Cette thèse a comme objectif de repenser le rapport entre Descartes et Nietzsche à travers une continuité qui se construit sur le fil conducteur thématique du statut cartésien de l’ego. L’interprétation heideggérienne du lien entre Descartes et Nietzsche est pour cette raison fondamentale : en effet, en relevant à l’intérieur ce rapport les signes du déploiement d’un Même qui a marqué l’époque de la métaphysique de la subjectivité, Heidegger définit un espace fondamental commun entre les deux philosophes. Cet espace, qui se développe à partir de l’émergence de l’ego, semble cependant déborder les limites constitutives de la métaphysique, lorsque Nietzsche retrouve dans le commencement cartésien une ouverture de l’ego au sein du vivant interprété comme volonté de puissance. Sa démarche, loin de seulement le néantiser, vise à tra-duire l’ego dans une dimension morphologique : l’ego serait donc l’effet d’une organisation d’une agrégation de forces, qui prennent forme par le biais d’un centre en devenir. Le chemin de la déconstruction nietzschéenne suit des étapes bien précises : en premier lieu, reconduire le statut de l’ego à une égologie de la substance ; en deuxième lieu, déplacer la certitude fondamentale du cogito vers un sentiment de l’ego (Ichgefühl) qui se fixe comme semblant-à-être ; en troisième lieu dévoiler l’ipséité en tant qu’abime, contre toute possibilité d’interpréter le corps comme sujet, ou mieux, comme fondement. C’est en ces termes que la constitution onto-théo-logique de la pensée cartésienne élaborée par Jean-Luc Marion, permet de suivre le chemin nietzschéen : rapporter à l’ego la manière d’être de toutes les substances est le point de départ d’une généalogie qui vise à dépasser l’ego, tout en montrant sa nécessité à être, qui seule permet au vivant de dire je, à savoir d’être. / The purpose of this doctoral dissertation is to nuance the understanding of the relationship between Descartes and Nietzsche through the cartesian statute of the ego. From this perspective, Heidegger’s interpretation of the link between Descartes and Nietzsche is fundamental. Furthermore, Heidegger defines a fundamental philosophical area explored by both Descartes and Nietzsche. This common area, based on ego’s emergence, tends to exceed the constitutive bounds of metaphysics wherein the Cartesian beginning opens the ego as a form of life within the will to power . His argumentative path leads to a morphological concept of ego— the ego is taken as an effect of the organization of a multiplicity of forces, which take form by becoming a center. The Nietzschean deconstruction is realized through these specific steps: 1) to bring the ego’s statute on an ecology of substance; 2) to dislocate the fundamental certainty of cogito toward an ego-sentiment (Ichgefühl), which situates itself as a seeming-being 3) to reveal the selfness as an abyss, against any interpretations that consider the body as a fundament. At this regard, the onto-théo-logic constitution of Cartesian thought, elaborated by Jean Luc Marion, allows one to follow the Nietzschean approach: by bringing back the ego to the way of being of every substances, it is possible to fix the genealogical starting point to exceed the ego and at the same time to show its necessity to become a being, which only allows life to say I, that is to say to be.

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980 pelo canal Antenne 2. Esta dissertação tem como objetivo contextualizar essa fase da obra godardiana em parceria com Miéville, indicando procedimentos internos à produção dessa série que cristalizaram o processo de experimentação iniciado por Godard em trabalhos antecedentes (sobretudo nas produções com o Grupo Dziga Vertov, assim como na série Six fois deux: sur et sous la communication, de 1976) e que desaguaram na sua produção posterior em vídeo, particularmente Histoire(s) du Cinéma (1989). Este trabalho é dividido em dois capítulos: Tour e Détour. O primeiro situa historicamente a produção da série, contextualizando o diálogo que ela estabelece com videoartistas contemporâneos a Godard e Miéville que, desde o final da década de 1960, viam a televisão como um lugar passível de ser povoado pela arte. O segundo capítulo, Détour, parte da noção de desvio e busca investigar como ela se materializa na construção formal da série. Nesse sentido, o texto incorpora a própria noção de desvio a fim de propor uma análise da obra que privilegia alguns de seus elementos: o quadro, a margem, a manifestação do feminino, o uso do slow motion, os gestos e o rosto. A conclusão aponta para o esquecimento ao qual France/tour/détour/deux/enfants foi submetida como um exemplo da tendência televisiva em anular toda e qualquer tentativa de criação de caráter experimental e crítico realizada em seu seio, seja fadando-as à desaparição, seja relegando-as a um estado de exceção. / France/tour/détour/deux/enfants is a TV show in 12 episodes produced by Jean-Luc Godard and Anne-Marie Miéville for the French television in 1979. The series was broadcast in April 1980, by the channel Antenne 2. This dissertation is aimed at contextualizing this period of Godards work in partnership with Miéville, and indicating internal procedures of this series which crystallized the experimental process initiated by Godard in his early works (especially with the Dziga Vertov Group, as well as in the previous TV series Six fois deux, sur et sous la communication, 1976), and which would lead to his later video production, particularly Histoire(s) du Cinéma (1989). This work is divided into two chapters: Tour and Détour. The first chapter historically situates the production years of the series and contextualizes the dialogue it establishes with video-artists from those years, who started to see television as a place that could be occupied by art. The second chapter takes the concept of detour as its starting point and proposes an analysis on how one can see this notion in the formal construction of the series. In this sense, I incorporated the very notion of detour in order to propose an analysis that would favor some of the works elements: the frame, the margin, the manifestation of the feminine, the use of slow motion, the gestures and the face. The conclusion indicates how France/tour/detour/deux/enfants was forsaken as an example of the television trend to override any attempt of experimental and critical creation conducted from within, whether condemning it to disappearance, or relegating it to a state of exception.

Pesquisa sobre Dramaturgia do ator e Tradução Intersemiótica como formas de pensar a Interpretação e a Encenação, respectivamente. Com este objetivo, aproxima-se o signo teatral de outras linguagens -- Artes Plásticas e Cinema -- para, através dos Estudos Genéticos, compreender o processo criativo que nos levou a dois exercícios cênicos: Efêmea e ...E fêmea. / This is a research about Dramaturgy of the actor and Intersemiotic Translation as a way of thinking about Acting and Staging, respectively. In order to do so, we relate the theatrical sing to other languages -- Crafts and Cinema -- for understanding, through Genetics Studies, the creative process which conducted us to both scenic exercises: Efêmea and ...E fêmea

[pt] Esta dissertação toma por objeto privilegiado de análise o livro L Intrus (O Intruso), do filósofo francês (1940) Jean-Luc Nancy. O livro mescla a escrita poética à reflexão propriamente filosófica e oferece, por conseguinte, o desafio de uma compreensão que tome em conta esse duplo viés. Partindo da abordagem inicial sobre o caráter do livro, é formulada a hipótese central de pesquisa: a questão do intruso, implícita no livro de Nancy, versa sobre o caráter desconstrutivo tanto do corpo social, quanto do corpo privado. Ambos funcionariam articulando-se numa dupla injunção, que no primeiro caso, apresenta-se numa investigação sobre o contato entre os termos intruso e estrangeiro, e no segundo caso, entre intruso e estranho. A pesquisa atua, ainda, num registro marcadamente contemporâneo. São as exigências, os problemas, as crises do mundo de hoje que norteiam as leituras do livro de Nancy, a compreensão da noção de hospitalidade e o redimensionamento da noção de subjetividade. / [en] This dissertation has, as its primary object of analysis, the book L Intrus (The intruder), by French philosopher Jean-Luc Nancy (1940). This book blends poetic writing to proper philosophical reflection, and therefore poses the challenge of a comprehension that considers this double perspective. Based on this first approach to the nature of the book, the central research hypothesis is formulated: the topic of the intruder, implicit in Nancy s book, deals with the deconstructive nature of both the social and the private bodies. Both would work by articulating into a double injunction, which, in the first case, is present in an investigation of the contact between the terms intruder and foreigner, and in the second case, between intruder and strange. Also, the research takes place on a markedly contemporary register. It is the demands, problems and crises of today s world that guide the readings of Nancy s book, the understanding of the notion of hospitality and the redimensioning of the notion of subjectivity.

Pesquisa sobre Dramaturgia do ator e Tradução Intersemiótica como formas de pensar a Interpretação e a Encenação, respectivamente. Com este objetivo, aproxima-se o signo teatral de outras linguagens -- Artes Plásticas e Cinema -- para, através dos Estudos Genéticos, compreender o processo criativo que nos levou a dois exercícios cênicos: Efêmea e ...E fêmea. / This is a research about Dramaturgy of the actor and Intersemiotic Translation as a way of thinking about Acting and Staging, respectively. In order to do so, we relate the theatrical sing to other languages -- Crafts and Cinema -- for understanding, through Genetics Studies, the creative process which conducted us to both scenic exercises: Efêmea and ...E fêmea

Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.

Du point de vue de l'expérience, l'intensité désigne ordinairement une force ou une puissance entendue dans leur acception purement sensorielle ou sensitive, comme ce qui peut amener les sens à leurs limites. Or, certaines œuvres d'art nous font parfois faire des expériences intenses et fortes, sans cependant en appeller systématiquement à nos sens, sans proposer aucun objet à voir ou à sentir, voire même en se présentant simplement en une expérience de pensée. C'est ce paradoxe qui nous a amenés à nous interroger sur l'imperceptible, désignant par là le caractère à la fois insensible et intense de l'expérience esthétique. Notre esthétique de l'intensité se fonde sur une interprétation phénoménologique de cette dernière en la définissant comme expérience « charnelle », au sens du dernier Merleau-Ponty, c'est-à-dire comme ce qui fait toucher au seul sens d'être, à l'il y a. L'intense prend alors une dimension ontologique en tant qu'il incarne la puissance interne de différenciation du sensible comme source de tension, de variations et de différences. Nous partons des œuvres de V. Woolf et de Cl. Royet-Journoud, pour explorer l'écriture comme lieu d'expérience du sens naissant ; puis nous interrogeons la dimension intense des expériences quasi-imperceptibles à l'œuvre dans les arts plastiques et visuels, chez M. Duchamp, B. Nauman, D. Graham, M. Abramovic ou R. Smithson. Nous montrons ensuite, à travers les philosophies de Merleau-Ponty, Deleuze et Jean-Luc Nancy, que la pensée peut constituer en elle-même une expérience intense, en élucidant simultanément l'idée même d'intensité. / From the point of view of experience, intensity generally designates a certain force or power that we understand in a purely sensorial or sensory fashion, as something that can takes our senses to their limits. Yet certain works of art offer us experiences that are intense and powerful without systematically calling upon our senses, without offering any particular object to be seen, or sensed. Sometimes, they are just presented as a an experience of thinking. It is this paradox that has prodded us into exploring the imperceptible. In this particular instance, that means the character of our esthetic experience that is both “in-sensitive” and intense. Our esthetics of intensity is founded on a phenomenological interpretation of the latter, defining it as a “carnal” experience, such as the later-period Merleau-Ponty envisaged it, implying that which touches the unique sense of being, the “there is”. The “intense” then takes on an ontological dimension, in so far as it embodies the internal force of differentiation of the “sensitive” as a source of tension, of variations and of differences. We shall begin our interrogation with the works of Virginia Woolf and Claude Royet-Journoud, in order to explore writing as a locus for experiencing newly-born senses. Then, we shall question the intense dimension of quasi-imperceptible experiences that are at work in the visual and the fine arts, looking at M. Duchamp, B. Nauman, M. Abramovic or R. Smithson. Finally, we shall demonstrate, through the philosophy of Merleau-Ponty, G. Deleuze and Jean-Luc Nancy, that thought in itself, can constitute an intense experience, by simultaneously elucidating the idea of intensity itself.

France/tour/détour/deux/enfants é uma série produzida em 1979 por Jean-Luc Godard e Anne-Marie Miéville para a televisão francesa que foi ao ar em abril de 1980 pelo canal Antenne 2. Esta dissertação tem como objetivo contextualizar essa fase da obra godardiana em parceria com Miéville, indicando procedimentos internos à produção dessa série que cristalizaram o processo de experimentação iniciado por Godard em trabalhos antecedentes (sobretudo nas produções com o Grupo Dziga Vertov, assim como na série Six fois deux: sur et sous la communication, de 1976) e que desaguaram na sua produção posterior em vídeo, particularmente Histoire(s) du Cinéma (1989). Este trabalho é dividido em dois capítulos: Tour e Détour. O primeiro situa historicamente a produção da série, contextualizando o diálogo que ela estabelece com videoartistas contemporâneos a Godard e Miéville que, desde o final da década de 1960, viam a televisão como um lugar passível de ser povoado pela arte. O segundo capítulo, Détour, parte da noção de desvio e busca investigar como ela se materializa na construção formal da série. Nesse sentido, o texto incorpora a própria noção de desvio a fim de propor uma análise da obra que privilegia alguns de seus elementos: o quadro, a margem, a manifestação do feminino, o uso do slow motion, os gestos e o rosto. A conclusão aponta para o esquecimento ao qual France/tour/détour/deux/enfants foi submetida como um exemplo da tendência televisiva em anular toda e qualquer tentativa de criação de caráter experimental e crítico realizada em seu seio, seja fadando-as à desaparição, seja relegando-as a um estado de exceção. / France/tour/détour/deux/enfants is a TV show in 12 episodes produced by Jean-Luc Godard and Anne-Marie Miéville for the French television in 1979. The series was broadcast in April 1980, by the channel Antenne 2. This dissertation is aimed at contextualizing this period of Godards work in partnership with Miéville, and indicating internal procedures of this series which crystallized the experimental process initiated by Godard in his early works (especially with the Dziga Vertov Group, as well as in the previous TV series Six fois deux, sur et sous la communication, 1976), and which would lead to his later video production, particularly Histoire(s) du Cinéma (1989). This work is divided into two chapters: Tour and Détour. The first chapter historically situates the production years of the series and contextualizes the dialogue it establishes with video-artists from those years, who started to see television as a place that could be occupied by art. The second chapter takes the concept of detour as its starting point and proposes an analysis on how one can see this notion in the formal construction of the series. In this sense, I incorporated the very notion of detour in order to propose an analysis that would favor some of the works elements: the frame, the margin, the manifestation of the feminine, the use of slow motion, the gestures and the face. The conclusion indicates how France/tour/detour/deux/enfants was forsaken as an example of the television trend to override any attempt of experimental and critical creation conducted from within, whether condemning it to disappearance, or relegating it to a state of exception.

[pt] Esta pesquisa é uma investigação sobre a atuação do cineasta Jean-Luc Godard e a Sonimage (sua produtora com Anne-Marie Miéville) em um projeto em conjunto com o governo de Moçambique no ano de 1978. O cineasta lá realizaria o filme-relatório Nascimento (da Imagem) de uma Nação, que serviria de base para a elaboração das diretrizes na implementação de uma futura rede de televisão no país recém-independente. Frente à política cultural do governo marxista, Godard via uma oportunidade de usar o audiovisual como ferramenta revolucionária em um país ainda não dominado pela indústria audiovisual, mas nada foi realizado. As condições do projeto, tanto da sua motivação quanto do seu insucesso, refletem questões acerca da arte como instrumento de ação política e serão a base para o questionamento da importância dessa experiência, mesmo fracassada, na trajetória do cineasta. / [en] This research is an investigation into the work of filmmaker Jean-Luc Godard and Sonimage (his production company with Anne-Marie Miéville) in a joint project with the government of Mozambique in 1978. The filmmaker would realize there the film-report Birth (of the image) of a Nation, which would be the basis for the elaboration of guidelines for the implementation of a future television network in the newly independent country. Faced with the cultural policy of the Marxist government, Godard saw an opportunity to use images as a revolutionary tool in a country not yet dominated by the audiovisual industry, but nothing ever came of it. The conditions of the project, both its motivation and its failure, reflect questions about art as an instrument of political action and will be the basis for questioning the importance of this experience, even if it failed, in the filmmaker s trajectory.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.