Fábio De Carvalho

La Littérature constitue sans doute un champ fertile pour les recherches dans le domaine éthique. La description de circonstances vécues ayant trait à des situations de dilemme ou de choix de nature morale qui fait l'objet de plusieurs romans ou pièces théâtrales est une stimulante invitation à la réflexion morale. Ce travail aborde la pièce théatrale Maison de Poupée, d'Henrik Ibsen, dans le propos d'analyser quelques questions morales qui y apparaissent sous l'optique de la réflexion contemporaine sur les spécificités de genre, en particulier à la lumière des études de Carol Gilligan sur les implications des différences de genre dans le développement moral. Ayant esquissé brièvement le scénario qui guide la pièce dans la première section, dans les sections suivantes nous abordons trois dichotomies qui servent à montrer comment Ibsen saisit bien les spécificités de genre qui habitent certains choix de nature morale-le public et le privé; le masculin et le féminin; l'éthique du devoir et l'éthique de la sollicitude. La dernière section indique comment le développement moral de Nora, héroïne de la pièce, résume bien l'imbriquement des questions qui animent l'oeuvre.

It is a common feature of the field of Education that the images of childhood, represented within the logic of representation, are subject to the complementary dimensions of the Same and the Similar, the Analogous and the Opposed. They configure themselves in the densification of the relation between thought and image, where the image suppresses the potentialities of proliferation of the differences. It seems necessary to consider the creation of a zone with many non-distinguishable forms, the common area being the indiscernibility. In this text, we seek other possibilities of childhood by taking as references photographic images as well as those of movie features which focus on the importance of the conceptual articulation between childhood and the events and its relations to the inventive means of creation. We display territorialities to childhood through images - photographs of the "Almanaque 'Eu Sei Tudo '" and some movie productions such as those of Tarkovski and Truffaut - challenged by the conceptions presented by Gilles Deleuze to the study of images coming from movies, from paintings and the processes of singularization. Somewhere between words and images, we work on the concept of childhood together with other concepts, showing how they relate to the whole process of production of transformations. At the end, we leave as an open question the degree of potentiality that the images of childhood have in order to produce a subject as the result of experiments of intensity.