À l’intersection d’une sociologie des professions et d’une sociologie des œuvres, la thèse se propose de mettre au jour la manière particulière d’Émile Zola de théoriser et mettre en pratique la création littéraire. Le premier moment de ce travail démontre l’intérêt méthodologique d’une analyse de la singularité individuelle et définit le cadre théorique d’une appréhension des créations littéraires soucieuse de saisir dans l’espace littéraire et en amont dans la vie de l’auteur les éléments nécessaires à la compréhension des créations. La seconde partie de ce travail est consacrée à l’analyse des principes structurants des socialisations familiale, amicale et scolaire, puis professionnelle de Zola, qui permettent de rendre raison du besoin d’écrire qui précède et accompagne son immersion dans le jeu littéraire. La troisième partie de ce travail se propose de rendre raison des modes concrets d’engagement de l’écrivain dans l’espace littéraire. Cela suppose de s’intéresser à la manière dont celui-Ci mène sa carrière littéraire. Entrepreneur des lettres et de sa carrière littéraire, ne négligeant aucun terrain d’investissement susceptible de lui procurer un profit matériel, le romancier est pour autant engagé dans une lutte pour la reconnaissance de ses pairs. La quatrième partie examine la façon dont les événements biographiques se donnent à lire, sous des versions retravaillées et transformées, dans les fictions. Nous étudions les thématiques récurrentes dans l’œuvre de fiction, les types de mise en scène, les propriétés des personnages en nous efforçant de mettre en évidence la façon dont ils peuvent exprimer certaines expériences sociales particulières du romancier. / Midway sociology of professions and sociology of art, the thesis aims at uncover the particular way in which Emile Zola theorize and practice literature. The first moment of this work demonstrate the methodological interest of an analysis of individual specificity and defines the theoretical framework of an analysis of literary creations whose purpose is to look at events that have mattered to the author in order to understand his creations. The second part is devoted to the analysis of the structural principles of familial, friendly, educational and professional socialization of Zola that explain his need to write and which precedes and accompanies his immersion in the literary field. The third part of this work intends to describe the concrete mode of commitments in the literary field. That implies taking into account the way he manages his career. Looking for profits, including every activity likely to generate money, Zola is at the same time deeply invested in a struggle for recognition of legitimacy with its peers. The fourth part brings together the structuring features of Zola’s biography and the analysis of the schemes that structure his novels. We study the recurring themes of Zola’s novels, the different types of staging, the social properties of characters by striving to put into relief the way these figures express social experience of the writer.

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This thesis discusses the philosophy of positivism in nineteenth century France. Based on an empirical vision of society, positivism advocated values of rationality, progress, and secularization. In that way, it stood as one of the defining systems of thought of the modern era. I discuss, however, an undercurrent of anxiety about those same values. Positivism's founder, Auguste Comte, argued that all sciences would become unified and organized under universal principles and empirical standards. He viewed the human mind as becoming more rationalized throughout history. In his later career, however, he argued that rationalism was a destructive force and that a new form of secular religion as necessary to establish morality and order. I argue that this transition from science to religion represents an underlying anxiety of the nineteenth century. Intellectuals from different sides of the political spectrum viewed progress as positive, but also limited. They argued that something beyond science, in the realm of the religious, the metaphysical, or the subjective, was necessary for society. They expressed these concerns through the language of gender. Comte argued that women would be at the center of his religion. They would socialize and moralize men, making them part of a new unified, pacifist and orderly social whole. I also discuss two later intellectuals, social psychologist Gustave Le Bon and pioneering sociologist Emile Durkheim. Le Bon represented the fin-de-siecle rejection of positivism. He began with positivist principles, but later argued that humanity was irrational and violent. He viewed the modern masses as a powerful force which threatened to destroy civilization. The other figure, Durkheim, rejected Le Bon's form of nationalist right-wing thought and formed theories of social harmony, altruism, and a solidarity. He sought to reconcile egalitarian republican principles with positivist science. Despite their diverging theories, however, Le Bon and Durkheim employed similar assumptions about modernity and gender. Le Bon argued that European men were superior, and that all other groups shared an undeveloped mentality. Durkheim argued that men were social while women were simpler and mentally limited. Their views, far from establishing an unproblematic hierarchy of gender and race, in fact expressed anxieties about the state of modernity. They identified women, the lower classes, and other societies with values of simplicity, unity, and tradition. They identified the modern, Western male individual with the problems of modern society: excessive rationalization, instability, and secularization. This sense of ambivalence about modernity reveals the central importance of positivism to understanding nineteenth century thought. Positivism sought to reconcile seemingly antithetical principles of order with progress, individualism with social unity, and morality with rationalization. In doing so, it established anxieties about the forces of change. Positivists advocated the most modern of principles, and sought to further the progress of civilization, but also identified those rationalized forces as problems in need of control. Positivism thus established its own undoing, which would come at the beginning of the twentieth century. In that era, intellectuals rejected purely scientific visions of the world in favor of subjective thought. I locate the origins of that rejection at the very foundations of positivist theory.

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This study examines the role of not-knowing, particularly ignorance and irony, in our project of becoming persons. First, I draw upon Jean-Jacques Rousseau to articulate the concept of becoming a person. Considering Emile’s education as well as Sophie’s in Emile, I interpret becoming a person as cultivating the masculine (autonomy) and feminine (relationality), which enable us to live for ourselves and for others in a society. I then argue that ignorance and irony play a key role in our continuous project of becoming persons in childhood and adulthood, respectively. I draw upon Rousseau to discuss ignorance. Ignorance refers to the complete ignorance of things that do not originate from the child’s immediate experience. I focus on Rousseau’s notion that ignorance secures an open mind, which enables a child to begin a relationship with nature, things, and others. I draw upon Jonathan Lear to discuss irony. Irony refers to the loss of one’s routine understanding of her practical identity (social role), which inspires her aspirational understanding of the identity. I focus on Lear’s idea that irony allows an adult to keep an open mind, which enables her to be a subject in a social role, who continues to constitute herself via the role. Thus, I propose a model of becoming a person, in which ignorance and irony play the key role in forming and transforming a person, respectively, by securing an open mind as a person in childhood and adulthood, respectively. Lastly, I explore the application of this model to higher education today. I argue that ignorance and irony can be discussed not only as the two stages of life (childhood and adulthood) but also as the two phases of growth (formation and transformation) which can be concurrent in (young) adulthood. I then propose a pedagogy centered around ignorance and irony, which allows students to learn to become persons in formative and transformative ways. I suggest that this can be a model of moral education in higher education, which not only responds to the current mental health crisis but also revives the tradition of liberal education.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

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A presente pesquisa buscou refletir acerca do processo de trabalho clínico, em terapia ocupacional, nos atendimentos a sujeitos com transtornos mentais graves. Partindo da experiência de trabalho da pesquisadora, que se desenvolve em um centro de atenção psicossocial (caps), da Prefeitura Municipal de Porto Alegre, procurou-se refletir acerca do processo de construção narrativa e do estatuto do objeto na clínica da terapia ocupacional, inserida no contexto da rede pública de dispositivos de saúde mental. Tomando como ponto de partida o ato de colecionar, esse estudo se tramou a partir de fragmentos da prática clínica cotidiana, bem como de uma reflexão mais detalhada acerca do processo de escrever de um paciente, a quem se chamou de Ciro. Utilizou-se o termo caminhamento, cunhado por Antoninho, também paciente do caps, como eixo metodológico, alçando referido termo ao estatuto de conceito. Com o sentido de caminhar acompanhado, tomou-se o conceito de caminhamento, no qual não se tem, propriamente, como objetivo, um bem aprioristicamente determinado a alcançar, mas sim, uma posição de disponibilidade para um encontro. A construção do objeto de estudo se deu a partir de elementos articulados, primeiramente, aos moldes de uma coleção. Estes elementos, ao longo do texto vão sendo tramados para produzir a narrativa dessa dissertação. Utilizou-se a figura topológica da Banda de Moebius como lente para refletir acerca do trabalho que se produz em dobra, no sentido de que, como efeito do jogo transferencial, o formato que a escrita da dissertação toma é homólogo aos processos trilhados por Ciro, os quais considerou-se terem sido da ordem de um movimento que partiu de coleções, chegando a narrações possíveis. Entendendo o trabalho em oficinas terapêuticas como situado em um espaço híbrido (Rickes, 2007), em uma zona de fronteira entre o campo clínico e o educativo, utilizou-se, para escrever e ler a experiência, referenciais conceituais oriundos da psicanálise, principalmente das obras de Freud e Lacan, e de leituras das mesmas realizadas por autores contemporâneos. Procurou-se pensar, tomando o caminhamento como método, nos efeitos produzidos através deste trabalho em terapia ocupacional, a partir das reflexões acerca da negativa (Freud, 1925), na perspectiva da disjunção que produz o campo do não eu, marcando, conseqüentemente a diferença entre o fora e o dentro; do estranho (Freud, 1919), para problematizar os momentos em que se faz necessária a (re)fundação destes campos; do endereçamento (Lacan, 1955-1956), no sentido de que a inscrição psíquica só se efetiva quando encontra representação no discurso social (no Outro, desde a psicanálise); e da densidade simbólica diferenciada (Guerra, 2004), estatuto do objeto produzido em um espaço de oficinas terapêuticas, como operador de um corte, uma disjunção na relação de continuidade que se estabelece entre o psicótico e o Outro. / The aim of the present work is to reflect on the process of clinical occupational therapy practice, in the caring for individuals with severe mental disease. Based on the author's experience working at a municipal psychosocial outpatient center (“CAPS”) in the city of Porto Alegre, Brazil, the objective was to reflect on the process of developing a narrative and also on the status of the object in the occupational therapy practice as part of the public mental health system. Utilizing the act of collecting as a starting point, the study evolved from fragments of daily clinical practice into a more detailed reflection into the writing process of a patient whom we named Ciro.The term "caminhamento" (a word not existent in the Portuguese language, coined by Antoninho, also a patient at the “CAPS”) was used as methodological axis, as well as, eventually, a concept. While uttered originally with the meaning of "walking with a companion", the concept of "caminhamento" refers to a process without an objective to be reached, but as a situation of openness to an encounter. The objective of this study grew from articulated fragments assembled as a collection, initially. These elements are intertwined throughout the text, producing a narrative, which is this dissertation. The topological picture of a Moebius strip was used as a lens through which to view this work, as a loop. As an effect of transferential play, the format that this narrative took is homologous to the process utilized by Ciro considering he started with collections and proceeded to tentative narratives. From the standpoint that the therapeutic workshop is a hybrid space (Rickes 2007), on the border between clinical and educational, the conceptual references used to describe the experiences herein came from the field of psychoanalysis, specially the works of Freud and Lacan and their more contemporary scholars. Utilizing "caminhamento" as a method, the author attempted to think about the effects of this work in occupational therapy. Reflecting on negation (Freud, 1925) , in the perspective of the disjunction that creates the field of "not me", consequently stressing the difference between the out and the in; on the uncanny (Freud, 1919), to question the moments when the (re)foundation of these fields is necessary; on the addressment (Lacan,1955-1956), in the sense that psychic inscription is only effective when it finds representations in the social discourse (in the Other, from psychoanalysis); and, on the differentiated symbolic density (Guerra, 2004), status of object originated in therapeutic workshops as the one that severs the relationship of continuity that is established between a psychotic individual and the Other.

This thesis examines the character of the unhappy bride in three French novels of the 19th century: Le Lys dans la vallee (1836) by Honore de Balzac, Madame Bovary (1857) by Gustave Flaubert and L'Assommoir (1877) by Emile Zola. It compares the heroines' tragic destinies based on the following points: childhood; education; marriage; the philosophy of love and psychology; and escapism and death. We are shown that it is education that leads to the philosophy of love, which is filled with ideas of platonic love, and that unhappy marriages involve compensation. Research by psychoanalyst Karen Horney is applied to the characters found in the novels to explain their deviant behaviour (masochism, bovarism, narcissism, detachment). Each heroine demonstrates a tendency towards the ideal and illusions inherited from romanticism. Their fates are sealed with the failure of their dreams and the victory of reality over fantasy.