A la recherche du paysage silencieux ou du silence du paysage, cette thèse explore un large corpus ouvert de romans réalistes publiés en France, en Angleterre et dans les pays germanophones durant les années 1850-1900. Le parcours de lecture comparatiste représente un voyage littéraire en quête d'un type de paysage particulier, non pas paysage à connotation géographique, mais paysage perçu comme un espace imaginaire et sensible. Face au topos romantique que constitue le paysage silencieux, le silence «réaliste» apparait souvent comme une tentative de musellement des voix romantiques tout en démontrant que le réalisme réinvente les rapports entre l'être humain et le monde naturel, entre le sujet et l'objet de la perception. Contrecarrant l'hégémonie du visuel et du verbal, unissant des données objectives et humanistes, instaurant une relation entre le paysage et le lecteur, le silence dans le roman permet de découvrir des espaces inexplorés et garantit l'expérience d'une lecture nouvelle, à l'écoute des mondes naturel et textuel. / In search of silent landscapes or of the silence of the landscape, this thesis explores a wide open corpus of realistic novels published in France, in England and in the German-speaking countries between 1850-1900. This comparative reading represents a literary journey looking for a particular type of landscape, not with geographical connotation, but perceived as an imaginary and sensitive space. Against the romantic commonplace of silent landscape, "realistic" silence often appears as an attempt Io muzzle the romantic voices, while demonstrating that realism reinvents the relationship between the human being and the natural world, between the subject and the object of perception. Abrogating the hegemony of the visual and the verbal, uniting objective and humanist observation, establishing a relation between the landscape and the reader, silence allows Io discover unexplored spaces and guarantees the experience of a new reading, as the attempt to listen to the natural and textual worlds.

Esta tese situa-se na intersecção da literatura com o cinema. O objetivo é lançar um olhar sobre os seus respectivos processos de criação e significação, considerando suas especificidades. Pois mesmo quando parte de um texto literário, o cinema diverge, ultrapassa e atravessa a linha de partida, apresentando diferentes dimensões e processos. O estudo problematiza a conexão entre arte e realidade social. Propõe uma comparação entre os romances O cortiço e Cidade de Deus e suas respectivas adaptações homônimas, buscando analisar as obras como capazes de traduzir o fenômeno social da pobreza na urbe. Ambas as obras literárias estão conformadas dentro de um projeto realista/naturalista e revelam momentos agudos de uma realidade social historicamente contextualizada em épocas distintas, a primeira pertence ao final do Brasil império e a segunda no Brasil contemporâneo. As obras fílmicas buscam o diálogo com os textos originais em seus procedimentos narrativos, dentro de suas proposições estéticas específicas à área cinematográfica, e também problematizam as questões sociais, em maior ou menor grau. A confrontação do corpora evidencia um processo de refinamento histórico de divisão da sociedade em classes econômicas e, portanto, uma engrenagem social e cultural excludente de segregação dos de baixo, em guetos, visto que estes carregam um estigma criado que os define como um outro, indesejado e potencialmente perigoso. A pesquisa verifica, ainda, dentro das fronteiras cerradas dos espaços narrativos das obras uma interessante articulação entre ordem/desordem que só irá evidenciar a lógica perversa dos contrassensos da sociedade brasileira e as desigualdades presentes nela. Portanto, este estudo demonstra nas obras, um sistema de relações concretas da configuração social do próprio Brasil. / This dissertation lies between literature and cinema. It examines two Brazilian novels O cortiço and Cidade de Deus through a comparative study between literary narratives and their corresponding filmic adaptations, raising the problem of connecting art and social reality. This study argues that both literary narratives from a naturalist/realist project are representations of urban poverty translated into a historically contextualized social phenomenon; which reveals acute moments, firstly from an imperial Brazil and then from the contemporary country it became. The films establish a dialogue with social approaches brought up by the original texts, as well as their narrative procedures, although they have kept their own specific film aesthetic propositions. Further, the confrontation of the corpora demonstrates the division process, which has historically refined this society in classes, or guettos, economically and culturally segregated; and in doing so, it has also stigmatized this group of people as undesired and potentially dangerous, the so-called os de baixo (the ones below). The analysis articulates literary and filmic narrative settings, in terms of order/disorder concepts, showing the evidence of a perverted Brazilian social logic based on its own nonsense and inequality. Thus, this study affirms the existence of a historically concrete social relation system in Brazilian romances and films corresponding to the configuration of Brazil itself.

Submitted by Paulo Uzai Júnior null (paulouzai@gmail.com) on 2016-08-25T20:01:19Z No. of bitstreams: 1 [final-final]Dissertação_Paulo Uzai Junior_Pos-Filosofia_ A relação mente-corpo em John Searle.pdf: 946382 bytes, checksum: 71f7585fff76b8a8396671fe967408be (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-08-29T17:17:51Z (GMT) No. of bitstreams: 1 uzaijunior_p_me_mar.pdf: 946382 bytes, checksum: 71f7585fff76b8a8396671fe967408be (MD5) / Made available in DSpace on 2016-08-29T17:17:51Z (GMT). No. of bitstreams: 1 uzaijunior_p_me_mar.pdf: 946382 bytes, checksum: 71f7585fff76b8a8396671fe967408be (MD5) Previous issue date: 2016-06-29 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Há mais de três décadas, o filósofo estadunidense John Rogers Searle voltou-se para as questões de filosofia da mente, donde apresenta sua solução para os variados problemas acerca da natureza do mental. Sua primeiro incursão se deu com o livro Intentionality, onde seu principal objetivo não era, num primeiro momento, solucionar problemas referentes a essa questão, mas sim oferecer uma fundamentação conceitual mais sólido para sua teoria dos atos de fala. Contudo, a partir deste livro Searle se volta decisivamente para questões propriamente de filosofia da mente. Um de seus principais focos é a relação entre mente-corpo, onde ele acredita que a solução teórico-cenceitual para tal questão não é tão difícil quanto pensamos. Porém ele não deixa de abordar uma série de outros temas afins que julga de extrema importância na consolidação de seu escopo teórico, tal como o problema da causação mental e a subjetividade humana. Dessa forma, a presente dissertação tem por objetivo principal apresentar, discutir e avaliar criticamente a solução que Searle propõe a esses quatro problemas centrais da filosofia da mente: relação mente-corpo, causação mental, subjetividade e intencionalidade. Os três primeiros capítulos têm por objetivo mostrar como Searle enxerga essas questões, ou seja, o que ele julga estar errado na filosofia da mente e qual seria a solução mais adequada. No capítulo quatro iremos apresentar as principais críticas à solução de John Searle, focando-nos numa abordagem temática. Dessa forma, apresentaremos críticas a esses quatro temas que Searle julga serem essenciais em filosofia da mente e sobre o qual construiu seu naturalismo biológico. Por fim, faremos uma avaliação crítica do que foi apresentado. Com isso iremos analisar qual o peso das críticas feitas à filosofia searlena, o que acreditamos estar correto nela e o que discordamos. / There is more than thirty years, the American philosopher John Rogers Searle turned around to the questions of philosophy of mind, whence presents his solution to varied problems about the nature of mental. His first incursion occurred with the book Intentionality, where your main objective was not to solve, at first, problems relating to this issue, but rather to offer a theoretical grounding more solid to his theory of speech acts. However, from this book Searle turns to questions specifically of philosophy of mind. One of his main focus is the relationship between mind-body, where he believes that the solution theoretical-conceptual for that question is not so difficult as we thought. Nevertheless he is not leave of to broach a number of other related topics that he considers of utmost importance in the consolidation of his theoretical scope, such as the causation mental problem and the human subjectivity. Thereby, the present dissertation have for main objective to show, to discuss and critically evaluate the solution that Searle proposes these four central problems of the philosophy of mind: mind-body relationship, mental causation, subjectivity and intentionality. The first three chapters aims to show as Searle see these questions, in other words, what he believes to be wrong in philosophy of mind and what would be the most appropriate solution. In chapter four, we will go to show the main critics to John Searle's solution, focusing in a thematic approach. Thus we will present critics of these four subjects that Searle believes to be essentials in philosophy of mind, about which built your biological naturalism. Lastly, we will make a critically evaluate of what was presented. Therewith we will go to analyze the what weight of criticisms to Searle's philosophy, what qe believe to be right and what we disagree.

Esta tese situa-se na intersecção da literatura com o cinema. O objetivo é lançar um olhar sobre os seus respectivos processos de criação e significação, considerando suas especificidades. Pois mesmo quando parte de um texto literário, o cinema diverge, ultrapassa e atravessa a linha de partida, apresentando diferentes dimensões e processos. O estudo problematiza a conexão entre arte e realidade social. Propõe uma comparação entre os romances O cortiço e Cidade de Deus e suas respectivas adaptações homônimas, buscando analisar as obras como capazes de traduzir o fenômeno social da pobreza na urbe. Ambas as obras literárias estão conformadas dentro de um projeto realista/naturalista e revelam momentos agudos de uma realidade social historicamente contextualizada em épocas distintas, a primeira pertence ao final do Brasil império e a segunda no Brasil contemporâneo. As obras fílmicas buscam o diálogo com os textos originais em seus procedimentos narrativos, dentro de suas proposições estéticas específicas à área cinematográfica, e também problematizam as questões sociais, em maior ou menor grau. A confrontação do corpora evidencia um processo de refinamento histórico de divisão da sociedade em classes econômicas e, portanto, uma engrenagem social e cultural excludente de segregação dos de baixo, em guetos, visto que estes carregam um estigma criado que os define como um outro, indesejado e potencialmente perigoso. A pesquisa verifica, ainda, dentro das fronteiras cerradas dos espaços narrativos das obras uma interessante articulação entre ordem/desordem que só irá evidenciar a lógica perversa dos contrassensos da sociedade brasileira e as desigualdades presentes nela. Portanto, este estudo demonstra nas obras, um sistema de relações concretas da configuração social do próprio Brasil. / This dissertation lies between literature and cinema. It examines two Brazilian novels O cortiço and Cidade de Deus through a comparative study between literary narratives and their corresponding filmic adaptations, raising the problem of connecting art and social reality. This study argues that both literary narratives from a naturalist/realist project are representations of urban poverty translated into a historically contextualized social phenomenon; which reveals acute moments, firstly from an imperial Brazil and then from the contemporary country it became. The films establish a dialogue with social approaches brought up by the original texts, as well as their narrative procedures, although they have kept their own specific film aesthetic propositions. Further, the confrontation of the corpora demonstrates the division process, which has historically refined this society in classes, or guettos, economically and culturally segregated; and in doing so, it has also stigmatized this group of people as undesired and potentially dangerous, the so-called os de baixo (the ones below). The analysis articulates literary and filmic narrative settings, in terms of order/disorder concepts, showing the evidence of a perverted Brazilian social logic based on its own nonsense and inequality. Thus, this study affirms the existence of a historically concrete social relation system in Brazilian romances and films corresponding to the configuration of Brazil itself.

Étudier les liens entre Huysmans (1848-1907) et la médecine, c’est se pencher sur un paradoxe : celui d’un écrivain d’abord naturaliste, fortement influencé par Zola et une médecine triomphante dont la méthode est érigée en modèle pour les romanciers, qui conserve après sa conversion au catholicisme, au début des années 1890, une écriture fortement imprégnée d’images relevant de la physiologie et d’un lexique médical. Ces derniers sont caractéristiques du style de l’écrivain, le « naturalisme spiritualiste », qui entend dire l’âme sans faire abstraction du corps. Si les éléments biographiques dont nous disposons, correspondance à l’appui, témoignent de la part de Huysmans d’une expérience personnelle de la maladie et d’une fréquentation de médecins, on constate, plus encore, une appétence érudite et un goût de la documentation médicale qui ne faiblira pas, documentation insérée parfois à l’état brut au point de menacer le roman dans sa définition générique. Il s’agit donc de s’intéresser au savoir médical de l’écrivain, acquis souvent par la lecture de petites revues ou de sources de seconde main, mais aussi de s’interroger sur le devenir d’une certaine déception à l’égard de la clinique, à partir d’À Rebours et de manière plus visible encore dans Là-Bas. Comment Huysmans offre-T-Il dans son œuvre à la fois une critique de la médecine et l’idée d’une physiologie des âmes, associée à l’image d’une Église thérapeute ? Comment la médecine, de référence naturaliste, devient-Elle l’expression du mystère d’un Dieu incarné ? Le sujet entend donc se situer à un nœud entre histoire des sciences et des idées, histoire de la littérature et connaissance de Huysmans lui-Même. / Studying relations between Huysmans (1848-1907) and medicine, it is looking over a paradox; the one of a writer who first was a naturalist strongly influenced by Zola and medicine whose method was at that time a model for writers. Despite a conversion into Catholicism, at the beginning of the 1890s, Huysmans writing is impregnated with pictures issued from physiology and medical vocabulary. These last two items are specific of the author style “the spiritualist naturalism” which is meant to tell the soul without excluding the flesh. We can notice, reading the biographical elements at our disposal, particularly letters, that Huysmans had an intimate knowledge of disease and acquaintance with doctors, as well as a real taste for medical documentation; this strong and particular taste didn’t fade, Huysmans will include medical sources and documents as they were, up to point of threatening, in his works, the very name of novel. The main interest will be focused on the writer medical knowledge built upon reading medical and scientific journals and sources. This work will also lead to question the path followed by Huysmans upon a certain deception about the clinic, starting with À Rebours and more obviously in Là-Bas. How can he offer in his novels a combination of a critical review of medicine and the idea of a soul physiology, these associated with the picture of the Church as a therapist? How medicine from a naturalistic point of view can become the way to express the mystery of an embodied God?The subject of this work means to locate itself at the crossing point between sciences and ideas history, literature history and knowledge of Huysmans himself.

Esta tese situa-se na intersecção da literatura com o cinema. O objetivo é lançar um olhar sobre os seus respectivos processos de criação e significação, considerando suas especificidades. Pois mesmo quando parte de um texto literário, o cinema diverge, ultrapassa e atravessa a linha de partida, apresentando diferentes dimensões e processos. O estudo problematiza a conexão entre arte e realidade social. Propõe uma comparação entre os romances O cortiço e Cidade de Deus e suas respectivas adaptações homônimas, buscando analisar as obras como capazes de traduzir o fenômeno social da pobreza na urbe. Ambas as obras literárias estão conformadas dentro de um projeto realista/naturalista e revelam momentos agudos de uma realidade social historicamente contextualizada em épocas distintas, a primeira pertence ao final do Brasil império e a segunda no Brasil contemporâneo. As obras fílmicas buscam o diálogo com os textos originais em seus procedimentos narrativos, dentro de suas proposições estéticas específicas à área cinematográfica, e também problematizam as questões sociais, em maior ou menor grau. A confrontação do corpora evidencia um processo de refinamento histórico de divisão da sociedade em classes econômicas e, portanto, uma engrenagem social e cultural excludente de segregação dos de baixo, em guetos, visto que estes carregam um estigma criado que os define como um outro, indesejado e potencialmente perigoso. A pesquisa verifica, ainda, dentro das fronteiras cerradas dos espaços narrativos das obras uma interessante articulação entre ordem/desordem que só irá evidenciar a lógica perversa dos contrassensos da sociedade brasileira e as desigualdades presentes nela. Portanto, este estudo demonstra nas obras, um sistema de relações concretas da configuração social do próprio Brasil. / This dissertation lies between literature and cinema. It examines two Brazilian novels O cortiço and Cidade de Deus through a comparative study between literary narratives and their corresponding filmic adaptations, raising the problem of connecting art and social reality. This study argues that both literary narratives from a naturalist/realist project are representations of urban poverty translated into a historically contextualized social phenomenon; which reveals acute moments, firstly from an imperial Brazil and then from the contemporary country it became. The films establish a dialogue with social approaches brought up by the original texts, as well as their narrative procedures, although they have kept their own specific film aesthetic propositions. Further, the confrontation of the corpora demonstrates the division process, which has historically refined this society in classes, or guettos, economically and culturally segregated; and in doing so, it has also stigmatized this group of people as undesired and potentially dangerous, the so-called os de baixo (the ones below). The analysis articulates literary and filmic narrative settings, in terms of order/disorder concepts, showing the evidence of a perverted Brazilian social logic based on its own nonsense and inequality. Thus, this study affirms the existence of a historically concrete social relation system in Brazilian romances and films corresponding to the configuration of Brazil itself.

A publicação de La Terre, em 1887, provoca, na França, uma avalanche de ataques a Zola e ao Naturalismo. O romance, que dá continuidade à saga dos Rougon-Macquart, aborda não apenas a vida do campo e dos camponeses mas também questões sociais ligadas à realidade agrícola do país no final do século XIX. Ao ser lançado em capítulos, o romance é objeto de severas críticas, como o Manifesto dos Cinco, que ataca violentamente a obra e acusa o autor de obscenidade doentia. Críticos de renome como Anatole France e Brunetière também priorizam a dimensão moral em sua avaliação do romance e deploram o que qualificam de crueza naturalista. A crítica francesa utiliza o romance La Terre para decretar a bancarrota do Naturalismo . No Brasil, o prestígio de Zola e do Naturalismo encontra-se em momento de ascensão como parte do movimento mais amplo de adoção dos moldes literários franceses como recurso para consolidar a independência cultural em relação à literatura portuguesa. Romero, Veríssimo e Araripe Jr. se valem repetidamente do autor francês para discutir seus projetos para a literatura nacional. Araripe Jr. - que por certo período havia se afastado de Zola imputandolhe um pessimismo inadequado ao Brasil encontra, em La Terre, tema para trazer novamente Zola para o centro de suas reflexões. O presente trabalho busca refletir sobre o sentido dessa recepção diversa de La Terre na França e no Brasil, examinando o modo como Araripe Jr. transforma o romance em argumento para discutir questões relativas à formação da literatura brasileira. / Zolas La Terre,(1887) causes an uproar in France and triggers a series of violent attacks against its author and Naturalism, the literary school he represented. The novel, part of the Rougon-Macquart saga, focuses not only on country life and peasants but addresses also the loaded social issues shaking rural France at the end of the 19th century. Published in episodes, the novel is the object of fierce criticism, epitomized by Le Manifeste des Cinq, a heavy invective against the novel and its author, who is accused of inexcusable obscenity. Major critics such as Anatole France and Brunetière also highlight the moral dimension in their censure, and most French critics denounce La Terre as proof that literary Naturalism was dead. In Brazil, however, Zolas prestige and that of Naturalism are on the rise, as they seem apt to help foster a national literature finally rid of Portuguese models. Romero, Veríssimo e Araripe Jr. repeatedly refer to Zola when discussing their projects for Brazilian literature. Araripe Jr., who had for a moment detached himself from Zola due to what he saw as the authors objectionable pessimism, finds in La Terre a good opportunity to reconcile himself with Zolas works. The present dissertation discusses these different responses to the novel, in France and in Brazil, focusing on the way Araripe Jr. makes the novel a powerful argument to buttress his views on the ideal path for Brazilian literature.

La philosophie biologique de la technique s'est progressivement constituée depuis un débat d'idées à la fois tributaire des questions du XIXe siècle et d'un fonds philosophique antique. Il en émerge une thèse sur l'action qui fait l'homme civilisé ainsi que sur les sources et attributs de sa mainmise sur le monde à travers les progrès de la technique et l'effet d'agrandissement qui peut en résulter pour le corps individuel et collectif. C'était un programme revendicatif, car il défendait le principe d'une nouvelle pratique de la philosophie et s'installait en position de juge et de substitut de la religion. Contre de tels enjeux, où se croisent originairement des influences allemandes, anglaises et françaises, la philosophie de la technique est entrée en résistance, au risque de perdre de vue plusieurs choses : le sens de sa légitimité philosophique naturelle ; celui de sa vocation à l'interdisciplinarité ; l'accès à un objet latent en elle, le champ définitionnel de l'homme et la question de l'image. reconnaître ce qu'elle est à partir de ce qu'elle fut, demande à la philosophie de la technique : un effort de remise à plat de l'étude des sources dont elle s'est officiellement dotée ; l'élargissement du cercle des autorités ; de se détourner du concordisme ; de résister par l'analyse au préjugé défavorable dont l'accable la critique du naturalisme. C'est à ce prix qu'elle pourra restaurer en elle le sens d'une transition qui devait l'éloigner sans rupture d'un évolutionnisme trop prégnant, tout en préservant son intérêt pour la question de l'homme. En France, une telle mutation se dessine à travers le triangle d'auteurs Bergson, Simondon, Leroi-Gourhan. / Biological philosophy of technics progressively developped rom a debate of ideas depending both on the 19th century's issues and on antique philosophical information holdings. What emerges is a thesis about actions that make a civilized man and about the origins and attributes of his control over the world through technical progress and the magnifying effect that arises as a result for individual or collective systems. it was a ground-breaking program as it was in favour of the principle of a new practice of philosophy and it portayed itself as a judge and a substitute for religion. The philosophy of technics started resisting such challenges which, originally were under German, English and French influence. By doing so it risked losing sight of several aspects : the meaning of its natural philosophical legitimity, that of its vocation for interdisciplinarity, the access to a latent potential inside it, Man's definitional field and the subject of image. Recognizing what the philosophy of technics is from what it used to be requires some conditions : an effort to clarify the study of its official sources, an enlargement of the circle of competent authorities, turning away from concordism, resisting, through analysis, the negative bias poured out over it by the criticism of naturalism. This is the cost at which the philosophy of technics will be able to retsore, in its bosom, a sense of a transition that should move it away, but not cut it from, a too prevalent evolutionism, as well as it should keep its interest for the subject of Man. In France, such a mutation can be observed in a trio of authors : Bergson, Simondon and Leroi-Gourhan.

Depuis ses origines, la codification a toujours été officiellement réalisée en vue d’assurer l’accessibilité et l’intelligibilité de la norme ainsi que la sécurité juridique des individus. Cette conception téléologique de la codification est corroborée par les discours politiques contemporains qui l’associent plus généralement à l’Etat de droit auquel elle est censée contribuer. La seule récurrence de cette affirmation ne suffit pas à prouver sa pertinence. C’est pourquoi, en se fondant sur l’Etat de droit et ses multiples facettes, il est au préalable nécessaire de procéder à la conceptualisation de la codification. Il s’agit de la condition sine qua non pour une étude fiable de l’Etat de droit comme fin de la codification. / Since its origins, the codification has always been officially carried out in order to ensure the accessibility and intelligibility of the norm, as well as the legal security of the individuals. This teleological conception of the codification is corroborated by the contemporary political views which associate it, more generally, to the Rule of law to which it is supposed to contribute. The only recurrence of this assertion is not sufficient to prove its relevance. That is why, based on the rule of law and its many facets, it is necessary to proceed first to the conceptualization of the codification. It is the sine qua non for a reliable study of the Rule of law as being the aim of the codification.

L’éducation morale est un aspect central de l’éthique de la vertu de tradition aristotélicienne. De nombreux auteurs sont attachés à l’idée qu’une bonne théorie éthique doit nous informer sur la manière de former de meilleurs agents moraux. Les éthiciens de la vertu considèrent que c’est par une éducation du caractère que l’on peut façonner des agents vertueux. Or, une telle éducation est-elle vraiment possible? Et si elle l’est, en quoi consiste-t-elle? Ce mémoire entend répondre à ces questions en explorant les horizons de la théorie des vertus, horizons qui dépassent maintenant les limites de la philosophie. En s’interrogeant d’abord sur le naturalisme moral en théorie des vertus, le naturalisme libéral est retenu comme la position métaéthique la plus réaliste pour l’avenir de la théorie. Celle-ci doit tenir compte des avancées scientifiques, notamment en psychologie sociale, si elle souhaite accomplir ses objectifs éducatifs. Pour suivre cette démarche, les caractéristiques centrale du concept de vertu sont identifiés, puis mis à l’épreuve par la critique situationniste des vertus. Selon le situationnisme, de nombreuses études empiriques montreraient que les comportements moraux des agents sont déterminés par des facteurs circonstanciels et arbitraires. Par conséquent, une caractéristique centrale de la théorie, la robustesse des vertus, est abandonnée. Cet abandon ne marque toutefois pas la fin de la théorie des vertus : elle est alors orientée vers l’éducation morale où elle demeure pertinente grâce à la littérature sur l’expertise et sur l’intelligence émotionnelle. Ce cadre théorique et empirique permet de donner une solide fondation pour l’éducation de vertus. Certaines difficultés demeurent présentes quant à l’implantation de programmes concrets d’éducation des vertus dans les écoles. Pour le futur, les chercheurs devront relevés les défis que représentent l’environnement scolaire et la mesure de vertus. / Moral education is a central aspect of the virtue ethics of Aristotelian tradition. Many authors are attached to the idea that a good ethical theory should inform us about how to form better moral agents. The ethicists of virtue consider that it is through an education of character that virtuous agents can be fashioned. But is such an education really possible? And if it is, what does it consist of? This thesis aims to answer these questions by exploring the horizons of the theory of virtues, horizons that now exceed the limits of philosophy. By first questioning moral naturalism in the theory of virtues, liberal naturalism is retained as the most realistic metaethical position for the future of the theory. It must take into account scientific advances, particularly in social psychology, if it wishes to achieve its educational objectives. To follow this approach, the central characteristics of the concept of virtue are identified and then tested by the situationist critique of virtues. According to the situationism, many empirical studies would show that the moral behaviors of the agents are determined by circumstantial and arbitrary factors. Therefore, a central feature of the theory, the robustness of virtues, is abandoned. This abandonment, however, does not mark the end of the theory of virtues: it is then oriented towards moral education where it remains relevant thanks to the literature on expertise and emotional intelligence. This theoretical and empirical framework makes it possible to give a solid foundation for the education of virtues. Some difficulties remain in implementing concrete curricula for the education of virtues in schools. For the future, researchers will have to take up the challenges of the school environment and the measurement of virtues.