L’oeuvre anthropologique de Claude Lévi-Strauss a joui, dès les années cinquante, d’un succèsretentissant dans le champ des sciences humaines et sociales. Dans celui spécifiquement de l’art, ce futd’abord le cas, avant que l’ethnologue ne récuse rapidement toute alliance possible avec la créationmoderne. Face à ce désaveu brutal, par contrecoup, la pensée esthétique de l’anthropologue est depuisrégulièrement reléguée au rang des conservatismes. Il y a dans les arts plastiques, comme un malaiseLévi-Strauss. Partant de ce constat, le présent travail entend faire corps selon deux aspects étroitementmêlés.Le premier consiste à « servir » Lévi-Strauss. En effet, l’examen démontre qu’il est, par bien desaspects, difficile de réduire l’auteur des Mythologiques à la figure de l’amateur gêné par l’aspect radicaldes avant-gardes. Dans une approche apaisée, le débat avec l’art moderne est alors rouvert afin decomprendre les ressorts profonds du positionnement esthétique de l’anthropologue. Elargissant la focale,l’étude tente de saisir l’art selon une approche civilisationnelle. L’Occident, en tant qu’entité culturelle,est analysé au regard du primat accordé dès l’antiquité au logos et jusqu’à son expression moderne autravers de la pensée scientifique.L’autre aspect de ce travail consiste cette fois à « se servir » de la pensée lévi-straussienne dans lebut d’élaborer les bases d’une postmodernité débarrassée de l’écueil du « tout se vaut ». Des outils aupremier rang desquels le triangle culinaire ainsi que la méthode structurale, sont également convoquésafin d’instruire les possibilités d’un rééquilibrage entre pensée scientifique et pensée mythique. Sefaisant, le travail tente de montrer le caractère profondément poïétique de la pensée lévi-straussienneainsi que de répondre à la question posée par la poïétique de René Passeron : « Si l’art est exemplaire, illui faut dire en quoi. »De la rencontre entre les deux grands aspects précités, naît la thèse majeure de ce présenttravail. Celle-ci consiste à démontrer combien le malaise Lévi-Strauss n’est en fait que l’autre nom dumalaise postmoderne, sa forme paradigmatique. / Since the 50’s, Levi-Strauss anthropological work has enjoyed a huge success in the socialsciences as well as in the Arts. These were parallel until the ethnologist quickly refused every possiblealliances with modern arts. As a direct consequence of this brutal disavowal, the anthropologist'saesthetic thought is regularly pushed into conservatism, thus, the inception of a Lévi-strauss vexationwithin the plastic arts. It is upon this that this discussion will be based.On one hand, this work will use Lévi-Strauss's thought. Indeed, the author of theMythologiques can't be reduced to the image of an amateur uncomfortable with the radical side of theavant-garde's thought. We'll reopen the discussion about modern art in order to understand the roots ofthe aesthetic positioning of the anthropologist. The cultural point of view in the arts will be the centerof this work. The cultural entity of the western civilization is analyzed from the primal importance itgranted since the antiquity to the logos until its modern expression : the rational thought.On the other hand, this work is permitted by the levi-straussian way of thinking and elaboratesthe basis of a postmodernity freed from the « all is equal » problem. Many tools such as the culinarytriangle and the structural method will be employed in discussing this. They help in keeping the delicatebalance between the rational and the natural thought, Thus, this is an attempt to answer a questionraised in the poietics of René Passeron : « If art is an exemple, we must say in which way it is. »These two sides create the main part of this work which demonstrates how the Lévi-Straussvexation is actually the other name for the postmodern vexation. We could even say that it is itsparadigmatic form.

In contemporary philosophy about justice, a contrast between empirical and transcendental approaches can be identified. Hillel Steiner represents an empirical approach: he argues for building an account of justice-as-rights out of the minimal inductive material of psychological linguistic and moral intuitions. From this opening, he ultimately concludes that persons have original rights to self-ownership and to an initially equal share of natural resources. Emmanuel Levinas represents a transcendental approach: he argues that justice arises from a transcendent ethical relation of responsibility-for-the-Other. This relation underpins all subjective cognition, and makes rationality, reasoning, and rights possible. Analysis of each of these positions reveals certain problems. On the one hand, Steiner’s argument contains a number of latent methodological, conceptual, and structural presuppositions. These include the pretheoretical concepts of “person”, “equality”, and “consistency”. These presuppositions prefigure and condition the conclusions which Steiner reaches. On the other hand, Levinas fails to provide a convincing account of how the self comes to be an object of my own deliberations about morality and justice. This amounts to an annihilation of the subject which undermines his argument for the subject as a site of responsible action. As Steiner identifies, justice encompasses equal moral agents. Levinas’s hyperbolic description of the ethical relation’s asymmetry must therefore be revised. Nevertheless, what remains is the strength of Levinas’s argument for the priority of the ethical relation over thematization, rationality, and consciousness. The hidden presuppositions supporting Steiner’s work are evidence of Levinas’s plausibility in this respect. Steiner’s account of justice-as-rights requires a prior ethical relation in which we recognise one another as separate persons, each possessing an ethical status of their own; an attitude of justice motivates Steiner’s description of justice. This attitude is evident in language, which is communication before it is thought. In that individual rights can be conceived only on the basis of a relation of responsibility, rights are primordially the rights of the Other.

Sous le signe de l'irréductibilité de l'événement ou "devenir" des concepts à l'histoire des idées, le moment philosophique du structuralisme selon Deleuze (1967-1969) est envisagé selon trois points de vue correspondant aux trois parties de la thèse. <p>La première partie adopte la perspective historiographique pour y déceler, chez F.Wahl (1968), M. Frank (1989) F. Dosse (1991), deux principales sources de la méconnaissance du structuralisme philosophique deleuzien au profit d'un prétendu "post" ou "néo-structuralisme" (à partir de L’Anti-Œdipe) :<p> 1° le tracé d'une ligne de partage exclusif entre la philosophie et le structuralisme méthodique des linguistes et de Lévi-Strauss ;<p>2° le rôle de parangon joué par la déconstruction derridienne du structuralisme. <p>La seconde partie fait valoir l'irréductibilité du "portrait conceptuel" du structuralisme peint par Deleuze en 1967, tant à l'égard du "cliché scientiste" (linguistique ou axiomatique) dominant les présentations doxographiques contemporaines (F.Wahl et J. Piaget) qu'à l'égard de la déconstruction du structuralisme par Derrida. A rebours des premiers, Deleuze supprime le mètre-étalon (linguistique ou mathématique) permettant de hiérarchiser les disciplines concernées par le structuralisme et, en s’appuyant sur la théorie lévistraussienne de la fonction symbolique à la clef du structuralisme de Lacan, Althusser, Foucault et le groupe Tel Quel, il propose sept critères formels transdisciplinaires, valant autant dans les sphères philosophique et artistique que dans celles des sciences humaines et des sciences exactes. Ce faisant, à la différence de Derrida et du « néo-structuralisme », Deleuze associe en un même « Jeu idéal » Lévi-Strauss (philosophiquement moustachu d’être associé à Lacan, Foucault, Barthes et Althusser) et Nietzsche (philosophiquement glabre d’être revisité à la lumière du structuralisme). <p>La troisième partie envisage dans Différence et répétition et Logique du sens le développement philosophique de ce "personnage conceptuel" nietzschéo-structuraliste apte à accomplir le « renversement esthétique » du Platonisme nihiliste au profit de la création et de la dramatisation des simulacres/structures. Associant structuralisme et pensée sérielle (U. Eco), Deleuze compose une œuvre chaosmos, un simulacre sériel, polyphonique, « achevé-illimité » jouant de bribes et miette de tout ce que les philosophes ont pu « croire et raconter » depuis l’Antiquité grecque afin de dramatiser l’Idée problématique du structuralisme à la veille de Mai 68./Under the sign of the irreductibility of the event or the “becoming” of concepts to their history, the philosophical moment of structuralism according to Deleuze (1967-1969) is considered from three points of view corresponding to the three parts of the thesis.<p>The first part adopts the historiographical perspective to detect, in F. Wahl (1968), M. Frank (1989), F. Dosse (1991), two main sources for the lack of knowledge about the deleuzian philosophical structuralism in favour of a so-called “post” or “neo”-structuralism (starting from the Anti-Oedipus) :<p>\ / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Notwithstanding the promises of an end to the Françafrique era, France remains the desired external security actor in francophone Africa. The purpose of this thesis is to examine the discursive legitimation strategies of Emmanuel Macron on France’s military activism in Mali, inquiring ‘How did the French President Emmanuel Macron discursively legitimize France’s military presence in Mali before the announcement of the end of Operation Barkhane?’. The aim is further to explore the construction of the French Self and the Malian Other in the legitimation discourse, asking ‘How did Macron construct a French ‘Self’ and a Malian ‘Other’ in his discourse as legitimate reasons for maintaining the intervention?’. By applying an interpretivist, post-structuralist discourse analysis to official statements published between 2017 and 2021, the thesis concludes that Macron’s discursive legitimation strategies remain approximately similar, yet the greater emphasis on rhetorical themes of equal partnership, non-interference in internal affairs, democracy and an ever-increasing multilateralism have taken place in the face of Paris’ damaged legitimacy. Focusing on the construction of the Self and the Other affirms that Macron constructs the Malian Other as significantly different from the French Self even though the country is seen as capable of transformation and cooperation, requiring the compliance of Western advice.

Understanding Gilgamesh – brokenly – is to understand life brokenly. The Epic of Gilgamesh is the narrative of life. It records the full cycle of the nerve and aplomb of youth, of the doubt and crisis of midlife, of the acceptance and quiescience of maturity. Moreover, this understanding is a broken understanding. It starts with the clay tablets that are broken in a literal sense of the word. Further, the narrative is a narrative of broken-ness – the story ends in tears. A man has lost his last chance of obtaining life everlasting. Yet he manages to recuperate despite his failure. The first part of this thesis examined the world of Gilgamesh. Initially he was known as the Sumerian king Bilgames. He makes his appearance in the form of oral compositions that are recited or sung in the royal courts of kings during the Sumerian period: sheer entertainment, nothing really serious. At his side is his loyal servant Enkidu who supports his master in everything he does. Akkadian gradually ousts Sumerian as vernacular, yet the latter continues to dominate as the language of culture and court. Bilgames survives the reign of the Sargonic dynasty, and even revives during the glorious Ur III period of Shulgi and of Ur-Nammu. Sumerian Bilgames-poems are recorded in writing. However, by the time that Hammurapi draws up his legal codex, the Sumerian Bilgames is known as the vibrant Akkadian king Gilgamesh. His servant Enkidu is elevated to the status of friend. Together they defy men, gods, monsters. When Enkidu dies, Gilgamesh goes even further in search of life everlasting. He reaches Uta-napishtim the Distant in order to learn the secret of eternal life. The optimism of the Old Babylonian Kingdom is replaced by the reflection and introspection of the Middle period. Life is difficult. Life is complex. The Gilgamesh Epic is once again re-interpreted and supplemented by a prologue and an epilogue: both begin and end at the same place, at the walls of Uruk. Here Gilgamesh looks back and forward to his life and contemplates about the meaning of life in general. The second part of this thesis dealt more specifically with the story – the literary aspects of the Epic. Genette’s theory illuminated several interesting literary devices with regards to the rhythm and pace of the narrative. However, much of the reflective nature of the Epic was also revealed. There were moments of looking forward, and looking backward: after Gilgamesh broke down in tears at the end of the Epic, he suddely gained perspective on life. Somehow a broken narrative focused into a meaningful whole that may just make future sense. Jauss’s theory illuminated why Gilgamesh refuses to be forgotten, why he is once again alive and well in the twenty first century. Although he was buried in the ruins of Nineveh for a thousand plus years, he is suddenly back on the scene – and not for academic reasons only. Not only scholars of the Ancient Near East take an interest in the old Epic, but also people from all sectors of life. Somehow Gilgamesh seems to respond to questions that are asked even by those who understand nuclear physics – but who grapple with the paradox of living meaningfully. Understanding Gilgamesh – brokenly – understands life. / Thesis (DLitt)--University of Pretoria, 2006. / Ancient Languages / unrestricted

This paper applies a post-structuralist literary framework when looking at the philosophical implications of William’s Mkufya’s novel Ziraili na Zirani. The analysis focuses on a free-verse poem per-formed by a black bird in hell. Moreover, there is a focus on the different genre forms at play, such as free-verse poetry and the novel, and an acknowledgement that an understanding of the text relies upon a consideration of these different genre conventions. Ultimately the paper shows how a reading of the text as it is presented in the novel, as a performance, demonstrates a realisation of the different genre conventions at play, thus taking their significance onto a different plain of analysis. Furthermore, attention is drawn to the application of a post-structuralist framework and the various contributions this theoretical model can make to a reading of the poem, notably an emphasis on the resistance to fixed meaning in favour of instability. This results in an exposition of the relevance of a post-structuralist literary framework to Mkufya’s critical reflection upon epistemology as it is portrayed in the black bird’s enigmatic performance, and the novel as a whole.

The following dissertation studies the question how cyber security has become a national security agenda and discusses implications of the observed processes to current international security status quo. I divided the research into three parts. The first part embodies theoretical and methodological approach. The second part studies three distinct discourses related to cyber security, the techno-geek discourse, the crime-espionage discourse and the nation-defense discourse using the method of Michel Foucault about archaeology of knowledge. The third part then draws on these three discourses and discusses implications through lens of several theoretical perspectives. Namely through concepts taken from science and technology studies, from actor network theory and network assemblages. The critical point of the research is a distinct reading of these discourses. While techno-geeks are understood as a source of semiosis, hackers' capability and crypto-anarchy ideology influenced by cyberpunk subculture, the cyber-crime and espionage discourse is read as a source of evidence of the hackers' capability. The inspiration in popular subculture is combined with current efforts in development of liberating technologies against oppression by authorities, oppression recognized by the eyes of the crypto-anarchist...

Based on my research aim of covering a gap in the literature on corporate gender equality standards, I research the effects and limits of corporate gender equality standards through a feminist poststructuralist perspective using the case study of the EDGE standard. Based on a qualitative research design, I build an analytical framework on Carol Bacchi’s ‘What’s the Problem Represented to be’ (WPR) approach to analyze the material in form of the five assessment areas of the EDGE standard. Based on the feminist post-structuralist perspective, my analysis showcases that the EDGE standard as a governance tool is not guided by tangible ‘problems' that exist ‘out there’ but rather through the representation of ‘problems’ as framed in the EDGE standard. The EDGE standard is thus a productive force that give shape and meaning to various problems of gender inequality which at the same time, the standard is also meant to address. I conclude that in some cases, the EDGE standard can have positive effects. However, the lack of an intersectional approach limits the EDGE standard too. This thesis contributes to the field by closing a research gap in the academic literature on the effects and limits of corporate gender equality standards analyzed through a feminist poststructuralist lens. / Jeg undersøger virkningerne og begrænsningerne af ligestillingsstandarder i organisationer gennem en feministisk poststrukturalistisk analyse af organisationsstandarden ’EDGE’. Baseret på mit mål om at afdække manglende forskning af ligestillingsstandarder anvender jeg et kvalitativt forskningsdesign som bygger på Carol Bacchis 'What’s The Problem Represented To Be’ for at analysere materialet i form af de fem vurderingsområder i EDGE-standarden. Med baggrund i det feministisk post-strukturalistiske perspektiv viser analysen, at EDGE-standarden som et styringsværktøj ikke styres af konkrete 'problemer', der eksisterer 'derude', men snarere styres gennem repræsentationen af ​​'problemer' som de indrammes og konstrueres i EDGE-standarden. EDGE-standarden er således en produktiv kraft, der giver form og mening til forskellige problemer inden for diskrimination og ligestilling mellem kønnene samtidigt med at standarden også er udviklet til at tackle disse ’problemer’. Jeg konkluderer, at EDGE-standarden i nogle tilfælde kan have positive effekter, men manglen på en tværgående og intersektionelle tilgange til EDGE’s fem vurderingsområder begrænser imidlertid også EDGE-standarden. Dette speciale bidrager til feltet inden for ligestilling og organisationsstandarder ved at afdække virkningerne og grænsningerne af erhvervslivets ligestillingsstandarder analyseret gennem en feministisk poststrukturalistisk perspektiv.

The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.

In my thesis, I focus on the role of an author in a work of art, and film in particular, based on Jan Mukařovský. Firstly, I describe Mukařovský's structuralist concept of an art work. Thus, following Ferdinand de Saussure's ideas, he views a work of art as an autonomous sign. At the same time, he uses de Saussure's terms langue and parole. In this text, I explain Mukařovský's terms of an aesthetic function, a norm and a value. I also examine the difference between an individual and a subject of art, and between intentionality and unintentionality. I compare Mukařovský's view of the author with other theorists, namely, Umberto Eco, Roland Barthes and Michael Foucault. Hence, I show historical changes within the concept of the author, and also explain Pierre Levy's cyber-cultural understanding of it. In addition, I discuss other authors, who bring together film arts and the interplay of signs. In particular, I introduce James Monaco and Jerzy Plaževski, and connect their thoughts with ideas of Mukařovský. These authors create a bridge between the concept of a film author and Mukařovský, who does not discuss this authorship in particular. The focus here is on Jaroslav Vančát's theory of a multi-layered film, examining three layers of film with different authors. Focusing on films with actual actors,...