La grande faille de l’utopie, selon la critique, c’est la mort. Le présent travail analyse la place accordée et les réponses apportées aux morts/à la mort par les utopies littéraires françaises et francophones de l’âge classique (1616 à 1765), et ce en deux temps. Une première partie étudie le niveau qui a surtout retenu la critique, à savoir le niveau de la norme, à la fois norme descriptive de l’utopie-texte et norme institutionnelle de l’utopie-État. Notre objectif est d’analyser les stratégies de « normalisation » de la mort mises en œuvre par l’utopie, trait majeur du genre selon plusieurs critiques, cette « normalisation » étant à la fois synonyme de « dédramatisation » (ou « neutralisation », ou encore « apprivoisement ») et de « ritualisation ». Un examen approfondi des textes permettra de nuancer ce propos, tout en étudiant la mort non simplement comme un thème, mais aussi à travers ses articulations littéraires. Celles-ci feront l’objet spécifique de la seconde partie, qui se penche sur les séquences narratives de l’utopie littéraire, où réapparaît une mort exceptionnelle et parfois fortement dramatisée. Nous chercherons alors à comprendre les raisons de ce réinvestissement de la mort, qui semble contredire la tentative de « normalisation » de la mort par l’utopie. / According to the critic, utopia’s major flaw is death. This work analyses the place allocated to death and the dead, and the responses to this, by literary French and Francophone utopias of the classic era (1616 to 1765), and does so in two stages. The first stage examines the state of the norm, both the descriptive norm of the text utopia and the institutional norm of the state utopia, privileged by the critics of utopian literature. Our aim is to analyze the strategies used to “normalize” death, which, according to numerous critics, are characteristic of the utopic genre; a “normalization” which seems to have a double meaning, both “attenuation” of its impact (or “neutralization” or “taming”) and “ritualization”. Thanks to an in-depth examination of each text, we will be able to offer a more nuanced picture of death in utopia, which we analyze not only from a thematic but also from a literary perspective. The second stage focuses on the narrative sequences of literary utopia, wherein death reappears, often characterized as extraordinary and sometimes heavily dramatized. We seek to understand the reasons behind this repositioning of death within the utopia, which appears to contradict the utopia’s attempt to normalize death.

Orientador: Carlos Eduardo Ornelas Berriel / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T06:03:43Z (GMT). No. of bitstreams: 1 Brito_TarsillaCoutode_D.pdf: 3083107 bytes, checksum: 65aa076e7788c2f35e1f9bbc6341c129 (MD5) Previous issue date: 2013 / Resumo: Quando Fénelon decidiu escrever um espelho de príncipe literário para instruir o neto de Luís XIV nas artes de governar, não imaginou que seu texto fosse causar celeuma, muito menos que se produziria uma fortuna crítica tão vasta e multifacetada. Para além das leituras de caracteres com que o público da época se divertiu descobrindo as figuras reais por detrás das personagens, um dos problemas permanentes para a interpretação de As aventuras de Telêmaco é sua classificação. O livro não se enquadra perfeitamente na narrativa antiga, nem no romance. A despeito da função moralizante-educacional do texto, o personagem Telêmaco ganha autonomia ao ser, nos primeiro livros, narrador de si mesmo. Com isso, temos acesso a uma subjetividade inteiramente nova para um texto que se pretendia pedagógico. O caráter exemplar da epopéia homérica que inspira as aventuras é minado pelas armadilhas criadas pelos sentimentos do próprio herói na missão difícil de despojar-se de si mesmo. Por outro lado, o objetivo de seu texto prende-o às narrativas antigas de caráter moralizante - formar um reicristão. As aventuras de Telêmaco permanecem inscritas em um "tempo sem tempo", em que vemos as transformações sucederem-se umas às outras, sem podermos situá-las numa linha cronológica como no romance. A discussão sobre utopia vem, assim, renovar a discussão do gênero dessas Aventuras. Defendemos que a presença de um "país de nenhum lugar" nessa ficção pedagógica organiza sua estrutura narrativa e orienta seus procedimentos miméticos em função dos espaços visitados. Dividida em duas partes, a presente Tese busca, em um primeiro momento, descrever o texto literário Les aventures de Télémaque de Fénelon. Em termos estritamente literários, tratamos de sua estrutura narrativa, organizada em função de modelos e de antimodelos de governo; de sua linguagem mítico-alegórica que veicula um conteúdo moral e espiritual cristão; e de seu gênero literário. Com uma revisão bibliográfica, esboçamos as razões que fizeram da publicação do Telêmaco um escândalo; e ainda as alterações de sentido e modos de interpretação que o texto sofreu ao longo de uma fortuna crítica de 300 anos. Na segunda parte, nos dedicamos à análise de Salento, o último reino visitado pelo personagem principal, como uma utopia que propõe uma volta no tempo, de modo que afirmamos seu caráter conservador. Nossa proposta de estudo leva em consideração que o Telêmaco de Fénelon não é composto apenas de idéias políticas e religiosas, mas de um conflito entre diferentes concepções de história / Abstract: when Fenelon decided to write a literary mirror for princes to instruct Louis XIV's grandson in the arts of governing, he did not imagine that his text would cause a stir, or that it would produce such a vast and multifaceted critical fortune. Apart from the readings of characters which amused the audience that would try to discover the actual figures behind the characters, one of the perennial problems for the interpretation of The Adventures of Telemachus is its classification. The book does not fit neatly into the ancient narrative, neither into the novel. Despite the moralizing and educational function of the text, the character Telemachus gains autonomy being the narrator of him in the first book. With this, we access an entirely new subjectivity in a text that was intended to be pedagogical. The exemplary feature of the Homeric epic that inspires the adventures is undermined by the traps created by the hero's own feelings while he deals with the difficult task of divesting himself. Moreover, the purpose of the text - to form a Christian king - connects it with the moralizing ancient narratives. The Adventures of Telemachus remains enrolled in a "time out of time" in which we see the transformations following each other, being impossible to place them on a timeline like we do in the novel. The discussion of utopia has thus renewed the discussion about the genre in these adventures. We argue that the presence of a "country of nowhere" in this pedagogical narrative organizes its structure and guides its mimetic procedures according to the spaces visitEditora Divided in two parts, this thesis seeks, at first, to describe Fénelon's literary text, Les aventures de Télémaque. In strictly literary terms, we deal with its narrative structure, organized around government's models and antimodels; its mythical-allegorical language that conveys a moral and spiritual Christian content; and its literary genre. Through a bibliographical review, we outline the reasons that made Telemachus' publication a scandal, and also the changes of meaning and modes of interpretation that the text has suffered over a 300 years old critical fortune. In the second part, we are dedicated to the analysis of Salento, the last kingdom visited by the main character, as a utopia that offers a return on time, so we affirm its conservative feature. Our proposed study takes into consideration that Fénelon's Telemachus consists not only of political and religious ideas, but also of a conflict between different conceptions of history / Doutorado / Historia e Historiografia Literaria / Doutora em Teoria e História Literária

This thesis aims to provide a thematic analysis of the leading Hebrew dystopian texts in contemporary Israel and to present a broader context of utopian thought within which these texts are best understood. The research attempts to explore and examine how the various anxieties and fears of Israeli society are reflected upon in contemporary Hebrew dystopian novels and how the Israeli reality is transformed and re-imagined, by means of authors' thought experiments, in the selected narratives. Dystopian fiction is an extremely useful tool for cultural studies inasmuch as it constitutes a direct interaction with the contemporary culture in that it describes an entire society suffering from oppressive and disastrous conditions which grow out of certain real-world social, political, and economic trends. Zionist utopian fiction which sought to imagine a Jewish homeland waned soon after the creation of the State of Israel and the local realities set the narrative on a much darker and more pessimistic course. Today many Israeli authors project a dystopian and (post-) apocalyptic future from the present Israeli reality by examining the current cultural and political situation. The thesis is, then, also an exploration of how these dystopian narratives come to terms with the current Israeli reality and what...

The proposed dissertation is devoted to the relations of the Czechoslovak cultural left to Soviet Russia in the interwar period. It focuses on the image of Soviet Russia, pointing out that for many Czechoslovak leftist artists and intellectuals it served as a framework for their own vision of an ideal socio-political arrangements. In their view, the image of Soviet Russia stood out as a utopia in the sense that the sociologist Karl Mannheim attributes to this phenomenon. The dissertation follows the evolution of this utopian image among the Czechoslovak cultural left in the early 1920s, maps the changes in its thematic structure and motives and follows its disintegration against the ideological split of the Czechoslovak cultural left in the late 1930s. This development is perceived through the analysis of travelogues in which left-wing artists and intellectuals presented their immediate impressions and experiences from this country. The semiotic text analysis method is being used for this purpose. By analysing the confrontational and transformative functions of the utopian image of Soviet Russia, the dissertation attempts to clarify the attitude of Czechoslovak artists and intellectuals towards Soviet Russia in the context of the socio-political situation of the interwar period and in the broader...

This thesis analyses Ingeborg Bachmann's posthumously published texts in the volume Male oscuro. Aufzeichnungen aus der Zeit der Krankheit and their relations to her literary work. Two central themes are elaborated through the analysis of the volume: illness and writing. The focus is on Bachmann's conception of writing and the issues arising from it. A comparison between Male oscuro and the author's work, the short story Undine geht and two poems Keine Delikatessen and Böhmen liegt am Meer, shows analogies on several different levels. The concept of utopia indicates continuity in Bachmann's work and the existential condition for her writing in relation to the metaphor of 'desert'. Key words: Ingeborg Bachmann, Male oscuro, illness, writing, metaphoric, contrariness, comparison, utopia

The aim of the work is a vision of changing the approach to the landscape and agriculture. Defining a new field structure and supporting the territorial system of ecological stability. Part of the smart landscape is a series of technological support for agriculture in the form of towers. Subsequently, two of these towers are developed to the scale of detail.

Il est très délicat de parler " d'identité " cubaine sans la problématiser, la nuancer ou la circonstancier. Cuba est pourtant une île fouettée par des courants venus de tous les horizons, un creuset où se sont mêlées les cultures qui semblent définir son caractère propre. Le cas du théâtre est un exemple incontestable. Le théâtre cubain est un art plus ou moins sinistré à l'intérieur même de ses frontières. Mais après la révolution il commence à renaître. Le théâtre cubain a accompagné l'histoire de la révolution cubaine au milieu d'un siècle de grandes guerres et de mouvement de libération nationale. L'éclosion des années 1960 paraît ainsi être l'apogée de l'écriture dramatique cubaine, et la représentation dans le pays, de ce fait, le théâtre cubain rencontre une spécificité propre à l'intérieur et en dehors de l'île. Les dramaturges cubains représentent dans leurs œuvres la thématique cubaine dans et en dehors de l'île, intimement lié à la circonstance politique révolutionnaire et à ses conséquences dans la famille cubaine et l'individu. Tout ceci participe du " cubain ", autant d'exemples qui montrent la difficulté de parler d'un théâtre cubain. Il n'y pas qu'une seule façon de faire du cubain, car chaque auteur, chaque histoire est différente et implique différentes manières de percevoir " la cubania ", que ce soit dans l'aspect comique, tragique, réaliste, " absurdiste " ou politique, la spécificité de l'île est bien là.

António Ramos Rosa est une figure majeure dans le panorama de la poésie portugaise contemporaine, avec une œuvre singulière qui a contribué, dès les années 50, à la rénovation de l’espace poétique, en ayant un rôle d’intervention théorique et critique au sein des mouvements artistiques au Portugal Notre propos, dans cette recherche, a été d’étudier les rapports entre philosophie et poésie dans le cadre de la modernité, à partir du temps comme ligne d’orientation dans une perspective phénoménologique (Cf. Husserl, Heidegger, Derrida et Deleuze, entre autres). Considérant le langage et l’expérience esthétique comme l’enjeu privilégié de la modernité poétique, nous avons cherché à comprendre la façon dont le discours philosophique s’inscrit dans le matériau de l’œuvre poétique, et à montrer comment l’analyse des textes peut nous permettre de dégager des éléments pour une réflexion concernant leur implication sur le plan ontologique. Ainsi, dès les premières analyses, le temps a été confirmé, non seulement comme élément essentiel, mais aussi comme marqueur principal dans ce discours qui, dans cette poétique, convoque d’autres référents d’ordre phénoménologique contribuant à la structuration d’un langage novateur. Notre approche pragmatique a permis d’identifier le caractère prégnant de ces référents, dans son ensemble. C’est dans ce contexte que l’idée de transformation, de transparence et d’utopie surgissent. Il s’agit d’une situation énonciative qui rapproche poétique et dialectique dans un réseau d’images et modes du discours qui ont pour horizon l’ontologie et en matérialisant dans le langage du poème. / António Ramos Rosa is a major personality in the panorama of contemporary portuguese poetry. Since the decade of 1950, the remarkable originality of his works has been a contribution to the renovation of the poetical universe, having a theoretical and critical main role of intervention among the artistic movements in Portugal. Our project in this research, was to analyse the relations between poetry and philosophy having modernity as its framework, with the concept of time as our guide in a phenomenological perspective (Cf. Husserl, Heidegger, Derrida and Deleuze). Considering language and aesthetic experience as the privileged challenge of modernity in poetry, we have tried to understand in what way the philosophical discourse is inscribed in the poetic works of this author and to show how the analysis of texts allows us to separate the elements of a reflection with an implication on ontological plan. In that way, and since the very first analysis, the concept of time, besides from being an essential element, was to be confirmed as an important mark in the poetic discourse of António Ramos Rosa, and calls for other referents that contribute to structure an innovating language. Our pragmatic approach allows us to identify the particularity of those points, as also as to relevate the place of language and the subject in his totality. In this context the importance of transformation, transparence and utopia became clear. It is a situation of enunciation approaching poetics and dialectics within a web of images and modes of discourse having in the horizon ontology materialized in the language of the poem.

Cette étude veut montrer comment le travail est décrit et vécu dans les utopies littéraires et programmatiques du dix-huitième siècle, de John Bellers (1695) à Robert Owen (vers 1830). Dans la société britannique de l’époque, le travail évolue, de nécessaire condition de l’homme vers un moyen de progresser dans la hiérarchie sociale. Les utopies, micro-sociétés idéales, sont toujours isolées, de sorte que le travail agricole et artisanal est la principale occupation de leurs habitants. De pénible qu’il est en Europe, il devient léger en utopies car il est équitablement partagé entre des individus qui savent se contenter de peu. Les autres professions, plus intellectuelles, jouissent d’un prestige nettement moins important qu’en Europe, puisque chaque utopien est à la fois son prêtre, son avocat, son médecin. Tous les utopiens contribuent également à la beauté de leur environnement, on ne trouve que rarement des artistes identifiés par leur fonction. La façon dont les utopistes abordent la question du travail traduit leur projet de société, le plus souvent égalitariste et coopératif, par opposition à une Grande-Bretagne dominée par la compétition. / The point of this thesis is to show how work is depicted in eighteenth-century utopias, from John Bellers (1695) to Robert Owen (in the 1830s). Labour is the necessary condition of the vast majority of the British population at the beginning of the period. Over the century, though, work takes on a more positive connotation as it becomes a means of ascending the social ladder (especially for the merchants and members of the professions). In utopian texts, European “toil” becomes pleasant and healthful “exercise”, because the inhabitants of ideal societies have few needs that are easily satisfied. A little agriculture and craft industry only is required to provide them with anything they want. The intellectual professions, that were more prestigious in Britain, are disregarded as each citizen is able to act as his own priest, lawyer or physician. All utopians are artists, contributing to the beauty of their environment, so that none is really identified as such. The last part aims at demonstrating that work and labour are at the heart of the utopists’ view of society. Their plans are vindications of more egalitarian and cooperative societies.

Il est peu de notions aussi vastes que celle du non-savoir, mais le flou du caractère nécessairement négatif de sa définition s’accompagne tout de même du sentiment que la source de ce qui ne peut qu’être déterminé négativement par la pensée (non, cela n’est pas le savoir) ne peut qu’être positive. Notion à l’applicabilité infinie, parce qu’en elle vient s’abîmer tout ce qui ne peut tenir dans l’espace de la maîtrise relative à ce dont on peut dire : je sais de quoi il s’agit. Est non-savoir tout ce qui se rapporte au bouillonnement pulsionnel de la vie et à l’échéance fatale de la mort. Ce qui pousse l’homme au meurtre, au génocide, à la guerre et à la violence révolutionnaire se confond avec un contenu affectif et identitaire qui ne peut être ramené au savoir sans laisser de reste. Mais tenter de comprendre ce qui échappe à l’entendement est cela même qui relance sans cesse la réflexion comprise comme cœur du savoir. Le savoir se montre ainsi sous une extrême dépendance face à son Autre. À la lumière de cette hypothèse devant beaucoup aux découvertes de la psychanalyse, le présent mémoire s’est donné pour objectif de jeter un regard frais sur quelques grandes tensions sociopolitiques de l’Histoire; mais il a d’abord fallu évaluer philosophiquement la possibilité d’un concept de non-savoir. Des champs identitaires majeurs — révolutions totalitaires ou démocratiques, bouleversements ou synergies culturelles — sont ainsi analysés sous l’angle d’une économie pulsionnelle qui s’inscrit dans une interaction perpétuelle avec ce qui s’ébauche ici comme une économie du rapport entre non-savoir et savoir. Est ainsi produite une esquisse des rapports possibles entre la vie pulsionnelle de l’homme, le savoir institutionnel et le monde sociopolitique. / Few notions are as vast as that unknowing; but the imprecise nature of its definition is nonetheless accompagnied by the implication that what offers itself only negatively to the mind has a positive source. The applicability of the notion of unknowing is infinite; it swallows up all that resists the mastery indicated by statements about that which is. Unknowing encompasses all that belongs to the boiling drive of life and to the faceless moment of death. What leads human beings to murder, to genocide, to war and to revolutionnary violence is bound up with an affective content of identification that cannot be subsumed by knowledge without leaving a residue. Yet attempting to understand what exceeds the mind’s grasp serves as the motor of mental reflection at the heart of knowledge production itself. In this sense, knowledge is inescapably dependent on its « other ». In light of this hypothesis drawn from the domain of psychoanalysis, this thesis aims to reexamine the conceptual underpinnings of basic sociopolitical tensions in History. The conceptual impetus driving major identity movements — such as totalitarian or democratic revolutions and cultural disruptions or synergies — is analysed in terms of a libidinal or drive-oriented economy which is in perpetual interaction with what this thesis characterizes as an economy of the relation between knowing and unknowing, between knowledge and its negation.