Philippe Lejeune, ao examinar a produção autobiográfica em língua francesa, identificou um traço constante nas obras de sua leitura, ao qual ele deu o nome de pacto autobiográfico. Em uma de suas formulações, o pacto autobiográfico seria a manifestação do engajamento pessoal do autobiógrafo, por meio de uma construção textual (prefácio, nota introdutória, preâmbulo) ou paratextual (título e subtítulo, informações de contracapa e orelhas do livro), que permite ao leitor admitir o texto como expressão da personalidade daquele que escreve, em seu valor de verdade. A construção teórica se mostra insuficiente: de um texto a outro, Lejeune revê e rediscute o pacto, aplicando nuances, levantando as ambiguidades em que o gênero está envolvido. Nessas tentativas de se aproximar mais do gênero, ele se expressa de maneira autobiográfica. Com isso, seu texto torna-se ele mesmo um objeto de estudo. Busco, em minha pesquisa, evidenciar o caráter relacional do pacto autobiográfico, na conjugação de atos de escrita e leitura. Parto de uma leitura de seus estudos sobre o gênero autobiográfico, colocando-os em diálogo com sua própria trajetória de pesquisador. Indo além, interessa-nos observar as leituras que Lejeune empreende em torno das Confissões de Rousseau, em paralelo aos primeiros textos teóricos. Em seguida, considerar os pactos lançados nos estudos em torno de diários, realizados num momento posterior às teorizações do pacto autobiográfico. Importa colocar em evidência as maneiras pelas quais o pacto se manifesta no próprio texto crítico de Lejeune. Nesse sentido, busco articular a dimensão autobiográfica e a dimensão crítica de seus textos. / Philippe Lejeune, examining the autobiographical production in French, identified a constant feature in the readings he did, to which he named autobiographical pact. In one of his formulations, the autobiographical pact would be the manifestation of the personal engagement of the autobiographer through a textual construction (prologue, introductory note, preamble) or para-textual (title and subtitle, information on the inside cover and book flaps), allowing the reader to admit the text as an expression of the personality of the writer, in its true value. The theoretical construction has proved insufficient: from one text to another Lejeune reviews and re-discusses the pact, applying nuances, raising the ambiguities in which the genre is involved. In those attempts to get closer to the genre, he expresses himself in an autobiographical manner. With that, his text becomes an object of study in itself. With my research, I intend to make evident the relational character of the autobiographical pact, in the conjugation of acts of reading and writing. I start with my readings of his studies about the autobiographical genre, putting them in dialogue with his own trajectory as a researcher. Besides that, we are also interested in observing the readings Lejeune undertake around the Confessions by Rousseau, in parallel to the first theoretical texts. After that, consider the pacts cast in the studies of the diaries, made after the theorizations of the autobiographical pact. It is important to make evident the ways in which the pact is expressed in Lejeune\'s critical text itself. In that sense, I expect to articulate both the autobiographical and the critical dimensions in his texts.

La pensée politique de Jean-Jacques Rousseau a suscité nombre d'interprétations contradictoires. Cependant, ce qu'ont en commun ces interprétations, c'est de se fonder sur le Contrat social et, trop souvent, de s'y limiter. Il est bien sûr inévitable de s'attarder surtout à cette œuvre maîtresse de la philosophie politique de Rousseau. Mais de s'y limiter, croyons-nous, mène parfois à des contresens. C'est pourquoi nous prenons ici un chemin différent : celui de la Lettre à d'Alembert. Ce texte, secondaire sans doute, a l'avantage de nous montrer Rousseau réfléchissant à un problème politique concret: l'établissement d'un théâtre à Genève. Ce faisant, nous pouvons voir quel usage Rousseau lui-même envisageait pour les principes établis dans le Contrat social. Ainsi pouvons-nous constater que le politique, loin d'être la quête utopique de la légitimité pure définie par le pacte social, n'est peut-être pour Rousseau que la difficile articulation des données historiques concrètes à une forme plus ou moins corrompue de cette légitimité sans faille du Contrat social.

Tableau d'honneur de la Faculté des études supérieures et postdoctorales, 2017-2018 / Ce mémoire affronte le problème de l'unité de la pensée de Rousseau, en particulier dans son versant politique. Il met en évidence la place centrale qu'occupe, dans sa philosophie, la thèse de la bonté naturelle de l'homme, et défend l'idée que les grandes articulations du Contrat social en sont des ramifications. Pour ce faire, il montre d'abord que les principes du droit politique représentent pour Rousseau la solution à un problème inhérent à la condition sociale de l'homme, problème développé dans le Discours sur l'inégalité. Les deux premiers chapitres du mémoire sont pour cette raison consacrés entièrement à une étude du second discours, où Rousseau pose le principe de la bonté naturelle de l'homme, puis décrit la façon dont celle-ci s'altère et finit par se corrompre dans la vie sociale. Les troisième et quatrième chapitres, quant à eux, contiennent une étude minutieuse du Contrat social, qui met d'une part en lumière le lien de continuité unissant l'ouvrage au Discours sur l'inégalité, et qui, d'autre part, démontre que ses tensions doctrinales résultent justement de son rattachement à la thèse de la bonté naturelle de l'homme.

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En los manuales de historia de la música suele comúnmente ubicarse a Rousseau, sin mayor distinción, entre aquellos teóricos que colocan a la música en relación con la sensación o con el mero placer de los sentidos. Se cita continuamente una famosa frase de su Diccionario de música de 1767 –que se utiliza indistintamente como definición–, según la cual la música es el “Arte de combinar los sonidos de una manera agradable al oído” (artículo “música”, 281) y con ello parece jugarse el destino de la rica concepción musical de Rousseau: la música, sobre todo si la concebimos bajo la distinción posterior que ofrece Kant en la jerarquía de las artes del §51 de su Crítica de la facultad de juzgar (1790), sería solo un arte menor, en la medida en que no alcanza las esferas sentimental ni mucho menos intelectual del ser humano. La música con las justas alcanzaría –aunque de manera agradable, cosa que estaría a su favor– el placer sensorial, hedonista. Con esto, mostramos desconocimiento, olvidamos o pasamos por alto muy rápido otras sentencias de Rousseau más importantes, como la siguiente: “Así como la pintura no es el arte de combinar colores de manera agradable a la vista, tampoco la música es el arte de combinar sonidos de una manera agradable al oído. Si se redujeran a esto, tanto la una como la otra formarían parte de las ciencias naturales y no de las bellas artes” (Ensayo, XIII, 104; cursivas nuestras). / Tesis

Made available in DSpace on 2016-04-27T17:27:23Z (GMT). No. of bitstreams: 1 Edward Pereira Rodrigues Junior.pdf: 390055 bytes, checksum: 4fd2708e1f6ba848792d9272f2bd945a (MD5) Previous issue date: 2008-05-29 / The goal of this work is to reflect about the sociability problem in Jean-Jacques Rousseau. For the jurisconsults of school of the natural right, as well as for Locke, the sociability is a characteristic trace of the human nature. Thus, it can understand easily that, being the naturally sociable man, he stipulates without difficulty the organization of the political body, when this seems to you convenient. In Hobbes, the situation is different, because the civil society is resultant of the peace and safety wish and particularly of the fear of the violent death in a war state in which the human company expresses through an innate belligerent and natural inclination. Rousseau, as well as Hobbes, denies the natural sociability, but on the other side of the author of Leviathan, considers that, in the state of original nature, the man lives in the more complete loneliness and independence, once, when not finding in your absolutely impassable middle obstacles, it satisfies fully their needs, because these are simple and of order purely physical and biological. In this perfect balance state between wishes and needs, the natural man, only led by the instinct, does feel need to their fellow creatures help, until new circumstances modify the balance of your environment, awaking him new needs. Inclusively, they are these new needs that provoke the union among men. In this idea, however, there is something of generous for with human nature, because to when admitting the possibility of benefit us of our union, Rousseau affirms that the man is by nature good, and that is possible to cohabit under the auspices of this natural kindness / O objetivo deste trabalho é refletir sobre o problema da sociabilidade em Jean Jacques Rousseau. Para os Jurisconsultos da escola do direito natural, assim como para Locke, a sociabilidade é um traço característico da natureza humana. Desta forma, se pode entender facilmente que, sendo o homem naturalmente sociável, ele convenciona sem dificuldade a organização do corpo político, quando isto lhe parece conveniente. Em Hobbes, a situação é diferente, pois a sociedade civil é resultante do desejo de paz e segurança e particularmente do medo da morte violenta num estado de guerra em que a convivência humana se expressa através de uma inclinação beligerante inata e natural. Rousseau, assim como Hobbes, nega a sociabilidade natural, mas, ao contrário do autor do Leviatã , considera que, no estado de natureza originário, o homem vive na mais completa solidão e independência, uma vez que, ao não encontrar em seu meio obstáculos absolutamente intransponíveis, satisfaz plenamente suas necessidades, pois estas são simples e de ordem puramente física e biológica. Nesse estado de perfeito equilíbrio entre desejos e necessidades, o homem natural, conduzido somente pelo instinto, não sente necessidade do auxílio dos seus semelhantes, até que circunstâncias novas modifiquem o equilíbrio de seu ambiente, despertando-lhe novas necessidades. Inclusive, são estas novas necessidades que provocam a união entre os homens. Nesta idéia, porém, há algo de generoso, pois ao admitir a possibilidade de nos beneficiarmos de nossa união, Rousseau afirma que o homem é por natureza bom, e que é possível conviver sob os auspícios dessa bondade natural

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-10-20T17:23:10Z No. of bitstreams: 1 Barbara Rodrigues Barbosa.pdf: 770347 bytes, checksum: 2679fa42541849016dfad86395b3d065 (MD5) / Made available in DSpace on 2016-10-20T17:23:10Z (GMT). No. of bitstreams: 1 Barbara Rodrigues Barbosa.pdf: 770347 bytes, checksum: 2679fa42541849016dfad86395b3d065 (MD5) Previous issue date: 2016-09-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research’s investigative motto is the Jean-Jacques Rousseau’s adage in his book Emile, or On the Education (1762), to know, “whatever they may say I would rather be a man of paradoxes than a man of prejudices” (ROUSSEAU, 2004, p.96). We take from the analysis of some of his works, as in, Discourse About the Science and the Arts (1750) and the Narcissus’ Preface (1752), just as the polemics about his dircours. It’s about, above all, of clarifying that in the study we look to the paradox as a philosophical concept, videlicet, to understand the paradox as a line of thought capable of understanding the received opinions and reorganize then. Other authors have already concerned about paradox in some studies and in their works2, but with no intention to run out of it, or to give a definitively answer, this rummage comes in an attempt to sense the presence of the paradox in the Discourse About the Science and the Arts and notice what is the function of this Jean-Jacques’s line of thought and if it can be recognized as a critical language / O mote investigativo dessa pesquisa é a máxima adotada por Jean-Jacques Rousseau em seu Emílio, ou da Educação, a saber, “digam o que disserem, prefiro ser homem de paradoxos a ser homem de preconceitos” (ROUSSEAU, 2004, p.96). O tomamos a partir da análise de obras como o Discurso sobre as ciências e as Artes (1750) e o Prefácio de Narciso (1752), bem como da polêmica entorno do discurso. Trata-se, antes de tudo, de esclarecer que no presente estudo procuramos nos referir ao paradoxo enquanto conceito filosófico, isso significa dizer, entender o paradoxo como uma forma de pensamento capaz de entender as opiniões recebidas e as reconfigurarem. Outros autores já procuram colocar essa questão em alguns estudos e em suas obras1, mas longe de querer a esgotar, ou responde-la definitivamente, essa investigação se apresenta na tentativa de entender a presença do paradoxo no Discurso sobre as ciências e as artes e perceber qual é a função desempenhada por esse conceito no pensamento de Jean-Jacques e se ele pode ser entendido como linguagem crítica

Submitted by Cleide Dantas (cleidedantas@ufpa.br) on 2014-10-10T12:27:38Z No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SentimentoSubjetividadeRousseau.pdf: 808046 bytes, checksum: 89d1c76b65db755b76b6343794b32016 (MD5) / Approved for entry into archive by Ana Rosa Silva (arosa@ufpa.br) on 2014-10-10T12:41:20Z (GMT) No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SentimentoSubjetividadeRousseau.pdf: 808046 bytes, checksum: 89d1c76b65db755b76b6343794b32016 (MD5) / Made available in DSpace on 2014-10-10T12:41:20Z (GMT). No. of bitstreams: 2 license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Dissertacao_SentimentoSubjetividadeRousseau.pdf: 808046 bytes, checksum: 89d1c76b65db755b76b6343794b32016 (MD5) Previous issue date: 2013 / O objetivo desta dissertação é estabelecer as relações existentes entre Rousseau, Kant e os primeiros românticos alemães. A partir da perspectiva estabelecida pela Terceira Crítica, de Kant, nos voltaremos para as obras de Rousseau e do Romantismo (particularmente, as de Novalis e Schlegel) para extrair delas dois conceitos fundamentais, o de sentimento e o de subjetividade. Acreditamos, assim, poder esclarecer, por meio das próprias obras de Rousseau e dos primeiros românticos, o autêntico significado das noções de sentimento e de subjetividade, de modo a não só recuperar o verdadeiro valor filosófico de tais obras, mas, sobretudo, para mostrar o uso consciente delas na determinação de suas posturas frente ao pretenso “racionalismo” dominante no pensamento moderno. / The objective of this thesis is to establish the relationship between Rousseau, Kant and the early German Romantics. From the perspective established by the Third Critique, Kant, we will turn to the works of Rousseau and Romanticism( particularly those of Novalis and Schlegel) to extract these two fundamental concepts, and the feeling of subjectivity. We believe, therefore, to elucidate, through their own works of Rousseau and the early romantics, the true meaning of the notions of sentiment and subjectivity in order to not only recover the true value of such philosophical works, but mainly to show the conscious use of them in determining their positions against the alleged “rationalism” dominant in modern thought.

Rousseau and Kant were philosophers of freedom. Both believed freedom was the essence of humanity, and both believed that "freedom is self-legislation." This thesis examines what they understood to be self-legislation. According to Rousseau natural freedom was lost with the establishment of society. Society is an "unnatural" order and the true basis of society is simply convention. Man is free only if he is subject to laws of his own making, or at least to those laws to which he has consented. The ideal state, according to Rousseau, is the republic based on laws that have been created and adopted by each members of the community. It is in this sense of freedom, for Rousseau, is self-legislation. Kant believed the important issue was demonstrating the metaphysical possibility of freedom, not the reconstruction of society. Kant argued that freedom could be demonstrated, and morality reaffirmed, by focusing on the 11 ought" of reason. The 11 ought 11 transcends the physical world and was a pure law of reason. It is not subject to the physical laws of causality. Man has the ability to act according to this law of reason. Man is transcending the physical realm, and the physical laws of nature, whenever he makes a moral decision based on what he 11 ought 11 to do, or whenever he puts duty before his physical desire. This, Kant argues, is self-legislation, and only here may man hope to be free.

Ever since Homer told the tales of magnificent men and called these men heroes, the siren song of heroic achievement has been impossible to resist. By consistently acting in a manner that is above the capacity of normal human beings, a hero becomes a model of emulation and inspiration for ordinary, lesser mortals. This thesis traces the development of normative models of heroic thought and action in the work of Homer, Plato and Rousseau. It argues that models of heroism have evolved according to changing conceptions of the political institutions that comprise a polis and, in turn, notions of citizenship. Homer establishes the heroic ideal and offers an image of Man as Hero. The Homeric hero is a man of transparent action who is never incapacitated because he acts upon his instincts. Unrestrained by doubt, he soars above humanity and performs deeds that assure him of everlasting fame and glory. The Homeric hero is a warrior-prince who lives in the absence of a polis. He rules his community as a patriarch who places his personal quest for glory above the dictates of the common good. The Homeric hero is consequently limited in his ability to act as a model of emulation for those who live in a polis. In an historical period that gave rise to the polis as a desirable and unavoidable aspect of human life, Plato remodels heroic ideals. Thus Plato's ideals of heroism could survive and prosper alongside political structures and institutions guided by the demands of the common good. The philosophical hero exalted in the Platonic dialogues gains true knowledge, which enables him to excel at all activities he undertakes. The philosopher is impelled to channel his vast superiority into the realm of political leadership. Plato recasts the Hero as Citizen, an elite citizen who rules for the benefit of all. Plato's model of heroism, like Homer's, is premised on an anti-egalitarian, hierarchical conception of human worth. In the Social Contract, Rousseau aims to reconcile modern ideals of human equality with Homeric and Platonic hierarchical notions of heroic excellence. The Social Contract attempts to make all citizens equally heroic by insisting that men can only excel when they all participate equally in political sovereignty. Failing to reconcile heroism and equality, however, Rousseau chooses heroism and reverts firstly to aristocratic political formulas before finally abandoning politics altogether as a positive force for humanity. His work nevertheless inspired both a lasting notion of human equality that shaped the modern political landscape and evoked the romantic modern notion of an isolated individual, as epitomised by Rousseau himself, heroically climbing the peaks of human achievement. Rousseau's model of individual heroism effectively completes the cycle and returns the notion of heroism to where it begun with Homer, Man as Hero. The concept of the heroism, traced through these theorists, shows it to be a changing terrain yet consistent in its allure. / Thesis (Ph.D.)--School of History and Politics, 2004.