Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Ce mémoire est constitué d’une analyse du texte intitulé « Quel doit être le point de départ de la science ? » situé en ouverture de la Science de la logique. Partant de l’affirmation de Hegel selon laquelle le commencement de la Logique est inanalysable et indéfinissable, nous rapprochons la notion de définition de celle de spekulativer Satz et proposons d’étudier le concept de commencement en distinguant une perspective épistémologique d’une perspective ontologique. Cette distinction permettra de mettre en évidence la possibilité de définir le commencement d’une façon positive si l’on tient compte du choix (Entschluss) et de l’ordre qui émergent de l’abandon de la perspective épistémologique. Cette définition s’appuie sur la présence dans le texte d’un registre prescriptif et permet de rendre compte du fait que le commencement doit être à la fois absolu et unilatéral. Si la difficulté posée par cette définition demeure, c’est en raison de la nature même du commencement, où tout manque, même la stabilité d’une définition, sans pour autant que cette instabilité ne soit conforme au mouvement inhérent à la proposition spéculative. / In this thesis, we offer a reading of one of the Science of Logic’s opening sections, called “With what should the beginning of science be made?”, in which Hegel maintains that the beginning of the Logic cannot be analyzed nor defined. Hence, we connect the definition with the spekulativer Satz and propose to distinguish between epistemological and ontological perspectives on the notion of beginning to allow for its proper study. Taking into account the rejection of an epistemological perspective on the beginning, this will show that a positive definition of the beginning is acceptable if the notions of choice (Entschluss) and order that lay beneath the notions of criteria and presupposition are put forward. Such a definition grounds itself in the prescriptive dimension of Hegel’s text and explains why the beginning can be both absolute and one-sided. The difficulty of such a definition, however, remains, due to the very nature of the concept of beginning. Indeed, since the beginning lacks all properties, it also lacks the stability of a definition.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-07-23T12:49:52Z No. of bitstreams: 1 Fernanda Zacharewicz.pdf: 1320305 bytes, checksum: c3568addbf05108dbb5171a4f48ecb8d (MD5) / Made available in DSpace on 2018-07-23T12:49:52Z (GMT). No. of bitstreams: 1 Fernanda Zacharewicz.pdf: 1320305 bytes, checksum: c3568addbf05108dbb5171a4f48ecb8d (MD5) Previous issue date: 2018-05-03 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this thesis was to research the contributions of Faust by Goethe to the Psychoanalysis. For that we left from the hypotesis of which the repetition is a psychoanalytic concept marking the end of analysis. To comprove that, after a brief incursion by Goethe’s biography and the location of the book in the german’s literature history, it was necessary to get deep into our comprehension on the entry of the subject in the language, on the lack from there and differentiate of the lack relative to the castration. Next we lean over on the wish perspective from Aristotle in De Anima and Nicomachean Ethics from there to understand the construction of this concept in the Psychoanalysis. Beginnig with the text Project for a scientific psychology by Freud we follow up to arriving in Lacan and his comprehension of das Ding. That said, it was possible to base the structure of the subject of langage while lacking and to understand the paradox exposed in the pact between Faust and Mephistopheles. The phantasy was the next point to be study. Therefore, we came back to the firsts Freud’s clinical reports and we follow the construction of this notion. We returned to the concept of unheimlich to understand the anguish that wraps the bascule inherent to the fantasmatic veil. We follow with Lacan in his seminar about anguish untill his seminar about the logic of phantasy. Than, we analysed two moments of Goethe’s text – the relationship of Faust with Gretchen and, in a second moment, his relationship with Helen. We realized how in the litterary text the bias through wich the phantasy can be seen leaves space to the real appears. From the advent of the real in the relationship with Helena comes up to Faust the possibility of a new know-how different from what had been done so far. This contingency opens the possibility to think the repetition as the advento f the new, as Lacan works since 1964. With that in our horizon, we follow the constrution of this concept from Freud in two moments: in 1914 and in 1920. Next, we turno to the lacanian text and divide then in two parts: before and after 1964. We realized then that the written texts or seminars given up to 1964 were directed to the freudian notion of compulsion to repetition. Even so, it is possible to observe in this period some seeds of his future position. The considerations explained here led us to consider the end of faust as the relaization of repetition as a contingency, a bon heur to wich teh subject under analysis can choose by the of his course / O objetivo dessa tese foi pesquisar as contribuições de Fausto de Goethe à Psicanálise. Para isso, partimos da hipótese de que a repetição é o conceito psicanalítico que marca o fim análise. Para comprová-la, após uma breve incursão sobre a biografia de Goethe e a localização da obra na história da literatura alemã, foi necessário aprofundar nosso entendimento sobre a entrada do sujeito na linguagem, sobre a falta daí advinda e diferenciá-la da falta relativa à castração. A seguir nos debruçamos sobre a perspectiva de desejo desde Aristóteles em De Anima e Ética a Nicômaco para desse aí compreender a construção desse conceito na Psicanálise. Iniciando com o texto Projeto para uma psicologia científica, de Freud e seguimos até Lacan e sua exposição sobre das Ding. Dito isso, foi possível alicerçar a estrutura do sujeito de linguagem enquanto faltante e compreender o paradoxo exposto no pacto entre Fausto e Mefistófeles. A fantasia foi o ponto seguinte a ser estudado. Assim, retornamos aos primeiros relatos clínicos freudianos e acompanhamos a construção dessa noção. Revisitamos o conceito de unheimlich para compreender a angústia que envolve a báscula inerente ao véu fantasmático. Seguimos com Lacan em seu seminário sobre a angústia e o acompanhamos até seu seminário sobre a lógica da fantasia. Com isso, analisamos dois momentos do texto goethiano – a relação de Fausto com Margarida e, em um segundo tempo, sua relação com Helena. Percebemos como no texto literário o viés pelo qual a fantasia pode ser vista abre espaço para que o real apareça. Do advento do real na relação com Helena surge a Fausto a possibilidade de um fazer novo distinto do que havia feito até então. Essa contingência possibilita pensar a repetição como o advento do novo, conforme Lacan trabalha a partir de 1964. Com isso em vista, retomamos a construção desse conceito desde Freud em dois momentos: em 1914 e em 1920. Em seguida, nos dirigimos aos textos lacanianos e os dividimos em duas partes: antes e após 1964. Percebemos então que os textos escritos ou seminários proferidos até 1964 estavam voltados à noção freudiana de compulsão à repetição. Mesmo assim, é possível observar nesse período algumas sementes de sua futura posição. As considerações aqui explicitadas nos levaram a considerar o final de Fausto como a realização da repetição enquanto contingência, bon-heur ao qual o sujeito em análise pode optar ao final de seu percurso

This thesis studies the problem of combining a poem with music in nineteenth-century Lieder so that the music enhances the poetry rather than detracting from it. Eight settings of Goethe's poem "Kennst du das Land," from his novel Wilhelm Meisters Lehrjahr, are compared. Settings by Johann Friedrich Reichardt, Beethoven, Schubert, Schumann, Liszt, Tchaikowsky, and Wolf are analyzed, after initial treatment of the literary aspects of the poem. The degree of musico-poetic synthesis varies in these settings, and it becomes evident that total fusion of poetry and music is not possible. However, the settings by Schumann and Wolf achieve strong balance of word and tone.

Immortalisé par Victor Hugo dans Les Misérables, le général Lamarque est surtout connu pour ses funérailles qui ont dégénérées en juin 1832, en une insurrection républicaine réprimée par le pouvoir orléaniste. Pourtant, sa vie ne saurait se résumer à cette image d’Épinal : grâce à des archives souvent inédites ou peu exploitées, le travail de l'historien a permis de dissocier le mythe, qui s'est construit autour du personnage, de la réalité historique pour dresser un portrait inédit de ce Landais engagé dans les affaires de son temps. Issu de la bourgeoisie de robe, il adhère rapidement aux idées d'une Révolution qui lui donne les moyens d'être un acteur des événements : garde national,Jacobin, officier dans un bataillon de volontaires. Instruit et cultivé, il est également pourvu d'un grand courage physique. Sans jamais appartenir aux premiers cercles du pouvoir, il est proche des membres de la famille Bonaparte qui assurent son ascension.Sa carrière militaire sous l'Empire n'est toutefois que de second ordre et c'est à la périphérie de l'Europe qu'il se distingue dans la contre-guérilla. Déçu par la Restauration, il rallie Napoléon lors des Cent-Jours qui l'envoie en Vendée. Cette affectation le compromet durablement aux yeux du pouvoir royaliste qui ne voit plus en lui qu'un général bonapartiste. Exilé, il ne revient en France qu'en 1818 et embrasse une carrière littéraire tout en cherchant à garder son rang dans la société. Au contact de l'opposition libérale, il renoue avec la politique au quotidien. Sa reconversion en politique n'est pourtant pas une évidence. Ce n'est qu'en 1828 qu'il devient député et ce n'est que sous la monarchie de Juillet qu'il devient un héros populaire. / Immortalized by Victor Hugo in « Les Misérables », General Lamarque is mainly known for his funerals in June 1832, which turned into a republican insurrection,suppressed by Orléanist power. However, his life could not be summarized by this stereotyped image : thanks to unexploited or less exploited archives, the historian’swork permitted to dissociate the myth shaped around his character from historical reality, to get an original portrait of this character from the Landes. Coming originally from the bourgeoisie of the robe, he soon stuck to Revolution ideas which gave him the means to be an actor of events : National Guard, Jacobin, officer in a Volunteers Battalion. Educated and cultured, he also came complete with his physical courage. He never was a part of first circles of power, he was close to the House of Bonaparte which provided his rise. His military career under the Empire is yet only second-rate. It is atthe Europe's periphery he stands out in Guerrilla warfare. Disappointed by theRestoration, he rallied to Napoleon during The Hundred Days, who sent him to theVendée. This posting sustainably compromised him to the eyes of royalist power whichonly saw him as a Bonapartist general. Exiled, he only came back to France in 1818 and decided for a literary career as well as he tried to keep his position in society. Through contact with the liberal opposition, he joined politic in everyday life. This change of career was not obvious though. He only became a Member of Parliament in 1828. Hewas only recognized as a popular hero under July Monarchy.

As novas tecnologias de comunicação têm transformado sobremaneira o mundo em que vivemos, incluindo aí a cultura. Neste contexto, muito se discute sobre o futuro da literatura e dos livros, mas este estudo evita especular sobre a permanência ou não do objeto livro e prefere investigar as possibilidades da criação literária diante de novos suportes de leitura, em especial o iPad. Assim como outrora a invenção da imprensa forjou o romance e a popularização das revistas e jornais consolidou o conto moderno, investiga-se de que forma ferramentas próprias das novas tecnologias são utilizadas para a criação de textos literários diferentes do texto impresso, a chamada literatura digital. Para fazer essa comparação, foram usados os dois célebres romances de Lewis Carroll, Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou por lá, e duas versões da Atomic Antelope, de Chris Stephens, para iPad: Alice for iPad e Alice in New York. Ao final do estudo, que discute também a questão do fim do livro e da literatura, traçando um longo histórico da leitura e contextualizando o livro no que se chama de Era Digital, espera-se mostrar como as possibilidades de criação para plataformas digitais podem ir além do que hoje entendemos por livros, motivo pelo qual a permanência da literatura, independente do seu suporte, está assegurada. / New communication technologies have immensely changed the world in which we live, as well as its culture. Within such context, much has been discussed about the future of literature and books. This study avoided speculating about the persistence of books as physical objects, and, rather, investigated the possibilities of literary creation in face of the new reading media, particularly the iPad. As the invention of the press forged the novel, and the popular spread of magazines and newspapers consolidated modern short stories in the past, we currently investigate how new technological tools may be used to create literary texts, called digital literature, that are different from the print-based text. For this comparison, we used two renowned novels by Lewis Carroll, Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, and two versions of the Atomic Antelope, by Chris Stephens, for iPad: Alice for iPad and Alice in New York. This study also discussed the possible demise of books and literature by outlining the long history of reading that has set the context for books in the Digital Era; Therefore, it demonstrated that the possibilities of literary creation for digital platforms may go beyond what we understand to be books today, which is why the persistence of literature, regardless of what medium it uses, is ensured.

As novas tecnologias de comunicação têm transformado sobremaneira o mundo em que vivemos, incluindo aí a cultura. Neste contexto, muito se discute sobre o futuro da literatura e dos livros, mas este estudo evita especular sobre a permanência ou não do objeto livro e prefere investigar as possibilidades da criação literária diante de novos suportes de leitura, em especial o iPad. Assim como outrora a invenção da imprensa forjou o romance e a popularização das revistas e jornais consolidou o conto moderno, investiga-se de que forma ferramentas próprias das novas tecnologias são utilizadas para a criação de textos literários diferentes do texto impresso, a chamada literatura digital. Para fazer essa comparação, foram usados os dois célebres romances de Lewis Carroll, Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou por lá, e duas versões da Atomic Antelope, de Chris Stephens, para iPad: Alice for iPad e Alice in New York. Ao final do estudo, que discute também a questão do fim do livro e da literatura, traçando um longo histórico da leitura e contextualizando o livro no que se chama de Era Digital, espera-se mostrar como as possibilidades de criação para plataformas digitais podem ir além do que hoje entendemos por livros, motivo pelo qual a permanência da literatura, independente do seu suporte, está assegurada. / New communication technologies have immensely changed the world in which we live, as well as its culture. Within such context, much has been discussed about the future of literature and books. This study avoided speculating about the persistence of books as physical objects, and, rather, investigated the possibilities of literary creation in face of the new reading media, particularly the iPad. As the invention of the press forged the novel, and the popular spread of magazines and newspapers consolidated modern short stories in the past, we currently investigate how new technological tools may be used to create literary texts, called digital literature, that are different from the print-based text. For this comparison, we used two renowned novels by Lewis Carroll, Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, and two versions of the Atomic Antelope, by Chris Stephens, for iPad: Alice for iPad and Alice in New York. This study also discussed the possible demise of books and literature by outlining the long history of reading that has set the context for books in the Digital Era; Therefore, it demonstrated that the possibilities of literary creation for digital platforms may go beyond what we understand to be books today, which is why the persistence of literature, regardless of what medium it uses, is ensured.

As novas tecnologias de comunicação têm transformado sobremaneira o mundo em que vivemos, incluindo aí a cultura. Neste contexto, muito se discute sobre o futuro da literatura e dos livros, mas este estudo evita especular sobre a permanência ou não do objeto livro e prefere investigar as possibilidades da criação literária diante de novos suportes de leitura, em especial o iPad. Assim como outrora a invenção da imprensa forjou o romance e a popularização das revistas e jornais consolidou o conto moderno, investiga-se de que forma ferramentas próprias das novas tecnologias são utilizadas para a criação de textos literários diferentes do texto impresso, a chamada literatura digital. Para fazer essa comparação, foram usados os dois célebres romances de Lewis Carroll, Alice no País das Maravilhas e Através do Espelho e o que Alice Encontrou por lá, e duas versões da Atomic Antelope, de Chris Stephens, para iPad: Alice for iPad e Alice in New York. Ao final do estudo, que discute também a questão do fim do livro e da literatura, traçando um longo histórico da leitura e contextualizando o livro no que se chama de Era Digital, espera-se mostrar como as possibilidades de criação para plataformas digitais podem ir além do que hoje entendemos por livros, motivo pelo qual a permanência da literatura, independente do seu suporte, está assegurada. / New communication technologies have immensely changed the world in which we live, as well as its culture. Within such context, much has been discussed about the future of literature and books. This study avoided speculating about the persistence of books as physical objects, and, rather, investigated the possibilities of literary creation in face of the new reading media, particularly the iPad. As the invention of the press forged the novel, and the popular spread of magazines and newspapers consolidated modern short stories in the past, we currently investigate how new technological tools may be used to create literary texts, called digital literature, that are different from the print-based text. For this comparison, we used two renowned novels by Lewis Carroll, Alice’s Adventures in Wonderland and Through the Looking-Glass and What Alice Found There, and two versions of the Atomic Antelope, by Chris Stephens, for iPad: Alice for iPad and Alice in New York. This study also discussed the possible demise of books and literature by outlining the long history of reading that has set the context for books in the Digital Era; Therefore, it demonstrated that the possibilities of literary creation for digital platforms may go beyond what we understand to be books today, which is why the persistence of literature, regardless of what medium it uses, is ensured.

Adaptations cinématographiques d’Alice au pays des merveilles et De l’autre côté du miroir de Lewis Carroll: Analyse des transécritures de Walt Disney, Jan Švankmajer et Tim Burton observe comment trois versions cinématographiques différentes, provenant d’un même texte source, peuvent être singulières les unes par rapport aux autres. Le but de ce mémoire est d’analyser les transécritures de Walt Disney (1951), de Jan Švankmajer (1989) et de Tim Burton (2010) autant dans les changements narratifs que dans les ajouts faits par les réalisateurs qui personnalisent l’adaptation. Pour ce faire, nous nous appuierons sur la notion d’idée de Deleuze. Chacune des analyses est divisée selon: les idées de roman et de cinéma qui se « rencontrent », les ajouts et modifications des idées de roman, ainsi que les idées ayant été rejetés par l’adaptateur-cinéaste. / Adaptations cinématographiques d’Alice au pays des merveilles et De l’autre côté du miroir de Lewis Carroll: Analyse des transécritures de Walt Disney, Jan Švankmajer et Tim Burton observes how three different cinematographical versions, of the same source text, are singular from one another. The goal of this essay is to analyze the adaptations of Walt Disney (1951), Jan Švankmajer (1989) and Tim Burton (2010) from the narrative choices to what directors added in order to personalize the adaptation. To do so, we rely on Deleuze’s notion of ideas. Every analyze is being divided by: the meeting of the novel’s ideas and the film’s ideas, by ideas that have been added or modified, and by ideas that were eliminated by the adaptor-filmmaker.