Le présent mémoire a pour objectif de procéder à une étude de Thérèse Desqueyroux (1927), roman de François Mauriac. Pour cela, il est proposé un parcours en trois parties: la première partie vise à la présentation de l’écrivain et de l’oeuvre dont s’occupe ce travail; la deuxième partie se rapporte à une analyse du roman à la lumière des catégories narratologiques; la troisième et dernière partie concerne un examen des données repérées sous un angle sociohistorique. À partir de ce parcours d’étude, il est constaté, parmi plusieurs questions, que (1) la protagoniste du roman est quelqu'un d'inadapté à son milieu familier et social parce qu’elle représente un déplacement en ce qui touche la notion d’identité féminine instituée, à travers l’histoire, dans la culture occidentale; et (2) la conception chrétienne du pardon traverse le roman. / Esta dissertação tem como objetivo proceder a um estudo sobre Thérèse Desqueyroux (1927), romance de François Mauriac. Para tanto, é proposto um percurso em três partes: a primeira parte visa à apresentação do escritor e da obra à qual se consagra este trabalho; a segunda parte é referente a uma análise do romance à luz das categorias narratológicas; a terceira e última parte concerne a um exame dos dados levantados sob um ângulo sóciohistórico. A partir deste percurso de estudo, é constatado, entre outras questões, que (1) a protagonista do romance não se adapta ao seu meio familiar e social, visto que ela representa um deslocamento no que tange à noção de identidade feminina instituída, ao longo da história, na cultura ocidental; e (2) a concepção cristã do perdão atravessa o romance.

O Bom Fim mudou muito nos últimos anos. A vida noturna, que era tida como sua característica principal nas décadas de 1980 e 1990, não está mais lá. O cinema e os bares também não fazem mais parte daquela paisagem. A intenção da presente dissertação é compreender este momento do bairro que acabou. Para isso, foram utilizados os conceitos de espaço e lugar de Michel de Certeau. Segundo este autor, o lugar é constituído a partir da ação disciplinadora que organiza cada coisa em uma localidade específica, uma separada da outra. O espaço é o lugar praticado. Nos grandes centros urbanos se impõe a disciplina, enquanto seus habitantes se apropriam dos limites impostos, criando brechas. O lugar é a ordem e busca a permanência no tempo, o espaço muda constantemente. Práticas criativas cotidianas transformaram a vida do Bom Fim desde o seu começo. Durante as duas últimas décadas do século XX, as práticas noturnas ocuparam o bairro, modificando ele e as representações dele. A porta de entrada para este novo Bom Fim foi um conjunto de bares próximo a UFRGS, conhecido como Esquina Maldita. Desde a década de 1970 tem ocorrido um intenso crescimento urbano e populacional na cidade de Porto Alegre. Durante esse processo, houve a abertura do bairro enquanto um novo terreno de ação, onde era possível praticar novas formas de comportamento, explorar novos caminhos e novas maneiras de produzir arte na cidade. A partir da Esquina ocorreu um movimento de expansão, exploração e ocupação das outras ruas, cinemas, bares, auditórios e do parque da Redenção. Muitos bares começaram a surgir na Avenida Osvaldo Aranha e nas transversais. Mais pessoas começaram a ir a esses bares e locais. A Esquina, filmes, músicas, shows, bares ajudaram a fixar o Bom Fim como um espaço aberto, jovem, de boêmia transgressora e produção artística intensas, peculiares e criativas. A partir do final da década de 1980 foi imposto um disciplinamento que acabou com estas características. / The Bom Fim has changed a lot on the last couple of years. The night live, a main characteristic trough out the 80's and 90's, it is not there anymore. The movie theaters and bars are not part of its landscape. The intention of the present study is to understand this neighborhood moment that has ended. To do that, Michel de Certeau concepts of place and space were used. According to the author, the place is constructed from the disciplinary action that organizes everything in a specific location, one apart from the other. The space is the place in practice. In large urban centers discipline is forced, while its habitants appropriates the imposed limits, creating gaps. The place is the order and seeks permanence on time, space is constantly changing. Creatively daily practices have transformed Bom Fim's life since it is beginning. During the last two decades of 20th century, night practices occupied neighborhood, modifying it and its representations. The gateway of this new Bom Fim was set of bars next to the UFRGS, in a corner known as the Esquina Maldita. Since the 1970's, the city of Porto Alegre has been experiencing an intense urban and populational growth. During this period, the neighborhood appears as a new field of action, where it was possible to practice new forms of behavior, explore new paths and new ways of producing art in the city. From the Esquina up there was a movement of expansion, exploration and occupation of the other streets, movie theaters, bars, auditoriums and Redenção Park. Many bars began to arise on Osvaldo Aranha Avenue and its cross streets. More people have started to attend to this establishments and bars. The Esquina, movies, songs, shows, bars helped to determined Bom Fim as an young, open space, of intense transgressive bohemia and intense artistic production, peculiars and creatives. A disciplinary process was imposed at the late 1980's that consummate those characteristics.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims to discuss the transgressor character of the joke, conceiving it as an instrument of socio-political and institutional critique, according as it found the opportunity to contest, covertly, authority figures, despite of social restrictions. The first chapter, entitled A Brief History of laughter in three stages, aims to present the story of laughter along the major historical periods of mankind, namely, the greco-roman Antiquity, the middle ages and modernity. Over the centuries, laughter was the subject of countless debates among politicians and intellectuals about their merits in sociocultural order, always marked by alternating moments of elation and interdiction. In the second chapter, entitled The joke and its vicissitudes in the Freudian discourse, we propose to investigate the problem of jokes on the life and work of Freud. Initially, we address the german and jewish cultural heritage, whose influence proved decisive to attract the interest of the author for the matter concerned. Then we present the status of the jokes in Freud´s work, highlighting two specific texts related to that issue, namely, Jokes and Their Relation to the Unconscious (1905) and Humor (1927). In the third chapter, entitled To the clipboard comrades: clashes between the jokes and censorship in contemporary society, we will analyze some contemporary examples that show this relationship. We emphasize, above all, two satirical tabloids: the Pasquim and the Charlie Hebdo. It should be noted that both weeklies faced a strong censorship by more conservative institutions, notably the military government and religious fundamentalism. / Este trabalho tem por objetivo discutir o caráter transgressor da piada, concebendo-a enquanto um instrumento de crítica sócio-político-institucional, na medida em que nela encontramos a possibilidade de contestar, de forma dissimulada, as figuras de autoridade, a despeito das restrições sociais. O capítulo inicial, intitulado Uma breve história do riso em três tempos, tem como escopo apresentar a história do riso ao longo dos principais períodos históricos da humanidade, a saber, a Antiguidade greco-romana, a idade média e a modernidade. Ao longo dos séculos, o riso foi tema de incontáveis debates entre políticos e intelectuais no que tange a seus méritos na ordem sociocultural, sempre marcado por momentos alternados de exaltação e interdição. No segundo capítulo, cujo título é A piada e suas vicissitudes no discurso freudiano, nos propomos a investigar a problemática das piadas na vida e obra de Freud. Inicialmente, abordamos a herança cultural germânica e judaica, cuja influência mostrou-se decisiva para atrair o interesse do autor pela problemática em questão. Em seguida, apresentamos o estatuto das piadas na obra freudiana, destacando dois textos específicos relacionados àquela temática, a saber, Os chistes e sua relação com o inconsciente (1905) e O humor (1927). No terceiro capítulo, intitulado À prancheta camaradas: embates entre as piadas e a censura na contemporaneidade, analisaremos alguns exemplos contemporâneos que evidenciam essa relação. Destacamos, sobretudo, dois folhetins satíricos: o Pasquim e o Charlie Hebdo. Cabe salientar que ambos os semanários enfrentaram uma forte censura por parte de instituições mais conservadoras, notadamente, o governo militar e o fundamentalismo religioso.

O objetivo do presente trabalho é demonstrar como se estabeleceram as relações de gênero nos processos de criação musical ao longo da história, e a oposição das mulheres compositoras em relação à dominação masculina, termo cunhado por Pierre Bourdieu, trazendo à tona questões como a visão androcêntrica, legitimadora das práticas de submissão feminina, bem como a dominação simbólica, pela qual as mulheres incorporam as relações de poder e reconhecem a sua submissão a um agente dominante. Ao analisar os papéis sociais desempenhados pelas mulheres, identifica-se que suas práticas cotidianas estão calcadas na visão androcêntrica, e que a estrutura patriarcal está presente tanto na esfera social como na esfera política e econômica. Ao longo da dissertação, foram também abordadas questões relacionadas à temática de gênero, através da análise de literaturas em outros campos do conhecimento humano. Em face ao alijamento da mulher na criação musical, detectar as composições ditas do universo feminino traz uma grande contribuição para a história da música e análise musical. Partindo do referencial da nova história, cuja contribuição consiste em questionar as categorias de dominação a partir das quais a história foi constituída, surge a questão: como analisar o contexto histórico musical partindo da experiência composicional feminina? Sobre a questão, é oportuno mencionar o que Joan Scott ressalta: que, ao se incluir à história a versão feminina, tem-se um novo entendimento daquela que os historiadores apontavam como a verdade total. Nesse sentido, Pilar López e Lucy Green também defendem que a mulher teve uma trajetória de muita luta para compor gêneros musicais que não aqueles preestabelecidos pela sociedade dominadora, ou seja, para criar obras ditas complexas, atividade que era considerada própria do universo masculino. Apesar dos obstáculos que a mulher teve de enfrentar no âmbito da criação musical, e de muitas compositoras terem criado peças ligadas mais à educação musical ou canções para poucos instrumentos, como piano e canto, algumas delas conseguiram compor obras mais complexas. / The purpose of this work is to demonstrate how gender relations were established in the musical creation processes throughout history, as well as the opposition of women composers against male domination, a term dealt by Pierre Bourdieu, bringing up issues like androcentric view, legitimizing practices of female submission, as symbolic domination, in which women incorporate power relations and recognize their submission to a dominant agent. Investigating roles played by women, some identifies that their quotidian practices are grounded in this androcentric sight, and that the patriarchal structure is present as in social as in political and economical spheres. All over the text, issues related to the theme of gender were also approached, through the analysis of literature in other fields of human knowledge. In light of women\'s casting off in musical creation, detecting compositions said to be part of feminine universe brings up a great contribution to the History of Music and Musical Analysis. As from the referential of New History, whose contribution consists in objecting the domination categories from which history was built, the question arises: How to analyze historical and musical context from the female compositional experience? About the question, it\'s appropriate to mention what Joan Scott emphasize, that, by including the female version of the history, one has a new understanding in spite of that the historians pointed as the whole truth. In this way, Pilar López and Lucy Green also defend that women have had a trajectory of hard struggle to compose musical genres other than those predetermined by the domineering society, that is, to create works said complexes, an activity that was considered proper to male universe. Despite the obstacles that women faced under the musical creation, and many composers have created more connected parts to music education or songs for a few instruments such as piano and singing, some of them managed to compose more complex works.

Devenu célèbre sous les traits de Dracula, le vampire est un monstre révélateur et résilient qui s'est fait archétype incontournable de la culture populaire et dont l'existence diégétique précède le roman de Bram Stoker. Du folklore à la fiction et de l'ombre à la lumière, son évolution est représentative des sociétés et des époques dans lequel il revient à la vie. A la fois transgressifs et normatifs, ses avatars jouent un rôle cathartique en incarnant le refus des lois humaines naturelles et divines, mais aussi la réitération de ces règles et la création de canons littéraires. Cette étude diachronique centrée sur "Carmilla" (1872), "Dracula" (1897) et les vampires d'Anne Rice démontre que leurs aventures invitent à réfléchir autant aux conséquances des fautes qu'à la validité des normes, à l'essence de la nature et des failles humaine et à la fonction libératrice des personnages de fiction et particulièrement des monstres. / Known to most as Dracula, the vampire is revealing and resilient monster whose diegetic existence predates Stoker's novel, and that has become a key figure of popular culture. From folklore to fiction and from shadow to ligjhte, its evolution is indicative of the times and societies in wich it return to life. Equally transgressive and normative, its avatars play a cathartic role aas they epitomize rejection of human, natural and divine laws, but also the reiteration of the rules and the creation of literary canons. This diachronic study focused on "Carmilla" (1872), "Dracula" (1897) and Anne Rice's vampires shows that their adventures induce reflection on both the consequences of wrongdoing and the validity of norms, on the essence of human nature and hubris, and the liberating fucntion of fictional characters, particulary monsters.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This work aims at verify the implications in Marguerite Duras literary aesthetic by proposing the denial of representation, through transgression to the traditional narrative. Starting from three texts by Duras which dialogue with the cinematographic language Le camion (1977), Le Navire Night (1979) and La maladie de la mort (1983), this work, throughout three chapters, recognizes in these novels denounce writing, in which the language itself unveils and unmasks its mechanisms. The first chapter proposes the discussion about the different concepts of representation and the search of Duras writing for a possible beyond the truth of what the words hide. At a second moment, I reflect about the impossibility of Duras writing in express an absolute view about the world to be represented, where the dialogue with other languages is an attempt to overcome the condition of discontinuity appropriate to the existence. Finally, in the last chapter, the possible meanings in an aesthetic answer aiming at denying the representation is sought: Duras writing is recongnized as transgression and a refusal of the definitive. The demystifying sincerity to which Duras writing proposes to do, faces the collapse of rationality, with only the experience and limits of dissolution and certainty being left. / Este trabalho tem por objetivo verificar as implicações na estética literária de Marguerite Duras ao propor a negação da representação, através de transgressões à narrativa tradicional. A partir de três textos de Duras que dialogam com a linguagem cinematográfica, Le camion (1977), Le Navire Night (1979) e La maladie de la mort (1983), esse trabalho, ao longo de três capítulos, reconhece nesses textos uma escrita de denúncia, em que a própria linguagem se propõe a tirar máscaras e desvelar seus mecanismos. O primeiro capítulo propõe a discussão sobre diferentes conceitos de representação e a busca da escrita de Duras por um possível além da verdade que as palavras ocultam. Num segundo momento, buscase a reflexão acerca da manifesta impossibilidade da escrita de Duras em exprimir uma visão absoluta do mundo a ser representado, em que o diálogo com outras linguagens é uma tentativa de ultrapassar a condição de descontinuidade, própria da existência. Por fim, no último capítulo, questionam-se possíveis sentidos em uma proposta estética que visa a negar a representação: reconhece-se a escrita de Marguerite Duras enquanto transgressão e recusa ao definitivo. A sinceridade desmistificadora a que a escrita de Marguerite Duras se propõe depara-se com o desmoronamento da racionalidade, restando apenas ruínas da experiência e a dissolução de limites e certezas.

Le traitement de signaux multidimensionnels reste un problème délicat lorsqu’il s’agit d’utiliser des méthodes conçues pour traiter des signaux monodimensionnels. Il faut alors étendre les méthodes monodimensionnelles à plusieurs dimensions, ce qui n’est pas toujours possible, ou bien convertir les signaux multidimensionnels en signaux 1D. Dans ce cas, l’objectif est de conserver le maximum des propriétés du signal original. Dans ce contexte, le théorème de superposition de Kolmogorov fournit un cadre théorique prometteur pour la conversion de signaux multidimensionnels. En effet, en 1957, Kolmogorov a démontré que toute fonction multivariée pouvait s’écrire comme sommes et compositions de fonctions monovariées. Notre travail s’est focalisé sur la décomposition d’images suivant le schéma proposé par le théorème de superposition, afin d’´etudier les applications possibles de cette d´ecomposition au traitement d’image. Pour cela, nous avons tout d’abord ´etudi´e la construction des fonctions monovari´ees. Ce probl`eme a fait l’objet de nombreuses ´etudes, et r´ecemment, deux algorithmes ont ´et´e propos´es. Sprecher a propos´e dans [Sprecher, 1996; Sprecher, 1997] un algorithme dans lequel il d´ecrit explicitement la m´ethode pour construire exactement les fonctions monovari´ees, tout en introduisant des notions fondamentales `a la compr´ehension du th´eor`eme. Par ailleurs, Igelnik et Parikh ont propos´e dans [Igelnik and Parikh, 2003; Igelnik, 2009] un algorithme pour approximer les fonctions monovariéees par un réseau de splines. Nous avons appliqué ces deux algorithmes à la décomposition d’images. Nous nous sommes ensuite focalisés sur l'étude de l’algorithme d’Igelnik, qui est plus facilement modifiable et offre une repréesentation analytique des fonctions, pour proposer deux applications originales répondant à des problématiques classiques de traitement de l’image : pour la compression : nous avons étudié la qualité de l’image reconstruite par un réseau de splines généré avec seulement une partie des pixels de l’image originale. Pour améliorer cette reconstruction, nous avons proposé d’effectuer cette décomposition sur des images de détails issues d’une transformée en ondelettes. Nous avons ensuite combiné cette méthode à JPEG 2000, et nous montrons que nous améliorons ainsi le schéma de compression JPEG 2000, même à bas bitrates. Pour la transmission progressive : en modifiant la génération du réseau de splines, l’image peut être décomposée en une seule fonction monovariée. Cette fonction peut être transmise progressivement, ce qui permet de reconstruire l’image en augmentant progressivement sa résolution. De plus, nous montrons qu’une telle transmission est résistante à la perte d’information. / The processing of multidimensional signal remains difficult when using monodimensional-based methods. Therefore, it is either required to extend monodimensional methods to several dimensions, which is not always possible, or to convert the multidimensional signals into 1D signals. In this case, the priority is to preserve most of the properties of the original signal. In this context, the Kolmogorov Superposition Theorem offers a promising theoretical framework for multidimensional signal conversion. In 1957, Kolmogorov demonstrated that any multivariate function can be written as sums and compositions of monovariate functions.We have focused on the image decomposition according to the superposition theorem scheme, to study the possible applications of this decomposition to image processing. We have first studied the monovariate function constructions. Various studies have dealt with this problem, and recently, two algorithms have been proposed. Sprecher has proposed in [Sprecher, 1996; Sprecher, 1997] an algorithm in which the method to exactly build the monovariate functions is described, as well as fundamental notions for the understanding of the theorem. Igelnik and Parikh have proposed in [Igelnik and Parikh, 2003; Igelnik, 2009] an algorithm to approximate the monovariate functions by a Spline network. We have applied both algorithms to image decomposition. We have chosen to use Igelnik’s algorithm which is easier to modify and provides an analytic representation of the functions, to propose two novel applications for classical problems in image processing : for compression : we have studied the quality of a reconstructed image using a spline network built with only a fraction of the pixels of the original image. To improve this reconstruction, we have proposed to apply this decomposition on images of details obtained by wavelet transform. We have then combined this method with JPEG 2000, and we show that the JPEG 2000 compression scheme is improved, even at low bitrates. For progressive transmission : by modifying the spline network construction, the image can be decomposed into one monovariate function. This function can be progressively transmitted, which allows to reconstruct the image by progressively increasing its resolution. Moreover, we show that such a transmission is resilient to information lost.

[pt] A semente do desatino: o germe da transgressão em Lavoura arcaica consiste em uma análise do romance de Raduan Nassar, tomando o conceito de transgressão como operador de leitura na interface entre literatura e psicanálise. Tem como objetivo aproximar a estrutura narrativa da obra à questão do excesso, presente no traço barroco da escrita nassariana e no verbo colérico e disruptivo de André. O romance é perpassado pela ideia de transbordamento, encontrando seu ápice no embate entre pai e filho, no incesto e no filicídio; a pesquisa se propõe a investigar essa noção a partir das concepções de gozo em Jacques Lacan e de erotismo em Georges Bataille, além da contribuição teórica de Sigmund Freud, Friedrich Nietzsche, Michel Foucault, entre outros. / [en] The madness seed: the germ of transgression in Raduan Nassar s Ancient Tillage consists of an analysis of Raduan Nassar s romance, considering the concept of transgression as the reading operator at the interface between literature and psychoanalysis. Its object is to link the novel s narrative structure to the subject of the excess, always present at the baroque style of the nassarian writing and at the fiery-tempered and disruptive speech of André. The romance is entangled by the idea of overflowing, finding its apex at the shock between father and son, at the incest and at the filicide; the research investigate this notion starting from the concepts of jouissance as for Jacques Lacan and erotism as for Georges Bataille, including also the theoretical contribution of Sigmund Freud, Friedrich Nietzsche, Michel Foucault, amongst others.

La survie de nos ancêtres dépendait grandement de leurs relations sociales. Selon une approche évolutionniste, la fonction de la honte est de réduire les risques de perdre en valeur sociale. Cependant, d’autres théories maintiennent que la honte n’est pas fonctionnelle : elle est liée à un mauvais ajustement psychologique (ex., dépression et agressivité). Il est supposé que les deux théories puissent être réconciliées sous un acompte fonctionnel : être honteux peut être avantageux dans certains contextes (quand une transgression est commise), et peut être couteux dans d’autres (en absence de transgression). Les participants (n = 294, Mâge = 42, ÉT = 13.423) sont assignés au hasard à une vignette décrivant soit un acteur commettant une transgression (ex., voler de l’argent ou insulter un collègue) ou aucune transgression, puis ils voient une photo de l’acteur montrant soit de la honte ou aucune émotion. Ensuite ils évaluent l’acteur sur 17 items incluant des traits désirables (amical) et des traits indésirables (égoïste). Suite à une analyse factorielle exploratoire, les items sont regroupés sous deux dimensions (évaluation bénigne et absence de traits indésirables) afin de simplifier les analyses statistiques. L’hypothèse n’est pas soutenue : les acteurs honteux reçoivent des scores plus bas sur l’évaluation bénigne et l’absence de traits indésirables indépendamment de la présence ou absence d’une transgression. Cependant, des analyses supplémentaires suggèrent que les conséquences de montrer de la honte sont plus complexes. Davantage de recherches sont nécessaire afin d’examiner si exprimer de la honte est encore fonctionnel aujourd’hui. / Our ancestors’ survival greatly depended on their social relationships. According to an evolutionary perspective, shame’s function is to reduce the likelihood of losing social value in the eyes of fellow group members; however, certain accounts hold that shame may not be functional: it is related to psychological maladjustment (ex., depression and aggression). It is hypothesized that the two views are not conflicting; they can be reunited under a functional account. In other words, being shameful is beneficial under certain conditions (when a transgression is known to others) and costly under other conditions (when no transgression has been committed). Participants (n = 294, Mage = 42, SD = 13.423) were randomly assigned to read a vignette describing a transgression (stealing money or insulting a colleague) or no transgression, then exposed to a photo of an actor displaying either shame or no emotion, and then they rated the actor on 17 items including desirable traits (ex., friendly) and undesirable traits (ex., selfish). Through an exploratory factorial analysis, items were grouped into two factors (benign evaluations and absence of undesirable traits) in order to simplify statistical analyses. The hypothesis was not supported: shameful actors received lower scores on benign evaluations and absence of undesirable traits regardless of the presence or absence of a transgression. However, further analyses indicate that the consequences of displaying shame are more complex. These results suggest more research is necessary to examine whether the shame display remains functional today.

Les volontés individuelles évoluent avec le temps, elles sont en lien avec une histoire qui impose sa tonalité propre.Le XXème siècle, avec ses deux guerres mondiales, transforme l’ambiance du Réel et conduit à une mutation de l’agir autour de tendances transgressives et conflictuelles. En figure de proue de ce référentiel changeant, l’écriture polymorphe de Georges Bataille dévoile une philosophie interrogeant le statut des limites et leur légitimité. L’individu comme sujet est celui qui cherche à s’illimiter en allant au sommet des choses dans une métaphysique phénoménologique. Cherchant à repousser les limites, Georges Bataille joue avec la morale, les règles admises et l’agrégat législatif jusqu’à annoncer une économie de la dépense. Tous ses ambitieux projets sont regroupés dans douze volumes d’œuvres complètes qui ont connu un intérêt du côté des spécialistes de littérature, et des curieux. Aujourd’hui, les philosophes et la sociologie parlent du renouveau des limites et des changements de mentalités. Nous allons explorer toutes ces pistes en nous appuyant sur Bataille, ses lecteurs, et leur portée actuelle en nous demandant s’il existe encore des limites réelles à transgresser. / Individual wishes change over times, they’re connected with a specific historical setting.With the two world wars, the XXth century transforms the vibes. It conducts to a changement of the course of action. Sin and transgression are the conflictual elements that transform reality.Georges Bataille is the figurehead of this changing reality. This multiple-writer presents a philosophy questioning limits and their legitimacy. The person is the subject searching to define an unlimited world, thanks to a metaphysic and phenomenological dimension.Georges Bataille is looking to push out the limits: he deals with morality, rules and laws until he announces a saving of expenditure. All of these ambitious projects are gathered in twelve volumes. These books generate some interest for literature specialist, or curious people.Nowadays, philosophers and sociologists talk about the resurgence of the limits caused by the change of attitudes. We will explore these questions using Georges Bataille, his lectors and the influence of thoughts as support. We’re wondering if we could even transgress limits.