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

M.A. / This study started off as a search for the factors that turn the French New Novel into unreadable, unenjoyable, difficult literature. The most obvious keyword that sprang to mind was “doubt”. This was the effect that we as a reader felt when reading the novels mentioned above. There is doubt in two areas: Firstly we doubt our own ability to comprehend, being fully aware that the French New Novel is enjoyed primarily by academics. Secondly we doubt the novelists’ ability to produce what we would call a conventional novel like those developed by novelists such as Balzac, Flaubert, Stendhal and Zola in the 19th century. The search for “doubt” in the New Novel was very fruitful. Although some critics are of the opinion that the novels of Robbe-Grillet are to a certain extent understandable, they all agree that the novels of both Sarraute and Robbe-Grillet are in essence difficult to read and inadequately develop the four basic ingredients of the conventional novel, which are: character, plot, setting and time. These four elements should, in the case of a realistic novel, reflect the reader’s reality in order to create the illusion of being real. Our study has shown that Robbe-Grillet’s development of character and description of setting do not convince the reader that they could be real. They are in fact so inadequate and incoherent that the reader struggles to reconstruct a realistic character from the bits of information provided. Robbe-Grillet further breaks all conventional rules of time and space and leaves the reader disoriented. Sarraute appears to have abandoned convention totally as she has completely done away with character and setting in her novel Ici. It requires a great effort from the reader to reconstruct the fleeting abstract conversations that make up her novel. Both Sarraute and Robbe-Grillet have provided works of criticism on their own ideas of the novel in which they clearly state that they broke away deliberately from the form and content of the 19th century novel in a quest for a new authentic novel. This study was further able to point out certain mechanisms that the authors use to create instability in their novels. The many incoherent pieces that make up these novels allow the reader to play at reassembling them and often this leads to interesting new discoveries. One of these discoveries is the simultaneous presence of two or three levels of text. Where the surface text normally contains the story line, here the surface is broken, allowing the reader to penetrate into a second level of text. Here we find the metatext where the text comments on itself. We show that the metatext in both these novels often talks about doubt and about the incoherent nature of their own text. We may thus also say that “doubt” is an important leitmotiv in these novels. We might say that the only real characters in Robbe-Grillet’s and Sarraute’s novels are the reader and the author between whom there is an active interplay, although it is a delayed interplay. The novel becomes a game much like a board game – an interactive playing field that differs with every reading. This is especially true for Sarraute whose reactions to the reader’s initial reactions to the text have been pre-programmed into the novel. The real setting is then this abstract intellectual playing field. However, the reader never reaches the point where he can say that he has successfully unlocked the mysteries of these novels. Any interpretation remains partial and is surrounded by doubt.

Inutile de rappeler la prééminence du regard dans les oeuvres d’Alain Robbe-Grillet etparticulièrement dans Le Voyeur, La Jalousie et Instantanés qui forment le corpus du présenttravail. En apparence, l’auteur se contente de formuler très objectivement la subjectivitéhumaine. Et voilà que l’oeil de la concupiscence charnelle vient entamer cet ordre parfait,géométrique que l’on aurait cru inaltérable. L’objectif de ce travail est justement de montrerque l’oeil de l’arpenteur géomètre dissimule celui du pervers, à la recherche de la jouissance àtravers le regard.La première partie de ce travail, « Montage du regard », analyse les sujets regardantset les sujets/objets regardés dans leur diversité. La volonté de maintenir la distance entreregardeur et regardé et d’instaurer un regard distant est remise en question par tous lesprocédés textuels confirmant la présence d’une subjectivité qui regarde. Une subjectivité quiregarde, mais qui est aussi perverse. C’est ce que tente de montrer la deuxième partie,« Regard pervers et jouissance ». Il s’agit en fait non seulement d’étudier la présence effectivedu voyeur dans ces trois oeuvres, mais aussi de l’approcher dans sa diversité. La troisièmepartie, « Répétition et jouissance », vient confirmer la présence du voyeur pervers, toujours àla recherche de la jouissance par la ressaisie du spectacle convoité, d’où la présence de figuresobsédantes en leitmotiv.Notre approche sera une pure recherche formelle : analyser le regard, c’est mettre enévidence son fonctionnement textuel, par le moyen de la linguistique et de la stylistique. Ellecontribuera à élaborer une nouvelle lecture du regard chez Robbe-Grillet. / It is needless to mention the supremacy of one particular feature in Alain Robbe-Grillet’s works; namely, the look as it is particularly found in Le Voyeur, La Jalousie andInstantanés. These 3 works serve as the corpus for the research at stake. In appearance, andquite objectively, the author seems to be simply expressing human subjectivity. But therecome along eye of lust, altering every perfect geometrical order one could have noticed upuntil now. The goal of this work is to actually unveil the fact that the eye of the surveyor, thegeometer, is only an artifact dissimulating a perverted eye constantly in search of carnalpleasure through the look.The first part of this work, titled “Montage du Regard” ‘The optic setting’, is ananalysis of the observer and of the elements which are observed as diverse as they may be.The will to keep a distance between the observer and the element which a observed isconstantly questioned through the presence of textual elements that clearly reveal asubjectivity in the act of looking at a particular element. A subjectivity that observes, butwhich is also perverted. This is fully analyzed in the second part of the research, “Regardpervers et jouissance” ‘A perverse eye and a sensual pleasure’, which not only analyses theactual presence of the voyeur in the three works mentioned earlier, but also attempts toapproach him and tackle all his diverse aspects. The third part of this study “Répétition etjouissance” ‘Repetition and sensual pleasure’ reaffirms the presence of a perverted observer,always in search for carnal pleasure through the recapture of the coveted show. This furtherexplains the presence of obsessive scenes in a leitmotiv.Our approach in this study is based on a formal analysis of the look. Its goal is tohighlight its textual functioning thanks to linguistic and stylistic means, which will lead theway to a new reading and reconsideration of the look in Robbe-Grillet’s works.

Submitted by Caroline Xavier (caroline.xavier@pucrs.br) on 2017-07-05T14:17:42Z No. of bitstreams: 1 TES_CARLOS_ROBERTO_DE_SOUZA_ROBAINA_COMPLETO.pdf: 1444502 bytes, checksum: fb6e82d9ee9a99fb2b070e5d49a890e9 (MD5) / Made available in DSpace on 2017-07-05T14:17:42Z (GMT). No. of bitstreams: 1 TES_CARLOS_ROBERTO_DE_SOUZA_ROBAINA_COMPLETO.pdf: 1444502 bytes, checksum: fb6e82d9ee9a99fb2b070e5d49a890e9 (MD5) Previous issue date: 2017-03-22 / The object of this thesis is Alain Badiou's claim of the communist idea as the principle of politics, his identification of communism as the modern name of the concept of justice in Plato. Characterizing the regime of Capital as the inconsistency of the present world, the communist hypothesis defended by Badiou states that the failures experienced in the attempts to construct a new world, a project of emancipation, should serve to assess the reasons of this failure, and never lead to relinquishment of further attempts. In the face of the failure in the attempt of making real a true idea, trying again is a feature of Badiou?s thinking and action. This thesis also analyzes the evolution of Badiou?s political thought and the nature of this evolution, still in course. It is also demonstrated that Badiou was affected by political processes and events of the class struggle in his militant period of life, the changes in the=o9?ituation and the effects of these changes in his formulations: the changes in his communist project. At the same time, it is evidenced the continuity in his thought, pointing out the most detachable indications of Badiou's fidelity to the communist idea, as well as to Marxism as a fundamental reference of his thought, of his general coordinates of political thinking and action. The central thesis is his loyalty to this idea. The thesis concludes with a case study, using the philosophical categories of the transformation theory formulated by Alain Badiou. This case study is the evaluation of the characteristics and meaning of the popular and youthful uprising experienced by Brazil in June 2013, analyzing whether this social and political process was what Badiou defined as the "event" or whether it was a normal fact, one more modification, trying to visualize its possible features and the subjects involved in its effects. It is also shown that June 2013 represented and continues to represent a political process which produces truths and, in this sense, has a close relationship with philosophy. / O tema desta tese ? a reivindica??o de Alain Badiou da ideia comunista como princ?pio da pol?tica, sua identifica??o do comunismo como o nome moderno do conceito de justi?a em Plat?o. Caracterizando o regime do Capital como a inconsist?ncia do mundo atual, a hip?tese comunista defendida por Badiou afirma que os fracassos experimentados nas tentativas de constru??o de um novo mundo, de um projeto de emancipa??o, devem servir para que se fa?am balan?os das raz?es deste fracasso, mas jamais devem levar a abandonar o empenho em novas tentativas. Diante do fracasso da implementa??o de uma ideia verdadeira, tentar de novo ? uma marca do seu pensamento e a??o. Nesta tese analisa-se a evolu??o do seu pensamento pol?tico e a natureza desta evolu??o ainda em curso; ainda, v?-se como, ao longo de sua trajet?ria, Badiou foi afetado por processos pol?ticos e acontecimentos da luta de classes em seu per?odo de vida militante, as mudan?as no estado da situa??o e os efeitos destas mudan?as nas suas formula??es: as mudan?as no interior da continuidade de seu projeto comunista. Ao marcar o fio de continuidade em sua elabora??o, apontamos as indica??es mais destac?veis da fidelidade de Badiou ? ideia comunista, bem como ao marxismo enquanto refer?ncia fundamental de seu pensamento, de suas coordenadas gerais de localiza??o pol?tica. A tese central ? sua fidelidade a esta ideia. A tese ser? conclu?da com um estudo de caso, utilizando as categorias filos?ficas da teoria da transforma??o formulada por Alain Badiou. Trata-se da avalia??o das caracter?sticas e do significado do levante juvenil e popular vivido pelo Brasil em junho de 2013, analisando se este processo social e pol?tico constituiu-se no que Badiou definiu com o conceito de ?acontecimento? ou se foi um fato normal, uma modifica??o a mais, tratando de visualizar suas eventuais marcas e os sujeitos envolvidos em seus efeitos. Mostra-se, ainda, que junho de 2013 representou e continua representando um processo pol?tico produtor de verdades e que, neste sentido, tem uma rela??o estreita com a filosofia.

Propõe-se examinar o processo de afirmação de novos direitos, tomando por ponto de partida o pensamento dos filósofos Alain Badiou e Antônio Negri, de quem se realiza uma leitura seletiva e intensiva das obras. Disserta-se sobre a articulação entre ontologia, evento e poder constituinte, como polos para uma teoria do sujeito. Trata-se da questão da afirmação de direitos além, ou antes, de o estado reconhecê-los. Um direito vivo liberto das mediações do estado e do mercado. O direito como potência e não sob a espécie da norma. Discutem-se ainda os conceitos de direito singular e direito comum. O sujeito em pauta é o sujeito comunista, interno ao movimento real de abolição do estado de coisas, na esteira de Karl Marx. Outros autores abordados com frequência são Spinoza e Hegel. Apresentam-se brevemente o método da copesquisa militante (do operaísmo autonomista), o materialismo dialético da cisão (Badiou) e a práxis constituinte (Negri). Mais além de uma discussão restrita ao campo de filosofia política, adota-se a perspectiva de que o pensamento é imediatamente político, que se pode exercer uma política na filosofia e produção do conhecimento. Conclui-se com o cotejamento entre as teorias do sujeito de Negri e Badiou, quanto aos pontos desdobrados neste trabalho, e como esse parcial encontro pode potenciar ferramentas práticas e teóricas. Especial destaque na conclusão, ao duplo processo pars construens pars destruens, para uma política subversiva e radical. A mútua implicação de um e outro é vital para a capacidade um movimento real transformar o estado das coisas. / This dissertation addresses the issue of how to create new rights, breathing the air of the radical thought of Alain Badiou and Antonio Negri, from whom it has been made an intensive and selective review. It goes over the articulation of ontology, event and constituent power, as polarities for a theory of the subject. The question in discussion is about rights beyond, or before, the state recognizes them. A living law freed from states or markets mediations. Law as power [potentia], and not sub species of the norm. Singular right and common right are also discussed. The subject in question is communist subject, internal to the real movement for the abolition of the present situation, following Marx. Other authors frequently referred: Spinoza and Hegel. Some methodological aspects are presented briefly: con-ricerca (of operaismo autonomist), dialectical materialism of scission (Badiou) and constituent praxis (Negri). Beyond some debate limited to political philosophy field, this work adopts premise that thinking is immediately political, and that there can be exerted a political intervention in philosophy itself and knowledge production. The conclusion puts Negris and Badious theories of subject to interact, on points developed through the text, aiming hopefully to contribute for some practical or theoretical tools. A special remark must be made for the importance of the double procedure pars construens pars destruens, for a truly subversive and radical politics. The mutual incidence of one over the other is vital for any movements real capacity of transformation.

This dissertation is a rhetorical study of the critical reception of the French film Hiroshima mon amour (1959; dir.: Alain Resnais; screenplay: Marguerite Duras). My main argument is that the themes of love and technology followed a dialectical progression in the critical reception of Hiroshima mon amour. They were important and politically charged in the first essays on the film at the turn of the Sixties. But they lost momentum and became more neutral due to the academization of Film Studies and to the rise of semiology that privileged linguistic abstractions. The return of the themes of love and technology in the Eighties signals the search for renewed forms of commitment. However, this commitment "through abstraction" is also predicated on forgetting. In fact, a different understanding of commitment does not allow remembering that Hiroshima mon amour was also a protest against the first French atomic test in Algeria and its colonial implications. My dissertation examines the limits of what can be said through different paradigms of criticism and commitment through the careful study of the rhetorical situation of each critical act. Jacques Derrida's twin concepts of aimance and of the peut-être guide my research. I examine how we can think Hiroshima mon amour on the background of the paradoxical communities that invented new forms of political participation in postwar France. The early debate on the representation of "mad love" in Resnais' film signaled a concern for the way in which modern technology undermined the binary oppositions between war/peace, civilian/military, and friend/enemy. The paradoxical communities that originated from this realization opened to rhetorical articulations that united people with no communal party membership. Derrida's politics of aimance carries on this reflection on the peut-être by targeting the traditional view that envisions the political as limited to the public sphere and tend to exclude women. By contrast, Hiroshima mon amour empowered women because it tapped into the dark territories of the private in order to show that modern technology had colonized the intimate and daily life. Hence, women critics could acquire a strong political voice from the oppression of the private.

<p>Impure Cinema: Political Pedagogies in Film and Theory asks what are the ways that the politics of film theory have been conceptualized since the era now known as "70s film theory." In particular, it analyzes the writings on cinema, politics and art by contemporary French philosophers Alain Badiou and Jacques Rancière in relation to the influential approaches of Louis Althusser and Gilles Deleuze and to theories of documentary cinema. I argue that unlike the political modernism of 70s film theory and the post-theory turn of 90s film studies, Badiou and Rancière offer an approach to film theory that neither assumes that all films are political, nor that politics underdetermine theory, but rather suggests that we analyze both theories and films in terms of how they construct connections between cinema and politics. Following Deleuze, I call these connections "pedagogical" not because they transmit knowledge but because they always involve a new kind of connection or relation that seeks to transform habitual ways of seeing, saying or doing. For Badiou and Rancière this is based on a conception of cinema as "impure." Cinema, they argue, is never free of elements from other arts or daily life, but it is this impurity that is the grounds for linking its artistic and political possibilities. I look at various film forms that highlight cinema's impurity, in particular the "actuality" and how it has been reappropriated in various forms of documentary and essayistic practices as a way of giving cinematic form to questions of political equality.</p> / Dissertation

Diss.--Leipzig, 2002. / Bibliogr. p. 204-221. Notes bibliogr.

No description available.

Les Romanesques (1984-1994) de Robbe-Grillet forment une autobiographie qui se caractérise par le fait qu'elle conteste la possibilité même de son entreprise. Selon son auteur, l'opacité de l'inconscient, la trop grande volatilité des souvenirs et la part d'invention que comprend nécessairement toute écriture personnelle anéantissent à toute fin pratique la possibilité de l'autobiographe de restituer fidèlement (c'est-à-dire objectivement) son vécu. Conscient de l'influence de l'imaginaire et de l'inconscient sur la perception et la mémoire, Robbe-Grillet rejette le contrat de sincérité et d'authenticité que commande le « pacte autobiographique » pour signer un « pacte fantasmatique » avec le lecteur. Ce que nous proposons essentiellement de faire dans ce travail, c'est d'analyser comment l'auteur des Romanesques s'attaque aux structures canoniques de la langue et de l'autobiographie classique pour donner forme et figure à ses fantasmes. Dans le premier chapitre, nous cherchons à cerner le projet autobiographique robbe-grilletien; nous nous intéressons en premier lieu à la façon dont Robbe-Grillet définit lui-même son entreprise. Il apparaît clairement que la nouvelle autobiographie s'appuie sur les théories freudiennes et postfreudiennes du sujet (celles de Benveniste et de Lacan notamment) en plus d'être très marquée par l'entreprise autobiographique de Roland Barthes. Dans le deuxième chapitre, nous tentons de mettre en évidence la façon dont Robbe-Grillet exploite ses fantasmes, s'en sert comme générateurs de récit. S'il attache une grande importance à l'exploration de son univers fantasmatique, Robbe-Grillet n'hésite pas par ailleurs à utiliser toutes sortes de subterfuges, de stratégies narratives et discursives afin de brouiller le sens de son texte. S'apparentant à un véritable travail d'autocensure, ces processus d'écriture permettent à l'écrivain de se dégager de sa responsabilité énonciative et, par le fait même, du caractère angoissant de ses fantasmes. Afin de dégager et de décrire la nature et la logique du fantasme et du rêve, le caractère onirique de l'écriture robbe-grilletienne, le recours aux textes de Freud portant sur ces questions s'avère incontournable. Enfin, la dernière partie du mémoire s'intéresse au caractère pervers de la fantasmatique robbe-grilletienne. C'est dans l'obsession de Robbe-Grillet pour la représentation du sexe féminin et sa conception sadique de la création que s'expriment le plus fortement les désirs pervers de l'auteur. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Robbe-Grillet, Romanesques, Autobiographie, Psychanalyse, Perversion