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In the latter half of the 20th-century and into the 21st, William Burroughs, Samuel Delany, and bioartists such as Oron Catts, Orlan, and Stelarc have all attempted to create works which respond to the increasing biopoliticization of contemporary society. The biopolitics of today seek to regularize life and structure it according to the imperatives of economic thought, a process by which the human becomes the Foucauldian homo oeconomicus. This restricted logic of biopolitics desperately tries to cover the explosive excess of the world today, what Bataille calls general economy. The artists under consideration in this work attempt to uncover this state of excess. While they are typically seen as exploring fantastic realms of the transgressive or, in the case of bioartists, attempting to emulate science fiction, in fact it is their realism which provokes. These artists reveal the heterological body, that which cannot be contained or described by the biopolitical regime. In so doing, they rewrite our standards of taste and point the way to understandings of the human that have been otherwise unavailable to us. William Burroughs in Naked Lunch highlights the manipulability of affect in contemporary society through the reduction of the human to bare life. He uses the figure of flesh/meat as a way of depicting the heterogeneous body and to generate a counter-affect, or free-floating affect, which unlike typical affect, is not worked up into emotion. Samuel Delany, too, describes the heterogeneous or destabilized body in the heterotopia of his novel Dhalgren. While Burroughs is unable or unwilling to gesture towards the potentially radical implications of the heterogeneous body, Delany proposes a new model of community that rests upon the revelation of the heterogeneous body, a community which acts as one informed by an affirmative biopolitics. Bioart, a somewhat vexed genre of art, attempts to construct artworks that both utilize and critique new science and technology of the body. The life sciences are complicit in the rise of the biopolitical state and further the view of the human as constrained by its material substrate. Fetishistic bioart problematically reproduces a fascination with the life sciences and advanced technology. However, the bioart which I call sacred has a demystifying effect and attempts to use the knowledge gained by the life sciences to expand our understanding of the human, going beyond the bounds of that very knowledge itself. / English

The purpose of the author is to give a resume of Johnson's England and by examining The Rambler and Boswell's Life of Johnson, to determine what the Doctor thought concerning the prevailing conditions, social practices, and ideas of his time.

Critics and audiences alike have neglected the idea of Wilde as a precursor to Beckett. But I contend that a closer look at each writer's aesthetic and philosophic tendencies-for instance, their interest in the fluid nature of self, their understanding of identity as a performance, and their belief in language as both a way in and a way out of stagnancy -will connect them in surprising and highly significant ways. This thesis will focus on the ways in which Wilde prefigures Beckett as a dramatist. Indeed, many of the themes that Beckett, free from the constraints of a censor and from the societal restrictions of Victorian England, unabashedly details in his drama are to be found residing obscurely in Wilde. Understanding Beckett's major dramatic themes and motifs therefore yields new strategies for reading Wilde.

Samuel P. Huntington has argued that political stability is dependent on the degree of institutionalization of participation in the political system. Critical analysis of hypotheses reveals serious flaws in his logic. His concepts were shown to be very hard to make operational and to test. The main hypothesis of a direct relationship between institutionalization and stability was shown to be influenced most likely by additional intervening variables. This study seeks to survey and analyze some of the problems which have arisen with the present state of theory in comparative politics. However, this thesis is particularly interested in .Huntington's work which covers the evolution of his thinking regarding the relation of violence and of political stability, i.e., the degree of government and not the form, with the institutionalization of participation.

[pt] Para descrever a experiência de se estar entre culturas, entre línguas e entre países, dois autores da literatura brasileira, por caminhos diversos, discutem soluções que se encontram no centro do interesse deste trabalho. A partir de duas obras que trabalham a representação do imigrante, Contos do Imigrante (1956), de Samuel Rawet, e Relato de um certo Oriente (1989), de Milton Hatoum, os escritores problematizam distintos modos de se narrar a experiência da alteridade. Neste sentido, é central a questão da linguagem como terreno onde equacionar impasses de identidades marcadas pelo transplante cultural e pelo questionamento da tradição. / [en] This study discuss how immigrants are represented in Brazilian literature nowadays and the different ways writers can tell the experience of being between two cultures, languages and countries. Analyses Samuel Rawet`s Contos do Imigrante (1956) and Milton Hatoum`s Relato de um certo Oriente (1989), novels which describe otherness in very distinct manners. It also considers the crucial role of language in solving identities` dilemmas that involve cultural transplantation and doubts about former tradition.

Nous traitons la question d’un rapport entre écriture et voix dans la clinique des psychoses. A l’appui des témoignages de sujets psychotiques, sujets disant écrire ce qui survient sous forme de voix, nous interrogeons les ressorts et les enjeux de ce passage à la lettre. Revenant sur la clinique de l’hallucination, nous détaillons ce que les sujets psychotiques nous enseignent sur les mécanismes impliqués dans l’instant de la voix hallucinée. Suivant ce fil, nous mettons en valeur la dimension de jouissance inhérente à la voix. Dans un second temps, nous nous penchons plus spécifiquement sur les pratiques d’écriture des sujets rencontrés, pratiques où il s’agit de noter, d’arrimer sur papier ce que les voix font entendre. Suivant les pistes annoncées par nos patients, nous questionnons la fonction régulatrice d’une pratique de la lettre. Pour ce faire, nous reprenons les conceptions lacaniennes de la lettre comme « littoral » ou comme « godet ». De même, les propos de nos patients nous mènent à interroger en quoi l’écriture pourrait permettre de « faire partir » la voix, en quoi elle ferait le moyen d’un détachement. Les œuvres et les témoignages d’écrivains nous donnent l’occasion de pousser plus avant notre questionnement, d’arpenter les domaines où, toujours, l’artiste précède le clinicien. Ainsi, nous revenons sur les travaux de James Joyce, de Louis Wolfson et, surtout, de Samuel Beckett. Nous nous penchons sur les indications qu’ils nous livrent au sujet d’un nouage entre écriture et voix. L’objet de notre recherche est de mettre à l’épreuve l’hypothèse selon laquelle, dans la clinique des psychoses, le recours à l’écrit peut relever d’un traitement de la voix. / We examine the issue of a link between voice and writing in psychosis. Relying on psychotic subjects who say they write what they hear through voices, we study the nature of this shifting from voice to letter. As a first step, we specify what we mean by voice. We detail what psychotic subjects teach us about the mechanisms involved in the moment of the hallucinated voice. By doing so, we point out the part of jouissance involved in voice.As a second step, we focus on their writing practices, the moment when they take note, when they put down on paper what they hear through voices. We endeavour to elucidate the issues of this movement. We are led to examine the regulating function of writing. Therefore, we refer to the lacanian concept of letter as « littoral » or « godet ». Moreover, patients’ words led us to specify how writing could be a way to make the voice “go away”, a way to separate. The works and the testimonies of writers lead us to go on exploring a field where the artist always precedes the clinician. We refer to James Joyce, to Louis Wolfson, and especially, to Samuel Beckett’s works. We try to grasp the indications they give about a link between voice and writing. The purpose is to test the hypothesis which states that, in psychosis, the use of writing can be a way to treat the voice.

Publicado em 1956 em inglês, Malone Dies foi o segundo romance do que se convencionou chamar de trilogia de romances do pós-guerra de Samuel Beckett. O presente trabalho estuda como o narrador em primeira pessoa, Malone, cria, ao longo das mais de 120 páginas, um tipo de narrar diferente, recheado de incertezas com base na aporia e na memória em frangalhos, o que leva o leitor a um terreno pantanoso em que as antigas certezas do romance tradicional foram eliminadas. O objetivo desta dissertação está em explorar como a materialidade histórica tanto do período de produção do romance, a Segunda Guerra Mundial na França ocupada, quanto o da sua publicação, imediatamente após o encerramento do conflito, são pontos cruciais para esse novo tipo de narração desenvolvido por Samuel Beckett. Paralelamente, este projeto tenta dar a sua pequena contribuição ao movimento crítico de resgate empirista realizado por uma série de críticos beckettianos que, nos últimos anos, passaram a se focar na materialidade histórica da produção do romancista e enfrentar a ideia até então consensual de que Samuel Beckett era um autor a-histórico e focado apenas em questões metafísicas. / Malone Dies was published in 1956 in English, being the second novel of what became Samuel Becketts trilogy. This work aims to study how the first person narrator, Malone, is able to establish, in 120 pages, a different kind of narration, full of uncertainties based upon aporia and in his memory in shambles, which leads the reader to an unstable ground in which the old certainties of the traditional novel are eliminated. The main goal of this dissertation is to explore how the historical materiality of both the period of the novels writing, the Second World War in occupied France, and that of its publication, soon after the war ended, are crucial points to this new type of narration developed by Samuel Beckett. At the same time, this project attempts to make its small contribution to the empiricist trend developed by many Becketts scholars which, in the last years, have focused on the historical materiality of the novelists production to confront the hitherto consensual idea that Samuel Beckett was an ahistorical author, focused only in metaphysical issues.

Partindo do exame dos pressupostos do realismo formal no romance, a dissertação pretende demonstrar como a desconfiança do narrador beckettiano quanto aos fundamentos que sustentam a voz em primeira pessoa e a estrutura ficcional do romance, observada desde Molloy e Malone Morre, dá lugar ao exame dos fundamentos relacionados à constituição da própria noção de subjetividade e desdobra-se em reflexões de natureza linguística em O inominável. Momento em que a hipótese de que é na linguagem e pela linguagem que o homem se constitui como sujeito, formulada pelo linguista Émile Benveniste, será desenvolvida considerando a dimensão trágica da experiência do eu. Com efeito, parte da tarefa da desta dissertação consiste em demonstrar a pertinência do trágico em O inominável, com o propósito de aprofundar a discussão teórica sobre a narrativa do século XX. / From an examination of the formal assumptions realism in the novel, the dissertation aims to demonstrate how distrust of Becketts narrator at the grounds that support the voice in first person and the fictional structure of the novel, observed since Molloy and Malone Dies, giving rise to the investigation of the grounds related to the constitution of the notion of subjectivity and unfolds in linguistic nature reflections in The Unnamable. Moment when the hypothesis that it is in the language and by the language that humans is constituted as subject, formulated by the linguist Émile Benveniste, will be developed based on the tragic dimension of the experience of \"I\". Indeed, part of the task of this dissertation is to demonstrate the relevance of the tragic dimension in The Unnamable, in order to deepen the theoretical discussion of the twentieth centurys narrative.