A proposta desta dissertação incide sobre a discussão das possibilidades e potencialidades do ensino de Filosofia na etapa do ensino médio abordado sob a perspectiva de suas conexões com o ideal de formação. Uma vez que a pesquisa seguiu o caminho de relacionar a formação com a metanarrativa emancipadora do Iluminismo, foi importante examinar até onde persiste a força desse ideal, que passa a não ter a mesma resguarda de legitimação de outrora. Esta forma de encaminhar o debate está baseada na discussão sobre a pós-modernidade proposta por Jean-François Lyotard. Partindo destas considerações, a pesquisa buscou examinar textos que abordam a relação do ensino de filosofia com o ideal de formação na situação contemporânea recorrendo a autores como Celso Favaretto, Silvio Gallo, Walter Omar Kohan e Franklin Leopoldo e Silva. Após examinar o que se entende por ideal de formação assim como a forma que ela pode ser associada a uma metanarrativa emancipadora e também suas conexões com o ensino de filosofia, a pesquisa discute aspectos chaves da filosofia de Lyotard para pensar a educação e também voltar a refletir sobre quais maneiras o ensino de filosofia pode tomar forma no cenário atual. / The purpose of this dissertation is to focus on the discussion of the possibilities and potentialities of the teaching of Philosophy - in high school level - approached from the perspective of its connections to the formation ideal. Once the search has taken the path of relating formation with the emancipatory metanarrative of the Enlightenment, it was important to examine how far the strength of this ideal remains, which does not have much of the same legitimacy protection as before. This way of routing the debate concerns the discussion of postmodernity proposed by Jean-François Lyotard. Based on these considerations, the research sought to examine texts that approach the teaching of philosophy related to the formation ideal in the contemporary situation counting on authors such as Celso Favaretto, Silvio Gallo, Walter Omar Kohan and Franklin Leopoldo e Silva. After examining what is meant by formation ideal - as well as how it can be associated with an emancipatory metanarrative - and its connections with the teaching of philosophy, the research discusses key aspects of Lyotard\'s philosophy to reflect on education and also to re-think about what ways the teaching of philosophy may take shape in the current scenario.

François Cheng se situe au premier rang des auteurs venus de Chine qui enrichissent la littérature francophone. De l’écorché vif sans parole à l’académicien respecté, François Cheng a non seulement adopté définitivement son pays d’accueil, mais il en a aussi épousé la langue. Par son œuvre de traducteur, d’essayiste, de critique, de romancier et de poète, il a tissé un dialogue entre les deux cultures lointaines. L’objectif de notre étude est d’analyser la symbiose vivante de la culture occidentale et de la culture chinoise dans la poésie de François Cheng, infatigable pèlerin de l’Occident. Notre étude, fondée sur un corpus constitué principalement de ses recueils de poésie, aborde son écriture sous l’axe linguistique, littéraire et culturel. Par le truchement de cette analyse qui dévoile les caractéristiques récurrentes de sa création poétique, c’est la Voie de François Cheng que nous cherchons à éclairer. / Among the Chinese authors whose contribution enriches the French literature, François Cheng represents a key figure. From a timid sensitive to a respected academician, François Cheng has not only definitely adopted his host country, but also married its language. Through his work as a translator, essayist, critic, novelist and poet, he has woven a dialogue between the two distant cultures.The aim of our study is to analyze the vigorous symbiosis of Western culture and Chinese culture in the poetry of François Cheng, a tireless pilgrim from the Est. Our corpus, consisting mainly of his poetry, leads to a study on his writing under linguistic, literary and cultural axis. Through this analysis that reveals the recurring characteristics of his poetic creation, we seek to enlighten the Tao of François Cheng.

A proposta desta dissertação incide sobre a discussão das possibilidades e potencialidades do ensino de Filosofia na etapa do ensino médio abordado sob a perspectiva de suas conexões com o ideal de formação. Uma vez que a pesquisa seguiu o caminho de relacionar a formação com a metanarrativa emancipadora do Iluminismo, foi importante examinar até onde persiste a força desse ideal, que passa a não ter a mesma resguarda de legitimação de outrora. Esta forma de encaminhar o debate está baseada na discussão sobre a pós-modernidade proposta por Jean-François Lyotard. Partindo destas considerações, a pesquisa buscou examinar textos que abordam a relação do ensino de filosofia com o ideal de formação na situação contemporânea recorrendo a autores como Celso Favaretto, Silvio Gallo, Walter Omar Kohan e Franklin Leopoldo e Silva. Após examinar o que se entende por ideal de formação assim como a forma que ela pode ser associada a uma metanarrativa emancipadora e também suas conexões com o ensino de filosofia, a pesquisa discute aspectos chaves da filosofia de Lyotard para pensar a educação e também voltar a refletir sobre quais maneiras o ensino de filosofia pode tomar forma no cenário atual. / The purpose of this dissertation is to focus on the discussion of the possibilities and potentialities of the teaching of Philosophy - in high school level - approached from the perspective of its connections to the formation ideal. Once the search has taken the path of relating formation with the emancipatory metanarrative of the Enlightenment, it was important to examine how far the strength of this ideal remains, which does not have much of the same legitimacy protection as before. This way of routing the debate concerns the discussion of postmodernity proposed by Jean-François Lyotard. Based on these considerations, the research sought to examine texts that approach the teaching of philosophy related to the formation ideal in the contemporary situation counting on authors such as Celso Favaretto, Silvio Gallo, Walter Omar Kohan and Franklin Leopoldo e Silva. After examining what is meant by formation ideal - as well as how it can be associated with an emancipatory metanarrative - and its connections with the teaching of philosophy, the research discusses key aspects of Lyotard\'s philosophy to reflect on education and also to re-think about what ways the teaching of philosophy may take shape in the current scenario.

A dissertação procura compreender o fenômeno da financeirização no âmbito do capitalismo contemporâneo. Uma série de transformações iniciadas nos anos 1970 assinalou o declínio do regime de acumulação fordista e a provável emergência de uma nova fase do capitalismo. Sua característica fundamental consiste em um movimento de financeirização, decorrente em parte de mudanças desenvolvidas na esfera financeira. Seus traços mais destacados são o aumento exponencial das transações, tanto em termos absolutos como em relação às atividades produtivas; a liberalização e desregulamentação de mercados e das atividades financeiras em todo o mundo; o surgimento de novos agentes e instituições ligados às finanças. Processo este que desembocou no aumento da importância do capital financeiro nos circuitos de valorização. O caráter recente deste fenômeno ainda não permitiu que fossem estabelecidos consensos teóricos sobre a questão. Por conta disso, a dissertação debruça-se sobre as obras de dois pensadores marxistas, François Chesnais e David Harvey, buscando estabelecer semelhanças, diferenças e, sobretudo, as complementaridades de suas contribuições. A escolha de Chesnais se impõe pelo papel destacado que o assunto ocupa em sua obra. Harvey, por sua vez, concede primazia à discussão das relações das finanças com os demais aspectos que caracterizam o capitalismo na atualidade. / The dissertation seeks to understand the phenomenon of \"financialization\" under contemporary capitalism. A series of transformations started in the 1970s which began out the decline of the \"Fordist\" regime of accumulation and the possible emergence of a new phase of capitalism. Its key feature is a movement of \"financialization\", which results in part from changes in the financial sphere. Its distinctive aspects are the exponential increase in transactions, both in absolute terms and in comparison to productive activities; liberalization and deregulation of financial markets and activities around the world; the emergence of new actors and institutions related to finance. This process led to an increased importance of financial capital in the circuits of valorization. This new moment has not yet allowed to establish a theoretical consensus on the issue. For this reason, the dissertation focuses on the works of two Marxist thinkers, François Chesnais and David Harvey, seeking to establish similarities, differences and, above all, complementarities of their contributions. Choosing Chesnais is imposed due to the prominent role the subject occupies in his work. Harvey, in turn, prioritizes the discussion of relations between finance and other aspects of capitalism today.

A dissertação procura compreender o fenômeno da financeirização no âmbito do capitalismo contemporâneo. Uma série de transformações iniciadas nos anos 1970 assinalou o declínio do regime de acumulação fordista e a provável emergência de uma nova fase do capitalismo. Sua característica fundamental consiste em um movimento de financeirização, decorrente em parte de mudanças desenvolvidas na esfera financeira. Seus traços mais destacados são o aumento exponencial das transações, tanto em termos absolutos como em relação às atividades produtivas; a liberalização e desregulamentação de mercados e das atividades financeiras em todo o mundo; o surgimento de novos agentes e instituições ligados às finanças. Processo este que desembocou no aumento da importância do capital financeiro nos circuitos de valorização. O caráter recente deste fenômeno ainda não permitiu que fossem estabelecidos consensos teóricos sobre a questão. Por conta disso, a dissertação debruça-se sobre as obras de dois pensadores marxistas, François Chesnais e David Harvey, buscando estabelecer semelhanças, diferenças e, sobretudo, as complementaridades de suas contribuições. A escolha de Chesnais se impõe pelo papel destacado que o assunto ocupa em sua obra. Harvey, por sua vez, concede primazia à discussão das relações das finanças com os demais aspectos que caracterizam o capitalismo na atualidade. / The dissertation seeks to understand the phenomenon of \"financialization\" under contemporary capitalism. A series of transformations started in the 1970s which began out the decline of the \"Fordist\" regime of accumulation and the possible emergence of a new phase of capitalism. Its key feature is a movement of \"financialization\", which results in part from changes in the financial sphere. Its distinctive aspects are the exponential increase in transactions, both in absolute terms and in comparison to productive activities; liberalization and deregulation of financial markets and activities around the world; the emergence of new actors and institutions related to finance. This process led to an increased importance of financial capital in the circuits of valorization. This new moment has not yet allowed to establish a theoretical consensus on the issue. For this reason, the dissertation focuses on the works of two Marxist thinkers, François Chesnais and David Harvey, seeking to establish similarities, differences and, above all, complementarities of their contributions. Choosing Chesnais is imposed due to the prominent role the subject occupies in his work. Harvey, in turn, prioritizes the discussion of relations between finance and other aspects of capitalism today.

Made available in DSpace on 2014-06-11T19:26:52Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-07-27Bitstream added on 2014-06-13T19:14:14Z : No. of bitstreams: 1 souza_mm_me_assis_parcial.pdf: 145179 bytes, checksum: aeda05d72b2033760fd74650a2d90e69 (MD5) Bitstreams deleted on 2015-06-03T11:42:45Z: souza_mm_me_assis_parcial.pdf,. Added 1 bitstream(s) on 2015-06-03T11:44:11Z : No. of bitstreams: 1 000701553_20150817.pdf: 125570 bytes, checksum: dc1e0bc88134a63c1574e5a336be7553 (MD5) Bitstreams deleted on 2015-08-17T11:07:10Z: 000701553_20150817.pdf,. Added 1 bitstream(s) on 2015-08-17T11:07:54Z : No. of bitstreams: 1 000701553.pdf: 1207267 bytes, checksum: e331a1b195a8fb2d0bf002f3b8efe312 (MD5) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / L’oeuvre de François Rabelais est caractérisée, surtout, par sa pluralité stylistique, linguistique et générique, qui la rend si moderne et singulière par rapport aux standars littéraires du XVIeme siècle. Son hétérogénéité vient, en grande partie, des multiples voix présentes dans son discours ; en d’autres termes, de son aspect polyphonique et intertextuel. Autre particularité de l’oeuvre rabelaisienne est sa façon particulière de “dire, par le rire, la verité”. Le comique et les joyeuses plaisanteries qui marquent ses écrits ne sont, en fait, que des “masques” qui cachent les critiques et les idéologies de l’auteur. À ce sujet, nous avertit le narrateur Alcofrybas Nasier dejà dans son prologue, quand il nous conseille de ne pas nous satisfaire avec l’apparence extérieure banale de son oeuvre, mais de chercher sa substantifique moëlle, c’est-à-dire, les sujets importants concernant tant la vie sociale, comme la religion et la vie économique. Ansi, c’est aussi à travers les plaisanteries et le comique que Rabelais établit-il des critiques à la religion prédominante à l’époque - le Christianisme – et transmet ses propres idées religieuses. A travers l’ appropriation burlesque des extraits des Écritures Sacrées, l’ écrivain met en question, d’un côté, les pratiques et les dogmes de l’Église et, de l’autre, proclame ses propres idéologies, lesquelles s’ approchent des pensées réformistes et évangélistes en vogue dans ce siècle-là. Par ce travail, on a l’intention d’analyser les intertextes (citations et allusions) des Écritures Sacrées présentes dans Gargantua, en vue de ses fonctions (satirique, parodique ou recherche de l’autorité), afin de comprendre comment est décrite la pensée religieuse dans l’oeuvre étudiée / A obra de François Rabelais caracteriza-se, sobretudo, por sua pluralidade estilística, linguística e genérica, que a torna tão moderna e singular para os padrões literários do século XVI. Sua heterogeneidade advém, em grande parte, das múltiplas vozes presentes em seu discurso, em outras palavras, de seu aspecto polifônico e intertextual. Outra peculiaridade da obra rabelaisiana é o seu jeito especial de “dizer, rindo, a verdade”. A comicidade e as alegres brincadeiras que caracterizam seus escritos são, na verdade, apenas “máscaras” que encobrem as críticas e as ideologias do autor. Sobre isto, já nos adverte o narrador Alcofrybas Nasier em seu prólogo, quando nos aconselha a não nos contentarmos com a aparência exterior banal de sua obra, mas procurar o seu substantifico tutano, ou seja, os assuntos importantes referentes tanto à vida social, quanto à religião e à vida econômica. Assim, é também por meio da brincadeira e da comicidade que Rabelais estabelece críticas à religião predominante em sua época - o Cristianismo – e transmite seus próprios ideais religiosos. Através da apropriação burlesca de trechos das Sagradas Escrituras, o escritor questiona, por um lado, as práticas e dogmas da Igreja e, por outro, apregoa suas próprias ideologias, as quais se assemelham aos pensamentos reformistas e evangelistas em voga neste século. Por meio deste trabalho, pretendemos analisar os intertextos (citações e alusões) das Sagradas Escrituras presentes em Gargantua, considerando suas funções (satírica, paródica ou busca de autoridade), com a finalidade de entender como se delineia o pensamento religioso na obra em questão

Dissertação (mestrado)—Universidade de Brasília, Instituto de Artes, Departamento de Música, Programa de Pós-Graduação Música em Contexto, 2017. / Submitted by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-23T17:57:12Z No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-08-27T22:28:26Z (GMT) No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) / Made available in DSpace on 2018-08-27T22:28:26Z (GMT). No. of bitstreams: 1 2017_DianaDaherLopesdaCosta.pdf: 12193532 bytes, checksum: 6a743bb32992115e3c51518f0ea36ce9 (MD5) Previous issue date: 2018-08-23 / O presente trabalho apresenta investigações sobre a ocorrência de texturas polifônicas na Sonata op. 35 n. 2 de Fryderyk Chopin, bem como estratégias de estudo que possam auxiliar na interpretação expressiva de tais texturas. Assim, esta dissertação estrutura-se em duas partes: a primeira apresenta diversas acepções sobre polifonia e, em seguida, aborda a forma em que a textura polifônica se encontra especificamente na obra de Chopin, à luz daquele contexto histórico e das diversas influências exercidas sobre o compositor. A segunda parte é composta pelos denominados “trechos polifônicos”, que são excertos escolhidos da Sonata op. 35, analisados e acompanhados de sugestões de estudos que visam o aprimoramento da execução polifônica. A pesquisa foi feita a partir da experiência de preparação para a performance da sonata e contempla a análise formal e interpretativa da obra, bem como a contextualização histórica da vida e obra de Chopin. Também são abordadas na pesquisa investigações musicológicas as quais vêm sendo feitas no sentido de elucidar aspectos polifônicos presentes ao longo de toda a produção chopiniana, bem como desvendar os principais fatos motivadores desta prática, quais sejam: a influência da música de Bach e o apreço de Chopin pela música vocal, especialmente o Bel Canto italiano, ao qual se atribui a presença dos diferentes caráteres ou vozes que compõem sua polifonia. / The present dissertation aims at investigating the occurrence of polyphonic textures in Fryderyk Chopin’s piano Sonata No. 2 Op. 35, as well as presenting study strategies that may aid in the expressive interpretation of such textures. Therefore, the present work is divided in two parts. The first one presents a myriad of interpretations on polyphony itself and then tackles the way polyphonic texture presents itself in Chopin’s works in light of the then-existing historical backdrop and the multitude of influences exerted upon the composer. The second part comprises the so-called “polyphonic stretches”, which are passages selected from Sonata Op. 35. These excerpts are analyzed and followed by study suggestions which aim at refining polyphonic execution. This research is rooted in the experience resulting from the author’s preparation for the execution of the sonata and encompasses the formal and interpretative analysis of this particular piece, as well as the historic contextualization of Chopin’s life and oeuvre. Musicological investigations are pursued throughout the research and they endeavor to clarify polyphonic aspects which are present in Chopin’s works, as well as unveil the main motivating factors behind such practice, namely Bach’s influence and Chopin’s own predilection for vocal music, most notably the Italian Bel Canto, to which different characters or voices that comprise his polyphony are attributed.

Notre recherche s’est donnée pour objectif de comprendre, dans le champ de l’architecture contemporaine, les raisons d’une attraction sensible pour ce que Jean Epstein aurait pu nommer le Diable du cinéma. Afin qu’une réponse puisse être formulée, nous avons d’abord cherché à repérer les frayages anthropologiques, philosophiques, artistiques, scientifiques et techniques à partir desquels les relations entre les deux disciplines sont devenues si prégnantes. Nous avons également renversé la perspective en essayant de montrer en quoi le milieu technique, l’époque du numérique dans lesquels l’architecture contemporaine se situe, activent ou réactivent des sensibilités historiques particulières aux notions de temps, d’événement, de variabilité et de mouvement. Le cinéma, comme état de fait technologique, ne cesse de s’inventer et de s’étendre. Il dérègle les perspectives, affecte les régimes scopiques, les manières de voir dont dépendent aussi les façons de construire, imposant une esthétique de la modification au-delà de sa propre sphère d’expression. Nous avons donc interrogé, du côté des pratiques architecturale et cinématographique, l’intérêt d’œuvrer dans une zone d’indéfinition, un intervalle disciplinaire, et, du côté de l’esthétique, une possibilité d’en amorcer par le nom d’Archicinéma, la configuration. Afin d’exemplifier les conditions techniques, les opérations critiques et les arrangements topologiques propres à ce type de démarche, nous avons choisi d’étudier, au sein d’un large corpus d’exemples, les spéculations architecturales et les expérimentations informatiques, cinématiques et robotiques de François Roche. Enfin, nous nous sommes impliqués au plus près de la pratique fictionnelle de cet architecte afin d’en mieux déchiffrer les enjeux et les effets, que ce soit sur les plans poétique ou politique / Our research aimed to understand, in the field of contemporary architecture, the reasons for a significant attraction for what Jean Epstein could have appointed the Devil cinema. So that a response can be made, we first sought to identify the anthropological, philosophical, artistic, scientific and technical facilitations, from which the relations between the two disciplines have become so pervasively present. We also reversed the perspective trying to show how the technical environment (midst ?), the digital era (epoch ?) in which contemporary architecture is, activate or reactivate particular historical sensitivity to the concepts of time, event, variability and movement. The cinema, as a technological state of fact, continues to invent itself and expand. It disrupts the outlook, affects scopic regimes, the ways of seeing which are also ways to build, requiring an aesthetic of modification beyond its own sphere of expression. So we asked, on the side of film and architectural practices, the interest to work in an area of un-definition, a disciplinary interval and on the side of aesthetics, we looked for an opportunity to start with the name of Archicinema, its configuration. To exemplify the technical conditions, the critical operations and topological arrangements for this type of approach, we chose to study more specifically in a large set of examples, the architectural speculations and kinematic, robotic, computer-driven experiments of François Roche. Finally, we got involved closer to his fictional practice in order to better decipher its issues and effects, both on the poetic or political side of his work

Ce travail analyse les états de la famille et leurs rapports à l’individu dans deux romans de François Mauriac, Le Nœud de vipères et Thérèse Desqueyroux ainsi que dans la Trilogie de Naguib Mahfouz : Impasse des deux palais, Le Palais des plaisirs et Le Jardin du passé.À travers ces deux univers romanesques, qui abordent la thématique de la famille dans des circonstances bien particulières, liées à la géographie, à l’histoire et à la sociologie de l’époque, ce travail souhaite répondre aux questions suivantes : Quel est l’état de la famille dans ces romans ? Quel est la place accordée à l’individu ? Les familles décrites dans ces romans favorisent-t-elles l’émergence de l’individu comme sujet autonome, capable d’effectuer des choix personnels quitte à ce qu’elles soient en contre-courant des valeurs familiales et celles de la société ? Ou bien, l’individu devrait-il se battre et lutter contre la famille afin qu’il puisse émerger comme sujet propre et autonome ?Ainsi la première partie analysera l’état de la famille dans la trilogie de Mahfouz ; quant à la seconde elle abordera les deux romans de Mauriac. La troisième partie élaborera la comparaison entre les deux univers romanesques en croisant et en confrontant les facteurs qui interfèrent dans les deux univers familiaux : la religion, l’argent et le patrimoine et la politique (chez Mahfouz surtout). / This work analyzes the states of the family and their reports to the individual in two François Mauriac’s novels, Vioer’s tangle and Thérèse Desqueyroux as well as in the Trilogy of Naguib Mahfouz: Palace walk, Palace of desire and Sugar street.Through these two romantic universes, which approach the theme of the family on very particular circumstances, connected to the geography, in history and in the sociology of period, this work wishes to answer the following questions: what is the state of the family in these novels? What is the place granted to the individual? Families described in these novels favor the emergence of the individual as autonomous subject, capable of making personal choices even if it means that they are in countercurrent of the values.So the first part will analyze the state of the family in the trilogy of Mahfouz; as for second it will approach both novels of Mauriac. The third part will develop the comparison between both romantic universes by crossing and by confronting the factors which interfere in both family universes: the religion, the money and the heritage and the politics (at Mahfouz especially).

François Cheng est devenu une figure symbolique incontournable aussi bien pour la France que pour la Chine. C’est un écrivain dont la culture et la conscience sont doubles, car sa vie est étroitement liée à la Chine et à l’Occident. Sa grande intériorité énigmatique s’explique par son âme chinoise et son amour de l’Occident. Toute sa vie, il a poursuivi la réconciliation et le dialogue entre les deux cultures. Son écriture est aussi fortement marquée par une expérience personnelle de l’exil liée à un profond sentiment d’authenticité. D’un côté il nous fait redécouvrir une Chine traditionnelle et artistique, de l’autre il nous dépeint un vieux pays hanté par les destinées tragiques d’innocents, nous offrant ainsi l’image d’une Chine très riche et diversifiée. La constante comparaison entre les deux cultures nous révèle ses racines chinoises et son esprit français, marqué par un humanisme épris de liberté. C’est dans cette symbiose que se révèle la pensée de François Cheng, nourrie de multiples spiritualités et habitée par les concepts dualistes de la beauté et du mal. Cette recherche nous permet de mieux connaître cet écrivain : un quêteur de beauté, un homme en marche, un écrivain indéfinissable – le plus chinois des écrivains français ou bien le plus français des écrivains chinois –. / François Cheng is a major and symbolic figure in France and in China as well. He is a dual-culture writer who draws upon two streams of consciousness. His destiny is closely associated with China and the West. His enigmatic introspection can be explained by his Chinese soul and his love for the West. Throughout his life, he constantly pursued reconciliation in the dialogue between Eastern and Western cultures. His writing is strongly coloured by his unique experience of exile and a deep sense of authenticity. On the one hand, he enables us to rediscover a traditional and artistic China, while on the other hand, he describes an old country where innocent people suffered tragically. Thus the image of China that François Cheng draws, proves to be very rich and diverse. The continuous and coherent comparison between both cultures – French and Chinese ‒ reveals the French side of his reflection, his humanist trend and sense of freedom. It is within this symbiosis that we discover François Cheng’s thinking, nurtured by multi-spirituality and inhabited by the dualistic concepts of beauty and evil. This research intends to improve the knowledge we have of Francois Cheng : in search of beauty and dedicated to a constant reflection, he appears a double and indefinable writer : the most Chinese of French writers, and the most French of Chinese writers.