<p> An account of salient conceptions shared among McTaggart's contemporaries is offered to maintain the interpretive hypothesis that McTaggart's rejection of time may be a consequence of a more general metaphysical theory.</p> <p> Yet though McTaggart's rejection of time may follow from a more general account, the more general account may be false. In what follows we consider the possibility of generating complete lists from given wholes, as opposed to the practice of generating wholes by enumeration or induction. Historical support is offered for this scheme, followed by a distillation of McTaggart's doctrines, a brief linkage with mereological treatments of time and geometry, and an exegesis of McTaggart's unique account of change. Finally a treatment of McTaggart's argument for the rejection of time is offered which seeks to show that McTaggart's infamous conclusion has largely been misunderstood because of McTaggart's unfortunate emphasis on the verbal implications of his doctrines and the consequent subversion of his positive account of infinite divisibility, inclusion and the relation between descriptions and wholes.</p> / Thesis / Master of Arts (MA)

Cette étude se consacre à l’avènement du Je anti-lyrique dans la poésie italienne des années soixante. C’est à ce moment que la pensée post-métaphysique peut se dire assimilée par la culture italienne, qui y trouve une nouvelle clef de lecture de l’expérience de la guerre et du miracle économique. C’est aussi la période où le réel, cru et changeant, fait irruption dans l’expérience artistique. Elio Pagliarani, Mario Luzi et Vittorio Sereni nous ont parus des représentants emblématiques de cette nouvelle posture du sujet poétique. Nous avons étudié leurs ouvrages des années soixante par le biais de trois catégories principales : la mise en question du Je, le rapport entre le Je et le monde, le rapport entre le Je et les autres. Cette articulation nous a permis d’une part de suivre les trois étapes principales de la reformulation anti-lyrique du Je (face à lui-même, face au monde et face aux autres), et d’autre part de reconnaître une progression dans la perte de l’identité lyrique traditionnelle. Le poète, ayant perdu la consolation métaphysique, commence à rechercher la vérité dans le monde physique ; il comprend ensuite que la vérité des choses est éphémère et que toute unité est brisée ; et il donne enfin la voix à d’autres personnages, dans l’effort de comprendre ce questionnement polyphonique qui est désormais la véritable voix du monde et du poète lui-même. / This research focuses on the rise of the anti-lyrical I in the Italian poetry of the Sixties. This was the time when the post-metaphysical philosophy had been fully assimilated by the Italian culture, which started using it as a new reading key to under- stand WW2 experience and the so-called economic miracle. This was also the time when the raw and ever-changing real broke into the artistic experience. Elio Paglia- rani, Mario Luzi and Vittorio Sereni seemed to us emblematic representatives of this new poetic subject's posture. We studied their poems from the Sixties under three main categories: the questioning of the I, the relationship between the I and the world, and the relationship between the I and the others. This structure allowed us firstly to follow the three main stages of the anti-lyrical reformulation of the I (confronted to himself, to the world and to the others) and secondly to recognize a progression in the loss of the traditional lyrical identity. Aware of the loss of any metaphysical consolation, the poet begins to seek the truth inside the physical world; he the realizes that even objects/things bear a fleeting truth and that any unity is broken; and he finally gives voice to other characters in the effort to understand the polyphonic questioning which has become by now the real voice of the world and of the poet himself.