A representação da existência dos personagens de Karim Aïnouz é a inquietação inicial motivadora desta dissertação, que se propõe a investigar de que maneira é construída, estética- e narrativamente, a liberdade no cinema ficcional de Karim Aïnouz. Na busca por respostas, estabelece-se um diálogo com a filosofia existencial sartriana presente em O Ser e o Nada (2015) e O Existencialismo é um humanismo (2014). A partir desta interlocução com a filosofia, precisa-se o objetivo geral desta pesquisa: investigar a construção estética e narrativa da liberdade (de acordo com Sartre) no cinema ficcional de Aïnouz a partir do estudo da situação dos personagens Hermila (O Céu de Suely, 2006), João Francisco (Madame Satã, 2001) e Donato (Praia do Futuro, 2014) em diálogo com a própria trajetória do cineasta. Baseado nesse objetivo geral, compõem-se os objetivos específicos: apresentar as ideias de Sartre a respeito da liberdade e da situação, presentes em suas duas primeiras obras filosóficas; investigar a trajetória de Karim Aïnouz, buscando traçar conexões entre a sua história pessoal e seus filmes, apresentando essa trajetória em diálogo com a filosofia sartriana, através do conceito de situação; a partir desse mesmo conceito, analisar a construção narrativa e estética dos personagens Hermila, João Francisco e Donato, estabelecendo um diálogo entre essa, a trajetória de Karim Aïnouz e as ideias de Sartre; demonstrar a pertinência da perspectiva existencialista sartriana para refletir a respeito do cinema de Karim Aïnouz. Como base metodológica para contemplar os objetivos relativos à construção narrativa e estética dos personagens partiu-se do Ensaio para Análise Fílmica de Vanoye e Goliot-Lété (2008) e da obra Lendo as imagens do cinema, de Jullier e Marie (2009). Balizada pelos objetivos relacionados e buscando mais fluência no texto e do estabelecimento de um diálogo profundo entre o cinema de Karim Aïnouz e a filosofia de Sartre, propôs-se uma organização estrutural dos capítulos baseada livremente nos elementos que compõem a situação, levando em conta as características dos objetos de pesquisa e a trajetória do cineasta, investigada através de fragmentos de entrevistas concedidas pelo diretor para a imprensa e a crítica. Assim, os capítulos Passado, Lugar e Arredores e Próximo / O Outro são divididos em duas partes, ambas em diálogo com a filosofia sartriana. A primeira parte desses capítulos tem como foco Karim Aïnouz, enquanto a segunda se propõe a analisar os protagonistas em questão. Demonstra-se que as estrutras que compõem a situação (Lugar e Arredores, Passado, Próximo / O Outro) não representam um obstáculo à liberdade dos personagens, que são livres nessa e apesar dessa situação, em um processo que reitera a própria liberdade. O capítulo final Morte ou Reinvenção de Si se dedica exclusivamente aos personagens, demonstrando sua liberdade na construção de si através sobretudo de seu corpo, das escolhas pela valorização da experiência sensível e da migração, no caso de Hermila e Donato. Ao longo dos capítulos, evidencia-se a condição livre do cineasta e de seus personagens, bem como as conexões entre a vida do diretor e suas obras. / The way the existence of the characters in Karim Aïnouz’s movies is represented triggered the initial motivation of this dissertation, which proposes to investigate how the freedom is constructed aesthetically and narratively in the fictional cinema of Karim Aïnouz. In the search for answers, a dialogue is established with the Sartrean existential philosophy present in Being and Nothingness (2015) and Existentialism is a humanism (2014). Starting from this interlocution with philosophy, the general objective of this research is to investigate the aesthetic and narrative construction of freedom (according to Sartre) in the fictional cinema of Aïnouz using the concept of the situation of the characters Hermila (Suely in the Sky, 2006), João Francisco (Madame Satã, 2001) and Donato (Future’s Beach, 2014) in dialogue with the director's own trajectory. Based on this general objective, the specific objectives are: to present Sartre's ideas about freedom and the situation, present in his first two philosophical works; To investigate the trajectory of Karim Aïnouz, seeking to draw connections between his personal history and his films, presenting this trajectory in dialogue with the Sartrean philosophy, through the concept of situation; From this same concept, to analyze the narrative and aesthetic construction of the characters Hermila, João Francisco and Donato, establishing a dialogue between these, the trajectory of Karim Aïnouz and the ideas of Sartre; To demonstrate the relevance of the Sartrean existentialist perspective to reflect on the cinema of Karim Aïnouz. The Essay on Film Analysis by Vanoye and Goliot-Lété (2008) and Read Movie Image Film by Jullier and Marie (2009) consist on the methodological basis to contemplate the objectives related to the narrative and aesthetic construction of the characters. Based on the related objectives and seeking more fluency in the text and the establishment of a deep dialogue between the cinema of Karim Aïnouz and the philosophy of Sartre, a structural organization of the chapters based freely on the elements that compose the situation was proposed, taking into account the characteristics of the objects of research and the trajectory of the filmmaker, investigated through fragments of interviews granted by the director to the press and critics. Thus, the chapters Past, Place and Surroundings and Neighbor / The Other are divided into two parts, both in dialogue with the Sartrean philosophy. The first part of these chapters focuses on Karim Aïnouz, while the second part proposes to analyze the protagonists. It is demonstrated that the structures that compose the situation (Place and Surroundings, Past, Neighbor / Other) do not represent an obstacle to the freedom of the characters, who are free in the situation and despite that, in a process that reiterates their own freedom. The final chapter Death or Reinvention of Self is dedicated exclusively to the characters, demonstrating their freedom in building themselves mainly through their body, the choices to value sensitive experience and migration, in the case of Hermila and Donato. Throughout the chapters, it is evident the free status of the filmmaker and its characters, as well as the connections between the director's life and his works.

Philosophers who show interest in authenticity tend to narrowly focus on its capacity to help people evade conformity and affirm individuality, a simplistic reduction that neglects authenticity’s moral potential and gives credence to the many critics who dismiss it as a euphemism for excessive individualism. Yet when conceived ethically, authenticity can also allow for worthy human flourishing without falling prey to conformity’s opposite extreme—egoism. This thesis proposes a relational conception of authenticity that can help prevent the often destructive excess of egoism while also offsetting the undesirable deficiency of heteronomy, concertedly moving agents towards socially responsible living. It demonstrates how authenticity necessarily has ethical dimensions when rooted in existentialist and dialogical frameworks. It also defines egoism as a form of self-deception rooted in flawed logic that cannot be considered “authentic” by relational standards. Relational authenticity recognizes the interpersonal relationships and social engagements that imbue meaning into agents’ lives, fostering a balance between personal ambitions and social obligations, and enabling more consistently moral lifestyles.

Philosophers who show interest in authenticity tend to narrowly focus on its capacity to help people evade conformity and affirm individuality, a simplistic reduction that neglects authenticity’s moral potential and gives credence to the many critics who dismiss it as a euphemism for excessive individualism. Yet when conceived ethically, authenticity can also allow for worthy human flourishing without falling prey to conformity’s opposite extreme—egoism. This thesis proposes a relational conception of authenticity that can help prevent the often destructive excess of egoism while also offsetting the undesirable deficiency of heteronomy, concertedly moving agents towards socially responsible living. It demonstrates how authenticity necessarily has ethical dimensions when rooted in existentialist and dialogical frameworks. It also defines egoism as a form of self-deception rooted in flawed logic that cannot be considered “authentic” by relational standards. Relational authenticity recognizes the interpersonal relationships and social engagements that imbue meaning into agents’ lives, fostering a balance between personal ambitions and social obligations, and enabling more consistently moral lifestyles.

Le sujet de recherche de notre mémoire consiste en un questionnement sur l'état du champ journalistique, à travers une analyse de la couverture médiatique de l'agonie et de la mort du pape Jean-Paul II. Ce mémoire insiste, dans un premier temps, sur le discours théorique élaboré par différents auteurs sur la critique du journalisme, sur le constat d'une crise du journalisme et sur ses causes, principalement la crise de la représentation et la société du spectacle. Puis, il présente la traduction concrète de cette crise dans la pratique quotidienne du journalisme, qui se décline essentiellement, selon nous, en quatre logiques, celles d'objectivité, du visible, de la transparence et de l'immédiateté. Nous croyons que ces logiques, ou dynamiques, influencent directement -il s'agit là de notre hypothèse première -la façon dont les journalistes vont appréhender les divers sujets d'actualité, dont le religieux, qui nous intéresse ici. Nous effectuons ensuite un détour par le survol de la sphère du religieux, principalement dans le but d'en tracer un portrait global, de même que d'en présenter les principaux aspects symboliques: images, icônes, figure papale, douleur et mort. Ce détour nous permet ensuite de conjuguer les deux sphères, journalistique et religieuse, toujours en maintenant l'objectif de mieux expliquer et comprendre la façon dont les journalistes abordent le sujet religieux. Enfin, c'est par l'examen systématique de la couverture de presse de l'agonie et de la mort de Jean-Paul II, sous la forme d'une analyse de contenu axée sur la mise en lumière de citations pertinentes selon un protocole de recherche rigoureusement élaboré au fil des chapitres de notre mémoire, que nous avons pu vérifier l'ensemble de nos postulats. L'étude de ce cas précis de l'actualité religieuse tend à confirmer notre hypothèse selon laquelle le sujet religieux, à l'instar de n'importe quel autre sujet d'actualité, est abordé par les journalistes sous l'angle des règles imposées par les logiques d'objectivité, du visible, de la transparence et de l'immédiateté, nonobstant les nombreuses particularités symboliques et la charge représentative qu'il possède. Dans cette optique, nous pouvons également conclure que les journalistes éprouvent une réelle difficulté à appréhender l'entièreté du sujet religieux. La pratique journalistique qu'induisent ces logiques ne permet pas de rendre compte de l'ensemble des facettes propres au religieux et donc, ne peut en offrir aux lecteurs qu'une vision amputée, incomplète, voire illisible, comme en témoigne la couverture de presse du décès du pape. Ces conclusions rendent encore plus essentiel le retour à un vaste exercice de réflexion sur le rôle du journalisme, tant dans la société en général que dans le milieu intellectuel et journalistique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Critique du journalisme, Crise de la représentation, Société du spectacle, Catholicisme, Agonie et mort de Jean-Paul-II.

Cette étude traite de la conception de l'art public de Jean-Paul Mousseau. Elle s'inscrit ainsi dans la continuité des travaux réalisés par les historiennes de l'art Francine Couture, Rose-Marie Arbour et Danielle Doucet. Mousseau a été une figure importante dans la transformation de l'art public au Québec dans les années cinquante et soixante. Durant cette période, il a prôné l'accessibilité de l'art contemporain, refusé l'isolement traditionnel de l'artiste en adoptant la figure de l'« artiste coloriste » et proposé un art public marqué d'un grand enthousiasme face aux nouveaux matériaux, plutôt que l'art public commémoratif traditionnel. Cet artiste cherchait aussi à synchroniser l'art et les réalités modernes, il a ainsi pris part à plusieurs aspects de la modernisation de la société québécoise. Avec son oeuvre de l'église Saint-Maurice de Duvernay (1963), Mousseau s'est inscrit dans le renouveau de l'art religieux au Québec, alors qu'avec l'oeuvre de la station de métro Peel (1966), il a prit part à modernisation du transport urbain. Pour la réalisation de ces oeuvres, Mousseau s'est associé à des architectes et des artistes partageant cette volonté de transformation et avec qui il a développé des relations privilégiées. Ces oeuvres exemplifient également son engouement pour les nouveaux matériaux tels la technique Art Kaleïray à Duvernay et le développement de nouveaux procédés en coloration de la céramique en collaboration avec Claude Vermette à la station Peel. L'étude des conditions de production des deux oeuvres a également permis de révéler les modes de collaboration entre l'artiste et les architectes ainsi que ses relations avec les commanditaires. À la Mousse Spacthèque de Montréal (1966), Mousseau a pris part à la transformation des loisirs en créant un environnement pour une discothèque. Cette oeuvre s'inspirait d'un projet d'Andy Warhol: The Exploding Plastic Inevitable. Pour sa réalisation, Mousseau s'est associé à une équipe d'innovateurs, les entrepreneurs Gilles Archambault et Claude de Carufel, avec qui il a développé une relation d'affaire, s'associant éventuellement à eux pour créer la compagnie Arfel corporation qui a permis à une chaîne de Mousse Spacthèque de s'étendre de Alma à Ottawa. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Jean-Paul Mousseau, Art public, Art religieux, Métro de Montréal, Discothèque.

Is the Swedish author Stig Dagerman an existentialist? This work takes a close look at Dagerman’s novel Island of the Doomed to see if it is possible to consider it an expression of existentialist thinking and to see if it interacts with any specific existentialist tradition. Dagerman’s novel was compared with select works of five existentialist thinkers – Søren Kierkegaard, Martin Heidegger, Jean-Paul Sartre, Albert Camus and Karl Jaspers, all read in the light of the four categories of existentialistic thinking identified by the Swedish scholar Lennart Koskinen. All the four categories appeared to be central themes within the novel and a few subcategories were identified. An analysis based on these subcategories showed that the novel had obvious similarities with all of the five existentialistic thinkers. The main conclusion of my work is thus: it is reasonable to consider Stig Dagerman’s novel Island of the Doomed an expression of existentialist thinking, but it doesn’t match any specific existentialist tradition. Dagerman is therefore to be considered an independent existentialist.

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

Diss.--Philosophie--Utrecht--Université des études humanistes, 2002. / Bibliogr. p. 147-150.

Diss. : Göttingen, Georg-August-Universität : 1989. / Bibliogr. p. XXXI-XXXVIII.

Zugl.: Fribourg, Univ., Diss., 2008