In recent years, the study of the body has developed rapidly across many disciplines, including visual art, art history, gender and cultural studies, queer theory and sociology among others. In regards to the body, definitions of the “human,” “sub-human,” “acceptable,” “unspeakable” and “non-human” vary widely depending on the societal context. In Western culture, artists have introduced new bodies and ideas to viewers. What may have been unspeakable a century ago, such as the queer body and self-asserting sexual female body, is now more commonplace, although there is still resistance. The introduction of new and unspeakable bodies is always met with controversy. Often the contested unspeakable body is not new but rather is brought into visibility in public spaces that have been purposed for the representation of normative dominant bodies that ‘belonged.’ This paper has two aims; one is to reflect on the figure of the “unspeakable” body in collective national memory, past and present; the second aim is to ask questions about the role of art and visual culture in contesting, decoding and re-figuring discourses of national identity and the ideal citizenry.

Language limitations impose challenges to artistic productions. The “unspeakable” and “unrepresentable” refer to the moments when language barriers become obstacles to conveying meaning. How do contemporary Francophone literatures and film deal with the complexities of the representation of unrepresentable things? How do artists portray something that exceeds meaning, such as violence, which, according to Jean-Luc Nancy, “does not participate in any order of reasons […] does not transform what it assaults; rather, it takes away its form and meaning”? This interdisciplinary work examines the representation of violence and trauma in contemporary literature and film and brings together the representation of three different types of violence: extreme, social, and intimate. The artist’s acknowledgement of the limitations of language in such contexts affects the representation itself and enables a different kind of representation: alternative discourses that would sensitize readers/spectators. These new discourses make them active participants in the symbolization process, allowing them to fill the semantic, unrepresentable gaps through their imagination. Part I focuses on extreme violence in Rithy Panh’s, Véronique Tadjo’s, and Kivu Ruhorahoza’s films and narratives on the Cambodian and Rwandan Genocides. By examining these artists’ position as by turns both insiders and outsiders, I demonstrate that their strategy of alternating perspectives allows them to represent genocide in a more objective way. In Part II, taking the works of Shenaz Patel, Ananda Devi, Marie-Célie Agnant, and Faïza Guène as departing points, I explore the use of madness and humor as narrative discourses. The freedom given by humor and madness allows these authors to blur, negotiate, and criticize the socially constructed perceptions of what is normal and abnormal, sane and insane. Lastly, in works by Annie Ernaux, Ananda Devi, and Maïssa Bey, the practice of writing the self is a way to confront traumas, which become an interface between individual and collective histories. Revisiting violent and traumatic experiences through writing serves as catharsis, ultimately allowing the authors to reconcile with themselves. Juxtaposing these different types of unspeakable/unrepresentable human experiences, this research broadens the understanding of how artistic production can transgress the limitations of language. / 2021-11-12T00:00:00Z

[pt] O presente trabalho tem como objetivo investigar de que forma Paulo faz emergir das Escrituras Sagradas um pensamento sobre a linguagem, com foco em suas cartas aos romanos e aos coríntios. Testa-se a hipótese de que comparece ali uma perspectiva de linguagem pragmática. Dar-se-á ênfase especial a dois aspectos interligados: o modo como Paulo aborda, através de metáforas, a presença das metáforas nas Escrituras; e o modo como a questão do indizível e o gênero apofático se manifestam nas suas epístolas. Nas análises do presente estudo mostra-se que (a) apesar de haver passagens em que a metáfora é colocada no discurso tal qual uma espécie de ornamento, como um meio de obter o entendimento e a atenção dos ouvintes, conforme prevê a clássica teoria aristotélica, com a tensão letra x espírito, o apóstolo vem romper com o primado da literalidade e do significado próprio da palavra, em diversos momentos nos quais a metáfora, muito mais que agente de um impacto estético ou retórico, aparece como um recurso que permite uma aproximação indireta com Deus – o que permite entrever nos escritos paulinos elementos de teorias posteriores da metáfora, onde é tomada como fenômeno fundante; (b) ao tratar do tema do divino, Paulo lhe atribui sua característica de inefabilidade, consoante alguns pensadores gregos que lhe antecederam, porém, em seu discurso, a indizibilidade pode sair do campo do incognoscível e ser sondada pelas criaturas, contanto que se libertem da letra que mata, pois através do espírito o homem pode conhecer a Deus – que é Espírito – face a face; (c) tornar o indizível cognoscível, pela atividade do espírito, não significa, absolutamente, torná-lo dizível. / [en] The present work aims to investigate in what way Paul makes a perspective of language emerge from the Scriptures, focusing on his Epistles written to the Romans and Corinthians. It is tested the hypothesis that there is a pragmatic perspective of language in these Epistles. Special emphasis is given to two interconnected aspects: the way with which Paul approaches, using metaphors, the presence of metaphors in the Scriptures; and the way that the issue of the unspeakable and the apophatic genre manifest in his Epistles. The analyses of selected passages shows mainly that (a) although there are passages in which metaphor is put in the discourse as a kind of ornament, or lure, as a way of obtaining the understanding and attention of listeners, just as classic Aristotelic theories predict, the Apostle, with the tension between letter and spirit, breaks away from the ideas of the primacy of literalness and intrinsic word meaning, in many occasions where metaphor, considered not only as mere agent of aesthetic or rhetoric impact, appears as a resource that enables an indirect approach to God – which is something that brings Paulo’s perspective closer to later theories of metaphor in which it is taken as a founding phenomenon; (b) in order to approach the theme of the divine, Paul attributes to it the characteristic of ineffability, in accordance with some Greek intellectuals who preceded him; however, in his discourse, the unsayable can part off with the unknowable and be probed by humans, as long as they free themselves from the letter that kills, once only through the spirit men can know God – who is Spirit – face to face; (c) rendering the unspeakable acknowledgeable, through the activity of the spirit, does not mean, unquestionably, making it sayable.

Investigamos os possíveis efeitos das experiências de atravessamento das identificações e representações do ser, implicados no conceito de gozo feminino de Jacques Lacan, e também no estudo da superação da metafísica no ser-o-aí (Dasein) de Martin Heidegger, ocasião de desvelamento em que o ser irrompe com uma singular estranheza (das Ereignis). Nosso objetivo foi o de esclarecer quais seriam possíveis finalidades clínicas e efeitos transformativos, face ao patológico, que o tratamento psicanalítico poderia conferir às experiências de transbordamento do ser para mais além das significações fálicas. Para tanto, a metodologia escolhida foi o estudo da obra de dois dos principais expoentes do século XX nos campos da filosofia e da psicanálise, legitimadores cada qual a seu modo da formalização e da escuta de um paradoxo: o ser é ao mesmo tempo íntimo e estrangeiro, radicalmente inacessível ao pensamento, e neste sentido se provaria êxtimo. Num primeiro momento, esclarecemos os sentidos da extimidade ou ek-sistência do ser nas obras de Heidegger, em textos de 1927 a 1966, e de Lacan, sobretudo no recorte de seu seminário 20 (1972-73), paradigmas com os quais pudemos trabalhar, em nosso último capítulo, certos desafios que a lacuna do ser traz à situação clínica. Como resultado, sustentamos a leitura de que o ser para a psicanálise lacaniana se apreende pelo conceito de gozo, em suas duas modalidades: ser da significância, correlata ao gozo fálico típico da fantasia neurótica, e Outra irrepresentável, denominada de gozo feminino. Como efeitos deste gozo desconhecido, desarticulador da representação objetal, dar-se-iam os temporários atravessamentos das identificações do sujeito, bem como das amarrações simbólicas do sintoma; experiências que podem transcorrer em efeitos de indeterminação produtiva. Concluímos que, sobretudo em virtude da vazão indizível do ser, podemos romper com uma leitura a nosso ver reducionista da psicanálise em que a perspectiva monoculturalista e falocêntrica perpetuasse, clinicamente, efeitos de sujeito em relação exclusivamente fálica-objetal com o ser. Defendemos finalmente a importância de uma 9 escuta psicanalítica capaz de diferenciar o ser do objeto, caso se atente também à insólita abertura de um ser para mais além do Falo / This research investigates the possible effects of certain experiences that cross over the identifications and representations of Being, implied on Jacques Lacans concept of feminine enjoyment and also regarding the overcoming of metaphysics in Martin Heideggers concept of Being-there (Dasein), which refers to an unconcealment experience in which Being bursts out with a singular strangeness (das Ereignis). We aim to clarify the clinical purposes and transformative effects on the pathological treatments which psychoanalysis may convey on the overflow experiences of Being beyond phallic signification. Therefore, the adopted methodology was to study the work of two of the twentieth centurys leading exponents in the fields of philosophy and psychoanalysis who legitimize, each in their own way, the formalization and the understanding of the following idea: that the inner being of man is out of his imaginary or representative reach, and by being inner and outer at the same time, Being is extimity. At first, we clarified how a strange possibility of enjoyment of extimacy or of the ek-sistence of Being is formulated in the works of Heidegger between 1927 and 1966, as well as in Lacans theory, especially within the clipping of his seminar 20 (1972-73). Thus, supported by those two paradigms, in our last chapter we could reflect about certain challenges that the unspeakable Being brings to the clinical situation. As the outcome of our research, we argue that the concept of Being in lacanian psychoanalysis is held by the concept of enjoyment in its two forms: firstly, as the Being of significance related to the phallic enjoyment of neurotic fantasy and, secondly, as the unrepresentable Other, related to the experience of extimacy within feminine enjoyment. As effects of this unknown enjoyment, devoid of object representation, the subjects identifications, as well as the symbolic symptoms bindings, would helplessly flow through; which characterizes them as experiences that could elapse productive indeterminacy effects. Finally, after studying the problems of Being and of the Unspeakable in clinical practice, we conclude that due to the unspeakable outflow of 11 Being through the perspective of certain experiences of indetermination, it is possible to break, as we understand it, the reductionist interpretation of psychoanalysis in which the monoculturalistic and phallocentric perspective could clinically perpetuate the effects of the subject in exclusively phallic-objectal relations with its Being. We finally stand for the importance of a psychoanalytical listening also capable of differentiating Being and object, as long as psychoanalysts look out for an opening of Being beyond the Phallus

Les événements d’Auschwitz, d’Hiroshima et du 11 septembre 2001 ravivent un questionnement ancien sur le pouvoir du langage, ainsi que sur la responsabilité et les modes du témoignage. Tenter de dépasser les interdits de la représentation dans ce contexte historique relève d’un acte de résistance envers tous les préceptes linguistiques, éthiques, épistémologiques ou politiques. Écrivains juifs-américains séculiers et polymorphes, Paul Auster et Jerome Rothenberg redéfinissent le réel grâce à l’imagination, à la mutation du medium et au dérèglement des sens dans leurs textes défigurés. S’inscrivant dans la rupture d’après 1945, ils recherchent une voie détournée, un langage premier et organique dépassant l’inadéquation du signe et l’impulsion iconoclaste. S’inspirant d’un héritage juif diasporique et mystique, des avant-gardes européennes et américaines, du transcendantalisme, du rituel archaïque ou encore du poststructuralisme, ils contribuent au renversement des images mythiques issues de la spéculation sémiotique. Le trauma ne peut être dit, mais se crie, la présence s’écrit dans la répétition et dans la rencontre de l’infini, le cœur de l’œuvre se dévoile dans l’excentration et l’excentricité de la lettre pétrifiée. Dire l’indicible, c’est se taire et écouter la mort qui sommeille dans l’ombre du verbe, dans le silence d’une musique naissante ; c’est rêver éveillé, se remémorer les pulsions et les cauchemars enfouis ; c’est accueillir une non-langue conjuguée à contretemps dans une grammaire du désastre. Traduire une parole qui ne dit rien et qui ne peut être comprise, telle est la contradiction qui informe ces écrits en souffrance. / Auschwitz, Hiroshima and September 11, 2001 revive the ancient issues of the power of language and of the responsibility and modes of testimony. Trying to overcome the taboos and restrictions of representation in this historical context is a matter of resistance against all linguistic, ethical, epistemological and political precepts. Paul Auster and Jerome Rothenberg are multi-faceted secular Jewish-American writers who redefine the real thanks to the imagination, thanks to medium mutation and the derangement of the senses in their disfigured texts. Coming within the scope of the post-1945 breakdown, they seek a roundabout means, a primal and organic language overcoming the discrepancy of signs and the iconoclast impulse. Drawing from a diasporic and mystical Jewish heritage, from the European and American avant-gardes, from transcendentalism, from archaic ritual and postructuralism, they contribute to bringing down the mythical images shaped by semiotic speculation. Trauma cannot be said, but the wound is voiced in a scream. Presence writes itself in the repetition and the discovery of infinity. Depth is unveiled by a whirligig of nameless sticks and stones. Speaking the unspeakable means keeping quiet and listening to the death that sleeps in the shadow of the word, in the silence of a new song. It means daydreaming, recollecting repressed drives and nightmares; cradling a no-tongue conjugated in a grammar of the disaster. Translating a word that says nothing, that cannot be understood, such is the contradiction which informs these pending works of pain.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-08T11:15:07Z No. of bitstreams: 2 Dissertação - Dheyne de Souza Santos - 2018.pdf: 2411779 bytes, checksum: 5b6adf945b3a7bc73452c0b1f2bb0c52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-05-08T11:34:14Z (GMT) No. of bitstreams: 2 Dissertação - Dheyne de Souza Santos - 2018.pdf: 2411779 bytes, checksum: 5b6adf945b3a7bc73452c0b1f2bb0c52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-05-08T11:34:14Z (GMT). No. of bitstreams: 2 Dissertação - Dheyne de Souza Santos - 2018.pdf: 2411779 bytes, checksum: 5b6adf945b3a7bc73452c0b1f2bb0c52 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-03-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work aims at analyzing the text “Fluxo”, from the book Fluxo-Floema (1970), by the Brazilian writer Hilda Hilst, considering the sociopolitical context in which the work was written and published in the country and the barbarities burden in the twentieth century and also having the testimony as a theoretical and methodological subside. For this reading, we firstly established a brief conceptualization about testimony. Then, we traced Hilda Hilst´s literary trajectory pointing at literary fortune and critical reception of her works and highlighting characteristics such as the rereading of the lyrical tradition in her poetry, her theater connected to the necessity of communication with the other and her production known as erotic/pornographic as a literary and political transgression. Afterwards, we propose an analysis of the five texts that compose the book Fluxo-Floema outstanding main points such as the determined necessity of saying, the violence and the clash between the writer and the editorial market. At last, we opted to a literary analysis more focused on the lyric narrative “Fluxo”, observing the fragmentation, the fusion of genres, the dialogical-dramatic character, the systemic oppression, the metalanguage, the paradox, the rhythm, the silence and the silencing among other testimonial marks. In this analysis, the unspeakable is investigated as from the key of trauma, considering the importance of the necessity of saying in its tension with the impossibility of expression, which is linked to the desire of communication with the other. As a conclusion, we identity a language that survived to the catastrophes, therefore a witness-language, which says, in its poetical images marks, the unspeakable. / Este trabalho objetiva analisar o texto “Fluxo”, do livro Fluxo-floema (1970), da escritora brasileira Hilda Hilst, considerando o contexto sociopolítico em que a obra foi escrita e publicada no país e o peso das barbáries do século XX, tendo como subsídio teórico-metodológico o testemunho. Para essa leitura, estabelecemos, primeiramente, uma breve conceituação a respeito do testemunho. Em seguida, buscamos levantar uma trajetória literária de Hilda Hilst, comentando fortuna e recepção crítica de suas obras e destacando características como a releitura da tradição lírica na sua poesia, o seu teatro ligado à necessidade de comunicação com o outro e a produção chamada erótica/pornográfica como uma transgressão literária e política. Posteriormente, propomos uma análise dos cinco textos que compõem o livro Fluxo-floema, destacando eixos entre eles, como a presença marcante da necessidade de dizer, a violência e o embate do escritor com o mercado editorial. Por último, optamos por uma análise literária mais detida da narrativa lírica “Fluxo”, observando a fragmentação, a fusão de gêneros, o caráter dialógico-dramático, a opressão sistêmica, a metalinguagem, o paradoxo, o ritmo, o silêncio, o silenciamento, entre outras marcas testemunhais. Nessa análise, o indizível é investigado a partir da chave do trauma, considerando a importância da necessidade de dizer em tensão com a impossibilidade de se expressar, o que se liga ao desejo de comunicação com o outro. Como conclusão, identificamos uma linguagem que sobreviveu às catástrofes, por isso uma linguagem-testemunha, e que diz, nas marcas de suas imagens poéticas, o indizível.

Investigamos os possíveis efeitos das experiências de atravessamento das identificações e representações do ser, implicados no conceito de gozo feminino de Jacques Lacan, e também no estudo da superação da metafísica no ser-o-aí (Dasein) de Martin Heidegger, ocasião de desvelamento em que o ser irrompe com uma singular estranheza (das Ereignis). Nosso objetivo foi o de esclarecer quais seriam possíveis finalidades clínicas e efeitos transformativos, face ao patológico, que o tratamento psicanalítico poderia conferir às experiências de transbordamento do ser para mais além das significações fálicas. Para tanto, a metodologia escolhida foi o estudo da obra de dois dos principais expoentes do século XX nos campos da filosofia e da psicanálise, legitimadores cada qual a seu modo da formalização e da escuta de um paradoxo: o ser é ao mesmo tempo íntimo e estrangeiro, radicalmente inacessível ao pensamento, e neste sentido se provaria êxtimo. Num primeiro momento, esclarecemos os sentidos da extimidade ou ek-sistência do ser nas obras de Heidegger, em textos de 1927 a 1966, e de Lacan, sobretudo no recorte de seu seminário 20 (1972-73), paradigmas com os quais pudemos trabalhar, em nosso último capítulo, certos desafios que a lacuna do ser traz à situação clínica. Como resultado, sustentamos a leitura de que o ser para a psicanálise lacaniana se apreende pelo conceito de gozo, em suas duas modalidades: ser da significância, correlata ao gozo fálico típico da fantasia neurótica, e Outra irrepresentável, denominada de gozo feminino. Como efeitos deste gozo desconhecido, desarticulador da representação objetal, dar-se-iam os temporários atravessamentos das identificações do sujeito, bem como das amarrações simbólicas do sintoma; experiências que podem transcorrer em efeitos de indeterminação produtiva. Concluímos que, sobretudo em virtude da vazão indizível do ser, podemos romper com uma leitura a nosso ver reducionista da psicanálise em que a perspectiva monoculturalista e falocêntrica perpetuasse, clinicamente, efeitos de sujeito em relação exclusivamente fálica-objetal com o ser. Defendemos finalmente a importância de uma 9 escuta psicanalítica capaz de diferenciar o ser do objeto, caso se atente também à insólita abertura de um ser para mais além do Falo / This research investigates the possible effects of certain experiences that cross over the identifications and representations of Being, implied on Jacques Lacans concept of feminine enjoyment and also regarding the overcoming of metaphysics in Martin Heideggers concept of Being-there (Dasein), which refers to an unconcealment experience in which Being bursts out with a singular strangeness (das Ereignis). We aim to clarify the clinical purposes and transformative effects on the pathological treatments which psychoanalysis may convey on the overflow experiences of Being beyond phallic signification. Therefore, the adopted methodology was to study the work of two of the twentieth centurys leading exponents in the fields of philosophy and psychoanalysis who legitimize, each in their own way, the formalization and the understanding of the following idea: that the inner being of man is out of his imaginary or representative reach, and by being inner and outer at the same time, Being is extimity. At first, we clarified how a strange possibility of enjoyment of extimacy or of the ek-sistence of Being is formulated in the works of Heidegger between 1927 and 1966, as well as in Lacans theory, especially within the clipping of his seminar 20 (1972-73). Thus, supported by those two paradigms, in our last chapter we could reflect about certain challenges that the unspeakable Being brings to the clinical situation. As the outcome of our research, we argue that the concept of Being in lacanian psychoanalysis is held by the concept of enjoyment in its two forms: firstly, as the Being of significance related to the phallic enjoyment of neurotic fantasy and, secondly, as the unrepresentable Other, related to the experience of extimacy within feminine enjoyment. As effects of this unknown enjoyment, devoid of object representation, the subjects identifications, as well as the symbolic symptoms bindings, would helplessly flow through; which characterizes them as experiences that could elapse productive indeterminacy effects. Finally, after studying the problems of Being and of the Unspeakable in clinical practice, we conclude that due to the unspeakable outflow of 11 Being through the perspective of certain experiences of indetermination, it is possible to break, as we understand it, the reductionist interpretation of psychoanalysis in which the monoculturalistic and phallocentric perspective could clinically perpetuate the effects of the subject in exclusively phallic-objectal relations with its Being. We finally stand for the importance of a psychoanalytical listening also capable of differentiating Being and object, as long as psychoanalysts look out for an opening of Being beyond the Phallus

Les écrits de Georges Bataille gravitent autour de l’expérience « intérieure » — expérience vécue là où s’effondre le discours. Cette mise en question du langage donne lieu au paradoxe puisque « dire l’indicible » demeure dans le langage. Face à un tel écueil, il fallait à l’écrivain une stratégie particulière où nous identifions deux méthodes : la dramatisation et le mot glissant. En explorant ces pistes, notre étude se propose de clarifier la stratégie langagière bataillienne (ou écriture « mineure ») pour dégager dans l’œuvre « l’expérience du langage » composée de deux mouvements opposés, à savoir l’émergence du langage et le retour à l’indicible. Pour cela, notre corpus se constitue à partir de textes encore peu connus : La Maison brûlée, Le Petit, Le Mort et La Tombe de Louis XXX. En premier lieu, la dramatisation signifie la procédure de la méditation et le genre dramatique, la fiction opérant dans les deux cas. L’avant-texte de La Maison brûlée, scénario d’un film jamais tourné, présente ainsi dans sa genèse les techniques de la monstration qui dramatisent le mouvement descendant de la chute et de la matière basse. Ensuite, le mot glissant est illustré par le terme « silence », prononcé pour annoncer sa propre mort. Ce mouvement de glissement s’observe dans Le Petit, à travers le style fragmentaire ou les signes de ponctuation. D’ailleurs, pour finir, ce glissement, dont nous interrogeons la consistance, se révèle intrinsèque au présent linguistique en jeu dans Le Mort et La Tombe de Louis XXX. Car l’écriture de Bataille met en scène l’instant présent, cristallisant le passage du discours à l’indicible. / Georges Bataille’s writing gravitates towards, what he calls, the ‘inner’ experience, an experience in which discourse breaks down. Thus, the language, generally denounced, leads to a paradox as long as it remains the language used to ‘speak the unspeakable’. This aporia compels Bataille to devise original writing strategies that are embodied in two methods—dramatization and the ‘slippery word’ (le mot glissant). Considering this, our study clarifies his linguistic strategies (or ‘minor’ writing) to reach his ‘experience of language’, which consists of two opposite movements: the emergence of language and the return to the unspeakable. To this end, our corpus is based on La Maison brûlée, Le Petit, Le Mort and La Tombe de Louis XXX, texts which are still little-known. In Bataille’s work, the term ‘dramatization’ refers to a specific procedure of contemplation and to the drama; fiction participates in both. In particular, the avant-texte of La Maison brûlée, an abandoned movie script, includes techniques for the onscreen projection of images of falling that use both characters and ‘base material’ (matière basse). The second method, the slippery word, is exemplified by the term ‘silence’, which is pronounced only to announce its own death. This movement of the slippery word can be observed in Le Petit, with its fragmentary style or punctuation marks. Moreover, as analysed, the slipping motion turns out to be intrinsic to the present tense, as observed in Le Mort et La Tombe de Louis XXX. Bataille’s writings depict the present moment, crystallizing the passage from the discourse to the unspeakable.

This mini-thesis is situated in the discourse on patriarchy, nationhood and its artistic forms. It is argued that an uncritical pursuit of commonality as a political aesthetic strategy for dance in South Africa repeats the metaphysical foundationalism of this discourse. It is further suggested that a postmodern ethos subverts this heritage, while at the same time offering a viable alternative for accommodating and representing the cultural diversity and plurality characteristic of current theatre dance in South Africa. Chapter One examines the way dance has historically structured its patriarchal form the postmodern discourses Chapter Two as a site and practice through explores the potential of deconstruction and destabilisation of this dance heritage. This chapter also assesses the relevance of a postmodern alternative in a South African dance context. Chapter Three analyses the postmodern choreographic strategies of two South African choreographers, Gary Gordon and Robyn Orlin, in order to reveal how their dance vision to patriarchal aesthetic form and offers an uncritical alternative notions of commonality. In conclusion, it is argued postmodern ethos embodied in the work that the of these choreographers provides viable directions for formulating and articulating new dance directions for theatre dance in South Africa while, at the same time, bearing witness to the diversity that will always structure expressions of commonality in South African dance.

Le corpus se compose de deux ouvrages non-fictionnels When Blood is Their Argument : An Analysis of Prussian Culture et Between St. Dennis et St. George : A Sketch of Three Civilisations, publiés pendant la guerre en 1915(Between St. Dennis, traduit en français, a été bien accueilli en France) ; et de quatre ouvrages autofictionnels dont un texte inachevé, True Love & a General Court Martial, commencé bien avant la fin de la Grande Guerre mais qui n’a pas été publié jusqu’à 1999; d’un texte inédit, Mr. Croyd : A Romance of Reconstruction (alias That Same Poor Man), terminé en 1920, dont le manuscrit se trouve à la Bibliothèque de Cornell (« Division of Rare and Manuscript Collections ») ; de No Enemy : A tale of Reconstruction, écrit principalement en 1919, publié dix ans plus tard, en 1929, aux Etats-Unis, et après plusieurs décennies en Angleterre en 2002 ; et The Marsden Case : A Romance of Reconstruction, publié en 1923. La notion de trauma est implicitement et explicitement au cœur de ces six œuvres. Il est généralement convenu que le trauma n’est pas l’apanage des temps modernes, pourtant celui engendré par la Grande Guerre est sans précédent. Il ne se limite pas qu’au champ de bataille mais a touché toute une société, mobilisée derrière l’effort de guerre. Le cas de Ford Madox Ford, né Hueffer est unique dans le sens où il est le seul à traverser le gouffre qui s’était ouvert entre sa génération représentée par Henry James, Bennett, Kipling, Wells, et ceux qui ont prostitué leurs plumes en faveur d’une cause idéologique, et la jeune génération d’écrivains meurtris (Robert Graves, Siegfried Sassoon, Richard Aldington, etc.) qui se sont sentis trahis par ce qu’ils appelaient les Vieux – les dirigeants politiques et les écrivains. Ce travail, étayé sur des arguments socio-politique, théorique, et autobiographique, permet d’examiner les processus douloureux de reconstruction et de consolidation de la pratique impressionniste fordienne et de son auteur, ébranlés par l’expérience traumatique de la guerre. / The corpus consists of two non-fiction volumes When Blood is Their Argument: An Analysis of Prussian Culture and Between St. Dennis and St. George: A Sketch of Three Civilizations, published during the war in 1915 (Between St. Dennis was translated in French and well received by the French government); and four autofictions including an unfinished text, True Love & a General Court Martial, started well before the end of the Great War but was not published until 1999; an unpublished book, Mr. Croyd: A Romance of Reconstruction (alias That Same Poor Man), completed in 1920, the manuscript is available at the Library of Cornell ( "Division of Rare and Manuscript Collections"); No Enemy: A Tale of reconstruction, mainly written in 1919, published ten years later, in 1929, only in the United States, and after several decades in England, in 2002; and The Marsden Case: A Romance of Reconstruction, published in 1923. The notion of trauma is implicitly as well as explicitly the main theme of these six books. It is generally agreed that the trauma is not the prerogative of modern times, however, the trauma generated by the Great War is extraordinary. It is not restricted only to the battlefield but affected a whole society, mobilised behind the war effort. The case of Ford Madox Ford, née Hueffer is unique in the sense that he is the only writer who crossed the abyss that opened up between the two generations of writers, on the one hand, his, represented by Henry James, Bennett, Kipling, Wells, and all those who participated in the ideological cause, and the young disillusioned generation of writers (Robert Graves, Siegfried Sassoon, Richard Aldington, etc.) who were betrayed by those they called the Old – political leaders and writers. This work, bearing on socio-political, historical, theoretical and biographical arguments, attempts to examine the painful processes of reconstruction and consolidation of the Fordian impressionist technique and its author, ‘shell-shocked’ by the traumatic experience of war.