Cette recherche analyse la mise en scène du néolibéralisme dans le cycle romanesque Les Gestionnaires de l'apocalypse. On tente d'y mettre à jour les relations qui unissent la création littéraire au discours social, de saisir comment la fiction expose les vues de l'auteur, Jean-Jacques Pelletier, sur le néolibéralisme et de déchiffrer la signification nouvelle que prend cette problématique dans l'oeuvre. Pour ce faire, on s'inspire de la perspective sociocritique et on postule que tout roman est un produit symbolique qui se nourrit des tensions idéologiques présentes dans le discours social de l'époque. On étudie donc l'inscription de la socialité et de l'idéologie dans les textes romanesques. Dans ce cadre, on entame l'analyse par une mise en contexte sociohistorique de la problématique néolibérale, de la production du corpus littéraire, ainsi que du projet d'écriture de l'auteur. On examine, par la suite, les structures, les thématiques et les procédures de textualisation des romans pour en saisir le fonctionnement. On dégage ainsi la machine narrative du cycle romanesque, sa quête de sens, son univers imaginairement concret, les structures systémiques de son microcosme et le schéma relationnel de ses personnages. On se penche alors sur la mise en scène du néolibéralisme et on met à jour sa dynamique idéologique. En analysant les interactions entre les diagnostics contextuels, les prises de position idéologiques et les confrontations des personnages principaux, on exhume le discours du cycle et sa critique du néolibéralisme. Au terme de l'analyse, les résultats obtenus mettent en lumière les relations de pouvoir qu'exercent les organisations sur les individus et l'implantation de dispositifs de contrôle social, politique, économique et culturel par le discours néolibéral. On estime ainsi que le cycle Les Gestionnaires de l'apocalypse prend position par son questionnement sur la liberté individuelle et son métissage hybride de matériaux scripturaux. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Sociocritique, Néolibéralisme, Aliénation, Représentation sociale, Idéologie, Discours social.

Mozart's opera Così fan tutte encapsulates various theories of Enlightenment sexual expression and presents a didactic program aiming at appropriate male comportment in a love situation. Through various musical devices, Mozart establishes ideal Rousseauist gender characteristics and their debased forms, and applies them to the respective sexes as evidence of weakened or enlightened states. Mozart also provides an educative voice in the character of Don Alfonso, whose musical lines are appropriately instructive. An exploration of sexual ideals in the Enlightenment as expressed in contemporary texts and civil documents will provide a framework for Rousseau's theories of education and gender formation as postulated in Emile, ou de l'education and Sophie, ou la Nouvelle Héloïse. A musical analysis of several numbers in Cosi demonstrates the unfolding weaknesses of the characters. While the men progress towards an enlightened education in the natures of the sexes, the women undergo a regression of character.

The aim of this study is to make a comparison between Rousseau&rsquo / s and Kant&rsquo / s theory of justice. This thesis defends the arguments of Rousseau&rsquo / s democratic political theory against the claims raised by Kant. Rousseau and Kant formulate how to relieve the tension between individual and society. This tension is the one between individual and political freedom. Rousseau calls it the tension between moral and political freedom and Kant terms it as internal and external freedom. However, Rousseau ensures continuity between two concepts of freedom, whereas Kant seems inconsistent. The main argument of this thesis is that the critical potential of Rousseau&rsquo / s notion of the social contract is jeopardized by Kant&rsquo / s Idea of original contract in which the sovereign authority is taken away from people since Rousseau&rsquo / s notion of the social contract turns into Idea of original contract in Kant&rsquo / s theory of justice. In this regard, this thesis particularly seeks to answer the question of what constitutes the legitimacy of the contract in their theory of justice.

Reproduction de : Thèse de doctorat : Sciences de l'éducation : Lyon 2 : 2003. / Titre provenant de l'écran-titre. Bibliogr.

Thesis (B.A.)--Haverford College, Dept. of Political Science, 2004. / Includes bibliographical references.

The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on March 19, 2010). Thesis advisor: Dr. Michael Yonan. Art work removed from thesis by author. Includes bibliographical references.

Thèse complémentaire--Université de Paris. / "Bibliographie": p. [159]-166.

Thesis (Ph. D.)--University of Texas at Austin, 2001. / Vita. Includes bibliographical references (leaves 239-249). Available also in a digital version from Dissertation Abstracts.

This thesis presents Bernardin de Saint-Pierre’s novel Paul et Virginie (1788) as a synthesis of the philosophy of Jean-Jacques Rousseau and the theology of François de la Mothe-Fénelon. While the novel’s prominent themes of the goodness of nature and the corruption of society are clearly associated with Rousseau, Bernardin rejects Rousseau’s ideals of independence and self-sufficiency as the basis for his moral theory and preference of nature. Instead, his novel appears to Christianize Rousseau’s philosophy by stressing dependence on a personal, beneficient God who is revealed through nature, thereby associating the natural life with a God-centered life where happiness can be found through dependence on God and selfless service to others. In seeking to pinpoint Bernardin’s Christian influence, this paper goes on to acknowledge Bernardin’s hyperbolic praise for François Fénelon, which leads to an investigation concerning, first, which of Fénelon’s teachings can be found in Paul et Virginie, and second, how Bernardin manages to preserve such enthusiastic admiration for a Christian thinker while also denying several important tenets of Christian orthodoxy. This investigation reveals that Fénelon appealed to Bernardin de Saint-Pierre not only on the basis of what he emphasized, but also what he failed to emphasize. On the one hand, a number of Fénelonian ideas find expression in Paul et Virginie, ideas such as a conception of worship that privileges inner realities over external performances; a glorification of pure, disinterested love toward God; an ideal lifestyle of simplicity and harmony with nature; and an acknowledgement of the role of sentiment in gaining knowledge of the divine. On the other hand, this paper also proposes that Bernardin’s unhindered admiration for Fénelon was made possible by his ability to misinterpret two of Fénelon’s most well-known works, Télémaque (1699) and the Traité de l’existence de Dieu (p. 1718), whose silence on particular doctrines like original sin and the authority of the Scriptures allowed Bernardin to preserve his beliefs about natural goodness and the sufficiency of natural revelation. / text

In this thesis, I will study two manifestations of the legacy of Jean-Jacques Rousseau’s educational and political theories between 1832 and 1833: George Sand’s Indiana (1832) and Honoré de Balzac’s Eugénie Grandet (1833). I will argue that both novels treat the difficulties that uneducated or domestically educated young women face when they first encounter the artificial relationships of society, and that both authors attribute their protagonists’ situation to the lack of connection between the ideology of their upbringing and that of society. Furthermore, I will view these texts within the context of Romanticism, which buoyed the influence of Rousseauvian thought in the early nineteenth century by declaring nature preferable to society, a critical tenet of Rousseau’s theories. Social and political changes, however, led to Romanticism’s decline as the nineteenth century progressed, and this waning influence, coupled with the rise of Realism, can be observed in Indiana and Eugénie Grandet. The first chapter of this work will discuss the ideas that Rousseau presents in Emile, ou de l’éducation (1762) and the Discours sur l’origine et les fondements de l’inégalité parmi les hommes (1754). Although women are painted as independent in the original state of Nature, Rousseau argues in Emile that they should be domesticated in society, and he outlines the male and female educations that he believes will best prepare men and women for their assigned gender roles in society. The two chapters that follow treat the interpretations of Rousseau’s theories that Sand and Balzac put forward in Indiana and Eugénie Grandet. Sand refutes the nineteenth-century discourse concerning women’s innate “irrationality,” attributing Indiana’s difficulties with love and social norms to the distance between her “natural” education on Ile Bourbon and the artificiality of French relationships, eventually rejecting the possibility that reformed education can purge society of its corruption. Balzac, meanwhile, traces Eugénie’s transition from naïve young woman to true adulthood, when she is versed in the relations of “intérêt” that govern those around her. Eugénie, raised to base her relationships on true affection, is eventually isolated by her education, but Balzac does not envision her possible escape from society. / text