Dissertations / Theses on the topic 'Monstres – Philosophie'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 24 dissertations / theses for your research on the topic 'Monstres – Philosophie.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Sariols, Persson Deerie. "Figures de l'altérité au XXe siècle : des bestiaires aux monstres." Paris 3, 2007. http://www.theses.fr/2007PA030077.
Full textXXth century’s Western culture has inherited from the past to recreate its own animal and monstrous imaginary. But the founder myths of modern alterity are born in the XIXth century : Frankenstein or the Modern Prometheus, by Shelley, Dracula, by Stoker, The Strange Case of Dr. Jekyll and Mr. Hyde, by Stevenson. The Horla, by Maupassant embodies the unspeakable monster. The Island of Doctor Moreau, by Wells is an example of “humanimal”, between man and beast. Literary genres as fantasy, science-fiction or horror, in fiction, films, comics or computer games, have adopted monsters and animality in classical or new forms, especially concerning the approach to the body as a theme. Animality reflects life’s nonsense in Kafkas’s Metamorphosis, but sometimes it chooses rather irony and humor in short genres (Borges and Cortázar), in animal fables (Truismes, by Darrieussecq, Great Apes, by Will Self) or in a renewal of traditional fairy tales (The Company of Wolves, by A. Carter). The three main stakes from the monster as a confrontation with the other are fear, death and evil. So it can be idealized (as in Bradbury’s The Martian Chronicles) or taken as an enemy (as Lovecraft’s Great Old Ones). Death can be represented by zombies or vampires, also in a search for immortality, through the figure of artificial man, golem (The Golem, by Meyrink), robot (R. U. R. By Čapek), mutants or cyborgs. Absolute evil is incarnated by Satan. Today’s society believes rather in man’s inner evil, as Bradbury’s A Clockwork Orange describes. Orwell’s 1984 shows the monstrous political system. The comic Maus, by Spiegelman, describes how horror has actually been in real history. Solaris, by S. Lem, on the contrary, goes beyond good and evil in a rather metaphysical science-fiction story
Antunes, Gabriela. "An der Schwelle des Menschlichen : Darstellung unf Fonktion des Andersartigen in mittelhochdeutscher Literatur." Strasbourg, 2011. http://www.theses.fr/2011STRA1095.
Full textThis thesis aims to analyze a series of monstrous creatures in three Middle High German texts : the Alexander of Strasbourg, the Herzog Ernst B and Wirnt von Grafenberg's Wigalois, written between 1180 and 1220. It focuses on the research of the concepts of monster and monstrosity in the Middle Ages through the study of a corpus of so-called monstrous representations, of peoples and individuals similar tu huaman beings with whom the heroes maintain a contact along a journey. This research has allowed us to understand the value of this concept in the germanic literature of the chosen period, as well as to know the lexical field used to describe it. The plurality of words corresponds therefore to the variety of functions assumed by these creatures in literature, but also to their variety of forms. As representations of the Other, they help to define the limits of the Self by both the hero and the reader. Their physical difference does not establish a barrier that disallows a friendly contact with the Other. However, an absolute integration between the Self and the Other, in terms of a process of inclusion, remains problematic - this will finally depend of the form they assume. Conclusively, as expressions of the untouchable, the monsters slip out of normality and remain the face of the intangible
Govers, Marianne. "The maiden of the straits : Scylla in the cultural poetics of Greece and Rome." Paris 4, 2005. http://www.theses.fr/2005PA040166.
Full textIn ancient Greek and Roman cultures, Scylla is a sea-monster that usually combines – albeit in manifold ways – features of a dog, a woman, and a fish. Through a close study of her representations in texts and images, this thesis analyses the fears that Scylla comes to embody in various sources as well as the metaphors that connect those fears and secure the coherence of her development across time and genres. In particular, it is argued that three models underlie many of Scylla's representations – the rapacious sea-monster, the sexually aggressive woman, and the bride-to-be – and that they all involve a narrow and potentially dangerous passage, be it the throat of a predator, the female genitals, or the transition into womanhood. By focusing on a specific figure of Greek and Roman mythology, the thesis sheds light on current theoretical debates including the relation between texts and images, the relevance of the notions of “myth” and “mythical figure,” and the role of gender in representations of monstrosity
Barreto, Junia. "Figures de monstres dans l'oeuvre théâtrale et romanesque de Victor Hugo." Paris 3, 2006. http://www.theses.fr/2006PA030016.
Full textFaced with a gallery of characters known as monsters in Victor Hugo's plays and novels, we examine his conception of monsters and monstrosity. By treating two literary genres, we may compare and contrast different types of monsters whose creation occurs at distinct moments in Hugo's production. This profusion of monsters leads us to reflect on the possibility of establishing categories; whether they are identifiable or contradictory. This research is made up of major methodological perspectives, dealing with physical, socio-political, and moral monstrosity. The notion of the monster in Hugo exceeds any all-encompassing definition and presupposes the refusal of unification, and its transgressive force implies two sides, a negative pole and a positive one, revealing its complexity
Suratteau-Iberraken, Aurélie. "La contribution de Denis Diderot à la connaissance des monstres au XVIIIème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010519.
Full textAcademicians and encyclopedists want to naturalize monsters, according to aristotelian way. Notion of "anomaly" appears rather than notion of "abnormal". Exemplarily, the method founded on "observation" allows academicians to occult providentialism in dispute. Diderot's contribution gives a methodological pattern to the philosopher of science. He shows the background of metaphysical resistances in order to establish accidentalism and epigenesis. The self-organization of matter and the emphasis of accidents make up a new natural history. Double monsters prove limits of dualism to think death, will and personal identity. The context is anthropological. These debates on monsters are indubitably dependent on such a pre-scientific era. Diderot's method aims less at objectifying these vitalistic properties than at establishing his own inscription in the theory of knowledge : scepticism is not a relativism. Newborn legal medicine refers the norm to natural normality, and exposes the confusion between social and natural criterions to legitimate discimination. Medicine and moral science have to take care of malformations and material inequalities, in so far as they commend specialization of institutions. Diderot shows the deadlock of this way of naturalization which is inable to integrate abnormal beings and to rationalize social welfare. However, he doesn't substitute an apology for "difference" for these scientist basis. On the contrary, he dwells on the powers of bodies, the limits to education, and the spontaneous intolerance to pain, so that he institutes a "biological normalcy". Diderot builds up strong conceptual resistances to two contemporary standards of thinking "selection" regarding prenatal diagnosis. He neither makes life sacred nor initiates liberal eugenics. Paradoxically, axiology is rather more dependent on materialistic philosophy than on finalist and spiritualistic systems. The latter are more efficient to consider ways of neutralizing affects
Céard, Jean. "La nature et les prodiges : l'insolite au XVIe /." Genève : Paris : Droz ; [diffusion Champion], 1996. http://catalogue.bnf.fr/ark:/12148/cb39150621f.
Full textGirval, Edith. "L'art de la fiction chez Aphra Behn (1640-1689) : une esthétique de la curiosité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030047.
Full textRecent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”
Vignolo, Paolo. "L' Europe à l'envers : les antipodes dans l'imaginaire de la Renaissance." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0006.
Full textDuring the Renaissance, the imagination associated with the antipodes acted as a powerful rhetorical devise to imagine new worlds on the basis of beliefs, dreams and legends accumulated through the preceding centuries. Facing the cultural upheaval due to the European expansion overseas, the antipodes contributed to the transition from Christian cosmology to modern geography, and to the reappraisal of the distinction human vs non-human. The inhabitant of the antipodes, once identified with either the races described by Pliny or the peoples at the extreme borders of the Earth, became the savage of the modern colonial ideology. Four main myths joined together in this imaginary melting pot: the classical Golden Age; the Paradise on Earth of the Judaeo-Christian tradition; the Greco-Roman idea of a universal Empire; and the land of Cockaigne of the Medieval folk-lore. This fusion gave birth to the myth of Utopia and it provided a decisive contribution to the development of the idea of Europe
Martinez, Aurélie. "Anatomies monstrueuses : de la science à la scène de l'art actuel." Bordeaux 3, 2009. https://hal.science/tel-04196852.
Full textIn the scientific language, a person who is qualified as monstrous is reached with disturbance of morphogenesis. It is then rejected by the body standard founded by the society. Bound by the flesh, the Siamese twins represent two identities amalgamated in only one body. As for the androgynies and hermaphrodites, they gather two sexual entities in a single anatomy. These bodies except standard no separated double identities. They are represented by the contemporary artists. They use the Siamese image as a metaphor of the identity structure in the relation with the other. They are also inspired by the bisexual anatomy of the androgynies and the transsexual’s oscillation between two sexes, to project a new equilibrium identity between the man and the woman. At last, they invent or take as starting points with the hybrids and mythical creatures to mix the human body of the animal body. The question can be put: do these various monstrous representations translate the restlessness of the human future, manipulated by science and technology?
Chouchane, Chiraz. "Topologie du monstre : la place logique du langage entre la trace et l'image-cristal." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H309.
Full textThe term monster is paradoxical; it is at the same time word and thing, the former being bath blank and esoteric. lt designates an invisible that is nevertheless manifested in the form of irrational information. ln other words, that which is revealed through the monster often appears as nonsense, an aberration. As such, the monster is given in the guise of a mathematical question whereby difference, in itself intangible, is announced. ln the present research, difference is understood in the gaping stretch between the zero and the zero of experience where bath work of art and the dazzling speed of the creative act coïncide; a topological place that bears the trace of the intellect while endowing the image with transparency or its "crystal". This impossible place of experience would be the place of logic; a place towards which language converges and from which it emerges all at once. This research is primarily concerned with the question of movements rather than with the teratology of monsters; it deals with this force, thus described, as it traverses the artist facing the perils of rupture. For that matter, the monster is associated with a higher order of creation, one that is, nevertheless, constantly submitted to the test of existence
Beaume, Diana. "Alfred Jarry et la pensée des contraires." Le Mans, 2010. http://cyberdoc.univ-lemans.fr/theses/2010/2010LEMA3002.pdf.
Full textAlfred Jarry is the creator of a fascinating and disconcerting work. By many aspects, his poetics confirms the aesthetic principles of symbolism, but some other aspects remain enigmatic if the interpretive grid of symbolism is not complemented by distinct perspectives. The danger of a chaotic approach is not insurmountable, because all the ideas of this singular author are leaded by a directing notion that ordons and gives them coherence : that is the identity of opposites. Our essay is devoted to the study of its operation in the poetics of Jarry. The thrust of our exploration is the symbolist avatar of a philosophical notion that has been very popular in the erudite circles during the Renaissance, when it was mainly traveling in his Latin variant, the coincidentia oppositorum. Jarry, who penetrates deep into the complexity of the idea’s Renaissance context, appropriates, assimilates and. . . Diverts it, so that he can use it as a aesthetic engine for its literature. In the beginning, our study examines the context of the original concept, and then marks out how the coincidentia oppositorum informs the poetics of Jarry. This way, some of the most poignant "inconsistencies" of the fantasy world issued from his pen can be read as a result of the unusual, but coherent, mix of two worldviews separated by several centuries of cultural variations
Podobryaev, Alexander. "Persons, imposters, and monsters." Thesis, Massachusetts Institute of Technology, 2014. http://hdl.handle.net/1721.1/87498.
Full textCataloged from PDF version of thesis.
Includes bibliographical references (pages 115-120).
This dissertation is about person features, their representation and interpretation in natural language. I will argue that there are several ways in which person features can be represented and interpreted. Most importantly, I will provide evidence for a kind of person features that are parts of referential indices of pronouns, constraining possible values that the assignment function maps the indices to (cf. Minor 2011, Sudo 2012). It is this particular way of representing person features that allows to postulate operators that manipulate the assignment in way that all pronouns with certain person features are affected. Such operators, as I will demonstrate, do exist. They come in at least two varieties, imposter operators and monster operators. Imposter operators manipulate the assignment by making all free 1st person indices (or all 2nd person indices) undefined in their scope, and when 1st or 2nd person indices are undefined 3rd person indices can be used instead. Building on the observations from Collins and Postal 2012, I will argue that we can interpret the 3rd person pronoun in sentences like Yours truly's dissertation wasfiled a week before his birthday as referring to the speaker because there is a silent imposter operator that suppresses 1st person indices in the domain that includes the imposter yours truly and the pronoun. Furthermore, it is due to the presence of the same operator that the 1st person pronoun and the 3rd person pronoun in sentences like Yours truly filed his dissertation before my birthday cannot be understood as coreferential. Another likely candidate for a person-sensitive assignment-manipulating operator is the monster operator in Mishar Tatar (strictly speaking, it is not a Kaplanian monster, but I will use the term anyway). This operator is responsible for the fact that a subclass of indexical pronouns in this language may shift to denote the coordinates of the context embedded under an attitude predicate. Thus, the dissertation contains two case studies: one on imposters in English (Chapter 1) and one on indexical shifting in Mishar Tatar (Chapter 2). The overall hope is to build a case in which possible interpretations of person pronouns can inform us about their syntactic representation.
by Alexander Podobryaev.
Ph. D.
Ancet, Pierre. "La perception contemporaine du monstre humain : représentations communes et scientifiques à l'époque de la tératologie positive." Dijon, 2002. http://www.theses.fr/2002DIJOL016.
Full textThe aim of this dissertation is to study what the human monster means for us, those representations that lead us to think and sometimes say "this is a monster" in relation to a human being with a deformed body. The phenomenology of the body as self (corps propre) (Merlau-Ponty) and psychoanalysis (Freud and Didier Anzieu) provide instruments to understand how perceiving deformity in others affects us deeply. The survey encompasses the 19th and 20th centuries, during which period teratology, as a science, was developed in France. It compares scientific and common representations in the founding works of Etienne and Isidore Geoffroy Saint-Hilaire, Camille Dareste and Etienne Wolff. The problem of the unity or duality of the body in the case of conjoined twins receives special notice. This inquiry throws light on our relationship to physical handicaps and leads to enhance the anthropological study of the body, with respect to its radical difference
Grieshaber, Verene. "The monster in the mirror : Delisle de Sales and the human body in 'De la Philosophie de la Nature' (1774)." Thesis, University College London (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.313726.
Full textRousseau, Pascale. "Rethinking the Monster : the condemnation of rape culture through the female monstrous body in Myriam Gurba's Mean and Carmen Maria Machado's "The Husband Stitch"." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69817.
Full textThis thesis analyzes Myriam Gurba’s hybrid memoir Mean and Carmen Maria Machado’s short story “The Husband Stitch” through a focus on different iterations of female monstrosity in narratives about rape culture. I demonstrate how female bodies coded as monstrous become the site of a counter-discourse that disrupts and enlarges the social conceptions of sexual violence. The writings of Nathalie Wilson and Sara Ahmed inform the theorization of monsters and their prescribed roles, while the ideas of corporeality, embodiment, and abjection engage the representative possibilities of the female body and insist on its possibilities as agent of cultural change. The first chapter examines the notion of corporeality through different descriptions of the treatment of the monstrous female body. The concepts of embodiment and abjection signal the impact of rape culture on the body, consider all spaces as potentially dangerous, and illustrate the similarities between the physical act of rape and certain narrative techniques. The second chapter analyzes the multiple ways of regularizing the monstrous female body and of subjugating it for patriarchal purposes. Through the deliberate juxtaposition of several key moments with the inclusion of subversive cautionary tales, the short story elaborates a radically politicized epistemology. In this chapter, abjection is understood as an experimental technique that disturbs the reader’s conception of their own corporeality and subjectivity.
Corrêa, Eduardo Arantes. "A serviço secreto de sua majestade, o pensamento: os usos do espaço filosófico, suas implicações, e o papel da arte." Universidade Federal de Uberlândia, 2014. https://repositorio.ufu.br/handle/123456789/15581.
Full textThe aim of this study is to examine the meaning of the act of thinking and its implications on the possibility of doing or not philosophy. From the exposition of Gilles Deleuze about what the thought is, I try to point out his secret or not formally announced uses. This means that if philosophy creates concepts, it is because they refer to universal problems, meaning, in other words, that they always repeat themselves, responding to the particular needs of each time. If the problem of thought as noted by Deleuze is universal, this work tries to comprehend how philosophical discourses are constructed, either causing the difference or neutralizing the ability that the Other also have to think and create. Hence, even exercised by images (in the case of the art), philosophy as a way to justify the intentions of thought would create double-sided monsters with the retails of its history: both affirming the forms of life and making the existence an unhappy process of recognition.
O objetivo deste trabalho é examinar o significado do ato de pensar e suas implicações diante da possibilidade de se fazer ou não filosofia. Partindo da exposição de Gilles Deleuze sobre o que é pensamento, procuro apontar para seus usos secretos ou não formalmente anunciados. Isso significa que se a filosofia cria conceitos, é porque eles referem a problemas universais, ou seja, que se repetem sempre, respondendo não obstante às necessidades particulares de cada tempo. Se o problema do pensamento tal como notado por Deleuze é universal, trata-se de compreender a forma como os discursos filosóficos são construídos, seja para provocar a diferença, seja para neutralizar a capacidade que o Outro também teria de pensar e criar. Donde, até mesmo exercitada por imagens (no caso da arte), a filosofia como forma de justificar as intenções do pensamento criaria com retalhos de sua história um monstro de dupla face: tanto afirmando as formas de vida quanto tornando a existência um processo infeliz de recognição.
Mestre em Filosofia
Nouailles, Bertrand. "Le monstre, ou le sens de l'écart : essai sur une philosophie de la vie à partir des leçons de la tératologie d'Etienne et d'Isidore Geoffroy Saint-Hilaire." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2012. http://tel.archives-ouvertes.fr/tel-00846655.
Full textEdfors, Evelina. "Personer och monster : om litteraturens bidrag till religionsfilosofin." Thesis, Uppsala universitet, Teologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323604.
Full textYakubov, Katya. "The Monstrous Self: Negotiating the Boundary of the Abject." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4815.
Full textBrice, Dusty A. "The Lawrentian Woman: Monsters in the Margins of 20th-Century British Literature." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2612.
Full textAdkins, Roger A. 1973. "The 'monstrous Other' speaks: Postsubjectivity and the queering of the normal." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10875.
Full textThis dissertation investigates the cultural importance of the "monstrous Other" in postmodern literature, including novels from Sweden, Finland, and the United States. While the theoretical concept of "the Other" is in wide circulation in the humanities and social sciences, the concept has only recently been modified with the adjective "monstrous" to highlight a special case of the Other that plays an important role in the formation of human subjectivity. In order to better understand the representational legacy of the monstrous Other, I explore some of the principal venues in which it has appeared in western literature, philosophy, folklore, and politics. Using a Foucauldian archaeological approach in my literature survey allows me to trace the tradition of the monstrous Other in such sources as medieval bestiaries, the wild man motif in folklore and popular culture, and the medicalization of intersexual embodiment. In all cases, the monstrous Other is a complex phenomenon with broad implications for the politics of subjectivity and the future of social and political justice. Moreover, the monstrous Other poses significant challenges for the ongoing tenability of normative notions of the human, including such primary human traits as sexuality and a gendered, "natural" embodiment. Given the complexities of the monstrous Other and the ways in which it both upholds and intervenes in normative human identities, no single theoretical approach is adequate to the task of examining its functioning. Instead, the project calls for an approach that blends the methodologies of (post)psychoanalytic and queer theory while retaining a critical awareness of both the representational nature of subjectivity and its material effects. By employing both strains of theory, I am able to "read" the monstrous Other as both a necessary condition of subjectivity and a model of intersubjectivity that could provide an alternative to the positivism and binarism of normative subjectivity. The texts that I examine here reveal the ways in which postmodern reconfigurations of the monstrous Other challenge the (hetero)normativity of human subjectivity and its hierarchical forms of differentiation. My reading of these texts locates the possibilities for a hybridized, cyborgian existence beyond the outermost limits of positivistic, western subjectivity.
Committee in charge: Ellen Rees, Chairperson, German and Scandinavian; Daniel Wojcik, Member, English; Jenifer Presto, Member, Comparative Literature; Aletta Biersack, Outside Member, Anthropology
Von, Kymmel Corinne. "Jean Giono ou l'expérience du désordre." Thesis, Artois, 2010. http://www.theses.fr/2010ARTO0003/document.
Full textThis thesis deals with the various forms of disorder that can be found in Jean Giono’s literary work. The chosen approach for this analysis is multifaceted, mainly literary but also anthropological, ethnological and sociological. The study first examines the thematic importance of nature. It reveals, despite climatic and seasonal disorders, the orderliness of the natural world Giono usually describes. The study then focuses on human beings in Giono’s work: philosophically bored by the monotony of a day-to-day order, they investigate various forms of diversions, and in doing so eventually experiment a dangerous violent action disorder, which leads them to physical or mental death. The study finally proves that artistic disorder seems to be the only one that can save mankind from everlasting metaphysical boredom: Giono’s work insists on the value of literary disorder. Writing enables him to test absolute disorder, considered to be the only way to benefit from a systematic vertiginous lack of balance
Biasci, Giulia. "Le discours de la maladie chez Diderot et dans les traités médicaux du XVIIIe siècle." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030046.
Full textThis thesis is an interdisciplinary study about the representation of the psychosomatic disease in Denis Diderot’s work put in an open dialectical relationship with Vitalistic medical theories from Montpellier medical school, around the mid-18th century. The notion of the organism as an animata anatome where soul is made flesh through sensibility is the precondition for the study of a disease that affects both the body and the mind. This is also the main finding proposed by the vitalists in their epistemological and methodological renewal of medicine. The treatises taken into consideration in our corpus following Diderot’s notes in Éléments de physiologie, as well as the articles of the Encyclopédie concerning medical matters, present attempts to theorize this new type of disease. By transcribing their experiences, doctors use poetic solutions that open the medical treatise to the forms and modes of the novel. The same figurative and poetic approaches can be found in Éléments de physiologie. In this essay, Diderot thus formulates his “science de l’homme”, he reflects on the consequences of physiological determinism, and he finally envisions the human being as a complex convolution of needs and relations. Diderot's novels and tales are the laboratory where he questions the complexity of the relationship between the individual and reality and he provides the psychosomatic disease with narrative and aesthetic functions. By representing sick physiological manifestations in a realistic way, Diderot appropriates the clinical observation specific to physicians, he involves his reader in the narration, and he questions classical moral philosophy
"From Monsters to Patients: A History of Disability." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18003.
Full textDissertation/Thesis
Ph.D. History 2013