Rosa Bonheur, artiste animalière du 19e siècle se révèle, par ses représentations humaines/ équines, être pionnière dans l’avènement d’une éthique animale. Bien qu’ayant joui d’une popularité enviable de son vivant, les études posthumes faites à son sujet sont majoritairement biographiques et principalement intéressées à examiner son célèbre Marché aux chevaux (1853-1855), sous la loupe de sa sexualité. Cette approche limitée, en plus de ne pas rendre justice à la position artistique adoptée par Bonheur, asservit les sujets équins de ses œuvres. Ce mémoire propose un angle alternatif de lecture de ses tableaux, qui se veut plus en adéquation avec son éthique animale. Inspiré par les recherches récentes des animal studies, particulièrement celles influencées par la déconstruction, il sera démontré que les représentations des relations inter-espèces de Bonheur soulèvent d’importants questionnements éthiques. Dans ce contexte, Rocky Bear and Chief Red Shirt (1889), une œuvre indûment négligée par les études en histoire de l’art, s’avère essentielle, lorsque considérée aux côtés du Marché aux chevaux, comme moyen de saisir l’éthique équine de l’artiste. Par l’analyse de ses oeuvres, ce mémoire invite à une réévaluation de l’art de Bonheur comme étant l’expression de son engagement pour l’avènement d’une manière plus éthique d’être avec le cheval. De plus, il cherche à contribuer, de façon significative, à la compréhension des rôles que les pratiques de représentation, en général et spécifiquement dans l’art, peuvent jouer dans la transformation de nos perceptions de l’animal non-humain. / Through her depictions of the human/horse relationship, the animal painter Rosa Bonheur has shown herself to be a pioneer in the advent of animal ethics. In life she enjoyed an enviable popularity and posthumously her work has continued to attract attention with most studies focussing on her biography, reading her famous The Horse Fair (1853-1855) through the prism of her sexuality. Such approaches are too limited and fail to do justice to Bonheur’s artistic philosophy, overwriting the importance of the horse, a key subject in many of her works. This dissertation takes an alternative approach, one more in keeping with the artist’s animal ethics. Inspired by recent research in animal studies, particularly research informed by deconstruction, the thesis demonstrates how Bonheur’s representation of interspecies relations raises key ethical questions. In this context, Rocky Bear and Chief Red Shirt (1889), a painting which has been unduly neglected in existing art historical scholarship, forms a vital work, one which is considered alongside the celebrated The Horse Fair as a means to understand Bonheur’s equine ethics. Through an analysis of these paintings in particular, the thesis invites a reassessment of Bonheur’s art as an expression of her commitment to the ethical treatment of horses and also seeks to make a significant contribution to understanding the role practices of representation more generally, including art, can play in the transformation of our perception of non-human animals.

viii Abstract This thesis uses James Agee's 1941 book Let Us Now Praise Famous Men to examine the role of so-called fictocriticism in emphasizing the immutability of an author from within a text. The thesis argues that the fictocritical text accounts for the impossibility of extricating the author from writing. Although its precursors date back several centuries- perhaps most notably to Michel de Montaigne-the term fictocriticism was coined in the mid- to late twentieth century to describe texts existing at the interstices of ostensibly fictional and factual genres of writing. Agee's text, borne out of a journalistic assignment for Fortune magazine, blends elements of long-form magazine journalism with lyric poetry with the author's famous sprawling, diaryesque prose, calling the reader to question which elements of the text are rooted in fact and which are simply the author's fabrications or, indeed, whether such a distinction can be drawn. The term can be applied only anachronistically to the 1941 book, yet as defined in these pages it is a befitting description of Agee's otherwise unclassifiable text. Fictocriticism lacks a singular definition, so the examination of Agee's Famous Men as a fictocritical work rests on a thorough revision of the term's history and its lexical implications, both of which...

This thesis examines the politics of foundations in modern political thought through a reading and immanent critique of Hobbes’s Leviathan. I argue that his thought exemplifies a specifically modern problem of foundations insofar as he must establish political and scientific foundations on the basis of precisely the impossibility of foundation. Hobbes’s account of political founding and the establishment of scientific foundations is first and foremost a response to a condition of finitude in which foundations are no longer given or available but nevertheless demanded. While it appears that Hobbes describes the finitude of ‘Man’ and natural bodies and derives his political theory from these, in fact for Hobbes these no longer provide given foundations for political thought, but must themselves be posited in acts of political and epistemological projection. Hobbes’s politics of foundations therefore demands that we fabricate political and scientific foundations for ourselves and act as if they are not incalculable postulations but calculable necessities. I call this the problem of projection, in which political knowledge is possible only because we make it and posit it ourselves. Through a reading of the role of the metaphor of making in Hobbes’s account of political origins and sovereignty, I argue that this reading of Hobbes’s politics of origins as the institution of foundations in the face of the impossibility of foundation exposes finitude as a groundlessness to which there is no necessary political response. It does not necessarily demand the production of foundations through the institution of sovereignty. Hobbes’s Leviathan therefore provides a site in which we might begin to ask more precise empirical and theoretical questions about the transformative possibilities in the modern politics of foundations. / Graduate

This thesis analyses the concept of hospitality in the context of migration ethics. The underlying philosophical ideas of Kant, Levinas and Derrida are outlined and critically discussed. The use of hospitality in migration ethics as mainly a concern within the political dimension of society, devalues the concept and neglects the social dimension of hospitality. I argue that migration ethics should be more concerned with integration and that it is more relevant to speak of hospitality in relation to integration rather than migration, since hospitality has to do with interpersonal interactions. In order to view hospitality in the social dimension of society, I present some cases of interpersonal hospitality practiced today. Drawing from those examples whilst using a virtue ethics approach, I consider three virtues that I deem to be prerequisites for hospitality: courage, humility and patience. Hospitality is a rich and multi-layered concept and practice. I conclude that one such layer is hospitality fostering integration. That is, hospitality functioning as social cohesion with a potential to bring different parts together as a whole.

Cette thèse examine le rapport complexe entre Habermas et Derrida en s'interrogeant sur l'évolution, durant les années 1980, d'une relation conflictuelle en un lien amical et collaboratif. Elle analyse leurs œuvres afin d'évaluer la convergence et la divergence entre leurs pensées. Nous avons essayé en premier lieu de dessiner les contours de la scène culturelle en Allemagne et en France à partir de l'année 1945. Cette approche nous a permis de mieux comprendre la philosophie de chacun d'eux et d'étudier la continuité et la discontinuité, la tension et l'échange philosophique, entre les philosophies allemandes et françaises. Même si notre thèse se divise en huit parties, elle s'étend sur deux champs d'investigation: l'un théorique et l'autre pratique. Concernant le champ théorique, cette thèse se penche sur la querelle franco-allemande relative au débat modernité/post-modernité, dans laquelle ils s'engagèrent et développèrent des critiques sévères l'un à l'égard à l'autre. La question de la modernité nous invite à mettre en question certaines idées générales, notamment celle selon laquelle Habermas serait un défenseur du projet de la modernité, tandis que Derrida serait un post-moderne hostile à la modernité et aux Lumières. Au sujet de leurs philosophies pratiques nous avons effectué une approche comparative de leurs idées sur la morale, l'éthique, la théorie du droit et la philosophie politique. Cette comparaison nous a permis de comprendre les raisons pour lesquelles ils se sont réconciliés et se sont intervenus ensemble pour atteindre certains objectifs politiques, mais aussi juridiques: la réforme du droit international. / This work examines the complex relationship between Habermas and Derrida by shedding light on the shift from a less pleasant interaction in the 1980s to a rather friendly and collaborative affiliation later in an attempt to highlight comparable areas of interest as well as evaluate areas of convergence and divergence among the two great minds. Intuitively, a philosophical eye looks deep to examine to womb where thoughts are born. We lay out the scene in post WWII Germany and France, both fertile lands for such phenomena. This allows us to garner a sharper image of how the two philosophers evolved within their backgrounds and influenced one another. Two focal points, theory and practice, are covered in eight sections. We will address the Franco German quarrel of Modernity vs. Post Modernity revealing the critique so-called Modernist Habermas and supposed Post Modernist Derrida bathed one another with, and, there, we tackle the question of ideology. The later point, practice, reveals a deep assessment of the two philosophers' stances on morality, ethics, philosophy of law, and politics. We conclude with an analysis of the two's collaboration, as they share comparable fundamentals, and inspect the fruit of that effort, which achieved not only political reform but legal in the shape of a Reform of International Law.

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Made available in DSpace on 2015-04-14T13:55:25Z (GMT). No. of bitstreams: 1 464179.pdf: 1547523 bytes, checksum: 9bedfc6c3735086769229274145d05d3 (MD5) Previous issue date: 2014-12-05 / The main objective of this thesis focuses on articulate, primarily from the thought of Jacques Derrida, an alternative course to think about ethics, politics and democracy at present times, taking as the starting point the category of "hospitality", a philosophical adventure that can be understood as another name of deconstruction and, a central concept in the thinking of the Algerian-French philosopher. Therefore, it refutes the category of "tolerance", idea that synthesizes, in general, the tradition of thinkers identified with the Enlightenment heritage, both in Modern as Contemporary Philosophy, and it still proclaims itself as the last step of History, in the context of human relationships and among States. Thus, the hospitality, accordingly to Derrida, would be the enough powerful category to redirect the discussion of freedom, politics and democracy (and all the other circumstances that slides to those categories) to the dimension of the to come and so, for the reinsertion of temporality as a philosophical element that rebels to beyond the domestication enforced by the desire to control, summed up in the idea of desire for sovereignty. In this thesis, sovereignty will be designed both on the dimension of intersubjective relationship as the "desire for appropriation" employed by the ipseity of the same on an otherness, seen in the relationship between the host and the guest (whether as a foreigner, a rougue or of ghost) - as in the political context (in the strict sense), where the concept of sovereignty (expressed under the control of tolerance) acts from the authority of Law, the boundaries between States, the nationality, and the homeland at last, under the level of predictability and calculability. The aporia established between the hospitality Law and the laws of hospitality, developed by Derrida, leads the thought of the sovereignty deconstruction to an opening capable of enabling the reinvention of a left wing political thought, silently waiting in the event of the democracy to come. / O principal objetivo desta tese concentra-se em articular, primordialmente a partir do pensamento de Jacques Derrida, uma rota alternativa para pensar-se a ?tica, a pol?tica e a democracia dos tempos atuais, tendo como ponto de partida a categoria da "hospitalidade", aventura filos?fica que pode ser compreendida como um outro nome da desconstru??o e um conceito central no pensamento do fil?sofo argelino-franc?s. Assim, refuta-se a categoria da "toler?ncia", ideia que sintetiza, em linhas gerais, uma tradi??o de pensadores identificados com a heran?a iluminista, tanto na Filosofia Moderna quanto Contempor?nea, e que se proclama ainda como o ?ltimo passo da hist?ria, no contexto das rela??es humanas e entre Estados. Dessa forma, a hospitalidade, no pensamento de Derrida, seria a categoria suficientemente potente para redirecionar a discuss?o a respeito da liberdade, da pol?tica e da democracia (e demais circunst?ncias que resvalam a tais categorias) para a dimens?o do por vir e, portanto, para a reinser??o da temporalidade como elemento filos?fico que se insurge para bem al?m das tratativas de domestica??o impostadas pelo desejo de controle, sintetizado na ideia de desejo de soberania. A soberania, nessa tese, ser? pensada tanto na dimens?o da rela??o intersubjetiva - no "desejo de apropria??o" empregado pela ipseidade do mesmo sobre uma alteridade, vista na rela??o entre o hospedeiro e o h?spede (seja na condi??o de estrangeiro, de vadio ou de fantasma) - quanto no contexto pol?tico (em seu sentido estrito), onde o conceito de soberania (expresso sob o comando da toler?ncia) atua a partir da autoridade do direito, das fronteiras entre Estados, da nacionalidade, da p?tria, enfim, sob o plano da previsibilidade e da calculabilidade. A aporia que se instaura entre a lei da hospitalidade e as leis da hospitalidade desenvolvidas por Derrida, conduz o pensamento da desconstru??o da soberania para uma abertura capaz de viabilizar a reinven??o de um pensamento pol?tico de esquerda, na espera silenciosa pelo acontecimento da democracia por vir.

The aesthetic autonomy of dance is a blank spot in the history of aesthetics. In this study, dance is used as an umbrella for both visual art performance, live art and choreography. Different from these other notions, dance appears in early historical writings and enables a coherent reading of the history of this specific artform, where the embodiment of the artwork is central.        Starting from Immanuel Kant’s Critique of Judgement, in which this study unravels why dance has been given such a limited attention in the history of aesthetics. Departing from this ignorance of the artform and the lack of theories of aesthetic autonomy when it comes to dance ever since, the study proposes that the aesthetic autonomy of dance could be understood through the notion of parergon. The word is initially found in the Critique of Judgement, where Kant uses parergon to describe the infrastructural framework upon which both the piece of art and the judgment relies. With the help of Jacques Derrida’s reading of the Critique of Judgement through parergon, the notion is understood with a double meaning: as both the frame ot the artwork and the work behind the piece of art. Derrida doesn’t either mention ”dance” in his rewriting of Kant’s work, why this essay applies the parergon upon the only art form where the working body embodies the work of art: dance. For dance, the work behind the piece and the piece itself, is the same. Through this understanding of parergon, the aesthetic autonomy of dance is can be understood as the frame at work.       With references from a western history of arts and aesthetics, the study works through literature on dance from the 16th century until today. This enables a timeline from the inauguration of the first royal ballet academies, to the enlightenment, through modernity up until postmodernity, is read. Such a consistent reading of the history of dance is still rare, but the main reason for the study is not to sketch a new history, but rather to, through its history, establish an understanding of the aesthetic autonomy of dance.       Through examples from philosophy, literature, art history, dance history and art criticism, the development of dance as an autonomous artwork is contextualized. Arriving at the 20th and the 21st century, three specific artworks are analysed through available documentations, writings and conversations. Through the three notions hetero-affection, immanent critique and indexical dialectics, the aesthetic autonomy of dance is written through an understanding of its dialectical negation as its positive matter; the frame (at work). This understanding is applied to the three modern and post-modern examples of dance, where the frame at work is autonomously unworked and re-worked.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-04-17T12:58:07Z No. of bitstreams: 1 467296 - Texto Completo.pdf: 1076170 bytes, checksum: e273774798ec89ebbbe67502405c380f (MD5) / Made available in DSpace on 2015-04-17T12:58:08Z (GMT). No. of bitstreams: 1 467296 - Texto Completo.pdf: 1076170 bytes, checksum: e273774798ec89ebbbe67502405c380f (MD5) Previous issue date: 2015-03-30 / Le texte suivant cherche d?offrir des moyens th?oriques pour une interpr?tation ? propos de la mort chez Maurice Blanchot et Jacques Derrida. Les points d?importance dans lesquels le travail s?approfondit sont les suivants. D?abord, on pr?sente la pertinence de la mort dans la pens?e blanchotienne, soulignant sa relation avec les pens?es de Hegel, Heidegger et Bataille, entreprenant une lecture principalement de ? La litt?rature et le droit ? la mort ?. Pourtant, il s?agit ici de pr?senter, au contraire, des arguments qui d?voilent une s?paration de Blanchot aux interpr?tations de la mort dans la pens?e des auteurs susmentionn?s, mettant en ?vidence sa plus grande importance dans la discussion avec Derrida et, dans un certain sens, avec Levinas ? cette perspective appara?t, surtout, dans L?entretien infini et L??criture du d?sastre. Apr?s on pr?sente, sp?cifiquement chez Derrida, la port?e de la mort pour le d?veloppement de la pens?e derridienne en g?n?ral et de la d?construction. Ainsi, il s?agit de souligner les arguments derridiens, dans des partes relativement diverses de son oeuvre, pour mettre en ?vidence la centralit?, dans la d?construction, d?une critique de la mort et de l?appr?hension philosophique de la mort comme moyen arch?type d?une sensification qui l?gitime le discours conceptuel. ? cet instant, on s?affaire ? d?montrer l?importance, presque axiomatique, d?une critique de l?utilisation de la mort pour le mouvement de la d?construction, pr?sentant donc, ? partir de Le S?minaire La peine de Mort, la d?construction de la mort comme un?aspect particuli?rement important dans l?ampleur de la pens?e de Derrida Finalement, on s?affaire ? pr?senter la convergence et l?intimit? entre les pens?es de Derrida et Blanchot, tel que ses analogues perspectives apor?tiques, qui insistent sur l?irr?ductibilit? de la mort au travail de la pens?e, comme un ?l?ment essentiel ? au-del? et en-de?? de l?essence ? de l?alt?rit?. Ainsi, l?impossibilit? de mourir comme d?nonciation du mouvement dialectique, elle se rassemble ? la d?construction de la mort en tant qu?une critique de la l?gitimation de la v?rit? ? partir d?une d?termin? appr?hension de la mort. Outre ces concepts, on insiste sur les caract?res de la po?sie et de l?alt?rit?, exprimant l?implication de cette question aux pens?es de l??thique et de l?esth?tique en tant que formes d?un t?moignage incommensurable aux tentatives de circonscription de la vie. / Esta disserta??o trata de elencar subs?dios para uma interpreta??o a respeito da morte na obras de Maurice Blanchot e Jacques Derrida. Os pontos de pertin?ncia em cuja tese se desdobra s?o os seguintes. Primeiramente, a pertin?ncia da morte dentro do pensamento blanchotiano, destacando suas rela??es ao pensamento de Hegel, Heidegger e Bataille, abordando, principalmente, ?La litt?rature et le droit ? la mort?. Neste sentido, a disserta??o trata de apresentar argumentos que demonstram uma separa??o de Blanchot ?s interpreta??es sobre a morte nos autores citados, inserindo sua pertin?ncia maior na discuss?o com Derrida e, de certo modo, com Levinas ? perspectiva tomada, sobretudo, de L?entretien infini e L??criture du d?sastre. Em seguida apresenta-se, detidamente em Derrida, a crucialidade da morte para o desenvolvimento em sentido lato do pensamento derridiano e da desconstru??o. Assim, trata-se de destacar os argumentos derridianos, em setores parcialmente diversos da sua obra, para evidenciar a estreita liga??o da desconstru??o com uma cr?tica da morte e da apreens?o filos?fica do pensamento da morte como atributo arqu?tipo de uma sensifica??o que legitima o discurso conceitual. Neste ponto, a preocupa??o do trabalho ? fazer surgir a import?ncia, quase que axiom?tica, de uma cr?tica do uso da morte para o movimento da desconstru??o, apresentando, portanto, a partir de Le S?minaire La peine de Mort, a desconstru??o da morte como um aspecto de extrema relev?ncia no amplo pensamento de Derrida. Finalmente, a disserta??o trata de fazer convergir e evidenciar a intimidade da rela??o entre os pensamentos de Derrida e Blanchot, na sua similar orienta??o apor?tica, que insiste na irredutibilidade da morte ao trabalho do pensamento, como elemento essencial ? al?m e aqu?m da ess?ncia - da alteridade. Assim, a impossibilidade de morrer, como den?ncia do movimento dial?tico, seria an?loga ? desconstru??o da morte enquanto cr?tica da legitima??o da verdade a partir de uma determinada apreens?o da morte. Diagonalmente a tais conceitos, a disserta??o insiste sob os caracteres da poesia e da alteridade, expressando a implicabilidade desta quest?o aos pensamentos ?tico e est?tico como formas de um testemunho incomensur?vel ?s tentativas de circunscri??o da vida.

Magister Artium - MA (English) / After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.