Dissertationen: „Félix“

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Casaverde, Félix. „Cuatro Tiempos Negros Jóvenes de Félix Casaverde. [Félix Casaverde, guitarra negra]“. Universidad Peruana de Ciencias Aplicadas (UPC), 2019. http://hdl.handle.net/10757/624962.

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Esta es la partitura digitalizada Cuatro tiempos negros jóvenes de Félix Casaverde Transcripción por Fernando Elías Llanos Edición y correcciones por Diego Faucheux Álbum: Perú - Música Negra, A.S.P.I.C. - 1996 Compositor: Félix Casaverde Guitarra: Félix Casaverde/Cajón: "Toño" Gonzáles
Esta es la partitura digitalizada Cuatro tiempos negros jóvenes de Félix Casaverde Transcripción por Fernando Elías Llanos Edición y correcciones por Diego Faucheux Álbum: Perú - Música Negra, A.S.P.I.C. - 1996 Compositor: Félix Casaverde Guitarra: Félix Casaverde/Cajón: "Toño" Gonzáles

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Camargo, André Campos de 1979. „Félix Guattari : subjetividade, capitalismo e educação“. [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253965.

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Orientador: Silvio Donizetti de Oliveira Gallo
Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A obra conceitual de Félix Guattari - formada por livros, cursos, artigos, entrevistas, etc.- pode ser descrita como o resultado de sua intensa militância política misturada à prática clínica e às leituras filosóficas, científicas e artísticas. Nela encontramos ecos de um antigo e grande projeto geral que permeou as pesquisas de inúmeros intelectuais desde Kant e que em sua época constituía uma pergunta da qual se ocupavam vários pensadores franceses. Tal projeto pode ser resumido pela questão: como nos tornamos o que somos? Nessa (im) possível filiação, Guattari parece ter respondido: tornamo-nos o que somos pela produção de subjetividade. Mas antes de respondê-la, ele formulou inúmeras perguntas, como por exemplo: Qual a relação do capitalismo com a produção de subjetividade? A produção de subjetividade é estritamente humana? Como os processos de subjetivação organizam a subjetividade na atualidade? Por que uma determinada produção de subjetividade se faz presente e não outra? Os equipamentos coletivos funcionam como produtores de subjetividade? É possível resistir aos processos de produção de subjetividade? Analisar a obra de Guattari, tendo em vista esse provável projeto geral em que ela se insere e os questionamentos que ela suscita frente ao presente, nos parece uma tarefa gigantesca, mas possível de ser realizada. Para que possamos tratá-la no limite desta dissertação, elaboraremos uma introdução ao pensamento de Guattari, buscando apresentar o conceito de subjetividade maquínica e o de produção de subjetividade capitalística - conceitos que parecem cortar transversalmente toda obra do pensador francês e dar sustentação aos demais conceitos ¿ com o intuito de compreendermos o papel da instituição escolar no processo de subjetivação dos indivíduos na atualidade
Abstract: The conceptual oeuvre of Félix Guattari, portrayed by books, essays, articles, lectures, courses and interviews, are the result not only of his intense political activism but also of his clinical practice and readings about philosophy, science and art. We also find in his works echoes of an old overall project that could be summarized by a question on which French scholars, among a several number of other intellectuals, have been discussing since Kant. This project corresponds to the question: How did we become what we are? Regarding this (im) possible association, Guattari seems to reply that we become what we are by producing subjectivity. Before attempting to answer the issue, he formulated several questions such as: What is the relation between capitalism and subjectivity production? Is the subjectivity production strictly human? How do the subjectivation procedures (the active production of subjectivity) organize the subjectivity currently? Why does a specific subjectivity production take place instead of another? Do the collectivity instances work as subjectivity producers? Is it possible to withstand the processes of subjectivity production? Although an analysis of Guattari's works seems an ambitious proposal, as regards the overall project in which his works are inserted and the questions raised by them towards contemporaneity, it can be done. In order to achieve it, this dissertation aims to develop this analysis attempting to comprehend the educational institution role in the subjectivation process of the individuals at the present time. Considering this goal, we will elaborate an introduction to Guattari's thought. This will allow us to introduce the concepts of the machinic subjectivity as well as the production of capitalistic subjectivity, concepts which seem to be throughout Guattari's oeuvre and also appear to support the remaining concepts, significant for the analysis
Mestrado
Filosofia e História da Educação
Mestre em Educação

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Imbert, Henri-François. „Samba Félix N'Diaye, cinéaste documentariste africain“. Paris 8, 2005. http://www.theses.fr/2005PA082638.

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Samba Félix N'Diaye, cinéaste sénégalais, réalise des films documentaires depuis trente ans. Alors que les autres cinéastes africains se sont généralement orientés vers la fiction, il est ainsi le seul à s'être consacré exclusivement au cinéma documentaire, apparaissant aujourd'hui certainement comme le plus grand documentariste d'Afrique Noire francophone. Cette étude se propose, dans une première partie, d'analyser le contexte dans lequel a pu se développer cette œuvre, en s'attachant aux deux antécédents que constituent pour elle, d'une part, le cinéma documentaire de l'époque coloniale, et d'autre part, les premiers cinémas documentaires africains au lendemain des Indépendances. Dans une seconde partie, une analyse de l'œuvre de Samba Félix N'Diaye, film après film, portera notamment sur l'articulation entre les formes esthétiques développées par ce cinéaste, et les engagements éthiques, qui apparaissent les siens au cours de ces trente années de création
The Senegalese film maker Samba Félix N'Diaye, has been making documentary film for thirty years. While other african film makers generally tend towards fiction, he is the only one to have dedicated his career to the documentary and can today be said to be the greatest documentary film maker in Francophone Africa. In the first part of this thesis I will analyse the contexte in which this œuvre has developed by examining the two main movements that preceded his work, first of all, the documentary films from the colonial era and secondly, the first african documentary films after independence. In the second part, I will examine the work of Samba Félix N'Diaye through time, one film after another, and will concentrate on the articulation between the aesthetics developed by the film maker and the ethical commitments that he came to make aver the thirty years of his carrer. Hence, this thesis is a piece of research applied to a singular œuvre on the present issues of documentary film

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Coquidé-Cantor, Maryline. „Félix-Archimède Pouchet, savant et vulgarisateur“. Paris 11, 1992. http://www.theses.fr/1992PA112482.

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La controverse entre Pasteur et Pouchet sur l'origine des microorganismes est l'un des rares débats scientifiques présenté dans les manuels scolaires de sciences biologiques. La vision donnée reste cependant incomplète et correspond à une approche historique des sciences influencée par le positivisme. Le dépouillement des archives du muséum d'histoire naturelle de Rouen, dont Pouchet fut le créateur en 1828, met en évidence un écran, conséquent à ce débat, sur les apports réels de ce physiologiste en histoire des sciences. Ses recherches sur le cycle sexuel féminin et les conséquences pratiques envisagées montrent qu'il peut être considèré comme initiateur de la cytologie vaginale et précurseur dans les méthodes de contraception par abstinence périodique. Ses activités de muséologue, de professeur et d'écrivain vulgarisateur participèrent de façon originale à la diffusion de savoirs scientifiques par les objets, par l'oral et par l'écrit. L'analyse des objectifs de la diffusion et des stratégies utilisées, l'évaluation de l'impact sur le public et la mise en relief de conséquences scientifiques, culturelles et sociales constituent une contribution à la réflexion sur la place et les rôles de la médiatisation des sciences

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Machado, Ricardo. „O nomadismo de Félix Peyrallo Carbajal“. reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/169095.

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Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Filosofia e Ciências Humanas, Programa de Pós-Graduação em História, Florianópolis, 2016.
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Nascido no Uruguai em 1913, Félix Peyrallo Carbajal viveu boa parte de sua vida como nômade percorrendo inúmeras cidades onde construiu quadrantes solares e proferiu conferências sobre literatura, ciência e filosofia. Viveu sua vida como um intelectual de destino incerto, sendo reconhecido em inúmeras partes do continente americano e europeu, vindo a falecer no estado de Santa Catarina, Brasil, em 2005. Ao longo de sua vida, Félix Peyrallo fez do nomadismo seu agenciamento, buscando promover encontros através da literatura e do pensamento, percorrendo textos, autores e lugares. Por isso, optei em narrar a história de sua existência através desses encontros poéticos, carregados de incertezas e simulacros de histórias. Ao reconhecer em Félix Peyrallo uso da contingência como um método, busquei problematizar esses encontros com a vida e obra de diferentes autores como Rubén Darío, Carilda Oliver Labra, Pedro Garfias, Eduardo Galeano, Rainer Maria Rilke, Rimbaud e Cervantes. Por um lado, Félix Peyrallo foi influenciado pelas vanguardas dos anos 1920 e 1930, que o levou a fazer da linguagem uma experiência limite, permitindo uma singular forma de viver a vida como obra de arte. Por outro, mesmo sem obra literária ou filosófica, sua existência só foi possível porque inventou seu lugar de intelectual/poeta peregrino no espaço criado pelo modernismo literário no final do século XIX. Félix Peyrallo Carbajal fez do jogo com a incerteza de seu passado uma forma de vida, por isso o nomadismo faz parte da estética de sua existência. Ao longo de sua vida, o movimento foi permanente no mapa e na linguagem, nas formas de escrever e existir. Félix Peyrallo viveu uma vida trágica, marcada pela incerteza e pela potência do falso, de modo que sua única identidade foi o próprio nomadismo.

Abstract : Born in Uruguay in 1913, Felix Peyrallo Carbajal has lived much part of his life as a nomad traversing many cities where built sundials and gave lectures about literature, science and philosophy. He lived his life as an uncertain fate intellectual, being recognized in many parts of American continent and Europe, and died in the state of Santa Catarina, Brazil in 2005. Throughout his life, Felix Peyrallo made nomadism his agency, seeking promote meetings through literature and thought, covering texts, authors and places. So, I chose to tell the story of his life through these poetic encounters laden with uncertainties and simulacra stories. Recognizing Félix Peyrallo use of contingency as a method, I tried to discuss these encounters with the life and work of different authors such as Rubén Darío, Carilda Oliver Labra, Pedro Garfias, Eduardo Galeano, Rainer Maria Rilke, Rimbaud and Cervantes. On the one hand, Felix Peyrallo was influenced by the avant-garde of the 1920s and 1930s, which sought to make the language an extreme experience, allowing a unique way of living life as a work of art. Second, even without literary or philosophical work, his existence was only possible because invented your place as intellectual / pilgrim poet in a time created by modernism in the late nineteenth century, specially literacy. Felix Peyrallo Carbajal made the game with the uncertainty of his past a way of life, so the nomadic lifestyle is part of the aesthetic of your existence. Throughout his life, the move was permanent on the map and in the language, in the forms of writing and exist. Felix Peyrallo lived a tragic life, marked by uncertainty and false power, so that your unique identity was nomadism itself.

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Le, Douarec François. „Félix Gaillard (1919-1970), un destin inachevé“. Paris 4, 1989. http://www.theses.fr/1989PA040084.

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Inspecteur des finances, responsable national de la resistance, felix gaillard est, a la liberation, chef de cabinet de jean monnet, commissaire en mission aux etats-unis puis commissaire au plan. Elu, en 1946, depute radical-socialiste de la charente - il le reste jusqu'a sa mort-, sous-secretaire d'etat aux affaires econo- miques, l'annee suivante, secretaire d'etat dans quatre gouvernements successifs, mi- nistre des finances, des affaires economiques et du plan , il devient , le 6 novembre 1957, le plus jeune chef de gouvernement de la republique. Mais son cabinet est ephe- mere: il tombe, le 16 avril 1958, apres le bombardement, par l'aviation francaise, d'un village tunisien, sakhiet-sidi-youssef. Sous la cinquieme republique, le president du parti radical - gaillard le dirige de septembre 1958 a octobre 1961 -, approuve les nouvelles institutions; cependant il s'eloigne, bientot, du president de la republique auquel il reproche sa politique algerienne, et une certaine derive monarchique. Mais l'opposition pese a l'homme de gouvernement qui se rapproche, au lendemain du depart du general de gaulle, de georges pompidou et de jacques chaban-delmas; et son retour au pouvoir etait prevu lorsqu'il meurt prematurement, le 9 juillet 1970. L'"oeuvre" de felix gaillard est, toutefois, importante: ainsi, sous-secretaire d'etat aux affaires economiques, il inspire le plan "liberal" de rene mayer. Responsable de l'atome, le secretaire d'etat elabore le premier plan nucleaire francais. Le ministre des fi- nances met en pratique un programme drastique qui facilitera le redressement eco- nomique et financier. .
A finance inspector and national resistance leader, felix gaillard was, on the liberation of france, principal private secretary to jean monnet, the french government's commissioner in the united states and then the commissioner for the national plan. In 1946 he was elected as radical socialist deputy for the charente, a seat which he was to hold until his death, and was appointed under-secretary of state for economic affairs the following year. He was a secretary of state under four successive governments and minister of finance, economic affairs and the national plan, before becoming, on 6th november 1957, the youngest head of government in the history of the republic. However, his government was short-lived, failling on 16th april 1958 after the french air force had bombed a tunisian village, sakhiet-sidiyoussef. Under the fifth republic, as the president of the radical party from september 1958 to october 1961, gaillard approved of the new institutions; however, he soon distanced himself from the president of the republic, critical of his algerian policy and a certain monarchical tendency. But, opposition did not suit the man of government who, after the departure of general de gaulle, drew close to georges pompidou and jacques chaban-delmas; his return to power was planned when he died prematurely on 9 th july 1970. However, felix gaillard's achievements were important: as undersecretary of state for economic affairs, he introduced rene mayer's "liberal" plan. .

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Capdepuy, Arlette. „Félix Eboué, 1884-1944 : mythe et réalités coloniales“. Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30051/document.

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Descendant d’esclaves, Félix Éboué est né dans le milieu de la petite bourgeoisie de Cayenne (Guyane) en 1884. Il termine ses études secondaires à Bordeaux puis ses études supérieures à Paris : il sort diplômé de l’École coloniale en 1908. A sa demande, il est affecté en Oubangui-Chari (colonie de l’AEF). Il reste en brousse vingt deux ans avant de devenir administrateur en chef (1931). Il est ensuite nommé à différents postes : secrétaire général de la Martinique (1932-1934), secrétaire général du Soudan français (1934-1936), gouverneur de la Guadeloupe (1936-1938), gouverneur du Tchad (1938-1940). A l’été 1940, il choisit le camp de la Résistance avec de Gaulle. Le ralliement du Tchad donne au chef de la France libre un territoire français en Afrique, d’une importance stratégique capitale. En novembre 1940, de Gaulle le nomme gouverneur général de l’AEF à Brazzaville et Compagnon de la Libération. Jusqu’à février 1944, grâce à sa maîtrise de l’administration coloniale, il gère les hommes et les ressources de l’AEF pour le plus grand profit de la France libre et des Alliés. Épuisé et malade, il décède au Caire en mai 1944.La mémoire d’État s’empare de sa mémoire pour en faire rapidement une icône : il entre au Panthéon en mai 1949. Mais, Félix Éboué ne se réduit pas à son mythe : s’il est un personnage emblématique de la IIIe République, il est un homme ancré dans son époque par son appartenance à des réseaux de pouvoirs et par ses idées. Sa spécificité est d’avoir espéré réformer le système colonial et d’avoir cru qu’il était possible de lutter contre le préjugé de couleur, contre le racisme au nom des valeurs de la République. S’il fut un pionnier, c’est par le domaine du sport qui était pour lui un outil par excellence de l’intégration et d’épanouissement de l’individu
Descendant of slaves, Felix Eboue was born in the middle of the lower middle class of Cayenne (Guiana) in 1884. He finished high school in Bordeaux and his graduate studies in Paris: he graduated from the “Ecole coloniale” in 1908. At his request, he was assigned in Oubangui-Chari (AEF colony). It remains in the bush twenty two years before becoming Chief (1931). He was appointed to various positions: Secretary General of Martinique (1932-1934), Secretary General of the French Sudan (1934-1936), governor of Guadeloupe (1936-1938), governor of Chad (1938-1940). In the summer of 1940, he chose the side of the Resistance with de Gaulle. The rallying Chad gives the leader of Free France, a French territory in Africa, a strategic importance. In November 1940, de Gaulle appointed Governor General of the AEF in Brazzaville and Companion of the Liberation. Until February 1944, thanks to his mastery of the colonial administration, he manages people and resources of the AEF for the benefit of Free France and the Allies. Exhausted and ill, he died in Cairo in May 1944. The memory State seizes his memory to make an icon rapidly enters the Pantheon in May 1949. But Felix Eboue is not limited to the myth: it is an iconic character of the Third Republic, he is a man rooted in his time by his membership in networks of power and ideas. Its specificity is to be hoped reform the colonial system and have believed it was possible to fight against the prejudice of color against racism on behalf of the values of the Republic. If he was a pioneer, this is the sport that was for him an ideal tool for the integration and development of the individual

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Luneau, Jean-François. „Félix Gaudin (1851-1930), peintre-verrier et mosaïste“. Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20015.

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Félix Gaudin naît en 1851 à Paris. Brillant élève en lettres classiques, féru de photographie, il est influencé par son oncle Félix Narjoux, disciple de Viollet-le-Duc. Officier d'artillerie, il reprend en 1879 une manufacture de vitrail de Clermont-Ferrand, fondée en 1835 par Emile Thibaud, puis gérée par ses successeurs Charles des Granges et Louis de Carbonnel. Dirigeant douze employés, il s'occupe surtout de la vente des vitraux, use de la publicité, participe à des expositions artistiques ou industrielles et recrute des représentants parisiens. Le stock de cartons, richesse de l'atelier, induit une production routinière destinée à une clientèle religieuse. Pour y remédier, Gaudin engage des cartonniers extérieurs, Louis Steinheil ou Eugène Grasset. En 1890, il rachète à Paris le fonds d'Eugène Oudinot, dont la clientèle est constituée des architectes des Monuments historiques et des architectes diocésains. D'après les cartons de Grasset, Luc-Olivier Merson, Victor Tardieu ou Raphaël Freida, il crée des vitraux en usant des verres anglais et américains, les expédie aux Etats-Unis et en Amérique du sud. Sa présence aux Expositions universelles, ses collaborateurs de choix et les commandes pour des édifices publics le rendent célèbre. En 1900, il est élu président de la Chambre syndicale des Peintres-Verriers français. Cet atelier de six ouvriers à la gestion souple lui permet de franchir la crise de 1905. En 1909, il vend le fonds à son fils Jean qui poursuit l'essor international de la maison et développe l'activité mosaïque. Pendant sa retraite, il travaille encore à l'atelier, s'occupe des restaurations et remplace son fils malade entre 1914 et 1920. Il donne des conférences sur l'histoire du vitrail et publie un ouvrage de synthèse. Il meurt en 1930. L'analyse de l'oeuvre, d'après un catalogue de 1300 numéros, est précédée de l'étude de son entreprise. Sa carrière est confrontée à l'évolution économique du milieu des peintres-verriers français de son époque

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Puente, Candamo José Agustín de la. „Félix Denegri Luna, Profesor Honorario del Departamento de Humanidades“. Pontificia Universidad Católica del Perú, 2017. http://repositorio.pucp.edu.pe/index/handle/123456789/114355.

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Marin, Claire. „L'"activité obscure" dans la philosophie de Félix Ravaisson“. Paris 4, 2003. http://www.theses.fr/2003PA040134.

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Descendant le long de la spirale de l'habitude, la réflexion rencontre une " activité obscure " dont la polysémie appelle un travail herméneutique. Cette expression, employée par Ravaisson dans L'habitude, se prête à une analyse se déployant sur différents plans. Elle peut en effet se comprendre comme une référence à l'involontaire, puissance qui œuvre dans le silence et l'obscurité du corps. La dimension phénoménologique de la démarche ravaissonienne apparaît dans l'étude de cette forme particulière d'activité qui prend le relais de la volonté dans l'habitude. L'attention de Ravaisson à cette vie souterraine n'est pas sans trouver d'échos dans Le volontaire et l'involontaire de Paul Ricœur. Mais cette activité obscure exige également une nouvelle définition du cogito puisqu'elle peut aussi être interprétée comme l'activité sous-jacente de la conscience, qui prévient celle de l'intelligence claire et distincte. Dans l'involontaire comme dans la subconscience, l'immédiateté de l'action mime celle de l'activité parfaite. Mais il se pourrait qu'elle rejoue aussi l'activité même de l'être. L'activité obscure serait alors paradigme dans la mesure où elle imite et rend visible l'infatigable activité ontologique. Elle offre donc l'occasion d'une nouvelle interrogation sur la légitimité d'une " majoration ontologique de l'habitude ", selon la formule de D. Janicaud, ainsi que de brèves incursions dans les œuvres de la philosophie française du XXe siècle où la pensée ravaissonienne a laissé son empreinte
Spiralling down the path of habit, reflection encounters an "obscure activity" whose polysemy calls for hermeneutic exploration. This expression used by Ravaisson in L'habitude can be analysed on different levels. It can be understood as a reference to "the involuntary", a power at work in the silence and darkness of the body. The phenomenological dimension of Ravaisson's thought is revealed in the study of that specific form of activity in which habit takes over from the will. Ravaisson's care for a "subterranean life" is echoed in Paul Ricoeur's Le volontaire et l'involontaire. But the obscure activity also requires the cogito to be redefined, since it can also be interpreted as the underlying activity of consciousness, which predates that of clear and distinct intelligence. In the involuntary and in the subconscious, the immediateness of the action mirrors that of perfect activity. But it could also reflect the very activity of being. The obscure activity would then be paradigmatic insofar as it imitates and brings to light a tireless ontogical activity. It therefore allows a new questioning on the "ontological majoration of habit", in D. Janicaud's words, as well as brief incursions into the works of twentieth-century French philosophers, in which Ravaisson's thought has left a mark

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Lee, Jeong-Hee. „Le mécanisme et le transformisme chez Félix Le Dantec“. Paris 8, 1998. https://octaviana.fr/document/181426145#?c=0&m=0&s=0&cv=0.

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La philosophie biologique chez le dantec (felix le dantec, 1869-1917) a ete choisi comme objet de notre travail. Au cours de nos recherches, nous avons pris connaissance de certaines grandes problematiques en matiere de biologie, regnant en france a la fin du xixe siecle et au debut du xxe siecle, autour de la theorie de le dantec. Nous avons examine en trois themes generaux qui conferent a la theorie de le dantec une base inebranlable : le reductionnisme, le determinisme, et enfin, l'evolutionnisme continuite. En analysant les idees de le dantec qui etait un neo-lamarckien, nous avons compare l'epoque de lamarck ou de darwin a celle de le dantec, les idees diverses a l'epoque de le dantec, puis deux periodes dans les idees de le dantec lui-meme
We singled out the biological philosophy of le dantec (felix le dantec, 1869- 1917) as the object of our work. During our researchs, in the biological field, we knew of some important problematics which were dominating in the late xixth century and the early xxth century in france, around le dantec's theory. We studied an unshakeable base of le dantec's theory in three general themes which are the reductionism, the determinism, and the continual evolutionism. Analysing le dantec's ideas, he was a neo-lamarckian, we compared the era of lamarck or darwin to le dantec's, the different ideas at the era of le dantec, and then two periods in the ideas of le dantec

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Roberto-Alba, Nelson Fernando. „Politique et subjectivation. Michel Foucault, Félix Guattari, Jacques Rancière“. Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080062.

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Cette thèse porte sur la question des modes de subjectivation et leur rapport avec la politique chez Michel Foucault, Félix Guattari et Jacques Rancière. Elle s’inscrit dans le domaine de la philosophie politique et sociale de la seconde moitié du XXe siècle en France autour de la question : comment dans la politique se constituent des modes de subjectivation collectifs et comment ces subjectivations collectives sont à l’origine des formes de pratique et d’agencement politiques ? L’analyse des modes de subjectivation s’impose d’une façon particulière à chacun de ces philosophes par une mise en question de la politique, inséparable d’une critique des processus de production d’un individu assujetti, discipliné, normalisé, placé et sérié. Cependant, l’assujettissement et l’objectivation du sujet ne sont qu’une partie de ces nouvelles entreprises théoriques. Elles se rapportent également à une exploration des formes créatrices de subjectivation qui restent irréductibles à l’assujettissement dans lequel elles ont été produites, au point de déclencher de nouvelles façons de concevoir et de mettre en pratique la politique elle-même. Malgré de l’hétérogénéité de ces trois philosophies sociales et politiques, nous repérons des rencontres, des intersections et des bifurcations notamment entre Foucault et Guattari tout comme entre Foucault et Rancière, dans des dossiers spécifiques de revues des années soixante-dix (Recherches, Les révoltes logiques) et des expériences au sein des mouvements militants (GIP, CERFI, CRIR) qui ne cessent d’interroger les formes actuelles d’organisation, contestation et subjectivation politiques. La politique se présente pour ces philosophes aux marges de l’analyse et l’examen critique de plusieurs travaux philosophiques que, rapportant la question du sujet à celle de la subjectivation, finissent non seulement par mettre en question la politique comme pouvoir politique, redistribution du sensible ou bien opérateur sémiotique, mais aussi comme ce qui demeure à l’écart de la compréhension courante (institutionnelle) de la politique : ni gestion ou autogestion des États, ni exercice du pouvoir, affaire de prise de décisions groupales ou des stratégies de partis se disputant une représentation social, la politique est rapportée à la production de nouvelles formes de subjectivation et de recréation de sens, de techniques et de pratiques permettant établir des rapports inattendus avec la radicale altérité du monde
This thesis deals with the question of modes of subjectivation and their relationship with politics in Michel Foucault, Félix Guattari and Jacques Rancière. It is embedded in the field of political and social philosophy of the second half of the 20th century in France around the question: how modes of collective subjectivation are constituted in politics and how these collective subjectivations are at the origin of forms of political practice and agency? The analysis of the modes of subjectivation imposes itself in a particular way on each of these philosophers by a questioning of politics, inseparable from a critique of the production processes of a subjugated, disciplined, normalized, placed and serialized individual. However, subjugation and objectification of the subject are only part of these new theoretical undertakings. They also relate to an exploration of creative forms of subjectification that remain irreducible to the subjugation in which they were produced, to the point of triggering new ways of conceiving and practicing politics itself. Despite the heterogeneity of these three social and political philosophies, we identify encounters, intersections and bifurcations, notably between Foucault and Guattari as well as between Foucault and Rancière, in specific files of journals from the seventies (Recherches, Les révoltes logiques) and experiences within militant movements (GIP, CERFI, CRIR) which constantly question the current forms of political organization, contestation and subjectivation. Politics presents itself for these philosophers at the margins of the analysis and the critical examination of several philosophical works which, relating the question of the subject to that of subjectification, not only end up questioning politics as political power, redistribution of sensitive or semiotic operator, but also as what remains outside mainstream (institutional) understanding of politics: neither management nor self- management of States, nor exercise of power, a matter of group decision-making or party strategies competing for a social representation, politics is related to the production of new forms of subjectivation and the recreation of meaning, of techniques and of practices that make it possible to establish unexpected relationships with the radical alterity of the world

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Amegbleame, Simon Agbéko. „Métamorphoses de l'écriture dans l'oeuvre romanesque de Félix Couchoro“. Bordeaux 3, 1998. http://www.theses.fr/1998BOR30061.

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Felix couchoro longtemps ignore par la critique, est revele au public en 1987 par l'ouvrage que a. Ricard lui a consacre : naissance du roman africain. Son oeuvre comporte une vingtaine de romans et deux essais publies pour la plupart en feuilletons dans le quotidien togo-presse. Relativement abondante (environ 3000 pages), elle presente des caracteristiques dont la plus marquee est la reecriture. Certaines oeuvres reprises et remaniees existent en deux versions. D'autres publiees d'abord en volumes, sont ensuite parues en feuilletons dans la presse avec des coupures. + metamorphoses dans l'ecriture romanesque de felix couchoro ; est une etude consacree a ce phenomene de reduplication. L'analyse se situe a deux niveaux. Une premiere approche consiste en une confrontation : une oeuvre et son manuscrit, deux versions d'un meme texte. . . Une approche semiotique permet de mettre en lumiere les regles de la pratique transformationnelle chez couchoro, les donnees sociologiques d'en comprendre les motivations. Le second volet analyse le fonctionnement de l'ecriture dans la situation diglossique ou le francais est en contact avec une langue africaine, l'interaction de l'oral et de l'ecrit, dans ses rapports avec la bible. Enfin, la litterature de couchoro est le lieu de + croisement de deux cultures ; : la culture europeenne et la culture africaine. Une approche anthropologique etudie les effets de ce croisement et montre que loin de figurer un conflit, couchoro opte pour un syncretisme culturel traduisant ainsi une certaine realite sociologique
The togolese writer felix couchoro, ignored for many years by literary critics, was revealed to the public in 1987 by the work of a. Ricard (naissance du roman africain p. A. ). Couchoro's oeuvre includes twenty or so novels and two essays published mostly as serials in the government run daily newspaper, togo-presse. With nearly 3000 pages, this relatively extensive production can be characterized principally by the phenomenon of re-writing. Certain works rewritten after intervals of a few years exist in two versions. Others first published in book form subsequently appeared as serials in togo-presse after shortening. + metamorphosis of 'ecriture' in the novels of felix couchoro ; is a study of this re-writing phenomenon. The analysis is at two levels. The first level consists of a confrontation between the work and its manuscript, or between two versions of the same text. This semiotic approach permits us to highlight the sociological bases of the techniques of transformation in couchoro's writings and to understand his motivations. The second level of the study analyzes the functioning of the novelist's writings in a diglossic situation in which french is in contact with an african language, in the context of interaction between the oral and the written, in its relationships with the bible. In conclusion, couchoro's literature is the meeting place of two cultures, the european and the african. An anthropological approach analyzes the effects of this meeting and shows that far from showing a conflict, couchoro chooses a cultural syncretism to translate a certain sociological reality

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Cáceres, Casillas María Pilar. „Memory, language and trauma in the work of Félix Grande“. Thesis, Queen Mary, University of London, 2010. http://qmro.qmul.ac.uk/xmlui/handle/123456789/700.

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My thesis explores how memory and trauma permeate the work of the poet Félix Grande (Mérida, Spain, 1937). It addresses the question of how his particular understanding of memory is opposed to a rather bleak view of it held by many other Spanish poets of the time. Grande does not yield to a generalized discrediting of memory. On the contrary, memory is the driving force behind his writing, and this thesis constitutes an analysis of its mechanisms. The originality of Grande’s work stems from the ways in which it shares common ground with contemporary research carried out by disciplines that integrate Memory and Trauma Studies. His poetic voice struggles to grasp aspects of memory whose articulation proves traumatic. These elements resist symbolic translation and turn his poetry into a work of constant rumination without closure. Grande’s work illustrates that literature is both inextricably linked to memory, and is well equipped to deal with trauma, as the labour carried out by memory, weaving and un-weaving, especially in its attempts to mourn, is at the heart of his artistic production. Finally, his work instantiates a relationship with language and memory which, while recognising the limits of language to express and of memory to retrieve the past, goes beyond this initial distrust to offer a positive perspective on these faculties, as the means for establishing modes of survival and rethinking our connections to the unknown.

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Cooper, Percker Oliver Glenn. „Petrología y geoquímica de la Isla San Félix, Pacífico Suroriental“. Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/131355.

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Geológo
Las islas San Félix (26°17'30"S / 80°5'53"O) y San Ambrosio (26°20'40"S / 79°53'11"O) corresponden a fragmentos de dos edificios volcánicos separados entre sí por 20 km aproximadamente, siendo San Félix la isla más occidental. Estas islas, en conjunto con el islote González y pequeñas estructuras volcánicas, representan la parte superior de un gran volcán escudo con forma elongada de rumbo noroeste que se levanta sobre la placa de Nazca. Con el fin de identificar los procesos que han controlado la evolución magmática de la isla San Félix, se realiza un estudio geoquímico y petrográfico a partir de muestras de esta isla y se incorporan datos de geoquímica de roca total de ejemplares de la isla San Ambrosio y, además, una nueva edad Ar-Ar (ca 0,2 Ma) correspondiente a una colada de cerro Amarillo. Las muestras se analizan mediante ICP-MS e ICP OES y se estudian petrográficamente por medio de láminas delgadas. Una selección de ejemplares de la isla San Félix se analiza a través de SEM y EDS. La información incorporada corresponde a estudios realizados en el marco del proyecto FONDECYT N° 1141303 del cual forma parte esta memoria. La isla San Félix está conformada por dos cuerpos volcánicos principales: un cono de tobas, el cual representa la transición de un volcanismo submarino a uno insular, y un plateau de lavas basaníticas, construido bajo condiciones subaéreas. Sus productos volcánicos corresponden esencialmente a rocas básicas y ultrabásicas, altamente alcalinas. Particularmente, el cono de tobas se constituye de una matriz de hialoclastos palagonitizados de color amarillo, fragmentos líticos de afinidad química basanítica y traquítica (ausencia de miembros con composición química intermedia) y de bombas de material juvenil basanítico. Sobre él, se dispone discordantemente un grupo de coladas lingüiformes basaníticas rugosas porfíricas de olivino. En tanto, el plateau está conformado por una sucesión de lavas basaníticas porfíricas de olivino, en donde destacan las coladas superiores por ser las únicas rocas básicas de la isla con un contenido significativo de plagioclasa (> 20% modal). El comportamiento exhibido por MgO, CaO, Ni, Cr, Co, Sc y Sr, en unidades básicas, puede ser explicado por el fraccionamiento de olivino, clinopiroxeno y plagioclasa. A su vez, las bajas concentraciones de TiO2, MgO, FeO, CaO y P2O5 y altas de Al2O3, Na2O y K2O presentadas por la totalidad de ejemplares traquíticos, en comparación con las rocas de afinidad basanítica, se deberían esencialmente al fraccionamiento de olivino, clinopiroxeno, óxidos de Fe-Ti y apatito. Se reconocen dos familias de traquitas las que derivarían de líquidos basaníticos distintos. Estas familias se diferencian esencialmente en el contenido de HREE y en la presencia/ausencia de anomalías negativas de Eu. Particularmente, las traquitas con altas concentraciones de HREE y fuertes anomalías de Eu provendrían de líquidos basaníticos en los cuales la formación y el fraccionamiento de plagioclasa son procesos factibles, mientras que las traquitas con bajos contenidos de HREE serían los productos finales de líquidos basaníticos de mayor alcalinidad que inhibirían la cristalización de dicha fase. La proximidad espacial entre las islas San Félix (ca 0,4 Ma) y San Ambrosio (ca 2,9 Ma), sumado a un aumento en la alcalinidad en la isla más joven, sugiere que estas corresponden a distintas etapas evolutivas de un mismo complejo volcánico de intraplaca. San Ambrosio registraría la fase escudo o postescudo, mientras que San Félix correspondería a la fase de volcanismo rejuvenecido. Luego, para dar cuenta de la evolución magmática entre las islas San Ambrosio y San Félix, se propone la participación de una pluma mantélica heterogénea, la cual en su ascenso transporta litologías máficas metasomáticas recicladas capaces de explicar la alcalinidad exhibida por estas islas. Finalmente, la fuente mantélica de San Ambrosio estaría enriquecida en HREE en comparación con la de San Félix, mientras que esta última estaría deprimida en Zr y Hf.

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Camilo, Rodrigo Augusto Leão. „Católicos e pentecostais: o discurso religioso em São Félix do Araguaia“. Universidade Federal de Goiás, 2017. http://repositorio.bc.ufg.br/tede/handle/tede/8008.

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Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research is in line with the line of Cultures, Representations and Symbolic Practices of the Postgraduate Program in Sociology of the Federal University of Goiás. The objective of this research is to analyze the religious discourse in the city of São Félix do Araguaia in Mato Grosso. the discourses produced by the liberation Catholics and the Evangelical Pentecostal segment. The work will be referenced by ideas of the Sociology of Religion of Pierre Bourdieu, as well as contributions from authors such as Leonardo Boff, Michael Löwy, Leonildo Silveira Campos, Ricardo Mariano, among others. Besides the reference of these authors, Census data will be used to measure the Brazilian religious field. Also, interviews with Catholic and evangelical religious leaders will be held in the city of São Félix do Araguaia with the purpose of knowing the specific reality in the city of northeast Mato Grosso. From our studies, it is possible to understand that a strong readjustment of the Brazilian religious field is under way, as the number of people declaring themselves Catholic declines while the adherents of the evangelical religions are increasing, a situation that tends to remain for the next decades.
Esta pesquisa enquadra-se na linha de Culturas, Representações e Práticas Simbólicas do Programa de Pós-Graduação em Sociologia da Universidade Federal de Goiás. O trabalho tem como objetivo analisar o discurso religioso na cidade de São Félix do Araguaia no Mato Grosso, tendo como base os discursos produzidos pelos católicos da libertação e o segmento pentecostal evangélico. O trabalho será referenciado por ideias da Sociologia da Religião de Pierre Bourdieu, bem como contribuições de autores como Leonardo Boff, Michael Löwy, Leonildo Silveira Campos, Ricardo Mariano, entre outros. Além da referência desses autores, serão utilizados dados do Censo para mensurarmos o campo religioso brasileiro. Ainda, serão realizadas entrevistas com lideranças religiosas católicas e evangélicas na cidade de São Félix do Araguaia com o intuito de conhecermos a realidade específica na cidade do nordeste do Mato Grosso. A partir de nossos estudos é possível compreender que está em curso uma forte readequação do campo religioso brasileiro, na medida que cai o número de pessoas que se declaram católicas enquanto aumentam os adeptos das religiões evangélicas, situação que tende a se manter para as próximas décadas.

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Sacchettin, Priscila. „Impressionismo em preto e branco: desenho e gravura em Félix Bracquemond“. Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-30072008-113029/.

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Esta dissertação examina a gravura impressionista, através da análise do conceito de desenho e a relação deste com a gravura praticada na segunda metade do século XIX, na França. Para isso, utilizo como guia o conceito de desenho desenvolvido por Félix Bracquemond (1833 - 1914) em seu ensaio Du Dessin et de la Couleur (1855). Pretendo mostrar como esse conceito foi forjado em consonância com as pesquisas impressionistas no âmbito da gravura.
This dissertation focuses the impressionist engraving , through an analysis of the concept of drawing, and its relations with the engraving made in France, at the second half of the XIX century. Therefore, the concept of drawing such as developed on the essay Du Dessin et de la Couleur (1885) by Félix Bracquemond (1833 - 1914), was taken as a guiding one. I intent to demonstrate how this concept was formed according to the impressionists researches on engraving.

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Lago, Ricardo. „Debate con Waldo Mendoza, Pedro Francke, Óscar Dancourt y Félix Ovidio“. Economía, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/118252.

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SILVA, Aryêcha Arruda. „ESTUDO ETNOBOTÂNICO DA FAMÍLIA ASTERACEAE EM CAMOCIM DE SÃO FÉLIX, PERNAMBUCO“. Universidade Federal de Pernambuco, 2012. https://repositorio.ufpe.br/handle/123456789/11740.

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CAPES
(Levantamento etnobotânico em comunidades rurais de Camocim de São Félix, Pernambuco, Nordeste do Brasil). O presente estudo investigou o conhecimento etnobotânico em comunidades rurais estabelecidas na Microrregião do Brejo Pernambucano, no agreste de Pernambuco. Informações sobre o uso das espécies foram obtidas junto a 50 moradores do município de Camocim de São Félix através de entrevistas semiestruturadas, onde as espécies foram enquadradas em 6 etnocategorias. Foram calculados o Fator de Consenso entre os informantes (FCI), a Importância Relativa (IR), o Grau de Concordância entre os Informantes (UCs) e o Índice de Significado Cultural (ISC). Foram citadas como úteis 214 espécies, distribuídas em 182 gêneros e 75 famílias, enquadradas nas seguintes etnocategorias: medicinal (122), alimentícia (74), ornamental (54), tecnológica (21), místico (13) e outras (7), estando algumas espécies enquadradas em mais de uma etnocategoria. Destacaram-se pelo maior número de espécies Asteraceae (19), Fabaceae (14), Lamiaceae (13) e Cucurbitaceae/Myrtaceae (8). Houve maior concordância nas indicações de plantas para tratamento de doenças do aparelho digestivo (FCI 0,78). Dentre as espécies de uso medicinal, Cymbopogon citratus (DC.) Stapf. teve o maior índice de importância relativa (IR 2) e Lippia alba (Mill.) N.E.Br. foi a espécie com maior concordância de usos entre os informantes (UC 0,645). Citrus sinensis (L.) Osbeck apresentou o índice de importância cultural mais elevado (ISC 14,8). Embora sejam utilizadas espécies nativas do agreste de Pernambuco, como Myracrodruon urundeuva Allemão, elas não têm destaque na flora útil local, apesar do potencial que representam como fontes de medicamentos, alimentos e combustível.

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Leal, Carmen Beatriz Pereira. „Colégio Elementar Félix da Cunha (1913-1934) : aspectos da cultura escolar“. Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br:8080/handle/prefix/2916.

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Sem bolsa
O estudo analisa o Colégio Elementar Félix da Cunha, durante os anos de 1913-1934. Será examinada a trajetória da escola, os prédios onde a mesma funcionou, bem como as questões referentes as escolas primárias, e o Modelo Escolar nos anos de 1930. O objetivo principal consiste em acompanhar desde a criação da escola em 1913, realizando um histórico da escola, bem como o Contexto Educacional do Rio Grande do Sul e o Contexto da cidade de Pelotas durante o período em análise. Foi feita uma busca, sobre os prédios escolares adquiridos pelo Governo do Estado, bem como a importância dos Colégios Elementares que foram criados em 1909, sendo somente instalados em 1910. A pesquisa documental analisa o Livro de Matrículas do Acervo particular da Escola, caracterizando o perfil dos alunos, através das categorias de idade, sexo, nacionalidade, etnia. Também será usado como fonte o Jornal Diário Popular. Foi constatado que o Colégio Elementar Félix da Cunha além de receber um grande número de alunos, mostrou alguns aspectos do ideal republicano, pois a construção das escolas foi uma das propagandas do regime que foi criado após o advento da República. O trabalho pretende contribuir para a história da educação, bem como mostrar dados importantes do colégio para os alunos que nela fazem parte e são carentes destas informações.
The study analyzes the College Elementary Félix da Cunha, during the years 1910-1934. Will de examined the school's history, the buildings where the same work, as well as issues concerning primary schools, and the Model School in the 1930s. The main objective is to monitor from the school establishment in 1913, carrying out a school history as well as the Rio Grande do Sul Educational Background and Context of Pelotas at the time. Was do a lookup on the buildings school acquired by the State Government as well as the importance of Elementary Schools that were created in 1909, being installed only in 1910. A documentary research analyzes the Book of Registrations of private Collection of the School, featuring the profile of students, through the categories of age, gender, nationality, ethnicity. Also it will be used as source the newspaper People's Daily. It was found that the elementary Félix da Cunha College in addition to receiving a large number of students showed some aspects of the republican ideal, as the construction of schools was one of the regime's propaganda that was created after the advent of the Republic. The work aims to contribute to the history of education as well as show important data to the college students who are part of it and are in need of this information.

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Toudert, Thérèse. „Vetenskapens behov av avbildningar : En objektbiografisk fallstudie av Félix Thiberts moulager“. Thesis, Uppsala universitet, Institutionen för ABM, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-391086.

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This thesis investigates a part of the material culture of higher education through an object biographical case study of Félix Thibert’s moulages. The object biography operates with a diachronic perspective that offers an object-centered historiography of university collections, revealing that the need for collecting and imaging in science consistently remains, even though the role and significance of pathological moulages in research and education have changed over time. The moulages are epistemic things as described by Hans-Jörg Rheinberger. They embody what we do not yet know and they become marginalized when no one expects them to generate new discoveries. Their ontology and function are dependent on the dominating epistemic culture. John V. Pickstone outlines three ways of knowing, which gradually have dominated since the Renaissance: natural history, analysis and experiment. Thibert’s moulages are clearly anchored in analysis as a way of knowing for which the museum is an important arena. The findings of this thesis show that university museums and their collections were of immense importance for the production of knowledge during the 19th century, while today they often fall short of their knowledge-generating potential. There are nevertheless methods that can help them reach their full potential, among them a displaying method proposed by Karin Tybjerg considered in this thesis and the object biography of which this thesis consists. This is a two-year master’s thesis in Museum and Cultural Heritage Studies.

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Poinsignon, Jean-Claude. „Felix auvray, peintre et ecrivain (1800 - 1833)- biographie - oeuvre litteraire - catalogue raisonne“. Lille 3, 1987. http://www.theses.fr/1987LIL30032.

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Manconi, Lorenzo. „Los topos di Félix Bruzzone e i “neodesaparecidos” argentini: proposta di traduzione“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2016. http://amslaurea.unibo.it/10760/.

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Lo scopo del presente elaborato è la proposta di traduzione in italiano di un romanzo contemporaneo dello scrittore argentino Félix Bruzzone, Los topos, che racconta la storia di un giovane, orfano di entrambi i genitori desaparecidos, e della sua ricerca del presunto fratello nato in cattività. Nello specifico, il viaggio del narratore-protagonista costituisce il tentativo, destinato al fallimento, di recuperare la sua identità perduta e costruire vincoli familiari e affettivi in una società violenta, dove la sparizione forzata, sotto altre forme, è ancora una pratica abituale. Con i suoi tratti comici e grotteschi, l’opera rivendica in modo creativo una certa indipendenza dal tradizionale discorso vittimizzante sulla memoria, sia nello sviluppo della storia che nelle strategie stilistiche e narrative. I primi tre capitoli di questa tesi inquadrano Los topos in un contesto culturale e letterario e presentano un’analisi delle ragioni dell’originalità dell’opera nell’ambito della produzione letteraria su questo tema: in particolare, nel Capitolo I vengono illustrati i fatti storici relativi all’ultima dittatura militare argentina (1976 - 1983) e le ripercussioni sociali del regime negli anni successivi; il secondo capitolo contiene un breve ritratto di Félix Bruzzone e un’intervista realizzata all’autore nel contesto di un rapporto di collaborazione e di un periodo di ricerca svolto in Argentina, che si sono rivelati fondamentali per l’interpretazione e la traduzione del testo originale; il Capitolo III è dedicato all’analisi del romanzo dal punto di vista tematico, narrativo, linguistico e stilistico. Gli ultimi due Capitoli sono relativi all’attività di traduzione dell’opera: il quarto contiene la versione italiana, proposta integralmente, mentre nel quinto vengono esaminate le strategie adottate per la risoluzione dei principali problemi traduttivi, con l’obiettivo di base di riprodurre l’apparato ritmico dell’oralità che caratterizza il testo originale.

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Ocaña, Karen Isabel. „Synthetic authenticity, the work of Angela Carter, Gilles Deleuze and Félix Guattari“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ29558.pdf.

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Ocaña, Karen Isabel. „Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix Guattari“. Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26748.

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This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.

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Roberts, Marc Warren. „Gilles Deleuze and Félix Guattari : ontology and the question of living well“. Thesis, Staffordshire University, 2010. http://eprints.staffs.ac.uk/1868/.

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This aim of this study is to investigate the manner in which Deleuze’s individual and collaborative work can be productively understood as being concerned with the question of living well, where it will be suggested that living well necessitates that we not only become aware of, but that we also explore, the forever renewed present possibilities for living otherwise that each moment brings. In particular, this study will make an original contribution to existing Deleuzian studies by arguing that what legitimises this conception of living well, and what can motivate us to engage in such a practice, is that a life that becomes aware of and explores the open field of present possibilities for living otherwise that each moment engenders is a life that reflects, or that is lived in accordance with, the challenging ontological account that can be discerned throughout Deleuze’s individual and collaborative work; a life lived in accordance with his open, dynamic and thoroughly temporal theory of Being or what I will suggest he came to refer to simply as ‘Life’. In addition, I will argue that in so far as each individual human being is to be understood as an ongoing and immanent expression of Life, an immediate expression of Life understood as a universal, impersonal and pre-individual dynamism, then a life that strives to explore the forever renewed present possibilities for living otherwise that each moment brings - a practice that I shall propose also necessitates that each individual strives to resist the diverse ways in which their present possibilities are continually hindered, thwarted and negated - is not only a life that strives to live in accordance with the temporal dynamism of Life, but is also a life lived in accordance with our own dynamic and thoroughly temporal being.

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Miranda, Aurora Amélia Brito de. „DE ARRENDATÁRIOS A PROPRIETÁRIOS: A sociabilidade no assentamento Brejo de São Félix“. Universidade Federal do Maranhão, 2007. http://tedebc.ufma.br:8080/jspui/handle/tede/752.

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Made available in DSpace on 2016-08-18T18:53:56Z (GMT). No. of bitstreams: 1 Aurora Amelia Brito de Miranda.pdf: 999970 bytes, checksum: 8ef4028b556cf7905fbcda651e9f23ca (MD5) Previous issue date: 2007-11-30
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
It analyses the sociability´s´ on Brejo nesting from São Félix, situated in Parnarama city, Maranhão State. It searchs understand how the groups has been becoming the bows that articulate them, how the seated ones interact building the bows that articulate them, in a historical perspective, detaching new relations in a seated condition, as well the new mediators which they pass to relationate. It argues the following questions: what does it means nesting? In which measure the seated ones conquests the property and the land´s control? It takes as reference the sociability notion developed by Velho(2001) to understand how diferents sociabilities build symbolic the different spaces from this nesting, detaching news and old management´s forms of the territory and clientelism that has been accomplished from the relations with the institutions that acts in it.
Análise da sociabilidade no assentamento Brejo de São Félix, situado no município de Parnarama, estado do Maranhão. Busca compreender como os grupos foram se constituindo, como os assentados interagem construindo os laços que os articulam, numa perspectiva histórica, destacando as novas relações que se constituem na condição de assentados, assim como os novos mediadores com os quais passam a se relacionar. Discute as seguintes questões: o que significa assentamento? Em que medida os assentados conquistam a propriedade e o controle sobre a terra? Toma como referência a noção de sociabilidade desenvolvida por Velho (2001) para compreender como distintas sociabilidades vão construindo simbolicamente os diferentes espaços deste assentamento, destacando novas e velhas formas de gestão do território e de clientelismo que se efetivam a partir das relações com as instituições que nele atuam.

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Latry, Guy. „Félix Arnaudin, un folkloriste gascon à travers sa correspondance : suivie de l'édition de la correspondance générale de F. Arnaudin“. Montpellier 3, 2000. http://www.theses.fr/2000MON30065.

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Arnone, Marianne Farah. „A gravura como difusora da arte: um estudo sobre a gravura brasileira no final do século XIX a partir da análise dos textos e produão crítica de Félix Ferreira“. Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-02022015-153549/.

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A finalidade deste trabalho é estudar a gravura brasileira nas três décadas finais do século XIX a partir da produção crítica do escritor, jornalista, editor e historiador Félix Ferreira (Rio de Janeiro, 1841-1898). O foco do trabalho pauta-se na reflexão sobre a gravura tendo como ponto de partida a análise dos trabalhos desse autor que foram estudados durante a minha Iniciação Científica (2008-2010). Por meio da análise desses materiais de autoria de Félix Ferreira, localizados durante o período de pesquisa, notou-se forte preocupação do autor com a consolidação de um ensino artístico profissionalizante no Brasil que buscasse aliar a instrução teórica à prática, em contraposição ao ensino teórico intelectual de caráter humanístico e literário que então predominava nas instituições de ensino. Ele acreditava ser o Liceu de Artes e Ofícios do Rio de Janeiro o ambiente adequado à concretização dessas aspirações, tendo em vista o desenvolvimento do que denominava \"artes aplicadas\", \"artes mecânicas\" ou \"artes industriais\". A questão da gravura é recorrente em seus textos, sempre defendendo o ensino das técnicas, incentivando sua prática e apontando a necessidade de áreas de formação por meio da criação de cadeiras dedicadas à gravura nas instituições de ensino. Destaca-se, nesse contexto, o projeto de Ferreira para a proliferação das publicações ilustradas, sobretudo aquelas destinadas aos temas artísticos e a difusão das obras de arte por meio da imagem gráfica. Tendo em vista todas essas questões, pretendo investigar as ligações do autor com o desenvolvimento da gravura no Rio de Janeiro nas décadas finais do século XIX.
This work intends to study the Brazilian engraving in the three last decades of the Nineteenth-Century, based on the comments of Félix Ferreira production, who was a journalist, editor and historiographer (Rio de Janeiro, 1841-1898). The focus of this work was directed to the reflection about the engraving development, based on the evaluation of the production work of this author which has been studied during my previous studies (2008-2010).Through the analysis of these materials, found during the research period, it was noticed a concern of the author with the consolidation of a professional art education in Brazil which aimed to combine the theoretical instruction to practice, as opposed to theoretical intellectual, humanistic and literary character that prevailed in educational institutions. Félix Ferreira believed that the School of Arts and Crafts of Rio de Janeiro was the appropriate environment for achieving these aspirations based on the development of what he called \"applied arts\", \"mechanical arts\" or \"industrial arts\". The issue of engraving is recurrent in his writings, always defending the teaching of techniques, encouraging their practice and indicating the need for training areas dedicated to engraving in educational institutions. In this context, the Ferreira\'s project for the spread of illustrated publications stands out, especially those intended for artistic themes and the propagation of works of art by the graphical image. Considering all these issues, I intend to investigate the author links with the development of engraving in Rio de Janeiro in the final decades of the nineteenth century

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Vila, i. Vicente Santi. „Félix Sardà i Salvany, “influencer” integrista, en temps del Sexenni i la Restauració“. Doctoral thesis, Universitat Internacional de Catalunya, 2017. http://hdl.handle.net/10803/572075.

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Estudi de la vida i la trajectòria intel·lectual i política de Fèlix Sardà i Salvany (1841-1916), capellà i propagandista catòlic sabadellenc, autor d’una ingent obra periodística, catequètica i d’apostolat catòlic, impulsor entre moltes altres de la Revista Popular, famós per la publicació de El Liberalismo es pecado (1884), un llibre que el convertí en un dels màxims referents de l’integrisme catòlic a Catalunya i a Europa durant el darrer terç del segle XIX i fins els nostres dies. De l’experiència traumàtica dels anys del Sexenni Revolucionari (1868-1874) Sardà en sortiria convençut que el Liberalisme, una forma moderna d’heretgia, no es podia combatre només des de la Trona sinó que calia incorporar les pròpies armes de propaganda i mobilització política liberals: la utilització de la premsa, la propaganda, l’articulació de nous espais de sociabilitat i mobilització polítiques. Poc original en el terreny doctrinal, Sardà destacarà en canvi per la seva capacitat de modernitzar el propagandisme catòlic i de defensar “Lo viejo, a lo moderno!” Políticament, la seva incapacitat de superar els enfrontaments primer entre catòlics, després entre carlins i alfonsins el convertiren en un dels principals responsables de la impossibilitat de la unitat política dels catòlics.
Estudi de la vida i la trajectòria intel·lectual i política de Fèlix Sardà i Salvany (1841-1916), capellà i propagandista catòlic sabadellenc, autor d’una ingent obra periodística, catequètica i d’apostolat catòlic, impulsor entre moltes altres de la Revista Popular, famós per la publicació de El Liberalismo es pecado (1884), un llibre que el convertí en un dels màxims referents de l’integrisme catòlic a Catalunya i a Europa durant el darrer terç del segle XIX i fins els nostres dies. De l’experiència traumàtica dels anys del Sexenni Revolucionari (1868-1874) Sardà en sortiria convençut que el Liberalisme, una forma moderna d’heretgia, no es podia combatre només des de la Trona sinó que calia incorporar les pròpies armes de propaganda i mobilització política liberals: la utilització de la premsa, la propaganda, l’articulació de nous espais de sociabilitat i mobilització polítiques. Poc original en el terreny doctrinal, Sardà destacarà en canvi per la seva capacitat de modernitzar el propagandisme catòlic i de defensar “Lo viejo, a lo moderno!” Políticament, la seva incapacitat de superar els enfrontaments primer entre catòlics, després entre carlins i alfonsins el convertiren en un dels principals responsables de la impossibilitat de la unitat política dels catòlics.
Estudi de la vida i la trajectòria intel·lectual i política de Fèlix Sardà i Salvany (1841-1916), capellà i propagandista catòlic sabadellenc, autor d’una ingent obra periodística, catequètica i d’apostolat catòlic, impulsor entre moltes altres de la Revista Popular, famós per la publicació de El Liberalismo es pecado (1884), un llibre que el convertí en un dels màxims referents de l’integrisme catòlic a Catalunya i a Europa durant el darrer terç del segle XIX i fins els nostres dies. De l’experiència traumàtica dels anys del Sexenni Revolucionari (1868-1874) Sardà en sortiria convençut que el Liberalisme, una forma moderna d’heretgia, no es podia combatre només des de la Trona sinó que calia incorporar les pròpies armes de propaganda i mobilització política liberals: la utilització de la premsa, la propaganda, l’articulació de nous espais de sociabilitat i mobilització polítiques. Poc original en el terreny doctrinal, Sardà destacarà en canvi per la seva capacitat de modernitzar el propagandisme catòlic i de defensar “Lo viejo, a lo moderno!” Políticament, la seva incapacitat de superar els enfrontaments primer entre catòlics, després entre carlins i alfonsins el convertiren en un dels principals responsables de la impossibilitat de la unitat política dels catòlics.

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Arredondo, Baquerizo Digna Lidia. „Inteligencia emocional y clima organizacional en el personal del Hospital "Félix Mayorca Soto"“. Master's thesis, Universidad Nacional Mayor de San Marcos, 2008. https://hdl.handle.net/20.500.12672/3275.

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La investigación titulada Inteligencia Emocional y Clima Organizacional en el personal del Hospital “Félix Mayorca Soto”; pretende contribuir a entender más la Salud Ocupacional, explicando las implicancias de la inteligencia emocional en el clima organizacional, y la importancia de esta última en el bienestar psicosocial de los trabajadores. El objetivo principal fue, establecer la correlación entre inteligencia emocional y la percepción del clima organizacional en el personal del referido Hospital “Félix Mayorca Soto”, teniendo en cuenta el sexo y grupo ocupacional. Para el estudio se ha empleado dos instrumentos confiables y debidamente validados para su uso en el Perú: El ICE de Bar-On, adaptados por Zoila Abanto, Leonardo Higueras y Jorge Cueto; y la Escala de Percepción del Clima organizacional de Litwin y Stringer, adaptado por Sonia Palma. Se realizó un estudio observacional, correlacional y de corte transversal, en una población voluntaria conformada por 119 trabajadores; donde se encontró un nivel promedio de inteligencia emocional. Al comparar los promedios de inteligencia emocional por sexo y grupo ocupacional, no se observó diferencias estadísticamente significativas. Para obtener los promedios de la percepción del clima organizacional según el grupo ocupacional, se aplicò ANOVA y se encontró que el 78.99% de trabajadores consideran que existe un clima bueno o aceptable. Al realizar la comparación entre grupos ocupacionales, se encontró diferencias estadísticamente significativas entre obstetrices y enfermeros, obstetrices y médicos; por lo que se llega a afirmar que las obstetrices tienen mejor percepción del clima organizacional que los enfermeros y médicos. No hay diferencias significativas en los puntajes obtenidos por sexo. Para determinar la correlación, se aplicó la prueba de Spearman y se llegó a la conclusión de que no existe correlación directa entre la inteligencia emocional y el clima organizacional; sin embargo, se encuentra que la IE participa indirectamente en el clima organizacional, considerando que cada trabajador percibe su ambiente laboral de acuerdo a sus características personales, que forman parte de su inteligencia emocional.
Tesis

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Paradis, Clément. „Félix Thiollier et le livre, l'édition photographique entre aventure libérale et mysticisme religieux“. Thesis, Lyon, 2020. http://www.theses.fr/2020LYSES042.

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Cette étude porte sur les éditions photographiques de Félix Thiollier (1842-1914), les livres qu’il a travaillés en tant qu’éditeur et / ou auteur, illustrateur, photographe. Industriel érudit ayant décidé de vivre de ses rentes, Thiollier publie à partir de 1881 plus de quarante ouvrages traitants d’art, d’archéologie, parfois de tourisme et de thèmes régionalistes. La thèse s’attache à définir la structure du sens de cet ensemble ainsi que le cadre méthodologique qui permet d’étudier l’émergence de ce sens, à travers la prise en compte des relations entre le texte, les images, le graphisme et la typographie des livres. En analysant les réseaux culturels dans lesquels Thiollier gravite à Saint-Étienne comme à Paris, nous identifions la personnalité unique de cet éditeur, capable de mettre en relation différentes sphères sociales et se mêlant indifféremment aux réseaux techniques, artistiques et scientifiques de son temps. L’étude permet de présenter les enjeux idéologiques qui enserrent la production des œuvres et contribue à conditionner leurs formes. D’apparence traditionnelle mais accueillant les dernières techniques de reproduction d’image, les livres de Thiollier se mêlent au mouvement catholique libéral finissant et interrogent les hiérarchies esthétiques et sociales en vigueur.En prêtant une attention particulière à la fois aux conditions de production des œuvres, aux réseaux d’acteurs et aux discours de légitimation, nous proposons une analyse des complexes discursifs que sont les ouvrages de Thiollier, qui étudie leur matérialité tout en comprenant la pragmatique des forces qui a conditionné leur émergence
This study covers the photographic editions of Félix Thiollier (1842-1914), the books he has worked as an editor and / or author, illustrator, photographer. Industrial entrepreneur and amateur scholar who decided to live on his income, Thiollier published from 1881 onwards more than forty works dealing with art, archeology, sometimes tourism and regionalist themes. The thesis seeks to define the structure of the meaning of this set as well as the methodological framework which allows to study the emergence of this meaning, through the consideration of the relationships between text, images, graphics and typography of books. By analyzing the cultural networks in which Thiollier gravitates in Saint-Étienne as in Paris, we identify the unique personality of this publisher, capable of bringing together different social spheres and mixing indifferently with the technical, artistic and scientific networks of his time. The study makes it possible to present the ideological issues that surround the production of works and help to condition their forms. Traditional in appearance but welcoming the latest image reproduction techniques, Thiollier's books mingle with the dying liberal Catholic movement and question the aesthetic and social hierarchies in effect. By paying particular attention to both the conditions of production of works, the networks of actors and the discourses of legitimation, we propose an analysis of the discursive complexes that are the works of Thiollier, who studies their materiality while understanding the pragmatics of forces that conditioned their emergence

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Araujo, dos Santos Zamara. „A geophilosofia de Deleuze e Guattari“. Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100135/document.

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La Géophilosophie est un concept tardif dans l’oeuvre de Deleuze et Guattari, et bien qu’il s’applique au dernier livre qu’ils ont écrit ensemble « Qu´est-ce que la Philosophie ? », il s’agit d’une notion qui enveloppe leurs principales créations conceptuelles et circonscrit la période de « Capitalisme et schizophrénie », tout en dialoguant avec des notions et des moments distincts de l’oeuvre des auteurs. Sous la rubrique de cette notion, la philosophie se définit selon le rapport entre un plan d’immanence qu’il s’agira de définir et d’un milieu immanent et social constituant une conjonction de relations variables entre le territoire et la terre. Ainsi l’acte de penser ne gravite-t-il pas dans l’orbite des catégories du sujet et de l’objet, mais concerne un milieu intensif et contingent qui, tout en composant une milieu de circonstances extérieures, délimite un champ de connexions et frontières, de relations multiples et de devenirs, qui contournent le molaire et le moléculaire en établissant un régime d’échange, de capture et de surcodage de codes. Selon ce tracé, la pensée et les concepts invoquent un “ dehors”, un devenir moléculaire, que Deleuze et Guattari analysent en utilisant les concepts de devenirs-animaux et imperceptibles. Ce sont ces concepts que nous cherchons à expliquer, dans la mesure où ils explorent le caractère géophilosophique de la pensée, dans son rapport aux concepts de territoire et d’agencements. Nous entendons en délinéer les connexions, les ramifications hétérogènes et rhizomatiques qui suivent des lignes intensives en conjurant des forces et des mouvements de la terre, et qui opèrent par des mouvements diagrammatiques, géodésie et déterritorialisation. En effet, une cartographie des déplacements, directions et chemins circonscrivant la carte d’une géographie agitée par des lignes de fuite, des longitudes et des lattitudes est configurée. Ces conditions définissent le plan d’immanence de la pensée, de sa déterritorialisation et de sa reterritorialisation
Geophilosophy is a lag concept in Deleuze and Guattari’s work, and besides its can be applied at the last book in partnership « Qu´est-ce que la Philosophie ? », it is a notion that involves their main conceptual creations, circumscribing the period of Capitalisme et schizophrénie, but in dialogue with distincts notions and moments of both autors work. Under the heading of the notion, philosophy consecrates the conexion of a absolut immanence plan derivative of a social and immanent environment that constitutes the conjunction of variable relations between the territory and the earth. This way, the act of thinking doesn’t gravitate in the orbit of the categories of suject and object, but concerns to a intensive and contingent environment, that, setting an ambience of external circunstances, delimits a field of conexions and borders, of multiple relations and becomings that skirts the molar and the molecular, establishing a system of change, capture and overcoding of the codes. In this route, the thought and the concepts invocate an « outside », a molecular becoming, animal and inconspicuous becomings that settle the territory and the assemblages, profiling conexions, heterogeneous and rhizomatic ramifications that follow by intensive lines, conjuring forces and movements of earth that operates by diagrammatic movements, geodey and deterritorialization. Setting up, in effect, a cartography of displacements, directions and pathways that circumscribes the map of a geography agitated by creepage, longitudes and latitudes, being these, by the way, the conditions of the absolut immanence plan of thinking, of its deterritorialization and reterritorialization
A Geofilosofia é um conceito tardio na obra de Deleuze e Guattari e, embora se aplique aoúltimo livro em parceria, Qu´est-ce que la Philosophie ?, trata-se de uma noção queenvolve suas principais criações conceituais, circunscrevendo o período de Capitalisme etschizophrénie, mas dialogando com noções e momentos distintos da obra dos autores. Soba rubrica da noção, a filosofia consagra a conexão de um plano de imanência absolutoderivado de um meio imanente e social que constitui a conjunção de relações variáveisentre o território e a terra. Assim, o ato de pensar não gravita sob a órbita das categoriassujeito e objeto, mas concerne a um meio intensivo e contingente, que, compondo umaambiência de circunstâncias externas, demarca um campo de conexões e fronteiras derelações múltiplas e devires que contornam o molar e o molecular, estabelecendo umregime de troca, captura e sobrecodificação dos códigos. Nesse traçado, o pensamento e osconceitos invocam um “fora”, um devir molecular, devires animais e imperceptíveis quepovoam o território e os agenciamentos, perfilham conexões, ramificações heterogêneas erizomáticas que seguem por linhas intensivas, conjurando forças e movimentos da terra queoperam por movimentos diagramáticos, geodésia e desterritorialização. Configura-se, comefeito, uma cartografia dos deslocamentos, direções e trajetos que circunscreve o mapa deuma geografia agitada por linhas de fuga, longitudes e latitudes, sendo essas, portanto, ascondições do plano de imanência absoluto do pensamento, de sua desterritorialização ereterritorialização

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Belbachir, Patricia. „Félix del Marle (1889-1952) : biographie critique et essai de catalogue raisonné des oeuvres des collections publiques françaises et étrangères“. Lille 3, 1994. http://www.theses.fr/1994LIL30001.

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Naud, Pierre. „Félix Leclerc et le mouvement indépendantiste québécois : un mariage basé sur les valeurs communes“. Thesis, University of Ottawa (Canada), 2002. http://hdl.handle.net/10393/6311.

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Que l'art appuie ou critique la politique, il reste qu'une relation particulière existe entre l'art et la politique. En constatant cela, nous pouvons nous intéresser aux différents artistes engagés et aux causes qu'ils défendaient pour tenter d'expliquer en profondeur les liens les unissant. Au Québec, le poète-auteur-chanteur, Félix Leclerc, s'est particulièrement illustré en tant qu'artiste engagé. Ce dernier, associé à la cause indépendantiste québécoise, a écrit et chanté ce qu'il souhaitait pour son pays. Nous pouvons constater l'ampleur de son engagement et déterminer ce qui a poussé ce poète à s'allier au mouvement indépendantiste québécois en étudiant son oeuvre, en l'analysant à l'aide du modèle d'analyse des comportement collectifs de Neil Smelser, et finalement en mettant l'idéologie de ce dernier en parallèle avec celle du mouvement indépendantiste québécois.

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L'Heureux, Antoine. „Commitment to a life : thinking beyond Gilles Deleuze and Félix Guattari's conceptualization of art“. Thesis, Goldsmiths College (University of London), 2011. http://research.gold.ac.uk/8007/.

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This thesis takes as its point of departure Gilles Deleuze and Félix Guattari’s conceptualization of art. Art for them is the expression of A Life in the living. A Life is the ontological and genetic condition of that which we are and ordinarily experience, it is the vital and material transcendental plane of immanence which characterizes Deleuze and Guattari’s ontology. Their conceptualization of art, however, sits uncomfortably with contemporary art in rejecting conceptual and photographic practices, and in its radical rejection of human experience. The aim of this thesis is to expand their conceptualization of art whilst remaining close to what is argued to be its core or essence: a commitment to A Life. This thesis explores three paradigms of commitment to A Life that move beyond the paradigm of A Life in the living. These paradigms are developed through the application of concepts developed by Deleuze and Guattari to contemporary mediums and artworks, with the aim of broadening the relevance of their philosophy for contemporary artistic practices. Deleuze and Guattari’s aesthetics is analyzed and expanded through an engagement with works by Francis Bacon, Thomas Struth, Pierre Huyghe, Francis Alÿs and Peter Doig. By finding a commonality between these artists in their commitment to A Life, this thesis hopes to develop a conceptualization of art which allows us to understand how contemporary art practices engage with A Life, the infinite inside which we live and which lives inside us.

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Romero, Zevallos Miguel Félix. „Diseño de una red HSDPA para la ciudad de Arequipa / Miguel Félix Romero Zevallos“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2009. http://tesis.pucp.edu.pe/repositorio/handle/123456789/198.

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El presente proyecto de tesis consiste en realizar el diseño de una red de tercera generación para la ciudad de Arequipa; para esto se ha decidido utilizar la tecnología HSDPA que evoluciona a partir de la tecnología UMTS. Durante el desarrollo de este proyecto veremos el porqué de la elección de dicha tecnología y analizaremos el mercado de dicha ciudad para ver si es que requiere de la implementación de una red de tercera generación y la rentabilidad de dicha inversión.
Tesis

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Jimenez, Michele de Oliveira. „Ressurreição e Acenos e Afagos: um estudo das masculinidades em Félix e João Imaculado“. Universidade Estadual do Oeste do Parana, 2011. http://tede.unioeste.br:8080/tede/handle/tede/2509.

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Analyzing representations of masculinities in its relation to sexuality and gender, evidenced in the characters Félix, of the novel Ressurreição (1871/2005), by Machado de Assis, and João Imaculado, of the novel Acenos e afagos (2008), by João Gilberto Noll, this dissertation aims to understand, in these narratives, expressions of different representations of masculinity at the end of the 19th century and start of the 21st century. Accordingly, the comparative study of these narratives allows also to understand its links with the society, in different historical and cultural contexts, as it was intended to highlight here studying the meanings of the own name, the marriage, the family and the profession in the two novels.
Analisando as representações das masculinidades em sua relação com a sexualidade e com o gênero, evidenciadas nos personagens Félix, do romance Ressurreição (1871/2005), de Machado de Assis, e João Imaculado, do romance Acenos e afagos (2008), de João Gilberto Noll, esta dissertação tem como objetivo compreender, nessas narrativas, as manifestações de diferentes representações da masculinidade no final do século XIX e início do século XXI. Nesse sentido, o estudo comparado dessas narrativas permite também compreender seus vínculos com a sociedade, em diferentes contextos históricos e culturais, como aqui se pretendeu evidenciar estudando as significações do nome próprio, do casamento, da família e da profissão nos dois romances.

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Reátegui, Barrón Ivone Dessireé. „Migrantes de la costa norte, en Loreto. Etnografía de un poblado llamado Félix Flores“. Bachelor's thesis, Universidad Nacional Mayor de San Marcos, 2010. https://hdl.handle.net/20.500.12672/15598.

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Este trabajo etnográfico tiene como finalidad exponer una parte de la historia de la migración hacia la selva, específicamente hacia la región de Loreto, allá por los años setenta. Para este propósito se decidió realizar una pequeña etnografía sobre el poblado Félixconforman en su mayoría migrantes provenientes de la costa norte de nuestro país que llegaron a este lugar atraídos por las oportunidades laboralesque les ofrecía la construcción de uno de los más importante proyectos de los años setentas, me refiero a la construcción del Oleoducto Norperuano.
Trabajo de suficiencia profesional

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Silva, Eronides Rodrigues de Freitas. „Ensino Religioso: um olhar sobre as escolas estaduais de Salgado de São Félix-PB“. Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/4186.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This research presents the Religious Teaching in the six State Schools of Salgado of São Félix, inside Paraíba, involving 06 teachers and the students of the 6ª to the 9ª year of the Fundamental Teaching. It is a proposal that was born because many professionals supply your classes according to your religious inclinations and they don't have nor formation and nor training on that theme. On the other hand, more and more, it increases the specialists' interest in deepening that knowledge area for being essential in the basic education. Our objective was to investigate the forms as the teachers they supply the classes, proceeding or not the present beginnings in the article 33 of LBD, that proposes an education without proselytism. To base our research we dialogued with renowned authors like Junqueira (2002), Croatto (2001), Oliveira (2008), Kuhn (2005), among others. We opted to accomplish a qualitative research, once the religious dimension opens possibilities to notice the feelings, the silences, the emotions, the gestures, finally a fan of the present subjectivity in the people with which we had opportunity to interact. We made the choice for a participant methodology for we be one of the teachers that act at the investigated schools. We adopted as research instruments the participant observation, the field diary, the questionnaire and the interview semiestruturada. The research appears for the improvement need in the Religious Teaching at personal and social level and of investing in the professionals' formation that you/they supply an education citizen, contributed in the laws and in the vital beginnings for the humanity.
Esta pesquisa apresenta o Ensino Religioso nas seis Escolas Estaduais de Salgado de São Félix, no interior da Paraíba, envolvendo 06 professores e os alunos do 6º ao 9º ano do Ensino Fundamental. Trata-se de uma proposta que nasceu porque muitos profissionais ministram suas aulas conforme suas inclinações religiosas e não têm nem formação e nem capacitação sobre esse tema. Por outro lado, cada vez mais, cresce o interesse dos estudiosos em aprofundar essa área de conhecimento por ser essencial na educação básica. O nosso objetivo foi investigar as formas como os professores ministram as aulas, seguindo ou não os princípios presentes no artigo 33 da LBD, que propõe uma educação sem proselitismo. Para embasar a nossa pesquisa dialogamos com autores renomados como Junqueira (2002), Croatto (2001), Oliveira (2008), Kuhn (2005), dentre outros. Optamos por realizar uma pesquisa qualitativa, uma vez que a dimensão religiosa abre possibilidades de perceber os sentimentos, os silêncios, as emoções, os gestos, enfim um leque da subjetividade presente nas pessoas com as quais tivemos oportunidade de interagir. Fizemos a escolha por uma metodologia participante por sermos uma das professoras que atuam nas escolas investigadas. Adotamos como instrumentos de pesquisa a observação participante, o diário de campo, o questionário e a entrevista semiestruturada. A pesquisa aponta para a necessidade de melhoria no Ensino Religioso a nível pessoal e social e de investir na formação de profissionais que ministrem uma educação cidadã, aportada nas leis e nos princípios vitais para a humanidade.

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Corinus, Véronique. „Le répertoire d'un conteur martiniquais, Félix Modock : reconstruction d'une oeuvre entre l'oral et l'écrit“. Paris 4, 2005. http://www.theses.fr/2005PA040217.

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Le répertoire du conteur antillais Félix Modock, enchâssé dans la section martiniquaise de Folk-Lore of the Antilles, French and English, souffre, à ce jour, d'une certaine invisibilité, du fait même de son insertion dans le volumineux recueil que la folkloriste américaine Elsie Clews Parsons a consacré à la littérature orale des îles de la Caraïbe. Aussi convient-il de le restaurer, au sens pictural du terme, afin de lui rendre sa place dans le champ littéraire antillais. Un nouvel établissement du texte de ses trente-neuf contes, accompagnés de leur traduction en français s'impose, ainsi qu'une contextualisation, tant historique qu'idéologique. Ainsi peut-on envisager, en étudiant ses composantes formelles et figuratives, la cohérence et l'homogénéité d'un répertoire, forme distincte des corpus, recueils ou catalogues de conte, qui répond à des normes précises et à une visée particulière. Le statut singulier de son énonciateur, conteur autologographe, en fait une œuvre inédite dans la littérature créole, qui porte témoignage du passage de l'oralité à l'écriture
Felix Modock is a story teller from Martinique whose repertory, embedded in the Martinican section of Folk-Lore of the Antilles, French and English has been suffering from a certain invincibility until nowadays, by the very fact of its inserting in the bulky anthology which Elsie Clews Parsons, the American folklorist, dedicated to the oral literature of the Caribbean Islands. So it is advisable to “restore” it, in the pictorial sense of the word, so as to give it its proper place back in the West Indian literary field. A new arranging of its thirty-nine tales, accompanied by their translation into French is imperative and so is an historical and ideological contextual explanation. In that way, by studying its formal and figurative components, it is possible to consider the consistency and the homogeneity of a repertory, a form which is distinct from corpuses, collections or index of tales and which fits precise standards and a particular aim. The remarkable status of its reporter, an autologographer story teller, makes of it an original work in Creole literature, which brings evidence the passage from oral to written literature

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Palazón, Campillo María Encarnación. „FÉLIX MURCIA Y LA DIRECCIÓN ARTÍSTICA. RELACIONES ENTRE EL CINE Y LAS ARTES PLÁSTICAS“. Doctoral thesis, Universitat Politècnica de València, 2015. http://hdl.handle.net/10251/59069.

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[EN] This research entitled Félix Murcia and artistic direction. Relations between cinema and Visual Arts, allows us to approach the research on art to its professional practice and doing so I such a way also capable of marking new possible scopes for new themes and ways of doing. The fact of investigating artistic direction in Félix Murcia is due to two reasons: on the one hand, the importance and recognized prestige that he has had as artistic director, and on the other, the total absence of artistic research into him and his work. From these two observations it has been established as the central problem of this thesis how to enhance his artistic direction. For the enhancement I have started from a premise that is a key all along this thesis: his plastic look. In order tor solve this problem I have chosen an interdisciplinary methodology. This is, so as long as the own artistic direction turns out to be an activity where many other disciplines converge. Respecting this fact has been of the paramount and has necessarily resulted in the methodological coherence that knows how to state the complexity of the issue that has been dealt with.
[ES] La presente investigación titulada Félix Murcia y la dirección artística. Relaciones entre el cine y las artes plásticas, nos permite acercar la investigación en arte hacia su práctica profesional, y realizarlo de un modo que además pueda significar la creación de nuevas posibilidades de enfoque para nuevos temas y modos de hacer. El hecho de investigar la dirección artística en Félix Murcia obedece a dos razones: de un lado, la importancia y el reconocido prestigio que tiene como director artístico, y de otro, la ausencia total de investigaciones artísticas sobre él y su trabajo. A partir de estas dos constataciones se ha establecido como problema central de esta tesis doctoral cómo poner en valor su dirección artística. Para la puesta en valor se ha partido de una premisa que resulta clave durante toda la tesis: su mirada plástica. Para la resolución de este problema se ha apostado por una metodología interdisciplinar. Esto es así, en la medida en la que la propia dirección artística resulta ser una actividad donde convergen otras muchas disciplinas. Respetar este hecho ha sido capital y, necesariamente, se ha traducido en una coherencia metodológica que supiera dar cuentas de la complejidad del tema que se ha abordado.
[CAT] Aquesta recerca, titulada Félix Murcia i la direcció artística. Relacions entre el cinema i les arts plàstiques, ens permet acostar la investigació en art cap a la seua pràctica professional, i realitzar-ho d'una manera que a més puga significar la creació de noves possibilitats d'enfocament per a nous temes i modes de fer. El fet d'investigar la direcció artística en Félix Murcia obeeix a dues raons: d'unabanda, la importància i el reconegut prestigi que te com a director artístic, i d'una altra, l'absència total de recerques artístiques sobre ell i el seu treball. A partir d'aquestes dues constatacions, s'ha establit com a problema central d'aquesta tesi doctoralcom posar en valor la seua direcció artística. Per a la posada en valor s'ha partit d'una premissa que resulta clau durant tota la tesi: la seua mirada plàstica. Per a la resolució d'aquest problema s'ha apostat per una metodologia interdisciplinària, en la mesura que la mateixa direcció artística resulta ser una activitat en què convergeixen moltes altres disciplines. Respectar aquest fet ha sigut capital i necessàriament s'ha traduït en una coherència metodològica que sabera retre compte de la complexitat del tema que s'ha abordat.
Palazón Campillo, ME. (2015). FÉLIX MURCIA Y LA DIRECCIÓN ARTÍSTICA. RELACIONES ENTRE EL CINE Y LAS ARTES PLÁSTICAS [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/59069
TESIS

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Casanova, Francisca. „Prise en charge des brûlés au Centre Hospitalier départemental Félix Guyon à La Réunion“. Bordeaux 2, 1993. http://www.theses.fr/1993BOR2M031.

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Garcin-Marrou, Flore. „Gilles Deleuze, Félix Guattari : entre théâtre et philosophie. Pour un théâtre de l’à venir“. Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040231.

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Gilles Deleuze et Félix Guattari ne sont pas connus pour avoir manifesté un réel intérêt pour le théâtre. En adoptant une première approche historique et biographique, ce jugement s’avère être une injustice profonde envers ces deux esprits, car l’un ne cesse d’évoquer le théâtre afin d’en faire une critique constructive et l’autre se révèle être l’auteur d’une production théâtrale inédite à ce jour, dont nous dévoilons les enjeux dramaturgiques. Dans une seconde partie, il s’agit de cartographier une pensée du théâtre hétérogène, défendue par les deux philosophes : le théâtre est utilisé dans la création de nouveaux concepts et d’une nouvelle énonciation philosophique. Le « théâtre de la pensée », la « dramatisation », le « théâtre de signes », le « schizo-théâtre », le « théâtre mineur », le « théâtre pris dans des devenirs-autres » constituent les signes avant-coureurs d’un « théâtre de l’à venir » qui constitue le fil rouge de notre recherche. Comme une réponse à la crise du drame, Gilles Deleuze oriente le théâtre vers d’autres lignes de fuite qui portent le théâtre vers les limites de l’abstraction pure, pendant que Félix Guattari conçoit un théâtre postdramatique. Cette thèse inclut des index répertoriant le vocabulaire théâtral et les personnalités de théâtre à partir de l’œuvre complète des deux philosophes, ainsi que des interviews de quelques uns de leurs proches amis artistes
Gilles Deleuze and Félix Guattari are not famous for having a deep, enduring interest in theatre. This thesis first develops historical and biographical elements to reveal that the notion of their indifference to theatre is cruelly inexact: the former repeatedly mentions drama and constructively criticises it, while the latter turns out to be the author of dramas which are yet unpublished, and whose theatrical characteristics are revealed here. In a more conceptual part, I then offer the mapping of a heterogeneous web of notions that both philosophers abide by: theatre is used in the creation of new concepts; it is at the service of a new wording of philosophy. The Theatre of Thought, the Method of Dramatisation, the Theatre of Cruelty, the Schizo Theatre, the Minor Theatre and the Theatre through the process of Becoming-Other are the signposts of A Coming Theatre that our research sets out to explore. Gilles Deleuze’s philosophy offers a reaction to the crisis of theatre. While Deleuze takes theatre on new lines of flight and pushes it on the verge of pure abstraction, Félix Guattari forges a Postdramatic Theatre. My thesis includes indexes of all the theatrical vocabulary and characters to be found in the works of both philosophers, as well as interviews by some of their close artist friends

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Waterhouse, Brent Alton. „Strates, plan, rhizome. John Cage et la philosophie de Gilles Deleuze et Félix Guattari“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040272.

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Une recension exhaustive des références à la musique et au sonore montre l’importance de cet art dans la production philosophique de Gilles Deleuze et Félix Guattari. La présente recherche se concentre sur la position occupée par la pensée musicale de John Cage dans certains de ces textes. La période créative de Cage située entre 1939 et 1952, se focalise sur deux aspects principaux : la structure micro-macrocosmique caractéristique de ces premiers travaux, et les quatre éléments qui synthétisent alors pour Cage la composition musicale. Ces derniers sont considérés en rapport avec la théorie de la double articulation que Deleuze et Guattari reprennent de Hjelmslev ; les deux aspects renvoient au système des strates et de la stratification exposé dans Mille plateaux. La musique des décennies centrales de la production cagienne, à la lumière du passage de Mille plateaux où l’œuvre de Cage est mise en rapport avec le concept de « plan fixe sonore ». Une attention particulière est donnée à la manière dont Cage conçoit le rapport entre la durée et les matériaux sonores, et au degré variable de présence du hasard et de l’indétermination. Les compositions de cette période sont en outre vues en référence au concept deleuzo-guattarien de cartographie. Les derniers quinze ans de la production de Cage sont analysés à travers le concept de rhizome entendu comme théorie des multiplicités. La partition de Sylvano Bussotti qui figure au début de Mille plateaux ainsi que les travaux textuels et musicaux de Cage, les procédures compositionnelles des mésostiches, des parenthèses de temps qui créent une structure variable, et l’harmonie anarchique du dernier Cage sont également explicités
On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony

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Neto, Dário Milech. „Um ilustrado nas fronteiras da alteridade: Félix de Azara e a questão do “outro”“. Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br/handle/ri/2788.

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Fundação de Amparo à Pesquisa do Rio Grande do Sul - FAPERGS
Com a assinatura do Tratado de 1778, diversas expedições foram enviadas pelas coroas ibéricas para a demarcação dos limites entre as suas possessões na América. Em uma dessas expedições, veio para a região platina o aragonês Félix de Azara (1742 – 1821). Devido à postergação do serviço das demarcações, Azara decidiu empreender várias viagens no interior do continente americano, coletando informações sobre os locais nos quais passava. Com esse trabalho, o militar tornou-se um reconhecido naturalista em seu tempo. O objetivo da presente dissertação de mestrado é compreender a visão de Félix de Azara sobre o “outro” e quais relações o aragonês manteve com os habitantes locais. Para isso, utilizaremos a proposta do linguista Tzvetan Todorov (2011), para abordar o tema da alteridade no período da ilustração. Com isso, pretendemos conhecer melhor não só Azara, mas também seu olhar como ilustrado espanhol sobre a sociedade platina do final do século XVIII.
After the signature of the Treaty of 1778, many expeditions were send by the Iberic crowns with the purpose of demarcating the borders of their possessions in the America. In one of these expeditions came to the region the Aragonese Felix de Azara (1742 – 1821). Due to the delay in the demarcation works, Azara decided to un-dertake many voyages to the inland of the American continent, collecting informations about the places where he passed. With this labour, the military became a recognized naturalist in his time. The objective of this dissertation is to understand the point of view of Felix the Azara towards the “other” and what relations the Aragonese kept with the local inhabitants. In order to do that we are going to use the proposition of Tzevetan Todorov on approaching the theme of “otherness” in the Enlightenment era. We intend to know better not only Azara, but also his point of view as a Spanish of the Enlightenment Era about a platine region society in the late XVIII century.

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Milech, Neto Dário. „Um ilustrado nas fronteiras da alteridade: Félix de Azara e a questão do “outro”“. Universidade Federal de Pelotas, 2015. http://repositorio.ufpel.edu.br:8080/handle/prefix/3384.

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Com a assinatura do Tratado de 1778, diversas expedições foram enviadas pelas coroas ibéricas para a demarcação dos limites entre as suas possessões na Améri-ca. Em uma dessas expedições, veio para a região platina o aragonês Félix de Aza-ra (1742 – 1821). Devido à postergação do serviço das demarcações, Azara decidiu empreender várias viagens no interior do continente americano, coletando informa-ções sobre os locais nos quais passava. Com esse trabalho, o militar tornou-se um reconhecido naturalista em seu tempo. O objetivo da presente dissertação de mes-trado é compreender a visão de Félix de Azara sobre o “outro” e quais relações o aragonês manteve com os habitantes locais. Para isso, utilizaremos a proposta do linguista Tzvetan Todorov (2011), para abordar o tema da alteridade no período da ilustração. Com isso, pretendemos conhecer melhor não só Azara, mas também seu olhar como ilustrado espanhol sobre a sociedade platina do final do século XVIII.
After the signature of the Treaty of 1778, many expeditions were send by the Iberic crowns with the purpose of demarcating the borders of their possessions in the America. In one of these expeditions came to the region the Aragonese Felix de Aza-ra (1742 – 1821). Due to the delay in the demarcation works, Azara decided to un-dertake many voyages to the inland of the American continent, collecting infor-mations about the places where he passed. With this labour, the military became a recognized naturalist in his time. The objective of this dissertation is to understand the point of view of Felix the Azara towards the “other” and what relations the Arago-nese kept with the local inhabitants. In order to do that we are going to use the prop-osition of Tzevetan Todorov on approaching the theme of “otherness” in the Enlight-enment era. We intend to know better not only Azara, but also his point of view as a Spanish of the Enlightenment Era about a platine region society in the late XVIII cen-tury.

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48

Waterhouse, Brent Alton <1971&gt. „Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari“. Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/2/waterhouse_brent_tesi.pdf.

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In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.
On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.

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49

Waterhouse, Brent Alton <1971&gt. „Strati, piano, rizoma. John Cage e la filosofia di Gilles Deleuze e Félix Guattari“. Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2012. http://amsdottorato.unibo.it/5096/.

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Annotation:

In base ad una recensione esaustiva dei riferimenti alla musica e al sonoro nella produzione filosofica di Gilles Deleuze e Félix Guattari, la presente ricerca s’incentra sulla posizione che il pensiero musicale di John Cage occupa in alcuni testi deleuziani. Il primo capitolo tratta del periodo creativo di Cage fra il 1939 e il 1952, focalizzandosi su due aspetti principali: la struttura micro-macrocosmica che contraddistingue i suoi primi lavori, e i quattro elementi che in questo momento sintetizzano per Cage la composizione musicale. Questi ultimi sono considerati in riferimento alla teoria della doppia articolazione che Deleuze e Guattari riprendono da Hjelmslev; entrambi gli aspetti rimandano al sistema degli strati e della stratificazione esposta su Mille piani. Il secondo capitolo analizza la musica dei decenni centrali della produzione cagiana alla luce del luogo in Mille piani dove Cage è messo in rapporto al concetto di “piano fisso sonoro”. Un’attenzione particolare è posta al modo in cui Cage concepisce il rapporto fra durata e materiali sonori, e al grado variabile in cui sono presenti il caso e l’indeterminazione. Le composizioni del periodo in questione sono inoltre viste in riferimento al concetto deleuzo-guattariano di cartografia, e nelle loro implicazioni per il tempo musicale. L’ultimo quindicennio della produzione di Cage è considerata attraverso il concetto di rizoma inteso come teoria delle molteplicità. In primo luogo è esaminata la partitura di Sylvano Bussotti che figura all’inizio di Mille piani; in seguito, i lavori testuali e musicali di Cage sono considerati secondo le procedure compositive cagiane del mesostico, delle parentesi di tempo che concorrono a formare una struttura variabile, e dell’armonia anarchica dell’ultimo Cage.
On the basis of a exhaustive identification of the references to music and sound in the philosophical production of Gilles Deleuze and Félix Guattari, the present research concentrates on the position occupied by John Cage’s musical thought in a number of deleuzian texts. The first chapter analyses the works composed by Cage between 1939 and 1952, focusing on two principal aspects: the micro-macrocosmic structure that characterises his first works, and the four elements that resume Cage’s approach to composition in the period in question. The latter are considered in relation to Hjelmslev’s theory of double articulation as elaborated by Deleuze and Guattari; both aspects are referred to the system of strata and stratification found in A Thousand Plateaus. The second chapter is dedicated to the compositions of the central decades of Cage’s production, in the light of the passage of A Thousand Plateaus in which Cage is considered in relation to the concept of a “fixed sonorous plane”. Particular attention is given to the way in which Cage conceives the relation between duration and sound materials, and to the variable degree to which chance and indeterminacy are present. The compositions of this period are furthermore seen in reference to the deleuzo-guattarian concept of cartography, and in their implications for musical time. The last fifteen years of Cage’s production are studied through the theory of multiplicity and the concept of rhizome. The score composed by Sylvano Bussotti that appears at the beginning of A Thousand Plateaus is therefore considered, followed by an examination of Cage’s late textual and musical works, giving particular attention to mesostics, time brackets and variable structure, and anarchic harmony.

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50

Jambois, Fabrice. „Hégélianisme et schizo-analyse : l'idée de mort et la formation de la psychiatrie matérialiste dans la philosophie de Gilles Deleuze“. Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20059.

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Cette thèse a pour objet la « psychiatrie matérialiste » (ou « schizo-analyse ») élaborée par Gilles Deleuze et Félix Guattari dans L’anti-Œdipe en 1972. Elle vise à déterminer le contenu conceptuel de cette pratique théorique, trop facilement reléguée dans l'abstraction d'un imaginaire spéculatif. La schizo-analyse, qui s'édifie avec et contre la psychanalyse, se propose de transformer les directions de la cure psychanalytique en procédant à une refonte de la théorie métapsychologique à partir du modèle clinique de la schizophrénie. Notre projet consiste à mettre en évidence la présence d’une métapsychologie fonctionnaliste dans L’anti-Œdipe et à mesurer les effets de déviation qu’elle implique pour la psychanalyse, dont elle modifie conceptuellement les principales opérations. Dans une première partie, nous prenons pour fil conducteur le concept de « corps sans organes », différencié en plusieurs moments renvoyant chacun à une station vitale déterminée, pour montrer que des schèmes dialectiques organisent l’exposition des synthèses du processus de production de l’inconscient et examiner ensuite les conditions de l’incorporation de cette dialectique du désir dans la théorie de la production sociale. Dans une deuxième partie, nous déduisons de la métapsychologie deleuzo-guattarienne les principes des relations intersubjectives et nous efforçons de déterminer le statut de la perversion qui les affecte à divers degrés pour appréhender la relation analytique qui constitue, selon L’anti-Œdipe, une relation perverse paradigmatique. La troisième partie examine les conditions d’une psychanalyse rénovée par la schizo-analyse
The object of this thesis is the « materialist psychiatry » (also referred to as « schizoanalysis ») which Gilles Deleuze and Félix Guattari detailed in their 1972 work entitled Anti-Œdipus. Our project is to outline the conceptual contents of this practical theory which has too often been misapprehended and discarded as mere abstraction. Schizoanalysis, which was set up both along and against psychoanalysis, aims at reorienting the basis of psychoanalytical cures by remodelling the metapsychological theory, using the clinical study of schizophrenia. Our concern is to show evidence of a functionalist metapsychology within Anti-Œdipus and to measure exactly how and how much it bends the ways of psychoanalysis by modifying the concepts that lie at the core of its operations. In our first chapter we will pore over the concept of the “body without organs”, which falls into several distinct parts, each corresponding to a vital station, in order to show that the synthesis of the production of the unconscious is exposed in agreement with different dialectical schemes, and then to examine under which conditions this dialectic of desire is incorporated into the theory of social production. In our second chapter, we infer from Deleuze and Guattari’s metapsychology the principles of subjective interactions and we strive to determine the precise nature of the perversion that affects them, in order to get a thorough grasp of the analytical relationship which, according to Anti-Œdipus, amounts to the paradigm of a perverse relationship. Our third chapter examines to what extent psychoanalysis can be rejuvenated thanks to schizoanalysis

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