Entre Millôr e Derrida: o humor enquanto experiência da alteridade e do impossível

Brazilian humorist Millôr Fernandes has a widespread work, from literature to visual arts and journalism. Yet there is the indelible mark of humor, wherever it is. In this dissertation, I propose a reading of his work by deploying French philosopher Jacques Derrida, emphasizing how the construction of the other happens. I aim at Millôr Definitivo: A Bíblia do Caos, but other works will be contemplated when necessary. In order to carry out the analysis, I will offer a general exposition of Millorian work (especially Millôr Definitivo:A Bíblia do Caos) and a general sketch of Derridian philosophy, centered on his discussion on Western philosophy, literature and alterity. At the analysis itself, I will set the methodological axis on the quasi-concept of invention. The analysis shall stress the hypothesis of humor as the experience of alterity and impossible, showing off the humorist as the totally other. In the Millorian text, that experience is characterized by conflictivity, without possibility of resolution

Teodora e Porcina: faces simbólicas da natureza em narrativas de mulheres sábias

This research looks at the collective imagination in which it keeps alive the issue of heroin wise. Two wise women appear in the narratives of popular history and the History of Donzela Theodora and History Imperatriz Porcina, collated by Luís da Câmara Cascudo in his Five Books of the People. The universality, mobility and circularity of these narratives are discussed by authors such as Bakhtin and Guinzburg. The research is developed from three key categories: Knowledge Magic as the knowledge of tradition (Almeida), sensitive knowledge (Levi-Strauss), thought mythical / magical / symbolic (Morin); Wise Women as carriers of this knowledge, which merge and overlap with the imagery of witches and healers; and Mythical Elements which corresponds to the archetypal images (Jung and Silveira), symbols and other images that relate to the magic universe, the magical beliefs and practices considered, ie belonging to the imaginary magic (Bethencourt). Porcina and Theodora are understood as bearers of knowledge of Métis (Detienne and Vernant), or the cunning intelligence, the manipulation of phármakon (Derrida), the healing potion, which may be the word or ointment of the herb. The route takes us to meet the great archetype of the Wise Woman as psychic power of the feminine, the anima. Narratives are medicinal balms (Estes) and is the clash between the anima and its embodiments by wise women, and animus, his opponents, which gives the transmutation of the psyche, a work comparable to that of alchemyThe Knowledge Magic, operating through the female, myth and nature can recover from its essential value to the emerging paradigm that suggests a more complete human science and a more plural

Foucault : a experiência da amizade

Exaltée par la philosophie et reléguée à second plan par la sociologie, pour son appartenance à la vie privée, l amitié devient, à partir des anées 70, um thème d intétêret nom plus sous la perspective classique de la philia, avec son insistance sur la fraternité, égalité et dans l équivalence des amis.Les études de Hannah Arendt,Blanchot,Derrida et Foucault déséquilibrent cette vison, et la rédéfinissent em tant qu ne rapport qui donne lieu à l alterité et permet les manifestations des singularités entre amis. En reprendant ces penseurs, Michel Foucault tente réhabililiter l amitié en tant qu ne éthique et une esthétique de l existence qui conduit à la transformation du sujet, stylisant son existence dans la présence de l autre. Basés sur cette réhabilitation, nous penserons l amitié comme une expérience éthique et afective intense qui cherche autotransformation des amis, une forme de vie qui refuse les formes imposées de rapports et subjectivités

Antonin artaud: a crueldade pelos desenhos e autorretratos

Antonin Artaud, a name that reminds us of areas ranging from theater to poetry, linguistics to psychoanalysis, is a multipurpose name that transits as poet, painter, writer, actor, screenwriter, playwright and theater director. Artaud s route is raw material for researchers of various hues interested in a life and work that allows panning in different fields of knowledge. It raises the question of language and manipulation of signals in terms of magical forces and the relationship maintained through them with the cosmos and the divine. Artaud searches through a language of signals, gestures and objects that express themselves by objective forms and the use of words as solid objects. For him, the language of words must give way to the language of signals, whose objective aspect is what strikes us most immediately. Our work indicates the possibility of realization and recognition of the aesthetic of cruelty present in the writing drawings of artaudian s work, realizing thus, that art as a record of culture hence as double of life allows us a more critical and transforming look to the society, thinking about the aesthetics of cruelty as Artaud proposes and thinks cruelty: as appetite for life. Our dialogue held during the construction of this journey has the company, besides the one of Antonin Artaud, other authors such as Jacques Derrida, Gilles Deleuze and Felix Guatarri, among others which, during the hike and framing of this route help us to think about the aesthetics of cruelty in an Artaudian perspective

O Barroco Hispano-americano: primero sueño ou Sor Juana Inés de La Cuz

The current dissertation is linked to the research line Poéticas da modernidade e da pós-modernidade (modern and post modern poetics), which is being developed for the Programa de Pós-graduação em Estudos da Linguagem (Program of post graduation in language studies), in the area of Literatura Comparada (comparative literature) CCHLA/UFRN. The main aim of the research is to show the reading of Primero sueño by sor Juana Inés de la Cruz, in the middle of the contemporary age, through an eclectic analysis which elucidates the baroque in its most recent concept; the social context and the life as a nun of sor Juana and the analysis of the poetry starting from the glance to the literary text. The perception of the baroque eon universal as a constant artistic movement from its appearance to the present time thus highlighted based on the most modern studies by the baroque specialists: Eugênio d Ors, O barroco (s/d), Severo Sarduy, Barroco (s/d) and Gilles Deleuze, A dobra: Leibniz e o barroco (1991). In that research, it will be presented the translation/transcreation of the study object corpus still guided by the translatological theories of Haroldo de Campos (2004), Da tradução como criação e como crítica, Walter Benjamin (1971), A tarefa do tradutor and Jacques Derrida (2006), Torres de Babel

Luna Clara e o Apolo Onze do arquivo ao repertório : o limiar de uma transescritura em Adriana Falcão

La palabra archivo tiene origen en el vocablo griego arkhê, en lo cual puede indicar comienzo y comando. Tal palabra puede ser usada para representar distintas ideas. Al ser considerada como un conjunto, puede reunir las informaciones existentes sobre un determinado asunto en cualquier área del conocimiento humano.(DERRIDA, 2001) Esas informaciones, por su vez, son constantemente modificadas por el repertorio de los usuarios de eses archivos. Cada individuo, al usar ese repertorio, lo hace de una manera diferente, pues las posibilidades son variadas. Entre estas, está la performance, que permite la elaboración de una transescritura, un modo de escribir que va más adelante del padrón convencional. Para que sea comprendida como tal, la escritura necesita realizar una transgresión, quebrar el canónico.(RAVETTI,2003) Adriana Falcão transgride, al consultar el archivo y reinventarlo a partir de su propio repertorio, llegando a realizar una transescritura. En el romance Luna Clara e Apolo Onze (2002). En este, archivo y repertorio están en constante mescla, criando nuevas relaciones entre literatura, historia, mitologia, lengua, artes, temas humanos y sociales. El romance es entonces percibido como una narrativa que performatiza nombres, hogares, conceptos, ideas, a través de una marca que por ser tan plural es única, peculiar, representación de la literatura infante-juvenil del siglo 21

Pressupostos ontológicos para se pensar a nova tecnologia: técnica, informação e ser e tempo

La recherche presentée, realisée sur le domaine de la méthaphysique, s´agit de rassembler des pressupositions pour une fondamentation ontologique de la technologie de l´Information, basé sur la philophie de Martin Heidegger; foncièrement, sur l´analytique existentiel du Dasein dans l´ouvrage Être et Temps. À partir de la pensée sur ce qui est aujourd´hui , il s´agit d´investiguer sur quels fondaments la Nouvelle Tecnologie se fut érigée de façon a que nous sommes engajés au projet de numérisation des étants que en même temps que destine l´homme a l´oubli de l´Être, l´offre la possibilité de transformation. Le rapport entre la question de l´Être et la question de la technique est analysé comme des chemins croisés et dans ce carrefour il devient possible penser ce qui est technique, ce qui est information pour Heidegger et de quel façon les modes existentiels du Dasein sont prêtes pour caractériser l ´homme au sein de la tecnologie de l´information. Par cette appropriation, il reste penser comment c´est possible l´ouverture d´une perspective de reconduction de l´homme à la vérité de l´Être. Finalement, la structuration des fondements rends possible la réflexion discursive général: avec qui nous nous ocuppons, comme nous sommes, dans quelle direction nous nous acheminons, les thèmes générales, respectivement, des trois chapitres. Les points d´investigation du premier chapitre son: a) La caractérisation précise du Dasein, appuyé sur des considerations de Benedito Nunes, Hans-Georg Gadamer, Jacques Derrida et Rüdiger Safränski; b) Le concept de technique et son essence chez Heidegger; c) la distinction entre technique et technologie, appuyé sur le pensée de J. Ellul, Michel Séris, Otto Pöggeler, Michel Haar, Dominique Janicaud; c) Le concept de cibernetique chez Heidegger et chez Norbert Wiener; d) La caractérisation preliminaire d´information, l´analyse étimologique e philosophique, l´avis de Heidegger te les théories de Rafael Capurro; f) L´Analyse du phénomène de la numérisation des étants, des considérations de Virilio, et l´analyse d´un concept de virtuel avec Henri Bergson et Gilles Deleuze. Dans le deuxième chapitre, l´analyse des existentiels du Dasein vers le sommaire des fondements de base pour la caractérisation de la technologie de l´information comme un problème philosophique. Finalement, aprés avoir presenté les concepts introdutoires que délimitent le questionement, suivi par les indications et pressupositions ontologiques trouvés sur Être et Temps, le troisième chapitre disserte sur le péril, ce qui sauve et la sérénité, les trois mots-clés de la pensée heideggerienne sur la technique que permettent l´approche conclusif de la question

Vidros de spins de Ashkin-Teller com interações entre p-spins

Conselho Nacional de Desenvolvimento Científico e Tecnológico

O reino encantado do sertão: uma crítica da produção e do fechamento da representação do sertão no romance de Ariano Suassuna

Based on the relation history, literature and space, this work examines the production and the closing of the representation of the hinterland in the Romance d A Pedra do Reino of the paraiban writer Ariano Suassuna. Inspired by method proposed by deconstructionist by Jacques Derrida, our reflection decomposes the writing scene of Suassuna by means of it s tracks to interpret the operation of the representation of the space-hinterland for the speech of the writer. Being thus, we present the elements chosen for Suassuna to weave an identification it s with this space-hinterland, taking a priori as a sentimental place and of familiar origin . The construction of this relation of belonging in great is measured grounded for a familiar memory entangled in the context politician who culminated in the Revolution of 1930 and that he resulted for the writer in the death of father. Suassuna launches a look on the identity and the Brazilian culture that guided in the tradition concept it searchs to deny the gift grounding its speech in the return to the past, a past order . Specifically in it s romance we notice to exist the fusing of these tracks in the production of a representation of the hinterland that it intends to close a concept of this space and its culture. Soon, the idea of kingdom sends to the space of the enchantments manufactured in infancy and retaken by the intellectual radical who in the anxiety of honor the father figure, does not save efforts in constructing a space representation that, over all, either faithful the representation that it searchs to trace of proper itself. Under one it marks of universality , the hinterland-kingdom of Suassuna if discloses eurocentric in the measure where it perpetuates discurse the filiation of the European cultural traditions.

O gauche: poética da travessia entre Renato Russo e Carlos Drummond de Andrade

This dissertation, called “The gauche (O gauche): the poetry of crossing between Renato Russo and Carlos Drummond de Andrade”, discusses on the problematic subjection of the gauche which brings Drummond’s poetry into Renato Russo’s singularizing one, emphasizing such subjection and seeking to find the tension which dwells between both, pointing out at the poet and the songwriter the dislocations, the non-territorial process and the repetition of the difference. Thus, the act, the esthetics and the policy of writing do move from a textual, inter-textual character to a range of references, perceptions, dislocations, establishing within those spaces, elements residing in poetical cartographies which relate both writers on this rizomatic crossing for the writing of both is bound by desire and minorities. To do so, we chose, as research basis, authors such as Gilles Deleuze, Jacques Derrida, Félix Guattari, Jacques Ranciére, Michel Foucault, Maurice Blanchot, Julia Kristeva, Linda Hutcheon, among others who can wander through the established relations of this work.Thus, it constitutes the theoretical and discussion corpus responding to the qualitative implicit requirements of this dissertation. The literary body of this research has a selection of lyrics by Renato Russo and poems by Carlos Drummond presented as subjectivity corpus embracing ideas, affects, perceptions and images

Escritura nômade e tédio em "Harmada", de João Gilberto Noll

In the context of poetic productions of modernity and postmodernity (Hutcheon, 1999), this paper, from the concept of nomadism (Deleuze, 2012), together with the philosopher Derrida's notion of writing (2009), has the objective to study Harmada the novel (1993), written by artist Joao Gilberto Noll, the aspect of Nolliana nomadic scripture and boredom towards deconstruction of the Romanesque style. The narrative focus on introducing a transit fiction, promoted by nomadisms scripture of the wandering narrator who, in the work constitution, will the conduct of language, a plot that invades the body of the characters full of boredom and foreigners themselves, moving in fragmented and fluid spatiality of narrating. In this perspective, the research is limited with theoretical and methodological foundation in poststructuralist discussions in relation to considerations of literary aesthetics and concerning the thinkers-teóricos- critics: Derrida (2009), Deleuze (1995), Foucault (1996, 2001), Barthes (1977), Svendsen (2006). Against the background of critical understanding, the nomadic writing Harmada interlace in three stages: first, in the author's language; Second, the characters, the narrator-protagonist leading, unnamed, living overwhelming crises and painful existential ambiguity, placed through the artist's metaphor failed under the sign of "missing" while searching for other possible artistic ways of being in the world; and, finally, the nomadic reading instance as presentification effect (GUMBRECHT, 2010) for a reader experimentation. Finally, our work addresses the relationship between the nomadic scripture and the experience of boredom as a strategic power in the literature do Noll gear.

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).

Ser-tão de Buriti: o corpo de noturno rumor (a poética de Guimarães Rosa e o pensamento literário contemporâneo)

This thesis is to analyze the fictional texture of Buriti, novella by Guimarães Rosa, which makes part of Corpo do Baile. Gilles Deleuze‘s philosophical background as well as similar theorists such as Mircea Eliade, Derrida, Bataille, Foucault, Blanchot and Nie-tzsche constitute the main reference, as example of Guimarães Rosa‘s problematizing writing, since they present as basic element of thought the desterritorialization of con-cepts, standards and institutionalized knowledge by the dominant literary language. Along with the theoretical perspective of current alterity on these authors, Buriti is crossed by one aesthetics substantiated with a multiplicity of narrative points of view, opening gaps to other non-sacralized, nomadic voices, using polyphony as a way of breaking and destabilizing crystallized truths related to the canons of mother tongue. Interwoven by a poetic side of transgression, the narrative of Buriti finds especially marked by the signs of the backlands and of the night, which rhizomatically point to a sense of infinity, eternity, loneliness, vertigo before the abyssal, evoking the singularity of a ser-tão before the night, "the body of nocturnal rumor." The nights in the backlands in Buriti give rise to the emergence of a state of subjectivity, the ser-tão, whose nature is shown as a space of communion of the various beings that humans put on the same level of other living beings, setting up a sharing cosmic territory, enjoyment between pain and pleasure, between death and life. It is the night in the darkness, the shadows, the ser-tão is exposed, the being in his depth, facing himself with his internal rumors, which project themselves through the noise, the sound amplified by the vastness of the night at the desert backlands. "The backlands is the night." (ROSA, 1988, p.92).