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Tattam, Helen. "Time in the philosophy of Gabriel Marcel." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/11712/.
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This thesis aims to determine what is distinctive to the philosophy of Gabriel Marcel (1889-1973). While his work has largely been received as a form of 'Christian existentialism' (notably by Jean-Paul Sartre), and thus interpreted in relation to other philosophies of existence, it is my contention that this prevents an appreciation of his specificity. I therefore recommend a new reading of his thought, which, through analysis of his various philosophical presentations of time, re-situates him within the twentieth-century French intellectual tradition. Part I of the thesis provides an introduction to his philosophy of time, analysing his position in specific relation to Henri Bergson (1859-1941). Chapter One raises the question as to whether his position is then compromised by his engagement with eternity, for this seems to undermine time's significance. However, what begins to emerge from Chapter Two onward, is that such a question may be inappropriate with respect to Marcel's understanding of philosophy. Part II (Chapters Three and Four) then explores the implications that his work’s various modes have on the content of his arguments: first, the diary-form of his formative works and his (continuing) use of a first-person narrative style in his essays and lectures; and second, the (non-narrative) form of his theatre, to which Marcel also accorded philosophical significance. Here, Marcel is read alongside Paul Ricœur (1913-2005) and Emmanuel Lévinas (1906-1995), who also tried to approach philosophy differently – as is especially manifest in their conceptions of time. Finally, Part III (Chapter Five) reconsiders the relation between Marcel’s philosophy and religion, asking how his references to God affect the basis of his philosophy, and what this entails for interpreting time in his work. In light of these discussions, the conclusion then reflects on what philosophy is for Marcel, and how he should therefore be received.
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Saucier, Guay Mathieu. "Marcel Gauchet critique d'Alexis de Tocqueville." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28736.
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Rodick, David W. "The Religious Dimension of Experience: Gabriel Marcel and American Philosophy." Thesis, Boston College, 2009. http://hdl.handle.net/2345/1181.
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Thesis advisor: David M. Rasmussen*Thesis advisor: Oliva Blanchette
The French philosopher Gabriel Marcel (1889-1973) was deeply influenced by the classical tradition of American philosophy. Marcel's first essays focused upon the philosophy of Josiah Royce (1855-1916). Royce impressed Marcel due to his ability to engage in bold, imaginative construction and yet remain "faithful to the empirical tradition, which he deepened and enriched...." Marcel was also deeply influenced by William Ernest Hocking's (1873-1966) major work, The Meaning of God in Human Experience which, for Marcel, not only reaffirmed the religious dimension of human experience but also served as "an advance in the direction of that metaphysical realism toward which I resolutely tended." Lastly, Marcel conducted a sustained personal and philosophical relationship with Henry G. Bugbee Jr. (1915-1999) of the University of Montana. Marcel first met Bugbee at Harvard University while delivering the William James Lectures in 1961. Willard Van Orman Quine described Bugbee as "the ultimate exemplar of the examined life" and Calvin Schrag described him as "one of the more marginalized philosophers in America." Part I consists of a comprehensive examination of Marcel's philosophy, focusing upon the manner in which his thought exhibits a strong sense of "ontological continuity" - establishing a fundamental relationship between human being and the ontological. According to Marcel "Finite thought is continually attracted by a beyond, by Another, which eternally escapes it." Part I will be followed by three sections (Parts II-IV) devoted to the relationship between Marcel and the thought of Royce, Hocking, and Bugbee respectively. The relationship between Marcel and these philosophers is based largely upon their mutual critique of abstract thinking and a shared belief in the existence of a decisive connection between human being and Being. The thesis will conclude with Part V, entitled "The Religious Dimension of Experience," which depicts the manner in which a select cadre of American philosophers has been successful in drawing out the philosophical implications of Marcel's project. As Marcel indicated, "Perhaps the most important task on the plane of speculation is to deepen once again the notion of life itself in the light of the highest and most genuine religious thought."
Thesis (PhD) — Boston College, 2009
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Philosophy
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Guo, Xiaolei. "De la littérature à la philosophie du récit. Évolution du schème narratif et modification de la forme existentiale : le cas Marcel Proust." Thesis, Paris Est, 2011. http://www.theses.fr/2011PEST0018.
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Mouannés, Nabil. "La philosophie religieuse de l'oeuvre theatrale de grabriel marcel." Paris 4, 1999. http://www.theses.fr/1996PA040009.
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Gabriel marcel, dans son oeuvre theatrale, nous place devant cette problematique : qu'est-ce-que l'homme ? par cette question, nous nous ouvrons sur des perspectives infinies et nous soulevons pas mal de problemes. Toujours est-il qu'elle nous renvoie, malgre les nuances philosophiques et les exigences ontologiques, au fond de la question marcellienne : << qu'est-ce que l'etre ? >> ici prennent racine toutes les articulations philosophiques, psychologiques, dramatiques du theatre marcellien. Notre question s'integre profondement dans la recherche ontologique et metaphysique de gabriel marcel. Par la, il place l'homme au centre de tout questionnement. A ne regarder que le point de vue philosophique, notre recherche emane de la logique interne du theatre lui-meme. En suivant les dialogues entre les personnages, en accompagnant simplement l'evolution des conflits et des situations, nous tombons sur des interrogations involontairement operantes, mais concernant directement notre vie, notre conscience et notre connaissance. Elles nous convient au questionnement philosophique. Ce chemin philosophique, ontologique et metaphysique, que nous propose gabriel marcel, constitue la cle de son oeuvre theatrale. Nous le resumons en trois questions : comment est-il possible que le desespoir puisse etre le ressort de toute la pensee religieuse de gabriel marcel ? comment la foi est-elle possible ? elle est necessaire, dit gabriel marcel, mais n'y-aurait-il pas la un mystere et comment est-il possible ? comment est-il possible de temoigner de qui et de ce que << nous voyons et nous ne voyons pas >> ?
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Strasbourg, Valérie. "La naissance de l'État chez Marcel Gauchet ou l'entremêlement des temps." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0007/MQ46611.pdf.
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Melancon, Jérôme. "La critique de la démocratie des droits de l'homme chez Marcel Gauchet." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/26716.
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Marcel Gauchet propose une critique de la démocratie des droits de l'homme qui est fondée d'une part sur sa compréhension de la modernité et, d'autre part, sur ses thèses quant à l'être du social. Ces thèses lui permettent non seulement d'affirmer que la démocratie est un régime normal, car elle laisse libre cours à la condition historique de l'humanité, mais elles lui permettent aussi, en tant qu'elles forment un ensemble de normes, de juger des régimes politiques passés et présents. II critique les droits de l'homme en tant qu'idéologie et en tant que politique démocratique parce qu'ils ne sont pas une politique: ils mènent à l'impuissance collective et ne favorisent aucunement l'émancipation des individus. En raison de sa démarche descriptive, il n'arrive toutefois pas à formuler une politique qui permettrait à la démocratie d'avoir prise sur elle-même.
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Renault, Nancy L. "Living with division, an analysis of the modern self and of contemporary democracy according to Marcel Gauchet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0022/MQ36736.pdf.
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Souillac, Geneviève. "Universal human rights : philosophy of the person and social vision in the work of two contemporary French intellectuals /." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk/hkuto/record.jsp?B22142708.
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Yang, Yuh-Ming. "Le Toi et le Toi Absolu dans la philosophie de Gabriel Marcel." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37601887q.
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Yang, Yuh-Ming. "Le toi et le toi absolu dans la philosophie de gabriel marcel." Paris 4, 1986. http://www.theses.fr/1986PA040140.
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L'homme se perd dans le monde des objets, et c'est a partir de son corps pris comme l'existant-type qu'il se retrouve et decouvre en meme temps que l'autre est comme le moi un sujet. Il ne s'agit pas d'une coexistence de sujets, mais de la creation d'une relation inter-subjective entre des etres. La rencontre et le le dialogue sont les moteurs d'une telle relation ; ils permettent de briser la coquille egocentrique ou le moi s'enferme et devient pour lui-meme un objet. Le moi des lors s'engage sur le chemin de l'etre. Le moi brise a besoin d'un toi pour etre vraiment, au sens marcelien de ce terme, c'est-a-dire un co-esse. L'amour et la fidelite alimentent la relation inter-subjective dans la presence et l'entiere disponibilite. Chez un etre fini, l'amour et la fidelite sont soumis a l'obstacle et conduits a l'echec, ils demandent un recours ultime qui ne peut venir de la volonte humaine creee, mais du toi absolu. C'est uniquement dans la priere et dans la foi que le rapport d'etre a etre est garanti. Et c7est ici, que la formule : j'espere en toi pour nous, prend tout son sens. Par cette voie gabriel marcel parvient a sauvegarder le mystere de l'etreMan is lost in the world of objects, and from his body he find and discover himself in the same time as the other is, like the ego, a subject. It doesn't mean that it is a coexistence of subjects, but the creation of an inter-subjective relation between beings. The reception and the dialogue are the motors of such relation; they permit to break the egocentric schell where the ego is enclosed and become for himself an object. The ego at that moment is engaged on the way of the being. The brocken ego needs the thou to be really, in the marcellian thought, it means an co-esse. Love and fidelity feed the inter-subjective relation in the presence and complete disponibility. For a finished being, love and fidelity are under the effect of obstacles and conduct to failure they need an ultime refuge that cannot come by the creating human will, but from the absolute thou. It's only by prayer and faith that the relation from being to being is sure. And here the sentence : i hope on thee for us, take all its meaning. And by this way gabriel marcel arrive to keep safe the mystery of being
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Koudsieh, Jinane. "La liberté chez Gabriel Marcel : de l'idéalisme à une philosophie de l'intersubjectivité." Paris 4, 2000. http://www.theses.fr/1999PA040266.
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Une critique de l'idéalisme, en vigueur de son temps, et de ses corollaires l'objectivisme et la pensée abstraite, conduit Gabriel Marcel à chercher un fondement ontologique au savoir. Cette quête l'incite à privilégier l'expérience de la liberté et à faire de celle-ci un acheminement à l'être. A l'épreuve de l'amour, de la foi jurée, de l’Esperance et de la fidélité, cet être se posera comme un "je" et comme un "tu" transcendant les catégories de la pensée objective.
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David, Marianne. "Proust's Madame Verdurin : a dissertation presented to the faculty of the graduate school of Yale University in candidacy for the degree of Doctor of philosophy /." Ann Arbor (Mich.) : University Microfilms International, 1992. http://catalogue.bnf.fr/ark:/12148/cb35524293p.
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Júnior, Marcelo Marques Santana. "Dom Marcelo Pinto Carvalheira: a mística como práxis cristã." Universidade Católica de Pernambuco, 2015. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1161.
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Esta pesquisa tem como objetivo estudar o fenômeno da mística, em seu caráter universal, tendo como ponto de partida a vida de Dom Marcelo Pinto Carvalheira, no período de seu nascimento, em 1928, até a sua nomeação episcopal em 1975. A escolha de Dom Marcelo se deu por reconhecimento de um legado bastante importante para a Igreja do Brasil, ele que tinha como base uma profunda espiritualidade e um senso de responsabilidade sobre o universo circundante. Para tanto foram analisados referenciais teóricos, bem como depoimentos e material de uso pessoal de Dom Marcelo. Os depoimentos foram colhidos a partir de um questionário previamente enviado aos entrevistados e relatos livres. Considerando a efemeridade com que vive a sociedade pós-moderna e falta de referenciais que lacuna o tempo hodierno, olhar para a vida desse grande homem, deve servir não apenas de fonte intelectual, mas de itinerário de vida.
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Rogakos, Megakles. "A Joycean exegesis of 'The Large Glass' : Homeric traces in the postmodernism of Marcel Duchamp." Thesis, University of Essex, 2016. http://repository.essex.ac.uk/19758/.
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This thesis examines Marcel Duchamp’s "The Large Glass" in relation to Homer’s "Odyssey" and by extension to James Joyce’s "Ulysses." It focuses on the idea that Duchamp may have had in mind Penelope and her Suitors when he was creating the Bride and her Bachelors. The aim of the thesis is threefold – to clarify a problematic area in avant-garde art by restoring the important role the "Odyssey" played in the modern culture as evidenced by preceding and contemporary artists; to detect possible Homeric traces on the "Glass" as such, but also by exploring references to Homer in related works by Duchamp; and finally to compare the "Glass" with "Ulysses," which seems to be as convoluted in its relation to the "Odyssey." The thesis is correspondingly divided into three parts. The first places Duchamp in a broader culture that is directly influenced by the Classics and Homer’s "Odyssey." The second sets out to explore possible references to Homer in seminal works of Duchamp, which reveal that he discreetly based his working method and conceptual rationale on the appropriation of tradition. The final part deals with the ways in which specific aspects of the "Glass" may be critically interpreted as Homeric in origin. Throughout the thesis runs a comparison of the "Glass" with "Ulysses," which exemplifies how safe Homeric attributions may be bent by appropriation to serve their authors’ ends. This study is primarily theoretical and thematic, attempting to piece together perhaps a better understanding than before of one of 20th century’s most seminal artistic figures and elusive bodies of work. Thus, the "Glass" may turn out to be read as a morality story about archetypal issues with which human nature grapples eternally – violence, intoxication and lust. As such, the "Glass" may enigmatically emerge as a Homeric paradigm of man’s initiation to inner freedom, which Duchamp called the “beauty of indifference.”
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Brito, Vanessa. "Les arts dans la philosophie de Gilles Deleuze." Paris 8, 2007. http://www.theses.fr/2007PA082850.
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Ce qui se présente toujours à l'étonnement de qui se saisit de l'œuvre de Deleuze, c'est l'abondance de ses références artistiques et la profusion des rencontres entre art et philosophie. En identifiant un programme à résonances éthiques et politiques que Deleuze accorde à la littérature, à la peinture ou au cinéma, ce travail se propose d'éclairer comment s'organisent les rencontres entre le visible et le lisible. Il cherche notamment à préciser quel est le rôle et le statut des arts dans la philosophie de Deleuze. En analysant la notion d'une "philosophie pratique", la conception deleuzienne du sublime, le thème de la "voyance" et de la "fabulation", et l'allégorisme de Deleuze, cette étude révèle enfin comment se construit un plan d'immanence entre les inventions de l'art et les puissances de la vieWhat is always astonishing for the reader of Deleuze is the abundance of his artistic references and the multiplication of encounters between art and philosophy. By identifying a program with ethical and political resonances at work, for Deleuze, in literature, painting and cinema, this thesis sets out to clarify how these encounters between the readable and the visible are organized. What is ultimately at stake in the enquiry is the exact status and role of the arts in Deleuze's philosophy. By examining the themes of "voyance" and "fabulation", Deleuze's conception of the sublime, his use of allegory and the notion of a "practical philosophy", the enquiry finally reveals the construction of plane of immanence between the inventions of art and the powers of life
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Santana, Júnior Marcelo Marques. "Dom Marcelo Pinto Carvalheira: a mística como práxis cristã." Universidade Católica de Pernambuco, 2015. http://tede2.unicap.br:8080/handle/tede/388.
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Previous issue date: 2015-11-18This research aims to study the mystical phenomenon in its universal character, taking as its starting point the life of Don Marcelo Pinto Carvalheira, from his birth in 1928 until his episcopal appointment in 1975. The choice of Don Marcelo was given for recognition of a very important legacy for the Church of Brazil, that it was based on a deep spirituality and a sense of responsibility on the surrounding universe. Therefore, were analyzed theoretical references, testimonials and personal material of Don Marcelo use. The testimonies were collected from a questionnaire previously sent to respondents and spontaneous reports. Considering the ephemerality that lives the post-modern society and the lack of references that the gaps today's time have, look at the life of this great man, should serve not only intellectual source, but itinerary of life.
Esta pesquisa tem como objetivo estudar o fenômeno da mística, em seu caráter universal, tendo como ponto de partida a vida de Dom Marcelo Pinto Carvalheira, no período de seu nascimento, em 1928, até a sua nomeação episcopal em 1975. A escolha de Dom Marcelo se deu por reconhecimento de um legado bastante importante para a Igreja do Brasil, ele que tinha como base uma profunda espiritualidade e um senso de responsabilidade sobre o universo circundante. Para tanto foram analisados referenciais teóricos, bem como depoimentos e material de uso pessoal de Dom Marcelo. Os depoimentos foram colhidos a partir de um questionário previamente enviado aos entrevistados e relatos livres. Considerando a efemeridade com que vive a sociedade pós-moderna e falta de referenciais que lacuna o tempo hodierno, olhar para a vida desse grande homem, deve servir não apenas de fonte intelectual, mas de itinerário de vida.
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Thorpe, Josh. "Here hear my recent compositions in a context of philosophy and western 20th century experimental art /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ59209.pdf.
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Robertson, Jon M. "Whoever has seen me has seen the Father : an investigation of Christ as mediator in the theologies of Eusebius of Caesarea, Marcellus of Ancyra and Athanasius of Alexandria." Thesis, University of Oxford, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.275784.
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Schwarz, Marcel [Verfasser]. "Geschichten vom Ganzen : Studien zur Emergenz von "Emergenz" / Marcel Schwarz." Baden-Baden : Nomos Verlagsgesellschaft mbH & Co. KG, 2016. http://d-nb.info/1122047622/34.
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Karsenti, Bruno. "Sociologie, anthropologie et philosophie dans l'oeuvre de marcel mauss contribution a une reflexion sur les rapports de la philosophie et des sciences humaines." Lille 3, 1996. http://www.theses.fr/1996LIL30006.
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Ce travail etudie l'oeuvre du sociologue francais marcel mauss en l'affectant du double statut d'operateur privilegie et de symptome d'un bouleversement theorique global ou se produit une reformulation complete des rapports des sciences de l'homme et de la philosophie. L'objet de l'analyse, historiquement resitue dans une premiere partie, est celui de la configuration epistemologique specifique qui se met en place au debut du xxeme siecle, a partir des trois axes de la philosophie, de l'anthropologie et de la sociologie. Deux lignes sont ensuite suivies ou apparait l'originalite du projet maussien. La premiere consiste dans l'examen du rapport du social et du psychique, et dans le depassement de l'alternative de l'individuel et du collectif qui y est impliquee. La seconde est celle tracee par le developpement de la linguistique, et par le mouvement singulier qui la rapporte a l'etude des phenomenes sociaux. A l'issue de cet examen, le noyau theorique de l'approche maussienne, le concept de symbolisme, est etudie pour lui-meme, d'un point de vue philosophique. Il est enfin repris et illustre en suivant l'etude que le sociologue consacre au phenomene du don. La these contient une bibliographie et un index des nomsThis dissertation is a study of the work of the french sociologist marcel mauss, which gives this work a double status : it is both the main source and the symptom of a general theoretical seachange and a whole reformulation of the relation between human sciences and philosophy. The first part of the thesis defines in historical terms the object of the analysis : specific epistemological setting wich emerges at the begining of the xxth century from those three lines constitued by philosophy, anthropology and sociology. The originality of mauss' project is then studied following tow directions : first, a close examination of the social-psychic relation, overcoming the implied dualism of the individual and the collective. Second, a study of the development of linguistic, and its relation to the study of social phenomena. Closing the examination is a study of the theoretical core of the whole maussian approach, the concept of symbolism, wich is illustrated with the study of the gift phenomenon. The thesis includes a bibliography and an index of names
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Berns, Torben. "Artifice and witness : representation judgement and accountability within a non-transcendent framework." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69583.
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This thesis considers the notion that it is the future which judges the present and that judgement is always guilty. In effect to understand modernity on its own terms one would have to inquire if we have any more right to affirm a given future than to deny one?The question arises as follows. If a subject exists prior to the process which is its being, an uncomfortable aporia ensues.
Firstly, if being human is understood as "becoming", i.e. humans can and do appear through the enactment of change, then "being" itself is temporal. How then does this self secure its appearance other than through the very process it assumes itself to be prior to? Such a securing would imply an absolute uniformity and homogeneity not predicated on human-enacted change. If securing is in fact the aim of appearance, and therefore the operative term in judgement, what then are the consequences of action in terms of created results?
In other words, what are the consequences of the temporality of "being"? It continues to produce a world. The second question then is: how does one judge, make and act, toward a future which properly speaking, cannot be our rightful concern?
The question is approached initially through a discussion of the integral terms. In the final chapters, an attempt is made to understand the premise of Marcel Duchamp's Etant Donnes. Duchamp's work is taken as paradigmatic of making circumventing the aporia of self-revelation through becoming.
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Ruguduka, Baleke Stanislas. "Vérité et existence dans la philosophie française contemporaine selon Gabriel Marcel, Louis Lavelle et Jacques Maritain." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/out/theses/2009_out_ruguduka_s.pdf.
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La philosophie contemporaine a démontré que la compréhension de la notion de vérité ne devrait plus se limiter à une démarche exclusivement intellectuelle, mais s'élargir à l'ensemble de la vie du sujet. Ce qui implique la prise en compte de son environnement immédiat et lointain, son contexte historique, et sa contingence comme être fini. Contrairement aux systèmes modernes qui ont donné l'illusion d'avoir compris ce qu'est la vérité et de la posséder, nous pensons que, toute recherche exige du philosophe, qu'il postule d'abord à la compréhension de la vérité de sa propre existence. C'est ce qu'ont essayé de faire, Gabriel Marcel, Louis Lavelle et Jacques Maritain. Notre époque a bénéficié d'une réflexion menée par ces philosophe qui ont adopté une posture honnête et authentique, fondée sur l'humilité du chercheur face à la complexité du réel. Ce qui a conduit à la redéfinition de ce concept. Il ne sera plus perçu comme une simple saisie de l'intelligence, fruit de la spéculation objective de la raison, mais une réponse à l'appel d'un Absolu, Inconnaissable et Transcendant. Désormais, tout discours philosophique devra conduire vers un engagement social concret, dans une sincère communication entre les hommes, pour l'avènement d'un monde de dialogue, d'amour, d'espérance et de partage, où chacun accueille l'autre dans sa différence. Ayant limité notre recherche dans l'univers des philosophes français cité plus haut, cette thèse se présente comme un effort de problématisation du concept de vérité aujourd'hui, avec l'expérience existentielle comme postulat de baseContemporary philosophy has demonstrated that the understanding of the idea of truth ought not to be limited any more to a purely intellectual process, but it should encompass the very essence of the subject. This implies taking into account the immediate and distant environment, its historical context and its contingency as a complete being, as opposed to modern systems, which seemed to give the illusion of understanding truth and possessing it. We think that any research requires of the philosopher that he defines the basis of the truth of his own existence. This is what Gabriel Marcel, Louis Lavelle and Jacques Maritain sought to do. Our times have the benefit of the reflection of these philosophers, who in their approach adopted an honest and authentic view based on the humility of the philosopher faced with the complexity of reality. This has led to a redefining of this concept - the fruit of an objective speculation using reason- but an answer to the call of the Absolute, the Unknowable, and Transcendental so that henceforth any discourse must broach upon a social engagement in a sincere communication between men. To bring about a climate of dialogue, love and hope where each individual welcomes the other as different from himself. Having limited our research into the universe of the French philosophers quoted above, this thesis is presented as an attempt to define the problem involved in the concept of truth today , postulating the existential experience as a basic perquisite
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Mietzel, Marcel [Verfasser]. "Kritik zwischen Sorge und Gelassenheit : Grundformen ethischer Praxis im Denken Martin Heideggers und Michel Foucaults / Marcel Mietzel." Berlin : Freie Universität Berlin, 2020. http://d-nb.info/1219904759/34.
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Jouret, Quentin. "L'art de la discrétion ( l'infranuance et le petit usage)." Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20141/document.
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De même que Maurice Blanchot observait que le quotidien, « c’est ce qu’il y a de plus difficile à découvrir », Quentin Jouret constate qu’il ne cesse de changer d’apparence et échappe à notre désir de maîtrise. Le problème n’est dès lors pas tant de définir le quotidien, mais plutôt de voir comment « la discrétion serait la manière dont le quotidien change imperceptiblement ». De façon plus pratique, la discrétion devient un moyen d’apprendre à mieux voir le monde qui nous entoure, à en saisir les modulations infimes. Pour le dessinateur comme pour le photographe, il s’agira d’être attentif aux occasions qui se présentent, l’espace d’un bref instant. Tout comme Roland Barthes ambitionnait, autour du terme de « diaphrologie », de construire une science des nuances, Quentin Jouret appelle tour à tour les notions de neutre chez Roland Barthes, de dettaglio chez Daniel Arasse, de fadeur chez François Julien, d’inframince chez Marcel Duchamp ou encore d’infraordinaire chez Georges Pérec. Le mémoire consiste en un volume de 590 pages, impression recto verso, dont la particularité est d’intercaler entre chaque page un feuillet moins large, non folioté, réservé à la reproduction des images de l’auteur et dans une moindre mesure celles des œuvres des artistes cités en référence. Ce travail entend mettre en avant le primat de l’expérience artistique dans la recherche en arts plastiquesAs Maurice Blanchot observed that daily, "is what is most difficult to find," Jouret Quentin finds that keeps changing appearance and beyond our control desire. The problem is therefore not so much to define the everyday, but rather to see how "the discretion is how the daily exchange imperceptibly." More practically, discretion is a way to learn how to see the world around us, to grasp the tiny modulations. For the artist as for the photographer, this will be attentive to opportunities that arise, just for a brief moment. As Roland Barthes aspired around the term "diaphrologie" to build a science of nuances, Quentin Jouret called alternately the neutral concepts Roland Barthes, to dettaglio at Daniel Arasse of blandness in François Julien, of inframince with Marcel Duchamp or to infraordinaire at Georges Perec. The memory consists of a volume of 590 pages, duplex printing, whose characteristic is to insert between each page a narrower slip, non folioté, reserved for the reproduction of images of the author and to a lesser extent those works referenced artists. This work intends to emphasize the primacy of artistic experience in research in the visual arts
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Moore, Jean-François. "Éthique et morale chez quatre philosophes français contemporains : importance actuelle accordée à deux instances normatives." Sherbrooke : Université de Sherbrooke, 2004.
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Mertz, Marcel [Verfasser], and Bernward [Akademischer Betreuer] Gesang. "Kriteriologische Unterdetermination von Ethik durch Empirie : Normgeltungskriterien für die Verwendung empirischer Evidenz bei moralischen Normen / Marcel Mertz. Betreuer: Bernward Gesang." Mannheim : Universitätsbibliothek Mannheim, 2014. http://d-nb.info/1067400508/34.
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Mary, Anne. "Drame et Pensée : le cas de Gabriel Marcel." Paris 4, 2008. http://www.theses.fr/2007PA040276.
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Auteur d'une œuvre variée, au sein de laquelle le théâtre et la philosophie tiennent la part la plus importante, Gabriel Marcel est reconnu essentiellement comme penseur, alors que ses pièces restent confidentielles. Pourtant, le théâtre a non seulement tenu la première place dans ses centres d'intérêt, mais il a également eu un rôle d’impulsion par rapport aux idées développées dans l'œuvre philosophique. C’est la position de ces deux créations l’une par rapport à l'autre que ce travail entend déterminer. A partir de l'étude des pièces de théaâtre, des critiques dramatiques de Marcel, de ses écrits philosophques et des manuscrits dramatiques et philosophiques, se dessine le contour d’une œuvre cohérente et dont chaque écrit, quel que soit son genre, constitue une pierre essentielle à la compréhension de l’ensembleGabriel Marcel's production is varied, theatre and philosophy being the most important part of it. He is above all known as a philosopher, whereas his plays remain confidential. Yet he was more interested in theatre, and it gave an impulse to his philosophical thought. Out work aims at determinng each creation's role. From the study of dramas, dramatic critics, philosophical writing, and dramatic and philosophical manuscripts, one can outline the shape of a consistent and comprehensive work. Each piece of writing, in his own genre, represents an essential milestone for the understanding of his whole work
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Brown, Susan Victoria. "Impossibly indecent God? : pursuing questions of the Biblical God in the Church of Scotland through churchgoers' and Marcella Althaus-Reid's theological ideas, juxtaposed with fragments of Jacques Derrida's philosophy." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/16235.
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Marcella Althaus-Reid was a theologian who dared to imagine differently, a thinker whose inventive style brought striking originality to her writings on sexuality and gender, people and God. Her work is remembered most noticeably in theological academia for her conceptual phrase, ‘Indecent Theology’. In this thesis about questions of God, the innovative elements of Marcella’s literary corpus are developed in new ways by placing her academic theories alongside a practical research study undertaken in the alternative milieu of Church of Scotland congregations in Edinburgh. This primary material, which has been analysed through interview and focus group transcripts, together with questionnaire responses, brings revealing insights to frame the emerging tensions between churchgoers and Marcella across the dimensions of its four chapters. In each, the following themes are developed: the ambiguities surrounding questions of asking who God might be; the considerations involved in recognising God’s relationship with the Bible; the exploration of the extent to which sexuality and gender may influence God concepts; and the recognition of the role people play in evaluating their understandings of God in Christianity. Arranged in a rhythmical structure throughout, every chapter is first prefaced by a media-based report which contextualises relevant themes in a contemporary idiom, and is later concluded by a deconstructive postscript that, in fragmentary ways, invokes some critical concepts in the work of Jacques Derrida germane to the particular questions of God pursued in each.
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López, Gallucci Natacha Muriel 1973. "Ruidos, rumores e vozes da linguagem em Freud e Proust." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280411.
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Orientador: Jeanne Marie Gagnebin de BonsTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Esta pesquisa analisa os conceitos de sujeito dividido, de memória e de linguagem no romance póstumo La prisonnière (1923), de Marcel Proust (quinto da série que compõe À la recherche du temps perdu), à luz da teoria da memória e da linguagem esboçada por Sigmund Freud no ensaio A concepção das afasias (Zur Auffassung des Aphasien (1891)). Neste estudo coloca-se a ficção lado a lado com a teoria. O argumento resultante desta investigação é que o romance La prisonnière faz um contraponto às idéias da doutrina estética proustiana explicitada no último volume da Recherche, expondo uma nova pergunta sobre o saber do sujeito. Partindo do deslocamento da metáfora óptica para a especulação sobre a sonoridade, La prisonnière ocupa-se da percepção da linguagem: dos ruídos, dos cantos, da voz e finalmente da música, configurando uma teoria da linguagem no âmbito da ficção. O estudo das afasias, de Freud, fornece um modelo de captura inicial para a relação sujeito-linguagem-mundo no qual, a partir das falhas na linguagem, são recolocados também os conceitos de representação, de memória e de objeto
Abstract: The present research analyses the concept of divided subject, memory and language in La prisonnière (1923), a posthumous novel by Marcel Proust (the fifth volume of the À larecherche du temps perdu series). The study is carried out in the light of the theory ofmemory and language by Sigmund Freud in one of his earliest papers On Aphasia (Zur Auffassung des Aphasien (1891)). In our study, fiction and theory appear side by side. The argument derived from the present investigation is that La prisonnière opposes Proust¿s aesthetic doctrine explicit in the last volume of Recherche thus raising a new issue regarding the knowledge of the subject. Shifting from the optical metaphor to the speculation of sonority, La prisonnière is concerned with language perception: of noises, songs, voice, and finally music, forming a language theory in fiction. Freud¿s study on aphasia provides a model for the initial apprehension of the subject-language-world relationship, in which, parting from the language flaws, the concepts of memory, representation and object are also relocated.
Doutorado
Filosofia
Doutor em Filosofia
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Sahin, Granade Gülcevahir. "La phénoménologie du corps et de l’intersubjectivité incarnée chez Gabriel Marcel et Merleau-Ponty." Paris 4, 2007. http://www.theses.fr/2007PA040252.
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La voie ouverte par Husserl a profondément modifié l’image et l’importance de la question du corps dans l’histoire de la philosophie. Elle a été suivie en France notamment par Marcel et Merleau-Ponty. C’est dans ce cadre phénoménologique qu’ils élaborent la question du corps et de l’intersubjectivité. Cette question est analysée dans l’oeuvre de Merleau-Ponty et Marcel. Pour ces deux philosophes, le corps n’est pas une chose ni une somme d’organes, mais un réseau de liens, ouvert au monde et aux autres. Le corps et le monde sont inséparables. La question du monde comme problème phénoménologique ouvre le champ de recherche vers le corps et vers les autres. Le monde est le lieu où se nouent la corporéité et l’altérité. Les analyses du corps propre renvoient chaque fois au corps de l’autre, aussi bien dans les études du toucher, de la sexualité, que dans celles de la parole. Autrui y apparaît comme corps, l’intersubjectivité devient intercorporéitéThe path pioneered by Husserl deeply modified the image and the importance of the question of the body in the history of philosophy. In France, it has been followed in particular by Marcel and Merleau-Ponty. It is within this phenomenological framework that they develop the question of the body and its intersubjectivity. This question is analyzed in the work of Merleau-Ponty and Marcel. For these two philosophers, the body is neither a thing nor a sum of organs, but a network of bonds, open to the world and to others. The body and the world are inseparable. The question of the world as phenomenological problem opens up the field of research to the body and to others. The world is the place where corporeity and otherness come together. Analyses of the body-subject refer consistently to the body of the other, be they in the studies of touch, sexuality, or speech. The other appears as a body, and intersubjectivity becomes intercorporeity
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Azevedo, José André de. "Da abstração à concretude da experiência: a filosofia concreta em Gabriel Marcel." Universidade Estadual do Oeste do Parana, 2012. http://tede.unioeste.br:8080/tede/handle/tede/2126.
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Starting from a context of criticism to the modern scientism and rationalism, Marcel s work is projected above all, as a radical interrogation about the ontological weight of experience. It is in this direction that the philosopher explores the theme of the Incarnation as the central fact of metaphysics. Presenting with an unsystematic thought, wandering and questioning, Gabriel Marcel says that philosophy has an arket: the existence as a starting point and reference to the labor philosophicus. From the question Who am I?, Marcel projects a decisive point of arrival: the existence horizon embodied in its radicalism. More than just a problem, this question assigns, first of all, a radical ontological requirement, in other words, the revival of the incarnation as the "mystery of being." Now this fundamental fact of metaphysics is a reality that presents itself not in front of me, but where I am immersed. Therefore, the philosopher will set out this state of matter in terms of a "concrete philosophy" as opposed to some speculative hegemonic essentialism in the philosophical tradition.
Partindo de um contexto de crítica ao cientificismo e racionalismo modernos, a obra de Marcel se projeta, antes de tudo, como uma interrogação radical acerca do peso ontológico da experiência. É sob essa direção que o filósofo explora o tema da encarnação como o dado central da metafísica. Apresentando-se com um pensamento assistemático, itinerante e questionador, Gabriel Marcel afirma que a filosofia possui uma arché: a existência enquanto ponto de partida e de referência do labor philosophicus. A partir da questão Quem eu sou?, Marcel projeta um ponto de chegada decisivo: o horizonte da existência em sua radicalidade encarnada. Mais que um mero problema, esse questionamento fixa, antes de tudo, uma exigência ontológica radical, ou seja, o avivamento da encarnação como mistério do ser . Ora, esse fato fundamental da metafísica é uma realidade que se apresenta não diante de mim, mas na qual estou mergulhado. Por isso, o filósofo enunciará esse estado de questão nos termos de uma filosofia concreta em oposição a certo essencialismo hegemonicamente especulativo na tradição filosófica.
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Rosenkvist, Adam. "Att bli till med den värld som mångfaldigas : Om stil och individuation i Proust och tecknen." Thesis, Södertörns högskola, Filosofi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-43951.
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This essay explores the concept of style in Gilles Deleuze’s Proust and Signs. While the concept of style in Deleuze’s thinking in general indeed has been the subject of some examination, his specific understanding of style in Proust and Signs has, until now, not been properly investigated. The book was first published in 1964, with a second part and a conclusion added in 1970 and 1976 respectively, which explored new themes in Proust’s novel. Here, the concept of style is approached through two main questions: How is the concept of style constituted in the two parts constituting Proust and Signs? What is its significance with regard to the theme of individuation central to Deleuze’s reading of Proust? The first chapter examines Deleuze’s concept of style in relation to Proust’s own thoughts about style. The second and the third chapter analyze and compare the relationship between style and the essence in the two parts of Proust and Signs respectively. Despite some differences in how the concept of style is presented in 1964, when the Search is seen from the viewpoint of the subject (or the apprentice), and in 1970, when it is seen from the viewpoint of the artwork, the essay argues that there is a kind of continuity in the concept of style, which is above all a matter of individuation. Through the subject’s divergent repetition of the essence’ singular and individuating difference, and through the artwork’s production of haecceities, the concept of style renders the subject of thought as something that is never pre-given, but created in, through and with the artwork.
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Humbert, Michèle. "Pour une iconologie du silence : sur les traces de Marcel Duchamp et de l'iconographie." Paris 1, 1997. http://www.theses.fr/1997PA010620.
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Cette recherche sur l'iconologie du silence se divise en trois parties. Le choix des arguments a été suggéré par l'étude de l'œuvre de Marcel Duchamp. With my tongue in my cheek constitue la première étape de l'enchainement qui a engendre une lecture plus générale, fondée sur cet invariant présumé de l'art figuratif. Silence et mutisme affleurent dans l'interprétation ou la manipulation des mots des titres, fragments de titre, pseudonymes, annotations et déclarations : mutt, tu m', même, retard en verre, tr est très important, silent et listen, etc. , et dans certains procédés de construction des œuvres. La seconde partie comprend un ensemble de sources antiques concernant trois divinités du silence, Harpocrate, Angerone, Tacita et un philosophe, Pythagore. Manifestations de domaines transmis par la culture figurative à travers ses principales sources d'information, les emblèmes, les recueils d'antiquités et, bien sûr, les œuvres. La troisième partie se fonde sur l'analyse de la gestualité figurative du silence, essentiellement de l'index ou des doigts posés sur la bouche. Le rassemblement du matériel iconographique a précédé et déterminé le plan. Les œuvres, à partir desquelles la recherche s'est orientée, ont été regroupées, en tenant compte des sources écrites, autour des sujets religieux, mythologiques, historiques et des symbolistesTThis thesis on the iconology of silence is divided into three parts. The points of reference and the choice of themes came out of a study of marcel duchamp's work. With my tongue in my cheek serves as the starting point in a serie of considerations which resulted in a more general reading, founded on this presumed invariant of art. Silence and muteness abound in the interpretation or manipalation of titles, fragments of titles, peudonyms, annotations and declarations : mutt, tu m', meme, retard en verre, tr est tres important, silent et listen, etc. . . And in certain procedures in the construction oh the works of art. The second part studies a set of ancient sources, concerning three divinities of silence, harpocrates, angerona, tacita, and a philosopher, pythagoras. These are manifestations of the themes transmitted by figurative culture through the main sources of information, i. E. , emblems, collections from antiquity and, of course, the works themselves. The third part concentrates on an analysis of the figurative gestuality of silence, essentially the index or others fingers placed on the mouth. The general outline of this thesis was determined by the previous collection of iconographic material. The works of art, which form the basis of this research, have been organized on the basis of written sources on the symbolists and on religious, mythological and historical subjects
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Sun, Minyan. "A comparative study of the triadic relation between time, identity and language in the works of Julio Cortázar, Marcelo Cohen and Nāgārjuna." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278672.
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While current scholarship acknowledges the influence of Buddhist ideas on Julio Cortázar’s fiction, critical analysis of this element of his work does not often engage in depth with Buddhist thought. Buddhism is frequently characterised as something mystical or mythical when read in relation to the works of Cortázar. This approach leads to an insufficient reading of the highly important notion of the ‘centro’ in Rayuela (1963), whose symbolism, evoking a dynamic equilibrium, may be more successfully explored with closer reference to Buddhist philosophy. The Argentine author Marcelo Cohen has also engaged with Buddhist ideas in his works; his Buda (1990), a biography of the historical Buddha, testifies to this interest. Again, however, this aspect has not received full attention in critical scholarship. Given the importance of the use of negation in Cohen’s literature, comparing Cohen with Buddhist philosophy can enrich our understanding of many aspects of his works, such as his treatment of relationality. I have chosen to compare both Argentine authors with the Indian Buddhist philosopher Nāgārjuna, who is considered the founder of the Madhyamaka school, which is particularly associated with the theory of ‘emptiness’ (‘śūnyatā’). Nāgārjuna’s philosophy is cited directly in Cortázar’s poem ‘Canción de Gautama’ and Cohen’s Buda and informs a number of these writers’ other texts. The main body of the thesis is divided into three sections. These examine the triadic relation between time, identity and language, with each section focusing more on one of these three aspects in turn. The three chapters and three authors will be drawn together to form a new reading of the role of negation.
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Le, Penven Françoise. "Les notes de Marcel Duchamp ou l'art d'écrire." Paris 1, 2000. http://www.theses.fr/2000PA010657.
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De 1912 à 1923, alors qu'il murissait le projet d'un nouveau tableau, Marcel Duchamp se mit à confier au jour le jour à des papiers de fortune, ses idées et conjectures. Ainsi sont nées les notes. Esquivant la concrétisation d'un tableau et son achèvement, Marcel Duchamp opta pour le chantier d'une œuvre en reproduisant à l'identique ses brouillons et en les rassemblant dans des boites. Nous avons souhaité suivre l'avènement de ce projet singulier qui prit racine dans un contexte familial, personnel, éthique et intellectuel qui lui fut propre. Un système de renvoi et de concentration transforme la réception de ces écrits en un appel intertextuel incloturable. Mais le constat d'une œuvre faite de mots ne saurait faire passer sous silence la phobie duchampienne du langage. La mise en abime d'une théorie d'un langage mis sous « conditions » atténue la portée d'un tel paradoxe. Libérés de leur fonction d'usage, les mots écrits et leur plasticité s'étant substitués à la palette attendent d'être estimés dans la spécificité de leur medium et de leur « signification d'image ». Enfin, l'ouverture des notes repose sur une circularité de forme et de principe qui confère au texte qu'elles constituent un genre indéterminé (livre, livre d'artiste, peinture écrite ?. . ) Et surtout un caractère d'infinitude.
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Han, Ming. "Proust : [une recherche de l'absolu ou l'absolu d'une recherche." Paris 8, 1998. http://www.theses.fr/1998PA081373.
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Les oeuvres de proust incarnent une nouvelle esthetique: elle se manifeste comme le processus d'une recherche continue, toujours plus profonde, dans laquelle l'ecrivain tente, via un regard retrospectif ou son passe et son present se reconnaissent, de recuperer une identite dispersee dans le temps, de constituer un +autre moi; different de son moi social, de construire un monde qui n'appartient qu'a lui. Cette recherche, plus qu'une recherche de la verite exterieure, plus qu'une recherche de la verite interieure, plus qu'une recherche de la verite philosophique ou religieuse, est une recherche sur la recherche elle-meme. La recherche de la verite exterieure ne conduit son heros que jusque devant l'abime de l'obscurite qui le separe de tous les autres; la recherche de la verite interieure n'aboutit qu'au constat de la mort successive de ses moi de differents moments; la recherche de la verite philosophique ou religieuse ne l'amene a aucune philosophie, a aucune foi, ni meme a celle de la litterature, de sorte que finalement, il n'a rien trouve que cette recherche ellememe, que l'itineraire de cette recherche, de ce lent et penible desillusionnement, que toutes les demarches et tentatives infructueuses de cette recherche, comme temoins de cette mesaventure qui ne contient rien d'autres que ses propres faux pas. Une recherche de l'absolu est en fin de compte l'absolu d'une rechercheThe works of proust incarnate a new aesthetic: it appears like the process of a continuous search which is deepened more and more, and from which the writer tries, in a retrospect view where the past and the present recognize each other, to get back an identity dispersed in the time, to constitute an +another me; different from the +social me;, to construct a world of his own. The search, more than a search after the truth outside, more than a search after the truth inside, more than a search after the truth on philosophy or on religion, is a search for the search itself. The search outside leads his hero to the abyss of the darkness which separates him from the others; the search inside brings him to notice the succesive death of his +me; in different moments; the search on philosophy or on religion doesn't bring him to any philosophy, any faith, even not the faith in litterature, so that finally he has found nothing except the search itself, the itinerary of the search, this slow and laborious desillusionnement, and all of the unfruitful steps and attempts for the search, as the witnesses of this misadventure in which nothing has been found except its own mistakes. A search for the absolute is the absolute of the search
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Codina, Graciela Deri de. "As aporias do eu na Recherche de Proust : desilusão e sentido." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279847.
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Orientador: Jeanne Marie GagnebinTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O objetivo dessa tese consiste na penetração reflexiva da questão da subjetividade contemporânea a partir de uma manifestação estética, a literatura, no romance Em busca do tempo perdido. O romance de Proust atesta exemplarmente um momento de ruptura que coloca em questão o eu linear e articulado do romance tradicional, na medida em que apresenta uma série de aporias, tensões e contradições que revelam uma crise da subjetividade. Nossa investigação se situa na discussão das fronteiras entre filosofia e literatura, por meio do estudo das relações entre forma e conteúdo e da contribuição da identidade narrativa para pensar filosoficamente a problemática da constituição do si e sua interpretação. Para explicitar esse problema é necessário analisar o longo percurso da obra que descreve a desilusão como aprendizagem da verdade e, concomitantemente, problematizar a verdade atingida por meio de aporias irresolúveis que se renovam na circulação de sentido no romance. A tensão das relações entre unidade e multiplicidade, literatura e vida, desejo e realidade, tempo e eternidade, verdade e estilo, conduz ao estudo da experiência como negatividade que se configura na morte dos eus e, simultaneamente, na multiplicação de eus no espaço narrativo. As implicações dessa experiência dialética apontam para a questão do sentido da obra que se apresenta aberto a múltiplas possibilidades de interpretação
Abstract: This thesis aims at investigating reflectively into the issue of contemporary subjectivity departing from an aesthetic manifestation ¿ literature ¿ in the novel A la recherche du temps perdu. Proust¿s novel typically represents a moment of rupture which calls into question the linear and articulated 'I¿ of the traditional novel, in so far as it presents a series of aporias, tensions and contradictions which reveal a subjectivity crisis. Our research has as its basis the discussion of the boundaries between philosophy and literature, through the study of the relations between form and content and of the contribution of narrative identity to the philosophical reflection on the problem of self-constitution and self-interpretation. In order to make this question explicit it is necessary to analyze the work¿s long course, which describes disillusion as truth-learning and, at the same time, problematizes the truth reached by means of insoluble aporias that renew themselves in the circulation of meaning in the novel. The tense relations between unity and multiplicity, literature and life, desire and reality, time and eternity and truth and style lead to the study of experience as negativity, which is configured as the death of the 'I¿s and, simultaneously, in the multiplication of the 'I¿s in the narrative space. The implications of this dialectic experience point to the issue of the work's meaning, which is open to multiple interpretation possibilities
Doutorado
Filosofia e Literatura / Estetica
Doutor em Filosofia
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Lim, Hye-Suk. "Étude des images dans "La Prisonnière" de Proust." Paris 3, 1992. http://www.theses.fr/1992PA030063.
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Notre etude des images dans la prisionniere a pour but de prendre en consideration l'imagination creatrice de proust. Nous essayons d'examiner notamment la fonction dynamique des images qui se constituent en un ensemble de rapports, car le sens de l'oeuvre nait de ce systeme connote. Ce reseau metaphorique s'integre a la structure poetique du texte qui nous communique le message litteraire. La metaphore est un procede de creation d'un nouveau sens et refere non au monde reel, mais au monde personnel de la recherche. Liee ainsi inseparablement a une nouvelle vision du monde, la metaphore nous permet de nous rapprocher de l'accent personnel et du monde de l'essence de proustOur study of the images in la prisonniere aims to take into consideration the creative imagination of proust. We concentrate especially on the dynamic function of the images which make un an ensemble of relations, because the sense of the work results from this connoted system. This metaphorical structure becomes integrated into the poetic structure of the text which transmits the literary message to us. The metaphor is therefore a process of creation of a new meaning and does not refer to the real world, but to the imaginary world of a la recherche du temps perdu. It is closely related to a new vision of the world and permits us to reach the personal accent and the essence of proust
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Carrier-Lafleur, Thomas. "Proust et le cinéma : temps, images et adaptations." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30023/document.
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L’ambition de cette thèse n’est pas de poser objectivement les rapports qu’entretient À la recherche du temps perdu avec le cinéma(tographe), pour la simple et bonne raison que ceux-ci sont à peu près inexistants, du strict point de vue de l’objectivité. N’ayant jamais mis les pieds dans un lieu qui projette ce type bien particulier d’images en mouvement, Proust n’est pas un écrivain intéressé par ce qu’on nomme aujourd’hui « cinéma ». On ne trouve que peu souvent son nom dans les anthologies faisant état des écrivains du début du siècle dernier qui ont commenté le spectacle des vues animées. Si par hasard il y est, on cite généralement les passages du Temps retrouvé, où est assez sévèrement critiqué le « défilé cinématographique des choses ». Que la critique de Proust à l’endroit du cinéma(tographe) soit une critique essentiellement négative n’est pas en soi gênant et ne contredit pas nécessairement le besoin de faire le point sur cette question. Il nous faut seulement adopter une vision plus artiste du problème, ou du moins accepter que le cinéma n’est pas limité à un seul mode d’existence stable : « cinéma » est en fait un pot-pourri d’idées, de concepts et de pratiques qui est voué au changement, et c’est précisément ce changement qui est digne d’intérêt. Une telle relativisation de l’idée de « cinéma » nous permettra d’explorer les différentes séries d’images et les séries techniques qui parcourent le roman de Proust et ses adaptations écraniques, afin de voir si elles sont en mesure de recouper l’une ou l’autre des fonctions que l’on a pu attribuer au cinéma au cours de son histoire. La présente thèse est donc en quelque sorte le procès-verbal des définitions du cinéma qu’a pu nous offrir notre lecture de Proust. Elle est aussi celui des différentes lectures que le cinéma nous permet de faire de la Recherche, des lectures « cinématographiques »This thesis does not objectively study ongoing relations between In Search of Lost Time and the cinema medium for the simple reason that, from the strict point of view of objectivity, they are almost non-existent. Having never set foot in a place that shows this particular type of moving images, Proust is not interested in what is now called “cinema”. At best, his name infrequently appears in anthologies of the early 20th century’s writers who commented this kind of spectacle. If by chance he is, the excerpts generally selected are the ones of Time Regained where the “cinematic parade of things” is quite severely criticized. But Proust’s criticism of cinema, albeit an essentially negative one, is not that much inconvenient and does not particularly contradict the need to investigate the matter. We just have to think the problem in a more artistic way, or at least to accept that cinema is not limited to a stable, single mode of existence: “cinema” is – and should be – a potpourri of ideas, concepts and practices that is bound to change, and it is precisely that change that is worth investigating. Such a relativization of the idea of “cinema” will allow us to explore different series of images and series of techniques that run in Proust's novel and its screen adaptations, while letting us see if they are able to match some functions that have been attributed to cinema during its history. This thesis therefore intends to be a record of cinema’s definitions that our reading of Proust’s work could offer. It is also a record of the many readings of In Search of Lost Time that cinema allows us, “cinematographic” readings
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Suzuki, Takami. "La notion de croyance chez Proust." Strasbourg, 2010. https://publication-theses.unistra.fr/restreint/theses_doctorat/2010/SUZUKI_Takami_2010.pdf.
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La notion de croyance, notion très polysémique et problématique, joue un rôle décisif dans "A la recherche du temps perdu" de Marcel Proust. Pour décrire cette histoire de la naissance d'un écrivain, l'auteur de la "Recherche" recourt à cette notion dont chaque nuance particulière sert à caractériser chaque étape de l'apprentissage artistique du héros. Pour mettre en scène cette notion, l'écrivain introduit dans son roman un réseau de symboles de la croyance : la cathédrale, l'église, le clocher, la cloche, la mer et l'atmosphère. Ce traitement romanesque de la notion a pour but d'établir un idéalisme propre à Proust qui marque une rupture entre les deux sièclesThe notion of belief, very polysemic and problematic, plays an important role in "In Search of Lost Time" by Marcel Proust. In this history of the birth of a writer, Proust used the different meanings of this notion to characterize each stage of the hero's learning of literature. In order to integrate this notion in the novel, Proust created a system of symbols of belief : cathedral, church, church tower, bell, sea, atmosphere. . . The purpose of this treatment of the notion is to establish an idealism proper to Proust that marks the break between the 19th and the 20th centuries
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Morissette, Beaulieu David. "Proust : entre transcendance et immanence." Master's thesis, Université Laval, 2019. http://hdl.handle.net/20.500.11794/34740.
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Ce mémoire a pour ambition d’explorer une tension, celle de l’immanence et de la transcendance, qui traverse l’ensemble de l’oeuvre phare de Proust : À la recherche du temps perdu. L’hypothèse de ce travail est que cette tension structure non seulement la pensée philosophique et esthétique de Proust, mais également son imaginaire et son style d’écriture. Cette étude s’attarde donc à analyser les principaux thèmes sur lesquels se construit ladite tension.
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Oh, Nam-Suck. "Le possible et la non-ressemblance dans l'art contemporain." Paris 1, 2000. http://www.theses.fr/2000PA010553.
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L'art contemporain a pour l'objectif de se donner comme un faire impersonnel qui rompt avec toute représentation ressemblante. Telle semble être la ligne conductrice qui traverse les réalisations de Marcel Duchamp et de ses successeurs. Il est vrai que cette visée nouvelle de l'art à partir de la double négation à la fois du sujet et de l'être se manifeste sous diverses formes dont, avouons-le, la complexité elle-même nous laisse désemparée. Ce n'est pas pourtant notre propos de parcourir cette complexité comme pour faire une histoire de l'art contemporain. Nous nous sommes contenté dans la présente étude de nous interroger seulement sur cette idée même. La négation de la représentation ressemblante entraine par voie de conséquence la disparition du mode interrogatif du travail dans le domaine de l'art. Là où l'interrogation disparait, le possible apparait dans toute son étendue. En l'absence de ce qui en appelle le travail artistique à venir toujours sur le mode interrogatif, l'art contemporain élargit son champ dans le possible. Élaborant minutieusement la théorie du possible et donnant à voir la figuration du possible à partir de « à perspective de l'’étant donné », Marcel Duchamp ouvre du coup la voie au faire affirmatif. Resterait toutefois à demander si la question de l'art se pose en termes de possible. Il se peut que, n'ayant ni la conscience de l'apparence, mais se donnant comme le possible même, le faire affirmatif contracte le caractère factice.
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Wan, Hsu-Ting. "L'oeuvre comme évènement : une ontologie de l'art évènementiel-conceptuel et une généalogie de la modernité propre à l'art contemporain à partir de Fontaine de Marcel Duchamp (1917), ainsi qu'une typologie de l'oeuvre à travers l'avant-garde, le modernisme, le postmoderne /." Paris 8, 2002. http://www.theses.fr/2002PA082040.
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L'enjeu théorique de notre recherche consiste à élaborer une "logique de l'évènement" correspondant à un nouveau type d'art dont le mode ontologique s'est dépouillé de toute substantialité sensible ou toute matérialité esthétique et est devenu purement évènementiel ou conceptuel. Il s'agit d'une transformation du paradigme qui se manifeste comme un devenir-évènement de l'oeuvre. Nous considérons le collage cubiste comme le "dernier objet" de l'art, et le ready-made de Duchamp, notamment Fontaine, comme le "premier concept" de l'art. Ce devenir-évènement de l'oeuvre a entraîné deux grandes transfigurations du paysage dans le monde de l'art contemporain : la "socialisation" et la "conceptualisation" de l'art. . .
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Noury, François. "Duchamp, le regardeur et la scène de l'art : un théâtre dada." Paris 8, 2006. http://www.theses.fr/2006PA083675.
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Dada naît sur scène, en cet instant où le poème simultané, dans l’entrelacement imprévisible des voix des acteurs et des spectateurs, dissout la mise à distance signifiante de la représentation au profit d’un autre type de rencontre. Par ailleurs, Marcel Duchamp, fidèle sa vie durant à l’esprit dada, propose dans sa dernière œuvre, « Étant donnés : 1° la chute d’eau, 2° le gaz d’éclairage », un dispositif dont la théâtralité énigmatique invite le regardeur à faire l’expérience de cet autre rapport à l’art. La recherche présente consiste en une approche simultanée du théâtre dada et de la dernière œuvre de Duchamp, visant une éthologie de la rencontre dada. Cette approche théorique est elle-même simultanée à une expérimentation théâtrale effectuée avec des étudiants du département théâtre de l’Université Paris 8 et dont témoigne un film ainsi qu’un recueil de manifestes théâtraux inspirés par dada.
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Adjobi, Vast-Amour Dingui. "L’espérance comme expérience ontologique chez Gabriel Marcel." Thesis, Rennes 1, 2017. http://www.theses.fr/2017REN1S057/document.
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L'espérance se présente comme l'expérience d'un avenir qui n'a pas été encore vécu et qui se donne comme inobjectivable. Cette intuition a commandé la problématique de cette recherche, qui met au jour les conditions de possibilité d'une espérance véritable dans un monde – le nôtre – où elle ne trouve pas immédiatement sa place. Ce monde ''cassé'', comme l'appelle Gabriel Marcel, est sous l'emprise de la technique. C'est un monde où prime l'exigence du faire et où les questions existentielles sont réduites elles-mêmes à des ''problèmes'' qui doivent trouver leur ''solution'' comme n'importe quel problème relevant de l'ordre de l'avoir. Il y a, en ce sens, un ''problème de l'espérance ». Il se développe dans une philosophie qui s'émancipe de la foi et dont on trouve des illustrations notamment dans le probabilisme de Hume et dans le matérialisme de Bloch. Or Gabriel Marcel fait le pari, par la méthode dite de la ''réflexion seconde'', de placer l'espérance sous le sceau du ''mystère''. Il s'agit alors de comprendre que l'espérance, pensée sur le plan de l'être et non plus de l'avoir, relève d'une expérience qui est toujours en cours de formation, et qui ouvre le chemin que suit une personne que définissent sa capacité d'agir, ses relations avec les autres personnes et son aptitude à la responsabilité. Nous soutenons dans ce sens, avec l'appui de Ricœur, que l'identité du sujet de l'espérance est essentiellement intersubjective et ouverte, selon une exigence de fidélité créatrice. Nous trouvons plus précisément dans le nous familial, comme l'appelle Marcel, la condition de possibilité d'une expérience concrète de l'espérance, comprise alors comme patience d'un présent éprouvant et confiance en un avenir incertain. Renvoyant dos à dos, pour ce faire, les conceptions essentialiste et constructiviste de la famille, nous appelons vœu créateur ce qui, au sein même de la famille, dont nous proposons une conception élargie, est jaillissement du nouveau et promesse de vie. Ainsi nous affirmons que l'espérance, pour invérifiable qu'elle soit, est, mais selon des formes authentiques ou inauthentiques. L'enjeu de ce travail, en reconnaissant cette différence au cœur même de l'espérance, est de comprendre comment celle-ci, plus que comme un ensemble de moyens, se présente fondamentalement comme une mise en route qui se reçoit d'un appel de ou à l'autre, et qui est constitutive de toute action vouée au temps. La présence de cet autre déborde toute tentative d'objectivation. Elle est le lieu intérieur où se vit in fine l'attente active qu'est l'espérance comme expérience ontologiqueHope appears as the experience of a future which was not still lived yet and which is given as inobjectivable. This intuition has commanded the problematic of this research, which brings to light the conditions of possibility of a true hope in a world – ours – where it does not immediately find its place. This « broken » world, as Gabriel Marcel calls it, is under the influence of technic. It's a world in which prevail the need to do things, and also where existential questions are reduced to ''problems'' which must find their ''solution'' as any other problem come under the order of the possession. In this way, there is a ''problem of hope''. A philosophy is growing which emancipate itself from faith and which illustrations are found in particular in Hume's probabilism and Bloch's materialism. But Gabriel Marcel, by the method said about ''second reflection », bet to place hope under the seal of ''mystery''. It's all about understanding that hope, thought on the plan of ''the being'' and no more of ''the having'' is an experience still on training and which opens the way that follows a person defined by its ability to act, its relations to others and its aptitude to responsibility. In this sense, we support, with Ricoeur's support, that the subject identity of hope is essentially intersubjective and opened, according to a requirement of creative fidelity. We find more exactly in the « I and you familial» as Marcel calls it, the condition of possibility of a concrete experience of hope, understood as patience of a trying present and trust in an uncertain future. Referring back to back, the essentialist and constructivist conceptions of the family, we call creative vow, what within the family, of which we propose an enlarged conception is springing forth for the new and promise of life. So we assert that hope, however unverifiable as it may be, is, but according to authentic and inauthentic forms. The challenge of this work, recognizing this difference at the very heart of hope, is to understand how it, more than as a set of means, is fundamentally a start-up that is received from a call. From one to other, and which is constitutive of all action devoted to time. The presence of this other overflows any attempt at objectification. It is the inner place where the active expectation of hope as an ontological experience is lived
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Carvalho, Genival Oliveira. "A esperança no Tu Absoluto como fonte suprema de consistencia e sentido da vida na filosofia de Gabriel Marcel." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20408.
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The thesis focuses on a philosopher of great relevance, Gabriel Marcel, who was forgotten in researches and began to be recovered in the second half of the twentieth century. In the writings of this philosopher we seek to develop a theme which emerges and occupies a central role in his works, for instance, the Hope in the Absolute Thou as the supreme source of consistency and meaning of life. In this direction, we begin by pointing Marcel's perspective on the twentieth century and its anguish. Afterwards, some authors with whom he dialogues (Camus, Sartre and Heidegger) for whom existance has no perspective. Subsequently, we point out how Marcel presents hope as the source of the meaning of life, to conclude that this source is an Absolute Hope in the Absolute Thou
A tese focaliza um filósofo de grande relevância, Gabriel Marcel, que ficou esquecido nas pesquisas e começou a ser recuperado na segunda metade do século XX. Nos escritos deste filósofo se busca desenvolver um tema que emerge e ocupa papel central nas suas obras, o saber, a Esperança no Tu Absoluto como fonte suprema de consistência e sentido da vida. Nessa direção, começa-se apontando o olhar de Marcel sobre o século XX e suas angústias. Depois, alguns autores com o quais ele dialoga (Camus, Sartre e Heidegger) para os quais a existência não tem perspectiva. Em seguida, aponta-se como Marcel apresenta a esperança qual fonte de sentido da vida, para concluir que essa fonte é uma Esperança Absoluta no Tu Absoluto
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Cohen, Jessica. "Subjekt und Autonomie nach Michel Foucault : neue Entwicklungen der politischen Theorie in Frankreich." Paris, Institut d'études politiques, 2011. http://www.theses.fr/2011IEPP0066.
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Dans ce travail, nous avons examiné l’évolution du concept de sujet dans le contexte des critiques françaises du structuralisme autour des années 1980. Ont été choisis pour cela trois auteurs : Cornelius Castoriadis (1922-1997), Marcel Gauchet (né en 1946) et Alain Renaut (né en 1948). Nous avons examiné leurs critiques respectives envers Michel Foucault (1926-1984) puis dégagé les définitions qu’ils avancent de la notion de sujet. Notre interrogation portait sur le lien entre sujet et autonomie : nous avons reconstitué les raisons pour lesquelles nos auteurs constatent une annulation de l’autonomie individuelle et politique dans la notion foucaldienne du sujet et nous avons examiné les approches qu’ils proposent afin d’ouvrir de nouvelles perspectives pour une pensée du sujet comme acteur politique autonome. Le choix des auteurs effectué dans ce travail met en lumière l’hétérogénéité des critiques du structuralisme en France. Renaut plaide pour un retour à la raison et rejoint ainsi, dans une large mesure, le travail de Jürgen Habermas en Allemagne. C’est en revanche dans la lignée de la phénoménologie que Castoriadis propose de découvrir la capacité de création humaine. Enfin, Gauchet s’appuie sur des prémisses à la fois structuralistes et phénoménologiques. Depuis une perspective allemande, une meilleure connaissance de ces critiques d’inspiration phénoménologique du structuralisme est souhaitable afin d’ouvrir de nouvelles perspectives pour penser le lien entre sujet et autonomie au-delà de FoucaultThis dissertation examines the development of the concept of subjectivity in the context of French criticism of poststructuralism by drawing on the work of three authors : Cornelius Castoriadis (1922-1997), Marcel Gauchet (born 1946) and Alain Renaut (born 1948). The research focuses on their critiques towards Michel Foucault (1926-1984) and explores their respective definitions of the notion of subject. The core question concerns the link between subject and autonomy : Why do all three authors reproach Foucault for giving up individual and political autonomy with his understanding of the subject, and do they open up new prospects for rethinking the subject as an autonomous political agent ? The different approaches put forward by Castoriadis, Gauchet and Renaut display that the French critique of poststructuralism is heterogeneous : Renaut advocates a return of reason and thus joins the work of Jürgen Habermas in Germany. Castoriadis, for his part, draws on French phenomenology by proposing to discover the human capacity of creation. Gauchet combines structuralist as well as phenomenological presuppositions. From a German perspective, a better knowledge of these phenomenologically inspired critiques of poststructuralism would be beneficial in order to open up further prospects for revising the concepts of subject and autonomy after Foucault
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Mazari, Negar. "L'Imaginaire de la nuit dans la "A la Recherche du temps perdu"." Caen, 2010. http://www.theses.fr/2010CAEN1606.
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Explorateur des royaumes merveilleux de la nuit, Proust nous révèle l'importance du sommeil, des rêves, du travail de la conscience pour retrouver son identité dans ses demi-réveils au sein de ses nuits d'insomnie, comme un essor de son imagination. Le moment de l'insomnie, un moment de sommeil inaccessible, correspond au moment de l'inspiration chez Proust. S'il n'arrive pas à poursuivre son chemin dans le rêve, le dormeur éveillé traverse le poids inquiétant de la nuit, il plonge dans les rêveries dans l'atmosphère onirique qu'elle favorise. Le chemin invincible de la nuit, comme une sensualité secrète, fait surgir les mots poétiques. La nuit de sommeil et des rêves se présente comme une mosaïque complexe de strates qui permet de mettre en lumière la vocation littéraire de l'écrivain qu'on découvre progressivement. Son expérience nocturne dirige son attention sur l'inconscient, la nuit l'a finalement conduit à un autre moi, à un moi créateur. Ayant parcouru le chemin sinueux des expériences nocturnes, Proust va accumuler toute la matière nécessaire à son roman. Compte tenu des rôles qu'ont joués l'imagination et le réel dans l'élaboration d' A la Recherche du temps perdu, ce travail nous permet de mieux comprendre comment Proust parvient à faire ressortir une esthétique et une poésie de son imaginaire de la nuit. Finalement, à travers son expérience nocturne, Proust a enrichi la littérature universelle sur la philosophie du temps, par une réflexion sur l'existence et l'écriture romanesque
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Jaramillo, Ramírez Monica Marcela. "La théorie phénoménologique des synthèses passives et la genèse de l'oeuvre d'art : E. Husserl et M. Proust." Paris 1, 1995. http://www.theses.fr/1995PA010585.
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La methode genetique de la phonomenologie est un questionnement en retour aux stades inferieurs de la constitution intentionnelle sous le double aspect des syntheses passives et actives qui, en tant que principes de la genese constitutive, rendent possible toute expreience constituante de l'etant objectif. Si cette demarche n'est ouverte au phenomenologue qu'apres les resultats de la methode descriptive, une fois cette possibilite ouverte, la perspective du projet genetique devient elle-meme autonome. Suivant le sens de ces distinctions, on peut degager a l'aune d'une lecture phenomenologique de la recherche du temps perdu de marcel proust, le probleme de la genese de l'oeuvre d'art comme paradigme de la meditation genetico-constitutive. La presente reflexion voudrait s'offrir comme une contribution a l'eclaircissement de la conception esthetique de husserl, suivant la perspective nouvelle que la problematique genetique est desormais en mesure de revendiquerThe genetic method of phenomenology is a recursive questionning of the preceeding phases of the intentional constitution, with the twin meaning of passive and active synthesis, as the principles of the genetic constitution render possible all constituant experience of objective being. If this process is available to the phenomenologist only after the results of the the descriptive method, once this possibility is established, the perspective of a genetic project becomes, in itself, autonomous. In accordance with the goal which these distinctions aim at, one can outline the problem of works of art as a paradigm of genetic meditation with as referent in search of lost time, by marcel proust. Our contribution purposes to clarify husserl's esthetic concepts, in harmony with the new perspective which the genetic problematics are now able to claim