Cette étude a comme intention la recherche des sujets relatifs au travail et à la santé mentale et comme objet de recherche la reconnaissance du travailleur. Il se base dans l’importance de la compréhension du dynamique plaisir et souffrance psychique trouvée dans les relations de travail, en ayant comme objectif enquêter les formes de reconnaissance des gardes municipales, ainsi qu’analyser les stratégies de défense construites pour la confrontation du quotidien du travail. Le champ de recherche a été la Garde Municipale de Porto Alegre - GMPA, plus spécifiquement le Groupement Spécial Motorisé - GEM. Les sujets de recherche, les gardes municipaux, sont des travailleurs qui ont comme activité la sécurité urbaine. La méthodologie utilisée pour la recherche est la Psychodynamique du Travail, qui se propose, à travers l’écoute et la parole, comprendre l’organisation du travail et l’efficacité des stratégies, en analysant la parole et en écoutant la souffrance. Avec cette étude il s’est vérifié que les gardes municipales se perçoivent reconnus, mais, pour que cela se produise, investissent dans son travail et dans les formes de manutention du même, comme dans des uniformes et dans la différenciation du groupe et de leurs fonctions. Ce a aussi été possible d’appréhender les aspects subjectifs et objectifs des quotidien du travail des gardes municipales et les stratégies qu’ils construisent pour se maintenir dans un état de normalité. / Este estudo tem como propósito de investigação os temas relativos ao trabalho e à saúde mental, e como objeto de pesquisa o reconhecimento do trabalhador. Fundamenta-se na importância da compreensão da dinâmica prazer e sofrimento psíquico encontrada nas relações de trabalho, tendo como objetivo investigar as formas de reconhecimento dos guardas municipais, bem como analisar as estratégias defensivas construídas para o enfrentamento do cotidiano do trabalho. O campo de pesquisa foi a Guarda Municipal de Porto Alegre – GMPA, mais especificamente o Grupamento Especial Motorizado - GEM. Os sujeitos da pesquisa, guardas municipais, são trabalhadores que têm como atividade a segurança urbana. A metodologia utilizada para a pesquisa foi a Psicodinâmica do Trabalho, que se propõe, através da escuta e da fala, a saber sobre a organização do trabalho e sobre a eficácia das estratégias, analisando a fala e escutando o sofrimento. Com este estudo verificou-se que os guardas municipais percebem-se reconhecidos, mas para que isso ocorra investem em seu trabalho e nas formas de manutenção do mesmo, como em uniformes e na diferenciação do grupo e de suas funções. Também foi possível apreender os aspectos subjetivos e objetivos do cotidiano do trabalho dos guardas municipais e as estratégias que constroem para se manterem em uma normalidade sofrente. / This study aims to research the issues relating to work and mental health, and the purpose is worker acknowledgment. It is based on the importance of understanding the dynamics of pleasure and psychological suffering found in labor relations and to investigate the ways of acknowledgment of the municipal guards as well as analying the defensive strategies created to face everyday challenges at work. The research field as the Guard Hall of Porto Alegre – GMP, more specifically the Special Motorized Reverse - GEM. The subjects, municipal guards, are workers who have the activity of urban safety. The methodology for the research was the psychodynamics at work which aims, through listening and speaking, to know about the organization of work and the effectiveness of the strategies, analyzing the speech and listening to the suffering. This study found that the city police officers feel themselves acknowledged, but to have that they invest in their work and in the ways of maintaining it as in uniforms and in the differentiation of the group and its functions. It was possible to appreciate the objective and the subjective aspects of the daily work of these city police oficcers and strategies that they create to keep themselves as normal sufferers.

La création artistique de l’entre-deux-guerres en France est transformée par l’internationalisation du marché de l’art, la vitalité des avant-gardes et la diffusion sans précédent des revues d’art. La galerie d’art, par l’action de galeristes engagés et professionnels, s’impose alors comme un lieu central du marché de l’art moderne. Vouée au commerce des œuvres, elle se dote d’une identité nouvelle en faisant de son espace un lieu de socialisation et de débats intellectuels. Cette conjoncture explique en partie la naissance d’un nouveau mode de communication de la galerie d’art : la revue de galerie. Cet outil de promotion a pour principale mission de diffuser l’actualité des expositions et des artistes liés à la galerie. Mais il cherche également à être une tribune ouverte, un lieu d’expression et de dialogues où se rencontrent théories artistiques et synthèses du marché de l’art contemporain, règlements de comptes et pamphlets, littérature et poésie. Au-delà de sa dimension promotionnelle, la revue de galerie, objet sociologique, tisse des liens entre les différents acteurs d’un même cercle socio-culturel. Les principales revues de galerie de l’entre-deux-guerres (Les Arts à Paris, 1918-1935 ; le Bulletin de la vie artistique, 1919-1926 ; le Bulletin de la galerie B. Weill, 1923-1935 ; le Bulletin de l’Effort moderne, 1924-1927) mettent ainsi en place des modèles éditoriaux durables, qui perdureront tout au long du XXe siècle. Il s’agit d’un phénomène culturel international, de sorte que le contexte parisien ne peut être compris que par comparaison, notamment avec celui des Etats-Unis (revue 291), de la Belgique (Le Centaure) ou de l’Allemagne (Der Querschnitt), qui développent leurs propres spécificités. / Art production in France is changed in the interwar years by the globalization of the art market, the vitality of the avant-gardes and the unprecedented diffusion of art periodicals. The art gallery, through the actions of socially and politically committed art dealers, is becoming a major place for the modern art market. Dedicated to the trade of artworks, it acquires a new identity by encouraging socialization and intellectual debates. This context creates new communication means for art galleries: the art gallery magazine. As a promotion tool, the main mission of the periodical is to spread news about exhibitions and artists related to the gallery. Sustained by the ideals of their editors, they offer an open platform, an utopian space of free speech and dialogue, where art theories and contemporary art market analysis, score settling and satirical tracts, literature and poetry meet. Beyond its promotional function, the art gallery magazine, as a sociological object, also establishes links between the various players of a social and cultural group. The main gallery magazines of the 20th Century (Les Arts à Paris, 1918-1935; le Bulletin de la vie artistique, 1919-1926; le Bulletin de la galerie B. Weill, 1923-1935; le Bulletin de l’Effort moderne, 1924-1927) invent lasting editorial references that will last throughout the 20th century. Operating in Paris, art gallery magazines fall within an international cultural context, as demonstrated by the presence of such magazines in the United States (291), Belgium (Le Centaure) or Germany (Der Querschnitt), all developing their own specificities.

Esta tese, apoiando-se no quadro de referência da Semiótica Tensiva, se propõe examinar a existência de uma gramática tensiva regedora das obras de vanguarda, que se põem sob a égide da \"tradição de rupturas\". Focalizando a descrição e a análise das operações formais dos objetos pictóricos, examina os traços heterogêneos constitutivos do objeto visual e sua estruturação, bem como o par opositivo continuidade (tradição) e ruptura (modernidade) na arte, com base nas relações entre formantes mínimos da gramática visual, que engendram uma gramática de continuidade (a função), responsável por duas subgramáticas, a de rompimento forte e a de rompimento fraco (funtivos). Daí as questões: seria a arte de vanguarda uma continuidade de rompimentos fracos ou de rompimentos fortes? De que tipo de rompimento se está falando quando se focalizam objetos estéticos do século XX? Toda ruptura constituiria um ato de rompimento, de maneira imediata, com todos os procedimentos da tradição, ou apenas a triagem de alguns procedimentos, preservando outros como elo entre o passado e o futuro? Dessas questões, depreendeu-se que a figuratividade é ponto central nas vanguardas ditas de ruptura. Tomada como parâmetro, a figuratividade seria um dos reguladores da continuidade pictórica de vanguarda, pois seria ela a característica que mais se acentua tanto em sua construção, como em sua desconstrução. No caso de rupturas progressivas (chamadas de rupturas em desenvolvimento), nem tudo é triado como eliminação: alguns traços tensivos são preservados. Observou-se atenuação da ruptura em traços reiterativos tanto de figurativização (diminuição de plasticidade), quanto de abstração (aumento de plasticidade). A tese está dividida em quatro capítulos. No capítulo 1, abordam-se tradição e ruptura nas artes plásticas, ou seja, continuidade e descontinuidade de valores estéticos. No capítulo 2, focaliza-se o pêndulo tensivo que contempla a oscilação entre plástico e figurativo, salientando valores de evolução e revolução. No capítulo 3, apoiando-se no plano da expressão, contemplam-se análises de estudos de caso e verificam-se predominâncias de plasticidade ou figuratividade, homologando-as com elementos do nível tensivo, como tonicidade e andamento. No capítulo 4, considera-se a emancipação plástica brasileira em relação à arte predominantemente europeia. Para reduzir o risco de viés teórico de ver na realidade apenas o que a teoria permite ver, bem como minimizar imperfeições analíticas, procedeu-se ao exame dos objetos estéticos considerando um percurso de dupla direção: da teoria ao objeto e do objeto à teoria. Foram comparados objetos de estéticas diferentes, objetos diferentes de uma mesma estética, objetos de um mesmo artista, mas postos em confronto e, por fim, um só objeto, considerando suas partes constitutivas. Para esse exame, além da teoria tensiva, serviram de base textos teóricos de artistas de variadas épocas, bem como manifestos teóricos. Esses procedimentos permitiram propor a substituição do conceito de ruptura pelo conceito de rompimento de dupla valência: uma de tônus mais forte e outra de tônus mais fraco, controladores da continuidade e da descontinuidade, que seriam reguladas por traços tensivos de mais e menos, duas forças que impediriam a chegada ao extremo do continuum. / This thesis, based on the reference framework of the Tense Semiotics, proposes to examine the existence of a tense grammar that rules the vanguard studies, which are placed under the aegis of the \"tradition of ruptures\". Focusing on the description and analysis of the formal operations of the pictorial objects, it examines the heterogeneous features constituting the visual object and its structuring, as well as the opposing pair continuity (tradition) and rupture (modernity) in art, based on the relationships between grammar, which generates a grammar of continuity (the function), responsible for two sub grammars, the one of strong rupture and the one of weak rupture (funtives). Hence the questions: would vanguard art be a continuation of weak disruptions or strong disruptions?What kind of breakthrough is being talked about when focusing on 20th century aesthetic objects? Would every rupture constitute an act of immediate rupture with all the procedures of the tradition, or only the screening of certain procedures, preserving others as a link between the past and the future? From these questions, it has been deduced that figurativeness is central to the so-called ruptured vanguards. Taken as a parameter, figurativity would be one of the regulators of the avant-garde pictorial continuity, since it would be the characteristic that is more accentuated both in its construction and in its deconstruction. In the case of progressive ruptures (called ruptures in development), not everything is classified as elimination: some tensile traces are preserved. It was observed attenuation of the rupture in repetitive traits of both figurativization (decrease of plasticity) and abstraction (increase of plasticity). The thesis is divided into four chapters. In chapter 1, tradition and rupture in the plastic arts are approached, that is, continuity and discontinuity of aesthetic values. In chapter 2, the tensile pendulum that contemplates the oscillation between plastic and figurative is focused, emphasizing values of evolution and revolution. In chapter 3, based on the expression plane, analyzes of case studies are contemplated and there are predominance of plasticity or figurativeness, homologating them with elements of the tensile level, such as tonicity and tempo. In chapter 4, the Brazilian plastic emancipation is considered in relation to the predominantly European art. In order to reduce the risk of a theoretical bias of actually seeing only what the theory allows us to see, as well as minimizing analytical imperfections, we proceeded to the examination of aesthetic objects considering a dual direction course: from theory to object and from object to theory. Objects of different aesthetics, objects different from the same aesthetics, objects of the same artist, but confronted, and finally, a single object, considering their constituent parts, were compared. For this examination, in addition to the tensive theory, theoretical texts of artists of various epochs, as well as theoretical manifestos, were used as basis. These procedures allowed proposing the replacement of the concept of rupture by the concept of double valence rupture: one of stronger tone and one of weaker tone, controllers of continuity and discontinuity, which would be regulated by tensor numbers of plus and minus two forces which would prevent the arrival at the extreme of the continuum.

The thesis investigates the field of Theatre practice variously referred to as alternative, non-mainstream, avant-garde, community or fringe theatre. I have suggested the term 'Radical Group Theatre' - a term which, I believe, best encompasses the sector formerly represented by this diverse body of theatre practice. I focus on the relationship between theoretical and practical paradigms, and debates surrounding them; theatre making processes; and directorial practice in a theatre form which has emerged as a distinctive set of characteristics, ideological frameworks and practices in the Australian context. The work is strongly informed by the perspectives and practices of a range of major contributors to the field. It notes the inadequacy of conventional analytics and established understandings of the theory/practice nexus for exploring Radical Group Theatre, and establishes an alternate set of frameworks. These enable fresh engagement with the development and current praxis of an important theatre form which has not previously been considered as a whole field yet has taken particularly exciting directions in Australia over the past three decades. Methodology and objectives: An important aspect of the study is the way in which the research methodology parallels the practice under investigation. That is, the practice of Radical Group Theatre in Australia mirrors the 'Reflective Reflexive Loop' which I propose as the pre-eminent principle of the praxis. The methodology has developed out of my Masters degree research which was an interrogation of my directorial practice in the field of Youth/Community theatre, 1976-1989. I was further interested to analyse the field of group theatre to determine whether common key principles identified as characteristics of the form in the earlier study constituted the basis for an analytical model of Radical Group Theatre praxis. The investigation for this thesis began with a project designed to synthesise the essential qualities of directorial practice: the qualities of the good director, the major influences on practice, and the expectations participants have regarding the function of the director. The preliminary findings formed the basis for a comparative study which sought answers to the key questions as they apply to a pre-professional radical theatre setting - university student theatre. This project gave birth to the focus questions of the study which established the theoretical and methodological frames for the thesis.

In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.

Les travaux de recherche présentés dans ce mémoire s'inscrivent dans le cadre du développement des techniques d'intégration de puissance SMART POWER, technologies où cohabitent sur le même substrat des composants de puissance haute tension (dans la gamme de 80V) et des composants de commande base tension de type CMOS. Nous étudions les modes de fonctionnement anormaux pendant lesquels l'isolation entre les différents blocs du circuit n'est plus assurée. Les diodes d'isolation, normalement maintenues à l'état bloqué, se retrouvent polarisées en direct ce qui se traduit par l'injection d'un important courant d'électrons dans le substrat du circuit intégré (Ie>1A). Nous détaillons d'abord les caractéristiques et les conséquences de ces courants parasites et donnons un inventaire des techniques de protection employées. Sur la base d'une compréhension physique des mécanismes mis en jeu, appuyés par des simulations numriques 2D, nous présentons deux familles de solutions permettant de protéger le circuit intégré contre ces courants de substrat. La première, dite passive, exploite au mieux la collection et la recombinaison de ces électrons, soit par des anneaux de garde, soit par des MOS de puissance isolés. La seconde dite active, agi sur la polarisation du substrat lui-même et permet, soit de détourner efficacement le courant parasite des zones sensibles, soit de maintenir la diode d'isolation à l'état bloqué. Nous avons ensuite validé ces propositions par des composants de tests spécifiques, puis caractérisé leur efficacité au sein de circuits intégrés complets, réalisés dans des technologies SmartMosTM. Nous avons ainsi obtenu des circuits intégrés dont les courants de substrat sont inférieurs à 50µA.

La thèse démontre l’impact du théâtre de Krejča sur l’évolution de l’art dramatique belge francophone. Elle scinde l’activité théâtrale de Krejča en Belgique en deux parties, chacune placée sous le sceau d’une réalité politique différente. La première correspond à un moment de détente dans le paysage politique tchécoslovaque et débute avant la création du Divadlo za branou. Assimilée à la seconde avant-garde théâtrale tchèque, elle inaugure aussi la série de succès internationaux de Krejča dans des pays non socialistes. La seconde période survient après la liquidation du Divadlo za branou par les autorités communistes tchécoslovaques et après le départ de Krejča en semi exil. Théâtralement, la Belgique francophone est alors en pleine émulation, qui s’observe notamment dans les propositions artistiques du « Jeune théâtre » (1976-1986). L’arrivée de Krejča, dans les années 1960, sur la scène du Théâtre National de Belgique s’inscrit dans la dynamique des échanges théâtraux européens et dans une volonté diplomatique de rapprochement entre la Tchécoslovaquie et la Belgique. La thèse insiste sur ces rencontres entre les artistes belges francophones et les artistes internationaux car elles jouent un rôle fondamental, auquel prend part Krejča, dans l’histoire du théâtre belge de langue française. Fort de sa réappropriation de la tradition théâtrale tchèque et des concepts de Stanislavskij, Krejča est l’un des premiers à apporter en Belgique francophone un regard dépassant la dimension représentationnelle de la première lecture du texte et à proposer une alternative au manque laissé par le retard de l’avant-garde théâtrale belge francophone. Sa poétique, principalement influencée par le théâtre atelier d’E.F. Burian, le théâtre poétique de Frejka, le civilisme d’Hilar, les théories préfigurant la sémiologie théâtrale initiée par l’école de Prague et par les développements du « Mchat », rencontre un accueil mitigé parmi les journalistes polygraphes mais ne manque pas d’impressionner certains animateurs de la scène théâtrale belge à l’instar de Janine Patrick ou de Marc Liebens. Aussi trouve-t-elle notamment un prolongement dans le Théâtre du Parvis. La thèse situe l’apport le plus évident de la poétique krejčaïenne en Belgique francophone dans le traitement dramaturgique, polyphonique et préfigurant le théâtre postdramatique, que le metteur en scène propose. A Louvain-la-Neuve, c’est à nouveau la puissance de la tradition tchèque et la conviction philosophique de Krejča qui impressionnent ses collaborateurs et se déclinent à travers les excroissances théâtrales francophones belges dont la plus manifeste est une expérience théâtrale, toujours en cours aujourd’hui : le théâtre de l’Éveil. La dissertation délimite d’abord les spécificités de la poétique théâtrale de Krejča, puis, après une analyse des mises en scène de Krejča, elle retrace et détaille les diverses formes sous lesquelles son esthétique se manifeste : transmission d’un héritage théâtral (avant-garde historique tchèque, sémiologie théâtrale développée par l’Ecole de Prague) et littéraire (mise à l’honneur de Schnitzler et de Nestroy), prolongement de la recherche théâtrale jusqu’à l’approche postdramatique (révélation de la dramaticité des pièces de Tchékhov, importation du théâtre musical), regards dramaturgique et philosophique, écriture dramatique (influence sur l’écriture d'auteurs dramatiques, Krejča-personnage dans des pièces d’acteur)… / The thesis focuses on Czech theatre from first avant-garde to second avant-garde; mainly it is focusing on Otomar Krejča’s theatre and its relationship with Belgian theatre within the second Czech avant-garde theatre to the end of the Normalization. Krejča worked an intensive part of his artistic life in Belgium. His Belgian theatrical activity can be divided into two distinct periods. The first one was coinciding with the foundation of his “Theatre Beyond the Gate” (Divadlo za branou) in Prague in 1965 and took place in the Belgian National Theatre in Brussels. Those years were squaring with Czechoslovakian destalinization and were particularly productive in the artistic field. In Brussels Krejča directed four plays: in 1965, Hamlet, in 1966, The Seagull, in 1970, Three Sisters, in 1978, Romeo and Juliet. The first three plays occurred before the Normalization and his departure in specific exile. The last one marked the beginning of his second period in Belgium, closely bound to Louvain-la-Neuve city. The two following Krejča’s productions were first created for the Festival d’Avignon: in 1978, Waiting for Godot and Lorenzaccio in 1979, before being performed at Atelier théâtral Jean Vilar in Louvain-La-Neuve. The three following plays were the last of Krejča’s Belgian works: Three Sisters in 1980, A. Schnitzler’s The Green Cockatoo in 1981 and Dostoevsky’s The Possessed adapted by Krejča himself in 1982. In Belgium, the reception of his plays was mitigated. Duality between critics can be explained by Krejča’s new regard on plays, by Krejča’s use of dramaturgy. Krejča’s productions in Belgium were innovating because through dramaturgy they paved the way for something new : it was the end of a romantic Hamlet in the Shakespearian tradition and the end of Pitoëff’s aesthetic in Chechov’s productions. Krejča’s work of art, impregnated by Czech tradition theatre of avant-garde, influenced his Belgian collaborators. Krejča was influenced by leaders in Czech first avant-garde theatre such as Burian, Frejka, theatrical theory of Honzl and Hilar’s theatre conception. When Krejča started to work in Belgium, the country was undergoing a theatrical revolution. At the end of the 1960s, French-speaking Belgium lived at the rhythm of its first avant-garde in staging. According to me, this fact is the main explanation to Krejča’s significance in French-speaking Belgium. Thanks to Krejča’s Belgian productions, a part of the first Czech theatrical avant-garde and the second Czech theatrical avant-garde penetrated in Belgium. All of Krejča’s concepts (human beings, ethic of responsibility, importance of dramaturgy, personal appropriation of Stanislavski’s approach) slowly instilled French-speaking Belgian theatrical life. Sure an evident mark of continuity of his aesthetic cannot be seen in the long time, nevertheless Krejča’s influence was considerable and briefly materialized in many fields. It is obviously still vivid in the way some actors play, feel and teach theatre.

Cette thèse compare deux pays dont les niveaux de fécondité sont très différents et se pose la question de savoir dans quelle mesure les dispositifs des politiques familiales, et notamment les mesures qui permettent aux femmes de concilier activité professionnelle et vie familiale expliquent cette différence. Les deux pays ont en effet en commun de consacrer proportionnellement un même pourcentage de leur PIB pour soutenir les familles. Or la conciliation entre vie familiale et vie professionnelle est différemment soutenue. Tandis qu'en France les dispositifs et les modes de gardes pour les enfants d'âge préscolaire permettent une rapide reprise de l'activité professionnelle pour les femmes après une naissance, en Hongrie c'est une longue interruption de cette activité qui est soutenue avec les allocations-interruption. Ce système, hérité des années 1960-1990 influence la durée de l'inactivité des femmes qui est en moyenne de 4,7 ans après une naissance. Les mentalités soutiennent d'ailleurs ce mode de fonctionnement puisque les normes sociales préconisent en Hongrie la garde maternelle avant l'âge de trois ans des enfants. Ces normes sont toutefois en train de changer, les femmes jeunes étant plus permissives et souhaitant travailler plus rapidement après une naissance. La quasi obligation de quitter le marché du travail après une naissance a comme résultat que le statut professionnel influence significativement la réalisation des intentions de fécondité en Hongrie tandis qu'en France, en conséquence d'une plus grande neutralité des politiques familiales, le statut professionnel joue moins sur ces intentions dont la réalisation est d'ailleurs plus fréquente.

面對著文化工業 (culture industry) 的崛起，藝術家高喊著「藝術自主性」 (autonomy of art) ，來對抗國家機器與資本主義對藝術的侵蝕。前衛的藝術家就已經面臨內部矛盾的論證：一部分認為藝術應該當作社會真實的反映工具，進而觸發社會的整體革命，另一部分則抱持著「為藝術而藝術」 (l'art pour l'art) ，不應該被任何社會的風潮牽動。本文挑選阿多諾的美學思想作為研究的課題，研究其批判文化工業的藝術哲學，並且就《啟蒙的辯證：哲學的片簡》 (Dialec-tics of Enlightenment) 的篇章〈文化工業：大眾欺騙的啟蒙〉 (The Culture Indus-try: Enlightenment of Mass Deception) 以及《美學理論》 (Aesthetic Theory) 當作本文研究之原典。 除了緒論與結論，本文共分為三個章節。第一章分析的是「文化工業」：藉由商品拜物教的形式，文化工業從藝術的外部性質──傳播媒體──來取得藝術的社會形式，卻也因此異化藝術本身的內在邏輯，甚至使得傳播媒體異化且取代了藝術作品本身。第二章分析的是「前衛藝術」：雖然前衛藝術是文化工業的對立面，但是它們都享有共同的外在語法與邏輯。因此，前衛藝術與文化工業的對立是基於什麼原因，則是本章所要分析的。第三章分析的是「藝術的雙重性」：藝術的雙重性是阿多諾《美學理論》的重要貢獻，也一直是後繼者研究其藝術哲學的重點。藝術的雙重性──社會性與自主性──都是藝術作品內部精神，而表現在它的物質形式上，這都可被視為藝術作品本身的物化。 從阿多諾的觀點中分析，藝術的自主性──就如同資本主義對於自由的形容──是不切實際的虛假意識，藝術是物質的、社會的產物，也只是反映下層建築的菱鏡、主體的附庸；另一方面，藝術卻又渴望不被他者束縛的自由，對於現實的理所當然是不屑一顧的，而試圖在化外之地找尋更好的理念。在阿多諾的美學理論，藝術的雙重性是其自身內部矛盾的辯證過程，卻也是藝術最迷人之處，無論傾向哪一個層面之體現，都無法完整表達藝術的真面目而使之終結。如果要為藝術找尋其雙重性的辯證，最終必然為找尋其動態的平衡，時而接近主體，時而離開主體，與主體展開曖昧不明又難分難捨的關係。也因為如此，藝術為達到自身辯證的平衡，就成為了縈繞於社會邊緣的遊蕩者。 / The artistic manifestation for “autonomy of art” is against the rise of culture in-dustry which corrupts art’s sake in the capitalist society. Those artists who claim self as the avant-garde argue whether their artwork should be the reflection of social real-ity or should be “l'art pour l'art”. My thesis is focus on T.W. Adorno’s aesthetic theory, and his critique against the culture industry. T.W. Adorno’s aesthetic theory should be rediscovered from his “The Culture Industry: Enlightenment of Mass Deception” from Dialectics of Enlightenment and his masterpiece Aesthetic Theory. Besides the epilogue and the conclusion, there are other three chapters. The first chapter is focus on “culture industry”: from commodity fetishism, the culture industry claims art’s form by its externality: media. However, it also reifies the internal logics of art which media takes over art in its own sake. The second chapter is on “avant-garde art”: though it is the counterpart of culture industry, avant-garde art shares the same syntax and logic with the culture industry. The reason of their conflicts should be explored by the history of modern art. The third chapter is on “the duality of art”: as the most important part in Adorno’s aesthetic theory, the duality of art contributes the essential idea in the aesthetic history. Nevertheless, the autonomy and social faux are both elements of art’s spiritual perpective which will be reified as its form. From Adorno’s theory, art’s autonomy and social faux are dialectical. Art must seek its own autonomy from its heteronomy, which avoids itself from its own fetish character. It circulates it own vital experience, then it terminates itself in the reification. Therefore, in Adorno’s theory, art’s duality is both dialectical and mysterious. Whether any aspect could not embody the truth content of art, and hence art is so amusing. The dialectical duality of art comes with its equilibrium with the social; real-ity, while the former is object and the latter is subject. While art approaches with the society, it also detaches from the society. The dialectical relationships has made art and society both indistinct and inseparable, therefore, art must become the edge of so-ciety in its own sake as the “flâneur”.

The thesis investigates the role of technology in the formation of the artistic avant-garde, along with various forms of philosophical reflection on this development, with a particular emphasis on Heidegger. Setting out from an analysis of three paradigmatic cases in the interplay between art and technology—the invention of photography, the shift from Futurism to Constructivism, and the interpretation of technology in debates on architectural theory in the 1920s and ’30s—it proceeds to a discussion of three philosophical responses to this development, those found in Walter Benjamin, Martin Heidegger, and Ernst Jünger, all of which share a certain avant-garde sensibility and a notion of art as a response to nihilism. In Heidegger’s postwar writings we see a retreat from the positions of the mid 1930s, and in his reflections on technology a different answer emerges to the question of whether “great art” is still possible: great art is an art that exists precisely by making the founding of a world into something problematic. The fourth part confronts Heidegger’s analysis of technology with the work of an individual artist, the architect Mies van der Rohe, and asks how the “silence”—the withdrawal of language, sense, aesthetic perception, etc.—that is often understood as a precondition for the critical potential of his work should in fact be understood. By examining interpretations that draw on Heidegger via comparisons with other types of critical theory, a different understanding emerges of the relation among nihilism, art, and technology. They form a field of constant modulation, which implies that the concepts that have been the foundation of critical theory, nature, subjectivity, experience, even “being” in Heidegger’s sense, must be subjected to a historical analysis that acknowledges them as ongoing processes of construction, and that also accounts for the capacity of technologies and artistic practices to intervene in the formation of philosophical concepts. / The chapters 5, 6 and 7 in the monograph Essays, Lectures for a part of the Ph.D.thesis.