Comment une œuvre d’art peut-elle agir politiquement sans être une œuvre militante ? La réponse de Vinaver, dès la fin des années 1940, est singulière : l’oeuvre sera politique de par sa matérialité même ; les idées seront immanentes à l’écriture. Mais il ne se contente pas de formuler cette réponse, il nous laisse comprendre que la bonne question se pose plus simplement encore : "comment une œuvre peut-elle agir politiquement ?" (les oeuvres « militantes », en effet, n’agissent pas véritablement, ou, si elles agissent un moment, s’éteignent très rapidement). Notre travail a donc consisté à examiner cette matérialité. Le phénomène majeur en est le collage (juxtaposition et non-intentionnalité). Un "dépouillement" des archives était nécessaire. Mais pourquoi Vinaver a-t-il choisi le théâtre et s’y est-il tenu ? Précisément parce que le théâtre est le genre où l’auteur risque le moins de faire entendre sa voix, ses idées. Dans 11 septembre 2001, sa dernière pièce, il n’invente même plus, mais se contente de découper et coller ; l’auteur s’efface derrière le compositeur. Cette pièce est essentielle pour la compréhension de toute sa poétique – on y trouve à la fois plus de copie et plus de poésie, plus de réel mais aussi plus de rituel (et l’effectivité de son théâtre se manifeste notamment dans la refondation d’une communauté, ou d’une "société contre l’État"). Le fait que les quatre études d’ensemble sur son œuvre (Ubersfeld, Elstob, Bradby et Göbler-Lingens) aient été publiées avant 2001 nous a convaincu d’écrire une thèse. / How can a work of art be politically efficient without being militant? Vinaver’s answer to this question, formulated at the end of the 1940s, is unusual: the work will be political through its own materiality; its ideas will be immanent to the writing itself. But the playwright does not leave it at that and suggests that the true question can to be rephrased in even simpler terms: "how can a work of art be politically efficient?" ("militant" works of art can’t be said to be really efficient, and if they are for a while, their action does not last for very long). My work has therefore been to examine the materiality of Vinaver’s work. Its main principle is that of collage (juxtapositions and non-intentionality). A whole body of archives had to be closely looked at. And yet, why did Vinaver choose theater, and why did he stand by that choice? Specifically because, as a genre, theater allows the voice and the ideas of the author to be subdued. For 11 September 2001, Vinaver’s last play, he no longer invented anything anymore but limited his work to cutting and pasting ; the author disappears behind the composer. This play is essential to the whole understanding of Vinaver’s poetics – this is where we find more collages and more poetry, more of the real and more of the ritual (the efficiency of his theater is notably expressed through the creation of a community, or a "society against the State"). The fact that the four comprehensive studies of his work (Ubersfeld, Elstob, Bradby et Göbler- Lingens) were published before 2001 was decisive in deciding to start and complete this PhD thesis.

Esta dissertação compõe uma história da correspondência, produzida de 1661 a 1676, entre o filósofo holandês Bento de Espinosa (1632-1677) e o alemão Henry Oldenburg (ca. 1619-1677), Secretário fundador da Royal Society e das Philosophical transactions, primeira revista do mundo dedicada exclusivamente à filosofia natural. O presente estudo visa a apresentar e analisar os principais temas tratados nas vinte e oito cartas supérstites, evidenciando a relevante contribuição dessa correspondência ao entendimento de certos aspectos da filosofia de Espinosa. Dividida em três períodos cronológicos, a análise resultante expõe, sumariamente, questionamentos sobre a metafísica espinosana, oposições sobre o cristianismo, além de um intercâmbio de informações políticas e científicas. Por fim, na conclusão, fornece-se uma síntese interpretativa de toda a problemática discutida, a fim de identificar um fio condutor entre os três períodos. Subsidiariamente, este trabalho também compreende o original latino, a tradução e a anotação de todas as cartas pertencentes à correspondência estudada. Complementa esse conjunto textual três cartas obtidas e anotadas por Gottfried Wilhelm Leibniz (1646-1716), cuja tradução, acompanhada do original latino, também se apresenta. / This thesis composes a history of the correspondence, written from 1661 to 1676, between the Dutch philosopher Benedict de Spinoza (1632-1677) and the German Henry Oldenburg (ca. 1619- 1677), founding Secretary of the Royal Society and editor of the Philosophical transactions, world\'s first journal dedicated exclusively to natural philosophy. The present study aims at presenting and analyzing the main themes dealt with in the twenty-eight remaining letters, evidencing the relevant contribution of this correspondence to the understanding of certain aspects of the philosophy of Spinoza. Divided into three chronological periods, the resulting analysis briefly exposes questions about Spinozas metaphysics, oppositions about christianity, and an exchange of political and scientific informations. Finally, in the conclusion, an interpretative synthesis of the whole problematic is provided in order to identify a guiding thread between the three periods. Subsidiarily, this work also includes the original latin text, translation and annotation of all letters belonging to the correspondence studied. This textual set is complemented by three letters obtained and annotated by Gottfried Wilhelm Leibniz (1646-1716), whose translation and latin text are also presented.

A presente pesquisa se debruça sobre as práticas científicas contemporâneas em uma abordagem distinta dos pressupostos circulantes na modernidade. Tal proposta decorre da constatação, no campo de pesquisa em ensino de ciências, de uma ampla preocupação em tomar a ciência como fenômeno cultural. Com essa premissa em vista, colocamos alguns dos preceitos das ciências em variação a partir do encontro com modos de pensamento distintos. Pautamo-nos nas provocações de Friedrich Nietzsche para transtornar a noção de verdade. Tal movimento confrontaria as ciências com outros pressupostos, permitindo abrir a questão do conhecimento a partir de formas de conhecimento não científicas. Na qualidade de uma prática de conhecimento como outras, aproximamos as ciências de uma filosofia da antiguidade, o estoicismo, bem como da literatura russa do século XIX. Essa escolha se fundamenta na presença, nos textos estoicos, de exercícios visando ao encontro com a natureza. A literatura russa, por sua vez, aproximaria a questão das existências a uma radical implicação entre tempo e vida. Portanto, um encontro entre três frentes de pensamento distintas as práticas científicas contemporâneas, a filosofia estoica e a experiência literária russa seria um meio para discutir a imanência na prática científica. Visando explorar os modos de conhecimento contemporâneos, nos apropriamos dos discursos de quatro pesquisadores docentes de universidades públicas do Estado de São Paulo. A partir da noção de anonimato discursivo discutida por Michel Foucault, concebemos as práticas desses agentes institucionais como acontecimentos discursivos que remeteriam aos modos de pesquisa do presente. As práticas científicas atuais e a filosofia estoica compõem, concomitantemente, modulações do conhecimento atitudes ligadas aos modos de vida e a uma ambiência do pensamento característica de diferentes tempos. A composição e a discussão dessas modulações visam à afirmação de uma prática do conhecimento pautada na imanência. O principal eixo desses deslindes seria a simbiose da relação estabelecida entre homem e mundo. Nossa pesquisa aponta para um íntimo enredamento entre o estilo existencial dos cientistas e o tipo de conhecimento produzido. No limite, uma imanência entre modos de vida e conhecimento estaria em jogo nas narrativas contemporâneas, na literatura russa e na filosofia estoica. Uma tensão constante entre diferentes modos de conhecer permeando um mesmo tempo afirmaria uma perspectiva das práticas de conhecimento implicando a vida dos pesquisadores e suas investigações. O tempo produz as condições para as tensões do ato de conhecer. Apontamos, portanto, uma física temporal e ambígua das práticas de conhecimento. / Our research attacks the contemporary scientific practices in an approach different from those from modernity. Such proposal was made after we noticed, in the field of science teaching, the presence of a wide attention towards sciences as a cultural phenomenon. With that assumption in our view, we made some of sciences precepts vary in the encounter with different forms of thought. We based our arguments in Friedrich Nietzsches defiance toward the notion of truth. This movement would lead science into a new set of principles, able to get into account complex interactions with other styles of thought, besides the premises of progress in sciences. As a manner of knowledge as any other, we approach sciences towards an antique philosophy, stoicism, as well as towards Russian literature from the XIX century. Such choice is based in the presence, in stoic texts, of exercises centered in the knowledge of nature. Russian literature, meanwhile, would answer the question of existences and the implication between physics and men in a radical way. Hence, the encounter between three different ways of thought contemporary practices of science, ancient philosophy and Russian literature would be a guide to make immanence show up in scientific practice. To explore contemporary styles of thought, we investigated the discourses of four professors in public universities in São Paulo State. From the notion of discursive anonymity created by Michel Foucault, we conceived these agents practices as discursive happenings that remit to research styles of present time. Current scientific practices and stoic philosophy make up, simultaneously, knowledge modulations postures tied to life styles and an atmosphere of thought characteristic from different historical epochs. The main axis of those displacements would be immanence of the act of knowing and the symbiosis of the relationship between men and world. Our research aims to an intimate entanglement between the existential style of the agents of knowledge and the kind of knowledge produced. On the limit, an immanence between life styles and knowledge would be at stake in our contemporary scientific narratives, in Russian literature and in ancient philosophy. A constant tension between different styles of knowledge which permeate a single time would affirm the immanence of existence of the researchers and knowledge. In the end, time would contain and produce the conditions of existence of the tensions of the act of knowledge. We point out, finally, a temporal physics and an ambiguous practice of knowledge.

CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / O presente trabalho versa sobre a finitude. No entanto, apesar da sÃlida fundamentaÃÃo ontolÃgica que Spinoza realiza na primeira parte da Ãtica para definir as coisas finitas, o presente texto nÃo à apenas um trabalho de ontologia. Nosso objetivo na construÃÃo desse diÃlogo à tratar da finitude pela perspectiva da experiÃncia humana. Com efeito, nos propomos a um diÃlogo sobre a finitude usando os conceitos de corpo e de tempo, porque tais conceitos se entrelaÃam quando analisamos a condiÃÃo de existÃncia dos homens, ou seja, a duraÃÃo. Para tanto, faz-se necessÃrio analisar o conceito de corpo e sua estrutura de composiÃÃo dinÃmica, assim como a mente e os seus gÃneros de conhecimento. Vale ressaltar que o diÃlogo que desenvolvemos nesse texto nÃo à explicitamente realizado por Benedictus de Spinoza, mas tornou-se possÃvel e intrigante ao lermos que o autor da Ãtica afirma, contrariando a finitude humana, que sentimos e experimentamos que somos eternos. Por fim, o escopo do presente trabalho à tratar do corpo, da duraÃÃo, da finitude, do tempo e da eternidade, e compreender como todos esses conceitos podem aparecer em uma mesma filosofia sem que esta entre em uma contradiÃÃo sem fim ou em um paradoxo inexplicÃvel. / The present work deals with the finite. However, despite solid ontological reasoning Spinoza accomplishes the first part of Ethics to define finite things, this text is not only a work of ontology. Our purpose in building this dialogue is to talk about the finitude from the perspective of human experience. Indeed, we propose a dialogue about the finitude using the concepts of body and of time because such concepts intertwine when we analyze the condition of existence of men, ie the duration. Therefore, it is necessary to analyze the concept of body and its structure of the dynamic composition, as well as the mind and its genres of knowledge. The dialogue that developed in this text is not explicitly done by Benedictus de Spinoza, but it has become possible and intriguing to read that the author of Ethics claims, contrary to human finitude, we feel and experience that we are eternal. Finally, the scope of the present work is to treat the body, duration, finitude, time and eternity, and understand how all these concepts may appear in the same philosophy without such a contradiction between this endless or a unexplained paradox.

This dissertation follows two interrelated lines of inquiry. The first, I formulate as follows: (1) How, historically speaking, has the discourse of literary criticism thought the book? How has it represented the book? Used the book? Put simply, what has the book become in the hands of the critic? Though, of course, answers to such questions will vary widely—especially as they intersect with related matters concerning the critic, herself, and what Henry Sussman refers to as the perceived “task of the critic”—it is my contention that the discourse of literary criticism remains unified by its inability to extricate itself from what I call the transcendent orientation to literature: an orientation that has both ancient and modern coordinates. In Part 1 of the dissertation, I map criticism’s ongoing historical affair with transcendence—an affair that begins as far back as the Platonic dialogues, but that can be traced right up through the twentieth century, in and through the work of any number of critics, and many prominent schools of literary critical thought. I, then, formulate the second of my two lines of inquiry as follows: (2) How might the materialist critic, imbued by Deleuzean sensibilities, think the book anew? And, by extension, how might the materialist re-think the role or task of the critic? In Part 2, I shift the focus from the transcendent to the immanent (or immanentist) orientation; that is, from the logic of representation to what philosopher Gilles Deleuze—a prominent voice within this dissertation—labels “the logic of sensation”; also, from fixed essences (i.e., fixed laws, identities) to potential powers; from being to becoming; from the regulated and scientized practices of the institutional critic (spawning predictable results) to the “co-creative” encounters of the critic-artisan (unleashing pure potentials from the book). In short, Part 2 of the dissertation explores the question of how the book opens up to its own becomings—i.e., its own difference, its own transformation. To that end, I will enter into a number of co-creative relations of my own with various works of American literature (including, Kerouac’s On the Road, Melville’s Moby-Dick, Whitman’s Leaves of Grass, Stephen Crane’s The Red Badge of Courage, and William Gass’s On Being Blue).

This dissertation follows two interrelated lines of inquiry. The first, I formulate as follows: (1) How, historically speaking, has the discourse of literary criticism thought the book? How has it represented the book? Used the book? Put simply, what has the book become in the hands of the critic? Though, of course, answers to such questions will vary widely—especially as they intersect with related matters concerning the critic, herself, and what Henry Sussman refers to as the perceived “task of the critic”—it is my contention that the discourse of literary criticism remains unified by its inability to extricate itself from what I call the transcendent orientation to literature: an orientation that has both ancient and modern coordinates. In Part 1 of the dissertation, I map criticism’s ongoing historical affair with transcendence—an affair that begins as far back as the Platonic dialogues, but that can be traced right up through the twentieth century, in and through the work of any number of critics, and many prominent schools of literary critical thought. I, then, formulate the second of my two lines of inquiry as follows: (2) How might the materialist critic, imbued by Deleuzean sensibilities, think the book anew? And, by extension, how might the materialist re-think the role or task of the critic? In Part 2, I shift the focus from the transcendent to the immanent (or immanentist) orientation; that is, from the logic of representation to what philosopher Gilles Deleuze—a prominent voice within this dissertation—labels “the logic of sensation”; also, from fixed essences (i.e., fixed laws, identities) to potential powers; from being to becoming; from the regulated and scientized practices of the institutional critic (spawning predictable results) to the “co-creative” encounters of the critic-artisan (unleashing pure potentials from the book). In short, Part 2 of the dissertation explores the question of how the book opens up to its own becomings—i.e., its own difference, its own transformation. To that end, I will enter into a number of co-creative relations of my own with various works of American literature (including, Kerouac’s On the Road, Melville’s Moby-Dick, Whitman’s Leaves of Grass, Stephen Crane’s The Red Badge of Courage, and William Gass’s On Being Blue).

Texte remanié de: Diss.--New Haven (Conn.)--Yale university. / Bibliogr. p. 253-268. Index.

Die Epochenschwelle vom 18. zum 19. Jahrhundert besteht in einem Schritt vom historischen Rekonstruieren zum hermeneutischen Interpretieren, das jedenfalls zeigt die Geschichte der Hermeneutik und die Geschichte der Geschichtsschreibung. Historische Bilder - der Philosophie, der Mythologie, allgemein - sind damals entworfen und revidiert worden, die sich noch heute im Umgang mit der Philosophie beobachten lassen. Jener Streit um die Bedeutung von Texten für die Philosophie scheint in dieser Epochenschwelle entschieden: Das Immanenzverhältnis ersetzt das Transzendenzverhältnis. Texte sind Orte der Philosophie, nicht Mittel. Aber wie gestaltet sich diese Ersetzung? Ist sie Folge, Folgerung, bildet sie eine selbst immanente Logik, so etwas wie die Logik des historischen Bildes der Philosophie? Im folgenden wird ein Bildervergleich klären helfen, was philosophische Texte sind, auch wenn die angeführten Bilder Tempel zeigen. Beide Bilder lassen sich der für unser heutiges philosophisches Selbstverständnis entscheidenden Epochenschwelle zurechnen.

Thesis (Th. L.)--Catholic University of America, 2001. / Abstract. Includes bibliographical references (leaves 90-105).

Thesis (Th. L.)--Catholic University of America, 2001. / Abstract. Includes bibliographical references (leaves 90-105).