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

Thesis (Ph. D.)--University of Washington, 2005. / Vita. Includes bibliographical references (leaves 228-240).

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 261-272).

A tese se dedica ao estudo das relações entre o poético e o político na escritura de Paul Valéry entre 1940 e 1945, anos arrasados pela segunda guerra e também os últimos da vida do escritor. O período estudado começa, assim, no verão de 1940, quando a França perde a batalha contra os alemães, Paris é ocupada pelos nazistas e Valéry, abrigado no norte do país, põe-se a escrever o terceiro Fausto que ele há tempos desejava compor. A pesquisa se estende até maio de 1945, pleno apogeu da Libération Française, quando o escritor publica em jornal gaulista (aquelas que [não] deveriam ser) as Ultima Verba do vencedor do conflito, e termina o poema em prosa LAnge depois de duas décadas de trabalho sobre esse texto. Seguindo a escritura diária dos cahiers de Valéry e as notas do curso de poïética ministrado pelo poeta no Collége de France naqueles anos, a tese busca apreender como as estratégias poéticas das obras analisadas Ultima Verba, LAnge e Mon Faust são concebidas para enfrentar os acontecimentos esmagadores daquele período. Com efeito, elas modulam recursos sensíveis, significativos e formais do ato poético, pondo em contradicção as forças heterogêneas do discurso e sua dicção, da voz e do pensamento (lógos e foné), ser e convenção, estabelecendo uma implicação recíproca do poético e do político: o poeta como político profundo, entre as majorités do som e do sentido. Essa implicação põe em jogo a autonomia e a soberania da linguagem poética, os modos de circulação do discurso numa sociedade democrática e o gesto do poeta frente às aporias do processo de escrita. Desse modo, procura-se menos revelar a política de suas escolhas (as vias que o escritor abre ou fecha; ainda que isso seja parte do problema, não é o principal) do que pensar na política de sua poética, perceptível na modulação das diferentes maneiras de ver que compõem o poema, uma modulação que cala ou interrompe, escuta ou prolonga suas hesitações. Assim, veremos que os dilemas da fiducia política e da ciência moderna elaborados nos brouillons do ciclo fáustico e nas notas do curso de poïética reencontram a hesitação prolongada, o inacabamento e infinitização contínua do ato poético, sempre em curso de driblar injunções fiduciárias e técnicas, num momento em que a Europa moderna tinha mais do que nunca carência de repensar os pactos, moedas, projetos e o próprio para, [vencedor, nesse] momento em curso na literatura e na comunidade. / The thesis aims to study the relations between the poetic and the political in the writings of Paul Valéry from 1940 to 1945, a time crushed by the war and the last years of the poets life. This study covers a period that goes from the summer of 1940 during the last weeks of the Battle of France, when Paris was occupied by the germans and the poet, sheltered in the countrys north, starts to write the third Faust that for a long time he wished to write up to may 1945, in the pinnacle of the Libération Française, when the writer publishes in a gaullist journal (those that should [not] be) the ultima verba of the wars winner, and completes, after two decades of writing labour, the prose poem LAnge. By following the the cahiers daily writings and the Collège de Frances course in poetics lesson notes of those years, we seek to understand the strategies conceived to confront the periods crushing events, specially in the analysed texts Ultima Verba, LAnge and Mon Faust. In fact, they modulate the aesthetic infinitys sensible, significant and formal resources in the contradiction of the heterogeneous forces of the discourse and its diction (its elocution), voice and thought (logos and phone), being and convention, thus establishing a reciprocal implication of the poetic and the political: the poet as a profound politician who works between the majorities of sound and sense. This implication reflects upon the poetic languages autonomy and sovereignty, the discourse circulation modes in a democratic society and the poets act in relation to the writing process issues. Thus, this gesture would be put in place less for revealing the politics in Valérys choices (the paths he opens or closes; this is also part of the problem, but it is not the main question) than for thinking about his poetics own politics, one deployed in the modulation of the different manners of seeing implicated in the poem, a modulation that silents or stops, listens or prolongs their hesitations. Then, we shall see that the fiducias politics and modern science dilemmas elaborated by the faustic cycle drafts and by the course in poetics lesson notes find theirselves in the company of the verse as prolonged hesitation, of the poetics act incompleteness and infinitization, always in the process of dribbling the fiduciary and technical injunctions, in a time when modern Europe had more than ever to rethink the pacts, currencies, projects and even the stop, [winner, in this] moment that had currency in literature and community.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-01-27T11:39:51Z No. of bitstreams: 1 yandaravirginiaribeirocostamoreira.pdf: 871138 bytes, checksum: 885c69efe76199ef3242b2c4079d046d (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-01-27T13:57:13Z (GMT) No. of bitstreams: 1 yandaravirginiaribeirocostamoreira.pdf: 871138 bytes, checksum: 885c69efe76199ef3242b2c4079d046d (MD5) / Made available in DSpace on 2016-01-27T13:57:13Z (GMT). No. of bitstreams: 1 yandaravirginiaribeirocostamoreira.pdf: 871138 bytes, checksum: 885c69efe76199ef3242b2c4079d046d (MD5) Previous issue date: 2014-12-10 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Objetivou-se realizar uma leitura crítica de vários textos de Clarice Lispector, sobretudo contos e romances, a partir dos quais se notou uma afirmação da desobediência, principalmente aos domínios disciplinares da literatura e da filosofia e às regras canônicas de uso da linguagem. A escritura clariciana propõe essa estratégia de criação como necessária à liberação da vida em sua manifestação mais potente e impessoal. Para Clarice, portanto, a literatura se constitui como uma prática extrema e arriscada, porque requisita uma aproximação com intensidades desterritorializantes: o risco é desejar dar um passo fora do senso comum, do reconhecível; escapar das leis da língua; viver escrever intensamente; capturar a realidade do devir. A figuração desse pensamento foi percebida, de modo concentrado, no conto “Os obedientes”, do livro Felicidade Clandestina, texto cujas imagens relativas à profundidade e à superfície podem remeter a uma criação filosófico-conceitual a respeito da vida e do real. Essa escrita, interdisciplinar e intensiva, praticada por Clarice Lispector abriu espaços de encontros com outros criadores de pensamento, entre eles Roberto Corrêa dos Santos, Gilles Deleuze, Félix Guattari, Roland Barthes, Suely Rolnik, Nietzsche, Alberto Pucheu e André Monteiro. / Our objective inside this work was to critically read several texts by Clarice Lispector, most of them short stories and novels, from which was possible to see the affirmation of the indiscipline as a creative strategy. Through the experience of transgression – specially to the disciplinary boundaries of literature and philosophy, and to the canonical rules of the language –, Lispector‟s writing presents indiscipline as a necessary condition to the release of life in its most potent and impersonal form. To the writer Clarice Lispector, therefore, literature is an extreme and risky practice because it demands the proximity to non-territorial intensities: the risk is to desire to step outside the common sense, what can be recognized; escaping from the language rules; living and writing intensely; capturing the reality of devir. The image of this line of thinking can be seen mostly in the short story “Os obedientes”, published in the book Felicidade Clandestina. The images related to the deepness and the surface inside this text can be related to a philosophical and conceptual creation concerning life and reality. Lispector‟s intensifying and interdisciplinary writing made it possible to create connection and encounters with some other thinkers, e.g., Roberto Corrêa dos Santos, Gilles Deleuze, Félix Guattari, Roland Barthes, Suely Rolnik, Nietzsche, Alberto Pucheu and André Monteiro.

Notion scientifique et philosophique majeure du XVIIIe siècle, l’expérience s’affirme dans les œuvres du romantisme émergent (1795-1818) à la fois comme un thème privilégié et comme le support d’une élaboration esthétique. Étudier l’appropriation plurivoque de la notion d’expérience dans un corpus comparatiste (Novalis, Mme de Stäel, Coleridge, Tieck, Senancour, Keats, etc.) permet d’examiner, contre un certain héritage de l’histoire littéraire, les nuances de l’identité romantique alors en train de se constituer. L’analyse poétique, couplée à la perspective diachronique qui est celle de l’histoire des idées, fait voir la richesse des conceptions et des attitudes du romantisme en lien avec l’expérience, de la quête à la résignation, de la célébration de l’action au repli introspectif, tout en permettant d’interroger la réception critique et universitaire des œuvres et leur rôle dans la construction d’une certaine identité romantique. / A major scientific and philosophical concept of the eighteenth century, the Experience manifests itself in the works of the new emerging Romanticism (1795-1818); both as a privileged theme and as a contribution to an aesthetic construction.Studying the polyvocal understanding of the notion of experience in a comparative corpus, like in Novalis’, Mme de Stäel’s, Coleridge’s, Tieck’s, Senancour’s, Keats’s, to mention a few, makes it possible to observe, against a certain legacy of literary history, the nuances in the Romantic identity during its own making. The poetic analysis, combined with the diachronic perspective of the history of ideas, shows the wealth of conceptions and attitudes of Romanticism in relation to experience, from the quest to resignation, and from celebration of action to the introspective withdrawal; all while allowing the critical and academic reception of such works to be questioned regarding their role in the construction of a certain Romantic identity.

This thesis examines the meanings and uses of the impression in the essays and late novels of Henry James. While James found fault with impressionism in French painting and literature, he repeatedly called the novel an ‘impression of life’, and used the term to figure important moments of perception and action for his protagonists. This thesis offers the first full-length study of the impression on its own terms, rather than through the lens of a wider artistic or philosophical movement, the most obvious example being impressionism. It locates James’s impression within an intertextual history comprising British empiricist philosophy (Locke and Hume), empiricist psychology (William James), British aestheticism (Pater and Wilde), and, looking forwards, twentieth-century theories of the performative (Austin, Derrida, de Man, Butler). It offers a series of close readings of James’s non-fictional and fictional treatments of the impression in his early criticism and travel writing (1872-88), his prefaces to the New York edition (1907-09), and the three novels of his major phase, The Ambassadors (1903), The Wings of the Dove (1902), and The Golden Bowl (1904). This exploration does not produce any unified definition of the impression in the work of James. It finds, rather, that the impression crystallizes one of James’s main themes, the struggle between art and life, a consequence of the competing empiricist and aesthetic tendencies that the thesis distinguishes within accounts of the impression available to James. The thesis goes on to show that impressions in James may be made as well as received, and so introduces a further distinction, between ‘performative’ and ‘cognitive’ impressions. It argues that what James does with these competing impressions – empiricist and aesthetic, cognitive and performative – is to make them the narrative focus of his late novels and their drama of consciousness.

This thesis builds on recent scholarship on Dio’s φύσις model to argue that Dio’s view of the fall of the Republic can be explained in terms of his interest in the relationship between human nature and political constitution. Chapter One examines Dio’s thinking on Classical debates surrounding the issue of φύσις and is dedicated to a detailed discussion of the terms that are important to Dio’s understanding of Republican political life. The second chapter examines the relationship between φύσις and Roman theories of moral decline in the late Republic. Chapter Three examines the influence of Thucydides on Dio. Chapter Four examines Dio’s reliance on Classical theories of democracy and monarchy. These four chapters, grouped into two sections, show how he explains the downfall of the Republic in the face of human ambition. Section Three will be the first of two case studies, exploring the life of Cicero, one of the main protagonists in Dio’s history of the late Republic. In Chapter Five, I examine Dio’s account of Cicero’s career up to the civil war between Pompey and Caesar. Chapter Six explores Cicero’s role in politics in the immediate aftermath of Caesar’s death, first examining the amnesty speech and then the debate between Cicero and Calenus. Chapter Seven examines the dialogue between Cicero and Philiscus, found in Book 38. In Section Four is my other case study, Caesar. Chapter Eight discusses Caesar as a Republican politician. In Chapter Nine, I examine Dio’s version of the mutiny at Vesontio and Caesar’s speech. Chapter Ten examines Dio’s portrayal of Caesar after he becomes dictator and the speech he delivers to the senate. The Epilogue ties together the main conclusions of the thesis and examines how the ideas explored by Dio in his explanation of the fall of the Republic are resolved in his portrait of the reign of Augustus.

After graduating from the Literae Humaniores course, which after the mid-nineteenth century came to revolve around Plato’s Republic, Walter Pater’s (1839-1894) professional duties spanning thirty years at Oxford were those of a philosophy teacher and lecturer of Plato. This thesis examines Pater’s deep engagement with Platonism in his work, from his earliest known piece, “Diaphaneitè” (1864), to his final book, Plato and Platonism (1893), treating both his criticism and fiction, including his studies on myth. Plato is an ideal philosopher, critic, and artist to Pater, exemplifying a literary craftsman who blends genres with the highest authority. Platonism is a point of contact with several of Pater’s contemporaries, such as Arnold and Wilde, from which we can take new measure of their critical relationships regarding aestheticism and Decadence. Pater’s idea of aesthetic education takes Platonism for its model, which heightens one’s awareness of reality in the recognition of form and matter. Platonism also provides a framework for critical encounters with figures across history, such as Wordsworth, Michelangelo and Pico della Mirandola in The Renaissance (1873), Marcus Aurelius and Apuleius in Marius the Epicurean (1885), and Montaigne and Giordano Bruno in Gaston de Latour (1896). In the manner Platonism holds that soul or mind is the essence of a person, Pater’s criticism, evident even in his fiction, seeks the mind of the author, so that his writing enacts Platonic love. Through close reading, we highlight his many references to Plato, identify Platonic subjects and themes, and explore etymological nuances in the very selection of his words, which often reveals a Platonic tendency of refinement towards immateriality, from seen to unseen beauty. As a teacher and an author Pater helped shape Oxonian Platonism, and through his writing we examine how Platonism informs his philosophy of aesthetics, history, myth, epistemology, ethics, language, and style.

Pour Albert Camus, la littérature était à la fois une activité essentielle à son bonheur et un objet de réflexion. Afin de saisir quelle conception de la littérature et quelle vision du rôle de l’écrivain se dégagent de son oeuvre, ce mémoire aborde dans un même mouvement ses deux principaux essais, Le Mythe de Sisyphe et L’Homme révolté, et une pièce de théâtre, Caligula. Notre premier chapitre consiste dans la recherche de ce qui, pour Camus, fait de la création artistique une activité privilégiée dans l’horizon de la pensée de l’absurde et de la révolte. Dans le deuxième chapitre, les différents commentaires émis par la critique à propos de Caligula seront examinés. La pièce, malgré l’opinion dominante, ne raconte pas l’histoire d’un empereur absurde qui se révolte contre son destin. L’importance du thème de la création littéraire dans cette pièce a également été grandement sous-estimée. Enfin, le troisième chapitre de ce mémoire présente notre propre analyse de la pièce. La confrontation de la fiction avec la théorie révèle une grande concordance entre les deux aspects de l’oeuvre de Camus. L’accord n’est cependant pas parfait, et l’étude des points de friction découverts permet d’apporter des éclaircissements sur un des points les plus obscurs des essais de Camus : l’éthique du créateur placé dans une situation où il doit choisir entre tuer et mourir. / For Albert Camus, literature was both an activity crucial to his happiness and a study object. In order to understand what conception of literature can be found in Camus’ writings and the responsibilities of the writer that this definition implies, this memoir studies his two main essays, The Myth of Sisyphus and The Rebel, and one play, Caligula. Our first chapter consist in a research of what makes artistic creation an exceptional activity in the light of Camus’ thoughts on absurd on revolt. In our second chapter, the critics’ various commentaries about Caligula are examined. In spite of what is still the opinion of a majority of critics, the play is not the tale of an absurd emperor who would revolt against his destiny. Also, the theme of literary creation has not been sufficiently studied in that play, in which it plays a determinant role. Finally, the third chapter of this memoir presents our own analysis of the play. The confrontation of fiction and theory reveals a great similarity between the two aspects of Camus’ writings. However, the match is never perfect, and the study of the friction points allows us to shed light on one of the most obscure part of Camus’ essays: the ethic of the creator placed in a situation where he must kill or be killed.