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1
Mmadi, Djaffar. "Frantz Fanon : le sens des indépendances des pays africains." Toulouse 2, 1993. http://www.theses.fr/1993TOU20056.
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L'independance, selon Fanon, a certes apporté aux hommes colonisés la réparation morale et consacré leur dignité. Mais ils n'ont pas encore eu le temps d'élaborer une société, de construire et d'affirmer des valeurs. L'auteur des "Damnés de la terre" appelle donc à une poursuite de l'action. Elle passe essentiellement par la restauration de la culture nationale et la mise sur pied d'un "homme neuf". Durant la colonisation, la culture nationale est très rapidement vouée à la clandestinité. D'ailleurs, "il n'y a pas, il ne saurait y avoir, de culture nationale, d'inventions culturelles ou de transformations culturelles nationales dans le cadre d'une domination coloniale". Grâce à cela, quelle peut être l'attitude des colonisés ou de leurs porte-paroles ? L'auteur des "Damnés de la terre" explique qu'elle passe par plusieurs stades. Premièrement, l'intellectuel colonisé prouve qu'il a assimilé la culture de l'occupant. Puis, le colonisé est ébranlé et décide de se souvenir. Enfin, dans une phase dite de combat, le colonisé se transforme en réveilleur du peuple. Dans cette dernière phase, la lutte joue un rôle déterminant. Dans les "Damnés de la terre", Fanon revient plusieurs fois sur cette idée, considérant que la culture négro-africaine se "densifie" autour de la lutte des peuples "et non autour de chants, poèmes et folklore"Independance has given back dignity to colonized countries. Still, they have to carry out the real restoration of their national cultures as well as to set up a "new man". That is how Frantz Fanon, author of "The wretched of the earth" describes the situation of colonized men. Therefore he thinks that the action should be carried on with. Far from only being based on traditional values this action should open itself to the future and create a genuine "new man" in the context of a more brotherly world. More than an action, it is a matter of struggle, in the revolutionary meaning of the term. F. Fanon also thinks that beyond the alternative between capitalism and socialism, under-developed countries should try to turn themselves towards a third path since their future depends on themselves above all. Combining theory with revolutionary praxis, Fanon is, body and soul, involved in the battlefield while achieving his works ("The fifth year of the algerian revolution" and "The wretched of the earth"). In addition, Fanon, in "black skin white masks", emphasizes the problem of the existence of the negro. The colonized negro, seriously wounded by his situation lives in a distressing inferiority complex: "I am starting to suffer from not being white. . . ". The word "alienation" best summarizes this state of mind. This is what dr. Fanon, as a psychiatrist, also deals with
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Ilunga, Kongolo. "Le discours politique de Patrice Lumumba : 1958-1961 : essai d'analyse linguistique." Rouen, 1994. http://www.theses.fr/1994ROUEA002.
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Brassinne, J. "Enquête sur la mort de Patrice Lumumba." Doctoral thesis, Universite Libre de Bruxelles, 1990. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213109.
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Costantini, Dino. "Per l'anamnesi di una malattia europea : il "nuovo discorso coloniale" francese e suoi critici." Paris 8, 2006. http://www.theses.fr/2006PA082819.
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La particularité de la tradition politique française voudrait se résumer dans sa vocation à l'universel. L'analyse du discours colonial des années '30 met en lumière le rôle décisif joué par la référence à cette vocation - et au concept de civilisation (occidentale) - dans la légitimation du colonialisme français. Cette légitimation s'appuie sur les idées complémentaires de mission civilisatrice et de mise en valeur, idées qui renvoient à la primauté française et occidentale dans la complexe taxonomie de cultures qui composerait le globe. La réponse postcoloniale - A. Césaire, A. Memmi et F. Fanon - montre par son rejet des valeurs occidentales comment, face aux colonisés, l'universalisme a pu devenir l'instrument de l'extension d'un racisme culturaliste dont la critique est préalable à la réactivation des conditions de possibilité d'un universalisme à la mesure du monde voire à une pleine décolonisation de la théorie politique française et occidentale.
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Mwiandi, Mary Ciambaka. "The Jeanes School in Kenya the role of the Jeanes teachers and their wives in "social transformation" of rural colonial Kenya, 1925-1961 /." Diss., Connect to online resource - MSU authorized users, 2006.
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Yaksic, Ahumada María José. ""Todo lo humano es nuestro". El pensamiento anticolonial de José Carlos Mariátegui y Frantz Fanon." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/131487.
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Benguigui, David. "Céline et Nimier, de l'affinité littéraire à l'amitié." Paris 3, 2003. http://www.theses.fr/2003PA030002.
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Cela débute par l'envoi en février 1949 des Épées, premier roman publié de Nimier, dédicacé ainsi : "Au Maréchal des logis Destouches qui paie aujourd'hui trente ans de génie et de liberté". Du Danemark, Céline apprécie modérément le livre. Nimier ne se décourage pas pour autant et continue à publier des articles favorables à Céline alors qu'il était de bon ton de le conspuer, voire de l'ignorer. Au fil des années, son action en sa faveur va d'ailleurs s'intensifier. A tel point que jusqu'à la publication de D'un château l'autre, Céline lui devra l'essentiel de ses rapports avec la presse. Le Hussard bleu, second volet du diptyque amorcé par Les Épées, lui sied davantage et scelle le début de leur relation. Amnistié en 1951, Céline rejoint l'écurie Gallimard et peut regagner la France. Il ne rencontrera Nimier qu'en 1955. Ce dernier deviendra rapidement un habitué de la Villa Maitou. Leur relation s'intensifiera un an plus tard avec l'entrée de Nimier chez Gallimard en qualité de conseiller littéraire. Elle ne s'achèvera qu'à la mort de CélineThat begins by the sending in February 1949 of Les Épées, first published novel of Nimier, dedicated as : "To the Sergeant Destouches who pays today thirty years of genius and liberty". From Denmark, Céline moderately appreciates the book. However, Nimier does not become discouraged and continues to publish articles in favour of Céline as it was in good taste at this time to boo him, and even to ignore him. With the passing of the years, his action in favour of Céline will increase in power. Until the publication of D'un château l'autre, Céline owes to Nimier most of his relations to the press. Le Hussard bleu, second part of the diptych begun by Les Épées, do better fit to Céline and seals the beginning of their relation. Granted amnesty in 1951, Céline joins Gallimard publisher and can go back to France. He will meet Nimier only in 1955. Nimier quickly becomes a regular of the Villa Maitou. Their relationship will intensify a year later when Nimier enters as a consultant into the Gallimard publisher house. Their relationship only ends when Céline dies
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Renault, Matthieu. "Frantz Fanon et les langages décoloniaux : contribution à une généalogie de la critique postcoloniale." Paris 7, 2011. http://www.theses.fr/2011PA070045.
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L'enjeu de cette thèse est de dresser un portrait théorique en situation du psychiatre martiniquais et théoricien des décolonisations Frantz Fanon, ceci en tâchant de se porter au-delà du conflit des interprétations qui oppose, d'une part, le « Fanon anticolonial », célébré - à travers de multiples biographies - en tant que révolutionnaire, homme d'action, mais ce souvent au détriment de l'homme de pensée et, d'autre part, le « Fanon postcolonial », érigé en théoricien de premier ordre, mais ce régulièrement au prix de décontextualisations et déshistoricisations qui tendent à gommer la singularité de son intervention théorique et politique. Dépasser ce conflit engage de déceler chez Fanon les commencements du ou plutôt d'un postcolonialisme au sein même de l'anticolonialisme, tâche qui s'inscrit dans le projet d'une généalogie de la critique postcoloniale ou encore d'une histoire des discours de décolonisation - contre tout clivage de l’ « avant » et de l’ « après » des indépendances. Il s'agit alors d'interpréter les langages décoloniaux déployés par Fanon en tant que produits d'une pratique de déplacement épistémique, qui est à la fois de rupture et de reprise, de décentrement et de re-situation -au-delà de toute négation - des théories nées en « Occident ». Le dévoilement des méthodes fanoniennes de déplacement, qui s'inscrivent dans un postcolonialisme de guerre unique en son genre, autorise alors une reformulation du problème de la décolonisation des savoirsThis dissertation aims to draw a theoretical portrait in context of the West Indian psychiatrist and theoretician of decolonization Frantz Fanon. It intends to go beyond the conflict of interpretations that pervades Fanon studies. On the one hand, the "anticolonial Fanon" is celebrated - through numerous biographies - as a major revolutionary, as a great "man of action", but most often to the detriment of the "man of thought". On the other hand, the "postcolonial Fanon" is established as a leading theoretician, but generally at the price of a decontextualization and a dehistoricization that tend to blur the singularity of his theoretical and political intervention. Overcoming such a conflict implies detecting, in Fanon' s writings, the beginnings of postcolonialism - or rather a certain postcolonialism - within anticolonialism itself. This issue is a part of the more general project of a genealogy of the postcolonial critique or, in other words, of a history of decolonization discourses - against any splitting of the "before" and the "after" of independences. The aim is, therefore, to interpret Fanon' s decolonial languages as the product of a practice of epistemic displacement that entails both rupture and renewal, decentering and relocalization - rather than negation - of theories born in the "West". How are Western theories affected and altered when they are appropriated "from without" Europe and against the colonial powers? Fanon' s methods of displacement take part in a unique war postcolonialism. They allow us to reconsider the question of the decolonization of knowledge
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Madonko, Thokozile. "The puzzle of domination in society : seeking solutions in the African context." Thesis, Rhodes University, 2006. http://hdl.handle.net/10962/d1007260.
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The presence of human destitution, impoverishment and degradation in the midst of plenty has puzzled social thinkers for millennia. One of the oldest and grandest of theories: the theory of ideology attempts to provide an answer to the puzzle of domination in society. Michael Rosen, in his book On Voluntary Servitude (1996), argues that the solution provided by the theory of ideology is problematic. Furthermore, on the basis of his critique, Rosen argues that we should abandon the theory of ideology and consider alternatives to it. Even though many contemporary academics have turned away from the theory of ideology, because they view it as an imprisoning meta-theory, this study explores the possibility of there being a meta-theory that could help us to make sense of the world. Through an examination of Rosen's critique this thesis shows that Rosen is too quick in his dismissal of the theory of ideology because he fails to consider that a revised functionalist theory of ideology can be expanded to account for the mechanism(s) that ensure that, over time, the society in question acquires ideological consciousness to further its welfare. This thesis shows that Rosen is correct in his criticism of the theory of ideology's explanation of domination because the content, history and social effects of ideological consciousness cannot be fully explained in terms of their role in promoting or stabilising relations of domination. In light of Rosen's criticism the thesis shows that if one provides both an explanation of the psychological motivations of individuals and of the nature of the oppressive society in which they find themselves then what I call an integrated theory of ideology can be developed. In order to illustrate the importance of an integrated theory of ideology the study moves away from high-level theoretical abstraction to concrete social analyses, focusing on the work of Frantz Fanon and Steve Biko and their explanations of domination. The reason this study focuses on their work is because in their role as social scientists, Fanon and Biko provided a powerful critique of colonial, post-colonial and neo-colonial society. It will be argued that Fanon and Biko were able to provide a lasting critique of colonial reality because they offered their critique within the framework of such an integrated theory. Consequently, this study argues that, as Fanon and Biko's work illustrate, an integrated theory of ideology qua critical theory ought not to be abandoned because it is crucial for understanding and resisting forms of oppression that exist in the world today.
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Faustino, Deivison Mendes. "“Por que Fanon? Por que agora?” : Frantz Fanon e os fanonismos no Brasil." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/7123.
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This paper discusses the different ways, uses and appropriations of the thought of Frantz Fanon in Brazil between the 1950s and the present day. The study approaches Wynter (1999) and Gordon (2015) to identify the perspective of sociogenesis the structural axis of fanoniano theoretical status, and Hall (1996) and Sekyi-Otu (1996) to recognize the author's thought the open joint and not completed theoretical and various political elements. From this evidence, it argues that the legacy of Fanon is claimed differently by different theoretical aspects, and sometimes conflicting. In Brazil, the reception of Fanon occurred under the influence of the third Worldism revolutionary and its focus on Les Damnés de la terre. Providing both the players connected to the left as readers more attuned to the black movement, a guided appropriation the polarization between colonizer and colonized and affirmation of identity (national or black) as opposed to colonization. But the contemporary period, marked by a growing interest in the reflections of Fanon, is structured by a greater diversity of approaches and theoretical focus, setting six sub-fields: 1.Estudos Postcolonial and the Diaspora; 2. Negritude; 3. Decolonial; 4. Whiteness; 5. Psychology; 6. National Ethos.
Este trabalho discute os diferentes caminhos, usos e apropriações do pensamento de Frantz Fanon no Brasil a partir da década de 1950. O estudo se aproxima das proposições de Wynter (1999) e Gordon (2015) ao identificar na perspectiva da sociogênese o eixo estruturante do estatuto teórico fanoniano, e de Hall (1996) e Sekyi-Otu (1996) ao reconhecer no pensamento do autor a articulação aberta e não concluída de elementos teóricos e políticos diversos. A partir dessa constatação, argumenta que o legado de Fanon será reivindicado de maneira diversa por vertentes teóricas distintas e, por vezes, conflitantes. No Brasil, a recepção de Fanon ocorreu sob a influência do terceiro-mundismo revolucionário, com o foco em Les Damnés de la terre., propiciando, tanto aos leitores ligados à esquerda quanto aos leitores mais afinados com o movimento negro, uma apropriação pautada pela polarização entre colonizador e colonizado e pela afirmação de uma identidade (nacional ou negra) em contraponto à colonização. Já o período contemporâneo, marcado por um crescente interesse nas reflexões de Fanon, estrutura-se por uma maior diversidade de abordagens e focos teóricos, configurando seis sub-campos: 1. Estudos Pós-coloniais e da Diáspora; 2 Negritude; 3. Decoloniais; 4. Branquitude; 5. Psicologia; 6. Ethos Nacional.
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Piniau, Bernard. "Patrice Lumumba et la crise du Congo dans la presse belge : 1955-1961 : étude des origines littéraires et politiques de ces représentations et de leur mode de transformation : 1874-1988." Bordeaux 3, 1989. http://www.theses.fr/1989BOR30059.
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Paradizzo, Felipe Vieira. "Mandrake e o hard-boiled: questões de masculinidade(s) entre Rubem Fonseca e a literatura policial norte-americana." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/3243.
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Previous issue date: 2011-03-28Tendo em vista a importante contribuição dos estudos culturais e literários para o aprofundamento do debate sobre as narrativas policiais norte-americanas, este estudo pretende levantar singularidades, rupturas e questões de masculinidade(s) associadas à literatura hardboiled, de modo a fundamentar uma investigação de sua reverberação na obra de Rubem Fonseca. Para tal fim, parte-se, principalmente, dos estudos de masculinidade hegemônica empreendidos por R.W. Connell e seus comentadores, e da análise de três dos maiores expoentes fundadores do gênero, Dashiell Hammett, Raymond Chandler e Jim Thompson. Considerando essa fundação da literatura policial norte-americana, serão então analisadas quatro obras protagonizadas pelo personagem Mandrake, ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ e o romance A Grande Arte. Pretende-se, assim, observar como o autor se vale dessa tradição da literatura policial, e de suas implicações com questões de masculinidade(s), para criar uma obra de tamanha potência crítica, estilística e política.
Taking into consideration the important contribution of literary and cultural studies to the deepening of debate about North-American detective narratives, this study intends to assemble singularities, disconnections and contemporary masculinity issues associated with hard-boiled literature, aiming to substantiate an investigation of its influence in Rubem Fonseca‘s work. In order to do so, we take as a starting point the studies of hegemonic masculinities, by R.W. Connell and her commentators, and the analysis of three of the genre‘s founding fathers, Dashiell Hammett, Raymond Chandler and Jim Thompson. Considering the foundation of North-American detective novel, four works which has Mandrake as its main character will be analyzed : ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ and the novel A Grande Arte. Seeking to observe how the author utilizes the hard-boiled tradition and its implications in masculinities issues in order to create a work of enormous critical, stylistic and political potency.
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Kobayashi, Toru. "Expérience et événement : le statut du corps chez Merleau-Ponty et Deleuze." Paris 1, 2012. http://www.theses.fr/2012PA010608.
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La pensée du corps, que nous établissons principalement au croisement de Merleau-Ponty et Deleuze, nous conduit à la dimension productive de la Nature dans laquelle le corps vient se réhabiliter et institue le champ de l'expérience pour organiser le libre jeu des événements. La philosophie de la Nature conduit nécessairement la pensée phénoménologique à la limite, tout en renouvelant radicalement la pensée métaphysique qui se développe désormais en marge du monde sensible sans jamais le quitter. La notion merleau-pontienne de Chair et la notion deleuzienne de Corps sans organes jouent là un rôle définitif, en tant qu'elles tracent une ligne subtile de démarcation entre le champ vécu et la vitalité profonde qui le dépasse à l'infini. Dans la Nature profonde et sans fond, le corps se dépasse toujours lui-même. Le sens vital, appelé tantôt « auto-survol» tantôt « individuation », est non seulement un foyer de la biologie contemporaine, qui traite ce mouvement vital par la notion inventive de la Forme, mais aussi de la recherche esthétique sur l'énigme de l'expérience artistique, pour laquelle le problème de création ne fait qu'un avec la question du vivre. Nous aboutissons ainsi à la créativité absolument vitale, bien que presque mortelle, à la profondeur du corps vivant qui se perd et se retrouve dans l'obscurité hallucinatoire qui seule lui donne sens pour survivre.
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Ross, Tamlyn Sue. "The apartheid censors' responses to the works of Frantz Fanon, Amilcar Cabral and Steve "Bantu" Biko." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80165.
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Thesis (MA)--Stellenbosch University, 2013.ENGLISH ABSTRACT: This thesis explores the ways in which the censors during the apartheid era responded to the works of three black liberation theorists; namely Frantz Fanon, Amilcar Cabral and Steve Biko. Although other studies of apartheid‐era censorship have been published, this is the first to examine the censors’ reactions to the work of key African liberation writers. Apartheid in South Africa brought with it a stringent system of governance, which included a board of censors who would decide, according their interpretation of the laws of the time, whether a publication was considered to be “desirable” or “not undesirable.” One of the major themes examined in the thesis is the interface and tension between the specific and the transnational. As we shall see, all three liberation theorists put forward Pan‐African ideas of liberation, but often explicated upon the specificities of their particular liberation struggles. In a strange act of mirroring, while upholding the idea of South Africa as “a special case” (exempt from the norms of international human rights law), the apartheid‐era censors were concerned about the spread of Pan‐African theories of liberation. Beginning with Fanon, I speculate on the reason why Black Skin White Masks was not banned in South Africa, though Fanon’s later works to enter the country were banned. I also examine Gillo Pontecorvo’s film The Battle of Algiers, which was influenced by Fanon’s theories, and censorship, arguing that the “likely readers” or “likely viewers” of revolutionary material included not only possible revolutionaries, but also paranoid networks of counterinsurgency. I then move on to examine the apartheid censors’ responses to the works of Amilcar Cabral, outlining the interface and tension between local and continental as described above. The final chapter, which deals with the censors’ responses to Steve “Bantu” Biko’s I Write What I Like as well as Donald Wood’s Biko, the film Cry Freedom and other Biko related texts and memorabilia, has some surprises about the supposedly “liberal” censors’ responses to what they deemed to be “undesirable” and “not undesirable” literature.
AFRIKAANSE OPSOMMING: Hierdie tesis verken die manier waarop die sensuurraad tydens die apartheidera gereageer het op die werk van drie swart bevrydingsteoretici, by name Frantz Fanon, Amilcar Cabral en Steve Biko. Hoewel daar wel ander studies oor apartheidera‐sensuur die gepubliseer is, is hierdie die eerste studie wat die sensuurraad se reaksie op die werk van sleutel‐Afrikabevrydingskrywers verken. Apartheid het ‘n streng beheerstelsel in Suid‐Afrika tot gevolg gehad wat ‘n sensuurraad ingesluit het wat volgens sy interpretasie van die toenmalige wette kon besluit of ‘n publikasie “wenslik” of “nie‐wenslik” was. Een van die hooftemas wat in hierdie tesis ondersoek word is die interaksie en spanning tussen die spesifieke en die transnasionale. Soos sal blyk, het al drie bevrydingsteoretici Pan‐Afrikanistiese idees van bevryding ondersteun, maar dikwels die besondere van hul spesifieke bevrydingstryd uiteengesit. Die apartheidera‐sensors se kommer oor die verspreiding van die Pan‐ Afrikanistiese bevrydingsteorië, terwyl hulle die idee van Suid‐Afrika as “’n spesiale geval” (vrygestel van die norme van internasionale menseregtewetgewing) voorgehou het, was ‘n ironiese spieëlbeeld hiervan. Ek begin by Fanon en bespiegel oor die redes waarom Black Skin White Masks nooit in Suid‐Afrika verbied was nie hoewel Fanon se latere werk wat die land binnegekom het, wel verbied was. Ek ondersoek ook Gillo Pontecorvo se film The Battle of Algiers wat deur Fanon se teorië beïnvloed is, en argumenteer dat die “waarskynlike lesers” en “waarskynlike kykers” van revolusionêre materiaal nie slegs moontlike revolusionêre ingesluit het nie, maar ook paranoïede netwerke van teeninsurgensie. Ek gaan voort deur die reaksie van die apartheidera‐sensors op die werke van Amilcar Cabral te ondersoek en die interaksie en spanning tussen die plaaslike en die kontinentale, soos hierbo beskryf, uit te lig. Die slothoofstuk, wat handel oor die sensuurraad se reaksie op Steve “Bantu” Biko se I Write What I Like, asook Donald Woods se Biko, die film Cry Freedom en ander Biko‐verwante tekste en memorabilia, bevat verrassings omtrent die sogenaamde “liberale” sensors se reaksies op wat hulle as “wenslike” en “nie‐wenslike” literatuur beskou het.
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Mercadal-Barroso, Adriana Kimberly. "A critical Fanonian understanding of black student identities at Rhodes University, South Africa." Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1016375.
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South African history is rooted in racial identities, inequalities and injustices, which the post-apartheid government has sought to address for twenty years since 1994. The transition to a post-apartheid society though has been a difficult one with the social structure and everyday life still marked by the racial past. Though racial classifications on an official basis no longer exist, racial identities continue to pervade the country. Of particular significance to this thesis are black identities including the possibility of black inferiority, which I examine in relation to black post-graduate university students in contemporary South Africa, specifically at Rhodes University. In examining this topic, I draw extensively on the work of Frantz Fanon, who wrote about both colonial society and the emerging post-colonial experience. Fanon was a young black intellectual whose work was in part based on his own experiences of being a once-colonised black person in a world which he perceived as being dominated by whiteness. In his work he expresses his own perceptions of whiteness and how the black identity has come to be shaped by and around this dominant white foundation. Fanon extensively discussed the lives of black intellectuals and elites, and demonstrated how the black identity becomes shaped by and around the world of whiteness. In doing so, he raised a range of themes, such as black inferiority, mimicry and double consciousness. I draw upon the work of Fanon in a critically sympathetic manner to delve into the experiences of black postgraduate students as they negotiate their way through a university setting dominated by a white institutional culture. I bring to the fore the argument that the racial identities of these students is not fixed and sutured but, rather, is marked by considerable fluidity and ambiguity such that black identity must be understood not just as a state of being but also as a process of becoming.
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Lucero, Jorge Nicolás. "Nuevas perspectivas sobre el movimiento en la filosofía francesa : la reivindicación ontológica de M. Merleau-Ponty y G. Deleuze." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20070.
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Cette recherche analyse la revendication ontologique du mouvement autravers des philosophies de Maurice Merleau-Ponty et de Gilles Deleuze. Par«revendication ontologique» nous entendons, d’une part, que le mouvement estun sujet à part entière de la philosophie avant toute considération des sciencesspéciales, et d’une autre part, que cette perspective conçoit le mouvement danssa dimension d’être, c’est-à-dire hors le mouvement constitue la réalité en ellemêmeainsi que les conditions de l’espace et du temps, sans s’en subsumer.Tout au long de l’histoire, le mérite philosophique du mouvement a été ambigu,il a en même temps eu une signification fondamentale et souffert d’un dédainétonnant. Aristote a trouvé le mouvement à l’intérieur des choses, il proclamesa dimension ontologique et l’énonce comme le foyer de la nature dans toute sasplendeur. Or, la naissance de la science moderne et l’exigence de la dominationhumaine mène, à l’instar d’une nécessité historique, au remplacement duconcept ontologique du mouvement par un autre modèle éminemmentgéométrique, en transfigurant le mouvement dans un état sans processualité.Une revendication ontologique du mouvement vise donc à récupérer l’idéed’un mouvement-processus au coeur du réel, mais ceci ne signifie pas toutefoisrevendiquer l’aristotélisme. Contrairement à ceci, on affiche que Merleau-Pontyet Deleuze, sur un terrain déjà préparé par Bergson et par la phénoménologie,atteignent un concept ontologique du mouvement largement séparé des notionsaristotéliciennes et des modélisations anthropomorphiques, une séparation qui rend possible une méditation de la mobilité en tant que telle et qui convient à unephilosophie cosmologique. Ce travail contribue aussi à renforcer les étudescomparatives entre Merleau-Ponty et Deleuze, dont la littérature est vraimentmince et souvent réduite à une problématique spéciale. En revanche, onpropose dans ce travail un approchement par rapport aux projets ontologiqueset notamment par rapport à la question du mouvementThis work analyses the ontological vindication of motion towardsMerleau-Ponty and Deleuze’s philosophies. By “ontological vindication” weunderstand, firstly, that motion is an absolute philosophical subject before anyconsideration of the special sciences, and secondly, that this perspectiveexplains motion in its being’s dimension, that is to say motion constitutesreality creating space and time conditions without being subsumed to them.Throughout History, the philosophical importance of motion has beenambivalent, it has possessed a fundamental philosophical meaning at the sametime it has suffered and surprising disdain. Aristotle has found motion in theinnerness of things, proclaiming its ontological dimension and placing it in theheart of nature. Nevertheless, modern science, in search of nature’s domain,replaces the ontological value of motion with a geometrical model thatannihilates all processuality in the phenomenon. An ontological vindicationdesires to recover the idea of motion-process in the heart of reality, but withoutvindicate any aristotelianism. Thanks to Merleau-Ponty and Deleuze, we areable to propose an ontological motion beyond the Aristotelian categories andthe anthropomorphic models, which makes possible a meditation aboutmobility in itself and which is suitable to a cosmological philosophy. This workalso contributes to the studies between Merleau-Ponty and Deleuze, whoseliterature is barely absent and reduced to specials fields. On the contrary, wepropose an approach concerning to their ontological projects and, in particular,concerning to the question of motion
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Jung, Marjorie. "La figure de l’homme nouveau dans l’oeuvre de Frantz Fanon : La décolonisation de l’être au prisme de la social-thérapie textuelle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040172.
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L’oeuvre de Frantz Fanon convoque un champ disciplinaire pluriel qui, dans une praxis du réel, ne cesse de redéfinir simultanément divers domaines du savoir. Au sein du triptyque poétique, psychiatrie, politique, la figure de l’homme nouveau assoit la possibilité d’un véritable chronotope de l’engagement à partir d’une expérience fondatrice de la guerre d’Algérie. Le projet insurrectionnel permet de redéfinir un nouveau chronotope ; il dessine les contours d’une géopoétique algérienne et pose les linéaments de l’entreprise de désaliénation. De la contribution clinique à l’élaboration du texte, la pensée de Fanon découvre les ressorts d’une véritable praxis de l’engagement. À l’aune d’un corpus francophone, de Kateb Yacine à Patrick Chamoiseau, la figure de l’homme nouveau effectue le passage d’une pratique clinique à une pratique poétique. Elle dévoile, au prisme d’une intertextualité inhérente à l’oeuvre, l’itinéraire de l’auteurThe work of Frantz Fanon convenes the plurality of a disciplinary field which, enrolled in a reality praxis, does not cease to simultaneously redefine various knowledge domains (areas). Within the triptych poetic, psychiatry, politics, the new man figure establishes the possibility of a real commitment chronotope built out of the Algerian War a founding experience. The insurrectionary project allows to redefine a new chronotope; it draws the outlines of an Algerian geopoetic and sets the lineaments of the disalienation undertaking. From the clinical contribution to the elaboration of the text, the thought of Fanon uncovers the dynamic of a real commitment praxis. In the light of a francophone corpus, from Kateb Yacine to Patrick Chamoiseau, the new man figure institutes the transition of practices from clinical to poetic. It thereby reveals, through the prism of the work’s inherent intertextuality, the author’s itinerary
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Soobarah, Agnihotri Jeeveeta. "La construction et la revendication du sujet féminin dans "The God of small things", "Mitro Marjani" et "Pagli"." Bordeaux 3, 2008. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2008BOR30092.
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Cette étude comparatiste et interdisciplinaire se situe au point de convergence de trois aires littéraires : la littérature mauricienne francophone et les littératures indiennes d’expression anglaise et hindi. Elle examine la place du sujet littéraire féminin dans des romans d’Ananda Devi, d’Arundhati Roy et de Krishna Sobti, où le sujet est en crise dans une société phallogocentrique. L’écriture féminine met ici en relief la valeur du corps : la sexualité féminine, considérée comme l’élément précipitant la chute de la femme du modèle au contre-modèle, est redoutée. La négociation de la paradoxalite�� du statut de la femme (à la fois objet et sujet du discours), à travers la langue et la société du regard, détermine sa construction et la revendication d’une identité propre passant par la révolte et la prise de parole ainsi que par la gestion de l’espace, mettant de ce fait en péril les frontières des interdits. En s’appuyant sur les études culturelles et les gender studies, on s’efforce ainsi de problématiser la subalternatité dans des contextes postcoloniaux et patriarcauxAt the meeting point of three literatures: Mauritian Francophone and Indian literature in English and Hindi, the focus is placed on the construction of female agency in the Indiaoceanic narrative space. Ananda Devi, Arundhati Roy and Krishna Sobti depict female protagonists, defined through their personal crisis, in a social structure dominated by the male logos. Their écriture feminine exposes the terror felt vis-à-vis the female body and female sexuality, seen as the operating cause of the fall of the woman, from model to counter-model. Furthermore, the subject/object dialectics motivated by power, is so fragile that very often the negotiation of this fine line determines the construction of the female protagonist, as well as her claiming of an identity of her own. Cultural studies and gender studies used as theoretical and aesthetic tools help us understand the problematic subalternity of the female character in both postcolonial and patriarchal contexts. Her emergence as subject of discourse takes place via revolt and through the reappropriation of language against “the gaze”, she thus redefines space in a way that destabilizes borders
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Choné, Aurélie. "L'Occident à la rencontre de l'Orient pendant la première moitié du 20ème siècle : intégration et transformation du savoir sur l'Orient dans l'espace germanophone à travers l'oeuvre de Rudolf Steiner, Carl Gustav Jung et Hermann Hesse." Université Marc Bloch (Strasbourg) (1971-2008), 2002. http://www.theses.fr/2002STR20007.
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Grâce à l'essor de l'orientalisme universitaire, en particulier de l'indianisme allemand, au 19ème siècle, la connaissance des cultures et des religions orientales (hindouisme, bouddhisme, taoi͏̈sme) a considérablement progressé dans l'espace germanophone au début du 20ème siècle. Nous montrons comment et à quelles fins ce savoir est assimilé par l'Occident dans la première moitié du 20ème siècle, à travers l'œuvre de trois auteurs issus de champs complètements différents, même s'ils s'entrecroisent : l'ésotérisme pour Rudolf Steiner (1861-1925), la psychologie pour Carl Gustav Jung (1875-1961) et la littérature pour Hermann Hesse (1877-1962). . .
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Brence, Steven Barry. "Multiculturalism : the refusal and reconstruction of recognition /." Thesis, view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3018359.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 151-161). Also available for download via the World Wide Web; free to University of Oregon users.
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Goodspeed-Chadwick, Julie Elaine. "Representations of war and trauma in embodied modernist literature : the identity politics of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1364941.
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This study situates the literary works of Amy Lowell, Djuna Barnes, H.D., and Gertrude Stein in a genealogy of American modernist war writing by women that disrupts and revises patriarchal war narrative. These authors take ownership of war and war-related trauma as subjects for women writers. Combining the theories of Dominick LaCapra, Judith Butler, Elaine Scarry, and Elizabeth Grosz with close readings of primary texts, I offer feminist analyses that account for trauma and real-world materiality in literary representations of female embodiment in wartime. This framework enables an interdisciplinary discussion that focuses on representations of war and trauma in conjunction with identity politics.I examine Lowell's poetry collection Men, Women and Ghosts (1916), Barnes's novel Nightwood (1936), H.D.'s poem Trilogy (1944-1946), and Stein's novel Mrs. Reynolds (1952). The chapters highlight the progressively feminist and personal ownership of war and trauma embedded in the texts. Lowell and Barnes begin the work of deconstructing gendered binary constructions and inserting women into war narrative, and H.D. and Stein continue this trajectory through cultivation of more pronounced depictions of women and their bodies in war narrative.The strategies are distinct and specific to each author, but there are common characteristics in their literary responses to World War I and World War II. Each author protests war: war is destructive for Lowell, perverse for Barnes, traumatic for H.D., and disruptive for Stein. Additionally, each author renders female bodies as sites of contested identity and as markers of presence in war narrative. The female bodies portrayed are often traumatized and marked by the ravages of war: bodily injury and psychological and emotional distress. H.D. and Stein envision strategies for resolving (if only partially) trauma, but Lowell and Barnes do not.This project recovers alternative war narratives by important American modernist women writers, expands the definition and canon of war literature, contributes new scholarship on works by the selected authors, and constructs an original critical framework. The ramifications of this study are an increased awareness of who was writing about war and the shape that responses to it took in avant-garde literature of the early twentieth century.Department of English
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Revel, Judith. "Différence et discontinuité dans la pensée de Michel Foucault : langage, histoire, subjectivité." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0053.
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M. Foucault a tenté de fonder une véritable pensée du discontinu par la production d'un concept de discontinuité capable de rompre à la fois avec les philosophies du sujet et avec les modèles linéaires et téléologiques de l'histoire, et par une nouvelle histoire des systèmes de pensées qui enregistre l'historicisation de ses propres dispositifs d'objectivation. La pensée du philosophe étant elle-même discontinue, non linéaire et ancrée dans sa propre histoire, il fallait donc une nouvelle approche de l'oeuvre qui applique à M. F. Sa propre méthode d'historicisation. Le lien paradoxal entre discontinuité et histoire a été abordé à l'aide du concept de la différence, qui semble par ailleurs au coeur d'une tentative plus générale, dans la pensée française du second après-guerre, de définir les conditions de possibilité d'une pensée non-dialectique. La confrontation avec les pensées de Merleau-Ponty, Derrida et Deleuze, pour lesquels la question de la différence semble centrale, permet de faire l'hypothèse d'une problématisation commune où, pourtant, le rapport à l'histoire sous l'angle de la discontinuité fait éclater des divergencesM. Foucault has been trying to found a new way to think discontinuity through the production of a concept of discontinuity which might be able to break both with "philosophies of the subject" and the linear, teleological models of history, and conceiving a new history of the systems of thought which would warrant the historicization of its own process or objectivation. Foucault's philosophy is discontinuous, non linear and obviously rooted in its own history. A new approach of his work was thus wanted in order to read Foucault with its own method of historicization. The paradoxal link between discontinuity and history has been approached through a second concept, "difference", which appears to be central in French thought after 1945, associated with a larger attempt to formulate the possible conditions of a non-dialectical thought. Foucault's neglected dialogue with Merleau-Ponty, Derrida and Deleuze's works, to whom such a topic has been central, suggests to formulate a new hypothesis : there has been among them a common problematization of difference, but the relation to history and discontinuity has underlined the singularity of each singl philosophical choice
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Diop, Babacar. "Esthétique des Ruines et Dystopie dans le roman Anglais postmoderne : une lecture de Riddley Walker, (1980) de Russel Hoban, Cloud Atlas, (2004) de David Mitchell et The Book of Dave (2006) de Will Self." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30080/document.
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Les concepts de dystopie et de postmodernisme ont pris une dimension nouvelle depuis une vingtaine d’années environ.Ces concepts, qui ont fait l’objet d’études multiples tant sur le plan littéraire qu’historique, pour ne citer que ces deuxdomaines-là, ont révélé d’autres perspectives qui, de notre point de vue, n’ont pas encore été abordées. Il s’agit parexemple du rapport entre la dystopie et les ruines. A travers cette thèse, nous avons étudié les concepts de dystopie et deruines tel qu’ils apparaissent dans trois oeuvres (Riddley Walker, (1980) de Russel Hoban, Cloud Atlas, (2004) de DavidMitchell et The Book of Dave (2006) de Will Self) à la lumière des évènements contemporains et en rapport avec lepostmodernisme. Ce corpus a permis de souligner des liens entre dystopie et postmodernisme grâce à la valeuresthétique, éthique, poétique et politique des ruines dont l’ubiquité nous a fait considérer les oeuvres dystopiquescomme un portrait du monde où nous vivons. Cette thèse a par ailleurs permis de souligner le comportementautodestructeur de l’homme, en rapport avec la notion de progrès qui est constamment remise sur le métier, devenantplus une illusion qu’une réalité au moyen de scènes de violence dont les principales illustrations restent les deux conflitsmondiaux avec la Shoah et les bombes atomiques larguées sur Hiroshima et Nagasaki ainsi que l’utilisation des armeschimiques. En plus d’être un trait d’union entre dystopie et postmodernisme, les ruines s’érigent en témoin du passésinistre de l’homme vers lequel elles guident les contemplateurs tout en leur rappelant la vanité de leur vie etl’évanescence de toute existence. L’ubiquité des ruines ne cesse de plonger survivants et contemplateurs dans unemélancolie à laquelle s’ajoute le trauma lié à la perte et la menace de répétition du passé. Les ruines deviennent alorsune forme d’expression, un langage pour les dystopies postmodernes et, à travers elles, les disparus prennent la parole.Les traces de ce qui a été sont ainsi devenues des médias par lesquels le silence des ruines devient la parole de ceux quine sont plus, révélant de manière continue la présence du passéThe concepts of dystopia and postmodernism have taken a new dimension for the past two decades. These conceptshave been explored in multiple studies from both literary and historical viewpoints, to name but these two areas thathave revealed other perspectives, which, to our knowledge, have not yet been addressed. This is the case, for example,of the relationship between dystopia and ruins. The present work explores the concepts of dystopia and ruins as theyappear in the three books (Riddley Walker (1980) by Russell Hoban, Cloud Atlas (2004) by David Mitchell and TheBook of Dave (2006) by Will Self) in the light of contemporary events and in connection with postmodernism. Thiscorpus was used to discover the links between dystopia and postmodernism through the aesthetic, ethical, poetic andpolitical values of ruins, the ubiquity of which brought us to consider the dystopian works as a depiction of the world inwhich we live. The present study has also helped highlight the destructive behavior of Man in relation to the notion ofprogress that is constantly questioned, thus becoming more of an illusion than a reality because of scenes of violencemainly illustrated by the two World Wars with the Shoah and the atomic bombs dropped on Hiroshima and Nagasaki,as well as the use of chemical weapons, commonly called mass destruction weapons. Besides being a bridge betweendystopia and postmodernism, ruins stand as witnesses of Man’s sinister past toward which they direct contemplatorswhile reminding them of the vanity of their lives and the evanescence of any existence. The ubiquity of the ruinsrelentlessly plunges survivors and contemplators into a melancholy supplemented by the trauma associated to thefeeling of loss and the threat of a repetition of the past. The ruin thus becomes a form of expression, a language forpostmodern dystopias and through it, the departed speak. The traces of what has been have thus become media through
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Rowner, Ilai. "Ecriture corporelle : Théorie des événements littéraires." Paris 7, 2012. http://www.theses.fr/2012PA070008.
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L'objectif principal de cette étude consiste à examiner le concept d'événement, en tant qu'objet privilégié de la pensée philosophique et en particulier à l'égard du texte littéraire. A travers le travail de Heidegger, Blanchot, Derrida et Deleuze, cette recherche présente une nouvelle méthode de penser l'événement du texte littéraire, à la fois en mettant en question l'essence de la création littéraire et en élaborant les fondements d'une nouvelle approche critique de l'œuvre littéraire. La première partie est consacrée à étudier l'événement comme un tiers ontologique qui pourrait clarifier ce qui génère et relie le cours même de ce qui se produit et le fait même de la production du langage. Dans la seconde partie, nous examinerons d'abord la façon dont l'écriture littéraire considère le statut de l'événement à la différence de l'historiographie ou de la narratologie. Dans les derniers chapitres de cette étude, nous appliquerons ces développements théoriques à l'analyse de deux passages littéraires portant sur le bombardement de Paris : le premier tiré du Temps Retrouvé de Marcel Proust, le deuxième de Féerie Pour Une Autre Fois de Louis Ferdinand Céline. Nous verrons que ces situations historiques et thématico-narratives sont en fait travaillées par ce que nous appelons une écriture corporelle : une écriture où le virtuel défait sans cesse l'actuel, où il se produit une dissimilitude immanente entre corps et image. Ce n'est qu'à cet instant que la déformation créative de l'événement se déclare et se relance : la dispersion et la multiplicité qui y sont en état de devenirWhat is literature's approach to the event? How does literature produce and give testimony to events? The event is generally defined in this study as any occurrence, real or fictional, within a singular verbal work. The event is that which obviously comes about, yet in its very essence the event comprises a dimension of inexhaustibility, an unknown element that refuses perception and appropriation, and that constructs and depends on the creative engagement of the stylistic and fictional work. Reading Heidegger's later writings and discussing his reception by French thinkers such as Blanchot, Derrida, and Deleuze, my study defines the act of literary creation as a progression towards the event and, most particularly, as the experience of the un-happening element within the happening. As I argue, while the event incessantly acts in the literary work as an unprecedented call for absolute creation, literature offers the evasive voice and image of the non-place within the taking place. My study demonstrates how these theoretical premises may be applied to actual literary works by analysing Marcel Proust's and Louis Ferdinand Céline's air raid passages in Le Temps Retrouvé (1927) and in the first book of Féerie Pour Une Autre Fois (1953) respectively. In these passages, the experience of literature—as both an act of writing and reading—becomes the vital move of the event itself: the more one surrenders to the violent and impersonal corporeality of the event, the more the work becomes "the offspring of the event," as Deleuze joyfully remarks (Logique du Sens, 1969)
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Finnegan, Sean Justin. "Schoenberg, Polyphony, and Mode : A Reception of the Composer's Twelve-tone Method in American Publications, c. 1925-1950." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279380/.
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Although Schoenberg viewed his twelve-tone method as an extension of the Germanic musical evolution from Bach to Brahms, one group of writers in America identified twelve-tone antecedents with Medieval and Renaissance polyphony. Such a correlation of Schoenberg's practice with this textural orientation of the past was part of a larger movement (what I term "neopolyphony") recognizing twentieth-century musical developments as the genesis of a polyphonic epoch reviving both the technical and aesthetic concerns of the former era. With Schoenberg's practice applied to this analogical context, other writers (Hill, Krenek, Perle) advanced certain modal theories based in various degrees on the internal organization and functional role of the Church modes.
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Ajari, Norman. "Race et violence : Frantz Fanon à l'épreuve du postcolonial." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20033/document.
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Ce travail propose une interprétation de la pensée anticoloniale du psychiatre et philosophe politique martiniquais Frantz Fanon. Il se proposera de la comprendre comme une philosophie sociale de l’existence. Il s’agira, pour l’analyser, de replacer Fanon dans son époque, en contextualisant son œuvre par rapport à l’histoire du colonialisme moderne, notamment en Afrique, mais aussi de relire Fanon à la lumière de la pensée contemporaine aux fins de déceler ce qui, dans son œuvre, demeure actuel. Cette recherche se déploiera en deux temps. La première partie aura pour objectif de dévoiler les fondements racistes du colonialisme en en explorant les conséquences dans plusieurs domaines : droit et politique, notamment, mais aussi économie et psychiatrie. Le concept de « prise de vies », qui sera opposé à celui de « prises de terres » élaboré par Carl Schmitt, servira de fil conducteur à cette recherche. Il s’agira de soutenir que la disqualification de certains groupes humains seule rendit possible l’accaparement des territoires ultramarins. Ce sont les modalités de cette disqualification qu’explicitera ce premier moment. La seconde partie portera sur les modèles de résistance à cette domination dont Fanon propose une formulation inédite. On verra comment c’est par la répétition transformatrice de ce qui est que peut surgir la nouveauté dans l’histoire. Répétition dans la différence, fut-elle violente, qui constitue le cœur même de la pensée fanonienne. Ainsi la répétition africaine des nations européennes ; ainsi le panafricanisme qui seront finalement abordés. Il s’agira donc de dessiner les contours de l’« ontologie » existentielle et politique de Frantz FanonThis thesis offers an interpretation of Martiniquais political Philosopher and Psychiatrist Frantz Fanon. It proposes to understand his thinking as a social philosophy of existence. Analyzing it requires to put Fanon back in his time, by setting his work in its context, through modern colonialism history, especially in Africa, and by reading Fanon in light of contemporary thinking, in order to find what in his work remains up to date. This research will unfold in two parts. The first part will explore the very specificities of the colonial model of domination, which have been rather disregarded until these days. The second part will focus on the models of resistance to this domination, like revolutionary actions, to which Fanon gives an original expression. The racist bases of colonialism will be revealed through its numerous implications in Law and Politics, and also in Economy and Psychiatry. The concept of “life-appropriation”, while opposed to Carl Schmitt’s concept of “land-appropriation”, will be the vital lead of this research. The issue will be to maintain that disqualification of specific human groups alone made it possible to monopolize oversea territories. Modalities of this disqualification will be made explicit. The second part aims at showing how Fanon develops what could be named speculative politics, in response to colonial dehumanization. A thinking which objects are less concepts or ideas than actual historically localized power struggles
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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Electronic Thesis or Diss., Paris 10, 2012. http://www.theses.fr/2012PA100054.
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Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’analyses avec la pratique artistique. Pourtant la question mérite d’être posée : par quelles modalités le philosophe artiste serait en droit de porter ensemble la philosophie et l’art ? La présente thèse tente de réintroduire ce problème pour le moins « éternel » en enquêtant pas-à-pas sur les lignes de tension typiques que cette figure met en jeu : la forme et le contenu ; la métaphysique et le phénomène ; le langage et la métaphore. De même, si Nietzsche est l’objet central de la recherche, nous évoquerons toutefois d’autres philosophes non moins typiques, comme Merleau-Ponty ou Deleuze, ainsi que Spinoza ou Aristote. Toutefois, il ne s’agit pas de ressaisir encore une fois ces problématiques proprement philosophiques, leur réintroduction doit s’éprouver dans la pratique artistique. La thèse envisage donc, à chaque fois, une issue par la création artistique, au lieu de tenter vainement d’élire une figure sans maître et sans limite, la thèse exposera des créations chorégraphiques originales. Ces créations ont été produites en parallèle avec la recherche, elles ont donné lieu à des œuvres singulières qui ont été préoccupées par les mêmes problématiques que la thèse. Elles confèrent à l’étude le degré de plasticité dont l’exposé proprement philosophique pouvait manquer. De plus, elles abolissent la frontière, car elles subissent les mêmes contraintes que celle de l’exposé, puisque Panopticon interroge le panoptisme étudié dans Surveiller et punir de Foucault, Amor fati, le concept de l’éternel retour selon Nietzsche ; être au monde, reprenant le problème de la sensibilité de Merleau-Ponty ; et enfin, L’éthique s’astreignant à réinvestir d’un point de vue sensible l’architecture de l’œuvre axiomatique de Spinoza. N’était-ce pas cela le sens du philosophe artiste ? Expérimenter, éprouver pour en étudier les effets ?The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
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Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
Full textAbstract:
Le philosophe artiste est une figure fantasmée ou désavouée. Par sa seule possibilité, il représente l’impossible frontière entre le discours philosophique et la création artistique. Bien qu’il invoque cette figure polémique, Nietzsche n’a pas été en mesure de fonder le philosophe artiste, mieux, il l’abandonne au profit d’un Dionysos ressuscité, plus à même de surmonter la confrontation avec Apollon. Or, voilà une figure orpheline qui ne semble plus que renvoyer à une nostalgie romantique et idéale où la philosophie, enfin, partagerait ses objets privilégiés ainsi que ses propres méthodes d’analyses avec la pratique artistique. Pourtant la question mérite d’être posée : par quelles modalités le philosophe artiste serait en droit de porter ensemble la philosophie et l’art ? La présente thèse tente de réintroduire ce problème pour le moins « éternel » en enquêtant pas-à-pas sur les lignes de tension typiques que cette figure met en jeu : la forme et le contenu ; la métaphysique et le phénomène ; le langage et la métaphore. De même, si Nietzsche est l’objet central de la recherche, nous évoquerons toutefois d’autres philosophes non moins typiques, comme Merleau-Ponty ou Deleuze, ainsi que Spinoza ou Aristote. Toutefois, il ne s’agit pas de ressaisir encore une fois ces problématiques proprement philosophiques, leur réintroduction doit s’éprouver dans la pratique artistique. La thèse envisage donc, à chaque fois, une issue par la création artistique, au lieu de tenter vainement d’élire une figure sans maître et sans limite, la thèse exposera des créations chorégraphiques originales. Ces créations ont été produites en parallèle avec la recherche, elles ont donné lieu à des œuvres singulières qui ont été préoccupées par les mêmes problématiques que la thèse. Elles confèrent à l’étude le degré de plasticité dont l’exposé proprement philosophique pouvait manquer. De plus, elles abolissent la frontière, car elles subissent les mêmes contraintes que celle de l’exposé, puisque Panopticon interroge le panoptisme étudié dans Surveiller et punir de Foucault, Amor fati, le concept de l’éternel retour selon Nietzsche ; être au monde, reprenant le problème de la sensibilité de Merleau-Ponty ; et enfin, L’éthique s’astreignant à réinvestir d’un point de vue sensible l’architecture de l’œuvre axiomatique de Spinoza. N’était-ce pas cela le sens du philosophe artiste ? Expérimenter, éprouver pour en étudier les effets ?The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
29
Veyrat-Durebex, François Pierre. "Influences economiques sur le droit des successions dans son elaboration depuis 1804 : analyse comparative des metasources économiques et non-économiques." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3015.
Full textAbstract:
Au commencement, il y a le constat, en ce début de XXIe siècle, de l'influence de la sphère économique sur la refonte de la matière successorale. Certes, cela n'est pas officiel. Dans le cadre de l'élaboration de la loi n° 2006-728 du 23 juin 2006 réformant le droit des successions et des libéralités, le législateur préfère mettre en exergue des objectifs généraux ; il est question de « simplifier », d’« accélérer » et de « sécuriser » les règlements successoraux. Si tout cela semble bien transparent de prime abord, en réalité, derrière cette « profession de foi un peu courte », se cachent des objectifs de nature économique qui traversent l'ensemble de la réforme. On peut immédiatement en citer un à titre d’exemple : celui de la survie de l’entreprise au décès de son exploitant. Cet objectif transparaît sans difficulté ; il suppose de faciliter la transmission de l’unité économique, […], mais également d'assurer la continuité de la gestion de celle-ci, […].[…] Plus avant, la dialectique suivie par le législateur du XXIe siècle n'est pas seulement celle d'une adaptation des normes juridiques aux réalités économiques contemporaines ; elle est aussi celle d'une promotion de ces normes comme instruments de compétitivité de l'économie nationale. La légistique est désormais conçue comme un vecteur dopant de la conjoncture. […] Multiplier les échanges, relancer la croissance, mettre en valeur le patrimoine économique français : ce sont là certaines des nouvelles valeurs du droit des successions, au sens de la loi du 23 juin 2006. Pour autant, cette influence de la sphère économique est-elle complètement nouvelle ? Ne sommes-nous pas en présence de l'aboutissement, ou du prolongement, d'un phénomène ancien ? On peut en effet songer que les codificateurs étaient déjà soucieux d'adapter notre ancien droit français à l'avènement de la proto-industrie, ainsi qu’au développement d'une économie d'échanges ; dans le même sens, on doit bien constater que la loi n° 71-523 du 3 juillet 1971 ne réalise, pour l'essentiel, qu’une adaptation des règles liquidatives aux fluctuations monétaires de l'après-guerre. Sans entrer plus avant dans les détails, on perçoit immédiatement en quoi ces interrogations nous portent vers la présente étude : une analyse comparative des métasources « économiques » et « non économiques », sur le thème de l'influence de la sphère économique sur le droit des successions dans son élaboration depuis 1804To start with, we can notice that at the beginning of the twenty-first century, the economic sphere is already clearly influencing the inheritance rules modification process. Admittedly, this is not an official statement. Writing the law n ° 2006-728 of June 23, 2006 which aims to reform the inheritances and liberalities regulations, the legislator prefers to highlight general objectives. This is a question of "simplifying", "speeding up" and "securing" the inheritance law. If all of this may seem very transparent at first glance, in reality, behind this "a little short profession of faith", there are some hidden economic objectives that cross the whole reform. The simplest example to cite is the survival of a company at the death of its manager. This objective is easily visible; it helps to facilitate the transmission of the economic unit, [...], but also to ensure its management continuity [...]. [...] Further, the dialectics followed by the legislator of the twenty-first century are not only for adaptation of legal norms to contemporary economic realities, but also for promoting these standards as instruments to increase the national economy's competitiveness. Legislation is now conceived as a driving force for the economic situation. [...] Multiplying trade, relaunching growth, enhancing French economic patrimony: these are some of the new values of inheritance regulations, as defined by the law of 23 June 2006. However, is this influence of the economic sphere entirely new or not ? Perhaps, we are dealing with culmination or prolongation of an old phenomenon ? We may indeed think that the legislators have already been concerned with adapting our old French law to the advent of proto-industry, as well as to the development of the trading economy ; in the same sense, it should be noted that, for the most part, the law n° 71-523 of July 3d, 1971 has done nothing more than making an adjustment of the liquidation rules to the monetary fluctuations of the post-war period. Without going further into the details, we can immediately notice how these questions lead us to the present study : a comparative analysis of "economic" and "non-economic" metasources, on the subject of influence of the economic sphere on the inheritance rights in its development since 1804
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Pithouse, Richard. "Frantz Fanon and the dialectic of solidarity." Thesis, 2005. http://hdl.handle.net/10413/2693.
Full text
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Zapf, Donna. "Singing history, performing race : an analysis of three Canadian operas : Beatrice Chancy, Elsewhereless, and Louis Riel." 2004. http://hdl.handle.net/1828/661.
Full textAbstract:
This study is an analysis of three English Canadian operas, Beatrice Chancy
(composed by James Rolfe with a libretto by George Elliott Clarke), Elsewhereless
(composed by Rodney Shaman with a libretto by Atom Egoyan), and Louis Riel
(composed by Harry Somers with a libretto by Mavor Moore), that place Canadian
history and Canadian historical fictions on the lyric stage. All three operas engage
variously with race, gender, sexuality, power, and the political formation of the state.
The central concern of this study is the representation through music of difference
and race in Louis Riel, Elsewhereless, and Beatrice Chancy. The analysis considers music
as a medium of representation and therefore an equal participant, with the libretto and the
mise en scine, in creating subtle delineations of character, relationships, and complex
interchanges with the world outside the work. In particular, through the analysis of
music, narrative, and operatic performance, the study will consider how race is
represented in these operas.
Independent but affiliated studies on modern opera and the theoretical context of
cultural musicology, and a longitudinal consideration of the representation of race and
racism in historical operas, will form a theoretical and comparative historical background
to the analysis of the operas.
This study intends to contribute to the field of opera studies by focusing on
contemporary Canadian operas.
32
Fortuin, Bernard Nolen. "Interracial rape and the appropriation of the 'White mask': a psychoanalytical reading of Lewis Nkosi's Mating birds." Thesis, 2009. http://hdl.handle.net/10019.1/2499.
Full textAbstract:
Thesis (MA (English))--University of Stellenbosch, 2009.This thesis argues that Ndi Sibiya, fictional writer and protagonist of the novel, Mating Birds by Lewis Nkosi develops a pathological obsession with Veronica Slater, a white woman for whose rape Sibiya is about to be executed. One of the many theorists that have commented on the effects of race on sexuality, particularly in colonized black people is Frantz Fanon. In Black Skin White Masks Fanon asks a question based on Freud’s question, “What does a woman want?” Fanon’s question is different in that he asks, what do black people want, which opens the way for a post-colonial psychoanalytical analysis of Ndi Sibiya. What he is concerned with in Black Skin White Masks is a post-colonial psycho-analytical evaluation of the state of being black in colonial societies. Nkosi does the same in his novel, whereas he deals with Apartheid South Africa as an extension of colonialism. Nkosi and Fanon are both addressing the broader psychological impact racially oppressive societies have on the black person’s psyche. Fanon in his psychoanalytical study of the black man from within the Freudian framework aims to save the man of colour from himself (9) by giving black people a warning that is not much different from the warning Sibiya’s father gives to him: do not lust after the white man’s woman.
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Ndhlovu, Maanda Luxious. "Frantz Fanon and critique of the post-apartheid South Africa in relation to socio-economic development." Diss., 2017. http://hdl.handle.net/10500/26871.
Full textAbstract:
This study introduces the Fanonian thought on race and racism, rhetoric of modernity, and new humanism as three constitutive thematic areas in order to enable a new understanding of the South African situation. These thematic areas are examined with specific reference to socio-economic development within the limited context of post-apartheid South Africa. This is done by reading Fanon’s text in the context of South Africa to provide the background against which the unfolding of the post-apartheid era and its political discourses may be analysed. In essence, this study is based on Fanon’s predictions that he made in the text written more than 50 years ago about the future of post-colonial states. Therefore, this study argues that Fanon’s thought has proven to be more prophetic with regard to post-apartheid South Africa and its political reforms which left the fundamental question of structures such as land, economy, and labour unaddressed. What happened on 27 April 1994 is not genuine liberation, but a mere transition from apartheid to democratic dispensation that left the status quo in spatial arrangements uninterrupted. Indeed, it was an elite pact between the African National Congress and white monopoly capital, which betrayed the national liberation movement and the black majority. The contention is that South Africa celebrated the cosmetic reforms that attributed the term liberation incomplete in the absence of fundamental and structural changes. What is therefore recommended is that for there to be success, there must be genuine liberation that is consistent with the needs of society. This means bringing to an end the racially marked structures and reimagining the black condition, through jobs, education, social and economic programmes aimed at empowering the black majority to depend on themselves as opposed to relying on the State.Development Studies
M.A. (Development Studies)
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Sithole, Tendayi. "Fanon and the positionality of Seepe, Mangcu and Mngxitama as black public intellectuals in the post-1994 South Africa." Diss., 2013. http://hdl.handle.net/10500/8822.
Full textAbstract:
This study uses Frantz Fanon‟s thoughts on race and blackness, the black elite and black public intellectuals as the theoretical framework and examines the positionality of Sipho Seepe, Xolela Mangcu and Andile Mngxitama as black public intellectuals in order to understand how they view the post-1994 political discourse. Seepe, Mangcu and Mngxitama‟s views are studied by analysing themes emerging from newspaper columns they have written. This study reveals that the three black public intellectuals examined have been radical and forthright, though they display different understandings of race and blackness, the black elite and black public intellectuals. However, the study reveals that only Mngxitama‟s postionality has been consistently radical, whereas Seepe and Mangcu‟s views have been fluid and are now considered moderate. This study concludes by highlighting the relevance of Fanon‟s thoughts in enabling a new reading of post-1994 South Africa. Of central importance is the creation of the „new being‟, who is informed by the process of liberation, which is the antithesis of the black condition.Political Sciences
M. A. (Politics)
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Costa, Diana. "Play it Again." Doctoral thesis, 2015. http://hdl.handle.net/10451/23668.
Full textAbstract:
Tese de doutoramento, Belas-Artes (Pintura), Universidade de Lisboa, Faculdade de Belas-Artes, 2016Possui um CD com 4 videos, apenas consultável na Biblioteca da FBAUL, com a cota CDA 184
A investigação conducente a esta tese baseia-se em experiências pictóricas, artísticas e estéticas realizadas com uma plataforma interativa designada SAM. A ideia central é trabalhar a possibilidade de criar imagens com uma interface digital num mundo virtual e refletir sobre o processo e a experiência envolvida. Os pressupostos fundadores da criação da plataforma digital (projeto artístico) residem nos reflexos duma anterior prática em atelier - um processo pictórico pessoal de autor, tomado como caso operativo disponível, com abertura para outros possíveis, ao qual se aliam os conceitos de repetição e serialidade, que dele emergem, para questionar, como objetivo da investigação, o potencial da reprodutibilidade na criação da diferença, (re)significação e acréscimo de sentidos. A perspetiva de trabalho implica uma abordagem que visa compreender a compatibilidade das tecnologias digitais com as artísticas mais tradicionais, estabelecendo paralelos sensíveis nelas fundamentados, exercitados por um corpo-ator a partir da sua interação com o computador. A curiosidade que se deposita nas possibilidades de um novo médium digital, estabelecido como uma extensão da mão e da criatividade humana, capaz de explorar novas dimensões, conceitos, forma e sensações, surge com a necessidade de responder a uma proposta de doutoramento em artes plásticas e às exigências de uma sociedade em transformação, que proporciona a invenção de novos materiais e novas tecnologias capazes de, mais do que meramente acompanhar as estéticas emergentes, moldá-las de modo ativo e interrogativo.
The research leading to this thesis is based on pictorial, artistic and aesthetic experiments performed on an interactive platform named SAM. The main focus is to work on the possibility of the creation of imaging with a digital interface in a virtual world, and reflect on the process. The foundation of the creation of the digital platform (artistic project) is set on the reflexions of previous practices in the studio – a personal pictorial process by the author, taken as the available operative case, with the possibility of others, associated to the concepts of repetition and seriality that may emerge, in order to question, as the aim of the research, the potential of reproducibility in the creation of difference, (re)signification and heightened senses. The prospect implies an approach which aims to understand the compatibility of digital technologies and more traditional artistic techniques, establishing sensory parallels based on them, exercised by the user from their interaction with the computer. The interest in the possibility of a new digital medium, set as an extension of the hand and human creativity, capable of exploring new dimensions, concepts, shapes and senses, arises from the need to respond to a visual arts doctorate proposal and the demands of a changing society, which allows for the invention of new materials and new technologies capable of not only keeping up with emerging aesthetics but also shaping them in an ative and inquisitive manner.
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Saccomano, Mark. "Musical Sound and Spatial Perception: How Music Structures Our Sense of Space." Thesis, 2020. https://doi.org/10.7916/d8-y9d1-ae42.
Full textAbstract:
It is not uncommon to read claims of music’s ability to affect our sense of time and its rate of passage. Indeed, such effects are often considered among the most distinctive and prized aspects of musical aesthetics. Yet when it comes to the similarly abstract notion of space and its manipulation by musical structures, theorists are generally silent. My dissertation addresses this gap in the literature and shows how music’s spatial effects arise through an affective engagement with musical works.
In this study, I examine an eclectic selection of compositions to determine how the spaces we inhabit are transformed by the music we hear within them. Drawing on Maurice Merleau-Ponty’s theory of embodied perception, as well as research on acoustics, sound studies, and media theory, I deploy an affective model of spatial perception—a model that links the sense of space with the moment-to-moment needs and desires of the perceiver— to explain how these musical modulations of space occur. My claim is that the manner in which the music solicits our engagement affects how we respond, which in turn affects what we perceive.
I begin by discussing the development of recording technology and how fixed media works deemed “spatial music” reinforce a particular conception of space as an empty container in which sound sources are arrayed in specific locations relative to a fixed listening position. After showing how innovative studio techniques have been used to unsettle this conventional spatial configuration, I then discuss examples of Renaissance vocal music, instrumental chamber music, and 20th century electronic music in order to develop a richer understanding of the range of spatial interactions that musical textures and timbres can provide. In my final chapter, I draw upon these varieties of affective engagement to construct a hermeneutic analysis of the spatial experience afforded by Steve Reich’s Electric Counterpoint, thereby modeling a phenomenological method for grounding interpretation in embodied, rather than strictly discursive, practices. By soliciting movement through the call for bodily action, music allows us an opportunity to fit together one world of possibilities with another, thereby providing an occasion for grasping new meanings presented through the work. The spatial aspect of music, therefore, does not consist in merely recognizing an environmental setting populated by individual sound sources. Through the embodied practices of music perception and the malleability of space they reveal, we are afforded an opportunity to reshape our understanding of the world around us.
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Brito, Fernando. "Sink : entre superfície e profundidade." Master's thesis, 2019. http://hdl.handle.net/10451/40819.
Full textAbstract:
This investigation is a critical reflection on an authorial project whose artistic object is materialized through the creation of an audiovisual installation named Sink.Within the scope of this artistic project, it is developed an exhibiting path that olds an immersive character, in which the element water is presented as background, and from which extends all the dynamic of the installation. Through the use of photographs, moving images, technical drawings and sound as discursive tools, it is created a narrative in an audiovisual environment that establish a critical reflection on the topic of the extension and loss of the human gesture as a result of the process of infinite accumulation. The theoretical reflection that is built around it is a result of a deepening of the mechanisms of its apparatus. Starting from an analysis of its foundations, there are several questions that arise from the implementation of its discursive system. What narrative resources are used in order to build the involvement of the spectator? By what means does its immersive character allow for the creation of a space of questioning? The dynamic of the audiovisual installation Sink which is also sustained by the creation of a circulation between surface and depth, places itself in the context of the shared audiovisual territories, influenced by the concept of Third Cinema (Troisième Cinema) developed by the french scholar Pascale Cassagnau. As one of the main axis of the narrative of the installation lies the concept of poetical estrangement, for which I have call the thoughts of Victor Shklovsky and Sigmund Freud, as well as Giles Deleuze, Gaston Bachelard and Maya Deren, among others. The body of work from João Tabarra and James Benning is called as a main authorial reference. From it, I developed an investigation in which I tried to contextualize the project Sink within the boundaries of the contemporary artistic production. By analysing some of their artistic pieces and the conceptual discourse that sustains it. I had the intention of establish connections and bridges with my project in an attempt of creating a clarification about my own purposes. This artistic project as well as the investigation that supports it, represent above all, a contribution for establishing a field of possibilities in the context of the moving images shared territories, namely within its experimental environment.
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Moagi, Anna Lefatshe. "A Fanonian perspective on the May 2008 xenophobic violence in South Africa : a case study of the Tshwane Municipality." Diss., 2014. http://hdl.handle.net/10500/14151.
Full textAbstract:
The research on xenophobia in South Africa is underpinned by the relationship described by Frantz Fanon between violence and oppression present within the structures of domination. This research addresses the colonial structures that manifested themselves within the oppressive modes in societies. It employs a Fanon analysis of the xenophobic violence of May 2008 and serves to provide an understanding of the experiences of a particular condition and of how a broader invisible context plays an important role in what society sees and assimilates. The question can be asked: Is it safe to say that the xenophobic attacks were racist, or was it mere bigotry? An analysis based on the writings of Franz Fanon coupled with a psychological account of the participants, affirms that the xenophobic attacks revealed that the previously colonised or oppressed black people in South Africa reacted with regard to the assimilation of the master and its slave narrative and dialect. Theories of oppression and slavery posit that patterns of colonialism reoccur and manifest themselves both internally and externally within society. A serious debate is necessary to question whether the incidents came at a time that South Africa should have reflected on society’s interaction with foreign immigrants.Political Sciences
M.A. (Politics)
39
Nyapokoto, Raimond. "The road between Sandton and Alexandra Township : a Fanonian approach to the study of poverty and privilege in South Africa." Diss., 2014. http://hdl.handle.net/10500/18682.
Full textAbstract:
The key challenge to socio-economic transformation in South Africa is closing the gap between the poor and the rich. What is distinctive about South Africa is the uneasy coexistence of poverty and opulence. This study seeks to explore the structural, historical roots of poverty among the blacks in South Africa by deploying Fanonian Critical Decolonial theory. This is the ideal theoretical approach to unmask the structural causes of poverty and inequality in South Africa. Colonial ambitions and the global political engineering of the world by America and Europe spans more than four hundred years, and is still very much alive today in subtle forms. This study asserts that this imperial history is the cause of poverty, lack of agency, and the hellish conditions under which many black people live. The rise of industrial capitalism and attendant urbanisation is at the core of this impoverishment of the black man. It is also shown that, once impoverished, the black man’s poverty gathers its own momentum, leading to more poverty that is then handed down to succeeding generations. Contrary to Eurocentric theorising, the study shows that blacks are not ‘problem’ people but people with problems, who, instead of being condemned, should be regarded with sympathy. This research thesis focuses on Alexandra Township and Sandton as symbols of poverty and privilege, respectively. The former represents Fanon’s zone of non-being where life is lived in conditions of want and poverty, whilst the latter represents the zone of being characterised by good living and prosperity. The thesis will demonstrate the fact that these anomalous socio-economic disparities are not natural but man-made, and therefore require the action of human beings to correct them.Development Studies
M.A. (Development Studies)
40
Nkosinkulu, Zingisa. "Decolonising the figure of Sophie : a Fanonian analysis of Mary Sibande’s contemporary visual artworks." Thesis, 2020. http://hdl.handle.net/10500/27078.
Full textAbstract:
My study is a theoretical intervention of the South African contemporary visual art of Mary Sibande. It focuses on the figure of Sophie representing the maid in three series; namely, Sophie-Elsie, Sophie-Merica, and Sophie-Velucia. The study applies Frantz Fanon’s thought to the understanding of the figure of Sophie while emphasising the themes of naming, the human subject, and presence-absence. The theoretical framework of this thesis is a decolonial epistemic theory, which is used as a lens to understand Fanon’s political
thoughts. I argue that the themes of naming, human subject, and presenceabsence are inherent in Fanon’s thought. These thematic areas give a better understanding of the existential questions of the figure of Sophie in the antiblack Manichean world. It is important to unpack the figure of Sophie as a Manichean figure who represents the crossing of two different worlds – the white world and the black world, Africa and Europe. The study highlights the importance and relevance of reviving Fanon’s thought concerning decolonial contemporary African art and establishing other tools of interpretation necessary to understand decolonial aestheSis. The thrust of this thesis is to
deploy decolonial epistemic theory as a theoretical framework to the Fanonian understanding of the figure of the three Sophies that embody the modern/colonial predicament of the figure of the maid and blackness.Art History, Visual Arts and Musicology
Ph. D (Art)