Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2018. / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Este trabalho é um debruçar-se sobre a relação entre o texto camusiano, as ilustrações de José Muñoz e a edição de Didier Gonord, que fundem-se em um sentido próprio na obra híbrida O estrangeiro (2012), editada pela Futuropolis/Gallimard em ocasião do centenário de nascimento de Albert Camus. Ao leitor desta dissertação é apresentado um percurso analítico que abarca em si aspectos da sensibilidade, posto o objeto de trabalho ser de ordem estética – e portanto, do campo do sensível. Interessa-nos aqui uma investigação sobre os processos de construção de sentido que atravessam esta obra como um todo, tendo em vista, além da tríade texto verbal-imagem-edição, também as cruciais relações estabelecidas entre sujeito-leitor e a obra. Nosso objetivo é traçar uma análise de O estrangeiro (2012) enquanto obra híbrida, focando o olhar nas relações entre o texto literário e a imagem. A partir de Barthes, e seguindo uma perspectiva semiótica francesa greimasiana, trazemos à baila definições de Texto, obra e sentido. Buscamos em Merleau-Ponty um olhar sobre a noção relacional da construção de sentido de uma obra estética para discutirmos também os processos de vincuação que nela são postos. Em seguida, por uma via de análise discursiva apoiada em Fiorin, analisamos a composição e funcionamento do discurso posto em cena por meio do Percurso Gerativo de Sentido, ferramenta metodológica-discursiva que possibilita a decomposição da estrutura textual a fim de obter uma visão não só do todo, mas das partes em específico que o compõem. Apresentamos um caminho de análise que seguem por perspectivas relacionais e construímos esta investigação a partir das estruturas básicas de composição da obra, quais sejam: o fazer-se em preto e branco e o expressar-se em palavra e imagem. Por fim, examinamos nosso objeto enquanto forma no intuito de elucidarmos as diferenças entre obra ilustrada e obra com ilustração. Nosso último movimento de análise é evidenciar a expansão do texto verbal operada pelas imagens, ou seja, o modo como elas mostram aos olhos o teor, a idea de cada quadro, ou seja, de cada página dupla. / This dissertation looks over the relationship between the Camusian text, the illustrations of José Muñoz and the edition of Didier Gonord, which fuse in a proper sense in the hybrid work L’étranger (2012), edited by Futuropolis / Gallimard by the occasion of the centenary of Albert Camus's birth. To the reader of this dissertation is presented an analytical course that covers in itself aspects of the sensibility, since the work's object belongs to the aesthetic realm - and, therefore, to the realm of the sensible. We are interested in an investigation of the processes of construction of meaning that go through this work as a whole, in addition to the verbal text-image-editing triad, as well as the crucial relations established between subject-reader and the work. Our objective is to draw an analysis of L’étranger (2012) as a hybrid work, focusing on the relations between the literary text and the image. Starting from Barthes, and following a French Greimasian semiotic perspective, we bring definitions of Text, work and meaning. In Merleau-Ponty, we look at the relational notion of the construction of meaning in an aesthetic work to discuss also the relational processes that are put in it. Then, following a path of discursive analysis based on Fiorin, we work the composition and functioning of the discourse put on the scene through the Gerative Path of Sense, a methodological-discursive tool that enables the decomposition of the textual structure in order to obtain a vision not only of the whole, but of the specific parts that make it up. The ways of analysis follow relational ways, as we investigate the basic structures of composition of the work, namely: to be constructed in black and white and to be expressed in word and image. Finally, we examine our object as form to elucidate the differences between illustrated work and work with illustrations. Our last movement of analysis is to show the expansion of the verbal text operated by the images, the way they show to the eyes the content, the idea of each picture, that is, of each double page.

Made available in DSpace on 2016-04-27T17:27:27Z (GMT). No. of bitstreams: 1 Gabriel Ferreira da Silva.pdf: 726534 bytes, checksum: 92f9c566b8707004c645fea038abb51a (MD5) Previous issue date: 2009-04-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present study aims to reveal the existential analysis undertaken by Albert Camus in sight of the constitution, in his thought, of an éthos that corresponds to the therms of the human demand for sense that is recognized as frustrated. Since his essay Le Mythe de Sisyphe posits as its fundamental problem the suicide as a possible action originated from the question for the sense of the existence, we must follow the development of the camusian construction of his anthropological discourse which has as its centre the notion of Passion in its three expressions -, as well as on the human condition that shows itself as opposite to the complete achievement of the human desire, featuring human experience as Absurd. Therefore, the question for the legitimacy of the suicide becomes even more radical. However, the distinguishing mark of the camusian thought is exactly the disbelief towards the human condition but an affirmation of the human desire for sense. Thus, after the invalidation of the suicide as a correlative práxis to the observation of the existential absurdity, it is necessary to develop an ethos of simultaneously confrontation of the human condition based on a deep acceptance of the Passion. Therefore, we follow the analysis of the three types or figures that express such attitude towards that one which, for Camus, properly embodies all the demands and limits of human Revolt: The Artist-Creator whose actions identifies fully with the revolted one s in the task of assynthotically modeling his existential experience intending to correct, within its own limits, the absurd condition, making the proposed camusian éthos for excelence an authentic aesthetic of the existence / Este trabalho tem por objetivo explicitar a análise existencial empreendida por Albert Camus em vista da constituição, em seu pensamento, de um éthos que seja correspondente aos termos da demanda humana por sentido que se reconhece como frustrada. Dado que seu ensaio Le mythe de Sisyphe postula como problema fundamental o suicídio como possível atitude derivada da pergunta pelo sentido da existência, devemos acompanhar o desenvolvimento da construção do discurso antropológico camusiano que possui como seu centro a noção de Passion em suas três manifestações , bem como sobre a condição humana que se mostra oposta à efetivação completa do desejo humano, configurando a experiência do homem como Absurda. Assim, a pergunta pela legitimidade do suicídio se radicaliza ainda mais. Entretanto, a marca do pensamento camusiano é justamente a descrença para com a condição do homem mas uma afirmação do valor do desejo humano por sentido. Dessa forma, após a refutação do suicídio como práxis correlata à constatação de absurdidade existencial, há a necessidade de se elaborar um éthos de simultâneo enfrentamento da condição humana a partir de uma aceitação profunda da Passion. Com isso, seguimos as análises dos tipos ou figuras que manifestam tal postura até aquela que para Camus encarna propriamente todas as exigências e limites da Revolta humana: o Artista-Criador cujo fazer se identifica plenamente com o do revoltado na tarefa de modelar assintoticamente sua experiência existencial a fim de corrigir, dentro de seu limites próprios, a condição absurda, fazendo da proposta de éthos camusiana por excelência uma autêntica estética da existência

Thèses (M.A.)--Université de Sherbrooke (Canada), 2002. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Thèse numérisée par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Made available in DSpace on 2016-04-27T17:27:28Z (GMT). No. of bitstreams: 1 Diisertacao Fernando Sapaterro.pdf: 965778 bytes, checksum: a8bc9cbfe5cf83ceba7318ddb5ab5370 (MD5) Previous issue date: 2005-06-10 / The present study aims at discussing the concept of happiness and man-nature relationship in Albert Camus youth essays named Noces and Le mythe de Sisyphe. We understand that, in order to approach these concepts, our author had dialogued with Epicure, i.e., had used Epicure s writings as the foundation of his essays. We will then try to explain Epicure s philosophy concerning his building a concept of happiness based on physics. After going through Epicure, we will approach the concepts of happiness and man-nature relationship in both essays, in order to clarify Camus dialogue with Epicure. We will try to explain the above stated objectives through the paths of lyricism and absurd. According to the first path, man meets happiness and experiences unity through sensitive experience; according to the second, man finds out the relationships with the world, the other men, his own existence, and through these can identify with nature. The phase of lyricism grants man the perception of the links which ties him to nature; the phase of absurd provides him with the awareness about the distance that supports the links / Este trabalho visa discutir o conceito felicidade e a relação homem-natureza nos ensaios de juventude de Albert Camus: Noces e Le mythe de Sisyphe. Supomos que nosso autor tenha dialogado com Epicuro para tocar nesses conceitos, por isso procuraremos explicitar a filosofia de Epicuro no que concerne à formulação do conceito felicidade, com bases na física. Depois de passar por Epicuro, abordaremos os conceitos Felicidade e Relação homem-natureza nos dois ensaios para esclarecer o diálogo de Camus com Epicuro. De dois modos tentaremos explicitar nosso objetivo em Camus: pelo lirismo e pelo absurdo. No primeiro o homem encontra-se com a felicidade e faz a experiência da unidade na experiência sensível, no segundo o homem descobre as relações com o mundo, com os outros homens e com sua existência e pode por meio delas identificar-se com a natureza. A fase lírica concede ao homem a percepção dos laços que o une à natureza, a fase do absurdo a consciência de que há um distanciamento que sustenta os laços

Ce mémoire a pour objectif de favoriser non seulement une relecture de la philosophie de l'absurde telle qu'élaborée par Albert Camus à la lumière de l'Advaita-Vedanta, mais également de pouvoir mieux saisir l'engouement de certains auteurs hindous pour cet écrivain. En effet, après avoir constaté que Camus se référait à Jean Grenier et à l'hindouisme dans Le Mythe de Sisyphe, nous avons décidé de pousser plus loin nos recherches afin de savoir dans quelle mesure l'écriture et la pensée de Camus pouvait se rapprocher de celles des penseurs hindous puisque ces derniers avaient eux-mêmes entrepris un exercice équivalent en sens inverse. Pour ce faire nous avons choisi de faire appel aux propos de Nisargadatta Maharaj afin de mieux faire ressortir les analogies et les différences entre les deux pensées. C'est par l'interprétation de la notion d'indifférence clairvoyante de Camus et par celle du détachement affectueux prônée par Nisargadatta Maharaj, qu'il nous a été possible d'établir un lien entre eux. En effet, dans Le Mythe de Sisyphe, l'indifférence « clairvoyante » représente la position idéale à adopter pour appréhender le monde de façon sereine. Synonyme de juste mesure, elle constitue une certaine forme de détachement afin de mieux aborder la question existentielle dans son ensemble. À cet égard, le détachement « affectueux », de Nisargadatta Maharaj englobe cette définition mais donne à l'expression une connotation précise qui implique également une forme d'amour inconditionnel qui est sans attente et sans peur. Cette recherche a donc pour but de nous livrer à une exploration heuristique à partir de l'œuvre d'Albert Camus afin de déterminer dans quelle mesure sa conception de l'indifférence clairvoyante pourrait s'apparenter ou se distinguer de celle du concept de détachement dans l'Advaita-Vedanta. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Camus, Absurde, Indifférence clairvoyante, Nisargadatta Maharaj, Advaita-Vedanta, Détachement affectueux

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 296-320).

Between his first philosophical works and his last, Jean-Paul Sartre radically changed his philosophical outlook. The reasons for this change can be found in European history and Sartre's detailed study of twentieth-century protest movements. Between the end of the Second World War and the 1960s, French intellectuals began an intensive period of introspection, examining the complex relationship between History and social justice. Sartre and the group of intellectuals associated with him combined to fight against Stalinism while searching for a new theory of political action. This thesis discusses the abrupt termination of the ethical project that Sartre proposed to base on his original phenomenological examinations, and discusses his and Simone de Beauvoir's first attempts to construct an Existentialist ethic. Sartre changed from being an Existentialist to a Marxist to finally, late in life, abandoning Marxism in favour of a never well-defined philosophy. But in the Critique of Dialectical Reason, the last of his serious philosophical works, he responded to his ex-friends's critiques in the light of his study of Eastern European history, particularly, the Revolution in Hungary. (Abstract shortened by UMI.)

The thesis inquires into the theme of political judgement and aims to rethink it from the perspective of twentieth-century philosophies of existence. It seeks to take up the contemporary challenge of political judgement that remains inadequately addressed within recent theorizing: how, given the modern breakdown of metaphysical absolutes, to reinvigorate the human capacity for political judgement as a practical activity able to confront the ambiguous, plural and complex character of our postfoundational world. Against this background, the thesis aspires to reclaim the distinctly historical orientation of twentieth-century existentialism, in particular the work of Jean-Paul Sartre, Simone de Beauvoir, Albert Camus and Hannah Arendt. It draws on their aesthetic sensibility to resuscitate the human judging ability in its worldly ambiguity and point towards an account of political judgement capable of facing up to the challenges of our plural and uncertain political reality. Retrieving their vigilant assumption of the situated, worldly condition of human political existence and the attendant perplexity of judging politically, the aim of the thesis is to suggest how the existentialists' insights can be brought to bear on contemporary problematics of political judgement that seem to elude the grasp of abstract standards and predetermined yardsticks.