Ce projet propose une étude comparée de deux cinéastes essentiels, dont l'œuvre montre un fort rapport à l'onirisme et à l'imaginaire : Alain Resnais et Federico Fellini. Ayant commencé à la même époque (après la Seconde Guerre mondiale), ils ont traversé plusieurs périodes en parallèle. Nombre d'aspects les rapprochent, malgré leurs différences de styles et de cultures. Alain Resnais porte un regard sur l'histoire contemporaine, mais travaille également sur la vision subjective, la mémoire individuelle, et divers états de conscience. Fellini porte un regard acerbe sur la bourgeoise italienne, et propose simultanément un vagabondage dans les consciences et l'inconscient marqué par le merveilleux et l'onirique. Les deux cinéastes refusent de limiter la réalité « au constat purement objectif d'un monde scientifiquement analysable » pour montrer une « autre réalité », qu'il s'agit ici de questionner à l'aide de différentes théories (psychanalytiques, littéraires, philosophiques…). / This project proposes a comparative study between two essential film directors: Alain Resnais and Federico Fellini. Their work shows a strong relation with the oneiric and the imaginary. They began in the same period (after the Second World War) and they shared the same historical experiences in two different countries. Despite a difference of style and culture, a lot of aspects approach them. Alain Resnais focuses on contemporary history, but he works also on the subjective vision, individual memory, and different states of consciousness. Fellini focuses on the Italian bourgeoisie and he proposes simultaneously a kind of vagrancy in the conscious and in the unconscious, always marked by the oneiric. The two film directors refuse to limit the reality «to an objective analysis of a world scientifically analyzable». They want to show an «other reality». We want to interrogate this reality with the help of different theories (psychoanalytic, literary, philosophical…).

O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\". / The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".

La thèse propose d'étudier sur cinquante ans de cinéma français l'évolution du concept du premier film de la Nouvelle Vague aux années 2000 sous un angle historique, esthétique et économique, analyser le début de carrière de six cinéastes français singuliers emblématiques d'une époque et d'une génération, comprendre et s'intéresser à leurs parcours avant leur premiers film, leurs influences, les aides qu'ils ont pu obtenir, leur lien avec la critique et la présence de leur film de jeunesse dans leur œuvre à venir. / This thesis proposes to study the evolution of French cinema threw the concept of ''the first movie'' from the New Wave to the beginning of 21st century on a historic, esthetic and economic point of view. This research tries to analyse the beginning of the career if six French singulars directors whitch are iconic of a period or a generation, tries to understand and be interested on their course before their first movie, their youth, their influences, the financial and humain helps they found, their connections with the French critique and the presence of their first movie in all their future work.

Este trabalho discute o emprego da topologia como ramo da matemática nos desenvolvimentos teóricos de Jacques Lacan. O ponto de partida é a crítica apresentada por Sokal quanto à falta de fundamento deste recurso em seu uso pela psicanálise, em contraposição às afirmações lacanianas quanto a ser a topologia a própria estrutura. O objetivo central é defender a idéia de que o recurso metodológico à topologia, às matemáticas e à lógica é compatível com o conceito de significante, oriundo do estruturalismo saussuriano e este pode ser fundamentado na noção lógica de conjunto tal como a matemática, após Cantor o concebeu. Discute-se três argumentos contrários a uma possível formalização nas ciências do homem: o da qualidade, o do sentido e o da singularidade. Realiza-se em seguida: (1) uma análise das relações entre o conceito de significante e o de conjunto a partir dos axiomas da teoria de Zermelo-Fraenkel, (2) a apresentação de uma possível lógica para o significante tomado em suas relações de significação tal como a psicanálise lacaniana as concebe, e (3) a proposição do emprego do conceito matemático de modelo, como o que reúne o conceito de conjunto à lógica. Os três resultados obtidos baseiam-se nos desenvolvimentos do filósofo francês Alain Badiou em seu esforço de discutir filosofia através do mesmo recurso à matemática. Conclui-se que nos limites da fundamentação da lógica e da matemática encontra-se os problemas que também norteiam as investigações psicanalíticas a respeito da subjetividade e de suas possíveis transformações / The present study discusses the use of topology as a branch in mathematics in Jacques Lacans theoretical developments. The starting point is the criticism presented by Sokal concerning a supposed lack of fundament of such an appeal in its use within psychoanalysis, contrary to lacanians assertions of topology as its proper structure. Our central objective is to defend the idea that the methodological appeal to topology, to mathematics and to logic is indeed compatible with the concept of significant, as brought by saussurian structuralism, and that the former concept can be grounded on the logical concept of set, as mathematics after Cantor conceived it. Three arguments that oppose to a possible formalization within human sciences are discussed: one concerning quality, one regarding meaning and one that affirms singularity. The following are developed in the sequence: (1) an analysis of the relations between the concept of significant and that of set, according to the axioms of Zermelo- Fraenkel theory, (2) a presentation of a possible logic for the significant taken in its signifying relations, as lacanian psychoanalysis conceives it, and (3) a proposition of adoption of the mathematical concept of model, as one that unites the concept of set and logic. These three results are based on Alain Badious developments and effort to discuss philosophy through this same appeal to mathematics. One concludes that in the very limits of mathematical and logic fundaments one finds the same problems that guide psychoanalytical research regarding subjectivity and its possible transformation

This study is based on the everyday lives as Alain Mabanckou describes them through the different characters of the novel Verre Cassé (2005). This novel describes the African society during the postcolonial period. In this society, leaders are struggling to stay in power as long as possible, while the people live in poverty and utter misery. Many people experience life without taking action. Everyone must fight for his survival. In this work, I will investigate how the life of ordinary citizens during the postcolonial period in African cities and the place of women in man's relationship is describe in Mabanckou’s novel. I focus on the link between postcolonialism and feminism. At the end of this work, I found that the Mabanckou’s novel Verre Cassé demonstrates that life of many citizens in African cities is still difficult despite the independence. These newly independent countries face many new problems like dictatorship, corruption and poverty. Many women prostitute themselves to meet their needs in this novel. Alain Mabanckou points out in his novel that men continue to assert their superiority over women in this postcolonial society.

Le premier objectif de cette thèse est de réfléchir aux conditions de la genèse des grandes réformes universitaires à travers l’étude de la loi Faure de 1968 et de la loi Savary de 1984. Il s’agit d’essayer d’évaluer les rôles des différents acteurs, selon leur fonction et leur mode de pensée, dans le cadre du processus d’élaboration de la réforme. L’autre ambition assignée à ce travail est de tenter d’évaluer le degré d’application de la loi Faure de 1968 dans les universités. Une telle étude revêt une importance toute particulière dans la mesure où les historiens ont montré que cette loi est la première qui offre les moyens aux universités de devenir autonomes. Jusqu’à cette date, et malgré les réformes républicaines de la fin du XIXe siècle, l’enseignement supérieur français est resté tributaire de la « tyrannie des facultés » instituée par Napoléon en 1808. Nous avons donc cherché à évaluer le degré d’autonomie dont disposent les universités au lendemain de la loi de 1968 dans les domaines des diplômes, des finances et de la participation. Les sources autorisant la conduite d’une telle analyse sont très variées : dossiers des ministres en charge des universités, archives de l’Élysée, de différents rectorats, transcriptions des débats tenus à l’Assemblée nationale et au Sénat, rapport des commissions parlementaires, témoignages oraux a posteriori, etc... Pour ce qui concerne les sources émanant des universités, nous avons axé nos recherches sur les archives relatives à trois établissements : Paris VII, Rennes I et l’université de Picardie. / Our project strives for pondering the conditions for gradually implementing self-governance in the French universities. From this point of view however, the time frame spanning 1968 to 1984 is apparently a great opportunity for reflection. In fact the laws advocated by the Ministers Faure and Savary can be considered as the first steps towards practical autonomy of the universities.. History shows abundantly that despite republican reforms passed by the end of the 19th century, until 1968 the French higher education systems remained dependent on the “Colleges’ tyranny” established by Napoleon in 1808. A description of the French education system before 1968 will shed light on the administrative burdens on the universities, which may have aroused a willingness to change in some individuals. But in most cases, a reform derives from a trade-off whose origin may be tracked by historians. For such a quest, the sources of information flow from politicians of the time, or from their assistants, from academics or from teachers unions: proceedings of the Parliament or the Senate, reports from ministerial staffs, university bodies, ex post facto oral evidence etc…Confronting the material should allow one to gauge the part played in the reform preparation process by the various stakeholders, according to their function and mindset.

O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\". / The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".

[pt] A partir dos movimentos de maio de 1968, a figura intelectual da emancipação toma conta da filosofia francesa: enquanto Jacques Rancière aposta na radical hipótese da igualdade das inteligências, Alain Badiou desenvolve uma teoria do acontecimento. Em comum, concernem a ambos processos de subjetivação, dentre os quais Badiou destaca quatro: amorosos, científicos, políticos e artísticos. Neste âmbito, o regime estético rancièriano e a inestética badiousiana oferecem aporte teórico para reformular as categorias segundo as quais se compreende a criação artística – em geral – e o cinema – em particular. No entendimento comum de uma arte contemporânea das relações, este trabalho aproxima os autores com o objetivo de pensar a obra do diretor austríaco Michael Haneke. Dividindo seus filmes em blocos temáticos – entre cinema e amor, entre cinema e ciência, entre cinema e política e entre cinema e outras artes –, investigam-se distâncias e intervalos pelos quais podem passar ideias e nos quais se formam espectadores como sujeitos igualitários. / [en] From May 68 on, the intellectual figure of emancipation takes over French philosophy: while Jacques Rancière bets on the radical hypothesis of the equality of intelligences, Alain Badiou develops the theory of the event. In unison, both are concerned with processes of subjectivation, amongst which Badiou highlights four types: amorous, scientific, political and artistic. In this last scope, the rancièrian aesthetic regime and the badiousian inaesthetics offer a theoretical approach to reformulate the categories within which art – in general – and cinema – in particular – are perceived. In the common understanding of contemporary art of relations, this work links the authors, intending to analyze the work of Austrian director Michael Haneke. Splitting his movies into thematic blocks – between cinema and love, between cinema and science, between cinema and politics and between cinema and other arts –, the investigation lies on the distances and intervals within which ideas pass and spectators form themselves as egalitarian subjects.

Thesis (PhD)--Stellenbosch University, 2011. / ENGLISH ABSTRACT: The primary concern of this dissertation will be to understand under what conditions novelty arises within a system. In classical philosophy, the notion of novelty is usually said to arise out of an event. However, the notion of an event often carries with it metaphysical and conservative implications. Therefore, part of the concern of this dissertation is to begin to develop an approach to novelty which is not dependent upon the event. This approach is developed through the insights offered by Critical Complexity and post‐structuralist philosophy. In social science the model of the frame has dominated how to think about the limitations to the context specific nature of knowledge. Instead of the analogy of a frame, this dissertation argues that it is better to adopt the notion of an ‘economy’. This is due to the fact that the notion of an economy allows social scientists to better theorize the relationships which constitute the models they create. The argument for an economy is made by exploring the connections between the work of Jacques Derrida, the complexity theorist Edgar Morin and Georges Bataille. However, when using the notion of an economy, one must always take the excess of this economy into consideration. This excess always feeds back to disrupt the economy from which it is excluded. Using terms developed in complexity theory, this dissertation illustrates how a system adapts to the environment by using this excess. Due to this there can never be a comprehensively modelled complex system because there are always facets of this system which remain hidden to the observer. The work of Alain Badiou, whose central concern is the notion of novelty arising out of an event, is introduced. The implications of depending on the event for novelty to arise are drawn out by discussing the affinities between the work of Derrida and Badiou. In this regard, Derrida’s use of the term ‘event’ much more readily agrees with a complexity informed understanding of the term in contrast to the quasi‐religious definition which Badiou uses. This complexity‐informed understanding of the event illustrates that what the event reveals is simultaneously a dearth and wealth of possibilities yet to be realized. Therefore the event cannot be depended upon to produce novelty. However, the notion of the event must not be discarded too quickly; classical science has traditionally discarded this idea due to its reductive approach. The idea of process opens up an understanding of the radical novelties produced in history to the possibility of the event and to a new understanding of ontology. This dissertation proposes that one can begin to think about radical forms of novelty without the event through the notion of experimentation. This approach allows one to engage with what exists rather than relying upon an event to produce novelty. This argument is made by following Bataille, who argues that through an engagement with non‐utilitarian forms of action, by expending for the sake of expenditure, the world is opened up to possibilities which remain unrealized under the current hegemony. In this light, this dissertation begins to develop a definition of novelty as that which forces a rereading of the system’s history. / AFRIKAANSE OPSOMMING: Hierdie proefskrif onderneem hoofsaaklik om die omstandighede waaronder nuwigheid binne ʼn stelsel ontstaan te verstaan. Daar word in die klassieke filosofie voorgehou dat nuwigheid gewoonlik vanuit ʼn gebeurtenis ontstaan. Die idee van ʼn gebeurtenis hou egter dikwels ongewenste metafisiese en konserwatiewe implikasies in. Hierdie proefskrif onderneem dus om, deels, ʼn benadering tot nuwigheid te ontwikkel wat onafhanklik van die gebeurtenis staan. Hierdie benadering word verder uitgebrei met behulp van insigte vanuit die Kritiese Kompleksiteits‐ en Post‐Strukturalistiese filosofie. Tot onlangs het die model van die raamwerk die wyse waarop daar oor die beperkinge van die konteks‐spesifieke aard van kennis in die sosiale wetenskappe gedink word oorheers. In hierdie proefskrif word voorgehou dat die idee van ʼn ‘ekonomie’ in plaas van die analogie van ʼn raamwerk hier gebruik behoort te word, omdat dit ons sal toelaat om die verhoudings binne die modelle wat deur sosiale wetenskaplikes gebruik word beter te verken. Verder word die moontlike verbande tussen Jacques Derrida , die kompleksiteitsfilosoof Edgar Morin en Georges Bataille teen hierdie agtergrond verken. Wanneer daar van ʼn ekonomie gepraat word, moet die oormaat van die ekonomie altyd in ag geneem word. Hierdie oormaat ontwrig altyd die ekonomie waarby dit uitgesluit word. Om te wys hoe die stelsel van so ʼn oormaat gebruik maak om by sy omgewing aan te pas, sal terminologie wat in die konteks van kompleksiteitsteorie ontwikkel is gebruik word. As gevolg van die oorvloed binne ʼn stelsel sal daar nooit ʼn volledige model van die stelsel ontwikkel kan word nie ‐‐ fasette van die stelsel sal altyd vir die waarnemer verborge bly. Verder sal die werk van Alain Badiou, wie se filosofie rondom die idee van nuwigheid wat uit ʼn gebeurtenis ontstaan gesentreed is, in hierdie verhandeling bespreek word. Die implikasies van die idee dat nuwigheid van die gebeurtenis afhanklik is word uitgelig deur die verwantskappe tussen die werke van Derrida en Badiou te bespreek. Derrida se gebruik van die term ‘gebeurtenis’ dra ʼn noue verwantskap met kompleksiteitsteorie, en dit word teenoor Badiou se amper‐godsdienstige gebruik van die term gestel. Daar word aangevoer dat daar binne ʼn kompleksiteits‐ingeligte verstaan van ʼn gebeurtenis beide ʼn skaarste en ʼn oorvloed van moontlikhede bestaan wat vervul kan word. Daarom kan daar juis nié op die gebeurtenis staatgemaak word om nuwigheid te skep nie. Die idee van die gebeurtenis moet egter nie te gou verwerp word nie. As gevolg van die klassieke wetenskap se reduksionisme is die idee van ʼn gebeurtenis tradisioneel ontken. Daarteenoor ontsluit die idee van ʼn proses die moontlikheid van radikale nuwighede in die geskiedenis as gevolg van ʼn verstaan van die gebeurtenis wat tot ʼn nuwe verstaan van die ontologie lei. Hierdie proefskrif stel dus voor dat ons voortaan aan radikale nuwigheid dink in terme van die denkbeeld van eksperimentering eerder as in terme van die gebeurtenis. Eksperimentering laat ons toe om te werk met wat ons het, eerder as om op ʼn gebeurtenis te moet wag. Na aanleiding van Bataille is die voorstel dat daar deur om te gaan met nieutilitaristiese vorms van optrede nuwe geleenthede vir die wêreld oopgemaak word; geleenthede wat onder die huidige hegemonie ongerealiseerd sal bly. In hierdie verband stel die proefskrif ʼn definisie van nuwigheid voor as dít wat mens dwing om die geskiedenis van ʼn stelsel te herformuleer.

La présente étude revisite les thèmes récurrents portant sur la situation de l’Afrique d’aujourd’hui à travers la littérature. Notamment dans Allah n’est pas obligé d’Ahmadou Kourouma, Johnny Chien Méchant d’Emmanuel Dongala et dans Les Petits-fils nègres de Vercingétorix d’Alain Mabanckou qui constituent le corpus de base de cette thèse. Les guerres civiles à caractère tribal et les conséquences qui en découlent font l’objet d’une attention particulière desdits travaux de recherche. A cela s’ajoute la question des enfants-soldats – problématique essentielle de l’étude thématique / This study is based on themes related to Africa’s situation nowadays, particularly on « Allah n’est pas obligé » of Ahmadou Kourouma, « Johnny Chien Méchant » of Emmanuel Dongala and « Les Petits-fils nègres de Vercingétorix » of Alain Mabanckou which constitute the corner stone of this thesis. Our attention all along this work is focussed specially on tribal wars and its consequences. Futhermore, one of major problematics of this research is the issue of child-soldiers