Academisch proefschrift--Amsterdam, 1993.

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Texte remanié de: Thèse de doctorat--Philosophie--Paris 10, 2005. Titre de soutenance : Maurice Blanchot et la philosophie. / Bibliogr. p. 275-293.

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This thesis attempts to explore what occurs in the act of writing; arguing that the act of writing opens a space for 'the other.' For this argument, I bring Franz Kafka who has remained unthought in terms of the act of writing in the deconstructive thinking close to Maurice Blanchot who writes both theoretical discussion and fiction specifically on the act of writing. Blanchot has written extensively on Kafka; his récits also are influenced by Kafka. In the introduction, I argue through Borges and Benjamin that Kafka and Blanchot create their past and future, so that we understand any text in the past or the future differently if we know them. In other words, works are in dialogue with one another. This creativity is actually being open to 'the other.' Chapter one argues that Blanchot criticizes language for making things absent by representing them. For him, writing should be the act of making space between word and its referent in order that the referent shows itself infinitely. This spacing, for Blanchot, is desoeuvrement or worklessness as an undoing of being, the neutral spacing that let the thing's otherness come infinitely. The second chapter argues that Joseph K. in The Castle is exposed to this spacing or desoeuvrement which makes him and the castle distance from their meaning and find the singular possibilities of their unknown nature as 'the other' infinitely. Blanchot's meaning of literature necessitates dealing with the notion of the author. In this sense, the third chapter argues that when Kafka is metamorphosed into writing he loses his identity. Writing, for Kafka, becomes the space in which he loses his sense of selfhood and sees 'the other' in the self. Chapter four, by reading Blanchot's The Instant of My Death and Kafka's Metamorphosis, argues that being exposed to 'the other' in writing necessitates the process of dying, not death as one instant that begins and ends. Writing becomes the process that interrupts the border between life and death. The self gets no determination, completion, and totality and at the same time it will not be reducible to disappearance. My fifth and sixth chapters illustrate what Blanchot's means in writing a récit. Chapter five argues that the récit as a concept questions memory as the place of passed past experiences. In memory, the past, the present and the future become the 'extended present' which means memory is the place in which neither remembering nor forgetting happens. The récit rejects memory as the fixed narrative of the past. Therefore, the récit is the open space with the possibility of inventing 'the other.' Chapter six argues that the recit is the place where opens the Freud's primal scene to the prior scenes endlessly which are not located in the past; they also occur in the future. By this futurity, he leaves the space for 'the other' in the past and the future. The seventh chapter illustrates Kafka's The Trial while thinking of the concept of the récit. The text has no pre-existent story as its origin and problematizes the concept of repetition. By removing the originary state and teleological existence, the text is open to 'the other,' the new possibilities of being written and read endlessly. The conclusion as well as further discussing what 'the other' is and how writing lets it come propose that the ethics of writing in Kafka and Blanchot is not limited only to the openness of the self to 'the other;' it also brings out the community which prepares itself for the coming of 'the other.'

Thèse de doctorat : Lettres et Arts : Lyon 2 : 2001. / Titre provenant de l'écran-titre. Bibliogr.

BYLAARDT, Cid Ottoni; OLIVEIRA, Silvana Maria Pessôa de. Lobo Antunes e Blanchot: o diálogo da impossibilidade: figurações da escritura na ficção de António Lobo Antunes. 2006. 327f. - Tese (Doutorado) - Universidade Federal de Minas Gerais, Linguística, Belo Horizonte, 2006. / Submitted by Cicera Costa (cicera.r.costa8@gmail.com) on 2016-08-26T13:32:50Z No. of bitstreams: 1 2006_tese_cobylaardt.pdf: 5842834 bytes, checksum: 853542f66e7ea9eecc5cf0d4c66cc5e3 (MD5) / Rejected by Márcia Araújo (marcia_m_bezerra@yahoo.com.br), reason: Não se pode depositar um livro na íntegra no Repositório Institucional da UFC. É permitido apenas capítulos de um livro. Devolvido para que seja feita a substituição do arquivo do livro pelo arquivo da tese. Qualquer dúvida ligar: 33667659 Márcia Bezerra Revisora do Repositório Institucional Biblioteca das Casas de Cultura Estrangeira/UFC on 2016-09-06T15:00:10Z (GMT) / Submitted by Cicera Costa (cicera.r.costa8@gmail.com) on 2016-09-09T12:43:07Z No. of bitstreams: 1 2006_tese_cobylaardt.pdf: 5842834 bytes, checksum: 853542f66e7ea9eecc5cf0d4c66cc5e3 (MD5) / Rejected by Márcia Araújo (marcia_m_bezerra@yahoo.com.br), reason: O arquivo depositado foi o do livro. Como você está inserindo este trabalho na coleção DLIT - Teses defendidas em outras instituições, deverá substituir o arquivo do livro pelo arquivo da tese. Por gentileza, faça a referida substituição e devolva o depósito para que a submissão seja aprovada. Qualquer dúvida ligar 33667659. Márcia Bezerra Revisora do Repositório Institucional Biblioteca das Casas de Cultura Estrangeira/UFC on 2016-09-14T14:43:39Z (GMT) / Submitted by Cicera Costa (cicera.r.costa8@gmail.com) on 2016-09-15T12:28:30Z No. of bitstreams: 1 2006_tese_cobylaardt.pdf: 1164458 bytes, checksum: 6fe70215b5b5a613226d927522a445e5 (MD5) / Approved for entry into archive by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-09-19T12:50:58Z (GMT) No. of bitstreams: 1 2006_tese_cobylaardt.pdf: 1164458 bytes, checksum: 6fe70215b5b5a613226d927522a445e5 (MD5) / Made available in DSpace on 2016-09-19T12:50:58Z (GMT). No. of bitstreams: 1 2006_tese_cobylaardt.pdf: 1164458 bytes, checksum: 6fe70215b5b5a613226d927522a445e5 (MD5) Previous issue date: 2006 / Esta tese empreende uma leitura de sete dos últimos romances do escritor português António Lobo Antunes, a partir das concepções de literatura de Maurice Blanchot. Os romances estudados são Tratado das paixões da alma; A ordem natural das coisas; O manual dos inquisidores; Não entres tão depressa nessa noite escura; Que farei quando tudo arde?; Boa tarde às coisas aqui em baixo e Hei de amar uma pedra. As obras de Maurice Blanchot mais citadas nesta tese são La part du feu, L'entretien infini, L’espace littéraire, Le livre à venir, L’écriture du désastre, La bête de Lascaux e La folie du jour, embora muitos outros escritos do filósofo francês tenham comparecido quando necessário...

Tesis para optar al Grado de Doctor en Filosofía con mención en Estética y Teoría del Arte / La tesis investiga la tensión entre lenguaje y pensamiento en Maurice Blanchot. Para ello elaboramos el concepto de distancia como clave de lectura. La distancia sería la que desplaza el sentido cuando aparece. Esto genera tensión porque se produce una resistencia al sentido por la materialidad del lenguaje. Este es el modo en que operan sus textos. Esta distancia es lo que mueve el pensamiento de Blanchot a develarla como sentido diferido. Hemos ordenado la tesis en tres partes y en cinco capítulos. En la primera parte establecemos el modo en que la distancia articula el tiempo en la modernidad filosófica y el romanticismo de Jena. El vínculo con la síntesis como tendencia que busca hacer efectiva la realización de la obra en la historia. Aquí la distancia está subordinada a la potencia del pensamiento. Esto organiza el lenguaje y lo vuelve representación de ese objetivo. En la segunda parte nos ocupamos de la operación de la distancia en el pensamiento de Blanchot a partir del análisis que hace de otros autores. Las nociones que tratamos son: la experiencia del relato, lo neutro, la muerte y el origen. La inacción, ausencia de tiempo, mediación inmediata, la proximidad de lo otro y el desplazamiento de la acción como realización en la tensión entre pensamiento y lenguaje. La semejanza como desplazamiento de sentido en el análisis de la imagen en cuanto a materia y significación. En la imagen la distancia emerge como la cosa misma. En la tercera parte, la tesis analiza la escritura de la comunidad. En ella se articula la proximidad de lo otro como apertura de la comunidad a lo excluido que la produce. El cuerpo y la escritura como necesidad material desplaza la fusión de la comunidad como obra realizada o en proceso de realización. Esa alteridad se haría evidente con la insuficiencia que implica el exceso de la carencia. La muerte aparece como el exceso de esa carencia en el prójimo. La escritura desplaza la obra y muestra la distancia. Por ello, tratamos la noción de comunidad como aquella donde opera la distancia como inminencia.

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