Ao atender o telefone no fim de 2009, ouvi uma voz feminina com sotaque anunciando, \"Aqui é Sheila Ribeiro\". \"O QUÊ?!\", quase caí para trás. Ela estava me convidando para integrar e escrever textos para seu projeto 7x7. Após alguns segundos de hesitação, aceitei. Há vinte e cinco meses eu não criava um texto original, mas com a ajuda de vários autores, com quem estudei desde 1992 e ainda estavam firmes e fortes, vasculhei meus arquivos, me debrucei sobre velhos cadernos e fotos antigas, texto-coreografei um material novo, acrescentei alguns pronunciamentos famosos e outros nem tanto, que seriam ditos a partir das coreografias. Fiz um mix de nove textos curtos que depois intitulei coreoescrituras. A referência às vanguardas e seus proverbiais - hoje disseminados - procedimentos artísticos foram intencionais, é claro, embora as frases venham tanto de um poema concreto como de uma canção popular e isso também já foi usado por Jérôme Bel no título de sua coreografia de 2001, The show must go on. O período de seis anos com o 7x7 na Bienal SESC de Dança e no Festival Contemporâneo de Dança foram maravilhosos. Eu amo trabalhar com os coreógrafos. Eles sabem exatamente o que são capazes de fazer e por que estão onde estão. Eles estão acostumados a dar duro e à limitada recompensa material que o trabalho traz. O 7x7 fez turnê por vários festivais no Brasil antes de ser premiado pela APCA na categoria iniciativa em dança, em 2014. O restante da tese é um amálgama de clipes de diálogos e falsas entrevistas em que eu mesma, Jérôme Bel e Xavier Le Roy, entre outros, nos alternamos no meu papel à medida que encenamos trechos de conversas originalmente ocorridas comigo e vários artistas e autores. Coreoescrituras - texto e dança em diálogo faz parte de uma pesquisa interminável que se originou na interação entre coreografia e escrita e inclui minha trajetória artística combinando fragmentos de dança e textos que abordam o embate entre arte e política no novo milênio. Ao editá-la descobri as maravilhas das estratégias de apropriação. Posso dizer francamente que nunca me diverti tanto. O elenco e a equipe racharam de rir, eu mais que todos. Desde 2002 tem havido mais remontagens e reconstruções. Fantasio sobre uma nova coreografia a partir de quatro extratos de peças icônicas. Em algum momento no meio disso, uma horda invade o palco em uma revolta política. Durante alguns anos depois de 2011, ano em que parei de performar e coreografar espetáculos - minha cabeça ainda inundada em imagens de movimentos - eu oferecia por brincadeira ideias de coreografias para outros coreógrafos. As imagens ressurgiram nos anos seguintes, em que me envolvi com a escrita. Não sei o que essa relação/oposição entre palavra e corpo significa ou pretende. Ao retornar à dança nos anos 2000, eu parei de escrever. E então novamente a linguagem do movimento suplantou a linguagem verbal. Falo comigo mesma, \"Não se preocupe. A mente trabalha por meios misteriosos, mais misteriosos ainda que o corpo\". O corpo declina, a mente continua a produzir linguagem. Aguardo ansiosamente as perambulações de ambos - mente e corpo - pela próxima década. Sendo assim, esta tese pode ser lida como outra coreografia. / Upon answering the phone toward the end of 2009, I heard an accented female voice announce, \"This is Sheila Ribeiro\" \"WHAT?!\" I nearly peed in my pains. She was inviting me to integrate and write texts for her 7x7 Project. After a few seconds of hesitation, I accepted the invitation. I hadn\'t written an original piece for twenty five months, but, assisted by various authors, who I have been studying with since 1992 and were still going strong, I raided my icebox, pored over old notebooks and vintage photos, choreographed some new text material, added pronouncements of famous and not-so-famous people, to be uttered based on the choreographies, and came up with a mélange of nine short texts that I later called choreowriting. The references to avant-garde proverbial - now widespread - artistic strategies were of course intended, although the phrases originated from a concrete poem and popular song which had already been used by Jérôme Bel to title his 2001 choreography, The show must go on. The six years period with 7x7 at Bienal SESC de Dança and the Festival Contemporâneo de Dança were exhilarating. I love working with choreographers. They know exactly what they can do and why they are there. They are accustomed to hard work and the limited material rewards that it brings. 7x7 toured various festivals in Brazil before being awarded for best dance initiative by APCA in 2014. The rest of the thesis is an amalgam of clips from dialogues and faux interviews in which I am alternately played by myself, Jérôme Bel, and Xavier Le Roy, among others, as we enact parts of a conversation that originally took place between artists, writers and myself. Choreowriting - text and dance in dialogue is part of a lifetime research that originated from the interplay between choreography and writing and includes my artistic career combining fragments of dance and texts that deal with the clash of art and politics in the new millennium. While editing it I discovered the wonders of appropriation strategies. I can honestly say it was just about the most fun I\'ve ever had in my life. The cast and crew bellowed with laughter, myself loudest of all. Since 2002 there have been more revivals and reconstructions. I have a fantasy about a new piece of choreography, from four extracts of iconic pieces. Somewhere in the middle of it, a horde of people rushes onto the stage in a political riot. For some years after 2011, the year I stopped performing and choreographing shows - my head still awash in movement images - I would jokingly offer others ideas for choreography. The images receded in the intervening years as I became involved with writing. I don\'t know what this relation/opposition between words and body means or pretends. As I returned to dance in the 2000s I stopped writing. And then again movement language superseded verbal language. I tell myself, \"Don\'t worry. The mind works in mysterious ways, even stranger than the body.\" The body declines, the mind continues to extrude language. I look forward to the perambulations of both - mind and body - in the next decade. It follows, then, that this thesis can be read as another choreography.

Le célèbre débat qui, dans les années soixante, opposa l’herméneutique à la Théorie critique, par l’intermédiaire de leurs principaux représentants respectifs, H.-G. Gadamer et J. Habermas, met en scène une alternative tranchée entre « conscience herméneutique » et « conscience critique » (P.Ricoeur). L’histoire de la Théorie critique montre cependant que sa volonté de s’immerger dans lacrisis qu’est l’histoire, son refus de se constituer en « science traditionnelle » l’amènent à tisser avec l’herméneutique des relations plus complexes qu’il n’y paraît. Ainsi Adorno érige-t-il« l’interprétation » en paradigme de la réflexion philosophique. La théorie habermassienne, dans sa volonté d’assurer à la critique ses fondements de droit, marque une rupture avec un tel paradigme, au profit de celui de la reconstruction. Mais ce tournant, qui vient bouleverser la Théorie critique dans sa conception initiale, n’a-t-il pas pour prix une approche moins pénétrante des phénomènes de domination ? La question est posée par A. Honneth, qui, pour pallier ce déficit critique, élabore une philosophie sociale moins soucieuse de la question de la fondation philosophique et plus hospitalière au thème herméneutique.Cette interrogation ouvre la possibilité d’une relecture de la pensée adornienne, attentive aux accomplissements critiques dont peut se prévaloir la singulière « herméneutique allégorique » qu’elle met en oeuvre. / In the Sixties took place a famous debate setting against each other hermeneutics, represented byGadamer, and Critical theory, represented by Habermas. It embodied a deep-seated antagonismbetween « hermeneutical conscience » and « critical conscience » (P. Ricoeur). However, its historyshows that Critical theory’s decision to merge within history, conceived as crisis, and its refusal of« traditional science » lead it to establish complex connections with the hermeneutical trend. ThusAdorno sets up « interpretation » as a paradigm for philosophical thinking. Because he is concernedwith giving Critical theory its philosophical foundation, Habermas breaks with this paradigm, followinginstead the path of reconstruction. This turn undermines the initial conception of Critical theory; andone might ask - as does A. Honneth - if it does not weaken its ability to detect social dominationphenomena. In order to remedy to the critical shortcomings of habermasian theory, Honneth worksout a social philosophy which is less concerned about the question of philosophical foundation andmore open to the hermeneutical motives.This questioning opens the way for a new reading of Adorno’s philosophy, focused on the criticalachievements of « allegorical hermeneutics ».

La multiplication des attentats terroristes menés contre l’Occident dans les dernières années a soulevé un intérêt tout particulier de la part de la communauté intellectuelle. Or, il de notre avis qu’une approche philosophique est un besoin manifeste pour la littérature associée à ce sujet. Conséquemment, c’est en examinant le rapport entre l’Occident et l’Islam dans le regard de l’acteur de premier plan : l’idéologie salafiste que cette présente étude envisage contribuer au large champ de recherche qu’est celui de l’occidentalisme, mais plus particulièrement l’orientalisme inversé. En l’absence d’une littérature abondante portant sur l’orientalisme inversé, une subdivision de l’occidentalisme, cette étude se définit comme une recherche a teneur théorique ayant pour objectif d’approfondir les mécanismes permettant à cette école d’observer et de dépeindre l’Occident dans le but de forger sa propre identité. C’est en présentant l’articulation du concept d’altérité dans le discours de Sayyid Qutb (19061966), l’un des théoriciens les plus influents de l’idéologie islamiste salafiste que cette thèse de maîtrise explore la perception de l’Occident dans la pensée salafiste. Cette étude tend à démontrer que l’altérité est le pilier d’un discours contre-hégémonique qui vise à renverser la domination occidentale par celle de l’Islam. Le corpus théorique de cette recherche, composé des œuvres théoriques les plus connues de l’auteur est alors observé au moyen de l’analyse critique de discours, une technique méthodologique interprétative qui s’alimente des contextes discursifs.

In this work I examine the role of judgment in the writings of Hannah Arendt. I argue that consideration of this concept helps to shed light on her important contribution to political philosophy, and in particular on the often overlooked radical aspects of her work. Judgment lies at the heart of a cluster of characteristically ‘Arendtian’ themes: those of natality, plurality, narrative and the relation between political action, thought and disclosure, as well as her notions of political public space and its relation to past and future. I argue that in adapting Kant’s conception of judgment as presented in his Critique of Judgment, Arendt also inherits a problematic pair of ideas associated with it: ‘Taste’ and sensus communis. These concepts, I suggest, raise questions of authority, exclusion and participation that were already politically coded in Kant. Examining the part they came to play in Arendt’s thought helps us to see a significant problematic for a political thought that would aspire to be critical and radical. Specifically, it exposes two closely interlinked questions: that of the limits of the political (its character and distinctiveness) and that of the political subjects themselves (the notion of proper and improper political subjects). I conclude that an engagement with the role of reflective judgment in Arendt is an illuminating and important way to understand both the radical current in Arendt’s thought and the challenge faced by any radical political thought at the opening of the twenty-first century.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This research pretends to examine the prosposal for revision of the hermeneutic project develened by Paul Ricoeur fron the viewooint of the debate between the Hermeneutic of Tradition and the Critique of Ideologies prososed by Gadamer and Habermas. The study begins discussing origins of the concept of hermeneutics and its relation to the notione of interpretation and comprehension as they appear in the thought of Heidegger, heir of a tradition which comes from Scheleiermacher and Dilthey. The study continues showing how, after a linguistic tour of philosophy, there is a growing recognition that the access to objectives comes about through a sense of good judgement in the historical world. Gadamer, after restoring the concepts of tradition and authority, show convincingly the link between historicity and comprehension. Habermas adds that he perceives a need to maintain a critical edge to human thought so that the hermeneutics not lead to a kind of linguistic idealism, once the limits of language are set aside. Placing himself in the dialogue between the hermeneutic reasoning of Gadamer and the critical reasoning of Habermas. Paul Ricoeur presents the possibility of critical-hermeneutic rational thought, developing a theory of text. To the extent that the hermentutic is an interpretation that leads to written language, it comes to possess, in itself, indications that it not only belongs to a condition of historicity, but that it also offers a critique os ideologies. What permits this is the conception of text, a model of distancing that does not alienat, while remaining autonomous in relation to the author, the occurence of the original situation, the original recipient, and in relation to any other recipient. / O presente trabalho pretende apresentar a proposta de reformulação do projeto hermenêutico desenvolvido por Paul Ricoeur a partir do debate entre a Hermenêutica das Tradições e a Crítica das Ideologias, protagonizado por Gadamer e Habermas. O texto inicia tratando da origem do conceito de hermenêutica e sua relação com as noções de interpretação e compreensão, como aparecem no pensamento de Heidegger, herdeiro da tradição que vem de chleiermacher e Dilthey. O texto segue mostrando como, depois do giro linguístico da filosofia, cresce o reconhecimento de que o acesso aos objetos se dá via sentido, num mundo histórico. Gadamer, através da reabilitação dos conceitos de tradição e autoridade, evidencia vivamente essa questão da historicidade da compreensão. Habermas, por sua vez, percebe a exigência de se manter a vertente crítica do pensamento humano, sem a qual a hermenêutica desemboca num certo idealismo linguístico, uma vez que afasta os limites da linguagem. Mediando o diálogo entre a razão hermenêutica de Gadamer e a razão crítica de Habermas, Paul Ricoeur apresenta a possibilidade da realização de uma racionalidade hermenêuticocrítica, desenvolvendo uma teoria do texto. Na medida em que a hermenêutica é interpretação orientada para a linguagem escrita, ela passa a conter, em si mesma, indicações tanto da pertença à condição de historicidade quanto da crítica das ideologias. O que permite isso é uma concepção de texto, modelo de distanciamento não-alienante, enquanto autônomo em relação ao seu autor, à situação original de realização, ao destinatário original, assim como em relação a qualquer outro destinatário.

Summary: Kritika monismu v díle Karla Statečného The Critique of Monism in the Work of Karel Statečný Michal Vejvoda The dissertation, ''The Critique of Monism in the work of Karel Statečný'', has led to a systematic point view on the issue of monism and its outline in Karel Statečný's work. It was found out, that Karel Statečný discerned a danger in this point of view, not only for the Church and the Christianity, but also for the whole society. The biggest danger of the monistic teaching lies in the fact, that the monistic principle is based on human nature. Karel Statečný realizes, that monistic tendency is deeply rooted in human nature, and thus is also objectively correct. With regards to Karel Statečný's analysis on monistic teaching, was discerned its danger to human religious sentiments, particularly in ethics: emptying of religion, in the case of removing of the element the personal God. Further on was found out, that monistical issues elaborated by Karel Statečný, speaks also today, because this monistic tendency is natural to human thinking. Pantheism - a belief in impersonal God, is also widespread, and this have a connection with spiritual instability and empty ethics. Therefore, the study of former monistic endeavors, may be useful to contemporary theology, theological philosophy and ethics....

Corydon est un essai dans lequel André Gide soutient une nouvelle théorie de l’amour"pédérastique normal". Il y défend sa position tout en esquissant son identité, et en s’efforçant de faire reconnaître celle-ci à travers son œuvre. Il répond ainsi à l'inquiétude de toute sa génération, ou au moins d’une élite de cette génération. Gide le dit : Corydon est un livre par lequel il veut « gêner ». La thèse suit les transformations de la réception de Corydon depuis sa publication et étudie les différentes étapes de la lecture de cette œuvre. À la parution de Corydon en 1924 les critiques furent très violentes et portèrent dans la plupart des cas sur l’aspect moral du livre.Les amis de Gide avaient essayé de le dissuader de publier Corydon. Mais malgré leurs tentatives Gide n’y renonça pas. Pourtant, il ne laissa paraître Corydon qu’en 1924, après deux publications clandestines et anonymes en 1911 et en 1920. Il expliqua ensuite ce délai en écrivant qu’il craignait de "contrister" sa femme. Gide comptait sur l’Amérique pour faire sortir Corydon de dessous "le boisseau" où il était maintenu en France. Et c’est justement des États-Unis qu’il recevra la première proposition de publier Corydon, précisément le 8 novembre 1924. Mais l’édition américaine ne paraîtra qu’en 1949. Les prises de positions vont varier selon les époques et selon les changements des mœurs qui les accompagnent. Certains critiquent le ton militant de Gide, d’autres encore lui reprochent la structure dialogique du texte qui lui permettait de se cacher derrière Corydon et son médecin au lieu de prendre la parole en son nom. On trouve aussi des critiques qui défendent Corydon soit par tolérance à l’égard de l’homosexualité, soit parce qu’ils apprécient le livre du point de vue humain et de la défense des droits universels de citoyenneté des homosexuels. D’autres valorisent l’audace et admirent le courage de Gide de s’engager à titre personnel. En suivant l’évolution de la réception de Corydon, nous constaterons donc qu’il est impossible pour les critiques de séparer l’aspect littéraire de l’aspect moral de l’oeuvre. Mais au fil des années, les critiques vont évoluer, parallèlement aux transformations éthiques et politiques de la société, puis en relation avec le développement des études gays et lesbiennes et des théories queer. Ces critiques vont s’arrêter de plus en plus sur l’aspect littéraire du livre de Gide. Les questions relatives au genre et à l’homosexualité vont y être mises en relief comme thème littéraire, et seront aussi invoquées comme le motif de nécessaires transformations stylistiques. Il y a une relation réciproque entre l’évolution des cultural studies et l’évolution des critiques de Corydon. Se développent des formes d’écriture subjectives, qui parlent de questions spécifiques. Les apparitions multiples de personnages homosexuels dans la littérature vont ouvrir la question de l’existence d’une littérature homosexuelle, gay ou lesbienne. De leur côté les réflexions sur le thème du mariage homosexuel amèneront nécessairement à repenser la relation nature-culture que Gide envisage dans Corydon. À son époque Gide est l’écrivain qui fait entendre la mise en cause de la famille, devançant ainsi les théories plus récentes des Gender studies. « Familles, je vous hais ! Foyers clos ;portes refermées ; possessions jalouses du bonheur.1 » À travers Corydon, Gide veut combattre les préjugés, le mensonge et faire reconnaître en chacun la particularité la plus authentique de sa nature. Il écrit à ce propos : « J’estime que mieux vaut encore être haï pour ce que l’on est, qu’aimé pour ce que l’on n’est pas. Ce dont j’ai le plus souffert durant ma vie,je crois bien que c’est le mensonge. Libre à certains de me blâmer si je n’ai pas su m’y complaire et en profiter. Certainement j’y eusse trouvé de confortables avantages. Je n’en veux point.» / Pas de résumé anglais

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

La thèse est divisée en deux parties. La première partie développe amplement le cadre épistémologique des interactions entre la géographie, la sociologie urbaine, la philosophie et la littérature. Les quatre premiers chapitres définissent le champ de recherche : l’étude de la ville comme objet d’investigation pluridisciplinaire, ainsi qu’un panorama, le plus exhaustif possible, des approches qui, dès les années 1940, ont analysé le paradigme de l’espace dans la tradition littéraire moderniste, et jusqu’aux contributions dans ce domaine de ces dernières décennies, à l'instar du spatial turn postmoderniste. La question de la relation entre l’espace et le texte littéraire est complexe car elle traverse toute l’histoire culturelle de l’Occident. Dans ce contexte, la représentation cartographique est un système de représentation qui a beaucoup en commun avec celui du récit littéraire, justement pour la capacité de l’un à entrer dans le tissu cognitif de l’autre et vice-versa. La deuxième partie est centrée sur la ville de Naples, sur son évolution urbanistique et la représentation littéraire qui lui est liée. Elle propose une interprétation critique de la technique géo-centrée adoptée. La deuxième partie présente donc, outre le cadre critique auquel il a été fait référence, des paragraphes consacrés à chaque auteure du corpus (Matilde Serao, Marguerite Yourcenar, Anna Maria Ortese, Elena Ferrante e Valeria Parrella), traversés par des lignes thématiques communes et caractérisés par un close-reading utile pour analyser dans le détail les lieux et l’espace dans les œuvres choisies (Telegrafi dello Stato, Anna, soror…, Il porto di Toledo, L’Amore molesto, Lo spazio bianco). / The thesis is divided into two parts. The first widely develops the epistemological framework of interactions between geography, urban sociology, philosophy and literature. The first four chapters present the scope of one's research: the study of the city as an interdisciplinary investigation object, but also a panorama, as exhaustive as possible, of the approaches that, since the 40s, have analyzed the paradigm of space in the modernist literary tradition, until the contributions in this epistemological area in recent decades, like the postmodernist spatial turn. The relationship between space and the literary text is a complicated issue because this question crosses the whole cultural history of the West. In this context, mapping is a system of representation that has much in common with the one of the literary story, in fact because of the ability of one to enter the cognitive fabric of the other and vice versa. The second part focuses on the city of Naples, its urban development and the literary representation related to it. We intend to carry out a critical interpretation of the adopted geo-centric technique. So in this second part, besides the critical framework to which we referred, , paragraphs dedicated to each author of the corpus (Matilde Serao, Marguerite Yourcenar, Anna Maria Ortese, Elena Ferrante e Valeria Parrella) are included. Paragraphs which are "crossed" by common thematic lines and characterized by a close-reading useful to analyze in detail the places and space in the selected works (Telegrafi dello Stato, Anna, soror ..., Il porto di Toledo, L’Amore molesto, Lo spazio bianco).