Sous le signe de l'irréductibilité de l'événement ou "devenir" des concepts à l'histoire des idées, le moment philosophique du structuralisme selon Deleuze (1967-1969) est envisagé selon trois points de vue correspondant aux trois parties de la thèse. <p>La première partie adopte la perspective historiographique pour y déceler, chez F.Wahl (1968), M. Frank (1989) F. Dosse (1991), deux principales sources de la méconnaissance du structuralisme philosophique deleuzien au profit d'un prétendu "post" ou "néo-structuralisme" (à partir de L’Anti-Œdipe) :<p> 1° le tracé d'une ligne de partage exclusif entre la philosophie et le structuralisme méthodique des linguistes et de Lévi-Strauss ;<p>2° le rôle de parangon joué par la déconstruction derridienne du structuralisme. <p>La seconde partie fait valoir l'irréductibilité du "portrait conceptuel" du structuralisme peint par Deleuze en 1967, tant à l'égard du "cliché scientiste" (linguistique ou axiomatique) dominant les présentations doxographiques contemporaines (F.Wahl et J. Piaget) qu'à l'égard de la déconstruction du structuralisme par Derrida. A rebours des premiers, Deleuze supprime le mètre-étalon (linguistique ou mathématique) permettant de hiérarchiser les disciplines concernées par le structuralisme et, en s’appuyant sur la théorie lévistraussienne de la fonction symbolique à la clef du structuralisme de Lacan, Althusser, Foucault et le groupe Tel Quel, il propose sept critères formels transdisciplinaires, valant autant dans les sphères philosophique et artistique que dans celles des sciences humaines et des sciences exactes. Ce faisant, à la différence de Derrida et du « néo-structuralisme », Deleuze associe en un même « Jeu idéal » Lévi-Strauss (philosophiquement moustachu d’être associé à Lacan, Foucault, Barthes et Althusser) et Nietzsche (philosophiquement glabre d’être revisité à la lumière du structuralisme). <p>La troisième partie envisage dans Différence et répétition et Logique du sens le développement philosophique de ce "personnage conceptuel" nietzschéo-structuraliste apte à accomplir le « renversement esthétique » du Platonisme nihiliste au profit de la création et de la dramatisation des simulacres/structures. Associant structuralisme et pensée sérielle (U. Eco), Deleuze compose une œuvre chaosmos, un simulacre sériel, polyphonique, « achevé-illimité » jouant de bribes et miette de tout ce que les philosophes ont pu « croire et raconter » depuis l’Antiquité grecque afin de dramatiser l’Idée problématique du structuralisme à la veille de Mai 68./Under the sign of the irreductibility of the event or the “becoming” of concepts to their history, the philosophical moment of structuralism according to Deleuze (1967-1969) is considered from three points of view corresponding to the three parts of the thesis.<p>The first part adopts the historiographical perspective to detect, in F. Wahl (1968), M. Frank (1989), F. Dosse (1991), two main sources for the lack of knowledge about the deleuzian philosophical structuralism in favour of a so-called “post” or “neo”-structuralism (starting from the Anti-Oedipus) :<p>\ / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Notwithstanding the promises of an end to the Françafrique era, France remains the desired external security actor in francophone Africa. The purpose of this thesis is to examine the discursive legitimation strategies of Emmanuel Macron on France’s military activism in Mali, inquiring ‘How did the French President Emmanuel Macron discursively legitimize France’s military presence in Mali before the announcement of the end of Operation Barkhane?’. The aim is further to explore the construction of the French Self and the Malian Other in the legitimation discourse, asking ‘How did Macron construct a French ‘Self’ and a Malian ‘Other’ in his discourse as legitimate reasons for maintaining the intervention?’. By applying an interpretivist, post-structuralist discourse analysis to official statements published between 2017 and 2021, the thesis concludes that Macron’s discursive legitimation strategies remain approximately similar, yet the greater emphasis on rhetorical themes of equal partnership, non-interference in internal affairs, democracy and an ever-increasing multilateralism have taken place in the face of Paris’ damaged legitimacy. Focusing on the construction of the Self and the Other affirms that Macron constructs the Malian Other as significantly different from the French Self even though the country is seen as capable of transformation and cooperation, requiring the compliance of Western advice.

Understanding Gilgamesh – brokenly – is to understand life brokenly. The Epic of Gilgamesh is the narrative of life. It records the full cycle of the nerve and aplomb of youth, of the doubt and crisis of midlife, of the acceptance and quiescience of maturity. Moreover, this understanding is a broken understanding. It starts with the clay tablets that are broken in a literal sense of the word. Further, the narrative is a narrative of broken-ness – the story ends in tears. A man has lost his last chance of obtaining life everlasting. Yet he manages to recuperate despite his failure. The first part of this thesis examined the world of Gilgamesh. Initially he was known as the Sumerian king Bilgames. He makes his appearance in the form of oral compositions that are recited or sung in the royal courts of kings during the Sumerian period: sheer entertainment, nothing really serious. At his side is his loyal servant Enkidu who supports his master in everything he does. Akkadian gradually ousts Sumerian as vernacular, yet the latter continues to dominate as the language of culture and court. Bilgames survives the reign of the Sargonic dynasty, and even revives during the glorious Ur III period of Shulgi and of Ur-Nammu. Sumerian Bilgames-poems are recorded in writing. However, by the time that Hammurapi draws up his legal codex, the Sumerian Bilgames is known as the vibrant Akkadian king Gilgamesh. His servant Enkidu is elevated to the status of friend. Together they defy men, gods, monsters. When Enkidu dies, Gilgamesh goes even further in search of life everlasting. He reaches Uta-napishtim the Distant in order to learn the secret of eternal life. The optimism of the Old Babylonian Kingdom is replaced by the reflection and introspection of the Middle period. Life is difficult. Life is complex. The Gilgamesh Epic is once again re-interpreted and supplemented by a prologue and an epilogue: both begin and end at the same place, at the walls of Uruk. Here Gilgamesh looks back and forward to his life and contemplates about the meaning of life in general. The second part of this thesis dealt more specifically with the story – the literary aspects of the Epic. Genette’s theory illuminated several interesting literary devices with regards to the rhythm and pace of the narrative. However, much of the reflective nature of the Epic was also revealed. There were moments of looking forward, and looking backward: after Gilgamesh broke down in tears at the end of the Epic, he suddely gained perspective on life. Somehow a broken narrative focused into a meaningful whole that may just make future sense. Jauss’s theory illuminated why Gilgamesh refuses to be forgotten, why he is once again alive and well in the twenty first century. Although he was buried in the ruins of Nineveh for a thousand plus years, he is suddenly back on the scene – and not for academic reasons only. Not only scholars of the Ancient Near East take an interest in the old Epic, but also people from all sectors of life. Somehow Gilgamesh seems to respond to questions that are asked even by those who understand nuclear physics – but who grapple with the paradox of living meaningfully. Understanding Gilgamesh – brokenly – understands life. / Thesis (DLitt)--University of Pretoria, 2006. / Ancient Languages / unrestricted

This paper applies a post-structuralist literary framework when looking at the philosophical implications of William’s Mkufya’s novel Ziraili na Zirani. The analysis focuses on a free-verse poem per-formed by a black bird in hell. Moreover, there is a focus on the different genre forms at play, such as free-verse poetry and the novel, and an acknowledgement that an understanding of the text relies upon a consideration of these different genre conventions. Ultimately the paper shows how a reading of the text as it is presented in the novel, as a performance, demonstrates a realisation of the different genre conventions at play, thus taking their significance onto a different plain of analysis. Furthermore, attention is drawn to the application of a post-structuralist framework and the various contributions this theoretical model can make to a reading of the poem, notably an emphasis on the resistance to fixed meaning in favour of instability. This results in an exposition of the relevance of a post-structuralist literary framework to Mkufya’s critical reflection upon epistemology as it is portrayed in the black bird’s enigmatic performance, and the novel as a whole.

The following dissertation studies the question how cyber security has become a national security agenda and discusses implications of the observed processes to current international security status quo. I divided the research into three parts. The first part embodies theoretical and methodological approach. The second part studies three distinct discourses related to cyber security, the techno-geek discourse, the crime-espionage discourse and the nation-defense discourse using the method of Michel Foucault about archaeology of knowledge. The third part then draws on these three discourses and discusses implications through lens of several theoretical perspectives. Namely through concepts taken from science and technology studies, from actor network theory and network assemblages. The critical point of the research is a distinct reading of these discourses. While techno-geeks are understood as a source of semiosis, hackers' capability and crypto-anarchy ideology influenced by cyberpunk subculture, the cyber-crime and espionage discourse is read as a source of evidence of the hackers' capability. The inspiration in popular subculture is combined with current efforts in development of liberating technologies against oppression by authorities, oppression recognized by the eyes of the crypto-anarchist...

Based on my research aim of covering a gap in the literature on corporate gender equality standards, I research the effects and limits of corporate gender equality standards through a feminist poststructuralist perspective using the case study of the EDGE standard. Based on a qualitative research design, I build an analytical framework on Carol Bacchi’s ‘What’s the Problem Represented to be’ (WPR) approach to analyze the material in form of the five assessment areas of the EDGE standard. Based on the feminist post-structuralist perspective, my analysis showcases that the EDGE standard as a governance tool is not guided by tangible ‘problems' that exist ‘out there’ but rather through the representation of ‘problems’ as framed in the EDGE standard. The EDGE standard is thus a productive force that give shape and meaning to various problems of gender inequality which at the same time, the standard is also meant to address. I conclude that in some cases, the EDGE standard can have positive effects. However, the lack of an intersectional approach limits the EDGE standard too. This thesis contributes to the field by closing a research gap in the academic literature on the effects and limits of corporate gender equality standards analyzed through a feminist poststructuralist lens. / Jeg undersøger virkningerne og begrænsningerne af ligestillingsstandarder i organisationer gennem en feministisk poststrukturalistisk analyse af organisationsstandarden ’EDGE’. Baseret på mit mål om at afdække manglende forskning af ligestillingsstandarder anvender jeg et kvalitativt forskningsdesign som bygger på Carol Bacchis 'What’s The Problem Represented To Be’ for at analysere materialet i form af de fem vurderingsområder i EDGE-standarden. Med baggrund i det feministisk post-strukturalistiske perspektiv viser analysen, at EDGE-standarden som et styringsværktøj ikke styres af konkrete 'problemer', der eksisterer 'derude', men snarere styres gennem repræsentationen af ​​'problemer' som de indrammes og konstrueres i EDGE-standarden. EDGE-standarden er således en produktiv kraft, der giver form og mening til forskellige problemer inden for diskrimination og ligestilling mellem kønnene samtidigt med at standarden også er udviklet til at tackle disse ’problemer’. Jeg konkluderer, at EDGE-standarden i nogle tilfælde kan have positive effekter, men manglen på en tværgående og intersektionelle tilgange til EDGE’s fem vurderingsområder begrænser imidlertid også EDGE-standarden. Dette speciale bidrager til feltet inden for ligestilling og organisationsstandarder ved at afdække virkningerne og grænsningerne af erhvervslivets ligestillingsstandarder analyseret gennem en feministisk poststrukturalistisk perspektiv.

The topic of my diploma thesis is a comparison of speculation about a film from two perspectives. Firstly, it deals with the approach of Jan Mukařovský, a Czech structuralist, who was one of the first in the Czech context to explore the time concept in a film. Secondly, it considers the approach of Gillese Deleuze, who was accredited with the new view on the time-image in a film, however, much later than Jan Mukařovský. The aim of the paper is to explain the way the approaches of Mukařovský and Deluze relate to other approaches of thinking about time in films, the influence of other concepts of their time that they both theoretically based their views on, as well as specifying the films that became the starting points of exploring the time in films. The method of comparison is divided into three aspects, as three comparison levels.

In my thesis, I focus on the role of an author in a work of art, and film in particular, based on Jan Mukařovský. Firstly, I describe Mukařovský's structuralist concept of an art work. Thus, following Ferdinand de Saussure's ideas, he views a work of art as an autonomous sign. At the same time, he uses de Saussure's terms langue and parole. In this text, I explain Mukařovský's terms of an aesthetic function, a norm and a value. I also examine the difference between an individual and a subject of art, and between intentionality and unintentionality. I compare Mukařovský's view of the author with other theorists, namely, Umberto Eco, Roland Barthes and Michael Foucault. Hence, I show historical changes within the concept of the author, and also explain Pierre Levy's cyber-cultural understanding of it. In addition, I discuss other authors, who bring together film arts and the interplay of signs. In particular, I introduce James Monaco and Jerzy Plaževski, and connect their thoughts with ideas of Mukařovský. These authors create a bridge between the concept of a film author and Mukařovský, who does not discuss this authorship in particular. The focus here is on Jaroslav Vančát's theory of a multi-layered film, examining three layers of film with different authors. Focusing on films with actual actors,...

Ce mémoire a pour but d’identifier les manières par lesquelles l’idéologie influence la formation du sujet, principalement par le discours et par ses ancrages dans les corps. Pour se faire, nous mobiliserons les écrits de Pierre Bourdieu et de Judith Butler sur la question, représentant respectivement les positions structuralistes et postmodernes de la formation du sujet (lecture classique). Nous tâcherons de comprendre, à l’aide de la conception de l’idéologie de Louis Althusser, s’il est possible de trouver un terrain d’entente entre nos auteur.es lorsqu’on s’attarde à l’émancipation du sujet et, ainsi, nuancer leurs positions. La théorie bourdieusienne a été critiquée pour son déterminisme latent, alors que la performativité de Butler a été accusée de volontarisme et d’ignorer la matérialité des corps. C’est en explorant les critiques faites à nos auteur.es et les possibilités de réunions entre l’habitus de Bourdieu et la performativité que nous constaterons le rôle de l’idéologie dans la mise au monde du sujet, mais également dans sa libération. Si les structures se retrouvent dans les corps sous la forme de dispositions et que la corporalité ainsi que la parole sont indissociables, ne faudrait-il pas trouver un moyen de penser la libération par le corps? Là où il est difficile de théoriser l’émancipation chez Bourdieu, sa pensée sur le corps contient plusieurs outils pour penser une subversion ne relevant pas exclusivement du discours. La performativité, dont l’objectif est la libération politique et l’habitus gagneraient donc à dialoguer. Nous verrons que la phénoménologie queer a le potentiel les réunir. / The purpose of this thesis is to identify the ways in which ideology influences the formation of the subject, primarily through discourse and its embedding in bodies. To this end, we will mobilize the writings of Pierre Bourdieu and Judith Butler on the question, representing respectively the structuralist and postmodernist positions on subject formation (following a classical reading). We will try to understand, with the help of Louis Althusser's conception of ideology, if it is possible to find a common ground between our authors regarding the emancipation of the subject, and attempt to nuance their positions. Bourdieusian theory has been criticized for its latent determinism, while Butler's performativity has been accused of voluntarism and of ignoring the materiality of bodies. It is by exploring the criticisms made to our authors and the possibilities of convergence between Bourdieu's habitus and Butler’s performativity that we will be able to recognize the role of ideology in the making of the subject, but also in its liberation. If structures can be found within the bodies in the shape of dispositions, and if corporality and speech are inseparable, should we not find a way to think liberation through the body? Whereas it is difficult to theorize emancipation in Bourdieu's work, his thought on the body contains several tools for thinking a subversion that is not exclusively a matter of discourse. Performativity, whose objective is precisely political liberation, and habitus would thus gain from being brought into dialogue. We will see that queer phenomenology has the potential to bring them together.

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