Dissertations / Theses on the topic 'Misanthropie'

Cette étude de science politique s’inscrit dans le prolongement d’une thèse effectuée en littérature comparée, intitulée « Entre littérature et philosophie : l’Homme est-il un animal politique ? Physique de la misanthropie » (dirigée par M. F. Monneyron, soutenue en nov. 2013, publiée chez L’Harmattan). Dans cette analyse, il s’agissait de tenter une ébauche de conceptualisation philosophique de la haine de l’humanité en partant du théâtre de la misanthropie pour voir ensuite si les quelques résultats obtenus pouvaient s’appliquer à la littérature concentrationnaire et aux dystopies, deux autres genres littéraires qui forment le terreau naturel de doctrines et de pratiques misanthropes.Quelles sont les déterminations culturelles (mythologiques, religieuses, artistiques, médiatiques) de la misanthropie et de la misologie ? Comment apprécier leurs impacts dans le champ politique des paroles et des actes ? La misanthropie n’est-elle pas un composé de misogynie et de misandrie ? Peut-elle être érotique et créer des réseaux ? Comment se concrétise-t-elle dans les domaines du travail, de l’économie, de la technique, de la guerre, dans les problématiques afférentes aux minorités ? Et la démocratie peut-elle générer de la misanthropie ?
This sociological study draws on a comparative literature thesis entitled « Entre littérature et philosophie : l’Homme est-il un animal politique ? Physique de la misanthropie » (Between literature and philosophy: is Man a political animal? Physics of misanthropy) (defended in Nov. 2013, published by L’Harmattan). In this analysis, the aim was to try to sketch a philosophical draft of the hatred of humanity based on misanthropic theatre before trying to apply the results thus obtained to concentration camp literature and to dystopias, two other genres which form the breeding-ground of misanthropic doctrines and practices. This first thought process allowed giving form to some powerfully material aspects of misanthropy: its geography, its therianthropic productions, its infantile manifestations, its exanthropic phenomenology and its dietetics.In the present political science thesis, our aim is to identify the cultural determinations of misanthropy and misology (be it mythological, religious, artistic or in the media) before reflecting on the impact they might have on the political field of speech or of deeds. Isn’t misanthropy a compound of misogyny and misandry? Can misanthropy be erotic? How does it appear in the realms of work, economy, technique, war or in the issues relating to minorities? Eventually we will ask ourselves to which extent democracy creates misanthropy

Comment saisir à partir d'une étude par thème - celui de la misanthropie -, ce qui fait césure et / ou continuité dans les rapports entre littérature et philosophie ? Où doit-on situer la barrière entre ces deux disciplines ? Quand les deux ne font-elles plus qu'une ? L'intérêt d'une telle recherche est de sortir la misanthropie du théâtre lieu où la tradition de l'agrégation de Lettres Modernes l'a quelque peu enfermée ces dernières années. A préférer le roman au théâtre, l'on s'aperçoit que la misanthropie peut se décliner en misanthropie passive et en misanthropie active. La misanthropie passive des Cnémon, des Alceste, etc. , est peu dangereuse en vérité pour la Polis tant ces misanthropes rêvent de vivre hors jeu social ; les misanthropes actifs de Huxley ou d'Orwell sont autrement plus actifs, leur projet politique étant de ramener l'Homme au stade de babouin. La véritable misanthropie n'est-elle pas celle qui annihile en misologue la culture collective pour empêcher l'essor de toute culture personnelle ?
How can one grasp, starting from the study of he theme of misanthropy -, what ceates truncation and / or continuity in the relations between literature and philosophy ? Where does one situate the threshold between these two disciplines ? When do both become one ? The interest of this research is to free misanthropy from the theatrical sphere in which it has somehow been immured, for the past years, by the tradition of the "Agrégation" in French Language and Literature. By concentrating on novels rather than on plays, one notices that misanthropy of the Cnémons, the Alcestes, etc. , is somewhat dangerous for the Polis given how these misanthropists dream of living out of the social game ; the active misanthropists of Huxley and Orwell are more active, diferently, since their political project consists of bringing Man back to the stage of baboon. Isn't true misanthropy that which annihilates, as a misologist, collective culture to prevent the development of all personal culture ?

Texte remanié de: Th. D.--Histoire des religions--Paris--Université de la Sorbonne-Paris IV, 2001. Titre de soutenance : Philantrôpia judaica : Israël et l'humanité dans la pensée juive à l'époque hellénistique et romaine, 3e siècle av. n.è.-1er siècle de n.è.
Bibliogr. p. 394-418. Index.

La période comprise entre 1917 et 1937 marque le début de la littérature chinoise moderne. La littérature française a participé à la construction de cette nouvelle littérature, dont la modernité réside dans la négation des valeurs littéraires et sociales chinoises classiques, dans l’ouverture aux littératures étrangères et dans l’appel au respect de l’individualité. Des écrivains chinois novateurs contestent la nécessité de la société et mettent en avant la vie intérieure dans la littérature. Ils trouvent une signification à la vie dans l’amour et dans la beauté, chacun interprétant ces notions à sa manière. Cette époque est aussi celle, en Chine, de débats littéraires. Aux écrivains individualistes s’opposent des écrivains passéistes et des écrivains engagés à gauche. La confrontation entre différentes conceptions littéraires se reflète dans la réception de la littérature française. Dans les revues littéraires chinoises, des idées opposées sont formulées à propos de Ronsard, de Montaigne et de Malherbe. Des controverses agitent les milieux littéraires autour de Molière, de Rousseau ou de Baudelaire. Les divergences sur la compréhension de la littérature française résultent du fait que les critiques et les traducteurs chinois perçoivent de manière différente la relation entre l’homme et le temps, et la relation entre l’homme et la société. L’interprétation de la littérature française par les écrivains chinois s’appuie sur des réflexions sur l’homme et sur sa situation existentielle
The period between 1917 and 1937 marks the beginning of modern Chinese literature. French literature has contributed to the construction of Chinese new literature, the modernity of which resides in the denial of traditional Chinese literary and social values, in the opening to foreign literatures, and in the call for respect of the individuality. Chinese writers with pioneering spirit contest the necessity of the society and highlight the internal life in literature. They all consider the pursuit of love and beauty as the signification of the life. However, they interpret those notions of love and beauty in different ways. This period in China is full of literary debates. Individualistic writers are opposed to backward-looking writers and left-wing writers. The confrontation between different literary conceptions is reflected in the reception of French literature in China. In Chinese literary magazines, opposed ideas are formulated on Ronsard, on Montaigne and on Malherbe. Debates concerning Molière, Rousseau and Baudelaire arose in literary circles. The difference of opinions on French literature results from the fact that Chinese critics and translators understand in different ways the relationship between mankind, the time and the society. The interpretation of French literature by Chinese writers is based on reflection on human beings and on their existential situation

This thesis documents my research, rehearsal, and performance of the role of Alceste in Moliere’s The Misanthrope, which includes, a biography of Moliere, character analysis, role development, a rehearsal journal, character research, acting process, evaluation of my performance, and script analysis. The Misanthrope was produced by the UNO Department of Film and Theatre, under the direction of David W. Hoover. The play was performed in the Robert E. Nims Theatre of the Performing Arts Center September 17 - 19, 24 - 26 at 7:30pm, and September 27, 2015 at 2:30pm.

The Misanthrope, a play written by French author Molière in 1666, remains relevant to modern audiences, as evidenced by recent high profile productions at the Stratford Festival, and on prestigious stages in New York, London, and Toronto. This paper examines different productions and translations, analyzes the play itself, and concludes with a proposal for a presentation of The Misanthrope that, I believe, will best connect with a Canadian audience in 2012. Chapter 1 is an examination of the play, its historical context, and its different translations. In Chapter 2, I analyse the characters and the themes of the play. Chapter 3 is a report on my 1981 presentation of The Misanthrope at the Dorothy Somerset Theatre at UBC. In Chapter 4, I provide an in-depth exploration and directorial analysis of how I would produce a staging of The Misanthrope in 2012.

« Chacun pour moi. » Telle est la devise amusante que Catulle Mendès attribue à Jules Renard (1864-1910).En effet, auteur d’un Journal intime et d’une oeuvre qui ressemble à son Journal, Renard manifeste dans ses écrits une attention scrupuleuse à lui-même et aux autres à travers lui-même. En cela, il participe à ce mouvement fin-de-siècle où le culte du document en littérature est en partie évincé par la culture du moi. Mais, désireux d’affirmer toute sa singularité, il élabore un style qui tranche sur tous les autres et se veut artiste indépendant. Nous avons donc tenté de comprendre la logique qui pousse l’homme à s’écrire et souhaité mettre en évidence la dialectique qui se noue entre l’intime et son reflet d’encre. Pour ce faire, il nous a d’abord semblé utile de suivre le parcours qui conduit Renard de l’abandon des principes réalistes à une littérature d’observation mais d’une observation ouvertement subjective et s’incarnant dans une image intériorisée de la réalité vécue. Pour autant, la peinture de soi ne se réduit pas au genre de l’autoportrait. L’intime est relationnel et sa représentation inclut nécessairement la présence des autres. Cependant, l’intersubjectivité est ambivalente chez Jules Renard : l’autre peut apparaître comme une force aliénante, un ennemi à railler ou à charmer, mais offre aussi la possibilité de s’épanouir dans une relation d’amitié ou d’amour, dans l’admiration, voire la fraternisation. Enfin, il nous est apparu que l’écriture de l’intime était pour l’écrivain le moyen de se connaître, mais surtout de s’amender moralement et de s’inventer poétiquement dans une forme lacunaire et laconique. L’écrivain s’approche alors de son idéal d’humour et invite son lecteur à devenir son semblable, son frère, autrement dit à être son intime
"Everyman for myself", that is the amusing motto Catulle Mendès attributed to Jules Renard (1864-1910). Indeed, as an author of an intimate Diary and of a work which looks like his Diary, Renard pays in his written work very close attention to himself and to others. In that, he takes part in the fin-de-siècle movement, when the cult of the document in literature was partly supplanted by the culture of the ego. But, anxious as he was to assert all his singularity, he elaborated a style which strongly contrasts with all others and claimed to be independent artist. Thus, we tried to understand the logic which drove the man to write about himself and we wished to highlight the dialectic which binds intimacy with its literary reflection. To do so, it proved useful to follow the course led by Renard, from giving up realistic principles to a literature of observation; yet an openly subjective observation which embodied in an internalized image of real life. Nevertheless, self portraying is not reduces to the genre of the self-portrait. Privacy is relational and its representation necessarily includes the presence of others. However, intersubjectivity is ambivalent in Jules Renard. The other may appear as an alienating force, as an enemy to be mocked at or to charm, but also offers the opportunity to open out into friendship or love relationship admiration and even fraternization. Lastly, it seemed to us that private writing was a way for the writer to know himself but above all a way to amend morally, and to invent himself poetically in a lacunary and laconic form. The writer then approached his ideal of humour and invites his reader to become his fellow man, his brother in other words to be on intimate terms with him

Nous nous interessons aux processus misanthropes sur le reseau d-dimensionnel. Il s'agit d'une classe de systemes de particules englobant le processus d'exclusion simple, dont elle conserve de maniere generale la propriete d'attractivite et la connaissance explicite des mesures invariantes extremales sous forme produit. La dynamique de ces systemes est definie par la marche aleatoire des particules, et la frequence de leurs sauts, qui depend localement de la configuration environnante. Nous proposons dans cette these une generalisation d'un resultat du a f. Rezakhanlou (comm. Math. Phys. 140, 1991). Dans cet article, il est prouve que la limite hydrodynamique des processus misanthropes asymetriques dans l'echelle de temps eulerienne est donnee par les solutions entropiques d'une equation de conservation scalaire. Nous considerons ici des systemes spatialement heterogenes, i. E. Pour lesquels la marche aleatoire des particules et la frequence des sauts dependent regulierement de la position macroscopique. Nous incluons dans la dynamique des creations et destructions de particules. Nous demontrons que la limite hydrodynamique est donnee par les solutions entropiques d'une equation de conservation scalaire spatialement heterogene avec second membre. Pour y parvenir, nous formulons pour la solution entropique des conditions d'entropie differentes de celles de kruzkov (math. Ussr sb. 10, 1970), car celles-ci n'apparaissent plus naturellement a l'echelle microscopique. Nous nous appuyons egalement sur la methode de l'entropie relative (lett. Math. Phys. 22, 1991). Nous montrons comment elle peut etre utilisee, bien qu'on ne sache plus expliciter les mesures invariantes pour les systemes heterogenes.

The goal of this research effort is twofold. First, this project revises and extends a propositional framework delineating the nature of the interplay between misanthropy and persuasion. Of special concern is the delineation of successful persuasion approaches given the validity of the underlying theoretical frame. A second major goal of this effort is to propose a series of studies designed to test theoretically-derived hypotheses. Study 1 tests theoretical hypotheses in a sample of adolescents. Study 2 extends earlier work on misanthropy by testing theoretical hypotheses in an adult sample (Alvaro & Burgoon, 1995) and replicating tests of some of the hypotheses from study 1.

Nous nous proposons de suivre l’histoire du portrait littéraire et la place de Molière en tant que portraitiste dans deux de ses piè ces les plus célèbres, Le Tartuffe et Le Misanthrope. Molière déplace l’intérêt de l’action dans ses comédies vers les portraits des personnages. S’appuyant sur les principes des Anciens : « castigat ridendo mores », Molière rév èle à travers les portraits, les vices, surtout l’hypocrisie, et l’importance du masque dans la société du XVIIe siècle. La grande varié ;té des portraits sera illustrée de nombreux exemples. Nous nous intéressons aux diverses fonctions des portraits. Ils dévoilent l’intérêt pour le réalisme psychologique et témoignent d’une mode de divertissement mondain. En mettant l’accent sur les défauts et le ridicule des personnages, avec les portraits, les pièces se chargent d’une dimension satirique.

Molière’s The Misanthrope explores themes of hypocrisy, love, and the elusive nature of the truth. The play centers on the effects of unapologetic honesty in a society overflowing with pretense. Célimène serves as the supreme example of this society, but is more complicated than the shallow follies she represents. She walks the tight rope between truth and survival and must keep the balance without leaning too heavily one way or the other – lest she fall. This thesis endeavors to articulate the creation of a multi-dimensional character that connects with today’s audience and facilitates an understanding of the intentions and motivations behind her actions as well as the effects of this particular society on its members. This endeavor includes biographical information on Molière, a breakdown of the author’s approach, influences for this process, an analysis of Célimène, rehearsal manuscripts, and an analytical reflection of the resulting attempt to walk the line.

The thesis deals with the complex solution of costumes of the theatre play The Misanthrope written by Moliére. The work is divided in two main parts: a theoretical study and a practical propose. The theoretical part examines the biography of Moliere, with my own insight into the cultural and historical background of the period. I tried to capture the essence of the playwright's inspiration and justify the form of his plays. This part is served mainly for my own understanding of Molière's life and work. Studing historical circumstances of the period helped me to better understand the play The Misanthrope. An important element during the research process was a field-trip to Paris. Working on Vladimir Mikes´s translation of the Misantrope, I paid attention to the detailed description the text. The second half of my work is devoted to the analysis of previous realizations of the play The Misanthrope in Czech Republic and abroad, thanks to which I explained my own concept of the play. These analyses are supported by illustrative photographs. In the practical part I justified my own choices of inspiration and the costumes, that were based on analysis of the dramatic characters. The second part also includes examples of costume´s drawings.

A study was conducted to measure the effects of misanthropic attitudes towards physicians on the avoidance of health care for both treatment and preventive purposes. Demographic and other attitudinal and behavioral variables were also measured. Results indicated that income, age, health status, cancer preventing and detection beliefs and health care misanthropy were all related to subjects' health care avoidance for treatment-oriented purposes. Age, sex, use of blood pressure screening tests, and objective health status were significantly associated with avoidance of health care for preventing purposes. As well, those who rated high on misanthropy measures were more likely to patronize non-traditional health care providers than traditional medical doctors. A discussion of communication theories which may provide some explanation for health care avoidance is also given.

Animé par le " goût et le génie de la provocation ", Emil Cioran s'est défini lui-même comme un " exilé métaphysique ". Il s'est refusé à toutes appartenances locale, nationale, historique, parce qu'il les percevait comme une mutilation du possible. Il aspirait à vivre dans une plénitude noétique totale. Sa vie et son itinéraire intellectuel apparaissent alors comme une quête initiatique déterminée par la situation qui lui aurait été imposée par sa naissance en Roumanie. La Roumanie, jusqu'en 1933, est donc la première étape d'une existence qu'il ressentait comme lui ayant été infligée au carrefour de trois cultures roumaine, allemande, et française. En une seconde période plus incertaine, il séjourne en Allemagne, en Angleterre et en Italie pour parvenir en France en 1937. La décision qu'il prend alors de demeurer en exil en France où il vivra en apatride jusqu'à la fin, était sans doute la plus improbable. En dépit de l'attrait intellectuel qu'il éprouvait, la France était alors, à ce moment de sa vie, le pays dont la langue et la civilisation étaient les plus radicalement contraires à ses inclinations spontanées. Alors commence une expérience, une " épreuve française " au cours de laquelle Emil Cioran va affirmer d'une manière désespérée sa vocation d'écrivain, d'esthète et d'intellectuel en langue française. Il revendiquera cette situation, ce malheur assumé, dans une œuvre marquée par un pessimisme absolu, un ego original et une rare force de style. Ce sont les étapes de cet itinéraire et de cet exil qui sont reconstituées dans la thèse
Emil Cioran, an author with “a taste and a genius for provocation”, describes himself as a “metaphysical exile”. He rejects any historical, national, local bindings which he feels diminish the richness of universal possibility. He longs to be wrapped in a total noetic plenitude. His life and his intellectual itinerary therefore seem to be an initiatory journey determined by the situation imposed on him by his birth in Romania. Romania, untill 1933, represents the first stage of an existence which he felt had been inflicted on him. Already born at the crossroads of Romanian, German and French cultures, in a second period, undecided about what to do, he spends time in Germany, In England, in Italy and finally arrives in France in 1937. The decision that he makes at the moment to remain in exile and stateless in France where he will live to the end, was without any doubt the most improbable. The French culture and language makes him feel pulled back and forth between irresistible attraction and violent rejection. Emil Cioran then begins an experience, a “French trial” during which he affirms in a despairing manner his vocation as a writer, as an aesthete, and as an intellectual working in the French language. He claims this situation, this unhappiness that he accepts, in a work coloured by an absolute pessimism, an original ego and a rare strength of style. This thesis reconstructs these stages of his itinerary and of his exile

De nos jours omniprésent sur la scène politique, le cynisme fut depuis son origine l’objet de polémiques. Le mode de vie scandaleux auquel il est associé pose la question de l’appartenance ou non de Diogène et des Cyniques à la philosophie. Par ailleurs, qu’a à voir le cynisme des sociétés actuelles avec celui que pratiquait Diogène ? Si des analystes situent au siècle des Lumières l’émergence d’une nouvelle conception du cynisme propre à la modernité, peu d’études historiques ont été menées sur la question. Il importe donc de retourner aux sources et de mesurer la validité de cette hypothèse. Par une étude de l’histoire du cynisme et de sa transmission, nous retraçons l’évolution des enjeux au cœur du mouvement cynique et de sa postérité, et présentons une synthèse des significations du cynisme ainsi que des tensions qu’elles comportent. De nombreuses références permettent de définir la place qu’occupe le cynisme au XVIIIe siècle. Les auteurs des Lumières se sont réappropriés l’antique sagesse de Diogène et ont voulu concilier son impudique franchise aux exigences de la sociabilité. Ainsi, l’étude de la réception du cynisme au siècle des Lumières doit tenir compte des débats moraux de l’époque. Visant l’élaboration d’une morale matérialiste sur un fondement naturel, les Philosophes ont tâché de contourner les problèmes de l’amoralisme révélés par le constat de La Mettrie selon lequel il y a inadéquation entre bonheur et vertu. Pour ce faire, Helvétius réduit la portée des déterminismes liés à l’organisation, en soulignant l’importance des facteurs externes dans la gestion des comportements ; Diderot et D’Holbach mettent l’accent sur la sociabilité afin d’assurer l’inhérence d’un fondement moral chez l’être humain, renforçant un désaccord déjà profond entre le cynisme et les idéaux des Lumières. Or, cette approche est-elle généralisée ? Ou le cynisme des Lumières est-il sujet à des variantes selon les auteurs ? Cette thèse se propose d’étudier, par l’analyse des occurrences du cynisme dans les textes de la France des Lumières, les différentes acceptions du cynisme, pour cerner les enjeux auxquels elles s’attachent. Des textes tels qu’Aihcrappih de Godart de Beauchamps, Le Diogène décent de Prémontval, le Socrate en délire de Wieland, Le cynique moderne de Cœtlogon, Le désapprobateur de Castilhon, Le cosmopolite de Fougeret de Monbron, Le paysan perverti de Restif de la Bretonne et Arlequin Diogène de Saint-Just seront pris en considération. Ils s’ajouteront à une étude du cynisme chez Diderot, chez qui la thématique parcourt l’ensemble de l’œuvre et atteint son expression la plus achevée dans Le neveu de Rameau. Par ses doutes, Diderot trouve également sa place dans l’étude des critiques des Lumières qu’ont formulées Rousseau et Sade, chez qui l’on évalue la pertinence de l’enjeu cynique. Il ressort de cette thèse que les acceptions moderne et contemporaine du cynisme comportent des distinctions conceptuelles qui nous interdisent de les amalgamer. Notre analyse du cynisme dans le contexte français des Lumières montre que l’on est, jusqu’à la fin du XVIIIe siècle, en présence d’une conception typiquement moderne du cynisme, laquelle met l’accent sur la redécouverte de l’impudeur de Diogène. Plus précisément, le cynisme se caractérise, au XVIIIe siècle, par un repli misanthrope et solitaire, lequel s’oppose à l’optimisme humaniste des Philosophes. Il est l’expression d’un rejet de la sociabilité mise de l’avant par ces derniers, en réponse au constat de corruption de la société. S’il est possible d’y situer l’émergence d’une nouvelle conception du cynisme, c’est donc seulement dans la mesure où les débats liés à l’élaboration d’une morale matérialiste, fondée en intérêt ou en sentiment, montrent que chacun de ces fondements comportent des failles, et non parce que certains auteurs des Lumières auraient entendu par cynisme ce que nous entendons aujourd’hui. Tout se passe comme si l’homme désabusé, qui tient pour acquis l’incorrigibilité de sa nature et de la société, choisissant d’en tirer profit malgré l’immoralisme que cela comporte, avait forgé le statut de cynique postmoderne. Cela rompt avec la tradition qui, jusqu’à la fin de l’époque moderne, tient le Cynique pour une figure d’un dire vrai fondamentalement désapprobateur du genre humain. Si l’impudeur poussée dans ses derniers retranchements conduit le cynique à n’éprouver aucune honte à mentir, il poursuit en cela la devise d’altération des valeurs initiée par Diogène, mais contribue désormais au maintien d’un statu quo sur l’état de corruption de la société qu’aucun cynique, ancien ou moderne, n’aurait accepté de taire.
Now pervasive on the political scene, cynicism has been contentious from its beginnings. The scandalous way of living to which it is linked raise the issue of whether or not Diogenes and the Cynics must be considered as part of the history of philosophy. Besides, what do today’s cynical practices share with those of Diogenes? Some interprets situate the emergence of a new conception of cynicism peculiar to modernity during the Enlightenment, but few historical studies have been centered on this question. It is consequently important to return to the sources of cynicism to measure this hypothesis’ validity. Through a study of cynicism’s history and its transmission we trace the evolution of the major issues at the core of cynic movement and its posterity, and present a synthesis of its significations and their internal tensions. Many references allow us to define the place that cynicism occupies within the XVIIIth century. Philosophers have tried to reclaim Diogenes’ antique wisdom while also accommodating his shameless frankness to the requirements of sociability. The study of the reception of cynicism in the XVIIIth century french Enlightenment must therefore be seen within the scope of the moral debates of that time. Those debates aim to elaborate a materialist moral on a natural basis, trying in doing so to tackle the problem of amoralism revealed by La Mettrie’s statement of the inadequacy between happiness and virtue. To do that, Helvetius reduces the scope of natural determinisms by underlining the importance of exterior factors when managing behaviors. Diderot and D’Holbach, on their part, emphasize the notion of sociability to make sure there’s a moral sense within human nature itself; this belief reinforces an already profound disagreement between the ideals of Enlightenment and cynicism. But is this approach that widespread? Or is cynicism subject to vary according to authors? This thesis proposes, by studying the occurrences of cynicism in French Enlightenment’s texts, to give an account of its different meanings in order to identify the issues that are put forward. Therefore, texts such as Aihcrappih by Godart de Beauchamps, Le Diogène décent by Prémontval, Le Socrate en délire by Wieland, Le cynique moderne by Cœtlogon, Le désapprobateur by Castilhon, Le cosmopolite by Fougeret de Monbron, Le paysan perverti by Restif de la Bretonne, and Arlequin Diogène by Saint-Just will be taken into account, as will be cynicism in Diderot’s texts; this thematic is present in his whole work, Le neveu de Rameau being the most achieved expression of it. Exposing his doubts, Diderot also finds its place in our exposition of the Enlightenment’s critics as they have been formulated by Rousseau and Sade; we’ll also analyze the relevance of their cynical stakes. The conclusion of this thesis is that the modern and contemporary meanings of cynicism entail important conceptual distinctions that forbid us to amalgamate them. Our analysis of cynicism in French Enlightenment’s texts shows that up until the end of the XVIIIth century, we are faced with a modern conception of cynicism that rests to a considerable extent upon the rediscovery of Diogene’s immodesty. More precisely, the XVIIIth century cynicism can be characterized by a solitary and misanthropic withdrawal, which opposes the Philosophers’ humanist optimism. Cynicism is therefore a rejection of sociability, a value put forward by Philosophers in response to the general state of corruption of society. In other words, if one can locate the emergence of a new form of cynicism in the Enlightenment, it’s not that some authors understood cynicism as we do now: it is because the debates linked with the construction of a materialist conception of morality, be it be founded on interests or sentiments, show that these fundaments carry some weaknesses. It is as though the disillusioned man who takes for granted the incorrigibility of nature and society and chooses to take advantage of it despite the immorality of doing so has given birth to the postmodern cynic. This is he who breaks with a tradition which, up to the modern era, considered the cynic as the figure of a blunt truth teller, disapproving of mankind. If immodesty, driven into a corner, leads the postmodern cynic to shamelessness in lying, he in a sense pursues the motto of the alteration of values initiated by Diogenes, but now contributes to maintain the corruption of society, which no cynic, may he be ancient or modern, would have accepted to silence.

碩士
國立中山大學
行銷傳播管理研究所
107
In recent years, the Misanthropy post which content is based on expressing the negative affect in real life is popular with young people on Facebook. The Misanthropy post with the humor effect becomes a way for people to release stress and makes people gain empathy. In marketing, we even can see that there are some products related to the trend of Misanthropy post. Therefore, the purpose of this study is to understand the impact of Misanthropy post with the different humor effects on people''s empathy, well-being, engagement. In addition, the illustration types on the post and narcissism personality are viewed as the moderating variables. This study used an experimental method in 4(the humor types of misanthropy post: affiliative humor vs. self-enhancing humor vs. aggressive humor vs. self-defeating humor) x2(illustration types: cuteness vs. sadness) x2(types of narcissism: overt vs. covert) factorial design. A total sample of 648 young participants who were born in millennial generation were recruited. The result shows that in the following: (1) The Misanthropy post has significant positive impact on engagement and empathy. (2) Each types of humor effect in Misanthropy post has different level impacts on engagement and empathy. Besides, (3) the empathy partially mediates the influence of Misanthropy post on engagement. And (4) there is a two-way interaction between narcissism and Misanthropy post, which has an impact on empathy. This study found that covert narcissist has better effect to arouse people’s empathy than overt narcissist through self-enhancing humor Misanthropy post. In the study, with the discussion to different humor effects on Misanthropy post and the moderating effect of different types of narcissism, the current findings extend the research about Misanthropy post, humor effect and narcissism.

This thesis explores the subject of love and self-love in the Misanthrope of Moliere. The central issue is whether or not the main character, Alceste, is blinded by his own self-love. If so, does this blindness lead him to madness? My analysis shows that true love is not present in this play - and the reason for that is l'amour de I'autre. That is, both Alceste and Celimene are much too self-absorbed and preoccupied with self-love to be able to honour and cherish each other. In Alceste's case, the issue of blindness and illusion are also crucial elements that influence his ability to love. In the first chapter, I shall introduce these two elements and show how I'amour-propre causes Alceste to lose sight of reality. Then, in the second chapter, different aspects of love shall be examined, allowing me to illustrate how I'amour de I'autre is not achieved. Finally, the third chapter introduces the idea of self-love and l'amour-propre, distinguishes the two and shows how they lead the two characters of the Misanthrope to reject love. The theme of Amour-propre, as well as love mistreated or misunderstood, as subjects of literary works, are widespread during the seventeenth century. The play on illusion and reality, reason and madness, as well as the element of change and instability, as they appear in the Misanthrope, are familiar ground in Baroque theatre. Indeed, as Jean-Marie Apostolides notes in an article, the theatre is a space where new thoughts and ideologies are presented, where people, places and time are transformed and tested. This is undeniably what Moliere proposes to do in the Misanthrope and this project illustrates how this great playwright achieves that goal. In this thesis, I demonstrate how he brilliantly illustrates the social and philosophical influence of his time on individuals and its consequences. How does one react to such external forces? In Alceste's and Celimene's case, they each move in completely opposite directions in reaction to these external powers. The result of this, as well as of their forced union is what gives this play its strengths. For Moliere is able to show us the humour in such a marriage between a misanthrope and a coquette.

In the United States of America after World War II, Americans from across the political spectrum adopted the technological optimism of the postwar period to resolve one of the central contradictions of industrial society—the opposition between work and freedom. Although classical American liberalism held that freedom for citizens meant owning property they worked for themselves, many Americans in the postwar period believed that work had come to mean the act of maintaining mere survival. The broad acceptance of this degraded meaning of work found expression in a word coined by managers in the immediate postwar period: “automation.” Between the late 1940s and the early 1970s, the word “automation” stood for a revolutionary development, even though few could agree as to precisely what kind of technology it described. Rather than a specific technology, however, this dissertation argues that “automation” was a discourse that defined work as mere biological survival and saw the end of human labor as the the inevitable result of technological progress. In premising liberation on the end of work, those who subscribed to the automation discourse made political freedom contingent not on the distribution of power, but on escape from the limits of the human body itself. Abandoning the workplace as a site of political contest, managers in the postwar period sped up workers, broke unions, and sent jobs where non-unionized labor could be had more cheaply—all of which managers, lawmakers, and even union officials called “progress.” While existing scholarship on “automation” presumes that the word describes a clear-cut technology or industrial process, this dissertation returns the concept to its ideological roots. What most called “automation” often created more human labor or intensified labor already present—in particular in the automobile and computer industries where the word was coined. The accounts of workers in these industries show that “automation” often meant the intensification of labor. The dissertation considers how different constituencies deployed the automation discourse to advance a reformist or even radical politics that sought the abolition of work. It shows how under the sign of the automation discourse “leisure” became a synonym for liberation. It explores how “automation” and the meaning of work it conveyed influenced the development of the welfare programs of the Great Society, as well as the politics of the New Left and black liberation. The automation discourse likewise influenced the postwar conception of reproductive labor and the development of second wave feminism. The dissertation ends in the mid-1970s when a national, militant, rank-and-file workers’ movement coincided with increasing distrust of industrial society, leading unions, managers, and lawmakers—after decades of calling for the abolition of human labor—to demand the “humanization” of work.

碩士
國立嘉義大學
視覺藝術學系研究所
107
Humanity is an organism which has high intelligence. Much wishful thinking in the past would be realized step by step. Nowadays, we have reached the age of information technology where the industry varies from time to time, constantly pushing out and advancing for improvements in quality of life. However, they have made serious dangers for environment while pursuing their goals. The author thinks himself as a species that has been marooned. In this society with strong pressure, life is similar to eternal recurrence of Zarathustra. It has been aimlessly wandering in the form of Nihilism. For the meaning of life neither completely negate nor affirmatively accept; Contending between positivism and negativism for a long time has slowly derived emotion of misanthropy and has lost ability of good communication with people. Hence, he put his emotions into the scenery, implements, and organism. The main theme of the study is relative to emotions which were based from the life experiences of the author himself. The purpose is: (A) To trigger Ultimate Concern on the surroundings by transforming them into art creations to reflect on. (B) Based on Document Analysis, explore individual forms of creation and thread of thought. (C) Via analysis and practice of this study, achieve promotion of academic theory and soul of mine. The article structure of this paper segments into five chapters. Chapter one explains research motion, research purpose, research method, and stages of research. Chapter two is the theoretical foundation which involves exploration and analysis of personal inner emotions and mentation by Nihilism of Nietzsche, and adapts subjectivity in art. Also, it furthers the investigation on Deconstruction and Dadaism, conclude contexts and forms of the artworks. Chapter three discusses the practice of creation that explains the concept of creation and usage of media and skills. Chapter four depends on ecological and social environment that the author has experienced during the creation of the study and carry on interpretation and analysis of the artworks. Chapter five is the conclusion and introspection of the study that combines theory and practices developed in the creation of ceramic sculpture which has unique style of the author. Furthermore, this thesis may serve as reference to other studies in the future.