Thèse (M.A.)--Université Laval, 2008. / Bibliogr. : f. 131-132. Publié aussi en version électronique dans la Collection Mémoires et thèses électroniques.

When handling metaphor, some Romans, New Testament and Biblical studies scholarship, seeks it in the text and then tries to define it - make it proper; their property, or that of who they think is the proprietor. However, the definitions and language used to define and describe metaphor are actually within metaphor itself. Metaphor is often interpreted before it is interpreted. Expectations are made, and some aspects of the sense of a word or phrase are elided, pushed away or even rejected, whilst others are retained, welcomed or even celebrated. Whilst this loss and gain might be unconscious or indirect, its force is part of an insistent pattern of usure. However, just as every reservoir drained by a bell mouth causes a nearby river to throb, that which is oppressed or pushed away emerges elsewhere, unpredictably - withdrawal, or retrait, is also extension. In Romans, the role of the believer in the great eschatological project of God, and in their relationship to God, is one that some traditional interpretations seek to read as being very limited - often to a one-way process of transferral from God to human. Financial-economic, oleicultural and somatic metaphor are kept in check through the pattern of usure. But it can also be read against the grain. The methodology of usure-retrait, developed in this thesis from Derrida's "White Mythology" and "The Retrait of Metaphor", is used to read texts from Romans 4, 11 and 12 in a way that appreciates what is gained through metaphor, even if this gain goes against the apparent intention, or authorised meanings. The result of this study is an appreciation of the reciprocity, synergy, and mutuality, albeit asymmetrical, of the relationship between the believer and God. This leads to an assessment that their power, as well as their responsibility, is much greater than some interpretations would cede. They are active, and help shape, form and determine not only God's works, but God himself.

This thesis explores the place and logics of the scene of teaching in the works of four major thinkers: Descartes, Freud, Hegel and Levinas. More detailed reasons for my choice of authors, the order in which they are examined and my method of approach are given in the Introduction. The most general context of the thesis is deconstruction, specifically the texts of Jacques Derrida, which highlight the complexity of the limit - of the relations between the "inside" and the "outside" - and which therefore open onto a reorganisation of domains traditionally held apart and hierarchically structured. Specifically, the thesis sets out to explore the scene of teaching "in" the works of these thinkers, and argues that the scene of teaching can be coherently placed neither within, nor as an empirical outside of the domain of philosophy. "Philosophy" is understood here as the thought of auto-institution or autoformation, in which the alterity of teaching is either absorbed or excluded as a contingency; this "definition" is explained and justified in the course of the thesis. The thesis is divided into four chapters, one for each of the thinkers above. My readings show that the logic of teaching in each of the four thinkers is aporetic, and the thesis demonstrates that these aporias settle into a coherent schema. The thesis argues that the systematic emergence of these aporias across this range of texts signals an excess of the scene of teaching, as instituting scene, over the logic of institution or foundation provided by the texts studied. This excess takes on specific forms in each of the thinkers researched, but I demonstrate that in each case it is a question of an originary involvement of ethico-political stakes in the domain of philosophy, an involvement which cannot be situated as derived or contingent. The thesis does not examine theories or philosophies of teaching; nor does it focus on or develop a particular theory or practice of teaching. It is concerned, rather, to address the scene of teaching "in" the texts of these thinkers, without presupposing its proper site, nor the scope of its "illogical" effects.

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Doctor en filosofía de arte con mención en estética y teoría del arte / Autor no autoriza el acceso a texto completo de su documento / Exploramos en esta tesis la posibilidad de una articulación entre historicidad y ficción en el segmento del trabajo filosófico de Jacques Derrida que va desde Le problème de la genèse dans la philosophie de Husserl (1953-54) a La diseminación (1972). Sostenemos que lo que Derrida da a pensar bajo dicha articulación es en una ficción histórica. Comenzamos mostrando que en su primer trabajo el análisis de la génesis de la idealidad opone muy claramente ficción e historia. Pero mostramos también que el análisis sobre la historicidad ideal en Husserl conduce a Derrida a pensar que ésta no es disociable de la posibilidad de la ficción. Es lo que sucede sobre todo a partir de su Introducción a “El origen de la geometría” de Husserl (1962) y también en su libro La voz y el fenómeno (1967). La historicidad constituye así una amenaza para la “subjetividad absoluta” en la que piensa Husserl. Examinamos el alcance de esta amenaza pasando del concepto de “auto-temporalización” al concepto de “auto-afección” y reconociendo en Derrida el papel decisivo de la problemática de la escritura. Es bajo el influjo de esta problemática que el pensamiento derridiano de una ficción histórica parece tomar forma. Mostramos enseguida que la ficción es histórica de lado a lado sobre la base de cierta irregionalidad. Damos a entender esto en relación con la temática derridiana de la metaforicidad, pasando de considerar el estatuto de una “metáfora originaria” en Husserl y en Rousseau, al estatuto de la “catástrofe metafórica” o “auto-destrucción de la metáfora” en Heidegger y Mallarmé. En la medida en que la metáfora de la escritura parece poder comprometer la subjetividad entendida como auto-afección, analizamos en De la gramatología (1967) cierta posibilidad de desnaturalización de la imaginación en Rousseau a partir de una “lógica del suplemento”. Pero en la medida en que en contra de ésta última Rousseau decide afirmar la presencia natural, pasamos a reconocer enseguida en Mallarmé la posibilidad de una ficción radicalmente histórica. Estudiamos sobre todo La escritura y la diferencia (1967), La diseminación (1972), y algunos inéditos.

Thesis (Ph. D.)--University of Rhode Island, 2006. / Typescript. Includes bibliographical references (leaves 188-197).