La recherche s'interroge sur les origines du rejet de la mort pour en déplier les conséquences quant à la subjectivité et aux effets sur le lien social de notre temps. Depuis l’aube de la modernité, la mort est tendanciellement disqualifiée, mise au rebut d’un parlêtre identifié à l'individu, alors qu’elle est nécessaire à sa condition humaine. Mort tabou, mort interdite, déni de la mort, les mots ne manquent pas pour évoquer les péripéties que cette figure de l’altérité a subi depuis l’avènement de la science moderne et du discours capitaliste qui l’accompagne. Il s'agit ici de mettre en perspectives le traitement contemporain de la mort et ses aléas au regard de la psychanalyse dans une lecture plurielle, par la mobilisation entre autres de travaux d'historiens, d'anthropologues, de sociologues, de philosophes, d’un appui sur la littérature, mais aussi et surtout à la lumière des singularités et des discours relatifs à la mort. Un parcours qui amène à questionner les pratiques entourant la mort, leur rejet et les artefacts qui viennent prendre leur place entre misanthropie sous fond d’idéologie posthumaniste et recyclage par l’économie capitaliste. Le destin de la mort à notre époque se signe par son ensauvagement et par le passage d’une mort métaphorisée à une mort consommée, avec comme aléas majeurs l’abandon du corps et l’impossibilité de subjectiver la perte. Une des questions centrale porte alors sur la façon dont les sujets parviennent à composer avec ce rejet de la mort et des choses de la mort, à inventer une solution singulière pour composer avec la perte, avec l’amour comme suppléance - pour que quelque chose du lien social se maintienne aux temps de l’amort. / This research explores the origins of the rejection of death, in order to examine its repercussions on subjectivity and its effects on the social bond in contemporary society. Since the dawn of modernity, there has been a tendency to denigrate death, to throw it into the scrap heap of a parlêtre [speaking being] that has been identified with the individual. Death as taboo, death as forbidden, the denial of death: there is no dearth of words to describe the alterity of death in modern science and its capitalist discourse. The contemporary psychoanalytic treatment of death and its vagaries are put into perspective both by a wide-ranging reading that appeals to the fields of history, anthropology, sociology, philosophy and literature, and especially by highlighting the singularities of and discourses concerning death. This exploration also examines ceremonies surrounding death, the rejection of these and the artifacts that have come to replace them; such artifacts are located between misanthropy, for which a post-humanist ideology provides a basis, and a recycling that is typical of the capitalist economy. The vicissitudes of death in our era are marked by an ever-greater wildness and by a movement from a death that is subjected to metaphor to a death that is consumed, a movement that carries the major risks of abandoning the body rendering death impossible to subjectivize. One of the central questions thus concerns the way that subjects succeed in dealing with death and matters related to it through inventing a singular solution for dealing with loss, with love as a compensation—in order for something of the social bond to be maintained in the age of amort [lifelessness].

One of the main goals of this thesis is to better understand Czech Neo-Baroque tendencies and their placement within the context of Czech sculpture in general. To be able to better understand the role of Neo-Baroque in this artistic branch it is important to first cover the process of Baroque's revival in Czech lands which triggered creative approach to Baroque motifs and the birth of Neo-Baroque at the end of the 19th century. This is covered in the first part of the thesis. The opening chapter mentions different perceptions of the term Neo-Baroque and how its understanding evolved from the 19th century until present. Chapter that follows elaborates on the topic of Neo-Baroque being one of the historicizing styles and discusses the cultural and ideological circumstances which led to its widespread use. The topic that strongly resonates here is the Prague urban sanitation which turned most of the sculptors into modelers who would transform Neo-Baroque facades of new buildings into complex decorative schemes. The topic in question also covers periodical swatches of Celda Klouček and Friedrich Ohmann, a very valuable ideological impulse which significantly contributed to raising awareness of the Baroque beauties of Czech provenience as an inspirational source for decorative sculpture and plaster...