O velado e o revelado: imagens da Festa da Congada é resultado da investigação de processos de percepção atribuídos ao olhar que se reportam ao mundo visível, mas também ao mundo invisível, cuja apreensão e compreensão abarcam códigos, modulação e educação dos sentidos de ordem diversa e específica. A partir da pesquisa de campo com imagens, a Festa de Congada de São Sebastião do Paraíso, MG, foi pensada por meio da sincrônica descrição etnográfica cotejada aos recortes conceituais diacrônicos que ofereceram elementos importantes à compreensão desta festa em sua especificidade de imbricar heranças africanas de religiosidade às práticas católicas. Esse foi o caminho para pensar a Congada e sua dinâmica conceitual nativa sobre imagens, formas, e tudo aquilo que é visível e invisível na festa. / Guarded and revealed: images of the Feast of Congada is a result of the research on processes of perception attributed to the look that report to the visible world, but also to the invisible world, which apprehension and understanding includes codes, modulation and education of senses diverse and specific. Based on fieldwork with images, the Feast of Congada of São Sebastião do Paraíso, MG has been thought through synchronic ethnographic description compared with diachronic conceptual elements that offered important insights in order to understand this festivity in its specificity of implicating African religious heritage to Catholic practices. This was the way to render the Congada and its conceptual dynamics of native images, shapes, and all that is visible and invisible at the party.

Este estudo, construído através de revisão bibliografia e de pesquisa etnográfica, aborda as historias narradas pelos Kaiowa de Panambizinho (Dourados, MS), a partir de dois eixos de análise: - a ocupação não indígena da fronteira entre Brasil-Paraguai, largamente calcada nas políticas estatais, desde o final do período imperial, que se dá na contramão dos direitos jurídicos relativos à ocupação indígena de suas terras; - as percepções dos Kaiowá a respeito deste processo. A analise das narrativas reunidas durante a pesquisa permite ainda contextualizar a construção de suas noções de alteridade, territorialidade e organização social. O intenso contato e a drástica redução das terras inserem os Kaiowa em um contexto de grandes mudanças, que, entre outros aspectos, impulsionam uma simplificação de suas formas de organização e transformam as práticas de suas lideranças. Contexto onde os xamãs e as práticas rituais perdem muito de seu espaço. / This study, made up of bibliographical proofreading and ethnographical research, discuss about the stories told by Kaiowa de Panambizinho (Dourados,MS), from two lines of analysis: - the non-indigenous occupation of Brazil-Paraguay border, widely molded into the state politics, since the end of the imperial period, that is given in opposition to the juridical rights related to the indigenous occupation of their land; - Kaiowa\'s perceptions concerning to this process. The stories analysis joined during the research let contextualize the building of their notions of alterity, territoriality and social organization. The intense contact and drastic land reduction introduce the Kaiowa into a contest of great changes, in other aspects, they impel a simplification of their organization form and change the practice of their leadership. In this context, shamans and their ritual performance lose their space.

Dans l’histoire littéraire italienne tout entière se succèdent des écrivains qui pour différentes raisons, ont dû se confronter à la langue française dans leur œuvre. Pour la génération née entre le XIXème et le XXème siècle, le bilinguisme est un des outils de la recherche identitaire de l’artiste déraciné, quête du Je littéraire et du Je national. Au sein de cette génération, l’écriture des frères de Chirico se révèle un champ d’investigation particulièrement riche des problématiques qui se nouent entre la France et l’Italie. Les enjeux du choix d’une langue pour un texte donné mais également de l’autotraduction – pour republication dans une autre langue mais également comme composante du processus d’élaboration d’un texte – seront abordés en détail notamment à travers l’étude des poèmes noyau d’Hebdomeros de de Chirico et de la Vita di Mercurio de Savinio. L’analyse de leur collaboration à «La Vraie Italie», nous a permis d’observer à la fois un aspect ultérieur de leur écriture bilingue et l’enjeu identitaire qui se lie au rapport entre France et Italie. Leur rapport constant avec la France, qui se manifeste à travers l’alternance de l’écriture en italien et en français est d’ailleurs le signe évident d’une identité enracinée avant tout dans la complexité culturelle de leur formation atypique. Une fois dépassé le problème du « Je biographique », leur œuvre essaye de refonder un « Je universel » qui nécessite pour s’exprimer une pluralité de langages. / The entire history of Italian literature shows author after author who, for differing reasons, felt the need to turn to the French language for the artistic expression of their works. My work herein aims in particular to analyse the experience and the work between the two languages of the de Chirico brothers, in order to discover the way in which their relationship with the French language and culture influenced and determined their literary works. The justification of my choice of authors to be studied are the actual works of the de Chirico brothers which have revealed them-selves to be a vast field of research for the intertextual problems of the bilingual phenomenon; this is confirmed by the considerable volume of their poetic and literary works [especially to create Hebdomeros – de Chirico – and Vita di Mercurio – Savinio - ]. Equally as important is the collaboration of the de Chirico bothers with Papini’s magazine «La Vraie Italie», which has allowed us to observe not only another aspect of their bilingual writing but also the evolution of their relationship with Italy and with France which is tied to the problem of identity. Their constant relationship with France which manifests itself through the alternation of writing in Italian and French is, in fact, a clear sign of an identity which has its’ roots above all in the cultural complexity of their atypical education. Once the problem of “I, biographer” has been overcome, their works try to re-establish an “I, universal” which, in order to express itself, requires a plurality of languages.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / From a phenomenological perspective, is investigated the ethical concepts of alterity and mutual recognition in the work of Paul Ricoeur. In the first place, it s shown that, after pointing out the central role of the other in the Aristotelian concept of friendship and the second formulation of Kantian s categorical imperative, Ricoeur suggests the practical wisdom as a point of balance between the teleological tendency and deontological. In the second place, based on the phenomenological approach, it is demonstrated that the radical polarization in terms ego and alter ego is invalid insofar that it does not lead the valorization of other's uniqueness. From the relationship between the ethic of respect and sympathy of the phenomenology, results that is necessary situate the historical character and anthropological of the alterity, firmed by the inherent conflicts in the struggle for recognition. Finally, it is evident that the struggle, the violence and the disregard are forms of recognition of someone that deny the alterity and conceal the desire for solitude through his death. As an alternative to the recognition for the struggle, is presented a model of peaceful recognition that is established through the generosity and gratitude, inherent of the dynamics of exchange of gifts. / Desde uma perspectiva fenomenológica, investigam-se os conceitos éticos de alteridade e de reconhecimento mútuo na obra de Paul Ricoeur. Em primeiro lugar, mostra-se que, depois de destacar o papel central do outro no conceito aristotélico de amizade e na segunda formulação do imperativo categórico kantiano, Ricoeur sugere a sabedoria prática como ponto de equilíbrio entre a tendência teleológica e a deontológica. Em segundo lugar, com base na abordagem fenomenológica, demonstra-se que a polarização radicalizada nos termos ego e alter ego é inválida na medida em que não leva à valorização da singularidade do outro. Da relação entre a ética do respeito e a fenomenologia da simpatia, resulta que é preciso situar o caráter histórico e antropológico da alteridade, firmado mediante os conflitos inerentes à luta pelo reconhecimento. Por último, evidencia-se que a luta, a violência e o desprezo constituem formas de reconhecimento do outro, que negam a alteridade e ocultam o desejo de solidão mediante a sua morte. Como alternativa ao reconhecimento pela luta, apresenta-se o modelo de reconhecimento pacífico que se estabelece por meio da generosidade e da gratidão, próprios da dinâmica da troca de dons.

Dans cette thèse, nous étudions les opéras de Pierre Bartholomée composés d'après les romans d'Henry Bauchau à partir de la thématisation de la voix qu'ils proposent. Ce schème narratif, décliné tantôt sous la forme d'un chant épique, tantôt comme musique pure, est isolé pour devenir le sujet des livrets. C'est un sujet problématique car la voix révèle le ratage irréductible de la rencontre d'un texte et d'une musique. Or, depuis la fondation du genre, l'opéra a pensé leurs rapports en termes de fusion du sens et du son. Au contraire, l'étude comparative des opéras de Bartholomée, du livret à la scénographie en passant par la partition, met en évidence ce nouage en forme de déliaison. En effet, les différences repérées entre ces deux opus permettent de dégager les modes de représentation de cette rencontre toujours manquée. La musique et le texte ne s'additionnent pas pour former un objet homogène mais s'accolent le long de leur commun littoral, la voix, ce reste de la langue à laquelle on a retranché le signifié des mots. Sur le mode narratif, poétique et musical, le diptyque bauchalien de Bartholomée raconte le renoncement au leurre d'une conception de l'opéra comme lieu de la coïncidence entre un texte et une musique au profit de la reconnaissance de leur hétérogénéité. La description comparée des scénographies corrobore cette affirmation dans la mesure où l'estompe grandissante du réalisme neutralise progressivement l'illusion théâtrale. Le choix de faire des visages la pierre de touche des mises en scène successives offre ainsi un prolongement visuel à la voix. Visage et voix deviennent le paradigme d'une altérité valorisée dont Antigone est le héraut. Réclamant pour son frère et la femme qu'elle est le droit de cité, elle s'oppose à la réduction de l'autre au même / In this dissertation, Pierre Bartholomée's operas composed after Henry Bauchau's novels are studied through the theme of voice. This narrative pattern, sometimes as epic singing, sometimes as pure music, becomes the subject of the librettos. It is a problematic issue because the voice reveals the missed encounter between text and music. &et, since the foundation of the genre, opera has described their relations as a melting of meaning and sound. But a comparative study of Bartholomée's operas, from the libretto to the stage design including the score, underlines a de-linkage. Indeed, the differences between the two opuses allow to highlight how this disconnection is represented. The reunion of music and text don't mount up to a homogeneous object. Theyjoin and share a border, the voice, which remains after the removal of the meaning from the language. The diptych tells the forsaking of the irrelevant conception of the opera as a coïncidence between text and music in favour of its heterogeneous nature. Comparative descriptions of the stagings reinforce this idea. In fact, realism fades gradually out and neutralises the theatrical illusion. Faces are the core of the stagecrafts and provide a visible extension of the voice. Thus, face and voice are the epitom of a positive alterity which is embodied by Antigone. She begs for her brother and herself as a woman the right to be part of the city-state. In other words, she sets against the incorporation of the otherinto the same.

Les Grandes Découvertes de la Renaissance amènent les Européens à rencontrer de nouveaux peuples dont l’apparaître, les croyances et les modes de vie sont si éloignés, qu’ils vont incarner ensemble l’Autre absolu : le négatif, l’antagoniste de l’Européen blanc et chrétien d’alors. Le théâtre va offrir la possibilité à tous ceux qui ne voyagent pas de rencontrer cet Autre et c’est cette rencontre que nous étudions ici, dans le répertoire du théâtre français, car elle est non seulement une situation dramatique par nature, mais elle va également se faire anthropologique puisqu’elle joue à convoquer d’autres continents sur scène. Toutefois le théâtre n’est qu’artifice et sur scène, l’Autre n’est pas réel puisque créé par des dramaturges français, joué en français par des acteurs français et pour un public français. Nous nous proposons d’étudier cette rencontre depuis la Saint-Barthélemy jusqu’à la Révolution Française, deux événements névralgiques de l’Histoire de France, qui ont à voir avec la violence de l’altérité religieuse et de l’altérité sociale et qui correspondent à deux périodes de renouvellement de l’art dramatique. Nous nous interrogerons donc sur l’identité de cet étrange étranger, si éloigné socialement, politiquement et géographiquement et sur la manière dont le théâtre s’empare de cet Autre si spectaculaire. Les personnages exogènes devenant sur scène de véritables figures à facette, nous poserons la question de savoir si la démarche n’est pas en réalité d’aller au devant de l’Autre dans le seul but de l’interroger sur ce qu’il est pour se définir soi-même. Si l’Amérindien est sauvage, n’est-ce pas pour se conforter sur le fait d’être civilisé ? Si le More est cruel, n’est-ce pas pour se rassurer sur le fait qu’on ne l’est pas ? L’Autre ne sert-il pas en réalité qu’à parler de soi ? / With the Great Discoveries of the Renaissance, Europeans encountered new peoples whose appearance, beliefs and lifestyles were so divergent they came to embody the absolute Other: the negative, the antagonist of the then white and Christian Europeans. Theater came to offer the opportunity for those who did not travel to meet this Other, and it is this encounter that we study here, within the French theatrical repertoire, for it was not only a dramatic situation by definition, but became equally an anthropological one, since it endeavoured to summon forth the representation of other continents on stage. Theater, however, is only an artifice, and on stage, the Other is not real since it is created by French playwrights and performed in French by French actors, for a French public. We will study this encounter from the St. Bartholomew's Day Massacre to the French Revolution, two critical events in the history of France marked by the violence of religious and social alterity, and which correspond to two periods of renewal for the dramatic arts. We will examine the identity of this strange foreigner, so socially, politically and geographically removed, and how theater captures this most spectacular of Others. Exogenous characters becoming on stage truly multifaceted figures, we will ask whether this approach is not in fact to reach out to the Other with the sole purpose of questioning what is to be oneself. If the Amerindian is savage, is it not to reinforce one's civility? If the Moor is cruel, is it not to be reassured that one is not? Would the Other not simply be a means to discuss oneself?

Ce travail de recherche porte sur le récit de voyage au Portugal au XIXème siècle, du point de vue de la formation des images de l’étranger, dans le cadre duquel on analysera ses spécificités, aussi bien que le rapport qu’il a établi avec la presse périodique, notamment le feuilleton, modalité d’écriture d’influence française, avec une grande projection à l’époque. Dans ce contexte, notre attention se centre tout particulièrement dans les récits de voyage des écrivains de la deuxième génération du romantisme portugais, en réfléchissant sur les mécanismes qui sont à l’origine da la formation des hétéro et auto-images, fondées sur un imaginaire collectif, résultant du procès indissociable entre altérité et identité. Cette analyse permettra d’établir une sorte de cartographie des voyages qui ont marqué la littérature portugaise du XIXème siècle et de découvrir les lieux devenus mythiques pour les voyageurs portugais, à l’égard des paradigmes culturels de l’époque. / This dissertation will be focused on the analysis of travel writing in Portugal in the nineteenth century, from the point of view of abroad images in which we will analyse not only its particularities, but also its connection with the eighteenth century periodical press namely newspapers' daily chapters, a written genre of French influence with great expansion at the time. In this context, we will centre our attention in travel writing from the second generation of Portuguese romantic writers, pondering on all the mechanisms which preside to hetero and auto images, based on a collective imaginary flowing from the articulated process between alterity and identity. This analysis will enable us not only to establish a kind of travel cartography which has marked Portuguese literature of the nineteenth century, but also to discover all the places which have become mythical for Portuguese travellers in the light of cultural paradigm at the time.

[pt] A dissertação acompanha a eclosão, os antecedentes e os rastros da noção do messiânico sem conteúdo no pensamento de Jacques Derrida. Na introdução, procuramos traçar os limites de um plano de trabalho encetado no ambiente da desconstrução, bem como apresentar a noção surgida em Espectros de Marx. Seguiram-se cinco caminhos de reflexão. Na crítica de Pierre Aubenque, Por que desconstruir a Metafísica?, apontamos a afirmatividade da desconstrução e situamos a ideia do messianismo arcaico; em Interpretations of War: Kant, the Jew, the German, investigamos os antecedentes do messiânico no que Derrida chama de psique judaico-alemã; na obra de Pierre Bourtez, Messianismo e Filosofia, e também no pensamento de Hermann Cohen, analisamos o lugar do messiânico no Idealismo Alemão tal como sugerido por Derrida; em seguida, pesquisamos os rastros do messiânico na conferência Do direito à Justiça, do livro Força de Lei; por fim, investigamos, do mesmo livro, a conferência Prenome de Benjamin, no intuito de esclarecer em que aspecto o indecidível chegou a operar no texto sobre Karl Marx. / [en] The dissertation follows the unfoldment, background and traces of the notion of Messianism without content in the work of Jacques Derrida. In the introduction, we seek to draw the boundaries of a work plan launched in the context of deconstruction and introduce the notion as it emerged in Specters of Marx, followed by five paths of reflection. By means of the critique of Pierre Aubenque, Should we to deconstruct metaphysics? we point out the potential of deconstruction and put in perspective the idea of an archaic Messianism. With aid of Interpretations at War: Kant, the Jew, the German we investigate the background of the messianic in what Derrida calls the German-Jewish psyche. Furthermore, by means of the work of Pierre Bourtez, Messianism and Philosophy, and the research of Hermann Cohen, we analyze the place of the messianic in German Idealism, as suggested by Derrida; subsequently, we inquire the traces of a messianic Derrida as appear in the text Force of Law. Finally, we investigate First name of Benjamin, to clarify in what way the undecidable came to function in the text of Karl Marx.

Cette recherche étudie les parcours d’expatriés français dans le cadre postcolonial de mobilités françaises, un ancien empire colonial en Asie du Sud‐Est, en Malaisie, une ancienne colonie britannique. La parole et en particulier la parole autobiographique sur l’expérience de la mobilité lointaine et de l’altérité y est analysée avec une focalisation sur l’articulation entre discours individuels et collectifs, et le rôle de l’expérience de l’altérité dans la construction des identités. L’analyse de la parole d’expatriés français, plurilitteraciée et collectée sous forme de récits écrits, d’entretiens de recherche et de blogs, fait l’objet d’une analyse interdiscursive. Le champ discursif concerné est délimité et caractérisé grâce aux analyses existantes sur le discours pluriséculaire de l’Occident sur l’Orient, telles que celles proposées par des auteurs comme Bill Ashcroft, Tzvetan Todorov ou Edward Said. Du point de vue méthodologique, l’approche proposée par l’analyse discursive critique a inspiré la démarche et les objectifs de cette recherche : il s’agit d’identifier une problématique sociale (et aussi individuelle, ou intime) d’ordre sémiotique sur laquelle la connaissance produite aura valeur émancipatoire. Afin de répondre à cette injonction critique, l’analyse porte sur le contexte de production des discours (le territoire colonisé ou postcolonisé, le voyage lointain d’ouest en est, le discours francophone lettré), les relations dialogiques de ce discours, le discours lui‐même linguistiquement et structuralement. L’analyse critique interdiscursive permet d’en mettre en question le pouvoir normatif et la potentielle valeur prescriptive. Cette connaissance produite pourra avoir la valeur émancipatoire de considérer la possibilité de l’émergence d’un discours progressiste sur l’expérience de l’altérité dans la construction des identités. / In a postcolonial context, this research looks into the itineraries of French expatriates, from a former colonial empire, in Malaysia, a former British colony. The autobiographical discourses of the French expatriates, blogs, research writings and research interviews, are analyzed in terms of the articulation between individual experiences and collective representations, interrogating how experiencing alterity, as well as writing or speaking about it, participates in the construction of identities. The discourse analysis is dialogical and takes in consideration a larger field of discourses: the centuries‐long orientalist discourse as theorized by Bill Ashcroft, Tzvetan Todorov or Edward Said. Critical discourse analysis defines this research from a methodological standpoint as well as in its aims: it focuses upon a social problem (as well as individual and personal) which has a semiotic aspect, to produce knowledge which can lead to emancipatory change. With this aim, the analysis focuses upon the contexts (postcolonialism, orientalism and modern mobilities) and the dialogisms, as well as the corpus discourses. The critical and interdiscursive analysis aims to question the order of discourse, its hegemony and prescriptive value. The knowledge hence produced can lead to emancipatory change in the postcolonial discourse on alterity and identities.

This study uncovers and interprets the representation of alterity in Schubert’s Moment musical in Aβ, op. 94 no. 2 (1828) and Wilde’s ‘The Nightingale and the Rose’ from The Happy Prince and Other Stories (1888). Furthermore, the study locates and contextually investigates analogies between Schubert’s representation of alterity and Wilde’s. There is a strong likelihood that Schubert was part of a Viennese subculture that was involved in illicit activities and dissident experimentation. Since Maynard Solomon published his essay ‘Franz Schubert and the Peacocks of Benvenuto Cellini’ in 1989, the possibility of Schubert’s homosexuality has received a vast amount of critical attention. Whatever his sexuality, his music has long been seen as containing distinctly feminine traits and subversive elements. Similarly to Schubert, Wilde’s homosexuality and resulting ostracism forms an essential aspect of his life, oeuvre and of subsequent and current Wilde studies. The way in which both Schubert and Wilde’s marginalisation and illicit activities lent a sense of alterity to their works is intriguing. Taking on the loose appearance of deconstructive readings, the analysis of Schubert’s work incorporates musical semiotics, while the analysis of Wilde’s fairy tale builds on ideas raised in the Schubert analysis. The deconstructive readings focus on the binary opposition between the concepts of redemption and defeat as found in Wilde’s fairy tale. The duality between redemption and defeat is shown to have particular resonance with the Romantic image of the artist as messiah and martyr. This study offers the hypothesis that the sense of alterity experienced by Schubert and Wilde is reflected in their works as a longing for the unattainable, a quest for redemption, and that the representation of this alterity is often subversive and dissident. Specific ways in which Schubert and Wilde represent alterity are by refusing climactic moments, by juxtaposing opposites, by symbolising homoeroticism, and by purposefully disobeying stylistic obligations. Copyright / Dissertation (MMus)--University of Pretoria, 2010. / Music / unrestricted