En premier lieu nous avons défini les caractéristiques d’un dispositif pédagogique nommé : classe-cycle. Nous y avons apporté une analyse qualitative, afin de donner du sens et de comprendre le processus d’innovation. Nous avons constaté que cette invention organisationnelle avait su provoquer le développement professionnel des enseignants. Cette première étape importante mit en évidence la complexité et l’implication de la notion de temps dans le processus qui conduit du concept nouveau vers l’innovation. Au-delà de la forte demande sociale influençant le désir ou la nécessité d’être innovant, nous remarquons que le processus engendré possède des éléments essentiels à notre culture, notre capacité d’apprentissage, notre capacité d’adaptation. Puisqu’être en capacité d’inventer fait partie intégrante du processus d’apprentissage : Serions-nous capables, d’apprendre à mobiliser des attitudes susceptibles de mettre en route ce processus perpétuel d’apprentissage, nous laissant curieux et désireux d’améliorer notre pratique professionnelle ? Ce qui nous intéresse particulièrement ce sont les attitudes qui dans l’exercice de sa profession, un enseignant ou un formateur, lui permettent de mettre en place des moments inventifs. Par conséquent, l’activation de ces processus lui autorisera la conception de solutions adaptées aux problèmes qu’il rencontre dans un contexte donné. Nous recherchons à relever un ensemble d’attitudes significatives qui engendreraient ces moments novateurs. Notre question de recherche est : Quelles sont les attitudes caractéristiques des enseignants et/ou formateurs qui favorisent la mise en place d’inventions révélatrices d’un professionnel dit ingenium ? / An exploratory study allowed us to define the characteristics of an educational device named by their teacher: Classe-cycle. We made a qualitative analysis of empirical data we have collected, so as to give meaning and some understanding of the innovation process. We have find out that one organizational invention of this type had been able to lead the professional development of teachers. This important first step allowed to reveal the complexity and the involvement of notion of time in the process of concept new towards the concept of innovation. Beyond the high social demand which influencing the desire or the need to be innovative, we note that the process generates the essential to our culture, our evolution, our ability to learn, our ability to adapt. Given that invention is part of the learning process can we believe that entering into this recursive loop, would be a possibility of creating his own professional capacity throughout his life? Would we be able to learn mobilize attitudes likely to initiate this process of perpetual learning, leaving us curious and eager to improve our professional practice? What interests us particularly it's the attitudes which in the exercise of his profession, a teacher or a trainer, allow it to develop creative moments. Therefore, activation of these processes will allow him to design solutions to problems encountered in a given context. Ultimately, we seek to find a significant set of attitudes that would generate innovatives' moments. Our research question is defined as: What are the characteristic attitudes of teachers or trainers that promote the development of inventions revealing the professional known as ingenium?

Dans cette thèse nous abordons la relation entre l’image et l’imagination chez Johann Georg Hamann (1730-1788) et Johann Gottfried Herder (1744-1803). La particularité de leur approche est la mise en cause de l’étroite liaison de l’image et sensibilité et la notion de l’image comme langage. Dans les ouvrages qui constituent le corpus de notre travail, il est possible de discerner trois sphères de réflexion où l’image a une importance si déterminante : la religieuse, la philosophique et la rhétorique. Dans Aesthetica in nuce (1762) et Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) se trouvent les prémisses du tournant épistémique que vise la perspective réductionniste et rationaliste de la connaissance. Dans ce tournant l’image acoustique et l’imagination gagnent une place essentielle. / The tone of the soul. The image and the imagination in Johann Georg Hamann and Johann Gottfried Herder, addresses the relationship between image and imagination in the thought of J.G. Hamann and J.G. Herder. The singularity of the approach of both german philosophers is the close connection of the image and sensibility and the definition of the image as language. The work of Hamann Aesthetica in nuce (1762) and the work of Herder, Vom Erkennen und Empfinden der menschlichen Seele (1774, 1775, 1778) represent a new epistemological model that is based on the holistic view of human being. In this model, the image acoustic and the imagination becomen the tow arguments for the assumption that the images and the activity of imagination create all knowledge of the world.

La présente étude porte sur l’anthropologie et la politique de Spinoza. Il s’agit précisément de montrer en quoi, la réflexion spinoziste sur l’homme se donne particulièrement à lire à travers les concepts d’ « individu », de « corps » et d’« affects ». Au cours de notre analyse, nous montrons que ces concepts occupent une place de choix chez l’auteur de l’Éthique pour deux raisons : d’une part, c’est par eux, que le philosophe déploie son analyse des rapports psychophysiques de l’individu humain. En effet, selon lui, le corps humain étant une réalité « en acte », il est nécessairement affecté par d’autres corps. Or, en tant qu’il est aussi l’objet de l’idée (l’esprit), rien n’affecte ou ne modifie sa puissance, sans qu’il ne soit perçu par l’esprit humain. Et, l’« affect » n’est tout autre que cette modification de la puissance corporelle et sa perception par l’esprit. Autrement dit, l’affect peut se définir comme la conscience simultanée que l’individu humain a de son propre corps, par l’entremise de la perception des altérations de la puissance d’agir de ce dernier (les sciences contemporaines, telles que la neurobiologie, la psychologie, la médecine, et bien d’autres, corroborent les thèses de Spinoza à ce propos). C’est en insistant sur la simultanéité des rapports psychophysiques, donc sur l’absence d’interaction du corps et de l’esprit, que Spinoza se démarque de Descartes. D’autre part, à travers les mêmes concepts (de « corps » et d’« affects »), Spinoza permet aussi de penser la constitution d’un autre genre de corps ; un corps né de l’union des individus humains, à savoir : le corps politique. Les affects sont, non seulement au fondement de la constitution de ce corps, mais ils sont aussi ce qui permet de réguler les affaires humaines. C’est en ce sens que Spinoza nous amène à concevoir le corps politique, non pas comme une rupture - contrairement à ce que soutenait Hobbes - mais comme une continuité de l’état de nature. Le mérite de l’anthropologie spinoziste est de montrer qu’autant la nature humaine ne peut se concevoir sans affects, autant aucune réflexion politique ne peut avoir de valeur de vérité sans la prise en compte de ces mêmes affects. / The Dissertation is a study of Spinoza’s anthropology and politics. It shows how Spinoza’s reflection on man can be read with an emphasis on the concepts of “individual”, “body” and “affects”. These concepts have a prominent place for the author of Ethics for two reasons: 1) they are central to his analysis of the mind body relation. Because, according to him the human body, for being a reality “in action”, is necessarily affected by other bodies. 2) However, as it is also the object of an idea (mind), nothing affects or modifies its power, without it is being perceived by the human mind. And the affect is the very modification of physical power and its perception by the mind. In other words, the affect can be defined as simultaneous consciousness that the human individual has from its own body by means of perception of the changes of his power to act (the contemporary sciences, such as the neurobiology, the psychology, the medicine, and many others, may confirm the theses of Spinoza). Our study pays attention to the simultaneity of the affections of the body and the ideas of these affections in the mind, and to the lack of interaction of body and mind that characterizes Spinoza’s philosophy and makes the difference with Descartes’ conception. It is important to emphasize that Spinoza with the same concepts of “individual”, “body” and “affects”, also allows us to think of the constitution of another kind of body the political body. The affects are not only on the foundation of the constitution of this body, but they are also what allowed to regulate human affairs. It is in this sense that Spinoza leads us to conceive the body politics, not as a breakage - unlike Hobbes - but as a continuation of the state of nature. Spinoza’s anthropology is powerful, because it proves that human nature cannot be conceived without affects, as well as no political thinking can have a value without considering the affects.

Esta dissertação de mestrado propõe uma introdução ao estudo da noção de engenho na obra Nova Arte de Conceitos, publicada nos primeiros anos do século XVIII, por Francisco Leitão Ferreira. Por se tratar de um manual de retórica, distante temporalmente do leitor atual e das convenções da moderna literatura e estudos literários, este trabalho foi dividido em três grandes blocos. O primeiro promove, como objetivo central, uma discussão sobre o lugar em que se encontra Francisco Leitão Ferreira e a arte retórica nos manuais de história literária. Em seguida, levantam-se dados biográficos do preceptista a partir de testemunhos da época, buscando introduzir o leitor a sua obra. O segundo tem como objetivo contextualizar o leitor da arte retórica, bem como dos principais tratadistas, preceptivas, leitores e características, buscando evitar leituras anacrônicas e imprecisas da matéria, e levantar as principais tensões e apropriações que a arte sofrera, no transcorrer dos séculos XV-XVII. Por fim, o terceiro capítulo se debruça sobre a noção de engenho em preceptistas e retóres antigos e contemporâneos do acadêmico português, e também sobre a obra Nova Arte de Conceitos. Portanto, ao estudar a noção de engenho e sua relação com a arte retórica e sistematizar o conceito na obra de Leitão Ferreira, buscamos uma melhor leitura, compreensão e análise dos documentos poéticos da primeira metade do século XVIII em Portugal. / This dissertation proposes an introduction to the study of the notion of ingenium in the Nova Arte de Conceitos, published in the first years of the XVIII century, by Francisco Leitão Ferreira. Being a rhetoric manual, distant temporally of the modern reader and the conventions of modern literature and literary studies, this piece of work was divided into three great blocks. The first one raises, as its main goal, a discussion about the place of the rhetorical art on the manuals of literary history. After that, biographical data about the preceptist are raised from records of the time, seeking to introduce the reader to his work. The second one seeks to contextualize the reader on rhetorical art, such as its main treatise writers, rhetorical treats, readers and characteristics, aiming to avoid anachronistic or inaccurate readings of the matter, and to raise the main tensions and appropriations faced by the art throughout the XV-XVII centuries. At last, the third chapter deals with the notion of ingenium in theoricists and rhetorician prior and contemporary to the portuguese academic, and also deals with the Nova Arte de Conceitos. Therefore, when studying the notion of ingenium and its relation to the rhetorical art and compiling the notion on the work of Leitão Ferreira, we search for a better reading, comprehension and analysis of the poetical documents of the first half of XVIII century Portugal

Esta dissertação de mestrado propõe uma introdução ao estudo da noção de engenho na obra Nova Arte de Conceitos, publicada nos primeiros anos do século XVIII, por Francisco Leitão Ferreira. Por se tratar de um manual de retórica, distante temporalmente do leitor atual e das convenções da moderna literatura e estudos literários, este trabalho foi dividido em três grandes blocos. O primeiro promove, como objetivo central, uma discussão sobre o lugar em que se encontra Francisco Leitão Ferreira e a arte retórica nos manuais de história literária. Em seguida, levantam-se dados biográficos do preceptista a partir de testemunhos da época, buscando introduzir o leitor a sua obra. O segundo tem como objetivo contextualizar o leitor da arte retórica, bem como dos principais tratadistas, preceptivas, leitores e características, buscando evitar leituras anacrônicas e imprecisas da matéria, e levantar as principais tensões e apropriações que a arte sofrera, no transcorrer dos séculos XV-XVII. Por fim, o terceiro capítulo se debruça sobre a noção de engenho em preceptistas e retóres antigos e contemporâneos do acadêmico português, e também sobre a obra Nova Arte de Conceitos. Portanto, ao estudar a noção de engenho e sua relação com a arte retórica e sistematizar o conceito na obra de Leitão Ferreira, buscamos uma melhor leitura, compreensão e análise dos documentos poéticos da primeira metade do século XVIII em Portugal. / This dissertation proposes an introduction to the study of the notion of ingenium in the Nova Arte de Conceitos, published in the first years of the XVIII century, by Francisco Leitão Ferreira. Being a rhetoric manual, distant temporally of the modern reader and the conventions of modern literature and literary studies, this piece of work was divided into three great blocks. The first one raises, as its main goal, a discussion about the place of the rhetorical art on the manuals of literary history. After that, biographical data about the preceptist are raised from records of the time, seeking to introduce the reader to his work. The second one seeks to contextualize the reader on rhetorical art, such as its main treatise writers, rhetorical treats, readers and characteristics, aiming to avoid anachronistic or inaccurate readings of the matter, and to raise the main tensions and appropriations faced by the art throughout the XV-XVII centuries. At last, the third chapter deals with the notion of ingenium in theoricists and rhetorician prior and contemporary to the portuguese academic, and also deals with the Nova Arte de Conceitos. Therefore, when studying the notion of ingenium and its relation to the rhetorical art and compiling the notion on the work of Leitão Ferreira, we search for a better reading, comprehension and analysis of the poetical documents of the first half of XVIII century Portugal

Building on recent scholarship in the history of art which has started to reappraise the meaning of grotesque and scatological motifs, this thesis examines how digestion was conceived of as a model of creation, and how this was translated visually. Renaissance creativity was increasingly modelled on a series of natural processes like digestion, following a trend in favour of Aristotelian psychology. However, it has been largely overlooked in comparison to the bleeding, the pneumatic, and especially the procreative natural models, which have been extensively studied. The central argument of this thesis is that digestion constituted an alternative-albeit less 'decorous'-model of creation, denoting the intervention of a more 'earthbound' ingenium. I argue that this model was used by certain classes of artists as an acknowledgement of a strong engagement with materials and of the labour of a round-the-clock imagination. Goldsmithing and printmaking are artistic professions whereby the artistic process was often considered as an act of 'soiling' oneself, both in the sense of the body and the phantasia. This thesis focuses on a period spanning c. 1530 to 1675, from Rabelais' works to the facetious printer Jacques Lagniet. It mines a corpus of little-studied textual and visual sources from the north of the Alps, examining a continuity between France and the German lands: geographical areas which both had an especially pronounced 'culture of excretion'. From a broader perspective, this research responds to a widespread scholarly call for more attention to the organic soul and the lower body, nuancing the alleged hegemony of the brain and the higher senses throughout history. It seeks to modify the perception of early modern artists and viewers as cerebral intellectuals, presenting them as individuals who also 'thought with their guts'.