Este estudo versou sobre os caminhos da formação do Direito Comercial brasileiro a partir das reformas pombalinas no século XVIII até a promulgação do Código Comercial brasileiro de 1850, procurando expor em quais pontos em se diferenciou do Direito Civil. Para tanto, no primeiro capítulo, expôs-se de que forma se deu a penetração das ideias Iluministas em Portugal, especialmente por meio da obra de LUÍS ANTÓNIO VERNEY. Em seguida, procurou-se demonstrar como essas ideias informaram as reformas levadas a efeito pelo Marquês de Pombal no século XVIII. No segundo capítulo, objetivou-se evidenciar as alterações na sociedade e na estrutra do império luso-brasileiro a partir da abertura dos portos em 1808 e de que forma estas alterações tiveram impacto na História do Direito Comercial nacional. O terceiro capítulo destinou-se a provar o influxo de ideias jusracionalistas no Direito Comercial brasileiro por meio da adoção da teoria subjetiva da causa, consagrada legislativamente no Código Civil francês de 1804. O trabalho, portanto, destinou-se a por em relevo um aspecto da História do Direito privado brasileiro que não se coaduna com a tradição jurídica luso-brasileira / This study refers to the formation of Brazilian Commercial Law from the pombalinas reforms until the promulgation of the Brazilian Code of Commerce in 1850. Throughout the work we tried to demonstrate how the Commercial Law followed a different tradition comparing with the Civil Law in Brazil. Thus, the first chapter demonstrates the Enlightenment influx in Portugal, specially through the work of LUÍS ANTÓNIO VERNEY. Then, the influence of VERNEYS ideas and the reforms that took place by the hands of the Marquês de Pombal in Portugal was showed. The second chapter demonstrates the social and political modifications that happened in the Portuguese Empire after the opening of the Brazilian ports to the trade of the world. At this point, there was also a study on the impact of the these developments in the History of the Brazilian Commercial Law. The third and last chapter attempts to prove the influx of Enlightenment demonstrating that the Code of Commerce of 1850 adopts the subjective theory of cause which is the same as in the French Code Civil of 1804. Therefore, this work demonstrated how the Brazilian Commercial Law followed different juridical tradition in comparison with the Brazilian Civil Law.

Au cours du dix-huitième siècle, la question de la tolérance religieuse est posée avec force par de nombreux hommes de lettres, notamment, à la suite des écrits philosophiques de Spinoza, de Bayle et de Locke. Voltaire, Montesquieu, Rousseau et Diderot, à partir de problématiques qui étaient propres à chacun d’entre eux, ont développé leur réflexion sur une notion qui est à l’origine du principe de la liberté de conscience. Les fictions, notamment romanesques ont permis à ces auteurs, d’amplifier la diffusion de la notion de tolérance. Même si l’anti-fanatisme a été l’objet d’un consensus entre les écrivains philosophes des Lumières, il faut admettre que leur conception de la tolérance impliquait bien des divergences. Dans son "Dictionnaire philosophique", Voltaire apparaît comme le champion le plus intrépide ; mais qu’en est-il vraiment dans le "Traité sur la tolérance" ? L’indifférence de Diderot à toute religion était-elle favorable à la proclamation de la tolérance ? Dans leurs confrontations avec leurs adversaires, surtout avec Voltaire et Rousseau, les écrivains philosophes des Lumières n’ont pas toujours fait preuve de la même exigence. Il importe de préciser, à partir des textes, ces prises de positions.Toutefois il ne faut pas projeter sur les périodes antérieures des idéaux actuels. Il y a là un risque d’anachronisme. Les hommes de lettres des Lumières étaient en effet confrontés à des situations historiques, à des contextes culturels et idéologiques très différents des nôtres. / During the 18th Century, following Spinoza, Bayle and Locke’s writing, the question of a religious tolerance is in the centre of the debates. Voltaire, Montesquieu, Rousseau and Diderot, according to their visions of the problem, developed a theory around a notion which would give birth later to the freedom of conscience principle. Fictions, and especially the novels, allowed these authors to increase the spreading of a tolerance notion. Even if anti-Fanaticism has been an object of consensus between enlightenment Philosophers, it is necessary to admit that their conception of tolerance implied many differences of opinion. In his "Dictionnaire Philosophique", Voltaire appeared as the most dauntless champion; but what about the "Traité sur la tolerance"? Was Diderot’s indifference to all religion favorable to the proclamation of a tolerance? In their confrontations, especially against Voltaire and Rousseau, Enlightenment writers did not all the time observe the same demand. It is important to define, according to our corpus, these takings of position.Nevertheless, it should not be appropriate to cast on pervious periods modern ideals. This would lead to the danger of anachronism. Enlightenment writer were indeed, confronted to historical situations as well as cultural and ideological backgrounds completely different from ours.

Este estudo versou sobre os caminhos da formação do Direito Comercial brasileiro a partir das reformas pombalinas no século XVIII até a promulgação do Código Comercial brasileiro de 1850, procurando expor em quais pontos em se diferenciou do Direito Civil. Para tanto, no primeiro capítulo, expôs-se de que forma se deu a penetração das ideias Iluministas em Portugal, especialmente por meio da obra de LUÍS ANTÓNIO VERNEY. Em seguida, procurou-se demonstrar como essas ideias informaram as reformas levadas a efeito pelo Marquês de Pombal no século XVIII. No segundo capítulo, objetivou-se evidenciar as alterações na sociedade e na estrutra do império luso-brasileiro a partir da abertura dos portos em 1808 e de que forma estas alterações tiveram impacto na História do Direito Comercial nacional. O terceiro capítulo destinou-se a provar o influxo de ideias jusracionalistas no Direito Comercial brasileiro por meio da adoção da teoria subjetiva da causa, consagrada legislativamente no Código Civil francês de 1804. O trabalho, portanto, destinou-se a por em relevo um aspecto da História do Direito privado brasileiro que não se coaduna com a tradição jurídica luso-brasileira / This study refers to the formation of Brazilian Commercial Law from the pombalinas reforms until the promulgation of the Brazilian Code of Commerce in 1850. Throughout the work we tried to demonstrate how the Commercial Law followed a different tradition comparing with the Civil Law in Brazil. Thus, the first chapter demonstrates the Enlightenment influx in Portugal, specially through the work of LUÍS ANTÓNIO VERNEY. Then, the influence of VERNEYS ideas and the reforms that took place by the hands of the Marquês de Pombal in Portugal was showed. The second chapter demonstrates the social and political modifications that happened in the Portuguese Empire after the opening of the Brazilian ports to the trade of the world. At this point, there was also a study on the impact of the these developments in the History of the Brazilian Commercial Law. The third and last chapter attempts to prove the influx of Enlightenment demonstrating that the Code of Commerce of 1850 adopts the subjective theory of cause which is the same as in the French Code Civil of 1804. Therefore, this work demonstrated how the Brazilian Commercial Law followed different juridical tradition in comparison with the Brazilian Civil Law.

of the diploma thesis Janoščík Václav The Concept of Autonomy (Conditions of modern subjectivity, of the concept of law and of historicity) Submitted thesis aims at articulation of the concept of autonomy in its complexity. At first it pursues specific contexts of the notion to arrive at its structure. At first we try to explore prospective of analytical philosophy of law to situate the concept of autonomy to the heart of the idea of law. This efforts unfolds itself by an unorthodox interpretation of natural right theory of Herbert Hart's early work. Second chapter discusses the framework of the philosophy of history, that are based on the idea of an autonomous subject. Seemingly paradoxical linkage of Heidegger's fundamental ontology and Kosík's dialectics of the particular articulates the historical function of the autonomy. Next chapter connects Kosík with Cornelius Castoriadis in the perspective of social theories. Also in their normative core we can identify our notion of autonomy. Fourth chapter follows the theory of disenchantment of the world of Marcel Gauchet. We reformulate it as a realization of the ideal of autonomous subject in order to contextualize the concept historically. Last topic of the first part is the framework of the intellectual history. Here we situate Dieter Henrich and...

Le sujet traite de l'originalité de l'atelier de sculpture des Rosset de Saint-Claude dans le Jura (France) actif du XVIe au XIXe siècle. Original par sa production familiale d'objets d'art en ivoire et en marbre qui connut une diffusion européenne grâce aux portraits de Voltaire. Sculpteurs d'intérieur et «en petit», engagés dans le débat des Lumières, les Rosset sont aussi des statuaires comtois renommés et des peintres locaux. Le sujet est centré sur le XVIIIe siècle autour de l'œuvre de Joseph Rosset (1706-1786) âme de l'atelier, créateur de modèles réputés et que ses cinq fils, tous artistes, produiront en série avec lui et, après sa mort de manière indépendante, adaptant leur œuvre à l'évolution des goûts : Jean François alias Joseph Rosset (1734-1783) orfèvre, Jean-Joseph-Nicolas Rosset (1737-1809) prêtre et peintre, Jacques-Joseph Rosset (1741-1826), François-Marie Rosset (1743-1824) peintre voyageur en Turquie d'Asie et sculpteur et Claude-Antoine Rosset (1749-1818) peintre et sculpteur. Le volume I (265 pages). Le premier chapitre retrace l'histoire de l'atelier présent à Saint-Claude depuis le XVIe siècle, analyse le contexte du travail et la position sociale bourgeoise de la famille de Joseph Rosset au XVIIIe siècle. Le chapitre deux présente de manière critique la biographie de Joseph Rosset, dégage les caractères de son œuvre à tête de Janus, le sacré et le profane, à l'image de ses convictions, de sa foi religieuse catholique et de ses idées politiques libérales, qui met son art au service des Lumières. Enfin, un troisième chapitre, analyse l'œuvre de ses fils dans la continuité politique de l'idéal de leur père ; ils participent en citoyens à la mise en œuvre des réformes libérales de la Révolution. Le volume II (587 pages) présente le catalogue raisonné de l'œuvre de Joseph Rosset (1706-1786), tome 1, les œuvres religieuses, tome 2, l'œuvre en ivoire de l'atelier Rosset et, tome 3 l'œuvre profane en marbre. Le volume III (491 pages) est le catalogue raisonné de l'œuvre sculpté et peint de ses fils : tome 1, l'œuvre graphique et sculpté de Jacques Rosset (1741-1826) ; tome 2, l'œuvre peint et sculpté de François Rosset (1743-1824) ; tome 3 l'œuvre sculptée d'Antoine Rosset (1749 - 1818). / The subject treats originality of the workshop of sculpture of Rosset of Saint-Claude in the Jura (France) active from the XVIth until the XIX th century. Original by its family production works of art in ivory and marble which knews an European diffusion thanks to the portraits of Voltaire. Sculptors of interior and "into small", engaged in the debate of the Enlightenment, the Rosset are also famous sculptors of Franche-Comté and local painters. The subject is centered over the XVIIIth century around the work of Joseph Rosset (1706-1786) heart of the workshop, creator of famous models, whose five sons, ail artists, will produce in séries with him, and in an independent way after his death, adapting their work to the évolution of the tastes : Jean François, alias Joseph Rosset (1734-1783) goldsmith, Jean-Joseph-Nicolas Rosset (1737-1809) priest and painter, Jacques-Joseph Rosset (1741-1826), François-Marie Rosset (1743-1824) traveller painter of Turkey in Asia and sculptor, and Claude-Antoine Rosset (1749-1818) painter and sculptor. Book I. The first section relates the history of the workshop présent in Saint-Claude since the XVIth century, analyses the contex of work and the middle class social position of Rosset's family during the XVIIIth century. The second section shows in a critical way Joseph Rosset's biography, which brings out the characteristics of his Janus headed work, the sacral and the profane, picture of his believes, his catholic faith and his libéral political ideas and offers his art to the service of the Enlightenment. And then, in a third section analyses the works of his sons, in the political continuity of their father's ideals. They take part as citizen in the enforcement of the Révolution's libéral reforms. Book II introduces the reasoned catalogue of Joseph Rosset's work (1706-1786), section 1, the sacred work, section 2, the ivory work of the Rosset's Workshop and the third section the profane marble work. Book III is a reasoned catalogue of the sculpted work of his sons : section 1, the work of Jacques Rosset (1741-1826) ; section 2, the painted and sculpted work of François Rosset (1743-1824) ; section 3, the sculpted work of Antoine Rosset (1749-1818).

Plus que jamais, les débats que suscite le personnage de Louis-Ferdinand Céline s’apprêtent à prendre le pas sur la réception de son œuvre littéraire, pourtant exceptionnellement riche. Soumis à une lecture souvent approximative, imprégnée d’aprioris, ses écrits sont couramment victime d’une mise en perspective déformée, car abordés à rebours. Deux idées aussi tenaces que contradictoires se maintiennent alors : celle d’une œuvre principalement politique et celle d’un écrivain avant tout styliste. Donnant la priorité à une approche en accord avec le développement chronologique de l’œuvre, ce travail de thèse propose de remettre en valeur les intentions primaires de celle-ci. À partir d’une contextualisation dans l’histoire des idées de Voyage au bout de la nuit, Mea culpa et Bagatelles pour un massacre, elle soutient que les écrits de Céline s’appuient sur une interrogation philosophique qui s’élabore autour d’un même malaise vis-à-vis de l’héritage des Lumières, mais dont les conséquences, autant pour le fond que pour la forme, diffèrent selon les textes. Alors que Voyage au bout de la nuit présente une interrogation ontologique axée autour du motif du néant, Bagatelles pour un massacre poursuit une approche où la remise en question des Lumières donne naissance à des revendications esthétiques et sociologiques autant qu’à des diatribes idéologiques. Aux confins de l’un et de l’autre texte, Mea culpa pose les bases de ce passage de l’abstrait au concret, si lourd de conséquences pour l’appréhension de l’œuvre. Ainsi, ce travail de thèse contribue non seulement à une meilleure compréhension des textes abordés, mais montre l’univers intellectuel sous-jacent qui les relie. / More than ever, debates engaging the character of Louis–Ferdinand Céline prevail over assessments of his collected work. The latter tends to receive superficial treatment, falling victim to a distorted perspective, infused with pre-judgment and approached through the prism of the author rather than the work itself. Two ideas, as persistent as they are contradictory prevail: of work that is inherently political and of a writer who is above all a stylist. Emphasising an approach in sync with the chronological development of Celine’s work, this thesis proposes to resurrect the author’s primary intentions. Starting with a contextualisation of Voyage au bout de la nuit, Mea culpa and Bagatelles pour un massacre, it is submitted that the writings of Celine rely on philosophical questioning developed around the same unease as has been witnessed on the legacy of the Enlightenment, but whose consequences, as much for the substance as the form, differ as according to the text. Whilst Voyage au bout de la nuit presents an ontological question centred on the theme for nothingness, Bagatelles pour un massacre pursues an approach where the questioning of the Enlightenment gives rise to aesthetic and sociological claims as well as ideological denunciations. At the extremities of the various texts, Mea culpa forms the basis of this movement from the abstract to the concrete albeit fraught with consequences for the understanding of the work. Thus, this thesis not only contributes to a better understanding of the texts examined, but shows the underlying intellectual universe that connects them.

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