Esta pesquisa trata dos processos que envolvem a experiência performática e os fluxos entre memória, resistência e criação no âmbito do entrecruzamento de culturas. Parte-se da instauração de interlocuções no contexto das aldeias indígenas Guarani da capital de São Paulo que, apesar das dinâmicas de contato com a metrópole, ainda mantêm vivos seu idioma e práticas ritualísticas tradicionais. O eixo de reflexão se volta para a percepção de possíveis fricções, intersecções e contaminações poéticas deflagradas neste contato. Performance é aqui compreendida com ênfase na experiência, como campo relacional. Ritual e Arte, e seus respectivos meios e processos, aproximados pela perspectiva da experiência liminar proposta por Victor Turner, são postos em deslocamento numa ruptura entre as fronteiras de distintos gêneros de performance cultural. À luz dos Estudos da Performance e da Antropologia da Performance é sugerida uma apreensão do intervalo entre culturas distintas, como um entre-lugar potencialmente transformador, gerador de novos sentidos. / This research deals with the processes which involve the performatic experience and flows between memory, resistance and creation within the crossing of cultures. It starts with the establishment of dialogues in the context of Guarani Indian villages from the capital of Sao Paulo that, despite the dynamic contact with the metropolis, still keep alive their language and traditional ritual practices. The axis of reflection goes to the perception of possible intersections and poetic contamination deflagrated in intercultural contact. Performance is understood here with emphasis on experience, as a relational field in the proposition of the meeting with the -other culturally different?. Ritual and Art, and their respective environments and processes, approximated by the perspective of liminal experience, proposed by Victor Turner, are put on the move on a rupture between the boundaries of different kinds of cultural performance. In light of Performance Studies and Anthropology of Performance is suggested an apprehension of interval between different cultures, as a potentially transformative in-between place, generating new meanings.

O presente trabalho propõe uma análise vertical de Cartas de um sedutor, de Hilda Hilst, usando de uma chave de leitura fornecida pela antropofagia e seus desdobramentos pelos diferentes campos do saber. Retomamos as principais características e premissas do movimento literário organizado por Oswald de Andrade, sem nos esquecermos de seu aspecto fundamentalmente filosófico. Trouxemos também para a discussão alguns pontos levantados pela observação antropológica das culturas indígenas, a fim de nos aproximarmos dos sentidos mais profundos, ancestrais, da mitologia antropofágica. Munidos dessa tríplice perspectiva, adentramos o texto hilstiano para tentar identificar de quais modos este tema está articulado a outros, os de maior expressão ao longo de toda a carreira da autora: o erotismo, o sagrado e a morte. Verificamos que mais do que um assunto, a antropofagia é um procedimento que influencia diretamente a forma e o conteúdo das Cartas. Ela opera na linguagem, na estrutura da narrativa, nas personagens e em sua relação parodística com o Diário de um sedutor, de Kierkegaard. Por fim, o pensamento antropofágico parece estar por trás do que há de mais essencial na obra: o desejo de atingir e transformar o outro. / The present work proposes a vertical analysis of Hilda Hilsts Cartas de um sedutor, using a reading key provided by anthropophagy and its many unfoldings over different knowledge fields. We retrieved the main characteristics and premisses from the literary movement organized by Oswald de Andrade, not forgetting its fundamentally philosophical aspect. We also brought to the discussion some points raised by the anthropological observation of indigenous cultures, as to approach the deeper, ancestral, meanings of the anthropophagic mythology. Armed with this triple perspective, we enter the Hilstian text trying to identify in which ways this theme is articulated with others, the most expressive ones throughout the authors career: the erotism, the sacred and death. We verified that more than a subject, anthropophagy is a procedure that influences directly on the form and the content of these Letters. It operates on the language, on the structure of the narrative, on the characters and on its parodistic relation with Kierkegaards The seducers diary. At last, the anthropophagic thinking seems to be behind what is most essential on this piece: the desire to reach and transform the other.

Este trabalho tem por objetivo ensaiar aplicações de estruturas topológicas interpretadas psicanaliticamente ao estudo do transe de possessão na umbanda, entendido como enunciação irredutível ao estritamente verbal. Para esse efeito, o sujeito (instância enunciante) e o Outro (no caso, presentificado pelo mundo dos espíritos) são considerados como diferentes funções que se alternam em uma superfície moebiana (unilateral). Utiliza-se o método psicanalítico lacaniano em contextos sociais por meio de uma reconceptualização do método etnográfico, denominada de escuta participante, mediante participação e interação em terreiros de umbanda na qualidade de consulente. Com base no teorema geral das superfícies que, por meio de transformações homeomórficas, iguala três planos projetivos a um plano projetivo mais um toro, desenvolveu-se em linha com a topologia lacaniana duas vertentes de análise a partir do mapeamento da cadeia significante tecida na relação transferencial. Uma baseia-se no corte em oito interior e a outra no furo (estrutural à composição das superfícies). De um ponto de vista, a possessão pode ser compreendida em função da lógica inconsciente (fantasia), que relaciona as operações de produção do sujeito (alienação e separação) com a operação do corte que modifica sua estrutura, apresentando-o como dividido sem, no entanto, ser dois. De outro, ela pode ser compreendida como uma forma enunciativa que narra uma fantasia pressupondo uma escuta que não se restringe ao auditivo estrito senso, mas que é inclusiva do olhar e do cinestésico associado ao movimento. Com esta modelagem, alcança-se ampliar a pesquisa social e a escuta analítica a processos de enunciação espaço-temporais desatrelados da consciência, do psiquismo individual e da subordinação a uma concepção de interioridade psíquica os quais, por outro lado, também são desvinculados do social e da história como exteriores ao sujeito. / This work aims to assay applications of topological structures psychoanalytically interpreted to the study possession trance in Umbanda, which is comprehended as a kind of enunciation irreducible to strictly verbal. The subject (enunciative instance) and the Other (in this case, materialized in the spirits world) are considered as different functions that alter themselves in a moebian (one-sided) surface. The Lacanian psychoanalysis method is used in social contexts after reconceptualizing the ethnographic method, now denominated participant listening. The researcher participated and interacted in Umbanda temples in the capacity of consultant. Based on the general theorem of surfaces that, through homeomorphic transformations equals three projective planes into a projective plan plus a torus, two analytical versions were developed from the mapping of the significant chain webbed in the transferencial relationship. One relies on the interior eight cut and the other one on the hole (structural to the surfaces composition). In a point of view, the possession can be understood as derived from the unconscious logic (fantasy) that relates the operations of the subjects production (alienation and separation) with the cut operation that modifies the structure, presenting the divided subject but not in two pieces. From another point of view, the possession can be thought as an enunciative form that describes a fantasy, which is not restricted to the hearing strict sense, but includes the gaze and the kinesthetic associated with the movement. After this modeling, social research and analytical listening are amplified to space-time enunciation processes released from consciousness, from individual psychism and from the subordination of an interiority psychic conception. They are also disentailed from the social and the history comprehended as exterior to the subject.

Il est difficile de ne pas concevoir l’utopie du côté de la rupture : division spatiale originelle, tension temporelle, désaccord critique. Pourtant les théories et attaques des anti-utopistes voient dans l’utopie un monde illusoire voire inutile, clos, signant la fin des temps et potentiellement dangereux pour l’humanité. Et si l’utopie n’était pas le programme de la société meilleure à réaliser, mais bien au contraire une pratique transgressive, une apparition de discontinuité dans notre « ici et maintenant », un excès qui vient doubler le réel plutôt qu’un possible à réaliser dans le futur ?Iain M. Banks est un auteur de science-fiction contemporain original et audacieux, qui, conscient des dangers inhérents à l’utopie, a su jouer avec ces limites pour proposer une société utopique totalement inédite : cette utopie s’appelle la Culture. Comment réinvestir singulièrement l’utopie ? Comment la science-fiction – et plus précisément le genre du space-opéra – permet-elle de mettre en scène des problématiques politiques dignes d’un intérêt philosophique ?Iain M. Banks imagine une utopie tout entière tournée vers la rencontre, la proximité, la nouveauté. Subvertissant les traditions utopique et science-fictionnelle, le Cycle de la Culture est traversé par l’altérité et le conflit. Ces deux caractéristiques sont les fils directeurs de cette thèse qui vise à reconceptualiser l’utopie dans une perspective philosophique, politique et littéraire, en travaillant les représentations du discours utopique au sein du laboratoire science fictionnel.Ce discours prend ici trois formes : dystopie, hétérotopie, (e)utopie. Ensemble, elles dessinent une « culture utopique radicale ». / It is difficult not to conceive utopia as a rupture: through original spatial division, temporal tension, critical discordance. Yet, theories and attacks from anti-utopians consider utopia as an illusory world, even useless, enclosed, marking the end of times and potentially dangerous for humanity. What if utopia was not the programme of a better society to realize,but instead a transgressive practice, an apparition of discontinuity in our « now and here », an excess which overtakes reality rather than a possible that has yet to be realized in the future? Iain M. Banks is a contemporary, original and audacious science-fiction author, who,aware of the inherent dangers of utopia, has known how to challenge these limits in order to provide a completely unique utopian society: this utopia is called the Culture. How to critically reinvest utopia? How can science fiction – and more precisely the genre of space-opera – depict political issues, worthy of philosophical enquiry? Iain M. Banks imagines a space for utopia, entirely oriented towards encounter,proximity, and novelty. Subverting science-fictional and utopian traditions, notions of alterity and conflict span the Culture Cycle. These two characteristics are the guiding principles of this dissertation, which aims at reconceptualizing utopia through a philosophical, political and literary perspective, by way of analysing the representations of utopian discourses within the science-fictional laboratory. These discourses take three shapes: dystopia, heterotopia, (e)utopia. Together, they outline a “radical utopian culture”.

This dissertation investigates how the Greeks of the Trojan War and Alexander the Great are presented in Old French and Middle English literature. These ancient Greeks are depicted ambiguously: they share some of the characteristics of Jews and Saracens as they are portrayed in medieval literature. The thesis begins with an overview of the frameworks used to define ancient Greek identity. These include the philosophical heritage Greece left to the medieval West; the framework of Jewish identity, encompassing “variable characterization” and the hermeneutics of supersession; and the historical template, seen through the Orosian paradigm of translatio imperii and the Trojan foundation myth. The first chapter examines the Roman de Troie of Benoît de Sainte-Maure. The Greeks of the Trojan War are noble and valorous, but through their gift of the Trojan horse and sack of Troy, they display the treachery associated with post-Incarnation Jews and the cruelty and violence associated with Saracens. Due to the myth that the Trojans founded the Roman people, through their siege of Troy, the Greeks seem like the movers of imperium, the authority to rule, from Troy to Rome, which will eventually become a Christian empire. In the second chapter, I turn to the depiction of Alexander in Thomas of Kent’s Roman de toute chevalerie and the Middle English Wars of Alexander. In the Roman de toute chevalerie, Alexander is ambiguous: he is chivalrous, learned, and even a proto-Christian, though he himself assumes some typical Saracen characteristics. Alexander participates in translatio imperii, holding the right to rule in its Orosian succession and providing a model of empire to Rome. The Wars of Alexander witnesses the changes wrought to Alexander’s depiction in the fourteenth century due to revised views of chivalry, eschatology and crusade. The third chapter investigates the depiction of the Greek Diomede in Chaucer’s Troilus and Criseyde, a depiction informed by classical ideas and Chaucer’s depictions of Jews and Saracens in his other works. Diomede is both treacherous and cruel, seen in his seduction of Criseyde, rather than in battle. The ending of the tale posits a proto-Christian identity for Troilus and the Trojans, and suggests that Diomede participates in the supersession of the Greeks by the Trojans. Greeks function as movers of imperium, and are necessary for the beginnings of Christian empire.

La notion d’altérité circule avec insistance dans la conscience collective contemporaine, mais, à ma connaissance, il n’y a pas d’ouvrage critique qui aborde simultanément la spécificité de différentes sortes d’altérité dans la fiction pour en saisir les formes, la signification et les enjeux, surtout à partir de la perspective de l’Autre. Ce travail organise l’étude de la représentation de trois formes d’altérité dans six romans contemporains français, québécois et francophones dans lesquels l’Autre est le sujet du discours : 1. L’étranger : La dot de Sara (Agnant, 1995) et Un aller simple (van Cauwelaert, 1994) ; 2. La folie : Moha le fou Moha le sage (Ben Jelloun, 1978) et La chaise au fond de l’œil (Aude, [1979] 1997) ; 3. La pauvreté : L’exil aux portes du paradis (Dahan, 1993) et Conte d’asphalte (Calife, 2007). Mon objectif principal est de cerner la représentation textuelle de ces formes d’altérité ainsi que leur rôle et leur signification quand la diégèse adopte la perspective d’un personnage qui exprime lui-même sa dissemblance et son aliénation potentielle. Quand l’Autre prend la parole, son statut est entièrement bouleversé, car il ne s’agit plus d’une représentation « traduite » de son expérience ou d’une appréhension de ce personnage par un tiers. Mon travail révèle selon la perspective du marginalisé soit une transformation dans la signification de l’altérité soit un brouillage des frontières entre la marge et le centre qui remet en question, dans certains cas, l’existence même de l’altérité. Cette étude dégage également les caractéristiques discursives communes et distinctives des formes de l’altérité. En outre, elle met en lumière l’instabilité du statut Autre dans le texte romanesque : ce statut peut évoluer, se transformer et parfois même disparaître alors que, dans d’autres circonstances, il peut être un facteur identitaire incontournable et immuable. La multiplicité de ces variations illustre la complexité de chaque manifestation d’altérité et la flexibilité de la notion que le roman d’expression française utilise de façon centrale et critique. Cette thèse contribue ainsi à l’enrichissement de notre compréhension de l’exploitation littéraire des formes de l’altérité, phénomène qui marque de manière importante la littérature contemporaine.

In Henry James’s novel "The Ambassadors," James uses axiological language in tropes and in substantives, periphrastically replacing proper names. He also includes valuations in miscellaneous data contained in such differences as the one he makes in "The Ambassadors" between "Europe" (place) and "'Europe'" (concept). As well, James puts adjectival assessments of people and situations in the midst of these constructions and in the mouths of his characters, assessments which vary from those which contradict the value systems posited in the novel by various characters, through those which seem quizzical or ambiguous, to those whose meaning seems obvious under the circumstances. The argument of this critical work is that these attempts at naming tie in fundamentally with the ways in which James means for readers to interpret the identities of the characters and the events and are not merely ornamental. Even when James says that a character "didn’t know what to call" someone or something or when "identity" or a verbal equation for identity occurs in an odd context, James answers his own implied rhetorical question; he is not as problematic to read as is sometimes suggested. Our own valuations are encouraged to be close to the experience of Lambert Strether. Leading the reader through the maze of Strether’s experience, James gives many clear signals from the simplest elements of his complicated language even into the fabrication of his complex metaphors that he, though an explorer of the moral universe, is no relativistic iconoclast. In the examination of these issues, a choice has been made to draw eclectically upon various sources and techniques, from traditional "humanistic" modes of interpretation, rhetorical studies, structuralist and deconstructionist remarks, to existentialism, narratology, and identity studies. This choice is the result of an intention to access as many different "voices" as possible, in the attempt to be comprehensive about the voices of James and "The Ambassadors."

This dissertation investigates how the Greeks of the Trojan War and Alexander the Great are presented in Old French and Middle English literature. These ancient Greeks are depicted ambiguously: they share some of the characteristics of Jews and Saracens as they are portrayed in medieval literature. The thesis begins with an overview of the frameworks used to define ancient Greek identity. These include the philosophical heritage Greece left to the medieval West; the framework of Jewish identity, encompassing “variable characterization” and the hermeneutics of supersession; and the historical template, seen through the Orosian paradigm of translatio imperii and the Trojan foundation myth. The first chapter examines the Roman de Troie of Benoît de Sainte-Maure. The Greeks of the Trojan War are noble and valorous, but through their gift of the Trojan horse and sack of Troy, they display the treachery associated with post-Incarnation Jews and the cruelty and violence associated with Saracens. Due to the myth that the Trojans founded the Roman people, through their siege of Troy, the Greeks seem like the movers of imperium, the authority to rule, from Troy to Rome, which will eventually become a Christian empire. In the second chapter, I turn to the depiction of Alexander in Thomas of Kent’s Roman de toute chevalerie and the Middle English Wars of Alexander. In the Roman de toute chevalerie, Alexander is ambiguous: he is chivalrous, learned, and even a proto-Christian, though he himself assumes some typical Saracen characteristics. Alexander participates in translatio imperii, holding the right to rule in its Orosian succession and providing a model of empire to Rome. The Wars of Alexander witnesses the changes wrought to Alexander’s depiction in the fourteenth century due to revised views of chivalry, eschatology and crusade. The third chapter investigates the depiction of the Greek Diomede in Chaucer’s Troilus and Criseyde, a depiction informed by classical ideas and Chaucer’s depictions of Jews and Saracens in his other works. Diomede is both treacherous and cruel, seen in his seduction of Criseyde, rather than in battle. The ending of the tale posits a proto-Christian identity for Troilus and the Trojans, and suggests that Diomede participates in the supersession of the Greeks by the Trojans. Greeks function as movers of imperium, and are necessary for the beginnings of Christian empire.

La notion d’altérité circule avec insistance dans la conscience collective contemporaine, mais, à ma connaissance, il n’y a pas d’ouvrage critique qui aborde simultanément la spécificité de différentes sortes d’altérité dans la fiction pour en saisir les formes, la signification et les enjeux, surtout à partir de la perspective de l’Autre. Ce travail organise l’étude de la représentation de trois formes d’altérité dans six romans contemporains français, québécois et francophones dans lesquels l’Autre est le sujet du discours : 1. L’étranger : La dot de Sara (Agnant, 1995) et Un aller simple (van Cauwelaert, 1994) ; 2. La folie : Moha le fou Moha le sage (Ben Jelloun, 1978) et La chaise au fond de l’œil (Aude, [1979] 1997) ; 3. La pauvreté : L’exil aux portes du paradis (Dahan, 1993) et Conte d’asphalte (Calife, 2007). Mon objectif principal est de cerner la représentation textuelle de ces formes d’altérité ainsi que leur rôle et leur signification quand la diégèse adopte la perspective d’un personnage qui exprime lui-même sa dissemblance et son aliénation potentielle. Quand l’Autre prend la parole, son statut est entièrement bouleversé, car il ne s’agit plus d’une représentation « traduite » de son expérience ou d’une appréhension de ce personnage par un tiers. Mon travail révèle selon la perspective du marginalisé soit une transformation dans la signification de l’altérité soit un brouillage des frontières entre la marge et le centre qui remet en question, dans certains cas, l’existence même de l’altérité. Cette étude dégage également les caractéristiques discursives communes et distinctives des formes de l’altérité. En outre, elle met en lumière l’instabilité du statut Autre dans le texte romanesque : ce statut peut évoluer, se transformer et parfois même disparaître alors que, dans d’autres circonstances, il peut être un facteur identitaire incontournable et immuable. La multiplicité de ces variations illustre la complexité de chaque manifestation d’altérité et la flexibilité de la notion que le roman d’expression française utilise de façon centrale et critique. Cette thèse contribue ainsi à l’enrichissement de notre compréhension de l’exploitation littéraire des formes de l’altérité, phénomène qui marque de manière importante la littérature contemporaine.

Intersubjectivity is the acknowledgment that the subject of the self, the I, is in direct relations with the subject of the other. There is an immediate correspondence; in fact, one implies the existence of the other as a necessary state of intersubjective experience. This direct relationship negates a need for any external mediation between the two subjects, including the idea of a separate object between the subject of one individual and that of another. The essay proposes that our confrontation with the other occurs not in physical geometric space, but in liminal space, the space outside of the mean of being, at the threshold of relativity. The essay endorses the idea that liminality is not a space between things, but instead is an introjection, an internalization of the reflected world, and a reciprocal notion of the externalized anomaly of the other within each of us. We meet the surface of the world at the edge of our body but the mind is unencumbered by such limitations and as such subsumes the other as itself. Through symbolic language and myth, the surfaces and edges of things, both animate and inanimate, define the geography of the intersubjective mind. Inside the self the other becomes an object and persists as an abstraction of the original subject. We begin to perceive ourselves as the imagined projections of the other; we begin to perceive ourselves as we believe society perceives us. The process applies to the design of architectural space as a rudimentary vocabulary that is consistent with the language of the landscape. / text