Dispositivos de visibilización y propuesta de modelos de mundo : Genealogía y devenir del discurso medioambiental contemporáneo en las Exposiciones Universales

El objetivo de este trabajo es dar cuenta de la estrategia analítica diseñada y puesta en operación en una investigación centrada en la pregunta por las transformaciones en los discursos sobre la relación sociedad/naturaleza en el tránsito de la modernidad temprana a la modernidad tardía de finales del siglo XX y principios del siglo actual. El problema central fue comprender la constitución y configuración del actual discurso dominante sobre la relación sociedad/naturaleza en el escenario de las Exposiciones Universales. La propuesta metodológica consistió en construirlas como Dispositivos de visibilización y ocultamiento, en una apropiación y reconfiguración de la Analítica del discurso de Foucault. Se diseñaron y aplicaron tres modelos analíticos cuya articulación permitió dilucidar elementos y procesos fundamentales del discurso medioambiental contemporáneo.

La arquitectura de Curro Inza : una aproximación crítica y proyectual

El arquitecto Curro Inza (1929-1976) pertenece al grupo que se ha denominado como organicismo madrileño y Escuela de Madrid, cuyas máximas realizaciones se produjeron durante los años sesenta del pasado siglo. Hasta ahora su obra y persona han generado opiniones bien extremas, pero apenas han sido investigadas, cuando en realidad su arquitectura trata asuntos que hoy se muestran de actual interés. El estudio que aquí se presenta tiene un doble objetivo. El primero es agrupar la información arquitectónica del autor y catalogar las obras de su archivo personal (inédito hasta ahora). Se ordena, clasifica y cataloga toda la documentación arquitectónica del archivo Inza, dejándose depositada en la Biblioteca de la ETSAM, quedando disponible y facilitando posteriores investigaciones sobre este arquitecto. Se procede asimismo a la digitalizaran de los proyectos principales garantizando su optima conservación para el futuro Una vez logrado el primer objetivo, el segundo consiste en realizar un análisis proyectual y critico de su obra, un punto de vista hasta ahora apenas abordado. Me propongo profundizar en una obra definida como compleja pero poco explicada, realizando una revisión crítica de sus escritos y de sus proyectos, y relacionando esta con otras arquitecturas (nacionales e internacionales) que sitúen al autor dentro del discurso contemporáneo. Para desentrañar las claves de su arquitectura se aborda el trabajo de Inza desde cinco miradas distintas y simultaneas. Desde cada una de estas miradas o categorías) se hace una aproximación crítica recorriendo los proyectos. Unas categorías que, a la postre, conforman el índice de este trabajo. Aunque la compilación y revisión del archivo posee algo de búsqueda arqueológica, el estudio no pretende tener un interés únicamente o intrínsecamente histórico. El trabajo tiene en realidad como fin estudiar la forma de proyectar de un arquitecto hasta ahora poco referencial y que entiendo, puede hoy establecer puentes con el presente y el futuro a través de su arquitectura. Intentar entender los mecanismos que arman esta arquitectura, sus orígenes, su evolución y la construcción de su lenguaje. En resumen, explicar y analizar la obra desde un punto de vista proyectual haciendo una lectura critica que desentrañe estrategias de las que hoy pudiéramos aprender y nos resultasen operativas.ABSTRACT: The architect Curro Inza (1929-1976) belongs to the group known as Madrilian organicism and the School of Madrid, whose most important works were built during the 1960 and 1970 decades. Curro Inza's work has received up until now very different, even extreme opinions, but his work has not been studied in depth, which is surprising if we consider that his architecture treats issues which are of great interest today. The present study has aimed at two objectives. The first has been to gather the information concerned with the author and his work, and to catalog all of the works of this personal archive (unpublished up until now). The work we have done here has consisted in compiling, digitalizing, classifying and cataloguing all of the documentation found in Curro Inza's personal archive; this archive has been deposited in the Biblioteca de la Escuela Superior de Artquitectura de Madrid (ETSAM) . We have also digitalized the main projects in order to assure the best storage conditions for the future. The second objective has consisted in analyzing Curro Inza's work from a project and critical point of view, an approach which has not yet been explored. Within this second objective, I have studied Inza's work, which is well defined and personal as well as complex, but which has received little attention and has not been explained. I have done a critical revision of both his projects and his writings, and have related these with other, both national and international, architectures, in order to place Inza's work within the contemporary architectural discourse. In order to decipher the essence of Inza's architecture, I have approached his work from five, simultaneous perspectives. I have described the projects critically from each of the five perspectives or categories; these five categories give shape to the organization of the dissertation. Even if the compilation and revision of Inza's archive is somehow an archaeological search, this study aims at having a larger scope than its strict, exclusive historical interest. In this study I have studied Inza's projects from a critical point of view and in relation to contemporary architecture and architectural thought, attempting to draw connections between Inza's work and modern, present architecture. We have also attempted to understand and describe Inza's language and conception of architectural discourse, as well as his origins, evolution and expression of his thought. In summary, I have analyzed and explained Curro Inza's work from a projectual point of view, drawing a critical reading of the strategies used by the author, and from which we could learn and work today.

O \"si\" da técnica psicanalítica: uma análise institucional do discurso de O mal-estar na civilização

Partindo das considerações de que os termos sujeito e subjetividade permeiam o discurso psicanalítico contemporâneo e de que são, direta e indiretamente, atribuídos a Freud a despeito de ele próprio nunca tê-los conceituado, esta pesquisa tem como objetivo caracterizar um perfil de sujeito a partir do discurso freudiano. O trabalho orientou-se pela metodologia da Análise Institucional do Discurso, uma analítica do domínio subjetivo que toma o discurso em seu caráter de ato e acontecimento. Primeiramente se realizou um estudo de As técnicas de si, de Michel Foucault, de modo a permitir o circunstanciamento da psicanálise como uma técnica que produz um si, um sujeito este circunstanciamento permitiu, então, tomar sujeito e subjetividade na qualidade de produções histórica, geográfica e analiticamente contextualizadas, não como formas de imanência ou transcendência. A partir desse pressuposto, elaborou-se uma análise institucional do discurso de O mal-estar na civilização que privilegiou não apenas seu conteúdo, mas principalmente seu modo de produção, colocando em relevo o contexto presente no texto, as interlocuções que se criam, os lugares atribuídos e ocupados, as expectativas assim mobilizadas, as estratégias discursivas utilizadas, os jogos de poder e verdade exercidos, bem como os efeitos de reconhecimento e desconhecimento então facultados. Esta análise mostrou que Freud exerce uma perspectiva de interioridade, pois o mal-estar que acomete a civilização é compreendido em analogia à concepção psicanalítica de desenvolvimento individual, explicando, em suma, a cultura pelo prisma do indivíduo; evidenciou que as teorizações sobre a vida instintiva são a principal sustentação do discurso sobre o mal-estar da civilização; apontou como as estratégias discursivas utilizadas por Freud promovem a subjetivação, por parte do leitor, daquilo que seu discurso produz como verdade; e que o conceito de indivíduo é ocasião de exercício daquela perspectiva de interioridade e de atualização dos pressupostos teóricos. Com base nisso, pôde-se caracterizar um sujeito universal; psicologizado; determinado sobretudo pelos movimentos da sexualidade e da agressividade; cuja tônica recai sobre o dito mundo interno; dotado de origens e propósitos concernentes à vida instintiva; e cujo perfil é delimitado pela tarefa de administração dos instintos, isto é, cujo perfil se dá entre os imperativos superegóicos de renúncia e a margem de liberdade de que dispõe para satisfazer as exigências do princípio de prazer. Observou-se também, na esteira do pontuado por Guirado (2010), que em geral Freud naturaliza os termos do discurso teórico, fazendo de sua universalização a condição e o limite para se pensar o domínio subjetivo e a singularidade; diferentemente de Foucault, que compreende esse domínio em referência às relações de poder e saber, de forma contextualizada. Do ponto de vista da análise institucional do discurso freudiano, concluiu-se, finalmente, que o si ao qual a técnica psicanalítica dá lastro é efeito da perspectiva exercida por Freud, que promove o reconhecimento da interioridade instintiva como crivo da civilização, de um modo de vida e de si mesmo

Drivers of populism - A four-country comparison of party communication in the run-up to the 2014 European Parliament elections

The aim of this paper is to analyze what different types of populist communication styles emerged during the 2014 EP election campaign and under which conditions political parties selected specific populist communication styles. To do this, a comparative quantitative content analysis of press releases in the run-up of the latest EP elections has been conducted for parties in France, Germany, Austria and Greece. The paper presents a definition of populism based on the contemporary academic discourse, which focuses on the transnational nature of the European political field. It is shown that populist party communication is more pronounced on the fringes of the political spectrum and in countries struggling with severe macroeconomic difficulties. Contrary to intuitive expectations, the perceived populist rhetoric of exclusivity in the context of the European sovereign debt crisis, which is identified as a central feature of right-wing populism, barely takes place within populist party communication.

The vacuous concept of dignity

Rights talk dominates contemporary moral discourse. It is also having a growing impact on the development of legal principle and doctrine. One of the best known general arguments in support of rights-based moral theories is the one given by John Rawls, who claims that only rights-based theories take seriously the distinction between human beings; only they can be counted on to protect certain rights and interests that are so paramount that they are beyond the demands of net happiness (Rawls 1971). Charges and assertions of this nature have been extremely influential. After the Second World War, there was an immense increase in rights talk, both in the sheer volume of that talk and in the number of supposed rights being claimed. Rights doctrine has progressed a long way since its original modest aim of providing “a legitimization of … claims against tyrannical or exploiting regimes” (Benn 1978: 61). As Tom Campbell points out: The human rights movement is based on the need for a counter-ideology to combat the abuses and misuses of political authority by those who invoke, as a justification for their activities, the need to subordinate the particular interests of individuals to the general good (Campbell 1996: 13).

Operativity and criticality

A decade after his death, Manfredo Tafuri continues to occupy a pivotal position within contemporary architectural discourse both as a protagonist of the critical debates of the 1970s and as a historian who elucidated every period of architectural history from the fifteenth century to the twentieth. In addition to marking the publication of the English translation of his last work, INTERPRETING THE RENAISSANCE: PRINCES, CITIES, ARCHITECTURES, translated by Daniel Sherer (Yale University Press in association with Harvard GSD, 2006), this two-day conference took this event as an occasion for a new assessment of his critical legacies.

Mujer y escritura:construcción de una subjetividad dinámica en cóncava mujer y del dolor y las alas

The title of Juana Castro’s poetry book publshed in 1978, Cóncava mujer — Concave woman — expresses the hollow nature of the social female subject. From Juana Castro’s point of view, this female social concavity is only allowed to transformed itself into its opposite, the convex women which clearly represents the reproductive role of the female body. These two extreme roles assigned to women, hollowness or maternity, are the poetic paradigms for Juana Castro’s two poetry books analised in this article. As if we were presented with the two sides of a coin, Cóncava mujer and Del dolor y las alas – On anguish and wings--(1982) reflect the author´s concious realisation of the above-mentioned female duality as a defined and percieved subject by male society. Each poetry book, however, respond to two different personal moments, and each result in two different ways of conceiving poetic language. On one hand, the poetic subject of Cóncava mujer emerges with all its force as a feminist voice whose goal is the attack of all aspects of the patriarchal society as the cause of the female concavity. On the other hand, in Del dolor y las alas the poetic voice unfolds her motherhood as both loss and creation: the death of Juana Castro’s son makes the poetic subject incomplete, and therefore a concave one; whereas the poetic discourse appears as the perfect way to occupy the empty space left by the son’s death.

Inmanencia mistica en la obra de Federico Garcia Lorca

The purpose of this dissertation was to analyze the works of Federico García Lorca within the mystic context that dominates their very genesis. The problematic definition of mysticism was explored lest it be confused with traditional mysticism, which implies union with the divine. The historiography of literature speaks of the Mystic Genre, yet it does not address the mystic mode of artistic creation due to its inability to adhere to rational measure. This mode of conception was explored through Lorca's poetic discourse: ‘Lorquian mysticism’ is the result of the poet's cultivation of an innate spiritual potential enhanced by external influences and technical mastery. ^ There is visible influence of Fray Luis of León in Lorca's early Libro de poemas and El maleficio de la mariposa, as well as of Saint John of the Cross in the later Diván del Tamarit, Sonetos de amor and Yerma. However, definitive echoes of poets from the Sufi and other Eastern mystic traditions were also illustrated in these late works. A persistent longing to elide the physical condition, the greatest obstacle of the transcendental quest, is the essence of Lorca's poetic voice. ^ The object of this analysis was Lorca's language, which reaches levels removed from conventional thought. His dazzling metaphors and his particular use of symbols and of paradox compare equitably with those of great mystic poets. Like them, Lorca was faced with the same limitations of language to describe an ineffable experience; he embraced what Octavio Paz describes as ‘sacred language’: there is a linguistic frugality as well as an ambiguity in Lorca's poetic art that result from his realization of supercognitive states. Yet such an interpretation is rejected by the rationalist approach, invoking the age-old debate between faith and reason and signaling the application of psychoanalytical theory. This limited approach was disputed on the basis of reader-response theory. Lorca was truly an eclectic and a modification of the conventional reader's preestablished horizon of expectations is essential in order to seal the gaps in his late works. This innovative perspective placed Lorca within the framework of a new mysticism in the modern world. ^

Los jardines "pintados" de Émile Zola, lugares de encuentro entre literatura y arte

The thesis here presented, entitled “PAINTED” GARDENS BY ÉMILE ZOLA, MEETING PLACES OF LITERATURE AND ART, aims to analyze the treatment of the theme of garden in La Curée, the second of the twenty novels that make up the cycle of Les Rougon-Macquart, series published between 1871 and 1893. In this story, the author, an ardent republican, bluntly attacks the imperial regime, emphasizing the confusion of high society, the immorality of speculation occurred under the Haussmann's renovation of Paris, the profusion of luxury and pleasure, and, in short, a dynamism geared exclusively to the sense of destruction or perversion. Hence we have devoted an entire chapter to argue the presentation of this novel as a chronicle of Parisian society of the Second Empire. Also, because reading Zola is to recognize the profusion of metaphorical language, the analysis of the poetic discourse has played an important role in the body of this thesis. This analysis focuses on the two major descriptions of the greenhouse of hôtel Saccard, in chapters I and IV, both aiming to present this garden as a disturbing space, favorable to the discovery of unsuspected amorous capabilities, according to the mentality of the nineteenth century, so full of puritan principles, for which the tropical world of greenhouses meant a sexual freedom which did not understand bans or limitations. The sexual corruption that occurs in this greenhouse, is not only indicative of moral laxity in personal relationships, but also works as a symbolic image of decay and breakdown of society as a whole...

Juego de escondidas entre Dios y el ser humano en la poesía de Antonio Machado

Se ponen de relieve las elaboraciones y los tratamientos de la imagen de Dios presentes en la poesía de Machado. Mediante un análisis de textos significativos, subraya las discrepancias del poeta ante las concepciones tradicionales de un Dios abstracto y de un Jesús sufriente, a las que el hablante propone el apego a un Jesús histórico, dador de una palabra imperecedera. El análisis se desarrolla mediante un examen del discurso poemático, de sus recursos estilísticos, fónicos y semánticos.This articIe emphasizes the interpretations and treatments of the image of God in Machado's poetry. By analyzing significant texts, this study points out the poet's discrepancies with the traditional conceptions of an abstract God and a suffering Christ, for which the speaker proposes a preference for a historical Jesus whose word will never perish. The analysis examines the poetic discourse, addressing stylistic, phonetic and semantic features.

La poésie à l’école secondaire québécoise (1963-2016) - Une histoire à travers les textes

Afin de comprendre et d’expliquer le malaise actuel vis-à-vis de l’enseignement de la poésie au secondaire, la thèse remonte à la publication du Rapport Parent (1963-1966), document fondateur de l’école québécoise moderne, et à la création du ministère de l’Éducation du Québec (1964) pour suivre, à travers les documents, l’histoire de l’enseignement de la poésie au secondaire au cours des 50 dernières années. Cette période se divise en trois grandes étapes : une révolution en éducation marquée par la publication du Rapport Parent et de deux programmes; le retour aux sources amorcé par L’école québécoise qui verra deux programmes et deux séries de manuels scolaires; la réforme articulée autour de L’école, tout un programme dont les programmes et les manuels sont actuellement en vigueur. C’est à travers ces trois types de documents (documents d’orientation, programmes d’enseignement et manuels scolaires) que je retracerai le parcours de l’enseignement de la poésie à l’école secondaire avec comme toile de fond les grands courants qui ont marqué l’éducation et l’enseignement du français au Québec depuis les années 1960. L’enseignement de la poésie ne peut se détacher du contexte dans lequel il se fait. Ce contexte comprend diverses facettes qui lui sont internes et d’autres qui lui sont externes. Les facettes externes dans ce travail sont la vision de la culture et de l’enseignement ainsi que la place faite à la littérature et à la poésie. L’idée de culture a beaucoup évolué depuis 50 ans. Le Rapport Parent abandonne la vision traditionnelle de la culture au profit d’une vision plus large qui englobe l’ensemble des activités humaines. Nuancée et actualisée, cette vision large de la culture restera la référence. La littérature qui détenait une place importante dans la culture traditionnelle perd ainsi de l’influence. Sa place et son importance, malgré les discours qui la valorisent, vont diminuer jusqu’à ne devenir qu’un adjuvant à l’enseignement de la technique de la langue et des types de textes. L’évolution de l’enseignement transformera la classe traditionnelle bien ordonnée sous l’autorité du maitre en lieu qui doit permettre à l’élève de construire ses connaissances. Les éléments reliés directement à l’enseignement de la poésie comprennent les programmes, les manuels, l’enseignement de la lecture et de l’écriture et le travail du professeur et de l’élève. Les programmes subiront d’importantes modifications. Le programme-cadre de 1969 marque la fin des programmes à visées littéraires. Le seul vrai but des programmes depuis, c’est de parfaire l’apprentissage technique de la langue. Le programme de 1980 marque l’abandon des genres littéraires comme base de l’enseignement des textes au profit de la notion de discours. Comme le discours poétique n’y apparait pas, la poésie peine à se trouver une place. Les programmes de 1995 et de la réforme optent pour les types de textes plutôt que les discours, mais la poésie n’entre pas dans cette typologie. La place de la poésie en lecture et en écriture est variable selon les époques. Sur un même pied que les autres types de textes dans le programme-cadre, elle apparait seulement en lecture dans le programme de 1980. Les programmes subséquents lui redonneront une place en écriture. Depuis 1980, elle reste un genre marginal qui souvent ne sert qu’à illustrer des notions utiles aux discours ou types de textes utilisés par le programme. La relation professeur/élève s’est considérablement modifiée au cours de cette période. De maitre, le professeur est devenu guide et médiateur. L’élève évolue en sens inverse : de passif récepteur de la connaissance, il devient responsable de construire ses connaissances. Le professeur, compte tenu du peu de place qu’occupe la poésie dans les programmes et du fait qu’elle ne fait pas partie de la typologie des textes adoptée par ceux-ci, ne peut compter que sur ses connaissances pour en assurer un enseignement valable. Les manuels accompagnent les programmes sauf pour le programme-cadre. Depuis 1980, les manuels de français ont une visée autoéducative parce qu’ils s’adressent directement à l’étudiant. Ils se présentent comme des préparations de cours que l’élève n’a qu’à suivre pour acquérir les connaissances au programme. La place de la poésie en lecture et en écriture y est variable selon les époques et les manuels.

Chinese Whiteness: The Discourse Of Race In Modern And Contemporary Chinese Culture

This thesis chronicles the development of western forms of race and racism in China. It then studies contemporary China using theories derived from whiteness studies in order to explain the unique position that whites (Caucasians) have in China today. In Chapter I, I break down the definition of race and introduce a foundation for a whiteness studies approach to research. In Chapter II, I analyze how Chinese classified themselves and other humans prior to the western system of race. In Chapter III, I chronicle the introduction of western forms of race and racism to China, and the appropriation of these concepts to suit Chinese goals. In Chapter IV, I approach cultural phenomenon in contemporary China by situating them in their historical traditions as well as by approaching them as displaying an internalized racism and white privilege. Finally in the Conclusion, I postulate on what China¿s contemporary racial system means for China.