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一直以來，理論與經驗被認為是學術中兩種重要的研究方向，時至今日，在各個學術領域中仍不時有著理論／經驗二分並且對立的情況。在社會學界，這樣的現象也同樣地存在著。本文意在指出，任何理論作品本身皆帶有實作的面向，從來沒有非實作的理論；反過來說，亦沒有非理論的實作。語言體現一種群體的身體習慣，閱讀是對它的理解、而書寫是對它的介入。假解構之道重新進入暴力問題將有助於我們更為現實地面對近乎無所不在的語言之暴力。本文透過Derrida對現象學／存有論和馬克思主義文本的詳細閱讀和，旨在論證暴力幽靈不失為解構式延異經濟的最佳範例。名為幽靈的暴力意味著人們無法一勞永逸地袪除的東西，總是纏擾著資本主義的精神。本文將指出，作為基進化的馬克思主義，以暴力問題闡明的解構政治哲學能使我們免於陷入古典社會學和馬克思主義的天真政治和自發哲學的困境，包括天真地相信暴力將隨著文明化和理性化的進步而終結，以及自發地繼承西方神學和形上學的傳統。 / For a long time, the theoretical and the empirical have been regarded as distinctive approaches to academic research, and yet conflicts between these two lines of study persist until today. . The same case applies to the discipline of sociology. This thesis intends to point out that every theoretical work carries in itself a practical dimension, at which there is neither a non-practical theory nor a non-theoretical practice. A language is the actualization of bodily habits of a group. We read to understand and write to intervene this linguistic group. Thus it is only by way of deconstruction could we confront the almost ubiquitous violence of language in a more realistic manner. Following Derrida’s deconstructive reading of phenomenology/ontology and Marxism, the thesis seeks to make spectral violence an exemplary case to support the economy of différance. The specter named violence signifies something that could never be exorcised once and for all, always haunting the capitalist spirit. It will be argued that as a radical form of Marxism, deconstructive political philosophy explicated by the question of violence can keep us from lapsing into the naïve politics and spontaneous philosophy of classical sociology and Marxism, insofar as they naively believe in the end of violence via the progress of civilization and rationalization, and spontaneously succeed to Western theological and metaphysical traditions.

This thesis tries to distinguish kitsch and art with the help of philosophical hermeneutics by reading it in the light of Derrida&rsquo / s interpretation of Hamlet in Specters of Marx. It defines kitsch as experience in order to go beyond both of the two main approaches, namely, the one that sees kitsch as an object and the one that reduces it to the behaviour of the subject. It tries to show that kitsch is not just an aesthetic problem, but also, a political one.

No description available.

Avec la sécularisation, la laïcité et la diversité croissantes de la société québécoise, la place de la religion en général et du catholicisme en particulier se sont vues remises en question. Cette situation a d’ailleurs mené à la mise en place de deux commissions : l’une sur la place de la religion à l’école (1999) et l’autre sur les pratiques d’accommodements reliées aux différences culturelles (2008). Ces deux commissions auront fourni énormément d’informations sur les rapports qu’entretiennent encore les Québécois avec le catholicisme. Cette recherche a donc pour but de faire le point sur certains aspects du catholicisme au Québec à partir d’une perspective reposant principalement sur des instruments heuristiques issus des écrits signés « Jacques Derrida ». Pour ce faire, nous nous appuierons sur les travaux du Groupe de travail sur la religion à l’école, de la consultation générale sur la place de la religion à l’école et de la commission de consultation sur les pratiques d’accommodement reliées aux différences culturelles. Nous posons comme hypothèse que de manière générale, les Québécois entretiennent avec le catholicisme, des rapports « archivaux », c’est-à-dire conditionnés par des perceptions de ce dernier informées par son passé, plutôt que par son présent. De plus, ces perceptions du catholicisme, probablement développées dans le sillage de la Révolution tranquille et peut-être même un peu avant, nourriraient l’existence de « spectres » qui viendraient hanter les rapports des Québécois à tout ce qui touche le religieux et la diversité culturelle. En ce sens, il s’agit d’une dimension essentielle de ce que nous appellerions la « postmodernité » religieuse québécoise. Pour illustrer ce propos, nous mènerons une analyse de contenu documentaire. Premièrement, nous procéderons à l’analyse thématique de centaines de documents (rapports de recherche, rapports officiels, mémoires) déposés lors de ces débats. Le logiciel QDA Miner permettra d’effectuer une analyse documentaire en identifiant les passages thématiques reliés à la recherche. Nous procéderons ensuite à une analyse plus fine de ces extraits sélectionnés à partir de perspectives philosophiques provenant principalement du philosophe Jacques Derrida. / Due to the secularisation, laicité and the growing religious diversity of Quebec society, the place of religion and Catholicism has been questioned. This situation has led to the creation of two commissions: one on the place of religion in school (1999) and the other on Accommodation practices related to cultural differences (2008). These commissions gave a lot of information about the relationship between Quebecers and Catholicism. This research aims to understand certain aspects of Catholicism in Quebec with a perspective using texts signed "Jacques Derrida". To do so, we will use the works of Groupe de travail sur la religion à l’école, of General Consultation on the Place of Religion in School, and of Consultation Commission on Accommodation Practices Related to Cultural Differences. Our research hypothesis is that generally Quebecers have an ‘archival’ relationship towards Catholicism. Meaning, past perceptions of Catholicism as opposed to present ones condition this relationship. Moreover, these perceptions of Catholicism, that probably developed either just prior to or during the Quiet Revolution in the sixties, would feed the existence of "specters," or "ghosts," that haunt the relationship between Quebecers and everything related to religious and cultural diversity. This would be a fundamental dimension of what we would call the Quebec religious "postmodernity". To illustrate this statement, we will first analyse hundreds of documents deposed to these commissions. The software QDA Miner will help to perform a documentary analysis by identifying key passages related to this research. Then, we will analyse more accurately, the selected passages using philosophical perspectives mainly from Jacques Derrida.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2018-08-23T17:40:36Z No. of bitstreams: 1 josealexandredasilva.pdf: 633531 bytes, checksum: 08d1a5c77728969e823f15875c3f2ef5 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2018-08-24T11:15:28Z (GMT) No. of bitstreams: 1 josealexandredasilva.pdf: 633531 bytes, checksum: 08d1a5c77728969e823f15875c3f2ef5 (MD5) / Made available in DSpace on 2018-08-24T11:15:28Z (GMT). No. of bitstreams: 1 josealexandredasilva.pdf: 633531 bytes, checksum: 08d1a5c77728969e823f15875c3f2ef5 (MD5) Previous issue date: 2013-09-30 / PROQUALI (UFJF) / O objetivo deste trabalho é buscar uma hipótese que justifique a persistência instável da forma narrativa utilizada por Avelino Fóscolo quanto, ao Realismo/Naturalismo como gênero em sua obra Morro Velho (1999), resgatando para isso o conceito derridiano de espectro em consonância com sua conferência Espectros de Marx (1994) proferida na Universidade da Califórnia em 1993 e transformada em livro posteriormente. Partindo da classificação dada ao romance como sendo vinculado ao naturalismo tardio da denúncia social e de uma fórmula literária considerada desgastada, serão abordados aspectos históricos, sociais e literários que permitam desvendar o reaparecimento de tal escola literária em 1940. Para isso, será analisado um leque de denominações que a ela se referem nas mais diversas circunstâncias, formas e tempos, as quais ainda podem ser observadas em momentos distintos da literatura brasileira como consequência de fatores que surgiram e permaneceram ao longo da história como um rastro. / This paper aims a hypothesis that is capable to justify the unstable endurance of the narrative form used by Avelino Fóscolo regarding the literary movements known as Realism/Naturalism as genre in his literary work Morro Velho (1999), using the Derrida’s concept of specter according to his conference Specters of Marx (1994) which was lectured in the University of California in 1993, being published afterwards. Starting from the late classification given to the novel as being attached to the late Naturalism associated to social protest novel and to a literary formula considered as overused, this paper will approach historical, social and literary aspects that allow us to understand the reasons of the recurrence of this artistic movement in 1940. Thereunto, this literary analysis will investigate the wide range of denominations that is pertinent to Naturalism in different circumstances, patterns and epochs, which can also be observed in diverse moments in Brazilian Literature as a consequence of factors that arose and remained throughout History as a trace.

No description available.

Il s’agit de reprendre la question autobiographique à l’époque où le genre se constitue en Europe, au premier XIXe siècle, en déplaçant le regard vers les marges du genre. Les œuvres de Jean Paul, d’Ugo Foscolo, de Stendhal et de Gérard de Nerval sont d’abord étudiées sous l’angle de la poétique des genres dont elles déstabilisent les catégories. La thèse déplace la question générique en soulevant les enjeux éthiques et politiques du récit de soi qui sont liés à l’expérience du sujet et du temps. À côté de ce qui deviendra le canon en matière d’autobiographie se dessine une autre ligne autobiographique qui, en souvenir de Laurence Sterne, se place sous le signe de l’imagination et de l’arabesque. Les œuvres du corpus mettent en évidence la ligne de poésie de la vie et du sujet. Ces poétiques autobiographiques excentriques manifestent une dissemblance de soi, du temps et de l’histoire. Elles mettent en crise l’identité pensée comme « mêmeté » et l’idée d’un temps homogène. Le soi n’est pas un ; l’autobiographe n’est seul ni dans sa peau, ni dans sa langue, ni dans sa plume ; il se déplace entre les lieux et entre les langues, ne trouvant pas d’assise. La figure de l’auteur est plurielle et collective, en rupture avec le mythe du génie. Aux transfigurations de soi s’ajoutent les transfigurations de la mémoire qui ressaisit le passé au présent et pour l’avenir. Expérience mélancolique de revenance, le récit de soi multiplie les fantômes qui sont le signe d’un deuil personnel et des disjonctions de l’histoire. Témoignant des révolutions du siècle, l’autobiographe ouvre aussi l’histoire individuelle et collective : le récit de soi est prospectif. C’est une mémoire au futur. / The thesis takes up the question of autobiography by focusing on works at the margins of the genre during the early 19th century, the period in which autobiographical writing in Europe came into its own. The works of Jean Paul, Ugo Foscolo, Stendhal and Gérard de Nerval destabilize established generic and canonic categories. They do so by pointing to the ethical and political issues at stake in the narration of the self, which are in turn linked to the experience of the subject and of time. The thesis thereby identifies and explores another autobiographical “line” emerging alongside canonical forms of the genre, a “line” which recalls Laurence Sterne through the use of arabesques and the reliance upon imagination in life narratives. These works emphasize the “line of poetry” which constitutes life and the subject. The poetics of these eccentric autobiographical works explores dissemblance in writing the self, time, and history. They question reductive understandings of identity as ‘sameness’ and conceptions of time as homogenous. The self is not ‘one’; the autobiographer is alone neither in his body, nor in his language, nor in the act of writing. Rather, he is in constant movement between places and languages, unable to establish a stable grounding for his narrative. The author’s persona is multiple and collective, inverting the myth of the romantic genius. Such transfigurations of the self are tied to transfigurations of memory, which allow for the past to be reenacted in the present and for the future. This melancholic experience is also one of haunting, for narratives of the self draw on the figure of the phantom as a sign of mourning for both personal and historical disjunctions. As witnesses of recent or contemporary revolutions, the autobiographers stress the incomplete nature of both individual and collective history, that is, the potential that such history contains. Narrating the self is therefore prospective; it is memory addressing the future.