Entre la fin de la Seconde Guerre mondiale et le début des années 1960, les représentants les plus importants du courant phénoménologique en France, Jean-Paul Sartre, Maurice Merleau-Ponty et Trân Duc Thào, estiment non seulement qu'il est nécessaire de se confronter au marxisme, mais également que l'articulation entre phénoménologie et marxisme constitue l'un des enjeux essentiels de la philosophie dans le monde contemporain. L'objet de notre recherche est de comprendre la spécificité du travail philosophique que chacun de ces auteurs opère sur ces deux courants en apparence si opposés afin de rendre possible leur synthèse. Ce travail montre notamment comment le projet initial de 1944 est progressivement mis en question et reconfiguré au contact des évolutions historiques et politiques, des débats philosophiques et du développement des sciences humaines. Nous entendons ainsi restituer les enjeux et inventions conceptuelles de ce qui restera l'un des moments les plus féconds et originaux de la philosophie française contemporaine. / Between the end of the Second World War and the beginning of the 1960s, the chief representatives of the phenomenological school in France, Jean-Paul Sartre, Maurice Merleau-Ponty and Tran Duc Thao, not only considered that they had to confront Marxism in their works : they deemed the endeavour to combine Marxism with phenomenology one of the major tasks of philosophy in the modern world. The object of our research is to understand the specificity of the philosophical work each performed on these two apparently incompatible schools of thought, in order to make their synthesis possible. Our work traces the way in which the initial project of 1944 was progressively questioned and reworked in the wake of political and historical change, philosophical debates and the development of human sciences. Thus we hope to bring to light the underlying stakes and conceptual innovations of what remains one of the most fertile and original moments in contemporary French philosophy.

Esta dissertação é parte integrante das atividades para a obtenção do título de Mestre em Artes pelo Programa de Pós-Graduação Interunidades em Estética e História da Arte da Universidade de São Paulo (PGEHA-USP). Nela deseja-se identificar alguns conceitos presentes na Fenomenologia Existencial de Jean-Paul Sartre que podem se situar dentro da estrutura de formação do Projeto Moderno na Arquitetura e no Design. O pensamento moderno na arquitetura e o pensamento existencial na filosofia são, ambos, reflexos singulares de uma transformação muito mais ampla e radical na história do mundo ocidental. Porém este período - o final do século XIX e no início do século XX representa para a filosofia e para o campo artístico um momento de ruptura sem precedentes. Este pensamento transformador que gemina tanto na filosofia existencialista quanto na arquitetura moderna associados a estas transformações se evidenciam através dos manifestos, dos tratados e dos escritos desta época. Esta dissertação busca portanto encontrar, através da análise destes dois conjuntos teóricos, alguns conceitos que podem ser inter-relacionados. Ao final do processo espera-se, contudo, que as análises produzidas possam contribuir para ampliar, de um ponto de vista bastante específico, a percepção da formação movimento moderno na arquitetura e no design. / This work is part of the activities to obtain the title of Master of Arts from the Graduate Inter Program in Aesthetics and Art History at the University of São Paulo (USP-PGEHA). It is desired to identify some concepts present in the Existential Phenomenology of Jean-Paul Sartre that may be located within the training structure Modern Design in Architecture and Design. The modern thinking in architecture and existential thought in philosophy are both unique reflections of a much broader transformation and radical in the history of the Western world. But this time - the late nineteenth century and early twentieth century - is to philosophy and the artistic field a moment of unprecedented disruption. This transformer thought gemina both existentialist philosophy as in modern architecture - associated with these transformations - are evident through the manifestos, treaties and the writings of this time. This paper therefore seeks to find, through the analysis of these two theoretical sets, some concepts that can be interrelated. At the end of the process it is hoped, however, that produced analysis can contribute to enlarge, to a very specific point of view, the perception of training modern movement in architecture and design.

Les mouches, Sodome et Gomorrhe et Caligula présentent des divinités parodiant et critiquant les dirigeants politiques de l’Occupation (1940-1944), ainsi que l’usage par les dictateurs des idéologies religieuses traditionnelles dans le but de soumettre l’humanité à des régimes totalitaires. Divinités théâtrales autrefois infaillibles et toutes-puissantes, les figures analysées dans ce mémoire relèvent des remises en question de la divinité et du pouvoir politique du XXe siècle. Notre mémoire comporte trois chapitres examinant les discours de ces figures de la divinité sous des angles dramaturgique, sémiologique, philosophique et pragmatique avec comme point de départ l’hypothèse suivante : tout porte à croire qu’en limitant l’emprise de divinités fictives, et ce, en grande partie à travers les failles dans leurs discours, Sartre, Giraudoux et Camus ont tenté de neutraliser les discours correspondants d’hommes réels dans la conscience collective de l’époque. Les auteurs étudiés ont profondément modifié l’image traditionnelle de la divinité théâtrale en minant sa force langagière et en s’interrogeant sur son identité. Les divinités choisies pour cette étude annoncent la décomposition du personnage ayant lieu après 1950 : elles ont un statut dévalorisé de même qu’un langage à la force perlocutoire diminuée. Sans véritable emprise sur l’humanité, dépendant du théâtre, des simulacres, de l’histrionisme, ainsi que des faiblesses humaines, ces divinités caricaturales s’exposent à compromettre leurs régimes et sont réduites à une influence fortement limitée par la liberté des hommes. En actualisant ces mythes et récits ainsi, Sartre, Giraudoux et Camus ont tenté de discréditer, par extension, les dirigeants européens de l’époque. / Les mouches, Sodome et Gomorrhe, and Caligula present divinities parodying and criticizing the political leaders of the Occupation (1940-1944), as well as the use by dictators of traditional religious ideologies for subjugating humanity to totalitarian regimes. Theatrical divinities once infallible and all-powerful, the figures analyzed in this study are the product of the questioning of the divinity and political powers of the twentieth century. Our thesis is comprised of three chapters which examine the discourses of these figures of the divinity from dramaturgical, semiological, philosophical and pragmatic perspectives in order to consider the following hypothesis : everything leads to believe that by limiting the ascendency of fictional divinities, largely by the means of weaknesses in their discourses, Sartre, Giraudoux and Camus tried to neutralize the corresponding discourses of real men in the collective conscience of the period. The authors studied profoundly modified the traditional image of theatrical divinities by undermining the force of their language and by questioning their identity. The divinities chosen for this study announce the decomposition of the personnage which took place after 1950 : their status is undermined and the perlocutionary force of their language is lessened. Without a real stronghold on humanity, depending on theatre, pretence, histrionics, and human weaknesses, these caricatured divinities expose themselves to compromising their regimes and are reduced to an influence highly limited by man’s liberty. By updating these myths and accounts in this way, Sartre, Giraudoux and Camus tried, by extension, to discredit the European leaders of the period.

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En combinant une sociologie historique du politique et des rapports entre intellectuels et le champ politique, cette thèse revient sur la création et les quelques mois d’activité du Rassemblement Démocratique Révolutionnaire. Créé en février 1948 par des écrivains et journalistes, des parlementaires de la S.F.I.O. et des militants syndicalistes et politiques, le R.D.R. devait rassembler autour d’un discours de refus du positionnement en fonction de l’alternative entre les « blocs » atlantistes et soviétiques. Il s’agissait pour un certain nombre de ses membres exerçant une profession intellectuelle d’inventer une position au sein du champ politique.A partir d’une biographie collective du groupe, complétée par une sociographie, ce travail met en évidence les particularités sociales de son recrutement et les positions qu’occupaient ses membres en 1948. La perméabilité entre les champs politiques et de production des biens symboliques permet d’expliquer la tentation partisane collective au principe de la création du Rassemblement.L’étude précise de la mobilisation en train de se faire montre que les multiples tentatives d’institutionnalisation du groupe se heurtent finalement à l’impossible stabilisation d’un répertoire de l’action collective. Tout se passe comme si la mobilisation autour du R.D.R. n’était aboutit que pour ses membres intellectuels et qu’à défaut de constituer une entreprise politique légitime, ce parti avait surtout fonctionné comme un « intellectuel collectif ». La réinscription de l’engagement au sein du R.D.R. dans une histoire longue des rapports entre champ politique et de production des biens symboliques souligne comment la conjoncture spécifique allant de la libération du territoire au début de la « guerre froide » a rendu possible une telle tentative de subversion des frontières symboliques au sein du champ du pouvoir.En renonçant à une analyse univoque du RDR comme un « échec », ce sont les enjeux liés à l’intervention politique des intellectuels que ce travail donne à voir. / From a combination between historical sociology of politics and sociology of interaction between intellectuals and political field, this thesis looks back at the creation and the few months of existence of the Rassemblement Démocratique Révolutionnaire. Launched on February 1948 by authors, commentators, socialist parliamentarians and political and union activists, the R.D.R. aimed at rallying around the refusal of taking sides between soviet and Atlantic bloc. Based on a collective biography complemented by a statistic and sociographical approach, we brought to light the social particularity of its members as well as their respective status in 1948. Permeability between the political field and this of symbolic properties production, explains the collective partisan temptation underlying the R.D.R.’s creation. The thorough study of the mobilization in the process shows that the multiple attempts to institutionalize the group failed to stabilize a repertoire of contention. It is as if the R.D.R.’s mobilization was only efficient for its intellectual members and as if, instead of a political party, they only succeeded in creating a “collective intellectual”. Contextualizing the R.D.R. in an extensive history of the relationships between political and intellectual fields reveals how the specific situation between France's liberation and the “cold war” allowed such an attempt to overstep the symbolic boundaries within the field of power. Given up the exclusive approach of the R.D.R. as a failure, it is the matters related to the political involvement of intellectuals that this thesis unveils.

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Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / O estudo da relação entre classe e identidades culturais produziu uma bibliografia significativa. Nesta tese busca-se olhar para essa relação sob um aspecto pouco abordado. A partir da tradição marxista, em particular aquela que traz do pensamento marxiano uma abordagem ontológica, busca-se identificar as determinantes gerais da relação entre classe e identidades culturais no mundo contemporâneo (capitalismo tardio). Para tanto, revisita-se o conceito marxista de classe com a preocupação de identificar como a classe no capitalismo se relaciona com o conjunto da cultura? que aqui é definido como a totalidade das mediações produzidas pelos seres humanos. Estabelecidas as relações gerais, parte-se para as formas particulares de identificação cultural no capitalismo tardio. Nesse momento, retoma-se a discussão sobre alienação e reificação a partir de Marx e da contribuição do último Lukács. No capitalismo tardio, a forma cotidiana de vivência das identificações culturais tende à perenidade, com a cotidianização da vida. Essa experiência compartilhada se torna base para a naturalização de uma forma reificada de identificação cultural, na qual um processo manipulatório (uma anti-práxis, no termo de Sartre) se sobrepõe à dinâmica da práxis. Por fim, aponta-se para como essa experiência compartilhada da manipulação identitária serve de fundamento para significativas teorias sobre identidades na teoria social, tal como o estruturalismo e o pós-estruturalismo. / The study of the relationship between class and cultural identities produced a significant literature. This thesis looks at this relationship in one aspect rarely addressed. From the Marxist tradition, especially one that brings the Marxian thought an ontological approach, the determinants of the general relationship between class and cultural identities in the contemporary world (the late capitalism) are identified. Thus, the Marxist concept of class is revisited in the need to identify how the class under capitalism relates to the whole culture - which is here defined as the sum of mediations produced by humans. After establishing the general relations, we proceed to the particular forms of cultural identification in late capitalism. Here, the discussion of alienation and reification from Marx and late Lukacs is remembered. In late capitalism, the way everyday experience of cultural identifications seems perennial with cotidianização life. This shared experience becomes the basis for the naturalization of a reified form of cultural identification, on which a manipulative process (an anti-praxis, as said Sartre) overlaps the dynamics of the praxis. Finally, it is shown how this shared experience of manipulating identity is the basis for important theories of identity in social theory such as structuralism and poststructuralism.

Made available in DSpace on 2015-05-14T12:39:45Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1509084 bytes, checksum: 961bbaa26fa878f52ecb91155bc8dace (MD5) Previous issue date: 2012-10-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The French dramatists Jean Giradoux and Jean-Paul Sartre revisited the tragic Greek legacy and wrote the plays Électre (1937) and Les mouches (1943), respectively. Both authors, in their texts, drew from myths concerned with the tragic actions that took place in Agamemnon s palace: the murder of Clytemnestra by her children, Orestes and Electra. This research is centered on the analysis and comparison between Giraudoux s and Sartre s plays aiming at identifying in them the elements that indicate both the relations between myth (mythical thought) and logos (theoretical reason) and that between myth and modern tragedy. It also shows the fact that Sartre s text, maintains a dialog with the Greek legacy, and also offers a philosophical counterpoint to Giraudoux s play. In order to reach our goals we have examined the phenomenon of myth under the light of the philosophy of language, of the sacred, of anthropology and of literature, a theoretical basis that we tried to connect with the theories of Aristotle and Hegel about drama. / Os dramaturgos franceses Jean Giraudoux e Jean-Paul Sartre revisitaram o legado trágico grego e escreveram as peças Électre (1937) e Les mouches (1943), respectivamente. Ambos os autores debruçaram-se, em seus textos, sobre os mitos que narram os trágicos acontecimentos ocorridos no palácio de Agamêmnon: o assassinato de Clitemnestra por seus filhos, Orestes e Electra. Este trabalho tem como objetivo analisar e cotejar entre si as peças de Giraudoux e Sartre no intuito de nelas levantar os elementos que apontam para as relações tanto entre mito (pensamento mítico) e logos (razão teórica) quanto entre mito e tragédia moderna, e, ainda, evidenciar o fato de que o texto de Sartre, além de dialogar com o legado grego, constrói-se em contraponto filosófico ao drama de Giraudoux. Para alcançar nossos objetivos, partimos de uma reflexão sobre o fenômeno do mito sob as perspectivas da filosofia da linguagem, do sagrado, da antropologia e da literatura, formando um conjunto teórico que buscamos articular às teorias do drama de Aristóteles e Hegel.

Fundação Carlos Chagas Filho de Amparo a Pesquisa do Estado do Rio de Janeiro / O estudo da relação entre classe e identidades culturais produziu uma bibliografia significativa. Nesta tese busca-se olhar para essa relação sob um aspecto pouco abordado. A partir da tradição marxista, em particular aquela que traz do pensamento marxiano uma abordagem ontológica, busca-se identificar as determinantes gerais da relação entre classe e identidades culturais no mundo contemporâneo (capitalismo tardio). Para tanto, revisita-se o conceito marxista de classe com a preocupação de identificar como a classe no capitalismo se relaciona com o conjunto da cultura? que aqui é definido como a totalidade das mediações produzidas pelos seres humanos. Estabelecidas as relações gerais, parte-se para as formas particulares de identificação cultural no capitalismo tardio. Nesse momento, retoma-se a discussão sobre alienação e reificação a partir de Marx e da contribuição do último Lukács. No capitalismo tardio, a forma cotidiana de vivência das identificações culturais tende à perenidade, com a cotidianização da vida. Essa experiência compartilhada se torna base para a naturalização de uma forma reificada de identificação cultural, na qual um processo manipulatório (uma anti-práxis, no termo de Sartre) se sobrepõe à dinâmica da práxis. Por fim, aponta-se para como essa experiência compartilhada da manipulação identitária serve de fundamento para significativas teorias sobre identidades na teoria social, tal como o estruturalismo e o pós-estruturalismo. / The study of the relationship between class and cultural identities produced a significant literature. This thesis looks at this relationship in one aspect rarely addressed. From the Marxist tradition, especially one that brings the Marxian thought an ontological approach, the determinants of the general relationship between class and cultural identities in the contemporary world (the late capitalism) are identified. Thus, the Marxist concept of class is revisited in the need to identify how the class under capitalism relates to the whole culture - which is here defined as the sum of mediations produced by humans. After establishing the general relations, we proceed to the particular forms of cultural identification in late capitalism. Here, the discussion of alienation and reification from Marx and late Lukacs is remembered. In late capitalism, the way everyday experience of cultural identifications seems perennial with cotidianização life. This shared experience becomes the basis for the naturalization of a reified form of cultural identification, on which a manipulative process (an anti-praxis, as said Sartre) overlaps the dynamics of the praxis. Finally, it is shown how this shared experience of manipulating identity is the basis for important theories of identity in social theory such as structuralism and poststructuralism.