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.

Originally presented as the author's thesis, Nancy. / Bibliography: p. [365]-385.

Originally presented as the author's thesis, Nancy. / Bibliography: p. [365]-385.

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No. of bitstreams: 1 CARDOSO_MarioRuiz_2014.pdf: 140483603 bytes, checksum: 30d92d0c22560f656261ede922bcc2ea (MD5) Previous issue date: 2014-03-10 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / This dissertation deals with the concept of catharsis in the work of Antonio Gramsci and the incorporation and the meaning of the catharsis in Historical-Critical Pedagogy. Divided into five parts, in the first chapter are presented the main concepts of the thought of Antonio Gramsci necessary to the understanding of catharsis in this intellectual work. The second chapter begins with the etymology of the term catharsis and then is deepened the meaning that catharsis reaches in Gramsci's work. The third chapter gives an historical overview of the emergence of Historical-Critical Pedagogy, and presents the main concepts of this pedagogical perspective as well as the relationship established with the dialectical historical materialism. The following is a chapter devoted to identifying the meaning of catharsis in the Historical- Critical Pedagogy and the relationship with the totality of this theoretical and methodological elaboration. The last chapter is devoted to the relationship between the concept of catharsis in Antonio Gramsci and the concept of catharsis in PHC, advocating a continuation and advancement in the elaboration of the catharsis in PHC in relation to Gramsci's work. It is stated that both Antonio Gramsci work, as the Historical-Critical Pedagogy, the catharsis occupies a central place. In Gramsci the catharsis indicates the passage from the economic moment to the ethical-political moment, in other words, from the upper elaboration of structure to superstructure in the conscience of men, from the objective to the subjective and from need to freedom, as a movement of dialectical overcoming required to the production of a new hegemony by the subaltern classes. For the Historical-Critical Pedagogy, based on Gramsci, the catharsis is a fundamental pedagogical category, because for throught this process the subalternal classes can advance on qualitative transformation of the insertion of individuals and groups in a struggle for radical change in social reality. Therefore, the catharsis on Historical-Critical Pedagogy is the culmination point of the educational process; refers to the moment when cultural instruments historically produced by humanity are embedded in the students lives and are transformed into tools of the struggle to build a classless society. Indeed, the Gramscian sense of catharsis is the starting point for the cathartic moment in oriented educational practice in the historical-critical perspective, and it is central to the struggle for the lower classes hegemony in terms posed by Gramsci. / O presente texto trata do conceito de catarse na obra de Antonio Gramsci e da incorporação e o significado da catarse na Pedagogia Histórico-Crítica. Dividido em cinco partes, no primeiro capítulo são apresentados os principais conceitos do pensamento de Antonio Gramsci necessários ao entendimento da catarse na obra desse intelectual. O segundo capítulo inicia-se com a etimologia do termo catarse e em seguida aprofunda o significado que a catarse alcança na obra gramsciana. O terceiro capítulo faz uma contextualização histórica do surgimento da Pedagogia Histórico-Crítica e apresenta os principais conceitos dessa perspectiva pedagógica, bem como a relação que estabelece com o materialismo histórico-dialético. Segue-se um capítulo é dedicado a identificar a acepção da catarse na Pedagogia Histórico-Crítica e a relação que estabelece com a totalidade dessa elaboração teórico-metodológica. O último capítulo é dedicado a relação entre o conceito de catarse de Antonio Gramsci e o conceito de catarse na PHC, advogando-se uma continuidade e avanço na elaboração da catarse na PHC em relação a obra de Gramsci. Afirma-se que tanto na obra de Antonio Gramsci, quanto na Pedagogia Histórico-Crítica, a catarse ocupa um lugar central. Em Gramsci, a catarse indica a passagem do momento econômico ao momento ético-político, ou melhor, da elaboração superior da estrutura em superestrutura na consciência dos homens, do objetivo ao subjetivo e da necessidade a liberdade, como movimento de superação dialética, necessário à produção de uma nova hegemonia pelas classes subalternas. Para a Pedagogia Histórico-Crítica, fundamentada em Gramsci, a catarse é uma categoria pedagógica fundamental, pois por meio dela as classes subalternas podem avançar na transformação qualitativa da inserção dos indivíduos e grupos na luta pela alteração radical da realidade social. Assim, a catarse na Pedagogia Histórico-Crítica é o ponto culminante do processo educativo; refere-se ao momento em que os instrumentos culturais produzidos historicamente pela humanidade são incorporados na vida dos educandos e transformados em ferramentas da luta pela construção de uma sociedade sem classes. Com efeito, a acepção gramsciana da catarse é ponto de partida para que o momento catártico na prática educativa orientada na perspectiva histórico-crítica seja fundamental para a luta pela hegemonia das classes subalternas nos termos colocados por Gramsci.

Please contact the author directly for a DVD that accompanies the thesis In this thesis we consider how one may use the arts in narrative practise. The use of the word narrative practise as oppose to narrative therapy extends the grounding metaphor’s reach beyond its use in therapy to facilitation and all other disciplines that adopts the use of this metaphor. The arts in a contemporary perspective include dance, drama, fine arts, music and multimedia. The choice for the arts is found in the research gap, which emphasise that most conventional psychological therapies including narrative therapy has a conversational/ verbal approach. In contrast an exploration into the arts acknowledge the importance of being physically and creatively involved in the construction of meaningful realities. The exploration of the arts in light of possible interaction with narrative practise is not confined to professional voices but is inclusive of recreational skills in the arts and crafts. The risk involved in extending the scope of the narrative metaphor beyond therapy, which may render an unmanageable amount of data, is minimized by a positioning in a pastoral perspective; pastoral in this sense, the discipline of practical theology is situated in a (one) faith community. Chapter one considers questions of positioning relating to the arts and theology. These are informed by a certain epistemology. While methodological concerns and a positioning therein is all ready found in chapter one, chapter two is reserved for method and practical methodological concerns. Our research participants will be introduced here. Everything that this study says about the arts and its consideration in narrative practise is found in chapters three and four. Chapter three refers to all exposure from conferences attended to numerous individual conversations based on the highly reflective research design found in chapter two. In chapter three all the arts that this study was confronted with are included. Chapter four focuses in on story as art. I regard the differentiation between arts as therapy as opposed to arts in therapy as the most profound consideration. A distinction is advocated, drawing on narrative social constructionist epistemology, between story as tool versus story as grounding metaphor; telling narratives versus performing narratives, human story telling versus narrative identity. It is important to notice that this thesis is not presented according to themes. It is my intention that through the way in which this thesis is presented (especially so chapter three) fragments of the story of the research process will be evident. For this reason chapter five is included, giving the reader a better understanding of the ways in which the arts were found to function. Chapter six entails a personal and critical reflection on the research; it has the purpose of sayingwell, I don’t assume that this study is at the pinnacle of academic achievement nor is it the ultimate truth. I have myself wondered about the numerous addenda and I’m not sure that it is in an explorative study something one can too easily do without. Some addenda fit its conventional use while others contain highly relevant information. Since I did not want to force these into arguments I present them in addenda. What I hope the reader finds is a truthful reflection on what has to me been a meaningful research journey on the use of the arts in narrative practise; a journey accounted for in academic yet participant informed language; language about ways of being with people that at times can transcend the boundaries of the spoken word. / Thesis (PhD (Pastoral Family Therapy))--University of Pretoria, 2007. / Practical Theology / unrestricted

Le mémoire qui suit fait état des recherches et explorations réalisées lors du parcours m'ayant mené à l'exposition L'odeur du sang humain me rit, présentée à la Galerie des arts visuels de l'Université Laval, du 15 au 22 août 2017. Les œuvres proposées ont été exécutées entre 2013 et 2017, dans le cadre du programme de maîtrise en arts visuels de l'Université Laval et abordent les thèmes de la vanité, de l'abjection ainsi que la notion de pérennité. Issu d'une réflexion sur le rapport de l'artiste à la création, mon corpus de maîtrise est porteur d'une attitude autoréflexive vis-à-vis de la pratique artistique, du travail de la peinture et de l'histoire de l'art, et questionne l'importance du choix des matériaux, et de leur compréhension. Les sujets représentés s'éloignent de la dimension moralisatrice de la scène de genre telle qu'on la connait afin de donner à celle-ci une valeur principalement autobiographique. Mes recherches s'articulent autour du motif de la vanité et de l'utilisation de l'art comme catharsis.

La littérature est une source d’où jaillissent les flots intarissables du paradoxe ; c’est dans cet entrelacement de dichotomies que nous nous sommes immergées pour percevoir l’unité sous-jacente derrière l’oxymore que constitue le titre de notre thèse : « une poétique de l’abjection dans la littérature gothique américaine postmoderne. » Si nous nous sommes tournées vers Stephen King, Peter Straub et Chuck Palahniuk et avons mis l’accent sur trois de leurs œuvres précises, notre démonstration se veut être transposable à l’ensemble de leurs écrits. Nous nous sommes interrogées sur la nature de l’abjection et sur sa prééminence dans une société américaine portant le sceau du puritanisme. Marqués par le Romantisme et le Gothique anglais, nos auteurs ont su donner aux thématiques caractérisant ces mouvements une voie nouvelle. Situer nos œuvres dans la lignée du gothique postmoderne nous permet d’osciller sur le paradigme de l’excès et de l’incomplétude, de la déconstruction et de l’unité. Le thème de la fragmentation apparaît comme l’un des fils d’Ariane permettant aux auteurs de tisser autour des lecteurs leur toile arachnéenne. Ce démantèlement qui affecte à la fois la dimension narrative et thématique des récits contribue à leur effet patchwork et subversif, nous liant à notre problématique postmoderne. Les paradoxes engendrés par nos récits leur donnent leur force et expliquent leur fascination sur le public. Nos pérégrinations menant à l’ouverture des différentes portes de l’interprétation révèlent que l’abjection devient source d’une nouvelle esthétique. Le laid peut véhiculer de la beauté et du sublime. L’harmonie qui existe dans le monde de la déchéance qui nous est dépeint explique l’emprise hypnotique de la littérature de l’abjection sur le lecteur. Source de poétique, celle-ci procure un plaisir de la lecture quasi jouissif pour ceux qui se laissent transporter par la magie créatrice de nos auteurs. / Literature is a stream from which gush forth the inexhausting flows of paradoxes; we have immersed ourselves in this entertwining of dichotomies to perceive the underlying unity behind the oxymoron constituting the title of our thesis: “a poetics of the abjection in American postmodern gothic literature.” If we have chosen Stephen King, Peter Straub and Chuck Palahniuk and have focused on three specific novels, our demonstration intends to be transposed to the whole range of their works. We wondered about the nature of abjection and its pre-eminence in an American society bearing the seal of Puritanism. Marked by Romanticism and the English gothic, our authors have been able to convey to the themes characterizing those movements a new direction. Setting our novels in the wake of postmodern gothic is a way for us to oscillate on the paradigm of excess and incompleteness, deconstruction and unity. The theme of fragmentation appears as one of Ariadne’s clues allowing the authors to weave their gossamery web around the readers. This dismantling which both affects the narrative and thematic dimension of the novels contributes to the patchwork and subversive effect engendered, linking us to our postmodern problematic. The paradoxes engendered by our novels give them their strength and account for their fascination on the audience. Our peregrinations leading to the opening of the various interpretative doors reveal that abjection becomes the source of a new aesthetics. Ugliness can convey beauty and sublime. The harmony which exists in the world of discrepancy depicted to us explains the hypnotic ascendancy of the literature of abjection on the reader. Source of poetry, it brings about a pleasure of reading verging on climax for those who let themselves be carried away by the creative magic of our authors.

L’écriture dramatique contemporaine est souvent tournée vers le mythe grec tragique comme source d’inspiration. Or, le concept de tragique est loin d’être évident, tantôt compris dans un sens existentiel, étroitement lié à la pensée philosophique allemande du XIXe siècle qui lui adonné naissance, tantôt dans un sens esthétique, produit de son rapport étroit au genre dramatique de la tragédie. La présente étude interroge la question du tragique dans des écritures dramatiques contemporaines d’origine différente : plus précisément, nous abordons douze oeuvres dramatiques, françaises et grecques, qui couvrent la seconde moitié du XXe siècle au sens large, et que caractérise l’usage du mythe tragique ou des motifs tragiques. Notre approche est structurée sur deux axes : d’une part est examinée la notion de personnage, élément principal de l’oeuvre dramatique, dans son devenir tragique. Ainsi, dans les deux phases de ce que nous appelons le« mouvement tragique », le personnage passe de l’identité à l’altérité de soi, pour se choisir ensuite en tant qu’être fini, ou autrement, en tant qu’être « inscrit dans la mort », pour arriver finalement à la transcendance de sa propre finitude. D’autre part est examinée la notion de personne tragique, à savoir la conception de l’homme « réel », telle qu’elle est configurée par le lecteur/spectateur à partir du personnage tragique. Le sens de la personne tragique consiste en le passage de celle-ci du monde quotidien à un « nouveau réel », où dominent le devenir et l’ouverture à l’Autre. Dans ce cadre, la catharsis qu’éprouve le spectateur est identifiée à la « joie tragique ». / Contemporary playwriting turns often towards the tragic Greek myth as source of inspiration.However, the concept of “the tragic” is far from being evident, sometimes understood in anexistential meaning, tightly attached to the German philosophical thought who has given it birth,sometimes in an esthetic meaning, as a result of its close relation to the genre of tragedy. Thepresent study examines the concept of tragic in contemporary plays of different origin: moreprecisely, we study twelve plays, French and Greek, that cover the second half of the twentiethcentury in the broadest sense, characterized by the use of the tragic myth or of tragic motifs. Ourapproach is based on two axes: on one hand we examine the notion of character, a fundamentalelement of a dramatic work, in his becoming tragic. In this way and according to the two phasesof what we call “the tragic movement”, the character, after passing from the identity to the alterityof self, he then “chooses” himself as a finite being, or, in other words, as a being “inscribed indeath”; finally, he arrives at the point of transcendence of his own finitude. On the other hand, weexamine the notion of the tragic person, namely the conception of the “real” human, as it isformulated on the basis of the tragic hero, by the reader/spectator. The meaning of the tragicperson lies in a passage from the ordinary world to a “new reality”, where the becoming of thehuman being and the openness to the Other dominates. In this context, the spectator experiencesthe catharsis that can be identified with the “tragic joy”.

Cette étude examine la lecture des textes de théâtre comme des textes de fiction, visant à faire sortir ce genre de lecture du cadre de l’analyse textuelle au sein duquel on a tendance à l’enfermer. L’examen s’effectue à la lumière de l’interrogation sur le suicide dans le drame français du XIXe siècle : son objectif est de cerner l’effet que le suicide d’un personnage exerce sur le lecteur. Pour ce faire, nous nous servons du concept de lecteur virtuel, destinataire implicite et atemporel des effets du texte selon Vincent Jouve ; ce lecteur immerge au sein du monde possible de fiction soutenu par le dispositif qui se fonde sur la tripartition Réel - Symbolique - Imaginaire de Lacan.La réflexion est structurée en cinq parties : l’introduction théorique est suivie des analyses qui portent, respectivement, sur le mélodrame, le drame romantique, le drame naturaliste et le drame symboliste. En nous penchant sur l’effet du suicide fictionnel sur le lecteur, qui est systématiquement relié au questionnement de la catharsis, nous traitons également de l’évolution des formes et genres théâtraux évoqués dans l’optique de la lecture « virtuelle ». Ainsi, lire le drame français du XIXe siècle, c’est voyager de la certitude optimiste du mélodrame à l’indétermination tragique du drame symboliste, du suicide effectif aux morts probablement volontaires, de la catharsis « larmoyante » à l’anticatharsis... / This study examines the reading of drama texts as the reading of fictional texts, aiming to broaden the current approach according to which the reading of drama texts is mainly limited to text analysis. This question is examined in the light of the issue of suicide in 19th-century French drama. The principal aim of this study is therefore to understand the impact of the character’s suicide on the reader via the detailed analysis of the ins and outs of the suicidal act. The study applies Vincent Jouve’s concept of the virtual reader, who is defined as an implicit and atemporal recipient of the text effects. This reader emerges in a fictional world that is supported by an operative device (dispositif) based on the Lacanian triptych of the Real, the Symbolic and the Imaginary.The dissertation consists of five chapters. The theoretical discussion is followed by four chapters that deal, respectively, with melodrama, romantic drama, naturalist drama, and symbolist drama. In addition to the effect of the fictional suicide on the reader (which is systematically connected to the catharsis), the evolution of theatrical genres and forms is explored from the perspective of “virtual” reading. Thereby, the reading of 19th-century French drama could be viewed as a journey from the optimistic certainty of melodrama to the tragic indeterminacy of symbolist drama, from actual to probable suicides, from “sorrowful” catharsis to anticatharsis.

This article examines the effects of participation in transitional justice rituals. Truth Commissions and trials have instrumental goals of distributive justice, and serve as rituals given their marked symbolic character, helping to achieve reconciliation and the reconstruction of social norms. Evidence suggests that participation in trials increases negative emotion and negative emotional climate. However participants in such rituals have evidenced increased empowerment, despite conditions of limited justice and reparation. Moreover, participation in Gacaca or popular trials in Rwanda, decreases shame in victims, and decreases negative stereotypes and increases individualization of out-groups. Finally, a collective analysis of 16 Latin America nations found that trials and a successful Truth Commission reinforces respect for human rights. / El análisis de las experiencias de la Comisión de la Verdad y la Reconciliación en Sudáfrica, los juicios populares o Gacaca en Ruanda y los rituales de los procesos de transición a la democracia concluye que la participación en comisiones y juicios implica un coste emocional para los participantes (aumenta la emocionalidad negativa y los síntomas) y aumenta el clima emocional negativo en la sociedad, pero también aumenta la sensación de control y eficacia de los participantes, disminuye algunas emociones negativas en los sobrevivientes como la vergüenza, y aumenta los estereotipos positivos y una visión más diferenciada del exogrupo. En países de América Latina donde se han desarrollado procesos y comisiones de verdad más eficaces, se constató una mejora del respeto a los derechos humanos.