Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique. / This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.

Il est peu de notions aussi vastes que celle du non-savoir, mais le flou du caractère nécessairement négatif de sa définition s’accompagne tout de même du sentiment que la source de ce qui ne peut qu’être déterminé négativement par la pensée (non, cela n’est pas le savoir) ne peut qu’être positive. Notion à l’applicabilité infinie, parce qu’en elle vient s’abîmer tout ce qui ne peut tenir dans l’espace de la maîtrise relative à ce dont on peut dire : je sais de quoi il s’agit. Est non-savoir tout ce qui se rapporte au bouillonnement pulsionnel de la vie et à l’échéance fatale de la mort. Ce qui pousse l’homme au meurtre, au génocide, à la guerre et à la violence révolutionnaire se confond avec un contenu affectif et identitaire qui ne peut être ramené au savoir sans laisser de reste. Mais tenter de comprendre ce qui échappe à l’entendement est cela même qui relance sans cesse la réflexion comprise comme cœur du savoir. Le savoir se montre ainsi sous une extrême dépendance face à son Autre. À la lumière de cette hypothèse devant beaucoup aux découvertes de la psychanalyse, le présent mémoire s’est donné pour objectif de jeter un regard frais sur quelques grandes tensions sociopolitiques de l’Histoire; mais il a d’abord fallu évaluer philosophiquement la possibilité d’un concept de non-savoir. Des champs identitaires majeurs — révolutions totalitaires ou démocratiques, bouleversements ou synergies culturelles — sont ainsi analysés sous l’angle d’une économie pulsionnelle qui s’inscrit dans une interaction perpétuelle avec ce qui s’ébauche ici comme une économie du rapport entre non-savoir et savoir. Est ainsi produite une esquisse des rapports possibles entre la vie pulsionnelle de l’homme, le savoir institutionnel et le monde sociopolitique. / Few notions are as vast as that unknowing; but the imprecise nature of its definition is nonetheless accompagnied by the implication that what offers itself only negatively to the mind has a positive source. The applicability of the notion of unknowing is infinite; it swallows up all that resists the mastery indicated by statements about that which is. Unknowing encompasses all that belongs to the boiling drive of life and to the faceless moment of death. What leads human beings to murder, to genocide, to war and to revolutionnary violence is bound up with an affective content of identification that cannot be subsumed by knowledge without leaving a residue. Yet attempting to understand what exceeds the mind’s grasp serves as the motor of mental reflection at the heart of knowledge production itself. In this sense, knowledge is inescapably dependent on its « other ». In light of this hypothesis drawn from the domain of psychoanalysis, this thesis aims to reexamine the conceptual underpinnings of basic sociopolitical tensions in History. The conceptual impetus driving major identity movements — such as totalitarian or democratic revolutions and cultural disruptions or synergies — is analysed in terms of a libidinal or drive-oriented economy which is in perpetual interaction with what this thesis characterizes as an economy of the relation between knowing and unknowing, between knowledge and its negation.

Ce mémoire de maîtrise traite de quatre pièces de l’auteur français Bernard-Marie Koltès. Résolument axé sur l’étude du texte écrit, il vise dans un premier temps l’analyse d’un ensemble de désajustements et d’une culture de l’équivoque dans le traitement du lieu, du temps et de l’identité. Le premier but de ces analyses est l’approfondissement de certaines avenues déjà investies par la critique (marginalité des lieux et des personnages, présence constante de la violence et de la mort, etc.), dans la recherche d’une signification globale à un ensemble de pratiques textuelles liées à la notion de limite ou de frontière. Opérant un changement de perspective, la seconde partie de l’étude s’attarde à la violence ainsi qu’aux modalités et implications de sa mise en texte dans une étude croisée de l’acte créateur et de la pratique de lecture. À partir de la théorie du sacrifice élaborée par René Girard dans La violence et le sacré, et faisant dialoguer certains textes importants d’auteurs divers (Aristote, Nietzsche, Artaud, Foucault, Derrida et Adorno), l’analyse vise à inscrire la littérarité du texte koltésien dans une entreprise plus vaste ayant à voir avec la violence, sa régulation et sa diffusion. Au carrefour des études théâtrales, de la littérature et de la philosophie, cette réflexion cherche à concevoir le théâtre de Koltès (particulièrement Roberto Zucco) comme un sacrifice rituel, afin de mieux en comprendre le rapport au réel et certaines de ses particularités du point de vue du mécanisme cathartique. / This M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.

Thèse (M.Ed.) -- Université du Québec à Chicoutimi, en association avec Universidade do Estado da Bahia, 2004. / Bibliogr.: f. [141]-147. Document électronique également accessible en format PDF. CaQCU

Made available in DSpace on 2016-04-25T19:20:11Z (GMT). No. of bitstreams: 1 Edna Maria dos Santos.pdf: 368096 bytes, checksum: f471dab3257af8f6968d8c43e5080453 (MD5) Previous issue date: 2010-10-22 / Secretaria da Educação do Estado de São Paulo / This dissertation has as target the Graciliano Ramos s novel, São Bernardo. By analyzing the character-narrator Paulo Honório, we show the conditions that propitiate the reification and alienation that characterized the first character, passing through the humanization process triggered by conflict with Madalena, his wife, and since this process culminates in a cathartic movement, where the character-narrator, putting himself to write his biography, seeks to reestablish the sense that, initially only being put in business, represented by the São Bernardo s farm, disappears, their life, along with Madalena s death. The reflection unchained after his wife s death reveals this human aspect that hitherto remained unknown to the own character. Opens, finally, the human dimension that was unknown, because of the harshness that had been imposed by the means of subsistence. We conclude that the absence of a religious basis was impossible to Paulo Honório, despite the recognition of universal human suffering, the opening to compassion and overcoming that developed contempt for others human beings. Furthermore, we understand that in this novel, although Graciliano Ramos don t explicitly thematizes the religious dimensions, the author leaves it open to arguing about human life significance whose response, ultimately raises the need for reflection on the religious aspects of human life / Esta dissertação tem como objeto o romance de Graciliano Ramos, São Bernardo. Por meio da análise do personagem-narrador Paulo Honório, demonstramos as condições que propiciam a reificação e a alienação que caracterizam inicialmente o personagem, passando ao processo de humanização deflagrado por meio do conflito com Madalena, sua esposa, e como esse processo culmina em um movimento catártico, onde o personagem-narrador, colocando-se a escrever sua biografia, procura restabelecer o sentido que, inicialmente estando posto somente nos negócios, representado pela fazenda São Bernardo, desaparecera, de sua vida, juntamente com a morte de Madalena; a reflexão desencadeada a partir da morte da esposa revela esse aspecto humano que, até então, permanecia ignorado do próprio personagem. Abre-se, enfim, a dimensão humana que este havia desconhecido, devido à rudeza que lhe fora imposta pelos meios de subsistência. Concluímos que a ausência de uma base religiosa fora o que impossibilitou a Paulo Honório, apesar do reconhecimento da universalidade do sofrimento humano, a abertura para a compaixão e a superação do desprezo que este desenvolveu pelos demais seres humanos. Além disso, entendemos que, neste romance, embora Graciliano Ramos não tematize explicitamente a dimensão religiosa, o autor deixa em aberto questionamentos sobre a significação da vida humana cuja resposta, em última instância, coloca a necessidade da reflexão sobre os aspectos religiosos da vida humana

Made available in DSpace on 2016-12-23T14:01:45Z (GMT). No. of bitstreams: 1 Tamiris Souza de Oliveira.pdf: 650403 bytes, checksum: 149c823b4d92fdff94c6ea3e225e4720 (MD5) Previous issue date: 2013-03-25 / This research is a theoretical literature that has as its axis the theoretical foundations of education and concern with the relationship between educational theory and critical aestheticcultural training. One wonders about the potential that has the category catharsis present in aesthetic theory of the german philosopher Theodor Adorno to scale discussion of aesthetic and cultural formation and critical appropriation of the products of the culture industry in the school. We started from the hypothesis that the central concept of catharsis Adorno can be fruitful for the unfolding of a critical theory of education. With the mapping of the presence of the concept of catharsis in educational discussions it was noted that the category is present, however little explored. With the study of the category, we have seen that it can be powerful and critical to understanding the cathartic process operated by the culture industry and its influences in the school environment. Besides the concept constitute a possibility of relating school content and form, manifested in the masterpiece, capable of adding a historical dimension of the civilizing process of mankind, and as a way able to manifest not as a mere extension of the daily lives of students, but a possibility of distancing himself and the consequent bridge to the imagination / Esta é uma pesquisa teórico-bibliográfica que possui como eixo os fundamentos teóricos da educação e a preocupação com a relação entre teoria educacional crítica e formação estéticocultural. Indaga-se sobre a potencialidade que possui a categoria catarse presente na teoria estética do filósofo alemão Theodor Adorno para dimensionar a discussão sobre formação estético-cultural e apropriação crítica dos produtos da indústria cultural no espaço escolar. Partiu-se da hipótese central de que o conceito de catarse, de Adorno, pode ser profícuo para o desdobramento de uma teoria crítica da educação. Com o mapeamento sobre a presença do conceito de catarse nas discussões educacionais, constatou-se que a categoria é presente, no entanto pouco explorada. Com o estudo sobre a categoria, vimos que a mesma pode ser potente para o entendimento e crítica ao processo catártico operado pela indústria cultural e suas influências no ambiente escolar. Além disso, o conceito de catarse pode se constituir como possibilidade de reflexão entre os conteúdos escolares e as formas em que se apresentam no ambiente escolar. Uma possível relação entre ambos que pode se manifestar na obra prima, ou seja, aquela capaz de agregar uma dimensão histórica do processo civilizatório da humanidade, e ao mesmo tempo como forma estética, também capaz de se apresentar não como mero prolongamento do cotidiano dos alunos, mas também como uma possibilidade de distanciamento do mesmo, e consequente ponte para uma imaginação livre e mancipadora

Texte remanié de: Dissertation--Philosophischen Fakultät--Universität Zürich, 1997. / Bibliogr. p. 321-331.

The majority of research tends to focus on the effects of violent video games, and as a result the motivations to play games are understudied. This study used the uses and gratifications theory as a framework for investigating game player’s motivation to play video games for the purpose of catharsis. This study also proposed that in-game variables, such as level of difficulty and content of the video game, all be investigated to see the effects they have on the achievement of catharsis or the development of aggression through other mediating variables such as enjoyment, control, and frustration with the game. It was found that difficulty of the game predicted frustration with the game and that those with more game playing experience reported greater feelings of catharsis, enjoyment, and feelings of control. None of the independent variables were found to attribute to feelings of aggression, including game content. Feelings of control within the game were found to be predicted by game type. Although there were relatively few main effects with the independent variables, correlations show trends in the data between variables that would support the achievement of catharsis through greater feelings of control, enjoyment, and decreased frustration.

Cette recherche sur les transitions professionnelles dans le cadre de reconversions part du constat empirique suivant : l'analyse de l'activité professionnelle réalisée avec la méthode des instructions au sosie provoque, dans cette période particulière de transition, des manifestations émotionnelles fortes et l'expression de sentiments intenses et contradictoires. Ce fait nous a conduit à soutenir la thèse suivante : l'usage de cette méthode d'analyse clinique du travail, dans ce cadre spécifique où l'activité analysée se déploie dans un métier que l'on souhaite quitter, provoque, organise et supporte un conflit de sentiments qui, poussé jusqu'à un point culminant, peut s'avérer résolutoire et permettre de dégager pour le sujet des voies de développement. Ce travail propose de repérer et étudier ce point cathartique lié à la méthode afin d'analyser l'activité transitionnelle qui s'y déploie et sa fonction dans le processus de développement en cours de reconversion professionnelle.

Research Doctorate - Doctor of Philosophy (PhD) / This thesis explores theoretical aspects of the affective dimension of literature. Beginning with Aristotle's tying of katharsis to the drama, the pattern of affective relations is completed through the establishing of terms for each of the three broad traditional genres. These relations can be expressed in the ratio: as katharsis is to the genre of the dramatic, so kenosis is to the genre of the lyric, so kairosis is to the genre of the epic. Within each of these affective relations, further relations are determined for the identity structures within each genre. In defining these identity structures, the philosophical, theological, psychological and literary aspects of katharsis, kenosis and kairosis are explored. Of particular use in mapping these identity structures and literary affects were the philosophical theories of Aristotle, Kant, Hegel, Heidegger, Sartre, and Wittgenstein; the theological views of D.G. Dawe, John Macquarrie, Charles Pickstone, and Ernest F. Scott; the psychological theories of C.J. Jung, Jacques Lacan and Julia Kristeva; the literary theories of Mikel Dufrenne, Stanley Fish, Toshihiko and Toyo Izutsu, Hans Robert Jauss, W.R. Johnson, Frank Kermode, William Elford Rogers, and D.T. Suzuki; and the literary works of Homer, Shakespeare, George Herbert, S.T. Coleridge, Charles Baudelaire, Wallace Stevens, and James K. Baxter. Taking up Aristotle's project to grant cognitive value to the experience of art, this thesis argues for the centrality of identity structures within the dimension of the affective. The thesis further determines that literature's affective dimension is the domain within which aesthetic identity is established. Such imaginative identity structures amount to a cultural catalogue of identity possibilities. As the keepers of this catalogue, the three interpretive genres amount to a body of affective knowledge that is its own dimension.