The main aim of this diploma thesis is to analyze the problem of anorexia from Foucault's perspective. The first hypothesis is that this 'pathology' is rather a social construction which has its origins in social norms and standards that operate in the society to make firm distinction between the normal and the pathological, the ideal and the unacceptable. In this study we will use Foucault's theory of power and discipline, the concept of biopower and also his critics of psychiatry. At the same time, we will complete our survey with the concept of construction and deconstruction of Jacques Derrida and with the social identity theory of Judith Butler.

The presented study takes up the problem of Bataille's impossible testimony of the impossible. This endeavor represents a wider contextual framework for a project of this thesis which proposes a way of laying down the foundation for a philosophical reading of Bataille's L'expérience intérieure by developing some key moments of his anthropology. Bataille's thought is introduced as the dynamics of a gesture of testimony (or a witnessing) which testifies to the difference du sens as it is being incorporated in the movement of writing (écriture) into the texts of La Somme Athéologique. Since these texts oftentimes resist a direct philosophical treatment, this essay discusses the possibilities of a philosophical approach to Bataille. Such discussion results in setting up the necessary limitations of an adequate philosophical attitude towards Bataille's thought while leaving its problematic quality in play. Then the narrower framework of this essay is put into work in an attempt to achieve an understanding of key parts of The Inner Experience through a philosophical analysis of Bataille's concept of humanity.

[pt] O presente trabalho tem a metáfora como seu objeto e busca investigar os problemas que esta figura de linguagem suscita à filosofia. Desde então, será tomado como escopo e instrumentos de análise as obras de dois filósofos contemporâneos, Paul Ricoeur e Jacques Derrida, por suas contribuições relevantes ao estudo deste tema. De início, será apresentado como a hermenêutica propõe pensar a metáfora para além da estilização retórica e os limites que a separam do discurso filosófico, em seguida será mostrado como a clara delimitação destes limites é posta sob suspeita pela desconstrução. Portanto, ao seguir juntamente por essas duas propostas, o trabalho se desenvolve ao analisar seus pressupostos, pontos de intersecção e diferença. / [en] The present work has the metaphor as its objects and aims to investigate the problems that this figure of speech brings to philosophy. Since then, it will be taken as scope and analysis s instruments the works of two contemporary philosophers, Paul Ricoeur and Jacques Derrida, for their relevant contributions to the study of this matter. At the beginning, it will be presented how hermeneutics propose to think metaphor beyond rhetorical stylization and the limits that set her apart from philosophy s discourse, then it will be shown how the clear determination of these limits are put under suspicious by deconstruction. Therefore, by following jointly these two proposals, the work is developed by the analysis of their presuppositions, intersections points and differences.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-06-29T14:25:10Z No. of bitstreams: 1 TES_ESTEVAN_DE_NEGREIROS_KETZER_PARCIAL.pdf: 4368876 bytes, checksum: 178d340e8c705672039f8fb4f2e31f47 (MD5) / Made available in DSpace on 2017-06-29T14:25:10Z (GMT). No. of bitstreams: 1 TES_ESTEVAN_DE_NEGREIROS_KETZER_PARCIAL.pdf: 4368876 bytes, checksum: 178d340e8c705672039f8fb4f2e31f47 (MD5) Previous issue date: 2017-01-20 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / Conselho Nacional de Pesquisa e Desenvolvimento Cient?fico e Tecnol?gico - CNPq / This thesis is dedicated to a study on the possibility of a trauma theory in the Jacques Derrida?s thought with motivation referenced in the work of the Romanian poet German-speaking Paul Celan. Therefore, we have been thinking of three concerns derived from the idea of writing, trace and justice that permeate what we can identify here as the thought of difference (diff?rance). When we turn to the poetics of Paul Celan, we take into account the problem of aesthetic construction from the second half of the twentieth century, especially on the direct relationship which Paul Celan established with European philosophers such as T.W. Adorno, Martin Buber and Martin Heidegger. His discussion in the Western thought is going for the creation of a new aesthetic conception from the clash with avant-garde music. The discussion extends to the silence, its repercussions in extrapolating the field of phenomenology, addressing the historical dispositions that mark the two modalities of silence: one due to the helplessness from the victims and other from an embarrassment of those who lost the War. We also examine the widespread helplessness of Paul Celan?s poetic work, especially in the loss of the word as an object of meaning, and from now on rely on the perspective of a fragmented word. The idea of responsibility, in the Emmanuel Levinas? interpretation, leads us to the reflection of a support in the maternity as a necessary elaboration of the past and its impossibility imposed in the present time, taking us to the considerations of Jacques Derrida. Finally, we have ?Le Menhir?, the torment as we approach the graying stone, reinforcing the sense that its grayness color implies for the subjectivity. The trauma in Paul Celan here is seen with a perspective of future elaboration. / Cette th?se est consacr?e ? une ?tude de la possibilit? d'une th?orie du traumatisme ? la pens?e de Jacques Derrida avec la motivation a r?f?renc? ? l?oeuvre du po?te roumain germanophone Paul Celan. ? cette fin, ont ?t? d?riv?es trois pr?occupations de l?id?e d??criture, trace et la justice que nous pouvons ici identifier comme la pens?e de la diff?rence (diff?rance). Lorsque nous nous tournons vers la po?sie de Paul Celan, nous consid?rons le probl?me de la construction esth?tique de la seconde moiti? du XXe si?cle, en particulier dans la relation directe que Paul Celan ?tabli avec les philosophes europ?ens tels que T. W. Adorno, Martin Buber et Martin Heidegger. Sa discussion dans le pens?e occidentale vers ? un nouveau design esth?tique avec la musique d?avant-garde de l?affrontement. Le d?bat se prolonge au silence, ses r?percussions au extrapoler le domaine de la ph?nom?nologie, se dirigeant pour les r?gles historiques qui marquent les deux modalit?s du silence: l?une en raison de l?impuissance des victimes et une autre r?sultant d'un embarras des ceux qui ont perdu la guerre. Nous examinons aussi l?impuissance ?tendue dans toute l?oeuvre po?tique de Paul Celan, en particulier la perte du mot comme un objet signification, devrait d?sormais compter sur la perspective du mot fragment?e. L?id?e de responsabilit? dans l?interpr?tation de Emmanuel Levinas nous conduit ? la r?flexion d?un soutien dans la maternit?, l??laboration n?cessaire du pass? et de leur incapacit? impos?e ? l?heure actuelle, nous prendre ? des consid?rations Jacques Derrida. Enfin, nous avons ? Le Menhir ? l'?preuve que nous approchons de cette pierre, renforce le sentiment que sa couleur gris implique ? la subjectivit?. Le traumatisme dans Paul Celan ici est vu dans une perspective de d?veloppement futur. / Esta tese ? dedicada a um estudo sobre a possibilidade de uma teoria do trauma no pensamento de Jacques Derrida com motiva??o referenciada no trabalho do poeta romeno de l?ngua alem? Paul Celan. Para tanto, foram pensadas tr?s inquieta??es derivadas da ideia de escrita, rastro e justi?a que permeiam aquilo que aqui podemos identificar como o pensamento da diferen?a (diff?rance). Ao nos voltarmos para a po?tica de Paul Celan, temos em conta o problema da constru??o est?tica a partir da segunda metade do s?culo XX, principalmente na rela??o direta que Paul Celan estabeleceu com os fil?sofos europeus como T.W. Adorno, Martin Buber e Martin Heidegger. Sua discuss?o no pensamento ocidental se dirige para a cria??o de uma nova concep??o est?tica a partir do embate com a m?sica de vanguarda. O debate se estende at? o sil?ncio, suas repercuss?es ao extrapolar o campo da fenomenologia, dirigindo-se para as disposi??es hist?ricas que marcam as duas modalidades de sil?ncio: uma devido ao desamparo das v?timas e outra decorrente de um constrangimento dos que perderam a Guerra. Examinamos tamb?m o desamparo estendido por toda a obra po?tica de Paul Celan, especialmente na perda da palavra como objeto de significa??o, devendo a partir de agora apoiar-se na perspectiva de palavra fragmentada. O exame da ideia de responsabilidade, na interpreta??o de Emmanuel Levinas, nos conduz at? a reflex?o de um apoio na maternidade como necess?ria elabora??o do passado e sua impossibilidade imposta no tempo presente, levando-nos ?s considera??es de Jacques Derrida. Por fim, temos ?Le Menhir?, o supl?cio ao nos aproximarmos da pedra, refor?ando a sensa??o de que sua cor cinza implica ? subjetividade. O trauma em Paul Celan, aqui, ? visto com uma perspectiva de elabora??o futura.

Made available in DSpace on 2015-03-04T21:02:08Z (GMT). No. of bitstreams: 0 Previous issue date: 29 / Nenhuma / Neste estudo o que se pretende analisar são as possibilidades de debate acerca da condição animal a partir das reflexões levadas a efeito por Jacques Derrida. O texto é desenvolvido em cinco etapas. A primeira, dedicada à exposição da tese heideggeriana o animal é pobre de mundo – oportuna para a compreensão das reflexões posteriormente desenvolvidas por Derrida; a segunda, dedicada à apresentação, ainda ampla e genérica, da forma como Derrida desenvolveu suas reflexões a respeito da condição animal; na terceira, na quarta e na quinta etapas, assentadas já, nas duas anteriores, as bases para que se possa compreender, adequadamente, o pensamento de Derrida a respeito do tema, a condição animal é apresentada, respectivamente, à luz dos seguintes enfoques: o sujeito e o cálculo do sujeito, a amizade e as políticas de amizade, a justiça e a hospitalidade. Os trabalhos de Derrida de presença mais marcante neste estudo são: O animal que logo sou, E digo que o animal respondeu?, conferências proferidas no colóquio r / This work intents to analyse issues of discussion concerning to the animal condition, considering reflections brought to the light by Jacques Derrida. The text is developed in five steps. The first one is dedicated to the exposition of the heideggerian thesis animal is poor of world – that fits to the context in terms of comprehending reflections developed later by Derrida; the second one deals with the presentation, in a wide and generic way, the form as Derrida developed his reflections concerning to the animal condition. In the third, fourth and in the fifth, these supported in the preceeding ones, is gave some bases to comprehend correctly and in a large scale Derrida’s thought in relation to the theme. Animal condition is showed by the light of the following focuses, respectively: the subject and the calculation of the subject, friendship and the policies of friendship, justice and hospitality. The Derrida’s works that have a very remarkable presence in this study are: The Animal That Therefore I am, And

Marcella Althaus-Reid was a theologian who dared to imagine differently, a thinker whose inventive style brought striking originality to her writings on sexuality and gender, people and God. Her work is remembered most noticeably in theological academia for her conceptual phrase, ‘Indecent Theology’. In this thesis about questions of God, the innovative elements of Marcella’s literary corpus are developed in new ways by placing her academic theories alongside a practical research study undertaken in the alternative milieu of Church of Scotland congregations in Edinburgh. This primary material, which has been analysed through interview and focus group transcripts, together with questionnaire responses, brings revealing insights to frame the emerging tensions between churchgoers and Marcella across the dimensions of its four chapters. In each, the following themes are developed: the ambiguities surrounding questions of asking who God might be; the considerations involved in recognising God’s relationship with the Bible; the exploration of the extent to which sexuality and gender may influence God concepts; and the recognition of the role people play in evaluating their understandings of God in Christianity. Arranged in a rhythmical structure throughout, every chapter is first prefaced by a media-based report which contextualises relevant themes in a contemporary idiom, and is later concluded by a deconstructive postscript that, in fragmentary ways, invokes some critical concepts in the work of Jacques Derrida germane to the particular questions of God pursued in each.

In this thesis, I use a close reading of the silent films of Charlie Chaplin to examine a question of listening posed by Jean-Luc Nancy, “Is listening something of which philosophy is capable” (Nancy 2007:1)? Drawing on the work of Nancy, Jacques Derrida and Gayatri Spivak, I consider a claim that philosophy has failed to address the topic of listening because a logocentric tradition claims speech as primary. In response to Derrida’s deconstruction of logocentrism, Nancy complicates the problem of listening by distinguishing between <em>l’e´coute</em> and <em>l’entente</em>. <em>L’e´coute </em>is an attending to and answering the demand of the other and <em>l’entente</em> is an understanding directed inward toward a subject. Nancy could deconstruct an undervalued position of <em>l’e´coute</em>, making listening essential to speech. I argue, Nancy rather asks what kind of listening philosophy is capable of. To examine this question, I focus on the peculiarly dialogical figure derived from Chaplin that communicates meaning without using speech. This discussion illustrates how Chaplin, in the role of a silent figure, listens to himself (<em>il s’e´coute</em>) as other. Chaplin’s listening is Nancean resonance, a movement in which a subject refers back to itself as another subject, in constant motion of spatial and temporal non-presence. For Nancy, listening is a self’s relationship to itself, but without immediate self-presence. Moving in resonance, Chaplin makes the subject as other as he refers back to himself as other. I argue that Chaplin, through silent dialogue with himself by way of the other, makes his listening listened to. Chaplin refused to make his character speak because he believed speech would change the way in which his work would be listened to. In this way, Chaplin makes people laugh by making himself understood (<em>se fait entendre</em>) as he makes himself listened to (<em>se fait e´couter</em>). In answer to Nancy’s question, I conclude philosophy is capable of meeting the demand of listening as both <em>l’entente</em> and <em>l’e´coute</em> when it listens as Chaplin listens.

This paper examines certain theoretical underpinnings of the historical processes by which Shakespeare's history plays became the de facto collective memory of the events they depict, even when those events are misrepresented. The scholarly conversation about this misrepresentation has heretofore centered on Shakespeare's potential political motivations. I argue that this focus on a political, authorial intent has largely ignored the impact these historical distortions have had over the subsequent 400 years. I propose that, due to Shakespeare's unique place in the historical timeline of the development of collective memory, Shakespeare's historical misrepresentation in the history plays is a byproduct of the emerging ability to access historical sources while also shaping the nascent collective memory. Shakespeare became an archon, in the Derridian sense, of English history. As such he exercised the archon's hermeneutic right to interpret English history. Tracing the methods by which the public experienced Shakespeare's plays, this project shows that in the 20th century film became the dominant medium by which audiences experienced Shakespeare for the first time. Using Orson Welles' Chimes at Midnight as the principle example, I show that the hermeneutic right shifted away from Shakespeare and was instead taken on by directors reinterpreting Shakespeare's version of history. Welles' knowing manipulation of the archontic function empowers his film, affecting subsequent interpretation and placing it squarely in the Shakespearean film canon.

This thesis is centrally concerned with the texts of Jacques Derrida that have addressed directly the theme of sexual difference. Yet to say the thesis is centrally concerned with a philosophy that positions itself clearly as one that deconstructs centrality and its trajectory of return, is to face the crisis or chiasmus of my concern. The thesis is not returned to Derrida. If the question of feminism for Derrida is a question from the margins, from interruptions, of the trace and of la cendre, ashes, the question of sexual difference is primordially and originarily that of the undecidability of the name, signatory, and textual border. She would not have appeared here. Therefore she cannot return. There are two frames to this research that can be recognized in the chapter sequence of the thesis. Initially I develop a preparatory engagement to a questioning of the ontology of sexual difference, with Chapters 2 and 3, with a questioning that broaches the metaphysics of the feminine with respect to the texts of Derrida, Heidegger and Cixous in particular and further engages with Écriture Féminine, Levinas and feminist responses to Heidegger and Levinas. However, this broader questioning is undertaken in order to develop a sharper focus on the writings of Derrida that address Heidegger’s ontological difference, Levinas’s ethics before being, and a more originary questioning of sexual difference. The second frame and predominant focus of the thesis is on Derrida’s approach to the metaphysics of the feminine with four pivotal texts by Derrida from the late 1970s and early 1980s examined in Chapters 4 to 7. Each addresses a questioning of difference and the metaphysical tradition, under difference’s many names: ontological difference, sexual difference, différance, and engages deconstruction’s encounters with Nietzsche & Heidegger (Spurs); the psychoanalysts Abraham & Torok (“Fors”); Levinas (“At This Very Moment in This Work Here I Am”) and Hegel (Glas). In bringing together these four texts, my aim is to emphasize the significance of a double deconstructive movement of transgression and restoration, as this research’s politico-ethical acts of writing and reading for an otherwise discourse on sexual difference. This otherwise discourse has always already been produced with phallogocentrism and remains critical for the inventing of thresholds across philosophy, literature and their others. The ashen Preface enkindles a paradigmatic figure as deconstructive trace of sexual difference in writing and reading practices. A Postscript questions the binding to institutional laws constitutive of disciplinary practice while the fiery trace in Derrida’s writing on Kafka’s law concludes on the ash-laden edges of Blanchot’s unavowable work.