No contexto contemporâneo que busca a produção de novos conhecimentos a partir do passado, esta tese procura redimensionar as informações que se tem sobre a escritora mais popular do Brasil entre o final do século XIX e as duas primeiras décadas do século XX, Júlia Lopes de Almeida, contribuindo para enriquecer tanto a Literatura Brasileira quanto nosso patrimônio cultural. O trabalho seguiu duas linhas paralelas. Uma, historiográfica, na qual propus acrescentar informações relevantes sobre a vida da escritora carioca e sua trajetória na “República das Letras” brasileira. Isto incluiu apresentar aspectos particulares de sua escrita, temas e visão de mundo, considerados a partir de sua ótica feminina. Como resultado da pesquisa realizada no Brasil e em Portugal, pontuei os aspectos mais relevantes da recepção crítica de sua obra, no passado e no presente. Neste viés, apresentei material jornalístico e crítico em que ela e sua obra foram avalizadas no tempo em que viveu. Em relação ao presente, dei relevo à crítica acadêmica, integrada ao movimento de resgate das escritoras brasileiras do passado, apresentando de forma panorâmica as abordagens que estão sendo feitas e que demonstram a validade de sua produção para a cultura brasileira. Na segunda linha de trabalho, mais investigativa, busquei uma abordagem do texto romanesco selecionando três de seus romances para integrarem o corpus de análise: Memórias de Marta (1889), A Família Medeiros (1892) e Cruel Amor (1906). Com este propósito, rastreei indícios que pudessem revelar o posicionamento estético-ideológico de Júlia Lopes no qual se reflete a leitura que ela fez da sociedade de seu tempo e das questões mais importantes que estavam em pauta. Para isso, trabalhei com conceitos da narratologia dando destaque à categoria do narrador e a da VOZ. / In the contemporary context that searches new knowledgement looking back to the past, this thesis intends to (re)mesure the information about the most popular female writer betwen the two final decades of the XIX century and the two first of the XX: Júlia Lopes de Almeida. I intend to contribute to improve Brazilian Literature patrimoniun. My work goings on in two paralels lines. An historiographic one, in which I bring more information about the writer´s life and her trajectory in the “República das letras”. It includes to present some particulary aspects from her writing, themes, world vision, considered from a female otic. In this chapter, I brihg the information I collected as a result of two travels.One to Rio de Janeiro and the other to Portugal. In the other hand, I underline the academic critic with the brazilian female writers rescue movement. As a second line of investigation, I propose a textual aproching over three of her novels: Memórias de Marta, A Família Medeiros e Cruel Amor. I look for her aestetic and ideological statements in wich I can see her opinion about the most important questions that are presented in the society of her time. For that, I work with narratological conscepts and investigate the narrator category.

Interpretações com diferentes nuances têm sido oferecidas para a concepção de juízo enunciada na Crítica da Razão Pura, mas, grosso modo, pode-se classificálas sob duas linhas gerais, a interpretação analítica e a interpretação a partir de Port-Royal. Ambas as linhas interpretativas, entretanto, se identificam na tese de que no juízo são também subordinadas representações singulares. Esta concepção, designada de interpretação extensional do juízo, leva de modo geral a uma leitura pouco caridosa da obra. A finalidade deste texto é propor e esboçar a defesa de outro modo de conceber o juízo pautado pelas seguintes teses: i) intuições e conceitos não se relacionam no ou pelo juízo; ii) a relação extensional não é suficiente para a determinação de qual conceito é superior ou inferior (gênero ou espécie) e iii) a relação que estabelece a série intensional do conceito determina a hierarquia superior/inferior e por isto é a relação de maior relevância cognitiva. Fazendo frente à concepção extensional, a proposta aqui defendida é designada de interpretação intensional e demanda que a distinção entre intuições e conceitos seja levada às últimas consequências. A potência elucidativa e a conformidade com o texto desta abordagem do juízo mostram-se pela possibilidade de compatibilização das diferentes partes da Analítica transcendental, mesmo aquelas que a literatura secundária tende a descartar ou atribuir pouco significado. Na esteira da elaboração desta compatibilização, após a apresentação e defesa da concepção intensional do juízo, o texto trata em sequência da Dedução metafísica, da Dedução transcendental, do Esquematismo e dos Princípios, procurando ressaltar a interconexão e articulação destas partes, que é calcada na mediação da relação entre os produtos do entendimento e da sensibilidade pela imaginação. Assim, apesar de partir da concepção de juízo, o objetivo do texto é buscar uma leitura da obra magna de Kant que prioriza a consistência. A compatibilização da concepção de juízo com as partes mais relevantes da Analítica – principalmente para o que pesa para o problema da possibilidade de juízos sintéticos a priori – é uma conquista considerável, mas este estudo representa passos, que embora sejam fundamentais, são apenas iniciais na compreensão do idealismo transcendental. / Interpretations with different nuances have been offered for the conception of judgment set out in the Critique of Pure Reason, but, roughly speaking, one can classify them under two broad lines, named, analytic interpretation and interpretation from Port-Royal. However, both lines identify itself under the thesis that in judgments are also subordinate singular representations. This conception, designated here extensional interpretation of judgment, commonly leads to an uncharitable reading of the work. The objective of this text is to propose and outline the defense of another conception of judgment, guided by the following theses: i) intuitions and concepts do not relate in or by means of judgment, ii) the extensional relation is not sufficient to determine which concept is higher or lower (genus or species) and iii) the relation which establishes the intensional series of concept is that one which determines the higher/lower hierarchy and that is the relationship of more cognitive relevance. Contrasting to extensional conception, the proposal advocated here is named of intensional interpretation and demands to take the distinction between intuitions and concepts until its ultimate consequences. The explanatory power and accordance with text of this approach of judgment shows itself by reconciling different parts of the Transcendental Analytic, even those that secondary literature tends to dismiss or assign little significance. In the development of this compatibility, after the presentation and defense of intensional conception of judgment, the text addresses sequentially the Metaphysical Deduction, the Transcendental Deduction, the Schematism and the Principles, seeking to emphasize the linkage and interconnection of these parts, which is modeled on mediation of imagination in the relationship between the products of understanding and sensibility. Therefore, although starting from the conception of judgment, the purpose of the text is to seek a reading of Kant's greatest work that prioritizes consistency. Presenting the compatibility of conception of judgment with the most relevant parts of Analytic – mainly for the concern of the possibility of synthetic a priori judgments – is a considerable achievement, but this study represents steps that, although fundamentals, are just initials to the understanding of transcendental idealism.

Orientador: Maria Eugenia Boaventura / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-06T16:43:50Z (GMT). No. of bitstreams: 1 Ferreira_CarolinaDuarteDamasceno_M.pdf: 3533727 bytes, checksum: ffb9a9e29f58c560eda2c6f9d0ffa7c9 (MD5) Previous issue date: 2005 / Resumo: A presente pesquisa tem como finalidade estudar o papel desempenhado pela experiência ficcional no relato do narrador-protagonista de Angústia, de Graciliano Ramos. O intuito era mapear, nesse romance pouco estudado, possíveis motivos que levaram Luís da Silva a escrever seu relato, apesar de sua manifesta desconfiança diante da escrita. A partir da análise da modalidade narrativa, da relação entre o narrador e a matéria narrada e do tratamento dado ao tempo no romance, constatou-se que há uma indistinção no discurso do protagonista entre os elementos apresentados como reais e seus devaneios. A proximidade entre presente e passado, realidade e sonho, memória e imaginação, que perpassa a narrativa, faz com que a ficção ganhe, na vida de Luís da Silva, um lugar de destaque, uma vez que ela é capaz de recriar e até substituir sua experiência / Abstract: The purpose of this dissertation is to study the role that the fictional experience plays in the narrative made by the protagonist and narrator of Graciliano Ramos' Angústia. The goal was to map, in this barely studied novel, possible reasons that made Luís da Silva write bis narrative, in spite of his apparent mistrust regarding the writing experience. By analyzing the narrative format, the relation between the narrator and the narration subject and the treatment given to the course of time in the novel, it was found out that there is no distinction between the elements presented as real and as his daydreaming in the discourse of the protagonist. The proximity between present and past, reality and dream, memory and imagination that passes through the narrative gives the fiction a remarkable role in Luís da Silva' s life, since it is able to remake and even substitute his experience / Mestrado / Literatura Brasileira / Mestre em Teoria Literaria

Orientador: Alexandre Soares Carneiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-15T00:48:31Z (GMT). No. of bitstreams: 1 Cesarino_Michel_M.pdf: 982667 bytes, checksum: 68875905efd598fa317ae80bdac20754 (MD5) Previous issue date: 2009 / Resumo: Este trabalho é um estudo sobre algumas das temáticas de La Religieuse (A Religiosa), de Diderot, baseado numa abordagem pictórica. Conceitos como o de anamorfose e o de naïveté na pintura, presentes na arte do século XVIII são usados nessa abordagem. A trajetória de Suzanne Simonin, protagonista do romance, expõe histeria, homossexualidade, melacolia e loucura através de três conventos, como conseqüências do corpo submetido a bloqueios em suas tendências naturais; parte disto é aqui desenvolvido. Além disso, abordo a questão do pathétique e da ilusão naquele romance, utilizados para cativar e comover o leitor como se ele estivesse num espetáculo teatral. / Abstract: This work is about La Religieuse (The Nun) of Diderot, based on a pictoral approach. Concepts like anamorphose and that of naïveté, both of them presents in the art the 18th century were used in such approach. The course of Suzanne Simonin, protagonist of the novel, exposes hysteria, homosexuality, melancholy and madness through tree convents as consequences of the submited body to obstructions in its natural tendencies; part of this is developed here. Besides that, I make an approach to the subject of pathétique and illusion in that novel, both used to captivate and move the reader as if he was at a theatrical spectacle. / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Made available in DSpace on 2016-03-15T19:34:45Z (GMT). No. of bitstreams: 1 Marcelo Gomes Franco Grillo.pdf: 466176 bytes, checksum: 4d5836ceec2d439d4dd792128bf73752 (MD5) Previous issue date: 2009-08-05 / Universidade Presbiteriana Mackenzie / The present search has as object the right in the slovenian philosopher Slajov i ek´s work. The philosophy of the right is looked for in that author, considering its proximity as the legal marxism and with the critical philosophies. Therefore will be possible two verifications of the right in Zizek: one related to the legal Marxism and other, without being it, but still yes, in general, critical. For the first slope, the Marxist, there is the possibility of a subdivision. i ek has two apprehensions of the legal Marxism. One is more literal to Marx's work, in the comparison with the legal Marxism of Pachukanis, and other, without being similar to the first one, composed by a Marxist critical reading of the democracy, of the capitalism, of the citizenship and of the themes of the minorities and of the environment, as well as a theorise of the psychoanalysis, as it was already done before by the authors of the school of Frankfurt, however being used of Lacan and not of Freud. Specifically for the subjects of the democracy and of the i ek´s citizenship, sometimes, implicitly enters into contradiction with the vision most radical of pachukanis. In order to reinterpret the Marxist theory, the Slovenian author proceeds an analysis of the contemporary society, based in their current problems and with examples of the politics. There is still the possibility of an approach of the theory of pachukanis´s right with the social psychoanalysis starting from the Slovenian author's writings, basing on the previous propositions of Lacan. Regarding to the second slope, the critic Non Marxist, to clarify it, has the development by the author of Lubliana of the themes of the human rights, of the citizenship (the critic of the neoliberalism) and of the possible historical readings of the legal positivism and of the philosophy of right´s Hegel, as well as of the critic of the right being used of a critical assimilation of the "philosophy of right of the exception", of Carl Schmitt, among others, what approximates i ek of the philosophy of the power. On the other hand, the acceptable approach of the exception as the rupture bearing for the revolution will place i ek as an author Post-Marxist. / A presente pesquisa tem como objeto o direito na obra do filósofo esloveno Slavoj i ek. Busca-se a filosofia do direito nesse autor, considerando a sua proximidade como o marxismo jurídico e com as filosofias críticas. Por isso, serão possíveis duas constatações do direito em i ek: uma, relacionada ao marxismo jurídico e outra, sem o sê-lo, mas ainda assim, de um modo geral, crítica. Para a primeira vertente, a marxista, há a possibilidade de uma subdivisão. i ek tem duas apreensões do marxismo jurídico. Uma mais literal à obra de Marx, na comparação com o marxismo jurídico de Pachukanis, e outra, sem ser similar à pachukaniana, composta por uma leitura crítica marxista da democracia, do capitalismo, da cidadania e dos temas das minorias e do meio ambiente, assim como uma teorização da psicanálise, conforme já foi feita antes pelos autores da Escola de Frankfurt, porém utilizando-se de Lacan e não de Freud. Especificamente para as questões da democracia e da cidadania i ek, por vezes, implicitamente entra em uma contradição com a visão mais radical pachukaniana. A fim de reinterpretar a teoria marxista, o autor esloveno procede a uma análise da sociedade contemporânea, com base em seus problemas atuais e com exemplos da política. Há ainda a possibilidade de uma aproximação da teoria do direito pachukaniana com a psicanálise social a partir dos escritos do autor esloveno, baseando-se nas teses anteriores de Lacan. Referente à segunda vertente, a crítica não-marxista, a esclarecê-la, tem-se o desenvolvimento pelo autor de Lubliana das temáticas dos direitos humanos, da cidadania (a crítica ao neoliberalismo) e das possíveis leituras históricas do positivismo jurídico e da filosofia do direito de Hegel, bem como da crítica do direito utilizando-se de uma assimilação crítica da filosofia do direito da exceção , de Carl Schmitt, dentre outros, o que aproxima i ek da filosofia do poder. Por outro lado, a admissível abordagem da exceção como a ruptura rumo à revolução situará i ek como um autor pós-marxista.

Le point de départ de ce travail réside d’une part dans la découverte d’une différence considérable de nature entre le héros du Cid et les protagonistes du théâtre contemporain ; et d’autre part sur l’intuition que l’analyse littéraire utilise presque exclusivement Rodrigue comme personnage représentatif du premier XVIIe siècle. Notre première démarche a été de chercher à confirmer ces impressions en démontrant le statut particulier de ce personnage. Nous avons étudié la réception du Cid et de son héros au fil des siècles dans cette optique, jugeant que les réactions des spectateurs, des lecteurs et des critiques construisaient progressivement notre image actuelle de Rodrigue. Nous avons cherché à voir comment depuis janvier 1637 jusqu’au début du XXIe siècle la pièce et son héros ont été accueillis. Nous avons ainsi établi la longévité du texte, ainsi que les exceptionnelles réactions d’engouement qu’il a pu rencontrer. Cela nous a permis d’établir la mythification de la pièce et de dégager sa portée universelle. Ces premières conclusions nous ont invité à rechercher les causes d’un tel succès. C’est à nouveau l’étude de la réception qui nous a permis de découvrir que cette unanimité tenait essentiellement au personnage de Rodrigue. C’est lui qui semble d’abord retenir l’intérêt des lecteurs et des spectateurs. Nous avons donc cherché dans une deuxième partie à comprendre ce qui fascinait tant en Rodrigue. Pour cette raison, nous l’avons confronté à l’idée de héros. La coïncidence saisissante que les réactions publiques révèlent entre ce personnage archétypal et le protagoniste du Cid nous a permis d’aboutir à un premier stade de compréhension : la pièce est accueillie avec enthousiasme au XVIIe siècle parce que son personnage principal actualise l’idéal humain tel que l’époque se le représente. Cependant, l’engouement des siècles suivants repose sur le même motif : c’est parce que Rodrigue incarne le héros du XVIIe siècle que le spectateur du siècle des Lumières, du Romantisme, de la Troisième République ou de l’entre-deux-guerres l’apprécie. Le protagoniste du Cid apparaît comme un héros révéré mais regretté car appartenant à une époque révolue. Au sein de l’œuvre de Corneille, il est également envisagé comme un paradigme héroïque et incarne le modèle dont tous les personnages masculins du théâtre cornélien ne seraient que la déclinaison. Il est l’élément fondateur du mythe du « héros cornélien ». Cependant, l’unanimité de réception face à Rodrigue pose question : Le Cid a-t-il réellement eu une place à part sur le théâtre du premier XVIIe siècle ? À l’ouverture de notre troisième partie, une brève étude de ce théâtre permet de révéler l’écart entre l’image de Rodrigue façonnée par la réception et la réalité dramaturgique des années 1630-1650. La tragi-comédie de Corneille n’est pas la seule pièce à connaître le succès et son héros n’est pas l’unique incarnation sur scène de l’homme tel qu’on se le représente alors. De nombreux autres dramaturges connaissent de réelles réussites. Toutefois, la réception critique les oublie. L’histoire littéraire semble ne vouloir retenir que Corneille pour la postérité. Elle impose Le Cid comme pièce modèle ; mais, se faisant, elle fausse l’appréciation que nous nous faisons du théâtre et des mentalités du XVIIe siècle. Nombre de théories critiques se sont en effet élaborées sur l’idée d’un premier XVIIe siècle glorieux à l’image de Rodrigue et d’une seconde moitié de siècle déclinante et sombre. C’est le cas de Paul Bénichou et de sa « démolition du héros ». Mais peut-on en garantir la véracité si elles reposent pour affirmer la grandeur des premières décennies du siècle sur le seul exemple de Rodrigue ? Une relecture de la littérature de cette période permet pour finir de revenir sur des conceptions altérées notamment par l’éclat du succès incomparable du Cid et d’envisager le premier XVIIe siècle sous une autre lumière. / The basis of this work lies primarily in the discovery of a huge nature difference between the hero in “Le Cid”, and the far less glorious contemporary drama protagonists. On the other hand, it is based upon the intuition that most literary analysis almost exclusively use Rodrigue as the character of the first decades of the17th century.The first step of our work was therefore to try to confirm these impressions by conveying the very special status of this character. We have studied the treatment of “Le Cid” and its hero throughout the centuries with this goal in mind, assessing that the way audiences, readers and critics reacted to the play steadily built our perception of Rodrigue. We have tried to understand how the play and its hero were welcomed from January 1637 to the outcome of the 21st century. We have thus established the longevity of the text as well as the outstanding praise reactions it met with. This enabled us to substantiate the mythification of the play and bring into light its universal scope.From these first conclusions, we then tried to find out the reasons why the success of the play has never been denied. Here again it is the study of the critic treatment that quickly showed us that the unanimous public feeling was essentially due to Rodrigue as a character. For it is he mainly who seems to captivate the audience and the readers’interest. In the second part, we therefore tried to understand why Rodrigue is so mesmerising. With this purpose in mind, we confronted our character to the very hero notion. The stiking coincidence that public reactions convey between this archetypal character and “Le Cid” protagonist brought us to a first conclusion: the play is enthusiastically welcomed in the 17th century because the main character updates the human ideal as it was viewed at the time. Yet, the passion that the play generated in later periods is based on the same principle: it is because Rodrigue embodies the 17th century hero that the public from the age of enlightenment, from the great romantic era, from the French 3rd Republic or the interwar period do feel fond of him. “Le Cid” protagonist appears both as a revered and missed hero because he belongs to days gone by, a past example of the ideal man. In Corneille’s entire works, he is also regarded as a heroic paradygm and is viewed as the Cornelian male reference from which other male characters are derived in the works of the playwright. He is the very source of “the Cornelian hero” myth.However, Rodrigue’s unanimous critic treatment brings forward another issue: does “Le Cid” really stand apart in the early 17th century drama? At the outset of our third part, a brief survey of the period drama reveals the gap between Rodrigue’s image as it was made by the critic treatment and the dramatic reality of the 1630-1650 era. Corneille’s tragicomedy is not the only successful play and its hero is not the only stage embodiment of the male figure as it was then represented. Several other playwrights were successful too. Yet, the critic treatment does not take them into account. It seems as if Corneille is the only author to be remembered in the history of literature. Thus, “Le Cid” is the play reference. But it alters our vision of the 17th century drama and mentalities.In fact, scores of critic theories were based on the idea of a glorious early 17th century (impersonated by Rodrigue) as opposed to a gloomier and declining period at the end of the century. But can one guarantee their truthfulness if they are only based on the character of Rodrigue to assert the grandeur of the early 17th century decades?To conclude, a precise and detailed reading of the period literature allows one to study many misinterpretations, particularly because of “Le Cid” unmatched success, and to consider the early 17th century with a brand new perspective.

Denna rapport beskriver ett examensarbete som gått ut på att skapa en ny hemsida till den tryckta tidningen Maskinentreprenören. Projektet resulterade i detaljerade skisser för en webbtidning anpassad för desktop, surfplattor och mobiler. Teoretiska ingångar till projektet är begreppen användbarhet, användarupplevelse, designprinciper, teorier om flerkanalspublicering samt normkritisk design. Stor vikt har lagts på en process enligt modellen Design Thinking, där metoder som enkät, intervju, användartest och personas använts för att skapa förståelse för användarna och tjänsten som skall utformas. Dessa metoder har även kopplats till en normkreativ praktik. Syftet med detta har varit att förstå de nuvarande användarna, men även förstå de potentiella användare som tidigare eventuellt uteslutits. / This report describes a practical exam work on creating a new website for the printed magazine Maskinentreprenören. The project resulted in detailed sketches for an online magazine designed for desktop, tablet and mobile. Theoretical frame work in the project are the concepts of usability, User Experience, design principles, theories of multi-channel publishing and norm critical design. A Design Thinking process has been applied during the project, where methods such as survey, interview, user test and personas were used to create an understanding of the users and the service to be developed. These methods have also been linked to a ”norm creative” practice. The purpose of this has been to understand the current users, but also understand the potential users that previously might have been excluded.

Electrical Power System is one of the most complex real time operating systems. It is probably one of the best examples of a large interconnected nonlinear system of varying nature. The system needs to be operated and controlled with component or system problems, often with combinatorial complexity. In addition, time scales of operation and control can vary from milliseconds to minutes to hours. It is difficult to maintain such a system at constant operating condition due to both small and large disturbances such as sudden change in loads, change in network configuration, fluctuations in turbine output, and various types of faults etc. The system is therefore affected by a variety of instability problems. Among all these instability problems one of the important modes of instability is related to dynamic instability or more precisely the small perturbation oscillatory instability. Oscillations of small magnitude and low frequency (in the range of 0.1Hz to 2.5Hz) could persist for long periods, limiting the power transfer capability of the transmission lines. Power System Stabilizers (PSS) were developed as auxiliary controllers on the excitation system to improve the system damping performance by modulating the generator excitation voltage. However, the synthesis of an effective PSS for all operating conditions still remains a difficult and challenging task. The design and tuning of PSS for robust operation is a laborious process. The existing PSS design techniques require considerable expertise, the complete system information and extensive eigenvalue calculations which increases the computational burden as the system size increases. Conventional automatic voltage regulator (AVR) and PSS designs are based on linearized models of power systems which fail to stabilize the system over a wide range of operating conditions. In the last decade or so, a variety of nonlinear control techniques have become available. In this thesis, an attempt is made to explore the suitability of some of these design techniques for designing excitation controllers to enhance small perturbation stability of power systems over a wide range of operating and system conditions. This thesis first proposes a method of designing power system stabilizers based on local measurements alone, in multi-machine systems. Next, a method has been developed to analyze and quantify the small signal performance benefits of replacing the existing AVR+PSS structure with nonlinear voltage regulators. A number of new nonlinear controller designs have been proposed subsequently. These include, (a) a new decentralized nonlinear voltage regulator for multi machine power systems with a single tunable parameter that can achieve effective trade of between both the voltage regulation and small signal objectives, (b) a decentralized Interconnection and Damping Assignment Passivity Based Controller in addition to a proportional controller that can achieve all the requirements of an excitation system and (c) a Nonlinear Quadratic Regulator PSS using Single Network Adaptive Critic architecture in the frame work of approximate dynamic programming. Performance of all the proposed controllers has been analyzed using a number of multi machine test systems over a range of operating conditions.

En partant de l’une des périodes les plus riches dans l’histoire de l’Islam en termes de créativité et de production poétiques, notre projet vise à mettre au jour les formes qu’a revêtues le rapport entre le poète et le Prince. Pour élucider ce rapport aussi complexe que protéiforme, nous ferons appel à un corpus riche et varié, et on tentera alors d’examiner la question de l’éloge et du blâme à travers trois prismes : la rhétorique, l’éthique et la politique. Le discours encomiastique mobilise la rhétorique afin d’emporter l’adhésion d’un auditoire sur une matière qui n’est pas encore établie. Mais l’effort déployé par l’orateur afin de convaincre l’auditoire ne peut se passer de la toile de fond éthique et du système commun de valeurs dont il procède pour arriver à la persuasion. Quant à la dimension politique, elle se reflète dans la fonction du poète comme « arme verbale » au service du Prince et instrument de légitimation de sa position politique contre ses adversaires réels ou potentiels. Par-delà la fonction de panégyriste officiel, la performativité du discours politique s’étend également à la parole, d’éducation, de réforme voire de critique ouverte qui pourrait évoquer la parrêsia antique. Grâce à un fonds sapiential, la poésie apporte sa contribution au processus de formation de l’homme politique et lui offre un excellent manuel de gouvernement. Quant à la veine contestataire, l’invective, la caricature et la mobilisation de la parole polémique constituent ses principaux ressorts. La veine contestataire traverse le regard que le poète jette sur l’univers de la cour, la politique du Prince ou le rapport entre gouvernants/gouvernés. Qu’il s’agisse de nominations, de projets politiques ou de l’ethos même de l’homme du pouvoir, le poète est toujours présent pour donner son avis. L’injustice d’une décision prise par un juge, le népotisme d’un gouverneur ou la dureté d’un général sont autant d’aspects qui témoignent de la vivacité de la critique du pouvoir par le poète, et du rôle que ce dernier endosse en tant que moralisateur de cette sphère. Le conseil se présente alors comme le moyen de rectifier les décisions ou les orientations générales du Prince et témoigne de l’existence d’une véritable rationalité poétique. Aussi, la rhétorique de l’éloge et du blâme témoigne-elle de l’existence d’une rationalité poétique qui arrive à maturité à l’époque abbasside et parvient à un degré d’efficience oratoire sans précédent en raison d’une conscience accrue du poète de la nécessité de s’impliquer dans la vie politique et de peser sur le cours de l’Histoire. / Based on one of the richest periods in the history of Islam in terms of poetic creativity and production, our project seeks to revise the forms that characterized the relationship between the poet and the prince. To elucidate this relationship as complex as it is protean, we will call on a rich and varied corpus, and then examine the question of praise and blame through three prisms: rhetoric, ethics and politics. The encomiastic discourse uses rhetoric to gain an audience’s support for a matter that is not yet established. But the effort required by the orator to convince the audience necessitates the ethical backdrop and common system of values, from which he proceeds to persuade. As for the political dimension, it is reflected in the poet’s function as the “verbal arm” serving the prince and as an instrument legitimizing his political position against real or potential opponents. Beyond the function of official panegyrist, the performativity of political discourse also extends to speech, education, reform, even open criticism that could evoke the antique parrêsia. By virtue of its sapiential substance, poetry contributes to the process forming the politician and offers him an excellent manual to government. As for the dissenting vein, invective, caricature and the mobilization of polemical speech constitute his main resources. The dissenting vein passes through the poet’s gaze on the universe of the court, the prince’s politics and the relationship between governor/governed. Whether it involves nominations, political projects or the very ethos of the man of power, the poet is always present to give his opinion. The injustice of a decision made by a judge, the nepotism of a governor or the harshness of a general are all aspects that demonstrate the poet’s vivacious criticism of power, and the role that the latter assumes as the moralizer of this sphere. The counsel is then presented as a means to rectify the prince’s general decisions or orientations and attests to the existence of a veritable poetic rationality. Furthermore, the rhetoric of praise and blame indicates the existence of a poetic rationality that reached maturity in the Abbasid period and attained an unprecedented degree of oratory efficiency, due to the poet’s growing consciousness of the necessity to be involved in political life and to influence the course of history.

L’image de l’homme de théâtre Jean Vilar reste aujourd’hui bien réductrice. Elle peut se résumer en deux mots : Avignon, TNP. L’étude vise à effacer cette caricature, tente de retrouver le parcours de Vilar dans sa totalité : se soustraire à la légende et recouvrer l’histoire. Formation, influences, hésitations, impasses, difficultés tout au long de son chemin avant de rencontrer le théâtre. Autrement dit, dévoiler un itinéraire d’homme et non pas une icône. Itinéraire également, celui du praticien et de la réflexion née du travail en vingt-cinq ans de carrière. Au sein des trois composantes qui constituent à ses yeux l’essentiel de son art – répertoire, réalisation, public – Vilar fait-il montre d’une pensée univoque ou au contraire laisse-t-il entrevoir des ruptures, voire des contradictions ? Conduite à partir de ses textes – écrits et oraux – publiés ou inédits, l’étude dessine un Vilar bien plus complexe que l’image qui en reste ne le laisse soupçonner. Parfois malaisé à saisir, bâti de doutes et de certitudes, de mal être et d’assurance, de timidité et d’orgueil, d’échecs et de réussites, tel est l’homme qui a marqué d’un sceau indélébile le théâtre du milieu du vingtième siècle. / The image of the man of the theatre Jean VILAR remains quite reductive today. It can besummed up in two words: Avignon, TNP. The study aims erasing this caricature, it tries to recover VILAR’s course in full: getting out of the legend and back to history. Training, influences, hesitations, deadlocks, difficulties all along his way before he met the theatre. In other words, revealing the itinerary of a man and not a mere icon. An itinerary as well, that of the practitioner and of the thought that grew out of a twenty five years’ career in theatrical work. Within the three components he considers as the very main points of his art – repertoire, creation, audience – does VILAR display a univocal thought or on the contrary does he let one have an inkling of breakings or even of contradictions? Led from his texts – both written and oral – published or unpublished, the study shows a VILAR who is much more complex than the image that remains of him allows one to suspect. Sometimes rather difficult to grasp, built up on doubts and certitudes, ill-being and self-assurance, shyness and pride, failures and successes, such is the man who left an indelible mark on the theatre of the middle of the twentieth century.