La nuit n’est pas seulement un phénomène astronomique mais elle nourrit aussi son imaginaire de nombreux fantasmes et inquiétudes. Pour cette raison, elle reste une source d’inspiration féconde pour les artistes, particulièrement en France autour de 1900. Cette thèse se propose donc de retrouver les traces du phénomène nocturne dans les musiques de la nuit de cette période et au-delà. Que retiennent les musiques nocturnes de cette expérience singulière de la nuit ? À partir d’une méthodologie inspirée des sciences de l’imaginaire et d’une analyse musicale approfondie d’une dizaine de pièces de cette époque, ce travail interroge les notions d’ombre et de lumière, de la nuit comme masque de la mort ou encore de la temporalité et de la spatialité nocturnes. Il aboutit ainsi à la compréhension de certaines formes d’analogies entre la nuit et ses représentations musicales. / For human being, night is not only an astronomic phenomenon but it also nourishes its imagination of many fantasies and fears. For this reason, it remains a great source of inspiration for the artists, particularly in France around 1900, and the purpose of this thesis is then to find the traces of nocturnal phenomenon is night’s music of this period and beyond. What do night’s music keep of this peculiar night experience ? From a methodology inspired by the sciences of imaginary and a musical analysis of a dozen score of this period, this work examine notions such as shade and light, night in his relation to death or to the dimensions of time and space. It leads so to the understanding of certain analogies between night and his musical forms.

Cette thèse a pour objet d’étudier les mécanismes de la poétique du temps dans le théâtre de Lope de Vega à partir d’un corpus de quatre-vingts comedias couvrant l’entier de la production de l’auteur et appartenant à toutes les catégories dramatiques (à l’exclusion de l’auto sacramental). L’introduction fixe les bases de la réflexion. Deux critères ont contribué au classement du corpus et au plan de la thèse : le temps bref (TB) et le temps long (TL). Une comedia sera dite à TL dès qu’elle dépassera le seuil du TB néo-aristotélicien, fixé à dix jours. L’ouvrage se compose de sept chapitres. Les deux premiers chapitres analysent les procédés du temps bref. Le chapitre 3 s’intéresse aux pièces se situant à l’orée du temps long. Lope de Vega invente une durée moyenne, comprise entre plus de dix jours et moins d’un mois, où la temporalité est caractérisée par son élasticité et son imprécision. Les chapitres 4, 5 et 6 portent sur l’étude des procédés du temps long et de ses paradoxes. Le dernier chapitre offre des propositions théoriques. Lope se base sur une poétique de la double temporalité. Ce concept regroupe deux notions : l’alternance temporelle et la mixité. L’alternance correspond au passage d’un acte bref à une distancia longue, ou vice versa. La mixité consiste en des figures de l’allongement ou du raccourcissement. Nous postulons que Lope de Vega met en œuvre dans ses comedias au moins une des six modalités de la dualité temporelle exposées dans ce chapitre. La poétique de la double temporalité est aussi une esthétique puisque le poète vise la représentation d’un temps intégral, polymorphe et paradoxal, et un dosage harmonieux entre le temps bref et le temps long. / This thesis aims to analyse the mechanisms of the poetics of time in the theatre of Lope de Vega from 80 comedias of the author spanning his entire literary career and belonging to all dramatic sub-genres. The introduction establishes the basics of reflection for the thesis. In the introduction, we define the essential concepts about temporality: Brief Time and Long Time. A play is deemed Long if the action lasts more than ten days. The main purpose of the investigation is to characterise time structures in Lope’s plays. This thesis contains seven chapters where the plays are analysed according to time criteria. The first two chapters deal with Brief Time. In the following chapters, we focus on Long Time structures and figures. In the last chapter, we consider theoretical aspects of temporality in Lope's plays. The author establishes a poetics of double temporality which brings together two notions: time alternation and mixity. Time alternation corresponds with a switch between a brief act and a long inter-act, or vice versa. Mixity consists of lengthening or shortening devices. We postulate that Lope de Vega establishes in his plays at least one of the six modalities of dual temporality explained in this last chapter. The poetics of double temporality is also an aesthetics because the poet seeks the dramatisation of the whole of time and the balance between Brief Time and Long Time.

La prémonition occupe une place majeure dans l'œuvre de Maeterlinck, de Proust et des surréalistes (Breton, Crevel) alors même que la rationalité positiviste dominante en fin de XIXème siècle conteste son existence. Partant de ce paradoxe, la thèse établit la généalogie esthétique des phénomènes prémonitoires et constate leur négation au plan synchronique par la pensée rationnelle (Freud, Bergson). L'étude écarte les modèles critiques issus du structuralisme inaptes à décrire pleinement le phénomène dans les textes et se dote par contrecoup d'un modèle critique de dispositif de temporalité en étendant la théorie des dispositifs à l'étude du temps. Ainsi elle peut envisager l'articulation dans les œuvres des dispositifs de temporalité entre l'ouvert du réel (ou du Réel) et la réalité représentée. Elle examine alors les phénomènes dynamiques de la prémonition comme des modes de translation entre ces deux plans temporels au cœur de la représentation dramatique ou littéraire. Il s'agit in fine de situer le texte au centre d'un jeu de relations dans lequel les auteurs renégocient le régime de temporalité en pleine mutation vers 1900 et produisent une matrice esthétique du temps destinée au spectateur ou au lecteur; la prémonition, au cœur de ces dispositifs, leur offre de rejouer l'expérience vertigineuse du contact avec l'"autre scène. Replaçant enfin les jeux de relations des dispositifs de temporalité à hauteur des sciences de l'homme (anthropologie et neurobiologie), l'étude revendique dans un troisième plan décrit par la psychanalyse l'espace vital de liberté offert aux créateurs pour conduire leur expérience fondamentale, fondatrice et esthétique d'un temps propre. / Although at the end of the nineteenth century, Positivist rationalism con tests the existence of premonition, it occupies a major place in the productions of Maeterlinck, Proust and the Surrealists (Breton, Crevel). Starting from this paradox, the thesis establishes the genealogy of premonitory phenomena and attests their denial by synchronic rational thinking (Freud, Bergson). The study dismisses the critical patterns belonging to structuralism for being unable to fully describe the phenomenon in the texts and relies instead on the critical concept of temporality apparatus ('di spositif de temporalité') while extending apparatus theory ('théorie des dispositifs') to temporal studies. Thus it becomes possible to explore the connections between the real (or Real) and representations of reality in works. The essay also investigates the dynamic phenomena of premonition as fundamental means of translation between these two temporal planes at the heart of dramatic or literary representation. In conclusion, the text is shown to be a focal point where authors rethink the changes in temporal systems around 1900 and produce these temporal apparatus in order to allow the spectators or reader to experience the vertiginous contact with what Lacan calls the other scene ('l 'autre scène'). Replacing he play of relations within the temporal apparatus in the Human Sciences field (anthropology and neurobiology), this study claims, at a third level described by psychoanalysis, the vital free space offered to creators to conduct their fundamental, original aesthetic experiments in singular time.

The thesis "To the problem of time" considers concepts of understanding of the problem of time and temporality on selected authors throughout history. It was revealed in the work that even Aristotle had some notion of temporality, and not only his time counted within movement. However this notion is fragmental thus it required a more complex explanation of his viewpoints. Augustine's switch of perspective brought deeper understanding of human temporality within the connection of the soul to the transcendental God. Further development of this idea made Husserl's analysis of time-consciousness and after him Heidegger, who developed Husserl's concept and founded his own concept on the authenticity based on the consciousness of individual being's irreversible finiteness. Similarly, the concepts of Bergson and Sartre developed the idea of time consciousness, though they differed on some stresses, e.g. the importance of the future. Peirce's position, brought into discussion, showed some similar features despite the different origins to the concept of Husserl's. The cross-section of science and philosophy exposed in Whitehead's concept pointed out the introduction of an observer into the scientific understanding of time and thus denial of the "absolute time" on behalf of dynamicity of the continual...

Ce travail prend en examen le rapport, du point de vue phénoménologique, entre les notions de temps et de vie, et leur implications transcendantales. À ce but les recherches exposées ici se présentent comme l’étude, plus thématique que historiographique, et le développement de questions qui s’appuient sur le noyau profond de l’oeuvre husserlienne, bien que pas toujours directement abordées par Husserl lui-même. Notre thèse consiste à reconsidérer le statut du transcendantal depuis l’articulation entre la vie et le temps, c’est-à-dire entre la vie et la mort, en interprétant par cela toute l’évolution de la philosophie occidentale, qui s’est significativement déroulée sous le signe de la mort socratique. Husserl donne l’impression d’osciller entre la nécessité de distinguer la vie, en tant que détermination transcendantale, de la temporalité, relative à la dimension du constitué, et leur assimilation, dans la mesure où il reconnaît à une certain type de temporalité une originarité constituante et absolue. En d’autres mots, la tentative de définir la vie tombe sur la même ambiguïté qui émerge déjà à l’époque des Zeitvorlesungen à propos de la conscience absolue: tout comme le seuil entre temporalité constituante et temporalité constituée devient mince et perméable, de même façon celui entre vie et temporalité s’estompe en ce que Husserl appelle Vor-Zeitigung et pour laquelle «nous n’avons pas de noms». Il en va de la possibilité de penser la vie sans la réduire à une détermination physique ou biologique, en évitant tout naturalisme (ce qui ne signifie pas son complet discrédit), et de faire ressortir la priorité du sens toujours impliquée par la temporalité, sans pour autant la connecter à une détermination psychologiste. / This work takes into consideration the relationship, as in a phenomenological perspective, between the notions of time and life, and their transcendental implications. To this aim, here is presented a research coping with the study, thematic more than historiographic, and with the development of those issues that, even if not always tackled as such by Husserl himself, deal with the deeper core of Husserlian oeuvre. This dissertation reconsiders the status of the transcendental after the articulation between life and time, that is to say, between life and death, interpreting in this light the whole evolution of Western philosophy, significantly unwound under the sign of Socrates’ death.Husserl gives the impression to swing back and forth between the necessity of distinguishing life, as transcendental determination, and temporality, inasmuch as related to the dimension of the constituted, and their assimilation, insofar as he acknowledges to a certain type of temporality a constituent and absolute originarity. In other words, the attempt to define life meets the same ambiguity already emerged at the time of the Zeitvorlesungen about the absolute conscience: as the threshold between constituent and constituted temporality grows thinner and more permeable, that between life and temporality softens in what Husserl calls Vor-Zeitigung and that «we have no names [for]». Two issues are here at stake: on one hand, the possibility to think life without reducing it to a physical or biological determination, shying away from any naturalism (which does not entail its complete disrepute); on the other, the chance to consider life without connecting it to a psychologistic understanding, as the link with temporality would imply, though preserving, instead, the priority of sense.

The goal of this thesis is to map Jean Paul Sartre's ontological inquiry into the concept of freedom. We will view Sartre as an influential modern ontologist. Therefore the concept of freedom will be apprehend within the framework of inquiry into the being of things, which in this perspective means the human being. The intelectual productivity of Sartre during the 1930s and 1940s finds its original ontological base for exploring the modes of being of human existence mainly within the perspective of Husserl's Phenomenology. That is true at least for his most influential work from this period called Being and nothigness (1943). This phenomenological basis of Sartre's inquiry are changing in the following decades towards the social ontology that originally connects his former existentialism with marxism viewed through fresh and original perspectives. This kind of ontology obtains its most coherent form in Sartre's extensive work called The Critique of Dialectical Reason (1960). Finally, we consider as necessary to reflect Sartre's work through the perspective of following generation of french philosophical thinking influenced mainly by structuralism. Structuralist readings of thinkers like Nietzsche, Freud, Marx or Sartre alone by this following generation of thinkers (Derrida, Levi Strauss,...

La thèse est centrée sur la notion de temporalité pratique. Elle étudie le rapport entre normativité et temporalité en montrant que dans la connaissance, l’objectivité est produite par une méthode de schématisation des catégories de l’entendement, ce qui permet de relier et d’appliquer les concepts universels, a priori et intérieurs, à un donné sensible particulier, alors que dans la pratique, les catégories de la liberté rendent possible une synthèse pratique au sein des désirs mais immédiatement sans passer par la schématisation de l'imagination. Il ne s’agit plus de légiférer sur un donné sensible et de l’ordonner mais de produire une réalité ou une effectivité qui est la « résolution de la volonté» de manière absolument immédiate. Or, s'il y a production d'une volonté moralement déterminée, il doit y avoir une temporalité pratique dans laquelle se déploie cette causalité par liberté. Cette notion n’a pas été élaborée par Kant mais il semble nécessaire de la penser pour comprendre l’efficace de la Loi morale. En effet, le problème de l’applicabilité du principe pur inconditionné dans le temps de l’esthétique transcendantale est incompréhensible car s’il s’applique dans le temps alors on doit conclure qu’il est lui-même conditionné a priori et s’il s’applique en dehors du temps, on arrive à la conclusion que le caractère intelligible est intemporel, éternel et immuable, ce qui éteint la liberté pratique comme bonne volonté. Notre thèse vise à répondre à ce problème en montrant que la Loi morale n’est agissante et ne devient un devoir que par la personne qui n’est pas immuable mais qui est temporalité pratique et duratio nouménon (durée rendue infinie par le postulat de la Dialectique de la raison pratique). / The thesis is centered on the notion of practical temporality. It studies the connection between normativity and temporality by showing that in knowledge, objectivity is produced by a schematism of the categories of the understanding, which allows to connect and to apply the universal concepts, a priori and internal, to one given sensitive private individual, while in practice, the categories of freedom make a practical synthesis possible within the desires, but at once, without passing through the schematism of imagination. It is not any more a question of legislating on one given sensitive and of ordering it, but of producing a reality or an effectiveness which is the " resolution of the will ", in a absolutely immediate way. Now, if a morally determined will has been produced, there should be a practical temporality in which this causality through freedom will operate . This notion was not elaborated by Kant but it seems necessary to think of it to understand the effectiveness  of moral Law. Indeed, the problem of the applicability of the unconditioned pure principle in the time of transcendental aesthetics is incomprehensible because if it applies in the time then we have to conclude that it is itself a priori conditioned and if it applies outside time, we reach the conclusion that the intelligible character is timeless, eternal and unchanging, which invalidates practical freedom as goodwill. Our thesis aims at answering this problem by showing that the moral Law is active and becomes a duty only by the person who is not unchanging but who has to be seen as practical temporality and duratio nouménon (duration made infinite by the postulate of the Dialectic of practical reason).

Determinadas cicatrizes são inextricavelmente ligadas a experiências de vida dolorosas; também marcam a pessoa, mas em um âmbito que excede o físico. Mulheres que sobreviveram à violência doméstica normalmente passam a conviver com repercussões de longo prazo em decorrência das agressões, e a cicatriz é uma delas. A natureza desse tipo de cicatriz denuncia ao mundo um acontecimento pessoal, doloroso e humilhante, do qual normalmente não se quer falar; assim, evita-se exibi-las de forma a não fomentar a curiosidade alheia e a rememoração da violência sofrida diante da indagação proveniente das relações eu-outro (mundo). A cicatriz é, nesse sentido, a memória corporificada de uma agressão. Convém salientar que o significado das cicatrizes nesta pesquisa não foi compreendido, exclusivamente, à marca visível na pele, mas se estendendo a demais eventos rememorados pelas entrevistadas em suas narrativas. Nesse sentido, o objetivo desta pesquisa consistiu em investigar como o passado, gravado na pele em forma de cicatrizes, afeta a perspectiva de vida de mulheres que passaram por situação de violência doméstica, especialmente, no que diz respeito à forma como a mulher passa a conceber a futuridade; e quais as repercussões físicas e psicológicas que um corpo marcado por cicatrizes traz a mulher, sobretudo, o papel das relações eu-outro (mundo) sobre o processo de significação que se dá em torno das cicatrizes. A metodologia utilizada foi de base qualitativa e idiográfica, por meio de análise e interpretação de estudos de caso. A coleta de dados se deu através de entrevistas narrativas. A análise e a interpretação das narrativas foram embasadas nos pressupostos da perspectiva construtivista semiótico-cultural em Psicologia, balizadas pelas noções filosóficas de temporalidade e alteridade. No âmbito da temporalidade, os resultados indicaram, como esperado, que a experiência de violência doméstica não se encerra quando o último golpe é deferido na mulher: ela sente a extensão das agressões do passado ao conviver com os inúmeros prejuízos vivenciados no presente, que acabam por influenciar, de forma existencialmente negativa, a sua perspectiva de futuro. As entrevistadas mais jovens agem na direção das metas, que envolvem, primordialmente, a garantia da própria segurança material, física e psicológica, bem como a dos seus dependentes, apesar das tensões frente ao desconhecido. As entrevistadas mais maduras percebem-se limitadas ou mesmo impossibilitadas à realização das metas, que abarcam o desejo por um novo relacionamento amoroso. Isso porque, no âmbito da alteridade, todas as entrevistadas apresentaram uma tendência a generalizar todos os homens com base naquele que as agrediu. Além disso, as relações eu-mundo são prejudicadas, de forma geral, na medida em que a figura do outro é a de alguém em quem não se pode confiar. Destaca-se também que a situação da pesquisa pode gerar acolhimento à mulher e à sua narrativa, muitas vezes velada por receio de crítica ou vergonha, pois, na medida em que o pesquisador se coloca como um outro que inspira confiança, abre possibilidades para que a mulher ressignifique a experiência de violência e abra caminho para uma eventual superação / Certain scars are inextricably linked to painful life experiences; it also mark the person, but in a way that exceeds physical limits. Women who have survived domestic violence usually has to deal with long-term repercussions because of the aggression and the scar is just one of them. The nature of this type of scar reveals to the world a personal, painful and humiliating event, of which one does not normally want to speak about; women avoid showing them to inhibit others curiosity and the remembrance of the violence suffered due to the inquiry coming from the other-world relations. The scar is, in a way, the embodied memory of an aggression. It should be noted that the meaning of the scars in this research was not understood exclusively by visible marks on the skin, but leading to other events brought by the interviewees in their narratives. The purpose of the research was to investigate how the past, marked as scars in the skin, affects life perspectives in a woman who lived domestic violence experiences, especially, regarding the way women conceive futurity; and what are the physical and psychological repercussions that a body marked by scars has on a womans life, above all, the role of I-other relations (world) on the process of meaning that occurs considering the scars. We used a qualitative and idiographic methodology, by analysis and interpretation of case studies, The data were composed by narrative interviews. The analysis and interpretation of the narratives were based on the theories of the semiotic-cultural constructivist perspective in Psychology, defined by the philosophical notions of temporality and otherness. In the scope of temporality, the results indicate, as expected, that the aggressions do not end with the last assault suffered by the woman, who feels the consequences of those past aggressions by living with the innumerable losses experienced in the present that end up influencing, in an existentially negative way, her perspective on the future. Younger interviewees are moving towards their goals, which primarily include ensuring their own material, physical and psychological security, as well as of their dependents, despite tensions with the unknown. More mature interviewees perceive themselves limited or even disabled to achieve the goals, which involve the desire of a new relationship. This is because, in the context of alterity, all interviewees showed a tendency to generalize all men based on the one who attacked them. Besides, I-world relations are generally impaired, since the figure of the other is the one not be trusted. It is also worth noting that the research situation can generate a welcome to the woman and her narrative, often veiled by fear of criticism or shame, because, as long as the researcher behaves as a reliable other, it can enable the woman to re-signify the experience and open the way for an eventual overcoming

Les troubles de la temporalité dans la schizophrénie ont fait l’objet de nombreuses descriptions cliniques, notamment de la part de la phénoménologie psychiatrique. Cette dernière considère le temps comme un contenant plus qu’un contenu de la perception c'est-à-dire un processus constitutif essentiel de l’expérience subjective : la conscience est en effet structurée dans le temps. Dans le modèle de Husserl, le temps, assure au travers de processus automatiques de rétention, de présentation et de protention une mise en forme stable et continue de l’expérience. En témoigne l’image de la perception d’une mélodie où chaque note perçue est, au moment même de sa perception, reliée et perçue avec la note précédente qui n’existe plus (rétention) et fait l’objet d’une anticipation vers la note à venir qui n’existe pas encore (protention). Ces processus automatiques déterminent dans ce modèle la capacité du sujet à nouer un sentiment de familiarité avec sa propre expérience, qu’il perçoit comme stable et continue.L’un des modèles phénoménologiques des troubles schizophréniques postule un vacillement des processus assurant la structuration temporelle de la conscience, qui induit par conséquent le vacillement de l’expérience subjective à son niveau le plus basique et détermine un vécu d’étrangeté du sujet à l’égard de sa propre expérience. Ces approches descriptives trouvent cependant leurs limites dans la mesure où la description des processus de temporalisation d’autrui s’avère difficile d’accès par une méthode introspective. Approcher les processus de temporalisation par les sciences cognitives pourrait permettre de dépasser ces limites. Les travaux récents sur l’altération des jugements de simultanéité (qui ne semble cependant pas signer une fusion des évènements à un niveau implicite et automatique) et des processus élémentaires d’anticipation temporelle (évalués cependant à l’échelle de la milliseconde) dans les troubles schizophréniques ainsi que les liens qu’il est possible d’entrevoir avec la théorie du codage prédictif de l’information fournissent un premier ensemble de données très encourageant sur le chemin d’une compréhension cognitiviste du temps schizophrénique. L’objectif de notre travail a consisté à valider d’une part l’hypothèse d’une dissociation des capacités conscientes et automatiques de discrimination des événements dans le temps, en utilisant les paradigmes qui explorent les contraintes temporelles de l’intégration multisensorielle... / Time disorders in schizophrenia have been the subject of numerous clinical descriptions, particularly from the psychiatric phenomenology. The latter considers time more as a container than a content of perception that is to say an essential component of subjective experience: consciousness is indeed structured in time. Husserl describes a tripartite structure of time consciousness, which is seen as an automatic integration of the past, the present, and the future. He gives the example of music. When we listen to a melody, we are conscious of the present note but still have the previous note in mind (“retention”) and usually anticipate the note to come. These automatic processes determine in this model the subject's ability to forge a sense of familiarity with his own experience, lived as stable and continuous.One of phenomenological models of schizophrenic disorders postulated a breakdown of the temporal structure of consciousness, which consequently induces disturbances of subjective experience at its most basic level (the level of minimal self) and determines a subject lived strangeness to respect of his own experience. These descriptive approaches, however, are limited by the extent that it is difficult to describe temporality of others by introspective method. Thus, exploring process of temporality by cognitive sciences could help to overcome these limitations. Recent work focusing on the alteration of simultaneity judgments (which does not seem to sign a merger events to an implicit and automatic level) and basic temporal predictive processes (however measured at the scale of a millisecond) in schizophrenic disorders and the links it is possible to foresee with predictive coding theory provides a very encouraging first set of data on the way to a cognitive understanding of schizophrenic time. The objective of our work was to validate the one hand the hypothesis of dissociation between conscious and automatic discrimination of events in time, using paradigms assessing the temporal constraints of multisensory integration (Study 1). On the other hand, we studied directly implicit time prediction with a dedicated paradigm (in this case, the temporal orientation task, Study 2). We also analyzed the automatic responses of subjects in an event discrimination task in time to check what patients can and can not predict (Study 3). We also explore the hypothesis of a link between temporal and minimal self by looking for correlations between performance...

[pt] Passados, Presentes e Presenças: A Simultaneidade Histórica em Hans Ulrich Gumbrecht. Tomando o experimento historiográfico, Em 1926: Vivendo no Limite do Tempo de Hans U. Gumbrecht como ponto de partida, visa-se aqui investigar certos aspectos centrais nos estudos teóricos de literatura atuais. É com um inusitado Manual do Usuário que Gumbrecht inaugura sua indagação acerca das possibilidades de um texto (vs. uma miríade de recursos midiáticos disponíveis) simular no leitor o efeito de imediação completa. Compartilhando deste desejo de formulação de uma história sensível - onde presença está como outro do sentido - pretende-se encaminhar uma discussão acerca da proposta de produção de presença - vinculada a seu projeto de materialidade nos processos comunicativos, artísticos e literários. Propõe-se discutir implicações teóricas do experimento de Gumbrecht contrapostas a outros modelos inovadores de representação do passado, tais como os discutidos por expoentes da escola dos Annales - em particular, Michel de Certeau, François Furet e Paul Veyne. Segundo Gumbrecht, a simulação de imediação reduziria a ênfase sobre a prática hermenêutica do conhecimento do passado. Portanto, neste palco sem atores parece imperar a materialidade dos elementos envolvidos nos processos comunicativos. Neste âmbito cabe perguntar: seria plausível a teorização acerca destas novas formas comunicativo-literárias - que em toda a sua inegável virtualidade não deixam de acentuar afetos e sensibilidades, minimizando (sem excluí-las) formas de racionalização? / [en] Pasts, Presents and Presences: Historical Simultaneity in Hans Ulrich Gumbrecht. Taking Hans U. Gumbrecht´s In 1926: Living on the Edge of Time as a starting point, it is the purpose of this study to explore and scrutinize certain specific aspects and unresolved questions present in current Literary Studies. The somewhat whimsical User´s Manual is indicative of the experimental nature of his project. The central question will fall upon the capabilities of a written book (as opposed to other media) to produce or, rather, to re- produce past experiences-you should feel in 1926. Seeking, then, the effect of (almost) perfect immediacy, Gumbrecht hopes to help formulate or contribute to what could be classified as Sensorial Historiography - wherein the act of generating presence is to be understood as opposed to Hermeneutics. Sharing his impulse to evoke past worlds, this paper intends to develop a thorough discussion centered upon Gumbrecht´s own notion of production of presence. Inevitably, this includes a short analysis of his theories on the materialities of communication. In addition, the essay will also attempt to draw connections and parallels between his notions of historiography and those of the Annales school in France - i.e. Michel de Certeau, François Furet and Paul Veyne who, in their new proposals of historiography, offer interesting counterpoints to the non- hermeneutical model. Therefore, the question which will guide and orient the course of this study will be: would it be plausible and relevant to theorize about these new (and very experimental) forms of representation, which seem to privilege affections and sensibilities over more rational approaches - albeit without excluding them entirely?