Made available in DSpace on 2014-07-29T16:17:37Z (GMT). No. of bitstreams: 1 DISSERTACAO ELDA CASSIA DE LIMA 2010.pdf: 561395 bytes, checksum: d81220e6450f222d1aba14ace3f6cc46 (MD5) Previous issue date: 2010-10-04 / The priests of the Society of Jesus arrived in Portuguese America in 1549. Arrived imbued with the idea of to convert souls who inhabited this region to Christianity. For the fulfill this mission, a long way would have to be traversed: the "sins", assimilated the customs of the autochthonous would have to be extinct and evil (identified in the figure of the devil who had migrated to the continent "newly discovered") excised. For analysis and critique of this process we will use of the epistolary José de Anchieta, pointing that, besides engaging in missionary work, the priests could not neglect the maintenance of the correspondence that took the information about the new world to Europe. The letters contained more than news regarding the situation of the Company in the Portuguese colony, were detailed accounts of the peculiarities and "oddities" of this new world and its beings, thus serving as a parameter to classify the Amerindian otherness and construction of the images would be outlined about this strange world to the Europeans and thus considered inferior. In this sense, the Jesuits classifiers can be considered agents of otherness, to the extent, they were pioneers in describing these beings stressing its negative aspects. The epistolary Anchietano is full of prejudices and the priest did not inhibit in pointing out what he regards as "defects" of the Americas: cannibalism, drinking, singing, parties, polygamy, nudity costumes are listed as heinous sins. Thus the legitimizing discourse of overseas enterprise is reinforced by the writings of the Jesuits who considered the urgent removal of these evils through preaching the message of the cross. / Os padres da Companhia de Jesus aportaram na América portuguesa em 1549. Chegaram imbuídos da idéia de converter as almas que habitavam essa região ao cristianismo. Para cumprirem com essa missão, um longo caminho teria que ser percorrido: os pecados , assimilados aos costumes dos autóctones teriam que ser extintos e o mal (identificado na figura do demônio que teria migrado para o continente recém-descoberto ) extirpado. Para análise e crítica de tal processo faremos uso do epistolário de José de Anchieta, apontando que, além de se dedicarem à obra missionária, os padres não podiam descuidar da manutenção da correspondência que levava as informações acerca do novo mundo à Europa. As missivas continham mais do que notícias concernentes a situação da Companhia na colônia portuguesa, eram relatos pormenorizados das particularidades e estranhezas desse novo mundo e seus seres, servindo assim como parâmetro para se classificar a alteridade ameríndia e para construção das imagens que seriam delineadas acerca desse mundo estranho aos europeus e por isso considerado inferior. Nesse sentido, os jesuítas podem ser considerados agentes classificadores da alteridade, na medida, em que foram os pioneiros em descrever esses seres ressaltando seus aspectos negativos. O epistolário anchietano é prenhe de preconceitos e o padre não se inibe em apontar o que ele considera como defeitos dos ameríndios: antropofagia, bebedeiras, cantos, festas, poligamia, nudez são costumes arrolados como nefandos pecados. Dessa forma o discurso legitimador da empresa ultramarina é reforçado pelos escritos dos jesuítas que consideravam urgente a extirpação desses males através da pregação da mensagem da cruz.

Este trabalho apresenta um estudo sobre como séries televisivas reverberam na mente do espectador que as assiste, como interfere - se o faz - na sua capacidade sensorial e perceptiva, que ressonâncias subjetivas são provocadas, em suma, que produção de sentido se realiza no processo mental do espectador, que pode levá-lo a redefinir opiniões, comportamentos e posturas. Para tanto, utilizando, como procedimento de pesquisa, a proposta metapórica, na forma como é exposta pela Nova Teoria da Comunicação, apresentada pelo Núcleo de Estudos Filosóficos da Comunicação, FiloCom, da Escola de Comunicações e Artes da USP. O estudo debruça-se mais especificamente sobre as interfaces que permeiam a relação da identidade daquele que denominamos \"eu-espectador\", em sua relação com a alteridade (de outrem ou de outros objetos), no momento da vivência daquilo que se denomina Acontecimento Comunicacional dentro de uma obra televisiva. Os resultados obtidos desta investigação estão cotejados com proposições do campo teórico, particularmente aquelas que realizam uma reflexão a respeito do sensível como ponto de partida para observar o que atravessa a percepção do espectador em sua relação com as séries de TV. / This work presents a study about how television series reverberate in the mind of the spectator that assists them, how they interfere - if it does - in their sensorial and perceptive capacity, what subjective resonances are provoked, in short, what production of meaning is realized in the mental process of the viewer, which can lead him/her to redefine opinions, behaviors and postures. To do so, we use as a research procedure the metaphorical proposal, as it is exposed by the New Theory of Communication, presented by the Nucleus of Philosophical Studies of Communication, FiloCom, School of Communications and Arts of USP. The study focuses more specifically on the interfaces that permeate the relation of the identity of what we call the \"I-spectator\", in his/her relation to otherness (of others or other objects), at the moment of experiencing what is called \"Communicational event \"in a television work. The results obtained from this investigation are compared with propositions of the theoretical field, particularly those that perform a reflection about the sensitive as a starting point to observe what cross the perception of the viewer in their relation with the TV series.

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2013-12-11T17:14:13Z No. of bitstreams: 2 Nogueira, Nathalia-Disser-2013.pdf: 963345 bytes, checksum: 5583e1c183d6009c7fd1a3b066ba8a96 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2013-12-11T17:14:13Z (GMT). No. of bitstreams: 2 Nogueira, Nathalia-Disser-2013.pdf: 963345 bytes, checksum: 5583e1c183d6009c7fd1a3b066ba8a96 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013 / Esta dissertação propõe remontar a feitura d‘Os sertões, de modo a recuperar as imagens traçadas por Euclides da Cunha a respeito das terras agrestes, desde sua mocidade aos escritos posteriores. Assim, preliminarmente, serão analisadas as oscilações euclidianas em torno do sertão, entre uma tônica idílica, nos poemas e artigos da juventude, e uma atordoante, nos registros ulteriores, marcados por leituras cientificistas. Em seguida, a partir de sua estada na Bahia, cruzando-se um "ter estado lá" e tendências do pensamento científico e histórico à época, pretende-se avaliar a centralidade do contato do autor com as coisas e pessoas deste canto de um Brasil ignoto e perceber como o exercício de um olhar etnográfico converteu a viagem em impulso e embrião para sua obra-mestra, o que se ambiciona corroborar em função do cotejo entre sua caderneta, suas correspondências enviadas ao jornal O Estado de S. Paulo e o livro em questão. Por último, estuda-se o mecanismo de tradução da alteridade sertaneja, perdida em recônditas trilhas, onde haveria o mais genuíno, anacrônico, aterrador e vigoroso Brasil. / This dissertation aims to reconstruct the made of Os Sertões (Rebellion in the Backland) in order to rescue the images built by Euclides da Cunha on the wild lands, from his youlth antil his late writings. Firstly, we analyze Euclidean variations on the backlands: something between in idyllic accent, during the poems and essays of his young years, and the dazzling tone of the scientific readings of his late works. Secondly, taking into consideration Cunha’s staying in Bahia and contrasting the experience of “having been there” to the scientific and historical thoughts of that moment, we evaluate the centrality of the author’s contact with peoples and things that belonged to an unknown part of Brazil, trying to understand how and ethnographic eye converted his voyage into the seed of his master piece. To do so, we collate his notes and letters to the newspaper O Estado de S. Paulo and the Rebellion in the Backlands. We finally study the translation of the backland people’s otherness, which was lost in the remote roads where the most genuine

Submitted by Maria Dulce (mdulce@ndc.uff.br) on 2014-07-01T17:14:28Z No. of bitstreams: 1 Lopes, Marcos-Tese-2014.pdf: 6603472 bytes, checksum: 9e8313f43a0e7522a9525cbf008489ee (MD5) / Made available in DSpace on 2014-07-01T17:14:28Z (GMT). No. of bitstreams: 1 Lopes, Marcos-Tese-2014.pdf: 6603472 bytes, checksum: 9e8313f43a0e7522a9525cbf008489ee (MD5) Previous issue date: 2014 / Esta Tese de Doutorado em História Social tem como objeto de estudo a obra do fotógrafo Mario Baldi, austríaco radicado no Brasil a partir de 1921. A trajetória profissional de Baldi foi marcada pela fotografia etnográfica e jornalística, com ênfase nos povos indígenas brasileiros. O objetivo do estudo é abordar as representações da alteridade cultural presentes na produção do fotógrafo, desde sua imigração até os anos 1950. A pesquisa apresenta também o círculo de sociabilidades do fotógrafo e o circuito das suas imagens, com o objetivo de delinear suas práticas fotográficas e como elas compuseram a experiência fotográfica brasileira na primeira metade do século XX. / This doctoral thesis hás the work of the photographer Mario Baldi as its object of study. Baldi, an Austrian who immigrated to Brazil in 1921, dedicated his career as a photographer to ethnography and journalism, especially among Brazilian indigenous peoples. The aim of this study is to address the representations of cultural otherness in the photographer’s work, since his immigration until the 1950s. The research stresses as well the social relations of Baldi and the circuits of his images, so that one can grasp the Brazilian photographic experience in the twentieth century through his photographic practices.

Submitted by Leonardo Lima (leonardoperlim@gmail.com) on 2016-03-21T19:57:17Z No. of bitstreams: 2 Um ilustrado nas fronteiras da alteridade.pdf: 3341183 bytes, checksum: 67d9b2157465fff26c46b3cdc97d9c84 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-22T10:55:44Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Um ilustrado nas fronteiras da alteridade.pdf: 3341183 bytes, checksum: 67d9b2157465fff26c46b3cdc97d9c84 (MD5) / Approved for entry into archive by Aline Batista (alinehb.ufpel@gmail.com) on 2016-03-22T10:57:47Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Um ilustrado nas fronteiras da alteridade.pdf: 3341183 bytes, checksum: 67d9b2157465fff26c46b3cdc97d9c84 (MD5) / Made available in DSpace on 2016-03-22T11:09:05Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Um ilustrado nas fronteiras da alteridade.pdf: 3341183 bytes, checksum: 67d9b2157465fff26c46b3cdc97d9c84 (MD5) Previous issue date: 2015-04-23 / Fundação de Amparo à Pesquisa do Rio Grande do Sul - FAPERGS / Com a assinatura do Tratado de 1778, diversas expedições foram enviadas pelas coroas ibéricas para a demarcação dos limites entre as suas possessões na América. Em uma dessas expedições, veio para a região platina o aragonês Félix de Azara (1742 – 1821). Devido à postergação do serviço das demarcações, Azara decidiu empreender várias viagens no interior do continente americano, coletando informações sobre os locais nos quais passava. Com esse trabalho, o militar tornou-se um reconhecido naturalista em seu tempo. O objetivo da presente dissertação de mestrado é compreender a visão de Félix de Azara sobre o “outro” e quais relações o aragonês manteve com os habitantes locais. Para isso, utilizaremos a proposta do linguista Tzvetan Todorov (2011), para abordar o tema da alteridade no período da ilustração. Com isso, pretendemos conhecer melhor não só Azara, mas também seu olhar como ilustrado espanhol sobre a sociedade platina do final do século XVIII. / After the signature of the Treaty of 1778, many expeditions were send by the Iberic crowns with the purpose of demarcating the borders of their possessions in the America. In one of these expeditions came to the region the Aragonese Felix de Azara (1742 – 1821). Due to the delay in the demarcation works, Azara decided to un-dertake many voyages to the inland of the American continent, collecting informations about the places where he passed. With this labour, the military became a recognized naturalist in his time. The objective of this dissertation is to understand the point of view of Felix the Azara towards the “other” and what relations the Aragonese kept with the local inhabitants. In order to do that we are going to use the proposition of Tzevetan Todorov on approaching the theme of “otherness” in the Enlightenment era. We intend to know better not only Azara, but also his point of view as a Spanish of the Enlightenment Era about a platine region society in the late XVIII century.

La présente recherche traite le problème de la langue et de la traduction avec Martin Heidegger à partir de la notion grecque de logos, telle qu’elle apparaît chez Héraclite. Ce que le logos dévoile, c’est que la parole de l’homme est anticipée par une « parole » des choses, dans laquelle consiste leur être. Logos devient ainsi un nom pour le rapport entre l’être et l’homme. Compte tenu du fait que l’homme déploie ce rapport d’une manière inaccomplie, la question qui se pose est celle d’une authenticité possible, à atteindre à travers un saut vers le retrait de l’être, que Heidegger pense en tant qu’Ereignis. Analysant la portée de celui-ci à l’égard de l’histoire de l’être selon la lecture de Reiner Schürmann, on découvre le silence qui se tient en deçà de la manière grecque de concevoir le Logos et qui permet d’aborder la question de la langue sur une nouvelle base. Le but est de montrer que le déploiement de la langue figure un type particulier de rapport, qui s’avère être la manière la plus originaire dont le rapport, comme tel, devrait être conçu : à savoir, comme traduction. Ce dernier mot, loin de reprendre d’emblée les traits qu’on lui prête généralement, acquiert sa signification à partir de la langue, qui se laisse saisir comme traduction du silence en langue parlée par l’homme. Sur la base de cette description, les questions concernant la place de la langue à l’égard des choses et à l’égard de l’homme trouvent leur réponse, de même que des conséquences majeures pour la traduction entre les langues peuvent être tirées. Comme le rapport implique essentiellement une altérité, l’interrogation revient à chaque fois à une perspective éthique menant de la figure de l’être comme altérité originaire à celle d’autrui sous le sceau de la traduction conçue comme hospitalité, faisant la pensée de Heidegger entrer en dialogue avec celle de Jacques Derrida. / The present work treats the problem of language and translation along with Martin Heidegger, grounding itself in the Heraclitean notion of logos. The latter allows us to discover the fact that our speech is anticipated by a more originary one, namely the being of beings. Logos becomes thus a name for the relation between being and man. Yet considering the fact that man holds himself inauthentically in this relation, the most important question is how to attain a possible authenticity, which can only take place as a leap towards the concealment of being itself, and what Heidegger associates with the term Ereignis. By interpreting this notion in its connection with the history of being, following the reading of Reiner Schürmann, we discover the realm of silence which the Greeks and their thinking of logos could not unveil, and which sets a new ground for the problem of language. The aim is to show that the abode, i.e. the unfolding (Wesen) of language figures a special kind of relation ; moreover, it represents the most originary way in which the relation as such should be conceived, namely as translation. Far from possessing the general meaning we usually ascribe to it, the word translation acquires thus its sense from the unfolding of language itself, which is to be thought as a passage from the silence of being to the sonority of human language, indeed as translation of silence into sound, which proves to be a harmonic and tearing relation at the same time. On the basis of this description it becomes possible to reinterpret the “logical” relation between man and being through language and to draw a great number of consequences for the general praxis of translation between languages. Given that the idea of relation essentially implies an otherness, the research is constantly oriented towards an ethical approach of language and translation, bringing at the end Heidegger’s thinking in dialogue with Jacques Derrida on the field of hospitality

Cette thèse est née d’une interrogation sur la représentation de l’Autre dans les imaginaires cinématographiques français et marocains qui se constituent actuellement ; c’est à dire au début des années 2000 (2000-2015). Plus précisément, elle s’interroge sur ce qui permet, à ce niveau de construction d’un regard croisé, de le différencier et de l’identifier distinctement sur le plan imaginaire et dramaturgique. Dans cette double perspective, l’Autre serait tour à tour Français et Marocain, le Nord et le Sud, le Maghrébin et l’Occidental ; ce qui permettra de comparer des représentations tantôt convergentes, tantôt divergentes, voire antagonistes. Car ceux qui traversent la Méditerranée ne sont pas seulement amenés à remettre en cause la prétendue supériorité de l’ancien colonisateur et à dénoncer la condition faite aux immigrés, mais sont aussi à l’origine d’une nouvelle vision du monde : ouverture à l’Autre et à son espace fondée sur le respect mutuel et la fécondité du métissage culturel. Il s’agit donc de mettre en place des rencontres cinématographiques françaises et marocaines pour comprendre comment le corps, son mouvement et son interprétation à l’écran, est le centre de gravité qui anime les regards croisés. Ainsi ressort-il une « correspondance » cinématographique franco-marocaine, carrefour des diversités linguistiques et culturelles, soulevant sans doute des interrogations complexes liées à ces rencontres enrichissantes et dignes d’intérêt scientifique. Comment l’Ailleurs marocain peut-il contribuer au récit filmique français, correspondre à une quête intérieure, ou au contraire conforter un désenchantement radical ? Comment la France entre-elle dans l’histoire contemporaine du cinéma marocain ? Comment le personnage français fait-il partie de son imaginaire ? Ce travail s’interroge parallèlement sur les dangers consécutifs à ce type de représentation qui se manifeste dans la réduction au pittoresque du récit filmique, l'inventaire complaisant de clichés révélant une vision stéréotypée de l'Autre et de son espace. Car les années 2000 conduisent certains films et penseurs à réagir encore et toujours à cette attitude qu’ils tournent souvent en dérision. Toutefois, le cinéma français et les films marocains, loin d’être réductible à cette contestation, proposent aujourd’hui une vision distanciée et originale d’elle-même, de sa culture, et aussi forcément de l’Autre. / This thesis arose from a question about the representation of The Other in today's French and Moroccan filmic images; that is to say in the early 2000s (2000-2015). More precisely, it elaborates on what can allow the construction of a cross observation, which could clearly differentiate and identify the fictional and dramaturgical aspects of the subject. In this double perspective, the Other would be both French and Moroccan, the North and the South, the Maghreb and the West. This will lead to a comparison between representations which are sometimes convergent, sometimes divergent, and even antagonistic. For those crossing the Mediterranean are not only brought to call into question the supposed superiority of the colonizers and denounce the condition of the immigrants, but are also faced with a new vision of the world: the openness to the Other and its foundations implying mutual respect and the fruitfulness of a cultural mix. It is therefore necessary to contextualize the French and Moroccan cinematographic meeting points in order to understand how bodies, their movements and the way they are interpreted on the screen, are at the core of our cross observations. Thus a Franco-Moroccan cinematographic “correspondence" appears. A crossroad of linguistic and cultural diversity, raising undoubtedly complex questions related to these rich encounters and worthy of scientific interest. How can the Moroccan contribute to the French film narrative, corresponding to an inner quest, or on the contrary confirming a radical disenchantment? How does France enter Moroccan contemporary cinema? How do French characters fit in? This work also examines the consecutive dangers of that kind of representation which amount to mere picturesque film narratives, inventories full of cliches revealing a stereotypical view of the Other and their space. Because in the 2000s, some movies and thinkers still have this attitude, so they often feel derided. However, French cinema and Moroccan films, far from being reduced to this challenge, offer today an original and distanced vision of themselves, their culture, and most certainly the Other.

Cette thèse examine les relations entre la littérature et la Bible à travers trois personnages mythiques qui représentent le Juif comme l’Autre, un concept à la fois effrayant et fascinant. Elle explore l’évolution des représentations des personnages juifs ainsi que leurs convergences et divergences dans le roman anglais, allemand et français du dix-neuvième siècle. Présupposant l’existence d’un inconscient collectif commun à toute l’humanité, nous avons démontré, en partie grâce à la mythocritique, que ces personnages juifs rejouent ces trois mythes, dont la présence également dans le domaine de la peinture témoigne de leur vitalité au dix-neuvième siècle. La dernière partie, consacrée à la littérature juive de l’époque en Europe constitue une réponse à ces trois mythes évoqués et met à jour un dialogue constructif entre les auteurs juifs et non juifs, ainsi qu’une introspection respective. / This thesis examines the relations between literature and the Bible through the myth of three characters, who construct the collective of ‘the Jew’ as a dangerous and fascinating Other in the nineteenth-century European mind. It examines the evolution of the representations of these characters, and their convergences and divergences in French, English and German nineteenth-century novels. The mythocritique method, taking into account the collective unconscious, reveals that the chosen characters re-enact three major myths, which demonstrate their vitality, not only in literature and theology, but also in art. A response can be found in comparative Jewish literature to these myths, completing the study and revealing a constructive dialogue and self-examination.

Le but de cette thèse est de mettre en lumière la relation complexe entre le « corps » du voyageur et celui de l‟écrivain, mais aussi le « corpus » de l‟oeuvre littéraire, dans la mesure où nous avons affaire à quelques écrivains voyageurs en Extrême-Orient des XIX-XXème siècles. Il s‟agit des oeuvres de Segalen, Claudel, Loti, Michaux et David-Néel. Leur réflexion se porte à la fois sur des idéogrammes orientaux et des religions « alternatives » de l‟Extrême-Orient (Tibet, Chine et Japon), notamment le taoïsme et le bouddhisme, et parallèlement sur des confrontations de l‟altérité du « corps ».Notre problématique de l‟espace littéraire propose trois axes principaux que la thèse divise en trois parties en analysant l‟espace textuel, l‟espace « transcendant », et ensuite l‟espace « intérieur ».L’intérêt de ce travail sur le « corps » dans le regard exotique se mesure à la faveur de la notion d‟espace littéraire qui s‟évalue dans un processus particulier propre à chacun de ces auteurs / The aim of this thesis is to bring light to the complex relationship between the “body” of the traveller and that of the writer, but also the “corpus” of literary work, in so far as we deal with several travel writers in the Far East from the 19th and 20th centuries. It consists of the works of Segalen, Claudel, Loti, Michaux and David-Néel. Their reflections relate at once to oriental ideograms and the “alternative” religions of the Far East (Tibet, China, Japan), notably Taoism and Buddhism, and, in parallel, to confrontations with the otherness of the “body”.For our problematic of literary space we propose three principal axes, which divide the thesis into three parts, analysing the textual space, the “transcendent” space and then the “interior” space.The interest of this work on the “body” under the exotic gaze is measured against the notion of literary space, which is evaluated in an individual process specific to each of the authors

La question du sujet. Question fondamentale qui constitue comme un fil rouge pour qui souhaite cheminer et s’orienter dans la pensée philosophique d’Emmanuel Levinas. S’orienter dans une pensée intempestive et toujours mouvante, qui se déplace et progresse comme le mouvement des vagues, continu et entraînant. Mouvement intime et constitutif d’une pensée puissante qui, depuis ses débuts jusqu’à son acmé, n’a cessé de porter, autant que d’être portée par elle, cette question abyssale du sujet. Interrogation vertigineuse, en effet, qui se double intimement d’une intense réflexion sur l’altérité et sur ses différentes modalités de signification, d’expression. L’un et l’autre, le sujet et l’altérité, tous deux participent d’un seul et même souffle, d’une seule et même geste philosophique que Levinas entend déplier patiemment depuis ses premières œuvres jusqu’à son maître-ouvrage, le plus aride par son style syncopé, le plus déroutant par son écriture cassée et le plus dérangeant, surtout, par sa radicalité éthique : Autrement qu’être ou au-delà de l’essence (1974). Ouvrage de la maturité où s’élabore et se donne à voir page après page une nouvelle figure du sujet, à la fois extrêmement aboutie, taillée dans la roche, ciselée même et ô combien questionnante et soumise elle-même à vive controverse. Un sujet fragile - débarrassé de toute stance égologique, de toute assise substantielle - expatrié en somme, autant que faire se peut, de ses antiques terres et privilèges ontologiques. Une subjectivité éthique, précisément, que Levinas expose sous toutes ses coutures et dans ses moindres nervures et replis possibles ; une subjectivité autopsiée en quelque sorte, ouverte, comme malgré elle, sur l’énigmatique travail d’une altérité intime qui l’habite depuis toujours. / The question of the subject. A fundamental question which is like a red thread for those who want to talk and move in Emmanuel Levinas’ philosophical thought. Move in an untimely and always moving thought that moves and progresses as wave motion, continuous and catchy. Intimate movement and constitutes a powerful thought that, from its inception to its peak, has stopped wearing as much as to be driven by it, the abyssal question of the subject. Querying dizzying, indeed, that intimately doubles intense reflection on otherness, both part of a single breath, a single philosophical movement that Levinas means unfold patiently for his early works to his master-piece, his most arid, confusing, broken and disturbing work, especially by its ethical radicalism writing syncopated style : Otherwise than Being or beyond Essence (1974). A work of maturity which is developed and gives page after page to see a new face of the subject, both extremely accomplished, carved into the rock and even chased oh questionnante and subjected itself to controversy. A fragile subject – free of any egological stance, of any substantial base – expatriate in short as far as possible, its ancient lands and ontological privilege. Ethical subjectivity is what Levinas precisely exposes in all its glory and in its lower ribs and possible downturns ; subjectivity autopsied somehow open, as in spite of itself, the enigmatic work of an intimate otherness that has always inhabited.