Bien qu’on ait longtemps considéré le désespoir ou la souffrance comme un facteur de précipitation de l’expérience religieuse, aucune étude n’a été effectuée sur les liens entre une expérience d’abus sexuels et une conversion religieuse subséquente. Une revue de la littérature sur la dynamique religieuse des abus sexuels révèle deux paradigmes opposés : la religion comme ressource ou comme facteur de risque. De même, un examen des études sur la conversion indique trois dichotomies : un converti actif ou passif, une conversion soudaine ou progressive, et la conversion comme phénomène normal ou pathologique. Or, un recensement des témoignages anecdotiques de victimes d’abus sexuels qui ont subséquemment vécu une conversion suggère que l'interaction entre les deux événements est plus complexe. Pour dépasser ces dichotomies paradigmatiques, nous préconisons une approche narrative. Plus spécifiquement, nous utilisons le concept d’identité narrative développé par Paul Ricœur. Ce concept s’inscrit dans la dynamique ricœurienne de triple mimèsis, laquelle assure une fonction de liaison entre le champ pratique et le champ narratif. De façon générale, notre stratégie méthodologique consiste à déterminer comment, à partir d’éléments biographiques issus de la préfiguration (mimèsis I), le sujet configure son récit pour donner sens à son expérience (mimèsis II) et la refigure pour aboutir à une identité de survivant ou de converti (mimèsis III). Sept entrevues non directives ont été effectuées auprès de personnes qui ont subi des abus sexuels durant leur enfance et qui ont plus tard vécu une conversion religieuse dans le milieu évangélique. À partir de l'analyse en trois étapes mentionnée ci-dessus, nous évaluons la contribution positive ou négative des divers éléments narratifs et, surtout, de leur interaction à la construction de l’identité narrative du sujet. Nous en concluons que le rapport entre des abus sexuels subis durant l’enfance et une conversion ultérieure n’est pas si simple que la littérature pourrait le laisser soupçonner. La conversion peut s’avérer salutaire à la survie du sujet et contribuer à la guérison du traumatisme sexuel qu’il a subi. Toutefois, certains éléments religieux peuvent faire obstacle au processus de recouvrement. Ces éléments nocifs varient d’un sujet à l’autre, et ce qui est délétère pour l’un peut être bénéfique pour l’autre, selon la configuration du récit. / Although despair or discontent has long been thought to be a precipitating factor for religious experience, there has been no systematic investigation of the possible links between sexual abuse and religious conversion. A review of literature on the religious dynamics of sexual abuse reveals opposite paradigms: religion as risk factor and religion as resource. Likewise, a review of conversion studies reveals three such dichotomies: active or passive convert, sudden or gradual conversion, and conversion as normal or pathological. Anecdotal evidence from the literature suggests that the interaction between sexual abuse trauma and a subsequent conversion is more complex. To transcend these paradigmatic dichotomies, a narrative approach is advocated. More specifically, I use the concept of narrative identity as developed by Paul Ricœur. This concept relates to the Ricœurian notion of triple mimèsis, which links the practical and narrative fields. Starting from biographical elements from the narrative (mimèsis I), how does the subject configure his account to make sense out of his experience (mimèsis II) and refigure it to construct a survivor/convert identity (mimèsis III). Seven non-directive interviews were conducted with people who have suffered sexual violence during childhood and who subsequently experienced a religious conversion. From the aforementioned three-step analysis, the positive or negative contribution of the narrative elements – but mostly their interaction – to the subject’s narrative identity can be evaluated. We conclude that the relationship between childhood sexual abuse and a later conversion is not as simple as the literature would lead us to believe. Conversion can be beneficial to the subject’s survival and contribute to the healing of the sexual trauma. However, some religious elements can hinder the recovery process. These harmful elements vary from one person to another, and what is harmful for one can be beneficial for another, depending on the life story’s configuration.

Qu’advient-il lorsqu’un dramaturge à succès se glisse dans la peau d’un chroniqueur? Comment se manifeste alors l’influence du modèle théâtral sur sa prose narrative? À une époque où la question des genres canoniques semble dépassée et où les notions d’intergénéricité et d’hybridation paraissent plus aptes à expliquer les pratiques esthétiques contemporaines, nous avons choisi de nous intéresser aux différentes modalités d’inscription de la théâtralité dans les « Chroniques du Plateau Mont-Royal » de Michel Tremblay. Notre premier chapitre se penche sur les manifestations ostensives de la théâtralité dans les six récits. Grâce au recours à des figures comme l’hypotypose et à certains procédés de distanciation comme la mise en abyme, l’adresse au lecteur et l’aparté, le lecteur assiste à une mise en œuvre récurrente du dispositif spectaculaire. Notre deuxième chapitre porte sur les procédés de dramatisation du romanesque. À travers un mouvement impétueux qui fait alterner et même cohabiter le comique et le tragique, le réel et le fantastique, le sublime et le grotesque, l’excès et le manque, l’auteur pratique non seulement le mélange des genres et des tonalités au sein de son œuvre, mais fait appel à divers procédés qui visent à produire la catharsis chez le lecteur. Notre troisième chapitre dégage les modalités de théâtralisation de la parole romanesque. Par la mise en place d’un double régime discursif, qui oscille entre l’effacement de l’énonciation auctoriale et la pulsion rhapsodique, l’auteur donne à voir une parole romanesque qui reflète les grands enjeux de l’écriture dramatique contemporaine. / What happens when a successful playwright attempts to play the part of a chronicler? How does the influence of the theatre manifest itself in his narrative prose? At a time when the question of the canonic genres seems to have become obsolete and where the notions of intergenericity and hybridism seem more apt at explaining modern esthetical practices, we chose to target the various ways in which theatricality inscribes itself in Michel Tremblay’s Chroniques du Plateau Mont-Royal. Our first chapter looks at the ostensive manifestations of theatricality in the six stories. Through recourse to figures such as hypotyposis and other distancing processe, like mise en abyme, the address to the reader and the aside, the reader witnesses a recurrent manifestation of the spectacular device. Our second chapter targets the dramatization process of the novelistic. Through an impetuous movement that makes comic and tragic, reality and fantasy, sublime and grotesque, excess and lack alternate and even cohabit, the author claims not only a mix of genres and tonality within his works but he also provokes an outbidding of processes which aim at triggering a catharsis within the reader. Our third chapter outlines the theatricality modes of the novelistic voice. Through the implementation of a double discursive regime which oscillates between the author’s self-effacement and enunciation and rhapsodisation, the writer’s novelistic word reflects the great stakes of contemporary playwriting.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Una ricerca che si prefigga di studiare la danza teatrale nel Settecento s’imbatte inevitabilmente in un nodo problematico: l’oggetto della ricerca non è (più). Di esso sono rimaste soltanto alcune tracce, ovvero una serie di materiali eterogenei che si presentano come effetti capaci di mostrare la causalità della causa – l’oggetto vacante – ma non la sua forma. A partire dalle opere riformatrici di G. Angiolini e J.G. Noverre nonché dai testi di diversi filosofi coevi interessati allo statuto del gesto, la tesi interroga la congerie di effetti sopravvissuta al ballet d’action per approfondire la danza come forma artistica e forma del sapere all’interno del più ampio sistema della rappresentazione. Nello specifico la tesi si propone di mostrare come il segno negativo che contraddistingue variamente la disciplina tersicorea e il dibattito critico su di essa nel XVIII secolo sia da ricondurre più propriamente all’essenziale matrice espressiva del gesto stesso e abbia contribuito a un progressivo slittamento del paradigma classico della mimesi della natura da un’accezione “imitativo-riproduttiva” a una “espressivo-creativa”. / A research that aims at examining the theatrical dance in the XVIII century is bound to face a problematic crux: the research object is not anymore. Some traces have remained, namely, a series of various materials able to show the causality of the cause – the vacant object – but not its form. The survey starts from the revolutionary works by G. Angiolini and J.G. Noverre and goes through different philosophicals texts of authors who were interested in the status of the gesture; it questions the bunch of effects which overcame the ballet d’action in order to look into the dance as a form of art and knowledge within the wider system of representation. Particularly, the research wants to show as the negative sign which marks this discipline and the XVIII critical debate on it has to be referred to the essential expressive nature of the gesture which led to a progressive shifting of the classic paradigm of the mimesis of nature from being “imitative-reproductive” to become “expressive-creative”

Ο σκοπός της παρούσας μεταπτυχιακής εργασίας είναι η μελέτη της συλλογιστικής πορείας του Πρόκλου, έτσι όπως διαμορφώνεται στο έργο του Εις τας Πλάτωνος Πολιτείας υπόμνημα, όσον αφορά στις έννοιες της παιδείας και της πολιτικής. Η έννοια της παιδείας εξετάζεται από τον νεοπλατωνικό φιλόσοφο μέσα από το πρίσμα των προτροπών και των απαγορεύσεων που έχει προτείνει ο Πλάτωνας στο έργο του Πολιτεία για την ορθή διαμόρφωση της προσωπικότητας των νέων, όπως για παράδειγμα ο «εξορισμός» της ποίησης του Ομήρου από την παιδεία των νέων, εξαιτίας της χρήσης της έννοιας της μίμησης και των μύθων. Η μουσική αναδεικνύεται ως βασικό και ιδιαιτέρως σημαντικό μάθημα στην παιδεία των νέων μέσα από την επιλογή των κατάλληλων αρμονιών και ρυθμών. Ο Πρόκλος σχολιάζει εκτενώς την καινοτόμα άποψη του Πλάτωνα για την κοινή παιδεία που θα πρέπει να λάβουν τόσο οι άνδρες όσο και οι γυναίκες μέσα στην πόλη, ώστε να επιτευχθεί η δυναμική συμμετοχή και ανάληψη των πολιτικών καθηκόντων από όλους τους πολίτες ανεξαιρέτως. Η έννοια της πολιτικής εξετάζεται από τον νεοπλατωνικό φιλόσοφο μέσα από την έννοια της δικαιοσύνης, η οποία κατέχει κεντρικό ρόλο στην Πολιτείαν του Πλάτωνα, καθώς και μέσα από την αναλογία της τριμερής διάκρισης των μερών της ψυχής και των μερών της πόλης με σκοπό να καταστεί σαφές ότι κάθε άνθρωπος και κατ’ αναλογίαν κάθε πόλη διακατέχονται από την αρετή της δικαιοσύνης μόνο όταν τα μέρη τους συμβιώνουν αρμονικά. Σε αντίθετη περίπτωση επέρχονται παθογενείς καταστάσεις τόσο στην ψυχή όσο και στην πόλη. Τέλος, ο Πρόκλος αναφέρεται διεξοδικά και στην μεταβολή των πολιτευμάτων στην Πολιτείαν του Πλάτωνα, επιχειρώντας να τονίσει ότι η ελλιπής και η μη ορθή παιδεία των νέων θα οδηγήσει σε διχοστασία τους άρχοντες με αποτέλεσμα την κατάλυση της άριστης πολιτείας. Η παιδεία λοιπόν, αποτελεί εκείνον τον θεσμικό και γνωσιολογικό παράγοντα που κατά την γνώμη του Πρόκλου, στηριζόμενος στις απόψεις του Πλάτωνα, θα επιτύχει να αναδείξει εκείνους τους ηγέτες οι οποίοι θα είναι ικανοί για την πολιτική και πολιτιστική ανασυγκρότηση της κοινωνίας. / The purpose of the present M.A. dissertation is to study the reasoning process of Proclus about the concepts of education and politics, as they discussed in Plato’s Republic. The concept of education is examined by the Neo-Platonic philosopher through the prism of prompts and prohibitions that have proposed by Plato for the proper conformation of the personality of young people, such as the “exile” of Homer’s poetry because of the use of the concepts of imitation and myths. The music is emerging as an essential and very important lesson in the education of young people through the selection of the appropriate harmonies and rhythms. Proclus has also commented extensively on the innovative aspect of Plato on the common education which should take both men and women in the city, so as to achieve active involvement and commitment of the political duties of all citizens. The concept of policy considered by the Neo-Platonic philosopher through the concept of justice, which has central role in Plato’s Republic, and through the tripartite separation of the soul and the city in order to make clear that every person and every city, in the basis of their analogy, possess the virtue of justice only when their parts coexist harmoniously. Otherwise, occurre pathogenic conditions both in the soul and in the city. Finally, Proclus refers thoroughly to the change of political regimes in Plato’s Republic, attempting to emphasize that the incomplete and incorrect education of young people will lead to controversies between rulers, resulting in the destruction of the excellent state. Education, therefore is that institutional and epistemic agent that will succeed to highlight those leaders who will be able in the political and cultural reconstruction of the society.

[pt] A presente dissertação tem como proposta compreender como são construídas as representações do testemunho traumático, no caso a experiência dos sobreviventes da bomba atômica que atingiu Hiroshima e Nagasaki, a partir da narrativa gráfica da obra de Keiji Nakazawa, Gen - Pés Descalços. Visando assinalar a importância da interdisciplinaridade nos estudos históricos e assim compreender com maior profundidade o contexto histórico e o episódio, foi necessária a realização de discussões que envolvem a relação entre ficção e realidade, a questão da memória, o conceito de narrativa, o discurso histórico, a questão da representação e da imagem, a noção de autobiografia, a concepção de trauma e a ideia da mimesis. / [en] This work has the purpose to understand how representations are constructed of traumatic testimony, if the experience of the survivors of the atomic bomb that hit Hiroshima and Nagasaki, from the graphic narrative of the work of Keiji Nakazawa, Barefoot Gen. Aiming to emphasize the importance of interdisciplinarity in historical studies and so understand more deeply the historical context and the episode was needed for discussions involving the relation between fiction and reality, the question of memory, the concept of narrative, the historical discourse the question of representation and image, the notion of autobiography, the conception of trauma and the idea of mimesis.

Made available in DSpace on 2016-12-08T16:52:01Z (GMT). No. of bitstreams: 1 117290.pdf: 1244456 bytes, checksum: d0b80ea990decd774f55285914b140fe (MD5) Previous issue date: 2014-07-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This research aims to analyze the theatrical stage design in relation to the scenic area as image and significant object. The Italian stage expresses a kind of representation grounded in classic patterns which became hegemonic through more than four centuries. As drama‟s plastic fundament, set design mediates text and visuality based on the key-concept of "mimesis" and offers itself to analysis from the perspective of the baroque allegory and the concept of frame as scenic and architectural condition. The concept of "allegory" is the radiating center of the scenographic language in use on Italian stage and its space; and the concept of "dialectical image" concludes his critique. The scenography of Vida and Esta Criança (companhia brasileira de teatro, Curitiba/Brazil, 2010 and 2012) are analyzed from these concepts in the context of history and theory of theater and arts. / Esta pesquisa pretende analisar a cenografia teatral em relação ao espaço cênico enquanto sua imagem e objeto significante. O palco italiano expressa uma forma de representação pautada em padrões clássicos que se tornou hegemônica durante mais de quatro séculos. Enquanto suporte plástico do drama, a cenografia faz a mediação entre texto e visualidade partindo da mimese e se abre à análise da perspectiva, da alegoria barroca e da moldura como condição cênica e arquitetônica. O conceito de alegoria é o centro irradiador da linguagem da cenografia de palco italiano e seu espaço; e o conceito de imagem dialética arremata a crítica. As cenografias do espetáculo Vida e Esta Criança (companhia brasileira de teatro, Curitiba, 2010 e 2012)1 são analisadas a partir destes conceitos e no contexto da história e da teoria do teatro e da arte.

Made available in DSpace on 2014-12-17T14:00:18Z (GMT). No. of bitstreams: 1 CarlaPM_DISSERT.pdf: 3215570 bytes, checksum: eba1e4312339fc642bcdc7da3ddb36ec (MD5) Previous issue date: 2013-03-25 / The present dissertation has begun with an investigation about the application of the Technique of the Corporeal Mimesis, systematized by the Lume, Interdisciplinary Center for Theatrical Research of Unicamp, associated with the matrix of Rural Maracatu, specifically of the group Cambinda Brasileira (Nazar? da Mata PE), with the purpose of promote the training and the composition work of the actor. Starting from an empirical methodology, which used the analysis of practical experiences the application process of the Corporeal Mimesis and the construction of a theater play associated with bibliographical research, I could investigate possible ways of re-signification of this technique, using components related to the ritual and the game present in the popular event in question, and experience such paths through the conception of the play Cravo do Canavial / Essa disserta??o se deu a partir de uma investiga??o sobre a aplica??o da T?cnica da M?mesis Corp?rea, sistematizada pelo Lume, N?cleo Interdisciplinar de Pesquisas Teatrais da Unicamp, associada ? matriz do Maracatu Rural, especificamente do grupo Cambinda Brasileira (Nazar? da Mata PE), a fim de fomentar o treinamento e o trabalho de composi??o do ator. A partir de uma metodologia emp?rica, que se utilizou da an?lise de experi?ncias pr?ticas processo de aplica??o da Mimese Corp?rea e montagem de espet?culo teatral associada ? pesquisa bibliogr?fica, pude investigar caminhos de poss?vel resignifica??o desta T?cnica, utilizando elementos referentes ao ritual e ao jogo presentes na manifesta??o popular em quest?o e experimentar atrav?s da concep??o do espet?culo Cravo do Canavial tais caminhos

Made available in DSpace on 2014-12-17T15:07:20Z (GMT). No. of bitstreams: 1 JoseWLT_TESE.pdf: 1108969 bytes, checksum: bf9b38dbe3bdad6921a8da52cbd0de7b (MD5) Previous issue date: 2012-06-02 / This study approach the Jorge Luis Borges s prose of fiction under the perspective of mimesis and the self-reflexivity. The hypothesis is that the Aleph is a central symbol of the Borges s fictional universe. The rewriting and the retake of this symbol along of his work entail to a reflection about the possibilities and the limits of mimesis. This study is divided in three parts which contain two chapters. The first part Bibliographic revision and conceptual fundaments of inquiry discuss the critical fortune of author (Chapter 1) and the concepts that will give sustentation to the inquiry (Chapter 2). The second part About the Borges s aesthetic project sketch out the literary project defended by Borges that is his conception of the literature and his ideological matrix (Chapter 3) beside his anti-psychologism and his nostalgia of epos (Chapter 4). The third and last part is entitled The Aleph and his doubles. In the chapter 5 this study analyses the short story El Aleph and consider its centrality on the Borges s work. The argument that is on this short story Borges elaborates a reflection about mimesis. In the chapter 6, on the same hand, four short stories will be analysed: Funes el memorioso ; El Libro de Arena ; El evangelio seg?n Marcos and Del rigor en la ciencia . The conclusion that is the Borges s literature is self-awake of its process as such demonstrate its parodic sense and its bookish origin. Hence, the Borges s literature overlapping the mimetic crisis of language and challenge the limits between fiction and reality. However, it doesn t surrender to the nihilist perspective that is closing of literature to the world / Este estudo aborda a prosa de fic??o de Jorge Luis Borges sob a ?tica da m?mesis e da auto-reflexividade. Parte-se da hip?tese de que o Aleph ? o s?mbolo central do universo ficcional de Borges, e que sua retomada e reescrita ao longo de toda a obra borgeana vincula-se a uma reflex?o sobre as possibilidades e os limites da m?mesis. Divide-se o trabalho em tr?s partes, cada uma contendo dois cap?tulos. A primeira parte Revis?o bibliogr?fica e fundamentos conceituais da pesquisa discute a fortuna cr?tica do autor (Cap?tulo 1) e os conceitos que d?o sustenta??o ? pesquisa (Cap?tulo 2). A segunda parte Sobre o projeto est?tico de Jorge Luis Borges delineia o projeto liter?rio defendido por Borges: sua concep??o de literatura e suas matrizes ideol?gicas (cap?tulo 3); seu antipsicologismo e sua nostalgia do epos (cap?tulo 4). A terceira e ?ltima parte intitula-se O Aleph e seus duplos; no cap?tulo 5, analisa-se o conto El Aleph , considerando sua centralidade na obra borgeana e como nele se elabora uma reflex?o sobre a m?mesis; no cap?tulo 6, sob a mesma perspectiva, analisam-se quatro contos de diferentes obras do autor Funes el memorioso ; El Libro de Arena ; El evangelio seg?n Marcos e Del rigor en la ciencia . Constata-se que a literatura de Borges, autoconsciente de seus processos, como o demonstram seu senso par?dico e sua proced?ncia livresca, exaspera a crise mim?tica da linguagem e tensiona os liames que unem fic??o e realidade, por?m n?o sucumbe ? perspectiva niilista de fechamento da literatura ao mundo

La première naissance du roman de langue grecque a coïncidé avec l’avènement de l’Empire romain, dans un contexte de bouleversement des structures sociales où l’individu tendait à remplacer les valeurs collectives jusqu’alors incarnées par les grands héros épiques ou tragiques : les nombreux personnages de ce nouveau genre littéraire, soumis aux aléas de la Fortune et aux traits de l’Amour dans un monde qui les dépasse, en constituent un marqueur fort. Le récit s’organise désormais autour d’un couple de héros qui s’aiment, d’opposants qui veulent les séparer et d’adjuvants qui essaient de conjurer ceux-ci, sans compter tous les personnages secondaires. Presque disparu à partir du IVe siècle, le roman grec continue d’être lu mais sa production ne refait vraiment surface qu’au XIIe siècle, dans le contexte bien différent de la cour byzantine des Comnènes. Il s’agit alors d’œuvres écrites en langue savante par et pour une élite restreinte et lettrée. Si les topoi de l’ancien roman sont souvent repris (amour, épreuves, séparation, retrouvailles, polythéisme, etc.), des changements sont néanmoins notables sur la forme (versification) comme sur le fond (caractérisation). Les personnages, qui restent un élément constitutif du genre comme support de l’action, reflet d’un ethos, noyau de l’intrigue et vecteur de l’intérêt du lecteur dont ils sont une co-création, y sont moins nombreux mais plus approfondis, agissent moins mais parlent plus. Aussi, dans une perspective de littérature comparée, le propos de notre thèse vise à déterminer, en partant de la notion de mimésis, les procédés d’écriture onomastiques, ecphrastiques et rhétoriques mis en œuvre pour caractériser ces personnages, en tentant de dégager en quoi et pourquoi les personnages des romans byzantins correspondent ou diffèrent de leurs modèles antiques. Nous proposons enfin dans un second volume, avec les annexes et la bibliographie, une traduction des romans byzantins qui n’ont pas été récemment publiés en français. / The earliest birth of the novel in Greek language coincided with the advent of the Roman Empire, in a context of major changes in the social structures where the individual tended to replace collective values until then embodied in the great epic or tragic heroes. The numerous characters of this new literary genre, subjected to Fortune’s vicissitudes and to Eros’s arrows in a world that overwhelms them, represent a strong marker. From then on, the narrative has been organized around a couple of heroes in love, of opponents wanting to separate them and helpers trying to undermine the will of the latter, not to mention all the minor characters. The production of Greek novels sank in the 4th century, though they were still read, to only re-emerge really in the 12th century, in a very different context: the Byzantine court of the Komnenoi, under the form of literary works written in scholarly language by and for a restricted learned elite. Even if the topoi of the ancient novel are often reused (love and lost love reunions, hardships, polytheism, etc.), changes were nevertheless notable on the form (versification) as well as on the substance (characterization). The characters, who remain a constituent element of the genre as agents of the action, reflection of an ethos, core of the plot and vectors of the interest of the reader, by whom they are co-created, are fewer but deeper, they act less but speak more. Thus, from a perspective of compared literature and in the light of the notion of mimesis, our thesis aims at determining the onomastic, ekphrastic and rhetorical writing processes implemented in the crafting of these characters by trying to highlight how and why the characters of the Byzantine novels match or differ from their antique models. In a second volume, for the Byzantine novels with no recent translation into French published yet, we finally propose a personal translation, together with appendices and bibliography.