Ce mémoire a pour objectif d'explorer le possible lien unissant le bonheur et la vérité. Pour ce faire, j'ai décidé d'interroger Aristote, philosophe s'étant grandement penché sur ces deux réalités. Suite à maintes lectures de ses écrits, j'en suis arrivée à l'hypothèse qu'il y avait un rapprochement à faire entre les deux. Cette recherche est donc un travail de démystification du lien entre deux notions si étudiées dans l'histoire de la philosophie, à savoir le bonheur et la vérité telle que compris par Aristote. Je me suis premièrement attardée à la notion de bonheur telle que présentée dans ses traités éthiques, plus précisément dans l'Éthique à Nicomaque et l'Éthique à Eudème. À la suite de cette section est analysée la notion de vérité. Évidemment, il y avait beaucoup à dire. Il a fallu restreindre sa présentation aux homonymies du mot telles que comprises dans la Métaphysique d'Aristote et dans De Veritate de Thomas d'Aquin. La dernière partie est l'arène d'affrontement des notions de bonheur et de vérité, partie où l'hypothèse du départ se vérifie, toujours en lien avec la philosophie aristotélicienne.

O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.

O estudo da cor no cinema tem alcançado relevantes dimensões de pesquisa ao longo da primeira década dos anos 2000. Diversas publicações mapearam os mais amplos temas em que a cor é posta na análise fílmica. Desta maneira, é possível revisitar algumas obras do passado e partir para novas interpretações e olhares. Sob o domínio da cor é que proponho a análise dos filmes Pierrot le fou (Jean-Luc Godard) e Le bonheur (Agnès Varda). Na investigação do sistema cromático desses cineastas, é possível avaliar questões interdisciplinares como a representação da França dos anos 60 e as relações de gênero. / The study of color in the cinema has reached relevant research dimensions throughout the first decade of the 00\'s. Several publications have mapped the broadest theme in which color is put in film analysis. Therefore, it is possible to revisit some past works and move on to new looks and interpretations. Under the domain of the color, I propose the film analysis of Pierrot le fou (Jean-Luc Godard) and Le bonheur (Agnès Varda). In the investigation of the chromatic system of these moviemakers, it is possible to evaluate interdisciplinary questions like the representation of France in the 60\'s and gender relations.

Considered an integral part of Metropolitan France, the island of Corsica is situated nonetheless on the very periphery of the modern state that claims it. Actually situated geographically closer to Italy than to any part of France, its culture and its people are likewise more closely related to their Italians neighbors than to the rest of what Corsicans term "Continental France." Following the acquisition of Corsica, both government officials and bourgeois travelers would seek to visit the island, often recording their findings and publishing these memoirs for others to know of their travels. This concept of travel memoirs, specifically those regarding Corsica, had already been a fairly common practice among the British, as they had often placed interest in the island itself. From this group of French and British travel memoirs would come the writings of James Boswell, P. P. Pompéi, and the Baron de Beaumont, among others. Corsica becomes a place of unique setting for novels and short stories throughout the century, with tales of banditry, vendetta, and violence from the island. For those authors seeking to place their stories in Corsica, inspiration was drawn from the very travel memoirs they had read regarding the island, although often they chose to ignore them in favor of stereotypes. I have chosen three specific 19th century authors in relation to the images created by the travel memoirs of Corsica: Prosper Mérimée, Honoré de Balzac, and Guy de Maupassant. The purpose behind each author's use of the images of Corsica was very different and shows different ways that these images were used. Mérimée directly used Corsica to question the triumph of the civilized over the uncivilized, Balzac used Corsica to represent France itself, and Maupassant used Corsica to show that "reality" is really nothing more than a personal illusion. Though when publishing their travel memoirs the authors might not have expected much to come of them, they have actually influence an entire century of writers, and possibly an entire nation, with their images of Corsica.

Par ce mémoire, nous voulons participer à rétablir un équilibre dans l'interprétation de la philosophie pratique d'Emmanuel Kant, laquelle philosophie fut souvent accusée d'être « sévère », rigoriste voire austère. Nous étudions la définition et l'ensemble des rôles du bonheur dans la morale kantienne. Les ouvrages utilisés sont notamment la deuxième Critique et les Fondements de la métaphysique des mœurs. Nous nous penchons ainsi principalement sur la critique de l'eudémonisme, sur le bonheur comme fin naturelle nécessaire, sur les devoirs direct et indirect de travailler au bonheur et sur le but final et nécessaire de la raison pratique, le souverain Bien. Il est ainsi montré que Kant accorde une très grande importance au bonheur, bien qu'il refuse que son désir soit le principe fondateur et déterminant de la moralité.