Le théâtre de Fabien Cloutier suscite abondamment le rire chez les spectateurs, mais ce rire est, très souvent, accompagné d'un sentiment de malaise qui investit la salle. Quel rôle joue le comique dans les pièces de Fabien Cloutier et quelle est la fonction du rire des spectateurs lors des représentations ? Ce mémoire postule que le rire, tel que provoqué par le théâtre de Fabien Cloutier, joue un rôle fondamentalement critique. À partir des dynamiques à la fois d’identification et de distanciation mises en œuvre par le théâtre de Fabien Cloutier, ce mémoire propose d’étudier la fonction critique du rire dans les pièces Scotstown, Cranbourne, Billy [Les jours de hurlement] et Pour réussir un poulet à la lumière de la théorie bergsonienne du rire, qui conçoit le rire comme un correctif social. / Fabien Cloutier’s plays spark copious laughter in spectators, but said laughter is often accompanied by a sense of discomfort which takes over the theatre. What part does the comic play in Fabien Cloutier’s work, and what is the function of audience members’ laughter during performances? This paper argues that laughter, as provoked by Fabien Cloutier’s theatre, serves a fundamentally critical purpose. Using the dynamics of both identification and distanciation at play in Fabien Cloutier’s theatre, this paper proposes that the critical function of laughter in plays Scotstown, Cranbourne, Billy [Les jours de hurlement] and Pour réussir un poulet be studied in light of the Bergsonian theory of laughter, which conceives of laughter as a social corrective.

Sous le signe de l'irréductibilité de l'événement ou "devenir" des concepts à l'histoire des idées, le moment philosophique du structuralisme selon Deleuze (1967-1969) est envisagé selon trois points de vue correspondant aux trois parties de la thèse. <p>La première partie adopte la perspective historiographique pour y déceler, chez F.Wahl (1968), M. Frank (1989) F. Dosse (1991), deux principales sources de la méconnaissance du structuralisme philosophique deleuzien au profit d'un prétendu "post" ou "néo-structuralisme" (à partir de L’Anti-Œdipe) :<p> 1° le tracé d'une ligne de partage exclusif entre la philosophie et le structuralisme méthodique des linguistes et de Lévi-Strauss ;<p>2° le rôle de parangon joué par la déconstruction derridienne du structuralisme. <p>La seconde partie fait valoir l'irréductibilité du "portrait conceptuel" du structuralisme peint par Deleuze en 1967, tant à l'égard du "cliché scientiste" (linguistique ou axiomatique) dominant les présentations doxographiques contemporaines (F.Wahl et J. Piaget) qu'à l'égard de la déconstruction du structuralisme par Derrida. A rebours des premiers, Deleuze supprime le mètre-étalon (linguistique ou mathématique) permettant de hiérarchiser les disciplines concernées par le structuralisme et, en s’appuyant sur la théorie lévistraussienne de la fonction symbolique à la clef du structuralisme de Lacan, Althusser, Foucault et le groupe Tel Quel, il propose sept critères formels transdisciplinaires, valant autant dans les sphères philosophique et artistique que dans celles des sciences humaines et des sciences exactes. Ce faisant, à la différence de Derrida et du « néo-structuralisme », Deleuze associe en un même « Jeu idéal » Lévi-Strauss (philosophiquement moustachu d’être associé à Lacan, Foucault, Barthes et Althusser) et Nietzsche (philosophiquement glabre d’être revisité à la lumière du structuralisme). <p>La troisième partie envisage dans Différence et répétition et Logique du sens le développement philosophique de ce "personnage conceptuel" nietzschéo-structuraliste apte à accomplir le « renversement esthétique » du Platonisme nihiliste au profit de la création et de la dramatisation des simulacres/structures. Associant structuralisme et pensée sérielle (U. Eco), Deleuze compose une œuvre chaosmos, un simulacre sériel, polyphonique, « achevé-illimité » jouant de bribes et miette de tout ce que les philosophes ont pu « croire et raconter » depuis l’Antiquité grecque afin de dramatiser l’Idée problématique du structuralisme à la veille de Mai 68./Under the sign of the irreductibility of the event or the “becoming” of concepts to their history, the philosophical moment of structuralism according to Deleuze (1967-1969) is considered from three points of view corresponding to the three parts of the thesis.<p>The first part adopts the historiographical perspective to detect, in F. Wahl (1968), M. Frank (1989), F. Dosse (1991), two main sources for the lack of knowledge about the deleuzian philosophical structuralism in favour of a so-called “post” or “neo”-structuralism (starting from the Anti-Oedipus) :<p>\ / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

The subject of this paper is the philosophy of comedy. It is an orientation through history of laughter and its connection to the essence of comedy. This investigation tries to pinpoint some characteristics of the comedian and the task of the comedian today, focusing primarily on comedy in the public sphere. This paper concludes that comedy could be something physical and biological, but also something political. Humor is general and something very common but also culturally unique. The purpose of this thesis is to investigate comedy as something highly spiritual, absolute human and animalistic. It also aims to connect comedy to the philosophical discipline and strengthen its bond to the academic field. This paper includes some theories of humor, from both an evolutionary, scientific perspective to a more philosophical and theological view. It also includes a political discussion of how one can joke about everything and why comedy is important today.

In an attempt to demonstrate Spain's obligation to recover its ignored historic memory, Almudena Grandes evokes the poetry of a man whose past itself has been manipulated, misused and partially forgotten: the great poet Antonio Machado. In this study I examine the use of the famous "two Spain" imagery from Machado's "Españolito" as a tool for subverting many erroneous concepts about the war that, according to Grandes, are still prevalent in Spanish society. I also examine how this "two Spain" conflict demonstrates the crossroads that faces the third generation of Spaniards after the Civil War: that of collectively remaining in silence or turning openly to the past. To capture this conflict Grandes uses images of water and ice as symbols of the fluidity (or lack of fluidity) of time, images similarly used by Machado throughout much of his poetry. As Ãlvaro, the protagonist, progressively discovers the past his father had so desperately tried to hide, his heart breaks free of the ice that had surrounded his life. His example demonstrates the actions that Grandes desires for a society that still suffers from the effects of the prevailing historic ignorance: that of turning to the past for a foundation on which to build. By evoking Machado´s name and exploring similar imageries, Grandes not only strengthens him as a defender of the Republic but suggests that the only way for Spain to become normal again is to turn to the Republic and its ideals and build upon what they started and what has been overlooked since the Civil War.

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The motivating ambition of this thesis is the endeavour to think the subject anthropo-eccentrically, to free it of its conscious-agential overtones and to foreground instead the active organism in all its ecologically entangled, metabolically perspectival glory. I define the subject, in the course of the thesis, as a body productive of its own spatial and temporal fields, a body that lives its own space and time. Ecology is pluralized, made bodily. And the body itself is dynamicized and rendered porous—less an absolute limit than a variable topology separating, uniting, and enfolding organism and ecology, self and other, subject and world. I begin, in Chapter 1, with Deleuze and the rhythmic contractions that define the temporal pole of organismic subjectivity. In Chapter 2, I turn toward the way spaces are configured on the basis of the affective enaction of organismic life. This is organismic spatiality. In Chapter 3, I introduce Deleuze’s distinction between the actual and virtual in order to properly theorize the way organismic abilities and environmental layouts are pre-subjectively related such that actual organismic activity individuates a field of spatiotemporal experience. And as the structure of this relation fluctuates, so too does the framework of subjective experience, the sensorimotor-perceptual affects by which experience is defined. Organismic subjectivity is, as a consequence, both relentlessly dynamic and tied irreducibly to the organization of its own world. To think this entanglement is to think subjectivity as swarm, a concept that opens this theory onto an array of new possibilities—toward, to take only one example among a range of many, a human-technological entanglement that conceives scientific apparatuses in their integration with a collectively human subjectivity. I conclude the thesis with a brief gesture toward the implications carried by the development of such possibilities. / Thesis / Master of Philosophy (MA)

Winsor McCay drew delightful drawings about the dreams of a Welsh rarebit fiend, 'rare bits' inspired by an overindulgence in cheese. Dreams of the Rarebit Fiend was a Saturday cartoon that appeared in the New York Evening Telegram from 1904 to 1911, psychic twin to Little Nemo in Slumberland that appeared concurrently in the Sunday Funnies of the New York Herald from 1905-1911. 'Slumberland' was a Neo-classical fantasy that closely resembled the idealized White City of the Chicago World's Fair (1893), that inspired the architecture of Coney Island's Dreamland (1905-1911), which beckoned to McCay as he drew from his house just across Sheepshead Bay in Brooklyn. The capricious side of this Architecture emerged in McCay's cartoons. A self-taught illustrator, McCay began his career in Detroit working in dime museums, worlds of wonder—filled with monsters—dioramas and sideshow performers whose livelihood depended on their ability to amaze an audience. Just this sort of rare and gifted fellow, McCay parlayed his entertaining lampoonery of Slumberland into some of the world's first animations on vaudeville. As with the Rarebit Fiend, Little Nemo's dreams were brought on by overindulgence, in his case of too many donuts or Huckleberry Pie. But, this was merely a pretense for McCay's fantastical 'dream' mode of thinking, a potentially useful body of knowledge that was simultaneously explored by Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious in dreaming to those at play in wit. Architectural drawing—seen through McCay's cartoons and early animations—has a kind of 'gastronomical' alchemy that inadvertently became a treatise on the architectural imagination. Fiend and Little Nemo affected the psychic mood of early modern Architecture—its 'childhood' in the milieu of White Cities—that was both added to and commented on by Winsor McCay's pen. His cartoons portray the hidden 'flavors' of the buildings springing up a century ago. This 'other'—surreal—aspect of the White Cities, seasoned with whirling iron Ferris wheels and Flip-Flop rides, newly invented elevators and electric lights—and even fun house mirrors that made buildings suddenly seem very tall—were the ingredients that caused the fiend and Nemo to wake up, which ultimately became the culinary school of modern Architecture. McCay's 'fiendish' depictions show us that the right blend of humor and awe is a recipe for happiness. / Doctor of Philosophy / Winsor McCay made cartoons of the 'nightmares' of a Rarebit Fiend with a witty, unflinching eye for detail. Those illustrations became a psychic twin to the architectural fantasies of a little boy in the 'funnies' section of the New York newspapers from 1905-1911. Dreams of the Rarebit Fiend and Little Nemo in Slumberland continue to entertain and edify us, while inadvertently acting as a guide to how the imagination works. McCay's celebrity as a cartoonist also led him to become one of the world's first animators, amazing vaudeville audiences with depictions of Little Nemo that were suddenly larger than life, illuminated, and mobile. Dreams were rediscovered in the early twentieth century as useful bodies of knowledge for understanding the self, seen through the writings of Sigmund Freud, Henri Bergson and Marcel Proust, who linked the mechanisms employed by the unconscious 'dreamer' to those at play in wit. That thinking was surrounded by the atmosphere in McCay's comedic sequential images, which in turn inspired the iconic dreamlike silent movies of Buster Keaton. A look at the birth of these art forms a hundred years ago provides insight into the psychic mood of early modern Architecture, but also to the imagining of today's world (both material and virtual) using the digital tools that are just being invented. Although McCay's cartoons are fiendish, they sustain the balance between dreaming and humor that is essential to imagining a happy modern life.

Nous considérons quelques écrivains et critiques littéraires chez qui la lecture de la philosophie d'Henri Bergson, du vivant de celui-ci, a fait naître une réflexion intense et rigoureuse quant à sa signification et à son avenir. Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet et Jean Paulhan – l'antibergsonien Julien Benda leur servant de contrepoint – éprouvent la nécessité de contester la quiétude de Bergson ou la manière qu'il a de refermer son problème. Ils restent néanmoins fidèles à ce problème, apparaissant dès lors surtout soucieux de recommencer le bergsonisme, de repartir de sa table rase. Bergson leur semble trahir inconsciemment ses propres principes : soit qu'il échoue à faire attention aux découpages propres du réel et qu'il cède à de faux problèmes, soit qu'il cède plutôt à de fausses solutions et laisse ses lecteurs dans l'incertitude, initiant malgré lui une « crise de la durée ». Ils ont le sentiment de pouvoir être bergsoniens mieux que Bergson, indissociablement avec et contre lui. Il leur semble surtout que l'accomplissement du bergsonisme comme philosophie ne puisse se faire que dans une œuvre de littérature : soit qu'ils trouvent dans Bergson une théorie inattendue de l'urgence d'écrire, soient qu'ils voient dans la littérature, notamment romanesque, la réalisation vraie de l'intention bergsonienne, ou le moyen d'atteindre une philosophie enfin durable. L'heure n'est plus à mettre la vérité du morceau de sucre dans sa dissolution, mais bien à laisser l'eau du temps gonfler les arêtes de la fleur de papier japonais – et refaire d'elle l'occasion de retrouvailles, de soi avec soi et de soi avec tous les autres. / I consider a few literary writers and critics whose reading of Henri Bergson's philosophy was careful and passionate enough to make them reflect on its true meaning and possible future. Each in their own way, Charles Péguy, Marcel Proust, Jacques Rivière, Albert Thibaudet and Jean Paulhan – Julien Benda working here as a counterpoint – needed to criticize Bergson's tranquillity and rejected part of the solutions he offered. They nevertheless stayed true to his fundamental problem, thus offering more of a new beginning to bergsonism than a condemnation. They felt that Bergson unconsciously betrayed his own principles: either because he failed to pay attention to the true divisions of reality and was led to the formulation of fake problems, or because he accepted fake solutions on the contrary, and therefore left his readers in distress. In the latter case, they argued, the philosophy of duration did nothing but increase the destructive effect of time. They felt that they could be better bergsonians than Bergson. More importantly, they came to the idea that bergsonism as a philosophy could only be accomplished within the pages of a literary work. Some discovered in Bergson an unexpectedly positive theory of language. Some saw in the writing of novels the true realization of Bergson's intention. Others understood literature as the only way to escape the anguish created by philosophy and to slow down the pace of history. The truth of sugar lies not in its dissolving, unlike Bergson suggested, and one should rather let the water of time swell the edges of Proust's flower of japanese paper. In it lies the possibility of finding oneself again, as well as regaining a community.