Orientador : Lidia Maria Rodrigo / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-13T20:13:25Z (GMT). No. of bitstreams: 1 Sousa_JoseRenatodeAraujo_D.pdf: 999757 bytes, checksum: ecc4a90849f730bb05b99d0874a7dc81 (MD5) Previous issue date: 2009 / Resumo: A teoria da mímesis na filosofia de Platão, quase sempre vista no âmbito estético, foi na maioria das vezes interpretada na tradição filosófica e literária como uma teoria negativa. Acreditamos que isso decorre de uma leitura e interpretação um tanto apressada dos diálogos, que não considera o aspecto educacional da atividade mimética. Uma teoria da educação em Platão jamais poderá se dissociar da questão da mímesis. Divergindo da interpretação corrente, que tem destacado mais o papel negativo da mímesis na formação do homem, esta tese tem o intuito de investigar o caráter positivo da mímesis platônica no processo de aprendizagem e aquisição de conhecimentos para a formação moral. Destacando-se a importância dessa mesma teoria na trajetória intelectual desse filósofo, partimos de um pressuposto ou hipótese de que Platão revisa a teoria da mímesis no seu último diálogo as Leis, acentuando sua importância na formação moral da psykhé. / Abstract: The theory of mimesis on Plato's philosophy it almost always was seen in aesthetics sphere and it was interpreted in philosophic and literary tradition like a negative theory. We need that your cause was the accelerate reading and analysis that not considered the educational aspect of mimetic activity. Plato's the theory of education could never set apart the mimesis issue. In contrast with the current interpretative thread, which has pointed out the most the negative aspect of mimesis in men's development, this thesis intends to ferret about the positive aspect of Plato's mimesis in the learning process e knowledge acquisition for the moral development. Emphasizing the importance of this theory the philosopher?s intellectual track, it is supposed that Plato in his last dialog, the Laws, revise the theory of mimesis stressing its importance in moral development of psyche. / Doutorado / Filosofia e História da Educação / Doutor em Educação

Esta dissertação tem como objetivo realizar uma aproximação entre dois campos distintos: a Literatura e as Histórias em Quadrinhos. Especificamente, pretende-se aqui analisar como Watchmen constroi e organiza sua narrativa partindo de um pressuposto realista. Nesse sentido, esta dissertação realiza uma aproximação entre dois gêneros: o romance literário e o romance gráfico (graphic novel). A ascensão de ambos os gêneros já aponta paralelos entre os campos. Após essa exposição, é feita a análise propriamente dita, que compreende duas partes. A primeira se constitui do levantamento das estruturas visuais de Watchmen (balões, formato dos quadrinhos, estilo do desenho) que se organizam em um jogo entre convenção mimética e deslocamento. A segunda parte da análise tem como recorte os capítulos II e XI do romance gráfico e se debruça sobre o tratamento dispensado ao super-heroi; o que significa, no contexto de Watchmen, construir um super-heroi realista. / This thesis aims to approximate two distinctive fields: Literature and Comics. It intends to analyse how Watchmen constructs and organizes its narrative from a realistic assumption. In order to do so, this thesis approximate two genres: the literary novel and the graphic novel. The rise of both genres indicates similarities between the two fields. After that, the two-part analysis is presented. The first part consists of listing and interpreting Watchmens visual structure (speech bubbles, panel format, drawing style) and how they reveal a play between mimetic convention and displacement from it. The second part focuses on Watchmens chapters II and XI and analyses how the super-heroi character is constructed; what does it mean to make a realistic super-hero in Watchmens context.

Made available in DSpace on 2017-07-10T18:55:55Z (GMT). No. of bitstreams: 1 To_ani.pdf: 1071344 bytes, checksum: 546b2cc80042f6b04e70b2775cbb8430 (MD5) Previous issue date: 2015-03-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Estudiar la reconstrucción de las imágenes de Dios y del Diablo, de Adán y de Eva, de María y de José, de Caín y de Lilith, de Jesús y de María Magdalena, de los personajes míticos a que ellas aluden es el propósito de nuestra investigación. Se pretende observar cómo se forma ese proceso en las obras Caín y Evangelio según Jesucristo, del escritor portugués José Saramago (1922-2010). Las narrativas presentes en el Antiguo y Nuevo Testamentos constituyen un modelo interpretativo del mundo, las historias que se cuentan en la Biblia y sus personajes hacen parte de nuestro imaginario. Nos interesa verificar cómo la obra de arte literario se apropia de ellas, en otras palabras, examinar el doble juego entre alejarse y acercarse, afirmar y negar, representar y transgredir en la construcción de los personajes míticos. Nuestra mirada, dirigida por los estudios de Walter Benjamín acerca del narrador, se dirige al texto literario investigando los elementos artesanales en el tejido de la vida humana que se vuelve a presentar en palabra. Entre los autores nucleares en nuestro análisis, se destacan Henri Bergson, Mijaíl Bajtín y Georges Minois para tratar de la risa, fenómeno perturbador que puede promover la manutención de un orden establecido, sino también violarlo y burlar de él; Luiz Costa Lima para discutir las relaciones entre el arte y la realidad, en razón de sus contribuciones a los estudios de la mimesis; también fueron importantes para la formación de nuestra mirada sobre la obra de arte literario, las reflexiones de Michel de Montaigne, que presenta al ser humano como ambivalente, tejido a partir de fragmentos del otro, de encuentros entre él y yo. El encuentro entre las novelas de José Saramago y las narrativas bíblicas reveló una relación doble: por un lado, los personajes míticos presentan los caracteres profanos destacados, lo que podría promover, por medio de la inversión y de la desacralización (en la Biblia el tono utilizado es el de lo sagrado), un olvidarse de los textos de la tradición judía y cristiana; por otro lado, ese proceso, al humanizar los personajes míticos y por la necesidad de reconocimiento de las historias y personajes que son reescritos, puede protegerlos del olvido. / Estudar a reconstrução das imagens de Deus e do Diabo, de Adão e de Eva, de Maria e de José, de Caim e de Lilith, de Jesus e de Maria Madalena, das personagens míticas a que elas aludem é o objetivo de nosso trabalho. Pretendemos observar como se dá esse processo nas obras Caim e Evangelho segundo Jesus Cristo, do escritor português José Saramago (1922-2010). As narrativas presentes no Antigo e Novo Testamentos constituem um modelo interpretativo de mundo, as histórias contadas na Bíblia e suas personagens fazem parte de nosso imaginário. Interessa-nos verificar como a obra de arte literária delas se apropria, em outras palavras, examinar o jogo duplo entre afastamento e aproximação, afirmação e negação, representação e transgressão na construção das personagens míticas. Nosso olhar, direcionado pelos estudos de Walter Benjamin sobre o narrador, volta-se ao texto literário investigando os elementos artesanais na tessitura da vida humana que se reapresenta em palavra. Entre os autores nucleares para nossa análise, destacam-se Henri Bergson, Mikhail Bakhtin e Georges Minois para tratar do riso, fenômeno perturbador que pode promover a manutenção de uma ordem estabelecida, mas também violá-la e parodiá-la; Luiz Costa Lima para discutir as relações entre arte e realidade, por suas contribuições aos estudos da mímesis; foram importantes também para a formação de nosso olhar diante da obra de arte literária, as reflexões de Michel de Montaigne, que nos apresenta o humano como ambivalente, tecido a partir de fragmentos do outro, de encontros entre ele e eu. O encontro entre os romances de José Saramago e as narrativas bíblicas revelou uma relação dupla: de um lado, as personagens míticas apresentam os caracteres profanos destacados, o que poderia promover, pela inversão e dessacralização (na Bíblia o tom utilizado é o do sagrado), um apagamento dos textos da tradição judaico-cristã; por outro lado, esse processo, ao humanizar as personagens míticas e pela necessidade de reconhecimento das histórias e personagens que são reescritas, pode protegê-las do esquecimento

As relações de semelhança estão por toda parte, elas surgem inesperadamente, participam de nossas vidas e nos determinam sem que tenhamos, muitas vezes, consciência ou controle sobre elas. São acontecimentos potentes, de criação e engendramento de mundos. Esta pesquisa buscou investigar e dar visibilidade às relações de semelhança emergentes em diversas situações do cotidiano escolar envolvendo estudantes, professores, professores-estudantes e outros participantes de um campo amplo e dinâmico. O estudo das semelhanças se inspira em Walter Benjamin cuja obra evidencia a importância da experiência e da mímesis como parte do processo de constituição do sujeito e acesso à cultura. A faculdade mimética possibilita o reconhecimento e a produção de relações de semelhança e, ao nos abrirmos a tais relações no universo escolar, criam-se oportunidades de transformação, trazendo vida e invenção a este espaço. Empreendeu-se o estudo da mimesis, dos tempos e dos habitantes do universo escolar sob o enfoque da percepção de semelhanças. Com o intuito de acolher o caráter inventivo e inesperado de tais processos, optou-se pela cartografia, método inspirado em Deleuze e Guatarri que se apresenta como possibilidade de caminhar em campo aberto, estar no mundo e habitar territórios existenciais a partir de referenciais que aproximam conhecimento e criação, sujeito e objeto, o eu e o outro. Os procedimentos de campo consistiram em observações, recolhidas de forma sensível, numa escola pública em São Paulo, e no estágio num programa de formação de professores em Vermont (EUA) que incluiu vivências na escola de aplicação e na residência pedagógica. Foi realizado diário de campo que abarcou todo este percurso e a partir do qual foram feitos recortes descritivos das situações mais intensas e significativas, analisadas em forma de platôs. Os platôs são entendidos como territórios de produção de acontecimentos que abrigam encontros de intensidades múltiplas que se proliferam em forma de rizoma, espaço entremeios que pode ser acessado em qualquer ponto. A análise indica a importância do tempo kairós, saturado de agoras (Jetztzeit), fundante da experiência, e que requer uma postura de abertura e disponibilidade para sua apreensão. As relações de semelhanças percebidas na escola se ofereceram de forma potente e intensa, e demandaram certa sintonia para acessá-las e torná-las visíveis, dado seu caráter fugidio. O desafio de formar professores sensíveis ao reconhecimento das semelhanças aponta a residência pedagógica como uma iniciativa que resgata a dimensão artesanal do ofício do professor, incluindo a escuta, a documentação pedagógica e autobiografia (história de vida) como elementos importantes deste processo. Tais achados evidenciam a importância de alimentar essas centelhas de sentido que lampejam no cotidiano escolar. Elas podem se apresentar como uma forma de superação da realidade de truculência que impera nas escolas, transformando-a num ambiente mais criativo, estimulante e acolhedor por meio de experiências realizadoras / The relations of similarity are everywhere, they come unexpectedly and take part in our lives determining us without our being aware or take control over them. They are powerful events that involve creation and enable engendering worlds. This research investigated the relations of similarity emerging in several situations of everyday school life involving students, teachers, professors, students and other participants of a broad and dynamic field. The study of the similarities is inspired by Walter Benjamin whose work highlights the importance of experience and mimesis as part of the process of constitution of self and access to culture. The mimetic faculty enables the identification and production of similarities and open ourselves to these relationships in the school environment, creating opportunities for transformation, bringing life and invention this place. Was undertaken the study of mimesis, of time and characters of the school universe under the emphasis of the perception of similarities. In order to accommodate the inventive and unexpected character of such processes, the cartography was chosen, method inspired in Deleuze and Guattari which presents itself as an opportunity to walk in the open and inhabit existential territories by narrowing the boundaries between knowledge and creation, subject and object, the self and the other. Field procedures consisted of observations collected in a sensitive way, in a public school in São Paulo, and in a internship in a teacher training program in Vermont (USA) that included experiences in the campus childrens school as well as in the teachers residency program. All the process was documented in field journals from which were made descriptive cutouts of the most intense and significant situations, analyzed in the form of plateaus. The plateaus are understood as territories of production of events that hosts multiple intensities that proliferate in the form of rhizome, a space that can be accessed anywhere. The analysis indicates the importance of kairos time, saturated of nows (Jetztzeit), standing as the founder of experience, and that requires an attitude of openness and readiness for his apprehension. The relations of similarities perceived in the school presents powerful and intense, and demanded certain tuning to access them and make them visible, given its elusive character. The challenge of training teachers sensitive to the recognition of similarities points the pedagogical residence as an initiative that rescues artisanal dimension teacher work, including listening, teaching materials and autobiography (life story) as important elements of this process. These findings highlight the importance of nourishing these sparks of meaning that blinks in everyday school life. They may present as a way of overcoming the harshness of reality that prevails in schools, turning it into a more creative, stimulating and supportive environment through fulfilling experiences

Principalement analysée comme un retour à l’esthétique réaliste qui était celle de Virginia Woolf à ses débuts, la fiction tardive de l'écrivaine s’écarte radicalement de ses productions des années vingt et de leur modernisme affiché. La présente étude se propose de comprendre cet écart à travers le filtre de la mimésis : le basculement en jeu dans les œuvres tardives a à voir avec la représentation fictionnelle du réel et les inflexions que lui apporte Virginia Woolf au tournant des années trente. En effet, là où des textes comme Mrs Dalloway ou To the Lighthouse mettaient en scène un réel de l’intériorisation, un monde passé au crible de la conscience, les dernières œuvres de l'écrivaine adoptent une logique inverse et translatent l’intériorité à la surface même des choses et des événements. Ce déplacement inédit, qui « signe » la mimésis woolfienne tardive, nous semble par ailleurs devoir être mis en rapport avec un concept philosophique contemporain de la fiction tardive de Virginia Woolf, celui de « monde de la vie » ou Lebenswelt. Développé par Edmund Husserl dans son ultime ouvrage, La Crise des sciences européennes et la phénoménologie transcendantale, le Lebenswelt permet de penser une extériorisation de la vie subjective dans un monde qu’elle façonne à mesure qu’elle en fait l’expérience. À cet égard, les conceptions du réel qu’échafaudent au même moment Woolf et Husserl se révèlent être singulièrement proches. Cependant il s’agira moins ici d’appliquer le concept au texte, de comprendre le littéraire à travers le philosophique, que de mettre en place un dialogue « intertextuel » entre ces principes souvent concurrents : le Lebenswelt, loin de s’apparenter à une « réponse » aux questions soulevées par les textes de Woolf, peut au contraire nous aider à dégager la logique propre de la fiction tardive de l’écrivaine – tant et si bien que l’analyse du monde de la vie husserlien sera d’abord pour nous l’occasion de faire émerger un monde de la vie authentiquement woolfien. / Mainly analysed as a return to the realist aesthetics of her first novels, Virginia Woolf’s late fiction stands in stark contrast with her “high modernist” works of the 1920s. The present study suggests that such a reorientation is best understood when looked at through the lens of mimesis: the change affecting Woolf’s late fiction has to do with the representation of reality and with its alterations at the turn of the 1930s. Indeed, whereas texts like Mrs Dalloway or To the Lighthouse defined reality as the internalisation of the world, sieved through the consciousnesses of fictional characters, Woolf’s late fiction reverses this process by exporting the self directly to the outside world of things and events. Moreover, our intuition is that this unprecedented displacement, which comes to define Virginia Woolf’s last works, is to be compared with a philosophical concept emerging at the same time: Edmund Husserl’s Lifeworld. The Lifeworld, or Lebenswelt, theorised by Husserl in his last work, The Crisis of European Sciences and Transcendental Phenomenology, provides a conceptual framework in which the externalisation of subjectivity and its shaping of the outside world become conceivable. In this respect, Woolf and Husserl’s contemporary conceptions of reality appear particularly close. Our aim, however, is not to use the concept as a key for the text – nor will we analyse Woolf’s fiction from a philosophical standpoint. Instead of this, we intend to set up an “intertextual” dialogue between the often opposing principles of literature and philosophy: the Lifeworld, far from solving the questions raised by Woolf’s texts, is better conceived of as a catalyst destined to expose the underlying logic of Woolf’s late fiction. We thus take Husserl’s Lifeworld into account only inasmuch as its analysis paves the way for the discovery of Woolf’s own Lifeworld.

À travers la mise en perspective des études actuelles sur la mimésis, ce travail se propose de démontrer qu'il y a dans le surréalisme l'effort d'établir de nouveaux paradigmes esthétiques qui, grâce à leur cohérence et pertinences formelles, systématiques et structurales, sont capables de produire un renouvèlement de la notion de vraisemblance. Pour mieux comprendre le processus entraînant le surgissement de cette autre vraisemblance, trois parties structurent mon argumentation. Dans un premier moment il s’agit de scruter la notion de mimésis en remontant à Platon et Aristote de façon à dégager les principes de la conception de représentation, en mettant en évidence les changements du concept au fur et à mesure des siècles. Dans un deuxième temps, certains aspects issus de la philosophie de l’art fournissent des éléments théoriques et analytiques concernant la notion de mimésis et soutenant l’hypothèse d’une vraisemblance organisée autour des poétique du surréalisme. L’importance de ce point repose dans ce qu’il permet de mettre en relief les préjudices causés à la compréhension du concept de mimésis et vraisemblance, préjudices influençant directement la réception de modes de représentation tels que le surréalisme. Ces deux premières parties préparent le chemins vers le point central à partir duquel s’organise la vraisemblance que je propose. Dans un troisième et dernier volet la théorie de la métaphore de Paul Ricœur permet de relier les premières conceptions de la mimésis à l’epiphora. La vraisemblance propre à certaines poétiques surréalistes repose dans ce rapprochement. Il devient possible alors d’intégrer la métaphore dans la conception même de la mimésis. La vraisemblance découle ainsi de la compréhension des imbrications des deux concepts. Un corpus poétique a été choisi dans une démarche comparatiste. Une sélection de Paul Éluard et Murilo Mendes permet d’analyser les fonctions des métaphores à partir d’une perspective analytique des fonctions occupées par les métaphores et les images produites. Ces analyses permettent de comprendre le fonctionnement de cette vraisemblance particulière, liée à l'indépendance discursive dont fait appel la poésie surréaliste d'Éluard et Murilo Mendes. Plus que démontrer les influences de la poétique du surréalisme parisien dans la relecture produite par le poète brésilien, le rapprochement de ces deux poétiques par la métaphore affirment un rapprochement discursif opérant dans le terrain formelle. C’est dans cet espace que la vraisemblance surréaliste se structure. / Through the perspective bring by the current studies on mimesis, this work aims to demonstrate that there is the surrealist movement an effort to establish new aesthetic paradigms. With their formal, systematic and structural coherence the poetics of surrealism are capable of producing a renewal of the concept of vraisemblance. To better understand the processes leading to the emergence of an other likelihood, three-part structure my argument. In a first moment it comes to scrutinizing the concept of mimesis going back to Plato and Aristotle in order to identify the principles of representation that lies in the concept of mimesis, highlighting the changes in the comprehension of this concept trough the ages. Secondly, some aspects from the philosophy of art provide theoretical and analytical elements concerning the concept of mimesis and supporting the hypothesis of a likelihood organized around the poetic surrealism. The importance of this lies in what it allows to highlight the damage done to the understanding of the concept of mimesis and likelihood, damages directly influencing the reception modes of representation such as surrealism. These first two frames prepare the path to the central point from which organizes the likelihood that I propose. In a third and final part Paul Ricœur’s theory of metaphor makes possible the connection between the first conceptions of mimesis to epiphora. The particular likelihood structurally organized in some surrealist poetry lies in this link. It then becomes possible to integrate the metaphor in the very concept of mimesis. The likelihood is thus derived from understanding the concepts of the two nests. A poetic corpus was chosen in a comparative approach. A selection of Paul Éluard and Murilo Mendes poems demonstrate the importance of the analyze of metaphors functions from an analytical. These analyzes allow to understand the operation of this particular likelihood, related to the discursive independence. More than demonstrate the influences of the Parisian poetic surrealism in the replay produced by the Brazilian poet, the analytical approach of metaphors demonstrate a discursive pertinence of this surrealistic likelihood thesis. It is in this space that the surrealistic likelihood structure itself.

La thèse analyse les conceptions pré-modernes du laid en confrontant les traités philosophiques, rhétoriques, poétiques et artistiques italiens et français de la Renaissance à la première moitié du dix-septième siècle. En tant que difformité physique, le laid est considéré comme une transgression des normes du corps : il met en question la conception de la mimésis comme imitation idéalisante et permet de repenser la nature de la représentation. Le laid est en outre conçu comme le signe du vice : l’étude cherche à reconstituer le paradigme physiognomonique qui sous-tend cette interprétation traditionnelle du corps et s’interroge sur ses limites en examinant le paradoxe de la laideur de Socrate. Les interprétations morales de la difformité mettent en jeu différentes fonctions sémiotiques de la représentation. Dans la topique héritée de la scolastique, la mimésis du laid vise à stigmatiser les défauts moraux, comme le montrent les allégories des vices et les satires ; de son côté, la difformité paradoxale donne lieu à une herméneutique du texte et de l’image. Enfin, le laid tient à son effet sur le destinataire. Si le laid est traditionnellement appréhendé comme un objet repoussant, sa représentation vise à susciter l’effet inverse, selon les poétiques et les traités d’art inspirés d’Aristote. L’analyse de ce plaisir paradoxal met en lumière les qualités cognitives et esthétiques de la mimésis. Au seuil de la modernité, la question du laid est à la croisée des problématiques morales héritées de l’Antiquité, et des réflexions esthétiques qui se développeront pleinement du dix-huitième siècle à nos jours, notamment dans les théories de la fiction. / Through cross-analysis of French and Italian philosophical, rhetorical, poetic, and artistic treatises from the Renaissance to the first half of the seventeenth century, this study seeks to understand what the early modern period conceived of the ugly. In terms of physical deformity, the ugly is considered as a transgression of the norms of the body: it questions the concept of mimesis as an idealised imitation and allows a reconsideration of the nature of representation. Furthermore, the ugly is seen as the sign of vice: this study looks to reconstruct the physiognomical paradigm which underlies this traditional interpretation of the body and to question its limits through examining Socrates’ paradoxical ugliness. Moral interpretations of deformity bring different semiotic functions of representation into play. In the topic inherited from scholasticism, mimesis of the ugly aims to stigmatise moral defects, as they are represented in allegories about vice and satire. Paradoxical deformity, for its part, gives rise to hermeneutics of text and image. Finally, the ugly is concerned with its effect on its recipient. If the ugly is traditionally understood as a repellent object, its representation aims to arouse the inverse effect, according to the poetics and treatises on art inspired by Aristotle. Analysis of this paradoxical pleasure highlights the aesthetic and cognitive qualities of mimesis. At the brink of modernity, the question of the ugly is at the crossroads of moral issues that stem from the Antiquity, and of aesthetic reflections which develop more fully from the eighteenth century to the present day, notably in theories on fiction.

[pt] O principal objetivo de minha tese reside na análise das peculiaridades do gênero autobiográfico, o qual possui um compromisso com a constituição (mesmo que inconsciente) de um projeto identitário. Apesar da aparente fidelidade a verdade do ocorrido, própria da escrita historiográfica, a evocação do autor desloca sua narrativa mimética do campo da reprodução para o campo da produção, sem, no entanto, transgredir o real, ato realizado pela narrativa ficcional. Apesar de não postular limites categóricos entre estes gêneros narrativos, e, pelo contrário, defender a possibilidade de um constante diálogo entre eles, acredito que a interlocução não apague as fronteiras existentes entre os diferentes discursos. Esta tênue diferença consiste na capacidade do autor em manter seu compromisso aporético durante o ato criação, a manutenção, portanto, da hierarquia das intenções no momento da escrita. Para identificar tal diferença, cabe ao leitor ser capaz de engendrar em sua análise um mínimo de interseção entre seu repertório, ou seja, o conjunto de normas sociais inerentes ao leitor e, consequentemente, à sua recepção da obra, e o repertório do texto, a hierarquia das intenções presente no processo de produção dos discursos. / [en] The main objective of my thesis is the analysis of the peculiarities of the autobiographical genre, which has a commitment to the configuration of an identity project. Despite the apparent commitment with the truth, which is proper of the historiographic genre, the act of recollection shifts the Mimetic narrative of the field of reproduction to the field of creation, without transgressing reality, act performed by the fictional narrative. The author doesn t defend categorical boundaries between these genres, on the contrary, defends the possibility of a constant dialogue among them, even though, these dialogues do not delete the existing border between the different speeches. The subtle difference between genres resides on the ability of the author to keep your commitment during the act of creation, his ability to maintain the hierarchy of intentions during his writing. To identify such a difference, it is up to the reader to be able to engender in his analysis a connection between his repertoire- social conventions that orients his reading – and the text repertoire, which means the hierarchy of intentions that is present during the production of the speech.

Given the expansion of multimedia technology and proliferation of moving projections on the theatre stage in the 21st century, this thesis examines how a virtual or projected character can appear to be present without a physical body on the stage. This study is grounded in the theories of effet de présence (effect of presence) as elaborated by Josette Féral, but also uses other theories to look at how productions can create such an effect for virtual characters. Specifically, this thesis examines the character’s relationship with the real, framing devices and actions of the characters. The specific examples of Rwanda 94 (Groupov), La Belle et la Bête (4D Art) and Les Aveugles (UBU CC) are used as case studies in order to focus on these techniques. Partant de l’intégration des nouvelles technologies et la prolifération des projections vidéo au sein des scènes théâtrales du 21e siècle, cette thèse examine les techniques par lesquel les personnages projeté peut sembler présent en l’absence d’un corps physique visible. Cette réflexion est basée sur l’effet de présence, concept élaboré par Josette Féral, ainsi que d’autres théories et examine comment un effet de présence est constitué pour ces personnages virtuels en considérant leur relation au réel (mimesis), les dispositifs de cadrage dans lesquels ils s’inscrivent de même que leurs actions. Cette analyse sera menée à porter de avec trois étudies de cas : Rwanda 94 (Groupov), La Belle et la Bête (4D Art) et Les Aveugles (UBU CC).

La présente thèse entend donner sens à un concept qui occupe une place centrale au sein de la pensée de Theodor W. Adorno mais qui, parce que notoirement difficile à définir, n’a pas reçu l’attention qu’il mérite : la mimêsis (Mimesis). Il s’agira, plus exactement, de comprendre la mimêsis comme un point nodal de la critique adornienne, qui nous permet de comprendre au nom et en vue de quoi elle se déploie. Car sous toutes ses acceptions – et nous verrons qu’elles sont fort variées – la mimêsis adornienne est toujours invoquée dans le but de contrecarrer les tendances hétéronomes (c’est-à-dire : déshumanisantes) propres aux sociétés capitalistes avancées. Surtout, elle est constamment présentée comme un correctif matérialiste au type de rationalité abstraite qui sous-tend ces sociétés. Cette tâche s’avère d’autant plus lourde que, malgré son important poids normatif, la mimêsis ne fait pas l’objet, chez Adorno, d’une théorisation explicite. Il nous faudra pallier cette indétermination, en identifiant d’abord les assises normatives les plus premières de la critique adornienne (0.0. Introduction : les fondements normatifs de la critique adornienne), pour ensuite rendre compte des fonctions particulières qu’occupe la mimêsis au sein de cette critique (1.0. Les fonctions critiques de la mimêsis adornienne). Ce travail de débroussaillage exégétique et interprétatif nous permettra de constater que la mimêsis adornienne recèle trois types de potentiels critiques distincts. D’abord, en ce qu’elle est présentée – dans les travaux des années 1930 et 1940 surtout – comme une impulsion psychosomatique à même de trahir, l’instant d’une brève résistance, la violence infligée à la nature intérieure et extérieure de l’homme par les forces réificatrices de la rationalité instrumentale (Instrumentelle Vernunft), la mimêsis adornienne peut être comprise comme un mimétisme (Mimikry) bioanthropologique dont la valeur est principalement expressive (2.O. Mimikry : le potentiel bioanthropologique de la mimêsis). Ensuite, lorsqu’elle sera pensée – à partir de la fin des années 50 surtout – comme une compétence proprement épistémique qui permet au sujet connaissant de rencontrer à nouveau puis de redéterminer les objets de son expérience, la mimêsis adornienne peut être comprise comme un correctif critique à la logique appropriative de la pensée identifiante (identifizierendes Denken) (3.O. Affinität et Entäusserung : le potentiel épistémique de la mimêsis). Enfin, dans la mesure où elle informe le modus operandi de l’oeuvre d’art d’avant-garde telle que défendue par Adorno dans la Théorie esthétique, et qui consiste à détourner, en les retournant contre elles-mêmes, les contraintes imposées par le monde totalement administré (total verwaltete Welt), la mimêsis peut être comprise comme une Methexis subversive, c’est-à-dire comme une stratégie séditieuse à même de conjurer l’hétéronomie sociale en l’anticipant et en l’incorporant (4.0. Methexis subversive : le potentiel stratégique de la mimêsis). Ainsi, tout en voulant rendre justice à la très grande polysémie du concept, nous aimerions démontrer que la mimêsis adornienne pointe constamment vers une forme ou une autre de résistance : comme expression, comme extériorisation ou comme subversion. / The main goal of this thesis is to give meaning to a concept which, despite being central to the thought of Theodor W. Adorno, is notoriously difficult to grasp, and for that reason, has not received the critical attention it deserves: mimesis (Mimesis). More precisely, this thesis will present mimesis as a central principle which grounds the particular type of philosophical critique developed and defended by Adorno. Despite its different meanings – and they are numerous, as we shall see –, adornian mimesis is always invoked as a means of countering the heteronomous (that is to say, dehumanizing) tendencies at the heart of advanced capitalist societies. Above all, we will try to show that mimesis is presented by Adorno as a materialist corrective to the type of abstract rationality that underlies these societies. This task is a difficult one, since for all its normative importance, the concept of mimesis is never conceptualized as such by Adorno, but simply alluded to. We will try to compensate for this indeterminacy, firstly, by identifying the most fundamental normative underpinnings of Adorno’s thought (0.0. Introduction : les fondements normatifs de la critique adornienne), and secondly, by giving a full account of the different critical contributions that mimesis brings to it (1.0. Les fonctions critiques de la mimêsis adornienne). This exegetical and interpretative effort will enable us to see that Adorno’s concept of mimesis contains three distinct critical potentials. First, insofar as it is presented – especially in the works of the late 1930s and 1940s – as a psychosomatic impulse which gives lie, momentarily, to the violence inflicted on man’s interior and exterior nature by the reifying forces of instrumental rationality (Instrumentelle Vernunft), Adorno’s mimesis can be understood as a bioanthropological mimicry (Mimikry) (2.O. Mimikry : le potentiel bioanthropologique de la mimêsis). Secondly, insofar as it presented – more often in the works of the late 1950s and onward – as an epistemological competence by which the thinking subject is able to re-encounter and re-determine the objects of his experience, adornian mimesis can be seen to counteract the appropriative logic of identity thinking (identifizierendes Denken) (3.O. Affinität et Entäusserung : le potentiel épistémique de la mimêsis). Finally, insofar as it informs the radical artwork’s modus operandi – as it is defended by Adorno in his unfinished Aesthetic Theory –, that is, its capacity to subvert the constraints of the totally administered world (total verwaltete Welt) by incorporating them, adornian mimesis can be understood as a strategic Methexis, as a seditious tactic by which heteronomous forces can be at once anticipated and countered (4.0. Methexis subversive : le potentiel stratégique de la mimêsis). Thus, while looking to do justice to the rich polysemy of the concept of mimesis in Adorno, we would also like to show what, in all its forms, it points towards one form or another of resistance: as expression, exteriorization or subversion.