La présente thèse examine l’apparition d’un sujet de l’écriture chinoise durant la période allant de la première guerre de l’opium à la troisième guerre d’Indochine. « Écriture » est ici comprise, d’une part, au sens strict de l’activité littéraire et, d’autre part, au sens plus large, philosophique, que la déconstruction a donné à ce terme. Ainsi, la notion d’excription (néologisme emprunté au philosophe Jean-Luc Nancy) nous permet de revisiter un ensemble de textes qui ont mis au cœur de leur réflexion ou de leur expérience la question de la création, à travers l’écriture, d’un sujet et d’une communauté de sujets. Au cours des trois parties qui la composent, cette thèse interroge transversalement les hypothèses historiques sur la modernité de sinologues tels que Naitô Konan et Takeuchi Yoshimi, ainsi que les conduites créatrices de Huang Zunxian, Wifredo Lam ou encore Zhang Guixing. Car excription signifie aussi que la recherche menée suit un mouvement d’extériorisation, de mise au dehors du sens que peuvent recouvrir le sujet chinois et sa communauté. / This dissertation studies the birth of what we term the subject of Chinese writing, during the period that stretches from the first Opium War to the Third Indochina War. Our research understands “writing” in the narrow sense of literary activity but also in the wider sense that deconstruction has attached to it. Hence, excription as a philosophical concept (created by the philosopher Jean-Luc Nancy) allows us to reinterpret a number of texts whose central thought or experience is the creation of a subject and a community of such subjects. Throughout three parts we read transversally the historical hypotheses on modernity by sinologist such as Naito Konan and Takeuchi Yoshimi as well as the poetic creations of Huang Zunxian, Wifredo Lam or Zhang Guixing. One must indeed keep in mind that excription also means a movement of externalization of meaning, that, precisely, of the Chinese subject and his community.

Cette thèse a l’allure d’une géographie de l’historial visant à cartographier le site où la philosophie atteint sa fin. Une telle géographie obéit à, au moins, deux contraintes matricielles. La première contrainte exige de décrire le site en vue de le localiser : notre thèse consistera alors à poser que le site en question ne pourra être occupé que par la finitude infinie car c’est seulement en elle que résiderait son avoir-Lieu matinal ; avoir-Lieu par où la finitude devra pousser son originarité créatrice jusqu’à libérer en elle une infinité affectée en retour d’un sens inédit. La seconde contrainte exige de défricher des territoires textuels permettant d’exhiber le système de coordonnées conceptuelles susceptible de cartographier le site de la FI : notre thèse consistera alors à poser que c’est le territoire élaboré par Derrida qui héberge en lui la cartographie natale de la FI en raison de l’intervention à la fois inaugurale et structurale de la FI sur ce territoire. Dès lors, séjourner dans l’unité articulée de ces deux contraintes exigera d’endurer l’installation spéculative dans la proposition cardinale suivante : la finitude infinie est la déconstruction. Cette endurance se donnera pour tâche de re-Marquer la FI sur le territoire derridien en (re)construisant d’une part le plan d’intelligibilité de la FI à travers l’agencement de ces deux lignes directrices (phénoménologico-Transcendantale et thanatologico-Transcendantale) et d’autre part, en montrant que si la FI confronte le territoire derridien à une charge aporétique opérant comme un pharmakon, cette pharmacologie pourrait libérer des figures inédites de la finitude infinie – figures herméneutiques (Heidegger) et spéculatives (Hegel). / We set out to construct a geography of historical aiming to cartograph the site where philosophy reaches its end. In so doing, two main constraints at least have to be taken into account. We first have to describe the site in order to locate it. We argue that the site in question can only be occupied by infinite finitude, for it is our assumption that only infinite finitude holds its inaugural taking-Place, a taking-Place wherein infinite finitude will have to push its creative originarity so far as to release in itself an infinity that will be affected in return by a novel meaning. Secondly, we have to break new ground in textual territories, which will enable us to uncover the system of conceptual coordinates that will make it possible to cartograph the site of infinite finitude. We argue that it is the territory constructed by Derrida that hosts the native cartography of infinite finitude because of the intervention, both inaugural and structural, of infinite finitude on that territory. It follows that, in order to dwell in the articulated unit of these two constraints, we have to maintain a speculative posture in the following cardinal proposition: infinite finitude IS deconstruction. This posture makes it possible to delineate and re-Inscribe infinite finitude on the Derridean territory by (re)constructing a plane of intelligibility through the combination of both the phenomenologico-Transcendental and thanatologico-Trancendental axes on the one hand; by showing, on the other hand, that if infinite finitude confronts the Derridean territory with an aporetic charge operating as a pharmakon, that pharmacology could release novel figures of infinite finitude - hermeneutic (Heidegger), as well as speculative (Hegel), ones.

Cette thèse aborde l’ensemble de l’oeuvre théâtrale de l’auteur et metteur en scène français Didier-Georges Gabily (1955-1996) ; elle s’appuie sur les textes publiés et quelques inédits ainsi que sur des archives de la scène et desentretiens réalisés avec certains de ses acteurs et collaborateurs. L’étude est menée dans la perspective d’une poétique de la mémoire, une vision désenchantée de la société contemporaine surgissant de la confrontation permanente du passé avec le présent. Sont étudiées les modalités de déconstruction des mythes dans l’espace théâtral contemporain, qu’il s’agisse de mythes hérités du théâtre ou de mythes à dimension politique, tel le communisme ; ces deux angles permettant alors d’interroger la notion de communauté en son devenir. Cette recherche repose sur une observation des effets de la mémoire sur la structure du drame comme sur les régimes de la parole. On y observe en effet la récurrence d’une structure dramaturgique reposant sur une antériorité de la catastrophe que les personnages tentent vainement de recomposer. L’action y est alors remplacée par le récit, ce qui tend à produire de nombreux monologues comme une romanisation du drame. L’analyse s’appuie sur une approche esthétique mise en lien avec l’évolution des régimes d’historicité, ce qui aboutit à une lecture de l’oeuvre révélant la complexité avec laquelle l’auteur interroge le rapport au temps et à la représentation. Le dernier temps de cette recherche explore les relations de l’écriture au plateau et révèle ainsi un principe constant d’hybridation discursive manifestant l’importance du corps des acteurs et de la matérialité de la scène au sein de l’écriture. Cette étude tend à dénouer les écheveaux des héritages dans l’oeuvre théâtrale de Didier-Georges Gabily, thématique conduisant à la formulation d’une esthétique de la résistance allant contre la violence généralisée de la société libérale / This thesis covers the work of French writer and stage director Didier-Georges Gabily (1955-1996), his published and unpublished texts as well as production archives and interviews with his actors and collaborators. The perspective is that of a poetics of memory, a disenchanted vision of contemporary society that transpires out of the confrontation of the past with the present, resulting in the deconstruction of myths in contemporary dramatic space, be they myths bequeathed by former directors/actors or political myths such as communism; in either case, these two angles open a perspective onto a community in the making. The analysis is based on an observation of the impact of memory upon both dramatic structure and speech/dialogue patterns, as a recurrent dramaturgical structure resting on a former catastrophe is what the characters are constantly – and helplessly – trying to piece back together. As a result, action is replaced by narrative, which results in aseries of monologues, a “romanization” of drama (Sarrazac). The approach is based on aesthetic criteria together with the analysis of the dynamics of history in the work (both as a series of topoï and as a structuring pattern) to offer a reading of the work that reveals the complex interplay of time and performance in the author’s quest. The influence of the concreteness of the stage on Gabily’s writing is analysed in the last section of this research and reveals a process of perpetual hybridization, manifesting the importance of the actors’ bodies and the materiality of the stage in his writing. The analysis of the different threads in the fabric of literary and artistic heritage in Gabily’s work for the stage reveals the emergence of an aesthetics ofresistance going against the overall violence prevailing in liberal society

The goal of this work was to prove the fact, that definable closure of any subclass of cotorsion modules closed under direct sums consists of $\Sigma$-cotorsion modules. The only known proof uses substantially the calculus of derived category, in this work we tried to prove the same, but only by means of a given category of all right $R$-modules and set-theoretic properties of partial orders indexing direct systems of $R$-modules. The main results of this work are proved under additional assumptions on the ring $R$, in particular $\vert R\vert\leq\aleph_{\omega}$ or $\text{dim}(R)<\aleph_{\omega}$. Attempts to give s proof in the same general situation, where the fact is known to hold, was not successful. Powered by TCPDF (www.tcpdf.org)

- Handling the problem of deconstruction of the law in perspective of the interpretation of the law methodology The target of this thesis is firstly to describe the concept of the deconstruction of the law - the phenomenon of the last and probably also future decades. Secondly, the thesis describes the influence of the deconstruction of the law on the interpretation of the law. The thesis is dived into the three main parts and the conclusion. The concept of the deconstruction of the law and its causes are described in the first part. The deconstruction of the law is a process changing quality of legal order. As a consequence of that interpretational difficulties come in specific situations (or more precisely - it is not sufficient to infer a legal rule from regulatory legislation just by standard interpretative methods). This process has its several causes. Decomposition of religion and ethics (as the two significant social regulatory systems) and perception of the law as a technical instrument guiding the society, they both caused the extension of the law. If the law is now understood as the technical instrument guiding the society, then an acceleration of social development results in the acceleration of changes in legal rules. The extension and dynamics of the law they both negatively influence...

Cette thèse vise à questionner la place de la violence dans la déconstruction de Derrida. Nous avons suivi deux axes depuis lesquels nous avons fait une lecture de son œuvre dès les années soixante jusqu'à son dernier séminaire sur la souveraineté : la violence du langage et la violence à l'origine du droit. En montrant la violence intrinsèque à la loi et à toute légitimation du pouvoir, la déconstruction porte un soupçon à toute théorie de la justice basée sur un accord institutionnel. Mais auparavant, si la légitimation est un acte de langage, pour faire une critique de la violence, il faut donc comprendre la force performative dans la fondation des institutions et analyser la deconstructibilité du droit et l'indéconstructible de la justice. Ces réflexions, autour de la langue et de la loi, obligent à postuler la différance entre, d'une part l'institution du droit et la langue de la loi et, d'autre part, la promesse d'un temps de justice à partir de l'hospitalité inconditionnelle et de l'idiome. Nous voulons montrer comment la philosophie de Derrida répond tout au long de l'histoire de la déconstruction, à une exigence de justice qui demande d'analyser la violence du langage dans la structure juridico-politique. Ceci nous permettra d'aborder la dimension politique de la déconstruction et une injonction faite à la philosophie : ne pas « justifier » les violences par des explications. / Abstract: This thesis seeks to question the place of violence in Derrida's deconstruction. Two lines of thought were pursued which informed a reading of his work from the 1960s up until his final seminar on sovereignty: the violence of language and the violence at the origin of right. By displaying the intrinsic violence of the law and of all legitimation of power, deconstruction raises suspicion about any theory of justice based on institutional agreement. Beforehand, however, if this legitimation is an act of language, in order to be able to carry out a critique of violence, the performative force underlying institutions must be understood, and the deconstructibility of right and what cannot be deconstructed in justice must be analyzed. These reflections on language and the law lead us to postulate the différance between, on the one hand, the institution of right and the language of the law, and on the other, the promise of a time of justice on the basis of unconditional hospitality and the idiom. We aim to show how the philosophy of Derrida responds throughout the history of deconstruction to a demand for justice that insists on analyzing the violence in the juridico-political structure. This will allow us to address the political dimension of deconstruction as well as to examine an injunction laid on philosophy: not to "justify" violence by way of explanation.

While focusing on high fashion and architecture, this thesis explores an aesthetic transition between the early 20th century’s “modern” style and the later 20th century style of “deconstruction.” We believe the style of “deconstruction” revolutionized visual metaphors for modern gender identity through the manipulation and experimentation of surfaces. These metaphors were accomplished through transformation relationships between surface, structure, and ornament. This study exclusively uses examples from women’s fashion and building façades for its analysis

The author will use three case studies not only to expose the falsehood of the philosophy that poverty breeds deep spirituality, but also to demonstrate the disastrous effects of poverty to the human body. The dissertation will explore the reasons that caused some poor black ministers, more especially those of the Church of the Nazarene, not only to accept but also to preach positively about the philosophy that poverty breeds deep spirituality. (a) The first case study happened during my first year in the ministry, when the author had to use a bus in order to help my sick wife to hospital. We had to walk for about two hours a distance of almost 500 meters in order to reach the bus stop, because the stipends I received made it impossible for me to hire a transport to the nearest town. The bus driver knew the pathetic conditions faced by the black community, so he could not turn away a critically ill passenger. He opted to allow us into the bus and face whatever difficulties we may encounter along the way. The incident exposed the worse experiences of the poor people. (b ) The second study case involves Themba (Hope), the author’s son, whose anger was betrayed during a Sunday morning service when he refused to have a direct eye contact with the author who was preaching about the God who provides for all of our needs ( Genesis 22:14). His avoidance of a direct eye contact with his father was another way of demonstrating his anger (Carter and Minirth 1993:5). Themba (Hope) demonstrated his dissatisfaction about the pathetic situation of poverty at home during a visit of a missionary Tom Giggs (fictitious name) that he sat directly opposite Giggs in order to expose his pair of trousers that was torn at both knees. Giggs out of embarrassment gave the young man R200 in order to buy clothing. A few years later, Themba was on his to board a train, when unknown persons beat him so much that they left him lying on one of the streets on the city, Johannesburg thinking that he was dead. A Good Samaritan took him home, placed him on his bed then left. We took him to hospital, where doctors had no alternative but to refer him to the St. John’s hospital for the removal of his right eye. The hole where his eye was reminds the family of the beating that our son experienced. (c) The third study case concerns Thabile (Rejoice), the author’s only daughter who resorted to a false marriage as an escape mechanism to the hunger and the ridicule that was experienced in the family. The marriage ended in a divorce just only after three years. Then she died at a time when the animosity was beginning to be healed thus living a ten-year-old son Nkosinathi (Immanuel) behind The dissertation will demonstrate the falsehood of the philosophy that poverty breeds deep spirituality. To the thousands of poor people in our country South Africa, the Constitution with the Bill of Rights that protects our freedom and dignity have no meaning (Pieterse 2001: 1-2). The dissertation will highlight that poverty can never be a blessing (Mc Cauley 1993: 47). The poor people have little income with which to support their families. They eat food of a poor quality with a low nutritional value, resulting in under nourishment and malnutrition. Malnutrition contributes to a poor performance of children in school, and contributes to a lower labour output (De Beer (co – editor) Swanepoel 2000:10). The author supports the scriptural view of the permanence of marriage (Matthew 19:6). However, when the marriage had broken down, the couples needs all the pastoral care they can get as a therapy because Jesus’ mission was to heal the broken hearted (Luke. 4:18). The divorce challenged the author to equip myself on how to deal with those who are hurting, and help the congregants to render effective pastoral care to those in need. The tone of the dissertation is to encourage forgiveness and reconciliation, and to understand that anger and resentment are self-defeating. They hurt the bearer more than they hurt the person they were intended to harm (Warren 2002: 28). Finally, the discipline of philosophy will be engaged in order to help the clergy to avoid the conservative beliefs from their thinking and to apply their faith practically by enabling them to compare the ideas, materials and skills to challenge any problem including the suffering of the clergy and their families. (Obeng el at 2000:33). / Thesis (PhD)--University of Pretoria, 2009. / Practical Theology / unrestricted

Jacques Derrida est signataire de ce qu’on appelle une "œuvre" : un vaste corpus de textes où d’autres "œuvres", en grand nombre, sont citées, étudiées, analysées ou déconstruites. Souvent, il utilise le mot "œuvre", et plus rarement mais de manière significative, il interroge ce mot ou ce qu'il appelle l'"énigme" du concept d'œuvre. Dans ce qu’il « dit » alors, un double « faire » est impliqué. D’une part, il se demande « Que fait cette œuvre ? », et nous pouvons analyser et commenter ce qu’il dit. Mais d’autre part, nous pouvons aussi nous demander : « Mais que fait Derrida quand il analyse ce que fait cette œuvre ? ». C’est cette deuxième question qui tend à prévaloir dans cette étude. Dans les champs de l'histoire de l'art, de l'esthétique ou de la critique littéraire, il existe une immense littérature autour de la question de l'œuvre. La convoquer, dans le format limité de ce travail, aurait conduit à des simplifications, des approximations ou des omissions. On a donc fait un autre choix : chercher dans le texte derridien lui-même, dans son faire, son auto-hétéro-affection, les éléments qui pourraient conduire à l’élaboration d’un concept d'œuvre spécifique et singulier. Afin de tenir compte de la critique externe et aussi de la longue histoire de la philosophie autour de cette thématique, on a mis à profit la structure d'"invagination" du texte derridien. Dans ce texte même, en prenant appui sur la littérature secondaire, on peut repérer d'autres pensées de l'œuvre, par exemple celles de Lévinas ou d’Heidegger. Cette méthode a conduit aux hypothèses suivantes : 1. Il y a dans l'œuvre derridienne, y compris à travers l’analyse des autres œuvres, la mise en jeu d’un "Il faut", d’une ou de plusieurs inconditionnalité(s), et ce dès les premiers textes. 2. La structure d'auto-immunité, décrite dans l'œuvre, opère dans l'œuvre. "Il faut" se protéger contre quelque chose. Quoi? Notre hypothèse, c'est qu'il s'agit du mal radical. 3. Malgré les apories multiples dont la description occupe une large partie de l'œuvre, le désir de protection, en principe impossible à réaliser, réussit quand même. On peut tenter de démontrer cette réussite, mais on peut aussi, surtout, en témoigner par la lecture : Je dois reconnaître, je dois avouer qu'elle me vaccine. 4. Cette opération, que nous nommons aussi "œuvrance", est performative. Elle passe par cinq principes inconditionnels : laisser l’avenir ouvert, s’adresser à l’autre comme tel, s’aventurer pour plus que la vie, garder le secret, répondre des principes - en ce moment même. 5. Cela conduit à la définition d'un "principe de l'œuvre" spécifique de l’œuvre derridienne dont l'énoncé est le suivant : Ce qui a lieu dans une œuvre s’affirme inconditionnellement, en-dehors de tout calcul, de toute finalité et de toute transaction. / Jacques Derrida signs what is called “une oeuvre” ("a work") : a vast corpus of texts, in which other "works", great in number, are cited, studied, analyzed or deconstructed. He often uses the word "work", and more rarely, but in a significant way, he interrogates this word, or what he calls "the enigma" of the concept of work. In what he "says", then, a double "doing" is implied. On the one hand, he asks himself "What makes this work?", and we can analyze and comment upon what he says. But, on the other hand, we can also ask ourselves : "But what does Derrida do when he analyzes what it is that makes this work?" This second question is the one that tends to prevail in this study. In the fields of art history, esthetics or literary criticism, there exists an enormous litterature around the question of the work. To raise it, in the limited form of this essay, would lead to simplifications, approximations, or omissions. We have therefore made another choice : to seek out, in the derridian text itself, in its "doing", its auto-hetero-affection, the elements that could lead to the elaboration of a specific and singular concept of work. In order to account for external criticism, and also of the long history of philosophy around this thematics, we have privileged the Derridian text's structure of "invagination". In his text itself, drawing on the secondary literature, we can link up other thoughts involving the work, for example those of Levinas or Heidegger. This method has lead to the following hypotheses: 1. In the derridian work, including across the analysis of other works, the setting into play of an "it must", of one or several unconditional(s), and beginning with the first texts. 2. The structure of auto-immunity, described in the work, is operating within the work. "It must" protects itself against something. Against what? It is our hypothesis that this has to do with radical evil. 3. Despite the multiple aporias whose description occupies a large part of his work, the desire for protection, in principle impossible to realize, nonetheless succeeds. We can try to demonstrate this success, but we can also, above all, take note of it by reading : I ought to recognize, I ought to acknowledge that it vaccinates me. 4. This operation, that we also call “œuvrance” (“working”), is performative. It passes through five unconditional principles : leave the future open, address oneself to the other as such, aim for more than life, keep the secret, answer to principles -- in this very moment. 5. This leads to the definition of a "principle of the work": specific to the derridian work whose statement is the following : what takes place in the work, is unconditionally affirmed, beyond all calculation, all finality and all transaction.

Cette thèse porte sur l’identité réduite à sa dimension spectrale dans l’ordre culturel et politique. Le point-clé de cette recherche est dans le rapport indissociable de l’identité au concept de naissance. L’identité est comme ce fonds idéal de l’être, notamment de l’homme de qualité, qui ne se réalise pas toujours, qui ne prend corps que difficilement dans la réalité ; ce qui la constitue comme une source trompeuse et la conduit à se spectraliser. L’autre est donc la figure de cette constitution d’identité en une identité étrangère, aliénée. Une telle identité détournée, devenue l’ombre d’elle-même en vient à altérer aussi la culture et la politique, à les contaminer au point de les aliéner, plus encore sous un gouvernement lui-même spectral, fantomatique (Partie I). Cette identité dévoyée en identité spectrale est ainsi déconstruite selon l’approche de Derrida, pour en faire apparaître une nouvelle, une autre, consciente. Cette dernière est l’effet de la langue qui apparaît comme la maison de l’être, et constitue une possibilité de structure identitaire (Partie II). Pourtant, notre présupposition est que l’identité n’est jamais advenue, ou bien que l’identité n’existe pas, parce que l’existence de l’identité, renvoie à un fonds nécessairement métaphysique, à quoi nous opposons avec Bouddha la conquête du sens de la vie dans le refus de tout attachement à quelque identité (Partie III). Comment fonder l’identité propre, transitoire, dans le temps de la pratique éthique et de la pratique politique ? Il s’avère que ce qui fait la vérité de vie tient à la seule dimension spectrale de l’identité, qui dénonce comme fausse toute identité établie, en tant qu’elle ne peut être qu’une identité en devenir, une identité toujours absente. Faire justice à l’identité d’un être ou d’une culture n’est toujours qu’une perspective à venir, et leur identité les hante seulement comme un spectre. / This study is focused on ghost (spectral) identity. The research is undertaken from cultural and political perspectives. The main contention of this research is to show that the main problem of personal identity is its inseparability from the concept of its birth. The normal concept of identity serves as the foundation of an ideal self, which can never be realized. The problem is that it is constructed on a mistaken foundation, which leads this personal identity to become a ghost (spectral). Therefore, when, on the basis of this faulty construction of personal identity, we obtain the Other, it is an alienated personal identity. At the same time, this construction of personal identity produces an alienated culture and politics, and even a ghost (spectral) government(Part I). Consequently, this study proposes to deconstruct (Derrida) this warped concept of personal identity, in order to open the way to construct a new ghost (spectral) personal identity. This new ghost (spectral) personal identity is shown to be an even more conscious personal identity. This new personal identity is shown to arise from language and to serve as the possibility of personal identity formation in the living house of being, (Part II). However, we still must return to the assumption that identity is never born or even that fundamentally identity does not exist at all, because the existence of identity as a metaphysically necessary supposition would make us necessarily face a sort of consciousness of the meaning of our own identity (Part III). But, how then are we to undertake ethical and political reflection and action? Mustn’t we temporarily turn back to the acceptibility of the concept of personal identity? However, on closer examination, it turns out that the ghost (spectral) personal identity that reveals the truth of life in fact is just a sort of unreal personal identity or a sort of flowing, impermanent personal identity. As to this absent personal identity, its true meaning can only come from the future. In the meantime, let us just let the identity float and haunt just like a ghost (spectre).