Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Si les propositions proprement révolutionnaires de l’apprendre comme de l’enseigner de J.-J. Rousseau au XVIIIe siècle ont pu alimenter toute la pensée de l’éducation pendant près de deux siècles, se seraient-elles effondrées au milieu du XXe siècle avec l’arrivée des Approches communicatives, Perspective actionnelle et Cadre européen commun de références pour les langues dans leur prolongement ? Ou bien, ces nouveaux modèles d’apprentissage rejouent-ils Emile ou de l’éducation ? Se pourrait-il que cette fiction nous informe du continuum et de la rupture avec la Tradition éducative occidentale depuis Platon ? car si Emile annonce l’apprenant d’aujourd’hui, ils se séparent radicalement quant à leur « destination » (Kant). Il est en effet des conditions pour que le métier d’homme, se transforme en savoir-être.De son côté, l’Essai sur l’origine des langues rousseauiste pose une question qui, même sondée par la linguistique, reste toujours en suspens. Le langage des hommes leur servirait-il à exprimer leurs besoins et leurs pensées ? Rousseau n’y croit pas, Saussure non plus, d’aucuns (Lacan pour principal) avance même que la langue sert à tout autre chose qu’à la communication, et d’autres, écrivains et poètes, lui font dire des choses insoupçonnées qu’on reconnaît cependant. Serait-elle néanmoins réductible à un savoir-faire par tout le monde ?A vouloir vite tourner les pages de l’histoire, la didactique (DLE et FLE notamment) se prive d’un illustre ancêtre qui pourtant voyait loin. Cette étude se propose d’y retourner. / If Jean-Jacques Rousseau’s radically innovative proposals for learning and teachning in tle 18th century nourished educational thought for two centuries, why did they collapse in the middle of 20th century with the development of Communicative and Action-oriented approaches, and, in their wake, the Common European Framework of References for Languages ? Or, alternatively, did these newer models of knowledge acquisition replay in some fashion or another the ideas contained in Rousseau’s Emile, or On Education ?Could it be that Rousseau’s fiction tell us about certain continuities and discontinuities in the Western intellectual tradition of educational thought since Plato ? If contemporary discussions of learning acquisition differ radically in Kantian terms of their ends, there are certain conditions necessary for vocational training to be transformed into life-skills (savoir-être).On the other hand, Rousseau’s Essay on the Origin of Languages asked a question to which contemporary linguists have been unable to give an adequate answer : does human language exists in order to express needs and thoughts ? Neither Rousseau, nor Saussure long after him, believed so. Lacan claimed that language serves another purpose besides communication. Others, writers and poets for example, regularly use language to say things otherwise unknown but recognizable nevertheless. Does this make language use’s purpose reducible to a form of expertise, or know-how (savoir-faire) ?In its rush to turn the pages of history, pedagogical approaches (notably Foreign Language Teaching and French Foreign Language programs) have deprived educational instructors of visionary aspects of Rousseau’s ideas about theses issues. This study shows their relevance to contemporary linguistic concerns.

A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of Philosophy / The aim of this thesis is to consider a concept of trauma which may offer support for the contemporary interest in and practice of painting. Jacques Lacan’s (1959-1960) structural and abstract articulations of trauma as das Ding is the central framework for the trajectory and form of the research and writing in this thesis. Lacan’s seminar on das Ding develops the notion that philosophical and social functions of art are aimed at structuring the traumatic and tragic sphere of experience. Das Ding is a hypothetical construct that resonates with Kant’s epistemological, moral and aesthetic philosophy. Primarily, I see the historical framework of das Ding as foregrounding a certain ‘ethics’ in my approach to painting and its interpretation. Kant’s own emphasis on the communicability art may offer is key to this thesis. His focus is not on interpretation as an act eliciting direct meaning from representations in art, but frames the potential for humane interaction: for how a consideration of the perception of beauty and the form of the cognitions that arise in private and public spheres may lay the groundwork for thinking about communicability in general. Through the lens of das Ding, I suggest that an emphasis on aspects of non objective, non-communicable elements of making and experiencing painting is a viable way of contemplating both its pleasures and, often, its more painful effects. I contend that the displacement of meaning enabled by conceptualising the structural implications of trauma, in theory and in the practice of painting, may sustain a quiet yet significant social position in the wider sphere of intellectual activity and pursuits. / GR2018

[pt] O treinamento consiste em se propor metas ainda inalcançáveis. É imaginar o improvável e, a partir daí, alcançar o possível proposto. A ideia de pôr o corpo à prova, de testá-lo, vem do trato com os animais. Treinar é preparar o corpo para uma ação, exigir dele, atingir objetivos e alcançar domínios desconhecidos, lidar com limites, alterá-los. A escrita é um corpo visual que ganha forma no treinamento do corpo físico. Na criação de uma escrita é preciso deixar que as frases sejam construídas em diferentes partes do corpo. Haruki Murakami, Michel Serres e Jacques Henri Lartigue treinam o corpo para inventarem gestos sensíveis: a literatura, a filosofia, a fotografia. O gesto relativo ao corpo não é apenas uma ação. O gesto se inscreve entre o pré-movimento, atitude em relação à gravidade, e o movimento. Há, nele, um desejo de se projetar no espaço que carrega a sua expressividade. Este corpo cria espaço, molda-se nele. Tem em si todas as forças que regem o espaço e está em contato ininterrupto com elas. As forças do corpo agem e reagem às forças que o circundam. É com elas, na fricção, no confronto, no embate com essas forças e com outros corpos, que há o acontecimento. / [en] The training consists of proposing oneself goals still unreachable. It is to imagine the improbable and, from there, reach the possible that was proposed. The idea of bringing the body to proof, to test it, comes from the handling with animals. Training is to prepare the body for an action, to demand on it, to achieve goals and reach unknown areas, to handle with limits, to change them. The writing is a visual body that takes shape in the training of the physical body. In the creative process of writing it is necessary to let the sentences be built in different parts of the body. Haruki Murakami, Michel Serres and Jacques Henri Lartigue train the body to invent sensitive gestures: literature, philosophy, photography. The gesture of the body is not just an action. The gesture signs up between the pre-movement – the attitude about gravity – and the movement. There is in it a desire to project itself into the space that carries its expressiveness. This body creates space, shapes up in it. It mixes all the forces that govern the space and it is in continuous contact with them. The forces of the body act and react to the forces that surround it. It is with them, in the friction, in the clash, in the battle against these forces and other bodies that the event arises.

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Made available in DSpace on 2015-04-14T13:55:25Z (GMT). No. of bitstreams: 1 464179.pdf: 1547523 bytes, checksum: 9bedfc6c3735086769229274145d05d3 (MD5) Previous issue date: 2014-12-05 / The main objective of this thesis focuses on articulate, primarily from the thought of Jacques Derrida, an alternative course to think about ethics, politics and democracy at present times, taking as the starting point the category of "hospitality", a philosophical adventure that can be understood as another name of deconstruction and, a central concept in the thinking of the Algerian-French philosopher. Therefore, it refutes the category of "tolerance", idea that synthesizes, in general, the tradition of thinkers identified with the Enlightenment heritage, both in Modern as Contemporary Philosophy, and it still proclaims itself as the last step of History, in the context of human relationships and among States. Thus, the hospitality, accordingly to Derrida, would be the enough powerful category to redirect the discussion of freedom, politics and democracy (and all the other circumstances that slides to those categories) to the dimension of the to come and so, for the reinsertion of temporality as a philosophical element that rebels to beyond the domestication enforced by the desire to control, summed up in the idea of desire for sovereignty. In this thesis, sovereignty will be designed both on the dimension of intersubjective relationship as the "desire for appropriation" employed by the ipseity of the same on an otherness, seen in the relationship between the host and the guest (whether as a foreigner, a rougue or of ghost) - as in the political context (in the strict sense), where the concept of sovereignty (expressed under the control of tolerance) acts from the authority of Law, the boundaries between States, the nationality, and the homeland at last, under the level of predictability and calculability. The aporia established between the hospitality Law and the laws of hospitality, developed by Derrida, leads the thought of the sovereignty deconstruction to an opening capable of enabling the reinvention of a left wing political thought, silently waiting in the event of the democracy to come. / O principal objetivo desta tese concentra-se em articular, primordialmente a partir do pensamento de Jacques Derrida, uma rota alternativa para pensar-se a ?tica, a pol?tica e a democracia dos tempos atuais, tendo como ponto de partida a categoria da "hospitalidade", aventura filos?fica que pode ser compreendida como um outro nome da desconstru??o e um conceito central no pensamento do fil?sofo argelino-franc?s. Assim, refuta-se a categoria da "toler?ncia", ideia que sintetiza, em linhas gerais, uma tradi??o de pensadores identificados com a heran?a iluminista, tanto na Filosofia Moderna quanto Contempor?nea, e que se proclama ainda como o ?ltimo passo da hist?ria, no contexto das rela??es humanas e entre Estados. Dessa forma, a hospitalidade, no pensamento de Derrida, seria a categoria suficientemente potente para redirecionar a discuss?o a respeito da liberdade, da pol?tica e da democracia (e demais circunst?ncias que resvalam a tais categorias) para a dimens?o do por vir e, portanto, para a reinser??o da temporalidade como elemento filos?fico que se insurge para bem al?m das tratativas de domestica??o impostadas pelo desejo de controle, sintetizado na ideia de desejo de soberania. A soberania, nessa tese, ser? pensada tanto na dimens?o da rela??o intersubjetiva - no "desejo de apropria??o" empregado pela ipseidade do mesmo sobre uma alteridade, vista na rela??o entre o hospedeiro e o h?spede (seja na condi??o de estrangeiro, de vadio ou de fantasma) - quanto no contexto pol?tico (em seu sentido estrito), onde o conceito de soberania (expresso sob o comando da toler?ncia) atua a partir da autoridade do direito, das fronteiras entre Estados, da nacionalidade, da p?tria, enfim, sob o plano da previsibilidade e da calculabilidade. A aporia que se instaura entre a lei da hospitalidade e as leis da hospitalidade desenvolvidas por Derrida, conduz o pensamento da desconstru??o da soberania para uma abertura capaz de viabilizar a reinven??o de um pensamento pol?tico de esquerda, na espera silenciosa pelo acontecimento da democracia por vir.

La tesis que sustento utiliza el método genético relacional para establecer una lectura del concepto de virtud en Rousseau en conexión con otros conceptos fundamentales de este autor a fin de comprender la evolución de dicho concepto de implicancias tanto teóricas como prácticas. El método adoptado permite comprender el proceso de gestación de la modernidad y de sus problemas más importantes desde una perspectiva filosófica teniendo a Rousseau como protagonista intelectual. Desde una perspectiva antropológica, Rousseau insiste en una complementariedad entre sentimientos y razón en la que la virtud cumple un papel fundamental ya que es entendida como la fuerza de voluntad que modera nuestras pasiones en relación con nosotros mismos y con los demás. Se observa, también, que la razón rousseauniana se distingue de la kantiana porque, siguiendo a Locke, en el ginebrino se trata de una razón que posee una finalidad práctica, útil para la mayoría de los seres humanos. El estado de naturaleza responde a las necesidades del ser humano, pero dicho estado requiere, por la condición social del ser humano, complementarse en el estado político, donde el hombre logrará perfeccionar sus capacidades morales en el intercambio con otros hombres. La dimensión moral de virtud en Rousseau, reivindicando formas morales subestimadas, realiza una crítica de la moralidad social de su época interpretando la virtud como una capacidad moral de todos los seres humanos, independientemente de sus peculiaridades. Esta dimensión en conexión con conceptos fundamentales como libertad, igualdad y dignidad permite dar el paso decisivo del mundo racionalista y religioso antiguo al voluntarismo del mundo político moderno. Finalmente, desde una dimensión esencialmente política, el concepto de virtud cívica, como conformidad de la voluntad particular a la voluntad general, permite comprender cómo el concepto de virtud de Rousseau, enraizado en el republicanismo cívico, logró operar la transformación social de un mundo de comunidades fragmentadas con lazos débiles en permanente conflicto del mundo cristiano al mundo político complejo del Estado-Nación moderno con leyes e instituciones políticas que tienen como propósito unir a ciudadanos de identidades culturales diversas en un pluralismo social que privilegia el criterio político-jurídico antes que el moral-religioso. / Tesis

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2015-04-17T12:58:07Z No. of bitstreams: 1 467296 - Texto Completo.pdf: 1076170 bytes, checksum: e273774798ec89ebbbe67502405c380f (MD5) / Made available in DSpace on 2015-04-17T12:58:08Z (GMT). No. of bitstreams: 1 467296 - Texto Completo.pdf: 1076170 bytes, checksum: e273774798ec89ebbbe67502405c380f (MD5) Previous issue date: 2015-03-30 / Le texte suivant cherche d?offrir des moyens th?oriques pour une interpr?tation ? propos de la mort chez Maurice Blanchot et Jacques Derrida. Les points d?importance dans lesquels le travail s?approfondit sont les suivants. D?abord, on pr?sente la pertinence de la mort dans la pens?e blanchotienne, soulignant sa relation avec les pens?es de Hegel, Heidegger et Bataille, entreprenant une lecture principalement de ? La litt?rature et le droit ? la mort ?. Pourtant, il s?agit ici de pr?senter, au contraire, des arguments qui d?voilent une s?paration de Blanchot aux interpr?tations de la mort dans la pens?e des auteurs susmentionn?s, mettant en ?vidence sa plus grande importance dans la discussion avec Derrida et, dans un certain sens, avec Levinas ? cette perspective appara?t, surtout, dans L?entretien infini et L??criture du d?sastre. Apr?s on pr?sente, sp?cifiquement chez Derrida, la port?e de la mort pour le d?veloppement de la pens?e derridienne en g?n?ral et de la d?construction. Ainsi, il s?agit de souligner les arguments derridiens, dans des partes relativement diverses de son oeuvre, pour mettre en ?vidence la centralit?, dans la d?construction, d?une critique de la mort et de l?appr?hension philosophique de la mort comme moyen arch?type d?une sensification qui l?gitime le discours conceptuel. ? cet instant, on s?affaire ? d?montrer l?importance, presque axiomatique, d?une critique de l?utilisation de la mort pour le mouvement de la d?construction, pr?sentant donc, ? partir de Le S?minaire La peine de Mort, la d?construction de la mort comme un?aspect particuli?rement important dans l?ampleur de la pens?e de Derrida Finalement, on s?affaire ? pr?senter la convergence et l?intimit? entre les pens?es de Derrida et Blanchot, tel que ses analogues perspectives apor?tiques, qui insistent sur l?irr?ductibilit? de la mort au travail de la pens?e, comme un ?l?ment essentiel ? au-del? et en-de?? de l?essence ? de l?alt?rit?. Ainsi, l?impossibilit? de mourir comme d?nonciation du mouvement dialectique, elle se rassemble ? la d?construction de la mort en tant qu?une critique de la l?gitimation de la v?rit? ? partir d?une d?termin? appr?hension de la mort. Outre ces concepts, on insiste sur les caract?res de la po?sie et de l?alt?rit?, exprimant l?implication de cette question aux pens?es de l??thique et de l?esth?tique en tant que formes d?un t?moignage incommensurable aux tentatives de circonscription de la vie. / Esta disserta??o trata de elencar subs?dios para uma interpreta??o a respeito da morte na obras de Maurice Blanchot e Jacques Derrida. Os pontos de pertin?ncia em cuja tese se desdobra s?o os seguintes. Primeiramente, a pertin?ncia da morte dentro do pensamento blanchotiano, destacando suas rela??es ao pensamento de Hegel, Heidegger e Bataille, abordando, principalmente, ?La litt?rature et le droit ? la mort?. Neste sentido, a disserta??o trata de apresentar argumentos que demonstram uma separa??o de Blanchot ?s interpreta??es sobre a morte nos autores citados, inserindo sua pertin?ncia maior na discuss?o com Derrida e, de certo modo, com Levinas ? perspectiva tomada, sobretudo, de L?entretien infini e L??criture du d?sastre. Em seguida apresenta-se, detidamente em Derrida, a crucialidade da morte para o desenvolvimento em sentido lato do pensamento derridiano e da desconstru??o. Assim, trata-se de destacar os argumentos derridianos, em setores parcialmente diversos da sua obra, para evidenciar a estreita liga??o da desconstru??o com uma cr?tica da morte e da apreens?o filos?fica do pensamento da morte como atributo arqu?tipo de uma sensifica??o que legitima o discurso conceitual. Neste ponto, a preocupa??o do trabalho ? fazer surgir a import?ncia, quase que axiom?tica, de uma cr?tica do uso da morte para o movimento da desconstru??o, apresentando, portanto, a partir de Le S?minaire La peine de Mort, a desconstru??o da morte como um aspecto de extrema relev?ncia no amplo pensamento de Derrida. Finalmente, a disserta??o trata de fazer convergir e evidenciar a intimidade da rela??o entre os pensamentos de Derrida e Blanchot, na sua similar orienta??o apor?tica, que insiste na irredutibilidade da morte ao trabalho do pensamento, como elemento essencial ? al?m e aqu?m da ess?ncia - da alteridade. Assim, a impossibilidade de morrer, como den?ncia do movimento dial?tico, seria an?loga ? desconstru??o da morte enquanto cr?tica da legitima??o da verdade a partir de uma determinada apreens?o da morte. Diagonalmente a tais conceitos, a disserta??o insiste sob os caracteres da poesia e da alteridade, expressando a implicabilidade desta quest?o aos pensamentos ?tico e est?tico como formas de um testemunho incomensur?vel ?s tentativas de circunscri??o da vida.

Magister Artium - MA (English) / After the 1976 student uprising, South Africa entered a period of increased violent state repression. The struggle against apartheid also became increasingly globalised, as can be seen in the UN resolution and the rise of various international anti-apartheid organisations. My thesis looks at the various ways in which art was used as a response to the crisis of late apartheid in the 1980s, focusing on a landmark international exhibition, the Art Contre Apartheid exhibition which opened in Paris on 1983. It examines the context and history of the Art Contre Apartheid collection, and follows its path to its current location at the Mayibuye Archive at the University of the Western Cape, where it mostly languishes in packing crates. My research locates its analysis of the works in broader debates around art and politics during the struggle years in South Africa, but also to highlights the continuities and contrasts between international responses to apartheid, and local struggle art produced in the period surrounding the launch of the exhibition. Some of most compelling works of art in the collection depict the human form, and register acts of torture. The analysis focuses specifically on depictions of a fragmentation and dismemberment of the human body. Drawing on Elaine Scarry's argument about the limitations of language as an adequate response to trauma, my research develops an analysis of these works that demonstrates how the body becomes a privileged site in which violent political contestations are made visible. The thesis also deals extensively with the 'absence of form', which highlights the various instances in the ACA collection where abstract art was used as a signifier of pain, and thus the unspeakable effects of apartheid.