This dissertation examines how postmodernist narratives of memory in Graham Swift's Waterland, Salman Rushdie's Midnight's Children, and Amitav Ghosh's The Shadow Lines retrieve the stories of those who have been lost or forgotten in official history and refigure the temporal and spatial imaginary in intertwining personal stories of crisis with public history through acts of remembering. Questioning the modernist ideology of progress based on the idea of linear sequence of time, the novels not only retrace the heterogeneous and discontinuous layers of stories overlooked or repressed in official accounts of modern history, but also re-examine the contradictory and contested process by which subjects are situated or positioned, and its effects on the production of knowledge. These postmodern historical novels examine history as a discourse and explore its limits. The narrators of the novels are engaged with an autobiographical act of rewriting their lives, but their efforts to reconstitute themselves in unity and continuity are undermined by the disjunctive narrative form of the novels. The layered narrative of memory through which the novels reconstruct modern history is allegorical in the double sense that it exposes the act of signification by decentering the symbol of the transcendental signifier while telling an allegorical story of personal and familial history that mirrors national history in a fragmented way. In Waterland, Tom Crick retells his personal and familial stories intertwined with local and national history as alternative history lessons and challenges the Idea of Progress by revisiting sites of traumatic memory. Midnight's Children constructs counter-stories of Post-Independence India as multiple alternatives to one official version of history and addresses the limits of history in terms of "a border zone of temporality." In The Shadow Lines, the narrator retells his family history as a story of borders through his struggle with gaps in official history and creates a national imaginary with mirror images and events. The postmodernist narrative of memory in these novels turns the time of the now into a time for the "past as to come," a time to detect the unrealized and unfulfilled possibilities of the past, through retellings of the past.

Η παρούσα μεταπτυχιακή εργασία καταπιάνεται με το ζήτημα της πρόκτησης (Protention) ως θεμελιώδους συστατικού της συνείδησης του χρόνου, όπως αυτή προσεγγίζεται μέσα από τις φαινομενολογικές περιγραφές του Edmund Husserl. Αρχικά παρουσιάζονται οι βασικοί άξονες της χουσσερλιανής φαινομενολογίας του χρόνου, έτσι όπως αναπτύσσονται στο έργο του "Για τη Φαινομενολογία της Συνείδησης του Εσωτερικού Χρόνου" (τόμος 10 των απάντων του). Στη συνέχεια η εργασία επικεντρώνεται στη θεματική της Protention, εντοπίζοντας τα δομικά χαρακτηριστικά της, για να σκιαγραφηθούν, αμέσως μετά, οι βασικές μετατοπίσεις του σχετικά με το ζήτημα αυτό, όπως προκύπτουν μέσα από ύστερες αναλύσεις, τις οποίες βρίσκει κανείς στα χειρόγραφα του Bernau (Bernauer Manuskripte, τόμος 33 των απάντων). Επιχειρούμε να διαβάσουμε τα αντίστοιχα χουσσερλιανά κείμενα παρακολουθώντας παράλληλα τις σχετικές συζητήσεις εντός της φαινομενολογικής παράδοσης. / The present MA dissertation undertakes the task of dealing with the issue of Protention, considered as a fundamental element of time-consciousness, following the way Edmund Husserl's phenomenological descriptions approach the latter. We initially present the main axes of the husserlian phenomenology of time, as it is developed in his early work "On the phenomenology of inner time-consciousness" (Hua X). Our study then focuses on the specific issue of Protention and protentional consciousness, tracing its structural features in order to delineate Husserl's basic shifts on this matter, as they come about in his later analyses found in his Bernau Manuscripts (Hua XXXIII). We attempt reading the husserlian corpus while paying heed to the relevant discussions taking place within the phenomenological tradition.

La massification des usages des réseaux socionumériques n’est pas sans conséquences sur la visibilité dont les individus font l’objet. Les potentialités d’internet dans la diffusion de l’information et les divers services de communication mis à disposition sont autant de mécanismes de dévoilement de l’intimité de l’usager dans les espaces publics numériques.Notre projet de recherche doctoral propose d’appréhender les pratiques et l'ensemble des facteurs associés au phénomène de mise en visibilité de soi sur les réseaux socionumériques, et plus particulièrement sur Facebook.Pour ce faire, cette recherche s’appuie sur une analyse quantitative, issue de la passation d’un questionnaire en ligne auprès de 444 usagers de Facebook, ainsi que sur une analyse qualitative provenant de 27 entretiens réalisés auprès d’utilisateurs du réseau socionumérique.Il s’agit de comprendre les raisons expliquant l’élaboration de pratiques de régulation de la visibilité numérique face à un réseau socionumérique incitant à une exposition de soi accrue.Il apparaît que les usagers sont en mesure de développer des espaces de visibilité de leurs informations personnelles et sont en constante variation afin de gérer la complexité de l’identité numérique. Ensuite, les évolutions de la visibilité des individus sur Facebook ne se réalisent pas de manière linéaire mais s’opèrent davantage par phases, entendues comme des interventions dans les pratiques de gestion de la vie privée. Ces évolutions correspondent à des épisodes de vie concomitants à l’expérience d’usage. Enfin, Le dispositif sociotechnique, ou plutôt les invitations à la mise en visibilité de soi qu’il émet, tout comme les attentes normatives de la « société » sont tout autant des modalités de définition de l’identité de l’usager des réseaux socionumériques. Les facteurs d’invitation à la mise en visibilité de soi – que sont l’usager lui-même ; son réseau de relations ; le dispositif sociotechnique Facebook ; et la « société » sous le trait des attentes normatives imposées – correspondent, en grande partie, aux mécanismes de prévention contre les potentielles atteintes à la vie privée. / The increase of the use of social network sites has consequences regarding individual privacy. The Internet’s capability to disseminate information and various communication services available is also a mechanism that reveals the privacy of the user in digital public spaces.Our doctoral research project proposes to study the practices and whole of the factors associated with the phenomenon of self-exposure on social network sites, especially on Facebook.This research contains a quantitative analysis, based on an online questionnaire to 444 Facebook users, as well as a qualitative analysis from 27 interviews conducted with users of this social network site.It aims to analyze the reasons that explain the development of regulatory practices of digital visibility caused by a social network site that incites increased self-exposure.It appears that users are able to develop spaces of visibility of their personal information and that they modulate their practices in order to manage the complexity of the digital identity. Then, changes in individuals’ visibility on Facebook do not occur a linear fashion but in phases, defined as interventions in the management practices of privacy. These changes correspond to instances of life that are concurrent to the experience of use. Finally, the socio-technical system, or rather the invitations to self-exposure so that it emits, as the normative expectations of the "society" are equally ways of defining the identity of the user of social network sites. Factors invitation to self-exposure - that is the user himself; its network of relationships; the socio-technical device Facebook; and "society" under the related normative expectations it imposes - correspond largely to preventive mechanisms guarding against potential threats to privacy.

La thèse propose moins un inventaire des films du cinéma libanais que le relevé et l’analyse de formes cinématographiques et de pratiques artistiques contemporaines répondant aux drames, aux incertitudes, aux crises identitaires et aux amnésies forcées entraînées durablement par la guerre civile (1975-1990). à partir de la notion d’ « images d’après », on étudie la crise de la représentation qui affecte tant les modes de narration, les discours, la figuration que les formes individuelles et collectives de la mémoire et de l’histoire. de ce « nœud de tensions » découle un art de l’effritement du langage, de l’espace, du temps. une temporalité sismique problématise et brise la linéarité et la factualité, bouleversant les catégories du réel et de l’imaginaire, du documentaire et de la fiction. ce processus est d’abord questionné à travers le lyrisme et la distanciation critique de cinéastes comme borhane alaouié, maroun bagdadi et jocelyne saab, puis à travers le travail de la génération des joana hadjithomas et khalil joreige, lamia joreige, jayce salloum, mohamed soueid, akram zaatari : outre le recours fictionnel et figuratif à une temporalité spectrale conduisant ghassan salhab à faire surgir le fantastique, les créations artistiques libanaises d’après-guerre inventent et explorent une syntaxe et des matériaux esthétiques complexes capables de recréer et renouer des liens authentiques avec le réel. les œuvres d’après-guerre qui sont étudiées traduisent une pratique créatrice discursive et poétique caractérisée par l’utilisation de divers supports médiatiques, et dont la dynamique a pour source et pour effet de penser les événements traumatiques et de les historiciser. / The thesis proposes less of an inventory of lebanese films, but more so it aims to collect and analyze the cinematographic forms and contemporary artistic practices that respond to tragedies, uncertainties, identity crises, and forced amnesia resulting from the incessant civil war (1975-1990.) using the notion of ‘images in the aftermath,’ the thesis explores the crisis of representation that impacts the modes of storytelling, addressing of speech, and figuration, as well as individual and collective forms of memory and history. from this ‘knot of tensions’ stems an art of erosion of language, space, and time. a seismic temporality problematizes and breaks the linear and factual, which shakes the core of categories that are linked to the real and the imaginary, documentary and fiction. this process is at firsthand questioned with lyricism and critical distancing by filmmakers such as borhane alaouié, maroun bagdadi, and jocelyne saab, then through the works of a generation including joana hadjithomas and khalil joreige, lamia joreige, jayce salloum, mohamed soueid, and akram zaatari. in addition to the fictional and figurative use of a spectral temporality leading artists such as ghassan salhab to exploit the fantastic, the lebanese artistic creations of the post-war era invent and explore a new syntax and complex aesthetic tools capable of recreating and renewing authentic ties with the real. the post-war works that are observed and studied transliterate a creative and discursive practice that is poetic, and characterized with the use of various media whose dynamics invoke the ability to think of, and apprehend, the traumatic events that may then be historicized.

This thesis addresses how leaders find themselves doing something even when they don't know what to do. It is based on my own practice as an experienced team leader and it deals with questions of action, time, identity and leadership. A classic understanding of action usually reflects an expectation of a rational means-ends relationship where actions are designed and applied by individuals to reach well-defined goals within a certain context and within a certain time. In contrast, in this thesis, I describe acting as a much more complex process, as something becoming, as a patterning of activities involving multiple actors in a continuous and complex interweaving of relationships. I describe my experience of leading a team of consultants in international development projects where I inquire into how we often find ourselves acting into uncertainty even when we are not at all sure what to do. Adopting the theory of complex responsive processes of relating, which combines insights from the complexity sciences, social psychology and process sociology, I have come to see acting in our projects as complex, unpredictable, emerging themes and patterns of dialogues between colleagues, clients and other actors, rather than as an activity undertaken by an individual such as a team leader. I do not have an outside position to acting in a project as I am fully involved in the process while this paradoxically influences me at the same time. I argue that acting is related to identity, which can be understood as a sense of self, a person's moral self-interpretation which has a narrative structure and which is continuously being formed by (and is forming) one's acting. I argue that my experience of our practice may be explained by the pragmatists' understanding of acting based on actual lived experience where the means paradoxically become our 'ends-in-view' and vice versa, meaning that we do not just try to maintain a theoretical, future goal but move forwards towards what is practically possible, what we find useful and what makes sense in the present. Acting happens in a living present, meaning that we understand the present through our interpretation of the past as well as our expectation of the future, and we construct this living present as something that works for us when we pursue our collective aims and interests. In the process of acting, there is an arrow on time, meaning that what has been said cannot be unsaid, wherefore it is important to reflect on the perspective of 'ends-in-view' and to understand how acting into a situation may reveal new opportunities. The thesis contributes to knowledge within my profession as an original invitation to think differently about two aspects: first, seeing acting in a project with a much more processual, temporal and encompassing understanding where action is not located in an individual; second, understanding how acting is influenced by one's identity, a sense of self, which is paradoxically being formed by the acting at the same time. Further, the thesis identifies sociality, being different things at the same time (Mead, 1932/2002), as a new aspect in the theory of complex responsive processes of relating (Stacey, Griffin, & Shaw, 2000), recognising its significance in the process of understanding of how novelty occurs. The thesis contributes to my practice in terms of an increased reflexivity and acceptance that a team leader cannot determine outcomes in advance; that leadership is a complex process involving many actors; and that observing ends-in-view may create new and surprising ways forward. I find that these insights can lead to an increased acceptance of how we can act under conditions of uncertainty.

A utilização do conceito de tempo como uma categoria de análise em Geografia não é tão rara quanto se imagina, mas tampouco é tão presente e reflexiva quanto se gostaria. Ainda mais raros são os trabalhos de pesquisa que incluem de maneira efetiva a dimensão espaçotemporal na análise geográfica. Esta pesquisa apresenta, portanto, uma discussão em torno de autores que analisam esta perspectiva, na tentativa de construir os conceitos de espaço-tempo, temporalidade (velocidade de transporte de matéria e informação) e identidade espaçotemporal, ao mesmo tempo em que tenta articulá-los ao universo conceitual da Geografia. Adicionalmente, esta pesquisa também tenta demonstrar uma possibilidade de uso efetivo destes conceitos na análise de um recorte espacial específico. O trabalho de campo experimental foi desenvolvido na cidade de Terra de Areia, no Litoral Norte do Rio Grande do Sul, onde diversos fluxos lentos e rápidos convivem proximamente, gerando conflitos temporais manifestados nos hábitos, gestos e sentimentos dos habitantes da localidade. / The use of the concept of time as a category of analysis in Geography is not as rare as we imagine, but neither is as reflexive or common as we would like it to be. Even more rare are the scientific works that include in an effective way the space-time dimension in geographical analysis. This research presents, therefore, a discussion about authors who discuss this perspective, in trying to build the concepts of space-time, temporality (matter and information transport speed) and spatial-temporal identity at the same time that tries to link them to the conceptual universe of Geography. Also, this research tries to demonstrate a possibility of effective use of these concepts in the analysis of a specific portion of space. The experimental field work was developed in the city of Terra de Areia, in the northern coast of Rio Grande do Sul/Brazil, where several flows with different speeds live closely, generating temporal conflicts manifested in habits, gestures and feelings of the inhabitants of the town.

Le présent travail a pour but d’élucider, sous le nom de « figures de la temporalité », les modalités du temps telles qu’elles se présentent dans l’herméneutique de Gadamer. Notre point de départ réside dans l’idée que la compréhension est événement, et qu’en elle quelque chose du passé vient « parler » au présent, par-delà toute distance temporelle. Liée à la structure événementielle de l’expérience du comprendre, la thématique du temps s’impose à chaque grand axe de la pensée gadamérienne, que ce soit l’ontologie de l’œuvre d’art, le rapport à la tradition ou la constitution langagière et dialogique de notre être-au-monde.Pour expliciter la participation du temps aux structures essentielles de l’expérience herméneutique, nous revisitons trois sphères fondamentales de celle-ci, mises en lumière par Gadamer dans Vérité et méthode. Nous commençons par l’analyse de la temporalité éminente de l’œuvre d’art en tant qu’elle fait apparaître la problématique de l’interprétation temporelle du sens. Nous l’élargissons ensuite à la totalité de l’expérience herméneutique, en l’interrogeant à partir des notions de présence et d’historicité. Ce qui nous conduit enfin à mettre en lumière l’inachèvement constitutif de l’expérience du sens, saisie dans son essence dialogale. Le temps représente pour nous moins un objet de recherche qu’une grille de lecture, permettant de mettre au jour le caractère temporel et historique de l’être du sens et la finitude de l’expérience du comprendre. Nous espérons montrer, par notre recherche, que le dégagement de la question du temps chez Gadamer pourrait fournir un élément essentiel à la compréhension de l’ensemble de sa pensée et contribuer à l’éclaircissement du concept herméneutique de vérité. / The present work aims, under the name of “figures of temporality”, to elucidate the modalities of time as they appear in Gadamer’s hermeneutics. Our point of departure lies in the idea that understanding is an event, and that something of the past in it comes to “speak” to the present, beyond any temporal distance. The theme of time is linked to the event structure of the experience of understanding and is presented in each major axis of Gadamerian thought, such as the ontology of the work of art, the relationship to tradition or the linguistic and dialogical constitution of our being-in-the-world.To explain the participation of time in the essential structures of hermeneutical experience, we revisit its three fundamental spheres, highlighted by Gadamer in Truth and Method. We begin with the analysis of the eminent temporality of the work of art insofar as it reveals the problematic of the temporal interpretation of meaning. Then we extend it to the totality of the hermeneutical experience, by questioning it through the notions of presence and historicity. It leads us finally to show the unclosed character of the experience of meaning, grasped in its dialogical essence. Here time is less a research object than a grid of reading, making it possible to reveal the temporal and historical character of the being of meaning and the finitude of the experience of understanding. Our research is intended to show that the emergence of the question of time in Gadamer could provide an essential element for the comprehension of his entire thought and contribute to the clarification of the hermeneutical concept of truth.

L’objectif de notre présente étude est d’examiner un contexte philosophique dans lequel s’inscrit la recherche de la subjectivité liée à l’idée de l’extériorité à travers une étude des liens entre la philosophie de Franz Rosenzweig et celle d’Emmanuel Levinas. L’idée de socialité dans notre recherche se fonde sur la question de l’extériorité et sur celle de la subjectivité dans leurs philosophies. Ces deux philosophes soutiennent tous deux l’idée de la rupture de la totalité et défendent la subjectivité. Toutefois, leurs divergences sont profondescar la tentative de Levinas qui aboutit à la recherche d’une subjectivité consistant dans le dérangement de l’ordre ne renvoie pas au système rosenzweigien. Dès lors, quel est l’héritage de Rosenzweig dans la philosophie de Levinas ? Dans la première partie, nous déterminons la portée de la notion de système et celle de totalité dans leurs philosophies. Dans la seconde partie, nous observons la divergence entre leurs philosophies sur la conception du Soi et son rapport à l’extériorité. Dans la troisième partie, nous examinons la signification de la socialité fondée sur la question du temps. Selon nous, la question du langage qui fonde la relation entre le sujet et autrui se déploie à travers les analyses du temps, et ce sont des modalités du langage – le rapport entre le dialogue du « face-à-face » et l’intrusion de l’autre dans le sujet exprimé par Levinas comme « Dire sans Dit » - qui nous permettent de relier encore une fois la philosophie de Levinas à la philosophie de Rosenzweig. Levinas approfondit la question rosenzweigienne du dialogue sans dévaloriser sa signification et sans la systématiser, en partant de la pensée du système. / The objective of our present study is to examine the philosophical context in which the research of a subjectivity which would be linked to the idea of the exteriority becomes possible. This objective will be achieved thanks to the study of the connection between Franz Rosenzweig’s philosophy and Emmanuel Levinas’s philosophy. In our research the idea of sociality is founded upon the question of the exteriority and upon the question of the subjectivity. Both Rosenzweig and Levinas are determined to put the idea of the totality into question and to defend the subjectivity. However, their differences are great: Levinas’s endeavor to open the field for a new understanding of the subjectivity, which consists in the disturbance of the order, doesn’t appear in Rosenzweig’s system. If such is the case, what does Levinas’s philosophy owe to the heritage of Rosenzweig? In the first part, we try to determine the realm of the notion of system and that of totality in their philosophies. In the second part, we try to observe the difference between their philosophies about the conception of the Self and of its link to the exteriority. In the third part, we examine the meaning of a sociality founded upon the question of time. In our view, the question of language, which is the basis of the relationship between a subject and the other, is inseparable from a profound analysis of time. The modalities of language – the connection between the dialogue of the “face-to-face” and the intervention of the other into the subject expressed by Levinas as “ Saying without Said” - allow us to underline the relation between the philosophy of Levinas with that of Rosenzweig. Levinas has deeply studied Rosenzweig’s understanding of the dialogue without depreciating its signification.

L'objectif de cette recherche est de définir les significations du N (nom) fois au travers des principales constructions qui l'utilisent en français contemporain, et d‟expliquer la formation des expressions dérivées autrefois, des fois (que), parfois, quelquefois, toutefois, une fois (que). Examiné sous l'angle du lexique, le mot fois est un substantif féminin, qui, précédé d'un déterminant, se constitue en groupe nominal (GN). Le N fois dénote un comptage d'occurrences, c'est-à-dire d'unités de discours, qui sont le plus souvent des processus verbaux ou des prédicats. Il s'agit donc d‟unités linguistiques ce qui explique que fois apparaît dans des contextes divers. Nous avons classé les principales constructions en fonction des déterminants relevés dans le GN fois. D'une part, les GN composés des adjectifs cardinaux ou quantificateurs + fois permettent de compter des occurrences du langage et ont une fonction adverbiale de quantification ; si les occurrences comptées sont des processus verbaux, ils portent en sus une notion temporelle à valeur itérative ou fréquentielle. Avec les autres déterminants (article défini et indéfini, adjectif démonstratif, quantificateurs universels tous les et chaque), fois est un nom temporel qui tend à se standardiser. Les expressions dérivées évoluent sémantiquement et produisent une forme adverbiale préalable à d'autres transformations. Nous pouvons ainsi identifier le groupe des adverbiaux de quantification, le plus ancien, qui a facilité l'apparition des expressions dérivées, et un groupe plus récent où fois apparaît comme un nom temporel au même titre que jour, instant ou moment. / We aim in this search to define the significations of N (name) fois through the main constructions using it in modern French, and to explain how it helped in forming the derived expressions autrefois, des fois (que), parfois, quelquefois, toutefois, une fois (que). From a lexical point of view, the word fois is a feminine substantive, and, built with a determiner, it forms a nominal group (NG). The N fois denotes an occurrences counting, that means discurse units counting, mostly verbal process or predicates. Therefore it concerns liunguistic units and that's why fois is used in several contexts. We organized the main constructions according to the determiner used in NG fois. Firstly, NG built with cardinal adjectives or quantifiers + fois allow counting language occurrences and function as a quantification adverb ; if the occurrences are verbal process, they bring besides a temporal notion with iterative or frequential value. With other déterminers (definite and indefinite article, demonstrative adjective, universal quantifiers tous les and chaque), fois is a temporal name on the way to standardisation. The derived expressions change semantically and come to an adverbial form prior other transformations. This concludes to identify the group of quantification adverbs, the former one, which helped the formation of derived expressions, and a newer group in which fois is a temporal name as jour, instant or moment.

Richard Holton has criticized the common idea that self-deception is deception by the self, and suggested it is rather deception about the self; self-deception must include necessarily erroneous beliefs about the self. In this article I claim that this condition is not necessary, based on two central traits of self-deception: its temporal character  and  its  bound  to  multiplication.  In  addition,  I  suggest  an  alternative condition in relation to the beliefs system implied in self-deception. / Richard  Holton  ha  cuestionado  la  idea  usual  de  que  el  autoengaño consiste en un engaño por el sí mismo, y ha propuesto en su lugar que la caracterización de este fenómeno debe incluir, como condición necesaria, la tesis de que  el  autoengaño  es  un  engaño acerca del  sí  mismo.  Se  defiende  aquí  la  afirmación de que tal requisito no es necesario, sobre la base de dos características centrales del autoengaño: su carácter temporal y su tendencia a la multiplicación. Asimismo, se esboza una condición alternativa respecto del conjunto de creencias involucrado en el autoengaño.