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Au(x) seuil(s) du sens s’intéresse aux articulations des interstices sensibles régissant l’expérience énonciative de Nous serons sans voix (2002), écrit par Benoit Jutras. L’essai analyse successivement la manifestation des limites corporelles dans le recueil de poèmes, la perméabilité des échanges interpersonnels, et le caractère séquentiel et impermanent du réel. En découle une réflexion sur la notion de seuil en tant que noyau des poèmes, autour desquels les contradictions, apories et paradoxes apparents construisent l’expérience de sens du texte. Matelas pyrogènes est un recueil de fragments poétiques qui prend pour ancrage la figure du lit et brode autour d’elle, progressivement, la mosaïque d’une dépossession du corps énonciateur. L’écriture s’intéresse à la dissonance interne entre la voix narrative et celles qui l’infiltrent, interrogeant l’impossibilité de faire corps et de s’appartenir entièrement. Le matelas, autant espace de refuge que lieu d’embuscade, devient au fil des pages la dernière certitude d’un corps qui peine à se définir face à un réel pétri de violence et d’ambiguïté. Matelas pyrogènes rapièce les accidents de conscience d’un corps fragmenté, à la fois multiple et incomplet. / Au(x) seuil(s) du sens concerns itself with the articulation of the sensible interstices governing the enunciative experience of Nous serons sans voix (2002), by Benoit Jutras. The essay successively analyses the manifestations of bodily limits, the permeability of interpersonal exchanges, and the sequential and impermanent character of reality as it appears through the collection of poems. The result is a reflection on the notion of threshold as the nucleus of the poems, around which the contradictions, aporias and apparent paradoxes construct the text’s experience of sense. Matelas pyrogènes is a collection of poetic fragments that take the figure of the bed and gradually weaves around it the mosaic of a dispossession of the enunciating body. The writing focuses on the internal dissonance between the narrative voice and those that infiltrate it, questioning the impossibility to form a body and belonging entirely to oneself. The mattress, as much a space of refuge as a place of ambush, becomes over the pages the last certainty of a body that struggles to define itself in the face of a reality full of violence and ambiguity. Matelas pyrogènes recounts the consciousness accidents of a fragmented body, both multiple and incomplete.

In the „coloured‟ community of Scottsville in the Western Cape, the historical legacy of political violence and abuse, combined with the current social hierarchies of violence, control and abuse, have serious consequences for Scottsville‟s young people. These traumas and the associated discourses create a culture of fear, distrust, hopelessness, humiliation and silence amongst the majority of the young people. I have employed feminist-poststructuralist analyses in order to grasp the complex nature of the challenges of „coloured‟ poverty. Foucault‟s analyses of power relations also offered this research ways to critique pastoral power. Because of Foucault‟s analyses, I became aware that „coloured‟ people‟s experience of poverty and invisibility could not be separated from my own experience of the power of privilege and visibility. The operation of unjust power relations in the „coloured‟ community therefore compelled me to use my education and privileges to work for the restitution of the voices and of relational and physical possibilities in the lives of „coloured‟ young people. What started out as a research project became a cross-cultural journey of reparation and of my own humanisation. I argue that the praxis of embodied solidarity with the „other‟ is the challenge that poverty ultimately poses to people of privilege and to the ways in which theology defines itself. In doing the work of reparation I was supported by the relational theme of solidarity with the marginalised provided by a feminist theology of praxis. The knowledges of the women in the community in particular served as resources of faith. The research methodologies I used in this research combined the practices of narrative therapy, creative writing, mentoring and drama. The purpose of these methodologies was to invite young people into various meaning-making processes which enabled them to become the agents of their own lives and of a culture of possibility. Derrida‟s work on deconstruction and the aporia provided this research with a framework for the theory of possibility. Through the methodologies of networking and advocacy, other people have joined us in going beyond the physical and relational limitations of poverty to create possibilities for the young people and their schools. / Practical theology / D. Th. (Practical Theology)

In the „coloured‟ community of Scottsville in the Western Cape, the historical legacy of political violence and abuse, combined with the current social hierarchies of violence, control and abuse, have serious consequences for Scottsville‟s young people. These traumas and the associated discourses create a culture of fear, distrust, hopelessness, humiliation and silence amongst the majority of the young people. I have employed feminist-poststructuralist analyses in order to grasp the complex nature of the challenges of „coloured‟ poverty. Foucault‟s analyses of power relations also offered this research ways to critique pastoral power. Because of Foucault‟s analyses, I became aware that „coloured‟ people‟s experience of poverty and invisibility could not be separated from my own experience of the power of privilege and visibility. The operation of unjust power relations in the „coloured‟ community therefore compelled me to use my education and privileges to work for the restitution of the voices and of relational and physical possibilities in the lives of „coloured‟ young people. What started out as a research project became a cross-cultural journey of reparation and of my own humanisation. I argue that the praxis of embodied solidarity with the „other‟ is the challenge that poverty ultimately poses to people of privilege and to the ways in which theology defines itself. In doing the work of reparation I was supported by the relational theme of solidarity with the marginalised provided by a feminist theology of praxis. The knowledges of the women in the community in particular served as resources of faith. The research methodologies I used in this research combined the practices of narrative therapy, creative writing, mentoring and drama. The purpose of these methodologies was to invite young people into various meaning-making processes which enabled them to become the agents of their own lives and of a culture of possibility. Derrida‟s work on deconstruction and the aporia provided this research with a framework for the theory of possibility. Through the methodologies of networking and advocacy, other people have joined us in going beyond the physical and relational limitations of poverty to create possibilities for the young people and their schools. / Practical theology / D. Th. (Practical Theology)

À travers un corpus composé des onze derniers drames d’Henrik Ibsen, cette étude utilise le concept d’aporie pour procéder à une analyse de la fabrique de l’écriture ibsénienne. D’un point de vue philosophique, psychanalytique, poétique, l’aporie met en péril le discours, en révèle les défaillances et problématise la production du sens. Ainsi, cette notion, appréhendée comme un outil heuristique, offre la possibilité de remonter le cours des drames qui s’achèvent systématiquement par des fins ouvertes. Elle permet alors d’identifier : un processus ironique de déconstruction des pratiques discursives, une dimension existentielle, une théâtralité spécifique, diverses figures dramaturgiques attestant de la nature critique de l’œuvre. En vertu d’un saut qualitatif dans la dramaturgie ibsénienne à partir du Constructeur Solness, l’analyse chronologique des pièces se divise en deux parties. La question est de savoir en quel sens et selon quels moyens le théâtre d’Henrik Ibsen interroge l’impact de la fiction dans le monde de vie du lecteur-spectateur. / This study uses the concept of aporia to develop an analysis of Henrik Ibsen's writing, with specific focus on his last eleven plays. From a philosophical, psychoanalytical or poetic point of view, the aporia is that which jeopardizes discourse, exposing its failings and problematizing the production of meaning. The notion of aporia, taken as a heuristic tool, therefore provides a means to examine the systematically open-ended nature of the plays. The study identifies: an ironic process which serves to deconstruct discursive practices, an existential dimension to the plays, a specific form of theatricality and various dramatic figures bearing out the critical nature of Ibsen's work. In accordance with a qualitative shift in Ibsen's work [from The Master Builder on], the chronological analysis of the dramas is divided in two parts. The overall aim of the research is to assess to what extent and in what ways Henrik Ibsen’s theatre investigates fiction's impact on the world of the reader - audience.

This study investigates the manner in which cinematic visual translation styles can be used to incorporate dominant and subversive historical versions in fictional narratives constructed within the conspiracy film genre. Fictional characters in a conspiracy film are often tasked with a mission to discover the alternative historical accounts, accounts which for all intents and purposes are regularly kept hidden from the public eye. These accounts are presented as a plausible and often unconventional narrative which challenges the dominant version of events. A visual translation style is a term used to describe the various methods in which a film can be shot and edited in order to create a specific aesthetic and communicate a specific idea. These styles can consist of camera movements, shot sizes or editing techniques, all of which aid in communicating a specific idea in a film. This study analyses the conventions of the conspiracy film, with regard to the manner in which the alternative and dominant versions of historical accounts are constructed. Furthermore, the study explores how these alternative and hegemonic historical events are presented and communicated through the use of visual translation styles. Theorists such as Jean Baudrillard and David Bordwell are referenced when discussing the meaning and application of terms such as “truth”, “narrative” and “history” and to problematise these notions in the context of this particular genre. Other key notions investigated include aporia, metalanguage and object-language and notions of genre theory. The conceptual and theoretical framework regarding visual translation styles is further complemented by writers such as Don Fairservice and Ken Dancyger. / Dissertation (MA)--University of Pretoria, 2012. / Drama / unrestricted

Lire une fiction gracquienne s’apparente à l’expérience du ravissement amoureux. Etre lecteur de Gracq, c’est accepter d’être ravi, capturé et enchanté tout à la fois. La dépossession herméneutique à laquelle le texte gracquien nous convie relève de l’expérience érotique. Présent comme thème, mais secondaire, mince, intermittent, l’érotisme semble exister dans le profil perdu du texte. Son cadre posé et aussitôt évidé de sa substance fait disparaître la scène sexuelle sous les yeux du lecteur-voyeur, dont l’attente est déjouée. La fiction organise l’escamotage du sexe, relançant sans cesse le désir à l’échelle du récit et de la lecture. L’imaginaire érotique, stéréotypé et obsessionnel, consacre sa présence-absence à la croisée de trois impossibles : le sexe, la femme, la mort. L’érotisme gracquien est donc bien un vide autour duquel tourne le lecteur et que cerne l’écriture. Aporétique, la voie de l’érotisme ? Ce n’est pas qu’elle ne mène à rien chez Gracq, c’est que le lecteur est invité à progresser dans cette aporie, à y digresser. L’érotisme est toujours déplacé, enfoui dans le palimpseste du paysage. Du dé-cor(ps) au corps à corps avec les mots, c’est l’usage de la langue qui est érotisé chez Gracq : il ne représente pas le sexe ; il le figure dans le texte, jusqu’à la jouissance et sous les yeux du lecteur, cet Autre. Dans l’œuvre de Julien Gracq, l’enjeu libidinal de la littérarité est de taille : l’érotique gracquienne transfigure la chair en chaire : du sexe au texte, l’auteur adopte une posture de séduction ; le texte fait écran entre lui et l’Autre qu’est le lecteur. Le sexe est devenu texte, limen, frontière, entre-deux irréductible, il est devenu l’hymen, espace de touche entre soi et l’autre ; la rencontre, pourtant représentée comme impossible, peut alors s’opérer. / Reading a fiction by Gracq feels similar to lovers’ delight. To become a Gracq reader, you must accept to be delighted, captured and enchanted all at once. The hermeneutic dispossession experienced through Gracq’s fiction is clearly erotic. No matter how secondary, thin and sporadic, the theme of eroticism may be, it seems to be running throughout the lost profile of the text. All set up and cleared of its substance, the sexual scene disappears from the eyes of the reader-voyeur whose expectation is frustrated. Fiction manages to cover up sex by setting desire within the plot and the reading. The presence-absence of erotic fantasy, as stereotyped and obsessive as it may be, is best consecrated at the crossroads of three impossible matters: sex, women and death. Eroticism by Gracq turns out to be a void around which the reader is waltzing and that the writing manages to grasp. Is the path of eroticism aporetic? It is not that this path is a dead end but rather that the reader is invited to advance and digress in this aporia. Eroticism is always moved, buried within the palimpsest of the landscape. With his successive unmoulding and moulding of words, it becomes clear that language is eroticised with Gracq. He doesn’t picture sex, he features it in his text until it pleases him –all this in the other, that is to say the reader’s eyes. In Julien Gracq’s work, the libidinal issue of literarity is at stake: Gracq’s eroticism transfigures flesh into a pulpit. From sex to text, the author takes on a posture of seduction. The text forms a screen between him and the Other, that is to say the reader. Sex has become text, limen, a border, an essential in-between. It has become the hymen, a touching space between one and the other. The meeting, though often portrayed as impossible, can then happen.

Thesis (MA (English))--University of Stellenbosch, 2008. / The notion that the post-colonial text stands in direct opposition to the canonical European text, and thus acts as a kind of counter-discourse, is generally accepted within post-colonial theory. In fact, this concept is so fashionable that Salman Rushdie’s assertion that ‘the Empire writes back to the Centre’ has been adopted as a maxim within the field of post-colonial studies, simultaneously a mission statement and a summative description of the entire field. In its role as a ‘response’ to a dominant European literary tradition, the post-colonial text is often regarded as resorting to a strategy of subversion through inversion, in essence, telling the ‘other side of the story’. The post-colonial text, then, seeks to address the ways in which the western literary tradition has marginalised, misrepresented and silenced its others by providing a platform for these dissenting voices. While such a view rightly points to the post-colonial text’s concern with alterity and oppression, it also points to the agonistic nature of the genre. That is, within post-colonial theory, the literature of Empire does not emerge as autonomous and self-determining, but is restricted to the role of counter-discourse, forever placed in direct opposition (or in response) to a unified dominant social order. Post-colonial theory’s continued classification of the literature of Empire as a reaction to a normative, dominant discourse against which all others must be weighed and found wanting serves to strengthen the binary order which polarises centre and periphery. This study is concerned with ‘rewritten’ post-colonial texts, such as J.M. Coetzee’s Foe, Jean Rhys’s Wide Sargasso Sea, Marina Warner’s Indigo, or, Mapping the Waters and Aimé Césaire’s A Tempest, and suggests that these revised texts exceed such narrow definition. Although often characterised by a concern with ‘political’ issues, the revised text surpasses the romantic notion of ‘speaking back’ by pointing to a more complex entanglement between post-colonial and canonical, self and other. These texts signal the collapse of binary order and the emergence of a new literary landscape in which there can be no dialogue between the clearly demarcated sites of Empire and Centre, but rather a global conversation that exceeds geographical location. It would seem as if the dependent texts in question resist offering mere pluralistic subversions of the logic of their pretexts. The desire to challenge the assumptions of a Eurocentric literary tradition is overshadowed by a distinct sense of disquiet or unease with the matrix text. This sense of unease is read as a response to an exaggerated iterability within the original text, which in turn stems from the matrix text’s inability to negotiate its own aporia. The aim of this study, then, is not to uncover the ways in which the post-colonial rewrite challenges the assumptions of its literary pretext, but rather to establish how certain elements of instability and subversion already present within the colonial pretext allows for such a return.

Ces recherches doctorales démontrent comment l’aporie et ses voix/voies plurielles minent l’œuvre Lawrencienne: romans, essais, poèmes ou encore tableaux. Malgré le désir du lecteur de donner une voix/voie singulière – ou interprétation – à l’œuvre de D. H. Lawrence, seule une herméneutique et une vérité plurielle viennent à notre rencontre, nous laissant ainsi soumis à une impasse insurmontable. Tout au long de ce chemin doctoral, nul n’est à l’abri des culs de sacs et des trébuchements. Ainsi, une aporie génétique tisse le tissu textuel des premières ébauches de D. H. Lawrence, et la souveraineté logocentrique et herméneutique de l’homme est renversée. La rature s’impose et l’œuvre de D. H. Lawrence nous rappelle que le logos, et l’Être, résistent, pour mieux inscrire l’aporie dans son corpus. Les limites du langage, de la religion, du savoir, et de la représentation artistique de la réalité résonne désormais avec une question qui demeure sans réponse et en suspens. / This work of research aims at showing how aporia and its plural voices pervade D.H Lawrence’s work, be it through his novels, his essays, his poetry, or his paintings. Despite the reader’s desire to give one singular voice and meaning to D.H Lawrence’s work, plural meanings and multiples truths come our way, leaving us facing an uncrossable impasse. The road is paved with deadlocks and places to stumble upon. Indeed, genetic aporia weaves the very fabric of D.H. Lawrence’s first drafts and sketches, and the logocentric and hermeneutic sovereignty of man is put into question. In fact, we have to cross it out as Lawrence’s work reminds us that the logos, and Being, show some resistance, the result of which is to better inscribe aporia into his corpus. The limits of language, of religion, of knowledge, and of the artistic representation of reality resonate now with an everlasting and unanswered question.

Notre pratique morale ordinaire, l’éthique normative ainsi que l’éthique appliquée présupposent que nos questions morales sont décidables non arbitrairement. Autrement dit, ces activités présupposent qu’il existe des réponses non arbitraires à nos questions morales. Le présent travail de recherche vise à questionner ce présupposé en explorant les réponses des trois principales familles de théories métaéthiques, soient le réalisme moral, l’antiréalisme moral et le constructivisme métaéthique, à la question « Les questions morales sont-elles décidables de manière non arbitraire? ». Notre but n’est pas de déterminer quelle théorie métaéthique est la meilleure, mais plutôt d’évaluer la possibilité que les questions morales soient décidables non arbitrairement. Nous défendrons que le réalisme moral semble compatible avec la décidabilité des questions morales et qu’au contraire, l’antiréalisme ainsi que le constructivisme semblent plus difficilement compatibles avec la décidabilité morale. Nous défendrons également que l’indécidabilité des questions morales, un problème pratique engendré par ces cadres métaéthiques, implique une aporie bien gênante. Si a priori on admet que ces trois familles de théories métaéthiques sont équiprobables, on pourrait alors affirmer grossièrement que nous avons deux chances sur trois de faire face, en pratique, au problème de l’indécidabilité morale et donc à l’aporie qu’elle implique. Cela justifiera pour nous l’intérêt d’explorer la possibilité d’une solution à cette aporie. Nous proposerons donc l’hypothèse selon laquelle la pratique du questionnement moral de manière aporétique, considérée comme une activité non cognitive, implique une certaine manière d’être qui n’est pas arbitraire. / Our ordinary moral practice, normative ethics and applied ethics presuppose that our moral questions are decidable non-arbitrarily. In other words, these activities presuppose that there are nonarbitrary answers to our moral questions. This very research aims to question this presupposition by exploring the answers of the three main families of metaethical theories, namely moral realism, moral antirealism and metaethical constructivism, to the question "Are moral questions decidable non-arbitrarily?". Our goal is not to determine which metaethical theory is the best, but rather to assess the possibility that moral questions are decidable non-arbitrarily. We will defend that moral realism seems to be compatible with the decidability of moral questions and that, on the contrary, antirealism and constructivism seem less compatible with moral decidability. Also, we will argue that the undecidability of moral questions, a practical problem generated by these metaethical frameworks, would involve a troublesome aporia. If a priori we admit that these three families of metaethical theories are equiprobable, we could then roughly affirm that we have two out of three chances to face the problem of moral undecidability and therefore the aporia it implies. This will justify for us the interest of exploring the possibility of a solution to this aporia. We will therefore propose the hypothesis according to which the practice of moral questioning in an aporetic way, considered as a non-cognitive activity, implies a certain way of being that is not arbitrary.