Dissertations / Theses on the topic 'Goldmann , lucien'

Lucien Goldmann, 1913-1970, a été une figure importante du débat sur le rapport entre le marxisme et l'humanisme à partir des années 1950 jusqu'à sa disparition.Ce travail vise, d'abord, à montrer les véritables fondements philosophiques de son humanisme marxiste, à la fois critique de Sartre et irréductible adversaire d'Althusser et de l'école structuraliste. Au cœur de cette pensée est une anthropologie paradoxale inspirée tant par Pascal et sa conception du pari, que par le Faust de Goethe et l'idée de la nécessité du « passage par le mal », voire du compromis éthique/politique. Dialectique et pari pascalien composent en Goldmann une seule unité philosophique, dont ce travail a essayé de décrire les passages les plus importants.Dans un deuxième temps, on a cherché à décrire le travail sociologique proposé par Goldmann dans la reconstruction historique des majeures formes de résistance humaniste (parfois politique, parfois seulement culturelle) à la société capitaliste réifiée et réifiante : du roman à l'autogestion ouvrière, en passant par l'histoire du mouvement socialiste.Finalement, ce travail essaie aussi de mettre en lumière la dernière proposition politique de Goldmann, c'est-à-dire celle d'un nouveau socialisme, fondé sur le concept d'autogestion ouvrière et caractérisé par la non abolition du marché libre.À l'intérieur de tout ce parcours, une grande importance est donnée aux confrontations des idées goldmaniennes et celles d'autres auteurs, de Bloch à Balibar, en passant par Fromm, Althusser et Mallet. L'objectif est celui de montrer comment certaines des propositions de l'auteur sont toujours à la hauteur du débat actuel
Lucien Goldmann, 1913-1970, was an important figure in the debate on the relation between Marxism et Humanism, from the 1950's until the day of his death.The purpose of this work is to show, first of all, his philosophical foundations of his Marxist humanism, that is simultaneously a critic of Sartre and an irreducible enemy of Althusser and all the structuralist school. The heart of his thought is a paradoxical anthropology inspired by Pascal and his conception of wager, but also by Goethe's Faust and the idea of the necessity of a «passage through evil» or an ethical/political compromise. Dialectic and pascalian wager compose in Goldmann's view one philosophical unity, which this work has tried to describe its most important moments.In the second part, we tried to describe the Goldmann's sociological work of historical reconstruction of most important form of (sometimes political, sometimes only cultural) humanist resistance: from novel to worker’s self-government, passing by the history of socialist movement.Finally, this work is also to highlight Goldmann's thought, that of a new socialism based on the concept of worker automation and characterized by the non-abolition of the free market, and it's confrontation with other authors, like Bloch, Balibar, Fromm, Althussser and Mallet. The objective is to show how some statement of the author can be useful to today debate
Lucien Goldmann, 1913-1970, è stato una figura importante all'interno del dibattito sul rapporto fra marxismo e umanesimo tra gli anni '50 fino alla sua scomparsa.Questo lavoro mira, per prima cosa, a mostrare le vere basi filosofiche del suo umanesimo marxista, contemporaneamente critico di Sartre e irriducibilmente nemico d'Althusser e di tutta la scuola strutturalista. Come cuore di tale pensiero troviamo un'antropologia paradossale ispirata tanto da Pascal e dalla sua concezione del "pari", tanto dal Faust di Goethe, con l'idea della necessità di un "cammino attraverso il male", ovvero di un compromesso etico/politico. Dialettica e scommessa pascaliana compongono nell'autore una sola unità filosofica, di cui questo lavoro prova a descriverne i passaggi principali.In un secondo momento, si è provato anche a descrivere il lavoro sociologico proposto da Goldmann nel tentativo di ricostruire le forme principali di resistenza umanista (sia politica, sia meramente culturale) alla società capitalista reificata e reificante: dal romanzo fino all'autogestione operaia, passando per la storia del movimento socialista.In fine, questo lavoro prova pure a descrivere l'ultima proposta politica di Goldmann, ovvero quella di un nuovo socialismo, fondata sul concetto di autogestione operaia e caratterizzato dalla non abolizione le libero mercato.All'interno di questo percorso, una grande importanza è data al confronto tra le idee goldmanniane e quelle di altri autori, come Bloch, Balibar, Fromm, Mallet e Althusser. Lo scopo è quello di mostrare come certe proposte dell'autore siano ancora all'altezza del dibattito attuale

Notre travail de thèse a pour objectif principal l’étude de la réception et de l’influence du structuralisme génétique de Lucien Goldmann sur la critique arabe contemporaine à partir du grand corpus, soit des ouvrages critiques, soit des œuvres littéraires. Nous situons et justifions notre démarche par rapport aux travaux sur la réception critique dans les études allemandes et françaises de la critique littéraire et de la littérature comparée. Notre recherche peut se résumer ainsi : comprendre et expliquer les traductions et les travaux pratiques à travers lesquels les critiques arabes ont reçu, appliqué et analysé le structuralisme génétique de Goldmann. La première partie étudie les traductions de l’œuvre de Goldmann, la réception critique de ses idées et la terminologie littéraire de sa méthode. La deuxième partie examine l’influence du structuralisme génétique sur les critiques arabes dans leur examen des genres littéraires : maqāma, roman, nouvelle, poésie et théâtre. Il en va de même pour les études de la pensée critique arabe. Cette thèse aboutit aux conclusions suivantes : les traductions n’ont pas présenté une utilité importante vis-à-vis des travaux appliqués. Par contre, la réception critique a apporté le facteur essentiel dans la diffusion de la méthode dans le monde arabe. Le traitement des analyses arabes a montré qu’il n’a pas suivi à la lettre le modèle goldmannien. Beaucoup d’études ont recours à d’autres approches, surtout celles qui s’attachent à la linguistique. La familiarité des critiques arabes avec le structuralisme génétique, à travers les traductions et la réception critique se traduit par une influence s’exerçant dans le domaine critique littéraire
Our work of thesis has as a principal objective “the study of the reception and the influence of the genetic structuralism of Lucien Goldmann on contemporary Arab criticism” starting from the great corpus, either of the critical works, or of the literary works. We determine and justify our study relative to the work on the “critical reception” in the German and French studies of literary criticism and the comparative literature. Our research can be summarized as follows: to understand and explain the translations and practical work through which Arab criticisms received, applied and analyzed the genetic structuralism of Goldmann. The first part studies the translations of the work of Goldmann, the critical reception of his ideas and the literary terminology of his method. The second part examines the influence of genetic structuralism on Arab criticisms in their examination of the literary kinds: maqāma, novel, short story, poetry and theatre. The same applies to the studies of the Arab critic thought. This thesis arrives to the following conclusions: the translations did not have an important value towards applied works. On the other hand, the critical reception brought the essential factor in the diffusion of the method in the Arab world. The treatment of the Arab analyses showed that it did not follow exactly the goldmannien model. Many studies have recourse to other approaches, especially those which are related to linguistics. The familiarity of Arab criticisms with genetic structuralism, through the translations and the critical reception, results in an influence which is exerted in the field of literary criticism

Lucien goldmann modifie sa methode d'explication du texte chaque fois qu'il deplace son objet d'etudes, de la tragedie racinienne, a travers le probleme du genre romanesque, au theatre de genet. Ce deplacement d'objets et la modification methodologique sont etroitement lies a l'evolution politique de goldmann, du radicalisme revolutionnaire au revisionnisme en passant par le marxisme du desespoir implicite
Lucien goldmann changes his method of criticism each time he changes the object of his study, whether it be the tragedy of racine, the modern novels, or the theatre of genet. This change of objects and critical method is closely connected with the political evolution of goldmann himself, from his revolutionary radicalism to revisionism, via a somewhat disillusioned marxism

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A presente dissertação tem por objetivo central analisar as origens da dialética marxiana segundo Lucien Goldmann, pensador marxista, que de forma original defende a ideia que a referida dialética tem suas origens nas filosofias de Pascal e de Kant. Em primeiro lugar será feita uma introdução ao tema da dialética em três pensadores que no decorrer da História da Filosofia dedicaram enorme importância ao tema: Platão, Hegel e Marx. A questão da totalidade, ou processos totalizadores, bem como a metafísica e sua superação, fornecerão o pano de fundo para as análises das mesmas. Isso pavimentará o caminho para que seja abordada a origem da dialética marxiana em Pascal e em Kant. O primeiro é visto por Goldmann como aquele que critica o racionalismo individualista representado por Descartes, filósofo que constrói sua filosofia centrada na ideia do Eu. Pascal contrapõe ao Eu cartesiano o Nós, o todo, ou a relação partes e todo que se esclarecem mutuamente. Já o segundo é visto como o filósofo que leva o racionalismo individualista às últimas consequências, e mesmo não conseguindo superá-lo, traz de volta a ideia de comunidade humana, ideia perdida desde o fim da Idade Média, e que abre caminho para as Filosofias da História posteriores, principalmente a marxiana. Pascal e Kant ainda possuem mais dois pontos em comum: Em primeiro lugar a visão trágica do mundo, visão que se opõe ao racionalismo individualista, e cuja principal característica é tender para objetos suprassensíveis sem nunca atingi-los. E em segundo lugar o fragmento da aposta nos Pensamentos de Pascal, que com sua ideia de possibilidade de risco e fracasso, abre caminho para toda filosofia prática posterior, seja o imperativo categórico em Kant, seja a possibilidade da construção da sociedade comunista em Marx
This dissertation is aimed to analyse the origins of Marxian dialectics based on Lucien Goldmann, a Marxist philosopher who, in an original way, supports the idea that Marxian dialectics has its origins in the philosophies of Pascal and Kant. First, the idea of dialectics is introduced according to the view of three philosophers who, throughout the history of philosophy, devoted an enormous importance to this theme: Plato, Hegel and Marx. The issues of totalisation, or totalising processes, together with metaphysics and its overcoming, provide the background for their analysis, and paves the way for addressing Marxian dialectics in Pascal and Kant. Goldmann sees Pascal as the one who criticizes the individualist rationalism represented by Descartes, a philosopher who builds his philosophy centred on the Self (Moi). Pascal opposed to the Cartesian Self (Moi) to the idea of We (Nous), the whole, or a mutually clarifying relationship amongst the parts and the whole. Then Goldmann portrays Kant as a philosopher who takes the individualist rationalism to its ultimate consequences. Even though Kant could not overcome it, he brings back the idea of human community, something lost since the end of the Middle Ages, and clears the way for later history philosophies, especially the Marxian. Pascal and Kant still have two points in common. First they share a tragic view of the world. A view that opposes the individualistic rationalism, whose the main characteristic is to tend to supersensible objects, never reaching them. Secondly Pascal's Wager, as presented in his Pensées, introduces his idea of risk and failure. Such idea leads the way for all subsequent practical philosophy, either Kant 's categorical imperative or Marx’s work on the possibility of building a communist society.

Le but de ce travail consiste en une remise en question de la méthode et de la théorie dans la sociologie de la littérature de Lucien Goldmann. Nous analysons d'abord la méthode dialectique et le structuralisme génétique. Ensuite nous examinons les fondements épistémologiques de la conception de l'objectivité scientifique. Enfin nous essayons de faire ressortir les lacunes de la théorie de vision du monde et celle de réification dans sa sociologie de la littérature, à travers les analyses critiques des concepts-clefs utilisés. En conclusion, la sociologie de la littérature de Goldmann relève des problèmes majeurs sur le plan méthodologique et théorique en sociologie de la littérature
The purpose of this work is to challenge the method and the theory in Lucien Goldmann’s sociology of literature. Initially we analyze his dialectical method and genetic structuralism. Subsequently we examine the epistemological foundation of the notion of scientific objectivity. In the final stage, we attempt to pinpoint, through the critical analysis of the key concepts used in his sociology of literature, the shortfalls in his theories of world-vision and reification. By means of conclusion, from the methodological and theoretical standpoint, we identify Goldmann's sociology of literature as one of the major dilemmas in the sociology of literature

Dans la critique littéraire française des années 1950-1960, certains éléments apparaissent comme des évidences. Malgré les différences des méthodes, une idée sous-tendait toutes les lectures : il y aurait, dans les textes, des significations cachées qu’une interprétation devrait révéler. Dans les travaux des trois auteurs étudiés (Charles Mauron, Lucien Goldmann et Roland Barthes), on peut repérer des images qui traversent leurs œuvres et qui sont liées à leurs conceptions de l’objet littéraire. Or, ce qui est intéressant dans leur critique, c’est qu’il est impossible de trouver des éléments qui décrivent les textes qui ne soient imaginaires : en suivant le fil des interprétations de ces auteurs, il n’y a pas de moment où l’image cesse d’agir, comme si le propre du texte se dérobait à chaque fois sous le travestissement d’une autre image.Ces images montrent que la critique littéraire de l’époque étudiée accomplissait deux gestes, proches de deux figures de langage. La tautologie est ce qui ne réussit à établir un rapport de l’objet qu’avec lui-même. Le paradoxe fait le mouvement contraire, puisqu’il repose sur l’idée que les différences doivent être authentiques.Or, ce que l’imaginaire des auteurs donne à voir, c’est une certaine notion de la littérature. Leurs images témoignent de la construction de la littérature comme une pratique discursive marginale : ce qui intéresse les auteurs, c’est de voir ces textes comme un acte de résistance, capable d’utiliser un langage qui défie les usages « normaux » de la langue. Mais, paradoxalement, ils tendent à naturaliser cette position marginale et légitimer la place centrale occupée par les sciences et par la philosophie
In French literary critique of the years 1950-1960, certain elements were seen as evidences. Despite the differences between the methods the authors used, one idea was always present: for them, the texts concealed hidden meanings that their analyses were meant to reveal. In the works of the three authors we chose to study (Charles Mauron, Lucien Goldmann and Roland Barthes), it is possible to find images that are related to a certain conception of literature. It is interesting to note that in their methods, it is impossible to find definitions of the text that are not touched by an imaginary activity. Reading the authors, we realise that images are everywhere, as if the text itself constantly eluded the analysis.The images show that the literary critique of the time performed two different gestures, that correspond to two figures of speech. Tautology is the figure that establishes that an object can only be defined by itself. Paradox does the exact opposite, stating that only in difference can we find its identity.By analysing the authors’ imaginary, one can reconstruct a certain idea of literature. Their images show literature as a marginal discourse: their interest in literary texts lies in the fact that they can resist the “normal” usage of language. But, paradoxically, this way of looking at them tends to naturalise their marginal position and thus legitimate the privilege accorded to science and philosophy as the standard form of expression

La presente tesi tratta del fenomeno dello sviluppo della visione del mondo, da un punto di vista sociologico, seguendo la teoria e il metodo di critica letteraria del saggista marxista Lucien Goldmann, che si focalizza sul ruolo di contesti socioeconomici e temporali. Il materiale primario di analisi è costituito dei due romanzi Lessico famigliare di Natalia Ginzburg e Les armoires vides (“Gli armadi vuoti”) di Annie Ernaux.

Face a l'eclatement d'un domaine aux contours imprecis et a l'interieur duquel les discours se cotoient parfois sans se toucher, nous avons voulu tenter une synthese: contribuer a la "cristallisation" de la sociologie de la litterature en tant que discipline coherente des sciences humaines. Partant d'une reconnaissance de l'unicite d'un champ de questions concernant les rapports entre le litteraire et le social, nous construisons sa problematique, c'est-a-dire l'ensemble structure de problemes poses des que l'on prend ces rapports comme objet. Ni construction purement a priori ni simple enumeration de themes releves au cours de la recherche, cette problematique constitue une tentative d'organiser les questions importantes, telles qu'historiquement (a partir de mme de stael et de bonald) le "discours socio-litteraire" les a enoncees, a l'interieur d'un cadre pouvant accueillir tout probleme eventuel. Apres un bref historique des principales traditions de l'analyse sociolitteraires (la france, l'allemagne, l'angleterre, les etatsunis, la russie, l'italie), les chapitres reprennent les grandes divisions de la problematique telle qu'elle est schematisee dans l'introduction, pour l'explorer systematiquement, mettant en confrontation, faisant dialoguer, commentant et critiquant les theses et hypotheses que l'on a proposees au sujet de chaque domaine de la problematique: litterature populaire litterature d'elite, le "circuit litteraire", les effets de la litterature dans la societe realisme et formes de conscience sociale dans les textes, incidences du social sur les genres, sur les formes et les contenus, sur la valeur esthetique, sur le changement en litterature, etc. Notre demarche se fait a partir d'une perspective marxiste dialectique qui se veut ouverte
Since the sociology of literature remains today ill-defined and fragmented to a significant extent, we have chosen to attempt a synthesis that may help to "crystallize" it into a coherent discipline within the human sciences. Taking as our point of departure the recognition that there exists a unified field of questions involving the relations between literature and society, we have constructed its "problematics", i. E. The structured set of problems that arise once one takes these relations as ones object. This problematics is neither a purely a priori construction nor a simple enumeration of themes encountered in the course of research, but rather an attempt to take the crucial questions that have been raised over the course of the history of "socio-literary discourse" (since mme de stael and de bonald), and organize them within a framework capable of including any other possible problems. After a brief history of the main traditions of socio-literary analysis (france, germany, england, the united states, russia, italy), the chapters take up the major divisions of the problematics as it is schematized in the introduction, exploring it systematically, bringing into confrontation and dialogue, commenting upon and critiquing the theses and hypotheses that have proposed in each area of the problematics: popular literature elite literature, the "literary circuit", the effects of literature on society, realism and forms of social consciousness in texts, the influence of society on genres, on forms vs. Contents, on esthetic value, on literary change, etc. Our approach is based in an open, dialectical marxist perspective

Orientador: Elide Rugai Bastos
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho tem o propósito de realizar uma análise sociológica do romance "O Idiota" de Dostoiévski, escrito em 1868. Após uma revisão bibliográfica, a análise é apresentada em três diferentes momentos. No primeiro momento, é realizada uma verificação de como as estruturas sociais da época encontram-se presentes no romance. No segundo momento, é analisada a idéia central do romance e a separação entre essencial e acessório através da integração das partes ao todo. No terceiro e último momento, o resultado dessas duas partes da análise são resgatadas para se construir uma síntese que é contraposta ao pensamento de outros autores da época em que o romance foi elaborado
Abstract: This work intends to carry out a sociological analysis of Dostoevsky novel "The ldiot", written in 1868. After a bibliographical revision, the analysis is presented at three different stages. At the first moment, it is conducted a verification of how the current social structures are present at the nove!. Later, the novel's central idea and a separation between the essential and secondary are analysed through the integration of the parts of the whole. Finally, the result of these two parts is recovered in order to build a synthesis that confronted with to the thought of other authors of the time when the novel was written
Mestrado
Mestre em Ciências Sociais

Les XIXe et XXe siècles sont caractérisés comme des siècles de la critique. La plus grande partie de cette thèse porte sur l’analyse de la « Nouvelle Critique » en relation avec l’œuvre de Jean Racine. Ce mouvement critique qui a marqué les années soixante, s’intéresse plutôt aux structures sous-Jacentes qui peuvent être dégagées d’une œuvre littéraire.Les représentants de la Nouvelle Critique qui sont en principe, Lucien Goldmann, Charles Mauron et Roland Barthes dégagent de l’œuvre racinienne, chacun de sa propre façon, une structure de base. La critique sociologique de Goldmann, la psychocritique de Mauron et la critique structurale de Barthes offrent plusieurs pistes de réflexion.Présenter les méthodes proposées par la Nouvelle Critique, dégager l’essentiel de ses théories et apprécier leur valeur en démontrant la raison qui les a rendues fondamentales ainsi que comprendre la polémique déclenchée autour d’elle sont pour ce travail des tâches à accomplir. Or, cerner les enjeux de la « Nouvelle Critique » dans la critique racinienne en examinant les critiques faites par d’autres critiques constitue l’objectif de ce travail
The nineteenth and twentieth centuries are characterized as centuries of literary criticism. The primary objective of this thesis will focus on the methodology used by “New Criticism” in relation to the work of Jean Racine. The New Criticism was a formalist movement, popular in the sixties, which focuses on objectively evaluating the underlying structure and text from literary work.Representatives of ‘‘New Criticism”, such as, Lucien Goldmann, Charles Mauron and Roland Barthes utilized structure methods to interpret Racine's literary works. The Sociological criticism of Goldmann, the Psychoanalytic criticism of Mauron, and the Structuralism of Barthes offer several areas of consideration.The aim of this study is to present the methods proposed by “New Criticism”, to reveal the essence of its theories, to assess their value by demonstrating the reason of their importance, and to understand controversy sparked around this formalist movement. So, identifying the “challenges of the ‘’New Criticism” in Racine’s criticism’’ by examining the criticisms made by other critics is the purpose of this work

Ce projet de recherche a pour but d’étudier le processus créatif, l’apprentissage social, la rationalité, les conflits, les règles et les normes de trois groupes d’auteurs contemporains à New York et à Paris. Les méthodes de recherche incluent des entretiens avec des auteurs, la narration d’anecdotes sur le comportement des acteurs sociaux, la construction d’un tableau sociométrique des règles et des normes propres à chaque groupe d’après la théorie de Howard BECKER, et une analyse de texte qui mobilise la méthode d’étude structurale du sociologue de la littérature Lucien GOLDMANN. Ce projet de recherche a permis l’identification des niches sociales d’auteurs contemporains, dans lesquelles des échanges d’informations permettent un apprentissage social qui a de la valeur professionnelle et personnelle pour les acteurs sociaux en question. Enfin, ce projet de recherche permettra le placement des auteurs contemporains dans l’organigramme de la production culturelle de Pierre BOURDIEU, qui distingue « le sous-champ de l’avant-garde », « le sous-champ de la grande production » et « le champ du pouvoir » dans le monde littéraire
The purpose of this research project is to explore the creative process, social learning, motivation, conflicts, rules and norms of three groups of contemporary writers in New York and Paris. Research methods include interviews with authors, the narration of anecdotes about the behavior of the social actors, and the construction of a sociometric table of rules and norms specific to each group according to the theory of Howard BECKER. This project also offers contains a literary analysis using Lucien GOLDMANN’s method of structural study. This research led to the identification of social networks of contemporary authors, in which the exchange of information allows social learning that has both professional and personal value for the social actors in question. Finally, this research will allow the placement of contemporary authors into Pierre BOURDIEU’s map of cultural production, which distinguishes “the sub-field of the avant-garde,” “the sub-field of large-scale production,” and “the field of power” in the literary world