[pt] Deslocar-se no horizonte impossível propõe múltiplas articulações em torno da questão da estrangeiridade. A narrativa Durante a construção da Muralha da China, de Franz Kafka, oferece o modelo estrutural, em que, a partir de blocos erguidos e dispostos num fluxo de viagem, são compostas zonas de vizinhança heterogêneas. Em 2007, Biño Sauitzvy, artista nascido no sul do Brasil, que havia migrado para a França quatro anos antes, retornava para apresentações de seus dois trabalhos mais recentes, H to H e La Divina. São produções intersecionais, entre a dança-teatro e a performance, em que um jovem diretor de teatro regressa como performer, coreógrafo e bailarino. No contato da narradora da tese com esse corpo novo se dá o encontro com o estrangeiro que se revela ali. É ele o meio disparador deste trabalho. O estrangeiro se apresenta nas relações corpo-gênero-sexo, em discussões em torno do eixo linguagem-língua-escrita-silêncio, em desdobramentos sociais, e em diferentes aparições de fronteiras e suas fissuras. Essa situação se impõe na escrita e é discutida no cruzamento entre trabalhos de arte (performance, dança-teatro, artes plásticas e literatura), pensamento teórico e experiência fabuladora. Busca-se assim a elaboração de uma escrita no caminho aberto pela pesquisadora e escritora americana Maggie Nelson, isto é, o de uma autoteoria — gênero que desenvolve a partir de modos de escrita presentes em obras de Roland Barthes, Susan Sontag e de Paul B. Preciado. É a partir desses textos e espaços que se desenvolve uma escrita em movimento, atravessada, por fim, pela estratégia fragmentária do escritor Jean Genet em Diário de um ladrão e Um cativo apaixonado, produzindo uma tese em que vida, memória, viagem e escrita se percorrem mutuamente. / [en] Moving into the impossible horizon proposes multiple articulations around the issue of foreignness. The narrative During the construction of the Wall of China, by Franz Kafka, offers the structural model, in which, heterogeneous zones of similarities are composed from blocks erected and arranged in a flux of journey. In 2007, Biño Sauitzvy, an artist born in southern Brazil, who had migrated to France four years earlier, returned to give presentations of his two most recent works, H to H and La Divina. They are inter-sectional productions, between dance-theater and performance, in which a young theater director returns as a performer, choreographer and dancer. In the contact of the narrator of the thesis with this new body occurs the encounter with the foreigner that reveals itself there. He is the trigger for this work. The foreigner presents himself in the body-gender-sex relations, in discussions around the language-language-writing-silence axis, in social unfoldings, and in different appearances of frontiers and their fissures. This situation imposes itself in the writing and is discussed in the intersection between works of art (performance, dance-theater, plastic arts and literature), theoretical thinking and the fabling experience. It seeks to elaborate a writing on the path opened by the American researcher and writer Maggie Nelson, that is, of self-theory - a genre that develops from the writing modes present in works by Roland Barthes, Susan Sontag and Paul B Precious. It is from these texts and spaces that a writing in movement is developed, crossed, finally, by the fragmentary strategy of the writer Jean Genet in Diary of a thief and A passionate captive, producing a thesis in which life, memory, travel and writing cross (trespass) each other.

Ce mémoire explore les impacts qu’a eu le colonialisme égyptien sur la société agraire soudanaise suivant la conquête, en 1821, du sultanat funj jusqu’à l’éclosion de la révolution mahdiste en 1881. Celui-ci va à l’encontre de l’historiographie occidentale conventionnelle qui affirme que l’agriculture au Soudan a connu un long et lent déclin durant toute la période égyptienne. En effet, c’est complètement l’inverse : après l’échec, en 1844, de l’implantation d’un régime de plantations par les autorités coloniales, les élites locales soudanaises composées d’anciens aristocrates funjs, de marchands et de seigneurs nomades, vont reprendre ce système agraire et l’adapter à leurs besoins. On assiste donc à la renaissance de l’agriculture soudanaise sous un système hybride, à la fois égyptien et soudanais. Cette résurgence agricole aura de vastes impacts dans toute la région du Gezira et du Soudan oriental et sur toutes les strates de la population. On assiste à un essor sans précédent de l’esclavage agricole, à l’érosion de la paysannerie libre et du nomadisme, à l’apparition d’un réseau urbain complexe et à un déclin marqué de l’environnement. Pendant ce temps, le gouvernement colonial égyptien, dont le pouvoir est restreint aux limites de ses villes-garnisons, limitera ses interactions avec le monde rural à tenter d’extraire le maximum de richesses de façon inefficace et violente. / This thesis explores the impacts of Egyptian colonialism on the Sudanese agrarian society following the 1821 conquest of the Funj Sultanate until the beginning of the Mahdist Revolution in 1881. This research goes against the Western conventional historiographical consensus affirming that the agricultural sector in Sudan suffered a long and painful decline during the whole Egyptian colonial occupation. In fact, it is the complete opposite: after the 1844 Egyptian failure to impose their plantation system, the local Sudanese elites composed of former Funj aristocrats, traders and nomadic lords, are going to reappropriate this agrarian structure for their own ends. We are, in fact, witnessing the resurgence of Sudanese agriculture under a new hybrid system. This agrarian revival is going to have major consequences on the regions of Gezira and oriental Sudan and also on all the strata of the population. It will lead to an exponential rise in the use of agricultural slavery, the collapse of the free peasant and nomad, the building of a new network of cities and the decline of the environment. During that period, the Egyptian colonial government, confined to its garrison-cities, will limit its interaction with the rural world by inefficiently trying to extract the maximum of riches with the use of violence.

<p>Предмет истраживања у овом раду представља одређивање чворишних тачака<br />око којих се образује идентитет у поетици Растка Петровића. Циљ је доказивања тезе<br />да његово стваралаштво антиципира савремено схватање и разумевање идентитета<br />као конструкције, која се одвија унутар дискурса моћи, а он настоји да регулише<br />идентификацијске процесе унутар субјекта. Дело Растка Петровића указује на<br />чињеницу да идентитет представља сложену и динамичну мрежу сачињену од<br />идентитетских конституената који се непрекидно укрштају, те се на местима укрштаја<br />образују амбивалентне субјекатске позиције из којих аутор исповеда своју онтолошку<br />стрепњу и свест о конститутивној амбиваленцији. Укључивањем методолошких<br />премиса из области студија културе (маргинализација, трансгресија, лиминалност) у<br />проучавање аутентичних авангардних поетичких стратегија Растка Петровића, указали<br />смо на чињеницу да је аутор трагајући за собом остваривао своје поетско биће. На тај<br />начин образовао се хибридни и лиминални идентитет у динамичком пољу<br />антагонистичких дискурса, који се непрекидно међусобно пресецају.<br />Реч је, дакле, о томе да поетичко-естетско-филозофско исходиште<br />стваралаштва Растка Петровића чини идеја да се биће (оно што јесте), као и<br />конституенти његовог идентитета (пол, род, раса, нација, класна, верска и<br />професионална припадност...) разумевају као процесуалне категорије које су<br />непрекидно изложене променама. Петровић, заправо, отвара пут савременом<br />антиесенцијалном тумачењу бића као флукса (оно што је ток и што се мења) унутар<br />симболичких мрежа, односно дискурзивних пракси. На тај начин, ствара се могућност<br />да се појам, односно концепт идентитета тумачи као стратегијски и позицијски, те је у<br />Петровићевом делу идентитет увек релационо конструисан и изратито обележен не-<br />припадањем. Истовремено, идентитет сугерише истост и подржава неки облик<br />заједништва који варљиво испуњава онтолошку празнину.<br />Овај рад своје методолошко утемељење проналази у претпоставци да је<br />плуралитет у теоријским приступима и критичким праксама нужан, управо због<br />2<br />сложености и амбивалентности појма идентитет, који је интердисциплинаран по своме<br />досегу. Истовремено, овај рад се бави различитим аспектима идентитета са циљем да<br />се сачува и истакне свест о интеракцији између конституената идентитета и теоријско-<br />критичких пракси које се њима баве. У фокусу нашег истраживања налази се културни,<br />родни и наративни идентитет, тачније, модуси њихових конструкција. У том смислу,<br />ова студија доказује да поетика, али и живот Растка Петровића представљају<br />парадигму културолошке и родне лиминалности. Сходно томе, путујући модел<br />егзистенције показује се као пресудан у творби идентитета који се формира као<br />хибридни, услед седиментације различитих култура.<br />Исцрпна анлиза родног идентитета, односно маскулинитета, истиче<br />субверзивни потенцијал Петровићевог дела у односу на патријархалну<br />фалогоцентричну бинарну културолошку матрицу. Растко Петровић несумњиво<br />исказује свест о идеолошком карактеру родне улоге која му је намењена, те је процес<br />&bdquo;постајања&ldquo; мушкарцем изузетно сложен, обележен противуречностима и стрепњом.<br />Посебан комплекс питања која се нужно намећу када је у питању ауторефлексија<br />представља језик, јер је писац принуђен да доказ властитог постојања тражи у језику, у<br />појмовима који су такође производ дискурса који не одобрава алтернативну мушкост.<br />Тумачење наративног иденитета као ипсеитета које смо користили у раду,<br />дакле, упознавање и конституисање себе као метакатегоријалног Другог, маркирало је<br />значај културног дијалога коме је Растко Петровић несумњиво стремио. У питању је<br />дијалог у коме припадници мањинских/маргиналних култура и субкултура постају<br />равноправни саговорници. Истовремено, размена културних дарова обезбеђивала би<br />потенцијал за, из данашње перспективе посматрано, повлашћен статус агенса у<br />стварању сопствене културе, као и активно учешће у мапирању културе у свету.</p> / <p>Predmet istraživanja u ovom radu predstavlja određivanje čvorišnih tačaka<br />oko kojih se obrazuje identitet u poetici Rastka Petrovića. Cilj je dokazivanja teze<br />da njegovo stvaralaštvo anticipira savremeno shvatanje i razumevanje identiteta<br />kao konstrukcije, koja se odvija unutar diskursa moći, a on nastoji da reguliše<br />identifikacijske procese unutar subjekta. Delo Rastka Petrovića ukazuje na<br />činjenicu da identitet predstavlja složenu i dinamičnu mrežu sačinjenu od<br />identitetskih konstituenata koji se neprekidno ukrštaju, te se na mestima ukrštaja<br />obrazuju ambivalentne subjekatske pozicije iz kojih autor ispoveda svoju ontološku<br />strepnju i svest o konstitutivnoj ambivalenciji. Uključivanjem metodoloških<br />premisa iz oblasti studija kulture (marginalizacija, transgresija, liminalnost) u<br />proučavanje autentičnih avangardnih poetičkih strategija Rastka Petrovića, ukazali<br />smo na činjenicu da je autor tragajući za sobom ostvarivao svoje poetsko biće. Na taj<br />način obrazovao se hibridni i liminalni identitet u dinamičkom polju<br />antagonističkih diskursa, koji se neprekidno međusobno presecaju.<br />Reč je, dakle, o tome da poetičko-estetsko-filozofsko ishodište<br />stvaralaštva Rastka Petrovića čini ideja da se biće (ono što jeste), kao i<br />konstituenti njegovog identiteta (pol, rod, rasa, nacija, klasna, verska i<br />profesionalna pripadnost...) razumevaju kao procesualne kategorije koje su<br />neprekidno izložene promenama. Petrović, zapravo, otvara put savremenom<br />antiesencijalnom tumačenju bića kao fluksa (ono što je tok i što se menja) unutar<br />simboličkih mreža, odnosno diskurzivnih praksi. Na taj način, stvara se mogućnost<br />da se pojam, odnosno koncept identiteta tumači kao strategijski i pozicijski, te je u<br />Petrovićevom delu identitet uvek relaciono konstruisan i izratito obeležen ne-<br />pripadanjem. Istovremeno, identitet sugeriše istost i podržava neki oblik<br />zajedništva koji varljivo ispunjava ontološku prazninu.<br />Ovaj rad svoje metodološko utemeljenje pronalazi u pretpostavci da je<br />pluralitet u teorijskim pristupima i kritičkim praksama nužan, upravo zbog<br />2<br />složenosti i ambivalentnosti pojma identitet, koji je interdisciplinaran po svome<br />dosegu. Istovremeno, ovaj rad se bavi različitim aspektima identiteta sa ciljem da<br />se sačuva i istakne svest o interakciji između konstituenata identiteta i teorijsko-<br />kritičkih praksi koje se njima bave. U fokusu našeg istraživanja nalazi se kulturni,<br />rodni i narativni identitet, tačnije, modusi njihovih konstrukcija. U tom smislu,<br />ova studija dokazuje da poetika, ali i život Rastka Petrovića predstavljaju<br />paradigmu kulturološke i rodne liminalnosti. Shodno tome, putujući model<br />egzistencije pokazuje se kao presudan u tvorbi identiteta koji se formira kao<br />hibridni, usled sedimentacije različitih kultura.<br />Iscrpna anliza rodnog identiteta, odnosno maskuliniteta, ističe<br />subverzivni potencijal Petrovićevog dela u odnosu na patrijarhalnu<br />falogocentričnu binarnu kulturološku matricu. Rastko Petrović nesumnjivo<br />iskazuje svest o ideološkom karakteru rodne uloge koja mu je namenjena, te je proces<br />&bdquo;postajanja&ldquo; muškarcem izuzetno složen, obeležen protivurečnostima i strepnjom.<br />Poseban kompleks pitanja koja se nužno nameću kada je u pitanju autorefleksija<br />predstavlja jezik, jer je pisac prinuđen da dokaz vlastitog postojanja traži u jeziku, u<br />pojmovima koji su takođe proizvod diskursa koji ne odobrava alternativnu muškost.<br />Tumačenje narativnog ideniteta kao ipseiteta koje smo koristili u radu,<br />dakle, upoznavanje i konstituisanje sebe kao metakategorijalnog Drugog, markiralo je<br />značaj kulturnog dijaloga kome je Rastko Petrović nesumnjivo stremio. U pitanju je<br />dijalog u kome pripadnici manjinskih/marginalnih kultura i subkultura postaju<br />ravnopravni sagovornici. Istovremeno, razmena kulturnih darova obezbeđivala bi<br />potencijal za, iz današnje perspektive posmatrano, povlašćen status agensa u<br />stvaranju sopstvene kulture, kao i aktivno učešće u mapiranju kulture u svetu.</p> / <p>This thesis aims to determine the crucial points of identity formation in Rastko<br />Petrović&rsquo;s poetics with the intention to verify the idea that Rastko Petrović&rsquo;s work<br />anticipates the modern understanding of identity as a construct which emerges from the<br />discourse of power with its identificational processes within the subject. Rastko Petrović&rsquo;s<br />oeuvre is an excellent example of the fact that identity represents a complex and dynamic<br />network of identity constituents that constantly intertwine, and, in the places where the<br />contacts happen, they form ambivalent subject positions from which the author narrates his<br />ontological fear and the awareness of the constitutive ambivalence. By including some of<br />the methodological premises from the field of cultural studies (such as marginalization,<br />transgression, liminality) into the research of Petrović&rsquo;s authentic avant-garde poetic<br />strategies, the thesis shows that, while searching for his inner self, Petrović was epitomizing<br />his poetical self, thus forming a hybrid and liminal identity in the dynamic field of<br />antagonistic discourses that constantly intersect.<br />Therefore, we can say that the poetic, philosophical and aesthetic sources of<br />Petrović&rsquo;s work are found in the idea that self (what is), as well as the constituents of his<br />identity (sex, gender, race, nation, class, religious beliefs, professional orientation&hellip;) are<br />understood as processing cathegories constantly exposed to changes. What is more, it can<br />be said that Rastko Petrović clears the path for the modern, antiessetialist interpretations of<br />self as flux (that which is a flow, which changes constantly) within the symbolic network, i.e.<br />discoursive practices. In this way, arises the possiblity of interpretation of the notion, or the<br />idea of identity, as strategic, or positional, meaning that in Petrović&rsquo;s works identity is<br />always relationally constructed and strongly marked by non-belonging. At the same time,<br />identity means sameness and supports at least some kind of unity feebly fulfilling the<br />onthological void.<br />Methodological foundation of this thesis is found in the assumption that the plurality<br />in critical and theoretical approaches is necessary, precisely because of the complexity and<br />ambivalence of identity, the term whose scope and range are interdisciplinary positioned. At<br />the same time, the thesis examines various aspects of identity with the objective to<br />preserve and enhance the awareness about the interaction between the constituents of<br />4<br />identity and theoretical and critical practices that deal with it. Cultural, gender and narrative<br />identities or, more precisely, the modes of their constructions, form the central part of the<br />thesis. In this sense, this thesis shows that the poetics, but also the life of Rastko Petrović,<br />represent a paradigm of cultural and gender liminality, while the life on the constant move<br />proves to be crucial in the creation of identity which is formed as a hybrid one because of<br />many layers coming from various cultures. A detailed analysis of gender identity or, more<br />precisely, masculinity, stresses the subversive potential of Petrović&rsquo;s work when juxtaposed<br />to patriarchal, logocentric, binary cultural matrix. Rastko Petrović expresses an awareness of<br />the ideological character of the gender role he was assigned with; therefore, the process of<br />&ldquo;becoming&rdquo; a man is a highly complex one, marked with contradictions and fear. A separate<br />cluster of questions that inevitably appear with introspection is found in language, since<br />writer is compelled to search for the proofs of his existence in the language and in the<br />notions which are also a product of discourse that does not approve of the alternative<br />masculinity.<br />The interpretation of narrative identity as ipseity, used in this work, as well as the<br />introduction and constitution of self as a meta-categorical Other, marked the importance of<br />cultural dialog which Rastko Petrović undoubtedly strived for. It is a dialog where the<br />members of minority cultures and subcultures are equal participants. At the same time, the<br />exchange of cultural gifts provides the potential for a privileged status of agens in creation<br />of one&rsquo;s own culture, and also in active mapping of the world culture.</p>

This is the story of how four people invented a whole new world and way of life - and how they attempted to establish it across the globe. Copass, a Parisian startup consisting of four cofounders, aimed to connect hundreds of the world's shared workspaces under their new global federation. But the main objective of this startup, in contrast to most, was not to build capital. It was to build a universe: a future where white-collar workers would be liberated from the shackles of office life to work anywhere in the world, to meet exciting people and to have amazing experiences. Here, workdays were permanently mixed with holidays. Work was fun, workplaces were play-places and workers were adventurers. The ambition of these four cofounders was to turn the way they wanted things to be for them into the way things ought to be for everyone else. To turn their desired lifestyle into a global social movement that enrolled, as they saw it, hundreds of cities and thousands, tens of thousands, even millions of people. In short, they created a company to fulfil a dream. This is an ethnography of that one startup's dream, analysed at length to demonstrate innovative ways of worldmaking employed by an ambitious tech company seeking success. A company dissatisfied with the world that, instead of changing it, decided to create a new one.

Au cours de l'Histoire, les humains alors nomades sont devenus sédentaires. Est-il possible de tisser des liens entre les différentes formes de nomadisme actuel et une certaine implication politique ? Selon une approche critique des pouvoirs hégémoniques, l'auteur répond à cette question à travers une expérience cinématographique nomade dans le Nord-ouest argentin. Il étudie les relations qui peuvent exister entre une pensée nomade, le militantisme et le cinéma. Suivant les révolutions sociales des années 30 à 70, certains nomades, qui parcouraient le monde comme contestation d'un mode de vie normatif, se tournent aujourd'hui vers un existentialisme quotidien. Quant au cinéma militant argentin, sa pratique passe d'une confrontation révolutionnaire face à l'hégémonie, vers la construction de subjectivités variées et précises. L'agencement entre le cinéma militant et l'expérience nomade mettra à jour l'importance d'une « communication nomade » qui s'installe aux interstices de la contestation sociale et de l'autonomie individuelle. / Throughout history, humans have gone from a nomadic to a sedentary lifestyle. Is it possible to forge links between current forms of nomadism and political involvement? Using a critical approach of the powers of dominating institutions, the author answers this question through a nomadic cinematic experience in Northwestern Argentina. The film studies the relationships that exist between nomadic thought, activism and film. After the social revolutions of the 1930's through the 1970's, nomads who had once challenged conventional lifestyles are IV today turning towards existentialism. Meanwhile, the practice of militant cinema in Argentina has changed from a revolutionary confrontation against hegemony, towards the construction of subjective identities. The link between militant cinema and the nomadic experience brings to light the importance of "nomadic communication" between social protest and individual autonomy. / Durante la historia, los seres humanos pasaron de ser nómadas a sedentarios. ¿Es posible establecer vínculos entre las diferentes formas de nomadismo actual y una cierta implicación política? Según un enfoque crítico de los poderes hegemónicos, el autor responde a esa pregunta a través de una experiencia de cine nómade en el noroeste argentino y estudia las relaciones que existen entre el pensamiento nómada, el activismo y el cine. Siguiendo las revoluciones sociales de los años 30 a los 70, algunos nómadas que vagaban por el mundo como desafío a un estilo de vida normativo, hoy están recurriendo a un existencialismo diario. En cuanto al cine militante argentino, su practica pasa de una confrontación revolucionaria contra la hegemonía, a la construcción de subjetividades variadas y precisas. El agenciamiento entre el cine militante y la experiencia nómada actualizará la importancia de una "comunicación nómada" que se instala en los intersticios de la protesta social y la autonomía individual. / Le film "Exilio o Transhumancia" accompagne ce mémoire.

This diploma thesis ,,buckwheat attractivity for bees" deals mainly with native nectar plants for the processing of bees to honey. Work is folded in two parts. The theoretical part deals with the migration of colonies, both for nectar crops and plants with bee pollination needs. In ractical part of this thesis microscopic pollen analysis were performed and contents of pollen grains in honey from colonies, which were relocated to buckwheat growth was evaluated. Comparison of this honey with honey from the hives with similaar location, but without access to buckwheat growth was done.

Civilisation et désert : deux termes qui donnent l’impression en apparence d’être antithétiques, mais ils sont cependant et ont souvent été liés étroitement ensemble dans l'imaginaire aussi bien que dans la pratique. Depuis L'Épopée de Gilgamesh, en passant parles textes antiques et les traditions religieuses ou bien par les variations successives menant aux «découvertes géographiques», à la «modernité» et à la «mondialisation», l’idée de la civilisation a maintes fois trouvé son inverse, son révélateur et son complément dans la référence qu’elle donne au désert : quand la civilisation échoue à conquérir et à urbaniser le désert, c’est à ce même désert qu’elle retourne. Cette interaction des représentations autour des variantes contemporaines du rapport civilisation/désert n’a cessé de donner une inspiration importante depuis deux siècles à une littérature abondante sur le désert,dans laquelle la relation de ce dernier à l’espace civilisé constitue non seulement une sorte de confrontation entre deux espaces, mais aussi entre deux mondes, Occident et Orient,entre deux temps mythiques, deux visions du destin humain. Cet imaginaire se projette aussi dans les représentations des utopies– anciennes et nouvelles – pour mettre en valeur le désert.La présente thèse se donne pour objet de mettre l’accent sur l’opposition civilisation/désert à l’époque moderne. Notre lecture structuro-idéologique et socio-historique s’efforce d’identifier, pour chacun de nos quatre textes, les procédés sémiotiques et poétiques mobilisés en vue de mettre en lumière cette opposition, à savoir les mécanismes de sa représentation, de son fonctionnement et de sa mutation.Partant d’une analyse du contraste entre le discours colonial et le discours postcolonial,notre approche comparatiste repose sur la lecture de quatre oeuvres romanesques postcoloniales appartenant à quatre littératures mondiales traitant de l'opposition civilisation / désert tout en révélant la misère de l'Homme primitif face à tant de tentatives de l’Homme civilisé de l’arracher de son milieu. Les quatre oeuvres qui superposent l’Histoire à la fiction s’articulent sur une vision dénonciatrice de la civilisation moderne et sur une vision idéaliste et utopique du désert et du nomadisme. / Civilization and desert: two words which in appearance appear to be antithetical, and yet they are and have often been tightly linked in the imaginary as well as in practical experience. From The Epic of Gilgamesh, to ancient texts and religious traditions or even to the successive variations leading to "geographic discoveries", "modernity" and to "globalization", the idea of civilization has many times met its opposite, its enlightener, and its point of reference that it gives to the desert. For two centuries, this interaction in the representations about the contemporary variations of the connection civilization/desert has been continuously providing an important inspiration to an extensive literature on the desert. The latter's relationship with the civilized space not only sets up some confrontation between two spaces but also between two worlds, the Western and Eastern ones, between two mythical times, two different visions of human destiny. This imaginary experience is also shown through the representations of the utopias ancient or recent to highlight the desert. The opposition civilization/desert in modern times forms the subject matter of this thesis. Our structural-ideologicaland socio-historical reading endeavors to identify, through all four texts, the semiotic and poetic processes. These processes are featured in order to bring this opposition to the fore, which are the mechanism of its representation, functioning and mutation. On the basis of an analysis of the contrast between the colonial discourse and the postcolonial one, our comparative approach hinges on the reading of the four postcolonial novelistic works belonging to four world pieces of literature which deal with the opposition civilization/desert while featuring the misery of the primitive Man facing so many attempts of the civilized Man to force him out of his background. The four works superposing History on fiction are structured on a denunciatory vision of modern civilization and on a utopian and idealistic vision of the desert and of nomadism.

Ce travail d’analyse s’intéresse à la construction des différents sujets dans les chroniques de l’écrivain chilien Pedro Lemebel. Suite à la dictature d’Augusto Pinochet et à l’implantation du néolibéralisme la société chilienne s’est profondément transformée. Le chroniqueur interroge ces mutations à partir des sujets participants à cette réalité, mais qui n’ont pas de véritable place dans les discours institutionnels, littéraires et artistiques. Ainsi, le lecteur fait la connaissance de travestis, de prostitués, d’homosexuels, d’enfants de la rue, de vagabonds, de fous, et de femmes des bidonvilles. Nous souhaitons démontrer comment se constituent ces subjectivités invisibles à partir de stratégies discursives qui mettent en évidence les processus de subjectivation imposés par le système économique, politique et social. En outre, la réflexion se porte sur les stratégies privilégiant la corporalité comme discours de résistance, voire de force politique. La recherche s’articule autour de trois axes de réflexion. Nous évoquons la question de la chronique comme l’espace textuel propice au travail sur les subjectivités. Nous abordons ensuite les pratiques d’assujettissement et de constitution vécues par les subjectivités situées à la marge de la société. Celles-ci font du désir et de la mémoire leurs principes fondamentaux. Enfin, nous étudions les diverses stratégies corpo-textuelles liées à la notion de nomadisme et de corps résistants. Ainsi, nous analysons le nomadisme identitaire, les métamorphoses corporelles, la prédominance du discours de la chair et les transformations de l’imaginaire à partir de la corporéité. Sur le plan théorique nous nous appuyons sur les travaux de Michel Foucault, Gilles Deleuze, Félix Guattari et Rosi Braidotti. / The objective of this study is to analyze the construction of various subjects in the chronicles of the Chilean writer Pedro Lemebel. The dictatorship of Augusto Pinochet and the implementation of neoliberalism have profoundly transformed Chilean society. The author retrieves these transformations from the subjects who participate in this reality, and who have no real place in the institutional, literary and artistic discourse. We meet cross-dressers, prostitutes, homosexuals, street children, vagabonds, mentally disturbed individuals, and women from the slums. We want to demonstrate how these invisible subjects represent the discursive strategies invoked to highlight the processes of subjection imposed by the economic, political and social system. Furthermore, how do these strategies emphasize corporeality as a means of resistance discourse or even possibly a political force? The research is based on three lines of thought. We discuss the questions of whether the author is the textual space most conducive to explore the individual subjects. We then address the mode of subjection and constitution by subjects (subjectivity) at the fringes of society. These groups have made desire and memory their fundamental principles. Finally, we study the various text strategies related to the concept of “nomadic theory” and “resistant body”. Thus, we analyze the notion of being nomadic as part of one’s identity, bodily metamorphosis, the dominance of the flesh and the transformation of the imaginary order issued from the corporeality. Theoretically, we take as reference the work of Michel Foucault, Gilles Deleuze, Felix Guattari and Rosi Braidotti

[pt] Segundo correntes de pensamentos que anunciam a condição distópica promovida pelo que se convencionou nomear capitalismo global integrado, entra em crise a noção de Humano. Guiados via satélite a transitar por mapas digitais, aventa-se que este trajeto histórico nos conduziu até a rua sem saída deste suposto realismo capitalista. É este o cenário labiríntico de uma sociedade do cansaço, em que os poderes governamentais articulados pelo capital se infiltram pela frágil divisão entre cultura e natureza. O sono, segundo o pesquisador Jonathan Crary, simboliza a última fronteira entre as versões mais atualizadas de uma tecnocracia objetiva que se apodera dos corpos para anestesiar o sensível e, portanto, normatizar os modos de vida a partir também da reorganização da percepção. Na esteira, portanto, de respostas acerca do que fabrica mundos – e suas consequentes formas de habitá-lo – e acerca da emergência de ventilar outros possíveis desdobramentos, esta dissertação debruça sobre a experiência onírica ressignificada como gesto estético-político. Pode o sonho agir como uma mediação – ou como manifestação – de disputa de imaginários capaz de despertar para uma forma de vida sympoiética? É pelo reencantamento do mundo, a partir de um lirismo onírico – e onírico aqui no sentido amplo e do senso comum – que este trabalho será conduzido, visando uma exploração topográfica na tentativa de constituir outra paisagem de mundo. / [en] Oneilyrical Imaginism: A cartography crossing landscapes. According to groups of thought that announce the dystopic condition promoted by what has been called integrated global capitalism, the notion of Humanism plunges into a crisis. Guided by satellite to navigate on digital maps, it is revealed that this historical route led us to a dead-end in a supposed capitalist realism. This is the labyrinthic scenario of a society of weariness, in which governmental powers articulated by capital infiltrate the fragile division between culture and nature. Sleep, according to researcher Jonathan Crary, symbolizes the last frontier between the most up-to- date versions of an objective technocracy that seizes bodies to anesthetize the sensory and therefore normalize lifestyles from the reorganization of perception. In the wake, therefore, of answers about what creates worlds - and their consequent ways of inhabiting it - and about the emergence of letting out other possible outcomes, this dissertation focuses on the dream experience resignified as an aesthetic-political gesture. Can the dream act as a mediation - or as a manifestation - in a dispute of imaginaries be capable of promoting a sympoietic way of life? It is t rough the re-enchantment of the world, from a dream perspective – here in a broad and common sense – that this work will be conducted, aiming at a topographic exploration in the attempt to constitute another landscape of the world.

Ce mémoire de maîtrise étudie l’enfermement des personnages féminins dans le cinéma tunisien, sur une période allant des années 1990 à aujourd’hui. La notion d’enfermement permet d’articuler les relations de pouvoir à une dimension spatiale, tout en intégrant un rapport au temps et au corps. Pour cela, nous avons choisi un corpus composé de quatre long-métrages de fiction, tous réalisés par des cinéastes femmes : Les Silences du Palais (Moufida Tlatli, 1994), Bedwin Hacker (Nadia El Fani, 2002), Les Secrets (Raja Amari, 2009) et La Belle et la Meute (Kaouther Ben Hania, 2017). Nous pensons que ces films s’inscrivent dans une tradition cinématographique tunisienne féminine autour des oppressions subies par les femmes et leur désir d’émancipation. Cependant, nous observons des variations dans la manière dont est figuré l’enfermement des héroïnes. Cela passe notamment par la mise en scène ainsi que par le discours porté par les réalisatrices au sujet des personnages féminins et de leur émancipation. Ce corpus explore différentes échelles d’espace (domestique, public, global et virtuel) et montre diverses oppressions auxquelles les héroïnes font face. Nous commençons d’abord par étudier l’enfermement des personnages féminins à l’intérieur d’un espace domestique, en nous appuyant sur les notions d’hétérotopie et de harem. Ensuite, nous abordons la sortie de ces lieux et l’investissement d’espaces publics pour nous intéresser à la dimension plus institutionnelle de l’enfermement. Enfin, nous analysons la possibilité de dépasser cet enfermement afin de porter un discours d’émancipation. / This master’s thesis examines the imprisonment of female characters in Tunisian cinema from the 1990 until today. The notion of imprisonment articulates relations of power within a spatial dimension, while integrating the temporal and corporal dimension. For this, we chose a corpus of four long-feature films directed by women: The Silences of the Palace (Moufida Tlatli, 1994), Bedwin Hacker (Nadia El Fani, 2002), Burried Secrets (Raja Amari, 2009) and Beauty and the Dogs (Kaouther Ben Hania, 2017). We think those movies are part of a female Tunisian cinematographic tradition dealing with oppressions felt by women and their desire for emancipation. However, we observe some variations in the way the heroines’ imprisonment is shown. This is emphasized by the mise en scène and the discourse of the directors about female characters and their emancipation. This corpus explores different spatial scales (domestic, public, global and virtual) and shows the diversity of oppression faced by the heroines. To begin with, we study the imprisonment of female characters in a domestic space, employing the notions of heterotopia and harem. Then, we examine the exit of those spaces and the occupation of public spaces to explore the institutional dimension of imprisonment. Finally, we analyze the possibility of overcoming this imprisonment in order to hold a discourse of emancipation.