Ce mémoire propose d’explorer trois « expérience de pensée » décrites dans les œuvres de Diderot, en particulier dans la Promenade du sceptique, l’Encyclopédie et le Rêve de D’Alembert, qui laissent entrevoir par leur forme même l’image de l’activité de la pensée. Le but de cette recherche est de tester la possibilité d’une connaissance historique (prise au sens large) au travers de l’expérience de sens que constituent ces œuvres de Diderot conçues comme « fictions », dans le statut ontologique des objets engagés dans l’expérience et la fonction de l’histoire dans ces expériences. La première partie présente une nature fixe et désordonnée, de laquelle l’observateur fait une expérience spatiale et temporelle dont il rend compte dans un discours analogique qui l’interprète, c’est-à-dire la calque. Diderot critique ainsi le cogito de Descartes, uniquement tourné vers le présent de l’énonciation. L’histoire, comme genre littéraire, est pratiquée de manière subversive pour critiquer l’érudition. La deuxième partie présente la complexité de la structure de l’Encyclopédie et son mode de fonctionnement interne qui rend compte d’une conception historicisée de l’expérience (par accumulation de données et redéfinition processuelle des frontières de la connaissance). L’ouvrage a un rapport ambigu avec l’histoire et plusieurs pratiques historiennes se côtoient. La troisième partie, quant à elle, présente une forme de connaissance historique interne à l’expérience du soi dans la mémoire dont il est constitué et fait signe vers une « métaphysique » de la poésie, conçue dans sa possibilité d’accès à la pensée des liaisons nécessaires du monde. / The purpose of this research is to explore three « experiences of thought » described in Diderot’s oeuvres, in particular in the Promenade du sceptique, the Encyclopédie and the Rêve de D’Alembert, each of which reveal in themselves the image of thought’s activity. It proposes to elucidate a kind of historical knowledge (of history in general) by examining the experience of meaning that constitutes these works of “fiction”, in which one uncovers the ontological status for objects supplied by experience, as well as the role that history plays in these experiences. The first chapter presents nature as both a fixed and disordered, something which the observer interprets and even outlines via an analogical narrative. Diderot also criticizes Descartes’ cogito, which is orientated in particular towards to the present, or the moment of enunciation. History, as a literary genre, is practiced subversively and aimed at criticizing intellectual erudition. The second chapter deals with the complexity of the structure of the Encyclopédie as well as its internal operation, which presents a historicist conception of experience in and through the accumulation of facts and successive redefinitions of the limits of knowledge. His work as a whole has an ambiguous relationship with history and entails several historical practices. The third chapter explicates a form of historical knowledge internal to the experience of the self in the memory that constitutes it, and points to a “metaphysics” of poetry. This poetry opens up the possibility of thinking the necessary relations that make up the world.

Despite long-standing recognition that the constellation of ethical and political ideas developed by the seventeenth-century Natural Law School played an important part in the development of Enlightenment thought, the relationship between the two remains a fertile area of research in intellectual history. Filling a lacuna in existing scholarship, this thesis contends that central tenets of the ethical and political philosophies developed by the Natural Law School were appropriated by the more liberal and progressive contributors to the Encyclopédie ou Dictionnaire raisonné des Sciences, des Arts et des Métiers (1751-1772); which is frequently considered to be the summa of Enlightenment thought, and emblematic of the conflict between the new ‘philosophical spirit’ and the traditional hierarchies, institutions, and values of the ancien régime. It argues that by establishing the loi naturelle and natural rights of the individual as the foundation of both ethics and politics in many of its articles, the Encyclopédie questions the certainty and validity of Catholicism as the basis for both, and that it therefore played an important role in undermining the moral authority of the Church as well as the political authority of the State. In particular, it asserts that the more liberal and humanitarian contributors to the project put the central tenets of Natural Law thinking into practice, in order to tackle and propose reform of what they perceive to be some of the worst injustices in contemporary society, namely with regard to the related questions of slavery and luxury. For those encyclopédistes who believe in universal rights and the loi naturelle, both the slave trade and the attitude of their contemporaries to luxury seem to embody values very different to those they wanted to promote; in their eyes both are representative of a society in which self-interest and the satisfaction of individual passions are valued over and above any consideration for the needs, welfare, and rights of others.

Co-tutelle de thèse avec l'École Normale Supérieure de Lyon / Dans cette thèse, j'étudie la réception singulière de la philosophie de Leibniz dans le corpus matérialiste français du 18e siècle. Il s'agit ainsi de repérer, dans les textes de La Mettrie, Diderot, Helvétius et d'Holbach, les éléments (concepts, arguments ou images) leibniziens dont ces auteurs usent de manière à élaborer leur propre doctrine. L'objectif est alors triple : premièrement, comprendre les sources du matérialisme moderne et notamment reconsidérer ses rapports avec la métaphysique du 17e siècle. On montrera ainsi, avec l'exemple particulier du recours à la philosophie de Leibniz, que le matérialisme est moins une doctrine du rejet de la métaphysique classique que de son détournement et de sa subversion. Deuxièmement, montrer l'importance de la figure de Leibniz dans la constitution d'une philosophie dite « radicale », c'est-à-dire nuancer le schéma largement admis actuellement d'une identité entre « radicalité » et « spinozisme ». Enfin, cette étude des usages matérialistes de Leibniz vise, par l'analyse des réceptions, à déterminer des interprétations possibles de la philosophie de Leibniz, ou du moins de certains de ses éléments. Il s'agit ainsi de considérer le devenir historique de la philosophie leibnizienne comme le lieu de la révélation de ses potentialités théoriques. La thèse comporte deux parties. La première analyse les médiations par lesquelles la philosophie de Leibniz est introduite en France au 18e siècle (Wolff, Du Châtelet, Maupertuis). La seconde présente quatre usages de la philosophie leibnizienne repérables chez La Mettrie, Diderot, D'Holbach et Helvétius ainsi que le processus de démembrement que ces auteurs lui font subir. / In this dissertation, I study the unexpected reception of Leibniz's philosophy in the 18th century French materialism. The aim is to identify the leibnizian concepts, arguments or images that are used by La Mettrie, Diderot, d'Holbach and Helvétius to build their own thoughts. Three kinds of results are shown. Firstly, to understand better the origins of French modern materialisme and particularly its relationship to 17th century metaphysics. In this perspective, this stydy shows that materialists do not necessarilyu reject metaphysics but rather use it for their own goals. Secondly, to show the role of Leibniz in the in the elaboration of a so-called radical philosophy, which means to question the common idea that radicalism originates from spinozism. Lastly, by looking at the materialists uses of Leibniz's concepts, it tries to identify new possible interpretations of his philosophy, more precisely to consider the historical reception of leibnizian philosophy as a way to reveal his theoretical potential. This work is divided in two parts : in the first one, it studies the mediations by which Leibniz's philosophy was introduced in France in the 18th century (Wolff, Du Châtelet, Maupertuis). In the second one, it examines four different uses of the leibnizian philosophy, namely, in La Mettrie, Diderot, d'Holbach and Helvétius.

No description available.

À la fin du XVIIe siècle, la dissolution du pacte allégorique semblait avoir à tout jamais disjoint la fable et le conte, la première prenant en charge seule un but didactique et le second se définissant comme un récit pur, sans intention de transmettre un quelconque message. Paradoxalement, de la fin du XVIIe siècle jusqu'aux années 1775, un nombre important de contes affichent, dès leurs seuils (titres, épigraphes, frontispices, préfaces), une fonction cognitive : on assiste à l'émergence d'une nouvelle catégorie du conte, qui se réconcilie avec les savoirs. Cette thèse vise à montrer que la portée philosophique et morale de ce sous-genre réside moins dans le message transmis que dans le mode de déchiffrement qu'il induit et dans la singularité de l'expérience qu'il fait vivre au lecteur. Les contes à visée morale et philosophique ne sont pas des illustrations d'une thèse préalable, ils déclenchent la réflexion du lecteur grâce à un dispositif narratif particulier, qui repose sur un pacte de lecture non plus allégorique, mais analogique : le lecteur est amené à faire des liens entre ce qui a priori est sans rapport, à prendre une posture critique à l'égard de tous les discours (notamment religieux, politiques, pseudo-scientifiques et même fictionnels), et à s'interroger sur lui-même, en somme à être philosophe, au sens où l'entendait le XVIIIe siècle. Après avoir repéré les constantes structurelles et thématiques de ces textes, aussi divers soient-ils, nous étudions l'entremêlement des discours philosophiques et moraux et de la fiction, dans les contes de Fénelon, Montesquieu, Saint-Hyacinthe, Crébillon, Diderot, Rousseau, Voltaire et Marmontel.

A partir du milieu du 17ème siècle, dans une Europe déchirée par les conflits religieux, et alors que les philosophes commencent à redéfinir les principes de la religion, de la politique et de la morale, l’on découvre le monde musulman à travers les récits de voyage et les travaux des orientalistes. Tandis que les Anglais se penchent sur la question de la prophétie de Mahomet et les Français sur celle de son action politique et sur la littérature orientale, les Allemands se distinguent par leur intérêt pour la philosophie des musulmans. C’est le projet, d’inspiration leibnizienne, d’écrire une histoire universelle de la philosophie, qui amène le pasteur allemand Jacob Brucker à accorder une place non négligeable de son Historia critica philosophiae au traité De philosophia Saracenorum, dont l’écho en France n’est autre que le célèbre article Sarrasins de Diderot. Nous avons étudié la philosophie islamique dans la pensée du 18ème siècle à travers ce traité, en comparant les informations de Brucker avec celles de ses contemporains, et en tenant compte du combat des Lumières. De même, analysant les correspondances entre plusieurs chapitres de Brucker et quelques articles de Diderot, nous avons essayé de déterminer la dette de ce dernier envers le pasteur d’Augsbourg. / Beginning in the mid-17th century, when Europe was torn apart by religious conflicts and philosophers began to redefine the principles of religion, policy, and morals, one discovered the Muslim world through travel accounts and works of Eastern scholars. Whereas the English focused on the question of Muhammad's prophecy and the French on his political action and on Eastern literature, the Germans concentrated on the philosophy of the Muslims. It was the Leibnizian-inspired project of writing a universal history of philosophy which led the German pastor Jacob Brucker to dedicate a significant place in his Historia critica philosophiae to his treatise De philosophia saracenorum, whose echo in France is Diderot's celebrated Sarrasins. I have studied Islamic philosophy in 18th century thinking through J. Brucker's treatise, comparing it with that of his contemporaries, and taking into account the intellectual climate of the time and the "combat des Lumières." Similarly, by analyzing the associations between several chapters of Brucker's Historia critica and some articles by Diderot on Islamic philosophy, I have attempted to determine how much the authors of the Encyclopedia are indebted to the work of the pastor of Augsburg.

Lorsque Christoph Willibald Gluck (1714-1787) arrive à Paris à l'automne 1773, onze ans se sont écoulés depuis la création d'Orfeo à Vienne. La rupture avec l'opera seria a été consommée, et le développement des théories de la " réforme " initiées par la collaboration avec Calzabigi s'engage résolument dans la recherche d'un drame européen. Il serait cependant erroné de scinder la carrière du compositeur entre un " avant " et un " après " Orfeo, car l'œuvre de Gluck se définit comme l'épanouissement permanent des premières idées dramatiques appliquées dans ses premiers opéras italiens. Gluck établit sa " réforme " à partir de l'expérience sensible et pratique, questionnant en réalité l'ensemble des genres musicaux européens non pas sur leur légitimité, mais sur ce qu'ils offrent de possibilité d'émancipation. Cette étude s'intéresse aux œuvres françaises dans ce qu'elles développent d'autonomie et d'épanouissement musicaux à partir, étonnamment, du recul pris par rapport à l'indépendance de la musique, et grâce aussi à l'émergence dans l'Europe des Lumières d'une esthétique fondée sur la réunion et la liaison entre les arts. Il s'agit de proposer une contribution à l'étude musicale des dernières partitions certes prises comme autant d'éléments du langage gluckiste, mais également envisagées à partir des suggestions originelles des premières œuvres et, dans la mesure du possible, face aux discussions et polémiques sur la musique et l'opéra de l'époque. Les drames parisiens élucident dès lors le concept de langage universel dont le compositeur se réclame lui-même.

Is there a world in G. W. F. Hegel's The Phenomenology of Spirit? This is the central question my doctoral thesis aims to address. Both scholars and philosophers alike tend to consider Hegel a thinker who, having formulated the philosophy of absolute spirit, has surrendered the world. Despite this suspicion, the consciousness finds itself at nearly every level of Hegel's oeuvre in a place called "the world". At every stage, the world changes its shape - along with the consciousness - but its function seems to remain the same. The world is a conception of totality; thus, the world is an object of the consciousness that, by definition, surpasses the consciousness and thus reveals its limits. This moment of a "worldly" estrangement is especially pronounced as the consciousness sets itself into action. One of the most recurring motives in Hegel's The Phenomenology of Spirit is the inability of the consciousness to realize its intentions as planned. The consciousness fails to recognize itself in the deed, and thus devises strategies to distance itself from the deed. In my interpretation, this testifies that the deed is the door to the world, and obviously this world is not one that would be in the power of the consciousness. Instead, it is the consciousness that needs to subordinate itself to the deed...

Made available in DSpace on 2014-06-11T19:32:07Z (GMT). No. of bitstreams: 0 Previous issue date: 2009-02-26Bitstream added on 2014-06-13T20:23:00Z : No. of bitstreams: 1 ricardo_mf_dr_arafcl.pdf: 389813 bytes, checksum: 017f1aa026ed5d0bd8c748bb03436a2a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Esta tese tem por objetivo analisar o papel do narrador como estruturador do romance Jacques Le Fataliste de Denis Diderot (1713-1784). Apesar de ter sido escrito oitenta anos antes da eclosão do Realismo enquanto movimento estético, esse romance apresenta procedimentos literários que foram denominados, no século XIX, como sendo “realistas”. Dentre esses, destaca-se o referente ao narrador, responsável por estratégias ficcionais geradoras de uma ambigüidade entre ficção e história, provocando, no leitor, hesitação entre credibilidade e dúvida. Além disso, esse narrador apresenta uma abordagem subjetiva, que ora apenas narra os fatos, ora interfere no que é narrado, julgando as personagens e suas ações, ora se camufla na tentativa de aparentar distanciamento e neutralidade. Observa-se também de sua parte a realização de uma atividade metaficcional que evidencia um processo de escritura provocador para a sua época. As reflexões e críticas que a obra apresenta sobre a formação do gênero romance e sobre a própria escritura constituem uma experiência narrativa singular por se evidenciarem no interior do próprio romance. Dessa maneira, o narrador é o elemento que estrutura ou desestrutura a obra como um todo, gerando a coesão do texto, diante das várias histórias narradas e aos olhos do leitor. A sua análise determina, enfim, as características de um romance que se destaca dentre os publicados na França no século XVIII, constituindo-se num verdadeiro paradigma formal para os escritores seus sucedâneos, notadamente para os do século XIX, no mundo todo. / This thesis has as objective to analyze the narrator's role as the structurer of the novel Jacques Le Fataliste, by Denis Diderot (1713-1784). In spite of having been written eighty years before the Realism emerging as an aesthetic movement, this novel presents literary procedures that were denominated, in the XIX century, as being realists. Among them, it stands out the narrator, responsible for fictional strategies which generate an ambiguity between fiction and history, provoking, in the reader, hesitation between credibility and doubt. Besides, the narrator presents a subjective approach, that sometimes just narrates the facts, other times it interferes in what it is being narrated, judging the characters and their actions, and sometimes it camouflages in the attempt of looking distant and neutral. It is also observed, concerning the narrator, the accomplishment of a metaficcional activity that totally evidences a provoking writing process for its time. The reflections and critics it presents about the novel gender formation, and the writing itself, constitute a singular narrative experience by making itself evident inside the novel itself. In that way, the narrator is the element that structures or unstructures the work as a whole, generating the text cohesion, before the several narrated histories and to the reader's eyes. Its analysis determines, finally, the characteristics of a novel that stands out among all novels published in France in the XVIII century, establishing a true formal paradigm for its succedaneums writers, notedly for the ones from the XIX century, in the whole world.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-04-26T17:33:52Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese (texto final) 2016.pdf: 2545308 bytes, checksum: 3437b7e4b7320b1ec910a0d22da4e8fc (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-08T15:10:07Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese (texto final) 2016.pdf: 2545308 bytes, checksum: 3437b7e4b7320b1ec910a0d22da4e8fc (MD5) / Made available in DSpace on 2017-05-08T15:10:07Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Tese (texto final) 2016.pdf: 2545308 bytes, checksum: 3437b7e4b7320b1ec910a0d22da4e8fc (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Universidade Federal do Rio de Janeiro, Faculdade de Educação, Rio de Janeiro, RJ / Intitulado Entre o convés e a escrivaninha: viagens, leituras e escritas de Bougainville e Diderot, este trabalho pretende analisar de que forma se constitui a literatura de viagem a partir de suas relações com o real, o fictício e o imaginário, verificando as relações entre Voyage autour du monde, de Louis Antoine de Bougainville, e os relatos de outros viajantes, analisando também de que forma esses mesmos relatos e outras referências influenciaram o imaginário individual e coletivo do viajante-escritor Bougainville na confecção de sua obra, reescrita no texto literário, classificado como conto filosófico, Supplément au voyage de Bougainville, de Denis Diderot. Partiremos de um estudo sobre o século XVIII – Século das Luzes – e os seus antecessores, a fim de compreendermos o projeto de viagem empreendido por Bougainville e o posicionamento filosófico de Diderot. A tese apresenta reflexões que se fazem necessárias, como: o papel da memória na produção do relato de viagem; as relações entre o viajante-escritor (quem lembra) e o leitor (quem imagina); as intertextualidades presentes nas duas obras analisadas, para que possamos diferenciar a viagem física e a viagem imaginária, bem como apresentar o jogo de leituras entre as duas obras; a apropriação da obra de Bougainville por parte do leitor Diderot / This research titled Entre o convés e a escrivaninha: viagens, leituras e escritas de Bougainville e Diderot aims to analyze how the literature travel begin the relationship with the real, fictitious and imaginary, checking the relations between Voyage autour du monde, Louis Antoine de Bougainville, and the other travelers' tale, also studying how these same reports and other references influenced the individual and collective imaginary about traveler-writer Bougainville in the production of his work, using reflection based on the literary text, Supplément au voyage de Bougainville by Denis Diderot, classified as a philosophical tale. We will start studying the eighteenth century, the Enlightenment, and its predecessors; aims to understand the travel project undertaken by Bougainville and the philosophical opinion of Diderot. This thesis presents reflections that are necessary, such as : the function of memory in the production of a travelogue; the relationship between the traveler-writer (who remembers) and the reader (who thinks); the intertextuality present in two works analyzed to possibility us to recognize the physical journey and the imaginary journey and present the game of readings between the two works; the appropriation of Bougainville work by the reader Diderot