<p>This thesis is an attempt to show that religion is neither irrelevant nor antithetical to ethics; it aims, ultimately, to recover the significance of religion for ethics. The germ of this project is threefold. First, it is grounded in the conviction that religion holds significance for moral discourse and that this relevance is not sufficiently acknowledged in philosophical ethics. Furthermore, philosophical ethics is considered unsatisfying insofar as it seems that being moral is not simply a matter of good, rational decision-making (though moral existence entails this). Finally and most importantly, the focus on the moral "agent" and the language of "praise and blame" seems to indicate an implicit egoism, which jars with moral virtue. This last conviction and the turn to otherness in postmodern thought allow me to build a bridge from secular philosophical ethics to a religious ethic of attention. My argument is that religion enables us to become more other-centered, an ethos that is putatively central to postmodern thought, insofar as religion or, more precisely, religious faith is the practice of attentive looking (to GOd). I have thus suggested that the tum to "the other" in contemporary ethics can be realized by the looking of prayer and worship. I have engaged with two thinkers in the attempt to think this idea through: feminist philosopher of religion Grace Jantzen and French philosopher and mystic Simone Weil. Weil provides a discussion of attention as the activity of grace, and will, which she understands as the dominating activity of the self; this distinction allows me to explore the possibility that religion or religious faith leads to a transformed, less egoistic, ethic. Moreover, it is Weil's understanding of faith as "waiting for God" which enables me, ultimately, to establish the connection between attending to God (religious faith) and responding appropriately to the other (ethics).</p> / Master of Arts (MA)

Made available in DSpace on 2016-03-15T19:42:32Z (GMT). No. of bitstreams: 1 Debora da Silva Cardoso.pdf: 1839352 bytes, checksum: 5dbebbe0b2b6e238587d5a5d3c98c4a3 (MD5) Previous issue date: 2013-12-10 / This research discussed the awakening of perception of the child and the teacher in the first stage of early childhood education with regard to themselves, to others and to the environment as a source to rescue the sensitivity in educational activities, seeing as art a way for aesthesia, experienced through proposals that valued the body as a source of meaning and knowledge and outlining ways that implemented the learning totalizing process of teaching and learning. The route outlined was the result of dissatisfaction with the proposed learning not explored the senses of the body, keeping it anesthetized, plastered with models ready, absent of understanding and reflection, and distant from the real needs of students. The actions developed in the study were inspired by the Phenomenology of Perception by Maurice Merleau-Ponty that based theoretically develop the project "Children doing art" wich was the focus of this analysis. We opted for a qualitative approach, which constitutes a more appropriate guideline to understand the context in which the research was conducted: group of children in the first stage of early kindergarten education and the learning process in this group. It was collected descriptive data through joint use of observation, interviews, photographic documentation , interview and instruments for which individuals were observed and analyzed by means of a case study - this search a student and their teacher in an educational institution. The results were significant because there was a new look at the theme of perception contributed to sharpen the perceive yourself, others and the environment, providing greater proximity of teachers and their students and the presence of greater sensitivity in educational activities, because the understand and be aware of the needs of the student become essential ingredients in this process. The exploration of the senses of the body in the proposals currently teaching is valued and, consequently, there was an increase in expressive communication, oral communication and interaction among children. A keen perception, sensitivity in educational activities, the appropriate approach to the teacher and his pupil, the amount owing to the senses of the body opened up avenues for the acquisition of Learning totalizing. With these results aims - to contribute to the educational projects of kindergarten education that have poor corporeality assumed a "way light and loose" allowing children to the full development of their identities through play, express themselves , interact, if move through the school, such as projects present themselves plastered by mechanical activities, without any understanding and reflection, almost excluded moments of artistic expression in childhood coherently, which sees the child as an individual and your body as a source of interaction and knowledge. These results showed that teachers who invest in education with sensitivity and sharpened perception, achieve success in the learning of their students. / Esta pesquisa discorreu sobre o despertar da percepção da criança e do professor da primeira etapa da educação infantil com relação a si mesmos, ao outro e ao entorno, como fonte para resgatar a sensibilidade nas ações educacionais, vislumbrando na Arte o caminho para a estesia, vivenciada por meio de propostas que valorizaram o corpo como fonte de sentidos e conhecimento, delineando caminhos que efetivaram a Aprendizagem Totalizante no processo de ensino e aprendizagem. O percurso delineado foi fruto da insatisfação com as propostas de aprendizagem que não exploravam os sentidos do corpo, mantendo-o anestesiado, engessadas por modelos prontos, ausentes de compreensão e reflexão e, distantes das reais necessidades dos alunos. As ações desenvolvidas tiveram inspiração no estudo da Fenomenologia da Percepção de Maurice Merleau-Ponty que embasou teoricamente o desenvolvimento do Projeto Criança fazendo Arte , foco da análise desenvolvida. Optou-se por uma abordagem qualitativa, por constituir uma diretriz mais apropriada para compreender o contexto em que a pesquisa foi efetuada: grupo de crianças na primeira etapa da educação infantil e o processo de aprendizagem neste grupo. Foi realizada a coleta de dados descritivos por meio de utilização conjunta de observação, depoimentos, documentação fotográfica, entrevista e instrumentos pelos quais os sujeitos foram observados e analisados por meio de um estudo de caso - nesta pesquisa uma aluna e sua professora em uma instituição educacional. Os resultados obtidos foram significativos pois houve um novo olhar sobre a temática da percepção que contribuiu para o aguçar do perceber a si, ao outro e o entorno, proporcionando uma maior proximidade dos professores e seus alunos e a presença de maior sensibilidade nas ações educacionais, pois o perceber e estar atento às necessidades do aluno tornaram-se ingredientes essenciais nesse processo. A exploração dos sentidos do corpo nas propostas pedagógicas atualmente é valorizada e, consequentemente, houve evolução na comunicação expressiva, oralidade e interação entre as crianças. A percepção aguçada, a sensibilidade nas ações educacionais, a aproximação adequada do professor ao seu aluno e, o devido valor aos sentidos do corpo abriram caminhos para a aquisição da Aprendizagem Totalizante. Com esses resultados visa - se contribuir com os projetos pedagógicos da educação infantil que se apresentam carentes da corporeidade assumida de um jeito leve e solto que permita às crianças o desenvolvimento integral de suas identidades por meio do brincar, se expressar, interagir, se movimentar pelo espaço escolar, pois tais projetos se apresentam engessados por atividades mecânicas, sem nenhuma compreensão e reflexão, quase excluídos de momentos de expressão artística na infância de maneira coerente, que enxergue a criança como sujeito singular e o seu corpo como fonte de interação e conhecimento. Estes resultados comprovaram que professores que investem numa educação com sensibilidade e percepção aguçadas, alcançam êxito nas aprendizagens de seus alunos.

本論文以列維納斯(Emmanuel Levinas)早期的著作《整體與無限》(Totality and Infinity)為啟蒙探討其倫理思想所提倡的他者哲學，進而分析阿爾比《誰怕吳爾芙？》劇中的倫理關係(ethical relationship)。列氏試圖顛覆古典哲學以降的本體論霸權，並提倡他者哲學為第一哲學。論文第二章以列氏思想對於西方哲學傳統的批判為主調，揭開整體性(totality)或本體論(ontology)之暴力性。列氏反思與抨擊西方哲學淪於以自我為中心的自我學(egology)並泛稱其為本體論。本體論中對於他者的認知往往是藉由一個中立的詞來化約他者為同者。同者把他者當成一個主題或客體的展現以便理解或掌握他者；他者在此認知過程中被納入同者的整體當中，因此他者在黑格爾辯證法中被否定為「非我」；他者甚至被同化為「另一個我」；海德格式本體論獨尊存有(Being)的同時，與他者的關係被矮化為廣泛的存有關係。藉由否定、同化等手法，他者被化約為「非我」、「另一個我」以及存有的一部份，並納入同者的整體範疇當中。在《誰怕吳爾芙？》劇中同者對於他者的整體性暴力(totalizing violence)化約過程透過數個例子可一窺其究竟。第一例為同者對他者的「化約」：瑪莎所講述的拳擊故事中，瑪莎父親要求喬治與其對打，呈現出瑪莎父親欲強迫喬治接受其所定義的男子氣概形象。第二例為同者對他者的「同化」：尼克所影射的遺傳學工程願景中，人人被創造為同一模樣，透露出同者欲同化他者的野心。第三例為同者對他者的「否定」：瑪莎刻意與尼克發生性關係來激怒喬治，並否定喬治的男人尊嚴。第三章著重於尼克與蜜糖的來訪所帶來的影響，如同他者的出現般，要求喬治與瑪莎做出回應。在列氏倫理中，他者與同者的關係乃是一種「離開」(separation)的狀態。唯有在此「離開」的狀態中，他者的激進他異性(the alterity of the Other)方成可能。他者的激進他異性使他者不會落入同者的整體性暴力之中，讓他者成為絕對他者並延伸出他者的無限性。他者的臉龐(face)，或可稱為他者在這世上所留下的痕跡(trace)，向我呼喚並索求倫理責任。在此劇中，尼克與蜜糖的出現猶如他者的出現般震撼了喬治與瑪莎的幻想世界。喬治與瑪莎虛構自己生了一個兒子來滿足他們現實生活中的失望與空虛，就像列氏倫理所描述他者未出現前，同者在其所處的外在世界中找到有別於自我的物質，並賴以生存所產生的喜悅般，這虛構的孩子對喬治和瑪莎而言，是他們私密幻想世界中最大的幸福喜悅與慰藉寄託。但因瑪莎過於沉溺在自我幻想世界之中，不小心在蜜糖面前將兩人虛構的孩子說溜嘴而惹喬治生氣。虛構的孩子永遠不會變成真人，也無法擁有列氏所提出的他者的激進他異性；尼克與蜜糖的來訪猶如他者的降臨般，使得喬治與瑪莎私密幻想世界中虛構出來的孩子，一旦公開後卻成為現實生活中互相爭執的核心。在瑪莎宣稱她結婚的意義是不斷地鞭打折磨喬治時，喬治才終於領悟到瑪莎真的生病了而且病得不輕。更重要的是，瑪莎的不貞與其背後所表現出帶有毀滅性的整體性暴力迫使喬治做出回應。瑪莎的不道德行為喚醒了喬治自身對於瑪莎的責任與使命感。基於對瑪莎深刻的愛與關懷，喬治做出殺掉心愛虛構孩子之沉痛決定。喬治的動機絕對不是為了報復瑪莎，而是以拯救瑪莎為出發點，避免她繼續墮入這極端的整體性暴力。第四章為本論文的終章；透過數個例子(尤其是瑪莎的通姦)，解析列氏所批判的本體論式整體性暴力之多重面貌，本篇論文指出喬治對瑪莎的深切關懷，恰恰實現列氏倫理思想中的他者哲學，正是一種為他人著想的哲學。 / This thesis examines the totalizing violence overrunning in Albee's Who's Afraid of Virginia Woolf? and a call for responsibility to and for the Other in Emmanuel Levinas's propositions of ethical relationship. In this play, the illusion of life can also be counted as an inconvenient truth, yet the playwright urges people to acknowledge the difference between illusion and reality. George and Martha build their marriage on a life game, their imagined son. When Nick and Honey arrive, an interrelation between private and public and illusion and reality disturbs all four characters. Martha's totalizing indulgence goes into extremes when she is lost in her fantasy world gradually and commits adultery deliberately. Sensing the seriousness of Martha's situation, George finally wakes up from his own illusion and decides to kill the imagined son for Martha's sake. It is an act of profound love and care that George dispels the illusion in his and Martha's marriage life. Chapter Two examines different forms of ontology, which is embodied by the three major philosophical systems: I and not-I in the Hegelian dialectic, ego and alter ego, and the Heideggerian primacy of Being and then demonstrates various examples of the totalizing violence through the reduction of Martha's father, the symbolic assimilation of Nick, and, particularly, the destructive negation of Martha. Committing adultery is an extreme manner to claim one’s power. George's reaction to Martha's ethical transgression is crucial. Chapter Three explores one's responsibility to and for the Other in the ethical relationship between self and other and argues that George’s decision of killing the imagined son reflects Levinas's ethical concern. Recognizing his own alienation from society and deciding to take the responsibility to help Martha eliminate her internalized ontological violence, George fully represents Levinas's concept of responsibility to and for the Other. A dialogue of Albee's dramatic text and Levinas's propositions highlight the importance of ethical relationship between self and other on a genuine basis. Through their works about violence and compassion, both Albee and Levinas have high concern for the Other.

Cette thèse prend pour objet le nouage entre l’autoréflexivité et la mise en forme esthétique dans la poésie de Christophe Tarkos, produite dans les années 1990. Elle met en lumière les rapports entre l’élaboration d’une théorie du langage au sein de cette œuvre poétique et ses visées esthétiques totalisantes. Il s’agit d’identifier les principes générateurs de la théorie et de fournir une analyse de ses fondements qui s’ancrent dans la crise de la représentation moderne commençant dans la deuxième moitié du dix-neuvième siècle. Les motifs de la crise revisités par Tarkos inscrivent sa poésie dans une historicité, et notre thèse tente d’interpréter cette actualisation dans une œuvre qui donne forme au monde et à la mémoire individuelle. L’hypothèse qui chapeaute notre étude est que la théorie du langage favorise l’intelligibilité de l’œuvre totalisante en lui offrant un support réflexif. Notre thèse, qui privilégie une méthode fondée sur l’analyse des textes, se divise en trois parties. La première propose une recension de la réception critique de l’œuvre, dont nous retraçons les grandes lignes d’interprétation, de Christian Prigent à Jean-Michel Espitallier. Tout en plaçant Tarkos dans le champ poétique français, cette étape nous permet de positionner notre recherche par rapport à certains lieux communs de la critique. La deuxième partie vise à étudier la théorie du langage de Tarkos à partir de ses manifestes principaux (Le Signe =, Manifeste chou, Ma langue est poétique et La poésie est une intelligence) qui révèlent plusieurs principes, pouvoirs et limites de la langue et de la poésie. Afin de montrer la spécificité du concept de la « pâte-mot » de Tarkos, nous l’étudions dans un dialogue avec la figure de la « pâte » langagière chez la poète française Danielle Collobert. La troisième partie propose une étude de la volonté et de l’esthétique totalisantes dans l’œuvre de Tarkos, qui cherche à donner forme au réel. En effet, la poésie répond à l’excès du réel par diverses stratégies. Tout en voulant représenter son caractère débordant par une énonciation logorrhéique ou en usant de procédés comme celui de la répétition, elle cherche à le maîtriser dans des formes textuelles stables comme des fragments de prose « carrés » (Carrés, Caisses), dans des listes énumératives (Anachronisme) ou dans des réseaux d’images. La volonté totalisante chez Tarkos semble également prendre origine dans un sentiment d’urgence qui concerne, en dernière instance, une bataille contre la finitude. / This dissertation takes as its object the tie between self-reflexivity and aesthetic form in the poetry of Christophe Tarkos, produced in the 1990s. It highlights the relationship between the development of a theory of language within his poetic oeuvre and aims to illustrate its “totalizing” aesthetics. “Theory” is understood as the combination of reflections, meditations and concepts about language and poetry. This thesis endeavors to identify the generating principles in his poetic oeuvre, which are inscribed within the crisis of representation often seen as originating in the mid- nineteenth century. By revisiting this crisis of representation, Tarkos’s poetry can been seen as being located in a historicity. My thesis attempts to interpret this revisiting process through an analysis of a poetic form that gives shape to the world and to individual memory. My assumption is that the theory of language facilitates the intelligibility of his poetry because it provides a reflexive medium. My thesis, which favors a method based on textual analysis, is divided into three parts. The first provides a review of the critical reception of the work, in which I track major lines of interpretation, ranging from Christian Prigent to Jean-Michel Espitallier. Placing Tarkos within the French poetic field allows me to position my research within the commonplace of criticism. The second part investigates the theory of language in his manifestos (Le Signe =, Manifeste chou, Ma langue est poétique et La poésie est une intelligence) that reveal several principles, powers and limits of language and poetry. In order to demonstrate the specificity of the concept of « pâte- mot » (a dough of words) developed by Tarkos, I compare it to the poet Danielle Collobert’s figurative representation of « dough », as « paste ». The third part offers a study of the will and “totalizing” aesthetic present in the work of Tarkos, which seeks to shape the real. Indeed, poetry answers to the excess of the real by various strategies. While wanting to represent his brimming nature through a language akin to logorrhea or by using methods such as repetition, it also seeks to control it in stable textual forms such as « squared » fragments of prose (Carrés, Caisses), in enumerative lists (Anachronisme) or in networks of figures. Tarkos’s willingness to “totalize” also seems to be rooted in a sense of urgency concerning, ultimately, a battle against finitude.