O presente trabalho teve como objetivo localizar junto à história da masculinidade no Ocidente elementos que contribuam para uma leitura específica das fórmulas da sexuação de Jacques Lacan. Utilizando a noção de homem como método, foram analisados seminários empreendidos entre 1967 e 1973, recorte que comporta tanto um momento de valorização da dimensão da história pelo psicanalista francês como o próprio desenvolvimento das fórmulas da sexuação. Constatou-se haver um possível limite da apropriação lacaniana do mito freudiano de Totem e Tabu, referente à especificidade formal exigida pela lógica interna das fórmulas. Buscou-se demonstrar de que forma uma construção histórica de representações da masculinidade e virilidade responderia melhor às exigências formais requeridas para a sustentação lógica da sexuação, tal como apresentada nas fórmulas. / This research underlines some elements from the history of masculinity in the West that would contribute to a particular reading of the Jacques Lacans sexuation formulas. Using the notion of man as a method, seminars undertaken between 1967 and 1973 were analyzed, in a period that includes both a valuation of the dimension of history by the French psychoanalyst as the actual development of the formulas. It is found to be a possible limit in Lacans appropriation of the Freudian myth of Totem and Taboo, bound to the formal specificity required by the internal logic of the formulas. The studys attempt is to demonstrate how a historical construction of masculinity and virility representations respond accurately to the demands required to support the formal logic of sexuation, as presented at the formulas.

O presente trabalho teve como objetivo localizar junto à história da masculinidade no Ocidente elementos que contribuam para uma leitura específica das fórmulas da sexuação de Jacques Lacan. Utilizando a noção de homem como método, foram analisados seminários empreendidos entre 1967 e 1973, recorte que comporta tanto um momento de valorização da dimensão da história pelo psicanalista francês como o próprio desenvolvimento das fórmulas da sexuação. Constatou-se haver um possível limite da apropriação lacaniana do mito freudiano de Totem e Tabu, referente à especificidade formal exigida pela lógica interna das fórmulas. Buscou-se demonstrar de que forma uma construção histórica de representações da masculinidade e virilidade responderia melhor às exigências formais requeridas para a sustentação lógica da sexuação, tal como apresentada nas fórmulas. / This research underlines some elements from the history of masculinity in the West that would contribute to a particular reading of the Jacques Lacans sexuation formulas. Using the notion of man as a method, seminars undertaken between 1967 and 1973 were analyzed, in a period that includes both a valuation of the dimension of history by the French psychoanalyst as the actual development of the formulas. It is found to be a possible limit in Lacans appropriation of the Freudian myth of Totem and Taboo, bound to the formal specificity required by the internal logic of the formulas. The studys attempt is to demonstrate how a historical construction of masculinity and virility representations respond accurately to the demands required to support the formal logic of sexuation, as presented at the formulas.

Habituellement, la notion de handicap fait référence à un écart négatif par rapport à un modèle souhaitable. Cependant, certains aspects de la culture issue des Disability studies et de différents mouvements militants invitent à appréhender les spécificités individuelles non comme déficits mais comme génératrices de normes. Cette thèse propose l’hypothèse du handicap comme base créative. L’enquête focalise sur une population d’hommes se déplaçant en fauteuil roulant mais prête également attention à quelques facettes du discours associatif français. D’un côté comme de l’autre, il apparait que les schèmes valides demeurent prégnants. Toutefois, certaines pratiques individuelles attestent, par bribes, d’un potentiel vecteur de normes partageables, mais que les acteurs peinent à énoncer comme légitimes. Les ressources permettant d’appréhender l’expérience du handicap indépendamment des significations issues du corps standard existent. Peu visibles en France, elles demeurent majoritairement méconnues des personnes dont elles pourraient pourtant soutenir les évolutions genrées. S’il y a bribes créatives, celles-ci restent au seuil de l’institué. Quant à la parole collective, elle demeure fondamentalement dépendante du langage dominant. En conséquence, la thématique du handicap se trouve vidée des dimensions positives et conflictuelles qui lui sont pourtant inhérentes. / The idea of disability usually implies an unfortunate difference towards a desirable model. However, some sides of the culture stemming from disability studies and activists movements suggest that disabilities aren’t only inpairments. They generate norms too. This thesis proposes the surmise of disability as a creative matter. The survey focuses on men in wheelchairs but we also pay attention to some facets of french disability associations. Able-bodied schemas are pregnant in these both points. However, in the ordinary run of things, some disabled people create social norms which can be shared but they think these are illegitimate norms. The resources to understand the experience of disability regardless of the meanings derived from the standard body are found. But they aren’t visible much in France. Then french people can’t use them in order to build their gender lives and snatches of creation stay on the threshold of instituted meanings. The messages of french associations are dependant on dominant able-bodied language. Consequently, the theme of disability lose his own affirmative and conflicting dimensions.

Made available in DSpace on 2016-04-28T19:33:57Z (GMT). No. of bitstreams: 1 Hamilton Fernandes de Souza.pdf: 1391352 bytes, checksum: 5d67ddcbefaba09b4adc32fef9330b7e (MD5) Previous issue date: 2015-03-11 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This work is inserted into the strand of the research line "Variety's Speech" of the Post-Graduate Studies in Portuguese, and an interface with the line History and Description Language and has dealt with the study of how homosexuals are designed, represented and ideologically evaluated in Portuguese of Brazil. Therefore, we use the concept of "virility" as opposed "non-virility" which is based on the prototype and the stereotypes that have historically been built since the tribal people, the Egyptian and Greco-Roman civilizations, which remain to this day. We have the general objective is to contribute to studies on written production, in the form of chronic, about the transvestite. The chosen text was "The travesty is the third bank of the river," Arnaldo Jabor. The specific objectives: 1. to expand the representation of models by which homosexuals were interpreted and evaluated ideologically by the company; select and review the theoretical foundations to explain the typicality, preparation of glossary to show the prototypes and social stereotypes; 3. examine the chronic from the categories presented in Chapter II. The relevance of the research is to investigate the appearance of the prototype and stereotypes of homosexuality, and these models are accepted and are organized through time, through the frequency of use, the memory and are recorded, understood, interpreted and reinterpreted by re reading practices in written language in the forms: chronic, short story, poem and jokes. For both draw on an interdisciplinary literature. As regards to the construction of this research resorted to an interdisciplinary bibliography. With regard to anthropology: Laraia (2001). Brancaglion Jr (2012), Burke (1997), Corbin, and VigarelloCourtine (2013), Foucault (1998, 1984) Naphy (2004), Tournier (2006), Trevisan (2000), Green (2000), Green and Polito (2006), Helminiak (1998); Language: Dubois (1988), Coseriu (1962), Hjelmslev (1975), Kleiber (1995), Lara (1996), Bizzocchi (2012), Elia (1987), Peace (2002 ) Laroca (1994), Garcia (2010); Discourse Analysis: Koch (2008), Suares (2010), Ferrari (2011), Bakhtin (2010), Odalia (2012), Dias (2003), Michaud (2006); Bergson (2001) Charaudeau (2006), Propp (1976); Medicine: Spizzirri and Abdo (2000). The methodological approach is analytical theoretical and followed the following steps:1.The research corpus selection; 2) the comparison between the social stereotypes and prostitution and the transvestite. The results of the researchare: 1) Identification of prototypes and social stereotypes, from common sense; 2) chronic analysis in order to present the social stereotypes, violence hat homosexual has been subjected, and present a prototype model, which is the thetransvestite.3) To promote reflection to the reader so that it act without prejudice and that sexuality is human and is not link only to gender: male and female. A dual conception has a triad design / Esta Dissertação de Mestrado está inserida na vertente da linha de pesquisa Variedade do Discurso do Programa de Estudos Pós-Graduados em Língua Portuguesa, e numa interface com a linha História e Descrição da Língua, e tem por tema o estudo de forma como os homossexuais são designados, representados e ideologicamente avaliados em língua portuguesa do Brasil. Para tanto, recorremos ao conceito de virilidade por oposição não-virilidade , que tem como base o protótipo e os estereótipos que foram construídos historicamente desde os povos tribais, pelas civilizações egípcias e greco-romanas, até os nossos dias. Temos por objetivo geral contribuir com os estudos acerca da produção escrita, na forma de crônica, acerca da travesti. O texto escolhido foi O travesti está na terceira margem do rio de Arnaldo Jabor. São objetivos específicos: 1. Ampliar os modelos de representação por meio dos quais os homossexuais foram interpretados e avaliados ideologicamente pela sociedade; 2. Selecionar e revisar os fundamentos teóricos para explicitar a tipicidade, elaborando um glossário para evidenciar os protótipos e estereótipos sociais; 3. Analisar a crônica a partir das categorias apresentadas no Capítulo II. A relevância da pesquisa está em investigar o surgimento do protótipo e dos estereótipos ligados à homossexualidade, bem como esses modelos são aceitos e se organizam através do tempo, por intermédio da frequência de uso, pela memória que são registrados, compreendidos, interpretados e reinterpretados pelas práticas de leitura em língua escrita sob as formas: de crônica, conto, poema e piadas. Para a construção desta pesquisa recorremos a uma bibliografia interdisciplinar. No que concerne à Antropologia: Laraia (2001). Brancaglion Jr (2012), Burke (1997), Corbin, Courtine e Vigarello (2013), Foucault (1998, 1984), Naphy (2004), Tournier (2006), Trevisan (2000), Green (2000), Green e Polito (2006), Helminiak (1998); Linguística: Dubois (1988), Coseriu (1962), Hjelmslev (1975), Kleiber (1995), Lara (1996), Bizzocchi (2012), Elia (1987), Paz (2002), Laroca (1994), Garcia (2010); Análise do Discurso: Koch (2008), Suáres (2010), Ferrari (2011), Bakhtin (2010), Odalia (2012), Dias (2003), Michaud (2006); Bergson (2001), Charaudeau (2006), Propp (1976); Medicina: Spizzirri e Abdo (2000). O procedimento metodológico é teórico analítico e seguiu os seguintes passos: 1. Seleção do corpus da pesquisa; 2. Recursos utilizados pelo autor: sequências narrativa, descritiva e dissertativa; 3. Confronto entre os estereótipos sociais ligados à prostituição e o travesti. Como resultados da pesquisa temos: 1) Identificação dos protótipos e estereótipos sociais, a partir do senso comum; 2) Análise da crônica visando apresentar os estereótipos sociais, violência a que o homossexual vem sendo sujeitado, bem como apresentar um modelo prototípico, que é o travesti. 3) Propiciar uma reflexão ao leitor para que ele aja sem preconceitos e que a sexualidade é humana e não está ligada somente ao gênero: masculino e feminino. De uma concepção dual temos uma concepção tríade

Ce mémoire présente une étude genrée du roman En finir avec Eddy Bellegueule de l´auteur Édouard Louis. L´oeuvre se construit comme un récit autobiographique dans lequel le narrateur décrit la construction de sa propre identité, celle d´un homme homosexuel, dans un environnement provincial enfermé dans des valeurs traditionnelles et patriarcales. En utilisant les outils théoriques offerts par le domaine des études de genre (Gender Studies), nous allons décomposer la notion de masculinité exprimée dans l´oeuvre en nous focalisant sur la signification et les valeurs accordées à la virilité. L’objectif de ce mémoire consiste à dévoiler comment l´image idéalisée de l´homme viril constitue le fondement de l’identité masculine, fonctionnant à la fois comme la pierre angulaire de la domination masculine, mais, également, du processus de marginalisation de l´individu homosexuel. / This thesis presents a gendered study of the novel En finir avec Eddy Bellegueule, [The end of Eddy] by the author Édouard Louis. In his novel the author autobiographically describes not only the development of his own identity, being a homosexual man, but also the rural environment of his childhood, which is defined by the values of the patriarchal system. The goal of this thesis is to reveal how the idealized image of the virile man emerges in the novel and how it constitutes the basis of a gendered role, which is expressed through male domination and the marginalization of the homosexual individual. In our work, we will thus for this purpose, examine the notion of masculinity expressed in the novel by emphasizing the meaning of virility. Using the theoretical tools offered to us by the field of Gender Studies, we will analyze how virility is expressed through the narrative and its creative role as well as its an active part in justifying male dominance in relation to the patriarchal system and to homosexuality.

L'entre-deux-guerres commence à la fin de la Première Guerre mondiale et s'inscrit dans une volonté de changement, de paix durable et d'un nouvel ordre international. Cependant, la réalité du retour à la paix est compliquée par l'ampleur du conflit. L'espace public est transformé: monuments aux morts, destructions, veuves et orphelins. Il y a aussi une réflexion sur la durabilité de la civilisation occidentale : ses limites, ses modèles et ses dangers. Ce mémoire étudie la vision d’un artiste, Hermann-Paul, afin de connaitre les représentations d’un contemporain de l’entre-deux-guerres sur la France et les modèles de la civilisation occidentale. L’étude se concentre sur son travail dans la presse, plus particulièrement sur l’hebdomadaire Je suis partout qui offre le double avantage de pouvoir suivre l’artiste chaque semaine sur une décennie de décembre 1930 à février 1940. Plusieurs questions guident cette recherche. Quelle est la France d’Hermann-Paul? Pourquoi semble-t-elle en crise et quels en sont les modèles et les contre modèles? Les pacifistes sont des acteurs majeurs de la période qui défendent l’idée d’une paix durable. Par leur volonté de changement, ils participent aussi à cette angoisse civilisationnelle. Comment le caricaturiste les intègre-t-il dans sa vision française? Le mémoire se concentre également sur l’instrumentalisation du genre, et sousensemble qu’est la virilité. Il y a une carence d’études francophones dans ce domaine. Ce travail a donc pour objectif de participer à l’exploration du domaine de la virilité en histoire avec le cas d’Hermann-Paul. La caricature est une opportunité puisque ce format instrumentalise les codes du dessin et de la virilité afin de construire, justifier et en détourner les représentations. / The inter-war period began at the end of the First World War and was part of a desire for change, lasting peace and a new international order. However, the reality of a return to peace is complicated by the scale of the conflict. The public space is transformed: monuments to the dead, destruction, widows and orphans. There is also a reflection on the sustainability of Western civilization: its limits, its models and its dangers. This paper examines the vision of an artist, Hermann-Paul, in order to know contemporary representations of inter-war France and the models of Western civilization. The study focuses here on Hermann-Paul’s work in the press, particularly in the weekly magazine Je suis partout, which offers the advantage of being able to follow the artist every week over a decade from December 1930 to February 1940. Several questions guide this research. What is Hermann-Paul's France? Why does it seem to be in crisis and what are the models and counter-models? Peace activists, who defend the idea of a lasting peace, are major actors of the period. Through their desire for change, they also participate in this civilizational anguish. How does the caricaturist integrate them into his French vision? The paper also focuses on the instrumentalization of gender, and subset that is masculinity. There is still a lack of Francophone studies in this area. The objective of this study is to participate in the historical analysis of the field of virility, with the case of Hermann-Paul. The caricature is an opportunity since this format instrumentalizes the codes of drawing and virility in order to construct, justify and divert representations.

No description available.

À cheval entre nature et culture, le poil et la chevelure humaine condensent un grand ensemble d’enjeux symboliques relevant de questions identitaires, religieuses, scientifiques, et autres. L’étude des discours et des pratiques concernant le poil représente, pour l’historien, une fenêtre sur l’évolution des mentalités d’une société donnée en ce qui concerne les perceptions de soi et de l’autre. S’inscrivant dans le courant intellectuel de l’histoire du corps, cette thèse s’attarde plus précisément aux « systèmes trichologiques » dans la France de l’époque moderne (soit du XVIe au XVIIIe siècle). Elle se fonde sur l’analyse d’une grande variété de sources permettant de recouper différents types de discours touchant au poil : point de vue scientifique des médecins, physiognomonistes et historiens, point de vue prescriptif des traités d’éducation et de civilité, contrepoint exotique des récits de voyage et autre témoignages de « curiosités » ainsi qu’un suivi de l’évolution étymologique des mots pertinents au sein de dictionnaires et encyclopédies. La question centrale de cette thèse est celle du rôle du poil dans le façonnement de représentations servant à identifier, démarquer et hiérarchiser les groupes sociaux; et comment celles-ci évoluent de concert avec d’autres transformations historiques.Le premier chapitre s’attarde au poil comme marqueur de différences individuelles. On y retrace une sorte de « langage » du poil, recensant les significations et connotations rattachées aux diverses manifestations pileuses : couleur, longueur, abondance, forme. Il y a apparait clairement que le poil joue un rôle important tant dans la mise en scène de soi que dans la lecture de l’apparence physique de l’autre. Le deuxième chapitre s’intéresse au poil en tant que marqueur de « genre ». On y examine la contribution des représentations de la pilosité dans la construction des identités masculines et féminines. Le poil s’interprète comme une manifestation extérieure de la nature des différents sexes et de leurs rôles dans la société, ce qui en fait un enjeu dans les relations de pouvoir entre les sexes et entre les gens du même sexe. Le troisième chapitre aborde le poil en ce qu’il permet de délimiter et hiérarchiser les classes sociales. On le voit participer aux modes et au processus de discipline des corps qui permettent aux élites, avec les perruques et le raffinement des conduites et des pratiques d’embellissement, de se distinguer autrement que par les vêtements. On retrace également une politique du poil qui s’étend au-delà du regard, l’état s’accordant le droit d’agir directement sur les corps – les chevelures, les poils – de ses sujets. Le dernier chapitre explore l’instrumentalisation du poil dans la construction d’un « autre » lointain et anormal : le sauvage d’outre-mer, l’enfant-loup, l’aberration de la nature. En caractérisant les poils de cas qu’ils situent aux frontières de l’humanité, les Français de l’Ancien régime exposent leurs propres présupposés sur la normalité et la civilisation. / Both natural and cultural phenomenon, human hair condenses a wide array of symbolic issues relating to notions of identity, religion, science, etc. The analysis of discourses and practices concerning hair affords the historian a window to the evolution of a given society’s attitudes towards the self and others. Following the historiographical current of the history of the body, this thesis examines the “trichological systems” of modern France (16th to 18th centuries). It is based on the survey of a wide variety of sources, allowing the comparison of different types of hair-related discourses: the scientific point of view of physicians, physiognomonists and historians; the prescriptive point of view of education and civility treatises; the exotic counterpoint of travel narratives and other writings on “curiosities”, as well as a review of the etymological evolution of relevant words in dictionaries and encyclopedia. The central question in this dissertation concerns the role of hair in the construction of representations used in identifying, distinguishing and hierarching social groups; and how these representations evolve along other historical transformations. The first chapter highlights hair’s role as marker of individual differences. A “language of hair” is exposed, inventorying meanings and connotations attached to the various factors of hairy manifestations: color, length, affluence, shape. The importance of hair in the staging of the self and the reading of others is highlighted. The second chapter explores the contribution of hair in the construction of gendered identities. Hair is interpreted as an outward sign of the sexes’ different natures and the confirmation of their respective social roles. As such, it is a tool in the negotiation of power between and within genders. The third chapter examines hair as it is used in the demarcation of social classes. It is seen as participating in the process of body discipline of the French elite. The use of wigs alongside refined hair care emphasized their distinction from lower classes beyond the traditional means of clothing. Direct state regulations on the hair of its subjects also show that trichological politics don’t limit themselves to the gaze. The finale chapter highlights the instrumentalization of hair in the construction of faraway and abnormal “other”: the oversea savage, the wolf child, the natural aberration. By characterizing the hair of beings at the frontier of humanity, Ancien Régime French expose their own presuppositions on normality and civilization.

Depuis l’exploration naissante de l’économie endocrine du masculin jusqu’aux opérations de revitalisation pratiquées dans les années 1920 et 1930, cette thèse montre de quelle manière diverses opérations génitales, dont la vasectomie, participent des stratégies médicales de construction du masculin. En parallèle, la stérilisation masculine volontaire est explorée dans le cadre de projets eugénistes à partir d’une campagne pour la légalisation de la stérilisation en Grande-Bretagne, de débats au sein de la Ligue mondiale pour la réforme sexuelle et du mouvement néo-malthusien français. L’évolution des normes de masculinité et de paternité est enfin questionnée par le recours à la vasectomie comme moyen contraceptif de convenance. L’organisation de vasectomies clandestines, la répression et la réprobation sociale qu’elles suscitent interrogent la disposition de soi du côté des hommes et le rôle normatif de! la procréation. Le caractère polysémique des stérilisations permet ainsi d’explorer globalement les reconfigurations de la masculinité à une échelle transnationale. / From the nascent exploration of the endocrine system of the male to the revitalization operations performed in the 1920s and 1930s, this thesis shows how various genital operations, including vasectomy, contribute to medical strategies for the construction of masculinity. In parallel, voluntary male sterilization is explored in the context of eugenicist projects on the basis of a campaign for legalizing sterilization in Great Britain, the debates within the World League for Sexual Reform and the french neo-malthusian movement. The evolution of the norms of masculinity and paternity is finally questioned by the use of vasectomy as a convenient contraceptive method. The organization of clandestine vasectomies, the repression and social disapproval they generate question men's self-determination and the normative role of procreation. The polysemous nature of sterilizations thus makes possible the overall exploration of the reconfigurations of masculinit! y on a transnational scale.

Nous proposons une étude des genitalia masculines dans la production de Michel-Ange afin de saisir ce qu’un tel motif pouvait signifier dans différentes œuvres selon le sujet qu’elles représentent. En nous concentrant principalement sur quatre œuvres de l’artiste florentin nous désirons éclaircir l’impact visuel du dévoilement du sexe masculin et la perception que pouvait en avoir le public italien du XVe siècle et du XVIe siècle. Le Bacchus (1496-1497), Le David (1501-1504), Le Christ Rédempteur (1519-1520) et Le Jugement dernier (1536-1541) ont été choisis pour la diversité des thèmes qu’ils illustrent et pour leurs différents contextes de production et d’exposition. Nous comparons les œuvres religieuses aux œuvres profanes afin d’y relever les problématiques spécifiques qui résultent dans chacun des cas. Le choix de s’en tenir à la production de Michel-Ange implique aussi de se pencher sur un type de figure masculine bien précis, directement inspiré de l’Antiquité. Pour mieux comprendre ce qui résulte du dévoilement des genitalia, nous définissons des notions primordiales comme le nu, la nudité, la sexualité, la masculinité et la virilité dans l’art de la Renaissance. À partir d’une approche historiographique, dont La sexualité du Christ à la Renaissance et son refoulement moderne de Leo Steinberg constitue la référence principale, nous appuyons ses hypothèses quant aux représentations du sexe du Christ. Et selon une approche historique, nous suggérons des hypothèses quant à la nudité intégrale de figures emblématiques de la production de Michel-Ange. En nous concentrant principalement sur les œuvres nommées ci-haut et le détail des genitalia, nous remarquerons que les artistes, y compris Michel-Ange, ne représentent pas ce détail par hasard, mais bien parce que cette partie du corps riche en signification peut servir à exprimer et appuyer plusieurs concepts. / We propose a study on the male genitalia in Michelangelo’s production, in order to grasp the significance in different works of art depending on the subject that they represent. By focusing on four pieces of art of the Florentine artist, we would like to clarify the visual impact of the male genitals unveiled and the perception from the Italian audience of the fifteenth century and sixteenth century. The Bacchus (1496-1497), The David, (1501-1504), The Risen Christ (1519-1520) and The Last Judgment (1536-1541) have been chosen for the variety of the topics they illustrate and for the different contexts of production and exhibition. We compare religious pieces of art to profane pieces of art to identify specific issues that result in every case. The decision to stick to only Michelango’s artistic production also implies looking at a specific type of male figure, directly inspired by the Antiquity. For a better understanding of what results from the genitalia’s unveiling, we define essential notions like nude, nudity, sexuality, masculinity and virility in the Renaissance. With a historiographical approach based on The Sexuality of Christ in Renaissance Art and in Modern Oblivion, written by Leo Steinberg, we support his hypothesis about the representations of Christ’ genitals. And with a historical approach we suggest some hypotheses about the nudity of iconic figures realised by Michelangelo. By focusing mainly on the pieces of art mentioned above and the detail of genitalia, we notice that artists, such as Michelangelo, did not represent this detail by chance, but because this part of the body is rich of signification and can serve to express many concepts.