Depuis qu’en 1977, en quatrième de couverture de Fils, Serge Doubrovsky employa le mot « autofiction » pour décrire son roman, les études doubrovskiennes ont eu tendance à se focaliser sur les questions génériques que sous-tendait ce néologisme. Ainsi on a écarté un autre aspect, tout aussi important, de l’œuvre de l’auteur : celui du lien avec le lecteur qui, en plus d’être mis en scène dans chacune des autofictions doubrovskiennes, est associé dès Fils au rapport complexe, inextricable et conflictuel entre les sexes. « J’écris mâle, me lis femelle », dit le narrateur-écrivain ‘Serge Doubrovsky’ – lui qui vivra sous nos yeux une série d’histoires passionnelles avec des compagnes qui sont également ses lectrices. Repris d’épisode en épisode, le rapport entre le héros doubrovskien et sa compagne du moment rappelle les hypothèses de Doubrovsky dans Corneille ou la dialectique du héros (1963), inspirées de la dialectique hégélienne du Maître et de l’Esclave. Cette thèse s’attache donc à analyser la relation dialectique auteur-lectrice telle que mise en scène et approfondie dans l’ensemble de l’édifice autofictionnel. Après présentation et étude des mécanismes dont se sert l’auteur pour construire son Lecteur Modèle (Première partie), les trois autres sections principales de la thèse sont consacrées à l’analyse de Fils et Un amour de soi (1977 et 1982 ; Deuxième partie) ; du Livre brisé et de l’Après-vivre (1989 et 1994 ; Troisième partie) ; et enfin de Laissé pour conte (1999 ; Quatrième partie). Il s’agira enfin de montrer la portée non seulement littéraire, mais également sociale (la réflexion s’élargit à chaque épisode pour aborder les questions de la réception contemporaine de l’œuvre littéraire) et historique (le motif Maître-Esclave s’inscrit dans l’Histoire de l’Europe du XXe siècle, plus précisément la Seconde Guerre mondiale et la Shoah) du thème dialectique doubrovskien. / Since Serge Doubrovsky coined the term « autofiction » to describe his own novel on the back cover blurb of Fils (1977), doubrovskian studies have tended to focus on the literary genres issues implied by his neologism. Consequently, another aspect of the writer’s work, and a quite crucial one, was somewhat neglected: the relationship with the reader, which is not only represented and acted out by the characters in doubrovskian autofictions but also linked to a another complex, tempestuous and inextricable relationship, that of man and woman. “I write male, read myself female”, says the doubrovskian narrator, who happens to take part, under our very eyes, in a series of passionate relationships with mates that are also readers of his works. Repeated from novel to novel, the mise en scène of the rapport between the doubrovskian hero and his lady companion of the moment reminds us of Doubrovsky’s hypotheses in Corneille ou la dialectique du héros (1963), which were inspired by the Hegelian master-slave Dialectics. This study thus concentrates on the representation of the dialectical relation between male author and female reader in Doubrovsky’s autofictions. After a brief survey and description of the tools used by the author in order to construct his own Model Reader (First section), our three other principal sections will focus on the analysis of Fils and Un amour de soi (1977 and 1982; Section Two); Le livre brisé and l’Après-vivre (1989 and 1994; Section Three); and finally Laissé pour conte (1999; Section Four). We will ultimately attempt to demonstrate the doubrovskian dialectal theme’s literary richness as well as its social and historical implications – the author’s reflexion widens with each episode, touching on questions of reader-response and reception of the literary work, while the master-slave motif resonates in the History of twentieth century Europe, mainly the Second World War and the Holocaust.

Thèse réalisée en cotutelle (Université de Montréal et Université Paris Diderot - Paris 7) / Antonin Artaud et Jean Genet ont respectivement connu l’enfermement asilaire et carcéral. Ils conçoivent tous les deux l’écriture comme le théâtre, sur le même plan que la vie, et partagent en outre la même conviction que la littérature, comme toute forme d’art, peut quelque chose pour nous. Malgré leurs nombreux points de contact biographiques, poétiques et éthiques, leurs œuvres n’ont jamais fait l’objet d’un rapprochement exclusif, une étonnante lacune que l’introduction substantielle de cette étude se donne pour tâche d’éclairer. En fait, si les œuvres d’Artaud et de Genet sont souvent comparées, c’est invariablement de façon limitée : brièvement, par le biais d’un tiers auteur et au plan du théâtre. Or toute leur écriture est théâtrale : c’est la prémisse sur laquelle se base ce travail qui constitue, donc, la première étude comparative approfondie de leurs œuvres. Dans un premier temps, nous étudions la conception du théâtre d’Artaud et de Genet dans la perspective de la tragédie qu’ils privilégient, parce qu’ils estiment primordiale la reprise vivante de l’œuvre par chacun de nous. En fait, nous nous intéressons à Genet et Artaud aussi bien en tant qu’écrivains que lecteurs, en analysant la manière singulière dont ils puisent l’un et l’autre de grandes figures dans les textes de la mythologie, de la littérature et de l’histoire pour les faire intervenir, indifféremment de leur provenance, dans leur propre texte. Pour démontrer ce travail de "reconfiguration" tout à la fois biographique, esthétique et éthique chez Artaud et Genet, nous analysons leur traitement de la figure tragique par excellence d’Antigone, dans "Antigone chez les Français" et "Journal du voleur". Dans un second temps, nous examinons comment Artaud et Genet s’en prennent à la dialectique du jugement qui préside à la lecture univoque qu’ils récusent : d’une part, par la conjuration, dans les textes qu’ils rédigent en 1948 pour une même série radiophonique, "Pour en finir avec le jugement de dieu" et "L’Enfant criminel" (tous deux censurés) et, d’autre part, par la révélation, en pratiquant ce que nous appelons une écriture de l’évanouissement – qui n’a rien de sublime, qui ne conserve en fait de la relève hégélienne que la structure du coup de théâtre, à savoir l’interruption qu’elle introduit dans la délibération de la conscience. Nous analysons alors les commentaires de dessins d’Artaud et les nombreuses scènes d’évanouissement dans l’œuvre de Genet. Dans un troisième temps, nous suggérons d’approcher de manière éthique les troublants termes de "cruauté" et de "trahison" qu’Artaud et Genet nous ont légués. Plus que des notions, celles-ci, avançons-nous, sont des méthodes visant l’acquisition d’un nouveau mode de lecture. Par l’entremise de ces concepts anti-conceptuels, Artaud et Genet nous invitent en fait à vivre comme ils écrivent et lisent : à "voire" la réalité. Pour le démontrer, nous proposons une micro-lecture du "Théâtre et son double" d’Artaud au regard de "La Sentence" de Genet, texte dont la publication toute récente vient confirmer la pertinence du rapprochement que nous établissons dans cette étude. / Antonin Artaud and Jean Genet experienced confinement in an asylum and a prison respectively. They both also conceived of writing as theatre, on the same level of tragedy as life, and shared the same conviction that literature, like all forms of art, has the power to do something for us. Despite their many points of contact in terms of biography, poetics, and ethics, their works have never been the object of an exclusive comparative study, a surprising omission that the substantial introduction of this study sets out to elucidate. In fact, if the works of Artaud and Genet are often compared, it is inevitably in a limited fashion: briefly, via a third author, and in terms of the theatre. Yet all their writing is theatrical: it is the premise on which this, the first full-length comparative study of their works, is based. Firstly, I study Artaud and Genet’s conception of theatre from the perspective of the tragic which they both privilege, because above all they value the reanimation of their work performed by the reader. In fact, I engage with Genet and Artaud as both writers and readers, analysing the singular way in which each takes great figures from mythology, literature, and history, in order to introduce them, irrespective of their provenance, into their own works. To demonstrate this work of "reconfiguration" in Artaud and Genet, which is at once biographical, aesthetic, and ethical, I analyse their treatment of Antigone, in "Antigone chez les Français" and "Journal du voleur". Secondly, I examine how Artaud and Genet defy the dialectic of judgement ruling the univocal reading which they oppose. In part, I focus on their defiance in the texts that they composed in 1948 for the same radio broadcast, "Pour en finir avec le jugement de dieu" and "L’Enfant criminel" (both of which were censored). And in part I focus on the defiance they practice by way of a revelation that I call a writing of fainting—which has nothing of the sublime in it, which in fact only retains the structure of the interruption from the Hegelian Aufhebung, that is to say the coup de theatre that it introduces in the deliberation of consciousness. I further analyse the commentaries of Artaud on his drawings and numerous scenes of fainting in Genet’s works. Thirdly, I put forward an ethical way of approaching the troubling terms "cruelty" and "treason" that Artaud and Genet have bequeathed us. More than being notions, I propose, these are methods aiming towards a new mode of reading. By the intervention of these anti-conceptual concepts Artaud and Genet invite us to live in the same way they write and read, that is to say in the same way they "see" the multiplicities of reality. As an exemplification, I advance a close reading of Artaud’s "Théâtre et son double" in relation to Genet’s "La Sentence"—a text whose recent publication confirms the pertinence of the comparative approach taken in this study.

This diploma thesis deals with the argumentation of guests of selected debates of the talk shows Otázky Václava Moravce and Máte slovo s M. Jílkovou publicizing. The format of these talk shows assigns these debates the confrontational nature, which leads their participants excluding the presenters to the argumentation duels. The subject of the research is a detailed analysis of the argumentation used by guests of the selected debates of the respective talk shows, including finding an answer to the question of what role the presenters play in it. The analysis put a particular emphasis on eristic dialectics, the concept created by Arthur Schopenhauer, which is understood to be a science of human intransigence. The concepts of Rhetological Fallacies of Jiří Kraus or David McCandless are taken into consideration in the second place as well. Linguistic and suprasegmental means as well as nonverbal level of the communication are being examined too. The aim of this analysis is, on the one hand, to describe the axiology and the associated efficiency of argumentation of the main guests at selected debates of Otázky Václava Moravce and Máte slovo s M. Jílkovou and on the other hand, to verify the usability of eristic dialectics to deconstruct myths, manipulations and distortions of facts in these debates....

Uppsatsen undersöker feministisk argumentation i två artiklar publicerade av Expressen. Syftet har varit att ta reda på hur diskussionen om ett slags normerande feministisk kvinnlighet tar form. Analysen är uppdelad i två delar: i den första används Lloyd Bitzers teori om den retoriska situationen samt en pragmadialektisk teori och metod. Den information som utvinns i analysens första del kontextualiseras sedan med hjälp av olika genusvetenskapliga ingångar.  I den första delen skisseras argumentationens utgångspunkter och sedan dess argumentationsstruktur. I analysens andra del knyts den ena artikelförfattarens argumentation till en radikalfeministisk tradition, och den andra till en mer postmodern feministisk hållning. Argumentationsstrukturen var till stor nytta för att identifiera hur den första artikelförfattaren räknar upp flera egenskaper som ett kvinnligt subjekt inte kan inneha om hon ska erhålla rätten att kalla sig för feminist. Uppsatsen diskuterar sedan feministers möjligheter att skava, göra fel, och på så sätt tänja gränserna för vad som anses vara respektabelt. Också möjligheter för en bredare feminism som kan inkludera fler och en eventuell dekonstruktion av begreppet feminism är ämnen som uppsatsen argumenterar för. Slutligen resoneras kring de faktorer som samverkar för att skapa normer som både inkluderar och exkluderar kvinnliga subjekt.

The dialectics of globalization and multiculturalism is encountered everywhere and is an inescapable world reality. It has also become a major factor affecting teacher education. As a meeting ground and intercept for educational programs, teacher education provides an interface for both global imperatives and local identities. Ethiopia has pronounced achievements in most education programs at all levels, although official documents indicate variance in the quality of attainment across the levels (ESDP IV, 2011). Local studies (Ambisa, 2008; Amaliraj, 2008) also found that teacher education suffers from a lack of relevance and poor quality. Moreover, the demand for qualified teachers who are competent to shape the young generation through balancing the glocal context is increasing. This study investigated how local identities and global imperatives are integrated in contemporary Ethiopian teacher education at all levels. Critical theory was employed as the paradigm for the study. This epistemological view underpinned a discussion of the effect of globalization and multiculturalism on the world’s functioning. The research approach in the empirical study was qualitative and an interpretive case study method was employed. The units of analysis were literatures, such as The Lexus vs. the Olive Tree; McWorld vs. Jihad; The Clash of Civilization: The West vs. the Rest; and Demonstrating Common World Culture of Education (CWCE) or Locating A Globally Structured Agenda for Education (GSAE); and the contemporary Ethiopian teacher education programs (the PGDT and TESO programs). Data collection tools were basic dialectical questions under Eemeren’s (1986) established ‘system of norms’, observation, interviews and focus group discussions. Confidentiality, anonymity, informed consent, resolution of conflict of interest and intellectual ownership were considered in the study. The dialectical analysis investigated the four quadrant glocal relationships model and described the role players in each quadrant where nations may locate themselves. Moreover, the comparative analysis indicated that globalization has not yet become an issue in contemporary Ethiopian teacher education, while multicultural practices are fragmented and are addressed only in response to ethnic demands for accommodation. To this end, Ethiopian teacher education should redefine its programs in order to adjust to global understanding in an endeavor to produce competent teachers for the global market. / Curriculum and Instructional Studies / D. Ed. (Curriculum Studies)

Esta tese tem como objetivo a análise e interpretação do sentido histórico, estético, político e literário das tensões dialéticas expostas na obra do escritor russo Fiodor Dostoiévski. Na primeira parte (tese), Dostoiévski e o fetichismo da forma mercadoria, a análise da obra de Dostoiévski nos leva às tensões e às afinidades eletivas que enredam duas vertentes: a polifonia proposta pelo crítico russo Mikhail Bakhtin (1895-1975), em Problemas da Poética de Dostoiévski (1929/1963), e a dialética materialista, sobretudo a partir da Teoria Estética (1968), do autor frankfurtiano Theodor Adorno (1903-1969). Trata-se de totalizar as aporias do concerto polifônico, de modo que, dialeticamente, o transcurso analítico desvele a mimese imanente da forma mercadoria como o sentido histórico-tautológico da forma dostoievskiana, sobretudo a partir de Memórias do Subsolo (1864). Na segunda parte (antítese), O conteúdo em Dostoiévski como a cicatrização do espírito rumo à utopia?, procuramos estruturar a filosofia da história que transpassa a obra do escritor russo. Os diálogos dostoievskianos envolvendo socialismo e cristianismo nos fazem correlacionar as discussões estabelecidas nesse sentido em Recordações da Casa dos Mortos (1862), Notas de Inverno sobre Impressões de Verão (1863), Memórias do Subsolo (1864), Crime e Castigo (1866), O Idiota (1869), Os Demônios (1872) e, fundamentalmente, em dois capítulos de Os Irmãos Karamázov (1879): A Revolta e O Grande Inquisidor. Ao fim e ao cabo e como um prenúncio de superação (Aufhebung) o conteúdo dostoievskiano da história como o movimento dialético rumo à utopia nos faz colocar em diálogo o conto O sonho de um homem ridículo (1877) com o conceito de cicatrização do espírito, que o filósofo alemão Georg Wilhelm Friedrich Hegel (1770- 1831) desenvolve em sua Filosofia da História (1837). / The aim of this dissertation is to analyse and interpret the historical, aesthetic, political and literary meaning of the dialectical tensions exposed in the work of the Russian author Fyodor Dostoevsky. On the first part (thesis), Dostoevsky and the Fetishism of Commodity Form, the analysis of Dostoevskys work takes us to both tensions and elective affinities which intertwine two perspectives: polyphony, as it is proposed by the Russian critic Mikhail Bakhtin (1895-1975), in Problems of Dostoevskys Poetics (1929/1963), and materialist dialectics, mainly from the Aesthetic Theory (1968), by the German author Theodor Adorno (1903-1969). The aim is to totalize the polyphonic concerts aporias, so that the analysis dialectically unveils the immanent mimesis of commodity form as the historical and tautological meaning of Dostoevskys form, mainly from Notes from Underground (1864). On the second part (antithesis), Dostoevskys Content as the Healing of the Spirit towards Utopia?, we try to structure the philosophy of history which is established through the authors work. Dostoevskys dialogues which intertwine socialism and Christianity make us correlate the discussions which are established in Memoirs from the House of the Dead (1862), Winter Notes on Summer Impressions (1863), Notes from Underground (1864), Crime and Punishment (1866), The Idiot (1869), The Devils (1872) and, essentially, in two chapters of The Brothers Karamazov (1879): The Revolt and The Grand Inquisitor. Finally and as a harbinger of an overcoming (Aufhebung) Dostoevskys content of history as a dialectical movement towards utopia makes us put into dialogue the short story The dream of a ridiculous man (1877) with the concept of healing of the spirit, which the German philosopher Georg Wilhelm Friedrich Hegel (1770-1831) develops in his Philosophy of History (1837).

Made available in DSpace on 2016-04-25T20:21:58Z (GMT). No. of bitstreams: 1 Paulo Niccoli Ramirez.pdf: 1359889 bytes, checksum: 5172a9ae3fd39b7a2207cfc4a7b0d75c (MD5) Previous issue date: 2007-11-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present dissertation targets the investigation and reconstruction of some of Sérgio Buarque de Holanda's and Walter Benjamin's main concerns, seeking the elective affinities, or convergences, which find their most striking correspondence in the cordiality topic. As the central hypothesis for studying the dialectics of cordiality, we find that the use of allegories, metaphors, and dialectical images, among other important matrixes which are present in several Walter Benjamin's writings, convenes for existing issues in Sérgio Buarque de Holanda's Raízes do Brasil and Visão do Paraíso, allowing it to detect major elective affinities between both authors. Those go from a narrative, fragmentary style to the criticism and overcoming necessity both of historical versions and domination forms and practices present in the Brazilian social and political trajectory. When taken in its dialectical sense, cordiality may be read as an existing powerful allegory in SBH's thinking, once it points out the understanding of the Brazilian societal configuration's political and cultural features / Esta dissertação tem como objetivo principal investigar e reconstruir algumas das principais reflexões de Sérgio Buarque de Holanda e Walter Benjamin, buscando afinidades eletivas (sinônimo de transversalidades ou convergências teóricas), que encontram sua correspondência maior no tema da cordialidade. Como hipótese central para o estudo da dialética da cordialidade, consideramos que o emprego de alegorias, metáforas e imagens dialéticas, dentre outras matrizes importantes presentes em vários escritos de Walter Benjamin convergem para questões presentes em Raízes do Brasil e Visão do Paraíso de Sérgio Buarque de Holanda, permitindo detectar afinidades eletivas importantes entre esses os dois autores. Essas vão desde um estilo narrativo e fragmentário e alcançam a crítica e necessidade de superação das versões históricas difundidas pelas classes dominantes como meio de estabelecer a sua hegemonia sobre os oprimidos. Quando tomada em seu sentido dialético, a cordialidade pode ser lida como uma poderosa alegoria presente no pensamento de SBH, pois aponta para a compreensão das especificidades políticas e culturais da configuração societária brasileira

Made available in DSpace on 2016-04-26T14:56:43Z (GMT). No. of bitstreams: 1 Paulo Niccoli Ramirez.pdf: 1359889 bytes, checksum: 5172a9ae3fd39b7a2207cfc4a7b0d75c (MD5) Previous issue date: 2007-11-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present dissertation targets the investigation and reconstruction of some of Sérgio Buarque de Holanda's and Walter Benjamin's main concerns, seeking the elective affinities, or convergences, which find their most striking correspondence in the cordiality topic. As the central hypothesis for studying the dialectics of cordiality, we find that the use of allegories, metaphors, and dialectical images, among other important matrixes which are present in several Walter Benjamin's writings, convenes for existing issues in Sérgio Buarque de Holanda's Raízes do Brasil and Visão do Paraíso, allowing it to detect major elective affinities between both authors. Those go from a narrative, fragmentary style to the criticism and overcoming necessity both of historical versions and domination forms and practices present in the Brazilian social and political trajectory. When taken in its dialectical sense, cordiality may be read as an existing powerful allegory in SBH's thinking, once it points out the understanding of the Brazilian societal configuration's political and cultural features / Esta dissertação tem como objetivo principal investigar e reconstruir algumas das principais reflexões de Sérgio Buarque de Holanda e Walter Benjamin, buscando afinidades eletivas (sinônimo de transversalidades ou convergências teóricas), que encontram sua correspondência maior no tema da cordialidade. Como hipótese central para o estudo da dialética da cordialidade, consideramos que o emprego de alegorias, metáforas e imagens dialéticas, dentre outras matrizes importantes presentes em vários escritos de Walter Benjamin convergem para questões presentes em Raízes do Brasil e Visão do Paraíso de Sérgio Buarque de Holanda, permitindo detectar afinidades eletivas importantes entre esses os dois autores. Essas vão desde um estilo narrativo e fragmentário e alcançam a crítica e necessidade de superação das versões históricas difundidas pelas classes dominantes como meio de estabelecer a sua hegemonia sobre os oprimidos. Quando tomada em seu sentido dialético, a cordialidade pode ser lida como uma poderosa alegoria presente no pensamento de SBH, pois aponta para a compreensão das especificidades políticas e culturais da configuração societária brasileira

A presente tese de doutorado realiza uma revisão e uma reinterpretação de textos épicos e suas variantes híbridas no Brasil, desde as tendências neoclássicas, do séc. XVIII, às românticas, do século XIX, que correspondem aos “momentos decisivos” da formação da literatura brasileira segundo Antonio Candido. É feita, ao mesmo tempo, uma releitura da crítica literária brasileira, tendo foco principal a observação, em nova perspectiva, da Formação da Literatura Brasileira (1959), de modo a repensar os índices de formação nesses textos e, também, a sua relação com a formação do Brasil-nação. Compreende-se que a literatura encarna e expõe impasses, reelaborando-os, findando por aliar forma literária e processo histórico-social; nesse sentido, o argumento do presente trabalho é orientado por base nas discussões sobre literatura brasileira feitas por Candido e Roberto Schwarz, aliando conceitos que propiciem tracejar uma perspectiva das relações entre a literatura e o processo histórico no que concerne à formação da poesia heróica no Brasil. Para tal, a pesquisa presta-se à análise em dois âmbitos: de uma releitura da fortuna crítica relacionada ao gênero ao longo do século XIX, seguida de uma leitura de poetas modernistas comparadas ao texto de Candido; por fim, uma leitura de índices de composição estética/estrutural interna inerente ao gênero (tais como proêmio, diegese, heroicidade), ligada ao campo de interpretação formativo (tais como voz narradora, antagonismo/protagonismo de elementos ou caracteres – principalmente dos ameríndios –, relação da forma literária, social e histórica do Brasil colônia e do Brasil independente), relacionando-os a índices de vitória e derrota em tais poemas com base na teoria de David Quint. A pesquisa envolve breve observações de tais índices na poesia, em especial em O Uruguai, O Caramuru, A Confederação dos Tamoios e I-Juca Pirama. Investiga-se sobre mediação feita pela literatura do período no que diz respeito à escolha da temática heróica e sua forma, compreendendo a poesia heróica narrativa como parte de um processo literário próprio, tomando por base textos da crítica materialista no Brasil – em que vale o conceito de nação periférica –, além de questionar acerca da formação da literatura brasileira (e da nação) e suas forças na estrutura literária e no processo social. Ainda, faz-se análise e crítica materialista do fundamento dessa literatura e do empenho da aplicação do gênero estético aqui estudado, bem como a avaliação estético-social e histórico-esturtural. / This PhD thesis makes a revision and a reiterpretation of epic texts and their hybrid variants in Brazil, from the neoclassical tendencies of the 18th century to the romantic tendencies of the 19th century, which correspond to the “decisive moments” of Brazilian literature’s formation according to Antonio Candido. At the same time, we do a reinterpretation of the Brazilian literary critique, focusing mainly on the observation, under a new perspective, of Fomação da Literatura Brasileira (1959), Candido’s book, in a way to rethink the traces of formation in these texts and their relation with the formation of Brazil as a nation. We understand that literature embodies and exposes impasses, repormulating them, ultimately allying literary form and social-historical process. In this sense, the argument of the present work follws Brazilian literature discussions made by Candido and Schwarz, bringing conceots to define the relations between literature and the historical process regarding the formation of the heroic poetry in Brazil. To this end, two ambits were analyzed: first, we reread the critical fortune related to the genre along the 19th century, and compare the modernist poets’ point of view to Candido’s text; secondly, we search for traces of internal aesthetical/structural composition inherent to the genre (such as proem, diegesis, heroicity). We aim to connect those points to the formative field if interpretation, which includes narrative voice and antagonism/protagonism of elements or characters – specially the Amerindians. Besides that, we seek for the relation between social, historical and literau from in Brazil (both Colonial and Independent) and the research involves short observations of that theory in O Uraguai, O Caramuru, A Confederação dos Tamoios e I-Juca Pirama. We investigate the mediation made by the literature of the 18th and de 19th centuries regarding the heroic theme and its form, comprehending the narrative as part of a specific literary process, based on the texts of the materialist critique in Brazil – in which the concept of peripheral nation is used. We inquire about the formation of Brazil – in which the concept of peripheral nation is used. We inquire about the formation of Brazil as a nation, as well as its materialist critique and analysis of the foundation of this literature and of the effort in the application of the aesthetical genre here studied, as well as a social-aesthetical and structural-historical evaluation.

A ipseidade na ética argumentativa de Paul Ricoeur é a referência básica da hermenêutica do si ao qual sempre retorna. Ela estabelece a constante mediação reflexiva em oposição à pretensa posição imediata do sujeito. A mesmidade do si tem como contrapartida o outro. Na comparação, a mesmidade é sinônimo de identidade-idem em oposição à ipseidade-ipse que inclui a alteridade. Esta inclusão questiona a capacidade do si construtivo da ética e, portanto, responsável jurídica e moralmente nas várias injunções do outro. O projeto ético de Ricoeur é compreensível a partir e dentro de sua peculiar metodologia que ele denomina de dialética entre a ética teleológica e a moral deontológica. Esta dialética se fundamenta na tríade do desejo, do dever e da sabedoria prática em recíproca atividade, privilegiando a dimensão teleológica do desejo da vida boa com o outro e para o outro em instituições justas. A ética argumentativa tem a função de dar conteúdo as duas dialéticas pela inclusão do outro no si mesmo sem o qual a reflexão sobre a ipseidade perderia o sentido. A sabedoria prática da ética e do julgamento moral em situação inclui a discussão porque o conflito é insuperável e determina o argumento para o consenso eventual. Nossa tese é a afirmação da capacidade do si mesmo atuar ações construtivas. Além da critica à ideologia e à utopia, Ricoeur fundamenta a dialética entre o princípio-esperança e o princípio de responsabilidade mediante a via utópica do futuro e a via realista da preocupação com o presente diante dos casos inéditos em que a vida e o ecossistema se associam. A imputação pessoal e coletiva desde o passado, no presente para o futuro é devida à responsabilidade. A ipseidade constrói o futuro no presente através de decisões éticas. / The ipseity in ethics argumentative of Paul Ricoeur is the basic reference of the hermeneutic of the selfhood that he always returns. She settles the constant reflexive mediation in the opposition supposed immediate position of the subject. The sameness of the selfhood has like counterpoint the other. In the comparison, it is a synonym of identity-ditto an opposition ipseity-ipse that it includes the others. This inclusion questions the capacity of the self to be ethical and, ergo responsible juridical and morals in the various junction of the other. The ethical project of Ricoeur is comprehensible from and inside his peculiar methodology that he nominates dialectics between the teleological ethics and the deontological moral. This dialectics settles the triad of desire, obligation and practical wisdom in reciprocal activity, privileging the teleological dimension of the desire goods life with the other and for other in fair institutions. The ethics argumentative has the function to give contents the two triads, through the inclusion of the other in selfhood without the reflection about ipseity would lose sense. The practical wisdom of the ethical and moral judgement in situation includes discussion because the conflict is insuperable and it determines the best argument for the eventual consensus. Our thesis is the affirmation capacitys of selfhood to actuate constructive actions. By critique on ideology and utopia Ricoeur bases the dialectics between the principlehope and the principle of responsibility through utopian way of future and realistic way of preoccupation with the present in front of the hard cases that life and the ecosystem are associated. The personal and collective ascription on the past, in the present towards the future is due to the moral responsibility. The selfhood constructs the future in the present by your ethics decisions. It deals about ethical capacity of selfhood.