Academic literature on the topic 'Bataille de (1905)'

O presente artigo tem como objetivo elucidar os usos e sentidos da noção de sagrado nas formulações teóricas e nas trajetórias intelectuais de Georges Bataille (1897-1962) e Michel Leiris (1901-1990) na Paris dos anos 1930. Em meio às diversas experiências estético-políticas da época, que questionavam as possíveis formas da ação política tendo em vista sua ligação com a arte, destaca-se a proposta do Collège de Sociologie (1937-1939), associação animada pelos autores junto a Roger Caillois (1913-1978). O grupo toma o sagrado em dupla articulação: ao mesmo tempo que conceito descritivo, ele passa a ser entendido também como um operador político. Tal ideia é o ponto de partida para as reflexões conjugadas e ao mesmo tempo originais de Bataille e Leiris.

O esforço deste texto é o de trazer o trabalho de Michel Leiris (1901-1990), Le sacré dans la vie quotidienne, conferência dada por ele em janeiro de 1938 e publicada em julho do mesmo ano em uma separata da Nouvelle Revue Française, para dentro da experiência que o gestou: a do Collège de Sociologie, associação de caráter experimental formada pelo autor com Georges Bataille (1897-1962) e Roger Caillois (1913-1978) entre 1937 e 1939. O Collège, que tinha como centro de sua proposta realizar estudos sobre a noção antropológica de sagrado, mas também fazer dessa idéia um instrumento político de crítica e ação social, foi uma experiência efêmera mas não menos significativa na trajetória de Leiris.Trata-se, então, de enfatizar a dimensão política deste e de outros trabalhos de Leiris, pouco conhecida e problematizada pela fortuna crítica do autor.

During the late 1930s, towards the beginning of a long and colourful career as a translator, writer, novelist and painter, Pierre Klossowski (1905–2001) proved an attentive reader of the work of the Danish thinker Søren Kierkegaard (1813–55). This article examines Klossowski's twofold engagement with Kierkegaard, the first in the form of a commentary, published in Bataille's magazine Acéphale in 1937 addressing the Dane's use of Mozart's Don Giovanni in his philosophical treatise Either — Or, the second, a year later, being a translation of an essay by Kierkegaard, also originally part of Either — Or, offering an alternative interpretation of Sophocles’ Antigone to the one proposed by Hegel. The aim of the article is to examine how Klossowski, in these texts, problematizes the possibility of mediation and translatability, and emphasizes instead the irreducibility of immediacy, secrecy, indirection.

En la pintura del pintor bogotano Epifanio Garay (1849-1903), “La mujer del Levita”, la fascinación y el espanto entran en escena. El acto representado da pie para formular un diálogo con lo que sugería Pascal Quignard cuando decía que para los romanos “el sexo estaba ligado al espanto”. A partir de esta premisa, las próximas páginas se proponen dialogar con todo aquello que para los antiguos prefiguraba la interdicción ante todo cadáver: “no tocar”. Sin embargo, se verá que todo se juega en el momento en que, en la escena de la pintura, el tacto se suspende y la prohibición es puesta en suspenso. La mirada del horror, la mirada tautológica, los ojos del éxtasis, son algunos de los canales de entrada de este artículo para descubrir lo que yace detrás de una escena donde las posiciones no son estables y la mirada es discontinua. El gusto romano por “la bella muerte”, o bien, lo que Georges Bataille llamó la “nostalgia por la muerte”, dibuja para nosotros un paradigma con respecto a la sospecha de un lazo, no sólo entre la fascinación, la belleza, la muerte y el erotismo, sino también la prescripción de las imágenes que preservan para sí lo irrepresentable.In the painting of bogotan painter Epifanio Garay (1849-1903), “The woman of the Levite”, fascination and horror come into scene. The act helps developing a dialogue with the suggesting argument of Pascal Quignard when he said that forRomans “sex was linked to the terror”. From this premise, the following pages are proposed dialogue with all what the ancient foreshadowed the ban primarily corpse: “do not touch”. However, will be that everything is played at the time, on the stage of the painting, touch is suspended and the ban is put on hold. The look of horror, the tautological look, the eyes of ecstasy, are some of the channels of entry of this article to discover what lies behind a scene where the positions are not stable and the eyes is discontinuous. The Roman taste for“beautiful death”, or, what Georges Bataille called “nostalgia for death”, draws for us a paradigm with respect to the suspicion of a loop, not just among the fascination, beauty, death and eroticism, but also prescription of the images that preserve for himself the unrepresentable.

La Conquista espiritual de México de Robert Ricard, primer estudio americanista del incipiente hispanismo francés, explicita en su subtítulo que se trata de un "ensayo sobre el apostolado y los métodos de evangelización de las órdenes mendicantes". Estamos por lo tanto ante un trabajo que, como el de Marcel Bataillon su estricto contemporáneo, se inserta dentro de los estudios de Historia religiosa, disciplina muy practicada en la universidad francesa de primeros del siglo veinte. El presente artículo entiende demostrar por un lado, la relación existente entre el protagonismo de la Historia religiosa y la situación de profunda crisis atravesada por la Iglesia católica francesa, amenazada a un tiempo por el laicismo de la Tercera República y por la heterodoxia modernista, y por el otro, la incidencia de esa crisis sobre el nacimiento del hispanismo francés, sobre la elección de los temas de investigación, sobre las vocaciones en suma de los hispanistas que de un lado o de otro, proyectarán sobre España las preocupaciones, las crisis y las ambiciones de su país de origen. La incidencia, en fin, sobre las opciones ideológicas que determinan las actitudes que separan el "hispanoamericanismo" de Robert Ricard en La Conquista espiritual, y el "latino-americanismo" francés.

RESUMENDe entre todos los objetos, tiempos, espacios, palabras y seres que componen el mundo físico, algunos están investidos de un valor especial por cuanto se les atribuye la virtud de visibilizar las instancias invisibles de las que dependemos los mortales. Es lo sagrado. A lo sagrado se le depara un trato singular hecho de respeto, veneración o miedo, pero en ocasiones también de rencor y de odio por lo que encarna o representa. Es adorado, pero también, y acaso por las mismas razones, puede ser insultado, destruido, objeto de burla y, si tiene forma humana, martirizado o asesinado. La violencia contra lo sagrado puede caber en sistemas religiosos que le otorgan a la agresión un papel central en su universo mítico o ritual. También se ofende u agrede lo santo para grupos o pueblos a someter, puesto que en ello está resumido su orden del mundo. Desde esta perspectiva, el agravio, la irreverencia y el daño pasan a reclamar un lugar protagonista en los estudios sobre la institución religiosa de la cultura bajo las figuras del sacrilegio y la profanación.PALABRAS CLAVE: sagrado, profanación, sacrilegio, violencia religiosa, iconoclastia.ABSTRACTOf all the objects, times, spaces, words and beings that make up the physical world, some are invested with a special value because they are attributed the virtue of making visible the invisible instances on which we mortals depend. This is the sacred. The sacred is given a singular treatment combining respect, veneration or fear, but sometimes also resentment and hatred of what it embodies or represents. It is adored, but also, and perhaps for the same reasons, it can be insulted,destroyed, mocked and, if it has a human form, martyred or killed. Violence against the sacred can fit into religious systems that give aggression a central role in their mythical or ritual universe. 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This article discusses Taiwanese artist Chen Chieh-Jen’s (1960-) two early videos Lingchi: Echoes of a Historical Photograph (2002) and Factory (2003). By revisiting a historical photograph taken by a French soldier in 1905 and articulated by French philosopher George Bataille in 1961, Chen reworks the internal genealogy of imperialist violence from late-nineteenth-century China to 1990s Taiwan in Lingchi. Lingchi reenacts a victim in the process of execution (death by a thousand cuts) from an old photo, which interrogates the violence of photography on a dying person and Bataille’s fetishisation of the cultural Other. In one scene, the camera enters the subject’s bodily orifices and shows two scenes: the sites of imperialist invasions in the early twentieth century as well as two laid-off women workers in 1990s Taiwan. Factory reorganises this group of laid-off women workers to work in the abandoned garment factory as if they stage a silent labour strike. This reenactment not only plays a prolonged and endless labour conundrum but also reveals the unequal economic relationship between Taiwan and the United States in Cold-War Taiwan, a continuation of imperialist domination in the postwar period. This article explores two dimensions: First, the aestheticisation of the suffering subject in Lingchi and how it debunks the Western gaze. Second, their communal subjects (the women workers) and the scenes in Lingchi and Factory reflect the continuation of imperialist domination in Taiwan under globalisation.

La critique consacrée par Georges Bataille (1897-1962) à Jean Genet (1910-1986), tient en deux articles, parus respectivement en 1949 et 1952. Le second est pourtant le seul qui ait connu une postérité, car il figure aussi dans un des ouvrages importants de l'auteur : La Littérature et le Mal (1957). Sa teneur est nette et sans appel - l'œuvre de Genet est un " échec " -, et en cela tranche avec l'accueil bienveillant que le premier article lui avait réservé. Eclairer le mystère de cette volte-face est l'objet de cette thèse. Y a-t-il là seulement l'effet de la magistrale intervention d'un tiers : Jean-Paul Sartre (1905-1980), et de la préface, Saint Genet, comédien et martyr, qu'il écrivit pour les Œuvres complètes de l'écrivain ? Seule une genèse exhaustive de la relation conflictuelle entre Sartre et Bataille depuis 1943 peut le dire. Ou s'agit-il d'un rejet plus profond, lié au jeu des affects, que seul un examen du texte dans sa dimension symptomatique peut faire apparaître ? Ce travail s'applique donc à replacer dans le contexte intellectuel de l'époque les enjeux de chacun des systèmes critiques en présence : pour Bataille, une approche compréhensive, fondée sur la notion cruciale de " communication ", pour Sartre, une approche phénoménologique, qu'illustre aussi la notion de " commerce ", ainsi qu'à identifier la nature de la résistance du premier, aussi radicale qu'inattendue. Ce que nous appelons " communication sans échange ", cependant, ne désigne pas les rapports complexes des deux philosophes, mais bien la relation littéraire telle que la concevait le poète Jean Genet, lequel, dans les années 1960, las peut-être des polémiques dont il avait été l'objet, déclarait écrire " pour l'innombrable peuple des morts "
Georges Bataille (1897-1962) did not write on Jean Genet (1910-1986) more than two articles, published respectively in 1949 and 1952. Only the second one went down to posterity, since it also figures in an important essay called Literature and Evil (1957). The terms of Bataille's second critique are irrevocably clear-cut : Genet's work is a " failure ". They contrast with the positive reception Genet had got on the occasion of Bataille's first article. Our research aims at explaining the reasons of such an about-turn. Is it just a consequence of Jean-Paul Sartre's masterful preface, Saint Genet, Comedian and Martyr, written for Genet's Complete Works ? The question should be answered with an exhaustive analysis of Sartre and Bataille's conflictual relationship since 1943. Is it rather a matter of some deeper rejection, or some kind of affect, whose a close examination of Bataille's text should be able to reveal the main symptoms ? This work tries to put both critical systems in their intellectual context : for Bataille, a comprehensive approach, based on the key notion of " communication ", for Sartre, a phenomenological approach, illustrated by the notion of " commerce " (dealings). It also tries to identify the nature of Bataille's fierce and unforeseen resistance. However, what we call " communication without exchange " does not refer to the complex relationship between Bataille and Sartre, it designates the way the poet Jean Genet came to express his own conception of poetical communication, as he probably was weary of quarrels he had given rise to : in the 1960's indeed, he often claimed that a work of art should be offered to " the vast people of the dead "

HIPÓTESIS: La obra de Bataille y Klossowski poseen múltiples convergencias pero a la vez divergencias. Buscamos poner en paralelo su obra literaria para observar como ésta se despliega como un arte soberano, más allá de todo sentido, y como expresión artística de la vida desnuda y del eterno retorno. OBJETIVOS: 1. Establecer cuáles líneas del pensamiento de Bataille y Klossowski están en juego dentro de su literatura y su relación con la noción del eterno retorno, así como las líneas paralelas que recorren su obra literaria. 2. Mostrar cómo diversas acepciones del símbolo de Dioniso son desplegadas a lo largo de su literatura. 3. Mostrar la literatura de Bataille y de Klossowski como una sucesión de imágenes que expresan intensidades y fuerzas descodificadas. MARCO TEÓRICO: Utilizamos para el análisis principalmente el pensamiento de Bataille y de Klossowski en cercana relación con el de Friedrich Nietzsche. Del mismo modo recurrimos a una noción desarrollada por nosotros: la imagen incendiada, conceptualización que enriquecemos con el pensamiento de Deleuze, Derrida, Badiou, Blanchot y Quignard. Adicionalmente recurrimos a una diversidad de autores para mostrar todas las dimensiones de la figura de Dioniso. Obras de diversos autores son utilizadas también en la medida en que conviene al análisis. METODOLOGÍA: Nuestro análisis se realiza a través de cuatro perspectivas: 1) La obra ensayística de Bataille y Klossowski; 2) La noción del eterno retorno de Nietzsche; 3) La imagen de Dioniso; 4) La noción de la imagen incendiada Abordamos la obra literaria Bataille y Klossowski a través de diversas nociones, pero fundamentalmente analizamos sus relatos como una serie y una repetición insistente de puestas en escenas e imágenes que configuran un teatro de las intensidades. CONCLUSIÓN: Las obras de Georges Bataille y de Pierre Klossowski se configuran como paralelas en un sentido laberíntico, es decir, como un despliegue de meandros artísticos que poseen convergencias a la vez que diferencias esenciales. Diferencias que exhiben imágenes a manera de acontecimientos que se elevan como expresión de las fuerzas de la vida, a la vez que se consumen en una fulgurante expresión de un arte soberano: gesto que se manifiesta como un teatro donde la afirmación de la vida y del instante que se quiere eterno tienen lugar.
HYPOTHESIS: The literary works of Bataille and Klossowski have multiple convergences but also differences. We seek to place them in parallel in order to determine how their fiction work unfolds as a sovereign art, beyond all meaning, and as an artistic expression of the forces of the naked life and the eternal return concept of Nietzsche. OBJECTIVES: 1. To establish which lines of thought of Bataille and Klossowski are developed inside their literature work and its relation to the notion of the eternal return 2. To show how different meanings of the Dionysus symbol are deployed along their literature. 3. To show the literature of Batai I le and Klossowski as a succession of images that express intensities and decoded forces THEORETICAL FRAMEWORK: The central theoretical dereference for the analysis is the philosophy work of Bataille and Klossowski, in close relationship with Friedrich Nietzsche work. We refers as well to the notion (developed by us) call "The image in fire", conceptualization that is enriched by the work of Deleuze, Derrida, Badiou, Blanchot and Quignard. Additionally we use a variety of authors to show all aspects of the Dionysus symbol. METHODOLOGY: Our analysis is made based on four perspectives: the philosophy work of Bataille and KIossowski, Nietzsche's eternal return notion, Dionysus symbol and "The imagen in fire" notion. We boarded the literary work of Bataille and Klossowski through various notions, but fundamentally we analyze their stories as a series of images (in insisting repetition of the difference) that create a theater of intensities. CONCLUSION : The works of Georges Bataille and Pierre Klossowski are configured as parallel (as a display of art that have convergences but also that creates infinite number of divergences in a labyrinthine sense). Differences displaying images that rise as an expression of the forces of life, while these images are consumed in a brilliant expression of a sovereign art: gesture that manifests itself as a theater where the affirmation of life and the instant eternally wanted occur.

Dans ce travail de thèse, nous cherchons à faire dialoguer Sartre et Bataille dont la confrontation dans les années quarante et cinquante a la signification, à notre sens, d’une rencontre entre deux pensées de l’expérience et de l’existence que nous proposons d’appeler respectivement « pensée de la liberté » et « pensée de la souveraineté ». Il s’agit, dans un premier temps, d’esquisser comment ces deux pensées ont pu se rencontrer sous forme de confrontation et, pour ce faire, de restituer l’horizon à partir duquel elles ont pu se formuler : si Sartre a reproché à Bataille d’avoir confondu dans L’expérience intérieure l’attitude scientifique et l’attitude existentialiste et d’avoir décrit ainsi une expérience nullement intérieure, c’est qu’en adoptant une méthode phénoménologique pour décrire la rencontre concrète de l’existence par elle-même en tant qu’existence temporelle, il entend par « expérience » ce que les phénoménologues allemands appellent « Erlebnis » et ce qui est dans son essence une sphère d’immanence radicalement infusionnable avec d’autres sphères du même type, tandis que l’expérience intérieure telle que Bataille la définit culmine précisément dans une fusion de l’intérieur et de l’extérieur que celui-ci considère d’ailleurs comme exigence fondamentale d’une phénoménologie de l’esprit développée et en vue de laquelle il exige une existence immédiate, sans délai, enfoncée dans l’instant. L’enjeu d’une telle divergence sur le sens de l’expérience et, corrélativement, de l’existence est d’autant plus profond que ces deux penseurs ont tous pour dessein d’établir une morale à ceci près qu’il s’agit, pour l’un, d’une morale de la souveraineté dont le sens est paradoxalement hypermoral et, pour l’autre, d’une morale de la liberté qui ne peut être atteinte qu’au terme d’une conversion radicale. En quoi consistent-elles ces deux morales ? Comment sont-elles accrochées à deux pensées différentes voire opposées de l’expérience et de l’existence ? Telles sont les deux questions auxquelles nous tenterons, en dernière instance, de répondre pour mieux mesurer l’enjeu de la confrontation entre Sartre et Bataille et, par là, établir un dialogue qui est de prime abord improbable
In this dissertation, we seek to construct a dialogue between Sartre and Bataille whose confrontation in the forties and fifties should be considered, in our view, as an encounter between two ways of thinking experience and existence that we would like to call, respectively, « thinking of liberty » and « thinking of sovereignty ». We are going to, firstly, outline how these two thinkings could encounter with each other in a confrontational way and, for this purpose, to restore the horizon from which they were able to formulate themselves : if Sartre criticized Bataille for confusing, in The inner experience, the scientific attitude with the existentialiste one and, therefore, describing an experience which is not inner at all, that’s because in adopting a phenomenological method to describe the concrete encounter of existence – which is temporal – by itself, he understood « experience » as what the German phenomenologists called « Erlebnis », namely a sphere of immanence which is radically infusionnable with other spheres of the same type, while the inner experience as Bataille defined it culminates precisely in a fusion of the inner and the exterior that he considered as the fundamental demanding of a developped phenomenology of mind in responding to which he required an immediate existence, that is to say an existence without daly, immerged in the instant. What’s at stake in such a divergence on the meaning of experience and, correspondingly, of existence has much further implications in that both of these two thinkers had the very intention to establish the morality except that for one, it’s a morality of sovereignty whose meaning is paradoxically hypermoral while for the other, it should be a morality of liberty that can only be reached through a radical conversion. What could we learn from these two moralities ? How are they linked to two different, even opposite ways of thinking experience and existence ? These are the two questions that we will try, finally, to respond in order to better measure the stakes of the confrontation between Sartre and Bataille and thus to establish a dialogue which seems prima facie improbable

La dimension humaine et intellectuelle de Baltasar Lopes da Silva (23/04/1907- 28/05/1989, S. Nicolau-Lisbonne), dont le destin a servi le Cap-Vert de façon exemplaire, explique ce travail : biographie qui l'accompagne jusqu'en 1940. Etudes au Cap-Vert et à Lisbonne : maîtrises en droit et en lettres. Au Cap-Vert, intense activité : professeur, avocat, animateur sportif, chercheur, et - la plus connue- écrivain. Un des fondateurs du mouvement moderniste en 1936, co-fondateur de Claridade. Homme du peuple, démocrate, idéologue, antifasciste, il a combattu la dictature salazariste (1933-1974). Le premier volume du travail éclaire les zones d'ombres, ou peu connues de la vie de Baltasar, la production de l'essayiste, du journaliste, l'œuvre littéraire de Baltasar Lopes, imposante et diversifiée. Le second volume réunit pour la première fois des textes dispersés de la jeunesse de Baltasar Lopes, des témoignages d'anciens élèves et d'amis, ainsi que des textes plus récents et inconnus de beaucoup
The human and intellectual personality of Baltasar Lopes da Siva Silva (23/04/1907- 28/05/1989, S. Nicolau-Lisbon) explains this work : a biography till 1940. His fate has served Cape Verde in an impressive way. He studied in Cape Verde and Lisbon : master of law and literatur. In Cape Verde, he dealt with lots of activities : teacher, lawyer, sport organiser, researcher, and - the most famous - writer. He was one of the founder of the modernistic movement in 1936 and cofounder of Claridade. Man of the people, democrat, ideologist, antifascist, he fought against the Salazarist dictatorship (1933-1974). The first book of this work enlightens the unclear and not known parts of his life, his work as an essayist, as a journalist, his imposing and diversified novels. The second book gathers for the first time scattered texts of the youth of Baltasar Lopes, testimonies from old pupils and friends and also more recent and unknown from lots of people texts

Le roman contemporain met en scene les enjeux d'une quete nouvelle : le graal de jadis est peut-etre ici remplace par le desir, tel qu'il est perpetuellement soumis a l'incompletude du langage. C'est l'hypothese que cette recherche tente de verifier, en parlant d'"heroisme du manque", ou bien d'un heros triomphant sur la scene du langage. Notre demarche tend ainsi a etablir un lien entre deux concepts : l'heroisme d'une part, et le manque comme objet de valeur d'autre part. La finalite premiere de cette etude est la caracterisation d'un tel heroisme dans le roman moderne. Apparemment, le heros ne cherche plus a etablir la plenitude mais, a l'inverse, oeuvre a l'affirmation de l'in-completude inherente a l'existence du desir, "desir" a entendre ici d'un point de vue psychanalytique. Pour etayer cette hypothese dans le champ de la litterature, le texte durassien nous a servi d'operateur
The contemporain novel may be stages the elements of a new quest : the former graal is here replaced by desire, as such always submitted to unfullfillness of language. This study tries to highlight this hypothesis, speaking about "heroism of lack", or about a triumphing hero on the stage of language. So we must make a link between two concepts : heroism on one hand, and the lack as an ideal on the other hand. The first purpose of this study is the caracterisation of such an heroism in the current novel. Apparently, the hero no longer tries to find back fullfillness but, conversely works for the claiming of unfullfillness inherent to the existence of desire. This desire is meant psychanalytelly. This work consisted in verifying the axiom stating that the duras' heroes first either aim at maintainaing the gapp between the event and its symbolization, or maintaining the movement of desire more directly. Of course these two aims can both be present. The duras' text worked as a catalysor

Il s'agit d'une etude comparative relative aux annees 1920-1950 qui vise a mettre en evidence les choix litteraires accomplis par elio vittorini et georges bataille pendant la periode fasciste. La question politique-culture est posee a partir de l'analyse des cahiers de prison d'antonio gramsci ou l'ancien dirigeant du p. C. D'italie elabore la figure de << l'intellectuel organique >> (lieu d'unification de la theorie et de la pratique) et definit la nouvelle forme de << litterature nationale-populaire >>. Le travail essentiellement axe sur l'analyse des textes de fiction des deux ecrivains (notamment l'oeillet rouge et le bleu du ciel, dont il propose un commentaire) prend en compte aussi les autres ecrits (articles, journaux, essais) ou s'affirme la thematique politique. L'abandon de la publication des deux romans (dans le cas de vittorini et de l' oeillet rouge il est determine par l'intervention des autorites fascistes qui en commandent la saisie tandis que dans celui de bataille et du bleu du ciel il est voulu par l'ecrivain) relance la question de l'heteronomie de l'ecriture, de sa fonction critique et de la position de l'intellectuel a laquelle les deux prefaces redigees lors de la parution des deux romans apportent une reponse tout a fait differente. L'etude reserve une attention particuliere au corps comme lieu de l'expression et de la pratique de la revolte.

Jean Schuster (1929-1995) entre dans le groupe surréaliste d'André Breton en 1947 et il en prononce la dissolution en 1969. Animateur de plusieurs revues du groupe durant cette période marquée par la domination culturelle du stalinisme, il s'efforce avec ses amis de maintenir le surréalisme dans une posture d'opposition, tant au plan artistique que politique. Mais rester fidèle à l'histoire révolue du mouvement n'est pas suffisant; il faut encore en adapter les exigences éternelles (l'amour, la poésie, la révolution) aux variations historiques. Cela génère des relectures du passé et, notamment, de l'apport de Georges Bataille, des alliances (avec Dionys Mascolo) et l'apparition de nouveaux ennemis (les situationnistes). En peinture, la préférence de Schuster pour l'automatisme place au premier plan l'exemple américain de Gorky et sa secrète filiation, ainsi que les expérimentations de Simon Hantai͏̈.

Tese (Doutorado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2012.
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Partindo do exame de alguns dos mais importantes textos que compõem o escopo filosófico-literário do pensamento de Georges Bataille, destacaremos o fato de que, assimilada a herança de Sade, de Nietzsche e de Freud, Bataille fez de seu projeto estético-filosófico uma via de acesso ao deslimite, via que conduz à paradoxal experiência do impossível. Ao longo da primeira parte de nosso trabalho, dedicada integralmente a Bataille, enfatizaremos que o pensamento batailliano, consagrado ao impossível, aponta para a possibilidade de uma experiência com a vida a se realizar fora do campo das injunções morais, na intensidade própria à convulsão e à vertigem. Na segunda parte desta tese, estabelecidas as conseqüências da submissão de um corpo vivo ao regime de linguagem, rastrearemos, em Freud e em Lacan, as alternativas possíveis para lidar com o mal-estar na civilização. Ao final, depois de examinar as mutações do gozo no pensamento lacaniano, demonstraremos que a relativa viabilidade de Georges Bataille ressalta uma dimensão indispensável à compreensão do saber-fazer lacaniano, a identificação a um modo de gozo singular. Tal como veremos, tal identificação compareceria em decorrência da transcriação do nome próprio: artifício por meio do qual um sujeito qualquer não apenas renuncia aos ideais que o suportam, como trata de enxertar, na carne do Outro, aquilo que nele há de mais heterogêneo, a mais heteróclita das paixões. ______________________________________________________________________________ ABSTRACT
Starting from an examination of some of the most important texts that compose the scope of the philosophical and literary thought of Georges Bataille, we will emphasizes the fact that, assimilated the legacy of Sade, Nietzsche and Freud, Bataille made his aesthetic-philosophical project one route that leads to the paradoxical experience of the impossible. Throughout the first part of our work, fully dedicated to Bataille, we emphasize that the bataillian thought points out to the possibility of an experience with life to be held outside the field of the moral injunctions. In the second part of this thesis, we will track out in Freud and Lacan, possible alternatives to deal with the malaise in civilization. At the end, we will demonstrate that the relative viability of Georges Bataille enphasizes a vital dimension to the understanding of the lacanian savoir-faire: the identification to a singular mode of enjoyment. As we shall see, this identification takes place as a result of the own name re-writing: the artifact through the means the subject can graft on the flesh of the Other the most singular kind of passion.

Cette thèse analyse les conditions dans lesquelles les forces franco-britanniques ont pénétré en Belgique le 10 mai 1940, en riposte à l'invasion par les allemands de ce pays neutre. L'étude porte sur la conception de ce plan, fruit d'une longue série de décisions stratégiques prises dans l'entre-deux-guerres, puis d'aménagements effectues au cours de la drôle de guerre en raison de l'attitude des belges et hollandais, restes neutres. Elle décrit ensuite son exécution et montre comment le plan allie est très rapidement mis en échec par les forces allemandes qui l'emportent dans tous les domaines stratégiques. La thèse propose, au terme de cette analyse, une explication de notre soudaine défaite militaire de 1940
This thesis analyses the background to the entry of the franco-british forces into Belgium on the 10 may 1940 to counter-attack the invasion of this neutral country by the Germans. The study focuses on the conception of the plan, itself the result of many strategic decisions taken between the two wars and of changes made during the phoney war, to reflect the attitudes of the Belgians and the Dutch who had remained neutral. After that, it describes its execution and explains why the plan failed with the allied being very quickly defeated by the german forces who prevailed over every strategic field. At the end of this analysis, the author suggests an explanation for this unexspected military defeat

This chapter turns towards the political concerns of Lignes during its first series, largely focusing on changing immigration policies and the adoption of economic liberalism as the pensée unique of both the right and the left. It situates the early years of Lignes as dominated by the legacy of World War Two, as a rise in holocaust denial, anti-Semitism and racism is accompanied by a resurgence of the far-right and the Front National. Pierre-André Taguieff provided a useful analysis of heterophilic neo-racism early on, but, as Taguieff drifted towards the New Right and showed sympathy to Alain de Benoist, Étienne Balibar’s class based analysis of structural nationalism becomes favoured by the review instead. Turning its attention to the French left, Lignes is frustrated by the tightening of immigration policy suggested by changes to the nationality code, and also by the government’s support for the Gulf War. As the new social movements erupt in 1995, the review takes a firmer position on the side of the radical left, keen to foment social solidarities between the sans papiers and the unemployed, and to forge a more consistent critique of the economic liberalism now adopted by both the Parti Socialiste and the Rassemblement pour la République.