De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons qu’il existe une relation étroite entre la profonde ambivalence du mythe de Lilith et les représentations de la femme fatale et pour ce faire, procédons à une analyse comparative de l’œuvre de Rachilde et Octave Mirbeau qui, dans La Jongleuse et Le Jardin des supplices, réécrivent le mythe de Lilith. De la comparaison des deux Lilith, ressortent deux représentations extrêmement contrastées de la femme fatale : alors que Rachilde dresse toute droite son héroïne dans son désir ascensionnel, Mirbeau construit une Clara toute en mollesse et assoiffée de chair. Par l’analyse des rapports qui s’articulent entre deux écritures, nous démontrons que la dualité inhérente au mythe de Lilith répond à l’instabilité d’une société aux prises avec de multiples angoisses en matière d’identité sexuelle. Cette comparaison nous amène aussi à nous interroger quant aux traces d’une certaine sexuation dans la voix littéraire. / Over the course of the nineteenth century the legendary female figures of ancient myth had become emblematic of the female sex. This association grew stronger toward the end of the century and the “feminine imaginary” fed itself on a social discourse that contributed to the construction of femininity in terms of menace and depravity. The mythical figures that lent their faces to representations of the femme fatale became symbols of the degeneration of French society. With all of the vices of the century gathered into her body, this female figure appears to us as eminently revealing as to the understanding of an era. However, the figure of the femme fatale is fundamentally ambivalent, and the mythical figure of Lilith, which can embody love as well as destruction, represents the two opposing aspects of nineteenth century representations of femininity. This study shows that there is a direct relationship between the profound ambivalence that characterizes the myth of Lilith and representations of the femme fatale. To this end, we undertake a comparative analysis of the works of Rachilde and Octave Mirbeau, who rewrite the myth of Lilith in The Juggler and The Torture Garden. Two extremely contrasting representations emerge from the comparison between the two “Liliths”: as Rachilde portrays her upstanding heroine’s desire to transcend her body, Mirbeau constructs his Clara as soft and mired in the body, thirsty for carnal pleasure. By examining the relationships that become apparent between these works, we demonstrate that the duality inherent in the myth of Lilith responds to the instability of a society grappling with multiple anxieties regarding sexual identity. This comparison, therefore, allows us to interrogate the traces of a specific mode of sexuation in the literary voice.

Cette étude tente de saisir l’ambiguïté du propos pessimiste dans trois romans de Catulle Mendès (1841-1909). D’un côté, la construction du héros suggère une critique psychopathologique du pessimisme conforme au moralisme de la doxa fin-de-siècle qui dénie à cette pensée toute valeur spéculative. De l’autre, la représentation d’une société dissimulatrice contre laquelle le héros est en lutte confère à celui-ci un pouvoir de dévoilement. Cette tension se trouve condensée dans le concept de monstre qui fait l’objet d’une double lecture, à la fois pathologique et herméneutique. La conscience du héros étant conforme par sa stérilité à la conscience décadente telle qu’elle est définie par Jankélévitch, le système de pensée qu’elle féconde peut être assimilé à un monstre. Or, le sens premier du monstre pessimiste est le caractère inhumain de la vérité, autant comme quête que comme révélation. Seul un monstre peut porter la vérité car celle-ci est à sa mesure, intolérable. Elle renvoie l’homme à la toute-puissance de l’instinct dont découlent ses idéaux. Partant d’une conception pessimiste, le propos de Mendès débouche ainsi sur une morale idéaliste qui prône contre l’universelle tare le mensonge universel. / This thesis tries to make sense of the ambiguity of pessimism in three of Catulle Mendès’s novels. On the one hand, the construction of the hero indicates a criticism of pessimism based on psychopathology, typical of late nineteenth-century moralism as it denies the doctrine any speculative value. On the other hand, the representation of a society full of liars against which the hero leads a struggle bestows upon him a power of revelation. This tension is condensed in the concept of monster which is submitted here to both a pathological and an hermeneutic reading. The hero’s conscience conforms to the type of decadent conscience as defined by Jankélévitch: the system of thought produced by it cannot be considered other than monstous. In addition, the primary feature of the pessimistic monster lies in the inhuman nature of the truth, as search and as revelation. Only a monster can profess the truth because it is made to his measure that is: intolerable. The truth reflects the supremacy of instinct and negates all ideals. Based on a thoroughly pessimistic conception, Mendès’point lies in an idealistic morals which advocates the universal lying against universal vice.

O objetivo da presente dissertação é demonstrar quais são as formas em que a legalidade pode ser restaurada, diante de um ato administrativo inválido, bem como quais os critérios e interesses a serem considerados na opção por uma destas formas. Para tanto, iniciamos pelo estudo do ato administrativo, seus elementos e requisitos de validade. Em seguida, passamos ao estudo do ato administrativo inválido e os diferentes graus de invalidade dependendo do elemento do ato atingido pelo vício. Na sequencia, analisamos os dois princípios que são fundamentais para nortear o administrador na escolha do melhor meio de restaurar a legalidade: o princípio da legalidade e o da segurança jurídica. A partir daí, elencamos as formas de restauração da legalidade por meio da manutenção dos efeitos do ato administrativo inválido (convalidação e suas espécies) e da retirada do ato e extinção dos seus efeitos (revogação e anulação). Ainda sob a ótica da restauração de legalidade, analisamos os institutos da prescrição e decadência, uma vez que estes constituem limites à invalidação. Por fim, demonstramos a imprescindibilidade da instauração do processo administrativo para restauração da legalidade, que em tese pode lesar direitos e interesses de terceiros. / The objective of this dissertation is to demonstrate what are the ways in which legality can be restored before an invalid administrative act, as well as the criteria and interests to be considered in the choice of one of these forms. To this end, we initiated the study of the administrative act, its elements and requirements of validity . Then we move to the study of invalid administrative act and the different degrees depending on the element of invalidity of the act reached by addiction. In the sequel, we analyze the two fundamental principles that are to guide the administrator to choose the best way to restore legality: the principle of legality and legal certainty. From there, we list the forms of restoration of legality by the maintenance of the effects of invalid administrative act (convalidation and its species) and the withdrawal of the act and termination of its effects (revocation and annulment). Yet from the perspective of restoring legality, we analyze the institutes of prescription and decadence, since these are limits to invalidation. Finally, we demonstrate the indispensability of initiation of the administrative procedure for restoration of legality, which in theory would harm the rights and interests of third parties.

No description available.

Submitted by Marlene Santos (marlene.bc.ufg@gmail.com) on 2014-10-02T20:24:39Z No. of bitstreams: 2 Dissertação - Rivaldene Rodrigues Natal - 2013.pdf: 2422890 bytes, checksum: e25cd4ce4041eb65218466c325d7ee87 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2014-10-02T20:44:03Z (GMT) No. of bitstreams: 2 Dissertação - Rivaldene Rodrigues Natal - 2013.pdf: 2422890 bytes, checksum: e25cd4ce4041eb65218466c325d7ee87 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2014-10-02T20:44:03Z (GMT). No. of bitstreams: 2 Dissertação - Rivaldene Rodrigues Natal - 2013.pdf: 2422890 bytes, checksum: e25cd4ce4041eb65218466c325d7ee87 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-11-22 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / n this dissertation we search to establish a relation between History and Literature by the intermediate of the psychological novel Crônica da casa assassinada (1959), of the Brazilian writer (specifically from the state of Minas Gerais) Lúcio Cardoso. Starting from this work, we investigate some aspects related to the decadence of the rural oligarchies of Minas Gerais, from the decade of 1930 and on. The path followed by the rural oligarchies, from the apogee to the decay of the economical, political and social systems is explained considering some objective and subjective aspects that have permeated the relation between these subjects. Consequently, we search, through the novel, an interpretation of the Brazilian History in a determinate period. At the same time, through the characters, we settle an interpretation by the point of view of a more psychological analysis. We started by the supposition that from a fictional narrative it is possible to establish nexus with the social reality. We pick up from the novel typologies of world configuration that we connect with the reality of the man and his existence with the author’s intention of representing characters that have searched, through the inner sounding, recreate the environment of instability where they lived. These characters are seen as a representation of a universality at the same time that the writer, in an intentional way or not, transpose to his work his vision of the elements that have composed the social reality / Nesta dissertação buscamos estabelecer uma relação entre História e Literatura por intermédio do romance psicológico Crônica da casa assassinada (1959), do escritor mineiro Lúcio Cardoso. A partir dessa obra investigamos alguns aspectos relacionados à decadência das oligarquias rurais mineiras no período pós década de 1930. O caminho percorrido pelas oligarquias rurais, do apogeu ao declínio do sistema econômico, político e social em que estavam inseridas neste contexto é aqui esmiuçado na tentativa de darmos conta de alguns aspectos objetivos e subjetivos que permearam as relações destes sujeitos. Portanto, buscamos, através do romance, fazer uma interpretação da História do Brasil em um determinado período e ao mesmo tempo, através das personagens, estabelecer uma interpretação do ponto de vista de uma análise mais psicológica das relações representadas na obra. Partimos do suposto de que de uma narrativa ficcional é possível estabelecermos nexos com a realidade social. Do romance retiramos tipologias de configuração de mundo com as quais concatenamos a realidade do homem e sua existência no mundo com a intenção subjetiva do autor ao retratar em sua obra personagens que buscavam, através da sondagem íntima, recriar o ambiente de instabilidade em que viviam. As personagens ali são vistas por nós como a representação de uma universalidade na medida em que o escritor, de forma intencional ou não, transpôs para sua obra sua visão dos elementos que compunham a realidade social da qual fez parte.

When literary movements do not grow out of specific groups who adopt a name fort heir endeavors, they have usually been named to refer to certain stylistic features. Such is the case with "Decadence," a rubric referring to specific poets in turn-of-thecentury France. Most extant work on the artists of decadent literature focuses on its stylistic elements and narrative tropes: their reaction against the image of artist/creator from Romanticism, to cast the artist as egotist; their plea for art's autonomy (as well as for art for art's sake and for the artist as society's outsider); and their idea that art must be sensationalist and melodramatic, bizarre, perverse, exotic, or artificial to make an impact. What is overlooked in traditional approaches to decadent literature is its own frequent claims to social critique, toward which Julia Kristeva points in the un-translated second half of her Revolution in Poetic Language (1974). Moreover, much decadent literature emerges at a historical moment in which a ruling class is under fire; the typical "decadent" work portrays the decline of a class, and the possible repercussions of that deconstruction for the individuals in it. To approach the literature of fin de siècle decadence as social critique, this project considers three novels taken as the three bibles of the decadent movement in French, Italian and English literatures: Huysmans' A rebours (1884), D'Annunzio's own recreation of A rebours, his own Il piacere (1889), and Oscar Wilde's The Picture of Dorian Gray (1891). I will argue that, in this era of emergent modernism, decadent literature tries to claim a more resistant and social critical position from within class structure than does modernism, and that decadent literature, despite its superficial affinities with the Romanticism to which modernism also refers, not only is a literature of the struggle of the individual against an uncaring social world, but also underscores the necessity of reconstructing the hero/narrator's ego, as his identity reflects a class position which must be altered if it is to remain viable. / text

De légendaires, les grandes figures féminines des mythes anciens sont devenues, au fil du XIXe siècle, emblématiques. Le mouvement s’amplifie vers la fin du siècle et l’imaginaire « féminin » se nourrit alors d’un discours social qui contribue à construire la féminité en termes de menace et de dépravation. Les figures mythiques prêteront leurs traits à celle de la femme fatale, devenue le symbole de la dégénérescence de la société française. Engrangeant dans son corps représenté tous les vices du siècle, la figure féminine nous est apparue éminemment révélatrice quant à la compréhension d’une époque. Or, la figure de la femme fatale s’avère fondamentalement ambivalente et Lilith, pouvant à la fois incarner l’amour et la destruction, affiche ce double visage de la féminité. Nous démontrons qu’il existe une relation étroite entre la profonde ambivalence du mythe de Lilith et les représentations de la femme fatale et pour ce faire, procédons à une analyse comparative de l’œuvre de Rachilde et Octave Mirbeau qui, dans La Jongleuse et Le Jardin des supplices, réécrivent le mythe de Lilith. De la comparaison des deux Lilith, ressortent deux représentations extrêmement contrastées de la femme fatale : alors que Rachilde dresse toute droite son héroïne dans son désir ascensionnel, Mirbeau construit une Clara toute en mollesse et assoiffée de chair. Par l’analyse des rapports qui s’articulent entre deux écritures, nous démontrons que la dualité inhérente au mythe de Lilith répond à l’instabilité d’une société aux prises avec de multiples angoisses en matière d’identité sexuelle. Cette comparaison nous amène aussi à nous interroger quant aux traces d’une certaine sexuation dans la voix littéraire. / Over the course of the nineteenth century the legendary female figures of ancient myth had become emblematic of the female sex. This association grew stronger toward the end of the century and the “feminine imaginary” fed itself on a social discourse that contributed to the construction of femininity in terms of menace and depravity. The mythical figures that lent their faces to representations of the femme fatale became symbols of the degeneration of French society. With all of the vices of the century gathered into her body, this female figure appears to us as eminently revealing as to the understanding of an era. However, the figure of the femme fatale is fundamentally ambivalent, and the mythical figure of Lilith, which can embody love as well as destruction, represents the two opposing aspects of nineteenth century representations of femininity. This study shows that there is a direct relationship between the profound ambivalence that characterizes the myth of Lilith and representations of the femme fatale. To this end, we undertake a comparative analysis of the works of Rachilde and Octave Mirbeau, who rewrite the myth of Lilith in The Juggler and The Torture Garden. Two extremely contrasting representations emerge from the comparison between the two “Liliths”: as Rachilde portrays her upstanding heroine’s desire to transcend her body, Mirbeau constructs his Clara as soft and mired in the body, thirsty for carnal pleasure. By examining the relationships that become apparent between these works, we demonstrate that the duality inherent in the myth of Lilith responds to the instability of a society grappling with multiple anxieties regarding sexual identity. This comparison, therefore, allows us to interrogate the traces of a specific mode of sexuation in the literary voice.

Cette étude tente de saisir l’ambiguïté du propos pessimiste dans trois romans de Catulle Mendès (1841-1909). D’un côté, la construction du héros suggère une critique psychopathologique du pessimisme conforme au moralisme de la doxa fin-de-siècle qui dénie à cette pensée toute valeur spéculative. De l’autre, la représentation d’une société dissimulatrice contre laquelle le héros est en lutte confère à celui-ci un pouvoir de dévoilement. Cette tension se trouve condensée dans le concept de monstre qui fait l’objet d’une double lecture, à la fois pathologique et herméneutique. La conscience du héros étant conforme par sa stérilité à la conscience décadente telle qu’elle est définie par Jankélévitch, le système de pensée qu’elle féconde peut être assimilé à un monstre. Or, le sens premier du monstre pessimiste est le caractère inhumain de la vérité, autant comme quête que comme révélation. Seul un monstre peut porter la vérité car celle-ci est à sa mesure, intolérable. Elle renvoie l’homme à la toute-puissance de l’instinct dont découlent ses idéaux. Partant d’une conception pessimiste, le propos de Mendès débouche ainsi sur une morale idéaliste qui prône contre l’universelle tare le mensonge universel. / This thesis tries to make sense of the ambiguity of pessimism in three of Catulle Mendès’s novels. On the one hand, the construction of the hero indicates a criticism of pessimism based on psychopathology, typical of late nineteenth-century moralism as it denies the doctrine any speculative value. On the other hand, the representation of a society full of liars against which the hero leads a struggle bestows upon him a power of revelation. This tension is condensed in the concept of monster which is submitted here to both a pathological and an hermeneutic reading. The hero’s conscience conforms to the type of decadent conscience as defined by Jankélévitch: the system of thought produced by it cannot be considered other than monstous. In addition, the primary feature of the pessimistic monster lies in the inhuman nature of the truth, as search and as revelation. Only a monster can profess the truth because it is made to his measure that is: intolerable. The truth reflects the supremacy of instinct and negates all ideals. Based on a thoroughly pessimistic conception, Mendès’point lies in an idealistic morals which advocates the universal lying against universal vice.

«Construire hors limite: collisions fantastiques entre corps et machines dans la littérature fin-de-siècle française et anglaise» explore un ensemble de textes qui ont surgi à la fin du dix-neuvième siècle en réponse et en réaction à la fulgurante évolution de l’environnement scientifique et technologique, et qui considèrent la relation entre l’homme et la machine en fantasmant sur la zone grise où ils s’intersectent. Les principaux textes étudiés comprennent L’Ève future de Villiers de l’Isle-Adam, Le Surmâle d’Alfred Jarry, Trilby de George Du Maurier, Le Château des Carpathes de Jules Verne, ainsi qu’une sélection de contes dont nous pouvons qualifier de «contes à appareils», notamment «La Machine à parler» de Marcel Schwob. Utilisant la théorie des systèmes comme base méthodologique, cette dissertation cherche à réinterpréter les textes de la fin du dix-neuvième siècle qui naviguent les limites de l’humain et du mécanique et les surfaces sensibles où ils se touchent et interagissent en les réinscrivant dans un projet plus vaste de construction d’identité qui défie le temps chronologique et les échelles mathématiques. Le lien entre la théorie des systèmes et l’architecture – comme méthode d’organisation d’espace blanc en espace habitable – est exploré dans le but de comprendre la manière dont nous façonnons et interprétons le néant à l’origine de l’identité individuelle, et par association collective, en pratiquant littéralement la schématisation et la construction du corps. Des auteurs tels Villiers et Jarry imaginent la construction du corps comme une entreprise scientifique nécessairement fondée et réalisée avec les matériaux et les technologies disponibles, pour ensuite démanteler cette proposition en condamnant le corps technologique à la destruction. La construction d’une identité amplifiée par la technologie prend donc des proportions prométhéennes perpétuellement redessinées dans des actes cycliques de rasage (destruction) et d’érection (édification), et reflétées dans l’écriture palimpsestique du texte. L’intégrité du corps organique étant mis en question, le noyau même de ce que signifie l’être (dans son sens de verbe infinitif) humain pourrait bien s’avérer, si l’on considère la correspondance entre perte de voix et état pathologique dans les textes de Du Maurier, Verne et Schwob, être une structure des plus précaires, distinctement hors sens (unsound). / “Building Beyond Limits: Fantastic Collisions Between Bodies and Machines in French and English Fin-de-Siècle Literature” explores late-nineteenth-century texts that emerged in response, or in reaction to, the rapidly evolving scientific and technological environment and which specifically consider man’s relationship to the machine by fantasizing about the grey area where they intersect. The core texts examined include Villiers de l’Isle-Adam’s L’Ève future, Alfred Jarry’s Le Surmâle, George Du Maurier’s Trilby, Jules Verne’s Le Château des Carpathes, and a selection of short stories which we may refer to as contes à appareils, most prominently Marcel Schwob’s “La Machine à parler.” Using systems theory as its underlying structure, this dissertation sets out to reinterpret late-nineteenth-century texts that navigate the limits of the human and the mechanical and the sensitive surfaces where they touch and interact by re-inscribing them into a greater project of identity-building that defies chronological time and mathematical scale. As such, the connection between systems theory and architecture – as a method of organizing blank space into space that is inhabitable – is explored in order to understand the way in which we shape and make sense of the void at the origin of individual, and by extension collective, identity by engaging in the literal act of body mapping and building. Authors such as Villiers and Jarry set up the building of bodies as a scientific endeavor which must necessarily rely on available materials and technologies only to level this proposition by condemning the technological body to destruction. The construction of a technologically-enabled identity thus takes on promethean proportions which are perpetually redesigned in the cyclical acts of raising and razing, and reflected in the palimpsestic qualities of the texts. At stake is the integrity of the organic body, of the very nucleus of what it means to be human which, as evidenced by the equating of pathology with the loss of voice in the texts of Du Maurier, Verne and Schwob, may very well prove to be a structure which is distinctly unsound.

Thesis (M.A.)--Miami University, Dept. of Spanish and Portuguese, 2003. / Title from first page of PDF document. Includes bibliographical references (p. 121-122).