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Com o intuito de contribuir para preencher a lacuna existente na historiografia sobre os engenheiros e arquitetos atuantes no campo da construção civil, procura-se resgatar a discussão sobre habitação popular no âmbito dos periódicos de engenharia e de publicações editadas em São Paulo entre 1916 e 1931. Assim, toma-se como escopo o tratamento dado à questão da habitação popular entre o Concurso para projetos de Habitações Proletárias Econômicas, de 1916, e o I Congresso de Habitação, realizado no início de 1931. Estes dois acontecimentos são momentos nos quais engenheiros e arquitetos travaram discussões importantes em torno de uma proposta de habitação econômica. Entre as questões discutidas estão as inovações espaciais, que são influenciadas por questões de conforto, higiene e economia, concomitantemente à discussão tecnológica, que perpassa as questões da racionalização dos materiais de construção, das técnicas construtivas e de urbanismo. Discute-se também a atuação do engenheiro-arquiteto Bruno Simões Magro, útil para se entender a complexidade do tema da habitação econômica e como esse tipo de profissional, dito engenheiro arquiteto, atuou na questão da habitação popular / With the intention of contributing towards filling the historical gap existent in our knowledge of the activities of engineers and architects in the field of the construction, a discussion on popular housing in engineering periodicals and in publications edited in São Paulo between 1916 and 1931 is resuscitated. With this aim, the treatment given to the subject of popular housing between the I Contest for projects of Cost-Saving Proletarian Housing, of 1916, and the I Housing Congress, accomplished in the beginning of 1931, were taken as a basis. These two events are moments in which engineers and architects had important discussions around a proposal of cost-saving housing. Amongst the subjects discussed, space innovations are discussed as influenced by questions of comfort, hygiene and economy, side by side with technological discussion that permeates the subjects of rationalization of construction materials, construction techniques and urbanization. In addition, the performance of the engineer-architect Bruno Simões Magro is useful to understand the complexity of the theme of the low-cost housing, and how this type of professional, known as engineer-architect, acted in questioning of popular housing

Le présent travail de thèse est consacré à la question du désir et à la façon dont elle émerge dans la philosophie de Giordano Bruno (1548-1600). En dépit de sa place relativement marginale dans le corpus très vaste des études bruniennes, et malgré sa présence non immédiatement évidente dans les écrits du Nolain, nous pensons qu’une recherche sur le statut du désir peut ouvrir une perspective pertinente et radicale sur la pensée de ce philosophe de la Renaissance tardive. Loin d’être une question accessoire, le désir se situe au coeur de la philosophie de Bruno et incarne le rythme immanent de sa spéculation. Face au thème capital de la nolana filosofia – la modalité à travers laquelle le fini réalise et exprime l’infini – la question du désir nous ouvre des chemins suggestifs à travers l’imposante oeuvre de l’ex-moine dominicain. Nous avons abordé ce sujet sous plusieurs perspectives, toujours attentifs à exprimer le caractère systématique sus-jacent à la grande ampleur des thématiques que l’on trouve dans les écrits du philosophe. Nous avons préféré procéder de manière diachronique, en privilégiant une approche conceptuelle plutôt qu’un exposé de la philosophie brunienne dans son déroulement chronologique. Nous nous sommes d’abord penchés sur un traité tardif, la Lampas triginta statuarum, où le désir apparaît comme la force qui amène les « ténèbres »indistinctes à exprimer la richesse infinie de formes qu’elles renferment en puissance. Dans les dialogues cosmologiques en italien, le désir, force immanente aux révolutions des planètes (qui assurent la succession des saisons et des civilisations), réalise dans chaque être la vicissitude qui lui permet « d’être tout et de devenir tout ». La comédie italienne le Chandelier montre comment la poursuite d’un désir statique, obsessionnel et contraire à la nature amène inévitablement à la perte des personnages qui l’incarnent. Cette même aspiration “civile” sera présente dans le traité magique Des liens où le philosophe-mage s’appuie sur l’amour, « le lien le plus puissant », pour donner vie à une république qui, à travers ses citoyens, reflète la puissance infinie inhérente à la nature. En dernier lieu,nous verrons comment, dans Des fureurs héroïques, l’élan cognitif qui amène Actéon à « devenir nature » correspond à la manière la plus humaine qui soit de réaliser l’infini. / My PhD dissertation aims at analysing the concept of desire in relation to Giordano Bruno’s philosophy. Despite the relatively marginal place of this issue among secondary bibliography and its not immediately evident presence in Bruno’s works, I think that this kind of research can open apertinent and radical perspective on Bruno’s thought. Far from being a secondary aspect, the desire is at the core of Giordano Bruno’s philosophy and it embodies its immanent rhythm. In relation to the fundamental theme of Bruno’s philosophy – the way in which the finite realises the infinite – the question of desire can disclose to us new perspectives. I have looked at this problem from many perspectives, always attentive to express the systematic character under the great varieties of topicswe can find in the Nolana filosofia. I have proceeded diachronically, privileging a conceptual approach rather than a chronological account of Bruno’s thought. First, I have considered the Lampas triginta statuarum, a late Latin treatise in which the desire appears as the force that leads the tenebræ toexpress the infinity of forms they contain in potentiality. In the cosmological dialogues in Italian, the desire – immanent force that assures planets’ revolutions (and in that way the cycle of seasons andcivilisations) – realises in all the beings the vicissitude that allows it to “be everything and becomeeverything”. The comedy The Candle Bearer shows how the pursuit of a static, obsessional, andunnatural desire causes the loss of the three main characters. We can find the same “civil afflatus” inthe magical treatise De vinculis where the magic-philosopher builds through love (“the most powerfullink”) a republic that, through its citizens, reflects the infinite power of nature. Lastly, we will see how, in The Heroic Frenzies, the cognitive desire that allows the metamorphosis of the hunter Acteon in nature corresponds to the most human way to realise the infinite.

At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work.  And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender

Syftet med denna studie är att försöka utreda vilken roll arkitektoniska icke-människor spelar för skapandet av socialt samspel i en ekoby. För att utreda detta utgår studien från ett antal posthumanistiska teoribildningar, främst actor-network theory och begreppet materielldiskursiv. Dessa teoribildningar anser att även icke-människor, så som hus och brevlådor, ska ses som medskapare till världen men att deras agens bestäms av vilka andra aktörer de kopplar ihop sig med i nätverk. Genom observationer och intervjuer med sju boende i en ekoby har material insamlats om det sociala samspelet i ekobyn. Empirin vittnar om att många olika icke-människor spelar en roll för skapandet av det sociala samspelet som uppstår där. Det handlar bland annat om att gemensamhetshus ger plats för gemensamma aktiviteter, att öppna gräsytor möjliggör lek och att brevlådor uppmanar till rörelse. I sig själv skapar dock inte de arkitektoniska icke-människorna socialt samspel. För att de ska få den betydelsen behöver de användas och tolkas av andra aktörer. Svaret på frågeställningen blir följaktligen att de arkitektoniska icke-människorna spelar en roll för att socialt samspel uppstår i ekobyn men vilken roll de spelar är beroende av vilka andra aktörer som de kopplar ihop sig med. / The purpose of this study is to try to investigate the role that architectural non-humans play for the creation of social interaction in an eco-village. In doing this, the study uses a number of post-humanist theories. Mainly actor-network theory and the material-discursive concept. These state that even non-humans, like houses or mailboxes, are to be seen as co-creators of actions, but that their possible roles are decided by which other actors they attach to in a network. Through observations and interviews with seven residents of an eco-village, the information was gathered. The empirical data shows that many different non-humans are taking an active role in the creating of the social interactions that goes on in the eco-village. To mention a few, the community hall gives room for group activities, open lawns create a possibility for child’s play and mailboxes call for physical movement. In themselves, however, the nonhuman actors do not create social interaction. It is only when used by and interpreted by other actors that they gain their active role. The answer to the question would consequently be that the architectural non-humans in the eco-village do play an active role in the creation of social interaction but that the role is dependent on the other actors that they connect to.

Cette thèse propose une approche renouvelée de l’adaptation cinématographique de la littérature, par l’étude d’un corpus composé de plusieurs textes littéraires et de leurs adaptations cinématographiques réalisées par le même cinéaste, Wojciech Jerzy Has (1925-2000). L’originalité de notre analyse de corpus réside dans le fait de placer les films, et non les textes, comme éléments premiers et centraux dans l’organisation de notre démarche. Les textes littéraires, par le choix de cette approche target-oriented (Cattrysse 2014) qui part plutôt de la cible que de la source, deviennent ainsi les points d’arrivée plutôt que les points de départ de l’épreuve du corpus. Nous proposons un champ d’expérimentation qui fait de trois films réalisés par Wojciech Has l’impulsion d’un itinéraire d’analyses à la fois textuelles et filmiques, incluant les textes hétérogènes adaptés par ce réalisateur (ceux de Jean Potocki, Bruno Schulz et Bolesław Prus). Ce mode d’organisation crée des modes de relation inédits entre les textes et les films, mais aussi des textes entre eux, alors qu’aucune relation d’intertextualité déclarée ne motive leurs mises en rapport : le roman de Potocki, Manuscrit trouvé à Saragosse, les nouvelles de Bruno Schulz ainsi que La Poupée de Bolesław Prus appartiennent à trois siècles différents, des Lumières finissantes à l’entre-deux guerres mondiales. La logique de renversement du trajet critique traditionnel que nous mettons en œuvre, en mobilisant les ressources du cinéma à capter et projeter une expérience de lecture, révèle des analogies avec l’analyse textuelle : les notions de figure et de montage permettent de faire de l’adaptation un jeu de réécriture (Ropars 1990), ayant vocation à altérer le texte. C’est notamment par un certain nombre de figures apparentées au fantastique qu’une cohérence a posteriori est donnée au corpus textuel : les trois films de Has mettent en scène des doubles, des automates, des labyrinthes et des configurations autoréflexives qui créent de nouveaux points de contact entre les textes. Notre recherche double alors l’expérimentation de cet opérateur cinématographique de la littérature d’un opérateur fantastique, qui agit comme élément de cohésion dans le jeu différentiel entre littérature et cinéma. / This dissertation proposes a renewed approach to the topic of film adaptation, by studying several literary texts together with their film adaptations directed by the same filmmaker, Wojciech Jerzy Has (1925-2000). The originality of our analysis lies in placing films, not texts, as primary and central elements in the organization of our approach. By the choice of a target-oriented approach (Cattrysse 2014), literary texts become the points of arrival rather than the starting points of this comparative analysis. Three films directed by Wojciech Has give the impulse to an itinerary of analyzes that includes various texts adapted by this director (those of Jan Potocki, Bruno Schulz and Bolesław Prus). This mode of organization creates unprecedented modes of relation between the texts and the films, but also between texts themselves, while no relation of explicit intertextuality justifies their connections: Jan Potocki’s Zaragoza Manuscript (1794-1810), Bolesław Prus’ The Doll (1890) the short stories of Bruno Schulz (1934-1937) belong to three different centuries. The reversal of the traditional critical path that we are implementing in this work, by mobilizing the resources of films to capture and project the experience of reading, reveals analogies between filmic and textual analysis. The notions of figure and montage will allow to discover how adaptations can also qualify as rewritings (réécritures) (Ropars 1990), a concept that points towards films that alter the text.It is by the unveiling of some figures related to the fantastic genre that a posterior coherence is given to the texts adapted by Has: the three films present doubles, automata, labyrinth experiences and self-reflexive configurations, creating new relationships between heterogeneous texts. Our research doubles the experimentation of this cinematographic operator of the literature with a fantastic operator, which acts as an element of cohesion in the differential game between literature and cinema.

Com o intuito de contribuir para preencher a lacuna existente na historiografia sobre os engenheiros e arquitetos atuantes no campo da construção civil, procura-se resgatar a discussão sobre habitação popular no âmbito dos periódicos de engenharia e de publicações editadas em São Paulo entre 1916 e 1931. Assim, toma-se como escopo o tratamento dado à questão da habitação popular entre o Concurso para projetos de Habitações Proletárias Econômicas, de 1916, e o I Congresso de Habitação, realizado no início de 1931. Estes dois acontecimentos são momentos nos quais engenheiros e arquitetos travaram discussões importantes em torno de uma proposta de habitação econômica. Entre as questões discutidas estão as inovações espaciais, que são influenciadas por questões de conforto, higiene e economia, concomitantemente à discussão tecnológica, que perpassa as questões da racionalização dos materiais de construção, das técnicas construtivas e de urbanismo. Discute-se também a atuação do engenheiro-arquiteto Bruno Simões Magro, útil para se entender a complexidade do tema da habitação econômica e como esse tipo de profissional, dito engenheiro arquiteto, atuou na questão da habitação popular / With the intention of contributing towards filling the historical gap existent in our knowledge of the activities of engineers and architects in the field of the construction, a discussion on popular housing in engineering periodicals and in publications edited in São Paulo between 1916 and 1931 is resuscitated. With this aim, the treatment given to the subject of popular housing between the I Contest for projects of Cost-Saving Proletarian Housing, of 1916, and the I Housing Congress, accomplished in the beginning of 1931, were taken as a basis. These two events are moments in which engineers and architects had important discussions around a proposal of cost-saving housing. Amongst the subjects discussed, space innovations are discussed as influenced by questions of comfort, hygiene and economy, side by side with technological discussion that permeates the subjects of rationalization of construction materials, construction techniques and urbanization. In addition, the performance of the engineer-architect Bruno Simões Magro is useful to understand the complexity of the theme of the low-cost housing, and how this type of professional, known as engineer-architect, acted in questioning of popular housing

Un film qui dérange et qui déclenche des réactions violentes dit forcément quelque chose de la société qui le rejette. Pour prendre la mesure du scandale, le Festival de Cannes est un bon repère car c’est la caisse de résonance du cinéma. Les quatre scandales qui nous servent de point de départ ont eu lieu entre 1986 et 1999. Ces quatre films Tenue de soirée (Blier, 1986). Sous le Soleil de Satan (Pialat, 1987) De Bruit et de Fureur (Brisseau, 1988) et L’Humanité (Dumont, 1999) ont tous obtenus des prix à Cannes. Le trouble que ces films provoquent, relève du corps : un corps perçu comme marginal (l’enfant des cités), grossier puis risible (une star masculine grimée en femme puis en mystique), ou indigne (l’acteur amateur). Au cinéma, le trouble se base sur la gêne, le désir, le malaise. Le spectateur, face à une image qui ne répond pas à ses attentes est décontenancé et perd ses repères. Le trouble cache également toute une série de problèmes. Un corps hors norme qui ne correspond pas à ce que l’on a l’habitude de voir, un corps difficile à classer. Au cinéma, l’authenticité peut être troublante tant elle ressemble à la vie. Comment un corps authentique peut-il être troublant alors que le cinéma est affaire d’artifice ? C’est pourtant de cela dont il est question quand la vérité surgit dans le cadre, elle peut déranger voire devenir insupportable.Par la mise en scène, le cinéma peut-il rendre visible les corps délaissés par la société et ses images ? Comment aborde-t-il les questions qui dérangent en produisant des images troublantes ? Dans notre approche esthétique et socioculturelle nous allons analyser comment Brisseau, Dumont, Blier et Pialat rendent les corps troublants. Cette thèse s’articulera autour de trois idées motrices : le corps perçu comme obscène (une œuvre qui provoque des émotions contradictoires), le corps de l’exclu (les personnages démunis tentent d’échapper à l’entropie qui les menace) et le corps de l’acteur (le trouble physique qui traverse l’acteur dirigé par le réalisateur). / A film, which disturbs and triggers violent reactions, obviously illustrates the society that rejects it. In order to measure the scandal, the Cannes festival is a good reference because it is the sounding box of cinema.The four scandals we use as a starting point took place between 1986 and 1999. Those four films, Menage by Blier in 1986, Under the Sun of Satan by Pialat in 1987, Sound and Fury by Brisseau and Humanity by Dumont were all rewarded in Cannes.The confusion induced by these films is connected to the human body: a body perceived as of marginal importance (the housing estate child), coarse then ridiculous (a male star made up as a female then as a mystic). In a film, the confusion is based on embarrassment, desire, and uneasy feelings. The spectator, confronted with unexpected images, feels confused and lost.That confusion also hides all sorts of problems. An abnormal body we are not used to see, a body difficult to classify.In a film, authenticity can be disturbing by being so much like life. How can a genuine body be disturbing when cinema means artifice ? However that is exactly the point when truth appears in the setting, it can disturb and even become unbearable.Can cinema make bodies abandoned by society and its pictures visible again ? How does it tackle the questions which upset by producing disturbing images ? Through our aesthetic and sociocultural approach we are going to analyze how Brisseau, Dumont, Blier and Pialat make bodies disturbing. This thesis will hinge upon three leading ideas: the body perceived as obscene (a work which provokes conflicting emotions), the body of the excluded (weak characters try to escape the entropy which threatens them) and the body of the actor (the physical disorder which goes through the actor guided by the director).