Jean-Martin Charcot - Neurologist by Avocation, Nephrologist by Yearning

In an age of medical advances and specialization, Jean-Martin Charcot (1825-1893) helped found the discipline of neurology and in 1882 was appointed the first professor of Diseases of the Nervous System in France. As an investigator with broad interests and vast knowledge Charcot contributed to several other disciplines. An early mentor and dominant figure in Charcot's formative years was Pierre Rayer (1793-1867), famous for his seminal contributions to the study of the kidney, who gifted Charcot with his passion for clinical pathological correlations and likely a yearning for the study of kidney diseases. Famous for the clarity and incisiveness of his formal teaching presentations, Charcot lectured on the kidney at the Faculty of Medicine in Paris in 1877. Translated into English and published as a book titled Lectures on Bright's Disease, they became widely accessible and quoted in the literature through the present. In addition, at a time that he was already concentrating on the study of neurological disorders, Charcot maintained his life-long interest in the kidney and published original studies on the pathological changes of the kidney in gout and experimental lead poisoning, as well as supporting a study of hysterical ischuria by his students.

Franchise nations : theorising diaspora from outside In(dia)

Research on diaspora has long been dominated by approaches that centre on displacement, relocation, mixed identities, cultural hybridity, loss, yearning and disaffection. In this paper, I outline a fresh conceptual framework, franchise nation, which approaches the study of diaspora from the perspective of the state. What this framework allows is the study of the processes that states employ to woo, nurture and engage their diasporas so as to extend their sovereignty extra-territorially, ie. statecraft. The franchise nation concept draws on the notion of cultural expediency and complements two approaches that dominate the study of statecraft today: soft power and nation branding. However, the point of this is not, to borrow Gayatri Spivak’s words, to be either pro or anti-sovereign but rather to stay awake to how sovereignty is “invoked, extended, deterritorialised, aggregated, [and] abrogated” (2007). Far from suggesting the imminent arrival of a post-national period, the intention with the franchise nation concept is to explicate and better understand the complexities that inhabit the terrain between diaspora, home and host nation that allow and accompany the exercise of sovereignty from afar.

Dichotomy in the design studio : adapting to new blended learning environments

Since the architectural design studio learning environment was first established in the early 19th century at the École des Beaux-Arts in Paris, there has been a complete transformation in how the discipline of architecture is practiced and how students of architecture acquire information. Digital technologies allow students to access information instantly and learning is no longer confined to the rigid boundaries of a physical campus environment. In many schools of architecture in Australia, the physical design studio learning environments however, remain largely unchanged. Many learning environments could be mistaken for those last refurbished 30 years ago, being devoid of any significant technological intervention. While some teaching staff are eagerly embracing new digital technologies and attempting to modify their pedagogical approaches, the physical design studio learning environment is resistant to such efforts. In a study aimed at better understanding how staff and students adapt to new blended learning environments, a group of 165 second year architecture students at a large school of architecture in Australia were separated into two different design studio learning environments. 70% of students were allocated to a traditional design studio setting and 30% to a new, high technology embedded, prototype digital learning laboratory. The digital learning laboratory was purpose designed for the case-study users, adapted Student-Centred Active Learning Environment for Undergraduate Programs [SCALE-UP] principles, and built as part of a larger university research project. The architecture students attended the same lectures, followed the same studio curriculum and completed the same pieces of assessment; the only major differences were the teaching staff and physical environment within which the studios were conducted. At the end of the semester, all staff and students were asked to complete a questionnaire about their experiences and preferences within the two respective learning environments. The questionnaire response rate represented the opinions of 100% of the 10 teaching staff and over 70% of the students. Using a qualitative grounded theory approach, data were coded, extrapolated and compared, to reveal emerging key themes. The key themes formed the basis for in-depth interviews and focus groups of teaching staff and students, allowing the researchers to understand the data in more detail. The results of the data verified what had become increasingly evident during the course of the semester: an underlying negative resistance to the new digital studio learning environment, by both staff and students. Many participants openly exhibited a yearning for a return to the traditional design studio learning environments, particularly when the new technology caused frustration, by being unreliable or failing altogether. This paper reports on the study, discusses the negative resistance and explores the major contributors to resistance. The researchers are not aware of any similar previous studies across these particular settings and believe that it offers a necessary and important contribution to emergent research about adaptation to new digital learning environments.

Media and information literacy : policy and strategy guidelines

In the evolving knowledge societies of today, some people are overloaded with information, others are starved for information. Everywhere, people are yearning to freely express themselves,to actively participate in governance processes and cultural exchanges. Universally, there is a deep thirst to understand the complex world around us. Media and Information Literacy (MIL) is a basis for enhancing access to information and knowledge, freedom of expression, and quality education. It describes skills, and attitudes that are needed to value the functions of media and other information providers, including those on the Internet, in societies and to find, evaluate and produce information and media content; in other words, it covers the competencies that are vital for people to be effectively engaged in all aspects of development.

Dance to Gardot

The sublimely cool and mouldering elegance of Melody Gardot’s songs is the inspiration and driving force of DANCE TO GARDOT. This work, in 11 sketches, echoes the sultry moods and yearning sensations of Gardot’s tunes - intimations of suffering and resolve. A classic jazz chanteuse, Gardot’s rich-toned voice along with luscious orchestrations, provide a stylish sonic expression of the place were music meets life.

Ruumiinkuvia! : Suomalainen performanssi- ja kehotaide 1980- ja1990-luvulla psykoanalyysin valossa

My PhD-thesis Body Images! Psychoanalytical Analysis of Finnish Performance and Body Art in the 1980s and 1990s considers Finnish performance and body art performed mainly by visual artists. In Part I, I chart the historical construction of performance art and its extension since the beginning of the 21st century. There are several wievs of the historical background of performance art. I introduce three different genealogies of performance art. One is Rose-Lee Goldberg s view. She connects performance art with the European avant-garde already at the beginning of the 20th century from futurists and dadaists to Russian avant-garde and the Bauhaus. I prefer to present performance art as contemporary art, which began to take shape in connection with visual arts in the 1950s and 1960s. The focus on the body is apparent in nearly all performance art. Nevertheless, throug the concept of body art I want to empasize the artist s body as the place of art. Body art (as part of performance art) functions as thematic and interpretive concept, which allows me to focus on performances where the questions of body image, narcissism, desire, language and pleasure are incorporated in particular intensive ways. In Part II, I explore the arrival of performance art in Finnish visual arts in the 1980s. I study the new generation s relation to earlier Finnish happenings (1960s) and performative actions in 1970 s. I briefly introduce performance groups of the 1980s art scene and consider their reception in media. The main focus is on the group Jack Helen Brut, in which I see many similarities to the so- called Theatre of Images. The goal of this part II is to provide historical context for the performance analysis that follows. In Part III, I develop the concept of body image which is my main theoretical term. The concept of body image is used according to Lacanian psychoanalytical theory, especially his considerations of mirror stages. My first mapping of body image, which I call imaginary body image, is based on Lacan s famous mirror stage article (1949). According to my reading, body image is narcistic and aggressive. The important concepts here are ego, imaginary, méconnaisance and alienation. In 1953 Lacan began to develop different version on mirror stage, in which he emphasized the primacy of symbolic dimension. It is not image, but language which constructs the foundations of body image. Central concepts in this chater are Other as language, ego-ideal, demand and desire. In the last chapter I connect the third version of the mirror stage to concepts of gaze, phantasy, real, jouissance and object a. In previous chapters I had considered body image in relation to ego. Now I explore it in relation to subject. In my reading the body image is fragile phenomen, which oscillates between yearning for coherence and phantasies of fragmented images. Part IV of the thesis begins with an introduction to the central concepts and debates in performace studies over the last few decades. Important concepts are presence, performativity and theatricality. The main substance of my thesis, however, is the performance analysis, which focuses on works by three Finnish artists and one Finnish group. The first analysis concerns the performance (1992) of Kimmo Schroderus. I discuss the relationship between narcissism and body art and the changes in demands projected on body images of men in recent decades in a Euro-American context. I also explore this performance in relation to the myth of Narcissus, which I reinterpret through Narcissus s aggression against his own body. The group Homo S is the main subject of the next analysis. I discuss the relationship between feminist art and performance art, especially in the United States in the 1960s and 1970s. Homo S is different from this early performance art because of its anarchism, humor and rejection of all ideals. Homo S characterizes its performance Body Body (1983) as liberating vulgar feminism . Sociality and performance of erotic relations between women are central in Body Body. Pia Lindman s performances are the subjects of my third analysis. I study three of her performances: Olen muoto (1993), 17 and in love (1994) and Arranged views (1995). I interpret these performances as efforts to disperse the imaginary and symbolic structures of the body image. She constructs the peculiar object a and phantasy space of her own. In the last analysis I move from questions of image and gaze to a study of language, sound and jouissance. I discuss at a general level the performance of orality and helplesness (Hilflosigkeit) in body art. The central elements in Pentti Otto Koskinen s performances are the ear, listening and receptive gestures and postions. Perseveraatio (1998) can be understood representing as submission to the super-ego s power, which compels one to enjoy. I examine particularly closely the performance Maissi on hyvää ei missään nimessä maissia (1995), which I interpret as the return of a baby s body image to the liminal site of choice: language or jouissance?

Keltaista ja kimaltavaa : kodin ja koulun yhteistyöstä koulun ja kodin yhteyteen

Through this study I aim to portray connections between home and school through the patterns of thought and action shared in everyday life in a certain community. My observations are primarily based upon interviews, writings and artwork by people from home (N=32) and school (N=13) contexts. Through the stories told, I depict the characters and characteristic features of the home-school interaction by generations. According to the material, in the school days of the grandparents the focus was on discipline and order. For the parents, the focus had shifted towards knowledge, while for the pupils today, the focus lies on evaluation, through which the upbringing of the child is steered towards favourable outcomes. Teachers and those people at home hold partially different understandings of home-school interaction, both of its manifested forms and potentials. The forms of contact in use today are largely seen as one-sided. Yearning for openness and regularity is shared by both sides, yet understood differently. Common causes for failure are said to lie in plain human difficulties in communication and social interaction, but deeply rooted traditions regarding forms of contact also cast a shadow on the route to successful co-operation. This study started around the idea, that home-school interaction should be steered towards the ex-change of constructive ideas between both the home and school environments. Combining the dif-ferent views gives to something to build upon. To test this idea, I drafted a practice period, which was implemented in a small pre-school environment in the fall of 1997. My focus of interest in this project was on the handling of ordinary life information in the schools. So I combined individual views, patterns of knowledge and understanding of the world into the process of teaching. Works of art and writings by the informants worked as tools for information processing and as practical forms of building home-school interaction. Experiences from the pre-school environ-ment were later on echoed in constructing home-school interaction in five other schools. In both these projects, the teaching in the school was based on stories, thoughts and performances put to-gether by the parents, grandparents and children at home. During these processes, the material used in this study, consisting of artwork, writings and interviews (N=501), was collected. The data shows that information originating from the home environments was both a motivating and interesting addition to the teaching. There even was a sense of pride when assessing the seeds of knowledge from one’s own roots. In most cases and subjects, the homegrown information content was seamlessly connected to the functions of school and the curriculum. This project initiated thought processes between pupils and teachers, adults, children and parents, teachers and parents, and also between generations. It appeared that many of the subjects covered had not been raised before between the various participant groups. I have a special interest here in visual expression and its various contextual meanings. There art material portrays how content matter and characteristic features of the adult and parent contexts reflect in the works of the children. Another clearly noticeable factor in the art material is the impact of time-related traditions and functions on the means of visual expression. Comparing the visual material to the written material reveals variances of meaning and possibilities between these forms of expression. The visual material appears to be related especially to portraying objects, action and usage. Processing through that making of images was noted to bring back memories of concrete structures, details and also emotions. This process offered the child an intensive social connection with the adults. In some cases, with children and adults alike, this project brought forth an ongoing relation to visual expression. During this study I end up changing the concept to ‘home-school collaboration’. This widely used concept guides and outlines the interaction between schools and homes. In order to broaden the field of possibilities, I choose to use the concept ‘school-home interconnection’. This concept forms better grounds for forming varying impressions and practices when building interactive contexts. This concept places the responsibility of bridging the connection-gap in the schools. Through the experiences and innovations of thought gained from these projects, I form a model of pedagogy that embraces the idea of school-home interconnection and builds on the various impres-sions and expressions contained in it. In this model, school makes use of the experiences, thoughts and conceptions from the home environment. Various forms of expression are used to portray and process this information. This joint evaluation and observation evolves thought patterns both in school and at home. Keywords: percieving, visuality, visual culture, art and text, visual expression, art education, growth in interaction, home-school collaboration, school-home interconnection, school-home interaction model.

Exame da filosofia de Nietzsche sob o ponto de vista político

O tema da existência ou inexistência de uma filosofia política nietzschiana é recorrente nos meios acadêmicos, e é imensamente problemático desde a vinculação do nome do filósofo às ideologias fascistas da primeira metade do século XX. Especialmente a partir da segunda metade do século XX, a filosofia de Nietzsche tem sido trazida para os debates políticos, dessa vez como uma filosofia das grandes causas, daqueles que buscam a libertação do jugo dos grandes esquemas políticos da modernidade. O objetivo inicial desta dissertação é demonstrar que filosofia de Nietzsche não possui as características que permitam a sua assimilação pelo debate político. O próprio filósofo, reiteradamente, negou-se a ingressar no debate político de seu tempo, recusando-se a limitar seu exame da filosofia e suas reflexões às necessidades e clamores da plebe. Ele alertou para a dureza e radicalidade de seu pensamento, antecipando a vinculação de seu nome a coisas terríveis. Em vista disso, pretende-se levar a cabo nesta dissertação um exame da filosofia nietzschiana sob o ponto de vista da política, isto é, tentar ver se ao quadro geral da filosofia política pode-se juntar o pensamento de Nietzsche. Este exame deve ser feito levando-se em conta o amplo auditório ao qual se destinam os discursos políticos, o vínculo dos discursos políticos aos clamores da plebe, ou ao discurso de dominação. O objetivo final desta dissertação será demonstrar que fora do âmbito da filosofia, isto é, trazida para o seio do senso comum, a filosofia de Nietzsche, dado o caráter controvertido de suas asserções, acaba sendo presa fácil, mais uma vez, dos discursos de dominação e servindo aos piores propósitos. Corre-se o risco, outra vez, de se confirmar o vaticínio do filósofo quanto a sua vinculação a coisas terríveis.

O tema da "saudade" em Gaspar Frutuoso

Colóquio Internacional "Camões e os seus Contemporâneos", Universidade dos Açores, Ponta Delgada, 18 a 20 de Abril de 2012.

Um tango com Gardel

Dissertação submetida à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas – vertente Teatro-Música.

Lovers and Madmen: The Μανία-Φρονεῖν Opposition in Plato’s Phaedrus

In this thesis we propose to examine the first half of the Phaedrus (sc. until the end of the palinode) in light of the opposition between the notions of μανία and φρονεῖν, as they are explicitly and implicitly presented in the erotic speeches. These are read in dialogue with what we have designated as the “implicit speech” or “speeches”, i.e., the plurality of conceptions regarding ἔρως, μανία and φρονεῖν that were part of Ancient Greek culture. Our reading of the two speeches against ἔρως, Lysias’ and Socrates’ first speech, engages with this cultural background, and extracts a conception of μανία and φρονεῖν with which the palinode will primarily confront. Our reading of the palinode divides it into two sections: the first, the presentation of the first three kinds of beneficial μανία; the second, the mythical narrative that deals with erotic μανία. We emphasise the existence of a wide gulf between these two moments in terms of their ontological, theological and anthropological conceptions. The second section of the palinode is revolutionary not only in contrast with the “implicit speech” and the speeches against ἔρως, but also in contrast with the very beginning of the palinode – which preserves many of the conceptions and assumptions found in the previous speeches and in the cultural tradition. It is in order to explain the foundation, meaning and significance of this gulf that we explore and discuss the notion of ὑπόθεσις and its role as an implicit operator in the Phaedrus. From our reading of the second part of the palinode, it is clear how the introduction of the ὑπερουράνιος τόπος brings about a radical revision of the perspectives on the nature of reality and on human nature and condition that were implicit in the previous speeches and in the first part of the palinode. We show that the ὑπερουράνιος τόπος corresponds to the projection of a multiplicity of cognitive and desiderative requirements that our normal perspective demands, but cannot possibly satisfy. In other words, our perspective is shown to be living beyond its means, yearning for something that by far exceeds what it can get in its de facto condition: the superlative. This results in a major revision of the understanding of φρονεῖν and μανία – a revision that challenges the traditional understanding of these two notions as binary opposites, thereby revealing a much more complex landscape.

Out of the darkness and into the light : a study of inauthentic and authentic speech

Introduction Man can be described as the being who shows himself in speech, and from birth to death is continually speaking. Communication is so close to us, so woven into our very being, that we have little understanding of the way it is constituted; for it is as hard to obtain distance from communication as it is to obtain distance from ourselves. All communication is not alike. There are two basic modesl of communication, the inauthentic and the authentic, between which there occurs a constant tension. It is in the inauthentic mode, points out Heidegger, that we find ourselves "proximately and for the most part"; 1. Being and Time, pg. 68 Dasein decides as to the way it will comport itself in taking up its task of having being as an issue for it. " •.• it~, in its very being 'choose' itself and win itself; it can also lose itself and never win itself or only "seem" to do so. But only in so far as it is essentially something which can be authentic--that is, something of its own--can it have lost itself and not yet won itself." 2. therefore Heidegger also terms it "everydayness".2 Caught up in the world of everydayness, our speaking covers over and conceals3 our rootedness in being, leaving us in the darkness of untruth. The image of darkness may be inferred from Heidegger's use of the image of "clearing,,4 to depict being as 2. ibid. pg. 69 "Dasein's average everydayness, however, is not to be taken as a mere 'aspect'. Here too, and even in the mode of inauthenticity, the structure of existentiality lies ~ priori and here too Dasein's being is an issue for it in a definite way; and Dasein comports itself towards it the mode of average everydayness, even if this is only the mode of fleeing in the face of it and forgetfulness thereof." 3. ibid. pg. 59 "covering over" and "concealing" are 1;yays Dasein tries to flee its task of having being as an issue for itself. " ••• This being can be covered up so extensively that it becomes forgotten and no question arises about it or its meaning ••• n How everyday speaking accomplishes this will be taken up in detail in the second chapter which explores Dasein's everyday speech. 4. ibid, pg. 171 lI ••• we have in mind nothing other than the Existential - ontological structure of this entity (Dasein), that it is in such a way as to be its 'there'. To say that it is -' illuminated' [tlerleuchtet"] means that as Being-in-theworld it is cleared [gelichtetJ in itself7 not through any other entity, but in such a way that it is itself the clearing. Only for an entity which is eXistentially cleared in this way does what is present-at-hand become accessible in the light or hidden in the dark •••• " 3 dis-coveredness and truth. Our first task will be to explore the nature of communication in general and then to explore each of the modes manifested in turn. The structure of the inauthentic mode of communication can be explored by asking the following questions: What is this speaking about? Who is it that is speaking and who is spoken to? Does this speaking show man in his speech? The authentic mode is distinguished by the rarity with which we encounter it; as the inauthentic conceals, so the authentic reveals our rootedness in being. Yet this rarity makes it difficult to delineate its elusive structure clearly. Its constituent elements can be brought into focus by asking the same questions of this mode that we previously asked of the inauthentic mode. Our initial response to the disclosure of the authentic mode is to attempt to abandon the inauthentic mode and leave the darkness behind dwelling only in the "lighted place". All through the ages, some men pushing this to extreme, have, upon uncovering their relatedness to being, experienced a deep longing to dwell in such a "place" of pure truth and oft times denigrated or attempted to exclude the everyday world. Such 4. flight is twice mistaken: first it atbempts to fix truth as unchanging and static and secondly, it opposes this to untruth which it seeks to abolish. This is both the wrong view of truth and the wrong view of untruth as Heidegger points out in The Origin of The-Work of Art: The Way-to-be of truth, i.e., of discoveredness, is under the sway of refusal. But this refusal is no lack or privation, as if truth could be simply discoveredness rid of all covers. If it could be that, it would no longer be itself . ••• Truth in its way-to-be is untruth.5 Pure light is not the nature of Being nor is pure unconcealedness possible for man. Failure to remember this is the failure to realize that communication destroys itself in such flight because it no longer maintains the contingency of its task, i.e., the dis-closedness of being. We are reminded of the strong attraction this flight from darkness held for Plato. Light, truth and Being are all beyond the darkness and have nothing to do with it. In Book VII of the R~public, Socrates' explanation of the Allegory of the Cave to Glaucon points to a decided preference men have for the "lighted place". 5. The Origin Of The Work Of Art, pg. 42 5. Come then, I said, and join me in this further thought, and do not be surprised that those who attained to this height are not willing to occupy themselves with the affairs of men, but their souls ever feel the upward urge and yearning for that sojourn above. For this, I take it, is likely if in this point too the likeliness of our image holds. 6 Despite the attraction to pure truth, human communication is more complex than putting down one mode of communication and picking up another. Due to the fact that we are always on the way, the title of my thesis will have to be amended: OUT OF THE DARKNESS AND INTO THE LIGHT--AGAIN AND AGAIN. It must be this way because this is what it means to be human. This is the point made by Mephisto to Faust in pointing out that man, standing between God and the devil, needs both darkness and light: Er findet sich in einem ewigen Gl~t Uns hat er in die Finsternis gebracht, Und euch taugt einzig Tag und Nacht. 7 6. Republic z (517 c & d) It should be noted however, that while the philosopherking must be compelled to return to the cave for purely political reasons, once he has taken adequate view of the "brightest region of being" he has the full truth and his return to darkness adds nothing to the truth. 7. Faust, pg. 188 6. This thesis proposes to examine the grounds that give rise to communication, uncovering the structure of its inauthentic and authentic modes and paying close attention to tpeir interrelationship and to their relationship to language as "the house of Being": language that both covers and opens up man's rootedness in Being, transforming him as he moves along his way, taking up his "ownmost task" of becoming who he is. roots. He is the being who shows himself inn that reflects his forgetfulness or remembrance of his rootedness in being. Man comes into an already existent world and is addressedl through things in the world which are c

De Sade, fantôme de la modernité

Ce mémoire porte sur la relation de l'œuvre de Sade à la modernité. De Sade qui, en ce qu'il ne s'est pas laissé aveugler, qu’il a su voir l'obscurité immanente aux Lumières, doit être considéré comme un voyant. Ce que d'aucuns appellent sa folie, c'est-à-dire la raison naturelle, bourgeoise par lui chantée et exacerbée, c'est un miroir tourné dans notre direction, un miroir dans lequel nos sociétés refusent de voir leur propre raison instrumentalisée, leur propre raison mise au service de l'égoïsme, de l'autoconservation. Face à ce refus, l'œuvre de Sade apparaît comme le refoulé de notre modernité. Dans un premier temps, ce mémoire examine la filiation esthétique de Sade à Baudelaire et s'attache, par l'entremise d'une étude comparative des figures du libertin et du dandy, à démontrer comment l'esthétique négative de Baudelaire présuppose la conception sadienne du mal comme intimement lié à la nature et à la raison, comment elle la transfigure de sorte que c'est seulement à partir de cette conscience dans le mal que Baudelaire en arrive à penser le bien, qu'elle constitue pour lui la seule possibilité de se réformer, de devenir à la fois humain et lucide. Il faut toujours en revenir à de Sade pour expliquer le mal, écrit Baudelaire, qui fait ainsi de Sade ou du moins de son fantôme, puisque celui-ci n'est que rarement nommé, une figure clé de la conscience dans le Mal, condition sine qua non de la modernité baudelairienne. Dans un second temps, c'est à la notion de petite souveraineté que s'intéresse ce mémoire. Souveraineté par procuration qui interdit la réelle souveraineté, elle est le produit de l'assujettissement du libertin à la nature, à la Raison, cette Raison naturelle et bourgeoise. Et l'éducation naturelle par laquelle le libertin cherche à assujettir l'Autre, lui qui ne peut posséder qu'en soumettant autrui au système auquel lui-même s'est consciemment soumis, lui le possédé-possédant, le fantôme d'homme faiseur de fantômes lui-même, est reproduction à son compte de son propre assujettissement. Cette notion de petite souveraineté s'oppose à une tradition de critiques idéalistes, qui, se méprenant sur la parenté du dandy et du libertin, héroïsant ce dernier, voient en lui un sujet libre, souverain, sans se rendre compte que sa Raison est historiquement lourde de conséquences.

Cioran ou le mal de foi : les vestiges du sacré dans l'écriture

Le rapport occidental moderne au sacré s’est transformé de façon importante au 20e siècle avec le processus de sécularisation. Cette désagrégation d’un sacré traditionnel laisse un vide – principalement existentiel et spirituel – là où auparavant certains contenus associés au sacré permettaient de se positionner dans et face à l’universel, c’est-à-dire d’occuper une place dans le monde et les institutions qui l’organisent et d’investir cette place d’un sens compris, accepté et partagé autant individuellement que collectivement. De toute évidence, un tel processus d’effritement ne s’opère pas sans restes et la littérature est un espace qui recueille ces vestiges d’un sacré en transformation, d’un sacré qui fait l’objet d’une quête. L’écriture de Cioran représente un lieu exemplaire où sont concentrés ces vestiges et elle est aussi l’outil ou le médium par lequel la quête s’effectue. Son écriture tiraillée, pétrie d’un malaise existentiel et d’un doute profond, témoigne d’un refus, pensé comme une incapacité, à souscrire aux visions traditionnelles, surannées, du sacré. Généralement considérée par la critique comme inclassable – ni tout à fait philosophique, ni tout à fait littéraire – l’œuvre de Cioran souligne pourtant l’importance de la littérature comme modalité de l’esprit. Cette œuvre met en lumière le rôle de la littérature pour la pensée dans la mesure où elle est un espace qui permet d’accueillir la pensée en quête d’un sacré hors-cadre, en même temps qu’elle se fait le moyen d’une recherche plus libre, plus personnelle, du sacré. La littérature devient donc le réceptacle autant que le moyen d’une quête pleinement existentielle, une quête qui n’est ni représentée ni confessée, mais bien mise en scène, c’est-à-dire dramatisée. Le « je » qu’on retrouve partout dans l’œuvre de Cioran n’est pas le « je » d’une confession, mais bien un « je » narratif qui n’équivaut pas au « je » de l’écrivain. C’est précisément dans le décalage lié à la dramatisation qu’apparaît le paradoxe propre au savoirparticulier que porte la littérature: soit ce caractère personnel, incarné, particulier qui devient le véhicule d’une expérience universelle dans la mesure où elle a le pouvoir ou le potentiel d’abriter l’expérience personnelle d’un lecteur qui performe, pour lui-même, le texte. En ce sens, écriture et lecture sont """! imbriquées, comme deux faces d’une même réalité, dans cette quête d’un sacré qui se produit chez Cioran dans un espace d’exception, en dehors des institutions. À partir de l’exemplarité de l’œuvre cioranienne, cette thèse propose une réflexion qui porte sur la littérature comme mode d’inscription des vestiges du sacré ainsi que comme manifestation et moyen d’une quête d’un sacré débarrassé des balises institutionnelles, et qui tente de mettre en lumière le type de savoir propre à la littérature sous l’angle précis de la dramatisation littéraire dans le contexte particulier de cette quête.