La figure du législateur demeure matière à controverse dans la pensée politique de Jean-Jacques Rousseau. Son rôle, consistant à « transformer » la nature humaine en vue de réaliser la vertu civique, a porté certains interprètes à voir dans sa pensée une forme d’autoritarisme. L'erreur de cette interprétation nous apparaît être dans le sens et la portée attribués à l'idée de transformation morale. Cette dernière n'implique pas une transformation radicale des mœurs, mais bien leur parachèvement. Circonscrire cette portée nécessite de concevoir les mœurs comme une matière donnée et qui ne saurait être façonnée indéfiniment, car ses potentialités sont déterminées par son développement historique. Ce caractère décisif attribué par Rousseau au développement historique peut se comprendre à la lumière de sa conception pessimiste de l’évolution des mœurs. D’après cette conception, les mœurs, essentiellement corruptibles, atteignent un stade historique de corruption où elles ne sauraient être parachevées en vertu. Il s’ensuit que seul un peuple dont les mœurs sont non corrompues par le progrès historique a la potentialité d'atteindre la vertu. Ainsi, la tâche du législateur d'effectuer une transformation morale de l'homme doit être entendue non comme celle de créer ex nihilo une nouvelle nature humaine, mais comme celle de parachever les virtualités propres aux mœurs saines. / The status of the legislator remains a matter of controversy in the political philosophy of Jean-Jacques Rousseau. His role, which consist in transforming human nature in order to realize civic virtue, has lead some interpreters to see in Rousseau’s thought a form of autocratic process. This error of interpretation seems related to the meaning and the range attributed to the idea of moral transformation. For Rousseau, the latter does not imply a radical transformation of morals (moeurs), but rather a process for perfecting or improving them. To circumscribe this task requires interpreting morals as a given matter that is not indefinitely malleable since its potential is determined by its historical development. This decisive character attributed to historical development by Rousseau can be understood in the light of his pessimistic conception of the evolution of morals. According to this conception, morals are essentially corruptible, and reach an historical stage of decadence such that they cannot be reformed into virtue. It follows that only a people whose morals are not corrupted by historical progress have the potential to reach virtue. Accordingly, the legislator, whose task is to carry out a moral transformation of man, must not be understood as one that creates ex nihilo a new human nature but rather as one that completes the potentiality inherent to healthy morals.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)

Zugl.: Heidelberg, Univ., Diss., 2007.

Zugl.: Wien, Universiẗat, Diss.

Dans le premier versant du XVIIIe siècle, la présence de Paris dans les œuvres littéraires demeure sous-jacente ou est seulement suggérée par un simple regard qui reste généralement distant. C’est notamment le cas dans Le Diable boiteux de Lesage où la déambulation dans la ville reste subordonnée aux priorités visuelles (depuis un lieu surplombant, le diable montre à son élève les différents aspects de la ville). C’est avec Rousseau qu’une problématique nouvelle de la déambulation apparaît. Dans ses écrits autobiographiques (Les Confessions, Les Rêveries du promeneur solitaire), le narrateur met en scène cette déambulation dans son parcours même : les marches ou les promenades propices à la rêverie, à la méditation et à la remémoration. Avec Rétif de Bretonne (Les Nuits de Paris) et Louis-Sébastien Mercier (Tableau de Paris), Paris apparaît comme l’espace par excellence d’une errance féconde. La capitale française cesse d’être à l’arrière-plan et devient un objet d’écriture à part entière. / In the first half of the eighteenth century, the presence of Paris in the literary works remains underlying or is merely suggested by a single and generally distant glance. This is notably the case in Lesage’s novel The Lame Devil where the wandering in the city remains subordinate to visual priorities (from an overlooking place, the devil shows his learner different aspects of the city). It is with Rousseau that a new problem on ambulation emerges. In his autobiographical writings (Confessions, Reveries of a Solitary Walker), the narrator portrays this ambulation in his very career: walks or promenades inspiring daydreaming, conductive to meditation and recalling memories. With Rétif de la Bretonne (Parisian Nights) and Louis-Sébastien Mercier (Panorama of Paris), Paris seems to be the ideal place for a fertile wandering. The French capital ceases to be in the background and becomes a subject of writing in its own right.

Si la forte présence des personnages illustres et des cités antiques dans les œuvres politiques de Jean-Jacques Rousseau a été remarquée dès leur parution, leur fonction a trop longtemps été interprétée comme celle d'exemples à imiter. L'étude des multiples sources de Rousseau nous permet de mettre en lumière la complexité de ses références à l'Antiquité. Loin de présenter les grandes figures et les cités antiques comme des exemples monolithiques que le lecteur serait invité à faire revivre ou à regretter, Rousseau construit des modèles dynamiques, afin d'établir et d'explorer les « principes du droit politique», selon les termes du sous-titre du Contrat social. A partir de l'admiration pour les grands héros de Plutarque découverts dans son enfance, cette représentation se déplace dès le Discours sur les sciences et les arts vers l'étude des cités antiques, dont la réussite politique tient à ce qu'elles ont pleinement compris et exploité l'articulation fondamentale entre anthropologie et politique. C'est donc uniquement en observant comment les institutions politiques antiques prennent en charge la formation morale de l'homme que l'on peut pleinement établir les critères de fondation d'un corps politique légitime. La pensée politique antique joue ainsi un rôle considérable dans l'établissement de la distinction fondamentale entre souveraineté (pouvoir législatif) et gouvernement (pouvoir exécutif). L'étude de ces deux parties essentielles du corps politique met en évidence que la prégnance du modèle romain, plus fort que le modèle spartiate, permet à Rousseau de penser non seulement la fondation, mais encore la durée et le devenir du cor ps politique. / This dissertation conducts a systematic examination of Jean-Jacques Rousseau 's representation of Antiquity and provides a new interpretation of its meaning. Rousseau's lifelong interest in ancient Greece and Rome has so far been interpreted mainly as a personal myth, rooted in his emotional identification with examples of civic virtue. Challenging this interpretation, I analyze Rousseau's vision of Antiquity as a carefully constructed representatio n that seeks to answer key questions of early modern political thought. As he constructs his political system, Rousseau considers ancient material through a complex web of mediations, which alter his representation of Antiquity . The admiration for great men inherited from his childhood reading of Plutarch quickly turns into the construction of dynamic political models. Rousseau draws on ancient historical examples, as weil as on Plato's and Aristotle's political philosophy, to articulate his own definition of key modern political concepts such as sovereignty and body politic. In Rousseau's view ancient cities were politically successful because they fully understood the fundamental connection between anthropology and politics, placing the moral education of the citizens at the core of political action. Studying examples of ancient cities thus becomes indispensable not only to define a truly legitimate political structure, but also to design methods and practices to make it last over ti me. In this respect, the Roman Republic, whose institutions more successfully faced the challenge of history, serves as a more significant political model than Sparta. Reassessing Rousseau's representation of Antiquity thus allows usto reevaluate the place of government in his political system.

Made available in DSpace on 2016-12-08T16:03:14Z (GMT). No. of bitstreams: 1 claudia.pdf: 7253059 bytes, checksum: 2fe2a32b0085b43d12a3104968667d56 (MD5) Previous issue date: 2013-03-04 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This study addresses the issue of the imagination in the actor s work encouraged by aspects of the pedagogy of Jacques Lecoq. The research aimed at a better understanding of my experience as an actress, director, body coach and teacher, through a conceptual analysis of some aspects of this pedagogy. It s a practice based on codified exercises inspired on mime and mimism as well as on improvisations that take the nature and its intrinsic dynamics as the main theme. The notion of Fond Poétique Comum is identified as the fundamental view of this pedagogy that serves as inspiration for the imagination of the actors whilst associating its dynamics to their movement. This notion is discussed based on assumptions derived from the natural sciences, philosophy and Eastern thought, mainly from authors like Gaston Bachelard, Marcel Jousse, Henri Bergson and Fritjov Capra. Notably designed for the kind of theater in which the importance of the body practice overlaps the one of the spoken text, which it may even be dispensed, this pedagogy aims to instrument the performing arts artist in their different functions, and the actors are encouraged to develop an attitude of being the author of their work. Relationships are established with some historical aspects of the French theater of the twentieth century and the approaches to the imagination in the actor s work in Stanislavski and Chekhov, as well as questions about acting whether as performer or as an actor, present in the contemporary theater studies. The study was structured based on the organization of the practice itself, keeping the steps of presentation, stretching, warming up, improvisation and creation, taking as as corpus of analyses experiences as a student of the École International de Théâtre Jacques Lecoq, as the director of the shows O Baile dos Anastácio and O Defunto , as the actress of Gueto Bufo , as a teacher in several workshops, as well as testimonials of classmates, students and actors involved in these processes / Este estudo trata da questão da imaginação no trabalho do ator, incitado por aspectos da pedagogia de Jacques Lecoq. A pesquisa teve por objetivo uma melhor compreensão de minha experiência como atriz, diretora, preparadora corporal e professora por meio da análise conceitual de aspectos dessa pedagogia. São trabalhos práticos baseados em exercícios codificados, inspirados pela mímica e pelo mimismo e improvisações que tomam a natureza e sua dinâmica intrínseca como tema principal. A noção de Fundo Poético Comum é apontada como a visão fundamental dessa pedagogia, servindo como inspiração para a imaginação do ator, na medida em que associa sua dinâmica a seus movimentos. Tal noção é abordada com base em pressupostos oriundos das ciências naturais, da filosofia e do pensamento oriental, pautando-se principalmente em autores como Gaston Bachelard, Marcel Jousse, Henri Bergson e Fritjov Capra. Notadamente designada para o tipo de teatro no qual a importância da prática corporal sobrepõe-se à do texto falado, do qual pode até prescindir, essa pedagogia visa instrumentar o artista das artes cênicas em suas diferentes funções, e o ator é incentivado a desenvolver uma atitude de autor do seu trabalho. São estabelecidas relações com aspectos históricos do teatro francês do século XX e com as abordagens sobre a imaginação no trabalho do ator em Stanislavski e Chekhov, assim como o questionamento sobre a atuação enquanto performer ou ator presentes nos estudos teatrais contemporâneos. O estudo foi estruturado pela organização da prática em si, mantendo as etapas de apresentação, alongamento, aquecimento, improvisação e criação, tomando como corpus de análise experiências como aluna na École International de Théâtre Jacques Lecoq, como diretora dos espetáculos "O Baile dos Anastácio" e "O Defunto", como atriz de "Gueto Bufo", como professora em várias oficinas de teatro, assim como depoimentos de colegas, alunos e atores envolvidos nesses processos

Made available in DSpace on 2015-02-24T19:36:58Z (GMT). No. of bitstreams: 1 MartaAGG_TESE.pdf: 1435067 bytes, checksum: 90f7ddcfd2a216ca3831f34237754072 (MD5) Previous issue date: 2011-12-09 / Ce travail de th?se ici propos? a comme but de recherche la production lit?raire du po?te br?silien Manoel Wenceslau Leite Barros, Manoel de Barros, (1916 Cuiab?-MT) en l articulant avec la reflexion sur le concept de politique de l ?crite propos? par le philosophe alg?rien-fran?ais Jacques Ranci?re (1940 Algiers Alg?rie). L hypoth?se qui se presente est celle sur l ?crite po?tique de Manoel de Barros dont les ?marques du sensible? dans les exp?riences d?mocratiques sont perceptibles. Sa production inclue ce que se peut denominer d une micrologie po?tique, une reconfiguration du ?partager?, dans le sense de l ?laboration pratiques de l ?galit?, des pratiques de redistribution et de circulation des voix, instauratrices de la constitution esth?tiques des communaut?s diff?renci?es, consid?r?es comme alternatives, face au mod?le de syst?me canonique de la lit?rature. Au moment que sa fonctionnent comme des formes de subvertions, elles produisent des espaces ou marge d ?mancipation de l ?tre : lecteur et ?crivain, en d?clanchant des nouvelles perspectives ?thiques et esth?tiques. De cette mani?re, l objectif qui se dessine est ce qui comprend comment se configure la proposition d une politique de l ?crite de Manoel de Barros et la fa?on qu elle se place par rapport ? une politique des arts. Pour cela, nous utiliseront comme base la pens?e de Jacques Ranci?re qui se fait remarquer, les derni?res ann?es, pour entreprendre une refl?xion syst?matique et lucide par rapport aux relations ?xistantes entre esth?tique et politique dans la soci?t? pr?sente, ali? ? ce que se d?fine comme des mani?res et des formes de penser ?labor?es par le texte po?tique (lui m?me) de Manoel de Barros et de mani?re incontinu? dans ses entretiens-critiques, plubli?es dans des journaux et revues, pr?sent?es en vid?os, et nous n oublierons pas non plus des contributions th?oriques et des refl?xions parvenues de la pens?e contemporaine / O trabalho de tese aqui proposto possui como foco de investiga??o a produ??o liter?ria do poeta brasileiro Manoel Wenceslau Leite de Barros, Manoel de Barros, (1916 - Cuiab?-MT) articulando-a com a reflex?o sobre o conceito de pol?tica da escrita proposto pelo fil?sofo argelino-franc?s Jacques Ranci?re (1940 Algiers - Arg?lia). A hip?tese que se apresenta ? a de que na escrita po?tica de Manoel de Barros s?o percept?veis as ?marcas do sens?vel? nas experi?ncias democr?ticas. Sua produ??o engloba aquilo que se pode denominar de uma micrologia po?tica, uma reconfigura??o da partilha, no sentido de que elabora pr?ticas de igualdade, pr?ticas de redistribui??o e circula??o de vozes, instauradoras da constitui??o est?tica de comunidades diferenciadas, consideradas alternativas, em face ao modelo can?nico da literatura enquanto sistema. Ao funcionar como formas de subvers?o, estas produzem espa?os ou margens de emancipa??o do ente: leitor e escritor, desencadeando novas perspectivas ?ticas e est?ticas. Dessa forma, o objetivo que se traceja ? o de compreender como se configura a proposta de uma pol?tica da escrita na obra de Manoel de Barros e o modo como essa escrita se posiciona em rela??o a uma pol?tica das artes. Para tanto, utilizaremos como aporte basilar o pensamento de Jacques Ranci?re que se notabilizou, nos ?ltimos anos, por empreender uma reflex?o sistem?tica e l?cida a respeito das rela??es existentes entre est?tica e pol?tica na sociedade presente, aliado ao que se circunscreve como modos e formas de pensar elaboradas pelo pr?prio texto po?tico de Manoel de Barros e de maneira descont?nua em suas entrevistas-cr?ticas, publicadas em jornais e revistas e apresentadas em v?deos, assim como n?o descuraremos das contribui??es te?ricas e reflex?es advindas do pensamento contempor?neo

Sabemos que a querela entre Jean-Jacques Rousseau (1712-1778) e Jean-Philippe Rameau (1683-1764) está sujeita a diferentes leituras, cujo interesse muitas vezes foi reduzido a um curioso anedotário ou a uma disputa produzida tão somente pelos humores de ambos. Nesta pesquisa, contudo, para além do relato biográfico e das conjecturas sobre as causas da rivalidade entre Rousseau e Rameau, intentamos priorizar uma análise que buscasse balizar os posicionamentos estéticos de um e outro, com ênfase nos argumentos expostos por Rousseau em sua contraposição ao sistema harmônico de Rameau. Ao longo deste debate, entendemos que, ao esquadrinhar e, posteriormente, criticar os escritos de Rameau, Rousseau teria encontrado ideias extraordinariamente férteis que favoreceram o desenvolvimento de seu pensamento musical. Para sustentar a tese da preeminência da melodia sobre a harmonia, assim contrariando os princípios do sistema ramista, o autor da maior parte dos verbetes sobre música da Enciclopédia, da Carta sobre a música francesa e do Dicionário de música, jamais deixaria de se referir ao sistema harmônico de seu rival. A presente pesquisa tem como objetivo compreender a querela Rousseau-Rameau sob este aspecto, assim como apontar a relação da disputa assinalada com inflamados debates que também estiveram em pauta na França da segunda metade do século XVIII, a exemplo da Querela dos Bufões. Para tanto, além de examinar aspectos pontuais dos escritos musicais já mencionados, cotejando-os com alguns dos principais textos da vasta obra teórica de Rameau, procuramos nos deter na análise do texto de Rousseau intitulado Exame de dois princípios avançados pelo Sr. Rameau, cuja tradução apresentamos em anexo. / We know that the quarrel between Jean-Jacques Rousseau (1712-1778) and Jean- Philippe Rameau (1683-1764) is subject to different readings, whose interest has often been reduced to a curious collection of anecdotes or to a dispute produced only by the humors of both. In this research, however, beyond the biography and the conjectures about the causes of the rivalry between Rousseau and Rameau, we aim to prioritize an analysis that sought to mark the aesthetic positioning of one and the other, with emphasis on Rousseaus arguments as opposed to the harmonic system of Rameau. Throughout this debate, we understand that Rousseau, by scrutinizing and later criticizing Rameaus writings, would have found extraordinarily fertile ideas that favored the development of his musical thinking. To support the thesis of the preeminence of melody over harmony, thus contradicting the principles of the Rameaus system, the author of most of the articles on music at the Diderots Encyclopedia, of the Letter on French Music, and the Dictionary of Music, would never fail to refer to the harmonic system of his rival. The present research aims to understand the quarrel between Rousseau and Rameau in this aspect, as well as to point out the relationship of this dispute with inflamed debates that also were in agenda in France during the second half of the Eighteenth-Century, like the Quarrel of the Bouffons. Therefore, in addition to examining specific aspects of the musical writings already mentioned, comparing them with some of the main texts of Rameaus vast theoretical work, we seek to focus on the analysis of Rousseaus text entitled Examination of Two Principles Advanced by M. Rameau, whose translation into Portuguese we presented attached.