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Pratique et théorie révolutionnaire chez Alain Badiou et Toni NegriBrahimi, Mohamed Amine 06 1900 (has links) (PDF)
Cette recherche a pour objectif principal de mener à bien une étude théorique originale d'inspiration marxienne sur la théorie révolutionnaire d'Alain Badiou et de Toni Negri. Nous avons fait une généalogie de la pensée politique révolutionnaire ce qui nous permit de situer le marxisme dans cette tradition. Par la suite, nous avons procédé à la définition des principaux concepts théoriques utilisés par Negri et Badiou. Cette étude conceptuelle a été menée parallèlement à une recherche historico-politique sur le parcours des deux auteurs. Chacun des concepts a été placé en lien avec une période spécifique de leur vie militante. Enfin, nous avons établi le lien entre leur travail théorique actuel et leur engagement politique.
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'Unlearning' hegemony : an exploration of the applicability of Alain Badiou's theory of the event to informal learning through an examination of the life histories of South African social movement activists.Harley, Anne. January 2012 (has links)
This thesis argues that it is both necessary and possible to change the world. Changing the
world requires engaging with, to try to understand it from the basis of lived reality, and then
acting. Our ability to do this is, however, affected by hegemony, which attempts to convince
us that the way things are is either normal and natural and the only possible way they could
be, or that it is impossible to change them. Nevertheless, there is always resistance to this,
and I suggest that we might learn something useful by examining how this happens.
The thesis thus explores Gramsci’s theory of hegemony, and its applicability to our current
world; and also considers resistance to this. I argue that the nature of capitalism has shifted,
and discuss how this shift has impacted on hegemony, identifying three current interlocking
hegemonic ideologies. I consider current resistance to this hegemony, including the role of
social movements. Much resistance, and many social movements, I argued, cannot properly
be called counter-hegemonic in that, although it/they may critique the dominant economic
system, it/they remain trapped within hegemonic logic. However, it is clear that there is
existing truly counter-hegemonic resistance, including some social movements, and I argue
that Abahlali baseMjondolo is one such counter-hegemonic movement. Thus it is possible
that those who join/align themselves with this movement might be considered to have
‘unlearned’ hegemony and be useful subjects for this study. I thus consider the life stories of
seven people who have aligned themselves to this movement, in order to determine whether
they have indeed ‘unlearned’ hegemony, and if so, how.
I discuss relevant and appropriate theory for examining this phenomenon, including
experiential learning, transformative learning and Freirean emancipatory learning. I argue
that whilst these theories of learning are helpful, they cannot entirely account for unlearning.
I then turn to the theory of the event of Alain Badiou as a possible complementary or
alternative way into thinking about unlearning. I apply both the learning theories and
Badiou’s theory of the event to the stories, all of which show strong evidence of unlearning,,
and consider how useful the theories are in understanding this.
I conclude that all of the theories help to some extent in understanding the unlearning in
stories. There are, however, fundamental differences between the learning theories on the one
hand and Badiou’s theory on the other. I construct a model showing that the basis of the
difference between the adult learning theories and Badiou’s theory of the event rests on the
locus of the trigger for transformation. I argue that Badiou’s theory provides a very useful
additional perspective to adult learning theory; but that it cannot be considered to have
replaced existing theories in understanding how people learn informally to think and act in
counter-hegemonic ways. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.
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Lectures contemporaines du symbolisme maussien dans la socio-anthropologie françaiseLétourneau, Kateri January 2012 (has links)
Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.
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Apoštol Pavel a filosofie: Studie k politické teologii a její recepci v soudobé filosofii / Apoštol Pavel a filosofie: Studie k politické teologii a její recepci v soudobé filosofiiHanyš, Milan January 2014 (has links)
The thesis offers an interpretation of Paul's political thought and political theology in the context of current philosophy. The first part presents a methodological basis of the work: the concept of political theology is conceived as a methodological tool that enables us to concentrate on interrelations and mutual effects of religion and politics and to expose implicit or explicit political meanings and implications of religious ideas. The second methodological subchapter deals with Max Weber's approach to "economic ethics of world religions": Weber concentrates on historical crossroads and switches which are a result of random chain of coincidences and factors forming a specific relation to values (Wertbeziehung) which enables us to understand further historical development. Paul's missionary activity and theology is seen as such historical crossroad with far- reaching social consequences. Another part elaborately deals with the most important and influential interpretations of Paul in current non-Christian philosophy: Jacob Taubes, Alain Badiou, Giorgio Agamben. The attention is given not only to presentation of their interpretations but also to utilizations and interpretative gaps, which could be observed in the way these authors read and understand Paul. Though for different reasons, for all of them...
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Apoštol Pavel a filosofie: Studie k politické teologii a její recepci v soudobé filosofii / Apoštol Pavel a filosofie: Studie k politické teologii a její recepci v soudobé filosofiiHanyš, Milan January 2014 (has links)
The thesis offers an interpretation of Paul's political thought and political theology in the context of current philosophy. The first part presents a methodological basis of the work: the concept of political theology is conceived as a methodological tool that enables us to concentrate on interrelations and mutual effects of religion and politics and to expose implicit or explicit political meanings and implications of religious ideas. The second methodological subchapter deals with Max Weber's approach to "economic ethics of world religions": Weber concentrates on historical crossroads and switches which are a result of random chain of coincidences and factors forming a specific relation to values (Wertbeziehung) which enables us to understand further historical development. Paul's missionary activity and theology is seen as such historical crossroad with far- reaching social consequences. Another part elaborately deals with the most important and influential interpretations of Paul in current non-Christian philosophy: Jacob Taubes, Alain Badiou, Giorgio Agamben. The attention is given not only to presentation of their interpretations but also to utilizations and interpretative gaps, which could be observed in the way these authors read and understand Paul. Though for different reasons, for all of them...
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Reflets narcissiques dans l oeuvre de Jack-Alain Leger / Narcissistic reflections in the life of Jack-Alain LegerStaebler, Marie-Anne 12 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: Jack-Alain Léger committed suicide on 17 July 2013 at the age of 66, leaving behind him a large
amount of work that has not formed the object of any academic study, not even partially. Many
articles have been written about the author but none about his novels. Léger was especially
known for his multitude of pseudonyms, his manic-depressive tendencies, his conflicts with all
his editors, his homosexuality, the controversy linked to the alias Paul Smaïl or for his
Islamophobia, his hatred towards his biological father and towards an alleged brother who died
before his birth but also for his literary talent, his wide erudition and his brilliant and provocative
mind. Underneath these characteristics hides an author whose work, that appears incoherent at
first sight, reflects a profound reflection on the aesthetic, the essence and the ultimate purpose of
art. Although Léger’s art involves the domain of aestheticism, it is also intended to subvert and
oppose a society that limits imagination and individual potential by imposing a uniform identity.
In this way, Léger illustrates in all his works the separation and alienation of the self through the
dead child motive, emphasizing his refusal to acknowledge having been born as an alienated self.
Lost in the ambiguity of an image that had not been received by society, Léger wanders in the
infinite game of mirrors like Narcissus searching for an ideal self and an ideal beauty in the
lake’s waters where he gazes upon his reflection.
In this multidisciplinary research, I will study the entirety of Léger’s work in the light of the
notion of narcissism and the multiple reflections that it includes. The narcissistic force that
serves as a fermenting agent for the creation of Léger’s work is developed through a literary,
sociological, psychoanalytical and philosophical interpretation. The final chapter discusses the
elements these different perspectives have in common and they are drawn together in the concept
of tertiary narcissism, as a mechanism of self-protection and self-recreation which is, however,
not without danger as revealed in the tale of Narcissus. / AFRIKAANSE OPSOMMING: Jack-Alain Léger het op 17 Julie 2013 in die ouderdom van 66 selfmoord gepleeg. Hy laat ‘n
talryke oeuvre agter wat nog nie die onderwerp gevorm het van ‘n akademiese ondersoek nie,
selfs nie gedeeltelik nie. Die skrywer word wel dikwels genoem in artikels en tekste maar nie sy
werk nie. Léger was veral bekend vir sy verskeidenheid pseudonieme, sy bipolêre tendense,
gedurige konflik met sy uitgewers, sy homoseksualiteit, die polemiek rondom die gebruik van
die pseudoniem Paul Smaïl of sy Islamofobie, die haat vir sy pa en vir ‘n putatiewe broer wat
voor geboorte dood is – maar ook vir sy literêre talent, sy uitgebreide kennis en sy briljante
uitdagende gees. Onder al hierdie eienskappe is daar egter ook ‘n skrywer waarvan die oeuvre
met die eerste oogopslag onsamehangend mag voorkom maar in werklikheid ‘n diep besinning
inhou oor estetika, die essensie en die einddoel van kuns. Alhoewel Léger se kuns raak aan die
veld van estetika, is die bedoeling daarvan ook subversief en gemik teen ‘n samelewing wat die
verbeelding probeer hok slaan en die individu se potensiaal beperk deur die oplegging van ‘n
eenvormige identiteit. Só illustreer Léger in sy werk die afsondering en die vervreemding van die
self deur die motief van die dooie kind ; die versinnebeelding van sy weiering om gebore te word
as ‘n vervreemde self. Verlore in die dubbelsinnigheid van ‘n beeld wat nie deur die samelewing
ontvang kon word nie, dwaal Léger tussen die oneindige spel van spieëls soos Narcissus wat ‘n
ideaal soek van homself en van skoonheid in die water van die meer waarin hy staar na sy beeld.
Hierdie multidissiplinêre studie ondersoek Léger se oeuvre in sy geheel in die lig van die begrip
van narcissisme en die veelvoudige weerspieëlings daarvan. Die narcissistiese krag as gis vir
Léger se kreatiewe werk word ingeknie in ‘n literêre, sosiologiese, psigoanalitiese en filosofiese
ontleding. In die laaste hoofstuk, bespreek ek dit wat hierdie verskillende perspektiewe in
gemeen het en verwerk dit deur die konsep van ‘n tersiêre narcissisme, ‘n meganisme van
beskerming en selfherskepping want nietemin ook sy eie gevaar inhou, soos dit onthul word in
die verhaal van Narcissus. / RESUME: Jack-Alain Léger qui s’est donné la mort le 17 juillet 2013 à l’âge de 66 ans laisse derrière lui
une oeuvre considérable qui n’a pas - même partiellement - fait l’objet d’études. Bien des articles
ont été écrits sur l’auteur même mais aucun sur ses romans. Léger était surtout connu pour sa
multitude de pseudonymes, sa tendance maniaco-dépressive, ses conflits avec tous ses éditeurs,
son homosexualité, les controverses liées au pseudonyme de Paul Smaïl ou à son islamophobie,
sa haine de son géniteur et d’un frère putatif mort avant sa naissance mais aussi pour son talent
littéraire, son érudition, son esprit brillant et provocateur. Au-delà de ces attributs se dissimule
un écrivain dont l’oeuvre qui paraît au premier abord incohérente reflète une réflexion profonde
sur l’esthétique, sur l’essence et les finalités de l’art. Si l’art de Léger touche au domaine de
l’esthétisme, il se veut aussi subversif et s’oppose à une société qui restreint l’imagination et les
potentialités de chacun en imposant une uniformisation de l’identité. Léger illustre ainsi dans
toute son oeuvre la séparation et l’aliénation du moi par le motif de l’enfant mort soulignant son
refus de naître à un moi aliéné. Perdu dans l’ambiguïté d’une image qui n’a pas été capturée par
le social, Léger erre dans le jeu infini des miroirs tel Narcisse qui cherche un idéal de soi et de
beauté dans l’eau du lac où il se mire.
Cette recherche multidisciplinaire explore l’intégralité de l’oeuvre de cet auteur à la lumière de la
notion du narcissisme et des multiples reflets que celui-ci englobe. La force narcissique en tant
que ferment du travail de création de Léger sera mise en valeur par l’interprétation littéraire,
sociologique, psychanalytique et philosophique. Au chapitre final, je relèverai ce que ces
différentes perspectives analytiques ont soulevé de commun et synthétiserai cela par le concept
du narcissisme tertiaire, un mécanisme de protection et de recréation de soi qui n’est cependant
pas sans danger comme nous le révèle le conte de Narcisse.
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"Když přežít bylo vítězstvím". Příspěvek k historii fenoménu Formule 1 v letech 1970-1994 / "When survive was victory". Contribution to the History of the Phenomenon of Formula 1 in the years 1970-1994Fendrychová, Michaela January 2015 (has links)
Résumé This thesis is focused on the Czech environment neglected history of sport, specific sporty branch - races F1. Thesis is concentrated on the years 1970-1994 because there are two important milestones in the history of F1 racing - the title of world champion in memoriam of Jochen Rindt 1970 and death of Ayrton Senna at Grand Prix San Marino at Imola 1994. Thesis will be looking the answer to the questions why this sport gained in researching period rising popularity, what was F1 social and economic relevance, how did formula 1 help to the further technological development of automotive, why it began to professionalize, what reasons and in which countries began F1 expand. Individual world champions will not miss out, especially Niki Lauda, James Hunt, Alain Prost and Ayrton Senna and other important personalities at whose fates will be the history of F1 in researching period also watch.
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Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968Astourian, Laure Maude January 2016 (has links)
In Outside the Metropolitan Frame: The Nouvelle Vague and the Foreign, 1954-1968 I examine the significance of the Nouvelle Vague directors’ engagement with the world beyond metropolitan France, through formal analyses of seminal films by Jean-Luc Godard, Chris Marker, Alain Resnais, and Jean Rouch, as well as close readings of archival documents pertaining to their promotion and reception. I contend that the directors of the Nouvelle Vague were concerned with the shifts in national, transnational and colonial dynamics that marked their era. I demonstrate that their texts and films are structured by a dialectical relationship between a gaze turned outwards onto the world beyond metropolitan France, and a gaze turned inwards, onto the French. In my first three chapters, I inscribe the Nouvelle Vague in a cultural longue durée by examining its formal and thematic continuities with the tradition of French ethnography; the inter-war artistic movement, Surrealism; and the cinéma vérité documentary tradition of the early 1960s. I illustrate that the films of the Nouvelle Vague were fundamentally shaped by their directors’ engagement with the decolonization of the French empire. In my final chapter, I reexamine the most conspicuous example of foreign influence on the Nouvelle Vague, American cinema, in light of my preceding demonstrations. I determine that there are two levels of foreign influence on the Nouvelle Vague, and that the influence of American cinema was above all textual and superficial, whereas a grappling with the end of the French empire was, though far less conspicuous, fundamental to the form of the Nouvelle Vague films themselves.
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Att tala i ord och bild: : Den audiovisuella essäns historiska utvecklingWellton, Pascal January 2019 (has links)
The audio visual essay, or ”film/video essay” as it might be better known, has in recent years started to enjoy a level of popularity previously unseen in its long and obscure history; encouraging a proper reexamination of the genre through the years, to see how it has developed and changed throughout its lifetime to finally arrive at where it is today. With a lineage stretching back across the centuries, through to the 16th -century writings of Michel de Montaigne, the essay format, either as it manifests in the traditions of literature or the audio visual mode, is a curious form of expression, preferring an indirect route towards knowledge, marked by quandary, reflection, the trying and retrying ideas in a process built around the act of searching. Because of its unusual and shifting nature, on both a formal and discursive level, coupled with a propensity for analysis and dialectical reasoning, it has been a staple of transgressive aesthetic practices, landing it with several of leading experimental filmmakers and movements of the pre- and postwar eras. Interestingly, however, in the new cultural landscape, shaped by the advent of the digital revolution, it has also been involved in a politically transgressive arena of democratized home productions, sparking discussion about the imperative conditions and potential future possibilities of media creation as a whole. To make sense of these historical proceedings, and the forces which impel them, a cohesive definition of the genre is in order, which can then be used as the basis of a functional historical model. As such, the following questions are prompted: What characteristics define the audio visual essay, in what ways has it manifested throughout its history and, by extension, how does one go about formulating a conception of its history? To accommodate these queries both an essayistic mode of analysis, concerning a work’s discursive and formalistic properties, and a chronological lineage of the audio visual essay, is proposed, and applied to different historical examples, to map out paths of development and progression as well as the genres response to the varying cultural, social, political and technological forces during its lifetime.
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The Psychic Work of Reading: Form and Unconscious Affect in the Wake of ModernismAmoretti, Valerio January 2019 (has links)
This dissertation articulates the relationship between literary form and unconscious affect in fictions by Cesare Pavese, Samuel Beckett and Alain Robbe-Grillet. Drawing from contemporary psychoanalytic object-relations theory, including the work of W.R. Bion and the Bionian school, it defines three paradigmatic forms of psychic work — reparation, containment and construction — that structure the intersubjective unconscious responses to specific formal challenges. It claims that the psychic work involved in meeting those challenges is both “historical” — in the sense that it reveals elements of each text’s historicity and political valence within their cultural setting — and “productive,” in the sense that it entails a degree of psychic growth for the reader.
This dissertation bridges literary history, psychoanalytic theory and reader-response theory. It seeks to intervene in each discipline’s debates: in literary-historical terms, it argues that the psychic work of reading must be understood as constitutive of the texts’ expression of the context of the postwar and as part of their struggle to move beyond the aesthetic of modernism. In psychoanalytic terms, it joins in the lively discussion about the historical specificity of the mechanisms theorized by object-relations theory. Finally, at the level of literary theory, it seeks to affirm the value of Bion’s model of object-relations in theorizing reading as a transformative process characterized by intense unconscious, intersubjective activity.
The dissertation is organized in three literary chapters, followed by a theoretical chapter. Taken together, the first three chapters represent the evidence for the need of a concept of psychic work in reading late modernist fiction and for the potential payoffs of formulating such a concept. Chapter 4 consists of four theoretical “notes,” addressing, in broad terms, the resonance of intersubjective notions of psychic work for reading, criticism and literary theory.
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