EXISTÊNCIA E RELIGIÃO EM ALBERT CAMUS: Relações entre o absurdo e a revolta

A presente pesquisa busca, a partir dos dois pólos fundamentais ao pensamento de Albert Camus, a saber, o absurdo e a revolta, discutir a relação do pensamento camusiano com a religião, no que tange fundamentalmente à sua recusa frente a um pensamento ou atitude que recorra a um sentido além da existência humana. Camus escritor franco-argelino e Prêmio Nobel de Literatura em 1959 concebeu o absurdo como a experiência resultante da consciência de assimetria vigente na existência humana. Esta assimetria se estabelece na polarização entre o anseio humano por felicidade, união e plenitude e a evidência expressa pela existência de dor, fragmentação e limite. A revolta subsiste neste cenário como resposta camusina: esta é concomitantemente reivindicação de justiça e insurreição contra a morte. No que concerne à religião, Camus compreende uma fuga fundamentada na esperança. Esta fuga negligencia e impede a consideração radical da condição humana. A esperança religiosa, em suma, anula a revolta como resposta legitima a condição existencial: pretende justificar o injusto com base em um mistério. Realizada a descrição do absurdo e da revolta, recorre-se ao pensamento do teólogo e filósofo alemão Paul Tillich, como referencial teórico para a análise específica da relação entre religião e pensamento camusiano. O conceito de religião e fé em Paul Tillich apresenta-se como elemento importante para a consideração desta relação ao salientar a vigência da ambigüidade na experiência religiosa, interpretada em Paul Tillich a partir da experiência dialógica entre o finito e o infinito, ou, em outros termos, entre o ser e o não-ser. A partir de Paul Tillich pergunta-se sobre a possibilidade da religião, mesmo em meio à afirmação da impossibilidade do eterno. Caminha-se, assim, para a consideração da efetividade da experiência religiosa em Camus como expressão de uma transcendência profana , onde a recusa a Deus comunga com uma perene reivindicação da perfeição e do eterno.

UMA NARRATIVA MIDIATIZADA DO COTIDIANO: As charges de Política Internacional de Angeli (2001-2012)

Esta pesquisa se insere nas discussões sobre comunicação midiática nas interações sociais. Traz como tema a charge enquanto narrativa midiatizada do cotidiano, a partir de um estudo de natureza bibliográfica e de um exercício de aplicação no qual foram estudadas as charges de Angeli reunidas na coletânea O lixo da história, publicada pela editora Companhia das Letras. Dentre os autores e teorias trabalhadas destacam-se: a conceituação de narrativa, proposta por Luiz Gonzaga Motta; a ideia da midiatização da sociedade, a partir da discussão de José Luiz Braga; a teoria de mediações culturais de Jesús Martin-Barbero; os estudos de cotidiano de Michel de Certeau; e o entendimento de cultura, fundamentado nos Estudos Culturais. A partir das leituras e análise realizadas, a pesquisa trouxe a tona as percepções de que a charge é uma narrativa do absurdo e narrativa absurda de um momento histórico, de maneira a inseri-la enquanto monumento historiográfico do cotidiano. Assim como é feito com as narrativas jornalísticas, a charge demanda uma visão crítica, observando não apenas a sua forma, mas sim o seu contexto.

Intellectual alienation in a fragmented society and universe, as illustrated in the work of Wolfgang Koeppen (1906- )

This text is concerned with the intellectual and social alienation experienced by a twentieth century German writer (1906 - ).·the alienation begins in the context of German society, but this context is later globalised. The thesis first discusses the social and· intellectual origins and the salient features of this alienated stance, before proceeding to a detailed analysis of its recurring symptoms and later intensification in each of the author's main works, chronologically surveyed, supported by reference to minor writings. From the novels of the thirties' showing the burgher-artist conflict, and its symbolic dichotomies, the renunciation of traditional German values, and the ambiguous confrontation with new disruptive socio-political forces, we move to the post-war trilogy (1951-54), with its roots in the German social and political experience of the thirties' onwards. The latter, however, is merely a background for the presentation of a much more comprehensive view of the human condition:- a pessimistic vision of the repetitiveness and incorrigibility of this condition, the possibility of the apocalypse, the bankruptcy and ineffectiveness of European religion and culture, the 'absurd' meaninglessness of history, the intellectual artist's position and role(s) in mass-culture and an abstract, technologised mass-society, the central theme of fragmentation - of the structure of reality, society and personality, the artist's relation to this fragmentation, intensified in the twentieth,century. Style and language are consonant with this world-picture. Many of these features recur in the travel-books (1958-61); diachronic as well as synchronic approaches characterise the presentation of various modes of contemporary society in America, Russia, France and other European countries. Important features of intellectual alienation are:- the changelessness of historical motifs (e.g. tyranny, aggression), the conventions of burgher society, both old and new forms, the qualitative depreciation and standardisation of living, industrialisation and technology in complex, vulnerable and concemtrated urban societies, ambiguities of fragmented pluralism. Reference is made .to other travel-writers.

Revaloracion de la comedia de Pedro Munoz Seca: Un teatro menospreciado

The comedies of Pedro Muñoz Seca (1879-1936) received extraordinary public acclaim for over thirty years, yet critics rejected them. Although several experts have recently begun to study his plays in an objective manner, this author has generally either been underrated or omitted from theater histories. This study identifies the merit, contributions and relevance of Muñoz Seca's works so that the unwarranted void that now exists in Spanish theater annals is justly filled. Historical and biographical backgrounds and a brief sketch of the development of comedy in Spain serve to introduce the literary, political and social contexts in which the author develops the subgenre known as "astracán" and introduces the "fresco" character type. ^ This analysis illustrates Muñoz Seca's verbal comic techniques---the use of regional dialects and individuals' speech peculiarities, double entendres, incongruence, periphrasis, and ingenious plays on words. It also explores the author's profound theatrical sense manifested in inter-textual references and self-reflexivity within the content of his plays. In addition, it identifies the scenic creativity he displays through the use of cinematography, the removal of color from stage decor (or the elimination of scenery altogether), and the original application of music to create comic effect. Furthermore, this study comments the satirical tone projected in Muñoz Seca's characters' idiolect and barbarisms as socio-political conditions worsen. Finally, it brings forth the author's use of parody to criticize his society and to deride other theatrical genres in vogue during his time. ^ While the polarization between Muñoz Seca's popular success and the critics' rejection can be explained by esthetic and ideological prejudices, this dissertation ascertains that the true nature of the author's plays has not been properly identified. The "astracán" is a double parody; however, since it caricaturizes a comic subgenre that is already burlesque, its defining parodic features have been consistently misinterpreted as mere exaggerations and defects. What is more, as its critical content is not recognized, its renewing function goes unnoticed. Muñoz Seca's "astracán" illustrates an era of the Spanish comic stage and paves the way for the theater of the absurd. Its merit and relevance must be recognized. ^

Blotto in the Lifeboat

Blotto in the Lifeboat is a book of poems that investigates natural processes and idiosyncrasies of human societies. Ranging from the absurd to the scientific in tone, the poems in Blotto in the Lifeboat situate themselves on the blurry-line between fact and imagination, employing a style that Thomas Lux describes as “imaginative realism.” The middle of three sections is comprised solely of the long poem, “A Compendium of the True and Wondrous,” which collages remarkable facts and anecdotes to highlight the strange realities of the world and the rapidity of change. The first and third sections contain shorter, narrative poems in which the surreal or comic is often employed. The language of the poems in BLOTTO IN THE LIFEBOAT reflects a similar desire to affix the fantastic to the familiar. Metaphors in the tradition of Elizabeth Bishop and Charles Simic rely on wild leaps of imagination to illuminate the real world.

UMA NARRATIVA MIDIATIZADA DO COTIDIANO: As charges de Política Internacional de Angeli (2001-2012)

Esta pesquisa se insere nas discussões sobre comunicação midiática nas interações sociais. Traz como tema a charge enquanto narrativa midiatizada do cotidiano, a partir de um estudo de natureza bibliográfica e de um exercício de aplicação no qual foram estudadas as charges de Angeli reunidas na coletânea O lixo da história, publicada pela editora Companhia das Letras. Dentre os autores e teorias trabalhadas destacam-se: a conceituação de narrativa, proposta por Luiz Gonzaga Motta; a ideia da midiatização da sociedade, a partir da discussão de José Luiz Braga; a teoria de mediações culturais de Jesús Martin-Barbero; os estudos de cotidiano de Michel de Certeau; e o entendimento de cultura, fundamentado nos Estudos Culturais. A partir das leituras e análise realizadas, a pesquisa trouxe a tona as percepções de que a charge é uma narrativa do absurdo e narrativa absurda de um momento histórico, de maneira a inseri-la enquanto monumento historiográfico do cotidiano. Assim como é feito com as narrativas jornalísticas, a charge demanda uma visão crítica, observando não apenas a sua forma, mas sim o seu contexto.

La bioéthique, l’art et le syndrome des ovaires polykystiques: propos impressionniste visant à réhabiliter les corps tabous et les ovaires blâmés

Essai / Essay

La bioéthique, l’art et le syndrome des ovaires polykystiques: propos impressionniste visant à réhabiliter les corps tabous et les ovaires blâmés

Essai / Essay

Panoramic Sea Happening (After Kantor): Video Installation

Panoramic Sea Happening (After Kantor) is a 7 minute durational film that reimagines part of Tadeusz Kantor's original sea happenings from 1967 in a landscape in which the sea has retreated. The conductor of Kantor’s original performance is replaced with a sound object cast adrift on a beach in Dungeness (UK). The object plays back the sound of the sea into the landscape, which was performed live and then filmed from three distinct angles. The first angle mimics the position of the conductor in Kantor’s original happening, facing outwards into the horizon of the beach and recalls the image in Kantor’s work of a human figure undertaking the absurd task of orchestrating the sound of a gigantic expanse of water. The second angle exposes the machine itself and the large cone that amplifies the sound, reinforcing the isolation of the object. The third angle reveals a decommissioned nuclear power station and sound objects used as a warning system for the power plant. Dungeness is a location where the sea has been retreating from the land, leaving traces of human activity through the disused boat winches, abandoned cabins and the decommissioned nuclear buildings. It is a place in which the footprint of the anthropocene is keenly felt. The sound object is intended to act as an anthropomorphic figure, ghosting the original conductor and offering the sound of the sea back into the landscape through a wide mouthpiece, echoing Kantor’s own load hailer in the original sequence of sea happenings. It speculates on Kantor's theory of the bio-object, which proposed a symbiotic relationship between the human and the nonhuman object in performance, as a possible instrument to access a form of geologic imagination. In this configuration, the human itself is absent, but is evoked through the objects left behind. The sound object, helpless in a red dingy, might be thought of as a co-conspirator with the viewer, enabling a looking back to the past in a landscape of an inevitable future. The work was originally commissioned by the University of Kent in collaboration with the Polish Cultural Institute for the Symposium Kantorbury Kantorbury in Canterbury (UK) to mark the 100 years since Tadeusz Kantor’s birth (15 - 19 September 2015). It should be projected and requires stereo speakers.

Ce qui nous rassemble autour de la "dernière bière" : vivre le feeling du moment en Beauce (Québec)

Cette thèse propose une lecture anthropologique de la consommation d’alcool. Elle met de l’avant une approche novatrice qui repose sur le concept de « métaphysique du quasi- arrêt ». Cette approche a été développée à la suite d’une recherche ethnographique réalisée dans la région de la Beauce, au Québec. Au lieu de considérer la consommation d’alcool comme un problème social ou de santé publique, j’ai cherché à comprendre comment et pourquoi l’on boit, en Beauce, en me laissant guider par les buveurs et les buveuses côtoyés sur place. En prenant part à de nombreuses soirées où la bière est omniprésente, que ce soit dans les garages, les bars ou l’aréna local, je me suis laissé affecter par les sensations ressenties et par les paroles prononcées lorsque les buveurs éprouvent ce qu’ils appellent le « feeling du moment ». En prenant du recul, j’ai constaté que les Beaucerons qui boivent ont développé des stratégies défensives pour échapper à la tentative de contrôle de la société québécoise sur leurs conduites alcooliques et, plus largement, sur l’alcoolisme. En effet, dans la perspective de la « métaphysique du quasi-arrêt », la quantité de verres consommés n’a d’importance qu’eu égard au « feeling du moment »; les normes culturelles ou médicales liées à la consommation d’alcool ne tiennent pas, et c’est pourquoi cette approche permet d’expliquer des discours et des pratiques liés à la consommation d’alcool qui, à première vue, semblent paradoxaux, voire complètement absurdes. Pour bien montrer en quoi l’approche mise de l’avant se distingue, mais surtout pour expliquer comment la consommation excessive d’alcool en est venue à représenter, en anthropologie comme dans d’autres disciplines, une pratique problématique qu’il faut comprendre pour la combattre, une première partie de la thèse consiste en une mise en perspective historique de l’alcoolisme en tant que concept scientifique et enjeu de société. Y sont passées en revue les approches et concepts développés, depuis la fin du XVIIe siècle, par des médecins, des psychologues, des économistes, des sociologues et des anthropologues euro-américains pour aborder ce genre de consommation. Je suggère que ces scientifiques mènent, depuis plus de deux siècles, une véritable croisade contre les « buveurs excessifs ». Collaborant avec l’État, les mouvements de tempérance et les entreprises privées, ils ont contribué à contenir les abus d’alcool en Occident. Dans la seconde partie de la thèse, l’ethnographie sert de support au déploiement de la perspective théorique développée à l’issue du travail de terrain. Il s’agit d’analyser comment les buveurs d’alcool vivent et font durer le « feeling du moment » au cours du boire social. Sur le terrain, j’ai découvert que les buveurs d’alcool ont inventé onze stratégies pour vivre et faire durer le « feeling du moment » en consommant de l’alcool avec les autres. Ces stratégies constituent une forme de résistance face à une société qui cherche à contrôler les conduites alcooliques.

Les enjeux sémiotiques de la perception dans L’Étranger d’Albert Camus

Considered as a romantic incarnation of author’s ideas, L’Etranger put us in front of the absurd through the problematic character of Meursault, often studied and commented as subject of this philosophical attitude. The absurd presupposes a relationship between man and the world and is thus inevitably linked to perception: a sensory experience then founds the discourse of the novel, establishing Meursault as percipient/enunciator subject. We will use the resources offered by semiotics of discourse in its phenomenological version for analyzing the perceptual path of Meursault and especially to consider the question of Camus’s absurd under a new light

Serial killer: il database mondiale

Lo studio dei serial killer, quanto mai complesso e poliedrico, è reso difficoltoso, in parte, anche dall’attuale progresso, che ha portato questi soggetti devianti ad evolversi notevolmente sia in termini di astuzia (staging) che di mobilità. Tutto ciò dimostra che negli omicidi seriali, nonostante l'importante lavoro da parte di alcuni studiosi che sono riusciti a proporre contributi teorici di notevole importanza, è particolarmente frequente la c.d. “cecità di collegamento” fra omicidi perpetrati dalla medesima persona, ma in parti diverse nel mondo. È, quindi, indispensabile la costruzione di una banca dati mondiale che consenta a tutte le forze di polizia di avere sempre a disposizione informazioni raccolte sulla scena del crimine relativamente ad omicidi particolarmente aberranti e privi di un particolare movente. Sarà quindi compito del profiler, con strumenti di supporto creati ad hoc e tecnologicamente avanzati, reperire sulla scena del crimine queste informazioni attraverso una metodologia chiara e condivisa, che saranno, grazie alla banca dati, messe a disposizione di tutte le forze di polizia. The complex and multisided study of serial killers is partly made difficult by the current level of progress that has led these deviant people to evolve in relation to the aspects of shrewdness (concerning the staging) and mobility. Despite the important work of some scholars who proposed important theories, all this shows that, concerning serial murders, it is still particularly frequent not to pay attention to links among homicides committed by the same person but in different parts of the world. It is therefore crucial to develop a worldwide database that allows all police forces to access information collected on crime scenes of murders which are particularly absurd and committed without any apparent reason. It will then be up to the profiler, through ad hoc and technologically advanced tools, to collect this information on the crime scene that would be made available to all police forces thanks to the worldwide database.

Kierkegaard e Plantinga : a subjetividade e a crença em Deus

O objetivo do presente trabalho é apresentar a discussão da temática da subjetividade como um importante fator para a afirmação da crença religiosa, tanto na obra de Kierkegaard como na obra de Plantinga. A despeito de algumas diferenças conceituais, avaliamos que ambos os autores não se interessam por provar a existência de Deus, mas antes se concentram na experiência como um fator central. Além disso, em ambos os autores, e na tradição cristã em geral, a subjetividade é fundamental para a afirmação da crença. Em Kierkegaard, tal conceito se encontra com a afirmação da fé enquanto absurdo. Em Plantinga, a afirmação da “basicalidade da crença” abre espaço para a relação de experiência e amplia o debate sobre a crença, reafirmando a sua posição crítica aos fundamentos da modernidade. Desse modo, a partir de alguns recortes específicos, busca-se o estabelecimento de um diálogo que consegue apontar, mesmo com diferenças essenciais entre os dois autores, notadamente na questão do absurdo e na ênfase maior de Kierkegaard sobre a fé como algo apaixonado, um fecundo debate. _______________________________________________________________________________ ABSTRACT

A agonia do insecto: Abordagem psicológica à obra de Franz Kafka

Dissertação de Mestrado apresentada ao Instituto Superior de Psicologia Aplicada para obtenção de grau de Mestre na especialidade de Psicologia Clínica.

Avances e inconsistencias en el concepto de reparación integral a raíz de las decisiones de la Corte Interamericana de Derechos Humanos y del Consejo de Estado Colombiano

Resumen El concepto de reparación integral en Colombia está mediado en gran parte por las decisiones de la Corte Interamericana de Derechos Humanos. Ello ha propiciado algunos avances en materia de ampliar el espectro de las reparaciones económicas; en la posibilidad de reabrir investigaciones antes cobijadas por la intangibilidad de la cosa juzgada; en la participación de las víctimas en los procesos penales y disciplinarios, y en algunas formas de reparación simbólica. Sin embargo, en general hay carencia de verdadera voluntad política y de mecanismos jurídicos que posibiliten que la reparación integral sea una realidad.Además, el cruce de decisiones de la Corte Interamericana con las decisiones del Consejo de Estado colombiano, ha originado situaciones absurdas que, aunque teóricamente se ven como un avance, en términos reales son un retroceso frente a los derechos de las víctimas. Ello se debe a la aparente similitud de las competencias de ambos tribunales; a una equivocada lectura del Consejo de Estado sobre los límites y posibilidades reales de su jurisdicción, y finalmente, a que la Corte no ha adoptado criterios claros en relación con las reparaciones económicas y en relación con la coherencia en el cumplimiento de sus sentencias. Palabras clave: reparación, Colombia, Corte Interamericana de Derechos Humanos, Consejo de Estado. Abstract The concept of integral reparation in Colombia is mediated largely by the decisions of the Inter-American Court of Human Rights. This has led to some progress in broadening the spectrum of economic reparations; in the possibility of reopening investigations sheltered by the intangibility for defendants; in the participation of victims in criminal and disciplinary proceedings, besides in some symbolic forms of reparation. However, there is general lack of real political will and legal mechanisms that enable that comprehensive reparation be a reality. Furthermore, crossing inter-American court decisions with the decisions of the Colombian State Council has created absurd situations that, although theoretically are seen as a breakthrough, in real terms are a retreat from the rights of victims. This is due to the apparent similarity in the competencies of both courts; a mistaken reading of the State Council on the limits and real possibilities of their jurisdiction, and finally, the Court has not adopted clear criteria regarding economic reparations and in relation to consistent com­pliance with its sentences.Keywords: repair, Colombia, Interamerican Court of Human rights, State Council.