Depuis quelques décennies, la communauté scientifique s’intéresse de plus en plus à l’œuvre de Jean Potocki (1761-1815), l’auteur du Manuscrit trouvé à Saragosse. Ce « roman encyclopédique » apparaît comme un texte qui rassemble les regards que l’écrivain porte sur le monde. Par ses nombreux voyages, il découvre la diversité humaine et rapporte ses expériences. Erudit inlassable, il construit un discours universaliste qui dépasse les particularités. Homme politique, Jean Potocki fonde son rapport à l’autre sur le savoir et l’action. Dans l’espace littéraire, son écriture reste marquée par les croisements de tons, le syncrétisme culturel et philosophique. En parcourant cette œuvre riche en approches et en thématiques, on constate que la question de l’homme demeure incontournable. Jean Potocki n’écrit pas seulement pour le plaisir de décrire l’inconnu : il veut comprendre et façonner une manière d’aborder l’autre. Grâce à la publication des Œuvres entreprises par Dominique Triaire et François Rosset depuis 2004, il est possible d’avoir une vue élargie sur les mécanismes qui participent à la construction de l’altérité chez Jean Potocki. L’intérêt de ce travail consiste à montrer comment l’auteur réunit ses connaissances, ses expériences et son imagination pour créer un univers qui transcende les barrières conventionnelles pour dire la complexité du monde. / For several decades, the scientific community has become more and more interested in the work of Jean Potocki (1761-1815), the author of the Manuscrit trouvé à Saragosse. This "encyclopaedic novel" appears as a text that gathers the writer's view of the world. Through his many trips, he discovers human diversity and reports his experiences. An untiring erudite, he constructs a universalist discourse that transcends peculiarities. A politician, Jean Potocki bases his report on the other on knowledge and action. In the literary space, his writing remains marked by the crossing of tones, cultural and philosophical syncretism. Through this work rich in approaches and themes, we see that the question of man remains inescapable. Jean Potocki writes not only for the pleasure of describing the unknown: he wants to understand and shape a way of approaching the other. Thanks to the publication of the works undertaken by Dominique Triaire and François Rosset since 2004, it is possible to have an enlarged view on the mechanisms that participate in the construction of otherness in Jean Potocki. The interest of this work is to show how the author combines his knowledge, experiences and imagination to create a universe that transcends conventional barriers to mean the complexity of the world.

Mémoire court / Ce mémoire aborde le défi de l’altérité à l’époque de la technique moderne chez Alain Finkielkraut en trois chapitres. Le premier présente la conception de l’altérité chez Finkielkraut qui se définit par son indisponibilité. Dans La sagesse de l’amour (1984), Finkielkraut désire réhabiliter l’amour pour penser le rapport originel à autrui. Selon lui, ce concept aurait été déconsidéré depuis les Temps modernes, car identifié au besoin « impérialiste » d’agir sur l’Autre et de le posséder. Or, Finkielkraut le conçoit tout autrement. L’amour repose selon lui sur une présence qui ne se laisse pas enclore. Où il y a amour, l’altérité prend toute la place. Dans la relation amoureuse, l’Autre s’installe en nous et nous reste étranger, c’est-à-dire qu’il nous est indisponible. Pour le dire tautologiquement, l’Autre est autre. Finkielkraut pense donc le rapport originel à autrui par l’amour qui, lui, se caractérise plus fondamentalement par l’indisponibilité. Au second chapitre, on s’intéresse à la dialectique entre culture et technique dans Nous autres, modernes (2005). Anciennement, les arts voyaient dans les manifestations particulières de l’être l’opportunité de toucher l’universel alors que la technique tend à uniformiser le monde par son regard. La conclusion importante de ce chapitre est que ce regard technique s’est instauré partout, y compris dans les sciences sociales, ces sciences qui traiteraient des mêmes sujets que les humanités, mais avec la rigueur des sciences naturelles. Dans le dernier chapitre, on verra que les Temps modernes, avec l’instauration de la rigueur du calcul et de la technique, ont affecté la conception de l’altérité. Pour comprendre ce changement, Finkielkraut dans « Peut-on ne pas être heideggérien? » (2015), reprend les grands pans de l’analyse de Martin Heidegger dans ses textes sur la technique moderne. Finkielkraut estime que nous serions rendus à l’époque où l’homme verrait tout, y compris lui-même, comme un fonds disponible. Aux yeux de Finkielkraut, tout devient interchangeable (les lieux, le sexe, les cultures, les populations, etc.) parce que tout devient disponible à l’époque de la technique moderne. Finkielkraut écrira que « nulle altérité ne résiste à l’arraisonnement ». Notre mémoire s’intéressera aux nombreuses conséquences qui découlent de cette disponibilité de l’altérité, notamment la victoire sur la différence et un monde de plus en plus homogène. / To address the challenge of otherness in the age of modern technology in Alain Finkielkraut’s philosophy, three chapters are necessary. The first one presents the conception of otherness in Finkielkraut’s philosophy, which defines otherness by its unavailability. In the Wisdom of Love (1984), he wants to rehabilitate love to think the original relation to the other. For him, this concept would have been dismissed in Modern Times because it was identified with the « imperial » need to act on the Other and to possess him. Finkielkraut conceives love otherwise. Love is a presence that can not be enclosed. Where there is love, otherness takes the entire place. In the love relationship, the Other sets up in ourselves and is a foreigner, which means it is unavailable. To say it in a tautology, the Other is other. Finkielkraut thinks the original relation to the other with love that is defined fundamentally by its unavailability. In the second chapter, our interest will be on the dialectic between culture and technology in Nous autres, modernes (2005). It used to be the casethat the particular manifestations of being that the humanities studied was the opportunity to touch the universal while technology tended to standardize the world by its gaze. The important conclusion of this chapter is that the imprint of technology is now established everywhere, including in the social sciences, who understand themselves as the sciences that treat the same subjects as the humanities but with the same rigor as the natural sciences. In the last chapter, we will see that in Modern Times the urge of calculation and technology have affected the conception of the otherness. To understand this change, Finkielkraut in « Peut-on ne pas être heideggérien? » (2015) draws on large sections of the analysis of the question regarding technology by Martin Heidegger. Finkielkraut thinks that we are living at a time when the human being sees everything, including himself, as available funds (Bestand). In the eyes of Finkielkraut, everything is now interchangeable (places, sex and gender, cultures, populations, etc.) because everything is avaible at the time of modern technology. Finkielkraut writes that « no otherness will resist the arraignment (Gestell)». In this study, we will strive to sort out the consequences that follow from this availability of the other, especially the victory on the difference and a homogeneous world.

Il est indéniable que la notion de la famille dans l’œuvre camusienne est centrale ; cet axe fondamental est soutenu par d’autres thèmes majeurs, tels que la fraternité, la solidarité, et surtout l’humanité. Nous avons opté pour quatre axes pour les analyser :Dans la première partie, la filiation naturelle, il s’agit moins de montrer la part autobiographique que de démontrer l’impact des figures familiales sur l’œuvre camusienne. La progression du personnage du fils vers le cycle de la révolte participe à l’émergence d’un désir de fraternité ; celui-ci fait l’objet de la deuxième partie.L’étude de cette tendance vers la fraternité nous permet de déceler une mesure nécessaire dans les relations. Cette mesure, rappelée dans « le silence éloquent » d’une mère, met en évidence l’importance de la « pensée solaire », inhérente à la Méditerranée ancestrale, étudiée dans la troisième partie. Les paradigmes rattachés à cette mer ancestrale ne sont pas exclusifs à une communauté sans une autre ; leur adoption dans l’œuvre camusienne permet à celle-ci d’aspirer vers une parenté plus large : la parenté dans l’humanité, analysée dans la dernière partie. Nous avons conclu à la nécessité d’imaginer « le premier homme » heureux ; l’inachèvement du Premier homme ne devrait pas, en effet, estomper l’évolution de la conception de la famille vers une parenté humaine, mise en évidence dans mythe de l’autochtonie. / The notion of family is highly central to Camus’s work. The axial nature of this concept is an impetus to begin this thesis which aims at examining the expanse of this concept on Camus’s thinking. This major theme is supported by other ones as brotherhood, solidarity and above all humanity. We have chosen to divide it on four parts of analysis:The first part deals with natural descent. It is more about the impact of family characters on Camus’s work than on the autobiographical side; dealt throughout the three adopted cycles Absurdism, revolt, and at last love and reconciliation. The evolution of the son character towards the cycle of revolt in the mid of inevitable ups and downs took part in the emergence of fraternity desire, and this is the major theme in the second part. The study of this trend towards brotherhood has allowed us to uncover a necessary measure in the relationships. This measure recalled in “the eloquent silence” enhance the importance of “la pensée solaire” inherent in the ancestral Mediterranean Sea, and this makes it an object of study in the third part. The paradigms linked to this ancestral Sea are not exclusively specific to one community without another. Their adoption in Camus’s work allowed it to strive towards a larger parenthood; the parenthood of humanity dealt with in the last part. We have concluded by asserting the necessity of imagining the “first man” happy. The incompletion of Le Premier homme should not blur the evolution of the family conception to a human relationship, highlighted in the myth of autochthony.

The thesis explores the ways in which Serbian ethnic media in Canada represent their own group and “Others”, specifically Croats, Slovenians and Catholics, Bosniaks, Albanians and Muslims, Montenegrins and the West. The research investigates the convergence of these representations with Canadian multiculturalism. The thesis epistemologically feeds from Jean Jacques Rousseau’s 18th century theories of recognition and patriotism, Stuart Hall’s (1997) theory of representation and identity and Edward Said’s (1978) theory of Orientalism, and is further guided by the theoretical frameworks of Charles Taylor’s (1994) politics of recognition, Benedict Anderson’s (1992) long-distance nationalism and Maria Todorova’s (1994) Balkanism. Qualitative content analysis through purposive and sequential sampling of Serbian ethnic broadcasting is conducted to gauge the programs’ representations of the “Self” and “Others”. Ethnic media provide a method to promote a minority group’s heritage, but also to facilitate communication between various cultural, ethnic, religious and racial groups. In the age of an increased critique of multiculturalism, the role of ethnic media rises in importance. The findings of the thesis show that Serbian ethnic media employ Canadian multiculturalism to promote Serbian heritage, but also to stereotype other groups. Applying the theoretical juxtaposition of multiculturalism, nationalism and “Othering”, this research argues that through negative identification of “Others”, Serbian ethnic media deviate from Canadian multiculturalism that calls for a positive recognition of all Canadian groups.

In this study we seek to understand how ordinary Chinese people perceive Westerners as the Other through examining their intercultural experiences. In contrast to the numerous studies of social elites’ Occidentalism, this study shifts the attention to ordinary people’s perceptions in a fast changing Chinese society. From an interpretive perspective, we conducted semi-structured interviews with 16 participants living in a coastal city in Mainland China. The key findings suggest that the Chinese public has its own way of perceiving and presenting the Western Other. Also, this Other, being defined in an on-going process of intercultural interaction, connotes a wider meaning – a unity of opposition and complementarity, exclusion and inclusion. Thus this study has deepened our understanding of the Chinese construction of the Western Other. The findings can be used in developing intercultural communication training programs to facilitate deeper contact and better dialogue between the Chinese and Westerners.

Les rapports du corps et de la médecine n'ont cessé de se transformer tout au long de notre histoire. Cette évolution a été marquée de façon radicale par la révolution scientifique figurée par Copernic pour ce qui est de l'univers et Vésale pour ce qui est du corps. Sous l'égide de Descartes le corps - déjà infériorisé par le dualisme de Platon - s'est vu réduit au statut d'objet de science, de mécanique, par la suprématie du dualisme épistémologique. Le but de ce travail est tout d'abord d'essayer de comprendre le cheminement d'une telle réduction, d'en montrer ses origines ainsi que ses dérives passées et actuelles avec leurs conséquences éthiques dès lors qu'il s'agit de penser le corps et, par lui, la médecine. Ensuite il faudra se poser la question de savoir dans quel cadre concevoir ce corps pour lui rendre toute sa place, celle que lui donne l'incarnation qui fait du patient une totalité irréductible à sa maladie. / The relationships of the body and the medicine did not stop being transformed throughout our history. The evolution was marked in a radical way by the scientific revolution inaugurated by Copernic as for the universe and by Vésale as for the body. Under the aegis of Galilee then of Descartes, the body – already underestimated by the dualism of Platoon – saw itself reduced in the status of object of science, mechanics, under the ascendancy of the epistemological dualism. The purpose of this work is first of all to try to understand the progression of such a reduction, to show its origins as well as its past and current drifts, with their ethical consequences, since it is a question of thinking the body and, by it, of the medicine. Then the question arises to know which frame must be conceived to give back the body its entire place that the embodiment gives to it making the patient an inflexible whole which can't be confined to illness.

Véritable phénomène de société, le mixed martial arts ou MMA est l'un des sports qui connaît actuellement le plus grand essor. Dans la traduction française, le terme d'arts martiaux mixtes revient fréquemment. Sport contemporain par excellence, le MMA est né et s'est développé au cours du XXème siècle où il est resté très marginalisé, pour connaître son aspect formalisé et médiatisé seulement dans les années 1990. Cette discipline qui a connu un processus de sportivisation inversée, est marquée par une réception difficile de la part des autorités, des fédérations sportives olympiques et de l'opinion publique : la cage qui accueille les combats, le sang et les frappes sur un homme au sol posent des problèmes d'acceptation. Ces éléments négatifs se retrouvent dans les représentations sociales et individuelles, chez les réponses des enquêtés qu'ils soient initiés ou non-initiés aux pratiques de combat hybride. En France, la compétition de MMA n'est pas autorisée alors que les clubs l'enseignent auprès de pratiquants de plus en plus nombreux. Les arts martiaux mixtes réunissent les contraires : une altérité fondée sur l'utilisation de l'agression instrumentale potentiellement destructrice, une réciprocité violente, mais socialisatrice et un sport « viril » capitaliste qui se nourrit du libéralisme et du débridement du pouvoir étatique. Pris dans un contexte post-moral, l'extériorisation d'une violence dans le MMA est à contre-courant du processus de pacification que la société connaît, associé à la quête de sécurité. Enfin, l'engagement corporel intense de ce sport ne correspond pas au culte du corps en bonne santé qui prédomine désormais. De ce fait, cette discipline questionne sur la place des sports-spectacles violents au sein d'une société pacifiée. / Nowadays MMA is truly a phenomenon of society, it is among the fastest-growing sports of our time. The French translation frequently uses the words: arts martiaux mixtes. Contemporary sport par excellence, MMA was born and expanded during the late 20th century where it remained very marginalized. Its expansion came in the 1990s thanks to media coverage. This sport experienced an inversed process of sportivization. It is characterized by a hesitant reception from authorities, Olympic sport federations and public opinion: the cage, blood and hitting a grounded opponent pose problems for many observers. These negative aspects may be found in the social and individual representations in the answers of surveyed individuals, both initiated and non-initiated to hybrid combat sports. Mixed Martial Arts competition is not allowed in France, while athletes are more and more numerous within French MMA academies and gyms. This sport combines opposing concepts: otherness based on the utilization of instrumental, potentially destructive aggression, a violent but socializing reciprocity and a manly, capitalist sport which is based on liberalism and a stripping of state power. Taken in a post-moral context, the violence acts out against the process of pacification. This process is associated with a search for security and peace. Finally, the intensive bodily engagement of MMA does not correspond with the healthy body cult which predominates nowadays. Therefore, this practice questions the role of sport entertainment within a peaceful society.

O presente trabalho visa estabelecer um exercício de perspectiva entre arte e loucura. Atentando para aquilo que é outro, heterogêneo, estrangeiro, constrói- se o terreno para perguntar o que pode a loucura dizer e revelar sobre a arte e a história da arte, e o que pode a arte dizer sobre a loucura. Paralelamente, pergunta-se pelo potencial da antropologia em relação a ambas: como a etnografia e a atitude antropológica podem se construir como paradigma para a teoria e a crítica de arte? A partir da imersão etnográfica em um contexto de reclusão onde arte e loucura se encontram - a oficina de criatividade de um hospital psiquiátrico -, pergunta-se o que podem a antropologia e a etnografia diante da loucura, suas obras e processos. Discute-se, então, uma “virada etnográfica” na arte contemporânea e uma “virada antropológica” ou “etnográfica”, ainda por realizar, na crítica de arte, situando-a enquanto experiência vivida, imersão e criação. Como transformar essas experiências em paradigma para pensar não só as artes dos outros, mas outras artes, outras possibilidades e modos de ser da arte? A partir de visões de diferentes formas pelas quais a busca e o contato com a alteridade se fizeram nas artes visuais, chega-se a indagar pela arte dos loucos. Nesse percurso são mobilizados diferentes referenciais como o Surrealismo, Jean Dubuffet, Arnulf Rainer, Bispo do Rosário, Michel Foucault, entre outros. Nesse exercício, não se perdeu de vista a dimensão política da exclusão dos atores sociais tidos como loucos. A escrita foi vista enquanto tarefa ética frente à memória do sofrimento dos excluídos. A todo o instante, é retomado o questionamento sobre como seguir a linha que liga arte e loucura, sem confirmar compromissos policiais e asilares com as instituições intoleráveis e repressivas de nossa cultura. / This thesis intends to undertake an exercise of perspective between the fields of art and madness. Focusing on what is heterogeneous, stranger, other respect to ourselves and our culture, it puts forward the question about what can madness reveal about art and the history of art, and what can art tell us about madness. This thesis also asks about the potential of anthropology on relating to both art and madness: how can ethnography and an anthropological attitude constitute themselves as a paradigm to art criticism and to the theory of art? Departing from the ethnographic immersion into a universe of reclusion where art and madness meet – the creativity workshop of a psychiatric hospital -, this dissertation investigates the potentialities of anthropology and ethnography in face of madness, its works and processes. An “ethnographic turn” in contemporary art is, then, discussed, as well as an “ethnographic turn”, yet to accomplish, in art criticism, figuring it as intensive experience, immersion and process of creation. How to transform these experiences into a paradigm not just to think the arts of the others (“outsider arts”), but also to think other kinds of art, different possibilities and alternative concepts of art? Departing from several different ways by which the quest and the contact with alterity and otherness were made in the visual arts, the thesis approaches the art of the insane. Along this path, different artistic and philosophical references are mobilized such as Surrealism, Jean Dubuffet, Arnulf Rainer, Bispo do Rosário, Michel Foucault, among others. In this exercise, the political aspects regarding the process of exclusion of social actors categorized as mad are never out of sight. The act of writing was assumed as an ethical task before the necessity of remembering the suffering inflicted to the mad by society. The text constantly reiterates the questioning about how to follow the path that connects art and madness without confirming compromises with intolerable and repressive institutions of our culture.

In this study, I analyze Zac O´Yeah´s novel Tandooriälgen (2006) and discuss how it relates to postcolonial theory and terms like otherness and mimicry. The novel takes place in a not so distant future, where Sweden and Europe have joined the Asian Union which is governed by India. Herrman Barsk, a detective in his hometown of Gothenburg (now called Gautanpuri) has to solve a crime involving four murdered victims that have been grilled in a tandoori oven. The case leads Barsk to the criminal underworld of Gautanpuri, where asocial natives roam the streets and religious extremists plan to liberate the city by use of terrorism. Basing my analysis on postcolonial theorists like Homi K. Bhabha and Frantz Fanon, I examine Barsks role as a colonial subject to identify a critical intention in the novel.

The ideas presented in the dissertation are based on the premise that the concept of Eastern Europe is a construction, which received its meaning(s) trough events and shifts, which also shaped the idea of Europe. To analyze these influences several labels and aspects of history, which constructed the concept of Eastern Europe can be recognized. The author argues that there can be five important aspects, forming the concept and providing meanings, discerned and considered: (1) geography associated with the Eastern border of the European continent and its flexibility; (2) cultural trends, mainly provided by the ideas of the Enlightenment, which present the eastern part as wild, barbaric and uncivilized; (3) political formations, which by military and political means conquered or lost the region, alienating it with the West or making it a 'buffer zone'; (4) Economic aspects of backwardness and the constant try to catch-up with the West; and (5) the discourse about the region itself, historiography depicting the formations and ascribing labels to discourse. Powered by TCPDF (www.tcpdf.org)