O tema do sagrado é central na antropologia desde a sua origem. Esta pesquisa propõe o enfrentamento da noção através das lentes de Georges Bataille (1897-1962) e Michel Leiris (1901-1990) na França dos anos 1930, tendo em vista o cruzamento de suas experiências intelectuais e de suas formulações teóricas. Toma-se como ponto de partida para a análise a \'sociologia sagrada\' por eles anunciada no Collège de Sociologie (1937-1939), que reclama o sagrado em dupla articulação: ao mesmo tempo que conceito explicativo ele funciona também como uma prática, uma maneira de ver e também de agir sobre o mundo. Em meio aos debates da época empreendidos pela intelectualidade e os movimentos de vanguarda sobre as possíveis formas da ação política, tendo em vista sua ligação com a arte, o sagrado aparece nos trabalhos de Bataille e Leiris como uma alternativa surpreendente. O intuito é rever uma tradição de debates em torno do conceito a partir das formulações radicais e originais destes autores, indicando como se relacionam, cada qual à sua maneira, com a teoria social precedente. / The sacred has been a central subject of anthropological investigations since its origins. This research proposes an approach to the concept through the eyes of George Bataille (1897-1962) and Michel Leiris (1901-1990) in 1930s France, having in sight the crossing of their intellectual experiences and their theoretical formulations. We assume the sacred sociology, proposed by both authors during the years of the Collège de Sociologie (1937-1939), as a starting point to claim the use of the sacred in a double framing: functioning as an explanatory concept, it would also work as a praxis, a way of seeing and acting upon the world. Amid the debates of the time, undertook by intellectuals and the avant-garde movements about the possible paths of political actions and its connections with art forms, the sacred appears in the works of Bataille and Leiris as a striking alternative. The goal is to retrace a tradition of debates involving the concept through both authors formulations at the same time radical and original , showing how they relate, each in their own way, with the former social theory.

Tout ce qui compte pour Giacometti c’est la « ressemblance ». Cette « ressemblance » n’est pour lui ni définissable ni « parfaite ». Elle est juste « une masse » qui n’est visible que dans un instant extrêmement tendu de la mise en mouvements continuels, altérants et interrogatifs, de la forme à la forme, de l’« être » au « non-être », du « connu » à l’« inconnu ». Elle se voue au défaut et à l’échec. À cet égard, cette « ressemblance » se lie essentiellement à l’« informe » de Bataille. Notre étude consiste en ce lien, originel, historique et esthétique, entre cette « ressemblance » et cet « informe ». Cependant, notre étude n’est pas d’une étude comparative : elle est plutôt une recherche afin de mieux appréhender cette « ressemblance » grâce à cet « informe ». Elle se limite à la période de 1927 à 1947 : une période à partir du jour où Giacometti découvre les signes de l’« informe » de Bataille, jusqu’à la date où l’artiste illustre Histoire de rats de l’écrivain et réalise Le Nez matérialisant merveilleusement l’instant fulgurant de la vérité qui se confond avec l’échec et le défaut. / All which counts for Giacometti it is the "resemblance". This "resemblance" is for him neither definable nor "completed". It’s just "a mass" which is visible only directly extremely tightened by the stake in continual movements, alternating and inquiring, from the shape to the shape, from the "being" to the "non-being", of the "known" to the "stranger". It dedicates itself to the defect and to the failure. In this respect, this "resemblance" is essentially bound in the "formless" of Bataille. Our study consists of this link, original, historic and aesthetic, between this "resemblance" and this "formless". However, our study is not of a comparative study: it is rather a research to dread better this "resemblance" thanks to this "formless". It limits itself to the period from 1927 till 1947: a period from the days when Giacometti discovers the sign of the "formless" of Bataille, until the time when the artist illustrates Story of rats of the writer and realizes The Nose realizing magnificently the lightning moment of the truth which becomes confused with the failure and the defect.

In the latter half of the 20th-century and into the 21st, William Burroughs, Samuel Delany, and bioartists such as Oron Catts, Orlan, and Stelarc have all attempted to create works which respond to the increasing biopoliticization of contemporary society. The biopolitics of today seek to regularize life and structure it according to the imperatives of economic thought, a process by which the human becomes the Foucauldian homo oeconomicus. This restricted logic of biopolitics desperately tries to cover the explosive excess of the world today, what Bataille calls general economy. The artists under consideration in this work attempt to uncover this state of excess. While they are typically seen as exploring fantastic realms of the transgressive or, in the case of bioartists, attempting to emulate science fiction, in fact it is their realism which provokes. These artists reveal the heterological body, that which cannot be contained or described by the biopolitical regime. In so doing, they rewrite our standards of taste and point the way to understandings of the human that have been otherwise unavailable to us. William Burroughs in Naked Lunch highlights the manipulability of affect in contemporary society through the reduction of the human to bare life. He uses the figure of flesh/meat as a way of depicting the heterogeneous body and to generate a counter-affect, or free-floating affect, which unlike typical affect, is not worked up into emotion. Samuel Delany, too, describes the heterogeneous or destabilized body in the heterotopia of his novel Dhalgren. While Burroughs is unable or unwilling to gesture towards the potentially radical implications of the heterogeneous body, Delany proposes a new model of community that rests upon the revelation of the heterogeneous body, a community which acts as one informed by an affirmative biopolitics. Bioart, a somewhat vexed genre of art, attempts to construct artworks that both utilize and critique new science and technology of the body. The life sciences are complicit in the rise of the biopolitical state and further the view of the human as constrained by its material substrate. Fetishistic bioart problematically reproduces a fascination with the life sciences and advanced technology. However, the bioart which I call sacred has a demystifying effect and attempts to use the knowledge gained by the life sciences to expand our understanding of the human, going beyond the bounds of that very knowledge itself. / English

[pt] O presente estudo constituiu-se como uma investigação de possíveis intercessões entre as experiências dadas pelo erotismo, a mística e a poesia, essa última entendida dentro do contexto grego de poiésis que extrapola os limites do gênero literário, caracterizando-se principalmente como experiência estética de uso consciente da língua. O direcionamento teórico principal foi dado pelo pensamento de Georges Bataille, para quem tanto o amor- paixão quanto a mística religiosa e a poesia são experiências limites de alteridade que revelam a existência de um movimento dialético (sem síntese) entre os interditos que fundam o corpo social e a transgressão dessas mesmas leis. Nosso estudo buscou explorar as intercessões entre as formas de erotismo que Bataille analisa - o erotismo dos corpos, dos corações e sagrado - e a poesia, que o autor menciona como uma quarta forma de erotismo sem desenvolver argumentação mais precisa. Desta forma, nossa hipótese é que possa ser aplicado à poesia, senão todas, algumas das principais características que Bataille aponta no erotismo, definido por ele como experiência em que o ser se põe em questão. A reflexão das questões propostas por Bataille exigiu que fossem abordadas as especificidades da experiência religiosa na contemporaneidade, e a discussão de alguns conceitos da ciência da religião, como por exemplo, uma definição de sagrado que pudesse ser aplicado não apenas a experiências religiosas institucionalizadas, algumas reflexões sobre o pensamento mítico-religioso e a compreensão do caráter primitivamente sagrado da linguagem e do mito. A partir da compreensão da importância do mito para o pensamento mágico-religioso e da constatação de que o mesmo constitui-se a linguagem apropriada para comunicação com as instâncias do sagrado, formulamos a hipótese que a poesia pudesse ser interpretada, em uma sociedade desencantada como a nossa, enquanto solução de continuidade para o mito, sendo ela intrinsecamente religiosa, no sentido em que propõe um salto para fora dos limites do interdito em direção às forças anímicas do sagrado, esse entendido no contexto batailliano. Tencionando clarificar hipóteses e argumentos, foi tomada para um estudo de caso a obra da poeta mineira Adélia Prado, onde foram apontadas e discutidas as relações entre erotismo, mística, palavra poética, sagrado e morte. / [en] The present study was constituted as an investigation of possible intercessions among the experiences given by the eroticism, mystic and poetry, understood in the Greek context of poiésis that extrapolates the limits of the literary gender, being characterized mainly as aesthetic experience of use conscious of language. The main theoretical approachly was given by Georges Bataille s thought, for who as much the love-passion as the religious mystic and poetry are limits experiences of otherlity that reveal the existence of a movement dialectic (without synthesis) among the injunctions that found the social body and the transgression of those same laws. Our study looked for explore the intercessions among the eroticism`s forms that Bataille analyzes - the eroticism of bodies, of hearts and sacred - and the poetry, that the author mentions as one Wednesday forms of eroticism without developing more necessary argument. Our hypothesis is that it can be applied to the poetry, or else all, some of the main characteristics that Bataille appears in the eroticism, defined for him as experience in that the being puts in subject. The reflection of the subjects proposed by Bataille demanded that the specificity`s of the religious experience were approached in the contemporanity, as well as the discussion of some concepts of the science of the religion, as for instance, a definition of sacred that it could not just be applied to institutionalized religious experiences, some reflections on the thought mythical-religious person and the understanding of the primitive character sacred of language and of myth. Starting from the understanding of the importance of the myth for the thought magic-religious person and of the verification that the same is constituted the appropriate language for communication with the instances of the sacred, we formulated the hypothesis the poetry to be interpreted, in a society disenchanted as ours, while continuity solution for the myth, being her religious, in the sense in that it proposes a jump outside of the limits of the injunction towards the psychic forces of the sacred, that understood in the context batailliano. Intending to clarify hypotheses and arguments, it was taken for a case study the work of the poet Adélia Prado, where they were pointed and discussed the relationships among eroticism, mystic, word poetic, sacred and death.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-06T16:56:04Z No. of bitstreams: 1 Guilherme Malo Maschke_.pdf: 5529936 bytes, checksum: f07e129b2683e621ebb199ec2e8f6715 (MD5) / Made available in DSpace on 2018-08-06T16:56:04Z (GMT). No. of bitstreams: 1 Guilherme Malo Maschke_.pdf: 5529936 bytes, checksum: f07e129b2683e621ebb199ec2e8f6715 (MD5) Previous issue date: 2018-04-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O tema dessa dissertação é a imagem extrema no cinema underground. Todavia, não trataremos do underground como um todo e delimitamos nosso corpus aos filmes: War Is Menstrual Envy (1992); A Bitter Message of Hopeless Grief (1988); Dead Man II: Return of the Dead Man (1994); The Loneliest Little Boy in the World (2000) e Extase de Chair Brisée (2005). Entendemos que nosso problema pode ser sintetizado na pergunta: como o extremo está presente no cinema underground? Buscando responder esta questão e apontar quais os elementos dessa imagem extrema duram nesses objetos, articulamos nossa proposta metodológica em três eixos: a escavação de Jusi Parikka (2012), para encontrar os objetos e informações sobre os mesmos; o método intuitivo de Bergson (2006) visando delimitar os virtuais e atuais da pesquisa; e a cartografia como proposto por Suzana Kilpp (2015) e Massimo Canevacci (1997), formando duas constelações onde são analisados os aspectos audiovisuais dos nossos objetos. Para nos aprofundarmos teoricamente no que propomos como imagens extremas nos aproximamos do trabalho do teórico francês Georges Bataille (1929) assim como de autores comentadores como Georges Didi-Huberman (2015), Benjamin Noys (2000) e Eliane Robert Moraes (2002). Ligados ao audiovisual e ao cinema nossa base teórica parte da concepção do audiovisual enquanto uma experiência corpórea e visceral como apresentado por Jusi Parikka (2012), Thomas Elsaesser (2010), Laura Wilson (2015) e Jack Sargeant (2015). Em nossas considerações finais apontamos para a constituição dessa imagem extrema nas potências virtuais da desfiguração e do animalesco, constituindo cada um em sua particularidade, uma imagem extrema tanto no aspecto visual como sonoro. / The theme of this thesis is the extreme image in underground cinema. However, we shall not deal with the underground as a whole, for we are delimiting our corpus to the following movies: War Is Menstrual Envy (1992); A Bitter Message of Hopeless Grief (1988); Dead Man II: Return of the Dead Man (1994); The Loneliest Little Boy in the World (2000), and Extase de Chair Brisée (2005). We understand that our problem may be summarized with this question: how is the extreme present in underground cinema? Looking for an answer for this question, and pointing to which elements of this extreme image are lasting in these objects, we articulate our methodological proposal in three axes: escavation, as in Jusi Parikka (2012), to find the objects and information about them; Henri Bergson's (2006) intuitive method, seeking to outline the virtual and actual of the research; cartography as proposed by Suzana Kilpp (2015), and Massimo Canevacci (1997), forming two constellations where they the audiovisual aspects of our objects are analyzed. As a way to plunge theoretically in what we propose as extreme images, we approach the work of French theoretician, Georges Bataille (1929), and also of commentator authors such as Georges Didi-Huberman (2015), Benjamin Noys (2000), and Eliane Robert Moraes (2002). Our theoretical basis connected to audiovisual and cinema starts with the conception of audiovisual as a corporeal and visceral experience, as presented by Jusi Parikka (2012), Thomas Elsaesser (2010), Laura Wilson (2015), and Jack Sargeant (2015). For our final considerations, we are pointing towards a constitution of such extreme images in virtual disfiguration and beastlike potentials, which constitute, each one with its own particularities, an extreme image both in visual and audible aspects.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

Qu'en est-il de la communication de l'impossible dans son rapport au pouvoir du langage ? En révélant la face a-dialectique du langage littéraire, Maurice Blanchot et Georges Bataille, liés par une amitié essentielle, ont redéployé l’espace désoeuvré de l’Impossible comme espace scripturaire. La présente étude s’est articulée en trois parties, regroupant chacune quatre chapitres. La première s’est intéressée à la nomination comme stricte révélation de la négativité, d’une part, et de l’altérité, d’autre part. Elle a analysé les stratégies de contestation du discours dialectique adoptées en vue de redessiner un nouvel espace communautaire grevé d’absence. Cette dernière, induisant par ailleurs le mouvement infini de la répétition, ouvre l’exigence scripturaire à l’in-fini du re-dire. La seconde a mis au centre de ses préoccupations, à l’exemple des auteurs eux-mêmes, la mort. Liée au déploiement scripturaire, la mort creuse littéralement le Dire dans lequel domine l’oscillation entre pouvoir et impouvoir. La dimension thanatique des œuvres des deux auteurs convoque les notions de limite, de transgression, de dehors, de chance et de neutre qui envisagent toutes l’ouverture de l’expérience scripturaire sur son impossible horizon. La dernière partie, quant à elle, a mis en évidence la manière dont l’écriture, en son mouvement disjoint et imaginaire, s’abstrait du domaine du possible en s’ouvrant finalement sur le silence dont elle se fait complice pour ouvrir le Dire au partage de l’Impossible. / This thesis discusses the saying of the Impossible in its relationship to the power of language in the works of Maurice Blanchot and Georges Bataille. By unveiling the a-dialectical aspect of the literary language, Maurice Blanchot and Georges Bataille, who were bound by an essential friendship, deployed anew the idle space of the Impossible as a writerly space. This study is composed of three parts, each divided into four chapters. The first part discusses nomination as a strict unveiling of negativity on the one hand, and of alterity on the other hand, before analysing the strategies of contesting the dialectical discourse which were adopted by both writers with a view of delineating a new community space marked by absence. By inducing an endless movement of repetition, absence is shown to open the writerly exigence to the infiniteness of re-saying. The second part focuses on death as explored by both writers themselves. As linked to the writerly deployment, death literally enacts a saying dominated by the oscillation between Power and Unpower. The thanatical dimension of the works of both authors relies on the notions of limits, transgression, exteriority, chance and neutre, all of which lead to the opening of the writerly experience on its impossible horizon. The third part highlights how writing, in its disjointed and imaginary movement, abstracts itself from the realm of the possible by opening itself to the silence and becoming thus its accomplice to open the saying to the sharing of the Impossible.

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.