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Montréal. / Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation.

Le film Punch-Drunk Love, réalisé en 2002 par Paul Thomas Anderson, présente une approche formelle hors du commun et expose, de manière flagrante, le travail énonciatif du film. L’énonciation filmique qui est sienne pousse le spectateur à se distancer de l’oeuvre et l’incite à se questionner sur la signification des codes mis en place. Ce dernier est également stimulé à remettre en question ses propres attentes ainsi qu’à s’interroger sur son plaisir spectatoriel. Nous proposons, dans le cadre de ce mémoire, de faire l’analyse de l’énonciation filmique du film à travers l’approche abstraite de Christian Metz. Grâce à sa théorie, qui affiche la préséance du film sur l’auteur en matière de signification des codes, nous mettrons en évidence l’idée que les constructions énonciatives fortes reprennent à leur compte l’histoire racontée par le film. L’énonciation réfléchit et redouble le film. Avec une telle approche, le film expose son rapport fusionnel entre le fond et la forme. L’énonciation, vue sous cet oeil, devient l’alter ego du film. / In Punch-Drunk Love (2002), Paul Thomas Anderson applies a unique creative process that reveals the very inner workings of enunciation in the film. His filmic approach functions to distance the spectator from the film and, to various degrees, challenges the spectator to question the codes that create an aesthetic of illusion. Drawing on Christian Metz’s abstract approach to enunciation, this thesis proposes to analyse the filmic enunciation of Anderson’s film. By means of this theoretical approach, we become aware that the enunciation of the film stimulates the spectator into realizing that the implied meaning of the enunciation is one that can be understood within its own self. The “who” and the “what” are no longer questions that are answered from the “outside”. The “who” is the film and the “what” resides in it. What we are observing is the self–reflexive nature of enunciation. / Pour
 respecter
 les
 droits
 d’auteur,
 la
 version
 électronique
 de
 ce
 mémoire
 
 a
 été 
dépouillée 
de 
ses 
documents 
visuels 
et
 audio‐visuels.
 La
 version
 intégrale
 du 
mémoire
 
a 
été 
déposée 
au
 Service
 de 
la 
gestion 
des 
documents 
et 
des 
archives
 de
 l'Université
 de 
Montréal.

[pt] Frente às experiências de crise vividas pela comunidade humana, principalmente a partir de meados do século XX, a solidariedade emergiu como tema de fundamental importância tanto do ponto de vista ético quanto antropológico. Dessa forma, recebeu diferentes interpretações dos mais variados campos do saber. Na teologia cristã, ganha relevância nos documentos do magistério assim como na reflexão de diferentes linhas teológicas. Assim se pode compreender sua especificidade e importância no pensamento de J. B. Metz, para quem o termo se torna uma categoria de grande relevância no desenvolvimento de suas ideias, associando-se a outros dois conceitos-chave para o teólogo: memória e narração. Tendo isso em vista, a presente dissertação procura promover uma aproximação entre o sentido teológico de solidariedade, dando ênfase ao pensamento de Metz, mas ampliando a questão para outros espaços teológicos, como o contexto latino-americano e o atual apelo do papa Francisco na direção de um resgate sobre o sentido mais profundo da solidariedade. Além disso, procura-se alargar o horizonte de reflexão a partir da proposição de um diálogo possível entre a obra do teólogo alemão e a riqueza literária expressa pela literatura de João Guimarães Rosa, reconhecidamente um dos maiores poetas da literatura brasileira. Do corpus rosiano, destaca-se na pesquisa a riqueza de seus contos, pondo-se acento principal no conto Sorôco, sua mãe, sua filha, em que o autor proporciona a seus leitores uma sensível reflexão sobre o sofrimento e a solidariedade. A pesquisa põe em relevo a importância dos dois campos do saber, suas especificidades e pontos de encontro, procura apresentar o sentido de solidariedade expresso em cada um dos autores e, finalmente, reconhecer espaços de diálogos possíveis entre os escritores, e também em relação ao pensamento teológico latino-americano e às convicções expressas pelo atual pontífice. / [en] In view of crisis lived by the human community, mainly from the mid-twentieth century onwards, solidarity emerged as a theme of fundamental importance both from an ethical and anthropological point of view. In this way, it received different interpretations by the most varied fields of knowledge. In christian theology, it gains relevance both in magisterial documents and in the reflection of different theological lines. Thus, its specificity and importance in J.B. Metz can be understood, for whom the term becomes a category of great relevance in the development of his ideas, associating it with two other key concepts for the theologian: memory and narration. With that in mind, this dissertation seeks to promote an approximation between the theological sense of solidarity, emphasizing Metz s thought, but expanding the issue to other theological spaces, such as the Latin American context and the current appeal of Pope Francis in the direction of of a rescue on the deepest sense of solidarity. In addition, it seeks to expand the horizon of reflection from the proposition of a possible dialogue between the work of the German theologian and the literary wealth expressed by the literature of João Guimarães Rosa, recognized as one of the greatest poets in Brazilian literature. From Rosiano s corpus, the richness of his short stories stands out in the research, with the main accent being placed on the short story Sorôco, sua Mãe, sua daughter, where the author provides his readers with a sensitive reflection on suffering and solidarity. Thus, the research highlights the importance of the two fields of knowledge, their specificities and meeting points, seeks to present the sense of solidarity expressed in each of the authors and, finally, recognize spaces for possible dialogues between the writers, and also in relation to Latin American theological thought and the convictions expressed by the current pontiff.

[pt] Esta dissertação fundamenta-se no pensamento de J. B. Metz, especialmente na sua concepção de Teologia Política em diálogo com o mundo, ou melhor, a Nova Teologia Política como instrumento útil para a Igreja em saída. O autor ressalta a dimensão dialética na teologia para assimilação das perguntas feitas pela modernidade ao cristianismo, oportunidade de responder ou dialogar, em contraposição às tendências de fechamento e resistência à supostas ameaças. A Teologia Política propõe aproximação do cristianismo com a sociedade atual, assim ousamos provocar este diálogo e o encontro com a arte musical do grupo O Rappa. As noções de memória, narração e solidariedade estruturam a pesquisa, acompanhadas da questão fundamental do sofrimento das vítimas inocentes contra a perversa ideologia dos vencedores. Tais temas demonstram a versatilidade e o potencial da teologia de Metz no encontro com a letras do grupo. Trata-se de um texto dissertativo em que iniciamos apresentando a banda brasileira O Rappa, mostrando sua origem, raízes, símbolos e códigos. No capítulo seguinte, dedicamos atenção à Teologia Política de J. B. Metz, uma breve biografia do autor, seguida dos conceitos teológicos estruturais: memória, narração e solidariedade. No capítulo final, busca-se a confluência da Nova Teologia Política de Metz e a musicalidade de O Rappa, na construção do caminho reflexivo e dialogal. Embasados no pensamento do teólogo, apresentamos as novas possibilidades de encontro do cristianismo com a sociedade moderna. Sinalizamos, por fim, as convergências de temas, como exemplo: a injustiça, a desigualdade e o preconceito – presentes tanto na teologia de Metz como na produção artística de O Rappa. Supõe-se que este pequeno aceno promovido pela pesquisa possa aflorar novas reflexões e contribuir para uma teologia memorativa-narrativa-prática comprometida com seu tempo, solidária com as vítimas e presente no seu mundo, em afinidade com o pensamento deste notável teólogo. / [en] This dissertation is based on the thinking of J. B. Metz; especially focusing on his conception of Political Theology in dialogue with the world, or rather, the New Political Theology as a useful instrument for the outgoing Church. The author emphasizes the dialectical dimension in theology to assimilate the questions posed by modernity to Christianity, the opportunity to respond or dialogue, in contrast to the tendencies of closure and resistance to supposed threats. Political Theology proposes an approximation of Christianity with today s society, so we dare to provoke this dialogue and engage with the musical art of the group O Rappa. The notions of memory, narration, and solidarity structure the research, accompanied by the fundamental question of the suffering of innocent victims against the perverse ideology of the winners. Such themes demonstrate the versatility and potential of Metz s theology in encountering the group s lyrics. This paper begins by introducing the Brazilian band O Rappa, showing its origin, roots, symbols and codes. Following this, we dedicate attention to J. B. Metz s Political Theology, a brief biography of the author, followed by structural theological concepts: memory, narration and solidarity. In the final chapter, the confluence of Metz s New Political Theology and the musicality of O Rappa is sought through reflection and dialog. Based on the theologian s thought, we present the new possibilities of meeting Christianity with modern society. Finally, we point out the convergence of themes, as an example: injustice, inequality, and prejudice – present both in Metz s theology and in the artistic production of O Rappa. It is assumed that this small nod promoted by the research can bring out new reflections and contribute to a memoir-narrative-practical theology committed to its time, in solidarity with the victims and present in their world, in affinity with the thought of this remarkable theologian.

This thesis, called The Relationship between Redemption and Emancipation in the Political Theology of J. B. Metz, concerns the political theology of J. B. Metz. The first part summarizes the influences, which shaped his theological thinking and it presents his concept of political theology. The next part asks a question about the relationship between the ideas of redemption and emancipation in Metz's theology. This is based on the interpretation of a chapter from his book, Glaube in Geschichte und Gesellschaft, which concerns the topic. But before the interpretation of Metz's text, the problems of relationship between the two terms and of their origin are described. The extent of the field of meaning of the term "emancipation" is illustrated by the examples of the thinking of Immanuel Kant, Karl Marx and Jürgen Habermas. A large part is dedicated to the figures of the Frankfurt school, Theodor Adorno and Walter Benjamin, and their specific approach to the idea of emancipation and the Enlightenment tradition. The final thesis rejects the opinion, that the ideas of emancipation and redemption in Metz's theology coincide too much and it puts stress on the importance of the term "history of suffering" for solving this problem of Metz's theology. Keywords political theology, J. B. Metz, emancipation,...

This thesis examines the story of a thirteenth-century woman from the diocese of Metz, named Sibylla of Marsal, as the contemporary monk and chronicler Richer of Senones recounts it in his Gesta Senoniensis Ecclesiae. According to Richer, Sibylla feigned sanctity using various props--including a demon costume that she wore to terrify villagers--and was locally venerated as a holy woman before authorities discovered her fraudulence. This thesis offers the first full-length study of Sibylla and is the first study of this fascinating case to focus on Richer's perspective. After establishing the single extant thirteenth-century manuscript of the Gesta Senoniensis Ecclesiae--Paris, BnF ms. lat. 10016--as the most reliable witness to Richer's original text, this study analyzes Richer's agenda to situate Sibylla within his apocalyptic worldview and his desire to denigrate the emerging mendicant orders. Finally, Sibylla's story is placed within the broader context of thirteenth-century women's religion; because Sibylla exhibited accepted behaviors associated with female sanctity and yet was not ultimately considered a saint by her contemporaries, her story provides insight into the social construction of sainthood in the High Middle Ages. Several appendices edit and translate the crucial medieval sources for the thesis.

Thèse de doctorat : HISTOIRE : Metz : 1997. / 1997METZ001L. 230 ref.

Thesis--New York University. / Bibliography: p. 280-293.

Les terres noires sont des sédiments urbains épais et sombres, situés entre les stratifications antiques et médiévales des anciennes agglomérations. Leur étude est un enjeu pour comprendre les sociétés du premier Moyen Âge et leurs pratiques des espaces urbains. L'interprétation de ces niveaux nécessite la mise en place d'études fines, recourant notamment à la géoarchéologie. En se fondant sur un inventaire des observations de terres noires, dans cinq régions du nord de la France (Haute-Normandie, Picardie, Île-de-France, Champagne-Ardenne et Lorraine), 20 stratifications de terres noires, réparties à Beauvais, Metz et Noyon, ont fait l'objet d'une approche géoarchéologique. L'important potentiel d'information contenu dans les terres noires a pu être démontré. La complexité de leur organisation a pu être soulignée, grâce à l'analyse stratigraphique et celle de leur structuration latente. La caractérisation physico-chimique de 89 unités stratigraphiques ainsi que l'analyse micromorphologique de 79 lames minces a permis d'identifier les processus à l'origine de la formation des terres noires et, au-delà, de proposer des activités et des pratiques socio-spatiales urbaines qui ont pu les créer. La diversité des apports à l'origine des terres noires a pu être mise en évidence. Ce sont souvent de petits dépôts rythmés et hétérogènes, pouvant correspondre à des rejets d'activités multiples, domestiques ou artisanales, ou parfois à des aménagements d'espaces intérieurs ou extérieurs. Cette recherche apporte donc des informations substantielles à l'étude des espaces urbains entre Antiquité et Moyen Âge et propose une approche et des pistes de travail pour en analyser la complexité.