Après la Second Guerre mondiale, André Malraux publie en 1951 Les Voix du silence chez Gallimard, refonte en un volume des trois tomes de Psychologie de l'art édités par Albert Skira entre 1947 et 1950. Partant du constat que les reproductions d'oeuvres d'art permettent de constituer un " musée imaginaire " dépassant les divisions géographique et historique des musées et des oeuvres, l'auteur développe une théorie de l'art transgéographique et transhistorique dans une relation serrée avec l'iconographie. Malraux s'inscrit ainsi dans une histoire de l'histoire de l'art dont le propos en images contient une théorie liée à la monstration des oeuvres par la reproduction photographique. " Le musée imaginaire " est ici considéré comme un exposé de méthode informé par la lecture des textes de Walter Benjamin. C'est alors la méthodologie historique dans son rapport avec la forme de l'écrit qui peut être saisi, son travail sur l'image lui permettant de construire une théorie propre, mais aussi de représenter visuellement son histoire de l'art de manière " cinématique ". A partir de là, c'est l'histoire de la photographie et de l'édition d'histoire de l'art qui se révèle. Son utilisation de la reproduction photographique s'inscrit en effet dans le cadre d'une réflexion sur le médium même de diffusion du discours sur l'histoire de l'art en proposant une forme éditée jouant avec les codes du genre éditorial. Une série de comparaisons avec les ouvrages de Georges Bataille, de René Huyghe, de Georges Duthuit, d'Ernst Gombrich et de John Berger permet d'en révéler la spécificité et de situer les textes de Malraux au sein d'une de l'histoire de l'histoire de l'art.

Cette thèse examine la façon dont une notion ancienne, la notion de pays, réactualisée par l'École vidalienne de géographie française et transmise par l'École de la Troisième République, a innervé et, pour ainsi dire, dynamisé la production romanesque rustique de l'entre-deux-guerres en France. Nous constatons, en effet, une forte corrélation entre cette géographie humaine et républicaine du début du siècle et la production littéraire de l'entre-deux-guerres. La configuration d'un cadre générique, le roman de pays, dans le champ littéraire français de l'entre-deux-guerres est donc l'hypothèse globale de ce travail. Le rôle du motif du pays est étudié dans l'oeuvre de Marcel Aymé, Henri Bachelin, André Chamson, Maurice Genevoix, Jean Giono, Henri Pourrat et C.-F. Ramuz, pour ne citer que les principaux auteurs de notre corpus. Une mise en perspective historique de cette production textuelle nous permet d'étudier les relations de cette littérature aux discours de savoirs qui la portent, avant d'examiner la portée sociologique et socio-politique d'un genre fortement corrélé à un appareil pédagogique républicain. Enfin, nous sommes sensible à la construction progressive d'une poétique du genre qui permet de dégager des intrigues-types et leur signification historique. Ce travail entend ainsi démontrer que la passion de la terre a pu être une source de renouvellement du genre romanesque en un temps de crise et de mutations accélérées. / This dissertation examines how a long-standing notion, the notion of the homeland, modernized by the French school of Vidalian geography and edified by the School of the Third Republic, invaded and, so to speak, resuscitated the French peasant novel in the inter-war period. One can easily deduce a close connection between both the human and the republican geography of the beginning of the XXth century and the literary production of the inter-war period. Therefore, our general hypothesis is that a new literary genre, the homeland novel, was born in the French literary field in this period. The role of the pattern of the homeland is considered in the works of Marcel Aymé, Henri Bachelin, André Chamson, Maurice Genevoix, Jean Giono, Henri Pourrat and C.-F. Ramuz, and we only mention here the main authors of our corpus. A historical point of view first enables us to study the relations between this literature and the scientific discourses supporting it. Then we focus on the sociological and socio-political meaning of a genre closely related to a republican pedagogic system. Furthermore, we take into account the gradual founding of a poetics which enables us to recognize representative plot points and their historical implications. This dissertation thus intends to demonstrate that the passion for the land might have been the origin of a renewal of the novel in a time of doubts, crisis and rapid change.

Com o acelerado crescimento das cidades, tornam-se mais urgentes a identificação e as ações de proteção ao patrimônio material que represente as memórias históricas, arquitetônicas, artísticas e paisagísticas de nossas cidades. Buscando a conservação e valorização de imóveis considerados patrimônio histórico, tem sido constante a destinação destes para o desenvolvimento de atividades de caráter cultural. O objetivo principal deste trabalho é compreender se o uso cultural é mesmo capaz de favorecer a conservação do imóvel e em que medida contribui para a difusão dos valores históricos e artísticos em meio à sociedade. O campo de estudo é a cidade de Santo André e o recente período, a partir da década de 1980, onde foram intensificados os trabalhos de recuperação e valorização da memória na região. Para fazer a avaliação desta premissa, foram selecionados quatro imóveis tombados pelo Conselho Municipal da cidade, para através destes também verificar os processos e princípios que os levaram ao tombamento, a forma de apropriação dos espaços e as reformas que foram realizadas para adequação à implantação de novas atividades. Colocam-se ainda alguns objetivos complementares: avaliação dos sucessos obtidos na recuperação da memória e na preservação destes bens tombados; análise das intervenções realizadas nos imóveis em estudo, sua adequação ao uso e a concordância com os preceitos modernos de intervenção definidos a partir das Cartas Patrimoniais; identificação das políticas de preservação e proteção adotadas nas diferentes gestões do Conselho e da Prefeitura. Este trabalho busca contribuir para o registro dos processos de recuperação e construção da memória local, através da compilação de dados e registro das impressões dos agentes participantes dessa história. / With the rapid growth of cities, the identification and the protection actions to the material patrimony, which represents the historical, architectural, artistic and landscape memories of our cities become more urgent. Aiming the conservation and valorization of buildings considered historic patrimonies; the development of cultural activities have been designated to them. The main purpose of this paper is to comprehend if the cultural use is even capable of supporting the conservation of the buildings and to what extent contributes to the diffusion of artistic and historical values in the society. The field of study is the city of Santo Andre and the recent period, from the decade of 1980, where the works of recovery and valorization of the region memory were intensified. To evaluate this premise, four buildings preserved by the City Council were selected. The preservation process and principles, the places appropriation form and the refurbishments done due to new activities deployment will be verified through those buildings. There are still some additional goals: assessment of the successes achieved in memorys ransom and the maintenance these preserved buildings; analysis of interventions on the studied buildings, their suitability for use and the agreement with the modern intervention precepts defined from the Patrimonial Letters; identification of the protection and preservation policies adopted in different Council and Mayor administrations. This paper purposes to contribute to the local memory ransom and build processes records, over the collection of these history agents impressions data and records.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2017-08-30T12:55:13Z No. of bitstreams: 1 Anna Paula Marques Haddad Basso.pdf: 1724717 bytes, checksum: 2d10c8675f38813e90041bd8efe95e45 (MD5) / Made available in DSpace on 2017-08-30T12:55:13Z (GMT). No. of bitstreams: 1 Anna Paula Marques Haddad Basso.pdf: 1724717 bytes, checksum: 2d10c8675f38813e90041bd8efe95e45 (MD5) Previous issue date: 2017-08-23 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Fundação São Paulo - FUNDASP / The dissertation aimed to investigate the André Comte-Sponville´s (1952) atheism, recurring as primary reference The Treaty of Despair and Beatitude (t.1,1984; t. 2, 1989). The methodological approach followed the philosophy of religion having as parameters to conceptualise his atheism the humanism in the broad sense and more particular, the one that emerged in the second half of 20th century, or post-modern. The Epicurean materialism is part of his atheist philosophy, it establishes the basis of a structuralist ontology, conceiving the being and everything else (the values, the truth, the love, the justice, the good) as the particles´ movement epiphenomenon, which the philosopher named of upward materialism / O alvo da dissertação foi investigar o ateísmo de André Comte-Sponville (1952) sendo a referência primordial o texto O Tratado do Desespero e da Beatitude (t. 1, 1984; t. 2, 1989). A abordagem metodológica desenvolveu-se pela filosofia da religião tendo como parâmetros para a caracterização do ateísmo sponvilliano o humanismo de modo geral e o anti-humanismo da segunda metade do século XX ou pós-moderno. O materialismo epicurista está presente em sua filosofia ateísta que funda certa ontologia estruturalista, entendendo que o ser e tudo o mais (os valores, a verdade, o amor, a justiça, o bem) são como o homem, epifenômeno do mover de partículas, o que é denominado por ele de materialismo ascendente

Orientadora: Simone Rodrigues de Freitas / Dissertação (mestrado) - Universidade Federal do ABC. Programa de Pós-Graduação em Planejamento e Gestão do Território, 2013.

Summaries in Afrikaans and English / In hierdie navorsingsverslag word die representasie van die reg en die verskynsel van die verhoor as romangegewe in enkele tekste van André P. Brink ondersoek. Die studie vind plaas binne die interdissiplinêre konteks van die reg en die letterkunde. Die studie: (i) fokus op die rol wat die reg in die literêre teks vervul; (ii) ondersoek uitbeeldings van die verhoor soos wat dit in Brink se romankuns aangetref word; en (iii) ondersoek die fiksionalisering van historiese en dokumentêre regsbronne met spesifieke verwysing na sekere eksemplariese Brink-­‐romans. / In this research report, representations of the law and of the trial, as embedded in certain novels by André P. Brink, are explored. The study is structured within the interdisciplinary field of law and literature. This study: (i) focuses on the role of law within the literary text; (ii) explores the legal delineation of a trial in novels by Brink; and (iii) explores the fictionalisation of historic and documentary judicatory resources with specific reference to exemplary texts by Brink. / Afrikaans and Theory of Literature / M.A. (Afrikaans)

Dynamiques urbaines au sein d'une économie sucrière : la région est-nord-est de la Réunion

<p>The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further.</p><p>Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object.</p><p>The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels.</p><p>The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.</p>

The starting point of this essay was the frustration I felt after having read the novel Nadja (1928) written by the French surrealist André Breton. The title promises the story of someone called Nadja but the promise stays unfulfilled. Recognition of this phenomenon, where a man writes a book about a woman, but the woman hardly is seen, made me want to examine it further. Using the theories of the French psychoanalyst Jacques Lacan I analyze the relation between the male narrator and his female object. I also compare Nadja to a precursor: the novel Bruges-la-morte (1892) of the Belgian symbolist writer Georges Rodenbach. Their stories are, to a large degree, similar. The male main character meets a woman who becomes the center of his world for a short period of time, before he in Nadja rejects her, and in Bruges-la-morte kills her. What differentiates the two books mainly is, that whereas Breton uses Nadja as a tool to emancipate his unconscious in order to be able to create, Hugues tries to replace his dead wife with Jane in order to be able to desire a living object. The setting for both stories is the City, which seems to be analogous to the Woman. I examine the possible interpretations of the notion of the City as it appears in the two novels. The Lacanian notions of the Thing and objet petit a are essential for the understanding of the function of the Woman in these stories, I argue. Nadja is a femme-enfant, a muse, and the objet petit a for the male poet, i.e. the narrator of Nadja. Jane, the woman in Bruges-la-morte, is a femme fatale, and the Thing for the main character Hugues.

Dans le présent mémoire, l'auteure propose une réflexion sur le désir charnel censuré durant la Deuxième Guerre mondiale au Québec à travers la mise en parallèle de deux romans dont le thème central est la volonté d'outrepasser les tabous malgré l'oppression des membres du clergé. Il s'agit de Désespoir de vieille fille de Thérèse Tardif (1943) et d'Orage sur mon corps d'André Béland (1944). Puisque ces romans favorisent les désirs individuels par rapport à ceux de la collectivité, ils soulèvent des questionnements similaires: en quoi le paysage socio-historique et littéraire des années 1930 et 1940 a-t-il pu favoriser l'éclosion d'œuvres singulières? Quelle fut la réaction des critiques littéraires face à cette littérature émergente? Comment l'autocensure se manifeste-t-elle dans les romans? De quelle façon le langage figuré contourne-t-il les tabous afin de faire entendre des désirs qui ne peuvent s'exprimer autrement? Afin de répondre à ces questions, madame Ostiguy fait appel à plusieurs historiens et littéraires qui nous éclairent sur les tabous de l'époque et sur les modes de censure. Il permet ainsi d'approfondir une réflexion sur les normes sociales du genre et de mieux comprendre le déchirement intérieur que vit le sujet marginal. Les théories du langage figuré seront mises à contribution afin de saisir les procédés rhétoriques utilisés par les auteurs afin de s'exprimer malgré les tabous. L'analyse des stratégies narratives dévoile un discours subversif codé, opposé aux valeurs traditionnelles prônées par l'Église, qui cherche à faire taire les œuvres révolutionnaires puisqu'elles tendent à construire une nouvelle vision du monde qui laisse place à l'individualité. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : censure, autocensure, tabous, écriture des femmes, homosexualité, désirs, langage figuré, littérature québécoise, Désespoir de vieille fille, Thérèse Tardif, Orage sur mon corps, André Béland.