Des origines de l'écologie politique à nos jours, beaucoup d'écologistes pensent qu'ils participent à la réalisation d'une transformation politique et sociale de leur univers social, ainsi que de l'univers scientifique, cela dépasse les limites d'un pays et d'un continent, mais cela recouvre aussi certaines particularités au niveau national. Nous nous proposons d'étudier les spécificités de l'écologie politique française en la mettant en relation avec l'écologie politique américaine, puis en insistant sur le rôle des acteurs radicaux pour redéfinir une écologie radicale moins consensuelle que l'écologie institutionnalisée. Au XXIe siècle, l'intensité du besoin social d'un courant politique et d'une science écologique s’accroît avec la multiplication des catastrophes humaines et naturelles et avec l'augmentation de leur visibilité dans les médias. L'écologie radicale se propose de répondre à ces nouveaux défis. Nous pouvons en dégager une spécificité de l'écologie politique française placée à la fois à proximité des acteurs politiques conventionnels acceptant les règles du jeu existant et à la fois à la lisière, ainsi qu'à l'écoute, des marges politiques. / From the origins of the political ecology to now days, many ecologists think they are involved in the process of political and social transformation of their social and scientific universes. But it exceeds national borders and also continental limits. We will study the specificity of the French political ecology and outlook it with the American political ecology and, then, we will incite on the role of radical actors to redefine a radical ecology less consensual that the institutionalized ecology. In the 21st century the social need for a political stream and an ecological science increases trough the multiplication of human and natural disasters and the rise of their visibility in medias. Radical ecology suggests answers to those new challenges. We could then draw the specificity of the French political ecology which is, at the same time, close to conventional political actors by accepting the rules of the political field, at its frontiers, and, finally in touch with political margins.

Cette thèse se propose d'interroger l'écriture littéraire de l'esclavage dans une perspective diachronique et comparée entre la France et ses colonies et les États-Unis, et en regard de la construction de la mémoire de l'esclavage transatlantique et de sa transmission. La dimension diachronique vise à éclairer l'écriture contemporaine de l'esclavage, notamment à partir d'un constat initial : plusieurs centaines de témoignages d'esclaves – regroupés sous le terme générique "slave's narrative" – ont été publiés aux États-Unis, plus rarement en Angleterre, à partir du XVIIIe siècle ; aucun texte de ce type n'a été recensé dans la sphère francophone. Une disparité saisissante qui a semblé un signe fort à analyser, posant la question des causes ou de l'origine de cette disparité, mais aussi de ses conséquences sur la mémoire et surtout sur l'écriture de l'esclavage. En effet, la littérature africaine américaine est souvent présentée comme une héritière de ces témoignages. Sous la désignation de « neo-slave narratives », la critique américaine a même réuni et analysé nombre de romans africains-américains portant sur l'esclavage depuis la fin des années 60. Point d'aboutissement de ce travail, l'écriture caribéenne francophone de l'esclavage est ainsi appréhendée au regard de la production africaine-américaine et de sa différence notable quant à l'héritage mémoriel et discursif des slaves' narratives. Constatant leur absence dans le champ critique francophone, il s'agit également de proposer les premiers jalons d'un appareil critique et d'une analyse de l'écriture caribéenne francophone contemporaine de l'esclavage ainsi qu'une terminologie générique : récit d'esclave francophone. / This thesis proposes a two-fold examination of the literary writing of slavery in France and its former colonies, and in the United States, using both a diachronic and comparative approach. It also takes into account the perspective of the construction and transmission of the memory of transatlantic slavery. The diachronic dimension adopted in this work aims to enlighten on the contemporary writing of slavery. Indeed, several hundreds accounts of slaves– known as “slave narratives” – had been published in the United States, more rarely in England, as early as the 18th century, but there were no such narratives in the francophone world. This striking disparity turned out to be a case worth analyzing to find out about its causes, its origins and its consequences on both the memory and the writing of slavery. As a matter of fact, African American literature bears the direct influence of these testimonies. Identified as “neo-slave narratives”, African American novels dealing with slavery have been collected and analyzed by critics since the 1960's. The last part of this dissertation focuses on the Francophone Caribbean writing of slavery. It is examined in comparison with the African American production and the striking difference noted in the historic and discursive heritage of the slave narratives. This lack in the francophone critical field led us to prepare the ground for the analysis and the review of the contemporary Francophone Caribbean writing of slavery, and for a generic expression: francophone slave narratives.

Ce travail de thèse est l'esquisse d'une contribution à la question suivante : comment faire de la philosophie aujourd'hui pour, non plus seulement interpréter le monde de différentes manières, mais aussi participer à le transformer ?Pour produire cette contribution, ce travail se propose de définir la fonction sociale de la pratique matérielle du philosophe dans les systèmes de production philosophiques, culturels et sociaux.C'est ainsi que ce travail définit avec les outils conceptuels de la théorie matérialiste historique de Marx, Engels et Althusser, et psychanalytique de Freud :- les pratiques déterminées de production discursives que le philosophe accomplit dans son système de production spécifique ;- la fonction culturelle particulière que ces pratiques ont pour les forces productives, les rapports et les systèmes de production des discours idéologiques dominants et (ou) émergeants, des discours savants des Sciences Humaines et Sociales et des Arts, Lettres et Langues, et des discours profanes ;- enfin, la fonction sociale générale de ces pratiques. / This doctorial dissertation is an attempt to contribute to the following question: how to practise philosophy today in order to not only interpret the world in various ways, but also to participate in changing it ?To do that this doctorial thesis aims to define the social function of the material practice of the philosopher in philosophical, cultural and social production systems. Relying on both the conceptual tools of Freudřs psychoanalytical theory and those of the theory of historical materialism as used by Marx, Engels and Althusser, this thesis specifies :- The practices of discursive production accomplished by the philosopher within the framework of his or her specific production system.- The cultural function these practices have for the productive forces, the relationships and the production systems of dominant and (or) emerging ideological discourses, scholarly discourses in the humanities and the arts, and discourses aimed at the general public.- Finally the general social function of these practices.

Ce travail porte sur d’une part l’interrogation sur l’existence de la perversion féminine, rarissime voire inexistante d’après les écrits fondamentaux de la psychanalyse, et de l’autre part sur l’exploration de la dynamique propre au montage pervers au féminin. Si la femme qui se situe du côté de l’amour a amené Lacan a énoncé la maxime célèbre, celle de la femme n’existe pas, puisqu’elle n’est « pas toute » et que la femme ne s’écrit que barrée, la femme perverse se révèlera être l’envers de la femme. De ce fait, la femme perverse prône l’existence de la femme et sa possible écriture. Le montage pervers de la femme perverse bafoue la loi de la différence des sexes en aboutissant à une falsification outrancière des formules de la sexuation. Ainsi, il s’agit d’une perversion féminine comme imposture. En effet, l’imposture perverse de la femme perverse se déploie à travers l’identité factice que la femme perverse se fabrique afin de contrer l’autre femme, celle qui n’existe pas. D’emblée, la prévalence imaginaire chez la femme perverse est le mécanisme qui permet à la perverse d’avoir la foi dans la possession d’un phallus, d’une part largement supérieur à celui de l’homme, puisqu’il n’est pas borné par la détumescence et d’autre part, la relevant au rang de l’exception, puisqu’elle est la seule femme à le détenir. La mise en scène perverse, dont l’ancrage est imaginaire, opère dans les filets signifiant du symbolique. En effet, le symbolique, scène de la loi de la différence des sexes, se trouve bafoué et souillé. Ainsi, c’est ce savoir autre, sorte de « sur-savoir », prôné par la femme perverse qui divise l’autre, -témoin sidéré-, et perdure son illusion, sa foi, dans l’avoir du phallus. Toutefois, derrière cette armure d’invincible se révèle une angoisse à la teinte mélancolique, connectée à l’insignifiance du sexe féminin. Ainsi, c’est ce non-lieu de la femme auquel la femme perverse par imposture et simulacre s’invente un lieu, qui constitue l’angoisse de laquelle la femme perverse se prémunit. / This work concerns on one hand the interrogation on the existence of the even non-existent feminine, extremely rare perversion according to the fundamental papers of the psychoanalysis, and somewhere else on the exploration of the dynamics appropriate(peculiar) to the perverse assembly(editing) in the feminine. If the woman who is situated near(on the side of) love brought Lacan expressed the famous maxim, that of the woman do not exist, because she " is not quite " and because the woman spells only blocked, the perverse woman will turn out to be to the woman(wife). Therefore, the perverse woman advocates the existence of the woman and her possible writing. The perverse assembly(editing) of the perverse woman scoffs at the law of the difference of the sexes by ending in an exaggerated forgery of the formulae of her(it) So, it is about a perversion feminine as imposture. Indeed, the perverse imposture of the perverse woman spreads (displays,deploys) through the artificial identity that the perverse woman makes to counter the other woman, the one who does not exist. Straightaway, imaginary prevalence at the perverse woman is the mechanism which allows the pervert to have the faith in the ownership of a phallus, on one hand widely upper to that of the man, because he (it) is not limited by the détumescence and on the other hand, raising(finding) it to the rank of the exception, because she is the only woman to hold(detain) him(it). The perverse direction (fabrication), the anchoring of which is imaginary, operates in nets meaning of symbolism. Indeed, symbolism, scene (stage) of the law of the difference of the sexes, is scoffed and soiled. So, it is So, it is this other knowledge, kind of " to know ", lauded by the perverse woman who divides the other one, - the bewildered witness(baton), and continues its illusion, its faith, in the credit note of the phallus. However, behind this armor of invincible shows itself an anxiety in the melancholic tint, connected to the insignificance of the female genital organ. So, it is this dismissal of the charges of the woman in which the perverse woman by imposture and enactment invents a place, which establishes (constitutes) the anxiety of which the perverse woman protects himself.

Ni réquisitoire ni plaidoyer pour la vengeance, la présente recherche part d’une butée dans la clinique : la parole de vengeance entendue dans le cadre thérapeutique. Redécouvrant que son traitement fait acte de civilisation, nous montrons qu’elle est avant tout un enjeu de structure sur le plan psychique permettant de nouer les registres de l’imaginaire et du symbolique. L’élaboration théorique ici construite est confrontée à une clinique analysée jusque dans ses ressorts transférentiels, là où, encore, la vengeance peut ne pas être absente. La parole de vengeance, dans le cadre clinique, engage le sujet dans le temps et dans son rapport à l’Autre. L’entendre, c’est permettre une régénération de l’ordre social et symbolique. Et en ce domaine, les enjeux dans la postmodernité sont d’importance ! / This reseach project is neither an indictment nor a means of defending acts of vengeance, but rather the result of a problem in clinical practice: what to do about the words, even threats of vengeance heard in the context of therapy. Byrediscovering psychological treatment as a civilised response, we aim to show that what is at stake is above all the way the psyche is structured so as to permit the patient to come into contact with the domain of the imaginary and the symbolic. Thetheoretical framework we elaborate here is obliged to confront a clinical practice, where all motivations for transference are analysed in depth and where, yet again, the desire for vengeance may well be present. Words or threats of vengeance, in the clinical context, commit the patient to a longterm process and to a certain relationship to the big Other. Hearing this enables the social and symbolic order to be reborn. And this is where our postmodern categories of thought have an important role to play!

Orientador: Angel Pino Sirgado / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-07T11:59:27Z (GMT). No. of bitstreams: 1 Silva_DanieleNunesHenrique_D.pdf: 8410005 bytes, checksum: 3ee859b16919ec4631d162f400cebc36 (MD5) Previous issue date: 2006 / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

L’objectif de cette thèse est de montrer que la science-fiction japonaise, encore largement méconnue et très rarement traduite, offre un formidable terrain d’investigation pour une réflexion sur les technosciences, et plus spécifiquement les nanotechnologies. Elle repose sur l’idée que, contrairement aux travaux scientifiques, les textes littéraires, dans leur diversité, permettent de révéler les problèmes socio-culturels et représentationnels liés aux changements conceptuels et aux innovations technologiques. Elle emprunte la méthodologie et le cadre pluridisciplinaire des études culturelles, afin de souligner le fait que l’imaginaire nanotechnologique s’est formé à partir d’un nœud complexe de récits aux frontières extrêmement poreuses, qui s’articulent autour de plusieurs formes de discours (scientifique, littéraire, philosophique, politique, artistique). Structurée chronologiquement autour de trois grandes périodes, ce travail explore des œuvres de science-fiction japonaise dont tout ou partie de l’univers se fonde sur un novum (une innovation science-fictionnelle) associé aux nanotechnologies. La première partie, entre 1959 (le discours fondateur de Feynman) et l’année qui voit la création du terme nanotechnologie par Taniguchi Norio谷口紀男 (1974), s’intéresse cependant aux œuvres qui préfigurent l’imaginaire nanotechnologique, dont elle retrace la formation à partir d’un large faisceau de motifs antérieurs. La seconde partie couvre les deux décennies de 1980 à l’an 2000 lorsqu’apparaissent, sous l’influence décisive de Drexler (Engins de création, 1986), des novums explicitement nanotechnologiques, avec les nanomachines comme motif central. La troisième partie analyse finalement des œuvres du début du XXIe siècle. Les idées de Drexler ont largement pénétré l’imaginaire collectif, et les écrivains japonais de la zero nen-dai ゼロ年代 esquissent des avenirs où les nanotechnologies permettent de remodeler le monde à un tel niveau qu’elles ouvrent l’ère du post-humain. / The present dissertation aims at showing that Japanese science fiction, although it is still largely unknown and not much translated, provides a fertile ground of investigation to reflect on the development of techno-sciences, and more specifically of nanotechnology. Its premise rests upon the idea that, contrary to scientific discourse, literary texts can reveal the socio-cultural and representational issues raised by technological innovations. It borrows the conceptual and methodological framework of cultural studies to underline the fact that the nanotechnological imagination developed out of a complex network of narratives that draw upon a vast array of interpenetrating discourses (from science, literature, philosophy, politics, economics, and the arts). Chronologically structured around three periods, it explores Japanese works of science fiction that are partly, if not entirely, set on a novum (a science-fictional innovation) associated with nanotechnology. However, the first part, running from 1959 (the year Feynman gave its founding speech) to 1974, when Taniguchi Norio谷口紀男 coined the term nanotechnology, focuses on works prefiguring the nanotechnological imagination, tracing back its formation to earlier motifs. The second part deals with the two decades of 1980s and 1990s, when explicitly nanotechnological novums largely inspired by Drexler’s highly influential Engines of Creation (1986) emerge. The third part finally analyses works from the early 21st century. Drexler’s ideas have sunk deep into the collective imagination, and the zero nen-dai ゼロ年代 Japanese writers depict futures where nanotechnology has transformed the world to such an extent that it ushers humanity into the post-human era.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-17T17:29:02Z No. of bitstreams: 1 marcelomanhaesdeoliveira.pdf: 905558 bytes, checksum: 77e0c7e49b11ba8de235cedf0d7c8fca (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-17T18:04:17Z (GMT) No. of bitstreams: 1 marcelomanhaesdeoliveira.pdf: 905558 bytes, checksum: 77e0c7e49b11ba8de235cedf0d7c8fca (MD5) / Made available in DSpace on 2015-12-17T18:04:17Z (GMT). No. of bitstreams: 1 marcelomanhaesdeoliveira.pdf: 905558 bytes, checksum: 77e0c7e49b11ba8de235cedf0d7c8fca (MD5) Previous issue date: 2015-09-02 / O presente estudo propõe uma averiguação sobre a presença de elementos que despertem a imaginação do leitor na obra infantil de Clarice Lispector. Discuto aqui alguns conceitos sobre a imaginação nos quatro contos para crianças da autora: O mistério do coelho pensante; A mulher que matou os peixes; A vida íntima de Laura; Quase de verdade. Esta pesquisa procura demonstrar a versatilidade da autora em transitar pelos diferentes aspectos da imaginação de forma singular. Verifica-se que o ineditismo, a transgressão e a vanguarda estão presentes na linguagem tipicamente peculiar de Clarice Lispector, provocando no leitor, na época em que os contos foram publicados, o efeito do estranhamento, independentemente de este leitor ser um adulto ou uma criança. Clarice é um dos autores que em muito contribuirá para suavizar a literatura infantil nacional das imposições pedagógicas enraizadas desde o período colonial. / This study proposes an investigation on the presence of elements that arouse the imagination of the reader in child work of Clarice Lispector. I discuss here the different shapes that make up the comprehensive way of imagination, listing the four short stories by the author: O mistério do Coelho pensante; A mulher que matou os peixes; A vida íntima de Laura; Quase de verdade. This research will seek to demonstrate the versatility of the author in transit the different aspects of the imagination through a unique way, where the novelty, transgression and the vanguard are present through the typically peculiar language of Clarice Lispector, causing the reader, at the time the short stories were published, the effect of estrangement, regardless of whether it is an adult or a child. Clarice is one of the authors who will contribute to soften the national children's literature of the rooted pedagogical impositions from the colonial period.

Magister Educationis - MEd / This thesis is concerned with discussing music education as an aspect of aesthetic education, with special reference to the general music (Class music) curriculum at the secondary schools. Class music, or general music education, is being neglected at secondary schools in South Africa. A strong need for reform is necessary to revitalize the neglected state of class music in schools. Chapter One explains and discusses what is meant by the concept of aesthetic education and its relationship with the arts and especially music education. Chapter Two critically analyses and discusses music as aesthetic education as laid down by Charles Leonhard and Robert House. The soundness of their view comes under severe scrutiny, by the highlighting of contrasting viewpoints. Present criteria operant in music education are critically viewed and the soundness of these criteria as theory are evaluated. Chapter Three discusses Popular music and Classical music in aesthetic education. While the merits of these types of music are of importance, they culminate in a view which propagates the peaceful coexistence of both Popular and Classical music as an aim in aesthetic education. Chapter Four is a critical discussion of the general music education curricula in South Africa. This discussion is based mainly on the C LAS P - model, that is , Composition, Literature, Audition, Skills, and Performance. Chapter Five makes some recommendations towards a music curriculum for the general school music curriculum, based on the C.L.A.S.P - model, and aesthetic principles.

This essay argues that Mark Twain’s novels The Adventures of Huckleberry Finn and Pudd’nhead Wilson can be applied in Swedish upper secondary schools to address racial inequality in the purpose of achieving intercultural competence and understanding. Racism is a vast issue, evident in both schools and in our society, locally as well as globally, where ethnical minorities are abused or disfavored societal privileges. This leaves teachers with the vital task of counteracting racism in classrooms, in accordance with the educational goals of imparting democratic values. The essay is conducted through a Close Reading, which is beneficial in exposing a text’s complexity by examining its literary aspects. The primary focus from the Close Reading is put on narration and its subordinate categories. Word choice, repetition or metaphors are highlighted and analyzed from the selected passages as they are literary aspects that the students can react to and further discuss in relation to racism in their everyday lives. The findings show that Twain’s ways of narrating racism and stimulating empathy are integral features in promoting an increased understanding to meet the curriculum’s requirements.