Ce travail tente d’analyser de quelle manière la communauté politique cherche en vain l’unité et l’entente, quelle représentation le cinéma en général et celui de Chris Marker en particulier donnent à cette recherche, ainsi qu’aux rapports entre les différents acteurs de cette communauté (Etat, société civile), au fonctionnement de celle-ci, aux événements qui la traversent (révoltes, révolutions, guerres). Il étudie aussi comment l’utopie, désir de fonder des communautés plus justes, se trouve au coeur du destin de l’humanité, à tel point que les pouvoirs, les idéologies et les totalitarismes ont toujours su manipuler cette aspiration, en utilisant, par exemple, le cinéma pour rendre compte d‘une union, en apparence réalisée, de la communauté politique. Cette thèse examine encore la place de l’individu et les différentes formes de regroupement social se trouvant, selon les cas, à l’intérieur ou en dehors de la communauté politique. Elle rend compte enfin de l’originalité d’une oeuvre exceptionnelle d’un point de vue politique, celle du cinéaste Chris Marker. / This work tries to analyse how the political community searches in vain for unity and harmony ; how cinema in general, and that of Chris Marker in particular, portrays this search, as well as the relationships between different actors of this community (state, civil society), its workings, and the events which run through it (uprisings, revolutions and wars). It also considers how utopia - the wish to create fairer communities - is at the heart of mankind’s destiny, so much so that authorities, ideologies and totalitarianisms have always been able to manipulate this aspiration, for instance by using cinema to show a seemingly accomplished union of the political community. Then, this thesis examines the place of the individual and the different types of social gathering being, depending on circumstances, within or outside of the political community. It finally shows the originality of a politically exceptional work, that of the filmmaker Chris Marker.

Cette recherche porte sur la définition de l’utopie. Pour mieux la cerner,nous aborderons sa conceptualisation à partir d’un espace atemporel et ahistorique dans l’objectif de lui donner un champ identitaire – dans la sphère philosophique et sociale –, ainsi qu’un champ disciplinaire, celui de l’utopilogie. L’utopie, telle que nous l'abordons, sera enrichie de son ontologie.Notre démarche nous a ainsi conduite à dégager un projet social qui soit propre à l’utopie et à découvrir une philosophie de la compossibilité : entre genèse et généalogie, c’est-à-dire entre la création de la pensée et la mise en discours. Au terme de cette recherche, nous espérons avoir établi une définition bidimensionnelle et transversale de l’utopie / This research focuses on the definition of utopia. To better understandutopia, we address its conceptualization from a atemporal and ahistoricalperspective in order to provide it with an identitarian field – in thephilosophical and social spheres –, together with a disciplinary field, that ofutopilogy. Utopia, as we approach it, will be enriched by its ontology. Ourprocess has brought us to envision a social project which is specific to utopiaand to discover a philosophy of co possibility : between genesis andgenealogy – that is, between the creation and expression of thought. At the endof this research, we hope that we have established a bi-dimensional andtransversal definition of utopia

Humanicité est un nouveau quartier, né à l’initiative de l’Université Catholique de Lille qui, à travers ce projet urbain, a souhaité élargir et diversifier ses activités sanitaires et médicosociales. Il s’agit de créer un lieu empreint de mixité où sont présents tous les représentants de la société dans leur diversité y compris les personnes ayant un handicap. Ce projet utopique comporte également le souhait de co-construire avec toutes les parties prenantes, des innovations suscitées par les questions qui se posent dans ce nouveau lieu de vie. Pour en accompagner l’émergence, mais aussi organiser la participation des habitants et usagers, l’ensemble du quartier est le lieu d’un Living Lab. Cette utopie, forme de projection d’une autre société meilleure et plus juste, cherche à être traduite dans la réalité. Nous postulons, à la suite d’auteurs comme Ricœur, qu’elle est fondamentalement réalisable et pour se faire elle entre dans un processus de traduction, elle mobilise des objets, se transmet à travers la multiplication des interactions, jusqu’à se confronter, dans sa matérialisation, à la réalité. En devenant réelle, cette utopie donne naissance à une hétérotopie Humanicité, un « contre-emplacement », qui met au jour les représentations et appropriations de l’espace. Il s’agit dans ce travail de recherche et grâce à ce terrain particulier, de comprendre le processus par lequel un projet innovant d’urbanisme devient le projet des habitants, des intervenants et partenaires qui ont et auront à le vivre. / Humanicité is a new neighborhood, born on the initiative of the Catholic University of Lille which wanted, through this urban project, to expand and diversify its health and medico-social activities. It is about creating a place full of diversity where all the members of society are present, including people with disabilities. This utopian project is also about co-creating, with all the stakeholders involved, innovations developed in response to issues related to this new living space. To guide the emergence of this process and also to organize the participation of the inhabitants and users, the whole neighbourhood houses a Living Lab. This utopia, a projected form of another society which would be better and fairer, pursues the objective of being translated into reality. Following authors like Ricœur, we assume that utopia is fundamentally achievable and that doing so embarks on a process of translation, mobilizes objects, and spreads by the growing of interactions until it confronts the reality of becoming material. When it becomes real, this utopia creates a heterotopia - a space of otherness - which reveals the appropriations and perceptions of space. In this study the objective is to understand the process by which an urban innovation project becomes that of its inhabitants and stakeholders who have and will have to live in it.

La grande faille de l’utopie, selon la critique, c’est la mort. Le présent travail analyse la place accordée et les réponses apportées aux morts/à la mort par les utopies littéraires françaises et francophones de l’âge classique (1616 à 1765), et ce en deux temps. Une première partie étudie le niveau qui a surtout retenu la critique, à savoir le niveau de la norme, à la fois norme descriptive de l’utopie-texte et norme institutionnelle de l’utopie-État. Notre objectif est d’analyser les stratégies de « normalisation » de la mort mises en œuvre par l’utopie, trait majeur du genre selon plusieurs critiques, cette « normalisation » étant à la fois synonyme de « dédramatisation » (ou « neutralisation », ou encore « apprivoisement ») et de « ritualisation ». Un examen approfondi des textes permettra de nuancer ce propos, tout en étudiant la mort non simplement comme un thème, mais aussi à travers ses articulations littéraires. Celles-ci feront l’objet spécifique de la seconde partie, qui se penche sur les séquences narratives de l’utopie littéraire, où réapparaît une mort exceptionnelle et parfois fortement dramatisée. Nous chercherons alors à comprendre les raisons de ce réinvestissement de la mort, qui semble contredire la tentative de « normalisation » de la mort par l’utopie. / According to the critic, utopia’s major flaw is death. This work analyses the place allocated to death and the dead, and the responses to this, by literary French and Francophone utopias of the classic era (1616 to 1765), and does so in two stages. The first stage examines the state of the norm, both the descriptive norm of the text utopia and the institutional norm of the state utopia, privileged by the critics of utopian literature. Our aim is to analyze the strategies used to “normalize” death, which, according to numerous critics, are characteristic of the utopic genre; a “normalization” which seems to have a double meaning, both “attenuation” of its impact (or “neutralization” or “taming”) and “ritualization”. Thanks to an in-depth examination of each text, we will be able to offer a more nuanced picture of death in utopia, which we analyze not only from a thematic but also from a literary perspective. The second stage focuses on the narrative sequences of literary utopia, wherein death reappears, often characterized as extraordinary and sometimes heavily dramatized. We seek to understand the reasons behind this repositioning of death within the utopia, which appears to contradict the utopia’s attempt to normalize death.

Orientador: Carlos Eduardo Ornelas Berriel / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T06:03:43Z (GMT). No. of bitstreams: 1 Brito_TarsillaCoutode_D.pdf: 3083107 bytes, checksum: 65aa076e7788c2f35e1f9bbc6341c129 (MD5) Previous issue date: 2013 / Resumo: Quando Fénelon decidiu escrever um espelho de príncipe literário para instruir o neto de Luís XIV nas artes de governar, não imaginou que seu texto fosse causar celeuma, muito menos que se produziria uma fortuna crítica tão vasta e multifacetada. Para além das leituras de caracteres com que o público da época se divertiu descobrindo as figuras reais por detrás das personagens, um dos problemas permanentes para a interpretação de As aventuras de Telêmaco é sua classificação. O livro não se enquadra perfeitamente na narrativa antiga, nem no romance. A despeito da função moralizante-educacional do texto, o personagem Telêmaco ganha autonomia ao ser, nos primeiro livros, narrador de si mesmo. Com isso, temos acesso a uma subjetividade inteiramente nova para um texto que se pretendia pedagógico. O caráter exemplar da epopéia homérica que inspira as aventuras é minado pelas armadilhas criadas pelos sentimentos do próprio herói na missão difícil de despojar-se de si mesmo. Por outro lado, o objetivo de seu texto prende-o às narrativas antigas de caráter moralizante - formar um reicristão. As aventuras de Telêmaco permanecem inscritas em um "tempo sem tempo", em que vemos as transformações sucederem-se umas às outras, sem podermos situá-las numa linha cronológica como no romance. A discussão sobre utopia vem, assim, renovar a discussão do gênero dessas Aventuras. Defendemos que a presença de um "país de nenhum lugar" nessa ficção pedagógica organiza sua estrutura narrativa e orienta seus procedimentos miméticos em função dos espaços visitados. Dividida em duas partes, a presente Tese busca, em um primeiro momento, descrever o texto literário Les aventures de Télémaque de Fénelon. Em termos estritamente literários, tratamos de sua estrutura narrativa, organizada em função de modelos e de antimodelos de governo; de sua linguagem mítico-alegórica que veicula um conteúdo moral e espiritual cristão; e de seu gênero literário. Com uma revisão bibliográfica, esboçamos as razões que fizeram da publicação do Telêmaco um escândalo; e ainda as alterações de sentido e modos de interpretação que o texto sofreu ao longo de uma fortuna crítica de 300 anos. Na segunda parte, nos dedicamos à análise de Salento, o último reino visitado pelo personagem principal, como uma utopia que propõe uma volta no tempo, de modo que afirmamos seu caráter conservador. Nossa proposta de estudo leva em consideração que o Telêmaco de Fénelon não é composto apenas de idéias políticas e religiosas, mas de um conflito entre diferentes concepções de história / Abstract: when Fenelon decided to write a literary mirror for princes to instruct Louis XIV's grandson in the arts of governing, he did not imagine that his text would cause a stir, or that it would produce such a vast and multifaceted critical fortune. Apart from the readings of characters which amused the audience that would try to discover the actual figures behind the characters, one of the perennial problems for the interpretation of The Adventures of Telemachus is its classification. The book does not fit neatly into the ancient narrative, neither into the novel. Despite the moralizing and educational function of the text, the character Telemachus gains autonomy being the narrator of him in the first book. With this, we access an entirely new subjectivity in a text that was intended to be pedagogical. The exemplary feature of the Homeric epic that inspires the adventures is undermined by the traps created by the hero's own feelings while he deals with the difficult task of divesting himself. Moreover, the purpose of the text - to form a Christian king - connects it with the moralizing ancient narratives. The Adventures of Telemachus remains enrolled in a "time out of time" in which we see the transformations following each other, being impossible to place them on a timeline like we do in the novel. The discussion of utopia has thus renewed the discussion about the genre in these adventures. We argue that the presence of a "country of nowhere" in this pedagogical narrative organizes its structure and guides its mimetic procedures according to the spaces visitEditora Divided in two parts, this thesis seeks, at first, to describe Fénelon's literary text, Les aventures de Télémaque. In strictly literary terms, we deal with its narrative structure, organized around government's models and antimodels; its mythical-allegorical language that conveys a moral and spiritual Christian content; and its literary genre. Through a bibliographical review, we outline the reasons that made Telemachus' publication a scandal, and also the changes of meaning and modes of interpretation that the text has suffered over a 300 years old critical fortune. In the second part, we are dedicated to the analysis of Salento, the last kingdom visited by the main character, as a utopia that offers a return on time, so we affirm its conservative feature. Our proposed study takes into consideration that Fénelon's Telemachus consists not only of political and religious ideas, but also of a conflict between different conceptions of history / Doutorado / Historia e Historiografia Literaria / Doutora em Teoria e História Literária

This thesis aims to provide a thematic analysis of the leading Hebrew dystopian texts in contemporary Israel and to present a broader context of utopian thought within which these texts are best understood. The research attempts to explore and examine how the various anxieties and fears of Israeli society are reflected upon in contemporary Hebrew dystopian novels and how the Israeli reality is transformed and re-imagined, by means of authors' thought experiments, in the selected narratives. Dystopian fiction is an extremely useful tool for cultural studies inasmuch as it constitutes a direct interaction with the contemporary culture in that it describes an entire society suffering from oppressive and disastrous conditions which grow out of certain real-world social, political, and economic trends. Zionist utopian fiction which sought to imagine a Jewish homeland waned soon after the creation of the State of Israel and the local realities set the narrative on a much darker and more pessimistic course. Today many Israeli authors project a dystopian and (post-) apocalyptic future from the present Israeli reality by examining the current cultural and political situation. The thesis is, then, also an exploration of how these dystopian narratives come to terms with the current Israeli reality and what...

The proposed dissertation is devoted to the relations of the Czechoslovak cultural left to Soviet Russia in the interwar period. It focuses on the image of Soviet Russia, pointing out that for many Czechoslovak leftist artists and intellectuals it served as a framework for their own vision of an ideal socio-political arrangements. In their view, the image of Soviet Russia stood out as a utopia in the sense that the sociologist Karl Mannheim attributes to this phenomenon. The dissertation follows the evolution of this utopian image among the Czechoslovak cultural left in the early 1920s, maps the changes in its thematic structure and motives and follows its disintegration against the ideological split of the Czechoslovak cultural left in the late 1930s. This development is perceived through the analysis of travelogues in which left-wing artists and intellectuals presented their immediate impressions and experiences from this country. The semiotic text analysis method is being used for this purpose. By analysing the confrontational and transformative functions of the utopian image of Soviet Russia, the dissertation attempts to clarify the attitude of Czechoslovak artists and intellectuals towards Soviet Russia in the context of the socio-political situation of the interwar period and in the broader...

This thesis analyses Ingeborg Bachmann's posthumously published texts in the volume Male oscuro. Aufzeichnungen aus der Zeit der Krankheit and their relations to her literary work. Two central themes are elaborated through the analysis of the volume: illness and writing. The focus is on Bachmann's conception of writing and the issues arising from it. A comparison between Male oscuro and the author's work, the short story Undine geht and two poems Keine Delikatessen and Böhmen liegt am Meer, shows analogies on several different levels. The concept of utopia indicates continuity in Bachmann's work and the existential condition for her writing in relation to the metaphor of 'desert'. Key words: Ingeborg Bachmann, Male oscuro, illness, writing, metaphoric, contrariness, comparison, utopia

The aim of the work is a vision of changing the approach to the landscape and agriculture. Defining a new field structure and supporting the territorial system of ecological stability. Part of the smart landscape is a series of technological support for agriculture in the form of towers. Subsequently, two of these towers are developed to the scale of detail.

The Culture is a utopian civilization that features in the science-fiction novels of Iain M. Banks that has some claim to be as comprehensively satisfactory and universal in its appeal as possible. After sketching out a space of mechanisms by which fictional utopias can maintain their civilization and prevent themselves from collapsing, I situate the Culture in this space. By close reading of five novels, I then clarify two items: the purpose (or lack thereof) the Culture and its citizens can find within the society; and the extent to which the Culture derives its reason for existence from the external wretchedness of less enlightened societies. Using an analogue of Kant’s categorical imperative, I attempt to expose the Culture to its own justificatory logic, and determine if it withstands the onslaught. Specifically, I consider the limiting case where the Culture insistently and consistently works towards the realization of its implicit purposes, and whether this leads to contradiction. Alongside this literary analysis, I highlight and develop thought-experiments and scenarios taken from or inspired by these novels that present interesting parallels to the contemporary world, for the purpose of incorporating these into lesson plans for upper secondary education. Finally, I outline three educational plans based on this material, one more intense than the others, to suit the different demands of the syllabus for upper and lower-level courses of English.