Le théâtre de la cruauté d’Antonin Artaud (1896-1948) participe à une libération des langages artistiques au profit du sens déterminante dans l’histoire de l’art du XXème siècle. Dans ce théâtre, l’acteur représente le point de départ d’un langage originaire fondé sur le souffle et le geste qui favorise une communication affective avec le spectateur. Le théâtre musical de la cruauté de Wolfgang Rihm (1952) s’inspire de ce langage à travers les thématiques du rite, du mythe et du rêve, porteuses d’un théâtre inhérent à la vie. Ces thématiques sont propices au développement d’une vocalité qui rend perceptible la corporalité du chanteur grâce à une déconstruction de la matière langagière. Rihm exploite la matière phonique de la langue sous forme de glossolalies, cherche différents aspects du cri en tant qu’élément premier du langage, utilise le souffle comme une matière sonore. Cette vocalité rejoint son approche instrumentale qui travaille le son à partir du timbre, du rythme et de l’intensité sans chercher à l’enfermer dans une logique systémique. Intégrée au processus compositionnel, la disposition des musiciens et des chanteurs dans l’espace rejoint également la conception d’un espace scénique vivant dans le théâtre d’Artaud. Au fur et à mesure de son théâtre musical de la cruauté, Rihm laisse ses matériaux sonores inspirés par Artaud se réécrire dans une forme de palimpseste. / The theater of cruelty of Antonin Artaud (1896-1948) participates in a liberation of artistic language over decisive meaning in the history of 20th century art. In this theater the actor is the starting point for a language of origins founded on breath and gesture, which promotes affective communication with the audience. The musical theater of Wolfgang Rihm (1952) takes it’s inspiration from this language via the themes of ritual, myth, and dream, all which bear a theater inherent to life. These themes are developed through a vocalization, which renders visible the corporeality of the singer through a deconstruction of language matter. Rihm exploits the phonic matter of language in the form of glossolalia, seeking different aspects of the scream as the primal element of language, employing breath as sonorous matter. This vocalization rejoins his instrumental approach, which uses sound drawn from timbre, rhythm and intensity without seeking to enclose it within a logical system. Integrated into the compositional process, the spacial arrangement of the musicians and the singers rejoins the concept of a living scenic space in Artaud’s theater. As Rihm’ s musical theater of cruelty progresses, it allows the sonoral matter inspired by Artaud to rewrite itself in a form of palimpsest.

This diploma thesis deals with the issue of sociological research on animal abuse. It identifies the basic problems that this research has to deal with, these problems are described in detail and a solution is proposed in the form of the construction of a new research tool. Subsequently, an attempt is made to validate this newly created research tool, its weaknesses and strengths are summed up and further possible research in this area is discussed. In the theoretical part of the thesis, the problem of animal abuse is introduced in the historical context first, and then a summary of basic problems of sociological exploration of this phenomenon is presented. The final chapter of this section addresses the issue of ethical aspects of animal abuse research. The methodological part presents the design of the research, the process of construction of a new research tool and the methods and approaches used. The analytical part summarizes the knowledge obtained during the cognitive interviews that were conducted in order to validate the newly created research tool. The benefits and limitations of the new instrument are discussed and proposals are made to continue the research on this issue.

Orientador: Elisabete Maniglia / Resumo: A pecuária representa uma das indústrias mais ambientalmente degradantes que existem. No entanto, possuidora de forte poder político enraizado na herança agrária brasileira, a atividade resiste a mudanças e busca constante expansão, com apoio do Poder Público, que não procura implementar políticas públicas mitigadoras de danos. Neste ínterim, o movimento pela consideração dos animais como sujeitos de direitos apenas cresce, e as denúncias de crueldade para com os animais se multiplicam. Em face de denúncias preocupantes por parte de agências internacionais quanto à crise ambiental, o presente trabalho busca investigar se a pecuária efetivamente atinge os objetivos de desenvolvimento sustentável, respeitando a vedação constitucional da crueldade para com animais. Para ilustrar o debate, foram realizados dois estudos de caso: o primeiro referente à exportação de animais vivos por via marítima e o segundo relativo à Operação Carne Fraca, que expôs uma organização criminosa em torno da adulteração de alimentos e fraudes no processo de segurança sanitária. Para tal, este trabalho se valeu dos métodos de abordagem indutivo e dedutivo, e elegeu como principal método de procedimento o histórico-evolutivo, acompanhando a evolução da moral e da legislação quanto ao meio ambiente, à agropecuária e aos animais. Foram realizadas pesquisas bibliográficas e documentais, com base em material nacional e internacional, e na legislação brasileira correlata. Quanto aos estudos de caso, foram ana... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Livestock represents one of the most environmentally degrading industries in the world. However, with its political power deriving from Brazil’s agrarian heritage, the industry resists change and seeks constant expansion, with support from Government, which doesn’t seek to implement mitigating public policies. Meanwhile, the movement for the consideration of animals as rights holders grows, and reports of animal cruelty in the sector only increase. In light of worrisome data released by international agencies, this dissertation seeks to investigate wether the livestock industry really contibutes to sustainable development, respecting the prohibition of animal cruelty. In order to illustrate the debate, two case studies were done: the first one regarding live export ships and the second one in relation to Operation “Carne Fraca”, which exposed a criminal organization around the adulteration of foods and fraud in the process of health security. In order to achieve those goals, this paper has utilized inductive and deductive methods, and elected as main procedural method the historic-evolutionary analysis, following moral and legislative evolution in regards to the environment and animals. Bibliographic and documentary research took place, based on national and international material, and brazilian legislation. As for the case studies, inquiries and lawsuits were analyzies, in order to illustrate the theoretical debate. It was concluded that livestock has mainly negative effects... (Complete abstract click electronic access below) / Mestre

Journaliste, essayiste, prosateur, poète, romancier mais aussi à ses heures réalisateur, photographe ou architecte, Curzio Malaparte (1898-1957) reste, malgré un succès public durable qui dépasse largement les frontières italiennes, un oublié de l’histoire littéraire du XXe siècle. S’il suscite actuellement un regain d’intérêt c’est surtout dans la mesure où sa participation aux deux guerres mondiales ainsi que sa trajectoire du fascisme au communisme et au catholicisme en font le miroir des contradictions de son temps. Or, est-ce bien là son principal mérite ? La présente étude propose un parcours à la fois chronologique et thématique dans l’œuvre malapartienne en s’appuyant sur l’analyse du rapport entre l’univers et la page écrite. La curiosité insatiable que l’écrivain projette sur le monde qui l’entoure dégénère, au contact de l’événement-guerre, en plongée macabre dans les atrocités de l’histoire. Les pages cruelles et hallucinées de Kaputt (1944) ou de La pelle (1949) marquent l’apogée d’une écriture qui voudrait rendre compte de la réalité tout en refusant de s’en satisfaire. Face au visage décevant de l’histoire, Malaparte échafaude un rêve de « recommencement » à la fois individuel (grâce au « mythe de l’auto-engendrement ») et collectif (dans une perspective eschatologique), mais ne renonce jamais définitivement à poursuivre dans le monde cette quête désespérée de sens qui nous le rend si proche. / Curzio Malaparte (1898-1957) was not only a journalist, essayist, prose writer, poet and a novelist but also a director, photographer and architect when time permitted. Yet despite his success both in Italy and beyond, he remains largely unknown in 20th century literary history. If he is enjoying a resurgence in popularity today it is due to his involvement in two world wars as well as his trajectory from fascism to communism and onward to Catholicism, a mirrored contradiction to his era. Or does his significance lie therein ? This thesis follows both a chronological and thematic path through his work focusing on the relationship between the universe and the written page. The insatiable curiosity the writer projects on the world around him disintegrates into history’s most gruesome atrocities following the onset of war. The cruel and uncanny pages of Kaputt (1944) and La Pelle (1949) mark the culmination of a style of writing that tries to both account for and interrogate reality. In the disappointing face of history, Malaparte constructs a dream for a new beginning that is at once individual (thanks to the « myth of self-generation ») and collective (from an eschatological perspective), yet he never renounces definitively the pursuit of this desperate quest for meaning that brings him so close to us.

1. ABSTRACT § Key words: violence, conflict, aggression, cruelty, abuse, neglect, bullying, the perpetrator, the victim, children, adults, seniors, self-harm, suicide In this thesis I would like to focus on how children define violence, what violence includes, how to represent both the offender and victim, what is the difference in the perception of violence against various age groups and how to prevent possible violence. The theoretical part is firstly devoted to the notion of violence or similar terms synonymous to this and to explain them according to Czech and foreign authors. I have then proceeded to topics such as violence against children, adults and seniors, self-harm, suicide and the consequences of violence. In the practical section, I examined the perception of violence among students in primary school compared with students of the same age at a grammar school. I focused on the students of class sixth / ninth grade and first and fourth year of an eight-year grammar school). The survey was not only carried out in schools in the capital city but also in a smaller town.

Au sein de la pensée de Deleuze, la poésie d'Antonin Artaud apparaît comme la ligne de fuite par excellence à partir de laquelle tout le foisonnement conceptuel deleuzien s'articule. Artaud est en effet celui qui brise l'image de la pensée – ou ce que nous voulons dire habituellement par " penser " en philosophie – en refusant son innéité et son universalité, c'est-à-dire la cogitatio natura universalis. Car pour Artaud comme pour Deleuze, le plus souvent, la pensée s'affronte à son problème véritable, qui est son impouvoir ou son impossibilité. Ainsi, la première partie de la thèse s'attaque à la compréhension de la destitution de l'image de la pensée dans Différence et répétition de Deleuze, à partir de l'idée de " génital inné " d'Artaud dans la Correspondance avec Jacques Rivière. Si l'image de la pensée ne dit rien du processus de penser, de quelle logique sommes-nous capables ? Au travers de la découverte de la logique paradoxale déployée dans les paradoxes de Logique du sens de Deleuze, il s'agira de penser le rapprochement entre Artaud et Nietzsche. L'axe principal de cette partie est la critique du jugement menée par Artaud. Enfin, jeté dans les paradoxes de la vie, la troisième partie envisage le grand impensé de la philosophie qu'est le corps : en effet, de quel corps sommes-nous capables ? L'enjeu, de l'impossibilité de penser à la question du corps - rapprochant L'Ethique de Spinoza du corps sans organes d'Artaud - est bien de renouer la pensée avec la vie, selon le projet du Gai savoir de Nietzsche et qu'Artaud ne cesse de reformuler dès ses premiers écrits. L'impossibilité de penser dit non seulement la séparation d'avec la vie, mais aussi l'impensable qu'est le corps : en effet, que dire de notre propre corps, tel que nous le vivons ? Dans quelle mesure la création de concepts en rhizome dans Mille Plateaux de Deleuze et Guattari explore-t-elle le corps sans organes d'Artaud, ce corps vécu qui reste encore mystérieux pour la pensée ? Artaud souhaitait qu'on l'aime non pas pour son œuvre mais pour sa vie, témoignant d'une grande santé contre un monde malade : l'horizon de l'impossibilité de penser est alors la pensée blessée et profonde assumant la vie elle-même dans toute son opacité. / In the thought of Deleuze, the poetry of Antonin Artaud seems like the line of convergence par excellence from which all the Deleuzian proliferation of concepts are developed. Indeed, Artaud is the person who shatters the image of thought – or what we usually mean by " thinking " in philosophy – rejecting its innateness and universality, in other words, the cogitatio natura universalis. Because, for both Artaud and Deleuze, thought is most often confronted by its real problem – its powerlessness or its impossibility. So the first part of the thesis deals with understanding the dismissal of the image of thought in Deleuze's Difference and Repetition, from Artaud's notion of " génital inné " [innate sexuality] in the Correspondence with Jacques Rivière. If the image of thought says nothing about the process of thinking, of what logic are we capable ? Through the discovery of the paradoxical logic deployed in the paradoxes in Deleuze's Logic of Sense, it is a matter of thinking about the connection between Artaud and Nietzsche. The main thrust of this section is a critique of the judgement made by Artaud. Lastly, thrown into the paradoxes of life, the third part considers the great non thought of philosophy, that is the body : indeed, of what body are we capable ? The challenge, the impossibility of thinking about the question of the body - comparing Spinoza's Ethics and Artaud's body without organs - is to reconnect thought with life, in accordance with the intention of Neitzsche's Gai saber [The Gay Science] and that Artaud did not cease to revise from his earliest writings. The impossibility of thought implies not only a separation from life, but also the unthinkable that is the body: indeed, does this mean talk of our own body as we experience it ? To what extent does the creation of a rhizome of concepts in A Thousand Plateaux by Deleuze and Guattari explore Artaud's body without organs, the body experienced that still remains mysterious for thought ? Artaud hoped that he would be loved not for his work, but for his life, testifying to a great health against a sick world: the prospect of the impossibility of thinking is then thought wounded and profound, taking on a life of its own in all its opacity.

Made available in DSpace on 2016-04-29T13:31:08Z (GMT). No. of bitstreams: 1 A Maldicao da Individuacao - Parte 1.pdf: 58032 bytes, checksum: f0172efe9bc96140393da03961fce5cb (MD5) Previous issue date: 2005-04-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This PhD research, on the basis of Critical Theory of Society, has the target to show the paradox of the curse of the individuality the sufferings lived between the (im)possibilities of other s suffering and to become different as a result of the culture failure which impeaches and cut off the formative movement of the love, focusing its thought in the relation of pleasure and fear and in the potentialities of literary expression. The argumentations about these two focus can be described in two perspectives which are intersected. The first tries to put in evidence the sexual repression damage and the erotic renounce to the process of the person s formation, to raise the problems and to think about the destruction manifestations as a result of the cultural impeachments to formative movement of love, of no-fruition of the beauty, the mutilation of the senses, the foolishness of the reasoning and of the consequent hardness of the ego. The second focus tries to show the esthetic experience provided by literature (from the artist and from the receptor) as a privileged condition of contact and thought about the object of this research (the moment of the curse of the individuality), considering potentially the literary expression, without decreasing it to the psychologism, in three dimensions at the same time: as a testimony and manifestation of the unjustified sufferings, as resistance, because it contains hate (destruction of the object), and possibilities of changes the existent, because they can keep small parts which can lighten some exits from this state, alternatives to go further the destruction. The theoretical formulations from the authors of Frankfurt Adorno, Horkheimer and Marcuse; Freud; and selected literary parts from Portuguese language writers: from Brazil, Clarice Lispector and Caio Fernando Abreu; from Portugal, Fernando Pessoa (he himself and under the heteronames of Alvaro de Campos and Bernardo Soares) and José Saramago are predominantly systematized. However, the given status to the writers is different. The Lispector literary parts are in the center of the thoughts; the interlocution of other mentioned writers is aimed, emphasizing Abreu, in order to construct the discussion and the consecution of the proposed target. Also because of this reason, there is a certain relevance in the presence of another writer: Fernando Sabino, with whom Lispector exchanged letters during some years. There is no intention to discuss the work of these writers in its totality, the emphasized parts (tales, novels, poetry and letters) are worked as a representation of artistic expression in the dimensions mentioned before. With this announced target, the proposal of these argumentations and these indicated thoughts (theoretical and literacy), is intended to show the thesis that the curse of the individuality is related to, in its basis, the mutilation of the movement of love caused by cultural impeachments which damage the senses and the reasoning harmed formation which makes more difficult the installing of fruition as a way of life, which sticks the understanding and the possibility of beauty to face the sufferings mostly unjustified, in face of the existing material conditions and in that moment expressed in the literary work by the artistic expression, provides fundamental experiences to the contention, the sensitive thought and the search for possible exits from the destruction state and from the barbarous ness order, once in the art some, representing every men (among scars and fragments) expressing the prison between the desire and not getting to live, accomplish works in a desperate hope of, finally, having a free and happy life. / Esta pesquisa de doutoramento, com base na teoria crítica da sociedade, tem como objetivo discorrer sobre o paradoxo da maldição da individuação os sofrimentos vividos por se estar entre as (im)possibilidades de sofrer o outro e se diferençar como decorrência do fracasso da cultura que impede e mutila o movimento formativo do amor, focalizando sua reflexão no entrelaçamento do prazer e do medo e nas potencialidades da expressão literária. As argumentações sobre estes dois focos podem ser descritas em duas perspectivas que se entrecruzam. A primeira busca evidenciar os danos da repressão sexual e da renúncia erótica ao processo de formação do indivíduo, problematizar e pensar as manifestações de destruição como proveniente dos impedimentos culturais ao movimento do amor, da não fruição da beleza, da mutilação dos sentidos, da estupidez da razão e do conseqüente endurecimento do ego. A segunda procura mostrar a experiência estética proporcionada pela literatura (do artista e do receptor) como condição privilegiada de contato e de reflexão sobre o objeto desta pesquisa (a maldição da individuação), e considerar o potencial da expressão literária, sem recair no psicologismo, como um movimento que envolve três dimensões concomitantes: como testemunho, por manifestar os sofrimentos injustificados, como resistência, por conter o ódio (a destruição do objeto), e como possibilidade de transformação do existente, por também guardar estilhaços que podem iluminar saídas deste estado, centelhas e vestígios para se ir além da destruição. Estão predominantemente sistematizadas formulações teóricas dos autores frankfurtianos Adorno, Horkheimer e Marcuse; de Freud; e selecionados trechos literários de escritores da língua portuguesa: do Brasil, Clarice Lispector e Caio Fernando Abreu; de Portugal Fernando Pessoa (ele mesmo e sob os heterônimos de Álvaro de Campos e Bernardo Soares) e José Saramago. Entretanto, o status conferido aos escritores é diferenciado. Os trechos literários de Lispector estão no centro das reflexões; busca-se a interlocução dos outros escritores citados, com destaque para Abreu, para articular a discussão e a consecução do objetivo proposto. Também por esse motivo, há uma certa relevância na presença de um outro escritor: Fernando Sabino, com o qual Lispector trocou correspondência durante anos. Não há pretensão de discutir a totalidade da obra destes escritores, os trechos destacados (contos, romances, poesias e cartas) são trabalhados como representantes da expressão artística nas dimensões já mencionadas. Com o objetivo enunciado, a proposição dessas argumentações e das reflexões (teóricas e literárias) indicadas, pretende-se expor a tese de que a maldição da individuação é referente, em sua base, à mutilação do movimento do amor ocasionada pelos impedimentos culturais que danificam os sentidos e a razão formação obstada que dificulta a instauração da fruição como modo de vida e que prende o entendimento e a possibilidade da beleza ao enfrentamento de sofrimentos em grande parte injustificados diante das condições materiais existentes e que este momento mimetizado na obra literária pela expressão artística proporciona experiências fundamentais para a contenção, a reflexão sensível e a busca de possíveis saídas do estado de destruição e da ordem da barbárie, uma vez que na arte alguns, ao representar todos os homens (em meio a cicatrizes e fragmentos) expressando o aprisionamento entre o querer e o não conseguir viver, realizam obras na esperança desesperada de poder enfim viver, livre e feliz.

<p>This dissertation deals with how didactic fiction and writers of child literature of the 18^th and 19^th centuries tried to strike terror into their young listeners to make them obedient to the social and moral norms of adults. Particular attention is devoted to texts where children themselves function as protagonists. Fairy-tales by the brothers Jacob and Wilhelm Grimm but also by Ludwig Bechstein and Charles Perrault are taken into consideration as are examples of child literature by Johann Baptist Strobl, a less famous didactic philanthropist at the end of the Enlightenment.</p><p>The theme of horror and intimidation is followed and analyzed with special regard to narrative techniques, but also to objectives of educational and socialisation processes. The dissertation argues that many of the recurring stereotypes and <i>topoi</i> in these horror stories for children can be traced back to popular superstition and other notions of an early preliterary and oral society.</p>

This dissertation deals with how didactic fiction and writers of child literature of the 18th and 19th centuries tried to strike terror into their young listeners to make them obedient to the social and moral norms of adults. Particular attention is devoted to texts where children themselves function as protagonists. Fairy-tales by the brothers Jacob and Wilhelm Grimm but also by Ludwig Bechstein and Charles Perrault are taken into consideration as are examples of child literature by Johann Baptist Strobl, a less famous didactic philanthropist at the end of the Enlightenment. The theme of horror and intimidation is followed and analyzed with special regard to narrative techniques, but also to objectives of educational and socialisation processes. The dissertation argues that many of the recurring stereotypes and topoi in these horror stories for children can be traced back to popular superstition and other notions of an early preliterary and oral society.

« Il faut prendre cela dans un sens ironique » affirmait Bernard-Marie Koltès face à l’incertitude de la réception exprimée dans Der Spiegel : « on ne sait pas vraiment jusqu’à quel point vos sentences philosophiques sont à prendre au sérieux ». Nous proposons d’explorer l’efficacité « séductrice » dont semble emprunte l'écriture koltésienne – notamment à partir de 1977 – si l'on en juge par l'intérêt qu'elle suscite très tôt et continue à susciter, par le fil tendu de l'ironie. Le concept ancien et moderne d’ironie offre à la lecture un outil opérant lorsqu’il s’agit de suivre les lignes de fuite de l’écriture koltésienne. Le concept d’ironie tel que Kierkegaard nous offre de le percevoir se fonde sur la tension insurmontable d’un « ou bien / ou bien » (aut-aut). Tensions entre les contraires, dissonances, sabotages, disparitions, masques, secret gardé par l’écriture, mentions des stratégies du mensonge et des apparences, paradoxes faits d’alliances inextricables entre comique et tragique, violence et sacré, sont autant de procédés d’écriture repérables qui semblent viser la possibilité d’une « vraie » rencontre, bien qu’intenable, entre le monde, l’auteur et son destinataire. Au carrefour de questionnements multiples, d'ordre pragmatique, esthétique, dramaturgique, philosophique, cette recherche littéraire interroge le « pacte » d’écriture d’un auteur avec l’autre, avec le monde, en quête d’un espace « vrai » à partager, dont la vérité tiendrait précisément de son impossible affirmation. Un théâtre qui dit une chose pour en faire entendre une autre. / "We must take this in an ironic sense," said Bernard-Marie Koltès faced to the uncertainty of the reception expressed in Der Spiegel : "one never knows how far your philosophical sentences must be taken seriously." We suggest to explore the "seductive" effectiveness which seems to belong to Koltesian writing - especially from 1977 - judging by the interest it arouses very early and continues to suggest, through the tight wire of irony. The ancient and modern concept of irony offers an operative tool to reading, when it comes to following the lines of escape of Koltesian writing. The concept of irony such as developped by Kierkegaard, is based on the insurmountable tension of a « something /or else" (aut-aut). Tensions between opposites, dissonances, sabotage, disappearance, masks, secret kept by writing, mentions of the strategies of lies and appearances, paradoxes made of inextricable alliances between comic and tragic, violence and sacred, are different ways of writing ; they seem to aim the possibility of a "real" meeting, although inalienable, between the world, the author and his recipient. At the crossroads of multiple pragmatic, aesthetic, dramaturgical, philosophical matters, this literary search questions the "pact" of writing from an author towards everyone, towards the world, looking for a "true" space to be shared and whose truth would precisely be the result of its impossible affirmation. A theater that says something to whisper something else.