I den här uppsatsen undersökts hur greppet mise en abyme kan användas som ett dekonstruktivt verktyg i fiktionen. De tre romanerna som ligger till grund för uppsatsen är Montecore - en unik tiger av Jonas Hassen Khemiri, Sara Stridsbergs Drömfakulteten: tillägg till sexualteorin samt If on a Winter’s Night a Traveler av Italo Calvino. Gemensamt för romanerna är att de alla genom att kommentera sin egen tillkomst och låta boken uppträda i boken skapar en osäkerhet i frågan om vad som är sanning och inte i de respektive berättelserna. Sanningen rubbas och dekonstrueras om vartannat genom användandet av mise en abyme.

The dissertation re-examines the philosophy of Georges Bataille within the context of post-Kantian aesthetics and argues for a re-evaluation of Bataille’s notion of expenditure [depenser] within this context. The dissertation argues further that the artistic practice of Robert Smithson is an exemplary case of an ‘aesthetics of expenditure.’ It is our contention that Bataille’s cosmic-energetic philosophy finds a complementary material expression in Smithson’s abstract geology and its confrontation with post-Kantian aesthetics. We will argue that this occurs through Smithson’s varying strategies, which are grouped conceptually according to the broader logic of their expression:seriality, sedimentality, monumentality, and meandering. While Smithson’s own references to Bataille in the early 1970s are discussed in detail, it is not our position that Smithson was enacting Bataille’s philosophy ‘aesthetically’; rather, by reading Bataille’s evaluation of Kant’s aesthetics and teleology in relation to Smithson’s artistic practice, we emphasize instead that the politics of disgust shared by both figures advance a radical decentring and repositioning of the human in relation to planetary and geological forces. If, as geologists now agree, our present age is that of the Anthropocene1, our argument is that Bataille and Smithson anticipate this precarious condition analytically, and, perhaps more importantly, that their analysis suggests further important diagnostic considerations at the level of social organization and political composition that might help defer, if not entirely prevent, the catastrophic end of this all-too-human period.

Zugl.: Heidelberg, Univ., Diss., 2007

Made available in DSpace on 2014-06-11T19:35:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-05-07Bitstream added on 2014-06-13T20:07:07Z : No. of bitstreams: 1 deangeli_ma_dr_sjrp_parcial.pdf: 188783 bytes, checksum: 096bfb266d0eef774b2ede406bbb0f36 (MD5) Bitstreams deleted on 2015-06-25T13:00:55Z: deangeli_ma_dr_sjrp_parcial.pdf,. Added 1 bitstream(s) on 2015-06-25T13:03:19Z : No. of bitstreams: 1 000619041_20160530.pdf: 176167 bytes, checksum: 2c3f778c8ea51067baa077e77f01cfcc (MD5) Bitstreams deleted on 2016-05-30T11:37:05Z: 000619041_20160530.pdf,. Added 1 bitstream(s) on 2016-05-30T11:37:50Z : No. of bitstreams: 1 000619041.pdf: 810081 bytes, checksum: a0b3cf7f05b7feaac689ff019e1ff37d (MD5) / À l’heure actuelle, la notion d’identité et ses problématiques occupent une place définitivement légitimée dans plusieurs domaines de la connaissance scientifique, ainsi que dans le champ de la littérature. Celle-ci semble avoir été un lieu d’accueil privilégié pour les mouvements d’errance identitaire, et ce pour beaucoup d’écrivains: en effet, ils sont nombreux à avoir trouvé une place dans une langue autre, dans un pays autre, ce qui leur a permis de se forger aussi des identités autres. Quelques exemples: pour Samuel Beckett, Paul Celan, Elias Canetti, Franz Kafka, Georges Perec, Assia Djebar et pour bien d’autres encore, l’écriture a été le non-lieu d’un lieu, ou encore le lieu d’un non-lieu poétique. Dans l’écriture de tous ces écrivains, l’on constate une préoccupation récurrente, ressentie de façon plus ou moins directe: dans quelle langue écrire? L’objectif général de ce travail est de comprendre le statut, le sens et le rôle du langage dans des oeuvres écrites dans une langue qui n’est pas celle considérée maternelle. Pour ce faire, il se proposera d’analyser deux textes qui rendent problématique la définition de ce qu’est une langue non-maternelle dans une écriture littéraire: Amour Bilingue (1983/1992), d’Abdelkebir Khatibi, et Le monolinguisme de l’autre (1996), de Jacques Derrida. De façon plus spécifique, cette étude tentera de montrer comment, chez ces deux écrivains, la distinction entre le maternel et l’étranger se complexifie, ce qui entraîne des conséquences textuelles et rhétoriques distinctes, surtout quand les notions de «bi-langue», de «monolangue», de «langue de l’autre» et d’«idiome» se superposent à celle de «langue». À partir du geste d’amitié célébré entre le «franco-maghrébin» Derrida et le... (Résumé complet accès électronique ci - dessous) / As questões referentes à noção de identidade e à sua complexa problemática ocupam, no momento, um espaço definitivamente legitimado em vários ramos do conhecimento científico, assim como no campo da literatura. Esta parece ter sido um lugar de acolhida privilegiado para os movimentos de errância identitária, e isso para muitos escritores. De fato, inúmeros são aqueles que só puderam encontrar morada numa língua outra, num país outro, com identidades também outras. Podemos citar alguns exemplos: para Samuel Beckett, Paul Celan, Elias Canetti, Franz Kafka, Georges Perec, Edmond Jabès, Assia Djebar e muitos outros, a escritura constituiu o não-lugar de um lugar ou, ainda, o lugar de um não-lugar poético. Na obra de todos, constatamos uma preocupação recorrente que, direta ou indiretamente, pode se fazer sentir em suas escritas: em que língua escrever? Partindo desse questionamento e dos inúmeros problemas que dele se depreendem, o objetivo geral deste trabalho é o de compreender o estatuto, o sentido e o papel da linguagem em obras escritas em uma língua que não a língua considerada materna. Para tanto, o trabalho se propõe a analisar dois textos que problematizam a definição do que é essa língua não-materna na escrita literária, trata-se de: Amour Bilingue (1983/1992), de Abdelkebir Khatibi, e Le monolinguisme de l’autre (1996), de Jacques Derrida. De maneira mais especifica, ao abordar essa problemática clássica dos estudos literários, este trabalho pretende mostrar como, nesses dois autores, a distinção entre o materno e o estrangeiro se complica, com consequências textuais e retóricas distintas, sobretudo quando as noções de “bi-língua”, de “monolíngua”, de “língua do outro” e de “idioma” sobrepõem-se ao conceito de “língua”. Do gesto de amizade celebrado entre o franco-magrebino Derrida e o marroquino Khatibi...

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2014 / Submitted by Ana Cristina Barbosa da Silva (annabds@hotmail.com) on 2014-11-28T18:19:40Z No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2014-12-01T15:25:27Z (GMT) No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / Made available in DSpace on 2014-12-01T15:25:27Z (GMT). No. of bitstreams: 1 2014_JulianaCecciSilva.pdf: 966858 bytes, checksum: 43d1c20b5a3fc31c972dff9469fb4555 (MD5) / À luz do pensamento do rastro de Jacques Derrida (1930-2004), da desconstrução, e de nossa experiência com a leitura e a tradução de textos da Filosofia da Linguagem, sobretudo os do alemão Gottfried Wilhelm Leibniz (1646-1716), pretendemos apresentar algumas teses filosóficas (etimológicas e filológicas) de Leibniz sobre a questão da natureza da linguagem que contribuíram para a formação da Linguística Histórico-Comparativa e, do ponto de vista de Derrida, das teorias logocêntricas da Tradução. Teorias fundadas na busca pelo "sentido", isso é, em uma metafísica da linguagem. Para ilustrar tais considerações, apoiados nos fundamentos teóricos e metodológicos do tradutor Antoine Berman (1942-1991), em particular nos desenvolvidos em seu La Traduction et la Lettre ou l'alberge du lointain (2007), em primeiro lugar, faremos a "analítica" de alguns trechos da primeira tradução brasileira da obra Nouveaux essais sur l'entendement humain, par l'auteur du système de l'harmonie préetablie ( (1765) - do primeiro capítulo do livro III, o Des Mots, para sermos mais específicos - a fim de explicitar o "sistema de deformação" da "letra" que aí opera; em seguida, proporemos uma segunda tradução dos três capítulos iniciais, ou melhor, uma "retradução". Trata-se de capítulos em que Leibniz tece importantes considerações sobre os aspectos "materiais" da natureza da linguagem. ______________________________________________________________________________ ABSTRACT / In light of the thought of Jacques Derrida (1930-2004) trace, of the deconstruction, and of our experience with the reading and the translating texts of the philosophy of the language, especially those of the German Gottfried Wilhelm Leibniz (1646-1716), we intend to presente some philosophical (etymological and philological) theses of Leibniz on the subject of the language’s nature that contributed to the formation of the Historical-comparative Linguistics and, from the Derrida’s point of view, to the logocentric theories of translation. Theories founded on the search for “the signification”, i.e., on a metaphysics of the language. To illustrate such considerations, supported by the theoretical and methodological foundations of the translator Antoine Berman (1942-1991), particularly in those developed in his La Traduction et la Lettre ou l’Alberge du lointain (2007), first, in order to explain the “letter’s system of deformation” that operates there, we will make the “analytical” of some passages of the first Brazilian translation of the work Nouveaux essais sur l’entendement humain, par l’auteur du système de l’harmonie préétablie (1765) – the first chapter of the book III, Des Mots, to be more specific –; after that, we will propose a second translation of the three initials chapters, or better, a “retranslation”. These are chapters in which Leibniz weaves important considerations about the “material” aspects of the nature of language.

This mini-thesis is located in historical discursive practices, choreographing history, biography as a source for making dance in South Africa and choreographic transformations in South African choreography since the 1994 democratic elections. Derridian concepts of deconstruction will be referenced in an attempt to focus the argument of this research, which comments on choreographic transformations since 1994, by subverting the influence of the 'violent hierarchies' enforced by the apartheid regime on South African cultural life and choreographic identity. The researcher draws on these considerations in order to explore the hybrid nature of South African choreography that has emerged since 1994. Chapter one examines the fallacious nature of historical discourse through a consideration and application of Derrida's notions of deconstruction and fabrication. Chapter two explores the notion of choreographing history in theatre through a focus on the objective/subjective fallacy and the history of the body as a textual medium. Chapter three focuses the study specifically in biography as a discourse within the idea of theatre. This approach to biography can be encapsulated by the phrase 'telling lives'. This chapter also explores the relationship between the traditional binaries of writing as a purely cerebral act and choreography as a purely visceral experience. Chapter four brings the focus to the specific post-apartheid South African context. This chapter considers the hybrid forms of dance emerging in South Africa as well as the notion of protest in relation to theatre and dance. The final chapter is an investigation and analysis of two choreographic works created by South African choreographers since 1994 in relation to biography and concepts of deconstruction. These works are Gary Gordon's Bessie's Head (2000) and Gregory Maqoma's Miss Thandi (2002). The focus of the analysis also reveals the inherent difficulty in objective interpretation, and considers the problematics of collaboration and autobiography when choreographing within a biographical context.

La phénoménologie française contemporaine se caractérise par ce que nous nommons une paradoxale référence au fondateur de cette discipline, E. Husserl. Malgré la revendication de l’une de ses idées directrices, le plus fréquemment inspirée du « principe des principes », l’on juge le plus souvent qu’il faut se départir de son cadre idéaliste transcendantal et de ses réquisits, comme la théorie de la constitution et l’exigence de scientificité. Son ouvrage posthume, la Krisis, où figure sa tentative de rendre compte philosophiquement de l’histoire et de l’historicité, a été vu par de nombreux critiques, notamment P. Ricœur et J. Derrida, comme le lieu où la phénoménologie husserlienne et son idéalisme sont mis le plus clairement en échec. Ce mémoire se propose de montrer que l’interrogation idéaliste transcendantale du phénomène de l’histoire ne fait pas bon marché du principe des principes découvert par la phénoménologie, souvent revendiqué comme moyen pour rendre compte de la finitude de l’existence humaine. L’étude de trois aspects négligés de la phénoménologie proposée dans la Krisis permettra de soutenir cette thèse : (1) à côté de l’historicité positive du savoir qui présente son progrès constant à travers l’histoire, l’œuvre posthume de Husserl donne à voir ce que nous nommons une historicité tragique, marquée par les crises et la possibilité irréductible de la perte du sens au cours de sa transmission ; (2) l’idéalisme husserlien, loin d’être par principe indifférent à la question de l’histoire, permet de penser ce que les Méditations cartésiennes nomment une histoire de l’ego, et qui correspond à une histoire de la constitution de l’expérience de la conscience ; (3) enfin, le concept d’autoresponsabilité dans la philosophie husserlienne permet de montrer que cette dernière place en son cœur le constat indépassable de la finitude de la rationalité. En dernière analyse, la seule façon de soutenir un progrès constant du savoir et de surmonter l’historicité tragique réside dans « l’autoresponsabilisation » de l’ego philosophant, qui doit se rendre maître de l’exigence d’autoréflexivité qui lui est imposée par l’essence même de la rationalité philosophique.

Body, Surveillance and Ethics PhD Thesis Mgr. Martin Charvát, Ph.D. Abstract The aim of my dissertation thesis is to analyze the dispositions of non-normative ethics as presented in works of M. Foucault, G. Deleuze and J. Derrida. My hypothesis is that non- normative ethics must be conceived as an interpretation and thematization of the meaning of the relationship between body, surveillance, event and experiment. What brings together Foucault, Deleuze and Derrida is the critique of externally constituted moral codes that are always creating a historically-economically-polico-socially determined subject, or certain norms of conduction and behaviour that are considered to be "good" or "right". However, the above-mentioned authors have based their conceptions on the belief that the human life should be characterized by freedom, or the potential of articulation of an individual (or his behaviour/action), regardless of external moral determinations. Foucault, Deleuze and Derrida distinguish the possibility of a constant crossing of given institutional and socially grounded constraints, with the goal of the constant shaping of ones live that would not be restricted by normative and prescriptive rules. The theme of freedom is given into context of the experimental self-formation that takes place at the moment of...

This paper utilizes poststructuralist theory to investigate the polysemic nature of the eponymous character Beloved in Toni Morrison’s 1987 novel Beloved. The ghostly, anachronistic presence of Beloved renders the text open to multiple interpretations and this essay sets out to explore the ways in which meaning is created and communicated. From a poststructuralist perspective, considering that the meaning is in a state of flux, a text weaves its system of meaning around an assumed center in order to provide so-called stability. Peripheral meanings are repressed by the center to secure the meaning system. However, the periphery, which has a constructive function in the organization of the text, also has the deconstructive potential. Hence, the deconstructive dynamics are already inherent in the text. In Beloved, Toni Morrison addresses, among other things, the act of speaking the unspeakable and the process of constructing a new subjectivity out of the ghost of the past. Her text deconstructs the dominant narratives that have marginalized the black motherhood experience, explores the horrors of slavery through horror elements, and eventually exposes the inadequacy of language to depict such horrors. While the textual periphery is enabled to speak louder than the center, the textual subconscious flows freely. The reader is forced to participate actively in meaning-making in order to make sense of the fragmented narrative imbued with deliberate ambiguity. Beloved, as the abject other, defies the phallogocentric symbolic order. A counter-discourse emerges from the maternal, semiotic chora and empowers the otherized heroine Sethe to construct her subjectivity. Delving into the interrelationship between traumatic memory and the act of creating one’s own narrative, the text finds reparative elements in ancestral connection and thereby blends the psychological with the historical and the micro-level with the macro-level of meaning. This paper employs deconstructive key concepts from Jacques Derrida, psychoanalytic key concepts from Julia Kristeva, and seeks to unravel the dynamics in Morrison’s text that enable Beloved to be read polysemically.

Poststructuralism may be broadly characterized as a move away from traditional Western foundationalist thinking. Such thinking is exemplified by post-enlightenment transcendentalism, humanism and subject-centredness. This study aims to contribute to the poststructuralist decentering of the subject by means of the application of the critical practice of deconstruction – a type of analysis named and popularized by Jacques Derrida, who is himself frequently classified as a poststructuralist, in which the ruling logic of the text is undermined and the meaning of the text is therefore shown not to be fully present within it – to four texts by a writer who is arguably among the most prominent within the English literary canon: William Shakespeare. The first deconstructive reading centres around the court scene at the climax of the bond story in The Merchant of Venice. Here the apparent contrast between the restrictive law – which views Shylock’s claim of a pound of Antonio’s flesh as valid – and justice and mercy – which regard adherence to this bond as contrary to the spirit of the law – is collapsed, and justice is shown to be capable of being as restrictive as the law, while mercy becomes embroiled in all the trading that occurs in The Merchant of Venice, and demonstrates the capacity to be mercenary. The Tempest is examined next: the starting point is the apparent Nature/Culture distinction within the play. The reading is influenced by Derrida’s use of the notion of supplementarity in his examination in “… That Dangerous Supplement …” of the Nature/Culture distinction in Rousseau. Particular attention is given first to the wedding masque, where the central figure of Ceres, who is goddess of agriculture and marriage, and also the source of seasonal changes, is shown to problematize any absolute distinctions between Nature and Culture. Such distinctions are further collapsed with reference to Prospero and Miranda’s teaching of language to Caliban, as the latter, who supposedly is representative of natural man, is shown to have had his thought supplemented by language before Prospero’s arrival on the island. Hamlet is approached with a reading that again draws from Derrida – this time his exploration of Mallarmé’s “Mimique” in “The Double Session”. Plato’s theory of forms also becomes involved as this chapter plays with the distinction between Being and imitation, destabilizing this distinction within Hamlet and problematizing Hamlet’s question: “To be, or not to be”. And finally, the chapter on Measure for Measure is concerned with the ideas of restraint and freedom, inspecting Lucio’s suggestion that his restraint arises from “too much liberty”, as well as many other instances in the play where restraint, as well as freedom – which seems at times to function in the same way as restraint – seems significant. The reading draws attention to its own impulse to restrain the reader with the truisms it presents by being written in the form of thirty-four aphorisms, and thus alludes to Derrida’s “Aphorism Countertime”. / Dissertation (MA (English))--University of Pretoria, 2005. / Modern European Languages / unrestricted