Zugl.: Basel, Universiẗat, Diss., 2006.

Notre travail cible l’œuvre théâtrale complète de Beniamino Joppolo (1906-1963). La première partie suit le cheminement biographique, esthétique, poétique, artistique, politique de l’auteur et spécifie la situation historique dans laquelle chacune des quarante-sept pièces a pu être élaborée. Elle est subdivisée en quatre parties, respectivement dédiées à la période de jeunesse, aux années milanaises, à la période dʼaprès-guerre et à la décennie parisienne. La seconde partie détaille lʼexpérience complexe de I carabinieri, faire-valoir indiscuté de l’œuvre théâtrale joppolienne. Elle présente une étude génétique comparative des différentes versions de la pièce, et analyse la collaboration avec le dramaturge J. Audiberti, et les épreuves de la scène de (R. Rossellini, 1962) et de lʼécran (J.-L. Godard, 1963). La troisième partie reprend la multitude d’indices donnés par lʼauteur en vue dʼune concrétisation scénique des productions, et propose une approche personnelle de trois pièces proches des mouvances absurde, expressionniste et magico-réaliste. Une bibliographie détaillée précède des annexes indispensables : une frise chronologique structurée ; une fiche-synopsis de présentation pour chaque pièces répertoriée ; les traductions de Lʼimbottigliaggio mostro [Monstrueux embouteillage], Lʼattesa [Lʼattente], Il fiore giallo e lʼalbero parlante [Paroles de fleur dʼor et dʼarbre transparent], et I microzoi [Les animalcules] ; l’entretien de Giovanni Joppolo, fils de l’auteur, réalisé en 2013 ; trois index (noms et notions, documents iconographiques, index général). / My research studies Beniamino Joppolo’s (1906-1963) complete theatrical works. The first part retraces the author’s biographical, aesthetic, poetic, artistic and political life and presents, in so doing, the historical context of the elaboration of each of his forty-seven plays. This part is subdivided in four sections dealing with respectively his youth, the Milan years, the post-war period and the Parisian decade. The second part focuses on I carabinieri and the complex experience that the play, indisputably a hallmark in Joppolo’s work, generates. It presents a genetic and comparative study of the different versions of the play, and analyses Joppolo’s collaboration with playwright J. Audiberti, and the workings of its adaptation for the stage (R. Rossellini, 1962) and for the screen (J.-L. Godard, 1963). The third part tracks the many clues left by the author to explore the stage adaptations of his productions and offers personal insights into three plays, related to the absurd, expressionist and magic-realist movements. A detailed bibliography precedes the required appendices : a structured chronological table; a synopsis for each identified play; the translations of Lʼimbottigliaggio mostro [Massive traffic jam], Lʼattesa [The wait], Il fiore giallo e lʼalbero parlante [The golden flower and the talking tree], et I microzoi [The microzoons] ; Giovanni Joppolo’s, the author’s son, interview, conducted in 2013 ; three indices (names and notions, illustrations, general index). / Il nostro lavoro è incentrato sull’opera teatrale di Beniamino Joppolo (1906-1963).La prima parte segue il percorso biografico, estetico, poetico, artistico e politico di J., especifica la situazione storica in cui ogni singola opera (47 in totale) è stata elaborata. Essa èsuddivisa in quattro capitoli dedicati al periodo giovanile, agli anni milanesi, al periodo deldopoguerra e al decennio parigino.La seconda parte dettaglia l’esperienza complessa de I carabinieri, pièce simbolicadell’intera produzione teatrale joppoliana. Si costituisce di uno studio genetico comparativodelle varie versioni del testo, e di un’analisi della collaborazione di J. con il drammaturgo J.Audiberti, e delle due concretizzazioni maggiori, quella registica di R. Rossellini (1962) equella cinematografica di J.-L. Godard (1963).La terza parte riprende gli indizi dati da J. con l’obbiettivo di realizzare scenicamente leproduzioni. Essa propone inoltre un approccio più personale di tre pièce rispettivamenteassociabili alle correnti assurda, espressionista e magico-realista.Una bibliografia dettagliata precede una serie di documenti annessi indispensabili: unatabella cronologica strutturata; una presentazione sintetica di ogni pièce repertoriata; letraduzioni de Lʼimbottigliaggio mostro [Monstrueux embouteillage], Lʼattesa [Lʼattente], Ilfiore giallo e lʼalbero parlante [Paroles de fleur dʼor et dʼarbre transparent], e I microzoi [Lesanimalcules]; l’intervista di Giovanni Joppolo, figlio dell’autore (2013); e tre indici (nomi enozioni, documenti iconografici, indice generale).

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Is there a relationship between science and happiness and, if so, what is it? Clearly, since the Enlightenment, science has increased life expectancy and bodily comfort. Is this happiness, or do humans long for something more? To examine these questions, I investigate the works of Jean-Jacques Rousseau. Specifically, I focus on the Discourses and the Emile, as he states in the Confessions that these works form a whole statement concerning the natural goodness of man. I agree with the literature that finds happiness, for Rousseau, is a sentiment one experiences when their faculties correspond to their desires, as this produces wholeness. In this dissertation, I find a form of modern science is necessary for humans to experience higher forms of happiness. This form of science is rooted in utility of the individual. To fully explain this finding, I begin with Rousseau's concept of being. By nature, our being experiences a low form of wholeness. I show Rousseau's investigation of being exposes a catch-22 situation for developing it to experience higher forms of wholeness. While freedom allows us to develop reason and judgment, we need reason and judgment to properly direct our freedom to perfect our individual being. I then show how three different types of tutors and educators, which include a scientific education, are directed by the single goal of maintaining wholeness in Emile's being so he can achieve the happiness of romantic love. Finally, I find that Emile's scientific education is an elaboration of the First Discourse and that his relationship with science, even from birth, plays a critical role for achieving romantic love in the future.

Qu'en est-il de l'instance théologique dans le texte de Jacques Derrida? Il s'agit de montrer, d'une part, que le texte derridien opère la déconstruction de l'économie théologique et, d'autre part, qu'il pointe vers une pensée anéconomique, dont le champ peut être investi par du théologique. En d'autres termes, la déconstruction derridienne de l'instance théologique n'est pas sans reste. Il paraît possible de dégager l'inscription de ce reste dans le texte même de Derrida: le théologique y paraît comme supplément dans la mesure où il supplée une béance qu'il dessine et laisse ouverte à la fois. À travers le passage incessant et non "relevable" (par exemple sous la forme hégélienne de la synthèse) entre une "déconstruction du théologique" et une "anéconomie théologique" se dessine le caractère athéologique de la déconstruction derridienne, interprétée ici comme discours de l'entré.

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published_or_final_version / abstract / Humanities / Master / Master of Philosophy

This dissertation offers a re-evaluation of the role of the imagination in Jean- Jacques Rousseau’s 'Emile: or On Education' (1762) and Christoph Martin Wieland’s 'Geschichte des Agathon' (1794). My central claim is that both novels develop a pedagogy of the imagination in order to overcome the dilemmas of Cartesian dualism, that is, to form a beautiful soul in whom sensuality and reason, the body and the spirit, coexist in harmony. I demonstrate that both texts highlight the important but potentially damaging role played by the imagination in the development of religious thought, moral sentiments, and sexuality. The texts suggest that while a malformed imagination results in materialism, egotism, libertinism, and despotism, a well-formed imagination provides the foundation for natural religion, cosmopolitan enthusiasm, sentimental love, and a just political constitution. Consequently, I argue that for Rousseau and Wieland, harnessing the power of the imagination becomes the key to reconciling human nature and civil society. In addition to elucidating the role of the imagination in 'Emile' and 'Agathon', this dissertation also contributes to an understanding of the intellectual affinities between Rousseau and Wieland more generally. In preparation for the comparative reading of 'Emile' and 'Agathon', I survey Wieland’s private and public responses to Rousseau and contend that although the two authors differ significantly in their narrative and philosophical approach, they nevertheless share similar moral and political ideals. Both authors acknowledge the ability of the imagination to drive a wedge between the individual’s natural inclinations and moral duties, causing fragmentation of the self and society in turn. Yet the imagination, the motor of cultural progress, is not only the source of man’s alienation, it is also the remedy for his dividedness. If properly harnessed, the imagination can cease to be the cause of human depravity and become the basis of peaceful human relations, both at the level of the individual and that of society as a whole. In conclusion, I propose that the role of the imagination in forming the beautiful soul has consequences for the collective, and that we can read the moral constitutions of Emile and Agathon as negotiating the possibilities of various political constitutions, including that of a democratic state. / Thesis (Ph.D, German) -- Queen's University, 2012-10-15 17:47:42.944

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