Дисертації з теми "Corps fragmenté"

Ce travail se propose d’étudier une esthétique propre à l’époque romantique : l’expression parla fragmentation du corps. En effet, l'esthétique romantique trouve dans la fragmentation récurrente du corps une issue à son opacité et un moyen d'exprimer au mieux l'essence du Tout. La tête et l'oeil en sont deux exemples particulièrement expressifs utilisés dans l’art. Mais c’est la main qui synthétise le mieux cette démarche esthétique : en unissant le sensible à l’intelligible, la main se fait centre de gravité de la création artistique.Le Künstlerroman et le Bildungsroman, mettent particulièrement en lumière la prégnance de ces enjeux esthétiques, tant en France qu’en Allemagne. Nous étudions de ce fait ici le Franz Sternbal deTieck, le Wilhelm Meister et le Faust de Goethe ainsi que sept contes d’Hoffmann afin de prouver la récurrence de cette esthétique au sein de genres littéraires aussi divers que le roman, le théâtre ou le conte. Ces trois genres sont également défendus par un corpus français prenant en compte l’un des bastions du romantisme hexagonal, Le Rouge et le Noir de Stendhal, en y alliant plusieurs nouvellestraitant de l’art : Sarrasine et Le Chef-d’oeuvre inconnu de Balzac, Le Fils du Titien de Musset et La Toison d’Or de Théophile Gautier. Ajouter Lélia de George Sand à notre corpus permet de prouver que cette esthétique s'étend jusqu'à l'un des plus grands succès littéraires de son époque. Enfin des oeuvres romantiques offrant au corps le premier rôle telles le Frankenstein de Mary Shelley, Fragoletta deLatouche, La Main du diable d'Alphonse Karr et La Main enchantée de Gérard de Nerval viennent renforcer notre thèse
This work deals with an aesthetics specific to the Romantic Era : the expression through thefragments of the body. For the Romantics the recurrent fragmentation of the body is indeed a solutionto its opacity and the best way to express the real nature of the Whole. The head and the eye are twostrong and meaningful examples used in arts. But the hand is definitely the fragment which bestembodies this aesthetic approach: by bringing the tangible and intelligible together, the hand becomes abridge and the centre of artistic creation.Künstlerroman and Bildungsroman highlight especially well the pregnancy of these aestheticissues both in France and Germany. Therefore Tieck's Franz Sternbald, Goethe's Wilhelm Meister andFaust will be studied in our work as well as seven tales by Hoffmann in order to prove the recurrenceof these aesthetics in various genres such as novels, plays and tales. These three genres are alsorepresented by a French corpus including one of the works of reference in terms of Romantism, LeRouge et le Noir by Stendhal, compared to several short stories dealing with the theme of arts:Sarrasine and Le Chef-d’oeuvre inconnu by Balzac, Le Fils du Titien by Musset and La Toison d’Or byThéophile Gautier. Adding George Sand's Lelia to the corpus allows us to see how this aestheticsinfluenced even one of the greatest successes of its time. At last a few Romantic works featuring thebody as main character such as Frankenstein by Mary Shelley, Fragoletta by Latouche, La Main dudiable by Alphonse Karr and La Main enchantée by Gérard de Nerval reinforce our theory

Le travail de recherche en Arts Plastiques propose de questionner et d’expliciter le processus qui conduit de l’expérience de la maladie à celle de la création. Comment le geste créateur se trouve-t-il activé, transformé par la maladie ? Le travail plastique articulé à l’écriture, tente de vérifier l’hypothèse suivante : c’est à travers le processus de fragmentation (Heinz Kohut), de rassemblement (Anne-Sophie Le Poder) et de réparation (Jeanine Chasseguet-Smirgel) que le corps, devenu créateur, se dépasse tout en reprenant chair, devient autre, traversé par ses propres peurs et douleurs, réparé ou reconstruit par leur passage. La première partie (fragmentation), qui interroge la notion d’espace, analyse des œuvres de Louise Bourgeois et Yayoï Kusama. La fragmentation du corps et sa représentation permettent-elles de figurer la manière dont l’expérience de la maladie s’incarne, s’incorpore dans la création, sans pour autant l’illustrer ? La seconde partie explore le rassemblement comme geste de conciliation avec le corps. Dans le travail de Mona Hatoum, Chiharu Shiota, ou Niki de Saint Phalle, comment le geste de rassemblement devient-il un sang qui soude (Agamben), tout en mettant à l’épreuve du regard la faille du temps ? Dans la troisième partie (réparation), la réflexion se poursuit avec les œuvres de Rebecca Horn, Berlinde de Bruyckere, et la pièce chorégraphique Körper de Sasha Waltz. Sont développées les questions de la mémoire, et de l’altérité dans le processus qui lie corps malade et corps créateur. Dans la singularité de leur plasticité, les matériaux deviennent des lieux pour réécrire le corps dans son expérience de la douleur, sans pour autant la figurer
The research in Arts suggests questioning and clarifying the process from the illness experience to creation. How is the creative gesture activated, transformed by the illness? The plastic work associated with the writing tries to verify the following hypothesis: it’s through the process of fragmentation (Heinz Kohut), of gathering (Anne-Sophie Le Poder) and mending (Jeanine Chasseguet-Smirgel) that the body, now a creator, surpasses itself while resuming flesh, turns itself into something different, through its own fear and pain, repaired or reconstructed by their passage. The first part (fragmentation), whith the notion of space, analyses Louise Bourgeois and Yayoï Kusama’s works. Does the fragmentation of the body represent the way the experience of the illness is embodied, incorporated into creation, without illustrating it? The second part explores gathering as a gesture of conciliation with the body. In Mona Hatoum, Chiharu Shiota, or Niki de Saint Phalle’s works, how does this gesture become a blood which welds (Agamben), while making us looking at a hole in time? In the third part (Repair), the reflection goes on with Rebecca Horn and Berlinde de Bruyckere ‘s works, and the choreographic play "Körper" by Sasha Waltz. Questions related to the illness and creative body will be linked to memory and otherness. In the peculiarity of their plasticity, materials become places to rewrite the body in its experience of pain, without representing it

Cette thèse est une entreprise lacanienne interdisciplinaire pour aborder la représentation de l'enfance dans The Prelude de William Wordsworth et certaines peintures de William Adolphe Bouguereau. L'enfance est une image chargée de romance, souvent associée à la glorification nostalgique de l'enfance ou à une fixation sur les enfants en tant qu'incarnations de la beauté et de la sauvagerie par excellence. Wordsworth et Bouguereau, cependant, en tant que deux romantiques canoniques, montrent que ces lectures sont intenables, car les représentations de l'enfance dans leurs œuvres d'art sont un espace sur lequel ils ont projeté leur propre intérieur en tant qu'adultes, qu'il s'agisse de sentiments agréables, tels que le sentiment d'unité, le réconfort et l'attachement ou des sentiments désagréables, tels que l'anxiété, le sentiment de perte et le deuil. L'enfance a des modalités variées dans la littérature et la peinture romantiques, mais une approche similaire de cette image est l'un des dénominateurs communs entre ces deux artistes, dont l'étude en dit long sur les époques historiques dans lesquelles ils vivaient, ainsi que leurs réponses à leur milieux Cette étude démêle également la masse des diverses idéologies de l'enfance qui dominent le 19e siècle en tant que « siècle de l'enfant, » un siècle au cours duquel artistes et militants ont écrit « pour » et/ou « sur » les enfants à des fins pédagogiques, divertissantes, idéologiques, révélatrices, historiques. Alors que Wordsworth a écrit « sur » l'enfance comme une métaphore pour approfondir les intersections psychologiques de l'enfance et de l'âge adulte, Bouguereau a pris la même position dans la majorité de ses peintures, mais il est tombé dans l'écueil de confondre « pour » et « sur » les enfants dans quelques-unes de ses peintures « misérabilistes, » qui sont aujourd'hui accusées à juste titre de romancer la misère des enfants. Cette catégorie de ses peintures n'a certainement pas considérée dans cette étude. Compte tenu de notre connaissance au XXIe siècle de l'inconscient et de ses liens avec les souvenirs d'enfance, il est révélateur de cartographier les représentations nuancées de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau à la lumière de la psychanalyse de Lacan. D'une part, Lacan, dont la thèse de doctorat était La psychose paranoïaque et son rapport à la personnalité (1932), a consacré une bonne partie de ses analyses aux paradigmes psychiques formés dans l'enfance qui définissent nos personnalités d'adultes. Il a transformé les théories trépidantes de Freud sur l'inconscient en données formalistes et structurées fondées sur les subtilités du langage. Textuel, le modèle de Lacan nous propose une approche qui prend comme point de départ les spécificités rhétoriques et sémantiques d'un texte, d'une peinture ou d'une poésie, pour mettre en évidence les opérations psychiques en jeu, ce que Peter Brooks appelle les « zones de jeu » d'un texte. La psychanalyse appliquée lacanienne peut supprimer les explications téléologiques que la plupart des approches psychanalytiques cherchent à trouver, car elle soulève des arguments plutôt que de les fermer. Avec ces considérations, cette étude vise à démêler les opérations psychiques encapsulées dans les représentations de l'enfance dans The Prelude de Wordsworth et les peintures de Bouguereau, qui s'articulent, entre autres, sur le « corps morcelé » lacanien, ces images de la désunion, de la désincarnation, de l'émasculation, ainsi que de la gestalt, qui a à voir avec l'unité et la plénitude. Ces deux concepts sont des éléments essentiels d'une « libre association » psychanalytique, car tandis que le premier signale la réalisation de la construction illusoire du moi d'un sujet, la seconde est une construction imaginaire qui a des effets constitutifs et formateurs sur l'organisme ainsi que sur la croissance psychologie des humains
This dissertation is an interdisciplinary Lacanian venture to address childhood representations in William Wordsworth’s The Prelude and some of William Adolphe Bouguereau’s paintings. Childhood is a romantically-charged image, often associated with the nostalgic glorification of childhood or with a fixation on children as the embodiments of quintessential beauty and savageness. Wordsworth and Bouguereau, however, as two canonical Romantics, prove these readings untenable, for childhood representations in their artworks is a space onto which they have projected their own innermost as adults, be it pleasant feelings, such as sense of unity, reassurance, and attachment, or unpleasant feelings, such as anxiety, sense of loss, and mourning. Childhood has variegated modalities in Romantic literature and painting, but similar approach to this image is one of the common denominators between these two artists, the study of which also unfolds a great deal about the historical epochs in which they were living, as well as their responses to their milieus as two very astute and talented observers. This study also disentangles the mass of varying child ideologies that dominates the 19th century as the “child century,” a century in which artists and activists wrote “for” and/or “about” children for pedagogical, entertaining, ideological, illuminating, historical reasons. While Wordsworth wrote “about” childhood as a metaphor to delve into the psychological intersections of childhood and adulthood, Bouguereau took the same position in the majority of his paintings, but he fell into the pitfall of confusing “for” and “about” children in few of his “miserabilist” paintings, which are today justly accused of romanticizing children’s misery. This strand of his paintings has definitely not been instanced in this study. Given our twenty-first century awareness of the unconscious and its connections to childhood memories, it is illuminating to map out nuanced childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings in the light of Lacan’s psychoanalysis. For one thing, Lacan, whose doctoral dissertation was Paranoid Psychosis and Its Relation to the Personality (1932), dedicated a great deal of his analyses to the psychic paradigms formed in childhood that define our personalities as adults. He turned Freud’s hectic theories of the unconscious into formalistic and structured data predicated on the subtleties of language. Text-oriented, Lacan’s model provides us with an approach which uses the rhetoric and semantic specificities of a text, painting or poetry, as a point of departure to bring in the fore the psychic operations at play, that which Peter Brooks calls the “play zones” of a text. Lacanian applied psychoanalysis can do away with the teleological explanations most psychoanalytical approaches seek to find, for it raises discussions rather than to close them. With these considerations, this study aims to unravel psychic operations encapsulated in childhood representations in Wordsworth’s The Prelude and Bouguereau’s paintings, which hinge on, among others, Lacanian “fragmented body” (corps morcelé), the images which have to do with disunity, disembodiment, emasculation, and so on, or gestalt matrix, which has to do with unity and wholeness. These two concepts are essential parts of a psychoanalytical “free association,” for while the former signals the realization of the illusory construct of a subject’s egos, the latter is an imaginary construct that has constitutive and formative effects on organism as well as humans’ psychological growth

Orientador: Antonio Carlos Rodrigues de Amorim
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Tecido na relação entre as imagens de Kazuo Ohno, o pensamento e as palavras escritas, este texto é o desejo de um corpo novo, de uma anatomia insurgente e fugaz. Fragmentos de carne que, juntos, não compõem um organismo, mas um corpo intensivo permeado de sombras, que agenciam linhas de fuga para a composição de um pensamento de resistência sobre o corpo. Este corpo não contém uma única unidade consciente de s i mesmo; é animado por agenciamentos desejosos, que habitam e contaminam partes deste corpo: mãos, costelas, espinha, juntos e independentes, em um corpo que se desfalece e se recria na sensação, em busca de resistências, em busca de um corpo inventivo.
Abstract: Created in the relationship between the images of Kazuo Ohno, thought and written words, this text i s the desire for a new body of an insurgent and fleeting anatomy. Together, flesh fragments do not compose an organism, but an intensive body, permeated by shadows, that evokes lines of escape to compose a resistance thought about the body. This body does not contain one unity of self-conscious; desirous assemblages animate him and also inhabit and contaminate parts of body: hands, ribs, spine, together and independent in a body that faileth and self-recreate in relationship with sensation, to find resistance, to find another inventive body.
Mestrado
Educação, Conhecimento, Linguagem e Arte
Mestre em Educação

Les Antilles françaises constituent un contexte qui est à appréhender sous les différents traits qui les caractérisent : une approche géologique et géographique, historique et économique, géopolitique ou encore, ethnique et linguistique, culturelle et magico-religieuse. Une prégnance émane de ce lieu et se fait ressentir dans les arts plastiques : le fragment et le manque.Les démarches de six artistes, concernés par cette étude, s’inscrivent dans ce contexte insulaire. Ils transposent dans leurs œuvres, selon différentes modalités, les problématiques qui préoccupent l’Archipel des Antilles. Trois artistes de la Guadeloupe : Michel Rovelas, Christian Bracy, François Piquet, et trois artistes de la Martinique : Ernest Breleur, Christian Bertin, Chantal Charron, sont étudiés, et leurs travaux analysés selon leurs données plastiques, iconiques, procédurales et sémantiques. Ces plasticiens qui prennent des libertés vis-à-vis des codes traditionnels de la représentation, abandonnent le principe d’imitation de la réalité. Ils privilégient une esthétique du fragment dont le déclencheur est la blès (blesse), l’insondable blessure historique. Le corps archipélique, à l’insulaire structure, en est l’objet et le sujet d’expression. Il est la figure métaphorique du monde créole.Ces « renifleur[s] d’existence »1 effectuent un travail de mémoire et d’identité dont les fondations résident dans une accumulation de faits tragiques et troublants : la traite, l’esclavage, la période coloniale, la départementalisation. Il s’agit d’une mémoire lacunaire que l’art tend à sonder
The French West Indies constructs a context which has to be apprehended from different characteristics: a geological and geographical approach, as well as a historical, economic, geopolitical, ethnic, linguistic, cultural and magico-religious approach. A resonance emanates from this place which is felt in the plastic arts: fragment and incompleteness.The approaches of six artists involved in this study subscribe to this insular context. They transpose into their works, according to different modalities, the problems that concern the French West Indies archipelago. Three artists from Guadeloupe: Michel Rovelas, Christian Bracy, François Piquet, and three artists from Martinique: Ernest Breleur, Christian Bertin, Chantal Charron, are studied, and their work analyzed according to their plastic arts, iconic, procedural and semantic information.These plastic artists, who take liberties with respect to the traditional codes of representation, abandon the principle of imitation of reality. They favor an aesthetic of “the fragment” whose generator is “la blès” (wound), the unfathomable historical wound. The archipelagic body, with an insular structure is the object and the subject of expression. It is the metaphorical figure of the Creole world.These “searchers of existence”1 perform a work of memory and identity whose foundations lie in an accumulation of tragic and disturbing facts: slave trade, slavery, the colonial period and departmentalization. It is therefore an incomplete memory that art tends to grasp

Cette recherche exploratoire tente de mieux saisir la représentation sociale des menstruations auprès d’une population de femmes et d’hommes québécois. S’inscrivant dans une approche socio-constructiviste du corps et utilisant le thème des menstruations pour en rendre compte, un questionnaire élaboré par l’auteure a été distribué selon la méthode «boule de neige»; 106 personnes (H=35 ; F=71) y ont répondu. Pour l’ensemble des participants, les résultats mettent en lumière un champ représentationnel majoritairement composé d’expressions négatives. Des prises de position différentes face aux menstruations sont remarquées entre les sexes ainsi que selon les différentes strates d’âge. Ces différences semblent tributaires à la fois du vécu expérientiel des menstruations particulier aux femmes et de la période du cycle de la vie dans laquelle se situent les participants et transitent, entre autres, par l’entremise des véhicules de transmission que sont les expressions populaires et les publicités des produits sanitaires.

Ce travail de maîtrise présente mon Programme de découverte spatiale pour ceux qui mélangent les chiffres et la poésie : S⁴DP+. Ce projet fictif aux allures d’un récit de voyage science-fictionnel aborde l’écart entre le réel et la fiction, le vrai et le faux et les questions relationnelles entre l’instance auctoriale et l’instance narrative comme hypothèse à un syncrétisme discursif, où le discours théorique et conceptuel agirait de pair avec le discours sensible de l’œuvre. Mon travail repose principalement sur les travaux du spécialiste en narratologie Gérard Genette qui me permettent de présenter l’univers diégétique comme un laboratoire expérimental. Incidemment, par le biais d’un monde fictionnel, je propose la construction d’une connaissance alternative libérée des contraintes du réel et qui a comme objectif de produire une xéno-encyclopédie, c’est-à-dire un nouveau système sémantique en continuelle évolution indexée sur l’œuvre fictive. L’éclectisme, la diversité et l’hétérogénéité sont donc au cœur de cette entreprise liée à la connaissance et se matérialisent dans une approche artistique multidisciplinaire. En passant par l’installation et la scénographie, mes œuvres abandonnent l’autonomie de l’objet au profit d’un régime de l’ensemble. Présentées comme des fragments diégétiques ou métafictionnels, elles créent un effet de monde à travers l’immersion perceptive, l’association sémantique, la linéarité indéterminée et le pessimisme épistémique. Ce projet s’inscrit également dans une pratique qui se veut temporelle, évolutive et dont l’ensemble ne sera perceptible qu’à travers un procédé d’archivage. Chaque exposition devient alors un corpus circonstanciel à reconstruire dans le temps. Je finis par présenter mon corpus qui s’apparente à celui de l’amateurisme professionnel regroupant peintures, photographies, photogrammes, vidéo-performance, sculptures et sons. Il est bâti, à l’aide d’une stratégie narrative empreinte d’autofiction, sur la rencontre du théorique et du sensible où l’espace-temps est investi par les chiffres, la poésie et la mélancolie.

Les phrases averbales se distinguent des fragments car (es premières sont analysées comme des structures non elliptiques dont la tête est réalisée par une partie du discours différente du verbe fléchi, alors que les deuxièmes sont des structures dont la tête ou l'argument sélectionné est elliptique. Cette thèse en présente une typologie et une étude sur leur emploi dans un corpus oral de l'espagnol contemporain (CORLEC) composé de 63000 énoncés de genres différents, classés en monologiques et dialogiques. Cette typologie distingue deux types propres aux phrases averbales : polaires et existentielles, ainsi que deux types propres aux fragments : modifieurs et argumentaux, à tête verbale elliptique. Le reste des types (épistémiques, évaluatives et illocutoires) forment aussi bien des phrases averbales que des fragments, qui se distinguent par leur structure syntaxique : les fragments correspondent à des phrases averbales avec un argument elliptique. L'analyse du corpus montre que les phrases averbales et les fragments sont assez fréquents en racine (7434 items, soit 11,7'5% de tous !es énoncés du corpus), et plus rares en subordination (734 items). Elles sont aussi plus fréquentes dans les genres dialogiques que. Dans les monologiques (13 % vs. 8%). De même, en racine, les fragments sont plus fréquents que les phrases averbales, alors que les phrases averbales sont plus facilement subordonnées que les fragments. Cette analyse a donné lieu à une base des données de 8168 énoncés sans verbe, dont les phrases averbales ont été classifiées par leur structure et leur type syntaxique, ainsi que par la partie du discours de leur tête
Verbless clauses differ from fragments in their structure : the first ones are analysed as non elliptic structures where the head is a part of speech different from a tensed verb, whereas the second ones are structures where either the head or the seiected argument is elliptic. This thesis prescrits une anayse and typology of these two kinds of structures, as well as a study on their distribution in a corpus conternporary oral Spanish (CORLEC), composed by 63000 utterances of different genres, ciassified as either mariologie or dialogic. This classification distinguishes two types which are exclusif of verbiess clauses : polar and existentiel, as well as two types which are oniy found among fragments : modifieur et argumentai, with an elliptic verbal head. The remaining types (episternic, evaluative and illocutive) can form either verbiess clauses or fragments, both differing in syntactic structure : fragments correspond to verbless clauses vvith an elliptic argument. The corpus analysis shows that verbless clauses and fragments are quite frequent in root position (7434 items, that is 11,75% of the total of corpus utterances) and rare in subordination (734 items). 'They are aise) more fréquent in dialogic that : in mariologie genres (13 % vs. 8%). Furthermore, in root position, fragments are more frequent thon verbless clauses, while the latter are more easily subordinated. This analysis kas led to a data base of 8168 verbess utterances, where verbless clauses are classified by their syntactic type and structure as well as by the part of speech of the head

L'auto-portrait, les voies de l'évidement, qu'est ce que ce titre composé comme un mot-valise, renferme. Comment, de quoi, par quels moyens, dans quel but se retire-t-on ? Quel est le principe conducteur du cheminement dans l'errance d'une encre qui s'applique et fait tache ? Quel est le sujet d'un soi au travail, tantôt sujet, parfois substrat ou subjectile qui s'éclipse de l'image qui le présente, le projette et l'étale ? Contractions et rétractions qui paniquent par mouvements anadyomènes, en ressacs incessants dans la retenue d'une trace et le déchiffrement d'un paysage. Effort contenu dans la tension d'un ultime recouvrement malgré les désirs de béance et d'effraction qui entraînent les antagonismes du voilé et du déchiré, de la surcharge et de l'annihilé. Palimpsestes qui résistent à l'effacement en devenant vestiges. Où se situer entre signe, symbole et allégorie. Entre matières et immatérialité ? Jeux ambigus entre retirance et portrait, autoportrait et retirure, corps étêtés aux membres manquants, mais dos offert qui s'implique. Histoire d'empreinte, histoire d'emprunt, histoire de textes et de textures qui s'imbriquent. Temps de l'histoire, oui, mais de quel temps et de quelle histoire s'agit-il ? Passé, présent et futur éclatés et enchevêtrés. Temps constellés. Figure de proue de l'Ange de l'histoire, ange du futur benjaminien, être-ange étrange, androgyne, céleste et satanique, qui parcourt les temps comme le Goofus bird de Borgès. Et qui vole vers son futur en regardant son passé. Mémoire impossible d'un immémorial en latence ; temps labile. Vides et entre-deux, réserve et souffle, Occident et Orient mêlés. Cultures de l'Occident confondues et détachées dans l'évidement de la Kénose et le retrait du Tsimtsoum. Enchevêtrement de la mystique juive de la restauration qui se mêlent et répliquent à l'épurement conceptuel. Minimalisme et matiérisme, Tony Smith et Anselm Kiefer réunis dans cette étude qui regarde autant Mark Rothko qu' Ad Reinhardt, autant Barnett Newman que Pierre Buraglio, autant Degottex que Donald Judd. Apories sans fin dans l'écart et l'intervalle, le trait d'union et la distance, qui, en Arts Plastiques et dans cette thèse, tentent de s'expliquer

Mestrado em Arquitetura Paisagista - Instituto Superior de Agronomia - UL
Desde sempre que o Corpo, a Arte e a Paisagem caminham lado a lado, investigando-se e influenciando a cultura humana e a percepção que o Homem tem sobre cada um deles, catalisando deste modo o avanço da sociedade. Numa fase em que a própria Arte se reinventa através do Corpo Humano (enquanto suporte e dispositivo de pensamento da Arte), é sensato pensar na conexão que se estabelece entre dois elementos: esse mesmo Corpo e a Paisagem. Neste sentido é preponderante responder a algumas questões: Qual é o papel da Paisagem na sua dimensão de suporte das atividades existenciais humanas? Como é que o Corpo usufrui/permanece nessa Paisagem? Pode o Corpo funcionar como dispositivo configurador de Paisagem, através da sua infinitiva plasticidade? Como pode a nova geração de arquitetos paisagistas interpretar essa relação entre Corpo e Paisagem, e pensar o espaço segundo as especificidades de ambos? São algumas destas questões que a presente dissertação se propõe pensar, através da compreensão da utilização da Paisagem pelo Homem, não numa perspectiva de substrato biofísico mas na sua dimensão cultural. Espera-se, com essas respostas, contribuir para o processo contínuo de pensamento acerca da Paisagem Cultural como extensão do Corpo Humano. Para melhor enquadrar as ideias desenvolvidas neste processo de pensamento, propõe-se um estudo sobre pintura e fotografia representativas da Paisagem, conjuntamente com a interpretação do trabalho artístico desenvolvido pelo colectivo “Os Espacialistas”, do qual o autor atualmente faz parte, especialmente na Fundação Calouste Gulbenkian, em Lisboa.

Les relations des sociétés préhistoriques à leur environnement constituent un aspect essentiel à leur compréhension. Cet engagement envers le monde s’exprime au travers des pratiques rituelles qui en dévoilent des accès autrement inaccessibles. Les Alpes centrales du IIIe millénaire av.n.è., insérées dans une Europe en mutation (traction animale et métallurgie du cuivre), ont livré un nombre considérable d’artefacts cognitifs. Stèles, blocs d’effondrement et parois gravés s’associent, au sein de sites cérémoniels à des dépôts de pierres aux formes allusives et lithologies particulières, à des dépôts d’objets, ainsi qu’aux résidus de l’activité métallurgique. L’iconographie gravée associe images d’objets nouveaux (poignards et haches en cuivre, hallebardes en silex ou en cuivre, objets textiles), d’ornements corporels, d’action aratoire et d’un nombre considérable de figurations animales. Les usages de la pierre, du métal, de l’araire et les interactions entretenues avec les espèces animales offrent différents canaux d’investigation des relations au monde des communautés chalcolithiques centre-alpines.L’objectif énoncé nécessite l’usage d’une analyse structurale des images seule à même de révéler des articulations essentielles des systèmes graphiques dont certains aspects sont ensuite interrogés à la lumière d’autres données archéologiques. L’image qui résulte de cette étude est celle de communautés pour lesquelles l’environnement ne semble pas constituer une réalité objectivée mais apparaît partie prenante des réalités sociales
The study of interactions between prehistoric human societies and their environments is a key area of research. This engagement with the world is expressed through ritual practices that provide access to otherwise inaccessible aspects of human culture. The Central Alps of the third millennium BC, situated within a European context that was undergoing important changes (animal traction and copper metallurgy) produced a significant number of cognitive artifacts. On ceremonial sites, engraved steles, rock faces and erratic blocs were associated with deposits of stones with allusive forms and specific lithologies together with objects. Some of these ceremonial site have also produced residues of the metallurgical activity.The engraved iconography combines images of new objects (copper daggers and axes, flint or copper halberds, textiles), body ornaments, plouging, and a considerable number of animal figures. The use of stone, metal, ploughs, and interactions with animals offer different means to access to relationships between alpine chalcolithic communities and their environment.The cited goal requires the use of a structural analysis of the images in order to reveal the essential aspects of the graphic systems. The Results are then compared with other archaeological data. The picture resulting from this study reveals communities in which the environment does not seem to be an objectified reality but an element that intersects with social realities

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
The body and other landscapes: fragments from a clinical practice in process is a cartography of clinical work from the perspective of body psychotherapy. Using fragments taken from my clinical notes, I investigate and elaborate upon questions regarding proposed interventions, analyzing their effects, not only with the patients but also with the therapist who is building a clinical practice
O corpo e outras paisagens: fragmentos de uma clínica em construção é uma cartografia de um trabalho clínico na perspectiva da psicoterapia corporal. A partir de fragmentos extraídos de meu diário de campo, articulo conceitos e elaboro questões acerca das intervenções propostas, analisando os efeitos das mesmas não apenas junto aos pacientes mas também junto ao terapeuta em processo de construção

Le fragment du corps moulé, le corps qui s’effondre, réduit à une dépouille, la figure qui tend à s’effacer, se regardent comme les bribes d’une mémoire où coexiste un double mouvement : le contact et la séparation, la présence et l’écart. L’empreinte du corps en creux, signale que rien ne sera plus jamais comme avant. Le moulage dit ce qui est. Il dit le « mort » par son empreinte vivante : ce que j’ai moulé, photographié cet « incomparable air de vie » a disparu. Irrémédiablement. Pièces à conviction qui calment la perte, les fragments, le travail parfois sériel conspirent contre l’oubli, attestent d’un passage et d’une présence dont je refuse qu’ils passent, s’effacent. La séparation définitive est insupportable. C’est dans la présence de la figure déposée, devenu fragment de mémoire et dans son absence que se dialectise alors l’inacceptable et devient possible son acceptation. L’impossibilité de ralentir le cycle du temps impose toujours le sentiment d’une urgence. Mon travail est résistance. Il pose un regard mélancolique sur les choses qui changent, passent, nous échappent. Rien ne s’arrête, rien n’est défini de façon satisfaisante. C’est une réalité qui se fait à travers celle qui se défait. Une avancée se noue sur ce qui s’use ou se troue. Faire contrepoids à cette ombre omniprésente. Choisir dans les différentes ouvertures possibles, à travers le cortège des images, des figures, des choses obsédantes et trouver, provisoire, fragile et lacunaire, une réponse
The fragment of a moulded body, the body which collapses, is reduced to a corpse,the figure which tends to disappear, can be seen like pieces of a memory in which a double movement co-exists : the contact and the separation, the presence and the gap. The print of the body in hollow shows that nothing will never be like before anymore. The moulding says what exists. It says « the dead » by its living print : what I have moulded, photographed, this « incomparable air of life » disappeared. Irredeemably. Exhibits which calm the loss, the fragments, the work in series conspire against oblivion, prove the passage and a presence I refuse them to disappear. The definitive separation is unbearable. It is in the presence of the figure that I exhibit, which has become « fragment of memory » and in its absence that dialectises then in the unacceptable and its acceptance has become possible. The impossibility to slow down the cycle of time always imposes the feeling of urgency. My work is resistance. It poses a melancholic look on the things that change, pass away and that aren’t under control. Nothing stops, nothing is defined in a satisfactory way. It is a reality which is made through the one that unties. An advance ties on what is worn up or what bores a hole. Counterbalancing.this omnipresent shadow. Choosing in the different possible openings throughout a cortege of images, figures, obsessive things and finding a provisional, fragile, incomplete answer

Le Web est un environnement éphémère. Alors que de nouveaux sites Web émergent chaque jour, il arrive que certaines communautés disparaissent entièrement de la surface de la toile, ne laissant derrière elles que des traces incomplètes voire inexistantes. Face à la volatilité du Web vivant, plusieurs initiatives d’archivage cherchent malgré tout à préserver la mémoire du Web passé. Mais aujourd’hui, force est de constater qu’un mystère demeure : Pourquoi, alors qu’elles n’ont jamais été aussi vastes et aussi nombreuses, les archives Web ne font-elles pas déjà l’objet de multiples recherches historiques ? Initialement construites pour inscrire la mémoire de la toile sur un support durable, ces archives ne doivent pourtant pas être considérées comme une représentation fidèle du Web vivant. Elles sont les traces directes des outils de collecte qui les arrachent à leur temporalité d’origine. Partant de là, cette thèse ambitionne de redonner aux chercheurs les moyens théoriques et techniques d’une plus grande maniabilité du Web passé, en définissant une nouvelle unité d’exploration des archives Web : le fragment Web, un sous-ensemble cohérent et auto-suffisant d’une page Web. Pour ce faire, nous nous inscrirons dans l’héritage des travaux pionniers de l’Atlas e-Diasporas qui permit, dans les années 2000, de cartographier et d’archiver plusieurs milliers de sites Web migrants. Source principale de données à partir desquelles nous déploierons nos réflexions, c’est à travers l’angle particulier des représentations en ligne des diasporas que nous chercherons à explorer les archives Web de l’Atlas
The Web is an unsteady environment. As Web sites emerge every days, whole communities may fade away over time by leaving too few or incomplete traces on the living Web. Facing this phenomenon, several archiving initiatives try to preserve the memory of the Web. But today, a mystery remains : While they have never been so vast and numerous, why are the Web archives not already the subject of many historical researches ? In reality, Web archives should not be considered as a faithful representation of the living Web. In fact, they are the direct traces of the archiving tools that tear them away from their original temporality. Thus, this thesis aims to give researchers the theoretical and technical means for a greater manageability of the Web archives, by defining a new unit of exploration : the Web fragment, a coherent and self-sufficient subset of a Web page. To that end, we will follow the pioneering work of the e-Diasporas Atlas which allowed, in the 2000s, to map and archive thousands of migrant Web sites. Main source of data from which we will unfold our reflections, it is through the particular angle of online representations of diasporas that we will explore the Web archives of the Atlas

Le « cinématographe » de Robert Bresson vise à atteindre la vérité du réel d’une façon différente du « cinéma », considéré comme le théâtre photographié. Le cinéma de Robert Bresson, qui est également le résultat de l’application de sa théorie, est constamment dans la négativité de l’image représentative. Le montage bressonien décompose le raccord classique et fragmente l’espace narratif. Dans ce contexte, l’objet dans le cinéma de Bresson, sans appuyer sur le rôle narratif et le sens symbolique, contribue à décomposer la cohérence et la continuité du récit filmique. Comparable à la nature morte hollandaise au XVIIème siècle, la singularité de l’objet dans les films de Bresson, est sa présence non narrative. L’objet matériel et concret s’oriente généralement vers les deux aspects : d’une part, l’objet en gros plan se déconnecte de l’acte et de l’évènement et fait les imaginer dans le hors-champ. La déconnection entre l’objet présenté et l’évènement imaginaire entraîne la problématique de la discontinuité. D’autre part, l’objet, par la composition avec le corps morcelé, produit l’acte et l’évènement qui restitue le récit d’une façon fragmentaire. Cette façon de déconnecter et de fragmenter l’évènement, c’est la manière, pour l’objet, de présenter le réel. Notre étude abordera comment l’objet matériel et non narratif figure l’apparition du réel
The « cinématographe » of Robert Bresson, has the aim to reach the truth of the reality in a different way than the one commonly used in the « cinéma », considered as being the photographed theater. The cinema of Robert Bresson, which is also the result of the application of his theory, is constantly in the negativity of the represented image. The bressoniens montage breaks into parts the classic match and splits up the narrative space. In this context, the object in the cinema of Bresson, without pressing on the narrative role and the symbolic meaning, contributes to split up the coherence and the continuity of the cinematic narrative. Compared to the Dutch still life in the XVIIth century, the peculiarity of the object in the films of Bresson, is his non narrative presence. The material and concrete object turns generally towards both aspects : on one hand, the object disconnects from the act and from the event, and the disconnection involves in the question of discontinuity. On the other hand, by the composition with a part of the body, the object produces the act and the event which create the narrative in a fragmentary way. This discontinuity and the fragment is the way, for the object, of presenting the reality. Our study will devoted to approach how the material and not narrative object contribute to the appearance of the reality

Mestrado em Criação artística e contemporânea
A presente dissertação propõe um entendimento alargado das relações possíveis entre as noções de (des)ordem e as formas como se manifestam visualmente, sobretudo através da ruína. A abordagem recorrente é sobretudo suportada pelas humanidades pela própria prática artística. Procura-se entender de que forma são estas relações apropriadas e traduzidas em obras que, segundo uma perspetiva histórica, devem preservar a sua materialidade. Para tal, apresenta-se a ruína como fenómeno natural ou provocado pela ação humana, assim como nas obras ou metodologias de artistas modernos e contemporâneos. Estabelecem-se pontos de contato entre a ruína e uma estética de fragmentação que questiona a natureza da obra de arte como objeto unificado. Trabalhar com ou sobre a ruína é ou não um processo metodológico paradoxal, um que admite na construção do objeto de arte o seu potencial entrópico?
The present work proposes an extended understanding concerning the possible relations existing between the concepts of dis(order) and the ways they are visually embodied, namely through the ruin. The usual approach is mainly supported by the fields of humanities as well as by the artistic practice itself. One tries to understand the ways in which this idea is appropriated and translated into works that, through a historical perspective, must maintain their materiality. To this end, some of the most recent manifestations of the ruin (as a man-made or as a natural occurrence), works and methodologies of modern and contemporary artists are introduced. Contact points are set up between the ruin and an aesthetic of fragmentation that questions the nature of the artwork as an unified object. Working with or about the ruin is or is it not a paradoxical methodological process, one that admits within the construction of the art object its own entropic potential?

Título original: A invenção da escrita : produção de subjetividades
Orientador: Maria Rosa Rodrigues Martins de Camargo
Banca: Rosane Preciosa Sequeira
Banca: Cesar Donizeti Pereira Leite
Resumo: A pergunta pela escrita no encontro com Água Viva, de Clarice Lispector. Conceitos teóricos, sobretudo da filosofia da diferença, são usados para delinear a questão de pesquisa. Outros (con)textos, imagens e pensamentos-sensações entram na composição do trabalho. Então são tecidos dez fragmentos que passam entre os afectos entrelaçados. O texto é rasurado em fabulação. A escrita é tomada como uma experimentação ética e estética, um processo de subjetivação, marca da literatura
Abstract: The question about writing with Clarice Lispector's in Agua Viva . Theoretical concepts, especially the philosophy of difference, are used to delineate the research question. Other (con)texts, images and thoughts - sensations enter into the composition of this work. Then there are ten fragments that pass between the intertwined affects. The text is shaved in fabulation. Writing is taken as an ethical and aesthetic experimentation, a process of s ubjectivity like a feature of literature
Mestre

Orientador: Agricio Nubiato Crespo
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Ciencias Medicas
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Resumo: A correção de alterações da lâmina própria nas pregas vocais, como sulcos, cicatrizes e degenerações senis, ainda é um desafio à fonocirurgia. Materiais implantáveis e métodos de implantação são continuamente investigados. Este trabalho avaliou a utilização de enxerto de fragmento da faseia lata na lâmina própria da prega vocal de cães, estudando as alterações histológicas conseqüentes, quanto à reação inflamatória aguda e crônica, à fibrose e ã neovascularização. Doze cães adultos foram submetidos à enxertia de um fragmento de 0,3 X 0,3 cm da faseia lata na lâmina própria da prega vocal direita. Na prega vocal esquerda, o mesmo acesso cirúrgico foi reproduzido, sem colocação do enxerto. Após dois e seis meses, os animais foram sacrificados e suas pregas vocais estudadas histologicamente. A faseia não induziu resposta inflamatória, aguda ou crônica, em qualquer animal, nem desencadeou fibrose além da conseqüente ao procedimento cirúrgico, como observado no lado controle. Em todos os casos, identificou-se o tecido enxertado sem evidências de reabsorção e com aumento da neovascularização, demontrando que a faseia lata apresenta integração tecidual boa na camada superficial da lâmina própria de prega vocal de cão
Abstract: Satisfactory corrective treatment for sulcus, scar and senile alterations in the lamina propria of vocal folds is still under development. This study assessed the utilization of a fascia lata graft in the vocal fold lamina propria of dogs by analyzing the histological alterations induced by acute and chronic inflammatory reactions as well as the fibrosis triggered by graft procedure and persistence. A fragment measuring 0.3 X 0.3 cm of the fascia lata was grafted in the right vocal old lamina propria of 12 adult dogs. Identical surgical access in the left vocal fold was reproduced without introducing the graft. After periods of two and six months, the animals were sacrificed and a histological study of their vocal cords was performed. Besides the reactions resulting from the surgical procedure in the control side, the fascia did not induce an acute or chronic inflammatory reaction or trigger fibrosis in any of the animals. In all the cases, the grafted tissue did not show evidence of resorption, demonstrating that the superficial layer of the lamina propria in dogs presents good tolerance to fascia lata grafting
Mestrado
Otorrinolaringologia
Mestre em Ciências Médicas

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Este trabalho trata de identificar as contribuições do Método Natural de Educação Física, elaborado por Georges Hébert (1875-1957), um oficial da marinha de guerra e educador francês, que na primeira metade do século XX, sistematizou um conjunto de procedimentos para exercitar o corpo, e como este método contribuiu para a constituição metodológica da Ginástica Francesa. A escola francesa de ginástica foi adotada como oficial no Brasil em 1929 a partir do Regulamento Geral nº 7 do Ministério da Guerra, implementado primeiramente nas escolas militares de educação física e logo em seguida nas escolas civis. O período determinado para nossos estudos corresponde às décadas de 30 e 40 do início do século XX, período este que em nossa história corresponde à chegada de diversas teorias ginásticas que subsidiaram as discussões e nortearam a implementação de práticas corporais e educacionais na Educação Física em escolas de todo o país. Nossa pesquisa se dispõe a realizar uma análise documental - revisão de literatura - das obras literárias referentes à historiografia da Educação Física referente a este período, e em especial alguns dos escritos, artigos, e parte das obras do próprio Georges Hébert - as que foram traduzidas no Brasil - apresentando as concepções do Método Natural. O objetivo central neste trabalho será analisar as influências e contribuições teóricas deste método para a educação do corpo em nosso país, através das atividades ginásticas implementadas em aulas de Educação Física, considerando que dentro dos processos civilizatórios, a educação do corpo também se constituiu como mais um dos mecanismos de controle e disciplina social, sendo aplicado sistematicamente como uma proposta ideológica do Estado brasileiro para a formação do “novo homem” para servir o país.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPQ)
Urbanization brings many consequences such as fragmentation and degradation of the remaining forest fragments. Degradation in these fragments can negatively affect the forest species, but favor their use by open area species. Thus we aimed to investigate if tadpoles of open area species are developing, together with those of forest species, in water bodies located in forest fragments in Sao Luis Island, MA, Brazil. For this we collected tadpoles in 32 pools with varied characteristics divided into three different types of environment (open area, outer edge of the forest, and forest interior), during the years 2008 and 2009. We recorded 20 species in five families (Bufonidae, Hylidae, Leptodactylidae, Leiuperidae, Microhylidae). The environmental variables accounted for much of the variation in the abundance of tadpoles, and the percentage of vegetation in the pool, the vegetation height in the forest edge, the distance to the forest, and the depth of the pool showed significative effects. Tadpoles of open area species occured in water bodies located in the forest interior. The increased presence of generalist species, and the reproductive success of open area species in the forests indicate that these areas are impacted.
A urbanização traz diversas conseqüências como a fragmentação e a degradação dos remanescentes florestais. A degradação nesses fragmentos pode afetar negativamente as espécies de mata, mas favorecer a sua utilização por espécies de áreas abertas. Assim, objetivamos investigar se girinos de espécies de áreas abertas estão se desenvolvendo, junto com os de espécies de mata, nos corpos d’água localizados em fragmentos de mata na ilha de São Luis, MA, Brasil. Para isso coletamos girinos em 32 poças de características variadas distribuídas em três tipos de ambiente (área aberta, borda externa de mata e interior de mata), durante os anos de 2008 e 2009. Registramos 20 espécies distribuídas em 5 famílias (Bufonidae, Hylidae, Leptodactylidae, Leiuperidae, Microhylidae). As variáveis ambientais que responderam por grande parte da variação nas abundâncias de girinos foram: porcentagem de vegetação no corpo d’água, a altura da vegetação na borda da mata, a distancia para a mata e a profundidade do corpo d’água. Os girinos de espécies de área aberta ocorreram nos corpos d’água localizados na mata. Além disso a maior presença de espécies generalistas e o sucesso reprodutivo das espécies de área aberta no interior das matas indicaram que estas áreas estão impactadas.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2009.
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A presente dissertação procura analisar os percursos literário e artístico de Diamela Eltit. No palco do relato, os corpos erráticos de representantes da marginalidade latino-americana. Separadas cronologicamente e inseridas em processos políticos distintos, as narrativas se entrecruzam na experiência esmagadora do regime militar no Chile e nas contingências das políticas neoliberais dos países periféricos; ambas, responsáveis pela perda do sentido histórico e pelo desvanecimento da participação popular. A partir dos restos, Eltit constrói uma épica marginal que restitui utopicamente um lugar de centralidade ao discurso dos desvalidos, mesmo em seus silêncios. Nas obras Vaca sagrada e Lumpérica, a subversão dos códigos do poder, dor e gozo se estabelecem como mediadores entre corpo e escrita; entre o sujeito e o outro. _________________________________________________________________________________________ ABSTRACT
This dissertations aims to study the artistic and literary path of Chilean writter Diamela Eltit. On the narrative stage, representatives of latin-american marginality. Separated by chronology and inserted in different political régimes, the books intertwine in the crushing experience of the Chilean dictatorship and the contingencies of the neo-liberal policies of the peripheric countries, both responsible for the loss of historical sense and the vanishing of popular political struggle. Starting from the left-overs, Eltit builds up a marginal epic that utopically restitutes a central place to the discourse of the downcast, even in their silences. In Vaca Sagrada and Lumpérica, the subversion of power rules, pain and jouissance, in the Lacanian sense, establish themselves as mediators between body and writing, between the subject and the other.

Ce travail de recherche contribue au questionnement sur les nouveaux enjeux de conception soulevés par le design critique. À plusieurs égards, le corpus de cette thèse repose sur une histoire de la contre-histoire. Une manière de faire et de penser dont l’historicité la plus évidente se situe à la fin des années 1960, lorsque certains designers ont souhaité porter le projet vers la mise en œuvre d’un écart afin d’interroger la société par les moyens du design. Une attitude qui instaure la conception à l’instar d’une logique de la désadaptation des habitudes et des manières conventionnelles de penser. La notion de critique, du grec krinein, qui signifie «séparer», «distinguer», prend ici tout son sens en instaurant, non pas une rupture, mais un déplacement, qui aménage des entre-deux et ménage des porosités de la pensée et de la conception. De l’individu augmenté à l’individu modifié, cette thèse révèle de surcroît, l’inquiétude d’une mainmise au delà de l’invention de l’artificiel et aux abords du biologique. Au gré d’un épuisement de la question du critique en design, nous décelons des moyens de déconstruire les systèmes de la discipline et ses réinventions
This research work aims to contribute to the study of the new challenges of conception raised by critical design. In several respects the corpus of this thesis is based on a history of coun¬ter history, a way of doing and thinking whose conspicuous historicity takes place in the late sixties when a few designers decided to reconsider the notion of project and stray from the straight and narrow in order to question society through the means of design. The notion of criticism - from the Greek krinein meaning «separate», «discriminate» - takes on its full meaning by introducing a shift (not a break) which makes room for inter¬vals and allows sensitive thinking and conception. From human enhancement to human modification, this thesis also reveals a number of concerns which go beyond the invention of artificial means and touch upon biological aspects. Considering that the critical dimen¬sion in the field of design has been exhausted, this research highlights a few ways to deconstruct the operating principles of this discipline as well as its reinventions

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The theme of this research is to build simulations of the fragmented body and its role as an operator of the meaning and interaction of the individual in the contemporary. The research objectives are: to analyze the role of the organization figurative and plastic, the thematization of the body, the figuration of the whole and the parts that link to different treatments of the subject and intervene in the narrative and discursive interactions, study of social meaning and visibility through the interactional relations arranged by the use of expressive audiovisual system, the description of the procedures enunciative, the apprehension of the individuals in interaction and processing a esthesic sense of body self and other. The methodological basis of the research is based on Discursive Semiotics of Algirdas Julien Greimas and his associates, in the Semiotics of Plastic Jean-Marie Floch, in the field of social interactions formalized by Eric Landowski Sociossemiótica and research in the semiotic Brazilian Ana Claudia de Oliveira on the expression sensitive to global enunciation of concreteness. The research corpus consists of four Brazilian vídeoartes produced between the years 1975 and 2002. The actors of utterances installed in the works prepared for analysis are artists belonging to the first and current generation of Brazilian vídeo, as Leticia Parente, a pioneer in the record of performing actions in the 1970s, and Nina Galanternick, Danillo Barata and Lia Chaia, recognized for experimentation and research of vídeo language. The vídeos have analyzed points in common, like the fact that the body of the creator as the enunciator and surfactant statement and closeness between some semantic categories, but differ in aesthetic treatment, plastic and audiovisual syncretism. Research shows the fragmented body as an operator in the sense vídeoartes and vídeo as a semiotic fact that it makes in the act, which gives you the power to capture in close proximity to the body effect and its enunciation of significant seizures of meaning. Of semiotic analysis comes to the operationalization of aesthesia, procedures and metonymic description of the effects of meaning generated in the interaction between the discursive body language, gestures and kinetic and audiovisual language. The study contributes to the area of communication, in that it presents original research, detailed and elaborate procedure of mediation between the metonymic, the part for the whole, interactive media and practices that expand the topic and offer referrals relevant to future studies on the convergence between art and media, art and communication
O tema desta pesquisa é a construção de simulacros do corpo fragmentado e sua atuação como um operador do sentido e interação do sujeito no contemporâneo. Os objetivos da pesquisa são: análise do papel da organização figurativa e plástica, da tematização do corpo, da figuratividade do todo e das partes que apontam para distintos tratamentos do sujeito e intervêm nas interações narrativas e discursivas; estudo dos regimes de sentido e visibilidade por meio das relações interacionais dispostas pelo uso do sistema expressivo audiovisual, da descrição dos procedimentos enunciativos, da apreensão dos sujeitos em interação e do processamento estésico do sentido do corpo do si mesmo e do outro. A base metodológica da pesquisa é pautada na Semiótica Discursiva de Algirdas Julien Greimas e seus colaboradores; na Semiótica Plástica de Jean-Marie Floch; no campo das interações sociais formalizadas por Eric Landowski na Sociossemiótica e nas pesquisas da semioticista brasileira Ana Claudia de Oliveira sobre a expressão sensível como concretude da enunciação global. O corpus da pesquisa é constituído por quatro vídeoartes brasileiras, produzidas entre os anos de 1975 e 2002. Os atores das enunciações instalados nas obras recortadas para análise são artistas pertencentes à primeira e à atual geração do vídeo brasileiro, como Letícia Parente, pioneira no registro de ações performáticas na década de 1970, e Nina Galanternick, Danillo Barata e Lia Chaia, reconhecidos pela experimentação e investigação da linguagem vídeográfica. Os vídeos analisados possuem pontos em comum, como o fato de ter o corpo do criador como enunciador e actante do enunciado e a proximidade entre algumas categorias semânticas, mas se distinguem no tratamento estético, plástico e sincrético do audiovisual. A investigação mostra o corpo fragmentado como um operador de sentido nas vídeoartes e o vídeo como um fato semiótico que se perfaz em ato, o que lhe dá competência para captar em proximidade íntima o fazer sentido corpóreo e sua enunciação de apreensões significantes da significação. Da análise semiótica provém à operacionalização da estesia, dos procedimentos metonímicos e a descrição dos efeitos de sentido gerados na interação discursiva entre as linguagens corporais, gestual e cinética e a linguagem audiovisual. O estudo contribui para a área de Comunicação, na medida em que apresenta uma investigação original, minuciosa e elaborada das mediações entre o procedimento metonímico, a parte pelo todo, e as práticas interativas midiáticas, que ampliam o tema e oferecem encaminhamentos relevantes para estudos futuros sobre a convergência entre a arte e a mídia, a arte e a comunicação

A partir de autores das áreas de estudo da dança e do cinema, pretendi cruzar o corpo coreográfico e o corpo cinema, transpondo para a dissertação exemplos que preenchem os dois domínios; coreografias e filmes (coreógrafos e cineastas). Ao abordar os contributos conceptuais dos artistas envolvidos no que toca à própria construção das suas criações, interessou-me relevar os seus pensamentos no que concerne às ficções do espaço, do tempo e do fragmento. O objectivo passou por balizar as múltiplas relações que podem constituir o binómio corpo/imagem, incorporando os lugares da coreografia e do cinema como fundadores de uma atracção aparentemente comum, que é o movimento. As questões a que me propus responder são de índole originária, ou seja, encontram-se no que eu chamaria uma pré-pesquisa para um projecto coreográfico imaginário. Assim sendo, é um texto (e um projecto) que se procura a si próprio como acontece naturalmente numa pesquisa em que o encadeamento imagético, literário, físico e emocional vai acontecendo por experimentação de propostas que nos afectam de múltiplas formas. Este acontecimento em forma de escrita (uma dissertação) invoca um texto como referente de uma ideia possível de corpo cinema. A partir do texto, “Notas sobre o Cinematógrafo” de Robert Bresson (2003), selecciono alguns pensamentos de Bresson que, na minha óptica, geram possibilidades de confronto e emancipação perante uma ideia de partilha afectiva entre dança e cinema. Em certo sentido, será escrever a possibilidade de um real ficcionado a partir de documentos imagéticos, filosóficos e ensaísticos, que contêm em si ideias sobre ruína (o que é a película senão uma outra forma de ruína?), construção e reconstrução de um corpo, que tentarei demonstrar como lugar de excelência do fragmento. Chamar-lhe-ei o corpo-ruína.
From authors of the areas of study of dance and cinema, I wanted to cross the choreographic body and the cinema body, transposing to the dissertation examples that fill both domains; choreographies and films (choreographers and filmmakers). In discussing the conceptual contributions of the artists involved in the construction of their creations, I was interested in revealing their thoughts regarding the fictions of space, time and fragment. The objective was to mark the multiple relationships that can constitute the binomial body / image, incorporating the places of choreography and cinema as founders of an apparently common attraction, which is movement. The questions that I set out to answer are of an original nature, that is, they are in what I would call a pre-research for an imaginary choreographic project. Thus, it is a text (and a project) that searches for itself as naturally happens in a research in which the imaginary, literary, physical and emotional chaining happens by experimenting with proposals that affect us in multiple ways. This event in the form of a writing (a dissertation) invokes a text as a reference of a possible idea of the cinema body. From the text, "Notes on the Cinematograph" by Robert Bresson (2003), I selected some thoughts of Bresson that, in my view, generate possibilities of confrontation and emancipation before an idea of affective sharing between dance and cinema. In a certain sense, it will be to write the possibility of a fictional real from imagery, philosophical and essays, which contain ideas about ruin (what is film but another form of ruin?), construction and reconstruction of a body, which I will try to demonstrate as a place of excellence of the fragment. I'll call it body-ruin.

Tese de Doutoramento em Direito, ramo de Direito Público, apresentada à Faculdade de Direito da Universidade de Coimbra
A razão transversal omnipresente na investigação é a desconstrução da sobreposição entre ordem jurídica e hierarquia. Os modelos hierárquicos apresentam-se como alheios ao caos da ordem por decifrar. A soberania representa, na ciência jurídico-política, o símbolo da ordenação hierárquica da convivência de poderes, e por isso grande protagonismo foi conferido à tarefa de sua desconstrução. Na I Parte, realizou-se, em carácter transdisciplinar, o levantamento de seus atributos de maneira diagnóstica, com uma abordagem histórico-funcional e etiológica, ressaltando-se sua identificação com o poder supremo interno e externo de acordo com os arquétipos utilizados para sua projeção. Posteriormente, aquilo que abstrato-dogmaticamente vinculou-se à soberania externa, interna e processual, de acordo com sua perceção funcionalista, foi confrontado com outras dimensões do nosso ser-aí. A dimensão da nossa existência social norteou a abordagem primacialmente sociológica utilizada para análise da compatibilidade entre palavras e objeto de referência no nosso modo de ser, constatando-se que a realidade da mundialização tem dissolvido o objeto de referência historicamente vinculado à soberania, especialmente em razão da ascensão desorganizada de poderes normativos privados. No âmbito de sua essência vinculada às relações de direito internacional, à dimensão de fato social representada pela necessidade de conter fenómenos desterritorializados somaram-se as preocupações em torno de uma existência ética no modo de ser dos Estados. Realidade e valores que expõem a agonia do Estado e a repristinação de fenómenos alternativos que compensem suas deficiências. Mas os sinais mais visíveis da exigência de um modo de ser ético foram expostos com a transjudicial discussão sobre imunidade de jurisdição dos Estados, mediante análise de leading cases de tribunais internacionais. Conferiu-se grande protagonismo ao estudo de casos por capturarem uma realidade que por vezes se perde nas entrelinhas dos textos jurídicos e nos argumentos doutrinais. Entre a presença e ausência do Estado, analisaram-se também fenómenos intermediários como a transnational governance, em que o Estado toma parte sem ostentar a condição de soberano. Na II Parte, iniciou-se a reconstrução do jurídico-político que capturou as exigências do nosso ser-aí em relação às novas necessidades de regulamentação mais alargada de certos fenómenos e às velhas necessidades de existência ética do jurídico-político, exigências a que se procurou satisfazer de maneira conjugada por meio da constitucionalização do direito internacional e do direito da União Europeia. Esses novos fenómenos de natureza transnacional foram observados organicamente, adotando-se como parâmetro o percurso do direito constitucional interno, enfrentando-se questões como natureza jurídica, legitimação, e se a constitucionalização material permite que essas novas constelações sejam ordenadas ao lado dos Estados como corresponsáveis pela regulamentação do poder político. Analisou-se também em que medida o processo de integração europeia contribui para a constitucionalização do direito internacional em termos políticos, institucionais e normativos. Na III Parte, prosseguiu-se com a análise do modo de interação entre os sistemas jurídico-políticos. A pretensão de hierarquia de todos eles foi representada especialmente por meio da análise de casos e de disposições de tratados. A legitimidade dessas instituições é condição para que se reconheça sua capacidade de ordenação do espaço público, por isso se exploraram novos conceitos relacionados à legitimidade. A transparência e prestação de contas foram associadas a critérios de boa governação que devem integrar um conceito de cidadania administrativa que transforma os cidadãos em partícipes das políticas públicas. O controlo simultâneo e a participação cívica na determinação das políticas públicas são vias alternativas à legitimação das instituições políticas pós-nacionais com representação popular frágil ou inexistente. A construção de vias de solidariedade cívica foi dissociada de um tradicional conceito de povo em torno do qual não pode gravitar a legitimação política pós-nacional, e associada a imperativos de justiça que podem constituir valores comuns para uma coexistência ética cosmopolita decorrente da coparticipação nas mesmas necessidades e riscos. Analisaram-se as propostas de ordenação do corpus iuris de direito público representadas geometricamente pela parábola, pirâmide e trapézio, bem como as diversas propostas de constitucionalismo global, materiais e procedimentais, propondo-se uma ordenação que seja capaz de organizar o interconstitucionalismo, a que se denominou de sincretismo constitucional. A interpretação constitucional deve servir-se dos parâmetros de constitucionalidade fixados pelo direito da União Europeia e internacional, de modo que à jurisdição constitucional impõe-se o ónus de realizar um controlo de constitucionalidade conglobante como alternativa à responsabilidade jurídico-política externa. A realização judicativa do direito deverá ordenar cada um dos sistemas constitucionais fortuitamente, dissociando hierarquia e ordem jurídico-constitucional, o que se procurou demonstrar analisando-se situações-problema que mobilizaram critérios de julgamento de diversas fontes constitucionais, sem a preferência abstrata de qualquer delas para a construção da norma do caso. Todo o esforço depositado na justificativa da pretensão de exclusão do outro constitucional deve ser projetado na identificação, na essência da controvérsia decidenda, de atributos que possam justificar a preferência – somente casuística – pelo direito constitucional, da União Europeia e internacional. A diferença originária preexistente à construção das instituições político-constitucionais confere à tolerância a condição de constante material do sincretismo constitucional, cuja função normativa de critério de julgamento também foi explorada para a solução de antinomias no corpus iuris publicum.
The transversal ratio omnipresent in research is the deconstruction of the overlap between law and hierarchy. Hierarchical models are presented outside the chaos of the order to decipher. Sovereignty is, in legal and political science, the greatest symbol of the hierarchical ordering and hence great prominence was given the task of its deconstruction. In Part I, held in transdisciplinary character lifting their attributes in diagnostic way, with a historical-functional and etiological approach, emphasizing its identification with the internal and external supreme power according to the archetypes used for projection. Subsequently, what abstract-dogmatically was linked to external, internal and procedural sovereignty according to his functionalist perception was confronted with other dimensions of our being-there. The dimension of our social existence guided the especially sociological approach used to analyze the compatibility between words and reference’s object in our way of life, having noticed that the reality of globalization has dissolved the reference’s object historically linked to the sovereignty, especially given the disorganized rise of private regulatory powers. In the framework of its essence linked to relations and international law, the scale of social fact represented by the need to contain deterritorialized phenomena was added to the concerns around an ethical existence in the mode of being of States. Reality and values that exposes the agony of the State and the reinstatement of alternative phenomena that offset their weaknesses. But the most visible signs of the demands on their way to be ethical were exposed by transjudicial discussion on the jurisdictional immunity of States through analysis of leading cases of international courts. Has given wide protagonism to case studies by capturing a living reality that sometimes get lost between the lines of legal texts and doctrinal arguments. Between the presence and absence of the State was analyzed also intermediate phenomenon such as transnational governance, in which the State takes part without carry the sovereign condition. In Part II began the reconstruction of the legal and political that captured the demands of our being-there regarding the new wider regulatory needs of certain phenomena and old ethical needs of existence of the legal-political, requirements which be satisfied together through constitutionalization of international law and European law. These new phenomena of transnational nature were observed organically adopting as a parameter the path of domestic constitutional law, facing up issues such as legal nature, legitimation, and if material constitutionalization allows these new constellations are ordered side of the States and to share responsibility for regulation of political power. It also examined the extent to which the process of European integration contributes to the material constitutionalization of international law in political, institutional and normative terms. In Part III we continued with the analysis of the mode of interaction between the various constitutional thicknesses of public discourse. The claim hierarchy of all of them was especially represented by the analysis of cases and treaty provisions. The legitimacy of these institutions is a prerequisite to secure recognition of his ordination capacity of the public space, so it was explored new concepts related to legitimacy. Transparency and accountability were associated with good governance criteria to be included in a concept of administrative citizenship that turns citizens into participants of public policy. The simultaneous control and citizen participation in determining public policy are alternative routes to the legitimacy of the post-national political institutions with weak or no popular representation. The construction of civic solidarity routes was dissociated from a traditional concept of the people around which cannot gravitate the post-national political legitimacy, and associated with imperatives of justice around which may constitute common values for a cosmopolitan ethic coexistence arising from joint participation in the same needs and risks. It was analyzed the proposals of ordination of public corpus juris represented geometrically by the parabola, pyramid and trapezium, as well as the diverse proposals of global, material and procedural constitutionalism, proposing an ordinance that is capable of organizing the interconstitutionalism, which was named syncretism constitutional. The constitutional interpretation should serve of constitutionality parameters set by European and international law, so that the constitutional jurisdiction to impose the burden of carrying out a conglobante constitutionality control as an alternative to foreign legal and political responsibility. The judicative realization of the law should order each of the constitutional systems fortuitously, dissociating hierarchy and legal-constitutional order, which was attempted to demonstrate by analyzing problem situations that mobilized criteria of judgment from different constitutional sources, without the abstract preference of any of them for the construction of the norm of the case. Every effort deposited in justifying the exclusion of other constitutional claim should be designed to identify, in the essence of decidenda controversy, attributes that may justify preference - only case by case - for constitutional, european and international law. The original difference that pre-existed in the construction of political-constitutional institutions gives tolerance the condition of material constant in constitutional syncretism, whose normative function as a criterion of judgment was also explored for the solution of antinomies in the corpus iuris publicum.

Tese de mestrado, Desenho, Universidade de Lisboa, Faculdade de Belas Artes, 2013
The title and theme of this dissertation is Body without a face and it is grounded on two components: theoretical and practical. Along with the drawings, there is a theoretical approach of the theme of the representation of the body without a face.In this context, and as an introduction to the theme, it is presented a study on the representation of the body in the western culture from the Classical Age until today. De-framing and body –fragment are themes, which are grounded on theoretical studies of art that will be analysed in the works of some artists who stand on the edge of this change of paradigm: from the full representation of the body to the body in fragments. Interface- body, border- body and dressed –body are sub headlines through which one tries to explore the idea of outline, border line or as an element of meaning and the draping as an object of the dark-light study and as an element of drama in the drawing. For a deeper study of the issues regarding the representation of the fragmented body, without a face and with suspended gestures, a more detailed analysis will be made on the work of the contemporary artist Julião Sarmento. On the practical component, a work will be developed on the drawing field having as the starting point a marble painted panel, Players of Cucarne, made by Alexandros from Athens and dated from century 1 b. C., in which a group of five women is portrayed. Based on pictures of women which reproduce the gestures of “players”, drawings of fragments of bodies without a face will be made, graphite on paper of approximately the size of an A1 piece of paper. Ambience, suspension and meaning of gesture/time, suspension of emotion/sensation and the work of art and its referents are topics emergent from the analysis of the work in reference and whose study will ground itself on works of visual artists, philosophers and art experts

Esta dissertação centra-se na inter-relação entre texto literário (João Miguel Fernandes Jorge) e fotografia (Jorge Molder) e pretende mostrar como a liminaridade das artes pode ser um factor determinante nesta que consideramos ser uma relação de contaminação e contiguidade. Há diversas possibilidades de análise deste cruzamento interartes, mas a que mais nos interessa relaciona-se com as formas de representação do corpo que, como veremos, deixa de ter como objectivo último a representação de um projecto de corpo uno para descobrir novas formas de representação plurais e descentradas. Trata-se, assim, de entender o texto literário e a fotografia como espaços de reconfiguração do corpo. Pelo uso da palavra reconfiguração procura evitar-se uma redução da literatura e da fotografia à representação, entendendo-as antes como modos de fazer e pensar (mostrar e figurar) a construção do corpo. Desta perspectiva, interessa-nos pensar de que forma configuração e representação se equacionam face à liminaridade das artes e como se escreve o corpo e se dá a ver, no texto e na fotografia. Corpo, fragmento e texto/fotografia: é uma dinâmica a quatro termos que aqui equacionaremos. Tirando partido reflexivo do que o pensamento filosófico e antropológico contemporâneo tem avançado sobre uma possível teoria do corpo pós-moderno, pretendemos analisar as obras de João Miguel Fernandes Jorge e Jorge Molder à luz daquilo que se tem designado como um corpo em crise. Defenderemos que estamos perante um novo conceito de corpo que se nos revela através da sua natureza fragmentária. Constitui, assim, nosso propósito analisar, por um lado, os efeitos de dispersão temática e formal em João Miguel Fernandes Jorge (no poema e livro) e em Jorge Molder (na fotografia e série) e, por outro, as várias estratégias de reconfiguração do corpo (corpo-testemunho e corpo-em-cena).
This dissertation centres on the interrelation between literary text (João Miguel Fernandes Jorge) and photography (Jorge Molder), and aims to demonstrate how the liminarity of the arts may be a determining factor in what we consider to be a relationship of cross-contamination and juxtaposition. Several possibilities for analysis are provided by such cross-fertilization between art forms, but what is of greatest interest to us are the possibilities for representation of a subject which, as we shall see, no longer has as its ultimate goal representation of a single element, thus enabling discovery of new plural and decentred forms of representation. As such, it is a question of understanding the literary text and photograph as spaces for reconfiguration of the subject. In using the word reconfiguration, we seek to avoid reducing literature and photography to mere representation, preferring to understand them as methods of effecting and thinking (demonstrating and picturing) construction of the subject. From such perspective, it is in our interest to think about how configuration and representation are reconciled with the liminarity of art and how the subject is described and represented in text and photograph. Subject, fragment and text/photograph: this is a four-term dynamic which shall be examined here. Reflecting upon the fact that contemporary philosophical and anthropological thinking have advanced on a possible post-modernist subject theory, we aim to analyse the works of João Miguel Fernandes Jorge and Jorge Molder in the light of that which has been defined as a subject in crisis. We shall provide rationale for the viewpoint that we are dealing with a new concept of subject, becoming apparent to us by virtue of its fragmented nature. Our proposal, then, is to analyse, on the one hand, the effects of thematic and formal dispersion in João Miguel Fernandes Jorge (in poem and book) and in Jorge Molder (in photograph and series), and, on the other hand, the various subject reconfiguration strategies (body-testimony and subject-in-scene).
Fundação para a Ciência e a Tecnologia (FCT, SFR/BD/28121/2006)