Cette thèse cherche à explorer le rôle que les perceptions culturelles peuvent jouer pour redéfinir collectivement l’action humaine envers la nature. Dans le temps long, de manière accidentelle ou intentionnelle, l’homme a globalement modifié puis progressivement détruit de manière exponentielle la nature. Or, l’étude de l’idée de nature démontre la multiplicité et la force des attachements culturels à la nature. Cette thèse cherche donc à étudier plus précisément la diversité, la multiplicité des perceptions culturelles, et dans quelle mesure celles-ci pourraient aider à redéfinir l’activité humaine envers la nature. A cette fin, les idées de nature et leurs évolutions à travers l’histoire sont étudiées dans plusieurs pays cultures afin de déterminer si et comment la diversité peut devenir un facteur de changement de paradigme. Trois pays sont étudiés à cette fin : la France, le Japon et les États-Unis, afin de dégager les perceptions culturelles uniques et d’envisager comment cette unicité peut servir à refonder l’action collective. / This thesis aims at exploring the role cultural perceptions of nature could play in redefining in depth human action towards nature. Whether on purpose or as an incidental result, humankind has since the dawn of humanity first modified then destroyed nature. Yet, when looking at cultural perceptions of nature it appears that cultures developed a strong attachment to some representations of nature. The presumption explored here is that these cultural perceptions, in their diversity, in their multiplicity, could be key to redefining our whole relation towards nature. To that effect, this thesis studies the idea of nature and its evolutions throughout history in different cultures in order to render it effective in international negotiations. Three countries are explored: France, Japan and the United States in order to isolate cultural perceptions and to understand how they can be mobilized to redefine collective action.

Il s'agit, en prenant comme jalons l’œuvre de trois auteurs symptomatiques, Marcel Proust(1871-1922), Georges Bataille (1897-1962) et Pascal Quignard (1948), d'étudier l'évolution de la place et du rôle de l’œuvre d'art dans la littérature depuis la deuxième révolution industrielle jusqu'à nos jours. Ce travail interroge donc les données structurelles, socio-économiques et politiques, qui constituent l'agencement d'une production artistique, mais aussi les évolutions dans les rapports sujet/objet, la définition de l'art, l’étude de tropes spécifiques, la préférence d'un mouvement descendant à un mouvement ascendant (transcendantal), l'expérimentation comme fondement cognitif, la préférence d'une posture d'étant-au-monde à la notion d'être-au-monde, l'abandon de l'idéalisme et de la métaphysique pour l'élaboration d'autres régimes ontologiques mais aussi épistémologiques. Ces éléments composent ce que nous pouvons appeler un paradigme de l’ombre, paradigme mineur par rapport à un paradigme majeur, dominant, coercitif. / This thesis deals with the work of three symptomatic authors, Marcel Proust (1871-1922),Georges Bataille (1897-1962) and Pascal Quignard (1948), as milestones, in order to studythe evolution of the place and the role of the piece of art in literature since the second Industrial Revolution until today. This work therefore questions the structural,socioeconomic and political data, which constitute the agency of an artistic production, but also evolution in the subject-object relations, definition of what art is, specific tropes,preference of a downward movement to an ascending (transcendental) movement,experimentation as a cognitive foundation, the preference of a position of being-in-theworld to the notion of being-in-the-world, the abandonment of idealism and metaphysics for the development of other ontological regimes. These elements compose what we can call a paradigm of the shadow, a minor paradigm compared to a major, dominant and coercive one.

This study analyses the concept of The Environment among Czechoslovak architects and on the field of architectural theory in the 1960s. Environmental problematic was frequent topic across different expert groups since end of the 1950s and especially in the 1960s. Architects was one those groups and they actively further developed this concept of The Environment and environmental problematics during 1960s. This effort had brought interesting theoretical concepts and ideas and was also influenced by general Czechoslovak intellectual milieu of 1960s. Architects also started to critically address the degradation of natural environment due to increasing industrial pollution. They also accomplished several successes on the field of environmental problematics. They managed to establish specialized field of study and played a key role in some international conferences and meetings dealing with environmental problems under UNESCO, OSN or International Union of Architects. This study indicates some of yet not well known intellectual riches of Czechoslovak 1960s and also points that continuous environmental degradation during the reign of communist party was not caused by insufficient expertise and the source for this major problem should be further researched. Key words: Architecture, Environment,...

It has always been important to study history. But what we can’t forget is that there’s more than one way of doing so. One of those is literature. In this thesis I will therefore study two contemporary historical novels: The Night Watch by Sarah Waters and The Underground Railroad by Colson Whitehead. The aim is to explore how they portray different kinds of historical experiences and how that may relate to questions that are relevant even in a contemporary context. Because both novels have an interestning relationship with time and space, I’m going to use the russian literary theorist Micheal Bachtins concept of the chronotope to explore how time and space operates and relate to eachother. In the end, this thesis also aims to show that literature can be a valuable object to study for those that are intererested in histiography.

Denna essä syftar till att ur filosofiska och idéhistoriska perspektiv belysa utmaningar och möjligheter med artificiell intelligens (AI) och digitalisering inom hälso- och sjukvården, med fokus på läkekonst, kropp, hälsa och ovisshet. Essän undersöker hur automatisering och digitala vårdformer omformar läkekonstens grund, nämligen mötet mellan patienten och läkaren. Genom en fenomenologisk kritik av AI och teknikens väsen, belyses skillnaden mellan människan och maskinen och hur den levda erfarenheten är situerad, förkroppsligad, fylld av mening och delad med andra. Essän utforskar hur situationsunik kunskap som praktisk klokhet, fronesis, samt ett reflekterande förnuft, intellectus,kan hantera den ovisshet som är inbäddad i det allmänmedicinska mötet. Essän belyser även hur digitalisering och AI passar väl med pågående marknadsanpassning av sjukvården, där homo economicus och homo digitalis båda omformar kropp och hälsa till mätbara resurser och data. Avslutningsvis lyfts etiska dilemman kring AI och digitalisering, samt vikten av praktisk och existentiell kunskap som förutsättningar för utvecklandet och designen av en teknik som syftar främja det mänskligt goda. / This essay aims to illuminate challenges and opportunities with artificial intelligence (AI) and digitalization in health care, focusing on the art of medicine, body, health and uncertainty. The theoretical framework is mainly within the fields of phenomenology and philosophical hermeneutics. The essay explores how automatization and digital health care are transforming the essence of medicine: the patient – physician encounter. By a phenomenological critique of AI and the essence of technology, the essay highlights the difference between machines and humans and how lived experience is situated, embodied, filled with meaning and shared with others. The essay explores how situational knowledge such as practical wisdom, phronesis, and reflective understanding, intellectus, can deal with the uncertainty that is embedded in the medical encounter in primary health care. The essay also highlights how digitalization and AI fit well with current market adaptation of health care, where homo economicus and homo digitalis both transform body and health into measurable resources and data. Finally, ethical dilemmas of AI and digitalization are highlighted, as well as the importance of practical and existential knowledge as preconditions for the development and design of a technology that aims to promote the human good.

Au confluent de l’histoire des idées et de la poétique romanesque, cette thèse s’intéresse aux interactions textuelles multiples entre le genre romanesque et l’imaginaire musical tel qu’il s’est développé au fil du XXe siècle. Elle examine les modalités par lesquelles une idée de la musique, intronisée comme paradigme d’écriture par un certain nombre de romancières et de romanciers français entre 1900 et 1980, informe la composition du roman tout en infléchissant la production du sens, qui, à l’horizon du modèle musical, devient davantage signifiance que signification. Elle appréhende également l’évolution des pratiques romanesques à la lumière des discours sur la musique tels que les réfléchissent et les intègrent les œuvres, afin de dégager les différentes manières par lesquelles le musical, à entendre comme les propriétés dérivées de l’objet musique, s’impose comme le modus operandi de l’écriture, et invite le critique à interpréter l’œuvre sur le modèle herméneutique de la partition. Le récit-partition apparaît sur fond d’une crise de la signification et de la représentation, dont les ferments sont à chercher dans le fonctionnement sémiotique même du langage. La recherche entend montrer comment, dans l’optique de répondre à cette crise du langage et aux nombreuses répercussions qui confrontent la sémantique romanesque à une impasse, certains romanciers du XXe siècle ont envisagé la musique comme une fiction du roman et pour le roman, puis ont façonné à partir d’elle les paramètres d’une nouvelle écriture romanesque. Hérité du topos romantique de la « musique absolue », qui considère l’œuvre musicale comme un pur phénomène sonore, irréductible au langage verbal et, du fait de son autoréférentialité, le modèle de l’organon absolu, ce paradigme d’écriture aurait permis aux écrivains du XXe siècle d’abandonner les prémisses référentielles du genre romanesque et de penser ce dernier à l’aune de nouvelles configurations poétiques, fondées sur la résonance du sens, l’autoréflexivité du médium et une mémoire textuelle plus sensible que philosophique ou morale. La réflexion menée dans le cadre de la thèse interroge en premier lieu les conditions épistémologiques, métaphysiques et discursives qui concourent à l’avènement d’un paradigme musical, lui-même tributaire d’un régime du sensible particulier, qui pousse des générations entières d’écrivains à se tourner vers la musique pour ravitailler une matière romanesque dès lors perçue comme lacunaire. La démonstration se décline essentiellement en quatre temps : le premier chapitre entend prendre au pied de la lettre la métaphore de la partition, de manière à montrer comment les indices paratextuels et structuraux actualisent certains procédés d’écriture qui s’inspirent de la musique ; les deuxième et troisième chapitres interrogeront les modalités de « textualisation » de la musique à travers les prismes respectifs de la création et de la réception musicales représentées dans la fiction, en s’intéressant aux figures de compositeurs et de musiciens (chap. 2), puis aux ekphraseis musicales et aux scènes d’écoute (chap. 3) ; enfin, c’est sur les grands mythes de la musique que débouche notre enquête, mythes antiques mais surtout wagnériens, dont la réécriture plus ou moins conforme avec la matrice d’origine permet de diffracter un rapport complexe à la modernité par une ressaisie du sens, de la temporalité narrative et du discours romanesque au miroir des récits fondateurs et du langage premier et plénier dont ils portent la mémoire. / This dissertation strives to understand the various interactions between 20th-century fictional works and the contemporary musical imaginary that was developed and modulated throughout the century. Rooted in a dual approach – that of the history of ideas and of the poetics of the novel –, this study examines how a given idea of music, inducted as a writing paradigm by many French novelists between 1900 and 1980, models textual composition and becomes a means to rethink the creation of signification in narrative forms. It also traces the evolution of the French novel and its writing practices in the light of musical discourses and aesthetics as reflected by and integrated into novelistic works. To this end, the concept of “narrative score” (récit-partition), as a hermeneutic instrument or reading tool, is paramount in order to grasp the ways in which the musical – i.e. the properties derived from music as an objective or phenomenal reality – imbues the literary text and becomes the modus operandi of fiction writing for some French novelists. The “narrativescore” emerged in the context of an artistic crisis – stemming from the semiotic fabric of language itself – that questioned both the ideas of representation and meaning. The present work will show how this crisis of language and consequential impasse of the novelistic genre lead some 20th-century writers to conceptualize music as a fiction of and for the novel with the purpose of fashioning a new narrative framework by remodeling the genre’s parameters. Descending from the romantic trope of “absolute music” which considers the musical piece as an autoreferential structure comprised of pure sounds without intrinsic meaning thus irreducible to verbal speech, the idea of music as a writing paradigm allows novelists to relinquish the referential premises of the narrative genre to introduce new poetic configurations based on the resonance of meaning, the self-reflexivity of the medium and a textual memory, more engrained in the sensible than in the speakable (dicible) or the philosophical. We will first outline the epistemological, metaphysical and discursive landscape that lead to the advent of a musical paradigm in literature, which is dependent on a specific “partition of the sensible” (Rancière); here, we will explore what motivated several generations of writers to turn to music as a way to replenish the fictional material they perceived as deficient while fulfilling their ideal of an autotelic work of art. The textual analysis that follows will be divided into four parts: in the first chapter, we will consider the score not as a metaphorical notion, but as an actual model; indeed, some paratextual elements and structural configurations highlight the presence of writing techniques directly inspired and shaped by the musical; the second and third chapters will examine the textual actualization and representation of music respectively through the lens of musical composition (poïesis) and musical reception (esthesis) by analyzing fictional composers and musicians (chap. 2), then musical ekphraseis and listening scenes (chap. 3); lastly, we will focus on the great musical myths – ancient myths, but mostly Wagnerian ones – whose rewriting, more or less in line with the original stories, allow the writers to renegotiate their complex relationship with modern times, by re-capturing meaning, narrative temporality and novelistic discourse through the use of these founding myths and the unitary, almost pre-adamic, language.

The Swedish ecological breakthrough of the late 1960’s and the early 1970’s entailed a rapid proliferation of competing perspectives on the environment, on man’s relation to it, and on the possible – dystopian or utopian – futures that lay ahead. By drawing on the theoretical concept of sociotechnical imaginaries as defined by Sheila Jasanoff and Sang-Hyun Kim, this thesis aims to explore the critical role played by these perspectives, and by these visions of the future, during this formative period of the emerging environmental consciousness and of early Swedish environmental politics. With this purpose in mind, the thesis examines the sociotechnical imaginaries mobilized in three Swedish books on environmental politics written by politically concerned scientists, as well as the two first environmental manifests published by the ruling Social Democratic Party in 1968 and 1972. By comparing the imaginaries mobilized in each text, the thesis then argues that the party incorporated certain elements of the critical perspectives into the dominant paradigm, but that they never wavered in their commitment to industrial development. The thesis also shows how these environmental imaginaries were used to legitimize political power, as well as the social democratic hegemony.

Ernst-Wolfgang Böckenförde und Carl Schmitt zählen zu den bedeutendsten Staatsrechtlern ihrer Zeit. Eine Verbindung zwischen beiden Staatstheoretikern bestand in einer engen persönlichen Beziehung. Die vorliegende Abhandlung geht der Forschungsfrage nach, ob sich hieraus auch Berührungspunkte zwischen den Staatstheorien der beiden Staatsrechtler ableiten lassen und arbeitet mit diesem Ziel Analogien, aber auch notwendigerweise Diskrepanzen zwischen dem Denken des liberalen Staatsrechtlers Ernst-Wolfgang Böckenförde in Bezug auf den konservativen Staatstheoretiker Carl Schmitt heraus. Am Ende soll die Frage beantwortet werden, ob es möglich ist, die von Carl Schmitt in seinem Hauptwerk ‚Der Begriff des Politischen‘ niedergelegten Ideen vom Staate (teilweise) liberal zu rezipieren. / Ernst-Wolfgang Böckenförde and Carl Schmitt count among the most prominent experts for constitutional law within their eras. The two theoreticians were connected by an intensive personal relation. Thus, the research issue of the present thesis consists on the exploration of the possibility to also deduce interrelations between the theories on the state of both scientists. For this reason analogies but also necessarily discrepancies within the ways of thinking of the liberal expert for constitutional law Ernst-Wolfgang Böckenförde in comparison to the conservative state theoretician Carl Schmitt are elaborated. In conclusion, the question shall be answered, whether it is possible to receive the ideas on the state of Carl Schmitt outlined in his major oeuvre ‘The Notion of Politics’ (partly) in a liberal way.

<div> <p>The idea of “the book” overflows with extraneous significance: books are presented as windows, gateways, vessels, lighthouses, and gardens. Books speak to us and feed us, and they are a method of escape. The book has long represented much more than a static, hinged, bound, covered object inscribed with words. Even when a book is not performing an elaborate, imaginative function, the word “book” very often signifies the text it holds or even the text’s author: You can open <i>The Bluest Eye</i> or carry Toni Morrison in your bag. Fourteenth-century author Geoffrey Chaucer invokes a “book” by “Lollius” as authoritative source of his<i> Troilus and Criseyde</i>, though no person exists; likewise, to conclude the same text, Chaucer asks directs his project to “go, litel bok, go.” When a book makes an appearance in narrative, it is rarely j<i>ust a book</i>—without legs, the book moves, and without breath, it lives. This dissertation asks what about the shape of the codex has helped the book become such a metaphorically rich signifier.<br></p> <p>This dissertation attempts to unravel the various threads of meaning that make up the complex “idea of the book.” I focus on one of these threads: the book as a material object. By focusing on how the book as object—not the book as idea—functions within narrative, I argue that we can identify what about the book object enables its metaphorical range. I analyze moments in literature, television, and film when metaphorical functions are assigned, not to an ephemeral, complex idea of the book, but rather to the material realities of the book as an object. In these moments, the codex’s essential, material shape (what I am calling its bookishness) enables metaphorical functioning; I show that, by examining when mundanely physical bindings, pages, covers, and spines initiate metaphorical action, we can identify how the material book has come to mean so much more than itself.</p> <p><a></a>Indeed, despite a renewed appreciation for the book as both material and cultural object, books have become so significantly meaningful that attempts to define “the book” evade simplicity, rendering books as everything and nothing at the same time. My inquire explores this complexity by starting with a simple premise: Metaphors are based on some element of physical truth. Though the book has sprouted in a variety of metaphorical directions, many of those metaphors are grounded in the book’s material realities. Acknowledging this, especially in an age of fast-evolving media and bookish fetishism, offers a valuable and novel perspective on how and why books are both semantically rich and culturally valued objects.</p> </div> <br>

This text is about visibility and invisibility of work and labor through research from history and present time and through my own work, process and thinking. Through these topics I want to raise discussions and make comments in the field of craft and glass. To evoke our senses and feelings through video, sound and perception of the work and installations together with the properties of glass. To discuss that there are underlying layers of a work of glass that we see in a museum or gallery space. Why some information is visible, and some is lost by the presented state. Is the material and finished product that we see more important than the underlying layers and process? Can we change how we present and document our pieces with information better? Together with the labor of my interest, there is also about the loss of an industry and a personal loss of the time I had there coming to an end.