte, Deleuze y Guattari proponen una concepción maquínica del inconsciente y del deseo. Ésta es desarrollada en L'Antioedipe. En la segunda Deleuze lleva a cabo lo que podríamos llamar la construcción, la creación misma de dicho inconsciente, elaborada en Mille Plateaux. Diversas aproximaciones, diversos plateaux, forman el nuevo sistema: rizomática, estratoanálisis, pragmática, micropolítica y nomadología, serán ahora las figuras del esquizoanálisis. En Mille plateaux, el esquizoanálisis se nos presenta como una cartografía, diagrama o mapa de las líneas de fuerza que atraviesan lo real. Finalmente no hay que olvidar que el esquizoanális tiene una vertiente política y revolucionaria, o mejor, pretende ser un ejercicio revolucionario de liberación político-deseante y de libre experimentación. ¡Pensar es experimentar, crear! ¡Qué mayor inversión del platonismo!

赫爾曼．梅爾維爾(Herman Melville)的小說《白鯨記》(Moby-Dick, 1851)以其極富深度的思維吸引著讀者，並將捕鯨船上的生活百態萌發為哲學領域的思考。《白鯨記》富有多重意義的特徵使之不乏多面向的解讀，其中若以「海上旅行」作為分析的視角切入，《白鯨記》的成就將益加彰顯。《白鯨記》體現了旅行者如何因心態的不同影響其感知，在伊息默爾(Ishmael)所重述的故事中，以「遇見他者」(encounter the other)的論點觀之，能夠促進存在於伊息默爾與亞哈船長(Captain Ahab)之間相異處的瞭解。自兩者身為彼此殊異的旅行者的對比中，探討旅行者是否真實地「遇見他者」與經歷轉變的過程，本論文將伊息默爾視為能夠真實「遇見他者」的旅行者，亞哈則因其狹隘的復仇心態導致他無法獲得「遇見他者」的機會。 　　緊接著檢視不同旅行者的探討後，對於旅行者更深層的審視將以德勒茲(Gilles Deleuze)與葛塔力(Félix Guattari)的「游牧理論」(nomadology)進行推論，從游牧推衍的概念如：「戰爭機器」(war-machine)與「國家機器」(the State apparatus)，適以處理由伊息默爾、亞哈船長與莫比．迪克(Moby Dick)所構築的關係維度。以啟迪於游牧學的反抗思維進行分析，使得亞哈的捕鯨之旅不再僅是被動地受對莫比．迪克的仇恨牽引，更是蘊藏著亞哈本身具備的能動性。游牧理論能夠開展無法以偏執狂(monomaniac)化約亞哈的特質，讓對亞哈追逐莫比．迪克的解析更形豐富，亞哈不僅具備「國家機器」的控制作為，也擁有「戰爭機器」的抵抗能力。此外，本論文更援引德勒茲與葛塔力的「變成動物」(becoming-animal)理論藉以瞭解亞哈與莫比．迪克之間可能的（變成）關係，「變成」(becoming)理論的應用並非強調外在型體上的相似，而是闡述亞哈身處與莫比．迪克居中關係內所經歷的非形體轉變，亞哈透過「逃逸線」(lines of flight)的模式，使之身處「變成莫比迪克」(becoming-Moby Dick)的進程，藉以顯示其強烈欲望的能量流動。 　　總體上，本論文旨在將「游牧」與「變成」理論的特質帶入《白鯨記》的文本中，產生進一步的對話空間，能使讀者從僅視《白鯨記》為單純冒險式的捕鯨敘事中進入「游牧思想」體現的思辨過程。 / Herman Melville’s Moby-Dick (1851) captivates readers with its exuberance and renders the experiences of shipboard life into a source of philosophy. Moby-Dick bears manifold characteristics worthy of exploration. Among the multiple entries into the literary research, Moby-Dick’s achievement becomes evident when being analyzed from the perspective of sea journey. Moby-Dick manifests how a traveler’s mind-set influences her/his perception along the way on the sea journey. In light of encounters with the other, Ishmael’s recounted narrative assists in the understanding of the distinction between him and Captain Ahab as different travelers. The contrast between Ishmael and Ahab concerns whether they really encounter the other and undergo transformation. This thesis considers Ishmael as a traveler who really encounters the other while Ahab keeps his one-track mind-set on his revenge, which halts the chance for his encounter with the other. Following the examination of different travelers, Gilles Deleuze and Félix Guattari’s nomadology would be applied to further the reading of travelers. The triangular dimension among Ishmael, Ahab and Moby Dick is interpreted with the concepts derived from nomadology such as a war-machine and the State apparatus. Mainly focused on the power of resistance highlighted from nomadology, Ahab’s whale hunt deserves more attention to mobility rather than to the passiveness channeled by his revenge upon Moby Dick. More than what the monomaniac can show, the theory of nomadology would potentially enrich the analysis of Ahab’s pursuit of Moby Dick. Ahab plays both a role of the controlling force like the State apparatus and a role of the resisting power like the war-machine. Besides nomadology, Deleuze and Guattari also employ becoming-animal to suggest the possible inspirational resonance between Ahab and Moby Dick. Instead of an emphasis on the physical resemblance, “becoming” sheds light on the incorporeal transformation which Ahab undergoes within the in-between relationship with Moby Dick. Through his “lines of flight,” Ahab has been involved in becoming-Moby Dick to assert his energy flow out of the intense desire. Overall, this thesis aims at generating more dialogue by bringing nomadology and becoming in the context of Moby-Dick. This incorporation would allow readers to consider Moby-Dick as the manifestation of Deleuze and Guattari’s “nomad thought” rather than as a mere whale-hunting story of adventure.

[pt] A dissertação recorta o período inicial da trajetória artística e afetiva da atriz Helena Ignez, desde sua infância e juventude, na primeira metade do século XX em Salvador, até o início dos anos 70, no Rio de Janeiro, com foco na personagem Angela Carne e Osso, protagonista do filme A Mulher de Todos (1969). Adota narrativa estruturada por microplatôs que se entrecruzam e são conduzidos pela voz da atriz em primeira pessoa, mesclada à ambientação histórica e à reflexão teórica, centrada nos conceitos de máquina de guerra e de hipersensibilidade dos corpos. Nessa construção múltipla e multifacetada observam-se marcas identitárias difusas, em que aspectos dos agenciamentos de sua vida e de sua personagem apontam para o nosso desejo de diálogo com a contemporaneidade. Passando por sua formação na Escola de Teatro da Universidade Federal da Bahia, a relação artística e afetiva com o cineasta Glauber Rocha, a sua atividade como atriz profissional, em teatro e cinema, e o seu acoplamento com o diretor Rogério Sganzerla, a partir das filmagens de O Bandido da Luz Vermelha (1968) o trabalho fecha seu enquadramento no filme A Mulher de Todos, experimento cinematográfico considerado até hoje ímpar, pelo ineditismo na representação de um feminino desviante. Como efeito desse filme a dissertação toca nos sete longas-metragens protagonizados pela atriz, logo após, e sob influência de A Mulher de Todos, em agenciamento com os diretores Rogério Sganzerla e Júlio Bressane, na produtora fictícia Belair (1970). / [en] The dissertation portrays the initial period of the artistic and emotional trajectory of actress Helena Ignez, from her childhood and youth, in the first half of the 20th century in Salvador, until the start of the 1970s in Rio de Janeiro, focusing on the character Angela Carne e Osso [Angela Flesh and Bone], the protagonist of the movie the A Mulher de Todos [Everyone s Woman] (1969). It adopts a narrative structured by micro-plateaux which interlace and are driven by the actress s voice in the first person, merged with the historical setting and theoretical reflection, centered on the concepts of war machine and body hypersensitivity. In this multiple and multifaceted construction, diffuse identity marks are seen, where life and character agencying aspects point to our desire for dialogue with contemporaneity. Going through her training at the drama school of the Federal University of Bahia, the artistic and emotional relationship with filmmaker Glauber Rocha, her activity as a professional actress in theater and movies, and her connection with the director Rogério Sganzerla, during the filming of O Bandido da Luz Vermelha [Red Light Bandit] (1968), the work ends with her role in the movie A Mulher de Todos, a cinematic experiment considered unique even today for its innovation in representing a deviant female. As an effect of this film, the dissertation touches on the seven feature films in which the actress played the leading role, shortly after and under the influence of A Mulher de Todos, in collaboration with Rogério Sganzerla and Júlio Bressane, in the fictional production company Belair (1970).