Typescript (photocopy). / Digitized by Kansas Correctional Industries

Dans ce mémoire nous avons tenté de comprendre comment l'être-en-commun (ou la communauté) implique un être-hors-de-soi de chaque individu de telle sorte qu'aucune communauté ne puisse se désigner par l'appartenance? Deux auteurs sont au fondement de la démonstration soit Heidegger et Bataille puisque l'horizon philosophique sur lequel se profile notre démarche est la question heideggérienne de l'oubli de l'être et l'idée d'impossible communauté positive développée par Bataille. Heidegger nous permet de relever que l'être-en-commun n'est pas un sujet, mais un (état étant) un être, un acte où il importe de faire exister l'avec (de l'être-avec ou de l'être-ensemble) en étant en commun. Ce n'est donc pas sur le mode du transitif, mais par opposition, celui de l'intransitif (la communauté en tant que mouvement toujours déjà-là et toujours en formation) qu'il faut rendre compte de la catégorie de la communauté. Bataille nous permet d'insister sur l'idée que l'être-en-commun implique une proximité dans la distance (puisque l'être-avec présuppose nécessairement un être-hors-de-soi) qui ne peut se dévoiler que par le travail du négatif de sorte que la communauté est ce qui constitue l'homme sans jamais lui appartenir et sans jamais pouvoir se désigner comme sujet substantiel car la singularité caractérisant le sujet retire son être (qui est perpétuellement réinvesti de l'autre et du monde) à toute identité. Notre démonstration nous emmène à conclure que la communauté est ce qui constitue originellement et quotidiennement la réalité commune des êtres humains sans que jamais pourtant elle ne puisse leur être dévoilée par cela même que c'est une structure négative désavouant toute liaison substantive car se manifestant par l'être-hors-de-soi. ______________________________________________________________________________

By comparing the novels of William Faulkner and Patrick White, this thesis reconsiders modernism's elitism and solipsism by revealing within them a critical interest in liberating minority perspective. Theoretical debates which continue to insist on modernism's inherent distance from the identity politics which front the postmodernist movement are overlooking modernism's deeply embedded evaluative mechanisms which work to expose and criticize the activity of psychic and social co-optation. Faulkner and White are both engaged in fictionally tracing the complexities of a failing patriarchy which can no longer substantiate its primary subjects — the white, upper class male. As representatives of modernism we can see that Faulkner and White, perhaps unwittingly, initiate the awareness that the 'failure' of their chosen subjects is in large measure due to processes of marginalization which both created the authoritative power structures within which they are constructed and helped serve to collapse them. The classic isolation of the modernist subject can be looked at not simply as an isolation predicated on endless self-referentiality, but rather on a desperate social outreaching for which he or she is not psychically equipped. By following the trajectory and perspective of specific novels and characters it becomes clear that it is precisely this handicap which clears the textual space for diversity of representation, just as it overturns the notion of modernism's functioning separatism. Chapter one concentrates on the double-edged representation of the female subject constructed as always-already 'guilty' within the psychologically, emotionally and physically repressive terms of the dominant male power structures within the context of Faulkner's Requiem for a Nun and White's A Fringe of Leaves. Chapter two investigates the psychological parameters of the morally disenfranchised modern subject whose disillusionment results from prejudicial social practices promoted by virulent racial anxiety as exemplified in Faulkner's Absalom, Absalom! and White's Voss. The third and final chapter discusses Light in August and Riders in the Chariot with attention to modernism's own investigation of the exclusion of minority voices from collective social imagining. The thesis posits that literary modernism is interested less with reconciling its literary subjects within a self-contained totalizing project than it is with invoking new social and psychological paradigms that stress the necessity of external, not internal, represented multiplicity, and that what has been (mis)recognized as modernism's self-closure is, in fact, the key not only to its own continuing relevance, but to the contemporaneous literary injunction to let all voices be heard.

"The Journey Within" deals with how the receiver (reader/viewer) engages with the novel and the film. The thesis primarily focuses on Faulkner's novel, incorporating Persona largely as a means by which to illustrate the more carefully concealed reader-engagement strategies in Absalom, Absalom! Starting with a review of Faulkner criticism that opens itself up to this inquiry, the thesis leads into a detail study of the engagement strategies used to foster identification, alignment, sympathy, and empathy among receivers. Employing Umberto Eco's criticism involving "Model Readers" who "actualize" texts, as well as other reader and viewer response theory, I demonstrate that certain receivers experience a specific, heightened engagement with the work. This "Model" receiver restructures her ideologies to accord with what the work expects from her. Ultimately, this particular engagement leads to ontological participation in the work among its receivers. Martin Heidegger's phenomenological investigation, Being and Time, helps illustrate this ontological participation.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2015. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-05-02T19:03:43Z No. of bitstreams: 1 2015_RafaelMachadodaCunha.pdf: 1318810 bytes, checksum: e7b0ac81dbacfb96acc3602a4f817b8e (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-05-10T12:45:55Z (GMT) No. of bitstreams: 1 2015_RafaelMachadodaCunha.pdf: 1318810 bytes, checksum: e7b0ac81dbacfb96acc3602a4f817b8e (MD5) / Made available in DSpace on 2018-05-10T12:45:55Z (GMT). No. of bitstreams: 1 2015_RafaelMachadodaCunha.pdf: 1318810 bytes, checksum: e7b0ac81dbacfb96acc3602a4f817b8e (MD5) Previous issue date: 2018-05-10 / A dissertação em questão vai trabalhar dentro de uma leitura da obra de Georges Bataille, História do olho. Observando o complexo e importante pensamento a respeito do olho, no qual Bataille trata seus ensaios fundacionais, seguimos para uma investigação tanto da estrutura da obra literária e sua importância, quanto da sua incidência na teoria filosófica do autor. Somado ao frenesi de toda forma de vida na Terra, o olho está diretamente ligado ao erotismo, ao sexo e ao gozo. A partir da glândula pineal, observamos a importância do objeto ocular para Bataille. Em seu texto literário, observamos a estrutura complexa entre metáfora e metonímia que regem tanto a condensação quanto o deslocamento dos movimentos em uma presença e ausência do olho. Partindo da ideia da importância da estrutura da História do olho, não pudemos nos furtar de investigar a ausência da assinatura Georges Bataille na obra, uma aporia do nome. / The present dissertation is going to work inside a reading of Georges Bataille’s literary work, Story of the Eye. Observing the complex and important thought about the eye, in which Bataille treats his foundational essays, we move on to an investigation of the literary work’s structure and its importance, as well as its incidence in the author’s philosophical theory. Added to the frenesi of all forms of life on Earth, the eye is directly connected to eroticism, sex and orgasm. From the pineal gland, we observe the ocular object’s importance to Bataille. In his literary text, we observe the complex structure between metaphor and metonymy that rules the condensation as well as the movement’s dislocation in one presence and the absence of the eye. Starting from the idea of the structure’s importance in Story of the Eye, we couldn’t deny investigating the absence of the signature Georges Bataille in the work, an aporia of the name.

Tese (Doutorado)—Universidade de Brasília, Instituto de Psicologia, Programa de Pós-Graduação em Psicologia Clínica e Cultura, 2012. / Submitted by Albânia Cézar de Melo (albania@bce.unb.br) on 2013-02-06T12:21:38Z No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2013-02-06T14:05:33Z (GMT) No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Made available in DSpace on 2013-02-06T14:05:33Z (GMT). No. of bitstreams: 1 2012_TiagoRibeiroNunes.pdf: 1630475 bytes, checksum: 7ca39bb720155b60b7bdf94d0ee17c3d (MD5) / Partindo do exame de alguns dos mais importantes textos que compõem o escopo filosófico-literário do pensamento de Georges Bataille, destacaremos o fato de que, assimilada a herança de Sade, de Nietzsche e de Freud, Bataille fez de seu projeto estético-filosófico uma via de acesso ao deslimite, via que conduz à paradoxal experiência do impossível. Ao longo da primeira parte de nosso trabalho, dedicada integralmente a Bataille, enfatizaremos que o pensamento batailliano, consagrado ao impossível, aponta para a possibilidade de uma experiência com a vida a se realizar fora do campo das injunções morais, na intensidade própria à convulsão e à vertigem. Na segunda parte desta tese, estabelecidas as conseqüências da submissão de um corpo vivo ao regime de linguagem, rastrearemos, em Freud e em Lacan, as alternativas possíveis para lidar com o mal-estar na civilização. Ao final, depois de examinar as mutações do gozo no pensamento lacaniano, demonstraremos que a relativa viabilidade de Georges Bataille ressalta uma dimensão indispensável à compreensão do saber-fazer lacaniano, a identificação a um modo de gozo singular. Tal como veremos, tal identificação compareceria em decorrência da transcriação do nome próprio: artifício por meio do qual um sujeito qualquer não apenas renuncia aos ideais que o suportam, como trata de enxertar, na carne do Outro, aquilo que nele há de mais heterogêneo, a mais heteróclita das paixões. ______________________________________________________________________________ ABSTRACT / Starting from an examination of some of the most important texts that compose the scope of the philosophical and literary thought of Georges Bataille, we will emphasizes the fact that, assimilated the legacy of Sade, Nietzsche and Freud, Bataille made his aesthetic-philosophical project one route that leads to the paradoxical experience of the impossible. Throughout the first part of our work, fully dedicated to Bataille, we emphasize that the bataillian thought points out to the possibility of an experience with life to be held outside the field of the moral injunctions. In the second part of this thesis, we will track out in Freud and Lacan, possible alternatives to deal with the malaise in civilization. At the end, we will demonstrate that the relative viability of Georges Bataille enphasizes a vital dimension to the understanding of the lacanian savoir-faire: the identification to a singular mode of enjoyment. As we shall see, this identification takes place as a result of the own name re-writing: the artifact through the means the subject can graft on the flesh of the Other the most singular kind of passion.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This thesis evaluates how effectively the trilogy's laws and law enforcers further the ends of the fictional laws. The study examines the trilogy's law enforcers' responses to Snopes violations and bendings of the laws to evaluate the laws and their enforcers. The enforcers' responses to Snopes wrongs make clear how well the laws are written. These responses also reveal how well the enforcers themselves are able to achieve the objectives of the laws. It is argued in the thesis that although the laws are effectively written, the law enforcers fail to enforce the laws and, consequently, fail to achieve the laws' ends. It is also shown that the enforcers invariably harm innocent persons when they fail to enforce the law.

By comparing the novels of William Faulkner and Patrick White, this thesis reconsiders modernism's elitism and solipsism by revealing within them a critical interest in liberating minority perspective. Theoretical debates which continue to insist on modernism's inherent distance from the identity politics which front the postmodernist movement are overlooking modernism's deeply embedded evaluative mechanisms which work to expose and criticize the activity of psychic and social co-optation. Faulkner and White are both engaged in fictionally tracing the complexities of a failing patriarchy which can no longer substantiate its primary subjects — the white, upper class male. As representatives of modernism we can see that Faulkner and White, perhaps unwittingly, initiate the awareness that the 'failure' of their chosen subjects is in large measure due to processes of marginalization which both created the authoritative power structures within which they are constructed and helped serve to collapse them. The classic isolation of the modernist subject can be looked at not simply as an isolation predicated on endless self-referentiality, but rather on a desperate social outreaching for which he or she is not psychically equipped. By following the trajectory and perspective of specific novels and characters it becomes clear that it is precisely this handicap which clears the textual space for diversity of representation, just as it overturns the notion of modernism's functioning separatism. Chapter one concentrates on the double-edged representation of the female subject constructed as always-already 'guilty' within the psychologically, emotionally and physically repressive terms of the dominant male power structures within the context of Faulkner's Requiem for a Nun and White's A Fringe of Leaves. Chapter two investigates the psychological parameters of the morally disenfranchised modern subject whose disillusionment results from prejudicial social practices promoted by virulent racial anxiety as exemplified in Faulkner's Absalom, Absalom! and White's Voss. The third and final chapter discusses Light in August and Riders in the Chariot with attention to modernism's own investigation of the exclusion of minority voices from collective social imagining. The thesis posits that literary modernism is interested less with reconciling its literary subjects within a self-contained totalizing project than it is with invoking new social and psychological paradigms that stress the necessity of external, not internal, represented multiplicity, and that what has been (mis)recognized as modernism's self-closure is, in fact, the key not only to its own continuing relevance, but to the contemporaneous literary injunction to let all voices be heard. / Arts, Faculty of / English, Department of / Graduate

Families in much of William Faulkner's Yoknapatawpha fiction are built upon traditional patriarchal structure with the father as head and provider and the mother or mother figure in charge of keeping the home and raising the children. Even though the roles appear to be clearly defined and observed, the families decline and disintegrate.