Le présent travail s’attache à montrer comment, dans l’œuvre balzacienne, la représentation de la foi, pensée comme un sentiment religieux, est fondée sur un principe actif de retournement que nous appelons ironisation. Distincte de l’ironie et fondamentalement non humoresque, l’ironisation construit une problématique de la valeur qui, dans la société du premier XIXe siècle confrontée au désordre et à l’instabilité du sens, semble être la seule forme apte à traduire les fluctuations du réel et à donner à lire la non-coïncidence entre l’ordre du sujet et l’ordre du monde. Dynamique narrative, esthétique et poétique, l’ironisation consiste en une force de déplacement et de déstabilisation, en un nouveau mode critique qui installe la réversibilité des interprétations au cœur des récits, réfute toute hiérarchisation des axiologies contraires et engage une vision du monde où la vérité ne se fonde plus sur une transcendance, celle de Dieu, du sens ou du vrai. Assumant la solitude radicale dans laquelle elle laisse le lecteur, l’ironisation brouille les repères, renverse constamment les significations et refuse toute tentative d’unification systématique : elle constitue ainsi une véritable prise de contact avec le réel et interroge la croyance en déterminant une troisième voie qui échappe à la dialectique stérile nihilisme/spiritualisme.Si Balzac invente toute une théologie originale et personnelle qu’il développe et exemplifie notamment dans Le Livre mystique, et s’il ménage dans ses romans des scènes récurrentes qui voient les personnages confrontés à l’apparition du sacré, il cherche néanmoins à représenter le sentiment religieux dans l’Histoire et à intégrer sa pensée du spirituel au sein d’un dispositif général fondé sur un projet matérialiste et une poétique de type « réaliste ». Cette double postulation se traduit par l’ironisation qui, en procédant à une mise en tension des opposés, le religieux et le matérialisme, le doute et la spiritualité, donne naissance à une unité radicalement polyphonique qui invite à repenser la représentation de la foi dans le monde contemporain à la lumière de catégories nouvelles. Rendant indécidable un sens univoque et faisant cohabiter des réalités incompatibles, le geste d’ironisation détermine alors un nouveau rapport au temps et interroge le phénomène religieux ainsi que le devenir de l’individu moderne et de l’Histoire. / The present work endeavours to demonstrate in Balzac’s Comédie humaine just how the representation of faith, considered as a religious feeling, is based upon an active principle of reversal that we will call « ironisation ». Distinct from irony and inherently non-comical, « ironisation » is bound to the issue of value and seems to be, in the early 19th-century society faced with disorder and the instability of meaning, the only form able to convey the unsteadiness of the real and to manifest the rift between the order of the subject and the order of the world. As a narrative, an aesthetic and a poetic dynamic, « ironisation » consists in a displacing and unsettling force, in a new critical mode which puts the reversibility of interpretations at the heart of stories, denies every axiological hierarchy and entails a worldview where truth isn’t tied to transcendence anymore, be it the transcendence of God, of meaning or of truth. Accepting the radical aloneness to which it condemns the reader, « ironisation » troubles our standards, constantly overturns significations and refuses all attempts at systematic unity: as such, it is a true confrontation with reality and it undermines beliefs while forming a third way escaping from the fruitless dialectic between nihilism and spiritualism.If Balzac invents his very personal and original theology, which he expands and exemplifies especially in Le Livre mystique, and if he makes room in his novels for recurring scenes where characters are faced with the appearance of the sacred, he nevertheless tries to represent the religious felling within the bounds of history and to situate his ideas about the spiritual inside of a general framework based upon a materialist project and « realist » poetics. These two premises lead to « ironisation » which, by creating tension between pairs of opposites, the religious and the materialistic, doubt and spirituality, gives birth to a resolutely polyphonic unity, inviting us to rethink the representation of faith in the contemporary world in light of new categories. Since it makes meaning undecidable and forces conflicting realities to cohabit, the gesture of « ironisation » shapes a new relation to time and questions the religious phenomenon as well as the becoming of the modern individual and history.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2017-02-20T15:07:06Z No. of bitstreams: 1 paulorobertocardinelliwebler.pdf: 834209 bytes, checksum: 4a5a59e290ed8cc0d4d8dc1016d75547 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-02-20T18:15:48Z (GMT) No. of bitstreams: 1 paulorobertocardinelliwebler.pdf: 834209 bytes, checksum: 4a5a59e290ed8cc0d4d8dc1016d75547 (MD5) / Made available in DSpace on 2017-02-20T18:15:48Z (GMT). No. of bitstreams: 1 paulorobertocardinelliwebler.pdf: 834209 bytes, checksum: 4a5a59e290ed8cc0d4d8dc1016d75547 (MD5) Previous issue date: 2010-07-30 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / Este estudo procura evidenciar o sentimento religioso que atravessa o universo ficcional de Saul Bellow. Nessa perspectiva, foi feita a seleção de quatro expressivos romances de Bellow para uma análise mais detalhada. Uma escolha que permite a observação de diferentes formas de abertura para o âmbito do transcendente, visto que cada um dos protagonistas de Bellow faz isso de modo muito próprio. Mais precisamente, a partir das suas circunstâncias, das suas vivências, dos seus pensamentos e ainda das suas intuições. Ocorre que esses personagens empreendem, invariavelmente, uma jornada ao conhecimento de si mesmo. Quanto à análise desses textos, ela gira em torno de dois eixos. O primeiro deles é o tema da morte, ou da mortalidade, certamente o tema que é mais fundamental nas criações literárias de Bellow. A respeito do segundo eixo, este é o tema do espírito, ou da alma, também fundamental, e que aparece geralmente vinculado ou subordinado ao tema da morte. Para subsidiar essas análises, não se abre mão de utilizar referências biográficas de Bellow e comentários da crítica literária sobre a sua produção textual. Recursos que se apresentam convenientes para este trabalho de aproximação do complexo e refratário estro bellowiano. / This study attempts to show the religious feeling that permeates the fictional universe of Saul Bellow. To this end, four expressive novels by Bellow were selected for more detailed analysis. This choice enables us to observe different forms of opening for the field of the transcendental, since each of Bellow’s protagonists does this in a particular way, or, more precisely, according to their circumstances, to their experiences, to their thoughts, and also to their intuitions. It happens that these characters invariably undertake a journey in search of self-knowledge. As to the analysis of these texts, it is carried out around two central themes. The first is that of death, or mortality, undoubtedly the most fundamental theme in the literary works of Bellow. The second is that of the spirit, or soul, which is also fundamental and generally linked or subordinated to the theme of death. To substantiate this analysis, we have used bibliographical references of Bellow and comments by literary critics on his writing, which are appropriate resources for this work which attempts to come to grips with the complex and intractable inspiration of Bellow.

Made available in DSpace on 2016-03-15T19:48:46Z (GMT). No. of bitstreams: 1 Persio Ribeiro Gomes de Deus.pdf: 894292 bytes, checksum: ac07f7fac3195ea894f00e199df23950 (MD5) Previous issue date: 2008-06-24 / Fundo Mackenzie de Pesquisa / This research investigates the hypothesis that the religious feelings can exert a harmful influence on the understanding of the depressive disease, in Christians suffering from depression. From early times, there has been a relation between the ideas of divine and sacred and the occurrence of diseases; the sacred entities were thought to interfere with the outbreak of diseases, or even cause them. Primitive men, in their world view, would attribute to gods and demons phenomena such as natural catastrophes: plagues, pests, and diseases. Throughout History, there is a clear change of human perception about religion and also about mental disease. However, the relation between religious feeling and depression remains unaltered in the common man s view, throughout History. Demons, sin, God s wrath, and lack of faith are understood as linked to the depressive disease, in a causality relation. Even among men with scientific and religious knowledge, the influences that the religious feeling exerts on the notion of depressive disease can be noticed. Psychiatry, due to methodological difficulties, only recently has created explanatory models that are adequate for the understanding of depressive disorders. The gap created by this delay in scientific knowledge was filled with prejudiced, distorted and mythical ideas about that disease. Through a literature review, the relation between religious feelings or religiosity and the conception of depressive disease is investigated. This relation is analyzed, from the first manifestations of religious feelings in the primitive man his world view and notion of religion to the contemporary era. In a multidisciplinary approach, we find support in some classic works from Sociology, Anthropology, Philosophy, Psychiatry, and also from thinkers from other areas of knowledge. The hypothesis is also objectively verified, through a case study of patients with depression who spontaneously searched for psychiatric treatment. / A hipótese do presente estudo é a de que o sentimento religioso produz uma influência prejudicial sobre a noção de doença depressiva no cristão portador de depressão. Desde o início da humanidade, verifica-se uma relação entre as noções de divindades ou de sagrado e sua interferência e até mesmo determinismo em relação ao aparecimento de doenças. O ser humano primitivo, em sua cosmovisão, atribuía aos deuses ou demônios fenômenos como as catástrofes naturais: pragas, pestes e doenças. Ao longo da história, percebe-se a modificação das concepções humanas sobre a religião e também sobre a doença mental. No entanto, a relação entre sentimento religioso e depressão permanece praticamente inalterada na visão do homem comum através da história. Nesta relação, existe uma causalidade entre a doença depressiva e demônios, pecado, a ira de Deus e a falta de fé. Mesmo no homem com conhecimento científico e religioso, são percebidas as influências que o sentimento religioso exerce sobre a noção de doença depressiva. A psiquiatria, devido a dificuldades metodológicas, só recentemente conseguiu modelos explicativos adequados para a compreensão dos distúrbios depressivos. Este atraso no conhecimento científico foi preenchido com idéias preconceituosas, distorcidas e míticas sobre a doença. Através de revisão da literatura, será investigada a relação entre sentimento religioso ou religiosidade e a concepção de doença depressiva. Esta relação será analisada a partir da exposição das primeiras manifestações de sentimento religioso no homem primitivo, sua cosmovisão e noção de religião, até chegar-se ao momento contemporâneo. Numa visão multidisciplinar, busca-se apoio em alguns clássicos da sociologia, da teologia, da história da antropologia, da filosofia, da psiquiatria e ainda outros pensadores de outras áreas do conhecimento. Além disso, as hipóteses serão verificadas objetivamente através de uma amostragem de pacientes portadores de depressão que vierem a procurar espontaneamente tratamento médico psiquiátrico.