Tesis:

1

Hickmott, Sarah. "(En) Corps Sonore : towards a feminist ethics of the 'idea' of music in recent French thought". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:eb562d0f-e9be-40f4-b0a3-9fa6da0a3136.

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This thesis explores the way music is characterized, used, or accounted for in recent (post-1968) French thought, focusing in particular on the work of Jean-Luc Nancy, Philippe Lacoue-Labarthe, and Alain Badiou. In spite of the differences in their philosophical-theoretical positions, all of these writers invoke music - both directly and indirectly - to negotiate their relationship to ontological, political, ethical and aesthetic concerns, particularly in terms of how it relates to the (im)possibility of a subject, the condition of truth, and the role of philosophical thought itself. The thesis situates these texts in a longer genealogy of musico-philosophical interactions and also brings them into dialogue with recent musicological approaches, thus showing how an inherited idea of what music 'is' is often assumed rather than critically re-evaluated. In short, by tracing the musical-transcendental baggage of an inherited metaphysical conception of music - one which often understands music in close relation to the feminine, (sexual) excess, and the beyond of language and/or the symbolic - the thesis shows that though music is instrumentalized by progressive thinkers as a way of shifting theoretical/philosophical paradigms, it nonetheless does so in a way that has a strong sense of continuity with previous thinking on music. Secondly, the thesis highlights the way in which music in its metaphysical-ontological guise is often conceived as synonymous with Western high art classical music (which is itself constructed as absolute and transcendent, and ontologically independent of its means of (re)production or context) whilst non-literate, popular, folk and world musics - on the occasions that they are considered and not simply ignored or denigrated - are notably considered almost exclusively in terms of their social-cultural or technological contexts. Finally, the thesis demonstrates that much of this takes place through a simultaneous instrumentalization of gender as an organisational category for philosophy, and one which all too often has the consequence of sending women - along with music - to the beyond of pre-, inter-, or post-signification.

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2

McLennan, Matthew. "Wild Normativity: Lyotard's Search for an Ethical Antihumanism". Thesis, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20224.

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In spite of its thematic and stylistic heterogeneity, Jean-François Lyotard’s corpus may be plausibly interpreted as, by and large, an attempt to grapple with the following problem set: a) In general: if we reject all transcendent/systematic philosophical frameworks, can we consistently make normative claims? Can we ground them in any way? Do we need to? b) In particular: if we reject the philosophical framework of humanism, what does this mean for ethics and/or politics? Can one be an antihumanist without abandoning ethics? The basic issue is over the titular possibility of a “wild normativity” – that is, a normativity that does not derive its force from any kind of transcendent guarantor. As I reconstruct him, Lyotard begins from a methodological rejection of transcendent guarantors in general; this plays itself out in particular terms as a rejection of humanism. Thus, beginning from a thought not of universality and totality but of singularity and difference, and wishing at a certain point in his career to ensure that the problem of justice stays firmly on the agenda, Lyotard gives us to think the very possibility of an ethical antihumanism. My dissertation is both an interpretation of Lyotard’s work as it unfolds in time, as well as a contribution to thinking through the general-particular problem set that I argue is at play in his work.

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3

Dicks, Henry. "Being and earth : an ecological criticism of late twentieth-century French thought". Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669967.

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4

Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory". Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.

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In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).

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5

Simpson, Pablo. "Rastro, hesitação e memoria : o lugar do tempo na poesia de Yves Bonnefoy". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270023.

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Orientador: Luiz Carlos da Silva Dantas
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-06T10:21:25Z (GMT). No. of bitstreams: 1 Simpson_Pablo_D.pdf: 3276436 bytes, checksum: 7ec16bd178106ff7cbf957e7dd06ad95 (MD5) Previous issue date: 2006
Resumo: Yves Bonnefoy é um dos poetas franceses mais importantes da segunda metade do século XX. Sua obra poética, que se inicia em 1946 com Traité du pianiste e Le Coeur-espace, pode ser situada, num primeiro momento, a partir do diálogo com o surrealismo, de que se afastaria em 1947, mas cuja noção de sonho retomaria em suas narrativas publicadas a partir dos anos 1970: L¿Arrière-pays e Rue Traversière. Pode ser situada, além disso, diante do existencialismo de Jean Wahl. Leitor de Plotino, Kierkegaard e Léon Chestov, importante crítico de arte e da obra de Baudelaire, além de tradutor de Shakespeare, Yves Bonnefoy traz, desde os ensaios de L¿Improbable de 1959, uma preocupação com o que chamaria de ¿presença¿, fundamental para a compreensão de seu projeto poético. Ela designaria, muitas vezes, uma oposição ao conceito filosófico e à linguagem. Traria um apelo a uma ¿realidade obscura¿, enigmática. Nesse sentido, a poesia pretenderia uma intuição do absoluto, uma esperança investida de uma vocação ontológica não sem relação com o questionamento heideggeriano. Este estudo pretende investigar as relações entre poesia e tempo. Há nos poemas de Anti-Platon e Du Mouvement et de l¿immobilité de Douve, tanto quanto em L¿Improbable, segundo Patrick Née, a condenação de um inteligível abstrato, em virtude do esquecimento do tempo. A poesia repercutiria uma tensão entre interioridade conceitual e exterioridade. As palavras do poema evocariam um apagamento: rastro, presença ausente. A perda se torna a origem da linguagem poética. Através da leitura dos poemas de Du Mouvement et de l¿immobilité de Douve, Hier régnant désert, Pierre écrite, Dans le leurre du seuil, Ce qui fut sans lumière e Les Planches courbes, e das narrativas L¿Arrière-pays, Rue Traversière e Lê Théâtre des enfants, este estudo buscará compreender a poesia de Yves Bonnefoy a partir das noções de rastro, hesitação e memória. Dividido em cinco capítulos principais, trata-se da tentativa de situar a sua poesia, a um só tempo, como expressão e reflexão de cada um desses lugares. Este estudo traz em anexo a tradução do livro de poemas Les Planches courbes (2001), da narrativa ¿L¿Égypte¿ do livro Rue Traversière (1977) e do ensaio ¿Les tombeaux de Ravenne¿ de L¿Improbable (1959)
Resumé: Cette étude concernant l¿oeuvre poétique d¿Yves Bonnefoy cherche à établir des rapports entre poésie et temps. À travers de lectures critiques interrogeant les poèmes de Du Mouvement et de l¿immobilité de Douve, Hier régnant désert, Pierre écrite, Dans le leurre du seuil, Ce qui fut sans lumière et Les Planches courbes, aussi bien que les récits L¿Arrière-pays, Rue Traversière et Le Théâtre des enfants, une trajectoire se dessine qui tente d¿aborder la pensée poétique d¿Yves Bonnefoy d¿après les notions de ¿trace¿, d¿¿hésitation¿ et de ¿mémoire¿. Le poème repose sur la tension qu¿il manifeste entre une intériorité conceptuelle et une extériorité que le poète appellerait ¿présence¿. Les mots du poème sont ce qui demeure de ce qui a disparu, ils gardent la ¿trace¿ de cette présence absente. Il y a dans les poèmes de l¿Anti-Platon et dans l¿essai ¿Les tombeaux de Ravenne¿, sélon Patrick Née, une reproche d¿un intelligible abstrait au nom de l¿oubli du temps. La perte devient l¿origine du langage poétique. Elle nous rappelle l¿abîme de l¿exil, de la séparation. Néanmoins, la poésie d¿Yves Bonnefoy veut apporter une intuition de l¿absolu, un espoir investi d¿une vocation ontologique non sans rapport avec le questionnement ontologique de Heidegger, de Kierkegaard, de Jean Wahl. Plutôt que d¿en brosser le sens philosophique, tout en veillant à ne pas confondre une approche conceptuelle du temps et sa ¿mise en intrigue¿ (muthos), selon Paul Ricoeur, cinq chapitres repèrent cet itinéraire. Les trois premiers, consacrés à la notion de trace, rejoindrent une affirmation du poète dans L¿Improbable: ¿Le fugace, l¿irrémédiablement emporté, sont le degré poétique de l¿univers¿. Il s¿agit de placer cette catégorie de l¿éphémère sous le signe de la recherche proustienne d¿un ¿équivalent spirituel¿ dans le chapitre ¿Marcel Proust & Yves Bonnefoy: inscription, présence¿. Dans le deuxième chapitre, l¿interpretation c¿est qu¿il y a un pari de la mort, de l¿absence, trace d¿un éloignement des dieux, où s¿affirme l¿importance de la perception dans les mots de leur composante sonore. Sous le signe des idées de ¿symbole¿ et ¿allégorie¿, on essaye d¿interroger les lectures d¿Yves Bonnefoy des oeuvres de Baudelaire et les poèmes ¿Vrai corps¿ et ¿Le lieu de la salamandre¿ du livre Du Mouvement et de l¿immobilité de Douve. Le troisième chapitre mène à la définition de la notion de ¿témoignage¿ en accord avec des idées d¿échange, de partage, selon la perspective du texte offert, de l¿amour d¿après Rimbaud et des images de la pierre et de la voix, celle-ci dans le poème ¿À la voix de Kathleen Ferrier¿ de Hier régnant désert. On situe ce questionnement à partir de la lecture d¿Emmanuel Lévinas et de l¿établissement des rapports entre poésie, temps et éthique. Le quatrième chapitre, ¿L¿Arrière-pays, Rue Traversière & Dans le leurre du seuil: rêve, hésitation et labirynthe¿, évoque l¿ambivalence du temps dans ce qu¿Yves Bonnefoy désigne comme ¿une hésitation profonde qui est en nous, dans l¿existence vécue et quant à la façon de la vivre¿. Le poète est celui qui hésite, à la fois, entre deux degrés d¿intensité ontologique, l¿existence et l¿écriture, l¿éveil et le rêve. L¿inquiétude aux carrefours de L¿Arrière-pays est la représentation même de cette interruption de l¿action, hantise d¿une terre au-delà de l¿horizon, insituable. Il s¿agit d¿une dialectique de la indécision et de la décision, de la ¿morne incuriosité¿ de Perceval chez le Roi Pêcheur et des questions qu¿il lui fallait poser. Autrement dit, l¿écriture engage une tension entre la gnose et l¿ici de la finitude, entre le rêve et le récit. Il fallait, selon le poète, ¿quelque chose comme une foi pour persister dans les mots¿. Finalement, le cinquième chapitre est consacré à la notion de ¿mémoire¿ dans les livres Ce qui fut sans lumière et Les Planches courbes, questionnement qui revient au vers ¿je ne me souviens¿ du livre Le Coeur-espace, publié en 1946. Il y a dans la série de poèmes de ¿La maison natale¿ de Les Planches courbes un rétour à l¿enfance et aux mythes. Les images de l¿enfance, dès la publication de ¿L¿Égypte¿ ou à la fin de L¿Arrière-pays, celle de Moïse sauvé des eaux, les mythes de Cérès, de Marsyas, la quête d¿une origine y témoignent la nécessité d¿établir des rapports entre poésie et mémoire. La poésie ¿garde mémoire¿. Elle est ¿la mémoire qui se maintient en nous, qui parlons, des instants de présence que nous avons vécu¿. Quête de l¿origine, de l¿origine de la poésie, d¿où l¿apparition d¿Ulysse dans le poème ¿Dans le leurre des mots¿. On placerait cette tension sous le double signe du ¿fait humain toujours prêt à recommencer¿ de Léon Chestov, à partir de l¿opposition entre mort et réssurrection, et d¿une ¿mémoire appaisée, voire d¿un oubli heureux¿ de Paul Ricoeur. Cette étude a pour annexe la traduction du livre de poèmes d¿Yves Bonnefoy Les Planches courbes (2001), du récit ¿L¿Égypte¿ du livre Rue Traversière (1977) et de l¿essai ¿Les tombeaux de Ravenne¿ publié dans L¿Improbable (1959)
Doutorado
Literatura Geral e Comparada
Doutor em Teoria e História Literária

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Görgül, Emine. "Augmented Spatial Mediators of Late 20th Century and their Impact on the Realization Process of the Smooth Space in Architectural Discourse: Fresh Water Expo Pavilion Case". Pontificia Universidad Católica del Perú, 2015. http://repositorio.pucp.edu.pe/index/handle/123456789/119368.

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With the rising influence of digitalization and its immense penetration intoeven everyday life, the last decade of the 20th Century addressed to a critical threshold in the successive transformation process of the spatiality in its long-term run. The advanced digital technologies of ubiquitous computing and generative design, as well as the invention of smart materials in late 90’s (particularly the nano-technological materials that emerged as the programmable matters with their ability to evolve continously) have all provoked the fluid characteristics of spatiality, and strengthen the transformative capacities of the architectural space through the emergence of computer-augmented territories. Additionally, while they are becoming as the body extensions, the advent of novel apparatuses and gadgets further enhanced the inte- gration of the corporal and incorporal bodies with the spatio-temporal multiplicities, where the hyperdimensionality of the space has been triggered to its outmost range, in relation to the “soft and smart technologically augmented immanent millieu”, in Spuybroek terms. Thus, like Spuybroek points out as the “haptonomist” presence of the body merges itself with these diverse bodily extensions on one hand; and on the other hand, as the rising influence of nomadic view of the world further stimulates the unboundedness and endless fluidity of space, so that the spatiality becomes a landscape of successive transformations, a topology of emergence or a plane of becoming, which is merely defined by lines of forces, and occures as an alive territory rather than a limited space of predefined boarders. Therefore, this evolvable territory which is affectable and being affected by the lines of forces –inner and outer forces–, emerges as an animated existence, an interactive organism. So, by interacting with the Deleuzian Philosophy and their notions like lines of forces, folding, becoming, smooth space, territory, spatium, this article aims to reveal the relevance of these notions in architectural discourse, as well as the emergence of the smooth space in the contemporary architectural practice, by magnifiying one of the very initial examples of its kind; in terms of unfolding the Fresh Water Pavilion of NOX Architecture by Lars Spuybroek into question to reveal the essences of thecontemporary transformable-evolvable architectural spatiality.

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7

Okitadjonga, Anyikoy Wa Anyikoy Gaspard. "Les enjeux de la différance chez J. Derrida: prolégomènes à une praxis de la responsabilité". Doctoral thesis, Universite Libre de Bruxelles, 2003. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211296.

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La thèse comprend deux parties, qui visent à vérifier deux hypothèses principales.

La première consiste à se demander si la déconstruction derridienne de la métaphysique traditionnelle ne joue pas, au su ou à l’insu de Derrida, un double rôle :d’une part, délimiter les prétentions de ladite métaphysique à révéler et/ou à livrer la présence pleine du sens ou de la vérité et, d’autre part, constituer le fondement de la logique de la différance. Celle-ci, posée comme ‘’principe des principes’’ de la pensée de Derrida, jouerait un rôle unificateur de son œuvre, en dépit de l’argument commun aux disciples de l’impossibilité de fixer son travail en aucune forme d’unité. Derrida n’est-il pas, soutient-on, le penseur de la fragmentation, à l’opposé de Heidegger qui, lui serait le philosophe du rassemblement ?

Contrairement à cette thèse, nous posons la différance comme tissu de l’unité de fond sans fond de l’œuvre de Derrida ou, plus précisément, comme clef interprétative obligée permettant d’aborder son travail sous la forme d’une unité en différance et fragmentée. La différance commanderait ainsi l’ensemble de l’œuvre de Derrida comme une sorte de logique non-logique à l’œuvre, partout et toujours déjà, active dans chaque champ de son déploiement. Au lieu de constituer un auxiliaire à la déconstruction, la différance en commanderait la genèse et l’économie.

Notre seconde hypothèse repose sur l’idée que la différance, érigée en logique non logique, déborderait le contexte et le champ de recherche que lui assignerait son auteur. De sorte qu’il deviendrait possible de la mettre en dialogue avec la révolution linguistico-pragmatique pour, d’une part décloisonner le terrain de la théorie du performatif et des speech acts et, d’autre part, envisager une transgression de ladite révolution par des thématiques dont elle revendiquerait l’exclusivité en montrant qu’elle reste incapable d’en rendre rigoureusement compte. L’incapacité de la révolution linguistico-pragmatique à rendre compte, par exemple, de la pratique de l’événement sous forme de la promesse à la fois possible et impossible, du don de rien, du pardon sans demande ni repentir, de l’hospitalité inconditionnelle offerte et donnée à/par l’étranger en tant qu’arrivant en général, de la décision impossible, en un mot de la responsabilité incalculable sous le régime de l’aporie, témoignerait de sa restance dans l’orbite du logocentrisme ou, simplement, de la logique identitaire de tout ou rien. Il appert ainsi que la volonté affichée par ce tournant de dépasser la métaphysique traditionnelle tourne à l’échec, à telle enseigne que seule la prise en compte de la logique non oppositionnelle de la différance présenterait une alternative nouvelle. Cette dernière serait de nature non seulement à déconstruire la métaphysique de la présence et à délimiter les prétentions du Linguistic-turn mais aussi à tracer la voie vers une praxis de la responsabilité non réductrice, encore moins répressive de l’incommensurable altérité de l’autre, voire de son autre, en général.

La question reste ouverte de savoir si Derrida peut être considéré comme un ‘’métaphysicien’’ à la recherche du dépassement de la métaphysique et de tout ce qui pourrait s’y rattacher ou un philosophe de l’action tendant à subvertir la morale, au moyen de la différance, en vue d’une nouvelle praxis.

Doctorat en philosophie et lettres, Orientation philosophie
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8

Morizot, Baptiste. "Hasard et individuation. Penser la rencontre comme invention à la lumière de l'œuvre de Gilbert Simondon". Thesis, Lyon, École normale supérieure, 2011. http://www.theses.fr/2011ENSL0682.

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L’objet de cette recherche revient à interroger le rôle du hasard dans le processus d’individuation tel qu’il est théorisé par Gilbert Simondon. Dans cette perspective, le hasard, élaboré à partir du concept darwinien de chance, doit être considéré comme opérateur théorique et concept explicatif d’une théorie des processus de genèse de forme individuelle, et non comme un principe métaphysique ou une mesure de l’ignorance. Il qualifie dans l’individuation la modalité de la rencontre entre la singularité, qui donne forme à l’être individuel, et le milieu métastable individuel, susceptible de transformations. Suivant cette perspective, le hasard devient un des opérateurs de l’invention des structures individuelles singulières, plurielles, et novatrices, formes de vie et manières d’exister, qui sont élaborées comme solution à des problèmes par le processus d’individuation. Cette analyse de la pensée simondonienne va permettre de mettre en place les linéaments d’une théorie de la rencontre individuante, induisant une conception particulière de l’individualité humaine, qui est susceptible d’entrer en dialogue avec les thèses de la sociologie dispositionnelle (P. Bourdieu, B. Lahire). Comme invention, l’opération d’individuation sera alors analysable à partir du concept biologique d’exaptation (S. J. Gould), qui explicite dans l’évolution l’invention de couples structuro-fonctionnels nouveaux, à partir d’un jeu entre hasard et invention vitale
This research aims to question the role of chance in the individuation process as it was theorized by Gilbert Simondon. In this context, chance, which was drawn up based on the Darwinian concept of chance, must be considered as a theoretical operator and as an explanatory concept of the genesis of individual form, and not as a metaphysical principle or as a measure of ignorance. It characterises within the individuation the modality of the encounter between the singularity which shapes the individual being and the individual metastable environment which is capable of being transformed. From this point of view, chance turns out to be one of the invention operators of singular, individual, plural and innovative structures which are ways of existing, created as solutions to problems by the individuation process itself. This analysis of Simondon’s philosophy allows us to outline a theory of the individuating encounter leading us to think of human individuality through a specific approach which enters into dialogue with the theses of the dispositional sociology (P. Bourdieu, B. Lahire). From an invention point of view, the individuation operation can thus be analysed using the biological concept of exaptation (S. J. Gould) which makes very explicit the invention of new structure-function couples in evolution based on an articulation between chance and vital invention

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9

O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau". Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.

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Massonet, Stéphane. "Phénoménologie et esthétique de l'imaginaire dans l'oeuvre de Roger Caillois". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212524.

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Kasongo, Mbuyu Joseph. "Le paradoxe "vitalogique" comme source et horizon de la pensée philosophique en rapport à l'homme chez Albert Camus". Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211144.

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En commençant son étude critique sur Camus, Pierre de Boisdeffre,dans (Métamorphose de la littérature, Proust, Valéry, Cocteau, Anouilh, Camus, Sartre, Verviers, Marabout Université, 1974, p.309), fait le constat suivant:"l'Europe depuis Nietzsche, est à la recherche d'un cinquième Evangile. Qu'elle exalte les nourritures terrestres ou qu'elle communie à sa propre nausée, la littérature contemporaine n'a plus qu'une seule certitude: elle sait que Dieu est mort et s'efforce de le remplacer par l'Homme." En méditant la pensée de Camus à travers ses essais philosophiques, il semble que, même si dans un entretien sur la révolte, ce dernier déclare qu'"il n'est pas humaniste", la question du comment l'homme doit vivre avec ses semblables dans le monde et en société, est au centre de la réflexion philosophique camusienne. Car, l'époque de Camus fut celle où la vie humaine comme valeur et la dignité de l'être humain, furent soumises à une dure épreuve d'être respectées par chaque homme et en tout homme. D'où l'intérêt que l'oeuvre de Camus porte sur la question de la "vitalogie": L'homme peut-il vivre heureux sans le secours de Dieu? Oui ou non, l'homme, peut-il se tuer volontairement ou bien tuer les autres sans raison? L'homme peut-il détruire le monde qui le porte sans détruire sa propre vie? En effet, loin de voir dans la mort raisonnée et dans le suicide une valeur, Camus considère qu'ils sont plutôt un mal que les hommes doivent éviter et faire éviter les autres dans le "vivre-ensemble." C'est pour cette raison que la pensée philosophique chez Camus présente comme l'une des caractéristiques majeures, la "passion de vivre" de l'homme et pour l'homme, car la vie est, selon lui, une valeur cardinale qui doit être respectée en tout être humain dans la communauté qui voudrait être juste, paisible, libre, solidaire et unie. A cet effet, nous soutenons la thèse suivante: La pensée camusienne est une "vitalogie" paradoxale, c'est-à-dire qu'elle est debat philosophique sur la vie de l'être humain, en tant que valeur fondamentale, dans ses rapports avec Dieu, le monde et les autres. Par conséquent, une société dans laquelle les hommes sont habités par la passion de bien vivre et mieux vivre ensemble, il y a une exigence impérieuse pour eux de promouvoir et de crer les valeurs qui favorisent le respect de l'être humain et de sa vie. La vitaogie camuusienne est indissociable de la vision qu'on se fait sur l'homme ici et maintenant, en tenant compte des contradictions ou des antinomies du "oui" et du "non" de l'existence. Selon Camus, en effet, la mission principale de l'homme dans le monde est de vivre: "Oui, mais je n'aurai rien manqué de ce qui fait toute ma mission et c'est de vivre." (Carnets I.p.92). La pensée camusienne est donc une vitalogie. Mais comment l'homme doit-il vivre? Celui-ci, pense Camus, doit devenir "créateur" des valeurs de la justice, de la liberté, de la solidarité, de la paix, de l'amitié et de la fraternité entre les hommes et être courageux, pour assumer la responsabilité de sa vie et de son destin dans le monde, en évitant d'aliéner son esprit dans les illusions, dans quelque absolutisme qu'il soit ou dans un pessimisme tétanisant. Au total, l'homme doit prendre en main sa destinée, en vue de la "joie vivre", sans pour autant perdre de vue que celle-ci ne se sépare pas non plus du "désespoir de vivre."

Doctorat en philosophie et lettres, Orientation philosophie
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12

Bailly, Jean-Jacques. "Eros et infini: essai sur les écrits de Marc-Alain Ouaknin". Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211049.

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Les principaux livres de Ouaknin ont constitué un matériau de choix me permettant de poser deux questions par hypothèse liées l’une à l’autre :

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Doctorat en philosophie et lettres, Orientation philosophie
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13

Mazzù, Antonino. "De la psychologie descriptive à la phénoménologie transcendantale: essai sur la portée métaphysique de l'intériorité phénoménologique dans la pensée d'Edmund Husserl". Doctoral thesis, Universite Libre de Bruxelles, 2001. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211487.

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14

Bagley, Paul Michael. "Mysticism in 20th and 21st century violin music". Thesis, University of Maryland, College Park, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3643907.

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“Mysticism,” according to the Oxford dictionary, can be defined as “belief in or devotion to the spiritual apprehension of truths inaccessible to the intellect.” More generally, it applies to the aspects of spirituality and religion that can only be directly experienced, rather than described or learned. This dissertation examines how mysticism fits into the aesthetic, compositional, and musical philosophies of four prominent composers of the 20^th and 21^st centuries—Ernest Bloch, Olivier Messiaen, Sophia Gubaidulina, and John Zorn, with a cameo by the Jewish composer David Finko—and how their engagement with the concept of mysticism and the mystical experience can be seen in a selection of their works featuring the violin: Bloch's Baal Shem suite and Poème mystique; Finko's Lamentations of Jeremiah, Zorn's Kol Nidre, Goetia, All Hallow's Eve, and Amour fou; Gubaidulina's In tempus praesens; and Messiaen's Quartet for the End of Time. These works exemplify the mysticism shared by these composers, despite their different religious and cultural backgrounds, particularly their belief in the transcendental nature of music. This belief is expressed in their works through programmatic, melodic, harmonic, rhythmic, and formal elements, all of which display, to a greater or lesser degree, the influence of mystical philosophy and symbolism.

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15

Grabovskiy, Aleksandr. "Reception of Marxism in 20th Century Russia". Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/211.

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In my thesis I will study how the revolutionary philosophy of Karl Marx and Friedrich Engels was received and interpreted by early 20th century Russian intellectuals in an attempt to reconcile orthodoxy with the real conditions present in Russia. Through analysis of documents spanning several decades of debate, I will trace the evolution of this discussion to unlock the logic that led to philosophy put to action in the form of revolution. Finally, I will evaluate how this logic fits into the historic trajectory described by Marxism.

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16

Parent, Marcel 1975. "Is comparative philosophy postmodern?" Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79800.

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This thesis examines the claims of Jeffrey Timm and James Buchanan that the field of Comparative Philosophy is moving in a postmodern direction. I examine their conception of the postmodern and compare to both the most influential views of postmodernism and with my own understanding of postmodernism. To evaluate their claims I examine the journal Philosophy East and West, which I argue is representative of the field of Comparative Philosophy. I analyze the works of the editors of the journal and also do a statistical analysis of the journal to determine whether the field is becoming more postmodern. I conclude that Timm and Buchanan may be correct.

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17

De, Rouvray Cristel Anne. "Economists writing history : American and French experience in the mid 20th century". Thesis, London School of Economics and Political Science (University of London), 2005. http://etheses.lse.ac.uk/36/.

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If one considers the fortunes of economic history in the 20th century U.S., the 1940s, 50s and 60s stand out as a particularly vibrant time for the field and economists’ contributions to it. These decades saw the creation of the main association and journals - the Economic History Association, the Journal of Economic History for example – and the launching of large research programs – Harvard’s history of entrepreneurship, Simon Kuznets’ retrospective accounts, cliometrics for example. Why did American economists write so much history in the decades immediately following WWII, and why and how did this change with cliometrics? To answer these questions I use interviews with scholars who were active in the mid 20th century, their publications and archival material. The bulk of the analysis focuses on the U.S., yet it relies in part on a comparison with France where economic history also experienced a golden period at this time, though it involved few economists. Instead it was the domain of Annales historians. This comparison sheds light on the ways in which the labels “economist” and “historian” changed meaning throughout the period of study. Economists’ general interest for history is best understood as a part of an ongoing debate on scientific method, specifically about whether and how to observe and what constitutes reliable empirical evidence. These debates contributed both to draw social scientists to history, and change the way they wrote history. In the U.S. the mid 20th century surge in economist-history was principally due to the post-war demand for knowledge about growth and development. The sense of urgency that came with this task increased scholars’ willingness to work with estimated (as opposed to found) data. This was reinforced by American economists’ experience in war planning and ensuing spread of an operations research mentality among graduate students. The issue of whether or not to estimate became a new demarcation line between “historians” and “economists”. By the late 1960s, scholars who wanted to turn to the past to observe economies evolve over several decades, and let these facts “speak for themselves” had largely been replaced by researchers who used modern economic theory to frame historical investigation, and relied on quantification and estimation as their main empirical inputs.

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18

Tao, Wenjia y 陶文佳. "The Chinese reception of Rousseau's political philosophy in the 20th century". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/195979.

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The present thesis explores the history of interpretations of Rousseau’s political philosophy in the last one hundred years in China. Ever since the introduction of Of the Social Contract into China at the beginning of the twentieth century, Rousseau became one of the few western thinkers who greatly influenced how the Chinese perceive modern society and politics. Rousseau’s political ideas first generated a growing number of interpretations from 1898 to 1920. In these interpretations, his work was portrayed as the epitome of modern democracy, and his teachings were considered the cure for social problems in China at the time. However, in the recent three decades in China, scholars interpreted his political writings differently. Some even accused him of being the advocate of totalitarianism, and his political theories the theoretical support of dictatorship of the French Revolution. Such different interpretations in different periods of the Chinese reception of his political philosophy raised the question: what caused the distinctive alteration of Rousseau’s image in the last century in China? This thesis intends to provide a possible answer by examining the movement and evolution of interpretations of his political philosophy over the past century. In this examination, I first introduce the methodology and the theoretical foundation of this dissertation: Gadamer’s hermeneutic method in interpreting a text, and Rousseau’s political philosophy as a whole. In part two and part three, the history of the Chinese interpretations will then be divided into two phases in accordance with the alteration of Rousseau’s image over time. I present and briefly analyze different interpretations of his political theories to provide a thorough overview, as well as different characteristics of the interpretations from both phases. I then employ Gadamer’s hermeneutic method to analyze three interpretations that were most influential in these phases to argue that even though some interpretations contained inaccurate accounts of Rousseau’s texts, all fulfilled the hermeneutic task of understanding these texts in different phases. The cause of the alteration of Rousseau’s image in the last century is the alteration of interpreters’ hermeneutic horizons in different times. As the process of understanding his political writings evolved through the last century in China, these texts constantly generates new fusions of the horizon of the author with the horizons of the interpreters.
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Philosophy
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19

O'Brien, Carolyn 1957. "Immigrant integration, European integration : the Front national and the manipulation of French nationhood". Monash University, Centre for European Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8548.

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20

Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s". Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.

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21

Cook, Jordan Ellington. "Space, Time, and the Self in 20th Century Literature". University of Toledo / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1525456817163611.

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22

Murdock, Mark Cammeron. "In the Company of Cheaters (16th-Century Aristocrats and 20th-Century Gangsters)". BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1775.

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This document contains a meta-commentary on the article that I co-authored with Dr. Corry Cropper entitled Breaking the Duel's Rules: Brantôme, Mérimée, and Melville, that will be published in the next issue of Essays in French Literature and Culture, and an annotated bibliography of primary and secondary sources featuring summaries and important quotes dealing with duels, honor, honor codes, cheating, historical causality, chance, and sexuality. Also, several examples of film noir are cited with brief summaries and key events noted. The article we wrote studies two instances of cheating in duels: one found in Brantôme's Discours sur les duels and the other in Prosper Mérimée's Chronique du règne de Charles IX, and the traditional, as well as anti-causal, repercussions they had. Melville's Le Deuxième souffle is also analyzed with regards to the Gaullist Gu Minda and the end of the aristocratic codes of honor that those of his generation dearly respected but that were overcome by the commercial world of republican law and order.

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23

Ulmschneider, Jacob A. "Paul Piccone’s Providential Moment: Phenomenology, Subjectivity, and 20th Century Marxism in Telos". VCU Scholars Compass, 2018. https://scholarscompass.vcu.edu/etd/5445.

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This thesis explores the intellectual history of editor, writer, and philosopher, Paul Piccone and Telos, an independent journal of contemporary critical theory, which he founded in 1968. Born in Italy, Piccone lived most of his life in the United States, earning his Ph.D. in philosophy at SUNY-Buffalo in 1970. Piccone served as Telos’ editor and a major contributor from 1968 to 2004. This thesis follows the trajectory of his thought by contextualizing his writing within the broader world of Marxist, and eventually post-Marxist, political philosophy. Telos also concerned itself with modern interpretations of historical dialectics and early 20th-century Marxist philosophy. Piccone himself predicated much of his philosophy on Husserlian phenomenology, which stresses concrete experiences, and his writing therefore stands at a unique confluence of Husserl and Marx. Piccone ultimately became a leading exponent of anti-Liberal philosophy and the theory of artificial negativity, which examines capitalist hegemony in both material and socio-historical terms.

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24

Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /". Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.

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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.
The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.

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25

Feng, Dongning. "Text, politics and society : literature as political philosophy in post-Mao China". Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2216.

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The purpose of this study is to arrive at a critical overview of politics and literature in the Chinese context. The relationship has increasingly become a "field" of studies and theoretical inquiry that most scholars in either disciplines are wary to tread. This thesis tries to venture into this problematic field by a theoretical examination as well as an empirical critique of Chinese literature and politics, where the relationship seems even more paradoxical, but adds more insight into the argument. The Introduction and Chapter One set up a framework by asking some general but fundamental questions: what literature is, and how it is to be related to politics. Chapter Two examines the historical function of literature and Chinese writers in society to establish the basis of argument in the Chinese context. Chapter Three focuses the discussion on the relationship between politics and literature during the Mao era and after. Chapters Four analyses the literary works published during the post-Mao period to establish the argument that literature, as part of our perception of the world, is most concerned with human society and social amelioration and participates in the socio-political development by contributing to it through a discourse that is otherwise inaccessible. Chapter Five explores the argument further by extending it into the field of cinema, which basically comes from the same narrative tradition of prose literature, but offers a wider and different dimension to the argument pursued. Chapter Six and the Conclusion try to draw together the argument by examining literature as both form and content to argue how and why literature is related to politics and how it has functioned in a political manner in Chinese society. To summarise, Chinese literature in this period will b& shown to be involved In a process of political reform and development by way of bringing the reader to participate in a critical and philosophical dialogue with power, history and future. In the long run, it offers emancipating visions and possibilities revealed to the reader in ways that are historical, developmental, philosophical and comparative. This study focuses on the prose fiction published in this period, for it is the leading force in China's cultural development and constitutes the major trunk of the modern Chinese canon. In addition, the research also extends to drama and films, and the way they, together with prose fiction, make up the most popular perception and intellectual discovery of contemporary Chinese society and politics and best inform the argument of the study of politics and literature.

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26

Humphrey, Christopher Wainwright. "The sage of Kingston : John Watson and the ambiguity of Hegelianism". Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39349.

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John Watson's thought has not been well understood. A question suggested by previous scholarship, namely, how successful was he at his task of re-founding the Christian religion on a philosophical base? is answered first in terms of consistency with the theological tradition. His revision of Christian theology is found to be inadequate by traditional standards; it is then examined as a philosophy of religion which, to his mind, overcame the difficulties of classical theism. It is argued that, despite some advantages, his philosophy of religion is deficient in two respects. First, its method is vitiated by a strained and sometimes mistaken interpretation of the philosophical tradition, indicative of arbitrariness. Second, "Speculative Idealism" as the result of that method reveals conceptual ambiguities corresponding to the ambiguities of classical theism. As the method is not self-evident and is used implicitly by Watson, and the results are philosophically ambiguous, the appropriation of this thought was theologically or philosophically shallow. Though Watson's thought, as far as it was understood, provided an underpinning for the "social gospel" movement in Canada, it is argued that this shallow appropriation explains, at least in part, the brevity of its appeal as philosophy of religion.

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27

Costello, Paul. "The goals of the world historians : paradigms in world history in twentieth century". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74629.

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Following Nietzsche, Oswald Spengler posed the central problems of the cyclical history of civilization in the twentieth century. Subsequent world historical theorists have attempted to answer Spengler's nihilistic perspective on the destined rise and fall of all cultures by rescuing a progressive movement which transcended the downfall of civilizations. World history since Spengler has been written in pursuit of an answer to the crises of modernism: to the 'Death of God,' the problem of progress, the emergent technological order with its bureaucratic management of society, and the need sensed by the metahistorians for a new 'mythical' grounding to avert the fall of the West. The "Crisis of the West" dominates the perspectives of the world historians. Their goals for the solution of 'modernism,' through the religious transformation of society or political and cultural world unity, are central to their motivation as writers and to the formulation of their paradigms.

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28

Valevicius, Andrius Darius. "From the other to the totally other : the religious philosophy of Emmanuel Lévinas". Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65997.

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29

Cole, Alistair. "Factionalism in the French Parti Socialiste, 1971-1981". Thesis, University of Oxford, 1985. http://ora.ox.ac.uk/objects/uuid:45540f01-8b00-4837-9920-b970c04e5ab6.

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This thesis concentrates on the cause, structure, location and context (rather than the function) of factions within the French Parti Socialiste, from the Congress of Epinay, in June 1971, until Mitterrand's election as Socialist President of the Republic, on May 10th, 1981. It argues that factionalism results from a complex, interrelated cleavage structure: groups are differentiated according to a number of salient variables, of which the most important are personality (accentuated by the presidentialised Fifth Republic); ideology/policy; strategy/tactics; organisational interests and different historical origins. Factional relations are a product both of the intra-party consequences of the party's external objectives, and the internal dynamic created by factional competition itself. The party is thus an evolutive, rather than a static entity. [continued in text ...]

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30

Longwell, Ann E. "France, man and language in French Resistance poetry". Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.

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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.

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31

Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu". Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.

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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.

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32

Collins, Anne Marie. "Changes in pictorial construction and types of representation which formed the basis of modern art". Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1010579.

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The erosion of traditional French academic methods of picture-construction, and the eclipse of hierarchical subject-matter, ensured the emergence of a diversity of new painting styles in France by 1900 and the possibility of even more drastic departures from tradition in the 20th century, particularly in the work of Picasso, from 1900 to 1914.

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33

Davies, Christopher. "'Carrying the fire' : Cormac McCarthy's moral philosophy". Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002260.

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In this thesis, I argue that the question of ethics, despite claims to the contrary, is a central concern in Cormac McCarthy’s fiction. My principal contention, in this regard, is that an approach that is not reliant on conventional systems of meaning is needed if one is to engage effectively with the moral value of this writer’s oeuvre. In devising such an approach, I draw heavily on the ‘immoralist’ writings of Friedrich Nietzsche. The first chapter of the study contends that good and evil, terms central to conventional morality, do not occupy easily definable positions in McCarthy’s work. In the second chapter, the emphasis falls on the way in which language and myth’s mediation of reality informs choice. The final chapter focuses on the post-apocalyptic setting of The Road, in which normative systems of value are completely absent. It argues that, despite this absence, McCarthy presents a compassionate ethic that is able to find purchase in the harsh world depicted in the novel. Finally, then, this study argues that McCarthy’s latest novel, The Road, requires a reconsideration of the critical claim that his work is nihilistic and that it negates moral value.

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34

Audet, Eric. "The reforms of the Islamic legal system by the French in Morocco between 1912 and 1925 /". Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59961.

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With the institution of the Moroccan Protectorate by the French in 1912, the military command had as its primary intention that of restoring law and order. Under the strong personality of the "resident general", Lyautey, a new era of "soft" political colonization was introduced in Morocco; brutish military conquests were followed by a certain cooptation process of the Moroccan elite. This association policy allowed the perception of real cooperation between the French and the Moroccans but was actually aimed at the tight regulation of the population. The efficiency of this regulation was achieved through its technocratic approach; it showed respect for the Moroccan Islamic traditions and its institutions.
This study analyses the French colonial policy in Morocco between 1912 and 1925 through the means of reforms introduced into the judicial Islamic system. The author compares the system's organization, its jurisdictions and its procedures before 1912, and their reforms throughout the 1912 to 1925 period, when Lyautey was in command.

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35

McRae, A. "The useful journey : Travellers through life in eighteenth-century French and English fiction". Thesis, University of Reading, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.373763.

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36

Venema, Henry I. "Paul Ricoeur's interpretation of selfhood and its significance for philosophy of religion". Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=34475.

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On numerous occasions Ricoeur has characterized the goal of his philosophical analyses as the "exchange of the ego, master of itself, for the self, disciple of the text." Our investigation follows the development of this theme through careful examination of Ricoeur's phenomenological-hermeneutical philosophy. By way of contrast with Husserl's phenomenology we see how Ricoeur initiates a program of self-recovery that decenters consciousness from the immediacy of self-grounding radicality. Looking instead to the polysemic world of the text, Ricoeur chooses a path of indirect imaginative mediation as the route towards self-interpretation.
The imagination, correlative with the works of culture (signs, symbols and texts), forms the central core of Ricoeur's understanding of selfhood. Already operative in his early publications as the mediating structure of selfhood, the work of imagination is transformed from a transcendental third term into a linguistic process that constructs sonorous worlds in front of consciousness for the self to inhabit.
Ricoeur's analysis of metaphor and narrative shows selfhood to be a task accomplished by means of linguistic interpretation. However, such an interpretation of the self, with the textual world as its other, is a linguistic construction that is caught up in semantic self-identification. Ricoeur's program for the exchange of the self-enclosed ego, for a self discipled by the text, becomes entangled in the semantics of identity to such an extent that selfhood is equated with the objectifications of the reflective process and is never dealt with on the intimate level of the reflexive structure of the self in relation to otherness. This has significant consequences which need to be critically examined by philosophy of religion.

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37

Pinkoski, Nathan. "Postmodern Aristotles : Arendt, Strauss, and MacIntyre, and the recovery of political philosophy". Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:b4d728b9-8bb4-47e6-ac01-16dcc9f6f314.

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What is political philosophy? Aristotle pursues that question by asking what the good is. If Nietzsche's postmodern diagnosis that modern philosophical rationalism has exhausted itself is true, it is unclear if an answer to that question is possible. Yet given the prevalence of extremist ideologies in 20th century politics, and the politically irresponsible support of philosophers for these ideologies, there is an urgent need for an answer. This thesis examines how, in these philosophical circumstances, Hannah Arendt, Leo Strauss, and Alasdair MacIntyre conclude that a key resource in the recovery of political philosophy, and in showing its contemporary relevance, lies in the recovery of Aristotle's political philosophy. This thesis contends that how and why Arendt, Strauss, and MacIntyre turn to Aristotle, and what they find in Aristotle, depends on their varying critiques of modernity. Convinced that the philosophical tradition is shattered irreversibly after the events of totalitarianism, Arendt argues for a retrieval of Aristotle and his understanding of politics from the fragments of that tradition. Strauss is impelled to turn to the political philosophy of Aristotle because of the crisis of radical historicism, to recover classical rationalismâs answer to what the good is. MacIntyre turns to Aristotle to find the moral justification for rejecting Stalinism that contemporary philosophical traditions fail to provide; he reconstructs an Aristotelian tradition that can answer the question of what the good is better than his contemporary rivals. Although these thinkers may appear disparate, this thesis argues that each addresses the question of what the good is by offering a vision of political philosophy as a way of life, which Aristotle helps form. This way of life probes the relationship between philosophy and politics as permanent problem for human existence. In recovering this tradition of thinking with Aristotle about the character of political philosophy, this thesis aims to contribute to the understanding of each of these thinkers, as well as to the practice of political philosophy in modern, post-Nietzschean times.

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38

Roy, Nina Tamara. "Harvest of memories : national identity and primitivism in French and Russian art, 1888-1909". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37827.

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This dissertation analyses the convergence of primitivism and nationalism in late-nineteenth and early-twentieth century French and Russian art. The discourse of primitivism has yielded a number of critical studies focusing on the artistic appropriation of aesthetics derived from "tribal" arts, Asian arts, medieval icons, outsider art, and peasant arts and crafts. Within that scholarship, modern European art that appropriates the aesthetics of folk arts and themes of the peasantry is frequently considered to be representative of national identity and myth. The artistic elucidation of the peasantry as emblematic of national identity combined with their incorporation into primitivism produces a tension that complicates the conventional, binary structure of the discourse. It is therefore necessary to examine artistic expressions of national myth and the peasantry's absorption into the primitivist discourse, as this indicates a critical point at which issues of nationalism and primitivism converge. In the cultural realm, that juncture is located in the artistic idealisation of peasant cultures, which is indicative of a mythical state of being from which national identity could be rearticulated.
The myth of the peasantry as developed in nineteenth century European thought centres around the premise that rural populations were an unchanging element of society whose traditional customs, religious beliefs, and modes of production contrasted sharply with the accelerated changes in urban culture. A critical examination of selected paintings by the French artist Paul Gauguin (1848--1903), the Russian Neoprimitivist Natalia Goncharova (1881--1962), and the French Fauve painter Othon Friesz (1879--1949) within their specific, social contexts reveals the ways in which the modern, artistic maintenance of the rural myth elucidates current political and social issues of nationalism. This underscores the peasantry's symbolism within the nation as representative of a national, collective consciousness and ancestry. The peasantry's incorporation into the primitivist discourse and the cultural articulation of the rural myth are revealed in the paintings The Vision After the Sermon (1888), Yellow Christ (1889), Fruit Harvest (1909), and Autumn Work (1908). The paintings and their respective social contexts situate the peasantry both as constructions within the primitivist discourse and symbols of national identity, thereby disrupting the structure of alterity upon which primitivism is predicated.

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39

Botha, Estelle. "Where dance and drama meet again : aspects of the expressive body in the 20th century". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/1704.

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Thesis (MDram (Drama))—University of Stellenbosch, 2006.
Acknowledging theatrical styles such as physical theatre, Tanztheater and poor theatre as forms of ‘total theatre’, and recognizing that there has been a prolonged process of development to reach such a point, the first chapter investigates the historical divide between dramatic dance and drama as starting point. Subsequently, in considering the body as expressive medium, the impact of content and form on the training of the performers’ body for the theatrical context is also evaluated.

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40

Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.

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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.

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41

White, Brook. "ANOTHER FORGOTTEN ARMY: THE FRENCH EXPEDITIONARY CORPS IN ITALY,1943-1944". Master's thesis, University of Central Florida, 2008. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2595.

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The French Expeditionary Corps that fought in Italy during World War II was a French army, but that description must be qualified. Therefore this thesis asks two questions: how did France manage to send the equivalent of an army to Italy if French military leadership in 1943 had no direct access to French manpower resources; and the most important question since it is unique to the historical debate, why were the troops that were sent to Italy so effective once there when compared to the 1940 French army? To answer the first question, it was a French colonial army – soldiers mainly from Africa – that enabled France to send an army to Italy. The second question was not so easily addressed and is actually composed of two parts: current scholarship finds that at the tactical level French troops of 1940 no less capable than the troops in Italy, but more importantly it was the French military leadership's willingness to expend the lives of their colonial solders with little regard that allowed the French Expeditionary Corps to allow the United States Fifth Army to enter Rome just days before the Allied invasion of Normandy. And in order to understand why the French military was willing to expend the lives of its African soldiers, this thesis also had to examine the French colonial system dating to the eighteenth and nineteenth centuries. Finally, this paper explores the different components of leadership that each army, which were African (primarily from North Africa and French West Africa) and metropolitan (mostly from European France), used to lead and direct their men. Thus, this study is more than just a pure military history. It is also a cultural and social history of France in relation to its colonies.
M.A.
Department of History
Arts and Humanities
History MA

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42

Makin, William Edward Anselm. "The philosophy of Pierre Gassendi : science and belief in seventeenth-century Paris and Provence". Thesis, n.p, 1985. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.245767.

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43

Kirk, Elizabeth Gail. "Neo-orientalism : ugly women and the Parisian avant-garde, 1905-1908". Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28091.

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The Neo-Orientalism of Matisse's The Blue Nude (Souvenir of Biskra), and Picasso's Les Demoiselles d'Avignon, both of 1907, exists in the similarity of the extreme distortion of the female form and defines the different meanings attached to these "ugly" women relative to distinctive notions of erotic and exotic imagery. To understand Neo-Orientalism, that is, 19th century Orientalist concepts which were filtered through Primitivism in the 20th century, the racial, sexual and class antagonisms of the period, which not only influenced attitudes towards erotic and exotic imagery, but also defined and categorized humanity, must be considered in their historical context. My introduction is an investigation of current art historical scholarship which has linked the manipulation of form by Matisse and Picasso and shifting avant-garde practice in Paris in the years 1905 - 1908, when Cubism displaced Fauvism, to the concepts of Orientalism and Primitivism. The problem of the ideological content of images of women, which I undertake to address, arises from these studies which rely upon the assumed metaphysical fascination with the exotic or the intuitive, personal concern for erotic symbolism by the artists as a solution to meaning. The absence of a rich critical discourse surrounding the paintings encourages my approach to the problem of meaning whereby in Chapter One I examine images of women produced in Paris in the specific discourses of popular and official culture in 1906. These representations of the female are identified as ideological constructions which functioned in relation to the important and broader issues of the moment affecting the dominance of French culture: class struggle and neo-colonialism. In Chapter Two the "ugly" women of Matisse's The Blue Nude (Souvenir of Biskra) and Picasso's Les Demoiselles d'Avignon are analysed as intended avant-garde transformations of images of female prostitutes and compared with the Images of women In popular and official culture and with each other, In recognition of their function within the historical context of their production. In conclusion I suggest that the difference in meaning between these paintings by Matisse and Picasso was Ideological, operating within the context of class struggle and neo-colonialism, and defined by their distinctive conscious and unconscious use of Primitivism.
Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate

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44

Mogilski, Sara. "French influence on a 20th century 'Ālim : 'Allal al-Fāsī and his ideas toward legal reform in Morocco". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98561.

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This thesis is a study of a 20th Century Moroccan ' alim, 'Allal al-Fasi, and his ideas toward legal reform. The aim of this study is to understand the influence French colonialism had on a traditional scholar and nationalist. This thesis attempts to unearth the way al-Fasi assimilated and advocated many French notions of how a legal system ought to operate.
It begins with a discussion of the French colonial discourse surrounding the Moroccan legal system and their subsequent reforms. This is followed by a biographical account of al-Fasi, discussing his role as both nationalist and 'alim. Subsequently, an examination will be offered on al-Fasi's ideology as an 'alim seeking to reconcile the traditional Islamic legal system with modern concepts of justice. Its final section will attempt to show the contradictions in al-Fasi as a nationalist and as an 'alim. This will help to understand how French legal discourse became incorporated into al-Fasi's thought.

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45

Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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46

Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and Western 20th century experimental art /". Ottawa : National Library of Canada = Bibliothèque nationale du Canada, 2002. http://www.nlc-bnc.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.

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47

Hanna, Emily Lauren. "'I Am Rooted, But I Flow': Virginia Woolf and 20th Century Thought". Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/97.

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My thesis is about Virginia Woolf’s novels, Mrs. Dalloway, The Waves, and To the Lighthouse. I examine these novels in relation to the theories of Henri Bergson, William James, and Sigmund Freud, and the groundwork of Modernism. I relate Woolf's use of water imagery and stream of consciousness technique to Bergson’s theory of “la durée,” or psychological, subjective time, James’ “stream of consciousness” theory in psychology, and Freud’s theory of the “oceanic” feeling of religious experience.

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48

周嘉耀. "內聖外王？: 第三期儒家人文主義的現代轉向-對民主與科學之一回應 = Neisheng-waiwang? : the modern turn of Confucian humanism at its third period - a response to democracy and science". HKBU Institutional Repository, 2009. http://repository.hkbu.edu.hk/etd_ra/1111.

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49

Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.

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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.
A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.

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50

Hendrickson, Kendra Beth. ""Vitalité": Race Science and Jews in France 1850-1914". PDXScholar, 2014. https://pdxscholar.library.pdx.edu/open_access_etds/1948.

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Race science is built on ideas of division and categorization. In the historian's quest to tell the story of race science, certain frameworks have been used that can greatly inhibit our understanding of this fraught topic. The impulse to study race science in the framework of the nation-state has led to certain misconceptions and lends itself to a historical narrative wherein racist concepts stop at artificially imposed borders. In addition, the national framework detracts from the individual's contributions and instead lumps these contributions together on the level of the nation-state, thus opening the door for judgments about whole nations being more or less responsible for race science. In this work, I explore contributions to race science pertaining to the "Jewish race" (which I have simplified to the phrase "Jewish race science") made by individual French writers and scholars. These contributions have been overlooked at times by historians who look to more notorious examples, such as those made by German race science theorists; in failing comprehensively to examine all significant contributions to race science, historians have often inhibited their own ability to understand Jewish race science fully. If such a historical field is to be understood, one must be aware of the full range of development of Jewish race science, both in terms of geographical scope and scholarly focus. By bringing attention to Jewish race science contributions made in nineteenth-century France, it is my intention to broaden the understanding of this field and to help bring about a new approach to the field that is less reliant on the nationalist framework in its evaluation of the nature and impact of race science.

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Tesis sobre el tema "French philosophy – 20th century"

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