Made available in DSpace on 2016-04-26T14:52:33Z (GMT). No. of bitstreams: 1 Natalia Rolim Rosa.pdf: 1388885 bytes, checksum: 88aeb764bc7488d897a40683bb4808e7 (MD5) Previous issue date: 2010-10-01 / This dissertation analyzes the thinking of Georges Bataille with the objective to investigate in his intempestivity the conception of eroticism. The complex movement that the author wages to develop this concept allows new possibilities to approach the nature/culture border, as well as animality and humanity concepts. In the introdution of The Eroctism the author announces to be in search of the Man in its totality, turning himself against the fragmentaries lines to pursuit the idea of a whole. This pursuance will be given by human passion and its only object, that implies in a tour upon the human spirit and its inner life. In the innerness of the being there is the encounter with the most overwhelming experiences, with the holy, the beauty, the horror and the passion. In the Baitaille's proposition there isn't borders between man and animal, mind and body, life and death; these instances constantly overflows one another and is in this intempestive movement that he sees the totality of the being. In this complex and unexpected field of human inner life, the being oversteps the limitrophes of the objective conscience into disconcerting experiences in which the conscience dissolves itself in the corporeal. The intent of this work it's to comprehend the totality that the batailliam thought seeks to reach in the inner experience consception by the means of problematization of the notions of eroctism, animality and humanity / Esta dissertação analisa o pensamento de Georges Bataille com o objetivo de investigar em sua intempestividade a concepção de erotismo. O complexo movimento que o autor trava ao desenvolver esse conceito permite novas possibilidades para abordar a fronteira natureza/cultura, assim como os conceitos de animalidade e humanidade. Na introdução de O Erotismo o autor anuncia estar à procura do homem em sua totalidade, volta-se contra as linhas fragmentárias para perseguir a ideia de conjunto. Essa busca se dá pela paixão humana e seu único objeto, que implica num passeio sobre o espírito humano e sua vida interior. Na interioridade do ser há o encontro com as experiências mais avassaladoras, com o sagrado, a beleza, o horror e a paixão. Na proposta de Bataille não há fronteiras entre homem e animal, mente e corpo, vida e morte; estas instâncias constantemente transbordam uma na outra e é neste movimento intempestivo que vê a totalidade do ser. Neste campo complexo e imprevisto da vida interior humana, o ser ultrapassa os limítrofes da consciência objetiva para experiências desconcertantes em que a consciência se dissolve no corpóreo. O intuito do trabalho é compreender a totalidade que o pensamento batailliano busca atingir na concepção de experiência interior por meio da problematização das noções de erotismo, animalidade e humanidade

Made available in DSpace on 2016-04-26T14:54:18Z (GMT). No. of bitstreams: 1 Lindines Gomes de Barros.pdf: 1639739 bytes, checksum: abb8e1a179cc0baeb81d0e0a8e966ae8 (MD5) Previous issue date: 2013-06-03 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This thesis provides a reading through the fields of social sciences, of the philosophical concepts that compose the subject erotic and orgiastic in the thought and the narrative work - out with the paradigm of civilization of Georges Bataille: eroticism, ecstasy, inner experience, excess, transgression, and solar anus. This thinker, whose works deal with an erotic intention stigmatized as both pornographic and disconcerting because it subverts the concepts of reality and normality, constituted our main theoretical and literary "corpus". Bataille proposes a decomposition of the paradigm of civilizing rationality thanks to the idiosyncratic and obscure rhythms that form his erotic subject, with impure and imperfect subjectivities. In this discussion, we address his vision that consists in eroticism recognized as an inner experience, not subdued to regulation or discipline. This type of experience causes a kind of not-knowing, which reproduces the configuration of wild singularities proposed by Foucault and related to what cannot be assimilated by institutions and cultures. The characters in his literary narrative allow us to observe and define the erotic subject at the intersection between ecstasy and inner experience. They are convulsive bodies emerging from vertigo. Impregnated with this problem, they bring Eros sovereignty with elements of tragic eroticism and of horror that plunge the subject into the unknowable and the rationalizing inapprehensible. What we question in his mind is the challenge of thinking the abject and the excremental, that escape deterministic reasoning and release the vision of contemplative ecstasy by dispelling the significant determinants and the pedagogization that intertwine the social fabric.. The thesis will present his position deliberately at the fringe, which aimed to upset the established order in theology and science. It will reveal the orgiastic itinerary created by Bataille and characterized by economy of outlay, excess, anguish, ecstasy, eroticism, inner experience and concerns. Such a philosophical intent proposes a thought of waste, consumption and reasoning that release from the human condition / Esta tese estabelece uma leitura, no campo das ciências sociais, dos conceitos filosóficos: erotismo, êxtase, experiência interior, excesso, transgressão e ânus solar, que compõem o orgiástico sujeito erótico no pensamento e na narrativa romanescas do pensador Georges Bataille, que rompe com o paradigma civilizatório. O autor constitui nosso principal corpus teórico e literário, cujas obras, estão envolvidas numa concepção erótica estigmatizada como pornográfica e desconcertante, por subverter os conceitos de normalidade e realidade. Ele propõe uma decomposição do paradigma da racionalidade civilizatória, aos ritmos idiossincráticos e obscuros que compõem o sujeito erótico batailliano, com subjetividades impuras e imperfeitas . Nessa discussão conferimos o seu olhar constituinte de uma eroticidade, reconhecida enquanto experiência interior, não submetida à normatização e ao disciplinamento. Tal natureza de experiência, provoca uma espécie de não-saber, refletindo a configuração das singularidades selvagens, propostas em Foucault, relacionadas com aquilo ainda inassimilável pelas instituições e pelas culturas. Em sua narrativa literária, os personagens nos permitem observar e margear o sujeito erótico constituído no cruzamento entre o êxtase com a experiência interior. São corpos convulsivos que emergem da vertigem. Impregnados nessa problematicidade, trazem a soberania de Eros com elementos de um erotismo trágico e de horror, que mergulham o sujeito batailliano no incognoscível e no desentendimento racionalizante. O que interrogamos em seu pensamento é o desafio de pensar o que é abjeto e excremental, que escapa da razão determinista e liberta a visão da estaticidade contemplativa, dissipando significados determinantes e a pedagogização dos sentidos que entretece os tecidos sociais. A tese apresentará a sua posição nas margens, de modo a provocar desacomodações teológicas e cientifizantes. Revelará o itinerário orgiástico concebido por Bataille, tomado pela economia do dispêndio, excesso, angústias, êxtases, erotismos, experiência interior e inquietações. Tal concepção filosófica propõe um pensar do desperdício, da consumação e do raciocínio obsessivo que instaura uma libertação da condição humana

in English The aim of the study is to show Bataille's esthetic thoughts, dispersed in several Bataille's works, as a consistent theory of art. Through his fascination for cruel and evil, Bataille turns his interest to the matter and in revue called Documents he describes the appeal of low forms due to their proximity to formlessness. Beyond this frontier there is a sphere of "not-knowing", where the logical reason can not impenetrate. This sphere of excess is not only out of logical concept, but also out of our life, i. e. before our birth and after our death. In an organized society this sphere is forbidden. The tabu that guards it protects us from the destructive forces of chaos which could appear through the death rage, violent sexual passions, cruelty and evil. Human desire to see what is in this sphere comes from his nostalgia for a naturalness which had been lost when we changed from animals into human beings. The animal does not obey any rule and in ancient societies it used to represent the divinity. The lost intimity of present instant, as explained in Lascaux or Literature et le Mal, is mediated to us through religious transgression of law (sacrifice) or as fiction in art (transgression in modus "a like") or through destruction of academic forms. Such moments are always accompanied by...

The war represents one of the most conspicuous manifestations of the overabundance of energy that Georges Bataille has been theorizing as part of his theory of general economics. On the background of this facts, work seeks to define war as an inherently non-utilitarian expenditure of energy with which the human must necessarily contend. Next, the work attempts to question the common denominators of the excessive moments that war undoubtedly belongs to, and to point out their importance in philosophy of Bataille. The sovereignty that accompanies such moments will be further themed, bearing in mind the specificity that the author devotes to it, which breaks out of dialectical necessity. Keywords: Georges Bataille, sovereignty, accursed share, heterogeneity, self-consciousness, critique of utilitarity, war

L’objectif de la thèse est de montrer en quoi le roman ou la littérature incarne une forme de connaissance qui lui est propre, que Pierre Klossowski appelle la « connaissance pathétique ». Celle-ci fait appel aux passions plutôt qu’à la seule raison et repose sur des percepts et des affects bien davantage que sur des idées et sur des concepts. L’œuvre romanesque de Georges Bataille et de Pierre Klossowski me servira d’exemple et d’objet d’analyse, dans la mesure où l’écriture fictionnelle y est toujours au service d’une ‘’passion’’ philosophique, dans laquelle l’auteur entraîne ses personnages en même temps que le lecteur. Cette « connaissance pathétique » que le sujet est amené à vivre passe notamment par les mécanismes d’une écriture qui tente d’énoncer l’innommable. Cette orientation esthétique suit la voie tracée par Nietzsche, et les grandes thématiques associées à ce dernier constituent à la fois, au niveau de l’énoncé, un contenu thématique et diégétique récurrent (par exemple : dans Le Baphomet, nous sommes en présence du personnage de Friedrich l’Antéchrist) et, au niveau de l’énonciation, une stratégie narrative qui consiste à piéger le lecteur dans un système d’interprétations ambiguës, contradictoires et provocatrices qui déclenchent chez lui une activité cognitive effrénée, de nature passionnelle ou pathétique (par exemple : Le récit Les lois de l’hospitalité commence par un avertissement au lecteur, où on le met en garde contre « l’attrape concertée » que représente le récit). J’étudierai en détail, sur le plan de l’expression et du contenu, ces stratégies cognitives de la transgression et du simulacre grâce auxquelles l’auteur amène ses personnages et son lecteur à éprouver des pensées comme une forme de passion. L’analyse de la poétique pathique comme forme privilégiée de l’écriture narrative chez Pierre Klossowski et chez Georges Bataille nécessitera le recours à une analyse de l’œuvre de Nietzsche et de Sade dans un premier temps pour retracer ce qui est l’enjeu de la réception de ces œuvres par les deux auteurs français. Dans un deuxième temps, l’analyse des œuvres de Georges Bataille et de Pierre Klossowski me permettra de comprendre comment elles déclenchent chez le lecteur une expérience pathétique où la difficulté d’atteindre à une connaissance rationnelle univoque déclenche chez le destinataire du texte une activité cognitive complexe de nature proprement littéraire ou romanesque. Enfin, le corpus qui me servira d’exemple dans la description de ces phénomènes sera constitué des principales œuvres discursives de Bataille et de Klossowski (L’expérience intérieure, Nietzsche et le cercle vicieux) ainsi que de leurs œuvres romanesques (L’histoire de l’œil, Divinus Deus, L’abbé C., La vocation suspendue, Les lois de l’hospitalité et Le Baphomet). / This thesis aims to show how the novel or literature in general embodies its own form of knowledge that Pierre Klossowski names “connaissance pathétique” (pathetic knowledge). This knowledge derives from emotivity rather than reason alone and relies on affects and percepts rather than on ideas and concepts. The works of Georges Bataille and Pierre Klossowski will serve both as the examples and the objects of this analysis. These two authors’ fictional writings inevitably appeal to a philosophical pathos that implicate the characters as well as the reader. This “pathetic knowledge” that the subject is called to experience comes to be through the literary process seeking to name the unnamable. This particular aesthetic draws upon Nietzsche’s work, the themes of which taken up in Bataille and Klossowski writings and appear on the levels of subject matter and narration. The resulting writing strategy leads the reader along, presenting a system of provocative, contradictory, and ambiguous interpretations that open up an affect-oriented knowing or thinking. In studying the expression and content of this literary knowing, we will examine how the authors rely on strategies of transgression and simulacra to enable the characters and readers to experience thinking as a form of pathos. In analyzing this “pathetic” poetics as the privileged form of narration in Bataille and Klossowski, this thesis first examines the works of Nietzsche (and, to a lesser extent, those of Sade) in order to understand their impact on the French authors’ works. The thesis’ second part, which focuses on Bataille’s and Klossowski’s writings, demonstrates how their works provoke in the reader a pathetic experience of knowing, particular to literature, that exceeds the knowing ascribed to rationalism. The corpus explored in this research includes Nietzsche’s Birth of Tragedy, The Genealogy of Moral and The Gaya Scienza; Bataille’s L’histoire de l’oeil, Divinus Deus and L’abbé C.; and Klossowski’s La vocation suspendue, Les lois de l’hospitalité and Le Baphomet.

Encore est le récit d’une jeune femme hantée par un avortement qui lui semble n’avoir jamais eu lieu et pourtant se rappelle sans cesse à elle, comme un mauvais rêve. C’est l’histoire de son désir, écrite contre la domestication de son corps, et par laquelle elle tente de se réapproprier le néant de son ventre et d’y faire apparaître les traces de sa mémoire. Mon essai porte sur Le Bleu du ciel de Georges Bataille, dont j’ai voulu interroger les « monstrueuses anomalies » — expression qu’emploie Bataille lui-même dans la préface de son livre. Comment faire un monstre de récit, comment transgresser la loi d’un genre réputé sans contrainte ? Mon projet aura été de mettre en évidence, plutôt que la monstruosité de l’histoire racontée, le travail, ou la besogne, dans l’écriture de ce récit, de l’informe et de la chance, termes que j’emprunte à Bataille et soumets au jeu de sa fiction. / Encore (Again) tells the story of a young woman haunted by an abortion, which she thinks has never happened to her, and yet keeps hounding her, especially in her dreams. This is the story of her desire, held against the domestication of her body, and through it, she tries to repossess her womb and make the traces of her past appear, beyond the visible. My essay addresses the « freakish anomalies » of Georges Bataille’s Blue of Noon (Le Bleu du ciel), as Bataille himself qualified his novel in his preface. How to transgress a genre that has no law, no constraint ? Rather than analyzing the freakishness of the narrative or the characters, I have tried to understand how writing was here performed, or tasked, by formless and chance, two concepts that I have borrowed from Bataille and confronted to his fiction.

Basée sur l’hypothèse que le théâtre est susceptible d’intervenir sur le « vivre-ensemble » des hommes, cette étude prend la mesure du bouleversement à l’œuvre sur les scènes théâtrales françaises contemporaines pour définir théoriquement ses potentialités. À cette fin, elle construit des correspondances entre deux objets : le rapport acteurs-spectateurs à l’œuvre dans quinze spectacles contemporains (2005-2008) et certains textes philosophiques de Georges Bataille et Michel Foucault. De l’« archéologie du présent » de Naissance de la biopolitique au geste de la « dépense » de La Part maudite, les deux philosophies, qui se complètent l’une l’autre, s’inscrivent en réaction à un « vivre-ensemble » fondé sur l’utilité et le jeu des intérêts particuliers. L’étude analyse de façon répétée un élément constitutif d’un ou de plusieurs spectacles pour ensuite le corréler à un point spécifique des deux pensées a-dialectiques. La réflexion s’élabore en trois étapes : la scène, le spectateur, l’acteur. Au fur et à mesure, un théâtre prend forme, fondé sur la co-existence des contraires et dévolu à la communication, qui, un temps, rompt l’isolement des êtres séparés. En conclusion, l’étude dégage les effets de fragilisation auxquels ce théâtre soumettrait notre mode d’organisation politique. La thèse comprend en annexe dix-neuf entretiens avec les artistes des spectacles du corpus. / This research is based on the hypothesis that drama could potentially influence the « being together » among people. It measures the big change taking place in French contemporary theatres in order to define theoretically its capacities. The study aims at finding links between two notions : the actor-spectator relationship in fifteen contemporary performances (2005-2008) and philosophical texts by Georges Bataille and Michel Foucault. From the « archeology of the present » in Naissance de la biopolitique to the act of « spending » in La Part Maudite, these two philosophies which add one to the other stand as a reaction to a « being together » based on usefulness and the intervention of private interests. This study analyses repeatedly one element of one or several performances and correlates them to a specific point in the two a-dialectical thoughts. It has three parts : the stage, le spectator, the actor. A theatre gradually takes shape, based on the co-existence of opposites and dedicated to communication which puts an end to the isolation of separate beings for a while. At the end, the study highlights the fact that this theatre could undermine our political organisation. This thesis includes nineteen interviews with the artists from the performances of the corpus.

No description available.

The presented study takes up the problem of Bataille's impossible testimony of the impossible. This endeavor represents a wider contextual framework for a project of this thesis which proposes a way of laying down the foundation for a philosophical reading of Bataille's L'expérience intérieure by developing some key moments of his anthropology. Bataille's thought is introduced as the dynamics of a gesture of testimony (or a witnessing) which testifies to the difference du sens as it is being incorporated in the movement of writing (écriture) into the texts of La Somme Athéologique. Since these texts oftentimes resist a direct philosophical treatment, this essay discusses the possibilities of a philosophical approach to Bataille. Such discussion results in setting up the necessary limitations of an adequate philosophical attitude towards Bataille's thought while leaving its problematic quality in play. Then the narrower framework of this essay is put into work in an attempt to achieve an understanding of key parts of The Inner Experience through a philosophical analysis of Bataille's concept of humanity.

This thesis analyzes the evolution of the anti-elegy originating with Thomas Hardy’s elegiac sequence in memory of his wife Emma; Poems of 1912-1913. Using French post-structuralist Georges Bataille’s The Accursed Share as a theoretical lens, Hardy’s anti-elegies are analyzed and rhetorically connected to English war poet Siegfried Sassoon’s anti-elegies. Hardy’s anti-sentimentality, fatalistic outlook on death, and rejection of the Christian afterlife seeps into the language of Sassoon’s war poems which serve as a protest to the dehumanizing effects of late capitalism witnessed during the First World War. Hardy and Sassoon’s anti-elegies, with their hyper-focus on the elegized body, are corrupted by capitalism to diminish the human body into a interchangeable, unhuman cog; fully understood as Bataille’s “thing.” The anti-elegy, distorted by capitalism, creates the possibilities necessary for Randall Jarrell’s “The Death of the Ball Turret Gunner” which protests humanity’s objectification under capitalism while creating the ultimate anti-elegy for the anti-elegy.