A partir du concept « philosophie tragique », nous proposons une approche de l’ensemble de la philosophie de Rosset, qui a jusqu’ici peu été étudiée en France. Nous envisageons le rapport, dans son œuvre, entre philosophie tragique et esthétique à partir de ses analyses d’œuvres d’art dramaturgiques, littéraires et musicales. Pour ce faire, nous analysons le terme même de tragique, la fortune du drame antique et l’usage que propose Nietzsche de la tragédie pour déterminer la ligne philosophique propre à Rosset. Nous proposons ainsi une cartographie de l’ensemble de son œuvre pour analyser les nouvelles tactiques qu’il met en œuvre pour renouveler l’approche du tragique, et par là, pour évaluer la manière de philosopher singulière qu’il met en œuvre. Analysant dans ses premiers travaux le tragique à travers une analyse de l’événement tragique et de son expérience individuelle, Rosset élargit son champ de réflexion pour faire du tragique l’objet d’une philosophie du réel. Ce tournant dans son œuvre nous amène à penser le tragique non comme une question circonstancielle ou réservée à l’analyse dramaturgique ou esthétique mais comme le programme d’une nouvelle philosophie, qui conteste l’idée de nature, et propose une nouvelle philosophie du réel. En précisant cette philosophie comme « logique du pire », « anti-nature » et philosophie du hasard, nous confrontons ainsi ses ouvrages de la maturité avec son premier geste philosophique, qui détermine la philosophie comme tragique. Cela nous amène à distinguer le tragique de l’absurde et du pessimisme, en insistant sur le rapport paradoxal à la joie qu’il comporte, qui détermine le tragique comme une philosophie de l’approbation. Le rôle que tiennent la littérature et la musique est alors évalué à la lumière de cette nouvelle rencontre, que Rosset nous propose, entre une esthétique de l’artifice et une éthique de l’approbation tragique. Nous espérons ainsi contribuer à l’ouverture en France d’une réception de la philosophie de Clément Rosset. / Starting from the concept of “tragic philosophy”, we offer a complete analysis of the complete philosophy of Rosset, up to now little studied in France. We contemplate the link in his work between tragic philosophy and the arts, based on his analysis of works of dramatic art, literature and music. In doing this, we analyse even the term ‘tragic’ itself, the fortune of ancient drama and the usage of tragedy proposed by Nietzsche, in order to establish the philosophical approach that belongs to Rosset. We thus present a mapping of the whole of his works in order to analyse the new tactics that he puts to work in order to re-invent the approach to tragic, and in this manner, evaluate the singular manner of the philosopher that he puts to work. Analysing in his earliest works on tragic by means of the tragic event and his personnel experience, Rosset then enlarges his field of reflexion to make tragic the object of the philosophy of reality. This twist in his work brings us to think not of the tragic as a circumstantial question or the reserve of the dramatical or artistic analysis but as the plan for a new philosophy, which contests the idea of nature, and offers a new philosophy of reality. By clarifying this philosophy as the « logic of the worst », « anti-nature » and the philosophy of chance, we thus consider his works with the maturity of his first philosophical gesture that sets out the philosophy as tragic. This method in his work leads us to distinguish the absurd tragic from that of pessimism, whilst insisting on the paradoxical link of the joy that it brings, that determines the tragic as a philosophy of approval. The role played by literature and music is thus evaluated in the light of this new encounter that Rosset proposes to us, between an art of the subtle and the ethics of tragic approval. We hope in this manner to contribute to opening France up to the philosophy of Clément Rosset. / Esta tesis tiene como objetivo comprender y precisar los términos a partir de los cuales Clément Rosset retoma y reelabora el termino filosofía trágica. Para hacerlo, hemos hecho una travesía que abarca el conjunto de su obra, para así hacer visibles los diferentes estratos que conforman este concepto. En primer lugar, la filosofía trágica de la que Rosset nos habla en sus libros de juventud aparece a une escala humana: él se interroga sobre el acontecimiento trágico y la relación del humano con ese tipo de situaciones. El describe, por tanto, el sujeto trágico que se sorprende cada vez que esas situaciones aparecen. Su elaboración no solamente su nutre y está ligada definitivamente a Nietzsche, sino también a las tragedias antiguas y modernas, reforzando así el lazo entre estética y filosofía. En segundo lugar, Rosset extiende su visión de lo trágico al mundo. Así él nos invita a pensar en la actividad misma de la materia, lo cual implica que no solamente el individuo es trágico sino el mundo en su totalidad. En este momento de la reflexión es necesario precisar que Rosset no comprende lo trágico como el “hecho lamentable”, sino que su visión es mucho mas compleja, puesto él debe entenderse como el “indeterminismo” que acompaña cada acto de nuestra vida y la actividad del mundo en su conjunto. Así una filosofía trágica se dedica a pensar ese ingrediente crucial, el “indeterminismo”, de donde surgen todos los determinismos que vemos y habitamos constantemente: los acontecimientos y los seres (animados e inanimados). En tercer lugar, si Rosset instaura una nueva concepción de lo trágico, ella va permitirle, algunos años más tarde, conducir su reflexión hacia lo “real”. Es así que la palabra “trágico” se diluye, pero no su sentido, el “indeterminismo”, el cual se incrusta en el centro mismo de sus reflexiones sobre lo real. Vemos así como Rosset desliza su pensamiento hacia una filosofía de lo real que por tanto es completamente equiparable a la filosofía trágica de sus primeros libros. Eso no significa que la reflexión de Rosset permanezca estática, todo lo contrario, ella es muy activa - pero guardando una profunda coherencia -, puesto que se dedica a reformular el problema de lo real, esta vez a partir del “indeterminismo”, que aparecerá como la verdadera “naturaleza” de lo real. Finalmente si la filosofía de Rosset se dedica pensar lo real, su solo objetivo es proponernos una reconciliación con lo inmediato, con el empirismo de las cosas que nos rodean. De esta manera su filosofía es una celebración de lo real, la cual también podría leerse como una celebración del “indeterminismo”. Para garantizar mejor nuestra cohabitación con lo real, Rosset la refuerza a través de un campo de sensaciones provenientes de la música y la literatura. Es así que una filosofía de lo real, puede mejor comprenderse por las sensaciones que nos producen estas manifestaciones estéticas. De esta manera Rosset conserva el lazo entre filosofía y estética que habíamos descubierto al comienzo de su reflexión sobre lo trágico.

Les études consacrées à la représentation du mariage dans les textes narratifs au XVIe siècle cherchent le plus souvent à mettre en rapport l’image du lien conjugal construite par les récits avec les débats de l’époque. Nous avons voulu combiner cette approche, relevant davantage de l’histoire des idées, à une analyse des formes littéraires en nous interrogeant sur le rôle joué par le thème du mariage dans les évolutions du genre narratif à la Renaissance.Nous menons notre enquête sur un ensemble de douze fictions narratives en prose, de composition française, écrites entre 1515 et 1559. Durant cette période, le mariage se trouve au cœur de nombreuses controverses théologico-politiques et les regards portés sur la vie conjugale se modifient. En nous appuyant sur un travail de contextualisation historique, nous croisons une approche thématique avec une réflexion sur la poétique narrative pour étudier la structuration des intrigues, la construction des personnages et les dispositifs didactiques et herméneutiques des textes. La comparaison de nos récits à d’autres œuvres – contemporaines ou antérieures, françaises ou étrangères – fait apparaître, au cours de notre période, un renouvellement de la matière narrative autour du mariage. L’accent mis sur certaines situations matrimoniales et les enjeux spécifiques qui leur sont associés à l’époque se révèlent être un ferment favorable à l’apparition de structures narratives innovantes. Le mariage joue en particulier un rôle déterminant dans l’orientation des récits brefs vers le genre de l’histoire tragique et dans l’apparition de formes romanesques originales à travers lesquelles on voit s’élaborer le genre du roman sentimental. / In most cases, studies devoted to the representation of marriage in narrative texts of the 16th century aim to link the image of the marriage bond as elaborated in the narratives to the controversies of the time. In order to show how the theme of marriage has played a part in the development of the narrative genre in the French Renaissance, we have decided to combine such an approach, which is rather based on the history of ideas, with an analysis of literary styles.We have conducted our survey on a set of twelve prose narrative fictions written in French between 1515 and 1559. Marriage was then at the heart of many theological-political controversies and married life started to be seen in a new light. Basing our work on historical contextualization, we have intertwined a thematic approach with a reflection on narrative poetics so as to study the plot structure and characterization as well as the didactic and hermeneutic systems of the texts. Comparing these narratives with other literary works – contemporary or prior, French or foreign – has enabled us to highlight a renewal of the narrative matter related to marriage themes during that period. The emphasis put on certain matrimonial situations and the related specific challenges in those days created favourable grounds for the advent of innovative narrative structures. Marriage stories have particularly contributed to orienting short stories towards the style of tragic stories and to giving birth to original novelistic forms in which the early stirrings of the style of the sentimental novel can be seen.

A presente dissertação de mestrado teve o propósito de pesquisar em que medida a estética multifacetada do rap pode ser utilizada nos processos de formação de adolescentes pobres e moradores das periferias, em sua maioria, afrodescendentes. Ao identificar no rap um potencial de ruptura e de resistência frente às formas atuais de discriminação racial - tanto em seus aspectos musicais, quanto narrativos - foram realizadas oficinas de música com ênfase no rap, envolvendo jovens entre treze e quinze anos. As oficinas foram realizadas entre os anos de 2011 e 2013 em dois momentos distintos. O primeiro ocorreu na ONG Casa do Zezinho, situada no Capão Redondo, zona sul da cidade de São Paulo; o segundo foi realizado na Escola Municipal de Ensino Fundamental Amorim Lima, situada no Butantã, zona oeste da mesma cidade. As oficinas eram destinadas à promoção de atividades musicais, lúdicas e intelectuais, fundamentadas na estética do rap, tais como: improvisação musical livre com instrumentos de percussão, audições de rap e gêneros musicais de vanguarda, entre outras. Inicialmente, o objetivo da pesquisa norteou-se pela sensibilização de uma escuta musical que fosse propiciadora de uma ruptura com os modos de percepção homogeneizadores da indústria cultural. Inicialmente, a fundamentação teórica baseou-se nos autores Theodor W. Adorno, Friedrich Nietzsche e José Miguel Wisnik, entre outros. Posteriormente, foi necessário recorrer aos autores Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill na perspectiva de compreender o sentido trágico na vida dos jovens e de como as tensões sociais advindas com a pós-modernidade incidiam em seus comportamentos, interesses e escolhas. Os resultados obtidos nesses dois momentos distintos subsidiaram as análises que desenvolvi nessa dissertação. / This study aimed at searching to what extent the multifaceted aesthetics of rap can be used in the processual development of impecunious teenagers (most of them, African descents), living in the outskirts of a big city. Music workshops concerning rap were held involving teenagers aged thirteen to fifteen. An arising actual feeling of identification towards both rupture and resistance in face of diverse kinds of racial discrimination was detected and interventions took place from 2011 to 2013, divided into two stages. The first one occurred at the NGO Casa do Zezinho, in Capão Redondo, southern part of the city of São Paulo; the second one was held at Municipal Elementary School Amorim Lima, in Butantã, west zone of the same city. The workshops consisted of promoting musical, recreational and intellectual activities founded on the aesthetics of rap, such as: free musical improvisation using percussion instruments, listening to rap and other various genres, including avand-garde songs. Initially the goal of the research was guided by the awareness of some listening promoting means of opposition to ways of perception homogeneized by the cultural industry. Up to then, the theoretical foundation was based on Theodor W. Adorno, Friedrich Nietzche, José Miguel Wisnik and others. Subsequently, works of Stuart Hall, Gilles Lipovetsky, Oswaldo Giacoia, Paulo Arantes, Michel Maffesoli, Philippe Jeammet, Mônica do Amaral e Marc Lamont Hill were analysed in order to understand the tragic sense of life for these teenagers and making them recognize the range of the influence of post modern social tensions upon their behavior, interests and choices. The outcomes provided by the two phases subsidized the analyses developed along the research.

Made available in DSpace on 2017-07-10T18:26:18Z (GMT). No. of bitstreams: 1 Celia Machado Benvenho.pdf: 546815 bytes, checksum: 94730d5eece11060862c817881f759dc (MD5) Previous issue date: 2008-06-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The tragic thought while philosophical reflection about the human condition makes part of a whole movement of valorization of the old Greek art for the Germans in the end of the century XVIII. In spite of that, Nietzsche comes in his last texts as the first tragic philosopher. The objective of this work is to understand and to justify this statement of Nietzsche, even though his thought about the tragic, although it is one of the best knowing among us, it is not the only one. Which innovation is presented by Nietzsche in his interpretation of the tragic that would define him as the first tragic philosopher? We will try to show that, to Nietzsche, the tragedy is a piece of art considered supreme for making possible, at the same time, a metaphysics, a knowledge opposed to the socratic and a redemption. Nietzsche's tragic philosophy, in the end, allows the affirmation of the existence under an aesthetic point of view, which means, it makes possible an aesthetic justification of the existence. / O pensamento trágico enquanto reflexão filosófica sobre a condição humana faz parte de todo um movimento de valorização da arte grega antiga pelos alemães no final do século XVIII. Apesar disso, Nietzsche se apresenta em seus últimos textos como o primeiro filósofo trágico. O objetivo deste trabalho é entender e justificar essa afirmação de Nietzsche, já que seu pensamento sobre o trágico, embora seja um dos mais conhecidos entre nós, não é o único. Qual a novidade apresentada por Nietzsche na sua interpretação do trágico que o definiria como primeiro filósofo trágico? Tentaremos mostrar que, para Nietzsche, a tragédia é uma obra de arte considerada suprema por possibilitar, ao mesmo tempo, uma metafísica, um modo de conhecimento que se opõe ao socrático e uma redenção. A filosofia trágica de Nietzsche, enfim, permite a afirmação da existência sob um ponto de vista estético, ou seja, possibilita uma justificativa estética da existência.

Made available in DSpace on 2017-07-10T18:26:23Z (GMT). No. of bitstreams: 1 Leonardo Augusto Catafesta.pdf: 452585 bytes, checksum: 515c147274cd20b36866601e5be4e4ad (MD5) Previous issue date: 2010-12-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This paper aims to investigate the conception of Dionysian philosophy presented by Friedrich Nietzsche in his final writings. The German philosopher articulates the Dionysian notion along with the notion of Apollo in his first published book, namely, The birth of the tragedy (1872). In this work, there is a direct influence of Wagner s music and Schopenhauer s philosophy in the main theoretical conceptions, thus initiating a metaphysic of artist because, according to his conception, life can only be vindicated while aesthetic phenomenon. Since his work Too human (1878), the Dionysian concept disappears from Nietzschian texts, even in later fragments, returning only in the so called third phase, that is, from Thus spoke Zarathustra (1883), this time under a new approach Nietzsche completely disengages himself from Wagner and Schopenhoauer by not working with the metaphysic of artist or using the concept of Apollo. With a more mature thinking, the German philosopher diffuses his Dionysian philosophy proposing to be completely free from the metaphysic and at the same time affirming existence without boundaries. To do so, it is mainly necessary to transpose the Dionysian into philosophical pathos. Nietzsche makes use of tragic wisdom as the main instrument for such transposition for, only then, one can converse as regards Dionysian philosophy. Understanding tragic wisdom not as theoretical knowledge, but as the understanding and acceptance of the incessant fight that pervades all fractions of life, Nietzsche can declare himself as the first tragic philosopher. Not to fall in pessimism that depreciates life, due to his relentless fighting character, the philosopher exploits game notion. With it, man establishes common sense to the coming-to-be, interlining himself as supreme creator. Thus, a child s image is the example of the most skillful player because he or she inexorably throws him or herself at it without worrying about victory or defeat -- the important thing is to play the game. Hence, the path to understand Dionysian philosophy without presupposed metaphysisists is open. For Nietzsche metaphysic is articulated with the duplication of worlds a real world is envisioned as a condition of the apparent world . Having the need for truth as modus operandi, metaphysic mendaciously created a fixed and immutable world to justify the flow from the coming-to-be. According to the nietzschinian view, this entails the denial of effectiveness because by privileging the real world the apparent world is refuted, the only sphere on which the phenomenon life is possible. With the conception of the eternal recurrence of it, Nietzsche reaches a thought without metaphysic duality, overcoming the instant/everlasting dichotomy. For the metaphysic tradition, eternity has always been transcendent to the instant, as the eternal recurrence, eternity and instant have become equivalent, in other words, the instant is conceived as eternal. Moreover, to reach supreme affirmation of eternal recurrence, Nietzsche has notion of amor fati as being the great formula for the Yes, ie, of unrestricted affirmation for joy and pleasure as well as pain and suffering. In this sense, we can understand the Dionysian philosophy proposed by Nietzsche in his last writings while total suppression of affirmative pathos and metaphysic par excellence. / O objetivo do presente trabalho consiste na investigação da concepção da filosofia dionisíaca apresentada por Friedrich Nietzsche em seus escritos finais. O filósofo alemão lança a noção de dionisíaco, ao lado da noção de apolíneo, em seu primeiro livro publicado, a saber, O nascimento da tragédia (1872). Nesta obra há uma influência direta da música de Wagner e da filosofia de Schopenhauer nas principais concepções teóricas, surgindo, assim, uma metafísica de artista , pois a vida, na concepção de Nietzsche, só pode ser justificada enquanto fenômeno estético. Desde a obra Humano demasiado humano (1878), o conceito de dionisíaco desaparece dos textos nietzschianos, inclusive nos fragmentos póstumos, retornando apenas na chamada terceira fase do autor, ou seja, a partir de Assim falou Zaratustra (1883), só que agora sob uma nova abordagem: Nietzsche desvencilha-se completamente de Wagner e Schopenhauer, não trabalha sob uma metafísica de artista e não necessita mais da noção de apolíneo. Com o pensamento mais maduro, o filósofo alemão lança sua filosofia dionisíaca com a proposta de ser totalmente livre da metafísica ao mesmo tempo em que afirma irrestritamente a existência. Para isso, é necessário, primeiramente, transpor o dionisíaco em pathos filosófico. Nietzsche utiliza a sabedoria trágica como principal instrumento para tal transposição, pois, apenas assim, pode-se falar em filosofia dionisíaca. Entendendo a sabedoria trágica não como um conhecimento teórico, mas como a compreensão e aceitação da luta incessante que permeia todos os âmbitos da vida, Nietzsche pode declarar-se o primeiro filósofo trágico. E, para não cair num pessimismo que deprecie a vida, devido o seu caráter de luta sem trégua, o filósofo utiliza a noção de jogo. Com esta noção, o homem instaura sentido ao vir-a-ser, pautando-se como supremo criador. Deste modo, a imagem da criança é o exemplo do mais hábil jogador, pois se entrega inexoravelmente sem se preocupar com vitórias ou derrotas: o importante é jogar. Assim, abre-se o caminho para entender a filosofia dionisíaca sem pressupostos metafísicos. A metafísica, para Nietzsche, se articula com a duplicação de mundos: um mundo verdadeiro é concebido como condição do mundo aparente . Tendo a vontade de verdade como modus operandi, a metafísica criou mendazmente um mundo fixo e imutável para justificar o fluxo proveniente do vir-a-ser. Isso acarreta, segundo a visão nietzschiana, a negação da efetividade, pois, ao privilegiar o mundo verdadeiro, nega-se o mundo aparente, único âmbito no qual o fenômeno vida é possível. Com a concepção do eterno retorno do mesmo, Nietzsche atinge um pensamento sem dualidades metafísicas, superando também a dicotomia instante/eternidade. Para a tradição metafísica, a eternidade sempre foi transcendente ao instante, com o eterno retorno, eternidade e instante passam a ser equivalentes, ou seja, o instante é concebido como eterno. E, para atingir a afirmação suprema do eterno retorno, Nietzsche dispõe da noção de amor fati como sendo a grande fórmula para o Sim, ou seja, da afirmação irrestrita tanto da alegria e do prazer, quanto da dor e do sofrimento. Neste sentido, podemos compreender a filosofia dionisíaca, proposta por Nietzsche em seus últimos escritos, enquanto supressão total da metafísica e pathos afirmativo por excelência.

Made available in DSpace on 2017-07-10T18:26:23Z (GMT). No. of bitstreams: 1 Jose Fernando Schuck.pdf: 540719 bytes, checksum: d0b358eb41a0056a4c7a7a06e27ac0eb (MD5) Previous issue date: 2010-11-23 / The dionysiac concept is as basic as the true novelty of the sight philosophical, aesthetic and philological of Nietzsche on the Greeks and the tragic art. The Birth of Tragedy is written under the shadow of the vocabulary and the metaphysics of Schopenhauer, and also a very close relationship with the aesthetic and metaphysical themes of German philosophy. This work (dissertation) demonstrates the genesis of the Nietzschean dionysiac through a dialogue with the notion of Will in the inaugural work of Nietzsche. If at first the notions of will and dionysiac seem to enter the Nietzschean discourse in the conceptual domains of Schopenhauer and romantism, shortly afterwards, by the uniqueness that the terms acquire in Nietzsche, become key devices for the formation of a new perspective tragic and assertion of existence. The art, relegated to the status of illusion or contemplation of the Idea, is reinserted as the creation and justification of coming-to-be. / A noção de dionisíaco constitui-se como noção basilar, como verdadeira novidade da visada filosófica, estética e filológica de Nietzsche sobre os gregos e a arte trágica. O nascimento da tragédia é escrito sob a sombra do vocabulário e da metafísica de Schopenhauer, e, ainda, numa relação muito próxima com os temas estéticos e metafísicos da filosofia alemã. Este trabalho visa demonstrar a gênese do dionisíaco nietzschiano através de um diálogo com a noção de Vontade no âmbito da obra inaugural de Nietzsche. Se num primeiro momento as noções de Vontade e dionisíaco parecem inserir o discurso nietzschiano nos domínios conceituais schopenhaueriano e romântico, num momento seguinte, através da singularidade que os termos adquirem em Nietzsche, tornam-se dispositivos fundamentais para a constituição de uma nova perspectiva trágica e afirmativa da existência. A arte, relegada à condição de aparência ilusória ou de contemplação da Ideia, é reinserida como criação e justificação do vir-a-ser.

Mémoire en recherche-création / Ktf, la première partie de ce mémoire, est un récit au « je » qui tente de reproduire le parler des jeunes québécois. Il présente une vision des relations amoureuses au temps des nouvelles technologies à travers les yeux d’une jeune femme de 20 ans souffrant de dépendance affective. Le discours se double d’une réflexion sur l’endoctrinement par les discours sociaux qui poussent à accorder une grande importance au paraître. La narratrice, par son point de vue à la fois sarcastique et aliéné, s’attarde à raconter son banal quotidien, tout en reconduisant une multitude de stéréotypes et en pigeant allègrement dans le répertoire du kitsch et des pensées préconçues. Toutefois, grâce à son sens de l’autodérision, la narratrice insuffle à son récit une bonne dose de ridicule ce qui a pour effet de dévoiler le vide de sens qui sous-tend cette culture du paraître. La seconde partie de ce mémoire est un essai qui s’intéresse la culture populaire et au rire comme instruments de détournement des discours dominants et de la culture consacrée dans Borderline et La brèche de Marie-Sissi Labrèche. Cet essai en trois parties s’attarde d’abord à faire ressortir les références au tragique dans les deux récits de l’auteure, afin de montrer comment leurs héroïnes Sissi et Kiki sont oppressées par les grands discours du système officiel. Ensuite, les parties deux et trois portent sur le détournement que les narratrices font subir au tragique en le confrontant à diverses manifestations de la culture populaire comique, dont le kitsch, le grotesque, le ridicule, le carnavalesque et le trash. / Ktf, the first part of this M.A. Thesis, is a narrative that attempts to reproduce the orality of young people in Quebec. It presents a vision of love relationships in the age of new technologies through the eyes of a 20-years-old girl suffering from emotional dependence. The discourse is coupled with a reflection on indoctrination by social discourses that give great importance to appearing. The narrator, from her sarcastic and alienated point of view, dwells on her banal daily life, while reiterating a multitude of stereotypes and while gleefully pumping into kitsch repertoire and preconceived thoughts. However, thanks to her sense of self-deprecation, the narrator infuses her story with a good dose of ridicule, which has the effect of revealing the meaninglessness that underlies this culture of appearances. The second part is an essay on popular culture and laughter as instruments for diverting dominant discourses and consecrated culture in Borderline and La brèche by Marie-Sissi Labrèche. This three-part essay focuses first on highlighting references to tragedy in the author's two narratives, in order to show how their heroines Sissi and Kiki are oppressed by the great rhetoric of the official system. Then, parts two and three analyze how Labrèche turns away the tragic by confronting it with various manifestations of comic popular culture, including kitsch, grotesque, ridiculous, carnivalesque and trash.

What I propose to add to the already established dialogue regarding the tragic mulatta narrative is an investigation into the commonalities of the genre’s endings, as well as to assert that the tragic mulatta genre is present even at the turn of the 21st century with such works as Danzy Senna’s Caucasia. While my investigation by no means covers an exhaustive list of tragic mulatta narratives, the readings provide an overview of the ways in which the narrative has both evolved over time and stayed consistent during the antebellum, post-bellum, Harlem Renaissance, and the present day. I present each author as both building from previous authors’ works and as limited to the time period in which he or she pens the novel(s). The tragic mulatta of the post-bellum rejected white male suitors as a larger and more crucial rejection of sexual slavery and depravity, as well as attempting to shield the suitors from experiencing rejection from their own white contemporaries, as Angela does at the end of Plum Bun: “But I want you to know that from now on, so far as sides are concerned, I am on the coloured side. And I don’t want you to come over on that side” (373). However, the tragic mulattas continue to reject white male suitors even into the 21st century, and I assert that this repetition is limiting both to the characters themselves and to the narrative lives of contemporary mulatta readers. I further assert that the genre continues to pair rejection of the white male suitor with a reappropriation of true “blackness” and maternal domesticity. Through observing the tragic mulatta’s need to gain identity and sense of place through her darker mother or sister and the rejection of a white male suitor, tragic mulatta scholars—as well as critical race theorists in general—become more aware of the unique position the genre holds in identity formation as seen through what I believe are critical fictional texts for an interracial nation.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Cette thèse a pour objectif d’étudier la tragédie du XVIIe siècle en France avec la notion de faute tragique, hamartia, et de montrer l’originalité et la diversité des tragédies classiques. Commentée dans la Poétique d’Aristote, l’hamartia se définit comme une notion médiane entre un délit volontaire et une malchance. Coupable d’une hamartia, le héros n’en est pas pour autant entièrement responsable malgré sa prise d’initiative, dans la mesure où la faute n’est pas due à l’intention perverse. Parce que le malheur déclenché par une hamartia, apparaît disproportionné à l’intention du coupable, les spectateurs éprouvent de la compassion envers le héros infortuné. Dans la mesure où la compassion est une des émotions essentielles de la tragédie au même titre que la terreur – en effet, la catharsis consiste en l’épuration de ces émotions –, la faute tragique constitue à cet égard un des composants sine qua non de la tragédie. Mais arrivée au XVIIe siècle en France, la faute garde-t-elle le même statut ? Pour répondre à cette question, nous examinons les tragédies de sept dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine et Jean-Galbert de Campistron, ce qui permet d’étudier le XVIIe siècle en entier. Le premier chapitre sera consacré à l’examen de la notion de faute dans les écrits théoriques. Dans le deuxième chapitre, nous nous intéresserons à la fabrique du héros coupable. Le troisième chapitre portera sur la nature de la faute. Et nous étudierons, dans le quatrième chapitre, le statut de la faute sur le plan dramaturgique, avant d’examiner, dans le dernier chapitre, les problèmes moraux. Ce travail révèlera l’importance de la Poétique d’Aristote dans la tragédie du XVIIe siècle en France. / The purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century.