Élève de l’École des beaux-arts de Paris, Luc-Olivier Merson obtient en 1869 le premier grand prix de Rome de peinture d’histoire, titre qui lui permet de parfaire sa formation pendant quatre années en Italie. Artiste reconnu de son vivant, Merson expose régulièrement au Salon parisien, avant d’ouvrir l’éventail de son talent à la décoration et à l’illustration. Au-delà de son goût pour la peinture monumentale, il affirme sa dilection pour l’art religieux dont il bouscule les conventions, grâce à des sources iconographiques recherchées et des sujets rares. Entre Académisme et Symbolisme, Merson confirme sa prédisposition pour le dessin, privilégiant la ligne, tout en entretenant un caractère coloriste subtil et recherché. En s’affranchissant de l’influence de son père Olivier Merson, critique d’art, et en dotant ses réalisations d’archaïsme et d’idéalisme, Luc-Olivier Merson est désormais considéré à juste titre comme l’un des précurseurs du Symbolisme. L’étude de la vie et de l’œuvre de Luc-Olivier Merson permet de comprendre les choix esthétiques et les audaces d’un artiste, trop souvent – et hâtivement – qualifié de Pompier par l’historiographie du vingtième siècle. / In 1869, when a student at the École des Beaux-Arts de Paris, Luc-Olivier Merson received the Rome Prize in history painting. The award allowed him to complete his training with four years of study in Italy. A well-known artist in his own time, Merson showed regularly at the Paris Salon before broadening the scope of his creative activity to include decorative painting and illustration. Beyond his taste for monumental painting, he evinced a keen interest in religious art, whose conventions he overturned, making use of recondite iconographic sources and unusual subjects. Suspended between Academism and Symbolism, Merson displayed a penchant for drawing, always privileging line, even as he maintained a subtle and refined sense of color. Having emerged from the shadow of his father, the art critic Olivier Merson, and endowed his work with a self-conscious archaism and idealism, Luc-Olivier Merson might justly be classed among the precursors of Symbolism. By studying the life and work of Merson, we may come to understand the aesthetic choices and the audacity of an artist too often—and too hastily—termed “Pompier” in twentieth-century art historiography.

Ce mémoire de maîtrise est consacré à un aspect peu étudié de l'art de Jacques-Louis David, c'est-à-dire l'influence caravagesque dans les œuvres de l'artiste. Les différentes périodes de la production de l'artiste sont étudiées en fonction d'identifier cette influence et la façon dont elle s'est manifestée. Cette influence est apparue à partir de la deuxième moitié du 18e siècle dans la peinture française pendant une période de réforme de l'art pictural. Jacques-Louis David n'est pas le seul artiste à s'être intéressé au caravagisme. L'intérêt pour Caravage et ses suiveurs coïncidait aussi avec un intérêt pour le naturalisme et le dessin d'après nature. Le maître de David, Joseph-Marie Vien, a joué un rôle important dans la promotion de ces deux notions. C'est lors de son premier voyage en Italie avec son maître Vien que Jacques-Louis David entra pour la première fois en contact avec le caravagisme. C'est à partir de ce moment que son oeuvre commença à se transformer alors que l'artiste s'affranchit de l'influence de la peinture rococo. Le Salon de 1781 qui suivra ce voyage sera un moment très important dans sa carrière et les œuvres qu'il y présenta étaient grandement marquées par le caravagisme, ce qui se manifeste par la couleur, la lumière et par le rendu naturaliste du corps. Le jumelage entre le naturalisme et l'idéalisme joue un rôle important dans la formation de l'esthétique davidienne. Après ce Salon, l'influence caravagesque s'exprimait de façon moins évidente dans son œuvre, mais elle était toujours présente et se manifestait plutôt par l'emprunt de motifs. Nous avons identifié cette influence jusqu'à la fin de la carrière de l'artiste. Nous voyons aussi dans ce mémoire que le rapport entre David et Caravage peut aussi être effectué par le biais d'une manifestation d'homosexualité et d'androgynie dans le travail des deux artistes. Ce mémoire n'est pas axé sur l'interprétation des œuvres, mais plutôt sur des analyses qui permettent de mettre en évidence l'influence caravagesque / This Master's Thesis deals with the influence of Caravaggio and his followers on french artist Jacques-Louis David, an aspect of his work that has not been studied much. The different periods of the artist's production are discussed in terms of identifying this influence and how it manifested itself. This influence has emerged from the second half of the 18th century in French painting during a reform period. Jacques-Louis David is not the only artist who got interested in the Caravaggesque tradition. The interest for Caravaggio and his followers coincides with an interest for naturalism and drawing from nature. David's master, Joseph-Marie Vien, played an important role in the promotion of these concepts. It is during his first trip to Italy with his master Vien that Jacques-Louis David first came into contact with Caravaggism. It is from that moment that a transformation could be observed in his work, as the artist was liberating himself from the rococo style. The 1781 Salon following his trip in Italy has been an important moment in his career and the Caravaggesque style greatly influenced the works he then presented. This influence could be observed in terms of colors, luminosity, and the naturalistic rendering of the body. The juxtaposition of naturalism and idealism played an important role in the shaping of the Davidian aesthetic. After this Salon, the influence of Caravaggism would not be has apparent in David's work, but still present, has designs and motifs were borrowed by the artist. We have identified this influence till the end of the artist's career. We also demonstrate in this thesis that the relationship between David and Caravaggio can also be established through a manifestation of homosexuality and androgyny in the work of both artists. This thesis is not based on the interpretation of the works, but rather on analyses that highlights the Caravaggesque style's influence.

[pt] Guiada pelo duplo propósito de esclarecer o significado dos conceitos de númeno, objeto transcendental e coisa em si mesma e de encontrar uma interpretação satisfatória para o problema da afecção transcendental, esta tese se desdobra em três partes. A primeira investiga a origem do conceito de númeno na Dissertação inaugural e analisa seus desdobramentos nas duas edições da Crítica da razão pura. Observaremos que o númeno pensado em seu sentido positivo passa a ser descrito como um conceito problemático, enquanto pensado em seu sentido negativo se revela imprescindível para a doutrina da sensibilidade. A segunda parte trata da definição kantiana de objeto transcendental e de suas relações com a coisa em si mesma e com a apercepção transcendental. Veremos que apesar de Kant associar o conceito de objeto transcendental à apercepção transcendental, ele não identifica o objeto em si mesmo com a apercepção. A terceira parte examina extensivamente o papel da coisa em si mesma em momentos cruciais da Crítica. A partir dessa perspectiva mais abrangente, notaremos que a noção de coisa em si mesma se relaciona com a razão e com entendimento de modos específicos, orientando e delimitando o conhecimento. A chave da interpretação erguida ao longo desse percurso é encontrada na conclusão da tese. Poderemos então finalmente mostrar que os conceitos de númeno, objeto transcendental e coisa em si mesma têm, cada um, uma função crítica sob a perspectiva da reflexão transcendental e, além disso, que a afecção pode ser considerada, assim como os objetos, tanto do ponto de vista empírico como do transcendental. / [en] Guided by the dual purpose of clarifying the meanings of the concepts of noumenon, transcendental object and the thing in itself and finding a satisfactory interpretation of the problem of transcendental affection, this thesis unfolds itself in three parts. The first researches the origin of the concept of noumenon in the Inaugural Dissertation and analyzes its development in both editions of the Critique of Pure Reason. We shall observe that noumenon thought in its positive sense turns out to be described as a problematic concept, while thought in its negative sense reveals to be essential to the doctrine of sensibility. The second part deals with the Kantian definition of the transcendental object and its connections with the thing in itself and with transcendental apperception. We shall see that although Kant associates the concept of the transcendental object with the transcendental apperception, he does not identify the object in itself with the apperception. The third part examines thoroughly the role of the thing in itself in crucial moments of the Critique. From this broader perspective, we shall notice that the notion of thing in itself relates to reason and understanding in specific ways, guiding and delimiting knowledge. The key to the interpretation built throughout this course is found in the conclusion of the thesis. We shall finally be able to show that the concepts of noumenon, transcendental object and thing in itself have, each, a critical function from the perspective of the transcendental reflection and, furthermore, that the affection can be considered, as well as the objects, either from the empirical or from the transcendental point of view.

Há uma tradição platônica entre os grandes leitores da obra de Erasmo de Rotterdam, o Príncipe dos Humanistas, que se concentra sobre a cuidadosa síntese feita pelo mestre para superar a ruptura entre fé e razão, através da compatibilização da erudição pagã à cristã em uma mesma doutrina que significasse, na polifônica Europa renascentista, uma urgente unidade da verdade nada menos do que o componente estabilizador do amálgama grecoromano, judaico-cristão que hoje define o Ocidente. Em efeito, no Livro dos Antibárbaros, que editou em 1521, a cisão entre fé e razão provocada pelas especulações dos próprios escolásticos é superada por uma solução média entre a noção hebraica de uma divindade arbitrária e a noção grega de deuses inseridos na natureza e suas leis; as histórias grega, judaica e cristã são unificadas pela busca do Sumo Bem; as várias escolas filosóficas e correntes teológicas são reunidas em uma Philosophia Christi; o conhecimento divino e o conhecimento humano são reafirmados como pertencentes à mesma unidade, à mesma natureza e fundados na mesma razão; o conhecimento humano pode ascender gradativamente dos assuntos dos homens aos divinos; os Studia Humanitatis são necessários para a verdadeira evangelização e a correta interpretação da Bíblia e as disciplinas pagãs são assimiladas como descobertas inspiradas pela Divina Providência para a utilidade dos cristãos. No entanto, persistentes leituras da imensa obra de Erasmo abrem um horizonte onde se elevam inúmeros outros temas povoados por argumentos que podem ser agrupados em antíteses desconcertantes, o que dificulta seu tratamento ainda em termos platônicos. Já uma reflexão sobre a escrita erasmiana, a partir das concepções aristotélicas presentes na Retórica, tomadas como reconhecimento e explicação da autonomia e legitimidade da dedução retórica frente à dedução científica e dialética, permite que nos afastemos do cânon da leitura platonizante desta escrita. Como resultado, esta nova reflexão se vê livre para entendê-la não como um discurso irrefutável e imposto por longo exercício dialético, mas como um tecido de argumentos verossímeis, colhidos em uma miríade de fontes, agenciados com eloquência e capazes de constituir o que aparece como unidade totalizante, o efeito de unidade em meio à pluralidade da verdade em que de fato respiram os discursos retóricos. Escrita que almeja para seu autor a glória de obter em geral o assentimento rápido e espontâneo de seus leitores postulando um saber que é, sobretudo, uma pacificação sem armas. De fato, a solução aristotélica, ao reconhecer um status científico para a retórica e superar a complexa comparação e outras especulações indevidas, especialmente entre a retórica e a filosofia, propõe ricas e novas abordagens. Esta solução insere a arte oratória e seus efetivos discursos no quadro histórico das disputas entre os homens, que sob leis isonômicas, e em busca da glória devem agir pela palavra, e no quadro social das deliberações públicas, em que o saber retórico pode ser visto como resultado de um procedimento heurístico reiterado por gerações de retóricos e de um dinamismo uma mútua determinação entre um saber proposto pelo orador e outro detido pelo auditório e entre saberes de oradores concorrentes. Ambos os quadros convidam então a uma análise, respectivamente, da gênese e da natureza da escrita erasmiana a partir de uma perspectiva política. / There is a platonic tradition among the greatest Erasmus of Rotterdam readers, the Prince of the Humanists, that concentrates upon the careful synthesis established by him in order to overpass the detachment between Faith and Reason through the Pagan and Christian eruditions compatibility in a same doctrine capable to offer in the context of polyphonic Renaissance Europe, an urgent truth unity nothing less than the steady component from the Greek-Latin-Jewish-Christian amalgam, what defines today Western World. As a matter of fact, in his Anti-barbarian Book edited in 1521, the rift between Faith and Reason leaded by the scholastics own speculations is overcome by a middle way solution between hebraical arbitrarian divinity notion and the Greek notion of divinities inserted in nature and its laws; the Greek, Jewish and Christian history are unified by the Sumun Bonum quest; the varies of philosophical and theological schools are reunited in a Philosophia Christi; the divine and the human wisdom are reaffirmed as belongings to the same unity, to the same nature and grounded on the same reason; the human wisdom can gradually escalate from manhood to the divine matters; the Studia Humanitatis are necessary for the real evangelization and the correct Bible interpretation and the pagan disciplines are assimilated as discoveries inspired by the Divine Providence for the utility of christians. However, perseverant readings of Erasmus immense work opens a horizon where countless topics populated by arguments appeared that can be assemble in astonishing antitheses, what makes difficult its treatment at a standstill platonic terms. Yet, a reflection towards erasmian writing, from the aristotelian conceptions existing in the Rhetoric, taken as an acknowledgement and explanation of the autonomy and legitimacy of rhetorical deduction in face of scientific and dialectical deduction, allows us to take distance from the platonic reading canon of this writing. As a result, this new reflection awakes to the possibility of understanding it, not as a irrefutable discourse imposed by the enduring dialectical exercises, but as a tissue of plausible arguments, collected in a myriad of sources, articulated with eloquence and able to build what appears as a totalizing unity, the effect of unity in the middle of the truth plurality of rhetorical discourses. Writing that aims, for his author, the glory of obtaining, in general, the quick and spontaneous assertion of its readers, claiming a wisdom that is, at best, an appeasement without arms. Actually, the aristotelian solution, recognizing an epistemological status for rhetoric, and overcoming complex comparison and another inappropriate speculations, specially between Rhetoric and Philosophy, proposing riches and new questions. As a matter of fact, this solution introduces the art of eloquence, and its effective speeches, in the historical frame of struggles between men that, under isonomic laws, and in the search of glory, must act by words, and in the social frame of public deliberations in which the rhetorical wisdom can be seen as the result of a heuristically process repeated by countless rhetors generations, and as a dynamism a mutual determination between the wisdom proposed by the orator and the wisdom diffused in the auditorium; and between the wisdom of opponent orators. Both frames invites, then, to an analysis, respectively, of the genesis and the nature of erasmian writing from a political perspective.

[pt] São muitas as análises sobre a política externa dos Estados Unidos, mas dentre todas elas destaca-se um tipo específico que utiliza a distinção entre políticas realistas e idealistas para caracterizá-la. A presente dissertação dialoga com esse tipo de análise da política externa do país, fornecendo uma alternativa para essa interpretação bipartida entre realismo e idealismo. Resgatando o conceito da tradição política liberal nos Estados Unidos, desenvolvido pela primeira vez pelos adeptos do paradigma da história consensual da década de 50, esta pesquisa identifica as influências dessa tradição liberal na política externa. Segundo a idéia de tradição liberal, a grande característica da política nos Estados Unidos é a ausência de uma tradição conservadora; os valores liberais estão completamente difundidos e impregnados no pensamento político do país. O maior reflexo desse fato na política externa é a capacidade dos Estados Unidos de projetarem seus interesses e valores particulares como universais. Tal característica se sobrepõe à suposta divisão da política externa em vertentes realistas e idealistas. Assim, a pesquisa se desenvolve analisando as relações existentes entre as análises de política externa que se utilizam dessa distinção entre realismo e idealismo e a tradição liberal, em dois momentos específicos: no fim da Segunda Guerra Mundial, período em que essas análises começam a se disseminar, e no pós-Guerra Fria. / [en] There are a great number of analyses on United States foreign policy, but among all of them there is a specific kind that uses a distinction between realist and idealist polices to classify it. The present dissertation engages itself with this specific kind of analysis, proposing an alternative to this realist-idealist interpretation. Recalling the concept of the liberal tradition of the United States, first developed by the followers of the consensus history paradigm during the decade of 50, this work identifies the influences of this liberal tradition on United States foreign policy. In accordance with the argument of the liberal tradition, the major characteristic of politics in the United States is the absence of a conservative tradition; the liberal values are completely embedded on the political thought of the country. The great reflex of this fact on foreign policy is the capacity of the United States in projecting its own interests and values as if they were universals. This characteristic supplants the supposed realist-idealist division of foreign policy. In this way, this work develops an analysis of the relations between the writings on foreign policy that use this realist-idealist division and the liberal tradition, in two specific moments: the end of World War II, at the time when this distinction starts to spread, and at the end of Cold War.

Nous entendons confronter pratique des mathématiques et réflexions sur les mathématiques dans l'œuvre de Weyl. Nous étudierons : (a) ses monographies en analyse complexe, en relativité générale et en mécanique quantique, (b) les articles en lien avec ces ouvrages, (c) certains de ses cours, (d) sa correspondance avec divers scientifiques, principalement A. Einstein, E. Cartan, J. von Neumann. Nous voulons savoir si les théories mathématiques qu'il investit conditionnent ses positions sur les fondements des mathématiques. Inversement, nous montrerons que les philosophies auxquelles il se réfère – essentiellement le criticisme kantien, l'idéalisme fichtéen et la phénoménologie de Husserl – conditionnent ses recherches. Tout d'abord, nous reviendrons sur Die Idee der Riemannschen Fläche (première éd. 1913). Nous montrerons qu'il opte alors pour un formalisme mitigé. Il se revendique de deux traditions incarnées par Klein et par Hilbert. Ensuite, nous étudierons les éditions successives de Raum, Zeit, Materie (1918-1923). Nous aborderons le projet d'une géométrie purement infinitésimale qui permet à Weyl de proposer une théorie unifiée des champs, cette dernière étant réfutée par Einstein, Pauli, Reichenbach, Hilbert and Eddington. Nous décrirons aussi la construction et la résolution de son « problème de l'espace » (1921-1923). Nous indiquerons comment la référence aux philosophies de Fichte et de Husserl permet d'éclairer ces deux projets. Enfin, nous commenterons l'article de Weyl sur les groupes de Lie (1925-1926) ainsi que son ouvrage Gruppentheorie und Quantenmechanik (1928, 1931). Son article sur les groupes de Lie manifeste la voie moyenne entre formalisme et intuitionnisme qu'il adopte en 1924. Son ouvrage en mécanique quantique incarne quant à lui un « tournant empirique » dans son épistémologie qu'il conviendra de comparer \`a l'« empirisme logique ». / Our purpose consists in comparing Weyl's mathematical practice with his philosophical reflections on mathematics. We will study (a) his monographs on complex analysis, general relativity and quantum mechanics, (b) the articles which are linked to these books, (c) some of his lecture courses, (d) his correspondence with different scientists, mainly A. Einstein, E. Cartan, J. von Neumann. We will show that his mathematical research has a strong influence on the different stands he successively takes regarding the foundations of mathematics. Conversely, we will show that the philosophical systems he refers to (mainly kantian criticism, fichtean idealism and husserlian phenomenology) have a real impact on his investigations in mathematics. We will first analyse Die Idee der Riemannschen Fläche (first edition 1913). In this book, Weyl seems to take up a formalist point of view, but this is partly true. In fact, he is influenced by two traditions respectively embodied by Hilbert and Klein. Then, we will study the successive editions of Raum, Zeit, Materie (1918-1923). We will describe Weyl's project of a “purely infinitesimal geometry”. Thanks to this geometrical framework, he builds a unified fields theory, which will be disproved by Einstein, Pauli, Reichenbach, Hilbert and Eddington. During this short period, Weyl also constructs and solves the so-called space problem (1921-1923). Weyl's references to Fichte and Husserl have a significant impact on these two projects. Finally, we will comment Weyl's main article on Lie groups (1925-1926) and his monograph on quantum mechanics, i.e. Gruppentheorie und Quantenmechanik (1rst ed. 1928, 2nd ed. 1931). Weyl's article on Lie groups is in accordance with his compromise between intuitionism and formalism (1924). On the other hand, Weyl's book on quantum mechanics encapsulates an “empirical turn” in his epistemology, which will be compared with the so-called empirical logicism.

Made available in DSpace on 2016-04-27T17:27:16Z (GMT). No. of bitstreams: 1 FIL - Edson Dognaldo Gil.pdf: 1469522 bytes, checksum: 93803423295828ce6d57adf7e6ced90d (MD5) Previous issue date: 2006-10-19 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / The aim of this dissertation is to present and toanalyse the first principle of Fichteʹs Doctrine of Science, namely, that of the self‐position of the I, in the same way the German idealist philosopher expounds it in the firstparagraph of his masterpiece Grundlage der gesammten issenschaftslehre [Foundation of the Entire Doctrine of Scientific Knowledge], published in 1794‐1795. The historical presentation situates Fichteʹs issue in the context of the modern philosophy in general, and of German idealism in particular. Remarks are provided on the relation and mutual influence of German thinkers, especially on the continuity between the transcendental philosophy of Kant and that of Fichte, pointing out, however, the originality of the project of the Doctrine of Science. Some attention is also given to the current state of the Fichte‐Forschung. The systematic analysis, wish constitutes the core of the work, concentrates on the thorough reading of the first paragraph of the Grundlage, pointing out its implications to the question of the relation between being and thinking, morespecifically, the respective transcendental transformation of the Cartesian cogito. Thus, the I, in so far as it is (characterized as) pure intelligence, is the genetic, originary and pre-predicative Act (Tathandlung). Therefore, it is previous toboth discursive thought and objective consciousness (ofa substantiated Cartesian subject), and yet it is accessible by means of an intuitive method; it is nonetheless purely intellectual and authentically meditative meditative philosophy, philosophy as art (ars). There is enclosed a reproduction of the original text of the first paragraph of the Grundlage, as well as the respective translation, of my authorship. There is also a small glossary of the most important terms used by Fichte translated from German into Portuguese / O escopo desta dissertação consiste em apresentar e analisaro chamado Primeiro Princípio da autoposição do Eu da Doutrina da Ciência de Johann Gottlieb Fichte, tal qual o idealista alemão o expõe no primeiro parágrafo de sua obra‐prima Grundlage der gesammten Wissenschaftslehre als Handschriftfür seine Zuhörer [Fundamento de toda a Doutrina da Ciência como manual para seus ouvintes], publicada em 1794‐1795. A apresentação histórica visa a situar a problemáticafichteana no contexto da filosofia moderna, em geral, e, em particular, do idealismo alemão. Tecem‐se considerações sobre a relação e a influência mútua dos pensadores alemães, especialmente sobre a continuidade entre a filosofia transcendental deKant e a de Fichte, destacando‐se porém a originalidade do projeto da Doutrina da Ciência. Dedicam‐se, além disso, algumas palavras ao estado atual da Fichte‐Forschung. A análise sistemática, que constitui o cerne do trabalho, concentra‐se na leitura minuciosa do primeiro parágrafo da Grundlage, destacando‐se suas implicações no que respeita à questão da relação entre ser e pensar, mais especificamente, a respectiva transformação transcendental do cogito cartesiano. Conclui‐se que, para Fichte, o eu, enquanto inteligência pura, é Ato genético, originário (Tathandlung), pré‐predicativo e, portanto, anterior ao pensamento discursivo e à consciência objetiva (de um sujeito hipostasiado, cartesiano), ao qual se tem acesso por meio de um método intuitivo, mas puramente intelectual, autenticamente meditativo filosofia meditativa, filosofia como arte (ars). Como anexos, seguem‐se a reprodução do texto original do primeiro parágrafo da Grundlage, bem como a respectiva tradução, de minha autoria. Além disso, um pequeno vocabulário, alemão‐português, dos termos mais importantes utilizados por Fichte

Ce travail réinterroge la philosophie sociale critique d’Adorno à partir des concepts de règle et de jeu. Il a pour objectif d’exposer la théorie de la société d’Adorno et d’en questionner les fondements. Ces fondements, telle est notre thèse, peuvent être conceptualisés dans un langage propre à la sociologie de l’action si on les reformule en termes de « règles », de « suivi des règles » et de « jeu » – concepts qu’Adorno lui-même utilise afin de décrire le social, plus précisément la société capitaliste dans laquelle il vivait. Le fameux tout « non-vrai », qu’est la société selon Adorno, peut ainsi être compris comme un jeu réglé par lui-même, indépendamment de l’intentionnalité des acteurs. Cette reformulation de la philoso-phie sociale d’Adorno nous permet de la faire dialoguer avec d’autres conceptions du social (Weber, Ha-bermas, Descombes, Searle et le structuralisme) et de montrer à quel point l’objet d’Adorno diffère de celui de Weber, de Habermas et de Searle alors qu’il est commensurable à celui du structuralisme. La méthode pour saisir cet objet, à savoir les règles non intentionnelles qui structurent le jeu social, est celle de Freud (interprétation, lecture symptômale). Adorno, toutefois, se distingue du structuralisme et aussi de Freud en ce qu’il pense pouvoir établir un lien entre société capitaliste et le social réglé comme un jeu inaccessible aux acteurs : ce jeu est non seulement l’objet de recherche d’Adorno mais aussi l’objet de sa critique. Notre travail s’emploie à étayer la possibilité de cette critique qui ne vise rien de moins que les conditions de possibilité du vivre en commun telles qu’elles ont été établies par la philosophie sociale structuraliste ainsi que par Freud : des règles à effet inconscient qui font en sorte que tous les acteurs ne réalisent ou ne di-sent pas les mêmes significations font l’objet de la critique adornienne. Critiquer ces règles implique de montrer qu’une critique de l’institution verticale des sujets est possible sans détruire ni poser comme abso-lu la subjectivité elle-même. Cette critique devient envisageable à partir du moment où l’on examine la pratique qui est incluse dans le suivi aveugle de la règle : au sein de cette « fausse » pratique – qu’Adorno appelle la pratique d’identification – se dégage une pratique autre qui met en question la soumission aveugle à la règle. Cette pratique critique est également appelée « jeu ». Notre travail se conclut sur l’exposition de cette pratique et de son potentiel critique au sein du jeu qu’est la société capitaliste. / This work reexamines the social critical philosophy of Adorno, starting form the concepts of rule and of game. It aims to expose the social theory of Adorno and to question its foundations. These foundations can be conceptualized in a language specific to the sociology of action if they are rephrased in terms of rules, rule-following and game; concepts which Adorno himself uses to describe the social, spe-cifically the capitalist society in which he lived. The famous all "non-true" which society is according to Adorno, can be understood as a game working in itself, regardless of the intentionality of the actors. This rephrasing of the social philosophy of Adorno allows us to dialogue with the other approaches of the social (Weber, Habermas, Descombes, Searle and the structuralism) and to show how the object of Adorno differs from that of Weber, Habermas and Searle, how it is commensurable with that of structuralism. The Method to seize the object, i.e. the rules that structure the unintentional social game, is the method of Freud (interpretation, symptomatic reading). Adorno, however, differs from structuralism and also from Freud’s conception of the social because he thinks that he can establish a link between capitalist society and the social regulated as a game inaccessible to players: for Adorno this game is not only the object of research but also the object of his criticism. Our work goes on to justify the possibility of such criticism that targets nothing less than the conditions of possibility of common living. What was established by structur-alist social philosophy as well as by Freud is the subject of criticism of Adorno: rules whose effects are unconscious, which ensure that all players do not realize or do not say the same meanings. To criticize these rules implies showing that the critique of vertical instituted subjects is possible without destroying subjec-tivity nor positing it as absolute. This criticism becomes possible from the moment you look at the prac-tice included in the blind following of the rule which is the "wrong" practice - Adorno calls this practice of identification ; the right practice included in practice of identification challenges the blind submission to

Cette thèse intitulée « Esthétique et poétique des jardins : entre art et science, parcours et discours dans la fiction sandienne» vise à étudier la place qu’occupe le jardin essentiellement dans les romans, contes et nouvelles de George Sand. L’enjeu de cette recherche est de démontrer que le jardin chez Sand ne se réduit pas à un simple arrière-plan, à un élément de fioriture, ou à une pure thématique. Il revêt au contraire chez l’auteure une ampleur considérable allant jusqu’à devenir un objet spéculatif capable de repenser tout à la fois les genres et les esthétiques et de susciter de riches réflexions en rapport avec l’art (peinture, architecture, dessins) et la science (botanique, écologie, horticulture, minéralogie) au XIXe siècle. Le jardin occupe aussi une place de choix dans l’œuvre de Sand en vertu de ses diverses fonctions diégétiques, poétiques et symboliques au sein de la diégèse, mais aussi en raison de son aptitude à être un lieu de cheminement au sein duquel le promeneur peut se promettre divers plaisirs et évolutions. Le jardin devient en ce sens un monde complet en soi, un lieu riche et influent, un véritable creuset de signes et de significations dont se sert l’auteure pour véhiculer son idéologie, ses goûts esthétiques, ses pensées intimes, son idéalisme, ainsi que sa philosophie de la vie / This thesis entitled "esthetic and poetic of gardens: between art and science, path and speech in Sandian fiction" aims to study the place of garden especially in novels, tales and short stories of George Sand. The challenge of this research is to prouve that the garden for Sand is not just a backdrop, an element of flourish, or a pure topic. In contrast, it takes on a considerable scale in the author's work, even becoming a speculative object able to rethink genres and esthetics at the same time and generating rich reflections related to art (painting, architecture, drawings) and science (botany, ecology, horticulture, mineralogy) in the 19th century. The garden occupies a prominent place in the work of Sand due to its various diegetic, poetic and symbolic functions within the diegesis, but also because of its aptitude to be a pathway within which the walker can promise himself various pleasures and evolutions. The garden becomes in that way, a complete world by itself, a rich and impactful place, a veritable crucible of signs and meanings that the author uses to convey her ideology, her esthetic preferences, her intimate thoughts, her idealism, as well as her life philosophy

In 1908, two Canadian women published first novels that became instant best-sellers. Nellie McClung's Sowing Seeds in Danny initially outsold Lucy Maud Montgomery's Anne of Green Gables, but by 1965 McClung's book had largely disappeared from Canadian consciousness. The popularity of Anne, on the other hand, has continued to the present, and Anne has received far more academic and critical attention, especially since 1985. It is only recently that Anne of Green Gables has been criticized for its ideology in the same manner as Sowing Seeds in Danny. The initial question that inspired this dissertation was why Sowing Seeds in Danny disappeared from public and critical awareness while Anne of Green Gables continued to sell well to the present day and to garner critical and popular attention into the twenty-first century. In light of the fact that both books have in recent years come under condemnation and stand charged with maternal feminism, imperial motherhood, eugenics, and racism, one must ask further why this has now happened to both Danny and Anne. What has changed? The hypothesis of the dissertation is that Danny's relatively speedy disappearance was partly due to a shift in Canadians' religious worldview over the twentieth century as church attendance and biblical literacy gradually declined. McClung's rhetorical strategies look back to the dominant Protestantism of the nineteenth century, in contrast to Montgomery's, which look forward to the twentieth-century's waning of religious faith. Although there is enough Christianity in Montgomery's novel to have made it acceptable to her largely Christian reading public at the beginning of the century, its presentation is subtle enough that it does not disturb or baffle a twenty-first-century reader in the way McClung's does. McClung's novel is so forthright in its presentation of Christianity, with its use of nineteenth-century tropes and conventions and with its moralising didacticism, that the delightful aspects of the novel were soon lost to an increasingly secular reading public. Likewise, the recent critical challenges to both novels spring from a worldview at odds with the predominantly Christian worldview of 1908. The goal of the dissertation has been to read Sowing Seeds in Danny and Anne of Green Gables within the religious contexts of a 1908 reader in order to avoid an unquestioning twenty-first-century censure of these novels, and to ascertain the reasons for their divergent popularity and recent critical condemnation.