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.

Submitted thesis follows up clowning as phenomenon that can be approached in different ways and understood from different points of view. The perspective depends on a theoretical base and methodological tools, including a conceptual apparatus. Because the viewpoint of the phenomenon is the core of submitted theses, I have decided to use as a methodological tool discoursive analysis, particularly bakhtinian analysis. Theoretical background is provided by Mikhail Bakhtin's theories and concepts (dialogism, heteroglossia, speech genres) and Julia Kristeva's theory of intertextuality (that was inspired by bakhtinian thinking). One of key terms of this theses is the concept of transgression which relates to supposition that transgression is one of principal features of clowning. The theses submits confrontation of two different approaches to the phenomenon of clowning. First one is provided by structuralist model by Paul Bouissac. Bouissac describes clowning as an abstract system, relatively static and closed code, which is builded of stabilized signs. His conception presents clowning as a phenomenon firmly tied up with the circus structure. Although Bouissac defines transgression as a characteristic feature of clowning, from his point of view is this transgression limited by borders of circus. Crossing...

Gaspar Noé, a French-Argentine director, is known for the controversial themes and scenes in his filmography, where violence is the first thing that stands out. However, other elements can be identified that have equal relevance in the structure of his films. The human body is one of them. Noé presents the pleasure and suffering of his characters closely so that the viewer perceives them first-hand. He seeks to shock the viewer with scenes that are difficult to see and hear. The director exhibits things in a transgressive way to show the malaise that exists within France. This thesis offers a study on the construction of reality in cinema, the representation of French society, the New French Extremism and the social, political and economic context of France, which will allow a better understanding of its environment, the audiovisual language that uses and the references that have influenced his style. Likewise, these points will serve as the basis for analyzing the director's filmography. The analysis carried out shows that Gaspar Noé, from the beginning, exhibits a pessimistic reality that is reinforcing it over the years by showing a society that is crumbling, unhappy people whose actions are irreversible and the inevitability of destiny. This study enriches realism in film, incorporating the unconventional reality of Gaspar Noé. / Gaspar Noé, director franco-argentino, es conocido por los temas y escenas controversiales de su filmografía, donde la violencia es lo primero que destaca. No obstante, se puede identificar otros elementos que tienen igual relevancia en la estructura de sus películas. El cuerpo humano es uno de ellos. Noé presenta de cerca el placer y el sufrimiento de sus personajes para que el espectador los perciba en carne propia. Busca conmocionar al espectador con escenas difíciles de ver y escuchar. El director exhibe las cosas de una manera transgresora para mostrar el malestar que existe dentro de Francia. La presente tesis ofrece un estudio sobre la construcción de la realidad en el cine, la representación de la sociedad francesa, el Nuevo Extremismo Francés y el contexto social, político y económico de Francia, los cuales permitirán conocer mejor su entorno, el lenguaje audiovisual que utiliza y los referentes que han influido en su estilo. Asimismo, estos puntos servirán de base para analizar la filmografía del director. El análisis realizado evidencia que Gaspar Noé, desde sus inicios, exhibe una realidad pesimista que va reforzándola con los años al mostrar una sociedad que se desmorona, personas infelices cuyas acciones son irreversibles y la inevitabilidad del destino. Este estudio enriquece el realismo en el cine, incorporando la realidad poco convencional de Gaspar Noé. / Tesis

In 1991, British novelist Patricia Barker published Regeneration, the first of three novels that portrayed the exploits of both factual and fictional characters during the darkest days of WWI. Barker's Eye in the Door (1993), followed by The Ghost Road (1995) for which she won the Booker Prize for Fiction, completed the series that explored the effects of combat on the human psyche. What emerges as a dominant feature of Barker's war novels is her depiction of the ocular sense. Reminiscent of Orwellianism, Barker's texts contain a seemingly ubiquitous ocular presence. For example, neurasthenic patients are scrutinized by army psychiatrists, objectors and subversives are spied upon or imprisoned so that their activities may be observed, and combatants are faced with the challenge of reconciling the horrifying events they have witnessed in combat. This study investigates the role and importance of Pat Barker's depiction of eyes and visuality in her war trilogy. The overreaching goal of the thesis to examine Barker's aestheticized notion of ocularity. It is my aim to come some conclusions about how vision / ocularity signal the emergence of a few central themes in the texts such as power relationships, objectification, exposure and the transgression of boundaries. The social and linguistic theories of Michael Foucault, Roland Barthes, Georges Bataille, Martin Jay and others who have addressed the themes of perception and ocular symbolism will be introduced into my discussion with the aim of providing a theoretic foundation to many of my assertions. Chapters will begin with an interpretation of a piece of theoretical writing by one of these authors followed by an analysis of Barker's texts that incorporates the major tenets of that theory. These tenets will serve as a basis to my discussion and it is my hope that, through the creative application of theoretical writing, I will address a number of aspects of Barker's work, especially in relation to her ocular imagery, that that have thus far gone unexplored.

Магистерская диссертация посвящена исследованию поэтики трансгрессии в произведениях современной уральской литературы разных родо-жанровых форм. Материалом исследования стали произведения уральских авторов, являющихся знаковыми фигурами не только для региональной, но и общероссийской литературы: роман Алексея Сальникова «Отдел», пьесы Рината Ташимова и книги стихов Александра Вавилова. В работе исследуются способы репрезентации трансгрессивных феноменов в произведениях современной уральской литературы, выявляется роль и специфика форм трансгрессии в индивидуально-авторских концепциях миромоделирования, определяются сходства и различия приемов изображение трансгрессии в произведениях разных родо-жанровых форм. / The master's thesis is devoted to the study of the poetics of transgression in the works of modern Ural literature of various genre forms. The material of the study was the works of Ural authors who are iconic figures not only for regional, but also for all-Russian literature: Alexey Salnikov's novel «Department», Rinat Tashimov's plays and Alexander Vavilov's poetry books. The paper examines the ways of representing transgressive phenomena in the works of modern Ural literature, reveals the role and specificity of the forms of transgression in the individual author's concepts of world modeling, identifies similarities and differences in the methods of depicting transgression in the works of different genre forms.

Sexual misconduct in the Army can range from inappropriate behavior to criminal assault. Despite shared Army values, rigorous ethics training, and oversight mechanisms, cases of Army general officers (senior leaders) perpetuating and/or enabling sexual misconduct to continue. In fact, research and statistics indicate that the frequency and severity of sexual misconduct has not decreased over time (Acosta et al., 2021; Office of People Analytics, Department of Defense, 2021). Existing literature suggests several possible contributing factors, including male-dominated, hyper-masculine military culture (Pang et al., 2021) and senior leaders and oversight committees’ failure to observe and/or enforce standards of ethical behavior (O’Keefe et al., 2020; Pang et al., 2021). This qualitative, embedded case study sought to identify and more deeply understand the organizational culture and oversight factors that foster or contribute to senior leaders’ unethical behavior and sexual misconduct in the Army, despite high levels of discipline and training (Whetham, 2021). The study also explored how female officers navigate the risks of victimization. The study included the following methods and sources: publicly available archival documents, individual interviews with retired senior Army leaders, and individual interviews with active and retired Army soldiers. The study’s findings identified the following as organizational culture and oversight factors: institutional dysfunction and ethical deterioration; discrimination against women, and fear of retaliation; inability of senior leaders to balance professional and personal life; ethical dilemmas and abuse of power; challenges in accountability; corruption and military cover ups; and impunity and injustice in the face of misconduct. The study’s findings identified the following as ways in which female officers attempt to cope and navigate risks: by empowering women in a male-dominated environment; supporting survivors of sexual trauma and ensuring justice. Overall, the findings provide insight into why sexual misconduct thrives and oversight fails in the Army and concludes that more research and advocacy are needed to achieve a new model of oversight that promotes ethical leadership guided by Army values.

The dissertation presents and explores a mode of literary studies, which bypasses the question of literary value, and instead aims to assess how and where creative writing challenges hegemonic norms (that is, its political value). In so doing, it reflects on the practice of literary studies per se, and the mechanism(s) by which discourse can impact on subjecthood. The exploration entails the application of certain theoretical tools (concepts) in a reading of a literary work. The primary concepts employed are: performativity, subjectivity and gender. The dissertation seeks to read Muriel at Metropolitan (Tlali 1994) as a performative act, that is, a discursive event which re-enacts the practice of fictional writing and thereby extends (and possibly changes} the convention of crealive writing. If it is true that creative writing is performative, that it partake in the making of the individual, then it is important to study such writing in order to discover the consequences for the subject / English Studies / M.A. (English)

Ce mémoire porte sur la culpabilité du joueur pour des actions qu’il pose dans les jeux vidéo. L’objectif est de cibler les situations de jeu et les conditions psychosociologiques à l’émergence de cette émotion. Le premier chapitre compare l’expérience émotionnelle du spectateur et du joueur principalement dans la relation que ces derniers entretiennent avec des personnages. Le deuxième chapitre offre une étude détaillée de la culpabilité telle que vécue ordinairement, particulièrement de son processus cognitif et de ses fonctions sociales. Le troisième chapitre propose un modèle du processus de la culpabilité du joueur qui inclut des variables relatives à l’expérience des jeux vidéo et au design de jeu. Le modèle est mis en application dans l’analyse d’un corpus de jeux vidéo solos et narratifs à différents degrés, qui visent à provoquer des fautes morales chez le joueur et à les lui faire prendre conscience. / This master’s thesis focuses on player’s guilt based on gameplay actions. The objective is to target video games situations and psychosociological conditions leading to this emotion. The first chapter compares the spectator’s emotional experience with that of the player mainly in their relations with characters. The second chapter offers a detailed study of guilt as ordinarily experienced, especially of its cognitive process and its social functions. The third chapter introduces a theoretical model of the player’s guilt process which includes variables related to the experience of video games and game design. The model is applied to the analysis of a corpus of single-player narrative games that intent to provoke the player to commit wrongdoings and to make him aware of them.

L’objectif de la thèse est de montrer en quoi le roman ou la littérature incarne une forme de connaissance qui lui est propre, que Pierre Klossowski appelle la « connaissance pathétique ». Celle-ci fait appel aux passions plutôt qu’à la seule raison et repose sur des percepts et des affects bien davantage que sur des idées et sur des concepts. L’œuvre romanesque de Georges Bataille et de Pierre Klossowski me servira d’exemple et d’objet d’analyse, dans la mesure où l’écriture fictionnelle y est toujours au service d’une ‘’passion’’ philosophique, dans laquelle l’auteur entraîne ses personnages en même temps que le lecteur. Cette « connaissance pathétique » que le sujet est amené à vivre passe notamment par les mécanismes d’une écriture qui tente d’énoncer l’innommable. Cette orientation esthétique suit la voie tracée par Nietzsche, et les grandes thématiques associées à ce dernier constituent à la fois, au niveau de l’énoncé, un contenu thématique et diégétique récurrent (par exemple : dans Le Baphomet, nous sommes en présence du personnage de Friedrich l’Antéchrist) et, au niveau de l’énonciation, une stratégie narrative qui consiste à piéger le lecteur dans un système d’interprétations ambiguës, contradictoires et provocatrices qui déclenchent chez lui une activité cognitive effrénée, de nature passionnelle ou pathétique (par exemple : Le récit Les lois de l’hospitalité commence par un avertissement au lecteur, où on le met en garde contre « l’attrape concertée » que représente le récit). J’étudierai en détail, sur le plan de l’expression et du contenu, ces stratégies cognitives de la transgression et du simulacre grâce auxquelles l’auteur amène ses personnages et son lecteur à éprouver des pensées comme une forme de passion. L’analyse de la poétique pathique comme forme privilégiée de l’écriture narrative chez Pierre Klossowski et chez Georges Bataille nécessitera le recours à une analyse de l’œuvre de Nietzsche et de Sade dans un premier temps pour retracer ce qui est l’enjeu de la réception de ces œuvres par les deux auteurs français. Dans un deuxième temps, l’analyse des œuvres de Georges Bataille et de Pierre Klossowski me permettra de comprendre comment elles déclenchent chez le lecteur une expérience pathétique où la difficulté d’atteindre à une connaissance rationnelle univoque déclenche chez le destinataire du texte une activité cognitive complexe de nature proprement littéraire ou romanesque. Enfin, le corpus qui me servira d’exemple dans la description de ces phénomènes sera constitué des principales œuvres discursives de Bataille et de Klossowski (L’expérience intérieure, Nietzsche et le cercle vicieux) ainsi que de leurs œuvres romanesques (L’histoire de l’œil, Divinus Deus, L’abbé C., La vocation suspendue, Les lois de l’hospitalité et Le Baphomet). / This thesis aims to show how the novel or literature in general embodies its own form of knowledge that Pierre Klossowski names “connaissance pathétique” (pathetic knowledge). This knowledge derives from emotivity rather than reason alone and relies on affects and percepts rather than on ideas and concepts. The works of Georges Bataille and Pierre Klossowski will serve both as the examples and the objects of this analysis. These two authors’ fictional writings inevitably appeal to a philosophical pathos that implicate the characters as well as the reader. This “pathetic knowledge” that the subject is called to experience comes to be through the literary process seeking to name the unnamable. This particular aesthetic draws upon Nietzsche’s work, the themes of which taken up in Bataille and Klossowski writings and appear on the levels of subject matter and narration. The resulting writing strategy leads the reader along, presenting a system of provocative, contradictory, and ambiguous interpretations that open up an affect-oriented knowing or thinking. In studying the expression and content of this literary knowing, we will examine how the authors rely on strategies of transgression and simulacra to enable the characters and readers to experience thinking as a form of pathos. In analyzing this “pathetic” poetics as the privileged form of narration in Bataille and Klossowski, this thesis first examines the works of Nietzsche (and, to a lesser extent, those of Sade) in order to understand their impact on the French authors’ works. The thesis’ second part, which focuses on Bataille’s and Klossowski’s writings, demonstrates how their works provoke in the reader a pathetic experience of knowing, particular to literature, that exceeds the knowing ascribed to rationalism. The corpus explored in this research includes Nietzsche’s Birth of Tragedy, The Genealogy of Moral and The Gaya Scienza; Bataille’s L’histoire de l’oeil, Divinus Deus and L’abbé C.; and Klossowski’s La vocation suspendue, Les lois de l’hospitalité and Le Baphomet.