Esta dissertação apresenta um estudo do livro Wittgenstein‟s mistress (1988), do escritor estadunidense David Markson (1927 – 2010), cujo texto é narrado em primeira pessoa por uma mulher que se autodenomina Kate e que se apresenta como sendo o último ser humano sobrevivente no mundo. Habitando uma casa em alguma praia, ela senta-se diante da máquina de escrever e divaga sobre suas lembranças e viagens, misturando memória e imaginação, de forma a deixar-nos, nós, os leitores, sem um lastro firme para identificar o que é realidade e o que é ilusão. A análise aqui realizada aborda a estrutura paradoxal desse texto, que não consegue estabelecer de modo concreto um mundo ficcional no qual a personagem narradora habita, ou seja, não podemos saber o que realmente acontece ou não com ela. Esse efeito se dá principalmente por um estilo esquizofrênico que será relacionado com as reflexões e observações que o filósofo Ludwig Wittgenstein denomina ―doenças do intelecto‖, as quais, segundo o professor de psicologia clínica e escritor Louis A. Sass, aproximam-se da esquizofrenia. O objetivo desta pesquisa é examinar a maneira como se imbricam as relações entre a linguagem ficcional do livro de Markson e a realidade extratextual, através de uma visão wittgensteiniana que coloca a linguagem imersa na nossa forma de vida, ancorada sempre nas práticas e costumes compartilhados pela sociedade. A análise mostrará que mesmo em um texto onde predomina esse estilo esquizofrênico que faz a linguagem se fechar no mundo interior da personagem, e também no mundo intratextual, ainda há a possibilidade de rompimento deste solipsismo textual, conectando essa linguagem à esfera intersubjetiva e comunitária. Esse rompimento só é possível através da apresentação (ou exteriorização) de vivências, que depende de uma confiança na linguagem como prática social e imersa na nossa forma de vida, assim como de uma confiança na prática de contar histórias. / This M.A. thesis analyses Wittgenstein‟s Mistress (1988), a book written by the American author David Markson (1927-2010), whose text is narrated, in the first person, by a woman who calls herself Kate. Declaring that she is the last remaining person alive in the world, Kate sits in front of her typewriter, in a house on a beach somewhere, revisiting her recollections and her travels. Memory and imagination are mixed in such a way that Kate leaves us, the readers, without a solid basis to separate reality from delusion. The focus of my research is the analysis of the paradoxal structure of this text that cannot sets up a fictional world in a concrete way. We cannot find a fictional world in which the narrator lives and so we cannot really know what happens or not happens to her. This effect exists mainly in a schizophrenic style which will be related to the reflections and observations made by the philosopher Ludwig Wittgenstein about the ―sicknesses of the understanding‖ – which according to professor of clinical psychology and writer Louis A. Sass, come close to the realm of schizophrenia. The aim of this research is to examine the imbrications respecting the fictional language of Markson‘s book and the extratextual reality. This will be done through a Wittgensteinian perspective of language as something absorbed in our form of life, and grounded in practices and mores shared by society. The analysis will show that even in a text in which that schizophrenic style prevails, which makes language close itself in the internal world of the character and the text, there is still the possibility to break with this textual solipsism and connect language to the intersubjective and communal sphere. This break can only occur through the presentation (or exteriorization) of experiences that depend on a trust in language as a social practice immersed in our form of life, and on the trust in the practice of telling stories.

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.

Thesis (Ph. D) -- University of Western Sydney, Nepean, 1999. / "An enquiry into the relationship between place and space, and the writiing life, with reference to journals and poetry written by Diane Fahey, and to works by Eavan Boland, Annie Dillard, and May Sarton" -- p. ii. Thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy, School of Communication and Media Studies, University of Western Sydney, Nepean. Bibliography : p. 259-264.

Thesis submitted to the University of Western Sydney 2006. / Title from electronic thesis (viewed 31/5/10)

Esta dissertação apresenta um estudo do livro Wittgenstein‟s mistress (1988), do escritor estadunidense David Markson (1927 – 2010), cujo texto é narrado em primeira pessoa por uma mulher que se autodenomina Kate e que se apresenta como sendo o último ser humano sobrevivente no mundo. Habitando uma casa em alguma praia, ela senta-se diante da máquina de escrever e divaga sobre suas lembranças e viagens, misturando memória e imaginação, de forma a deixar-nos, nós, os leitores, sem um lastro firme para identificar o que é realidade e o que é ilusão. A análise aqui realizada aborda a estrutura paradoxal desse texto, que não consegue estabelecer de modo concreto um mundo ficcional no qual a personagem narradora habita, ou seja, não podemos saber o que realmente acontece ou não com ela. Esse efeito se dá principalmente por um estilo esquizofrênico que será relacionado com as reflexões e observações que o filósofo Ludwig Wittgenstein denomina ―doenças do intelecto‖, as quais, segundo o professor de psicologia clínica e escritor Louis A. Sass, aproximam-se da esquizofrenia. O objetivo desta pesquisa é examinar a maneira como se imbricam as relações entre a linguagem ficcional do livro de Markson e a realidade extratextual, através de uma visão wittgensteiniana que coloca a linguagem imersa na nossa forma de vida, ancorada sempre nas práticas e costumes compartilhados pela sociedade. A análise mostrará que mesmo em um texto onde predomina esse estilo esquizofrênico que faz a linguagem se fechar no mundo interior da personagem, e também no mundo intratextual, ainda há a possibilidade de rompimento deste solipsismo textual, conectando essa linguagem à esfera intersubjetiva e comunitária. Esse rompimento só é possível através da apresentação (ou exteriorização) de vivências, que depende de uma confiança na linguagem como prática social e imersa na nossa forma de vida, assim como de uma confiança na prática de contar histórias. / This M.A. thesis analyses Wittgenstein‟s Mistress (1988), a book written by the American author David Markson (1927-2010), whose text is narrated, in the first person, by a woman who calls herself Kate. Declaring that she is the last remaining person alive in the world, Kate sits in front of her typewriter, in a house on a beach somewhere, revisiting her recollections and her travels. Memory and imagination are mixed in such a way that Kate leaves us, the readers, without a solid basis to separate reality from delusion. The focus of my research is the analysis of the paradoxal structure of this text that cannot sets up a fictional world in a concrete way. We cannot find a fictional world in which the narrator lives and so we cannot really know what happens or not happens to her. This effect exists mainly in a schizophrenic style which will be related to the reflections and observations made by the philosopher Ludwig Wittgenstein about the ―sicknesses of the understanding‖ – which according to professor of clinical psychology and writer Louis A. Sass, come close to the realm of schizophrenia. The aim of this research is to examine the imbrications respecting the fictional language of Markson‘s book and the extratextual reality. This will be done through a Wittgensteinian perspective of language as something absorbed in our form of life, and grounded in practices and mores shared by society. The analysis will show that even in a text in which that schizophrenic style prevails, which makes language close itself in the internal world of the character and the text, there is still the possibility to break with this textual solipsism and connect language to the intersubjective and communal sphere. This break can only occur through the presentation (or exteriorization) of experiences that depend on a trust in language as a social practice immersed in our form of life, and on the trust in the practice of telling stories.

Made available in DSpace on 2014-12-17T15:07:12Z (GMT). No. of bitstreams: 1 AntonioLVBJ_DISSERT.pdf: 779211 bytes, checksum: 54fefe5a04bf7b4b0a7147da442785be (MD5) Previous issue date: 2014-05-14 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior / Brazilian humorist Mill?r Fernandes has a widespread work, from literature to visual arts and journalism. Yet there is the indelible mark of humor, wherever it is. In this dissertation, I propose a reading of his work by deploying French philosopher Jacques Derrida, emphasizing how the construction of the other happens. I aim at Mill?r Definitivo: A B?blia do Caos, but other works will be contemplated when necessary. In order to carry out the analysis, I will offer a general exposition of Millorian work (especially Mill?r Definitivo:A B?blia do Caos) and a general sketch of Derridian philosophy, centered on his discussion on Western philosophy, literature and alterity. At the analysis itself, I will set the methodological axis on the quasi-concept of invention. The analysis shall stress the hypothesis of humor as the experience of alterity and impossible, showing off the humorist as the totally other. In the Millorian text, that experience is characterized by conflictivity, without possibility of resolution / O humorista brasileiro Mill?r Fernandes teve uma produ??o distribu?da em v?rios campos, desde a literatura at? as artes visuais e o jornalismo. Em qualquer delas, no entanto, havia a marca indel?vel do humor. Nesta disserta??o, proponho uma leitura de sua obra a partir de Jacques Derrida, enfatizando como se d? a constru??o do outro. O foco recair? sobre Mill?r Definitivo:A B?blia do Caos, mas outros textos tamb?m ser?o contemplados. Para empreender a an?lise, farei uma exposi??o geral da obra milloriana (especialmente Mill?r Definitivo:A B?blia do Caos) e esbo?arei, em linhas gerais, a filosofia derridiana, centrando-me em sua discuss?o sobre a filosofia ocidental, a literatura e a alteridade. No momento da an?lise propriamente dita, situarei o eixo metodol?gico no quase-conceito de inven??o. A an?lise dever? fazer emergir a hip?tese do humor enquanto experi?ncia da alteridade e do imposs?vel, situando o humorista enquanto totalmente outro. No texto milloriano, essa experi?ncia ? marcada pelo conflito, sem possibilidade de resolu??o

Esta dissertação apresenta um estudo do livro Wittgenstein‟s mistress (1988), do escritor estadunidense David Markson (1927 – 2010), cujo texto é narrado em primeira pessoa por uma mulher que se autodenomina Kate e que se apresenta como sendo o último ser humano sobrevivente no mundo. Habitando uma casa em alguma praia, ela senta-se diante da máquina de escrever e divaga sobre suas lembranças e viagens, misturando memória e imaginação, de forma a deixar-nos, nós, os leitores, sem um lastro firme para identificar o que é realidade e o que é ilusão. A análise aqui realizada aborda a estrutura paradoxal desse texto, que não consegue estabelecer de modo concreto um mundo ficcional no qual a personagem narradora habita, ou seja, não podemos saber o que realmente acontece ou não com ela. Esse efeito se dá principalmente por um estilo esquizofrênico que será relacionado com as reflexões e observações que o filósofo Ludwig Wittgenstein denomina ―doenças do intelecto‖, as quais, segundo o professor de psicologia clínica e escritor Louis A. Sass, aproximam-se da esquizofrenia. O objetivo desta pesquisa é examinar a maneira como se imbricam as relações entre a linguagem ficcional do livro de Markson e a realidade extratextual, através de uma visão wittgensteiniana que coloca a linguagem imersa na nossa forma de vida, ancorada sempre nas práticas e costumes compartilhados pela sociedade. A análise mostrará que mesmo em um texto onde predomina esse estilo esquizofrênico que faz a linguagem se fechar no mundo interior da personagem, e também no mundo intratextual, ainda há a possibilidade de rompimento deste solipsismo textual, conectando essa linguagem à esfera intersubjetiva e comunitária. Esse rompimento só é possível através da apresentação (ou exteriorização) de vivências, que depende de uma confiança na linguagem como prática social e imersa na nossa forma de vida, assim como de uma confiança na prática de contar histórias. / This M.A. thesis analyses Wittgenstein‟s Mistress (1988), a book written by the American author David Markson (1927-2010), whose text is narrated, in the first person, by a woman who calls herself Kate. Declaring that she is the last remaining person alive in the world, Kate sits in front of her typewriter, in a house on a beach somewhere, revisiting her recollections and her travels. Memory and imagination are mixed in such a way that Kate leaves us, the readers, without a solid basis to separate reality from delusion. The focus of my research is the analysis of the paradoxal structure of this text that cannot sets up a fictional world in a concrete way. We cannot find a fictional world in which the narrator lives and so we cannot really know what happens or not happens to her. This effect exists mainly in a schizophrenic style which will be related to the reflections and observations made by the philosopher Ludwig Wittgenstein about the ―sicknesses of the understanding‖ – which according to professor of clinical psychology and writer Louis A. Sass, come close to the realm of schizophrenia. The aim of this research is to examine the imbrications respecting the fictional language of Markson‘s book and the extratextual reality. This will be done through a Wittgensteinian perspective of language as something absorbed in our form of life, and grounded in practices and mores shared by society. The analysis will show that even in a text in which that schizophrenic style prevails, which makes language close itself in the internal world of the character and the text, there is still the possibility to break with this textual solipsism and connect language to the intersubjective and communal sphere. This break can only occur through the presentation (or exteriorization) of experiences that depend on a trust in language as a social practice immersed in our form of life, and on the trust in the practice of telling stories.

Cette thèse propose une réflexion théorique à partir du concept de souveraineté et, plus précisément, de la notion d’exception qui est au centre d'une des tentatives les plus canonique de sa définition, celle de l’Allemand Carl Schmitt dans Théologie politique: «Est souverain celui qui décide de la situation exceptionnelle.» Nous commençons par y mettre en lumière certaines des relectures les plus marquantes de ce texte qui, tout au long du XXe siècle, s’établissent en un réseau de commentaires pensant le pouvoir, ses sources et les formes de ses manifestations mais aussi, encore qu’à distance, l’évolution d'une réflexion sur les politiques de la littérature et le type spécial de performativité rendu possible par le littéraire (en particulier ici: Walter Benjamin, Jacques Derrida, Giorgio Agamben, Peter Sloterdijk, Gilles Deleuze). Dans un second temps, la thèse fait sienne une perspective large (ancrée dans les études littéraires mais qui ne quitte pas les parages de la philosophie et de la théorie critique) pour analyser l’œuvre de Bernard-Marie Koltès choisie comme terrain d’exploration et de mise à l’essai des hypothèses du premier pan de la réflexion. En plus de participer à l’accroissement des connaissances quant à cette dernière œuvre (et plus particulièrement les textes dits «de jeunesse», sensiblement moins abordés par la critique), la thèse alimente une discussion en cours dans les études littéraires aujourd’hui en constatant, à son tour mais depuis un point de vue qui lui est propre, qu’en régime contemporain la question d’un agir social ou politique du texte littéraire dépasse largement l’interrogation sur les formes de l’engagement et peut moins que jamais se résoudre dans la seule figure théorique d'une relation stable entre des instances décisionnelles abstraites négociant, par et dans des énoncés de langage, le déploiement concret d’une action dans le monde. / This thesis proposes a theoretical reflection based on the concept of sovereignty and, more precisely, on the notion of exception which is at the center of one of the most canonical attempts of its definition, that of the German Carl Schmitt in Political Theology: “Sovereign is he who decides on the exception.” We begin by studying some of the most important readings of this text established, throughout the twentieth century, in a network of comments thinking about power, its origins and the forms of its manifestations but also, even though at a distance, about the evolution of a reflection on the politics of literature and the special type of performativity made possible by the literary (in particular here: Walter Benjamin, Jacques Derrida, Giorgio Agamben, Peter Sloterdijk, Gilles Deleuze). Then, the thesis takes a broad perspective (rooted in literature but not leaving the area of philosophy and critical theory) to analyze the work of Bernard-Marie Koltès (and more particularly the so-called texts of “youth,” much less studied). Hence the thesis aims to feed a long lasting argument within the literary studies as it notes, in its turn, but from its very own point of view, that in contemporary times the question of social or political action of the literary text goes far beyond the questioning of the forms of engagement, and can less than ever be solved solely in the theoretical figure of a stable relation between abstract decision-making bodies negotiating, by and in statements of language, the concrete deployment of an action in the world.

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

Les fictions de Simone de Beauvoir constituent le centre de gravité d’une œuvre protéiforme. Encore largement méconnue et nettement dévaluée par rapport aux essais et aux Mémoires, l’œuvre romanesque de l’écrivaine se situe aux limites indécises du littéraire, du philosophique, de l’historique et de l’autobiographique. Son projet littéraire s’enracine dans l’existence, c’est pourquoi nous avons choisi d’étudier la genèse de l’œuvre romanesque et le processus d’invention de soi depuis les années de jeunesse jusqu’à la naissance de l’écrivaine et la reconnaissance publique de ce statut en 1943. Le projet d’écrire un « roman métaphysique », qui détermine des modalités d’écriture spécifiques, a été influencé et soutenu par une conception existentialiste de l’homme et du monde que Beauvoir est une des premières à définir dans l’après-guerre. Ce projet de nature éthique, qui porte l’idée d’une littérature « engagée », n’est pas seulement collectif dans les enjeux et les principes qui le sous-tendent, mais aussi singulier : derrière la permanence d’un éthos d’écrivain, on trouve chez Simone de Beauvoir un constant réajustement du roman à l’Histoire et à son expérience propre, ce qui explique les nécessaires mutations du roman et de l’écriture de L’Invitée à La Femme rompue. Par l’exploration d’un imaginaire et d’une écriture singulière, nous pensons redonner à Simone de Beauvoir la place qui lui revient dans l’histoire du roman français au XXe siècle, entre Gide, dont elle est l’héritière, et les représentants du Nouveau Roman. / Simone de Beauvoir’s fictions are the center of gravity of a multifaceted body of work. Still relatively unknown and largely underestimated in comparison with her essays and memoirs, her fictional work is situated at the indistinct limits of the literary, the philosophical, the historical and the autobiographical. Beauvoir’s literary project has its roots in existence, which explains why I have chosen to study the genesis of her fictional work and the process of the invention of self from her youth up to her birth as a writer and the public recognition of this status in 1943. Her idea of writing a “metaphysical novel”, one that fixes specific writing requirements, was influenced and buttressed by an existentialist conception of the human being and the world that Beauvoir, one of the first, defined postwar. This basically ethical project, which assumes the idea of a literature of engagement, is not just collective in its stakes and the principles it underpins but is also singular : behind the permanence of a writer’s ethos, there is in Simone de Beauvoir a constant readjustment of the novel to History and to her own experience, elucidating the novel’s and her writing’s necessary mutations from She Came To Stay to The Woman Destroyed. Through the exploration of the imaginary and of a singular style, I wish to give Simone de Beauvoir her rightful place in the history of the 20th century French novel, between Gide, her predecessor, and the representatives of the “Nouveau roman”.