Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.

Submitted by JOSIANE SANTOS DE OLIVEIRA (josianeso) on 2018-08-06T16:56:04Z No. of bitstreams: 1 Guilherme Malo Maschke_.pdf: 5529936 bytes, checksum: f07e129b2683e621ebb199ec2e8f6715 (MD5) / Made available in DSpace on 2018-08-06T16:56:04Z (GMT). No. of bitstreams: 1 Guilherme Malo Maschke_.pdf: 5529936 bytes, checksum: f07e129b2683e621ebb199ec2e8f6715 (MD5) Previous issue date: 2018-04-13 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O tema dessa dissertação é a imagem extrema no cinema underground. Todavia, não trataremos do underground como um todo e delimitamos nosso corpus aos filmes: War Is Menstrual Envy (1992); A Bitter Message of Hopeless Grief (1988); Dead Man II: Return of the Dead Man (1994); The Loneliest Little Boy in the World (2000) e Extase de Chair Brisée (2005). Entendemos que nosso problema pode ser sintetizado na pergunta: como o extremo está presente no cinema underground? Buscando responder esta questão e apontar quais os elementos dessa imagem extrema duram nesses objetos, articulamos nossa proposta metodológica em três eixos: a escavação de Jusi Parikka (2012), para encontrar os objetos e informações sobre os mesmos; o método intuitivo de Bergson (2006) visando delimitar os virtuais e atuais da pesquisa; e a cartografia como proposto por Suzana Kilpp (2015) e Massimo Canevacci (1997), formando duas constelações onde são analisados os aspectos audiovisuais dos nossos objetos. Para nos aprofundarmos teoricamente no que propomos como imagens extremas nos aproximamos do trabalho do teórico francês Georges Bataille (1929) assim como de autores comentadores como Georges Didi-Huberman (2015), Benjamin Noys (2000) e Eliane Robert Moraes (2002). Ligados ao audiovisual e ao cinema nossa base teórica parte da concepção do audiovisual enquanto uma experiência corpórea e visceral como apresentado por Jusi Parikka (2012), Thomas Elsaesser (2010), Laura Wilson (2015) e Jack Sargeant (2015). Em nossas considerações finais apontamos para a constituição dessa imagem extrema nas potências virtuais da desfiguração e do animalesco, constituindo cada um em sua particularidade, uma imagem extrema tanto no aspecto visual como sonoro. / The theme of this thesis is the extreme image in underground cinema. However, we shall not deal with the underground as a whole, for we are delimiting our corpus to the following movies: War Is Menstrual Envy (1992); A Bitter Message of Hopeless Grief (1988); Dead Man II: Return of the Dead Man (1994); The Loneliest Little Boy in the World (2000), and Extase de Chair Brisée (2005). We understand that our problem may be summarized with this question: how is the extreme present in underground cinema? Looking for an answer for this question, and pointing to which elements of this extreme image are lasting in these objects, we articulate our methodological proposal in three axes: escavation, as in Jusi Parikka (2012), to find the objects and information about them; Henri Bergson's (2006) intuitive method, seeking to outline the virtual and actual of the research; cartography as proposed by Suzana Kilpp (2015), and Massimo Canevacci (1997), forming two constellations where they the audiovisual aspects of our objects are analyzed. As a way to plunge theoretically in what we propose as extreme images, we approach the work of French theoretician, Georges Bataille (1929), and also of commentator authors such as Georges Didi-Huberman (2015), Benjamin Noys (2000), and Eliane Robert Moraes (2002). Our theoretical basis connected to audiovisual and cinema starts with the conception of audiovisual as a corporeal and visceral experience, as presented by Jusi Parikka (2012), Thomas Elsaesser (2010), Laura Wilson (2015), and Jack Sargeant (2015). For our final considerations, we are pointing towards a constitution of such extreme images in virtual disfiguration and beastlike potentials, which constitute, each one with its own particularities, an extreme image both in visual and audible aspects.

Tudo inicia com o verbete de um dicionário não convencional. A revista Documents, na qual se publicava o Dictionnaire Critique, era editada pelo escritor francês Georges Bataille quando ele escreveu sobre o informe: um termo que \"serve para desclassificar\"; um vocábulo que não existe para dar significado a determinadas coisas, mas para instigar \"tarefas\"; uma noção antagônica a toda \"sobrecasaca matemática\"; uma disrupção ao academicismo \"que geralmente demanda que cada coisa tenha sua forma\". Esta dissertação fundamenta-se na acepção batailliana, destrinchando nuances, revisitando múltiplas leituras feitas a posteriori, buscando compreender o verbete em meio a todo conjunto do Dicionário Crítico, e, por fim, aceitando a diversidade e as contradições da rede de relações que Bataille instituía. Alicerçado nesse verbete acerca do informe, estabeleço uma operação crítica de observação do mundo, a qual irradia uma série de questões para além daquelas enfrentadas à época pelo grupo surrealista da Documents. Informes, no plural, apresenta um campo de diálogo entre trabalhos artísticos, projetos arquitetônicos, obras literárias. A crise do ideal de forma não é unívoca. O informe lança uma ilimitada multiplicidade de questões; nesta dissertação, apresentam-se algumas delas em um labirinto que põe em contato o Partially Buried Woodshed de Robert Smithson, o Tent Pile do Formlessfinder, a Endless House de Frederick Kiesler, o apartamento de A Espuma dos Dias, o Gutter Corner Splash e as espirais de Richard Serra, a crise da arte como ciência europeia por Edmund Husserl, os Sacchi de Alberto Burri, o vão livre do Masp e o pré-artesanato nordestino pela ótica de Lina Bo Bardi, a Torsione de Giovanni Anselmo somada a tantos outros trabalhos da dita Arte Povera, o Monumento a Bataille de Thomas Hirschhorn, o Merzbau de Kurt Schwitters, o Vortex do Raumlabor, o empilhar de telhas de Wang Shu, a entropia que se ausenta em O ateliê vermelho de Henri Matisse, o estúdio de Rémy Zaugg projetado pelo Herzog & de Meuron, a Mesa de Nelson Felix, o Fun Palace de Cedric Price, o Granby Four Streets do Assemble, os inacabados prisioneiros de Michelangelo. Essa polifonia consubstancia-se nos dezenove ensaios que se seguem. Tal como uma entrada de dicionário, cada texto é autossuficiente; entretanto, suas questões ricocheteiam ao longo da dissertação. Inspirado no Dictionnaire Critique e no livro Formless: A User\'s Guide, de Yve-Alain Bois e Rosalind Krauss, faço um emaranhado de heterogêneas rela- ções a partir de diferentes autores, artistas, arquitetos. Não há uma mesma unidade nem métrica para os ensaios: as estruturas textuais são diversas, os tamanhos são distintos, e sua leitura também não se faz exigente em ordem sequencial.. Há uma metalinguagem entre o informe e o (não)formato deste Informes. O que se intenta é o enfrentamento às convenções, ao status quo, ao senso comum. Uma busca deste mestrando para não ver o mundo como conjunto de formas, as quais obrigatoriamente devamos nos enquadrar. Afinal, já dizia Bataille, \"o universo é algo como uma aranha ou um escarro\". / Everything begins with an entry of an unconventional dictionary. The magazine Documents, in which the Dictionnaire Critique was published, was edited by the French writer Georges Bataille when he wrote about the formless: a term that \"serves to bring things down\"; a word that does not exist to give meaning to certain things, but to instigate \"tasks\"; an antagonistic notion to any \"mathematical frock coat\"; a disruption to academicism that \"generally requiring that each thing have its form\". This dissertation is based on the bataillian sense of the formless, unraveling nuances, revisiting multiple readings made a posteriori, seeking to understand the entry in the midst of all set the Critical Dictionary, and, finally, accepting diversity and contradictions of the network of relationships that Bataille instituted. From this entry on the formless, I establish a critical operation for observing the world, which radiates a number of issues beyond those that the Surrealist group faced at the time of Documents magazine. Formlesses, in plural, present a field of dialogue between artistic works, architectural projects, literary writings. The crisis of the ideal of form is not univocal. Formless launches unlimited and multiple questions, which, on this dissertation, present themselves in a labyrinth that put in contact the Partially Buried Woodshed by Robert Smithson, the Tent Pile by Formlessfinder, the Endless House by Frederick Kiesler, the apartment of L\'Écume des Jours, the Gutter Corner Splash and the spirals by Richard Serra, the crisis of art as a European science by Edmund Husserl, the Sacchi by Alberto Burri, the great span of Masp and the northeastern pre-crafts from the perspective of Lina Bo Bardi, the Torsione by Giovanni Anselmo together with many other of the Arte Povera, the Monument to Bataille by Thomas Hirschhorn, the Merzbau by Kurt Schwitters, the Vortex by Raumlabor, the stacking of tiles of Wang Shu, the absence of entropy in The Red Studio by Henri Matisse, the atelier of Rémy Zaugg designed by Herzog & de Meuron, the Mesa by Nelson Felix, the Fun Palace by Cedric Price, the Granby Four Streets by Assemble, the unfinished prisoners of Michelangelo. This polyphony is embodied on the following nineteen essays. Like a dictionary entry, each text is self-sufficient; however, their issues ricochet throughout the dissertation. Inspired by the Dictionnaire Critique and the book Formless: A User\'s Guide, of Yve-Alain Bois and Rosalind Krauss, I make a tangle of heterogeneous relationships from different authors, artists, architects. There is neither unity nor metric on the essays: the textual structures are diverse, their sizes are different, and it is not necessary to read them in a sequential order. There is a metalanguage between the formless and the (non)format of this Formlesses. What I attempt is to confront the conventions, the status quo, the common sense. A search of this graduate student for not to see the world as a set of forms, in which we must necessarily fit in. After all, as Bataille had already said, \"the universe is something like a spider or spit\".

Qu'en est-il de la communication de l'impossible dans son rapport au pouvoir du langage ? En révélant la face a-dialectique du langage littéraire, Maurice Blanchot et Georges Bataille, liés par une amitié essentielle, ont redéployé l’espace désoeuvré de l’Impossible comme espace scripturaire. La présente étude s’est articulée en trois parties, regroupant chacune quatre chapitres. La première s’est intéressée à la nomination comme stricte révélation de la négativité, d’une part, et de l’altérité, d’autre part. Elle a analysé les stratégies de contestation du discours dialectique adoptées en vue de redessiner un nouvel espace communautaire grevé d’absence. Cette dernière, induisant par ailleurs le mouvement infini de la répétition, ouvre l’exigence scripturaire à l’in-fini du re-dire. La seconde a mis au centre de ses préoccupations, à l’exemple des auteurs eux-mêmes, la mort. Liée au déploiement scripturaire, la mort creuse littéralement le Dire dans lequel domine l’oscillation entre pouvoir et impouvoir. La dimension thanatique des œuvres des deux auteurs convoque les notions de limite, de transgression, de dehors, de chance et de neutre qui envisagent toutes l’ouverture de l’expérience scripturaire sur son impossible horizon. La dernière partie, quant à elle, a mis en évidence la manière dont l’écriture, en son mouvement disjoint et imaginaire, s’abstrait du domaine du possible en s’ouvrant finalement sur le silence dont elle se fait complice pour ouvrir le Dire au partage de l’Impossible. / This thesis discusses the saying of the Impossible in its relationship to the power of language in the works of Maurice Blanchot and Georges Bataille. By unveiling the a-dialectical aspect of the literary language, Maurice Blanchot and Georges Bataille, who were bound by an essential friendship, deployed anew the idle space of the Impossible as a writerly space. This study is composed of three parts, each divided into four chapters. The first part discusses nomination as a strict unveiling of negativity on the one hand, and of alterity on the other hand, before analysing the strategies of contesting the dialectical discourse which were adopted by both writers with a view of delineating a new community space marked by absence. By inducing an endless movement of repetition, absence is shown to open the writerly exigence to the infiniteness of re-saying. The second part focuses on death as explored by both writers themselves. As linked to the writerly deployment, death literally enacts a saying dominated by the oscillation between Power and Unpower. The thanatical dimension of the works of both authors relies on the notions of limits, transgression, exteriority, chance and neutre, all of which lead to the opening of the writerly experience on its impossible horizon. The third part highlights how writing, in its disjointed and imaginary movement, abstracts itself from the realm of the possible by opening itself to the silence and becoming thus its accomplice to open the saying to the sharing of the Impossible.

Dans ce travail de thèse, nous cherchons à faire dialoguer Sartre et Bataille dont la confrontation dans les années quarante et cinquante a la signification, à notre sens, d’une rencontre entre deux pensées de l’expérience et de l’existence que nous proposons d’appeler respectivement « pensée de la liberté » et « pensée de la souveraineté ». Il s’agit, dans un premier temps, d’esquisser comment ces deux pensées ont pu se rencontrer sous forme de confrontation et, pour ce faire, de restituer l’horizon à partir duquel elles ont pu se formuler : si Sartre a reproché à Bataille d’avoir confondu dans L’expérience intérieure l’attitude scientifique et l’attitude existentialiste et d’avoir décrit ainsi une expérience nullement intérieure, c’est qu’en adoptant une méthode phénoménologique pour décrire la rencontre concrète de l’existence par elle-même en tant qu’existence temporelle, il entend par « expérience » ce que les phénoménologues allemands appellent « Erlebnis » et ce qui est dans son essence une sphère d’immanence radicalement infusionnable avec d’autres sphères du même type, tandis que l’expérience intérieure telle que Bataille la définit culmine précisément dans une fusion de l’intérieur et de l’extérieur que celui-ci considère d’ailleurs comme exigence fondamentale d’une phénoménologie de l’esprit développée et en vue de laquelle il exige une existence immédiate, sans délai, enfoncée dans l’instant. L’enjeu d’une telle divergence sur le sens de l’expérience et, corrélativement, de l’existence est d’autant plus profond que ces deux penseurs ont tous pour dessein d’établir une morale à ceci près qu’il s’agit, pour l’un, d’une morale de la souveraineté dont le sens est paradoxalement hypermoral et, pour l’autre, d’une morale de la liberté qui ne peut être atteinte qu’au terme d’une conversion radicale. En quoi consistent-elles ces deux morales ? Comment sont-elles accrochées à deux pensées différentes voire opposées de l’expérience et de l’existence ? Telles sont les deux questions auxquelles nous tenterons, en dernière instance, de répondre pour mieux mesurer l’enjeu de la confrontation entre Sartre et Bataille et, par là, établir un dialogue qui est de prime abord improbable. / In this dissertation, we seek to construct a dialogue between Sartre and Bataille whose confrontation in the forties and fifties should be considered, in our view, as an encounter between two ways of thinking experience and existence that we would like to call, respectively, « thinking of liberty » and « thinking of sovereignty ». We are going to, firstly, outline how these two thinkings could encounter with each other in a confrontational way and, for this purpose, to restore the horizon from which they were able to formulate themselves : if Sartre criticized Bataille for confusing, in The inner experience, the scientific attitude with the existentialiste one and, therefore, describing an experience which is not inner at all, that’s because in adopting a phenomenological method to describe the concrete encounter of existence – which is temporal – by itself, he understood « experience » as what the German phenomenologists called « Erlebnis », namely a sphere of immanence which is radically infusionnable with other spheres of the same type, while the inner experience as Bataille defined it culminates precisely in a fusion of the inner and the exterior that he considered as the fundamental demanding of a developped phenomenology of mind in responding to which he required an immediate existence, that is to say an existence without daly, immerged in the instant. What’s at stake in such a divergence on the meaning of experience and, correspondingly, of existence has much further implications in that both of these two thinkers had the very intention to establish the morality except that for one, it’s a morality of sovereignty whose meaning is paradoxically hypermoral while for the other, it should be a morality of liberty that can only be reached through a radical conversion. What could we learn from these two moralities ? How are they linked to two different, even opposite ways of thinking experience and existence ? These are the two questions that we will try, finally, to respond in order to better measure the stakes of the confrontation between Sartre and Bataille and thus to establish a dialogue which seems prima facie improbable.

Análise das revistas de cultura Critique e Les Temps Modernes por meio das resenhas sobre Henry Miller e Charles Baudelaire. A dissertação comenta o surgimento das publicações e suas influências (a poética de Georges Bataille e a filosofia de Jean-Paul Sartre). Apresenta o campo intelectual das revistas e editoras no pós-guerra francês (1945-46). Sugere uma reflexão e um vocabulário para definir este novo crítico, um leitor especializado que, pelo ato da escrita, desenvolve a crítica. Também comenta a resenha como gênero, e as referências estruturalistas e sartrianas em ambas publicações. / Analysis of French culture magazines Critique and Les Temps Modernes, through the reviews on the authors Henry Miller and Charles Baudelaire. The text comments the appearance of the publications and its influences (Georges Batailles`s poetics and Jean-Paul Sartre`s philosophy). It presents the intellectual field of the magazines and publishing houses in the French post-war period (1945-46). It suggests a thought and a vocabulary in order to define the new critic character, a specialized reader that writes and produces critic. Finally, comments the genre review and Structuralism and Sartrian references on both magazines.

Head Chop is a practice-led research project exploring the thinking of community found within the works of Georges Bataille, Jean-Luc Nancy, and Maurice Blanchot. Using the central exchange between Nancy and Blanchot, as found in the triple intersection of texts composed of Nancy's Inoperative Community, Blanchot's The Unavowable Community, and finally Nancy's recent The Disavowed Community, Head Chop draws upon the interfaces of these three works to develop a reading of community. Utilising the concept of fictioning, an imaging of possible worlds, as its primary methodology, Head Chop develops a narrativised analysis of community. The story of Acéphale, Bataille's secret society, provides the structuring fiction of the work. This story is developed from a synthesis of fragmentary accounts of the Acéphale group's sacrificial ambition, and the illustrations of the Acéphale journal. The result is a tale of a human sacrifice from which the being Acéphale subsequently arises. In tracing the relation of the work of Nancy and Blanchot to the work of Bataille, Head Chop draws attention to the role of the figure of Acéphale for Bataille, and its subsequent insinuation in the work of Nancy and Blanchot. The figure of Acéphale operates as an editorial device that structures and informs the readings of these works as a common grounding and central problematic. This situates the readings of Bataille, Nancy and Blanchot in a contested frame of reference by attempting to accommodate an alternate version of the sacrificial event. Head Chop finds a basis for its methodological investigation in Deleuze and Guattari's work What is Philosophy? Excising and developing a series of figures and conceptual tools from the works of Nancy, Blanchot and Bataille, Head Chop develops a crossing of these figures and concepts as characters within the broader narrative of Acéphale. Following this methodological approach, Head Chop traces series of connected concepts in the works of Nancy and Blanchot. In developing these connections in relation to the Acéphale narrative, conceptual structures engaged in the thinking of community are drawn out into the broader contexts of Nancy and Blanchot's work. These connections are traced in Nancy through addressing such notions as the deconstruction of the subject, the question of authenticity in Heidegger, a re-reading of Heideggeran ontology that privileges Mitsein, and the singular plural. In Blanchot conceptual connections are similarly traced, beginning from the foundational role of the other, the challenging passion of lovers, through to death, unworking, and the question of testimony. In developing a narrativised analysis of the figure of Acéphale, Head Chop aims to open new channels of inquiry into the concept of community as it arises between the works of Bataille, Blanchot and Nancy. Research questions: How does a re-imaging of the Acéphale story, in which Acéphale is begotten, engage with Bataille, Nancy and Blanchot's readings of community? What is to be gained from the use of a re-imagined Acéphale story in a thinking of community?

Né dans le premier quart du XVIIe siècle, Jacques Courtois, jeune Franc-Comtois, franchit les Alpes pour s’installer en Italie. Abandonnant une patrie durablement ruinée où il ne pourra jamais espérer revenir s’établir, ce fils de peintre parvint néanmoins à perpétuer la tradition familiale. Actif principalement à Rome, où il décéda en 1676, l’artiste eut une carrière de près de quarante ans, presque exclusivement italienne. Si Courtois bénéficia de son vivant, puis tout au long du XVIIIe siècle, d’une grande renommée, lui dont Bernin aurait affirmé à plusieurs reprises qu’aucun autre peintre contemporain ne parvenait à exprimer aussi bien la terreur des combats, fut ensuite progressivement oublié. Il en fut de même pour son oeuvre, si bien qu’aujourd’hui ils sont tous deux méconnus, ou pour le moins mal perçus. Au fil des siècles, l’histoire de Jacques Courtois s’est progressivement effacée. De minces notices biographiques, parfois légendaires, se sont imposées et de son oeuvre n’a plus été retenue que la peinture de bataille. Paysages et peinture d’histoire furent peu à peu oubliés. Ainsi, d’un travail riche et varié, ne perdure plus guère que l’image d’une monoproduction uniforme. Cette thèse a pour but de faire redécouvrir le personnage et son travail, en proposant la toute première monographie dédiée à l’artiste. Celle-ci consiste en une biographie critique, une analyse et un premier catalogue raisonné de l’oeuvre peint / Born in the first quarter of the 17th century in the Franche-Comté region, Jacques Courtois crossed the Alps to settle in Italy. At the time he was a young man, he left behind a ruined country where he could never hope to live and practise his art. Yet this painter's son managed to perpetuate the family tradition. He worked mainly in Rome, where he died in 1676 after analmost exclusively Italian career spanning nearly 40 years. While Courtois enjoyed great fame during his lifetime and throughout the 18th century, with Bernini apparently declaring onseveral occasions that no other contemporary painter could express the horror of combat sofaithfully, he was gradually forgotten. The same can be said of his work, so much so that today the man and his oeuvre remain a mystery and are even ill-perceived. Over the centuries, the story of Jacques Courtois has gradually faded. A few scattered biographical notes, some based on legend, have gained currency and his work is remembered essentially for his battle scenes. His landscapes and religious paintings have been forgotten little by little. Thus, a rich and varied body of work is now viewed as a uniform production. This thesis aims to reveal the man and his work in a new light by proposing the first monograph dedicated to the artist. It consists in a critical biography, an analysis of his art and the catalogue of his paintings

Longtemps considérés comme des actionnaires passifs, inorganisés, voire divisés, les actionnaires minoritaires mécontents se coalisent dans le but de faire entendre leur voix dans la gestion des sociétés et de tenter, sinon de conquérir le contrôle de la société, du moins d'influer sur la valeur de leurs titres. Inspirée de la "judiciarisation" systématique des contestations par les actionnaires minoritaires et de l'abondance des travaux américains relatifs aux "batailles de procuration" et à l'activisme institutionnel, nous nous sommes interrogée sur les caractéristiques des entreprises françaises visées par des actionnaires minoritaires mécontents, sur les facteurs explicatifs du succès de leurs dissensions et sur les effets de ce processus de contestations sur la valeur" actionnariale". Conformément au modèle américain, l'activisme peut être défini comme un processus long et complexe formé par un ensemble d'activités d'influence combinant les ressources, les capacités et les compétences d'un ensemble d'actionnaires minoritaires, plus ou moins actifs. Toutefois, compte tenu du contexte institutionnel français et notamment du droit d'action reconnu à la minorité, ce processus de contestations diffère en de nombreux points des études américaines. A partir du cadre d'analyse de la gouvemance, notre modèle théorique de l'activisme repose sur l'étude des stratégies de la coalition minoritaire dissidente et des stratégies de neutralisation des mécanismes de gouvernement des entreprises par une coalition de contrôle formée de l'équipe de direction et d'actionnaires affiliés. Par le biais de plusieurs études quantitatives, nous avons déterminé que les actionnaires minoritaires choisissent de mettre en œuvre un processus d'activisme suite à l'évaluation d'un risque de faillite élevé d'une entreprise à cotation multiple qui choisit d'utiliser plusieurs clauses anti-OPA. L'activisme des actionnaires minoritaires se traduit essentiellement par un ensemble d'activités judiciaires et "associationnelles" accompagnées ou non de "batailles de procuration" ponctuelles. Favorisées par l'existence d'imprécisions sur des notions juridiques et la présence d'associations d'actionnaires ou d'investisseurs, ces activités garantissent le succès de la dissidence des actionnaires minoritaires. Toutefois, l'absence de réaction boursière le jour de l'annonce publique de la mise en place d'un processus d'activisme témoigne d'une faible visibilité publique de la cause des actionnaires minoritaires dissidents.