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Gillen, Philippe [Verfasser], Alexander [Gutachter] Rasch i Achim [Gutachter] Wambach. "Essays on the design of procurement mechanisms / Philippe Gillen ; Gutachter: Alexander Rasch, Achim Wambach". Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2019. http://d-nb.info/1201547644/34.
Pełny tekst źródłaRöhrig, Laura Kristina [Verfasser], i Julia [Akademischer Betreuer] Gillen. "Lernpotenziale Scrum-basierter Projekte als agilitätsorientierte Lernform in der betrieblichen Ausbildung / Laura Kristina Röhrig ; Betreuer: Julia Gillen". Hannover : Gottfried Wilhelm Leibniz Universität, 2021. http://d-nb.info/1231433043/34.
Pełny tekst źródłaPfrang, David [Verfasser], Marcel [Akademischer Betreuer] Oliver, Marcel [Gutachter] Oliver, Sören [Gutachter] Petrat, Walter [Gutachter] Bergweiler i Lasse [Gutachter] Rempe-Gillen. "Homotopy Hubbard Trees for Post-Singularly Finite Transcendental Entire Maps / David Pfrang ; Gutachter: Marcel Oliver, Sören Petrat, Walter Bergweiler, Lasse Rempe-Gillen ; Betreuer: Marcel Oliver". Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2020. http://d-nb.info/1205544992/34.
Pełny tekst źródłaPaul, Laura Isabelle [Verfasser], Sonja [Akademischer Betreuer] Gillen, Jörg H. [Akademischer Betreuer] Kleeff i Helmut [Akademischer Betreuer] Friess. "Analyse von Gen- und Proteinexpressionsprofilen an Zellen des Unterhautfettgewebes in Assoziation mit postoperativen Wundheilungsstörungen / Laura Isabelle Paul. Betreuer: Sonja Gillen. Gutachter: Jörg H. Kleeff ; Helmut Friess". München : Universitätsbibliothek der TU München, 2015. http://d-nb.info/1077867344/34.
Pełny tekst źródłaVankeerberghen, Véronique. "L'ontologie de Gilles Deleuze". Paris 8, 2001. http://www.theses.fr/2001PA081904.
Pełny tekst źródłaGoudeau, Emilie. "Gilles le Muisit, Registre". Phd thesis, Clermont-Ferrand 2, 2009. https://tel.archives-ouvertes.fr/tel-00726027/document.
Pełny tekst źródłaAnz, Christoph. "Gilden im mittelalterlichen Skandinavien". Göttingen : Vandenhoeck & Ruprecht, 1998. http://catalogue.bnf.fr/ark:/12148/cb37026786p.
Pełny tekst źródłaHelmersson, Markus. "Filipstads Gille - VT 2018 : Hur föreningen Filipstads Gille hanterat sin arkivgenererande verksamhet". Thesis, Karlstads universitet, Institutionen för samhälls- och kulturvetenskap (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68604.
Pełny tekst źródłaKarvelytė, Kristina. "Beprotybės interpretacija Gilles Deleuze'o filosofijoje". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20050523_154141-66502.
Pełny tekst źródłaVaillancourt, Eric. "L'atelier d'orfèvrerie de Gilles Beaugrand". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28399/28399.pdf.
Pełny tekst źródłaSalucci, Marco. "Gilles Deleuze, une inéfinition esthétique". Paris 8, 2014. http://www.theses.fr/2014PA084150.
Pełny tekst źródłaThe concepts of similarity, unconscious Oedipal tendencies, and grammatical order are, respectively, three basic ways of framing sensibility, desire, and writing. Deleuze’s philosophy, however, dismisses this understanding; he renders similarities dysfunctional, while enflaming desire and energizing grammar. In this thesis, we propose an operative approach to Deleuze’s thought, in order to show how it has reclaimed the power of shocking philosophical insight. When desire and its object, or the declaration and its accomplishment, as well as the body and its capacities of sensation, are left in an indefinite area, philosophy is no longer confined to realm of thought; it creates a sensation. This thesis deconstructs and makes explicit those areas where Deleuzian concepts take on this matter of the removal of the certain object. The quick thinking that runs through his philosophy will be placed in counterpoint to those works of art that activate a sharp feeling beyond all defined objects and subject matter. We will see how such undefined paths give rise to a surface where the notion of creation is, according to Deleuze, life itself
Vaillancourt, Éric. "L'atelier d'orfèvrerie de Gilles Beaugrand". Master's thesis, Université Laval, 2011. http://hdl.handle.net/20.500.11794/23728.
Pełny tekst źródłaPetitjean, Vincent. "Vies de Gilles de Rais". Lille 3, 2011. http://www.theses.fr/2011LIL30045.
Pełny tekst źródłaThis work tries to understand the literary becoming of Gilles de Rais, historical character who lived in France during the Fifteenth Century. Comrade-in-arms to Joan of Arc, he was assimilated to Bluebeard. It is about to following Gilles's progress in literature from the Fifteenth Century until these days to determinate what kind of character he really was. That's why the link between History and literature is considered as well as the process, which enables of a hero, or even a literary myth
Raby, John. "Gilles Deleuze : musique, philosophie et devenir". Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20011/document.
Pełny tekst źródłaAccording to Gilles Deleuze, writing about music would be a summit of thought, the idea of superiority of the music is even asserted. Deleuze doesn’t think the relationship between music and philosophy as a comment but as a becoming. Music is not just a subject of analysis since in turn influences the style of conceptualization of the philosopher. The musical question thus revolves around two perspectives : a becoming-music of philosophy, a becoming-conceptual of music. For example,the concept of refrain refers to both a "little song" and the eternal return of Nietzsche.Becoming-music of philosophy is an artistic dimension of thought, so the writing style became a major issue. Deleuze shares with writers the creation of a foreign language in everyday language - which tends to create a « musicalisation » of words. As the writer invents a word music with a continuously variable setting of the language, the music of philosophy implies a continuous variation of the concept, including the use of metaphor. The philosophical text then refuses any interpretative approach to concentrate the affective part of the text. Such becoming is not without producing a form of ambiguity since it ultimately makes indistinguishable poetry and philosophy. How to take music fot the deleuzian concept in the field of philosophy?The same continuous variation is seen under high aesthetic ideal within the becomingconceptual of music. This second perspective corresponds to a more traditional aspect of Deleuze's thought since music is subjected to the ontological apparatus of the philosopher. Inspired by Wagner, Proust, Bergson and Boulez, Deleuze develops a metaphysic ofmusic based on two notions : the pure past and reminiscence. Because of such an idealistic conception of music aspect, Deleuze opposes Nietzsche's aesthetics to revive the romantism
Uhlig, Ingo. "Poetologien des Ereignisses bei Gilles Deleuze". Würzburg Königshausen und Neumann, 2005. http://d-nb.info/987933922/04.
Pełny tekst źródłaRutigliano, Francisca Tania Soares. "Gilles Deleuze : o drama da diferença". [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278830.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia
Cavalcanti, Adriane da Silva. "Filosofia e pintura em Gilles Deleuze". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281532.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho se pretende como uma investigação filosófica enfeixando questões conceituais a respeito de estética, arte e a potencialidade dos conceitos filosóficos ao abordarem este domínio, segundo a óptica do pensador francês Gilles Deleuze (1925-1995). O estudo centra-se no discurso desse autor acerca da arte pictórica, tomada como eixo para a compreensão de como se ergue o encontro entre a filosofia e a arte. Dois aspectos são delimitados para desenvolver a investigação: o primeiro indaga pelas relações entre a filosofia e a arte, explicitando as articulações entre conceitos filosóficos e elementos artísticos segundo um ponto de vista teórico. O segundo aspecto refere-se ao momento prático dessa articulação, presente na pintura. Esse segundo aspecto se desenvolve segundo a análise da operatoriedade de um conjunto de conceitos deleuzianos mobilizados ao apreciar a singular configuração estética da pintura de Francis Bacon em relação à aparição destes mesmos conceitos em outras obras do filósofo, visando com isso verificar as variações e apropriações às quais eles são submetidos e, conseqüentemente, dar a dimensão de como se constitui o discurso deleuziano acerca de uma arte
Abstract: This work intends to be a philosophical investigation assembling conceptual questions related to aesthetics, art, and the potentiality of philosophic concepts to concern this domain, according to Gilles Deleuze¿s point of view. Our study is based on that philosopher¿s discourse about pictorial art, as the axis to understand how proceeds the meet interface between philosophy and art. Two points are circumscribed to develop our investigation: the first asks for the relations hip between philosophy and art, making clear the articulations between philosophicae concepts and artistic elements according to a theoretical point of view. The second point is related to the practical moment of this articulation, as it occurs on painting. This second point evolves according to the analysis of the functionality of an ensemble of deleuzian concepts, mobilized during the appreciation of the singular aesthetic configuration of Francis Bacon¿s paintings, and how these concepts appear in other writings of that same philosopher, intending, to investigate the variations and appropriations to which they are conditioned, and, consequently, to explicit the dimension of the deleuzian discourse constitution about a fine art (painting)
Mestrado
Mestre em Filosofia
Gallina, Simone Freitas da Silva. "Invenção e aprendizagem em Gilles Deleuze". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252031.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: A presente tese tem como proposta apresentar a contribuição de Gilles Deleuze sobre a aprendizagem abordada a partir da invenção de problemas e da criação de conceitos. Com isso pretendemos mostrar que a aprendizagem não se constitui meramente numa passagem ou transição natural e um estado de não saber para um estado de saber. Antes, a aprendizagem se dá num contexto de experimentação, em que o aprender equivale ao pensar e este somente surge por uma coação exercida pelos acontecimentos portadores de signos. Para essa tarefa foi preciso percorrer as linhas que constituíram e constituem o traçado do pensamento, as quais partem da interpretação de Deleuze da imagem tradicional do pensamento como recognição. Também foi preciso percorrer os deslocamentos da sua elaboração de uma imagem original do pensamento, a imagem de um traçado de linhas de forças no qual o passado, enquanto duração, sempre atual, emerge como futuro. Esse movimento que dá origem ao pensar e, portanto, ao aprender, tem como seus elementos os signos, os acontecimentos, a experiência enquanto elaboração de problemas e de invenção das suas soluções
Abstract: The present thesis has as proposal to present the contribution of Gilles Deleuze about the learning approached from the invention of problems and the creation of concepts. With this we intend to show that learning does not merely constitute a passage or natural transition from the state of knowledge. Before, learning occurs in the context of experimentation, in which learning equals thinking, and it only appears by coercion exercised by events carried with signs. For this task it was necessary to go through the lines that constituted and constitute the trace of thought, which part from Deleuze¿s interpretation of the traditional image of thought as recognition. It was also necessary to cover the displacements of its elaboration of an original image of thought, an image of a stroke of power lines in which the past, as duration, always current, emerges as future. This movement gives origin to thought, and therefore, as learning, has as its elements the signs, the happenings, the experience while elaboration of problems and the inventions of its solutions
Doutorado
Filosofia e História da Educação
Doutor em Educação
León, Alejandro. "Gilles Deleuze: el pensamiento como pasión". Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/119548.
Pełny tekst źródłaMichalet, Judith. "Vie et création chez Gilles Deleuze". Paris 1, 2009. http://www.theses.fr/2009PA010561.
Pełny tekst źródłaAo, Long. "La critique littéraire de Gilles Deleuze". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL185.
Pełny tekst źródłaThis dissertation proposes to contribute to the study of literary criticism of Deleuze, by examining at the same time Deleuze’s philosophical works, in order to demonstrate the autonomy of his literary criticism between philosophy and literature. This shows the double ambition of his literary criticism: the reading of literary works as philosophical exploration, and the metaphysical reflection incorporated in the study of the text. To show at the same time the evolution of his literary criticism and the dialogues that Deleuze engaged with literary critics and philosophers, this dissertation adopts the point of view of Deleuze in his criticisms, that is to say, to find a project of his literary criticism. The analysis of this project is guided by the Deleuzian conceptualization that has continued to be renewed, ranging from the question of genesis to that of finality and autonomy. In the argumentation of each part, this dissertation adopts comparative methods: a comparison within Deleuze’s works to demonstrate the shift of his critical horizon, a comparison with other literary critics to value his critical approaches, and a synchronic dialogue with other philosophers to contextualize its conceptualizations. Deleuze’s literary criticism, studied in his thematic genealogy, gives a place in which the relationship between literature and philosophy remains no longer at the conceptual or interpretative level, but in a reciprocal exploration, always problematised by his literary criticism
Lléres, Stéphane. "La philosophie transcendantale de Gilles Deleuze". Amiens, 2010. http://www.theses.fr/2010AMIE0006.
Pełny tekst źródłaLenne, Francine. "Louis Gillet écrivain d'art, 1876-1943". Lille 3 : ANRT, 1985. http://catalogue.bnf.fr/ark:/12148/cb375939457.
Pełny tekst źródłaAntunes, Miguel Ângelo Olival de Sande Lemos Correia. "O desejo maquínico em Gilles Deleuze". Doctoral thesis, Universidade de Évora, 2014. http://hdl.handle.net/10174/12329.
Pełny tekst źródłaRock, Gilles [Verfasser]. "Thermal Infrared Imaging Spectroscopy / Gilles Rock". Trier : Universität Trier, 2019. http://d-nb.info/1203837658/34.
Pełny tekst źródłaDomingos, Joao Gabriel Alves. "Diferença e sensibilidade em Gilles Deleuze". Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/BUOS-8PKPMG.
Pełny tekst źródłaAbordamos o problema da arte na filosofia de Deleuze através de uma contextualização da sensibilidade em um projeto de pensar a diferença nela mesma. Na introdução, abordamos o procedimento utilizado por Deleuze para fazer sua história da filosofia. Logo após, mostramos como Deleuze desenvolveu uma crítica da analogia através de sua leitura do método da divisão presente nos diálogos platônicos (Político, Sofista, Fedro). Na segunda parte, lemos Kant, mostrando como sua doutrina das faculdades 1 também realiza uma imagem do pensamento como representação. Mas, em ambos os casos, a interpretação de Deleuze é ambígua. Ele encontra, nesses sistemas representacionais, um momento no qual a diferença é pensada. Em Platão, quando no Sofista o filósofo grego propõe a aventura de pensar o não-ser (indicando ele mesmo o que significa a expressão nietzschiana reverter o platonismo) e em dois momentos da obra kantiana: (1) na Crítica da Razão Pura, quando um terceiro elemento (a forma pura do tempo) é inserido na lógica de dois termos do cogito cartesiano e (2), na Crítica da Faculdade do Juízo, quando o sublime é capaz de levar as faculdades até os seus respectivos limites, produzindo acordos contingentes (isto é, não pressupostos) entre elas. Segundo Deleuze, a teoria das condições é abandonada para a assunção da perspectiva genética; as condições de possibilidade são abandonadas para a assunção das condições da experiência real. A noção de repetição encontrada no conceito nietzschiano de eterno retorno, como repetição intensiva da diferença, é crucial para a perspectiva genética porque este conceito expressa uma lógica que não faz apelo a nenhuma forma de transcendência.
Colombo, Andrea. "Filosofia e Matematica in Gilles Deleuze". Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3423323.
Pełny tekst źródłaDe, Michele Girolamo. "GILLES DELEUZE: "SUR FOUCAULT -- 1985-1986"". Doctoral thesis, Università degli studi di Padova, 2016. http://hdl.handle.net/11577/3424336.
Pełny tekst źródłaAlla morte di Michel Foucault nel 1984, Gilles Deleuze intraprese un'attività di lettura dell'intero corpus dei suoi scritti, allo scopo di scrivere un libro. Il corso che Deleuze tenne nel 1985-1986 all'Università di Paris-VIII rappresenta una sorta di laboratorio nel quale Deleuze ha messo alla prova i propri concetti in via di sviluppo. Il libro che Deleuze scrisse al termine del corso, tuttavia, compresse in poche pagine le riflessioni sviluppate durante il corso, e risultò di difficile comprensione, o talmente personale da essere definito "una fiction metafisica". La pubblicazione delle registrazioni del corso (2011) permise una maggiore comprensione dell'interpretazione deleuzeana del pensiero di Foucault: è sorprendente vedere come Deleuze, che non poteva conoscere i corsi al Collège de France, avesse maturato un'intepretazione molto accurata del pensiero di Foucault. L'ipotesi di lavoro di questa edizione critica del testo del corso di Deleuze del 1985-1985, pubblicato on line fra la primavera del 2013 e l'estate 2015, era che l'accurata interpretazione di Deleuze fosse motivata dalla conoscenza di alcuni testi in seguito raccolti nei Dits et écrits, e che i discorsi e le conferenze di Foucault avessero un'intima coerenza con i contenuti dei corsi al Collège, e costituissero una sorta di cannocchiale attraverso il quale leggere gli stessi Corsi. La conclusione del lavoro di tesi ha confermato questa ipotesi. Deleuze, nel corso delle sue lezioni, interpreta l'intero sistema di pensiero di Foucault suddividendolo in tre assi: quello del sapere, quello del potere, e quello della soggettivazione. I primi due assi sviluppano e approfondiscono interpretazioni già note, che lo stesso Foucault conosceva. Il terzo asse è quello più rilevante, perché nel corso delle lezioni Deleuze rinuncia ad interpretarlo in base alla centrale nozione di desiderio, e coglie con esattezza le dinamiche dei processi di soggettivazione che Foucault aveva studiato attraverso la confessione cristiana, e poi attraverso il "coraggio della verità" e la nozione di parrhesia negli stoici e nei cinici. Accanto al concetto di soggettivazione, altri concetti meritano di essere segnalati. Mostrando la stretta relazione fra Foucault e Blanchot, e fra Foucault e Bichat, Deleuze mostra un'opposizione fra Foucault ed Heidegger che è confermata da alcuni appunti dell'ultimo corso di Foucault. In secondo luogo, per interpretare il concetto di soggettivazione Deleuze produce un nuovo concetto, quello di "piega", che utilizzerà in seguito per il libro su Leibnitz. Infine, il concetto di "società del controllo", che sembrava un'interpretazione arbitraria di Deleuze, appare dalle lezioni il prodotto di un pensiero originale, ma coerente con la teoria foucaultiana della biopolitica. In definitiva, l'intero seminario di Deleuze appare essere un'originale, ma fedele, interpretazione del pensiero dell'amico.
Regis, Filho Gilsee Ivan. "Sindrome de maladaptacao ao trabalho em turnos: uma abordagem ergonomica". Florianopolis : [s.n.], 1998. http://www.eps.ufsc.br/disserta98/gilsee/index.htm.
Pełny tekst źródłaKlug, Birgit. "Familienuntersuchung zum Gilles-de-la-Tourette-Syndrom". [S.l.] : [s.n.], 2003. http://archiv.ub.uni-marburg.de/diss/z2003/0418/.
Pełny tekst źródłaRamey, Joshua Alan. "Gilles Deleuze and the powers of art". Click here for download, 2006. http://proquest.umi.com/pqdweb?did=1176539841&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
Pełny tekst źródłaMartínez, Mellado Asunción. "Gilles Deleuze y la inversión del platonismo". Doctoral thesis, Universidad de Murcia, 1987. http://hdl.handle.net/10803/10833.
Pełny tekst źródła.El objetivo de este estudio es analizar y exponer el motivo que recorre toda la filosofía de G. Deleuze.Su amigo M. Foucault, anunció: "El siglo XXI será deleuziano". Nos centraremos en las obras de la primera etapa, sobre todo en "Différence y répétition", "Logique du sens", "L'Anti-Oedipe " y "Mille plateaux" En ellos Deleuze sienta los fundamentos de todo su pensamiento posterior. Se trata de exponer cómo Deleuze realiza en la práctica la propuesta nietzscheana de llevar a cabo la inversión del platonismo. Invertir el platonismo es para Deleuze pensar el devenir.La tentativa deleuziana de hacer una verdadera y positiva filosofía del devenir será el tema de la primera parte "La aventura de la diferencia".La aventura de la diferencia consta de dos momentos principales: a) la construcción de un empirismo trascendental al que subyace una estética u ontología de las intensidades y b) la elaboración de una metafísica del acontecimiento y del fantasma. En la segunda parte, abordamos el momento de la puesta en práctica de dicha filosofía en "El esquizonálisis: una propuesta teórico práctica, una máquina de guerra".Deleuze y F. Guattari afirmar que el esquizoanálisis tiene por objetivo: la máquina capitalista, su patología racional y la irracionalidad sobre la que se levanta; así como los mecanismos revolucionarios o máquina de guerra con la que luchar contra los poderes de la represión que socavan y minan desde dentro el deseo y lo social. Esta tarea, que en absoluto es ajena a la inversión del platonismo, se actualiza en dos etapas, la titulada "Las aventuras y desventuras del deseo" (La verdadera historia es la historia del deseo, dirá Deleuze); y la titulada "El inconsciente maquínico: Mil planicies no hacen una montaña"En la primera parte, Deleuze y Guattari proponen una concepción maquínica del inconsciente y del deseo. Ésta es desarrollada en L'Antioedipe. En la segunda Deleuze lleva a cabo lo que podríamos llamar la construcción, la creación misma de dicho inconsciente, elaborada en Mille Plateaux. Diversas aproximaciones, diversos plateaux, forman el nuevo sistema: rizomática, estratoanálisis, pragmática, micropolítica y nomadología, serán ahora las figuras del esquizoanálisis. En Mille plateaux, el esquizoanálisis se nos presenta como una cartografía, diagrama o mapa de las líneas de fuerza que atraviesan lo real. Finalmente no hay que olvidar que el esquizoanális tiene una vertiente política y revolucionaria, o mejor, pretende ser un ejercicio revolucionario de liberación político-deseante y de libre experimentación. ¡Pensar es experimentar, crear! ¡Qué mayor inversión del platonismo!
Klein, Gilles [Verfasser]. "Narkolepsie : eine Fall-Kontroll-Studie / Gilles Klein". Köln : Deutsche Zentralbibliothek für Medizin, 2012. http://d-nb.info/1025641582/34.
Pełny tekst źródłaRocha, Jorge Alberto da Costa. "A ideia de conceito segundo Gilles Deleuze". [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278827.
Pełny tekst źródłaDissertação (Mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente estudo é uma tentativa de compreender, segundo a concepção do filósofo francês Gilles Deleuze, o que seria para ele um conceito filosófico. Para trabalhar este tema tomou-se como fio condutor um texto de sua autoria, escrito juntamente com Félix Guattari ¿ O que é a Filosofia? - e a partir disso duas metas precisas foram demarcadas: 1) uma investigação acerca das características básicas do conceito 2) e um último confronto, sugerido pelo próprio Deleuze, entre filosofia, ciência e arte, tentando reservar ao conceito um lugar distinto do functivo científico e do afecto e percepto na arte. Fez-se ainda um adendo após os dois capítulos desenvolvidos, no qual se tentou mostrar uma série de críticas do autor endereçadas à conjuntura da contemporaneidade, fundamentalmente corroída pelas más influências dos meios de comunicação. Assim, essa situação seria um entrave geral à livre criação de conceitos que, como o disse Deleuze, só seria peculiar ao labor filosófico. A conclusão do trabalho, que quis em seu conjunto ser apenas uma introdução ao tema, enfatizou dois pontos capitais: em primeiro lugar criar é situar o conceito num plano de imanência, plano este independente de qualquer espécie de Modelo transcendente ou de referência a estado de coisas (o conceito diz o "acontecimento"); segundo, restaurar devidamente a idéia de conceito filosófico é identificar nele todo um conjunto de traços expressivos, tal como a relação a uma imagem de pensamento, plano "pré-filosófico", e a uma "estrutura problemática", élan vital do conceito
Abstract: Not informed.
Mestrado
Mestre em Filosofia
Craia, Eladio Constantino Pablo. "Gilles Deleuze e a questão da tecnica". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279862.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho tem como objetivo central interrogar o problema do estatuto ontológico da técnica a partir da ontologia de Gilles Deleuze. Em um primeiro momento é elaborada uma cartografia geral da filosofia da técnica, desde a ¿filosofia engenheril¿, passando pela ¿filosofia da técnica das humanidades¿, até o pensamento de Martim Heidegger, indicando suas características e as diferenças entre elas. Seguidamente é caracterizada a ontologia deleuziana segundo os eixos especulativos da univocidade, imanência, expressionismo ontológico e complexo questão-problema. Em um terceiro momento, a ontologia de Deleuze é singularizada entorno do conceito de virtual; assim, esta noção é abordada e pensada dentro da obra de Deleuze visando definir a ontologia deleuziana como especificamente virtual. Finalmente, o horizonte ontológico deleuziano é aplicado como categoria de análise para pensar a técnica de uma perspectiva distinta da apresentada no primeiro momento. Assim, com esta ferramenta conceitual, a própria técnica é caracterizada como virtual e produtiva
Abstract: The present work has as its central objective to question the problem of the Technique ontological statute since the ontology by Gilles Deleuze. Firstly, a general cartography on the Technique Philosophy is performed, beginning with the "engineering Philosophy, moving on to the "humanities' Technique Philosophy", until the thought of Martim Heidegger, indicating the characteristics of each, end the differences between them. Secondly, the deleuzian ontology is characterized according to the univocality, immanence, ontological expressionism, and the question-problem complex speculative axes. Thirdly, the ontology by Deleuze is sigularized around the concept of virtual; thus, such notion is approached and thought within Deleuze's opus aiming at defining the deleuzian ontology as specifically virtual. Finally, the deleuzian ontological horizon is applied as analysis category to think the Technique from a distinct perspective than the one presented in the first moment. So, armed with such conceptual tools, the Technique itself is characterized as virtual and productive
Doutorado
Doutor em Filosofia
Yang, Kailin. "Le problématique du virtuel chez Gilles Deleuze". Paris 8, 2002. https://octaviana.fr/document/18140205X#?c=0&m=0&s=0&cv=0.
Pełny tekst źródłaConway, Jay Turner. "Gilles Deleuze and the affirmation of philosophy". Diss., UC access only, 2009. http://proquest.umi.com/pqdweb?index=75&did=1790064871&SrchMode=1&sid=1&Fmt=7&retrieveGroup=0&VType=PQD&VInst=PROD&RQT=309&VName=PQD&TS=1270231351&clientId=48051.
Pełny tekst źródłaIncludes abstract. Includes bibliographical references (leaves 436-447). Issued in print and online. Available via ProQuest Digital Dissertations.
Saran, Lucas Antônio. "A questão do perspectivismo em Gilles Deleuze". Universidade Estadual de Londrina. Centro de Letras e Ciências Humanas. Programa de Pós-Graduação em Filosofia, 2014. http://www.bibliotecadigital.uel.br/document/?code=vtls000190578.
Pełny tekst źródłaBy trying to provide some contribution to the History of contemporary philosophy, the present paper aims to reflect about the relations between an originally concept of Nietzsche and the Gilles Deleuzes thought that studies the possibility of thinking like Deleuze, exists a perspectives through Nietzsche senses. In this way, from this conception proposed by Machado (2009), the main influence of the multiplicity theories constitutes in Nietzsche. It is believed that this statement will allow us to summarize the objective of our research in the pursuit of an answer to a central question: how can we start from a Nietzsche inspiration and find in Deleuze, the existence of the perspectives? In our opinion, to research something in order to respond this question is really important because, by analyzing precisely the links between Deleuze and the notions of perspectives, it will allow us to clarify the provenance (or non-provenance) of criticism that associate Deleuze to some notions like relativist and obscure and skeptical.
Casimir, Jan. "Gilded City". Thesis, Massachusetts Institute of Technology, 2017. http://hdl.handle.net/1721.1/111539.
Pełny tekst źródłaCataloged from PDF version of thesis. "June 2017."
Gilded City appropriates seven copperplate etchings produced by Alexander Brodsky and Ilya Utkin between 1982 and 1990 in the pursuit of their preservation through reinterpretation and recontextualisation. Gilded City reacts to the political events in the United States of the past six months. Gilded City explores the potential of architectural animation as a tool for both design and representation as well as a powerful tool for (anti) propaganda while making use of traditional cel animation, 2D Vector based animation, 3D computer animation as well as motion graphics. In 1978, disenchanted with the bleak prospect of the faceless, unadorned, utilitarian architectural doctrine of the Brezhnev and Khrushchev years, Brodsky and Utkin began to produce fantastical landscapes and structures in exquisite and detailed drawings. Imaginative, light-hearted, subversive, their body of work freely referenced historical precedents ranging from Greek Mythology to 18th Century architects. Brodsky and Utkin utilized paper architecture to subvert the requirements of soviet ideology by inventing a form antithetical to existing power structures. In a similar act of subversion, Gilded City reinterprets this paper architecture in the form of architectural animation, a form that often seems to lack a critical dimension seeking to actively comment on current state of affairs in the North American context. It develops five distinct archetypes each constituting one chapter of the "Gilded City": Tower, Golf Course, Wall, Casino, and Prison. This thesis stakes a claim for the timely relevance of Utkin and Brodsky's body of work to contemporary architectural and socio-political discourse while also arguing for the legitimacy of animation in architectural design. Furthermore, Gilded City also speculates that architectural animation will soon occupy a more significant role both in architectural practice as well as in architectural pedagogy.
by Jan Casimir.
S.M. in Architecture Studies
Prada, Michel. "Jean Gilles : 1668-1705 : l'homme et l'œuvre : un maître de musique en Provence et en Languedoc /". Béziers (BP 4049, 34325, cedex) : Société de musicologie de Languedoc, 1986. http://catalogue.bnf.fr/ark:/12148/cb34877887j.
Pełny tekst źródłaŠčeponavičius, Žygimantas. "Kontempliacija ir kūryba Gilles Deleuze‘o ir Šliogerio filosofijoje". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080924_181503-65596.
Pełny tekst źródłaThe thesis analyzes conceptions of Gilles Deleuze and Arvydas Šliogeris’s thinking. In the revolutionary philosophical work What is Philosophy?, representatives of the French postmodernism Deleuze and Guattari quest for possibilities for renewal of philosophy. They state that philosophy is not contemplation, reflection or communication. The main task of philosophy is creation of concepts and conceptual roles. In general, in What is Philosophy? Deleuze/Guattari continue implementing their program of “subversion of Platonism”. Platonism is considered to be all classical and modern philosophy starting from Plato and ending with Hegel which is based on presumption of identicalness of thinking and reality. Deleuze shows that play of difference and repeating stands behind the identity. Opposing the classical thinking, Deleuze presents the concept of nomadic thinking. Works of Nietzsche and Proust inspired the nomadic thinking in Deleuze‘s philosophy. Nietzsche is interpreted as a genial inventor of concepts. In his study Proust and Signs Deleuze presents Proust as an inventor of sign creation machine. Deleuze/Guattari consider the art, science and philosophy as three independent forms of thought opposing the chaos. They are like three independent melody lines crossing each other and maintaining their own unique contents at the same time. A. Šliogeris states that philosophy is providing the reality that has no language with language. The main problem that is tackled in... [to full text]
Bouillon, Anne. "Gilles Deleuze et Antonin Artaud : L'impossibilité de penser". Thesis, Poitiers, 2013. http://www.theses.fr/2013POIT5005.
Pełny tekst źródłaIn the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity
Dahllöv, Mats. "Jordens sång : Naturfilosofi och musik hos Gilles Deleuze". Thesis, Uppsala universitet, Avdelningen för estetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-293476.
Pełny tekst źródłaCardoso, Junior Hélio Rebello. "Teoria das multiplicidades no pensamento de Gilles Deleuze". [s.n.], 1996. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280552.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Doutorado
Doutor em Filosofia
Nascimento, Roberto Duarte Santana 1980. "Teoria dos signos no pensamento de Gilles Deleuze". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280549.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: O conceito de signo em Deleuze aparece ao longo de toda a sua obra, ligando-se em cada um de seus livros e artigos ao desenvolvimento de diferentes problemas em pauta. Tais variações por que passa este conceito não comprometem sua consistência no pensamento deleuziano; ao contrário, elas afirmam a complexidade de uma teoria dos signos que insiste virtualmente em seus livros e artigos. Pode-se dizer mesmo que as diferentes problemáticas às quais se dedica Deleuze se enriquecem quando apreendidas tendo em consideração a experiência do signo. Nesta teoria, o signo é afecto, ou seja, é um sentir diferentemente nos encontros, e corresponde à variação de nossa potência de existir. Isto ocorre porque o signo envolve uma diferença de nível constitutiva, uma heterogeneidade irredutível aos dispositivos que seguram a diferença pela analogia no juízo, pela semelhança no objeto, pela identidade no conceito e pela oposição no predicado. Um dos aspectos mais inovadores desta teoria é que, nela, o signo deixa de ser definido pelo imperialismo do significante. Este passa a caracterizar apenas um dos regimes de signos, que não é nem o mais aberto nem o mais importante. Além disso, nesta teoria o pensamento deixa de ser um ato de boa vontade de uma consciência soberana, como ocorre nas imagens tradicionais do pensamento, pois, para Deleuze, pensar implica um pathos, ou seja, é uma atividade disparada involuntariamente pela força de um signo, pela violência de tal encontro
Abstract: The concept of sign in Deleuze appears in all of his works, being linked in every one of his books and articles to the development of different problems. Such variations undergone by this concept do not compromise its consistency in the Deleuzian thought: on the contrary, they affirm the complexity of a theory of signs that virtually persists throughout his books and articles. It could even be said that the different problems to which Deleuze dedicates himself enrich when understood with regards to the experience of the sign. In this theory, signs are affects, i.e. are a variation of feelings in encounters, and correspond to a variation of our power of existence. This occurs as the sign involves a constitutive difference of level, a heterogeneity which cannot be reduced to the devices that secure the difference through the analogy in judgment, through the resemblance in the object, through the identity in the concept and through the opposition in the predicate. One of the most innovative aspects of this theory is that the sign is no longer defined by the imperialism of the signifier, which now characterizes only one of the regimes of signs (neither the most open, nor the most important). More than that, in this theory, thinking is no longer the act of will of a sovereign consciousness, as it was the case in the traditional image of thought, for, according to Deleuze, thinking implies a pathos, i.e., is the unvoluntary activity triggered by the force of a sign, by the violence of such an encounter
Doutorado
Filosofia
Doutor em Filosofia
Remes, Sirkka. "Métamorphoses des genres : l'oeuvre littéraire de Gilles Zenou". Paris 3, 2008. http://www.theses.fr/2008PA030157.
Pełny tekst źródłaThe author and philosopher Gilles Zenou (1957-1989), born in a Jewish Moroccan family and emigrated in France, treats in his texts the problematic of identity and otherness. In this study, the focus is in his literary production that includes three novels and two tale collections. However, the philosophical texts of the author, especially his two doctor’s theses, are used as a support in analysing his fictional texts. The term “genre” is used assuming its polysemy in the French language; the method of analysis associates the study of the interaction between different literary genres to the gender studies. In the work of Zenou, the research of beauty goes together with a spiritual and ethical research. The analysis of the metamorphoses of genre and gender shows how the writing resists and contours the power relationships by transforming itself
Zapata, Mónica. "Essai d'interpretation du mythe de gilles de rais". Paris 7, 1986. http://www.theses.fr/1986PA070102.
Pełny tekst źródłaThe myth of gilles de rais, interpreted from a psychoanalytical viewpoint, and taking into account the various theories on perversion, appears as an attempted frantic struggle against death through the transgression of all limits, according to the version of georges bataille; and as a quest for a higher level of existence which supposes initiation through transgression, according to michel tournier's version
Sauvagnargues, Anne. "Esthétique et philosophie dans l'oeuvre de Gilles Deleuze". École normale supérieure-Lettres et sciences humaines (Lyon ; 2000-2009), 2003. http://www.theses.fr/2003ENSF0094.
Pełny tekst źródłaBrito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze". Paris 8, 2007. http://www.theses.fr/2007PA082850.
Pełny tekst źródłaWhat is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
Krtolica, Igor. "Le système philosophique de Gilles Deleuze (1953-1970)". Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0866.
Pełny tekst źródłaThe most general project of Deleuze consists in thinking the conditions of real experience, experimenting the conditions of pure thought. This project will only be eventually accomplished at the beginning of the nineties, that is to say after the period set for of our study (1953-1970). We defend the thesis that this general project is based upon a precise philosophical system, and above all, that it merges with it. This system, in Deleuze’s work, appears under different names: transcendental empiricism, philosophy of expression, philosophy of difference and repetition, logic of sense, or also critical philosophy. Under those names, we believe that philosophy as a system of experience is what is at stake. Indeed, Deleuze doesn’t oppose system and experience. If Spinoza’s philosophy has long been read as a system without an empiric dimension, that of Deleuze has mostly been interpreted as a non systematic empiricism. Yet some of his assertions lead us to think differently: the system is no more an abstract logical construction than experience is a reality irreducible to a system. Deleuze’s philosophy isn’t opposed to experience, it sets its systematic conditions and it is an experience in itself. It is the genesis and the structure of this philosophy that we have tried to expose in this research. Through this work, we believe we’ve managed to show that system and experience are not one and the same thing for Deleuze, but that philosophy claims it reaches the point where they become indiscernible