Made available in DSpace on 2016-04-27T17:27:00Z (GMT). No. of bitstreams: 1 Marcela Moura Almeida.pdf: 331135 bytes, checksum: 121053fe0e5299bdb060efba343fc9b0 (MD5) Previous issue date: 2012-04-27 / This study of Maurice Blanchot s thought, specifically the books The Space of Literature, The Infinite Conversation, and The Book to Come, identifies the notions that the author develops regarding Literature and Art, such as Unworking, the Outside, and the Neutral. In order to follow Blanchot s more general theorization on the statutes of Art, it was at first necessary to contrast it with the tradition which mainly comes from Romanticism, but also from Heidegger. From a different perspective, this study explores what Blanchot considers to be the singularity of the space of literature, its impersonal dimension, which is understood to be the indelible mark that his work left among such thinkers as Foucault and Deleuze, thus affecting, beginning with Literary Theory, the field of Contemporary Philosophy / O trabalho a seguir procurar identificar no pensamento de Maurice Blanchot, mais precisamente nas obras O Espaço Literário, A Conversa Infinita e o Livro por Vir, as noções que o autor desenvolve a respeito da literatura e da arte, tais como Desobramento, Fora, Neutro. Para acompanhar a teorização mais geral de Blanchot sobre o estatuto da arte, foi preciso, inicialmente, contrastá-la com certa tradição proveniente sobretudo do Romantismo, mas também de Heidegger. Em contrapartida, ao explorar o que ele considera ser a singularidade do espaço literário , sua dimensão impessoal, entende-se a marca indelével que deixou sua obra entre pensadores tais como Foucault e Deleuze, afetando assim, a partir da crítica literária, o campo da filosofia contemporânea

L’intention de ce travail est de réfléchir sur les ponts possibles entre Maurice Merleau-Ponty, Maurice Blanchot et Lao Tseu concernant des rapports complexes que la nature entretient avec le langage, notamment sur la question des fondements de l’acte de nomination. Il ne s’agit pas de construire une étude comparatiste entre la philosophie occidentale et la philosophie extrême-orientale, mais de travailler les concepts de nature et de langage pour les confronter et voir comment des auteurs comme Merleau-Ponty, Blanchot et Lao Tseu font bouger les lignes quand on les fait interagir sur des notions identiques avec des contextes et des cultures complètement étrangères : Merleau-Ponty étranger à « l’informulé dans le connu du mot », Blanchot étranger à la Prose du monde comme fondation de la vérité, et Lao Tseu étranger par nature à l’un et à l’autre tout en étant familier de cette même communauté de pensée. / The purpose for this research focuses on issues involving the complex relations between the nature and languages as well as the common grounds for the concepts of “naming” among three scholars: Merleau-Ponty,Maurice Blanchot and laozi. The research will delve into the relation between the nature and language and have discussions on the relevance for the issue among three scholars rather than put emphasis on the comparative research of the issue among them. Technically, we will have more discussions with regards to how the three scholars manage to discard traditional meanings and thoughts over the issue while making their own interpretations based on varied contexts and reflecting on philosophical theories opposite the theories they proposed according to their individual cultural backgrounds: the unknown semantics of the sentence for Merleau-Ponty( evey word read is given its own semantics), Blanchot feel unfamiliar to the basic concept for allwords and sentences across the world is the very truth. While the previous theories mentioned are foreign to Laozi.

L’hypothèse principale qui sous-tend cette recherche est que les œuvres de Maurice Blanchot (recueils critiques, romans et récits) s’inscrivent dans un projet métapolitique dont le fil rouge est la problématique de la souveraineté. C’est celle-ci qui fournit le point d’articulation entre les interventions publiques et les textes littéraires de Blanchot. Le rôle central dévolu par cet auteur à la Révolution et à la Loi, ainsi que l’encrage allégorique de ses textes dans les conditions historiques qui président à leur émergence sont des éléments qui permettent de les soustraire à l’idéologie néo-moderniste. D’autre part, on a voulu montrer qu’il s’agit d’une œuvre charnière, à partir de laquelle peut être investigué un double tournant. Celui-ci affecte à la fois la médiation juridique du pouvoir, axée sur la figure du souverain, et la doctrine de l’Etat esthétique fondée sur la relation entre la production de l’art et la constitution du peuple. L’exemple de Blanchot permet d’envisager un renouvellement des conditions représentationnelles, et c’est sans doute pour cette raison que cet auteur est devenu une référence inaugurale pour les pensées contemporaines qui se proposent de dépasser l’horizon juridico-politique de la souveraineté. En ce qui concerne le corpus analysé, le parti-pris de cette thèse est de privilégier des textes moins discutés par l’exégèse blanchotienne. Ainsi, plutôt que de relire les grands recueils critiques, il s’est agi d’analyser de manière détaillée le volet en quelque sorte caché du dispositif mis en place par Blanchot: les articles des années 1930, qui n’ont pas été, pour la plupart, réédités ; les chroniques publiées dans le Journal des débats, entre 1941 et 1944 ; les interventions politiques et culturelles postérieures à 1958 ; sur le plan de la fiction, les premiers récits dystopiques, « Le dernier mot » et « L’Idylle », ainsi que le roman Le Très-Haut. / The main hypothesis of this study is that the works of Maurice Blanchot (collections of critical essays, novels as short stories) are part of a metapolitical projet pervaded by the question of sovereignty. And it is that precisely this inquiry that supplies the juncture point beteween Blanchot's public interventions and his literary texts. The crucial part played in this work by the Revolution and the Law, as well as the allegorical anchoring of his texts in the historical conditions that preside to their production, are elements that exceed the neo-modernist ideology. On the other hand, Blanchot's is a pivotal work that announces a turning point that equally affects the juridical mediation of power, focalized on the person of the Sovereign, and the idea of the aesthetic state that postulates an essential connection between the artistic creation and the constitution of the community. Blanchot's case is a token of a renewal in the conditions of representation, and this may be the reason why his work is a milestone for the contemporary thought that brings forth a post-sovereign paradigm. With regard to the body of work analyzed, we made the choice to study the texts less read by the critiques. Consequently, rather than focusing on the well known critical books, we investigated what seems to be the veiled section of Blanchot's undertaking : the texts of the 1930's, for a large part never reprinted since their apparition ; the literary columns published in Journal de débars between 1940 and 1944 ; the political and cultural articles subsequent of the political turn that takes place in 1958 ; and finally, the first dystopical stories, « Le dernier mot' and « L'Idylle », as well as the novel Le Très-Haut.

The present investigation develops the notion of sociality based on Emmanuel Levinas’s thought, and proposes an understanding of sociality that resists becoming a common foundation: an un-common sociality which interrupts the reciprocal shared common, and thereby, paradoxically, makes it possible. By engaging in the larger debate on community, this work gives voice to Levinas on the question of community without a common ground, a topic and a debate where he has previously been underestimated. In this way, the aim is to reveal new directions opened up by Levinas’s philosophy in order to think an un-common sociality.

CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior / O tema da criaÃÃo literÃria percorre hà muito a literatura, em especial a poesia. A valorizaÃÃo da escritura em detrimento do Humanismo e da HistÃria, ambos detentores de um saber teleolÃgico, permite-nos hoje percebÃ-la por si e numa busca de si. Em nossa contemporaneidade, a noÃÃo de unidade nÃo permanece em sua essÃncia primÃria, o que nos permite pensar na idÃia de fragmentaÃÃo. Tencionamos apresentar uma leitura da poÃtica de Herberto Helder atentando para as figuraÃÃes da imagem do corpo e mostrar a relaÃÃo entre criaÃÃo literÃria, origem da voz poÃtica e corporificaÃÃo/fragmentaÃÃo do discurso. Dedicaremos ainda parte de nossos escritos a elaborar uma reflexÃo sobre a leitura de poesia e sobre a situaÃÃo da linguagem poÃtica a partir de crÃticos pÃs-estruturalistas, mas sempre pensando o texto literÃrio de Herberto Helder. Concentrar-nos-emos em alguns poemas da ediÃÃo brasileira de Ou o poema contÃnuo. Fundamentamo-nos em concepÃÃes teÃrico-filosÃficas de Maurice Blanchot, nas obras Lâespace littÃraire, La part du feu, Lâentretien infini et Le livre à venir, por exemplo, e ainda levamos em conta leituras de Roland Barthes, Gilles Deleuze, Giorgio Agamben, Antoine Compagnon, Jacques RanciÃre e Leyla Perrone-MoisÃs. / The theme of literary creation is frequent in literature, especially in poetry. The valorisation of writing to the detriment of Humanism and History, with their teleologic knowledge, allows us to perceive creation by itself and in a research for itself. In contemporary times, the notion of unity doesn't preserve its primary essence, which allows us to think of the idea of fragmentation. I intend to present a reading of Herberto Helder's poetry considering deeply the images of the body and showing the relation between it and literary creation, origin of poetic voice and corporification and fragmentation of the speech. I will also devote part of this text to a reflection on the reading of poetry and on the regarding of poetic language after the post-structuralism criticism, but always having in mind Herberto Helder's poetry. I'll concentrate my research on some poems of the brazilian edition of Ou o poema contÃnuo (Or the continuous poem). The study will be based upon the theoretical-philosophical conceptions of Maurice Blanchot in The Literary Space, Work of Fire, Infinite Conversation, The Book to Come and other texts, as well as upon some readings of Roland Barthes, Gilles Deleuze, Giorgio Agamben, Antoine Compagnon, Jacques RanciÃre and Leyla Perrone-MoisÃs.

L'œuvre de Maurice Blanchot, si importante soit-elle pour la pensée littéraire de la seconde moitié du vingtième siècle, demeure l'une des plus difficiles à cerner. Tenter d'extraire quelque chose de substantiel qui permettrait au lecteur de comprendre l'œuvre blanchotienne est une tâche des plus ardues. Comment entendre le sens d'une pensée incarnée par l'écriture qui précisément désire veiller sur le sens absent? Je tente à travers ce mémoire de voir comment la pensée blanchotienne remet radicalement en question l'aspect conceptuel du langage comme outil de communication afin de l'ouvrir à son étrangeté constitutive: ce chiasme inaliénablement matériel qui est le seul espace de communication possible au delà de toute pensée conceptuelle et idéologique. À partir du récit L'attente l'oubli, je tente de voir comment chez Blanchot l'écriture n'est pas seulement le véhicule d'un message quelconque mais se déploie aussi comme de la matière-langage où le sens s'absente. La forme fragmentaire du récit et l'utilisation excessive de la forme paradoxale détournent constamment le sens de ce qui est écrit vers un ailleurs inacessible et ne donnent à entendre au lecteur que la résonance spectrale des voix qui narrent le récit. L'attente l'oubli se développe comme un étrange dialogue de sourds où les narrateurs semblent à la recherche d'un dialogue à venir. En fait, ils lancent, telles des bouteilles jetées à la mer, des appels vers l'autre sans savoir si il y aura un écho. Les deux narrateurs semblent bien être séparés l'un de l'autre par un chiasme. Cette séparation est l'espace de ce que je nomme chiasme dialogique. Cette idée inspirée par la pensée blanchotienne me permet de repenser la relation à l'autre comme une forme de partage du sensible au-delà du conceptuel et de l'idéologique. L'attente l'oubli de Maurice Blanchot n'est donc pour moi qu'un point de départ pour redéfinir la relation à l'altérité comme une passion de l'étrangeté matériellement situable : nulle part ailleurs qu'ici. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Maurice Blanchot, Altérité, Étrangeté, Éthique, Littérature, Phénoménologie.

Criticism. Inspired by Hermann Broch's essay Creation litteraire et connaissance and Maurice Blanchot's L'Espace litteraire, $ underline {Cr 'eation, 'ethique et v 'erit 'e}$, Broch et Blanchot questions both the possibility and the necessity for a writer to maneuver within the realm of Fiction (i.e. inevitably the realm of Lies), while following an ethical code of Truth. / Fiction. $ underline {En trompe-l'oeil}$ is a novella about Mance Dussault who, after parting from her lover, is compelled to redefine her own identity, by herself and outside of the gaze of the Other. Her quest is complicated by the fact that she is torn between her passions from the past and her current dreams which are luring her into a state of being never experienced before. Furthermore, the veil of novelty could hide a side of reality darker than suspected.

Thesis (Ph. D.)--State University of New York at Binghamton, Philosophy, Interpretation, and Culture Program, 2007. / Includes bibliographical references.

Thesis (Ph.D.)--McMaster University, 2003. / Advisor: Barry Allen. Includes bibliographical references (leaves195-203). Also available via World Wide Web.

Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [253]-257).