Cette thèse de poïétique explore selon une double approche, théorique et pratique, les questions de l'origine et du métissage dans l'art. Elle s'appuie sur les œuvres d'artistes contemporains ainsi que sur des productions personnelles. Nous émettons l'hypothèse selon laquelle une réflexion sur l'origine, sur le métissage inscrit dans son corps propre mais aussi sur le métissage dans l'art, peut mettre en évidence l'altérité qui nous traverse jusque dans notre intériorité la plus intime. Dans un premier chapitre nous analysons le rouge-généalogique transmis par les générations de femmes au sein de ma famille. Puis nous explorons le rouge-blessure qui irrigue le passage du corps d'enfant à celui de femme. Enfin dans un dernier temps, nous abordons le rouge-exilique qui questionne directement le corps d'artiste. Lié à une recherche généalogique et personnelle, notre travail traite du déplacement physique, de la rupture vécue lorsque nous quittons notre pays natal jusqu'à la prise de conscience de notre corps-exilique sur le lieu d'accueil. Cette réflexion ne serait peut-être jamais née sans la question : « quelles sont vos origines ? », qui m'a un jour été posée face à mes œuvres. La question a résonné et fait écho en moi jusqu'à ce que je décide d'entreprendre un voyage à rebours parmi les souvenirs exhumés d'une collection d'objets personnels. Nous en concluons que l'artiste est toujours, de quelque manière que ce soit, un migrant et un exilé. L'artiste est celui qui, de ce flot de vie mais aussi d 'impermanence, de mélanges et de métissages, va chercher la continuité, mettre en évidence les transformations créatrices. Tous les rouges de mon œuvre, rouge-­généalogique, rouge-blessure, rouge-exilique, rouge de vie et de mort sont ainsi à l'image du plasma sanguin qui circule nous, qui nous fait vivre et dont je tire la matière transformatrice, métissée, créatrice de mon œuvre: ces rouges sont le plasma-créateur qui circule en l'artiste et préside à toute création. / This poietic thesis explores the question of origins and metissage in art using a dual approach - theoretical and practical. It is based on works of contemporary artists as well as persona! production. We forward a hypothesis, according to which, a reflection on the origin and also the metissage in art inscribed on the body, which could highlight the alterity that traverse us even in our innermost interiority. In the first chapter, we analyse the red genealogy transmitted by generations of women within my family. Later, we explore the red wound that irrigates the passage of child's body to that of a woman. And finally, in the last step we approach the exilic-red which directly questions the body of the artist. Our work is related to genealogical and persona! research deals with physical displacement, the disruption experienced when we leave our native land until the awareness about exilic body in the host land. This reflection might never arise without the following question "What is your origin?, which was once posed to me about my works. The question echoed within me until I decided to undertake a journey back to the exhumed souvenirs of a collection of persona! items. We conclude that the artist is always, in any way a migrant and an exile. The artist is the one who, in this stream of life and also in ephemeral state, in mixtures and metissage, seeks continuity and creative transformations. All the reds of my work, genealogical, wounded, exilic, red of life and death, are images of the blood plasma which circulates in us, which makes us live and from which I ex tract the transforming material -mixed and creative of my work. The reds are the creator plasma that circulates in the artist's body and presides over all creation.

[pt] Este ensaio tem por objeto os temas da representação e da narratividade nas ciências humanas, a partir de uma comparação com o campo da teoria da arte. A hipótese aqui apresentada é a de que a noção clássica de mímesis, que por muito tempo serviu de suporte para a teoria de representação, experimenta uma crise de seus fundamentos ao longo dos séculos XIX e XX. Após uma série de intervenções teóricas - dentre as quais destaco a contribuição do romantismo, a perspectiva da antropologia social e a linguística – o paradigma mimético perde sua força em favor de uma teoria da representação centrada na dimensão da linguagem. Meu objetivo é analisar as consequências desta mudança epistemológica sobre o regime discursivo que separou a literatura e as ciências humanas em campos opostos. Assim, pretendo demonstrar que o princípio científico de rejeição da poiésis obedece a uma concepção obsoleta da linguagem, segundo a qual empiria e poética são consideradas ameaças mútuas. / [en] The object of study in this research is the topics of representation and narrativity in the human sciences, starting from a comparison with the field of the theory of art. The hypothesis proposed here is that the classic notion of mimesis, which supported the theory of representation for a long time, went through a crisis with regards to its theoretical bases during the 19th and 20th centuries. After a series of theoretical interventions – in which I highlight the importance of romanticism, the perspective of social anthropology and linguistics – the mimetic paradigm loses its strength in favor of a theory of representation focusing on the dimension of language. My objective is to analyse the consequences this epistemological change has for the discursive regime that separated literature and the human sciences into opposite fields. As such, I intend to demonstrate that the scientific principle of rejecting poiesis obeys an obsolete conception of language, in which empiria and poetics are considered mutual threats.

Le concept de structure clinique se réfère immédiatement à la classification d’une maladie mentale comme névrose, psychose ou perversion, mais aussi au sous-type nosographique la concernant. Actuellement, les développements de ce concept constituent la principale théorie psychopathologique de l’analyse lacanienne. Toutefois, il y a une disparité de jugement sur sa valeur : (1) quelques auteurs soutiennent une continuité naturelle entre cette théorie et la doctrine de Freud et Lacan ; (2) quelques autres proposent une réorganisation de la nosographie psychanalytique incluant des nouvelles pathologies ; (3) quelques autres, finalement, défendent la disparition complète de ces références théoriques dans la clinique.Cette disparité relève d’une lacune dans le savoir : les fondements des structures cliniques, ainsi que ses enjeux, n’ont pas été encore systématisés. L’objetctif général de ce travail fut de les restituer, afin de déterminer la légitimité de cette théorie en tant qu’interprétation de la pensée de Freud et Lacan, ainsi que sa pertinence dans les débats psychopathologiques actuels.Pour éclairer les filiations symboliques qui soutiennent le concept de structure clinique, une méthode généalogique a été employée. Les résultats démontrent que Freud a utilisé une notion de structure héritée de la science du XIX e siècle pour élaborer ses conceptions psychanalytiques. La référence minéralogique, fournie par son ancien professeur G. Tschermak, a notamment imprégné l’usage freudien de la structure en psychopathologie. Bien que les catégories de névrose, psychose et perversion n’arrivent pas chez lui à se constituer comme un triptyque, il y a dans ses textes une tendance à les considérer dans leurs rapports mutuels, en tant que perturbations de la vie sexuelle. Cette tendance a été récupérée par Lacan à partir de 1953, et déclinée sur son concept de structure – entendue alors comme un ensemble covariant de signifiants – et sur les registres du réel, du symbolique et de l’imaginaire. Les avancées de sa production intellectuelle, telles que l’invention de l’objet petit a et l’introduction des nœuds et des tresses en psychanalyse, auront apporté jusqu’à la fin de ses jours un approfondissement du triptyque freudien.La systématisation de la théorie des structures cliniques a proprement commencée en 1981, quand les membres du Champ freudien ont soudé cet ensemble d’éléments psychopathologiques avec le terme, homonyme et préexistant, de structure clinique. L’enjeu majeur de cette soudure a été de supporter la relation dialectique entre la théorie et la pratique analytique. À présent, le programme de recherche des structures cliniques porte sur les psychoses ordinaires et sur la spécificité de l’autisme. La psychopathologie lacanienne ainsi constitué est interrogée depuis nombreux angles : la proposition d’une structure psychosomatique, la promotion des pathologies borderline, la liquidation post-moderne de la structure perverse, la contrainte des nosographies opérationnalisées (CIM, DSM et PDM). Les conclusions de cette recherche qualifient la théorie des structures cliniques comme une interprétation légitime de la pensée de Freud et de Lacan. Elle est d’autant plus pertinente dans le contexte actuel qu’elle est d’une grande utilité pour l’établissement du diagnostic structural, pour la direction de la cure et pour la transmission du cas clinique. En tant que cartographie du malaise subjectif, la structure clinique signale la référence éthique du psychopathologique, et constitue une résistance et une subversion face à la défaillance contemporaine dans l’appréhension du réel clinique. / The concept of Clinical Structure concerns the classification of a mental disease as neurosis, psychosis or perversion, and its corresponding nosographic sub-type as well. Nowadays, the developments of this concept constitute the main psycho-pathological theory brought about by lacanian psychoanalysis. However, there is a disparity of judgment regarding its value: (1) some authors assert the natural continuity between that theory and the doctrine of Freud and Lacan; (2) some others propose a reorganization of psychoanalytic nosography which includes new pathologies; (3) some others finally advocate a complete disappearance of these theoretical references from clinical studies. This disparity takes on a lack of knowledge: the clinical structures’ foundations, and its stakes, have not yet been systematized. The main objective of this work was to restore them, in order to determine the legitimacy of this theory as an interpretation of Freud’s and Lacan’s thinking, and its appropriateness in contemporary psycho-pathological debates.For clarifying the symbolic filiations that support the concept, a genealogical method has been employed. The results demonstrate that Freud has used a notion of structure inherited from 19th century science to elaborate his psychoanalytical conceptions. The mineralogical reference, provided by his ancient Professor G. Tschermak, has notably permeated the freudien use of the structure in psychopathology. Although he did not constitute the categories of neurosis, psychosis and perversion as a triptych, there is in his textes a tendancy to consider them on their mutual connections, as disturbances of sexual life. This tendancy has been recovered by Lacan since 1953, and declined on his concept of structure (then understood as a co-variant set of signifiers) and on the registers of real, symbolic and imaginary. The advances of his intellectual production, like the invention of the Object petit a and the introduction of knots and braids in psychoanalysis, have brought until the end of his days a deepening of the freudien triptych.Systematization of the theory of clinical structures has properly started in 1981, when the members of the Freudien Field have welded this set of psycho-pathological items to the term, namesake and pre-existing, of clinical structure. The major stake of this welding has been to support the dialectical relationship between the psychoanalytic theory and the practice.Nowadays, the in-depth study of clinical structures is focused on the ordinary psychosis and the specificity of autism. The Lacanian psychopathology thus constituted is questioned from many angles: the proposition of a psychosomatic structure, the promotion of borderline pathology, the Postmodern liquidation of the perverse structure, the constraint of operationalized nosographies (ICD, DSM and PDM).In conclusion, this research confirms the theory of clinical structures as a legitimate interpretation of Freud’s and Lacan’s thinking. It is even more relevant in contemporary context that it has an important utility in order to the establishment of structural diagnose, to the direction of the cure and to the transmission of cases. As a cartography of subjective discomfort, the clinical structure points to the ethical reference of the psycho-pathological, and constitutes a resistance and a subversion facing the contemporary failure in the apprehension of clinical real.

The current tourist behavioural trends and the increasing number of visitor nights can no longer be the main focus of the international tourism industry, as they harm the physical and social environment. However, in the current profit-driven economic and political systems, reducing the intensity of travelling seems unrealistic; besides, many people's livelihoods are dependent on the industry. Nevertheless, we should always strive for the utmost to mitigate harmful consequences. Travellers' behavioural patterns pose a major barrier to reforming the industry, calling for long-term connections and engagement with the physical and social environment as a possible solution. Therefore, we investigate the potential of transforming the hedonistic tourist attitude into one that values meaningful connections. Our research explores the emotional dimensions of DNA journeys and the effects of the travellers’ shifting identities on their behaviour. The semi-structured interviews helped unfold the emotions of participants emerging during their journeys. The findings indicate that the travellers' newly awakened emotions led to new attitudes of openness, acceptance and curiosity. We concluded that the emotions faced by DNA travellers as part of their identity construction could translate into the adoption of behavioural norms that bring new perspectives on responsible travelling by enabling a deeper connection to the destination. Genealogical mapping-based journeys embrace the appreciation of commonalities and differences as travellers enter a country with open hearts and minds. / A jelenlegi turisztikai viselkedési tendenciák és a növekvő vendégéjszakák száma nem lehet többé a nemzetközi idegenforgalmi ipar középpontjában, mivel ezek károsítják a fizikai és társadalmi környezetet. A jelenlegi haszonközpontú gazdasági és politikai rendszerekben azonban az utazás intenzitásának csökkentése irreálisnak tűnik, ráadásul sok ember megélhetése függ ettől az iparágtól. Ennek ellenére mindig a lehető legtöbbet kell tennünk a káros következmények mérséklése érdekében. Az utazók viselkedésmintái komoly akadályt jelentenek az iparág reformjának, és a szakemberek hosszú távú kapcsolatokat, valamint a fizikai és társadalmi környezettel való elkötelezettséget sürgetik. Ezért megvizsgáljuk a hedonista turista attitűd átalakításának lehetőségét egy olyanná, amely értékeli a jelentőségteljes kapcsolatokat. Kutatásunk a DNS-utazások érzelmi dimenzióit és az utazók változó identitásának a viselkedésükre gyakorolt hatását vizsgálja. A félig strukturált interjúk segítettek feltárni a résztvevők utazás során felbukkanó érzelmeit. Az eredmények azt mutatják, hogy a résztvevők újonnan ébredt érzelmei a nyitottságot, az elfogadást és a kíváncsiságot ösztönözték. Arra a következtetésre jutottunk, hogy a DNS-utazók által az identitásépítés részeként megtapasztalt érzelmek olyan viselkedési normák felvételéhez vezethetnek, amelyek új távlatokat kínálnak a felelős utazással kapcsolatban, a célállomással való mélyebb kapcsolódáson keresztül. A genealógiai feltérképezésen alapuló utazások a hasonlóságok és a különbségek megbecsülését segítik, mivel az utazók nyitott szívvel és elmével lépnek be a célországba.

[pt] O presente estudo busca analisar os contornos jurídicos e políticos das comissões de verdade, a fim de apontar as promessas, as potencialidades e os limites desse mecanismo da justiça de transição. O objetivo mais amplo deste trabalho consiste em situar as comissões de verdade no interior das relações, contemporaneamente reconfiguradas, entre a verdade, o direito e a memória. Trata-se de refletir criticamente sobre a maneira em que, no interior de tais mecanismos, a violência (sobretudo no que diz respeito à violência política e à violência de Estado) é compreendida, investigada e nomeada. A hipótese central desta pesquisa sustenta que o regime de construção de verdades no interior das comissões de verdade — em sua relação complexa, contraditória e ambígua com os direitos humanos, a história e a memória — mantém um vínculo indissociável com o processo de escrita oficial (seus contornos, lacunas e silêncios) da violência. Longe de constituírem uma solução neutra ou acabada para os problemas decorrentes dos legados de graves violações de direitos humanos, comissões de verdade são, acima de tudo, um espaço de conflito entre diferentes memórias e de disputas pelos significados e sentidos do passado violento. A experiência da Comissão Nacional da Verdade do Brasil é abordada, ao final, como caso referência para o estudo das comissões de verdade (e mais amplamente para o estudo da justiça de transição), capaz de trazer relevantes aportes à análise destes mecanismos de justiça. / [en] The present study aims to understand the legal and political contours of truth commissions, in order to examine the promises, the potentialities and the limits of this mechanism of transitional justice. The broadest goal of this work is to situate truth commissions within contemporary relationships stablished between truth, law and memory. It seeks to critically reflect about the ways in which these new mechanisms of justice affect our way of naming and understanding forms of violence (especially state-sponsored violence). The central hypothesis holds that the regime of truth-making within truth commissions — in its complex, contradictory and ambiguous relationship with law, history, and memory — maintains an inseparable link with the process of official writing of violence (its outlines, gaps and silences). Indeed, far from constituting a neutral or finished solution for the legacies of grave human rights violations, truth commissions are, above all, a space of conflict between different memories and a space of dispute of the meanings granted to the past of violence. The experience of the Brazilian National Truth Commission is finally addressed as a reference for the study of truth commissions (and more broadly for the study of transitional justice), capable of bringing relevant contributions to the analysis of these mechanisms of justice. / [fr] La présente étude vise à comprendre les contours juridiques et politiques des commissions de vérité, afin d examiner les promesses, les potentialités et les limites de ce mécanisme de la justice transitionnelle. L objectif le plus large de ce travail est de situer les commissions de vérité à l intérieur des rapports contemporaines entre la vérité, le droit et la mémoire. Il s agit de réfléchir de façon critique sur les modes par lesquels ces nouveaux mécanismes de justice influent sur notre manière de nommer et de comprendre les formes de violence (surtout en ce qui concerne la violence politique et la violence d État). L hypothèse centrale soutient que le régime de construction de vérités à l intérieur des commissions de vérité — en ce qui concerne sa rapport complexe, contradictoire et ambigu avec le droit, l histoire et la mémoire — maintient un lien indissociable avec le processus d écriture officielle (ses contours, lacunes et silences) de la violence. En effet, loin de constituer une solution neutre ou achevée aux problèmes issus des héritages des violations graves des droits de l homme, les commissions de vérité sont, surtout, un espace de conflit entre les différentes mémoires et de dispute entre différentes significations accordés au passé violent. L expérience de la Commission Nationale de la Vérité du Brésil est finalement abordée comme une référence pour l étude des commissions de vérité (et plus largement pour l étude de la justice transitionnelle), susceptible d apporter des contributions pertinentes à l analyse de ces mécanismes de justice.

Historia ska i gymnasieskolan utveckla elevers förmåga att använda historien som en referensram för att bättre kunna förstå sin samtid och därmed även sin framtid. Detta kallas även för historiemedvetande. I detta sammanhang utgör en grund att förstå att vi människor är och har en historia. Nutidens människa är ett resultat av tidigare skeenden i historien. Samtidigt har nutidens människor olika behov och syften när vi vänder oss till historien för att finna referenspunkter där vi selektivt väljer relevant historia. Vi gör eller brukar historia. Vi är alltså både skapade och skapare av historien. Två sätt att arbeta med historia på härstammar utifrån denna insikt. Det ena sättet är genetiskt, vilket tar hänsyn till historiens utvecklingslinjer med fokus på historiska samhällen och människors utveckling. Perspektivet har sitt fokus i de historiska rötterna och förklarar sedan utveckling och kronologin framåt. Det andra sättet är genealogiskt, vilket vänder sig till historien med avstamp från nutiden. Här rör sig perspektivet baklänges från betraktarens tidshorisont för att svara mot specifika behov och intressen där historien kan ge svar och riktlinjer. Dessa två perspektiv har bägge sina egna fördelar och kan därmed komplettera varandra. Historiedidaktisk forskning menar att bägge dessa perspektiv behöver sammanföras i en då kallad dubbel tankeoperation Denna uppsats grundar sig på dessa två perspektiv och försöker genom elevsvar på skriftliga prov ta reda på i vilka sammanhang dessa två perspektiv synliggörs.   Provfrågan som eleverna skulle svara på handlade om varför Adolf Hitler och nazismen blev populär i Tyskland samt vilka orsaker som föranledde själva maktövertagandet.  Vad resultatet har kunnat visa på var att det genetiska perspektivet synliggjordes genom orsaksförklaringar och historiska strukturella sammanhang. Här lyfte eleverna bland annat den ekonomiska situationen i Tyskland, Versaillesfredens villkor och utpekandet av en syndabock. Den historiska framställningen var sällan fördömande eller moraliserande utifrån ett genetiskt perspektiv utan snarare förstående. Flera elever pekade på Hitlers kompetenser som bidragande orsak till hans framgångar. Det genealogiska perspektivet synliggjordes istället genom att eleverna ofta utgick ifrån sig själva och sin uppfattning om världen (livsvärlden) och sin samtid när de skulle förklara historien. Ofta blev en sådan framställning fördömande. Dessutom var det svårt utifrån en genealogisk horisont att kunna se hur historien skulle kunna upprepa sig idag då nutiden målades upp som tillräckligt utvecklad för att kunna stå emot liknande krafter. Den dubbla tankeoperationen gick att spåra i ett par elevsvar genom att genetiska och genealogiska perspektiv kombinerades i svarsframställningen. Även om dessa svar var sällsynta kunde de visa på hur två tidshorisonter kunde mötas i en och samma tankeoperation.

Andreas Huyssen señalaba que el mundo se está musealizando y vive obsesionado con el pasado y la memoria. Lo que con Huyssen bien podríamos denominar como cultura de la memoria ha llevado a la pregunta por el recuerdo a cierto agotamiento. La reciente e imparable tendencia inflacionista de la memoria implicada en esa dinámica ha generado numerosos análisis, la mayoría de los cuales son sólo parcialmente satisfactorios cuando no directamente insuficientes. En este sentido vincular la cuestión de la memoria sobre una dimensión biopolítica ofrece no sólo una dimensión inédita sobre fenómenos actuales que, como la “judealización” de la memoria o la utilización del derecho como un instrumento de representación del pasado, marcan el paso de las sociedades democráticas actuales, sino también un marco idóneo desde donde plantear el alcance político del problema. El núcleo del trabajo se centra en el desarrollo del vínculo entre memoria y biopolítica con vista a arrojar luz en medio de un debate donde predomina una enorme confusión. En este sentido, basada en las indagaciones genealógicas de parte relevante de la filosofía italiana (Giorgio Agamben y Roberto Espósito), la primera parte de la investigación trata de dar a pensar la memoria como un dispositivo que se apropia del pasado a costa de excluir su vida; en otras palabras, de pensar de qué manera se inscribe el cuerpo cuando hacemos una operación de memoria. Asimismo, en la medida de esa operación constituye el lugar de la soberanía y produce la humanidad del ser vivo, su estatuto es inseparable de la máquina antropogenética que procede mediante el gesto mismo de la inscripción de lo animal en la polis, por el que se constituye el yo que recuerda. Por otro lado, el otro frente de análisis es de signo histórico-genealógico y tiene como labor esencial poner en relación la especificidad y el alcance de la hipótesis propuesta con una constelación de autores que directa o indirectamente se hacen cargo del mismo problema. Esto no quiere decir que esta búsqueda quiera confirmar la infabilidad de la tesis propuesta. Más bien al contrario, plantearlo así permite por un lado penetrar en la cuestión desde otros ángulos haciendo posible de ese modo introducir una perspectiva crítica, y por otro, sugerir la posibilidad de anclar genealógicamente el problema en una tradición, atendiendo, claro está, a la especificidad y relevancia del modo en el que esta tradición se manifiesta. Todas estas reflexiones requieren un aparato teórico que tenga como principal característica un diálogo fértil con una buena parte del pensamiento contemporáneo, en particular con todos aquellos que prestan una mayor atención a sus registros políticos y genealogico-políticos. Dado que la cuestión de la memoria no es originaria y está íntimamente ligada al arte de contar historias, se analizarán los soportes narrativos que, desde sus diferentes dominios, den cuenta de esta problemática. Entre ellos el trabajo se hace cargo de una fuente fundamental, el cine, mediante la cual rastrearemos los términos en los que la relación ente la memoria y la imagen tiene o no una repercusión política directa. / Fragments for a genealogy of memory José Miguel Burgos Mazas. University of Murcia Andreas Huyssen noted that the world is musealized and obsessed with the past and memory. What with Huyssen well we could call memory culture has led to the question of the recall certain exhaustion. Recent unstoppable inflationary trend of memory involved in this dynamic has generated numerous analyzes, most of which are only partially satisfactory if not downright inadequate. In this sense link the issue of memory on a biopolitical dimension offers not only an unprecedented dimension on current phenomena such as memory prosecution or use of law as an instrument of representation of the past, set the pace of the today's democratic societies, but also an ideal framework to raise the political scope of the problem. The core of the work focuses on the development of the link between memory and biopolitics with a view to shed light in the midst of a debate where enormous confusion prevails. In this sense, based on genealogical inquiries from relevant part of the Italian philosophy (Giorgio Agamben and Roberto Esposito), the first part of the research is to think of memory as a device that appropriates the past at the expense of excluding its life; in other words, to think how the body falls when we make a memory operation. Also, to the extent that operation constitutes the place of sovereignty and produces humanity of the living, their status is inseparable from anthropogenetics machine that comes through the act itself of registration of the animal in the polis, by which the self is reminiscent. On the other hand, the other front analysis is of historical and genealogical sign and its essential work to relate the specificity and scope of the proposed hypothesis with a constellation of authors that are made directly or indirectly by the same problem. This does not mean that this search want to confirm the infallibility of the thesis proposal. Quite the contrary, this way allows penetrate the matter from other angles enabling thereby enter a critical perspective, and on the other, suggest the possibility of anchoring genealogically the problem in a tradition, based, of course, to the specificity and relevance of the way in which this tradition is manifested. All these considerations require a theoretical device that has as main feature a fertile dialogue with much of contemporary thought, particularly those who pay more attention to their political and genealogical and political records. Since the question of memory is not original and is closely linked to the art of storytelling, narrative supports from different domains, realize these problems are discussed. Among them we can distinguish one main sources, film, through which will track the terms in which the entity relationship memory and the image is or is not a direct political impact.

El objetivo de esta investigación es fijar el campo semántico del concepto de representación en el momento de su origen (siglos XVII y XVIII). Pretendemos identificar las diversas esferas de la experiencia sobre las que se ha fundamentado esta construcción conceptual y, al mismo tiempo, describir las mutaciones que ha sufrido, hasta su crisis. Estas esferas son: artística, epistemológica y jurídico-política. Nuestra hipótesis supone que la nueva concepción del poder político contractualista depende de la metáfora de la representación teatral. Trataremos de mostrar cómo la vieja metáfora del Theatrum Mundi, liberada del sistema teológico, se va a transformar en el Barroco en una forma de sociedad espectacular. El ciudadano se convierte en espectador tanto en el teatro como en la sociedad y en la política. Nuevas relaciones de poder y nuevos sujetos (la burguesía y las masas urbanas), pero también nuevos espacios ciudadanos: reales y abiertos (plazas y jardines), y espacios virtuales y cerrados (teatros). Ese complejo estético-político tiene en la ópera cómica, desarrollada durante el clasicismo, el signo distintivo de la Ilustración y de la burguesía. Los textos han sido tratados por una metodología hermenéutica haciendo una nueva lectura de todos aquellos documentos originales que presentaban una perspectiva de esa metáfora escénica. La problemática actual de la representación política se ha tratado desde el método genealógico usando tres perspectivas que constituyen sendas figuras conceptuales. La primera es la que presenta las tres disciplinas por las que conocemos la representación en Occidente: la teoría política, la epistemología y la estética. La segunda hace referencia a los personajes representativos: el político, el científico y el artista. Finalmente, la representación cultivada por estos tres personajes constituye el espectáculo que se ofrece al público. El espectador “actúa” en la representación como el representado. El espectador (público-masa), constituye la tercera figura conceptual o perspectiva. El resultado de este tratamiento nos permite ver cómo, gracias a esa forma de diferenciación social basada en la distinción o gusto estético, frente a la ópera y otras manifestaciones artísticas, se configuraba un sistema espectacular absolutamente vertical. Las altas culturas se presentaban a aquellos individuos distinguidos, convertidos en personajes representativos (alta burguesía). La moderna sociedad de clases reinventa la desigualdad a través de la cultura. En las reflexiones sobre el arte dramático hemos descubierto las claves para la comprensión del moderno hombre público en tanto que personaje representativo. El espacio público se ha transformado en un escenario (El gran teatro del mundo) y se presenta bajo la forma de la representación. La sociedad y la ciudad se han convertido en una escenografía para el espectáculo; el ciudadano es el público y para él se procede a organizar la compleja representación. Se diseña la figura profesional del representante de los asuntos públicos: el político representativo, casi de la misma manera que hay un protagonista de la representación en el teatro: el actor. Dentro de las conclusiones constatamos que la representación no ha entrado en crisis, como viene anunciado en arte y política, más bien al contrario, se ha reforzado, y la moderna red global está organizada por los sistemas mediáticos que gestionan la opinión pública y estimulan el consumo espectacular de las masas. Hemos identificado, en diálogo con Foucault, que la crisis no ha afectado al sistema completo de la representación sino a uno de sus componentes, ese que caracterizó al racionalismo clásico: al modelo cartesiano del orden metódico. En consecuencia, podemos constatar la pervivencia del clasicismo actualmente. Las músicas populares, las dramaturgias cinematográficas, etc. van a promover un nuevo género que regresa a las fuentes populares, aunque se aleja de los patrones musicales del clasicismo ya convertido en música culta, música clásica. El mundo de la comedia clásica está en nuestra sensibilidad, las estructuras espectaculares creadas en aquella época siguen funcionando. Este mundo de la comedia ilustrada ha llegado a convertirse en la dramaturgia de la cultura de masas que la Dialéctica de la Ilustración llamó “industria cultural”. Este trabajo ha pretendido realizar la genealogía de los contenidos de esa cultura que impregna todos los productos culturales que se producen en la segunda mitad del siglo XX, especialmente después de que la ilusión de la crisis de la representación haya acabado con la Vanguardia. Y a través de ese análisis hemos definido un modelo crítico de la actitud ciudadana. Respecto a esa construcción cultural se construyen dos figuras del espectador: la ofrecida por Rousseau y otra de Diderot. Nuestra perspectiva es más diderotiana que roussoniana: el espectador debe dejar de serlo, pero en el teatro mismo, no contra el teatro. Nuestras formas culturales y espectaculares forman parte de nuestra identidad y, por ello, debemos exigir no solo su mantenimiento sino la calidad de su custodia, su renovación y su desarrollo. / The objective of this research is to set the semantic field of the concept of representation at the time of its origin (17th and 18th centuries). We aim to identify the various areas of the experience on which this conceptual structure is based upon and, at the same time, describe the mutations it has suffered up to its crisis, in its triple aspect: artistic, epistemological and juridical. We will try to show how the old metaphor of the Theatrum Mundi, freed from the theological system, became a form of spectacular society, during the Baroque period Our hypothesis is that the new concept of contractual political power, depends on the metaphor of the theatrical performance, which is the indisputable paradigm of this cultural model. The citizen becomes a spectator both at the theatre as in society and politics. New relations of power and new individuals (the bourgeoisie and the urban masses), but also new urban and civic spaces: real and open (squares and gardens), or virtual and closed (theatres). These aesthetic-political complex performances will reveal through the musical show invented in the 16th century: the opera. During the 18 th. century, the comic opera became a hallmark of the Enlightenment and the bourgeoisie. The texts have been submitted by a hermeneutics methodology by doing a transversal reading about all those original documents presenting a perspective of this scenic metaphor. The current issue of political representation has been treated since the genealogical method using three perspectives. The first one by presents the three disciplines which we know the representation in the West: political theory, epistemology and aesthetics. The second perspective, that illuminates a capital element within this system, makes reference to the representative characters: the politician, the scientist and the artist. Finally, the representation cultivated by these three characters is the performance that is offered to the public, which "acts" in the representation as the represented: the spectator (the crowd-audience), which is the third conceptual figure or perspective. The result of this process lets us see how, thanks to that form of social differentiation based on the distinction or aesthetic taste, opposite the opera and other artistic manifestations, a spectacular system absolutely vertical was configured. High cultures addressed those distinguished individuals converted into emblematic (representative) characters (gentry). We have discovered the keys to the understand the modern public man as a symbol, through our reflections about drama. The public space has been transformed into a stage (the great theatre of the world) and is presented in the form of representation. The society, the city, has become a stage for the show; the citizen is the public and for it proceeds to organize complex representation. The professional figure of the public affairs representative is designed: the political representative, almost in the same way that there is a protagonist of the representation in the Theatre: the actor. One of the most important conclusions is that performance has not entered into crisis, but strengthened enormously while the modern global network is organized by the media that manage public opinion and stimulate mass consumption. Therefore, the crisis has not affected the whole system of performance, but us one of its components, the one which characterized classical rationalism, the Cartesian model of the methodical order. As a result, we can recognize the survival of classicism: popular music, the cinema dramaturgy, etc. generate a new genre that returns to the popular sources, although it moves away from the musical patterns of classicism as converted into art music, classical music. The world of classical comedy is in our sensitivity, the spectacular structures created at that time are still operating. This world of the illustrated comedy has become the drama of mass culture that Dialectics of Enlightenment called cultural industry. This work has tried to carry out the genealogy of the contents of that culture that permeates all cultural products that are produced in the second half of the 20th century, especially since the illusion of the crisis of performance finished with the avant-garde. Through this analysis, we have defined a critical model of citizen attitude. Two figures of the viewer are built on that cultural construction: the one offered by Rousseau and another by Diderot. Our perspective is more Diderot-like than Roussonian: the spectator must cease to be, but within the theatre itself, not against the theatre. Our cultural and spectacular forms are part of our identity, thus we must demand not only its maintenance but also the quality of its custody, renewal and development.

Afrikaans text / In agrarian Palestine with Jerusalem as the economic, administrative and religious centre, the patriarchal family was the nucleus of an androcentric society with honour and shame as pivotal values. Women were regarded as property; useful for procreation. The religious and social participation of women was limited by patriarchy and purity. According to genealogical purity lines, Israelites were classified as true Israel or of dubious status. This determined marriages and access to the Temple. In literature Ben Sira, Philo and Josephus denigrated women, ascribing to them an inherent evil nature. In fiction Mediterranean women were portrayed negatively and positively. The teaching of Jesus and Paul led to a levelling of social status, gender roles and ethnicity in the early church but this was reversed due to the pressure of the ambient patriarchal society and Paul's own ambivalence. In many cultures disparagement and exploitation of women are still prevalent. / In agrariese Palestine met Jerusalem as die ekonomiese, administratiewe en godsdienstige sentrum, was die patriargale familie die kern van 'n androsentriese samelewing met eer en skande as sentrale waardes. Vroue is as eiendom beskou en noodsaaklik vir voortplanting. Godsdienstige en sosiale aktiwiteite van vroue was beperk as gevolg van die patriargaat en die reinheidsisteem. Genealogiese reinheidsgrense het Israeliete geklassifiseer as ware en nie-ware Israeliete en so toegang tot die Tempel, asook huwelike, gereguleer. Skrywers soos Ben Sira, Philo, Josefus en ander het vroue afgekraak en beskryf as inherent boos. Mediterreense vroue is in fiksie negatief en positief uitgebeeld. Die leer van Jesus en Paulus sou die onderskeid op grond van sosiale status, geslag en etnisiteit in die vroee kerk ophef, maar dis later omgekeer weens die druk van die patriargale samelewing en Paulus se eie toedoen. Die geringskatting en uitbuiting van vroue vind steeds plaas in baie kulture. / Biblical and Ancient Studies / M. Th. (Bybelkunde)

Text in Afrikaans / Hierdie navorsing berus op die idee dat die tekste in die oeuvre van sommige skrywers op so 'n manier met mekaar verbonde is dat 'n mens dit as 'n eenheid kan begin lees en ervaar. Met Derrida se begrip van genealogiese verwantskap van tekste as vertrekpunt, het ek daardie intertekstuele verbande in J.C. Steyn se oeuvre nagegaan waardeur sy hoorspelteks, poesie- en prosatekste tot 'n verwikkelde weefsel ontwikkel het. Dit het gou duidelik geword dat daar twee hoofstrominge in Steyn se tekste aan die orde kom: 'n motief van persoonlike tekortkominge wat deurwerk na 'n groter sosiale groep toe is van vroeg af duidelik skering en inslag daarin. Reeds in "Die skuldige: 'n hoorspel" (1974) staan die homo­ erotiese geneigdheid van die sentrale karakter in noue verband met die sosio-ekonomiese vraagstuk van die gesin wat al hulle aardse besittinge verloor. Die gedigte in die eerste helfte van Die grammatika van liefhe (1975) word gekenmerk deur die digterspersoonlikheid se sterk weersin teen sy eie tekortkominge; in die laaste gedeelte gaan sy persoonlike gemoeidheid oor in 'n besorgdheid oor die Afrikaner en die voortbestaan van Afrikaans. Van Op pad na die grens (1976) af, oor Dagboek van 'n verraaier (1978) en Die verlore vader (1985) tot en met Hoeke Boerseuns ons was (1991) neem die hoofstrominge van Steyn se tekste duideliker vorm aan: aan die een kant is daar die nasionale problematiek waar hy voortbou op C.J. Langenhoven se Die pad van Suid-Afrika, en die bestaanstryd van die Afrikaner volg tot in die huidige tydsgewrig; aan die ander kant worstel die karakters van sy tekste met persoonlike vraagstukke waaronder veral 'n homo-erotiese geneigdheid waarmee hulle hul nie kan versoen nie. Oorkoepelend vertel Steyn die verhaal van die Afrikaanse elckerlijc wat hom as gevolg van teenstrydige sosiaal-politieke invloede toenemend in 'n toestand van leed, verwarring en geestelike ontreddering bevind. Ten slotte wys ek hoe Steyn deur middel van defiksionalisering in sy tekste homself en die Afrikaner ontmasker. Die invloed daarvan is heilsaam: op persoonlike vlak is dit suiwerend en die stukrag van sy kuns; in die geval van die Afrikaner vervul hy daarmee die rol van die Afrikaner se kollektiewe gewete. / This research is based on the theory that the texts in the oeuvre of certain writers are related to each other in such a way that one can read and experience them as a unity. Using Derrida's concept of the genealogical relationship of texts as a point of departure, I have examined those intertextual relationships in J.C. Steyn's oeuvre in which his radio play, poetry and prose texts have developed to a complicated fabric. It soon becomes clear that two main streams emerge in Steyn's texts: a motif of personal defect which percolates to a larger social group. Already in "Die skuldige: 'n hoorspel" (1974) the homoerotic disposition of the central figure is closely related to the socio-economic problems of the family who lose all their material possessions. The poems in the first half of Die grammatika van liefhe (1975) are characterised by the poetic personality's strong aversion to his own imperfections; in the final part, his personal concern about the Afrikaner and the continued existence of Afrikaans emerge. From Op pad na die grens (1976), through Dagboek van 'n verraaier (1978) and Die verlore vader (1985), up to and including Hoeke Boerseuns ons was (1991), the main streams of Steyn's texts become more clearly discernible: on the one hand, one encounters the national concerns in which Steyn develops themes found in C.J. Langenhoven's Die pad van Suid-Afrika and follows the Afrikaner's struggle for survival to the present juncture; on the other hand, the characters of his texts struggle with personal difficulties such as a propensity to homoeroticism to which they cannot reconcile themselves. An overarching concern of Steyn's is the story of the Afrikaans Everyman who, as a result of conflicting socio-political influences, increasingly finds himself in a state of sorrow, confusion and spiritual collapse. Finally, I reveal how Steyn exposes himself and the Afrikaner in his texts by means of defictionalisation. Its influence is beneficial: at a personal level, it is purifying and is the impetus of Steyn's art; and, in the case of the Afrikaner, it fulfils the role of the Afrikaner's collective conscience. / Afrikaans & Theory of Literature / D. Litt et Phil. (Afrikaans)