L’étude des différentes représentations des femmes, qu’elles interviennent à un niveau social, corporel ou encore linguistique, amène, dans le contexte littéraire, à interroger le concept d’identité. Ce « mot-valise », au sens de Jean Petitot-Cocorda, appartient au patriarcat, ce qui signifie que la notion d’identité elle-même a été pensée, élaborée par les hommes pour les hommes, que le mot même d’’identité appartient à l’univers sémantique masculin. Lorsque nous cherchons à définir l’identité féminine, nous sommes pris au piège de la langue élaborée par le patriarcat, car la notion d’identité fonctionne pour le Masculin, et ne peut donc pas, dans une approche qui revendique l’autonomie, être signifiante pour les femmes puisqu’elle n’a pas été pensée pour elles. Il y a une forme d’impasse à rechercher une identité stable et universalisable des femmes. Le présent travail de thèse se propose d’explorer les différents prismes sous lesquels des auteures francophones mettent en tension le Féminin afin de repenser le concept même d’identité depuis les années 1950, i.e. après la publication du Deuxième sexe (1949) de Simone de Beauvoir, qui marque la genèse des études anti-essentialistes. Dans le panorama de la terminologie critique utilisée dans les études du genre, les Gender studies, c’est la Littérature de femmes qui nous intéresse : elle consiste en la revendication d’identités des femmes qui leur soit propre, selon une perspective féministe différentialiste. Les auteures relevant de cette catégorie tendent à analyser une transcription du Féminin dans le texte, à l’y incarner, par le biais d’une esthétique spécifique. Ainsi, l’identité féminine littéraire consiste en une polysémie, une pluralité, préparant une identité « ouverte », inscrite « activement » dans les textes par les auteures (les thématiques traitées, les structures narratives...). Elle s'y inscrit aussi « passivement », par exemple par l’usage féminin de la langue, la présence du corps de l'auteure dans le texte. Il s’agit de déplacer les perspectives féministes pour en arriver à une circonscription féminine plus globale dans laquelle texte et auteure seraient indissociables. Les auteures étudiées, Corinna S. Bille, Nina Bouraoui, Assia Djebar, Jacqueline Harpman, Anne Hébert, Alice Rivaz, Gabrielle Roy et Marguerite Yourcenar, tendent à développer une véritable esthétique littéraire qui se place en faux par rapport à la logique sociale totalisante. Dans cette perspective, les femmes ne sont pas ramenées, réduites, à leur essence, c’est-à-dire à leur sexe biologique. Le Féminin, tel que l’envisagent nos auteures, est le produit d’une réflexion, d’une exploration du Moi, qui va des problématiques sociétales traditionnelles, représentées sous l’angle des thématiques abordées, à l’investissement d’une langue d’expression innovante et dépassant les clivages classiques autour du binôme « Masculin / Féminin ».Il ne s’agit plus, pour lors, de s’approprier la « langue de l’autre », mais bien de trouver la sienne propre. Nous sommes loin de l’archétype patriarcal qui bâtit et préétablit à l’existence et à l’écriture, les identités figées et prescrites des femmes. Comme nous le verrons, ces identités ne s’inscrivent plus dans une invariance de l’objet « femmes », mais les fondent souverainement dans leurs œuvres et par leurs écritures. Elles participent ainsi activement à une nouvelle définition de leur genre. Le déficit identitaire se comble par le recours aux caractéristiques féminines (oralité, nature, sexualité, etc.) différentes pour accéder à un tout définitoire ; dans ce corpus, il ne s’agit plus d’écrire comme ou contre les hommes, mais de s’émanciper de la langue patriarcale en incorporant les éléments textuels et linguistiques qui participent à la construction d’identités féminines composites. / The study of different representations, whether at a social, body or linguistic level, leads us to question the very concept of identity in literature. That “portmanteau word” – “mot-valise” in the meaning set out by Jean Petitot-Cocorda – belongs to Patriarchy, which means that the notion of identity itself has been (culturally) constructed by men for men, and the very word identity belongs to the semantic and existentialist masculine world. When we try to define feminine/female identity, we are trapped by the language constructed by patriarchal culture: the notion of identity is relevant for the Masculine and cannot be autonomously applied to women, since it has not been thought out for them in the first place. Therefore we reach a deadlock, as it were, when seeking a fixed, universal identity of women. This thesis will explore the different prisms through which French-speaking female writers put women’s identities into words and set them into tension so as to rethink the very concept of identity. Such process started in the 1950s with the publication of Le Deuxième sexe (1949) by Simone de Beauvoir, which marked the beginning of anti-essentialist studies.In the panorama of the terminology used in Gender studies, our attention will focus on Women’s literature, which implies claiming the existence of specific women’s identities from a differentialist feminist viewpoint. Female writers belonging to that category tend to analyze how the Feminine is conveyed into words in the text, to embody it, through a peculiar aesthetic. Thus woman’s identity in literature is based on polysemy and plurality, leading to an “open” identity, inscribed “actively” in the text by women writers (themes, narrative structures, etc.) and “passively” (for example, through a feminine use of language, the presence of the female writer’s body in the text, etc.). We have to shift feminist perspectives in order to achieve a more comprehensive feminine definition, in which text and writer are indissociable.The female authors included in our corpus (Corinna S. Bille, Nina Bouraoui, Assia Djebar, Jacqueline Harpman, Anne Hébert, Alice Rivaz, Gabrielle Roy and Marguerite Yourcenar) strive to develop a real literary aesthetic which is at odds with a rule-complying social model. From that viewpoint, women are not reduced to their essence, that is to their biological sex. The Feminine, as it is considered by our authors, is the result of a process of reflection and self-exploration, involving traditional societal issues (as figured in the themes dealt with), as well as an innovative literary language, capable of going beyond the classical dichotomy between masculine and feminine.Therefore, the aim is no longer to take possession of the “language of the other”, but to find one’s own. Therefore, we are distant from the patriarchal archetype constructing, and pre-establishing, fixed identities for women’s existence and writing. As we will see, such identities are no longer inscribed in the tradition of the objects “women”: they try to forge a new object in their writing, and in so doing they end up redefining their genre. In order to make up for the lack of “identity landmarks”, they resort to specific feminine features (oral language, nature, sexuality, etc.) so as to reach a definition of a Whole. The aim is no longer to write like men or against men, but to write women out of the patriarchal language by introducing in their texts those feminine elements capable of building a multifaceted feminine identity.

[pt] Eça de Queirós pretendia moralizar a sociedade, construindo uma literatura que deveria funcionar como um espelho, no qual estaria refletido o quadro social português da segunda metade do século XIX. Assim, o autor criou cenas que acabam por mostrar que a própria sociedade tinha como base um jogo de encenações, com certas regras pré-estabelecidas. Luísa e Juliana, de O Primo Basílio, Pedro da Maia, Maria Monforte, Carlos Eduardo e Maria Eduarda de Os Maias são personagens que cometem transgressões, ou seja, não agem exatamente de acordo com o que era considerado moralmente correto. Nessa dissertação, objetivamos investigar as motivações que levam às transgressões e, ainda, as possíveis conseqüências desse desvio ao modelo social. / [en] Eça de Queirós aimed to improve the morals of Portuguese society through a sort of literature that was to function as a mirror reflecting the Portuguese way of life in the latter half of the 19th century. Thus the author portrayed Portugal as a society based on role-playing, following certain preestablished rules. Luísa and Juliana, in O Primo Basílio, Pedro da Maia, Maria Monforte, Carlos Eduardo and Maria Eduarda, in Os Maias, are characters who engage in transgression, deviating from what was considered moral. In this thesis we investigate the reasons that led to transgression of social rules, as well as the possible consequences of such deviant behavior.

The aim of the dissertation is to examine the mechanisms at work when networks are formed and risk constructions made as bodies encounter frontline technology within the food sector. The concept of technoscience TS, is the link uniting the escalating technology of risk society, rebellious nature and the insidious threats of substances absorbed straight into the metabolism of our bodies through the food that we eat. The TS viewpoint is complemented by a short overview of Beck’s theory about the risk society, in order to explain how research creates risks rather than removing them. The four case studies are all concrete manifestations of technoscience. They are: 1) a study of the alliance between a research company and a bacteria culture, 2) the section about the Gaio controversy and the creation of scientific facts, 3) the case of the scientist and high-ranking official who was sued for defamation of the Danish pig, 4) and finally the scandal of the meat-eating cows. We can observe, aided by Bruno Latour, how particularly in the first two stories, the importance of networks becomes apparent. How network analysis can be a tool for understanding the high-tech development of the food industry in the late 20th century as stories of how scientific claims – or “truths” – are reconstituted and transformed. We are also able to observe how truth is dependent on our own viewpoint, in Donna Haraway’s word it is “situated” or context dependent. The case studies are also examples of the links between body, technology and risk. Because they deal with the food product trade, the link to the body becomes obvious as dangerous food products are absorbed into the body through the food and is spread through the metabolism. The thing that sets risk construction in the use of high-tech production methods in the food trade apart from other areas is the meeting or confrontation between the man-made advanced technology and the limits determined by “nature” through the body. The linking of technology and the human body becomes particularly exciting as we notice that no matter how advanced the technology that has been used to produce a food product, it is still there to be eaten and absorbed by the metabolism of our bodies. In this area of uncertainty the dividing line between the possible and the impossible is fuzzy and changing.

Cette thèse porte sur les transgressions discursives, esthétiques et sociales de la frontière entre la vie privée et la vie publique effectuées par les créatrices françaises contemporaines Sophie Calle et Annie Ernaux. Dans une perspective féministe qui s’appuie sur les théories du quotidien, la thèse pose les questions suivantes : quelles libertés peut se permettre la femme-artiste ou l’écrivaine aujourd’hui ? Où, comment, et par qui se dessinent les limites éthiques de la création ? À la lumière des représentations souvent stéréotypées de la femme criminelle, le premier chapitre dégage de la réception des œuvres de Calle et d’Ernaux les « crimes » – entre autres, d’obscénité, d’impudeur et d’indécence – dont elles ont été accusées par la critique. Les trois chapitres suivants ciblent les diverses manières subversives et innovatrices dont Calle et Ernaux déjouent les perceptions acceptées de la féminité pour s’assurer la liberté totale en création : elles se construisent en flâneuses maniant la photographie ou l’écriture photographique comme une arme, en amoureuses blessées qui se vengent de leurs amants, et en théoriciennes manipulant les modalités de leur propre inscription dans les canons littéraires et artistiques. Cette thèse analyse au fil des chapitres les échos des œuvres de Calle et d’Ernaux au plan social, insistant sur le rapport fécond qui existe entre l’œuvre d’art et son cadre, interrogeant l’ethos de l’artiste et celui de l’art. Sophie Calle et Annie Ernaux répondent avec force à la nécessité de se positionner autrement face à l’art en tant que femme, notamment, en proposant l’art et l’écriture comme hors la loi. La conclusion étudie dans cette optique le phénomène récent de la « judiciarisation » de l’art. En examinant certains procès intentés depuis 2010 à des artistes, des écrivaines, des commissaires d’exposition et des maisons d’édition françaises, cette thèse questionne finalement les risques et les violences de la représentation tels qu’ils sont désignés par la loi. / This dissertation analyzes how contemporary French artist Sophie Calle and contemporary French writer Annie Ernaux transgress the discursive, aesthetic, and social boundaries between public and private life. Taking a feminist perspective and drawing on theories of everyday life, this dissertation asks: what liberties are the female artist and writer permitted today? Where, how and by whom are the ethical limits of creative practice established? In light of often stereotypical literary and artistic representations of the female criminal, the first chapter examines the accusations of obscenity, shamelessness and indecency levelled against Calle and Ernaux by their critics. The following three chapters identify the diverse, innovative and subversive ways in which Calle and Ernaux question accepted perceptions of femininity in order to seize creative freedom: they assume the distinct and tactical positions of flâneuses, heart-broken women avenging their ex-lovers, and theorists manipulating the reception of their own works. Together, these four chapters trace the artwork’s resonance in the public sphere, insist on the fruitful relationship that exists between a work of art and its frame, and consider the ethos of the artist as well as that of art. Sophie Calle’s and Annie Ernaux’s practices suggest that in order to achieve creative autonomy, art and writing must function outside of the constraints of moral, ethical, social and even civil laws. By examining instances in which artists, writers, curators and publishing houses have been subject to lawsuits in France since 2010, the conclusion of this dissertation studies a recent increase in the litigation of art and outlines some of the limits of representation as defined by the law.

The aim of this thesis is to compare the concept of sin in the theologies of Ellen G. White and Leonardo Boff. Chapter 1 examines Ellen G. White's concept of sin. White's historical and theological backgrounds coupled with her use of the "great controversy" motif provide a better grasp of her understanding of sin. White defines sin as the transgression of God's Law. She views sin to comprise at least two dimensions, namely, the individual and the social. White regards these two aspects of sin to have equal significance. White's detailed treatment of the sanctuary teaching also highlights the two dimensions of sin. In Chapter 2 Boff' s idea of sin is investigated. Boff' s historical background, which exposed him to the poor, influenced his perception of sin. Boff's theological background together with his familiarity with Karl Marx's social analysis prompted Boff to define sin as the negation of God's love in a human history bedevilled by class conflict. Boff views sin to have the individual and social dimensions. Yet, in terms of importance, Boff believes that the social dimension of sin is more consequential than the individual one. In Chapter 3 White's and Boff s views on sin are compared. From this comparison it is evident that both White and Boff recognize the bipolarity of sin. Both seem to agree that christians should take an active role in correcting social evils because love for God is manifested by how we relate to our neighbor. Boff devotes less space to the individual aspect of sin than White. Chapter 4 shows that White's theological tradition has a lot to learn from Boff and his tradition and also vice versa. An awareness of the current priestly ministry of Christ evident in White's theology could help Boff to bring some balance to his stance on the social and the individual dimension of sin. Boff' s use of Marx's social analysis should also help Seventh-day Adventists, the inheritors of White's theology, not to interpret White's theology of sin only along individualistic lines while overlooking its social dimension. / Philosophy, Practical and Systematic Theology / D.Th. (Systematic Theology)

SILVA, Diocleciana Paula da. Do recato à moda: Moral e transgressão na Fortaleza dos anos 1920. 2004. 242f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em História, Fortaleza (CE), 2004. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2013-10-10T13:03:28Z No. of bitstreams: 1 2004-DIS-DPSILVA.pdf: 3826958 bytes, checksum: facd5772ae348432b5eda31529b72a26 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2013-10-10T14:20:13Z (GMT) No. of bitstreams: 1 2004-DIS-DPSILVA.pdf: 3826958 bytes, checksum: facd5772ae348432b5eda31529b72a26 (MD5) / Made available in DSpace on 2013-10-10T14:20:13Z (GMT). No. of bitstreams: 1 2004-DIS-DPSILVA.pdf: 3826958 bytes, checksum: facd5772ae348432b5eda31529b72a26 (MD5) Previous issue date: 2004 / Neste trabalho analisamos a apropriação da moda parisiense em Fortaleza nos anos 1920. Procuramos refletir sobre a moda absorvida por uma elite emergente composta de comerciantes e profissionais liberais - autodenominada moderna, mas com práticas conservadoras - e a incorporação desse elemento em um projeto de urbanização da cidade e modernidade. Nessa perspectiva, tentamos perceber, ao longo da década, as relações de gênero e as tentativas de “remodelação” de homens e mulheres pautadas na distinção social a partir dos conceitos de vaidade, moda e tradição católica que deram uma especificidade à moda fortalezense. Utilizamos como recursos para estabelecer esse diálogo crônicas, artigos, anúncios e colunas sociais presentes nas revistas e jornais, além de fotografias de mulheres da elite e as memórias de algumas senhoras que fizeram parte desse “requinte”. / Dans ce travail, nous analysons l’appropriation de la mode parisienne à Fortaleza dans les années 1920. Nous cherchons à réfléchir sur la mode absorbée par une elite emergente composée de commerçants e de professionnels libéraux – auto définie comme moderne, mais avec des pratiques conservatrices – et sur l’incorporation de cet élément dans un projet d’urbanisation de la ville et de modernité. Dans cette prespective, nous tentons pecevoir, au long de la décade, les relations de genre et les tentatives de “remodèlement” des hommes et des femmes basés sur la distinction sociale à partir des concepts de vanité, mode et tradition catholique qui ont donné une spécificité à la mode fortalezienne. Nous utilisons comme ressources pour établir ce dialogue, des chroniques, des annonces e des colonnes sociales presentes dans les revues et lês journaux, en plus de photographies de femmes de l’élite et des mémoires de quelques dames qui firent partie de ce “ raffinement”.

Three experiments examined how a transgressor’s response, once accused of a wrongdoing, alters other’s perceptions of transgressor. Study 1 investigated how a baseball player’s response to steroid usage accusations affected fans’ perceptions of him. Participants thought of the athlete more positively when he apologized for his drug usage as compared to when he denied it or provided no comment. Study 2 examined if the effects of a transgressor’s response are moderated by the transgressor’s reputation. Participants were predicted to prefer apologies over denials if they had a pre-existing positive view of the transgressor (i.e., the person was a friend and not a stranger or someone known for being lazy). Results showed that, similar to Study 1, participants respected the transgressor and thought he handled the situation better when he apologized instead of denied the transgression, but contrary to predictions, the transgressor’s reputation did not have an effect on participants’ reactions to a transgressor’s responses. Study 3 examined whether feelings of schadenfreude (i.e., positive affect resulting from another’s misfortune) mitigated negative feelings toward a transgressor who denied the transgression. After participants witnessed a transgression, they then had to work with the transgressor on a task. When the transgressor performed the task incompetently, participants were predicted to feel schadenfreude and therefore not feel it was as important to hear the transgressor admit to his wrongdoing. Results indicated that participants felt more negatively toward an incompetent transgressor than one who contributed equally to the task, regardless of whether he denied or apologized for the transgression. Furthermore, contrary to the results of Studies 1 and 2, participants did not have increased positive feelings toward transgressors who apologized. Overall, these studies provide evidence that apologizing and expressing ownership for a transgression is the best method to respond with to facilitate relationship repair within multiple situations.

El estudio buscó determinar la relación entre el perdón y los estilos de apego en universitarios que tienen una relación de pareja. Para tal fin, se desarrolló un estudio empírico cuantitativo de tipo asociativo con 260 estudiantes que tienen una relación una relación de pareja que reportaron algún tipo de transgresión en su relación. Los instrumentos que se utilizaron fueron la Escala del Perdón en la Relación de Pareja y Escala de Estilos de Apego Adulto. Los resultados evidencian que, existe una relación positiva, estadísticamente significativa y con tamaño del efecto bajo entre los factores afecto positivo y benevolencia y cognición positiva con el estilo de apego evitante. Por otra parte, se encontró una relación negativa, estadísticamente significativa y con tamaño del efecto bajo entre el comportamiento positivo y compasión con el apego ansioso (miedo a la distancia del afecto de la pareja). A su vez, se halló una relación negativa, estadísticamente significativa y con tamaño del efecto moderado entre el afecto positivo y el comportamiento positivo y compasión con el apego ansioso (miedo al abandono). Se concluye que, si uno de los integrantes de la pareja es transgredido posee un apego evitante lo que posibilitará su capacidad de perdonar. / The study sought to determine the relationship between forgiveness and attachment styles in college students who are in a relationship. To this end, a quantitative empirical study of an associative type was developed with 260 students who are in a relationship with a partner who reported some type of transgression in their relationship. The instruments used were the Couple Relationship Forgiveness Scale and the Adult Attachment Styles Scale. The results show that there is a positive, statistically significant relationship with a low effect size between the factors positive affect and benevolence and positive cognition with the avoidant attachment style. On the other hand, a negative, statistically significant and low effect size relationship was found between positive behavior and compassion with anxious attachment (fear of distance from partner's affection). In turn, a negative, statistically significant and moderate effect size relationship was found between positive affect and positive behavior and compassion with anxious attachment (fear of abandonment). It is concluded that if one of the members of the couple is transgressed, they have an avoidant attachment, which will enable their ability to forgive. / Tesis

The thesis discusses the topic of bodily autonomy as a Human Rights related matter in connection to sexuality, specifically BDSM. In the realm of BDSM concerns regarding bodily autonomy, bodily integrity, perversion, physical and mental health can be found. Therefore the space of BDSM is analyzed in regards to aspects, such as medico-judicial institutions, social and personal perception factor in on the space of bodily autonomy and its transgression, with the aim of getting a deeper understanding of the concept of bodily autonomy. Three different countries, the United Kingdom, Germany, and Denmark are being analyzed and compared in a content analysis. Foucault’s theory of power, self-disciplining, transgression as well as Bataille's theory of transgression and eroticism are made use of. This shows how and which topics relate to bodily autonomy and each other and how bodily autonomy and its use changes depending on the factors relation to each other and their prioritization.

Tato práce je vícevrstevným zamyšlením nad tématem prázdnoty. Její prvotní inspirací jsou Bondyho úvahy na toto téma. Nejde o to, ukazovat na neukazatelné, či popisovat nepopsatelné, to by byla spíše filosofická statistika; prázdnota je tu primárně chápána spíše na způsob krajního horizontu, jehož bytostné připuštění zakládá možnost pravého setkání podobném smyslu uvažuje nad souvislostí prázdnoty a milosti a otevírá možnost chápat prázdnotu nikoliv jako axiologickou neurčenost, ale právě jako horizont zvláštního setkání se světem. Takto nahlížená prázdnota otevírá bytostnou plnost a zároveň braných souvislostí těchto myšlenek o mezích ontologie - Plótínovou koncepcí emanační ontologie, či se substanční ontologií ze Spinozovy Protože se v průběhu tohoto rozboru dostává do popředí problém statického a předsudečného chápání ontologické substance (která takové vlastnosti nemůže mít, vyjdeme jako krajního ontologického horizontu), otevírá se otázka původu tohoto problému; v Myšlení vnějšku) a Berďajevem následuje hodnocení možnosti ontologii, což je přeneseně otevření otázky vztahu moci a ontologie či prolínání mocenského hlediska do ontologické úvahy (prázdnota by v yslu představovala zřeknutí se moci). Druhá kapitola práce se návazně zabývá formami zřeknutí se tohoto mocenského hlediska, coby praktikovaného...