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Vieira, Marcela. "A obra de Marquês de Sade no Brasil do século xxi – aspectos culturais e linguísticos da tradução em português de Justine ou os tormentos da virtude". Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080090.
Resumen
La présente thèse de doctorat vise à étudier les questions liées à la traduction en portugais dans sa variante brésilienne du roman Justine ou les malheurs de la vertu, de l'écrivain français Marquis de Sade. La thèse est organisée en trois parties structurelles : la première partie, intitulée « Éléments contextuels pour une philosophie libertaire », est consacrée à une analyse des manifestations littéraires, philosophiques et sociales au XVIIIe siècle en France. Nous passerons ensuite à la deuxième partie, « Traduction et conflit », dans le but de stimuler une lecture qui aborde le contenu discursif des personnages sadéens et, parallèlement, les confronter aux aspects linguistiques qui ont été prépondérants lors de la traduction. Dans la troisième partie, « Le traducteur comme acteur de son temps », l'accent est mis sur les aspects culturels au Brésil au début du XXIe siècle. Nous essayons d'établir une analyse du contexte brésilien concernant la réception des œuvres d'art à l'époque contemporaine. La recherche est conçue à partir d'un hybridisme théorique, puisque son écriture recourt à des notions qui passent par des références sémiotiques, linguistiques, philosophiques, sociales et de littérature comparée. Depuis les sous-divisions internes de chaque partie de cette recherche, jusqu'à la dynamique comparative entre la première et la troisième partie, nous sommes motivés par des questions liées à la réception, via la traduction, de l'œuvre de Sade dans le Brésil contemporain, en considérant les équivalences linguistiques et les concepts moraux actuels et d’autrefoisThis doctoral thesis aims to investigate questions present in the translation from French to Brazilian Portuguese of the novel Justine ou les malheurs de la vertu, by the Marquis de Sade. The thesis is organized in three parts: the first, entitled "Contextual Elements for a Libertarian Philosophy", is dedicated to an analysis of literary, philosophical, and social phenomena in 18th century France. The second, "Translation and conflict" seeks to stimulate a reading that addresses the discursive content of Sadean characters and, in parallel, confronts them with linguistic aspects that were prominent during translation. In the third part, "The translator as an actor of his time", the emphasis shifts to cultural aspects in Brazil at the beginning of the 21st century. The thesis attempts to establish an analysis of the contemporary Brazilian context regarding the reception of works of art in the contemporary period. The thesis presents a hybrid theoretical approach, since its analysis draws on semiotic, linguistic, philosophical, social, and comparative literature references. From the internal subdivisions of each part of this research, to the comparative dynamics between the first and the third part, the thesis is motivated by questions related to the reception, via translation, of Sade's work in contemporary Brazil, considering linguistic equivalences and concepts of morality both in the contemporary sense and of the period
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Mattos, Elizângela Inocêncio. "O Contra-iluminismo do Marquês de Sade". Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9331.
Resumen
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
This work aims to analyze the theoretical bases by which the Marquis de Sade built his philosophy, namely precisely the influence of La Mettrie and Holbach, which includes a study of nature and the mechanical question in the composition of beings, incurring to a fundamental determinism in the materialist current of the eighteenth century. It is important to understand how he took the thesis of mankind as a machine and the idea of a creative-destructive nature which allowed him to have a declared immoralism, based not only on nature, but also on militant atheism. The consequences of this path, incurs on the thesis of the counter-enlightenment of the Marquis de Sade who, man of his time, built a work based on combat, on denunciation, on the dominant discourse that characterizes the difference between strong and weak. The happiness demand is achieved by the total flow of passions, exploring all the dimensions of the corporal machine that can be happy, under the libertine optics, in the practice of crime. The way how Sade anticipates on treating evil as a component of nature, source of pleasure, also results in the intolerance of the libertine towards the victim.
O objetivo deste trabalho é analisar as bases teóricas pelas quais o Marquês de Sade edificou sua filosofia, a saber, precisamente, a influência de La Mettrie e Holbach, o que compreende um estudo da natureza e a questão mecânica na composição dos seres, incorrendo a um determinismo fundamental na corrente materialista do século XVIII. Importa compreender de que maneira tomou a tese do homem como máquina e a ideia de uma natureza criadora-destruidora, que lhe permitiu um imoralismo declarado, pautado não somente na natureza mas em um ateísmo militante. As consequências desse percurso incorrem na tese do contra-iluminismo do Marquês de Sade que, homem de seu tempo, edificou uma obra pautada no combate, na denúncia, no discurso dominante que caracteriza a diferença entre fortes e fracos. A exigência de felicidade tem a realização do pleno curso das paixões, explorando todas as dimensões da máquina corporal que pode ser feliz, sob a ótica libertina, na prática do crime. O modo como Sade se antecipa em tratar do mal sendo um componente da natureza, fonte de prazer, resulta também na intolerância do libertino em relação à vítima.
CAPES: BEX 3857/15-8
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Batista, Ana Carolina Rosa. "Filosofia da natureza em os 120 dias de Sodoma: uma leitura da estética da destruição em Marquês de Sade". Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8987.
Resumen
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Donatien-Alphonse François, the Marquis of Sade is one of the great names of the French libertine literature of the eighteenth century. He was a compulsive writer, being his bibliography characterized between diverse literary genres like novels, short stories, tales, and even theatrical plays. His texts were symptomatic, reflecting the problems and criticisms of his time. Sade criticized the absolutist political model in crisis of the French of the eighteenth century. The interference of religious morality and the Catholic Institution in this period, as well as criticism of a declining aristocracy. All this backed up by a philosophical thought, its philosophy of the nature, of materialistic influence. Sade links philosophical discourses with sexual practices in his texts, where everything is allowed and the imagination knows no bounds. And here, it Will be to the good marquis, this unique spirit, whether in his time or in the history of western thought, that we will look for in the present reflection, taking his work as object – about everything: the novel The 120 Days of Sodom – in order to understand how this author makes use of a destructive aesthetics, protected in the philosophy of nature, to propose a dechristianized social practice. To achieve this objective, contextual discussion of the eighteenth- century France Will be necessary, from Christian religious morality to materialistic philosophy. We Will also talk about the life and work of the marquis, as well as a study of the concept of literature, characterization of the novel, and the language of the grotesque, which is so used by Sade. Finally, we shall come to the analysis of the concept of aesthetics, and to think how Sade Will make of this aesthetic a destructive system, proposing a new social practice, exempt from a religious morality.
Donatien-Alphonse François, o Marquês de Sade é um dos grandes nomes da literatura libertina do século XVIII francês. Foi um escritor compulsivo, sendo sua bibliografia caracterizada entre diversos gêneros literários como romances, contos, novelas, e até mesmo peças teatrais. Seus textos foram sintomáticos, refletindo os problemas e as críticas de seu tempo. Sade criticou o modelo político absolutista em crise do século XVIII francês. A interferência da moral religiosa e da Instituição Católica nesse período, além da crítica a uma aristocracia decadente. Tudo isso respaldado por um pensamento filosófico, sua filosofia da natureza, de influência materialista. Os textos de Sade intercalam discursos filosóficos com práticas sexuais, onde tudo é permitido e a imaginação desconhece limites. E será justamente ao bom marquês, este espírito ímpar, seja em seu próprio tempo, seja na história do pensamento, que pretendemos aqui revisitar e tomar por objeto – tendo por enfoque principal o romance Os 120 dias de Sodoma – para assim, compreendermos como este autor faz uso de uma estética destrutiva, resguardada na filosofia da natureza, para propor uma prática social descristianizada. Para alcançarmos tal objetivo discussões contextuais da França do século XVIII serão necessárias, desde a moral religiosa cristã, até a filosofia materialista. Falaremos também da vida e obra do marquês, além de um estudo do conceito de literatura, caracterização do romance, e a linguagem do grotesco, sendo esta tão utilizada por Sade. Para for fim, chegarmos à análise do conceito de estética, e pensarmos como Sade fará dessa estética um sistema destrutivo, propondo uma nova prática social, isenta de uma moral religiosa.
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Page, Rosalyn Geraldine Media & Communications UNSW. "The Marquis de Sade and the Cinema of Transcendence". Awarded by:University of New South Wales. Media and Communications, 2002. http://handle.unsw.edu.au/1959.4/18656.
Resumen
This thesis is an enquiry into the Marquis de Sade, his writing and the perversion known as sadism. The narrower focus of this thesis investigates the problem of the meeting of violence and language in Sade's novels and the implications for cinema. The procedure has been to adopt the Critical and Clinical approach to philosophy that brings together both the literary style of Sade and the clinical symptoms of sadism. This method canvasses a number of Sades novels to consider the psychoanalytical definition of sadism before moving on to discuss the expression of sadism through language. Finally, the model of sadism and language is then applied to a number of films to discuss how violence within the context of sadism functions through language within cinema. The general results show how speech and action can be defined as equivalent forms of sadian violence when expressed through language in both literature and cinema. This occurs, furthermore, through the transcendent model of violence where both speech and action refer to a higher order of violence and this is put at the service of the senses through language. The major conclusions reached suggest that language in literature and cinema can be a demonstrative form of the higher order of violence. Sadism draws out the violence and excess of the world by reflecting it within language. In doing so, violence is designated with a quality of the erotic through this excess. Finally, each act of violence within literature and cinema is an attempt to overcome taboos through transgression. The breaking of a taboo creates an amount of excess but also reinstates the taboo in what becomes an empty act of transgression. The excess is expressed through violence within language and deed according to a transcendent function of language in literature and cinema.
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Page, Rosalyn. "The Marquis de Sade and the cinema of transcendence". Connect to this title online, 2002. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20021210.152101/index.html.
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Mattos, Elizangela Inocencio. "Imaginação e interdito na obra do Marques de Sade". [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281599.
Resumen
Orientador: Luiz Roberto MonzaniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho tem por objetivo, situar a obra de Sade na história das idéias, explorando as aproximações de seu pensamento com os principais fIlósofos do iluminismo. Em seguida, propõe uma análise do, caráter emancipador do ateísmo na obra. Para depois, analisar a imaginação em seu contexto, como principal instrumento para a verdadeira liberdade do homem. De posse destes elementos, propomos uma análise da critica de Sade à idéia de pacto social, tomando como exemplo, a idéia de pacto descrita por Rousseau em seu Contrato Social
Abstract: The present work has for objective to point out the workmanship of the Marquis of Sade in the history of the ideas, being explored the approaches of its workmanship with the main philosophers of the Iluminism. After that, it considers an analysis of emancipador carater of the ateísm in the workmanship. It stops later, to analyze the imagination in its context, as main instrument for the true freedom of the mano Of ownership of these elements, we consider an analysis of criticizes of Sade the idea of social pact, taking as example, the described ide_ of pact for Rousseau in its Social Contract
Mestrado
Filosofia
Mestre em Filosofia
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Avoni, Koblan. "Le Marquis de Sade et la philosophie des Lumières". Besançon, 1986. http://www.theses.fr/1986BESA1010.
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DERSON, DIDIER HENNEQUIN JACQUES. "La théâtralisation dans les romans du Marquis de sade". [S.l.] : [s.n.], 1998. ftp://ftp.scd.univ-metz.fr/pub/Theses/1998/Derson.Dider.LMZ9809_1.pdf.
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Castro, Clara Carnicero de. "Os libertinos de Juliette e a libertina de Sade". Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-12112012-101549/.
Resumen
Esta pesquisa apresenta um estudo dos protagonistas do romance Histoire de Juliette, ou Les prospérités du vice (1801) do Marquês de Sade. O objetivo do trabalho é evidenciar a progressão dos enunciados filosóficos dos personagens, dentro das cenas libidinosas nas quais são proferidos, relacionando as teorias e as práticas particulares de cada herói com os traços de seu caráter. Tal abordagem supõe a tese de que há uma interdependência entre os argumentos do libertino e sua construção dentro da narrativa ficcional. Cada devasso expõe um conjunto singular de ideias, determinado por suas características morais, físicas e por outros aspectos que constituem o gênero do romance filosófico. Logo, este estudo não propõe uma interpretação específica para o pensamento de Sade, mas salienta a oposição e a convergência de ideias em sua obra, acentua o debate entre os personagens, expõe, portanto, a diversidade dos discursos libertinos.This research intends to analyze the protagonists from the novel Histoire de Juliette, ou Les prospérités du vice (1801) by the Marquis de Sade. Our goal is to evidence the development of the philosophical statements of the characters, within the libidinous scenes where they take place, relating the theory and practice of each hero with his/her personality. This approach assumes an interplay between the libertine\'s arguments and their construction in the fictional narrative. Each person presents a unique set of ideas, determined by his/her moral and physical traits, in addition to all the other aspects found in the philosophical novel gender. We, therefore, do not present a specific interpretation for the thinking of Sade, rather, we stress the opposition and convergence of ideas in his work, underlining the debate among the characters to point out the diversity of discourse amidst the libertines.
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Souza, Ruth Maria Pina e. "Sade : o poder do gozo". [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279555.
Resumen
Orientador : Bento Prado JuniorDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia
11
Roche, Geoffrey T. "An unblinking gaze: on the philosophy of the Marquis de Sade". Thesis, University of Auckland, 2004. http://hdl.handle.net/2292/5305.
Resumen
Throughout the 20th Century, a number of philosophers, writers, artists and film makers have implied that there is some profound significance to the work of Donatien Alphonse François, the Marquis de Sade (1740-1814). The project at hand is to evaluate the claim that Sade, in some sense, is a philosopher, and to assess what his philosophy amounts to. There are two aspects to this task. Firstly, I will consider the various philosophical interpretations of Sade’s work. This part of the study will serve as a guide into the Sadeian labyrinth, and will establish some of the more central interpretive themes, in particular the claim that Sade’s thought anticipates that of the Nazis, or that he brings early Modern thought to its logical conclusion. Secondly, I will inquire into Sade’s writings themselves. Of particular interest are Sade’s thoughts concerning the nature of sexuality, psychology, and the human condition in general, his critique of conventional morality, and his description of the nature of power.Whole document restricted, but available by request, use the feedback form to request access.
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Joaquim, Ana Cristina. "Sade = o filósofo e o imaginário". [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278870.
Resumen
Orientador: Luiz Roberto MonzaniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: A problemática discursiva na qual se insere a obra de Donatien Alphonse François de Sade (Marquês de Sade: 1740-1814) é considerada mediante os aspectos filosóficos e literários dos quais se compõem os seus textos. Levando em conta o romance filosófico enquanto gênero frequentemente praticado entre diversos autores do século XVIII francês que, como Voltaire, Diderot e Rousseau - para citar os mais expressivos - almejavam o largo alcance de suas idéias mediante a popularização da filosofia, pretende-se complexificar esse intento em Sade. Uma vez que no caso do Marquês existe a dificuldade ou impossibilidade de transposição do seu pensamento para o campo da política e da moral (dada a precedência do prazer em detrimento de uma convivência pacífica, e até mesmo em detrimento da vida - valores caros a qualquer comunidade política), considera-se de grande importância o caráter fictício de seus escritos: de acordo com o ponto de vista proporcionado pela ficção, descortina-se uma nova leitura de proposta política e moral em sua obra. Para tanto, tomam-se emprestadas algumas noções da hermenêutica Ricoeuriana, entre elas, a idéia de uma 'ontologia da obra de arte'; a noção de fictício de Wolfagang Iser; e as noções de verdade e interpretação de Luigi Pareyson; diretrizes que desembocam numa idéia de ficção tanto como ação política, quanto como forma de conhecimento. Pensar a obra sadiana mediante os artifícios ficcionais possibilita, assim, uma redimensionalização da sua filosofia. Os textos de Sade mais frequentemente utilizados para o propósito foram Nota sobre romances e Os 120 dias de Sodoma, além dos circunstancialmente evocados: A filosofia na alcova, Histoire de Juliette, Diálogo entre um padre e um Moribundo e Os infortúnios da virtude
Abstract: The problematic discoursive in which falls the work of Donatien Alphonse François de Sade (Marquis de Sade: 1740-1814) is regarded by the literary and philosophical aspects of which are composed his texts. Taking into account the philosophical novel as a genre often practiced among many authors of the french eighteenth century who, like Voltaire, Diderot and Rousseau - to name the most significant - longed for the wide reach of their ideas through the popularization of philosophy, it is necessary to problematize this intent on Sade. Since in the case of the Marquis there is the difficulty or impossibility of transposing their thinking to the field of politics and morality (as since he gives precedence over the pleasure of a peaceful coexistance, and even at the expense of life - values appreciated to any political community), it is very important the fictitious character of his writings, according to the view afforded by fiction, opens up a new reading of politics and moral proposal of his work. For that, it is necessary to take some borrowed notions of Ricoeur's hermeneutics, among them, the idea of an 'ontology of the artwork', the notion of fictitious of Wolfagang Iser, and the notions of truth and interpretation of Luigi Pareyson; guidelines that lead an idea of fiction as much as political action, and as a form of knowledge. To think Sade's work through the fictional devices enables thus a re-reading of his philosophy. Sade's texts most often used for the purpose of note were the An Essay on Novels and The 120 Days of Sodom, in addition to the evoked eventually: Philosophy in the Bedroom, Histoire de Juliette, Dialogue between a Priest and a Dying Man and The Misfortunes of the Virtue
Mestrado
Historia da Filosofia
Mestre em Filosofia
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Almeida, Luana Aparecida de [UNESP]. "Tradução anotada de Les infortunes de la vertu (1787), do Marquês de Sade (1740-1814)". Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/94058.
Resumen
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almeida_la_me_assis.pdf: 911958 bytes, checksum: b7228d2d4a5152dcd9a24016c3836d2e (MD5)Este trabalho apresenta a tradução anotada do livro Les infortunes de la vertu (1787) do Marquês de Sade (1740 – 1814), seguido de um estudo introdutório que tem o objetivo de familiarizar o leitor brasileiro com a narrativa sadiana. Sabemos que a polêmica que sempre acompanhou o Marquês de Sade era seguida pela constatação de sua originalidade que produziu, a partir de suas ideias libertinas, suas polêmicas obras. Les infortunes de la vertu se caracteriza como uma das obras emblemáticas de Sade, uma narrativa que apresenta os elementos da perversão denominada a partir do nome do autor, o sadismo. Na atividade de tradução buscamos valorizar a tendência que preconiza o sentido e o estilo original, optando pela corrente que defende a tradução estrageirizadora
It is presented here the annotated translation of Les infortunes de la vertu (1787) of Marquis de Sade (1740 – 1814), followed by introductory study that intends to familiarize the Brazilian reader with the Sadean narrative. The controversy surrounding Marquis de Sade has always been accompanied by the realization of the originality he produced, sparked his libertine ideals and his infamous works. Les infortunes de la vertu is one of Sade’s emblematic works, with a narrative that presents elements of the perversion named after the author, Sadism. During the translation, we valued the original meanings and style by opting for a foreignizing translation
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Almeida, Luana Aparecida de. "Tradução anotada de Les infortunes de la vertu (1787), do Marquês de Sade (1740-1814) /". Assis : [s.n.], 2013. http://hdl.handle.net/11449/94058.
Resumen
Orientador: Maria Lídia Lichtscheidl MarettiCoorientador: Brigitte Monique Hervot
Banca: Antonio Roberto Esteves
Banca: Norma Wimmer
Resumo: Este trabalho apresenta a tradução anotada do livro Les infortunes de la vertu (1787) do Marquês de Sade (1740 - 1814), seguido de um estudo introdutório que tem o objetivo de familiarizar o leitor brasileiro com a narrativa sadiana. Sabemos que a polêmica que sempre acompanhou o Marquês de Sade era seguida pela constatação de sua originalidade que produziu, a partir de suas ideias libertinas, suas polêmicas obras. Les infortunes de la vertu se caracteriza como uma das obras emblemáticas de Sade, uma narrativa que apresenta os elementos da perversão denominada a partir do nome do autor, o sadismo. Na atividade de tradução buscamos valorizar a tendência que preconiza o sentido e o estilo original, optando pela corrente que defende a tradução estrageirizadora
Abstract: It is presented here the annotated translation of Les infortunes de la vertu (1787) of Marquis de Sade (1740 - 1814), followed by introductory study that intends to familiarize the Brazilian reader with the Sadean narrative. The controversy surrounding Marquis de Sade has always been accompanied by the realization of the originality he produced, sparked his libertine ideals and his infamous works. Les infortunes de la vertu is one of Sade's emblematic works, with a narrative that presents elements of the perversion named after the author, Sadism. During the translation, we valued the original meanings and style by opting for a foreignizing translation
Mestre
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Silva, Rodrigo D’Avila Braga. "O marquês de Sade no Brasil: tradução, recepção e crítica de Historiettes, Contes et Fabliaux". reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21839.
Resumen
Dissertação (mestrado)—Universidade de Brasília, Departamento de Línguas Estrangeiras e Tradução, Programa de Pós-Graduação em Estudos da Tradução, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-09-26T19:26:36Z No. of bitstreams: 1 2016_RodrigoD’AvilaBragaSilva.pdf: 26305127 bytes, checksum: d03331bff5a3fa76d7b3502209a435e4 (MD5)
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Donatien Alphonse François de Sade, mais conhecido por Marquês de Sade, foi um escritor francês do século XVIII que teve diversas de suas obras censuradas devido à sua escrita considerada por muitos como sendo “depravada”. Muitas dessas obras apresentam descrições eróticas que põem em cena a excitação e o prazer através do sofrimento alheio. Essa parafilia ficou conhecida na história como “sadismo”, termo derivado do nome do Marquês e cunhado pelo psiquiatra austro-húngaro Richard von Krafft-Ebing em 1886. Todavia, vale salientar que as obras do escritor francês não se limitam apenas ao erotismo sádico, elas também criticam a sociedade francesa do final do século XVIII e início do XIX, constituindo uma das modalidades do romance filosófico. Em razão do banimento imposto à publicação de suas obras no período napoleônico (1799-1815), muitas delas foram esquecidas e, por vezes, perdidas. O processo de redescoberta e reapropriação das obras do Marquês na França teve como responsáveis: Guillaume Apollinaire, Maurice Heine, Gilbert Lely e Jean-Jacques Pauvert, já no início do século XX. E como consequência dessa redescoberta, surgem as primeiras traduções da obra sadiana no Brasil na década de 1960. O objetivo principal desta dissertação é estudar a coletânea de pequenos relatos intitulada Historiettes, Contes et Fabliaux, publicada pela primeira vez em 1926 na França por Maurice Heine e publicada no Brasil por diversas editoras. Tendo em vista o longo processo que vai da redescoberta de Sade até a divulgação e estudo das obras no século XX, esta pesquisa busca estudar (1) a presença e inserção das obras do Marquês de Sade no Brasil, por meio do levantamento de suas traduções publicadas, (2) sua recepção por meio da análise dos paratextos do corpus desta dissertação (Historiettes, Contes et Fabliaux – HCF), e (3) propor uma tradução comentada de Dorci, ou la Bizarrerie du sort, texto inédito nas edições brasileiras de HCF. _________________________________________________________________________________________________ ABSTRACT
Donatien Alphonse François de Sade, better known as the Marquis de Sade, was an eighteenth century French writer who had several works banned because his “depraved” writing. Many of these works have erotic descriptions that put on scene both excitation and pleasure through someone else’s suffering. This paraphilia is known as “sadism”, a term derived from the Marquis’ name and coined by the Austro-Hungarian psychiatrist Richard von Krafft-Ebing in 1886. However, it is important to point out that this French writer’s works are not limited to sadistic eroticism, but they do also criticize the late eighteenth and early nineteenth centuries French society, which characterizes one of the philosophical novel categories. Due to the censorship imposed on Sade’s works during the Napoleonic period (1799-1815), many of them have been forgotten and, sometimes, lost. Guillaume Apollinaire, Maurice Heine, Gilbert Lely and Jean-Jacques Pauvert were responsible for the rediscovery and reappropriation process of the Marquis’ works in France in the beginning of the nineteenth century. And, as a result of this rediscovery, the first translations of Sade’s works were published in Brazil on 1960s. The main purpose of this Master’s thesis is to study the collection of small stories entitled Historiettes, Contes et Fabliaux, published, for the first time in France, in 1926 by Maurice Heine, which was translated and published in Brazil by some publishing houses. Given Sade’s long rediscovery process until diffusion and study of the works on the twentieth century, this research seeks (1) to study the presence and insertion of the Marquis de Sade’s works in Brazil, through the list of his published Brazilian translations; (2) to study its reception through the analysis of the paratexts of the corpus of this research (Historiettes, Contes et Fabliaux – HCF), and (3) to propose a commented translation Dorci, ou la Bizarrerie du sort, the unpublished text on HCF in Brazilian editions. _________________________________________________________________________________________________ RÉSUMÉ
Donatien Alphonse François de Sade, plus connu comme le marquis de Sade, était un écrivain français du XVIIIe siècle qui a eu plusieurs de ses oeuvres censurées à cause de son écriture considérée par beaucoup de gens comme « dépravé ». Plusieurs de ses oeuvres ont des descriptions érotiques qui mettent en scène l’excitation et le plaisir à travers la souffrance des autres. Cette paraphilie a été connue dans l’histoire comme « sadisme », un terme dérivé du nom du Marquis et inventé par le psychiatre austro-hongrois Richard Von Krafft-Ebing en 1886. Cependant, on peut noter que les travaux de cet écrivain français ne se limitent pas à l’érotisme sadique, ils critiquent aussi la société française de la fin du XVIIIe et du début du XIXe siècle, constituant l’un des modes du roman philosophique. En raison de l’interdiction imposée à la publication de ses oeuvres dans la période napoléonienne (1799-1815), beaucoup d’entre eux ont été oubliés et parfois perdus. Le processus de redécouverte et de réappropriation des oeuvres du marquis au début du XXe siècle en France avait comme responsables Guillaume Apollinaire, Maurice Heine, Gilbert Lely et Jean-Jacques Pauvert. À la suite de cette redécouverte, les premières traductions de l’oeuvre de Sade ont été publiées au Brésil dans les années 1960. L’objectif principal de ce mémoire est d’étudier la collection de récits brefs intitulée Historiettes, Contes et Fabliaux, d’abord publiée en 1926 en France par Maurice Heine et publier au Brésil par plusieurs maisons d’édition. Compte tenu du long processus de la redécouverte de Sade à la diffusion et à l’étude des oeuvres dans le XXe siècle, cette recherche vise à (1) étudier la présence et l’insertion des oeuvres traduites du marquis de Sade au Brésil (2) étudier la réception de l’oeuvre par l’analyse des paratextes du corpus de ce mémoire (Historiettes, Contes et Fabliaux - HCF), et (3) proposer une traduction commentée de Dorci, ou la Bizarrerie du sort, texte inédit dans les éditions brésiliennes de HCF.
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Castro, Clara Carnicero de. "O sistema filosofico do Marques de Sade : estudo da elaboração do sistema filosofico do Marques de Sade a partir das filosofias iluminista e libertina da França no seculo XVIII". [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278867.
Resumen
Orientador: Luiz Roberto MonzaniDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A pesquisa, a ser aqui exposta, pretende analisar a elaboração do sistema filosófico do Marquês de Sade, tendo como base o estudo das filosofias iluminista e libertina da França do século XVIII. O estudo foi dividido em dez temas principais, entendidos como os mais pertinentes para se examinar a argumentação de uma ética sadeana. São eles: (1) a consciência moral, (2) a natureza, (3) o remorso, (4) o sangue-frio em oposição à paixão, (5) o discurso do poder, (6) a teoria do excesso e a doutrina da predestinação, (7) a elaboração do crime, (8) a dissimulação, (9) o diálogo libertino e (10) o sexo como estímulo da inteligência ou a ascensão libertina. Sendo assim, propomo-nos a descrever e analisar detalhadamente cada um desses temas aplicados à obra de Sade e relacionados às filosofias libertina e iluminista
Abstract: This research intends to analyse the development of Marquis de Sade¿s philosophical system based upon the enlightenment¿s and the libertine¿s philosophies on the eighteenth century France. The study has been divided in ten main themes, understood as the most appropriate to provide a detailed argumentative examination of Sade¿s ethic, such as: (1) the moral conscience, (2) the nature, (3) the remorse, (4) cold-bloodedness against passion, (5) the power discourse, (6) the excess theory and the predestination doctrine, (7) the crime¿s development, (8) the disguise, (9) the libertine¿s dialogue and (10) sex as an intellectual stimulus or the libertine¿s ascension. Therefore, this study claims to describe and analyse in detail each one of these themes applied to Sade¿s work and related to the enlightenment¿s and libertine¿s philosophies
Mestrado
Filosofia
Mestre em Filosofia
17
Costa, Marcela de Andrade. "O despotismo na alcova : reconfiguração dos espaços público e privado na obra do Marquês de Sade". reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/4604.
Resumen
Dissertação (mestrado)—Universidade de Brasília, Instituto de Ciências Humanas, Departamento de História, 2008.Submitted by Jaqueline Ferreira de Souza (jaquefs.braz@gmail.com) on 2009-09-15T17:33:11Z No. of bitstreams: 1 2008_MarceladeACosta.pdf: 549075 bytes, checksum: 6b87bdfbe6e3ae9ade0051d50f214ad7 (MD5)
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O marquês de Sade é um desses autores que pouca gente leu, mas quase todos têm uma opinião a respeito. Escritor polêmico e controverso, seu nome é associado à libertinagem cruel, na qual o prazer sexual é obtido à custa do sofrimento e humilhação dos outros. Porém, a obra sádica não se resume a mera apologia dessa sexualidade primitiva e visceral. Em seus textos, Sade dialogava com a produção intelectual de seu tempo, tratando de questões que ocupavam também outros escritores, tais como ordem social, natureza humana, liberdade e despotismo. E sobre cada uma dessas questões o marquês mantinha um posicionamento filosoficamente justificado. O objeto principal dessa dissertação é a reconfiguração sádica dos espaços público e privado, ou seja, como essas esferas foram redefinidas em sua obra e quais os papéis que podem, e devem, ser desempenhados em cada uma delas. Para isso, foi analisado o discurso sádico sobre três dualidades que considerei basilares para essa redefinição: natureza e civilização, vício e virtude e liberdade e despotismo. Ao entender como Sade reconfigurou essas esferas e a importância que conferiu a cada uma delas, busca-se ampliar a compreensão sobre a conformação social que estava sendo delineada no período revolucionário. E da qual os Estados ocidentais herdaram a permanente tensão entre os seus interesses e direitos e as garantias individuais de seus cidadãos. __________________________________________________________________________________________ ABSTRACT
The marquis of Sade is one of these authors whom few people read, but almost everyone has an opinion about. Controversial writer, his name is associated with the cruel licentiousness, in which the sexual pleasure is obtained at the expense of the suffering and humiliation of others. However, the sadistic work does not consist only of the mere eulogy of this primitive and visceral sexuality. Through his texts, Sade maintained a dialogue with the intellectual production of his time, dealing with subjects that were also approached by other writers, such as social order, human nature, freedom and despotism. And on each one of these issues the marquis has a philosophically justified position. The main object of this dissertation is the sadistic reconfiguration of the public and private spaces, in other words, how these spaces were re-defined in his work and which roles one can or must play in each one of them. In order to accomplish that, the sadistic speech was analyzed along three axis that were taken as the basis for that redefinition: nature and civilization, vice and virtue, and freedom and despotism. Understanding how Sade has re-shaped the public and private spaces and the importance that he tallied to each one of them might help to understand the social configuration that was outlined in the French revolutionary period, one of the roots of the constant tension between interests of the State and individual rights in the Western World.
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Dias, Anne Louise. "Torcer, romper, escrever : tecendo as narrativas de violência de Gabrelle Wittkop e do Marquês de Sade". reponame:Repositório Institucional da UnB, 2016. http://repositorio.unb.br/handle/10482/21370.
Resumen
Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literatura, Programa de Pós-Graduação em Literatura, 2016.Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-08-05T14:14:27Z No. of bitstreams: 1 2016_AnneLouiseDias.pdf: 1759079 bytes, checksum: ad5f7a60f234df97b63e4e11a6cac866 (MD5)
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Ainda clandestina na esfera canônica, a leitura da obra de Sade, como afirma Eliane Robert Moraes, pode levar a inúmeros equívocos, reduzindo o autor a reflexões sobre o sadismo ou fundindo-o à discursos científicos. As reverberações das escritas do marquês de Sade, entretanto, não se restringem às tentativas de sua compreensão; influente e vivamente presente em diversos escritores, o modelo sadiano é recuperado e homenageado em La marchande d’enfants, romance epistolar de Gabrielle Wittkop e publicado em 2003. O estilo de escrita de Wittkop abre-nos espaço para o estudo de sua obra como ambas uma retomada e uma atualização do próprio marquês. Desejamos no presente trabalho abarcar as representações dos desvios sexuais preconizados em Sade como um duplo jogo da linguagem: Sade e Wittkop teatralizam as ações violentas de suas personagens, jogando com a imagética, a representação e a imaginação, mas, para além disso, manejando a linguagem de forma a testar todos seus limites. Gabrielle Wittkop tentaria, em La marchande d’enfants, alcançar, pelo grotesco, pelo mal e pela perversão, o absurdo fazendo conscientemente uso da violência própria à linguagem, atacando, penetrando e testando as fronteiras do eu, do leitor e, finalmente, da literatura. _________________________________________________________________________________________________ ABSTRACT
Still foreign to the canon of Western Literature, the examination of the oeuvre of the Marquis de Sade can lead to numerous misunderstandings, as stated by Eliane Robert Moraes, such as reducing his output to reflections on sadism or merging it with scientific discourse. The repercussions of De Sade’s work, however, are not limited to critical attempts toward its understanding; influential and strongly present in several writers, De Sade’s model is recovered and honored in La marchande d'enfants, an epistolary novel authored by Gabrielle Wittkop and published in 2003. Wittkop`s writing style opens the space for the study of her work as both a renewal and an update of the Marquis himself. In the present work we wish to encompass the representations of sexual deviancy professed in Sade as a double play on language: De Sade and Wittkop dramatize the violent actions of their characters, playing with imagery, representation and imagination, but, in addition, manipulating the language in order to test all of its limits. Gabrielle Wittkop would attempt to achieve absurdity through the grotesque, evil and perversion, consciously making use of the language inherent violence in La marchande d'enfants, attacking, penetrating and testing the boundaries of the ego, the reader and finally literature itself.
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Gillan, Robert McDonald. "Marquis de Sade : a transgressive writer and his influence in the nineteenth century". Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706127.
20
Colas-Blaise, Marion. "Le discours de la transgression : lecture sémiotique des historiettes du Marquis de Sade". Metz, 1990. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1990/Colas_Blaise.Marion.LMZ906.pdf.
Resumen
Une analyse conduite à la lumière de la théorie sémiotique de l'école de Paris révèle que le discours de la transgression, tel qu'il se construit dans les historiettes du Marquis de Sade, destinées à la publication non-clandestine, se constitue à partir de dépendances et de déterminations externes : perpétuant l'épistème et l'écriture classiques, elles sont à la fois réaffirmées et dépassées. Les décalages sont opérés en vertu de la stratégie, énoncive et énonciative, du détour(-nement) dont le contrat de véridiction, impliqué déjà par l'appartenance générique des textes, est une composante. Ils sont saisissables surtout à travers une pluralisation des thématisations, étagées ou parallèles successives, et des "reclassements" axiologiques, installant des seuils de transgression graduables (compromis axiologique et modal, contre-discours). Se trouvent ainsi garanties la "recevabilité" des textes (concilier le "lisible" et le subversif, au-delà du cloisonnement discursif traditionnel) et la "narrabilité" (récursivité du transgressif à l'intérieur de la structure de renvoi posé/nié ; indécidabilité axiologique) des aventuresIn the light of semiotics, the discourse of transgression, as it takes shape in the historiettes of the Marquis de Sade, destined to non-clandestine publihing, enhances external constraints perpetuating classical episteme and writing (in particular, through emphasizing their veridictory character) and giving the basis for innovation. Thus emerges a major component of the persuasive strategy of "detour (-nement)" (diversion and subversion), which implies, furthermore, the graduation of transgressive steps and, especially, modal and axiological compromise as a type of mediation to be grasped and described on different levels of the generative process (multiplication of superposed parallel thematizations, modifications of figurative configurations and paths). The discourse of transgression is characterized by an oscillating movement (recursiveness of transgression), implying "domesticated" trangressions subordinated to some general finality, positively connoted (from the point of view of society), and "independent" ones, perfectly gratuitous and therefore durably provocative. This leads, finally, to a precarious situation of axiological indetermination
21
Fukuda, Daisuke. "L'envers de l'éthique sadienne : essai sur la lecture lacanienne du Marquis de Sade". Paris 8, 2011. http://octaviana.fr/document/163816999#?c=0&m=0&s=0&cv=0.
Resumen
Pour la première partie de cette thèse, on a analysé la série des actes majeurs que Sade a effectués dans sa vie. La reconstitution de la causalité de ses actes permet d’éclairer la valeur événementielle du dernier acte de Sade. L’enjeu majeur était donc de savoir à la suite de quels actes émerge l’acte testamentaire de Sade à la fin de sa vie. Ainsi on essaie d’élucider les actes qui marquent sa vie, un par un, dans les trois registres différents — amoureux, politique et théâtral — pour mettre en valeur la singularité de l’acte testamentaire de Sade. Pour la deuxième partie de cette thèse, on tente de situer le testament sadien dans son rapport avec d’autres actes effectués par les antagonistes de Sade. Pour cela, on se réfère au schéma quadripartite dit les quatre discours, qui consiste à clarifier la nature d’un lien social selon les quatre modalités différentes qui s’enchaînent l’une avec l’autre : discours du maître, de l’hystérique, de l’universitaire, de l’analyste. Cette analyse des intersubjectivités différentes autour de Sade aboutit à l’élucidation du discours psychanalytique. On s’intéressera notamment au décalage qu’il y a entre l’acte ultime sadien et l’acte analytique. Pour vérifier cet écart entre les deux discours, on effectue à la fin de cette thèse la lecture de Histoire de Juliette. Bien que le marquis touche à la dimension transférentielle (on constate la série des chutes du sujet supposé savoir), l’aventure de l’héroïne sadienne se déroule hors du cadre analytique. Sade ne sait pas discerner la créativité dans la pulsion de mort contrairement à l’analyste qui peut la découvrir par et dans son acte analytiqueFor the first part of this thesis, we analyzed the series of major acts that Sade has done in his life. The reconstruction of the causality of his actions can illuminate the value of the factual final act of Sade. The major stake was therefore to find out after what acts the testamentary act emerges from Sade at the end of his life. So we try to clarify the actions that marked his life, one by one, in three different registers - love, politics and theater - to highlight the singularity of the testamentary act de Sade. For the second part of this thesis, we will attempt to locate the Sadian in relation to other acts performed by Sade antagonists. For this, we refer to the diagram known as the quadripartite four discourses, which aims at clarifying the nature of social ties in the four different ways that are connected with each other: the master's discourse of the hysteric, of the academic, and of the analyst. This analysis of different intersubjectivities around Sade leads to the elucidation of the psychoanalytic discourse. We will address in particular the discrepancy that exists between the ultimate Sadian act and the analytic act. To check the gap between the two types of discourses we proceed, at the end of this thesis, to the reading of History of Juliet. Although the Marquis touches the transferential dimension (there is a series of falls of the subject supposed to know), the adventure of this Sadian character takes place outside the analytical framework. Sade does not know how to discern the creativity in the death drive, contrary to the analyst who can see it in and by the analytic act
22
Colas-Blaise, Marion Petitjean André. "LE DISCOURS DE LA TRANSGRESSION : LECTURE SEMIOTIQUE DES HISTORIETTES DU MARQUIS DE SADE /". [S.l.] : [s.n.], 1990. ftp://ftp.scd.univ-metz.fr/pub/Theses/1990/Colas_Blaise.Marion.LMZ906.pdf.
23
Giannattasio, Gabriel. "Sade, um anjo negro da modernidade". reponame:Repositório Institucional da UFPR, 2012. http://hdl.handle.net/1884/24637.
24
Kozul, Mladen. "Le corps dans le monde : espace et récit dans l'œuvre du marquis de Sade". Paris 10, 1996. http://www.theses.fr/1996PA100190.
Resumen
Trois modeles de la figuration spatiale chez sade sont analyses : l'espace ferme, l'espace du voyage et l'espace theatral. L'elaboration de l'espace ferme est mise en relation avec les changements qui affectent l'architecture a la fin du siecle. L'etude de la narrativite de l'espace ferme est centree sur le chateau de silling des cent vingt journees de sodome. La coincidence des mouvements narratif, spatial et libidinal etablit l'analogie entre l'emiettement du recit et le morcellement du corps victinal dont les etapes sont indissociables de l'agencement interieur du chateau. A travers la tension entre le deplacement et le confinement, l'espace du voyage influence le discours narratif des infortunes de la vertu et de justine de 1791. La pleine articulation de la topographie du voyage sur la forme narrative s'opere dans l'histoire de juliette et dans aline et valcour. En organisant aussi bien les textes clandestins que les textes licites de sade, le voyage modifie la portee et la signification du libertinage sadien. L'espace theatral sadien est fonction des techniques narratives fondees sur la theatralisation. De l'action, commune aux pieces de theatre de sade et a ses romans clandestins. Dans les deux cas, la theatralisation est indissociable des valeurs symboliques des lieux theatraux. Les dispositifs spatiaux des differents theatres sadiens superposent la pragmatique narrative a l'espace theatral et transforment l'ecriture en moyen d'agresser le lecteur change en spectateur. Les rapports qui s'etablissent entre la topographie litteraire et la narration sadiennes s'inscrivent dans un systeme generique instable, dans des mutations politiques et esthetiques. La confluence entre la particularisation du lieu dans la fiction et l'univers discursif de la fin du xviiie siecle fournit a la fiction sadienne a la fois l'encrage dans son epoque et sa force corrosive moderneThree models of the spatial figuration in sade's works are analysed : the closed space, the space of travellings, and the theatrical space. The elaboration of the sadeian closed space is linked to the changes affecting the architecture at the end of the century. The study of the narrativity of the closure is centered on the fortress of cent vingt journees de sodome. The coincidence of narrative, spatial and libidinal mouvements establishes the analogy between the fragmentation of the narrative and the fragmentation of the victimal body whose stages are indissociable of the spatial organisation of the fortress. Through the tensions between the journeys and the confinements, the space of travellings influences already the narrative discours of les infortumes de la vertu and of justine. But the topography of travellings becomes fully linked to the narrative form in l'histoire de juliette and in aline et valcour. By organizing the cladestine sade's works as well as the licit ones, the voyage modifies and expends the signification of the sadeian libertinage. The constructing of the theatrical space in sade's works is linked to the theatralisation of the action, common to sade's dramatic peaces and his clandestin novels. In both cases, theatralisation is associated to the symbolic values of the theatrical place. The spatial dispositions of sadeian theatres superpose the narrative pragnatics on the thatrical space and transformes the writing into a way of aggressing the reader changed into the spectator. The relations between the fictional topography and the narrative form are to be considered in
25
Russell, Melissa Michele. "The divine Marquis' ethical project: Sade and the "turn to religion" in postmodernist philosophy". Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/357.
Resumen
This thesis argues that Sade’s work constitutes a transgressive ethical project that cannot escape Christian ethical categories. According to the logic of transgression Sade must invoke and reinstate those limits and categories – such as good/evil, vice/virtue, sacred/profane – that he destroys. I do not argue that Sade employed a theory of transgression but, following Bataille and Foucault, who base their concept of transgression on Sade’s work, I use transgression as a philosophical lens through which to reread him.
26
Vallenthini, Michele. "Sade dans l'Histoire : du temps de la fiction à la fiction du temps". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040031.
Resumen
Par une prise en compte de son oeuvre de vieillesse, La Marquise de Gange, Adélaïde de Brunswick, princesse de Saxe et Histoire secrète d'Isabelle de Bavière, reine de France, le travail propose une nouvelle perspective sur l'oeuvre du marquis de Sade. Dans un premier temps ses romans libertins les plus connus sont examinés du point de vue de l'histoire et du temps : au fil de la lecture des textes on constate non seulement ce caractère formel hétérogène et tendant à des surenchères de tout genre, mais surtout cette problématisation de l’histoire et du temps (dans le sens d’une conscience aiguë du passage du temps, liée à une réflexion sur la vérité et la morale) caractéristique de la littérature du tournant des Lumières. Dans chaque texte on retrouve la même ambivalence du propos : tantôt fuite hors du temps et déni de l’histoire, tantôt conscience aiguë et lucide, qui se réfugie dans les plis du texte et derrière les métaphores corporelles et les biographies lubriques.La deuxième partie du présent travail souhaite comprendre les trois romans historiques comme documents uniques du développement littéraire et idéologique d’un écrivain dans la France post-révolutionnaire, d’un homme de lettres désormais septuagénaire, confronté aux nouvelles structures d'un monde en plein effort de reconstitution.Moyennant les catégories qui sont analysées ici, il est possible de dégager des trois romans historiques un substrat commun qui en fait ce que je définis, dans le sillage de Paul Ricoeur comme fiction du temps. La fiction du temps ressent de manière particulièrement aiguë l’aporie du temps. Elle est le symptôme d’un malaise historique : de l’expérience bouleversante de la Révolution, de l’opacité d’un monde en mutation, finalement, d’une fuite irrémédiable du tempsThis thesis wants to propose a new perspective on the oeuvre of the Marquis de Sade by taking into account his late works La Marquise de Gange, Adélaïde de Brunswick, princess of Saxony and the Histoire secrète d'Isabelle de Bavière, queen of France.In a first approach his more known libertine novels are examined from a historical point of view. In the course of reading Sades texts one can observe not only a heterogeneous formal character tending towards an overload into all genres. In particular one also finds the manner of expounding the problems of history and time (in the sense of an acute consciousness for the passing of time, combined with reflections on truth and moral) typical of the literature of Enlightenment. In every text one rediscovers the same ambivalence of intention - be it the escape from time and the denial of history, be it an acute and lucid conscience that finds refuge in the letters of the text and behind bodily metaphors and lubricious biographies.The second part of the present thesis wants to understand the three historic novels of the Marquis de Sade as unique documents of the literary and ideological development of an author in post-revolutionary France, a man of letters henceforth in his seventies confronted with new structures of a world in plain process of reforming.By means of the categories analyzed here, it is possible to remove from these three historic novels the common substrate of what I, in the wake of Paul Ricoeur, have in fact defined as the fiction of time. In a particularly acute manner the fiction of time suffers the aporia of time. This is the symptom of a historic faintness - that of the overwhelming experience of the Revolution, of the obscurity of a world in change and in the end of an irremediable escape from time
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Meyer, Ronald. "Sexualität und Gewalt : Formen der Sexualität und Gewalt in der Fiktion und Biographie des Marquis de Sade /". St-Ingbert : Röhrig universitätsverl, 1999. http://catalogue.bnf.fr/ark:/12148/cb376290735.
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Mazières, Frédéric. "Humour pervers, prison et écriture. Une analyse psychobiographique de l'œuvre romanesque du marquis de Sade". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA052.
Resumen
Notre thèse de doctorat propose une analyse d’inspiration freudienne des œuvres romanesques du marquis de Sade. Elle relève, plus précisément, de la psychobiographie en ce qu’elle privilégie l’analyse des conflits des écrivains avec leurs parents, et les traumatismes psychiques subséquents. L’œuvre et l’écriture de Sade sont les résultats de nombreux facteurs : enfance multi-pathogène, personnalité borderline multi-pathologique (perverse et psychopathique), multi-récidiviste, incarcérations ou internements dans des asiles. Parmi tous ces paramètres psycho-socio-pathologiques, la prison est celui qui a aggravé, sous la forme d’une psychose carcérale réactionnelle, ses tendances morbides et la violence de son écriture. Se sentant menacé par une évolution de sa personnalité vers une psychose structurelle, Sade tente de prendre ses distances, en les rendant absurdes, avec les représentations pulsionnelles délirantes qu’il obtient grâce à ses rêves et à ses rêveries. C’est à ce moment-là qu’interviennent les procédés cathartiques et thérapeutiques de l’humour et/ou du comique pervers. Grâce à ces procédés symboliques, qu’il a mis au point dans sa correspondance avec sa femme et avec « Milly », l’une de ses amies, Sade se met en scène, lui et ses objets sexuels, dans des fantasmatiques pré-œdipiennes. Plus les décalages avec l’esthétique des réalités sexuelles œdipiennes (ou génitales) sont importants, plus l’humour pervers peut surgir. Grâce à l’humour pervers, Sade peut mimer une victoire narcissique illusoire. L’humour pervers facilite l’assassinat psychique, affectif et moral des lecteurs. Nous avons terminé notre étude en proposant l’analyse d’une forme extrême d’humour pervers, l’humour pervers nécrophileOur doctoral thesis suggests a Freudian analysis of Marquis de Sade novels. Our analysis is more precisely a work of psychobiography, which favours writers’ conflicts with their parents, and the subsequent psychological traumas. Sade novels and writing are the results of many parameters : a multi-pathogen childhood, a multi-pathological borderline personality (psychopathic and perverse), being a multi-recidivist, imprisonment or internment in asylums. Among all those psycho-socio-pathological parameters, prison, is the one that worsened his morbid tendencies and the violence of his writing, thus creating a prison psychosis. Threatened by the development of his personality towards a structural psychosis, Sade attempts to distance himself from those parameters, making them absurd, crazy instinctual representations coming from his dreams and reveries. The cathartic and therapeutic methods of humour and/or perverse comic played a part at that very moment. Owing to these symbolic methods he has developed in his correspondence with his wife and with « Milly », one of his friends, Sade stages himself and his sexual objects in pre-Oedipal fantasies. The stranger the aesthetics of Oedipal (or genital) sexuality are, the funnier it becomes. By means of perverse humour, Sade manages to mimic an illusory narcissistic victory. The perverse humour facilitates the psychic, emotional and moral murders of his readers. We completed our study by providing an analysis of an extreme form of perverse humour, necrophiliac perverse humour
29
Kirkham, Neil. "Simple pornographers? : the Marquis de Sade and the evolution of the hard-core pornographic film narrative". Thesis, University of the Arts London, 2011. http://ualresearchonline.arts.ac.uk/5137/.
Resumen
In The Secret Museum: Pornography and Modern Culture, Walter Kendrick demonstrates that whilst the term pornography remains a battleground of ideas and representations, its origins are to be found long before the word itself was invented in the nineteenth-century. At the beginning of the twenty-first century, pornography's influence on all forms of popular-culture is seen to have dramatically increased, but academic work on the representation of sex has thus far avoided attempting to draw any links between what Kendrick refers to as the different “pornographic eras”, choosing instead to analyse examples in isolation. This thesis is an attempt to fill that gap and analyses patterns of influence between eighteenth-century French libertine literature and the contemporary hard-core pornographic film. Concentrating on the libertine novels of the Marquis de Sade (1740-1814), it studies how his work demonstrates rules and structures in relation to the representation of sex that are still visible in modern pornography. By focusing on four examples of Sade's work – Les Cent Vingt Journées de Sodome, Justine, La Philosophie dans le Boudoir and l'Histoire de Juliette – it isolates patterns of influence in relation to three key elements: narrative, practices and philosophy. It therefore looks at both the representation of sex and the narrative structures that surround it. This is a key element of any study of modern pornography, as it can take on a range of narrative forms, with some hard-core films appearing to omit storylines completely. This thesis will therefore consider a range of examples from contemporary hard-core, but will focus primarily on the American producer The Evil Empire and the work of its founder, the director John Stagliano. Drawing on theoretical material from the study of narratology (`) it studies the relationship between the two forms through the way in which they frame, structure and pace the sexual performance, as well as analysing how they attempt to authenticate such representations. It concludes with a study of the hard-core initiation film, through which the political and philosophical meaning of such representations is assessed.
30
Le, Grandic Eric. "Les crimes de l'amour de sade : tradition litteraire et travail d'ecriture". Paris 10, 1997. http://www.theses.fr/1997PA100140.
Resumen
La presente these entend etudier une oeuvre souvent consideree comme mineure par rapport aux romans les plus celebres et les plus scandaleux du marquis de sade. Le choix des crimes de l'amour obeit a la volonte de combattre cet a priori, de montrer que le recueil de nouvelles tragiques publie en 1800, revele d'une facon singuliere tout l'imaginaire sadien et un remarquable travail d'ecriture, ou l'originalite jaillit derriere le compromis avec les conventions esthetiques et morales. Une premiere partie analyse les rapports des crimes de l'amour avec la tradition de la nouvelle tragique et celle du texte critique defendant la fiction romanesque. Ainsi "l'idee sur les romans", preface aux crimes de l'amour, s'inscrit dans le prolongement de ces textes proposant une definition et un historique d'un genre combattu par les autorites morales, et en meme temps offre une representation nouvelle du romancier. Cette premiere partie etudie egalement les liens avec l'univers de la nouvelle baroque, l'heritage de la nouvelle historique, et montre comment sade parvient a metamorphoser la figure du mechant, omnipresente dans la production romanesque de ses devanciers. Une deuxieme partie, se fondant sur la confrontation du manuscrit de 1787-1788 avec l'edition de 1800, s'emploie a comprendre la genese du texte, et souligne l'inlassable travail de perfectionnement du style associe a une necessaire recherche du compromis avec le public : sade ruse sans jamais se renier, il rehausse la beaute de la vertu souffrante. Une troisieme partie s'attache a montrer que ce recueil est solidaire de toute la production esoterique, elle etudie la conduite du recit, notamment la fonction de l'enchassement narratif dans toutes les fictions sadiennes, elle s'interesse aux destinees feminines et a la figure du libertin dans l'ensemble de l'oeuvre. Ce travail associe l'histoire litteraire, la critique genetique, la reflexion thematique, pour mieux comprendre sadeThis thesis is meant to study a work often considered as minor in relation to the most famous, shocking novels by sade. Choosing les crimes de l'amour comes from the desire to fight against that apriorism, and to show that the collection of the tragic short stories published in 1800 remarkably highlights sade's imagination and his extraordinary art of writing, the originality of which is brought out behind the compromise with the moral and aesthetic conventions. First, i shall study the relationships between les crimes de l'amour and the convention of tragic short stories and that of literary critics defending the fictional art. Thus, "l'idee sur les romans", the preface to les crimes de l'amour, follows that literary tradition giving a definition and the historical background of a genre often questioned by the moral authorities. It also gives a new portrayal of the novelist. I shall also study the links with the world of the baroque short stories, with the legacy of historical short stories and i shall see how sade manages to transfigure the evildoer, an omnipresent character in his precursors' fiction. Second, basing myself on the comparison of the 1787-1788 manuscript with the 1800 edition, i shall cast light on the text's genesis and underline the unflagging effort to improve his style associated with the need to compromise with the reader : by working cleverly without ever renouncing his beliefs, sade beautifully enhances the virtue of suffering. Third, i shall show that this collection of short stories is firmly attached to the esoteric writing. I shall see how the narrative is handled, for instance the role of the embedded narrative, and i shall deal with women's destiny and the libertine character. Literary history, genetic criticism and thematic approach shall be dealt with to have a better understanding of sade
31
Coutant, Alexandre. "Les marques identitaires à l'épreuve de leur consommation : consommateur identitaire, transculturalité". Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/out/theses/2007_out_coutant_a.pdf.
Resumen
L'objectif de cette thèse est de tenter une approche globale d'une actualisation particulière du phénomène publicitaire, à savoir les publicités de marques à forte prétention identitaire. Globale car l'étude s'attachera à relier les différentes logiques sous-tendant les intentions des milieux producteurs de ces messages, leur actualisation dans un objet-publicité construit et les logiques des utilisateurs des produits de ces marques. Cette thèse s'attachera donc dans un premier temps à effectuer une analyse des méthodes de travail proposées aux publicitaires, des représentations qu'ils se font de leurs cibles et de l'efficacité de leur travail. Elle tentera ensuite de vérifier la mise en discours de ces cadres dans les publicités identitaires à partir d'une analyse de corpus. Elle approchera enfin les individus consommant de telles marques. Elle cherchera alors à constater/expliquer l'homologie ou au contraire les variations entre les intentions énonciatrices et les raisons effectives de consommation de ces marques par les individusThe main purpose of this thesis is to make a global approach to a specific actualization of the advertising phenomenon, more precisely of highly identitarian brands advertising. A global approach, because this study tries to put together the different logics that include these messages producers goals, their actualization as a created advertising object and main reasons of brands users. Firstly, this thesis will analyse the work methods used by advertisers, the image they have about their target and their work efficiency. Secondly, it will search to find out how these frames are used by discourses in identitarian advertising. A corpus analysis will be made. Finally, it will analyse brands consumers. It will try to observe/explain the homology and variations between language purposes and effective individual brand consumption reasons
32
Blumberg, Lucy E. "A Tale of Two Sisters: An Exploration of the Marquis de Sade and 21st Century Western Cultural Production". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/717.
Resumen
The Marquis de Sade has a notorious reputation amongst academics as a continuous figure of fictional and cultural studies. His characters, stories, and writings carry weight in modern interpretations of gender dynamics, pornographic aesthetics, and the alternative fantastical. This thesis will explore the Marquis de Sade’s most famous characters, Justine and Juliette, as means to define the Marquis’ significance to 21st Century Western culture production, particularly in Lars Von Trier’s Antichrist and E.L. James’ Fifty Shades of Grey. Exploring the female protagonists (or main characters) of the separate works, the correlations of subjugation, constructed morality, and the constructs of femininity become important markers for understanding the Marquis’ dissemination of his philosophies on gender, violence, and indulgent sexuality that leads to conversations on pornographic aesthetics in our modern period. Despite being dead for nearly 200 years, the Marquis de Sade’s relevance parades on in ideologies regarding female identity and sexual desires of the extreme.
33
Heesen, Sabine te. "Der Blick in die kannibalische Welt : Anthropophagie in Daniel Defoes Robinson Crusoe, den Reisebeschreibungen zu James Cooks Weltumsegelungen und bei Marquis de Sade /". Freiburg, Br. ; Berlin Wien : Rombach, 2008. http://d-nb.info/991053265/04.
34
Gatti, Daniela 1967. "Sade na dança = um processo artístico em redes de saberes". [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284972.
Resumen
Orientador: Elisabeth Bauch ZimmermannTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A presente pesquisa traz o processo de criação de Vícios e Virtudes - Drama em Dança como objeto de reflexão e análise. O espetáculo é uma apropriação dos romances do autor iluminista francês Marquês de Sade (1740 - 1814): Justine, os Infortúnios da Virtude e Juliette, a Prosperidade do Vício com o intuito de transpor para a linguagem do corpo-cênico, o universo antagônico sadiano entre o vício e a virtude, representados pelas personagens Justine e Juliette. A primeira parte da tese fundamenta a transposição do universo literário para o corpo que dança, ou seja, um corpo-texto a partir de eventos como a imaginação, a polaridade, a apropriação e o dialogismo. A segunda parte descreve o processo do espetáculo, apresentando os elementos materiais, procedimentos e as idéias como subsídios na representação ficcional e simbólica através do drama em dança. A tese propõe o diálogo entre as diferentes áreas das artes: dança, música, teatro e literatura como um caminho metodológico para o desenvolvimento de um processo artístico em redes de saberes
Abstract: The present research brings the creative process of Vícios e Virtudes - Drama em Dança as an object of reflection and analysis. The performance is a gathering of the French Illuminist author Marques of Sade (1740 - 1814)'s novels Justine, the misfortunes of virtue and Juliette, the prosperity of vice aiming to transpose to the scenic-body language the Sadian antagonic universe between vice and virtue, represented by characters Justine and Juliette. The first part of the thesis gives base to the transposition of the literary universe to the dancing body, or a text-body based on events like imagination, polarity, appropriation and dialogue. The second part describes the performance process, presenting the material elements, procedures and ideas as subsides in the fictional and symbolical representation through drama in dance. The thesis proposes the dialogue between the different areas of art: dance, music, theater and literature as a methodological way to the development of an artistic process in a knowledge net
Doutorado
Artes Cenicas
Doutor em Artes
35
Butcher, Dick. "Mapping the shadow in the work of de Sade & Sacher-Masoch constellating sociological & psychological possibilities /". Connect to this title online, 1998. http://wwwlib.umi.com/cr/yorku/fullcit?pNQ33525.
Resumen
Thesis (Ph. D.)--York University, 1998. Graduate Programme in Sociology.Typescript. Includes bibliographical references (leaves 260-274). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL:http://wwwlib.umi.com/cr/yorku/fullcit?pNQ33525.
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Conrod, Frederic. "Baroque orders of corruption: Formation, diffusion, transformation, and negation of Loyola's "Spiritual Exercises" (Saint Ignatius of Loyola, Miguel de Cervantes Saavedra, Spain, Baltasar Gracian, Marquis de Sade, France)". Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207694.
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Máñez, Testor Santiago. "LA PARROQUIA DE SAN ESTEBAN DE VALENCIA Y EL PALACIO DEL MARQUES DE CARO: UNA HISTORIA PARALELA_ PROPUESTAS E HIPÓTESIS PARA UNA RECONSTRUCCION URBANÍSTICA Y ARQUITECTÓNICA 1238 _ 1519". Doctoral thesis, Universitat Politècnica de València, 2016. http://hdl.handle.net/10251/62684.
Resumen
[EN] This master thesis is a study about the urban evolution in the perimeter of the San Esteban church between the conquest of Valencia in 1238 by King Jaime I and the accession of the artisan guilds (Germanías) in 1519.
It stress the image and urbanism of the Islamic city, the urban development within the perimeter of the parish with special emphasis on the Islamic wall of both taifa and almohade and the landmarks used to limit the district, is also part ot this study.
Several of the phases of urbanization are being analyzed: The first donations gained in El Llibre del Repartiment, that are shown and identified, the private urban development through Las Poblas, the construction of the new Christian Wall and the name-giving of streets in the 15th and early 16th century.
The constructive evolution of the Palacio del Marqués de Caro is analyzed simultaneously showing the historic background, the image in the moment of the conquest and different phases and models using the Islamic tower as a starting point and continuing with the first Christian construction in the 13th century, modifications in the 14th century and a restructuration at the end of the 15th and the beginning of the 16th century.
Moreover, from this work we derive the hypothetic location of the Islamic gate Bab-Al-Carrac, En Esplugues gate, the dimensions of the second and third Jewish quarter, the Pobla of Jaume Marc and the Almoyna in La Xerea.[ES] La presente tesis estudia la evolución urbanística del ámbito de la Parroquia de San Esteban desde la conquista de la Valencia por Jaime I en 1238, hasta el advenimiento de las Germanías en 1519. Se incide en la imagen de la ciudad islámica, estudiando su urbanismo y la influencia posterior dentro de la circunscripción de la Parroquia, haciendo especial hincapié en la muralla islámica, tanto taifa cómo almohade, así como los hitos que sirvieron para la definición del distrito parroquial. Se analizan las fases de urbanización del sector:las primeras donaciones recogidas en el Llibre del Repartiment que se identifican y grafían, los procesos de urbanización privada a través de las Poblas, el levantamiento de la nueva muralla cristiana y la fijación de los nombres de las calles en el siglo XV y los albores del XVI. De forma paralela se estudia la evolución constructiva del Palacio del Marqués de Caro, sus antecedentes, su imagen al momento de la conquista, y las diferentes fases y modelos por los que atravesó desde la torre islámica que le sirvió de base, pasando por la primera construcción cristiana en el siglo XIII y las intervenciones del siglo XIV, hasta la gran transformación del edificio a finales del siglo XV y principios del XVI. Derivado de este trabajo se proponen además hipótesis sobre la ubicación de la puerta islámica de Bab al-Carrac, del portal d'EnEsplugues, de la dimensión de la segunda y tercera judería, y de la pobla de Jaume Marc y de la Almoyna en la Xerea.
[CAT] La present tesi estudia l'evolució urbanística de l'àmbit de la Parròquia de ''San Esteban'' des de la conquesta de la València per Jaume I en 1238, fins a l'adveniment de les Germanies a 1519. S'incideix en la imatge de la ciutat islàmica, estudiant el seu urbanisme i la influència posterior dins de la circumscripció de la Parròquia, fent especial èmfasi en la muralla islàmica, tant taifa com almohade, així com les fites que van servir per a la definició del districte parroquial . S'analitzen les fases d'urbanització del sector: les primeres donacions recollides en el Llibre del Repartiment que s'identifiquen i grafien, els processos d'urbanització privada a través de ''les Pobles'', l'aixecament de la nova muralla cristiana i la fixació dels noms dels carrers en el segle XV i els albors del XVI. De forma paral·lela s'estudia l'evolució constructiva del Palau del Marqués de Caro, els seus antecedents, la seua imatge al moment de la conquesta, i les diferents fases i models pels quals va travessar des de la torre islàmica que li va servir de base, passant per la primera construcció cristiana al segle XIII i les intervencions del segle XIV, fins la gran transformació de l'edifici a la fi del segle XV i principis del XVI. Derivat d'aquest treball es proposen a més hipòtesis sobre la ubicació de la porta islàmica de Beb al-Carrac, del portal d'en Esplugues, de la dimensió de la segona i tercera jueria, i de la pobla de Jaume Marc i de la Almoyna a la Xerea
Máñez Testor, S. (2016). LA PARROQUIA DE SAN ESTEBAN DE VALENCIA Y EL PALACIO DEL MARQUES DE CARO: UNA HISTORIA PARALELA_ PROPUESTAS E HIPÓTESIS PARA UNA RECONSTRUCCION URBANÍSTICA Y ARQUITECTÓNICA 1238 _ 1519 [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/62684
TESIS
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Caron, Elaine Cristina [UNESP]. "Rimbaud, Molière e Sade lidos pelos brasileiros: aspectos da representação literária dos escritores franceses homenageados na coleção Literatura ou Morte". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/136799.
Resumen
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000859299.pdf: 1218234 bytes, checksum: 84868a517f29e833b65c8d75273035a4 (MD5)Résumé: Rimbaud, Molière et Sade. Ces sont les trois écrivans français qui ont été honorés, respectivement, par les brésiliens Leandro Konder, Rubem Fonseca et Bernardo Carvalho, dans la collection Literatura ou morte, de 2000, publiée par Companhia das Letras. L'idée de la collection est apparue lorsque Leandro Konder a soumis à son éditeur l'originel de son roman A morte de Rimbaud, où il cite le poète français dans le titre, et en plus, il fait plusieurs références à la littérature française. Heureux du résultat, le rédacteur Luis Schwarcz a contacté plusieurs écrivains pour créer des romans qui doivent suivre le même modèle de A morte de Rimbaud, en prenant deux prémisses fondamentales: qu'ils soient des romans policiers et qu'ils contiennent le nom d'un écrivain consacré par la critique et par le public. Parmi les sept volumes qui ont suivi la proposition, on a O doente Molière et Medo de Sade. Dans la construction de ces romans leurs auteurs ont été menés à revoir les biographies et les oeuvres de chacun des écrivains honorés, en fournissant des relectures et de nouvelles significations pour elles. Le but de notre travail est d'étudier les raisons qui ont fait que Konder, Fonseca et Carvalho choisissent comme thème de leurs oeuvres littéraires précisément ces trois écrivains, en essayant de démontrer que ce choix n'a pas été arbitraire, mais dirigé par l'éditeur, qui à part la promotion obtenue grâce aux références faites aux noms des auteurs classiques, atteint un nouveau type de lecteurs. La collection permet à ses écrivains de suivre deux propositions de récit en même temps, elle se caractérise à la fois comme une littérature de divertissement, marquée par le choix de la forme, le roman policier et la biographie, et une littérature de proposition, marquée par le thème, concernant les oeuvres de auteurs classiques...
Rimbaud, Molière e Sade. Estes são os três escritores franceses homenageados, respectivamente, por Leandro Konder, Rubem Fonseca e Bernardo Carvalho, na coleção Literatura ou morte, de 2000, da editora Companhia das Letras. A ideia da coleção teria surgido quando Leandro Konder apresentou a seu editor os originais do romance A morte de Rimbaud, em que, além de citar o poeta francês no título, inclui referências à literatura francesa. Contente com o resultado, o editor Luís Schwarcz contatou vários escritores para criarem romances que seguissem o mesmo modelo de A morte de Rimbaud, atendendo a duas premissas fundamentais: que fossem romances policiais e envolvessem o nome de um escritor consagrado pela crítica e pelo público, já falecido. Entre os sete volumes que seguiram a proposta, estão O doente Molière e Medo de Sade. Na construção destes romances seus autores foram levados a revisitar as biografias e as obras de cada um dos escritores homenageados, proporcionando releituras e novos significados a elas. O objetivo de nosso trabalho é investigar os motivos que levaram Konder, Fonseca e Carvalho a escolherem como tema de seus trabalhos literários justamente estes três escritores, além de constatar que esta escolha não foi arbitrária, mas direcionada pela editora, que além de se promover com a referência aos nomes dos escritores clássicos, coloca diante de si um novo nicho de leitores. A coleção possibilita a seus escritores seguirem duas propostas narrativas ao mesmo tempo, pois se caracteriza tanto como uma literatura de entretenimento, marcada pela escolha da forma, narrativa policial e biografia, e uma literatura de proposta, marcada pelo tema, que são as obras de escritores clássicos. São romances escritos tanto para aquele que busca na leitura um passatempo de viagem, como o acadêmico que procura nas entrelinhas citações e alusões a outros escritores...
Rimbaud, Molière and Sade. These are the three french writers honored, respectively, by Leandro Konder, Rubem Fonseca and Bernardo Carvalho, at the collection Literatura ou morte (2000 published by Companhia das Letras. The idea of the collection would have appeared when Leandro Konder submitted to his publisher the original novel A morte de Rimbaud, in that in addition to quote the french poet in the title, includes references to french literature. Enthusiastic with the result, the publisher Luis Schwarcz contacted several writers to create novels that follow the same model of A morte de Rimbaud, serving two fundamental assumptions: that they were crime novels and involved the name of an established writer by critics and the public, now deceased. Between the seven volumes that followed the proposal are O doente Molière and Medo de Sade. In constructing these novels his authors were brought to revisit the biographies and works of each of the honored writers, providing readings and new meanings to them. The goal of our work is to investigate the reasons Konder, Carvalho and Fonseca to choose the theme of his literary works precisely these three writers, and demonstrated that these choices was not arbitrary, but directed by the publisher, which besides promoting with the reference to the names of classical writers, sets before itself a new group of readers. The collection allows its writers follow two narratives proposals at the same time, it is characterized both as an entertainment literature, marked by the choice of form, crime novel, and biography, and a proposal literature, marked by the theme, which are the classical writers works. These are novels written for both the reader who search a traveling hobby, as to the academic who seeks the references and allusions to other writers. In addition, we aimed to draw a reading that considers the three works together, this perspective that glimpse the formation of a historical-literary...
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Seruya, José. "La marque interne éPT! au service du management de l'identité organisationnelle du groupe Portugal Telecom". Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/out/theses/2008_out_seruya_jm.pdf.
Resumen
Un cas pédagogique rédigé en 2004 ouvre la porte au cas de recherche au centre de notre thèse. Ce cas unique traite d'une initiative de management de l'identité organisationnelle, mise en place par l'administration d'un groupe portugais du secteur des télécommunications. L'étude du contexte dans lequel cette initiative existe, nous a dirigé vers deux problématiques qui se croisent, l'une précédant l'autre. Dans un premier temps, la mise en oeuvre d'une stratégie fait émerger le caractère central de l'identité du groupe. Dans un deuxième temps, la question identitaire du groupe est managée, en interne, avec l'appui d'une marque interne. Les deux problématiques se rejoignent dans la formulation de la question centrale qui a guidé notre thèse : pourquoi et comment le management de l'identité organisationnelle de groupe peut-il s'appuyer sur une marque interne ? La conceptualisation du groupe partagée par ses membres, est le résultat de la construction du sens qu'ils font de la marque interne. Celle-ci constitue la projection de la marque corporate du groupe en interne : une action managériale basée sur la conviction que la marque corporate du groupe est une ancre identitaire fondamentale du groupe, c'est-à-dire centrale, durable et distinctive. La création d'un outil spécifique de management de l'identité organisationnelle de groupe, une marque interne, consacre un concept original, théorique et managérial. Cette intersection des champs théoriques de l'identité organisationnelle (de groupe) et de la marque corporate (de groupe) est précisément le « siège » dans lequel la marque interne surgit comme nouveauté conceptuelleA single case marked by its uniqueness is studied, which concerns the management of the organizational identity of the main Portuguese group in the telecommunications sector. Its context led us to two intertwined fields of theoretical discussion: in the first one, the implementation of the strategy brings about the relevance of the group's organizational identity; in the second one, the organizational identity is managed with the support of an original tool, the so-called internal brand. The central question that guides our work is then, why and how the group's organizational identity can be managed with the support of an internal brand? Such a specific tool of the organizational's identity management establishes a new concept, both on a theoretical and on a managerial perspective. It is at the intersection of the theoretical fields of the organizational identity and of the corporate brand that the internal brand gets its full strength as a conceptual innovation
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Pelegrín, Abellón Juan Antonio. "Las élites de poder en Caravaca en la segunda mitad del siglo XVIII: patrimonio, poder político y actitudes ante la muerte". Doctoral thesis, Universidad de Murcia, 1999. http://hdl.handle.net/10803/10893.
Resumen
En esta tesis se hace un estudio de las élites de poder en Caravaca durante la Segunda Mitad del Siglo XVIII, tanto a nivel familiar, como a nivel de poder político y de la relación de este con su poder patrimonial. Se parte del análisis de las principales familias que configuran el poder local, y a partir de él, se procede a establecer los lazos de parentesco y matrimonios que se dan entre dichas élites. Pero el centro de la tesis lo constituye el estudio de los comerciantes desde dos vertientes: La primera como instrumento económico que va a favorecer el tráfico y comercio de la zona introduciéndola en las principales rutas interiores del comercio de la lana, mientras que la segunda vertiente hace referencia, a su influencia como poder político, a su introducción paulatina en los cargos del concejo y la ocupación de los puestos de mayor relevancia.This thesis is intended as a study of power elites in Caravaca during the second half of the 18th century from the perspective of the families involved and the relationship between their political and patrimonial powers. The main families that shaped local power have been analysed and the bonds and marriages between their members have been brought to light. The core of the thesis, however, is the study of local merchants from a double perspective: (i) their role as economic agents that encouraged traffic and commerce in the area by introducing it in the main inland routes of wool trade; and (ii) the gradual increase of their political power, as shown by the fact that they tended to hold the most relevant posts in the local council.
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André, Nadine. "Politique territoriale et enjeux stratégiques sous le mandat de Lord Dalhousie en Inde : 1848-1856". Lyon 3, 2003. https://scd-resnum.univ-lyon3.fr/in/theses/2003_in_andre_n.pdf.
Resumen
La présente étude vise à réévaluer la politique territoriale menée par Lord Dalhousie de 1848 à 1856 en mesurant les pressions idéologiques et politiques exercées par ses deux autorités de tutelle, l'East India Company et l'India Board dépendant du gouvernement britannique. Elle rend compte du contextye politique, historique et géostratégique à l'interieur du sous-continent et de sa périphérie, de la position du gouvernement de l'Inde vis-à-vis des états princiers et pays frontaliers, ainsi que des motifs qui ont présidé aux choix politiques et stratégiques de Dalhousie. Des choix qui révèlent une conception nouvelle du sous-continent indien perçu comme un ensemble que Dalhousie entreprend de faire accéder au statut de nationThis study aims at reappraising the territorial policy carried out by Lord Dalhousie from 1848 to 1856 by assessing the ideological and political constraints imposed by the two autorities he was accountable to, the East India Company and the British Government's India Board. It considers the political, historical, strategic context within and without the subcontinent's borders, the Government of India's attitude toward native states and neighbouring countries, as welle as the motives for Dalhousie's political and strategic choices. Decisions that reveal Dalhousie's new conception of the Indian subcontinent as a whole which he endeavoured to shape into a nation
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Doménech, Villa Vicente Ramón. "Gustos y disgustos del Lentiscar de Cartagena (1689), de Ginés Campillo de Bayle. Estudio y edición crítica". Doctoral thesis, Universidad de Alicante, 2017. http://hdl.handle.net/10045/73411.
Resumen
En la segunda mitad del siglo XVII, el clérigo ilicitano Ginés Campillo de Bayle (Elx, ca. 1640 — id., 19 de abril de 1711), desarrolló su labor literaria en el campo de la poesía, el teatro y la narrativa, al mismo tiempo que desempeñaba sus funciones eclesiásticas. Durante más de tres siglos, tanto el autor como su obra han permanecido casi ignorados, a pesar de encontrar referencias a ambos en numerosas publicaciones. Ginés Campillo de Bayle es el reflejo y ejemplo de una época de la literatura catalana en lengua castellana, que debe ser recuperada y tenida en cuenta dentro de un contexto determinado. El valor y riqueza literaria de estas aportaciones queda en la actualidad fuera de cualquier duda o prejuicio. Este trabajo intenta, por un lado, estudiar la figura y la obra de Ginés Campillo de Bayle y, especialmente, su novela más conocida, Gustos y disgustos del Lentiscar de Cartagena (Valencia, 1689), de la que se realiza, también su primera edición crítica. Contextualizada en una época concreta, en la que Ginés Campillo de Bayle forma parte de una extensa nómina de escritores con características semejantes, se recupera la obra para realizar un análisis profundo que refleja una recepción e influencias procedentes de uno de los períodos más destacados y significativos de las literaturas hispánicas: el Siglo de Oro castellano. A través de la obra de Ginés Campillo de Bayle no solo es posible asistir a un ejemplo y modelo de características y estilos previos definidos, sino a un completo paseo por un amplio abanico de influencias, tamizados a través de su particular filtro y su peculiar óptica, que hacen de esta obra un buen ejemplo de la literatura cortesana de las tierras hispánicas en el siglo XVII.
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Bois, Christophe Charles Armand. "La construction de l'illusion dans les récits de Madame de Tencin". Lyon 3, 2005. https://scd-resnum.univ-lyon3.fr/out/theses/2005_out_bois_c.pdf.
Resumen
Les récits d'Alexandrine-Claude Guérin de Tencin (1682-1749) parurent dans un contexte de crise pour le roman, qui incita les auteurs à utiliser l'illusion pour faire croire que ce qu'ils écrivaient était vrai. Les récits de Mme de Tencin concentrant en une seule œuvre des procédés variés d'illusion, et offrant par ailleurs un réel intérêt littéraire, nous nous donnons pour objet d'y étudier la construction de l'illusion. Le cadre théorique de notre réflexion est l'analyse de discours, et plus particulièrement les travaux de Dominique Maingueneau. Nous considérons notre problématique selon trois dimensions, en partant de la macrostructure des œuvres pour en arriver aux microstructures : nous examinons successivement les dimensions contextuelle, énonciative et structurale et stylistique.
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Ginoux, Anne-Céline Guérin. "De l'identité d'entreprise à la gestion à la gestion de la marque, quelle déclinaison d'image adopter lors d'un rapprochement d' entreprises B to B : le cas de Soltim-Proval". Lyon 3, 2010. https://scd-resnum.univ-lyon3.fr/in/theses/2010_in_becuwe_a.pdf.
Resumen
Le pôle d’activité Soltim-Proval, éditeur de progiciels de gestion pour l’Assurance de Personnes, doit réaliser le rapprochement des deux entreprises, et adopter, de par sa position de leadership sur le marché français, une stratégie de communication lui permettant d’asseoir la notoriété et l’image de la nouvelle entité auprès de ses marchés cibles. Soltim-Proval est donc confronté en matière de communication à plusieurs questions concernant les notions d’identités, de marque, d’accompagnement au changement, d’image et de stratégies de communications, afin de pouvoir agir en cohérence avec les discours diffusés auprès des parties prenantes de l’entreprise. Dans un contexte économique en pleine évolution, le « faire-savoir » devient aussi important sur les marchés B-to-B que le « savoir-faire », la notion de réputation tenant un rôle essentielSoltim-Proval, the french leader software maker for personal insurance, must accomplish the merger of the two companies and adopt a communication approach to establish the new entity’s fame and image for its target market. Soltim-Proval is set against several questions of communication concerning the concept of identities, brand, accompaniment of change, image and communications approach, to be able to act in consistency with its stakeholders’ speeches. In an evolving economic environment, the “know well” being as important as the ”know-how” for the B-to-B market and the reputation playing a business-critical part
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Haj, Sassi Taïeb. "Récit de rouerie, machination et représentation de la machination dans la fiction et la gravure libertines, de Crébillon à Sade". Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3028.
Resumen
Les romans libertins à figures se développent de façon remarquable au XVIIIe siècle. Selon les frères Goncourt, c’est « le siècle de la vignette ». L’avènement de cette mode de livres illustrés a modifié aussi bien les sensibilités esthétiques et les conditions matérielles de la lecture d’un récit de rouerie, que notre conception de la littérature libertine comme système de représentation, non plus exclusivement textuel, ou discursif, mais engageant un dialogue avec l’image. Il s’agit d’étudier ce dédoublement de la représentation, à travers les dispositifs qu’il met en œuvre, et en mobilisant ceux-ci comme une nouvelle méthode d’analyse du texte et de l’image dans les récits de rouerie libertine.On pourrait croire que les récits de rouerie libertine sont les plus éloignés de l’image, étant donné que la machination et la ruse nécessitent d’agir sous-main. Or notre analyse de la logique de l’image qui gouverne les dispositifs de la représentation dans le roman libertin des Lumières infirme cette hypothèse. Dans cette perspective, nous tenterons de compléter les études existantes sur la scène érotique ou intime, le regard et la théâtralité de la fiction classique, avec l’idée que, dans les récits de rouerie, la représentation de la machination libertine oscille entre deux stratégies : celle qui donne à voir et celle qui dérobeThe libertine novels ornated with figures grew dramatically in the eighteenth century. According to Goncourt brothers it is “the century of the vignette”. The development of this genre of illustrated books changed, both aesthetic sensibility of the reader and the material conditions of reading a trick story, for our conception of libertine literature as a system of representation is no more exclusively textual nor discursive but triggers a dialogue with the image. The study of this duplication of representation is at stake, using the text-and-image devices it operates, as a new method to analyse their interconnection in the libertine trick stories. One could imagine such narratives are the most distant from the image, since the machination and trickery need to act covertly, whereas the logic of the image appears to be at the very heart of the operative devices of representation which govern the eighteenth century libertine novel. Following that scientific approach, we’ll try to complete the existing studies on poetics of the erotic or intimate scene, and how gazing and theatricality interact within classical fiction, with the hypothesis that, in the trick stories, the representation of the libertine plot faces two strategies: the one that lures with showing something and the other with concealing
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Schwalm, Tanja. "Animal writing : magical realism and the posthuman other". Thesis, University of Canterbury. English, 2009. http://hdl.handle.net/10092/4470.
Resumen
Magical realist fiction is marked by a striking abundance of animals. Analysing magical realist novels from Australia and Canada, as well as exploring the influence of two seminal Latin American magical realist narratives, this thesis focuses on representations of animals and animality. Examining human-animal relationships in the postcolonial context reveals that magical realism embodies and represents an idea of feral animality that critically engages with an inherently imperialist and Cartesian humanism, and that, moreover, accounts for magical realism's elusiveness within systems of genre categorisation and labelling. It is this embodiment and presence of animal agency that animates magical realism and injects it with life and vibrancy. The magical realist writers discussed in this dissertation make use of animal practices inextricably intertwined with imperialism, such as pastoral farming, natural historical collections, the circus, the rodeo, the Wild West show, and the zoo, as well as alternative animal practices inherently incompatible with European ideologies, such as the Aboriginal Dreaming, Native North American animist beliefs, and subsistence hunting, as different ways of positioning themselves in relation to the Cartesian human subject. The circus is a particular influence on the form and style of many magical realist texts, whereby oxymoronically structured circensian spaces form the basis of the narratives‟ realities, and hierarchical imperial structures and hegemonic discourses that are portrayed as natural through Cartesian science and Linnaean taxonomies are revealed as deceptive illusions that perpetuate the self-interests of the powerful.
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"Imaginação e interdito na obra do Marques de Sade". Tese, Biblioteca Digital da Unicamp, 2003. http://libdigi.unicamp.br/document/?code=vtls000349740.
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Toscano, Marta 1975. "Para além dos limites, Sade e arte contemporânea". Master's thesis, 2006. http://hdl.handle.net/10451/7884.
Resumen
Tese de mestrado em Estudos Curatoriais, apresentada à Universidade de Lisboa, através da Faculdade de Belas Artes, 2006This dissertation has, for its starting point, the literary essays of the Marquis de Sade (1740-1814). After an analyses and reflection about the premisses found in his books, I will try to make a connection between his language of rupture to another world, the world of contemporary art, world that is also made of transgressions, turning points...and limits. The work is divided in three different sections, although they are complementary between them: the first one is a reflection about a possible map of erotism, taking a careful look at its mythological “root”, followed by the study of the platonic and the Christian eros; the second part is a reflection about the sadean “erotism” — we shall see that it is more correct to talk about a sadean “anti-erotism” —, and it’s based, by one side, on writers who recouped him on a philosophical or literary level, as Pierre Klossowski, Georges Bataille, or Jean-Jacques Pauvert, and on the other side on authors who consolidated him, like Octavio Paz, Jean Paulhan, Roland Barthes, Annie le Brun, Marcel Hénaff, to mention the most important ones; the third part of the thesis consists of a project involving Sade and contemporary art. Keeping away from the viscerality that is usually linked with Sade, and focusing on the sadean concept of apathy (an insensibility towards emotions), I will investigate until what point the works of certain artists are in debt with the heritage of the French writer. The six artists that give body to this project (that, in a way, can be understood as a fictional curatorial project) are Julião Sarmento, Nobuyoshi Araki, Hans Bellmer, Marina Abramovic´, Michaël Borremans and Douglas Gordon. At last, I will lean over on the philosophical/ethical question on the limits of art. Sade showed us a world that went beyond all limits (is that really so?); and the works of art, are they also unlimited?
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Pham, Kim. "The Marquis de Sade and materialism : a reading into the unreadable". Thesis, 2017. http://hdl.handle.net/1959.7/uws:45814.
Resumen
The Marquis de Sade was, and remains, a complex and controversial figure. Critics have argued that Sade explored the very edges of literary and psychological boundaries only in order to outrage expectations. However, in this thesis I argue there is a consistent materialist philosophy running through his works, and to understand Sade it is necessary to understand the materialism within his context. I begin by tracing the ideas in his work back to the materialist philosophers Lucretius, La Mettrie, and d’Holbach. I then explore the political implications of Sade’s materialism, and position his politics within the context of the French revolution. I then finish by positioning his sister novels Justine and Juliette as a response to the criticism of materialism articulated by Jacobi. Though, the ways Sade portrays his philosophy is quite simply horrifying, even to a modern reader, the ideas they portray reveal a unique and fascinating figure.
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"La Surjouissance: The Marquis de Sade's Method to Overcome Reduced Space". Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9225.
Resumen
abstract: Reduced space is an important theme in the works of the Marquis de Sade including his epic novel The New Justine and his pornographic performance piece Philosophy in the Bedroom including the political/social treatise "Frenchmen, yet another effort is needed if you want to be a Republic". Through out his life Sade attempted to overcome reduction of space with writing. Tragically, his writing often prolonged the reduction of his space by sending him to or keeping him in prison. It is my theory that his violent, pornographic writing style is "une écriture de surjouissance" or "a writing of over-coming". Surjouissance is my theory for Sade's method, based on textual analysis of Sade's main works, that he combines through his syntactic structure, narrative voice, and semantic themes the orgasm of the mind represented by philosophical discourse with the orgasm of the body represented textually by orgiastic scenes and the language of orgasm to reach an ultimate state of complete freedom. In the political pamphlet "Frenchmen yet another effort..."Sade attempts to set this theory of sur-jouissance, or this transcendent state reached through the combination of physical and philosophical orgasm, as the political foundation for a new republic. Does he succeed in creating a viable political formula for a sustainable republic? My argument states absolutely not. His aristocratic elitism narrows his voice. But he does propose the combination of sexual, literary, and intellectual freedoms as a possible polemic against any form of reduced space.Dissertation/Thesis
M.A. French 2011