Zugl.: Paderborn, Universiẗat, Diss., 2004.

Diss. : Literaturw. : Bonn : 1990. / Originally presented as the author's thesis (doctoral--Universität Bonn, 1990). Bibliogr. p. 313-329.

Ce mémoire est composé de trois parties distinctes. La première partie consiste en un recueil de fragments, L'Œil de la libellule. Constitué de réflexions, d'aphorismes, de poèmes, de micro-fictions et autres textes brefs, ce recueil explore par facettes des questionnements existentiels, en lien notamment avec la nature humaine, la mémoire, la perception du monde, les relations amoureuses et familiales, la solitude et l'écriture. La seconde partie est un essai critique portant sur les liens unissant écriture fragmentaire, mémoire, mort et survie dans Le Cœur secret de l'horloge d'Elias Canetti. Plus précisément, je discuterai de la stratégie employée par l'auteur pour, d'une part, s'assurer la postérité littéraire, et d'autre part, atteindre l'immortalité par la métamorphose. La troisième partie est un court essai portant sur la notion de doute sous-jacente à l'écriture fragmentaire. J'y effectuerai un retour sur ma propre démarche et y tracerai quelques liens avec l'œuvre de Canetti et d'autres auteurs de fragments.

xxi, 437f. ; 26cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, 1973

Made available in DSpace on 2015-03-05T02:01:04Z (GMT). No. of bitstreams: 1 000466022-Texto+Completo-0.pdf: 947272 bytes, checksum: 43973a9095b0e86bd2781be452555114 (MD5) Previous issue date: 2014 / The meaning of “self-exile” that has been used in this work, constitutes itself in a kind of exile that is not chosen, neither imposed externally, because its occurrence is related to a structural injunction, from the psychism order. This way, the “psychic exile”, comdemns the person to a radical intimate weirdness feeling, where the world and the oneself unintelligibility prevails. From the psychoanalytic standpoint, this entity is called psychosis; from the current use of the language standpoint, it is called madness. Through a transversal cut in Elias Canetti biography, from the time the writer lived in and his relations to the German language, culture and literature, it is possible to identify in Peter Kien character and in the novel Auto de Fé, the points that support our hypothesis related to the “self exile”: that the use of the language that Canetti does, enables him to make a perfect representation of the psychic laceration that hits the novel protagonist, according to his relations to the world and to the other characters, as well as the subjective question fulfills the metaphor role of a world under fragmentation, not only from the one that was used as raw material for the work, also from the world today, that is nothing but the logical and direct consequence that was already announced at the beginning of the XX century. / O sentido de “exílio de si” que foi privilegiado neste trabalho se constitui em um tipo de exílio que não é escolhido e tampouco é imposto de fora, pois a sua ocorrência se relaciona com uma injunção estrutural, da ordem do psiquismo. Sendo assim, o “exílio psíquico” condena o sujeito a um sentimento de radical estranheza íntima onde o que prevalece é a ininteligibilidade do mundo e de si mesmo. Do ponto de vista da teoria psicanalítica, esta entidade é denominada de psicose; do ponto de vista do uso corrente da língua, é chamada de loucura. Através de um corte transversal que vai da biografia de Elias Canetti, da época em que o escritor viveu e de suas relações com a língua alemã e com a literatura, procuramos identificar no personagem Peter Kien e no romance Auto de Fé, os pontos que apoiam a nossa hipótese em relação ao “exílio de si”: que o uso que Canetti faz da linguagem propiciou-lhe fazer uma perfeita representação do esfacelamento psíquico que assola o protagonista do romance em suas relações com o mundo e com os outros personagens, assim como esta questão subjetiva cumpre o papel de metáfora de um mundo em fragmentação, não só daquele que lhe serviu de matéria-prima para a confecção da obra, como do mundo de hoje, que nada mais é do que a consequência lógica e direta do que já se anunciava no alvorecer do século XX.

Orientador: Jose Oscar de Almeida Marques / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-14T10:44:22Z (GMT). No. of bitstreams: 1 Martins_LucasdosReis_M.pdf: 675340 bytes, checksum: 58fa2ceaade617fbed352c6cf359e113 (MD5) Previous issue date: 2009 / Resumo: O trabalho propõe-se a analisar o fenômeno das massas humanas e suas implicações culturais, sociais e políticas para o século XXI. Partindo da clássica obra Massa e Poder (1960), de Elias Canetti, o estudo prossegue com o exame de dois ensaios de Peter Sloterdijk, Regras para o Parque Humano (1999) e O Desprezo das Massas (2000), e procura esclarecer as transformações do conceito de massa entre esses dois autores, da massa negra e molar de Canetti à massa colorida e gasosa de Sloterdijk. Sem a pretensão de percorrer o conceito na história da filosofia política, pretende-se fazer notar como a reflexão sobre a natureza, as potencialidades e os riscos das multidões assume um papel cada vez mais importante no pensamento sobre a política e cultura contemporâneas. As catastróficas experiências das grandes guerras mundiais mostraram a urgência de uma análise séria dos comportamentos direcionados ou espontâneos de massa, principalmente para aqueles que desejam pensar sobre o que ainda podem significar, hoje, idéias como democracia ou humanidade. Se, como nota Sloterdijk, o humanismo não é mais capaz de domesticar o homem contemporâneo, bombardeado cada vez mais intensamente por mídias embrutecedoras, outras antropotécnicas - mais efetivas que o velho humanismo na sua forma de domesticar o homem - deverão substituí-lo em nome de um determinado projeto de humanidade. Massa e humanização apresentam-se hoje como tópicos estreitamente relacionados, e refletir sobre o que significa ser humano hoje e o que poderá significar amanhã exige uma maior compreensão dos fenômenos de massa no século que se inicia. / Abstract: This work proposes to examine the phenomenon of human masses and their cultural, social and political implications for the XXIth century. Taking as its point of depart Elias Canetti's classic essay Mass und Macht (1960), the study continues with an examination of two texts by Peter Sloterdijk, Regeln für den Menschenpark (1999) and Die Verachtung der Massen (2000), and seeks to clarify the transformations of the concept of mass between these two authors, from Canetti's black and molar mass to the gaseous and colorful mass of Sloterdijk. Without the pretension of examining the concept of mass through the whole history of political philosophy, its aim is to make clear how the reflection on the nature, the potential and risks of the masses has an increasingly important role in thinking about contemporary politics and culture. The disastrous experiences of the great world wars has shown the urgency of a serious analysis of the directed or spontaneous conduct of the masses, especially for those who want to think about what the ideas of democracy or humanity can still mean today. If, as Sloterdijk remarked, humanism is no longer capable of domesticating contemporary man, as he is increasingly bombed by brutal media, other antropotechniques - more effective than the old humanism to attain human domesticating - should replace it in the name of a particular project of humanity. Mass and humanization present themselves today as closely related topics, and to reflect about what it means to be human today and what could that mean tomorrow requires greater understanding of the phenomena of mass in the century that begins. / Mestrado / Mestre em Filosofia

Made available in DSpace on 2015-04-14T13:39:28Z (GMT). No. of bitstreams: 1 466022.pdf: 947272 bytes, checksum: 43973a9095b0e86bd2781be452555114 (MD5) Previous issue date: 2014-12-19 / The meaning of self-exile that has been used in this work, constitutes itself in a kind of exile that is not chosen, neither imposed externally, because its occurrence is related to a structural injunction, from the psychism order. This way, the psychic exile , comdemns the person to a radical intimate weirdness feeling, where the world and the oneself unintelligibility prevails. From the psychoanalytic standpoint, this entity is called psychosis; from the current use of the language standpoint, it is called madness. Through a transversal cut in Elias Canetti biography, from the time the writer lived in and his relations to the German language, culture and literature, it is possible to identify in Peter Kien character and in the novel Auto de F?, the points that support our hypothesis related to the self exile : that the use of the language that Canetti does, enables him to make a perfect representation of the psychic laceration that hits the novel protagonist, according to his relations to the world and to the other characters, as well as the subjective question fulfills the metaphor role of a world under fragmentation, not only from the one that was used as raw material for the work, also from the world today, that is nothing but the logical and direct consequence that was already announced at the beginning of the XX century. / O sentido de ex?lio de si que foi privilegiado neste trabalho se constitui em um tipo de ex?lio que n?o ? escolhido e tampouco ? imposto de fora, pois a sua ocorr?ncia se relaciona com uma injun??o estrutural, da ordem do psiquismo. Sendo assim, o ex?lio ps?quico condena o sujeito a um sentimento de radical estranheza ?ntima onde o que prevalece ? a ininteligibilidade do mundo e de si mesmo. Do ponto de vista da teoria psicanal?tica, esta entidade ? denominada de psicose; do ponto de vista do uso corrente da l?ngua, ? chamada de loucura. Atrav?s de um corte transversal que vai da biografia de Elias Canetti, da ?poca em que o escritor viveu e de suas rela??es com a l?ngua alem? e com a literatura, procuramos identificar no personagem Peter Kien e no romance Auto de F?, os pontos que apoiam a nossa hip?tese em rela??o ao ex?lio de si : que o uso que Canetti faz da linguagem propiciou-lhe fazer uma perfeita representa??o do esfacelamento ps?quico que assola o protagonista do romance em suas rela??es com o mundo e com os outros personagens, assim como esta quest?o subjetiva cumpre o papel de met?fora de um mundo em fragmenta??o, n?o s? daquele que lhe serviu de mat?ria-prima para a confec??o da obra, como do mundo de hoje, que nada mais ? do que a consequ?ncia l?gica e direta do que j? se anunciava no alvorecer do s?culo XX.

Text in German / Many treatises and disquisitions concerning "Die Blendung" concentrate on the main character, Peter Kien, as well as on other protagonists. In contrast, this dissertation deals with Pfaff, the primitive force and his influence on Peter Kien, the "Brain", the masterspirit. Common traits of these di verse characters are highlighted and it is explained why Pfaff, the brute, manages to exult over Kien, the intellectual. Their interactions and their interdependence are dealt with and it is shown that insanity which is prevalent in both protagonists prepares the way to Kien's doom whereas it leads to Pfaff's survival. / Das Interesse zahlreicher Untersuchungen Uber "Die Blendung" konzentriert sich auf die Hauptperson, Peter Kien, sowie auf andere Protagonisten. Im Gegensatz dazu beschaftigt sich diese Arbei t mi t dem Hausmeister Pfaff, dem "Schadel", und mit dem EinfluB, den er auf Peter Kien, den "Kopf", den Geistesmenschen hat. Es wird versucht, Gemeinsamkeiten, die diese beiden so gegensatzlichen Charaktere aufweisen, aufzuzeigen und darzulegen, warum der Gewaltmensch Pfaff Uber den wirklichkeitsfremden Wissenschaftler Kien zu triumphieren vermag. Der EinfluB, den sie aufeinander nehmen, und die Abhangigkeit voneinander werden aufgezeigt, und es wird aufge fUhrt, wie der Wahnsinn, dem sie be ide verf all en, zu Kiens Untergang filhrt, wahrend Pfaffs Uberleben durch seinen Wahnsinn gesichert wird / Linguistics and Modern Languages / M. A. (German)

Text in German / Many treatises and disquisitions concerning "Die Blendung" concentrate on the main character, Peter Kien, as well as on other protagonists. In contrast, this dissertation deals with Pfaff, the primitive force and his influence on Peter Kien, the "Brain", the masterspirit. Common traits of these di verse characters are highlighted and it is explained why Pfaff, the brute, manages to exult over Kien, the intellectual. Their interactions and their interdependence are dealt with and it is shown that insanity which is prevalent in both protagonists prepares the way to Kien's doom whereas it leads to Pfaff's survival. / Das Interesse zahlreicher Untersuchungen Uber "Die Blendung" konzentriert sich auf die Hauptperson, Peter Kien, sowie auf andere Protagonisten. Im Gegensatz dazu beschaftigt sich diese Arbei t mi t dem Hausmeister Pfaff, dem "Schadel", und mit dem EinfluB, den er auf Peter Kien, den "Kopf", den Geistesmenschen hat. Es wird versucht, Gemeinsamkeiten, die diese beiden so gegensatzlichen Charaktere aufweisen, aufzuzeigen und darzulegen, warum der Gewaltmensch Pfaff Uber den wirklichkeitsfremden Wissenschaftler Kien zu triumphieren vermag. Der EinfluB, den sie aufeinander nehmen, und die Abhangigkeit voneinander werden aufgezeigt, und es wird aufge fUhrt, wie der Wahnsinn, dem sie be ide verf all en, zu Kiens Untergang filhrt, wahrend Pfaffs Uberleben durch seinen Wahnsinn gesichert wird / Linguistics and Modern Languages / M. A. (German)