Ce travail prend pour objet la correspondance sur la tragédie échangée par Lessing, Mendelssohn et Nicolai entre 1755 et 1757 selon une double approche. Un volume propose une traduction intégrale des lettres, accompagnées de textes qui en permettent une meilleure contextualisation. Un autre volume en établit une première interprétation, afin de la situer dans la genèse de l’esthétique philosophique en Allemagne. Il s’appuie donc sur une thèse liminaire : l’esthétique n’est pas d’abord une doctrine, mais le résultat, dans le milieu philosophique, du grand mouvement de constitution du système des arts qui traverse l’Europe au XVIIIe siècle. Il montre comment, en se rapportant chaque fois de manière différente à l’héritage baumgartenien et à la théorie de l’art française, chaque auteur se détache de la poétique classique de Gottsched qui constitue la référence intellectuelle en Allemagne à cette période. Abandonnant toute stratégie de légitimation du genre, Nicolai développe une approche critique, qui fait valoir l’autonomie du champ littéraire dans la détermination des règles d’écriture de la tragédie et en réfute toute fonction morale. Lessing, en revanche, développe une approche poétique et critique renouvelée, qui veut défendre à la fois l’autonomie du champ littéraire et l’utilité morale de la tragédie. Elle implique de redéfinir la pitié de manière inédite, puis finalement la nature de la moralité. Mendelssohn, enfin, défend contre Lessing une perspective esthétique : l’autonomie du champ et son absence d’ambition morale. Il en établit alors la légitimité grâce à la notion de plaisir esthétique, plus élevé en dignité que le plaisir sensible car intellectuel. / The topic of the thesis is the 1755-1757 correspondence between Lessing, Mendelssohn and Nicolai about tragedy. One volume does not only contains a full translation of the letters but also some other texts in order to better sketch its historical context. Another volume contains an interpretation of the corpus that aims to highlight its place in the historical genesis of philosophical aesthetics in Germany. This work relies on a preliminary basis : aesthetics is not a doctrine, but rather the result, in the philosophical field, of the constitution of the system of arts that goes through the entire Europe in the XVIIIth century. It shows how each of them leaves the classic poetics of Gottsched – the reference in Germany at that time – and how each of them does it by referring in a different way to the legacy of Baumgarten and the French art theory. Hence, Nicolai gives up any strategy of recognition regarding the tragedy and takes a critical perspective. He underlines the autonomy of the literary field concerning the rules of tragedy. He denies any moral function. Lessing takes a poetical and critical perspective in a new sense. He stresses the autonomy of the literary field as much as the moral function of tragedy. This implies to redefine pity in a way never seen before, if not the essence of morality itself. As for Mendelssohn, he fights Lessing and adopts an aesthetical perspective. The aesthetical field is autonomous and has no moral ambition. What makes it legitimate is then the aesthetical pleasure for it has more dignity than the simple sensitive pleasure as it is more intellectual.

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SOUZA, Letícia Joaquina de Castro Rodrigues Souza e. A inserção do texto literário nas aulas de e/le: diretrizes para o núcleo de línguas estrangeiras da UECE. 2008. 265 f. Dissertação (Mestrado) - Universidade Estadual do Ceará, Curso de Mestrado Acadêmico em Linguística Aplicada, Fortaleza, 2008. / Submitted by anizia almeida (aniziaalmeida80@gmail.com) on 2016-09-22T14:43:50Z No. of bitstreams: 1 2008_dis_ljcrsesouza.pdf: 44932149 bytes, checksum: 411ac5bb40048c1b13b1e86d0a1cc4c9 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-27T16:26:29Z (GMT) No. of bitstreams: 1 2008_dis_ljcrsesouza.pdf: 44932149 bytes, checksum: 411ac5bb40048c1b13b1e86d0a1cc4c9 (MD5) / Made available in DSpace on 2016-09-27T16:26:29Z (GMT). No. of bitstreams: 1 2008_dis_ljcrsesouza.pdf: 44932149 bytes, checksum: 411ac5bb40048c1b13b1e86d0a1cc4c9 (MD5) Previous issue date: 2008 / The present study deals with the inclusion of literary texts in the lessons of Spanish as a foreign language within the teaching-learning context of the Núcleo de Línguas Estrangeiras da Universidade Estadual do Ceará (UECE). For a theoretical basis we have resorted to several authors such as Albaladejo (2004), Cosson (2006) and Mendoza (2004), who tackles the use of literary texts in the language classroom as tools for the formation of competent readers, and to the works of Goodman (1990), Kato (1999), Kleiman (2004), among others, about the reading process in general and about reading strategies. By means of questionnaires we tried to detect students’ and teachers’ motivation and beliefs about the reading of literature, teachers’ difficulties in the inclusion of literary texts in the language classroom and students’ difficulties in the reception of those texts in the target language. Another aim of the investigation was to find out whether the Núcleo had any framework for the inclusion of activities with literary texts. The results show that there is no such a framework. As a pedagogic consequence of our findings and with the help of the theoretical contributions of the authors mentioned above, we have elaborated some guidelines which are intended to serve as a foundation for the building of a framework for the didactic treatment of the literary text at the Núcleo de Línguas. The focus of that model should be the development of reading strategies and the raising of aesthetic pleasure. / No presente estudo, exploramos a prática da inclusão de textos literários nas aulas de espanhol como língua estrangeira, dentro do contexto de ensino-aprendizagem do Núcleo de Línguas Estrangeiras da Universidade Estadual do Ceará (UECE). Como base teórica valemo-nos das contribuições de autores como Albaladejo (2004), Cosson (2006) e Mendoza (2004), no que se refere à questão da inclusão de textos literários na sala de aula de língua espanhola como ferramentas para a formação leitora e a Goodman (1990), Kato (1999), Kleiman (2004), dentre outros, para as teorias sobre o processo leitor e sobre o trabalho com as estratégias de leitura. Através de questionários procuramos detectar as motivações e crenças dos alunos e professores sobre a leitura de textos literários, as dificuldades dos docentes em incluir esse tipo de texto em suas aulas e as dificuldades dos alunos na recepção dos textos literários em língua espanhola. Outro objetivo do nosso estudo foi verificar se o Núcleo de Línguas Estrangeiras da UECE possuía um modelo de tratamento didático para a inclusão de atividades com o texto literário. Nossa pesquisa constatou a ausência de tal modelo. Por essa razão, apoiados nas contribuições teóricas que serviram de base para o nosso estudo e na análise dos dados obtidos através do questionário respondido por professores e alunos de língua espanhola do Núcleo de Línguas Estrangeiras, elaboramos algumas diretrizes que poderão servir de alicerce para a construção de um modelo de tratamento didático do texto literário, para o programa de extensão supracitado, centrado no despertar do prazer estético e no desenvolvimento de estratégias de leitura.

De tout temps, plusieurs groupes sociaux ont tenté de subordonner la question de l’art, des artistes et de leurs œuvres à des impératifs idéologiques et des valeurs propres à leur époque, reconfigurant ainsi la place sociale de l’art et sa portée symbolique. De nos jours, certaines idéologies travailleraient à inscrire la valeur des formes sociales de l’art, mais également du savoir et de la connaissance, à l’émergence d’une économie dite créative et de ses logiques de marché. Depuis la Commission d’enquête sur l’enseignement des arts et la publication du rapport Rioux en 1968, la constitutionnalité d’un rapport esthétique au monde se développe essentiellement dans un cadre scolaire. Par l’entremise d’une quinzaine d’entrevues auprès d’enseignants en arts plastiques (AP), notre mémoire vise à investiguer sous quelles modalités se construit un rapport esthétique au monde chez les élèves des écoles secondaires du Québec. Pour ce faire, nous nous sommes particulièrement intéressés aux modalités sociales de la configuration des savoirs artistiques dans le programme des AP et à leur transmission par l’établissement de relations pédagogiques entre l’enseignant et les élèves. L’analyse de nos résultats nous a permis de constater que malgré une explicitation égalitaire de la distribution d’une connaissance de l’art envers tous les élèves, les enseignants effectuaient une différenciation implicite des capacités esthétiques des élèves, modulant en ce sens leurs interventions en classe. Deux modèles pédagogiques fondés sur cette catégorisation des élèves par les enseignants ont été relevés : un modèle basé sur la performance et un autre sur la compétence, affectant le développement d’une valeur cognitive chez les élèves et l’élargissement de leur champ des possibles. Conséquemment, il pourrait être avantageux d’instituer le cours d’AP sous une valeur formative du plaisir par la création, rejoignant ainsi une valeur poétisante de l’art, au détriment de la survalorisation de la valeur sommative des apprentissages artistiques en vue du développement de la valeur scolaire des élèves et ultimement, de leur valeur économique. / At any time, several social groups have tried to enforce the question of art, artists and their works to ideological imperatives and values specific to their time, thus reconfiguring the art’s social place and symbolic significance. Nowadays, certain ideologies work to limit the value of the social forms of the art, but also of the knowledge, to the emergence of a so-called creative economy and its logic of the market. Since the Commission of inquiry on arts education and the publication of the Rioux report in 1968, the foundation of an aesthetic relationship to the world develops essentially in school. Using fifteen interviews with visual arts teachers, our work aims to investigate the ways in which an aesthetic relationship to the world is formed among students in Quebec high schools. To do so, we were particularly interested in the social modalities of the configuration of artistic knowledge in the visual arts program and in their transmission through the pedagogical relationships between the teacher and the students. Our analysis showed that despite an egalitarian description of the distribution of the knowledge of art towards all the students, the teachers carried out an implicit differentiation of the aesthetic capacities of the students, which modulated their interventions in class. Two pedagogical models, based on this categorization of students by teachers, were identified: a performance-based model and a competency-based model. These are affecting the development of cognitive value in students and the expansion of their range of social possibilities. Therefore, it could be beneficial to institute the visual arts course under the formative value of pleasure through creation, thus reaching a poetizing value of art. This would prevent the overvaluation of the summative value of the artistic learning of the student, of the development of their academic value and ultimately, of their economic value.