L‟intérêt porte sur l‟intervention ou la non-intervention du réel dans la représentation. Le réalisme dans l‟oeuvre dramatique se mesure à l‟aune de la mise au jour des actualités historiques, politico-sociales et des réalités existentielles. A la quête de l‟interprétation de la conception du “réel” s‟ajoute un questionnement esthétique : la manière de le montrer. Notre recherche a comme objet l‟oeuvre dramatique de Michel Deutsch. C‟est en donnant à voir les défaillances des individus et leur non-intégration sociale dans le monde actuel désorganisé que le dramaturge témoigne son approche réaliste. La configuration dramaturgique de l‟espace extrascénique et l‟usage vraisemblable des objets qui y sont installés en sont des arguments à l‟appui. “L‟annonciation/incarnation de la réalité” rajoute de l‟exactitude aux faits représentés et la mise en oeuvre de la fonctionnalité du symbolique en dépit des descriptions standards prévaut. Or, la non-accessibilité dudit réel est un défi lancé à la reproduction d‟une image globale et parfaite de tous les événements. L‟incongruité tributaire du “nowhere” et de l‟anti-naturalisme structurel et factuel de l‟espace dramatique culmine avec l‟exposition inappropriée des principes consubstantiels à l‟espace théâtral. Le brouillage des repères temporels et l‟atemporalité accentuent le dysfonctionnement. Le langage lacunaire déjoue l‟expression, l‟extériorisation, la compréhension et la communicabilité. Le rapport au vécu se creuse : la pensée et la parole individuelle s‟évincent en faveur de l‟irruption recommencée de “l‟auteur-rhapsode”. Si la non-identification, le démembrement ou l‟indétermination de la situation d‟énonciation de l‟individu est condamnable, son existence atomique ou sa non-existence l‟est davantage.Michel Deutsch opte pour la transgression du réel et préconise le rejet catégorique de la duplication imitative et le principe de la “déconstruction-reconstruction” dans la représentation. / The interest in the representation gets to the intervention or the nonintervention of the real in it. The realism in the dramatic work is measured by ell updating the historical and political-social actualities and the existing realities. In the quest for the interpretation of the conception of “real”, it is add the ethic questioning of how to show it.Our research aims the dramatic work of Michel Deutsch. Seeing the individuals failures and their social nonintegration in the actual disorganized world that the playwright testifies his realistic approach. The extrastage space dramatic configuration and the likely use of the objects installed are supporting arguments for it. “The annunciation-incarnation of reality” adds exactitude to the representing facts and prevails the implentation of symbolic feature despite the standard descriptions. Though, the non-availability of real is a challenge launch to the reproduction of a global and perfect image of all the events. The tributary incongruity of “nowhere” and the structural, factual antinaturalism of dramatic space culminates in the inappropriate exposition of consubstantials principles of the theatrical space. The jamming time markers and the timeless stress the dysfunction. The lacunar language foiled the expression, the externalization, the comprehension and the communicability. The relationship with life fails : the thinking and the individual speech ousting on account of the restarted irruption of the “rhapsode-author”. If the non-identification, the dismembrement or the indetermination of speech situation of every person is condemnable, its atomic existence or his non existence are worse.Michel Deutsch opt for the transgression of the real and preconize to reject categoricaly the imitative duplication and the principal of the deconstruction-reconstruction in the representation.

Le raisonnement de ce mémoire se déploie dans l'espace insidieux qu'est la prison, et prend la mesure de sa puissance architecturale et de son influence manifeste sur le récit. Organisé sur les principes d'une pensée unique et totalitaire où la surveillance, la négation de l'individu et le pouvoir hiérarchique en sont les diktats, l'espace carcéral sert d'outil de destruction de la pulsion individuelle. La surveillance omnisciente scrute l'individu pour en extraire la déviance; le collectif agit donc sur l'unique pour anéantir la différence. Parallèlement, les régimes concentrationnaires se sont largement inspirés de l'architecture carcérale - ou est-ce l'inverse? - pour créer une structure sociale omnisciente et asphyxiante qui détruit la figure de l'insoumis et l'individualité au nom d'un bonheur massif . Ce type d'organisation sociale de l'espace où chacun est scruté, aliéné, simplifie les individus, efface leur tempérament, les rend non-humains, pour former une sorte de masse informe, incapable de confronter ou de combattre une autorité. Ainsi, le discours ne pourra jamais atteindre la narration et demeurera descriptif et anticipé, car n'est-ce pas la différence , le déséquilibre qui fait le récit ? Dès lors, si l'architecture panoptique, voire utopique, rend impossible le déséquilibre et bloque l'accès à l'axe du désir du schéma de Greimas, force est de constater qu'aucune histoire n'existera, aucun trajet narratif, d'un point A à un point B, ne sera possible. L'utopie de la construction carcérale serait a-narrative; la transgression permettrait l'histoire et la figure de l'évadé prendra alors toute son importance narrative.

This thesis examines the reality television (RTV) series Here Comes Honey Boo Boo (HCHBB) as a rhetorical text in and through which the cultural significance of race, class, and gender stereotypes—and the meanings they hold for different individuals and groups—are actively contested and negotiated. I argue that recurrent themes of symbolic transgression of hierarchical structures in HCHBB operate as a modality through which cast and audience(s) alike might make or interpret potentially subversive/resistant meanings. This focus on the RTV series as a dynamic site for making and contesting meaning—rather than a static text encoded/decoded by members of the discrete categories of producers and consumers—enables critical attention to the discursive and affective elements at work in HCHBB without forsaking analysis of the political and material frames in which they circulate. These frames are explored throughout a brief history of the RTV genre and an overview of the scholarship that has engaged it. Ultimately, I argue that while HCHBB and the genre of RTV may potentially provide the opportunity to challenge class antagonism and discrimination, it also perpetuates structural, material inequality. By linking themes of symbolic transgression as they operate in and through the text with Kenneth Burke’s (1969) analysis of hierarchy and mystification of class relations, I show how HCHBB doubly participates in the stratification of economic class when symbolic transgression is offered as an affront to social class morality rather than pervasive structural, material inequality. Despite an ethos of rebellion against bourgeois norms, HCHBB displaces rather than cultivates critical class consciousness by encouraging performances of redneck identity which also consign the Shannon/Thompson family to their fate as working class celebrities. / text

Women who learn to clown within Western contemporary theatre and performance training lack recognizably female exemplars of this popular art form. This practice-as-research thesis analyses my past and present clowning experiences in order to create an understanding of a woman-centered clown practice which allows for the expression of material bodies and lived experiences. It offers a feminist perspective on Jacques Lecoq’s pedagogy, which revolves around a notion of an ‘inner clown’ and is prevalent in contemporary UK clown training and practice. The thesis draws on both the avant-garde and numerous clown types and archetypes, in order to understand clowning as a genre revealed through a range of unsocialised behaviours. It does not differentiate necessarily between clowning by men and women but suggests a re-think and reconfiguration to incorporate a wide range of values and thought processes as a means of introduction to a wider audience. Specific concerns with the terms clown and clowning initiate this investigation, resulting in the creation of a ‘clowning continuum’, which offers a practical way of understanding various modes of clowning and various types of clowns. I examine my experiences, including those of ‘failure’, while working with renowned performer trainers, as well my negotiation of gender and sexuality through both my clowning in character and my creation of clowns. The twentieth century avant-garde artist Baroness Elsa von Freytag-Loringhoven, who inspired me to create ‘Clown Elsa’ and take her to art galleries and onto the street, is identified as a ‘radical female proto-clown’. My practical investigations into the potential interrelatedness of the masquerade of femininity and the mask of the clown are also shaped by discourses of hysteria and the carnivalesque. Drawing on Bakhtin’s concepts of carnival, dialogic practice and heteroglossia, as well as the transgressive potential of classical myth and archetypes for women, this thesis reconfigures clown practice and discourse by both challenging and developing upon Lecoq’s outmoded pedagogic practice. Its goal is to open it up for more types and modes of clown, in particular an ‘inner clown’ that can operate in a number of masks. It culminates in my creation of a feminist clown, Sedusa, who is inspired by Hélène Cixous’s writing on l’écriture feminine, myth and laughter in ‘The Laugh of the Medusa’ (1976). Sedusa expands clown models and masks for women by exploiting the ‘masquerade’ of femininity, a term originally coined by Joan Riviere in 1929. The thesis includes a performance as Sedusa as an embodiment of my research findings.

Chez Anne Hébert, le désir est la chance donnée à l'individu de s'émanciper. Mais il aveugle parfois au point de ruiner la responsabilité et la conscience. C'est par leur refus de la soumission que les protagonistes féminins affirment, dans un premier temps, leur différence. Une telle opposition engendre une agitation fiévreuse qui rappelle l'enfance sauvage. Le délire, avec sa violence inouïe, et les retours obsédants au passé excitent la colère au point où elle devient destructrice. L'épreuve de la maladie permet aux héroïnes de mieux préparer leur révolte, à l'abri du regard des autres. L'excès qui suit la réclusion ébranle; la rage qui accompagne cette ardeur s'observe même physiquement. Aussi la métamorphose de ces femmes conduit-elle, dans un deuxième temps, à l'émergence d'une force renversante. Sur ce point, la thèse s'inspire des idées de Georges Bataille, qui voit dans la révolte une possibilité de sortir de soi, par l'épreuve du ravissement, indissociable de la peur née au contact de l'interdit. Le désir fait partie de la part maudite de l'humanité, parce qu'il permet de s'affranchir des contraintes ou, pour reprendre une expression chère à Bataille, d'accéder à la souveraineté. Cette mise en mouvement d'une acuité déchirante se déploie dans la nouvelle « Le torrent » (1950), de même que dans les romans Les chambres de bois (1958), Kamouraska (1970), Les enfants du sabbat (1975), Héloïse (1980), Les fous de Bassan (1982), L'enfant chargé de songes (1992) et Un habit de lumière (1999). Dans ces oeuvres narratives, vient un moment où la préoccupation n'est plus de respecter les convenances familiales et sociales, mais d'être disponible à l'expérience de la liberté. Dans le premier chapitre, la thèse traite de la dynamique transgressive depuis l'assujettissement des héroïnes jusqu'à leur comportement désinvolte, lorsqu'elles rient, séduisent ou réclament une vie plus impétueuse. Par un retour sur l'enfance qui ravive le désir sauvage, le deuxième chapitre étudie les conduites et les épreuves, face à l'autorité maternelle, distinctes selon que le personnage soit un homme ou une femme. La reconnaissance de la part irrévérencieuse en soi est une forme d'acquiescement au désordre. Les conduites immodérées sèment incompréhensions et douleurs. Ces moments de bascule font l'objet du troisième chapitre qui présente un sujet aux prises avec la trace ou le remous de présences mortes. Les hommes, en particulier, se font autres dans le désir. Leur curiosité les entraîne dans un chaos au même titre que le délire. Le quatrième chapitre vise à mieux décrire les expériences subversives du fantasme et ses effets dans Les enfants du sabbat. Au contact de la sorcière, des traumatismes resurgissent. Ils empruntent les formes de l'ivresse, de l'horreur et de l'effusion érotique. Cette coïncidence du mouvement du mal avec celui de la liberté est étudiée dans le cinquième chapitre. Les personnages masculins tentent en vain de surmonter leurs impulsions. La frustration de ne pas y parvenir laisse place à la révolte et parfois même au meurtre. Ils prennent alors les attributs du diable et de la bête. La rage a l'éclat d'une jouissance aussi bien que d'un aveuglement. Elle mène à un «envers du monde» où les êtres sont confrontés au fantastique. Le sixième chapitre décrit cette zone sauvage auquel le corps répond par le surgissement violent du désir. Les forêts, les villes et les villages sont autant de lieux susceptibles de mettre en évidence le lien intime entre érotisme, agressivité et transformation physique.

Research on forgiveness has been expanding rapidly in the last decade with a subset of studies looking at how religious people forgive. A discrepancy persists between Christians’ level of valuing forgiveness and forgiveness of actual transgressions. Several methodological issues and offense-specific variables have been presented as explanations. This present thesis examines the role of the congregation as a group identity, and applies it to a theory of relational spirituality, as a measure of the relationship between a victim and the Sacred. No existing research has polled congregants about offense-specific forgiveness of church peers. I collected data from members of Christian congregations throughout the United States (Study 1, N = 63) and college students belonging to Christian congregations (Study 2, N = 387) concerning group identity and within group forgiveness. In the present studies, group identification with a congregation predicted lower unforgiving and higher forgiving motivations towards an in-group offender.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

A escola ocupa um lugar central na sociedade, propondo-se realizar tanto o desenvolvimento cognitivo como afetivo, além de preocupar-se com a formação integral dos alunos, sendo também responsável pela formação moral, transmitindo valores, princípios e normas. Como um espaço privilegiado de trabalho com as relações, oferece oportunidades de autoconhecimento e conhecimento do outro, portanto, exige ações que promovam a construção da atmosfera sociomoral cooperativa e da personalidade moral, o que, no contexto atual, representa um grande desafio. Os comportamentos de transgressão, mesmo quando não violentos, permeariam o cotidiano escolar e expressam a maneira singular do jovem relacionar-se com o mundo. Portanto, é necessário refletir sobre as relações da obediência e da transgressão com a constituição das regras, a organização institucional, os valores da sociedade e a personalidade dos alunos. A presente pesquisa teve como propósito investigar as questões da obediência e da transgressão escolar sob a perspectiva dos jovens, sendo organizada em torno de três eixos: relações do aluno com o ambiente escolar e com os pares; relação do aluno com a autoridade e concepção de projetos de vida. Para isso, foram realizadas observações e entrevistas individuais, com o objetivo de verificar se a perspectiva ética faz parte do projeto de vida dos adolescentes, que razões os jovens identificam para obedecer e transgredir e a presença de motivações para os comportamentos de obediência e transgressão no ambiente escolar. Participaram desta pesquisa 151 alunos, de 10 a 15 anos, ambos os sexos, de escolas públicas e particulares. As questões da obediência e transgressão foram equacionadas na convergência das referências teóricas de Piaget, Arendt, Sennett, Fromm e La Taille, sempre procurando manter uma postura dialógica e de complementaridade, sustentando os conceitos de obediência e transgressão como parte do desenvolvimento da moralidade. Os resultados apontam para a supervalorização do ambiente familiar e da vida privada por parte dos jovens, para uma percepção de si mais relacionada às experiências individuais do que em conexão com outrem, tendo como consequência uma maior dependência, o fortalecimento da heteronomia e o distanciamento da vida pública. Assim como indicam a ausência do professor na mediação e no processo de solução dos conflitos o que leva o jovem à desejar um maior protagonismo do professor, e revelam a frequente prática escolar autoritária centrada no poder dos adultos e no uso de recompensas e punições que está criando dificuldades para o desenvolvimento de uma moralidade autônoma. Além disso, identificamos que o jovem faz uma valorização extrínseca, instrumental e idealizada do papel da escola, sendo necessário que os professores equalizem as exigências feitas aos alunos, sem subestimar ou superestimar suas capacidades, propondo interações sociais e trocas de pontos de vista entre eles, favorecendo a descentração, a cooperação e a reciprocidade. Por fim, e, principalmente, notamos que as atitudes transgressoras dos alunos não são, em sua maior parte, dirigidas ao professor / The school plays a central role in our society, as it proposes to be responsible for the students cognitive and affective development as well as their moral education, conveying values, principles and standards. As a privileged place to work with relationships, it provides the opportunity for self-knowledge and knowledge of the others, therefore, it requires actions that promote the construction of a sociomoral cooperative atmosphere and of a moral personality, which, in the present context, represents a major challenge. Transgressive behaviour, even when nonviolent, underlies school daily life and expresses the singular way in which young people relate to the world. Therefore, it is necessary to reflect on how obedience and transgression are connected to the creation of rules, the school organization, society values and students personalities. The present study was designed to investigate the issues of obedience and transgression in the school context from the perspective of young people. It is organized around three areas: how young people relate to the school environment and their peers); how students relate to school authority; and how they view their life projects. 151 male and female students between the ages of 10 and 15 have participated in this study, both from public and private schools. Observations and interviews were conducted in order to check whether an ethical perspective is part of the adolescents life projects, what reasons may lead them to obey or transgress and to what extent school environment contributes to obedient or transgressive behavior. The discussion of the issues of obedience and transgression was based on a theoretical framework that included concepts and ideas from the work of Piaget, Arendt, Sennett, Fromm and La Taille, and looked at the way they relate to and complement each other in order to provide support to the idea that the concepts of obedience and transgression are part of moral development. The results show that young people overestimate the importance of family and private life and that they have a perception of themselves which is more influenced by individual rather than group experience. This results in greater dependency and it strengthens heteronomy and detachment from social life. They also show the teacher is usually absent in the process of mediation and conflict resolution, which makes students wish teachers would play a greater role in this process, and reveal that frequent authoritarian practices centered around adult power and based on punishment and reward make it difficult for students to develop autonomous moral behaviour. In addition, we observed that young people have an extrinsic, instrumental and idealized view of the role of the school, which requires teachers to make appropriate demands on students, without underestimating or overestimating their abilities, and by providing different kinds of social interaction and debate and by encouraging decentration, cooperation and reciprocity). Last but not least, we noticed that students transgressive behavior is mostly directed towards teachers

Research has shown that young adults treat older adults with less blame and more forgiveness when they commit a social transgression. This study sought to understand whether the stereotype of an assumed positive personality and/or a supposed lack of cognitive ability are potential driving forces behind the greater leniency that young adults display toward older transgressors. Seventy-five young adult participants were randomly assigned to one of five experimental conditions. Participants’ aging stereotypes were primed with one of four paragraphs that depicted older adults as (a) socially warm and cognitively competent, (b) socially cold but cognitively competent, (c) socially warm but cognitively incompetent, or (d) socially cold and cognitively incompetent. A fifth group of participants was assigned to a control condition in which aging stereotypes were not deliberately activated. Participants then read 16 vignettes that varied in terms of (1) the age of the transgressor, (2) how socially close the participant is to the transgressor, and (3) the severity of the transgression. After reading each individual vignette, participants indicated how much they blamed the transgressor for the outcome, and how likely they would be to forgive him or her despite the outcome. Relative to younger transgressors, older transgressors were blamed less, and had a higher likelihood of receiving forgiveness. Participants were also more likely to forgive and less likely to blame transgressors after having been primed with a stereotypical older adult who is socially warm but cognitively incompetent. Inconsistent with expectations, the effect was not unique to the rating of older adult transgressors; it also applied to young transgressors.

La modernité artistique a cela de particulier qu'elle accorde souvent une " aura " subversive ou transgressive aux œuvres qu'elle voit émerger. Que cette évaluation s'établisse sur le vif (pratique du critique d'art) ou qu'elle prenne forme a posteriori (pratique de l'historien de l'art), elle semble dans la plupart des cas un critère incontournable auquel toute œuvre doit répondre positivement, parfois même au risque de l'anachronisme. Pour nombre d'observateurs les récentes collaborations entre les artistes et l'institution prend la forme d'une récupération de l'art par le pouvoir en place. Suivant ce grief, tout artiste qui participe au précessions institutionnel devient suspect, à plus forte raison lorsque l'artiste revendique une forme d'art transgressive. Toutefois, on remarque que nombre d'artistes continuent à revendiquer une posture transgressive, attitude qui n'est pas sans poser nombres de problèmes inédits.