O presente trabalho tem por intuito demonstrar a solidão, a incomunicabilidade e a precariedade dos relacionamentos no mundo moderno. Para tanto fizemos um estudo detalhado das personagens e da linguagem simbólica presentes em A gata e a fábula, de Fernanda Botelho e Exílio, de Lya Luft. Coincidentemente, o contexto histórico das duas obras consiste na ditadura, que ocorreu em Portugal e no Brasil, porém não aparece explicitamente nos romances, mesmo porque o enfoque de ambos é o de mostrar a situação da mulher numa sociedade conservadora e patriarcal. Ambos os romances mostram a mulher à procura de sua identidade numa sociedade na qual ela sempre ocupou uma posição inferior. / The aim of the present research is to demonstrate the solitude, the lack of comunication and the uncertainty of the relationships in our contemporary world. In order to show this, we did a detailed study of the characters and of the symbolic speech presented in A gata e a fábula written by Fernanda Botelho and Exílio, written by Lya Luft. The historical context of the novels is, coincidently, the dictatorship which happened in Portugal and in Brazil, but this fact does not appear clearly in these novels, because their main focus is to show the woman\'s situation facing a strict and patriarchal society. Both novels show the woman in search of ber identity in a society in which she always had a lower position.

Este trabalho se propõe a analisar duas obras do escritor português António Lobo Antunes, tendo em vista algumas instâncias narrativas, que, a nosso ver, sobressaem na obra do autor. As obras são Ontem não te vi em Babilónia, romance publicado em 2006, e O arquipélago da insónia, de 2008. Os dois romances compõem o ciclo de produção mais recente do autor, no qual as experimentações formais e estéticas são mais intensas do que nos romances anteriores. Além disso, as obras apresentam convergências temáticas já explicitadas por uma leitura atenta de seus títulos. Ontem não te vi é a representação de um tempo de espera, um tempo de frustração; Babilónia é Babel, símbolo maior da incomunicabilidade para o Ocidente. Já arquipélago é um conjunto de ilhas, reunião marcada pelo isolamento e pela incomunicabilidade; insónia é, igualmente, uma espera frustrada por algo que não vem, no caso, o sono, que nos romances será metáfora para a morte. O trabalho privilegiará, portanto, a análise do espaço, a partir do símbolo da casa; do tempo, insone e de morte; e do texto, que se apresenta, essencialmente, por uma enxurrada discursiva. Assim, pretende-se entrar no universo antuniano e, como parece ser o desejo do autor, desvendar a nós mesmos e a nosso tempo / This work proposes an analysis of two novels by the portuguese writer António Lobo Antunes, taking into consideration narrative instances that, from our point of view, are highlighted in the authors work. The books are Ontem não te vi em Babilônia, novel that was published in 2006, and O arquipélago da insônia, published in 2008. The novels make up the authors most recent production cycle, in which the formal and aesthetic experiences are much more intense than in his previous novels. Besides that, these works show thematic convergences that appear in careful reading of the books titles: Ontem não te vi is the representation of time passing, time of frustration; Babilônia is Babel, the biggest symbol of incommunicability for the West. Arquipélago is a group of islands, a gathering that is noticeable for its isolation and incommunicability; Insônia is equally a frustrated wait for something that never arrives, in this case, sleep, which is a metaphor for death in his novels. Therefore, this work is going to focus on the analysis of space, taking into consideration the house as a symbol; time, as death and sleepless; and the text, that is, basically, presented as a discursive overflow. This way, we will enter in Lobo Antunes universe and, what seems to be the authors desire to reveal ourselves and our time

L’objet de cette thèse porte sur la nature de la relation à l’autre et met l’accent sur les conditions de l’engagement relationnel. Le sujet répond à un questionnement éthique à propos de l’isolement qui remet en cause la perception utilitariste de la relation qui prédomine dans la société contemporaine, notamment à travers la conception des supports info-communicationnels et leurs usages. Notre cadre théorique emprunte aux approches de la communication affective (F. Martin-Juchat) et à l’anthropologie relationnelle à travers la notion de quête de sens commun dans la relation (C. Galibert). Il s’agit d’une démarche de recherche-action qui s’interroge sur les possibilités d’améliorer les conditions de la communication engageante. Notre terrain d’étude porte sur l’expérience des personnes âgées. Notre cadre méthodologique est pluridisciplinaire avec des emprunts à la sociologie de la dynamique relationnelle (C. Bidart) et à la psychologie (D. Winnicott). Nos outils d’analyse utilisent la biographie comme support de témoignage (D. Demazière et C. Dubar) et des grilles interprétatives modélisées à partir de la sémiotique situationnelle (A. Mucchielli). Nous démontrons la valeur heuristique de la relation. Elle contribue à une inventivité de la réalité dont nous étudions les conditions. Nous proposons une approche de médiation qui s’appuie sur la formalisation de l’environnement relationnel comme support de narration et que nous qualifions de narrativité relationnelle en référence à l’identité narrative (P. Ricoeur) et à la sémiotique narratologique ( J. Greimas). Elle redéfinit le rôle du média. Notre travail offre des perspectives dans le champ des SIC sur le sujet de la coopération à partir de la notion d’environnements de connivences. / The purpose of this thesis is to put the accent on the conditions of relationships and commitment. Thesubject is based on an ethical investigation of the isolation which challenges the utilitarian perceptionof the relation in the modern society through the communications concept and its supports. Ourtheoretical frame takes from the emotional communication approach (F. Martin-Juchat) and from therelational anthropology through the quest of common sense in relationship (C. Galibert). It is about aresearch-action approach. Our field of study concerns the experience of the elderly. Our methodologicalframe is multidisciplinary with parts of sociology of the relational dynamics (C. Bidart), and psychology(D. Winnicott). Our tools of analysis use the biography and the interpretative tables modelled fromsemiotics situational (A. Mucchielli). We demonstrate the heuristics value of the relation and the factit contributes to the inventiveness of reality which we study the intersubjective relational conditions.We propose a mediational approach based on the formalization of the relationship environment as astory. We qualify it of relational narrative in reference to P. Ricoeur and to J. Greimas. It redefines therole of the media. Our work offers perspectives in the field of SIC around cooperation from collusionenvironments.

Este trabalho se propõe a analisar duas obras do escritor português António Lobo Antunes, tendo em vista algumas instâncias narrativas, que, a nosso ver, sobressaem na obra do autor. As obras são Ontem não te vi em Babilónia, romance publicado em 2006, e O arquipélago da insónia, de 2008. Os dois romances compõem o ciclo de produção mais recente do autor, no qual as experimentações formais e estéticas são mais intensas do que nos romances anteriores. Além disso, as obras apresentam convergências temáticas já explicitadas por uma leitura atenta de seus títulos. Ontem não te vi é a representação de um tempo de espera, um tempo de frustração; Babilónia é Babel, símbolo maior da incomunicabilidade para o Ocidente. Já arquipélago é um conjunto de ilhas, reunião marcada pelo isolamento e pela incomunicabilidade; insónia é, igualmente, uma espera frustrada por algo que não vem, no caso, o sono, que nos romances será metáfora para a morte. O trabalho privilegiará, portanto, a análise do espaço, a partir do símbolo da casa; do tempo, insone e de morte; e do texto, que se apresenta, essencialmente, por uma enxurrada discursiva. Assim, pretende-se entrar no universo antuniano e, como parece ser o desejo do autor, desvendar a nós mesmos e a nosso tempo / This work proposes an analysis of two novels by the portuguese writer António Lobo Antunes, taking into consideration narrative instances that, from our point of view, are highlighted in the authors work. The books are Ontem não te vi em Babilônia, novel that was published in 2006, and O arquipélago da insônia, published in 2008. The novels make up the authors most recent production cycle, in which the formal and aesthetic experiences are much more intense than in his previous novels. Besides that, these works show thematic convergences that appear in careful reading of the books titles: Ontem não te vi is the representation of time passing, time of frustration; Babilônia is Babel, the biggest symbol of incommunicability for the West. Arquipélago is a group of islands, a gathering that is noticeable for its isolation and incommunicability; Insônia is equally a frustrated wait for something that never arrives, in this case, sleep, which is a metaphor for death in his novels. Therefore, this work is going to focus on the analysis of space, taking into consideration the house as a symbol; time, as death and sleepless; and the text, that is, basically, presented as a discursive overflow. This way, we will enter in Lobo Antunes universe and, what seems to be the authors desire to reveal ourselves and our time

O presente trabalho tem por intuito demonstrar a solidão, a incomunicabilidade e a precariedade dos relacionamentos no mundo moderno. Para tanto fizemos um estudo detalhado das personagens e da linguagem simbólica presentes em A gata e a fábula, de Fernanda Botelho e Exílio, de Lya Luft. Coincidentemente, o contexto histórico das duas obras consiste na ditadura, que ocorreu em Portugal e no Brasil, porém não aparece explicitamente nos romances, mesmo porque o enfoque de ambos é o de mostrar a situação da mulher numa sociedade conservadora e patriarcal. Ambos os romances mostram a mulher à procura de sua identidade numa sociedade na qual ela sempre ocupou uma posição inferior. / The aim of the present research is to demonstrate the solitude, the lack of comunication and the uncertainty of the relationships in our contemporary world. In order to show this, we did a detailed study of the characters and of the symbolic speech presented in A gata e a fábula written by Fernanda Botelho and Exílio, written by Lya Luft. The historical context of the novels is, coincidently, the dictatorship which happened in Portugal and in Brazil, but this fact does not appear clearly in these novels, because their main focus is to show the woman\'s situation facing a strict and patriarchal society. Both novels show the woman in search of ber identity in a society in which she always had a lower position.

Esta dissertação versa sobre a incomunicabilidade humana. A pergunta problematizadora que temos como objetivo aprofundar é: o ser humano é, ontologicamente, um ser capaz de se comunicar? ou de outra forma: é possível a existência da comunicação? A hermenêutica imanente dos textos de natureza filosófica, seguida da reflexão analítica, nos aproxima da problemática sobre a incomunicabilidade humana, iluminando os enfoques chave do estado instaurado de incomunicação radical e generalizada, por outro lado a possibilidade do ser de relacionar-se e abrir a comunicação para sua existência. A possibilidade do ser humano de relacionar-se é mínima no sistema planetário de comunicação, o que nos faz concluir que vivemos na era da incomunicabilidade humana, por primeiro da incomunicabilidade entre eu e o outro. / This dissertation deals with human incommunicability. We intend to further study the following problematizing issue: Ontologically speaking, is the human being capable of communicating? In other words: can communication exist? The immanent hermeneutics of philosophical texts, followed by analytical reflection, leads us to the problem of human incommunicability, throws light on key approaches to the state of radical and generalized incommunication, and, on the other hand, the possibility for human beings to establish relationships and open lines of communication for their survival. The planets communication system allows for minimal possibilities of human beings establishing relationships; we have, therefore, to conclude that we live in an era of human incommunicability, starting with the incommunicability between the self and others.

Esta dissertação versa sobre a incomunicabilidade humana. A pergunta problematizadora que temos como objetivo aprofundar é: o ser humano é, ontologicamente, um ser capaz de se comunicar? ou de outra forma: é possível a existência da comunicação? A hermenêutica imanente dos textos de natureza filosófica, seguida da reflexão analítica, nos aproxima da problemática sobre a incomunicabilidade humana, iluminando os enfoques chave do estado instaurado de incomunicação radical e generalizada, por outro lado a possibilidade do ser de relacionar-se e abrir a comunicação para sua existência. A possibilidade do ser humano de relacionar-se é mínima no sistema planetário de comunicação, o que nos faz concluir que vivemos na era da incomunicabilidade humana, por primeiro da incomunicabilidade entre eu e o outro. / This dissertation deals with human incommunicability. We intend to further study the following problematizing issue: Ontologically speaking, is the human being capable of communicating? In other words: can communication exist? The immanent hermeneutics of philosophical texts, followed by analytical reflection, leads us to the problem of human incommunicability, throws light on key approaches to the state of radical and generalized incommunication, and, on the other hand, the possibility for human beings to establish relationships and open lines of communication for their survival. The planets communication system allows for minimal possibilities of human beings establishing relationships; we have, therefore, to conclude that we live in an era of human incommunicability, starting with the incommunicability between the self and others.

En prenant pour appui initial le caractère équivoque de la communication, cette dissertation interroge les manières par lesquelles la vie en commun prend aussi effet comme œuvre de mort. S’inspirant du renouvellement de la recherche sur le thème de la communauté, l’interrogation se déploie en trois mouvements principaux. Chacun de ces mouvements ouvre et négocie trois grandes impasses : épistémologique, politique et éthique. La recherche propose de s’y frayer un chemin en s’appuyant principalement sur les travaux de Jean-Luc Nancy, Giorgio Agamben et Roberto Esposito. Le premier mouvement ouvre au voilement de l’idée de communication. L’idée de communication est voilée par une idéologie qui hérite elle-même d’une certaine conception humaniste de la communauté. Un examen de l’essai de Pic de la Mirandole Sur la dignité de l’homme permet d’exposer les valeurs associées à cette tradition qui recouvrent le caractère ambivalent de la communication. Ce premier mouvement mène au seuil de la situation politique contemporaine, marquée notamment par la nécessité de penser « notre » condition après la crise des valeurs humanistes. Le deuxième mouvement s’applique à l’examen de trois événements politiques contemporains. Chacun donne à comprendre comment s’exprime le péril associé à ce voilement : la fusillade au Collège Dawson de Montréal en 2006, un incident impliquant l’usage de gaz lacrymogènes lors de manifestations menées en 2013 à la Place Taksim à Istanbul, en Turquie, et une analyse de la crise de la dette publique grecque. L’aporie qui articule communication et incommunicabilité y est examinée à partir des thèmes de l’incommensurabilité des modes de vie en commun, de la biopolitique et du fascisme. Le fait que le péril qui menace de « nous » partager soit encore, malgré tout, ce que « nous » avons en partage invite à avancer là où aucune voie ne semble s’ouvrir. Le troisième mouvement présente les manières par lesquelles l’aporie de la communication peut être saisie en montrant qu’il est possible de penser par delà l’opposition de la communication et de la non-communication. Ce problème est abordé à l’horizon de la tradition philosophique concernant la question de l’être. Le saisissement du commun comme d’un propre — l’appropriation de l’inappropriable — ouvre à une conception de la communication « hors du commun ». Ces trois mouvements ne portent pas jusqu’à une conclusion. Ils ouvrent plutôt sur une autre conception de la communication. Celle-ci expose la possibilité sans cesse reconduite de l’événement fragile et intime dont « nous » sommes le nom. / This dissertation examines the equivocal nature of communication and the ways through which life in common also takes effect a work of death. Inspired by renewed research and interest in the concept of the community, this particular enquiry unfolds in three main movements, which lead to three major impasses: epistemological, political and ethical. As this enquiry reaches the heart of each, the works of Jean-Luc Nancy, Giorgio Agamben and Roberto Esposito suggest ways to maneuver through them. The first movement opens on a concealed dimension of the idea of ​​communication veiled by the humanistic conception of the community. An analysis of Mirandola’s essay Oration on the Dignity of Man allows for an examination of the values ​​associated with this tradition and the ways in which they conceal the ambivalent nature of communication. This first movement proceeds to the cusp of the contemporary political situation, particularly marked by the need to interrogate “our” condition following the crisis of these humanistic values. The second movement initiates an enquiry into three contemporary political events. Each event allows for a further understanding of the perils associated with this concealment: the Dawson College shooting in Montreal in 2006 (Quebec, Canada), an incident involving the use of tear gas during demonstrations in Taksim Square in 2013 (Istanbul, Turkey), and an analysis of the Greek debt crisis. The aporia linking communication and incommunicability is thus examined through the incommensurable dimensions of life in common, of biopolitics and of fascism. That the peril threatening to part “us” from each other is still, despite everything, what “we” share invites forays where no path seems to lead. The third movement points to ways the aporia of communication can be grasped through the possibility to think beyond the opposition of communication and non-communication. The philosophical tradition asking the “question of being” provides the horizon needed to address this problem. The seizing of the common as proper—the appropriation of the inappropriable—opens to an “uncommon” conception of communication. These three movements do not lead to a conclusion. Within this uncommon conception of communication, they rather open on the constant, renewed, possibilities of the fragile even of which “we” bear the name.

The main objective of this research is to study the affinities between Brazilian writer Graciliano Ramos (1892-1953) and French philosopher and writer Albert Camus (1913-1961). More precisely, we tend to explores the reflections of camusian revolt in three Ramos' prose works: Barren Lives (1938), Anguish (1936) and São Bernardo (1933). The literary and philosophical direction of existentialism is outlined at the beginning of the thesis. Therefore, the first chapter is devoted to an explanation of Camusian existentialism and his philosophical concept of revolt, not only in his philosophical works, but also in his novels. The subsequent chapter focuses on the life and work of Graciliano Ramos. Thereafter the three aforementioned Ramos' novels are analyzed in order to uncover in them motives of existentialism solitude, anguish, revolt against society ─ all of the more or less interlinked by the problem of incommunicability. Powered by TCPDF (www.tcpdf.org)

English: In this thesis I examine the concept of satirical silence as the compositional principle of Karl Kraus’s drama Die letzten Tage der Menschheit to demonstrate the ways in which the features of modern satire introduce the recipient to the construction of its critique. In Kraus’s drama, silence manifests itself twofold: as a reaction to the First World War and as the only remaining form of satire in the context of public war-euphoria and the widespread use of the press and war-coverage as propaganda tools. From the interruption of Kraus’s periodical Die Fackel at the beginning of the war to the satirical treatment of the homefront in his drama, Kraus’s silence represents a performance of imposed powerlessness. By approaching Kraus’s drama with Walter Benjamin’s concept of storytelling, I analyze satirical silence as an appropriate aesthetic response to the prevailing social conditions and thus to the changing character of the public sphere in modern society. Benjamin’s concept of storytelling and his description of incommunicability as a characteristic of post-war society are at the center of my analysis of modern satire as a reception-based literary practice. Given that satire is a social conversation practice between satirist and recipient, I argue that Kraus’s use of drama as a medium for reprocessing the First World War is built upon the ability of the dramatic form to show how silence emerges as the result of a break between the conversation partners of satire. German: In dieser Arbeit beschreibe ich das Konzept des satirischen Schweigens als Gestaltungsform von Karl Kraus’ Drama Die letzten Tage der Menschheit, um hierin die Züge der modernen Satire in der Hinwendung zum Rezipienten zur Formulierung der satirischen Kritik zu erweisen. Das Schweigen manifestiert sich in Kraus’ Drama sowohl als Reaktion gegenüber dem Ausbruch des Ersten Weltkrieges, wie auch als die einzig verbleibende Gestaltungsform der Satire angesichts des Verlusts ihres Publikums an den Kriegsenthusiasmus und die propagandistisch gestimmte mediale Berichterstattung. Von der Unterbrechung der Publikation seiner Zeitschrift Die Fackel zu Beginn des Krieges hin zur Dokumentation der Heimatfront in seinem Drama bekundet das Schweigen des Satirikers eine Ausdruckskraft in der erzwungenen Ausdruckslosigkeit. Mit Walter Benjamins Konzept des Erzählens analysiere ich das satirische Schweigen als angemessene ästhetische Reaktion auf die gesellschaftlichen Gegebenheiten und somit veränderten Umstände der öffentlichen Rezeption in der modernen Gesellschaft. Benjamins Konzept des Erzählens sowie seine Beschreibung der Unmitteilbarkeit der Nachkriegsgesellschaft bilden die theoretische Fundierung meiner Analyse der modernen Satire als rezeptionsästhetische Kategorie. Ausgehend von dem Verständnis der Satire als ein soziales Gespräch zwischen Satiriker und Rezipient, sehe ich Kraus’ Zuwendung zum Drama als Medium der Aufarbeitung des Ersten Weltkrieges in dem dramatischen Vermögen begründet, das Schweigen als Bruch der Gesprächsteilnehmer, als Bruch der Beziehung von Satire und Öffentlichkeit zu dialogisieren. / Graduate / 2020-09-25