O tema do sagrado é central na antropologia desde a sua origem. Esta pesquisa propõe o enfrentamento da noção através das lentes de Georges Bataille (1897-1962) e Michel Leiris (1901-1990) na França dos anos 1930, tendo em vista o cruzamento de suas experiências intelectuais e de suas formulações teóricas. Toma-se como ponto de partida para a análise a \'sociologia sagrada\' por eles anunciada no Collège de Sociologie (1937-1939), que reclama o sagrado em dupla articulação: ao mesmo tempo que conceito explicativo ele funciona também como uma prática, uma maneira de ver e também de agir sobre o mundo. Em meio aos debates da época empreendidos pela intelectualidade e os movimentos de vanguarda sobre as possíveis formas da ação política, tendo em vista sua ligação com a arte, o sagrado aparece nos trabalhos de Bataille e Leiris como uma alternativa surpreendente. O intuito é rever uma tradição de debates em torno do conceito a partir das formulações radicais e originais destes autores, indicando como se relacionam, cada qual à sua maneira, com a teoria social precedente. / The sacred has been a central subject of anthropological investigations since its origins. This research proposes an approach to the concept through the eyes of George Bataille (1897-1962) and Michel Leiris (1901-1990) in 1930s France, having in sight the crossing of their intellectual experiences and their theoretical formulations. We assume the sacred sociology, proposed by both authors during the years of the Collège de Sociologie (1937-1939), as a starting point to claim the use of the sacred in a double framing: functioning as an explanatory concept, it would also work as a praxis, a way of seeing and acting upon the world. Amid the debates of the time, undertook by intellectuals and the avant-garde movements about the possible paths of political actions and its connections with art forms, the sacred appears in the works of Bataille and Leiris as a striking alternative. The goal is to retrace a tradition of debates involving the concept through both authors formulations at the same time radical and original , showing how they relate, each in their own way, with the former social theory.

Après la tragédie de la Seconde Guerre mondiale, les mots semblent ne plus suffire pour désigner le réel. La littérature du XXe siècle invente alors un langage nouveau, qui tend vers le silence. C’est ainsi que, traumatisé par l’Histoire, Georges Perec se tourne vers une écriture du silence, manière pour lui de réfléchir au langage et à ses limites, et cette démarche est perceptible surtout dans Un homme qui dort, La Disparition et W ou le souvenir d’enfance. La première partie de cette thèse s’ouvre sur les définitions du silence, puis se propose d’examiner sa rhétorique et ses motivations, et enfin de traiter les divers aspects du blanc, l’équivalent visuel du silence. La deuxième partie se concentre quant à elle sur l’examen des techniques narratives servant à la mise en place d’une écriture du silence : les jeux de la narration liés à la présence ou l’absence du narrateur, le morcellement narratif où le silence réside à chaque arrêt, et le patchwork intertextuel dont les voix remplacent celle de l’auteur. La troisième partie aborde enfin la question de la quête autobiographique que Perec a menée de manière plus ou moins oblique. Les thèmes de l’étrangeté à soi et de l’oubli se présentent comme des éléments essentiels car c’est la perte de mémoire et d’identité qui entraîne une perte de la parole. Puisque l’écrivain ne peut pas témoigner de l’expérience concentrationnaire qu’il n’a pas vécue, il assimile cette histoire collective, écho de son histoire individuelle, à une histoire fictive. Enfin, l’écriture perecquienne est un travail de deuil : l’auteur se sert du silence comme thème et technique d’écriture pour parler de la disparition de la mère, victime de la Shoah. / After the tragedy of the Second World War, words seem insufficient to represent reality. The authors of the 20th century have invented a new language that tends towards silence. Traumatized by history, Georges Perec thus turns to writing about silence. Through writing about silence, Perec contemplates the language and its limits; this approach is noticed particularly in Un homme qui dort, La Disparition and W ou le souvenir d’enfance. The first part of this thesis deals with the definitions of silence, then examines the rhetoric and motivations of silence. The different aspects of “the blank”–visual equivalence of silence–are also taken into account. The second part focuses on the narrative techniques implemented for the writing of silence. These techniques include the dynamic of narrative voices connected to the narrator’s both presence and absence; a fragmented narrative where silence exists after certain breaks; and the replacement of the author’s voice by an intertextual patchwork. The third part investigates Perec’s autobiographical elements which are more or less obliquely presented. Perec’s own alienation and forgetfulness are employed as key factors contributing to the uniqueness of silence as loss of memory and identity undermines the ability to speak. Since the author could not testify the trauma in the concentration camp through first-hand experience, he transforms collective history, echoing his individual history, into fictional history. Finally, Perec’s writings can be regarded as a literature of mourning: the silence, deployed as themes and literary techniques, is an instrument for recounting the loss of Perec’s own mother—a Shoah victim.

Este trabalho visa estabelecer uma relação entre literatura e psicanálise. Muito já se falou sobre o cruzamento entre essas duas práxis distintas, independentes e autônomas. Hoje, parece inevitável interligá-las, sobretudo, teoricamente. A idéia deste projeto nasce, inicialmente, do desejo de aproveitar uma relação pouco explorada entre dois autores franceses contemporâneos. Falecidos num intervalo de seis meses entre o final de 1981 e começo de 1982, Jacques Lacan e Georges Perec fizeram história na cena intelectual francesa do final do século XX. A fim de mostrar a amplitude dos estudos em torno da obra destes dois autores, cada um em seu território, é possível dizer que ambos se preocuparam, primordialmente, com a questão da letra, seja Lacan voltado para experiência analítica, seja Perec inteiramente imerso no campo literário. Situados na passagem do estruturalismo ao pós-estruturalismo francês, Lacan e Perec não se cruzaram diretamente. Gostaríamos de compreender as conseqüências de uma nova teoria do sujeito que se esboçava a partir da segunda metade do século XX, principalmente, a leitura que ambos fizeram de autores que freqüentaram e foram atravessados. Lacan deve ser visto como um analista. Perec tomado como um escritor. Porém, uma pesquisa de tal natureza pode se justificar pelos seguintes aspectos: 1. Ambos operam sobre o inconsciente. E daí decorre a enorme importância da obra e o ensino de Jacques Lacan. 2. Trata-se de difundir e disseminar um autor da maior envergadura, pouco conhecido e explorado no Brasil até hoje, que é o genial virtuose das letras e fenômeno literário internacional que é Georges Perec. / This dissertation aims to establish a relation between literature and psychoanalysis. A lot has been said about the crossing between those distinct praxis. Nowadays, it seams inevitable to interconnect at least theorically. The idea of this project arises initially from the wish to approach the relationship not explored until now from those two French contemporaneous authors. Deceased on interval of six months in the end of 1981 and the beginning of 1982, Jacques Lacan and Georges Perec made history in the intellectual French scene in the end of 20th century. To bring along the wideness of those researches, each one in your own territory, it´s possible to say that both are primordially with deep concern toward the subject of the letter. Lacan in the psychoanalytical experience and Perec submerse in the literary field. Lacan and Perec, placed from French structuralism and pos-structuralism, haven´t crossed directly. It would like to comprehend the consequences of the new theory of the subject that started from the second part of 20th century especially your studies across by other authors. Lacan must being seeing as an psychoanalyst. Perec as a writer. However a research of that nature must be justified by two aspects: 1. they operate of unconscious. This is the enormous importance of the work and teachings of Jacques Lacan. 2. It´s about to diffuse and disseminate a great author not known in Brazil until now, which is literary virtuous that is Georges Perec.

Comme les Montaigne, les Pascal, les Nietzsche ou les Cioran, Bataille a écrit dans l'interstice qui lie et sépare l'écrivain, le savant et le philosophe. Comme eux, il a déployé une langue, parmi les plus belles qui soient, mais surtout, il a inquiété son époque, qui demeure en grande partie la nôtre, en maintenant au cœur de son écriture le supplice de la question. Question béante s'il en est, infiniment ouverte, mais pas forcément ni uniquement à la manière provocante d'une plaie ou d'une vulve. Question ouverte, cette fois-ci, non plus seulement sur la noire intériorité de cet étrange mystique « défroqué » qu'a été Bataille, mais aussi et principalement sur le monde immense et diversement coloré qui a fait de Bataille cet esprit si singulier. Car, Bataille était certes un comprachicos, mais les verrues qu'il cultivait sur son visage étaient avant tout celles de ses semblables, c'est-à-dire de l'humanité. Nous aurons donc l'occasion de voir quelle gaya scienza, quelle scienza nuova, quelle science vive Bataille a mise au point pour échapper à la disjonction et à l'isolement des idées éparpillées dans les différentes sciences, ainsi que pour redécouvrir la complexité de l'univers et sa complicité avec l'espèce humaine. En portant un regard qui se souhaite détaché de toute approche mimétique et/ou révérencieuse, nous avons voulu explorer trois grands discours, au sens de Michel Foucault, qui irriguent l'œuvre de Bataille, parfois de façon souterraine. Quels liens Bataille percevait-t-il entre la nature et la culture, et quelle est l'histoire de cette conception dans son œuvre ? Comment, à travers les généalogies du corps humain et du corps social, du paléolithique au vingtième siècle, Bataille a-t-il lu le rôle fondateur de l'art pour les sociétés humaines ? Et enfin, quelle épistémologie de la connaissance a permis à Bataille de progresser sans croître dans sa recherche inspirée, et d'y mêler savoir et « non-savoir », science et mystique ? / The abstract is available in French only

O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.

Thesis--Université de Paris IV. / Filmography: p. [957]-958. Includes bibliographical references (p. 926-956) and index.

Thesis (Ph. D.)--University of Chicago, Dept. of Art History, Dec. 2003. / Includes bibliographical references. Also available on the Internet.

Texte remanié de: Th. 3e cycle--Paris 1, 1983. / Nom d'éditeur et titre de collection translittérés du grec. Bibliogr. p. 187-196. Index.

Thesis--Paris III, 1977. / Includes bibliographical references (p. i-xxxiii).

Thèse (Ph. D.)--Université du Québec à Trois-Rivières, 2003. / Bibliogr.: f. 334-358.