No description available.

No description available.

In this work I present both a historical and philosophical argument. First, I use Martin Heidegger's early interest in the argument that concepts are furnished to the mind directly by experience, as found in Edmund Husserl's categorial intuition and Emil Lask's principle of the material determination of form, to build an interpretation of Being and Time and "The Origin of the Work of Art" which provides a unified understanding of Heidegger's consistent underlying position throughout his career as one of realist historicism. My interpretation of Heidegger as a realist historicist rejects the reading of Being and Time as a transcendental project and the claim that Heidegger, like Kant, has an abstractionist view of concept formation. Rather, for the realist historicist, our modes of relating to things, even the supposedly conceptual, have the form of engaged historical practices. These practices are understood as arising from the things they concern rather than being subjectively abstracted from, or imposed upon, them. This view furnishes us with an understanding of art as a key type of historical event through which practices arise or are changed. This position necessitates, however, a rejection of any a-historical universal knowledge and reveals the substantialist assumptions that underlie such claims to knowledge. I then apply this new reading of Heidegger to the debate between Hubert Dreyfus and John McDowell concerning the nature of skillful coping. I show that Dreyfus' embodied non-conceptual understanding of skill acquisition fails to take seriously the centrality of membership in a historical community while McDowell's position fails to appreciate that practices and not concepts are primary.

In the Sellarsian idiom, the space of reasons distinguishes rational beings as those invested in the game of giving and asking for reasons as set apart from beings merely susceptible to the space of causes, i.e. the realm of law. In this work I open a path toward perceiving and thinking that human beings characteristically live their lives in the space of motivations, an intelligible realm of perception, thought, and action whereby non-rational, non-causal descriptions and explanations of behavior serve as the primary and legitimating backdrop of those lives. The idea of motivations stems from the underdeveloped notion within the corpus of Maurice Merleau-Ponty. In preparing a path toward the space of motivations, I argue for three claims. First, in the philosophy of mind, I argue for what I call the attentionality thesis (chapter 1), which states that the mind is primarily structured by attention in two senses: that consciousness has the capacity for re-direction toward different and multiple intentional objects, and that remaining directed toward an intentional object reveals different qualitative features of that object or mode of comportment. The attentionality thesis, which I draw from Merleau-Ponty's work, broadens the Brentano-Husserl intentionality thesis. I further argue that the attentionality thesis undercuts the distinction in kind between cognitive intentionality and motor intentionality (chapter 2), reveals shared problematic presuppositions of qualia theorists and functionalists (chapter 3), and challenges key concepts in Alva Noë's enactive theory of mind. Second, in light of the attentionality thesis, I diagnose concerns about whether perception is conceptual or nonconceptual, particularly with respect to John McDowell's conceptualism and Hubert Dreyfus's and Sean Kelly's nonconceptualism. I show that considerations of these arguments suggest an impasse between the claims that perception is conceptual, even in motor intentional comportments (chapter 2), and nonconceptual, in light of the fineness of grain argument (chapter 4). This leads to the final claim that the primary way to understand human perception, thought, and action is not via conceptual or nonconceptual considerations, but rather via motivations in the significance they lend (chapter 5). / Philosophy

Le nom d’Anatole France, l’écrivain qui fut célèbre, il y a un siècle, court le risque d’être oublié de nos jours. Fraichement nommé à l’Académie française, il a vu son nom briller pendant l’Affaire Dreyfus aux côtés de Zola et des autres dreyfusards. Il consacre Monsieur Bergeret à Paris entièrement à cette Affaire. Mais après la réhabilitation du Capitaine, lui, qu’il avait mis tant d’espoir dans cette affaire voit ses rêves s’effondrer. Nous percevons un changement après l’Affaire dans l’orientation de ses œuvres. Cette nouvelle orientation se fait ressentir surtout à partir de son roman Sur la pierre blanche dans lequel il bâtit une cité de rêve à la fin de son roman. Il devient un amoureux impénitent de l’imaginaire en quête de l’ « inconnaissable », le conteur du « merveilleux », le bâtisseur de « cité utopique ». Avec le temps et surtout vers la fin de sa carrière Il prend un ton plus amer avec une tendance contre-utopique. Il prend conscience de l’impossibilité de changer la société. Cette tendance va s’intensifier dans L'Île des pingouins et La Révolte des anges qu’on peut qualifier de contre-utopies avec des effets de Merveilleux. Pourtant il évite de prévoir une fin pour ses deux histoires dans l’espoir que peut-être les futures générations arriveront à écrire une fin heureuse pour l’histoire et l’humanité. / Anatole France, the French writer who was famous one century ago, risks to be forgotten nowadays. Freshly elected at the “Académie Française”, he saw his name shining during the Dreyfus Affair beside Zola and the other dreyfusards. The story of Monsieur Bergeret à Paris is completely dedicated to the Affair. But after the rehabilitation of the Captain Dreyfus, he, who had put so much hope in this Affair, sees his dream collapsed. After this period, we perceive a change in the orientation of his works. This new orientation is felt especially at the end of his novel Sur la Pierre Blanche in which he builds a dream city. He becomes an incorrigible lover of the imaginative world in search of the “unknownable”, a storyteller of the “magic”, the builder of an “utopian city”. Latter, especially towards the end of his career, he took a more bitter tone, a kind of “contre-utopia”. He became aware of the impossibility of changing the society. This trend is intensified in his two novels: L’Île des pingouins and La Révolte des anges which we can be qualified of “contre-utopia” with effects of magic. Nevertheless he avoid to plan the end of these two stories in hope that the future generations will manage, maybe, to write a happy end for the history and for the humanity.

A presente pesquisa acompanha os diálogos e experiências comuns entre Mário de Andrade, Dina Dreyfus Lévi-Strauss e Claude Lévi-Strauss na cidade de São Paulo entre 1935 e 1938, quando Mário de Andrade era o diretor do Departamento de Cultura da Prefeitura de São Paulo, e Lévi-Strauss e Dreyfus vieram ao Brasil junto à Missão Francesa na Universidade de São Paulo, tendo como objetivo primeiro a realização de pesquisa de campo entre povos ameríndios. Acompanhando a sua interlocução e seus projetos comuns para um laboratório antropológico que se concretizará na Sociedade de Etnografia e Folclore (1937-1941), pretendo captar de um ponto de vista preciso uma imagem do laboratório antropológico tal como ele era concebido - na imaginação e na prática - no período entre-guerras no Brasil e alhures. / This research follows the dialogues and shared experiences between Mário de Andrade, Dina Dreyfus Lévi-Strauss and Claude Lévi-Strauss in São Paulo, 1935-1938, when Andrade was director at the City of São Paulos Department of Culture and Recreation, and Lévi-Strauss and Dreyfus come to Brazil along with the French Mission at the University of São Paulo, aiming to do fieldwork among amerindian peoples. By following their dialogues and the common projects they develop regarding the establishment of an anthropological laboratory that would come to be the Society of Ethnography and Folklore (Sociedade de Etnografia e Folclore, 1937-1941), I intend to obtain, from a precise point of view, an image of the anthropological laboratory as conceived in imagination and practice during the interwar period in Brazil and elsewhere.

À l'aube du XIXe siècle, l'accélération de l'histoire, et la sécularisation qui s'installe, favorisent l'intégration sociale du Juif. Après 1789, il s'émancipe et devient un citoyen. Cette assimilation accompagne une intégration littéraire : le Juif devient un personnage de fiction, multipliant ses apparitions dans les œuvres françaises du XIXe siècle. Nous analyserons la manière dont les écrivains mettent à distance les stéréotypes dans l'élaboration d'un personnage judaïque, pour imaginer une profondeur littéraire et psychologique trouble et signifiante. Nous verrons en quoi ces représentations sont aussi marquées par un contexte historique particulier, comme l' Affaire Dreyfus, par exemple. Quelle influence le personnage juif a-t-il sur l'action ? A-t-il un destin ? Connaît-il l'amour ? A-t-il une identité permanente, ou est-il sensible au changement ? Le personnage juif crée une identité narrative particulière et problématique, tributaire de sa confession. Nous analyserons l'être, le faire et le dire du personnage juif, et montrerons comment la construction littéraire du personnage juif se nourrit aussi du dialogue entre texte et image. / At the dawn of the XIXth century, the acceleration of the history and the secularization which settles down, favor the social integration of the Jew. After 1789, he is emancipated and becomes a citizen. This assimilation accompanies a literary integration : the Jew becomes a fictional character, multiplying his appearances in the french works of the XIXth century. We shall analyze the way the writers put at a distance stereotypes in the elaboration of a Jewish character, to imagine a shady and significant literary and psychological depth. We shall see in what these representations are also marked by a particular historic context, as the Dreyfus affair, for example. What influences the Jewish character has on the action ? Has he a fate ? Does he know love? Has he a permanent identity, or is he sensitive to the change ? The Jewish character creates a particular and problematic narrative identity, dependent on his confession. We shall analyze the being, the making and the telling of the Jewish character, and shall show how the literary construction of the Jewish character also feeds on the dialogue between text and image.

A presente pesquisa acompanha os diálogos e experiências comuns entre Mário de Andrade, Dina Dreyfus Lévi-Strauss e Claude Lévi-Strauss na cidade de São Paulo entre 1935 e 1938, quando Mário de Andrade era o diretor do Departamento de Cultura da Prefeitura de São Paulo, e Lévi-Strauss e Dreyfus vieram ao Brasil junto à Missão Francesa na Universidade de São Paulo, tendo como objetivo primeiro a realização de pesquisa de campo entre povos ameríndios. Acompanhando a sua interlocução e seus projetos comuns para um laboratório antropológico que se concretizará na Sociedade de Etnografia e Folclore (1937-1941), pretendo captar de um ponto de vista preciso uma imagem do laboratório antropológico tal como ele era concebido - na imaginação e na prática - no período entre-guerras no Brasil e alhures. / This research follows the dialogues and shared experiences between Mário de Andrade, Dina Dreyfus Lévi-Strauss and Claude Lévi-Strauss in São Paulo, 1935-1938, when Andrade was director at the City of São Paulos Department of Culture and Recreation, and Lévi-Strauss and Dreyfus come to Brazil along with the French Mission at the University of São Paulo, aiming to do fieldwork among amerindian peoples. By following their dialogues and the common projects they develop regarding the establishment of an anthropological laboratory that would come to be the Society of Ethnography and Folklore (Sociedade de Etnografia e Folclore, 1937-1941), I intend to obtain, from a precise point of view, an image of the anthropological laboratory as conceived in imagination and practice during the interwar period in Brazil and elsewhere.

Ce travail est consacré à Emile Gallé, chef de file de l’Ecole de Nancy, artiste dont les créations appartiennent aux réalisations majeures de l’Art Nouveau. Il était, en outre, passionné par la littérature et c’est cet aspect de sa personnalité, ayant fortement influencé son œuvre, que nous avons étudié. Notre recherche se base essentiellement sur le témoignage le plus concret que Gallé nous a laissé de son intérêt pour les textes : les nombreuses citations qu’il a gravées sur ses œuvres (de verre, bois ou porcelaine), ou dont il a émaillé ses écrits. Leur importance réside dans le fait qu’elles sont partie prenante de la création artistique, puisque Gallé semblait parfois créer une pièce après avoir été subjugué par un passage littéraire. C’est pourquoi il nous a semblé nécessaire de répertorier en détail, sous la forme d’un catalogue raisonné, l’ensemble des citations que l’artiste a choisi d’extraire d’œuvres littéraires du 19e siècle. Nous avons fait suivre ce recensement d’un classement thématique, visant à éclairer les sujets de prédilection de l’artiste. Cette description permettant de faire, en conclusion, quelques remarques concernant les thématiques principales des œuvres. Si ce catalogue constitue le cœur de notre travail, il nous est apparu indispensable d’envisager aussi au préalable la vie d’Emile Gallé, afin de mieux appréhender les influences principales ayant déterminé sa sensibilité littéraire et artistique. La première partie de notre thèse revêt donc un aspect ouvertement biographique. / This research is dedicated to the works of Emile Gallé, leader of the Ecole de Nancy and an artist whose creations belong in Art Nouveau's major achievements. He was also very fond of literature and it is this aspect of his personality, which had a major impact on his works, that has been here focused on. This study is mostly based on Gallé's most tangible account of his interest for words : the many quotations he himself carved on his creations (in glass, wood or china) or referred to in his own writings. Their importance lies in the fact that they are truly part of his creative process since Gallé would sometimes create a piece after being enthralled by some literary passage he had read. This is the reason why it felt necessary to list exhaustively every quotation the artist chose to extract from 19th century literary works and present them as an annotated catalogue. This inventory is followed by a thematic classification highlighting the artist's favourite topics. The main themes here depicted are then discussed and confronted in the conclusion. The catalogue may be at the heart of this study but it also seemed inconceivable not to mention Emile Gallé's life so as to understand the main influences ruling his artistic and literary sensitivity. The first part of this research thus deliberately takes on a biographic aspect.

Pesquisa de teoria literária sobre o romance Em busca do tempo perdido, de Marcel Proust. Tem como objetivo refletir sobre a unidade do romance Em busca do tempo perdido, por meio de uma análise da personagem de Charles Swann. Este trabalho principia pelo levantamento do projeto global do ciclo romanesco, a partir de um trecho d´A Prisioneira em que o narrador-protagonista estabelece dois tipos de unidade para a obra de arte: uma lógica e outra vital. O segundo capítulo expõe as dificuldades que esse projeto coloca: como criar uma obra artística que seja viva e aberta, ao mesmo tempo que coesa e íntegra? A resposta é encontrada nos vasos comunicantes, nas transversalidades capazes de dar ao ciclo romanesco, não uma unidade lógica, mas vital. O terceiro capítulo analisa um dos nós, um dos pontos para o qual convergem essas transversalidades: a personagem de Charles Swann. Por meio da reconstituição desta personagem, são discutidos aqui alguns temas importantes para o romance: a formação do artista, assim como a relação entre a arte e a vida. Vemos em seguida que, em contraponto a Swann, cuja trajetória é vista como uma vocação artística frustrada, a expressão do romance proustiano busca condensar as experiências de um indivíduo para se tornar escritor. Finalmente, o excerto reflete sobre o caráter realista do romance: tendo por base um ensaio de Antonio Candido, \"Realismo (via Marcel Proust)\", e levando em conta um acontecimento-chave para o escritor francês, analisamos aqui o papel desempenhado pelo caso Dreyfus na narrativa. A hipótese mais geral desta pesquisa é a de que certos temas, representados pela personagem do diletante Charles Swann e por seu engajamento no caso Dreyfus, tornam difícil o acabamento do romance e lhe dão uma forma crítica, polêmica, viva. Esta não retira sua unidade da perspectiva de um artista profissional, cujo ofício participa da divisão do trabalho e do conhecimento de nossa sociedade; mas vincula-se à percepção de um diletante, cujo ponto de vista conserva algo de maravilhoso e mágico para as criações artísticas, como se a arte oferecesse mais do que obras e fosse capaz de ensinar a ler a vida. Lembramos neste sentido que a narrativa proustiana, desde seu começo até seu final, acompanha o ponto de vista não de um artista formado, mas de um apaixonado pelo universo artístico: o protagonista que deseja criar uma obra de arte e a imagina capaz de organizar a vida à imagem de sua complexidade. / A literary theory research on Marcel Proust´s novel In Search of Lost Time. The objective is to discuss the unity of Proust´s novel through an analysis of Charles Swann´s character. The first chapter of this work is a survey of the novel\'s global project, taking a passage of The Captive as a starting point, where the novel\'s narrator identifies two kinds of unity for the work of art, a logical one and a vital one. We remind then some difficulties that this project brings along with it: how can we create a work of art which is open and live, as well as coherent and complete? The answer is found in the communicant vases, in the transversalities able to provide the novel with a vital unity, not a logical one. In the third chapter, we analyse one of the points into which these transversalities converge: Charles Swann´s character. By a reconstitution of this character, we discuss certain important motifs of Proust´s novel: the education of the artist, as well as the relationship between art and life. In comparison with Swann, who represents a frustrated artist, we recognize that Proust´s literary expression seeks to condense someone\'s experiences to become a writer in the actual society. Finally, in the last part, we study the realistic aspects of the novel, based on Candido´s essay, \"Realism (according to Proust)\", and, taking into account an important political experience for the writer, we review the role of Dreyfus\'s Affair in the narrative. The general hypothesis of this research is that some themes, represented by Charles Swann´s diletantisme and his political engagement at the Affair, make it difficult to finish the novel and also give it a critical, polemical and live form. This form does not take its unity from a professional artist´s perspective, which participates in the division of the work and knowledge of our society, but from the dilettante condition, which point of view preserves something magical and wonderful for the artistic creations, as if art could give more than artworks and teach to read life. In this sense, we remind that Proust´s novel follows the point of view of a passionate for arts rather than a professional writer: the hero who wants to create a work of art and who believes it capable to organize the world at its complexity.