Le présent travail propose une réflexion sur l'aspect social des émotions par l'entremise d'un examen de la dimension conflictuelle de 3 émotions: le désir, la honte et le dégoût. L'aspect problématique de ces émotions se situe au niveau de leur hypertrophie, en ce qu'elle encourage une emphase sur le soi, sur l'autosuffisance et la toute-puissance de l'individu, ce qui se traduit par des répercussions interpersonnelles, notamment la réduction marquée de la diversité des relations humaines qu'entretient l'individu avec les autres, et intrapersonnelles, particulièrement la narcotisation de l'identité individuelle. Cette réflexion est animée par la pensée de 3 principaux auteurs: celle de René Girard et de Martha C. Nussbaum afin d'explorer, pour chaque émotion, les implications de leur hypertrophie chez l'individu, puis de l'incidence du contexte social sur l'hypertrophie de ces émotions; celle d'Hannah Arendt afin de mieux comprendre la dynamique des relations humaines et comme palliatif à ces répercussions interpersonnelles et intrapersonnelles.

Le présent travail propose une réflexion sur l'aspect social des émotions par l'entremise d'un examen de la dimension conflictuelle de 3 émotions: le désir, la honte et le dégoût. L'aspect problématique de ces émotions se situe au niveau de leur hypertrophie, en ce qu'elle encourage une emphase sur le soi, sur l'autosuffisance et la toute-puissance de l'individu, ce qui se traduit par des répercussions interpersonnelles, notamment la réduction marquée de la diversité des relations humaines qu'entretient l'individu avec les autres, et intrapersonnelles, particulièrement la narcotisation de l'identité individuelle. Cette réflexion est animée par la pensée de 3 principaux auteurs: celle de René Girard et de Martha C. Nussbaum afin d'explorer, pour chaque émotion, les implications de leur hypertrophie chez l'individu, puis de l'incidence du contexte social sur l'hypertrophie de ces émotions; celle d'Hannah Arendt afin de mieux comprendre la dynamique des relations humaines et comme palliatif à ces répercussions interpersonnelles et intrapersonnelles.

This paper grapples with the differences between genuine and ordinary democracy within the political thought of Jacques Rancière, Sheldon Wolin, and Hannah Arendt. Each discusses the problems of ordinary democracy and offer solutions in terms of what I call genuine democracy. Ordinary democracy is the established norm of liberal democracy celebrated as the stable and a desired “end” of political action. It is what happens when politics as usual becomes the norm and shuts the people from the halls of power. Genuine politics exist within the structure ordinary democracy and seeks to achieve the continuous re-establishment of democratic processes while in the process speeding up and disrupting “politics as usual”.

<p>This dissertation examines the relationship between architecture and democratic politics in late-modernity. It identifies the refusal of architects to consider the political dimensions of their work following the failures of 20th century High Modernism and the scant attention that the intersection between architecture and politics has received from political theorists as a problem. In order to address these deficiencies, the dissertation argues for the continued impact of architecture and urban planning on modern subject formation, ethics, and politics under the conditions of de-centralized sovereignty that characterize late-modernity. Following an opening chapter which establishes the mutual relation architectural design and political culture in the founding text of political science, Aristotle's Politics, the dissertation offers a genealogical critique of modern architectural design and urban planning practices. It concludes that modern architecture shapes individual and collective political possibilities and a recursive relationship exists between the spaces "we" inhabit and the people that "we" are. In particular, it finds that there is a strong link between practices of external circulation and the interior circulation of thoughts about the self and others. The dissertation concludes by proposing a new understanding of architecture that dynamically relates the design of material structures and the forms of political practices that those designs facilitate. This new definition of architecture combines political theorist Hannah Arendt's concept of "world-building action" with the concept of the "threshold" developed and refined by Dutch architects Aldo van Eyck and Herman Hertzberger.</p> / Dissertation

This study examines the concept of freedom in the philosophies of Jean Paul Sartre and Hannah Arendt in the context of their relevance or irrelevance to politics in the context of political freedom, political activity, rights and responsibilities, individuality, plurality and humanism. The major concern is to question the possibilities of political reflection of their conceptions of freedom. In this respect, the study explicates densely enough Sartre&#039 / s and Arendt&#039 / s conceptions of freedom respectively and includes propositions and arguments that Sartre&#039 / s and Arendt&#039 / s conceptions of freedom have more conjunctions than disjunctions in certain points. This closeness and commonality in the meaning of freedom between two thinkers continue in politics. In that sense, the thesis put forwards that the conceptions of freedom in the philosophies of Sartre and Arendt are relevant to politics and also competent to derive a different spirit of political freedom. Their relevance to politics and their potency or adequacy to enable a new form of political freedom are based on their conjunction in the points of action, humanism, initiation and responsibility. To make explicit such political freedom, the study also compares it with liberal negative conception of freedom.

The decades following two world wars, the European Holocaust and the threat of nuclear annihilation presented American authors with an occupational dilemma: catastrophic histories call out for recognition, but any representation of them risks adding violence to violence by falsifying the account or conflating historical acts of violence with their artificial doubles. This project reimagines the political aesthetics of postmodern American fiction through two major interventions. First, I identify an aesthetic structure of apposition--a parallel relationship between abstract works of art and the everyday world that I take from William Carlos Williams--that allows me to productively resolve a tension in the aesthetics of Hannah Arendt: because representation takes mimesis as a particular end, Arendt disqualifies representational art from politics, which she defines as open-ended action between human beings and not as end-centered state-craft. At the same time, Arendt claims that art is a product of thought, the cognitive activity she associates with political action over and against fabrication. My heterodox reading of Arendt shows that appositional narratives, like political actors, perform their own self-disclosure, beginning the open-ended chain of actions and reactions that Arendt identifies as the substantial form of politics and ethics. Second, I use my revision of Arendt to demonstrate that appositional narratives act politically through the very same metafictional tropes that critics often label as escapist or solipsistic. Rather than copy historical experience, appositional narratives reject illusionary representation and present themselves as actors, inciting their readers to respond with pluralistic, provisional judgment. Taking Vladimir Nabokov, Philip Roth and Toni Morrison--three central but rarely-juxtaposed postmodern novelists--as case studies, I show that we cannot properly assess the political implications of postmodern fiction without understanding the specific mechanisms of narrative apposition. Appositional works stand temporarily and self-consciously in the place of the world, displacing it in the experience of their readers. This narrative strategy provides a political alternative for novelists facing the ethical crises of postmodernity. Appositional narratives displace their readers' settled beliefs and press them to exercise their human capacity for judgment. They embrace their responsibility for the world by refusing to represent it. / text

No se posee.

This thesis examines Hannah Arendt's vita activa in the context of the contemporary political world that is marked by the inclusion of a variety of beings beyond mere human plurality. Understanding that Arendt's work is in opposition to the isolating tendencies of philosophical and bureaucratic thought, I look to the processes of labor and work as methods by which togetherness and worldliness can be recovered. Beginning with Richard Sennett's The Craftsman and Vanessa Lemm's Nietzsche's Animal Philosophy, I draw out a common thread in projects that consider non-human actors as capable of politicking: endurance. Building upon Arendt's work in The Human Condition and On Violence, I suggest that the vita diutina, the enduring life, and the three deaths of being serve as a useful ways of understanding already ongoing political projects that include non-human beings. / Graduate / 0422 / 0615 / sorr@uvic.ca

Le présent travail propose une réflexion sur l'aspect social des émotions par l'entremise d'un examen de la dimension conflictuelle de 3 émotions: le désir, la honte et le dégoût. L'aspect problématique de ces émotions se situe au niveau de leur hypertrophie, en ce qu'elle encourage une emphase sur le soi, sur l'autosuffisance et la toute-puissance de l'individu, ce qui se traduit par des répercussions interpersonnelles, notamment la réduction marquée de la diversité des relations humaines qu'entretient l'individu avec les autres, et intrapersonnelles, particulièrement la narcotisation de l'identité individuelle. Cette réflexion est animée par la pensée de 3 principaux auteurs: celle de René Girard et de Martha C. Nussbaum afin d'explorer, pour chaque émotion, les implications de leur hypertrophie chez l'individu, puis de l'incidence du contexte social sur l'hypertrophie de ces émotions; celle d'Hannah Arendt afin de mieux comprendre la dynamique des relations humaines et comme palliatif à ces répercussions interpersonnelles et intrapersonnelles.

No description available.