Dissertations / Theses on the topic 'Art criticism France History 20th century'
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Carrell, Scott Allen. "The French Sonatina of the Twentieth Century for Piano Solo: With Three Recitals of Works by Mussorgsky, Brahms, Bartok, Durilleux, and others." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935608/.
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The purpose of this study is to define the French sonatina of the twentieth century, to expose those works which are most suitable for concert performances, and to provide a resource for teachers and performers. Of the seventy-five scores available to the writer, five advanced-level piano sonatinas of the twentieth century were chosen as the best of those by French composers, in attractiveness and compositional craftsmanship: Maurice Ravel's Sonatine (1905), Maurice Emmanuel's Sonatine VI VI(1926), Noel Gallon's Sonatine (1931), Alexandre Tansman's Troisieme Sonatine (1933), and Jean-Michel Damase's Sonatine (1991). The five works were analyzed, with a focus on compositional techniques used to create unity in the work. In comparison to the classical model of the late-eighteenth and early-nineteenth centuries, the French sonatina of the twentieth century exhibits four new features. First, it is more expansive in length and has greater philosophical depth. Second, there is an emphasis on unity at the motivic and thematic levels in which the development of material, based on the techniques discussed, occurs throughout a movement instead of being limited to a "development" section. Third, the formal structures are more flexible, allowing for cyclic quotations and the accommodation of varying styles. Fourth, the advanced technical skills indicate that these compositions are intended not as pedagogical pieces but as concert works. Chapter I introduces the topic, stating the purpose and need of the study. Chapter II presents a brief history of the sonatina, with particular attention given to the sonatina line France, and background information on each of the five composers. Chapters III through VII are each devoted to an analytical discussion of one of the five sonatinas. Conclusions based on the analyses are given in Chapter VIII. Appendices included an annotated listing, by composer, of all French sonatinas which were involved in the research and a selected discography.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.
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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.
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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory.
Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
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Cheng, Chi-Suen. "Yves Daniel-Lesur and le canique des cantiques: nonconformism and humanism in a mid-twentieth-century choral work." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/310.
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In 1936, André Jolivet (1905-1974), Yves Baudrier (1906-1988), Olivier Messiaen (1908-1992), Jean-Yves Daniel-Lesur (1908-2002), and Pierre Schaeffer (1910-1995) founded the group Jeune France. They initiated this group under the influence of politically nonconformist movements in France which had started in the 1920s. The ideology of Jeune France was to revive in music 'true human qualities', free from 'extreme political domination'. At a time when some composers, associated with a revolutionary Left wing, were exploring avant-garde ideas in music that included atonalism, serialism, and other advanced techniques out of the common practice, other composers fell into a nationalistic Right wing, recalling the French Catholic traditions, and promoting an exclusive and true 'French' music. In contrast to these polarizing trends, Jeune France tried to trace back its art to its origins, and the goal of Jeune France was to re-establish music composition as something less 'abstract' than the Left, and more 'human' than the Right. The most powerful sound that can reflect the tenets of humanism in music is probably the human voice, especially multiple voices in a choral setting. Thus unaccompanied choral works, in particular, came to be a hallmark of many major composers of the 20th Century. The prevailing social and political environment of the pre-World War Two era also played an important role in contributing to the revival of unaccompanied choral music as a major genre. To demonstrate how these general social and political forces operated in the particular in France at this time, I have used Daniel-Lesur's Le Cantique des Cantiques (1952) to show how these affected a composer at this time. The goal of this research has been to look in depth at both Daniel-Lesur and his most famous work, about which little has been written in English; and to add to a growing body of literature which explores the rise of unaccompanied choral compositions as an important genre in the early 20th Century, a shift that is tied to political, cultural, and social conditions as well as musical ones. Taking Le Cantique des Cantiques as a token of a type, I show how this work reflects these issues as well as the aesthetics behind Jeune France. Finally, I have tried to show just how the experience of Jeune France influenced Daniel-Lesur as a composer as it did his more famous contemporary, Messiaen.
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Roza, Alexandra M. "Towards a modern Canadian art 1910-1936 : the Group of Seven, A.J.M. Smith and F.R. Scott." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20178.
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During the 1910s, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would affirm Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be. For the majority of Canadian painters, writers, critics and readers, the future of the Canadian arts, especially poetry and painting, lay in Canada's past. These cultural conservatives championed art which mirrored its European and Canadian predecessors. Their domination of the arts left little room for the progressive minority, who rebelled against prevailing artistic standards. In painting, the Group of Seven was one of the first groups to challenge this stranglehold on Canadian culture. The Group waged a protracted and vocal campaign for the advancement of Canadian approaches and subjects. In literature, A. J. M. Smith and F. R. Scott began a similar movement to modernize Canadian poetry and reform critical standards. By examining the poetry, essays, criticism and archival material of these poets and painters, the thesis establishes strong parallels between the modernist campaigns of these two groups and investigates this cross-fertilization between the modern Canadian arts.
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Nardout, Elisabeth. "Le champ littéraire québécois et la France, 1940-50 /." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=72078.
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The decade 1940-1950 represents a decisive stage in the evolution of the relations between the Quebec literary scene and France. Whereas before the war, literary discourse keeps on upholding, in a dogmatic way, the superiority of French culture and literature, the next period is characterized, on the contrary, by a reassessment of this postulate.The historical circumstances justify the setting up of exceptional institutional conditions. Some French writers and critics, in exile in North America, partake, to varying degrees, in the French Canadian literary scene. The backing of these intellectuals is not unrelated to the process of modernization and autonomization undertaken at that time by the major sectors of the Quebecer literary apparatus.
A conflict of interest in the publishing sector as well as ideological differences spark a controversy between Robert Carbonneau and some members of the Comite National des Ecrivains. This "quarrel", to quote Charbonneau, is an unprecedented example of direct confrontation between Quebecer and French literary agents. On this occasion, Robert Charbonneau redefines French Canadian literature outside of France's sphere of influence, France being a country whose status he wishes to limit to that of just one foreign reference among many.
This desire for autonomy can also be found in literary texts which, using means available to them, bear witness to an appreciable decline of the French literature. But whereas literary discourse attempts to resist annexation to French literature, the literary apparatus is subject, upon the Liberation, to a material and symbolic domination by the French authorities, a domination it cannot fight. In this respect, the conditions of literary production in the fifties are paradoxical since the text, while voicing its rejection of the French institution and its French Canadian identity, continues to receive its ultimate consecration from France.
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.
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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Smith, Olga. "Between reality and fiction : the art of French photography since the 1970s." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610275.
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Fahmy, Miriam. "Le discours sur la fin de la littérature en France de 1987 à 1994 /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79937.
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The "essai crepusculaire" was one of the most popular literary genres during the 1980's and 1990's in France. Among those, the essays warning of the impending end of French literature offer a view of the world which idealises the past while condemning a shameful present in order to justify the return of lost values.Our project consists of an analysis of the argumentative rhetoric contained in the four essays of our corpus, which together form the Discourse on the death of French literature. We studied how the authors set up an argumentative construct likely to convince the reader that French literature has fallen into decay. By analysing the rhetorical processes as well as locating the tacit discourse, we sought to single out the ideology which they promote and to make out the contours of the literary ideal which they delineate. In light of these observations, we ended with the broad outline of a typology of the genre, liable to exemplify all "essais crepusculaires".
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Forward, David William. "The keyboard repertory as a reflector of art nouveau in music /." Title page, contents and introduction only, 1993. http://web4.library.adelaide.edu.au/theses/09PH/09phf745.pdf.
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Longwell, Ann E. "France, man and language in French Resistance poetry." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.
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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
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Pinson, Guillaume 1973. "Fiction du monde : analyse littéraire et médiatique de la mondanité, 1885-1914." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102151.
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This work proposes a double analysis of the mundane society representations between 1885 and 1914, in the press and the novel. This analysis separates these two categories of media to insist on their particularities, and tries to think of them in terms of an interaction.A first part explores the organisation of the topics and the main genre of the mundane society in the press, applying the social discourse theory. The analysis is based on the perusal of a set of representative daily newspapers (Le Gaulois, Le Figaro) and of weekly and monthly publications (Le Grand monde, La Vie parisienne, Femina notably, as well as around thirty other titles). It shows that the mundane society in the newspaper is constrained by a poetics stemming from the characteristics of press writing: collective writing, periodicity of the publication, text length limitation and reference to reality. Some texts are tempted by fiction, even though they keep a reality-based referential, whereas other texts that are openly fictitious, fit the mundane fiction into the newspaper.
The second part is based on the general conclusion of the first part: the mundane society in the newspaper is a represented society, made of for a distant and anonymous public. With the advent of the medias in the 19th century, the mundane society has entered into the era of mediations and "industrial writing". Some writers, from Bourget to Proust, take these upheavals into account and present the mundane society as a metaphor of the mass media society. This is done following three main axes: the temptation of withdrawal of the fiction into a closed world (psychological and mundane movement impulsed by Goncourt with Cherie, prolonged by Bourget and Hervieux notably); the games of exchange between the novel and the newspaper (Maupassant, Toulet, Legrand, amongst others); and finally, the isolation of the mundane world and the aesthetic work on mediations (Rolland, Colette, Mirbeau, Lorrain et Gide notably). All these writings address the question of sociability at the era of the triumph of mediations: what room is left for the mundane society, for direct encounter, for exchange, in a world of mediation and mass media coverage? for immediate connections in a society of mediated ties? The epilogue proposes a journalistic reading of A la recherche du temps perdu, synthesis-work which inaugurates a modern and sociological perception: it is in the world of the imagined mundane society, distant and represented in the mass media, that the narrator draws the resources for his observation of the world.
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Thériault, Mark J. "Art as propaganda in Vichy France, 1940-1944." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112592.
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The French government under Philippe Petain, based at Vichy, simultaneously collaborated with the Germans and promoted French patriotism. French artists and designers produced an abundance of posters, paintings, sculptures and other objets d'art, examples of which are included here, to promote the values of the "new order." Although Christian symbols were common, fascist symbols among the mass-produced images support the idea that the Vichy regime was not merely authoritarian, but parafascist.The fine arts were purged of "foreign" influences, yet the German Arno Breker was invited to exhibit his sculptures in Paris. In the spirit of national redressement, traditional French art was promoted; however, Modern art, which Hitler condemned as cultural Bolshevism, continued to be produced. With reference to the words of Petain, Hitler, French artists and art critics, and a variety of artworks, this thesis shows how art was used to propagate the ideology of the Vichy regime.
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Brazil, Kevin. "The work of art in postwar fiction, 1945-2001." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f8102451-09cf-4f92-8e6e-e7c1ced2641c.
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'The Work of Art in Postwar Fiction 1945-2001' explores the responses of postwar novelists to visual art by focusing on the work of Samuel Beckett, William Gaddis, John Berger and W.G. Sebald. In doing so, it opens up a new approach to understanding the relationship between fiction and art in the postwar period as a whole, for what distinguishes these writers is that they use an engagement with visual art in order to historicize their own work as distinctly 'postwar' fiction. This thesis shows that in the writings of these novelists, long running aesthetic issues in the study of the relationship between text and image are reformulated and transformed: medium specificity; ekphrasis; and visual representation as a model for literary realism. Drawing throughout on original archival research, The Work of Art in Postwar Fiction 1945-2001 traces what T.J. Clark terms the 'processes of conversion and relation' between art, its contexts and its commentators, and it is by studying these mediations that the literary consequences of the work of art for these writers are shown. With a historicizing approach throughout, and an interest in the ways in which postwar novelists mediate their engagement with art through history, this thesis contributes to a new understanding of the literature and art of the postwar era, or what Amy Hungerford has called 'the period formerly known as contemporary'. This thesis offers a revisionary account of a relationship previously subsumed under the dominant logic of postmodernism, which according to Fredric Jameson was defined by a 'waning of historicity'. In returning historicity as method and theme to the study of the relationship between literature and art since 1945, The Work of Art in Postwar Fiction 1945-2001 shows the diverse ways in which postwar writers historicized their writing, and reflected on their techniques, in dialogue with visual art. Concerning itself with the distinct challenges posed by focusing on what Hannah Ardent called the 'most recent' past, this thesis also develops new ways of thinking more broadly about the relationships between literature, art and history. Chapter 1, 'Reviewing Postwar Fiction', situates this thesis within recent debates in literary studies surrounding what Mark McGurl has termed a discipline-wide 'hegemony of history'. Chapter 2, on Samuel Beckett, argues that Beckett's postwar art criticism responds to a specific strand of Marxist humanist aesthetics developed after the war, and it studies Beckett's manuscripts to show the relationship between this criticism and the composition of The Unnamable. Chapter 3 discusses William Gaddis's 1955 novel The Recognitions, arguing that the novel pivots around some of the central cruxes of postwar American aesthetic debate: Clement Greenberg's theory of abstraction, and Michael Fried's identification of the problem of 'art and objecthood'. Chapter 4 discusses the work of the British art critic and novelist, John Berger. It shows that Berger's critical account of Cubism shaped the narrative forms of his novels A Painter of Our Time and G., and that these narrative innovations were central to his theory of the artistic and revolutionary 'moment'. Chapter 5 focuses on the relationship between photography, painting and aesthetics in the work of W. G. Sebald. It argues that aesthetic concepts such as 'the readymade' and 'objective chance' offer a better account of Sebald's engagement with art than accounts which draw on trauma theory. The thesis concludes with a short discussion of how the writers studied in this thesis have influenced the contemporary fiction of Jonathan Franzen, Teju Cole, and Tom McCarthy.
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Ferris, Natalie. "'Ludic passage' : abstraction in post-war British literature, 1945-1980." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:5b3034e6-3a32-4684-b8a0-eb91cfc756c6.
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This thesis traces a line of literary experimentation in post-war British literature that was prompted by the aesthetic, philosophical and theoretical demands of abstraction. Spanning the period 1945 to 1980, it observes the ways in which certain aesthetic advancements initiated new forms of literary expression to posit a new genealogy of interdisciplinary practice in Britain. It is the first sustained chronological study to consider the ways in which a select number of British poets, authors and critics challenged the received views of their post-war moment in the discovery of the imaginative and idealizing potential of abstraction. At a time in which Britain became conscious of its evolving identity within an increasingly globalised context, this study accounts for the range of Continental and Transatlantic influences in order to more accurately locate the networks at play. Exploring the contributions made by individuals, such as Herbert Read, Ian Hamilton Finlay and Christine Brooke-Rose, as well as by groups of practitioners, such as the British concrete poetry movement, small press initiatives and Art & Language, this thesis offers a comprehensive account of the evolving status of abstraction across cultural, institutional and literary contexts. The discussions build a vision of an era that increasingly jettisons the predetermined critical lexicon of abstraction to generate works of a more pragmatic abstract inspiration: the spatial demands of concrete poetry, language as medium in the conceptual artwork, the absence of linear plot in the new novel.
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Fox, Peter Holden. "Textual apparitions: power, language, and site in the work of Jenny Holzer." Pomona College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,10.
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Jenny Holzer's text-based projects have attracted the attention of critics, historians, and curators from Des Moines to Dresden. An understanding of the complex interplay between language, gender, power, and site within Holzer's work demonstrates how a singular interpretive approach is insufficient for discussing the multitude of meanings her projects produce. Perhaps most significantly, a fresh analysis of Holzer's work and critical reactions to it challenges the story of modernism and postmodernism and the relationship between these two terms.
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Byers, Mark. "After the new failure of nerve : Charles Olson and American modernism, 1946-1951." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.
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One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.
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McKnight, Justine. "Redefining The Art Experience : From Static To Temporal Art Forms." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1998. https://ro.ecu.edu.au/theses/1450.
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This research examines an approach to art making and viewing that questions the acceptance of the autonomous object in favour of a transient experience. It focuses specifically on work and writing from the 1960s by the American artist Robert Morris that attempted to alter the then predominant Formalist understanding of the art object as autonomous and self-referential. This investigation follows the formal and conceptual development of Morris' work (and that of associated artists Richard Serra and Rafael Ferrer) with particular focus on the shift from static objects to time-based and transient an-forms including film/video and installation. I address the influence that the shift from static to temporal forms has had on the experience of art such as opening artwork to deeper levels of metaphysical association and visceral response. This discussion also examines parallel issues that have emerged within my own work's conceptual and formal development. In relation to the investigation of these developments I shall contextualise and locate my recent arts practice.
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Click, Sarah D. "Art Song by Turn-of-the-Century Female Composers." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278468/.
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Whereas conditions have existed for many centuries which served to exclude or marginalize female participation in music, many women have written compositions of musical worth sufficient to justify their contemporary performance. Although most women composers wrote works more fitting for the "salon" than for the concert hall at the turn of the century, Boulanger and Mahler are representative of the few women composers whose complex approach to art song fell within the mainstream of the genre. Many of their accompaniments attain a level of technical difficulty not previously found in women composers' writing. They offer an interesting comparison between nationalities and styles in that they both favored Symbolist texts. However, each represents a different side of the coin in her musical interpretation of Symbolism: Boulanger, Impressionism, and Mahler, Expressionism. In addition, even though their styles involve opposite musical expressions, they both show a strong influence of Wagner in their writing. This study includes background on turn-of-the-century music and musicians encompassing the role of art song among women composers. Symbolism is addressed as it applies to the poets selected by the composers, followed by information regarding the specific musical representation of Symbolist texts in the composers' art songs. The chapter of analysis serves as a means to guide musical decisions in the actual performance of the works. The conclusion briefly discusses performance practice issues and the possibility of a turn-of-the-century feminine aesthetic.
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Greenshields, Mary Clare, and University of Lethbridge Faculty of Arts and Science. "The Amazon in the drawing room : Natalie Clifford Barney's Parisian salon, 1909-1970 / Mary Clare Greenshields." Thesis, Lethbridge, Alta. : University of Lethbridge, Dept. of English, c2010, 2010. http://hdl.handle.net/10133/2606.
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This thesis is organised into two chapters and an appendix. The first chapter explores the significant American expatriate movement in France in the early part of the twentieth century, in an effort to answer the question ―Why France?‖ The second chapter examines the life and work of Natalie Clifford Barney, an American expatriate writer in Paris, who wrote predominantly in French and ran an important weekly salon for over sixty years. Specifically, her aesthetic and subject matter, her life, and her fraught publishing history are considered. The appendix is a translation of Barney's 1910 book of aphorisms entitled Éparpillements.v, 110 leaves ; 29 cm
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Coll-Vinent, Sílvia. "The reception of English fictional and non-fictional prose in Catalonia (1916-38), with particular reference to Edwardian literary culture and associated debates concerning the novel in England, France and Catalonia." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:e715592b-063c-4a02-9bbb-d89078ec1719.
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The present study opens up the field of Catalan connections with English literature. The importance of Edwardian influences on the general transmission of English authors and works is demonstrated. Original data on the reception of G.K. Chesterton, the Edwardian figure with a most remarkable impact in Catalonia, is brought to light (Chapter 1, Appendix 1), followed by discussion of the presence of H.G. Wells and G.B. Shaw and an account of the reception of Well's early fiction (Chapter 2); their influence sheds new light on the aspiration of an élite to modernise Catalan culture. Catalan translations of English fictional works produced in the period 1918-38 (Chapter 3, Appendix II) are linked to the reception of the roman anglais in the context of the crisis of the roman à thèse, and the meditating influence of French criticism is revealed. The values of romance, adventure, and the common man (from Defoe to Stevenson, from Stevenson to Conrad) constitute the recurrent thread associated with the English tradition and with the Edwardian fictional canon, as these were mediated from France to Catalonia. This panorama of transmission enhances an understanding of Catalan views of the novel, in the light of Edwardian values (Chapter 4), as exemplified in Carles Riba's critical appraisal of two Catalan authors, in the appeal of Joseph Conrad's narrative technique and its influence on J.M. de Sagarra, as well as in the comparison of Frank Swinnerton's Nocturne (a best-seller of 1917) and its Catalan counterpart, M. Teresa Vernet's Les algues roges. This thesis also includes a chronology of the reception of Chesterton and a list of Catalan translations of English works of fiction.
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Robert-Nicoud, Vincent Corentin. "The world upside-down in sixteenth-century French literature and visual culture." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1c0536cf-ffcf-4324-a626-19075e1acca8.
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To call something 'inverted' or 'topsy-turvy' in the sixteenth century is, above all, to label it as abnormal, unnatural and going against the natural order of things. The topos of the world upside-down brings to mind a world returned to its initial state of primeval chaos, in which everything is inside-out, topsy-turvy and out of bounds: fish live in trees, children rule over their parents, wives command their husband and rivers flow back to their source. This thesis undertakes a detailed account of the development of the topos of the world upside-down in sixteenth-century French literature and visual culture. By examining different uses of this topos - comic, moralising and polemical - it relates the transformations of the topos to religious, social and political conflicts of the period. To explain the shift of this topos from comic and moralising device to satirical and polemical tool, this thesis argues that troubled times produce troubled texts. In order to demonstrate this hypothesis, two kinds of evidence will be examined: Chapter 1 and Chapter 2 present diachronic evidence of the 'polemicisation' of the topos of the world upside-down in literary genres of the period (adages, paradoxes and emblems) and within François Rabelais's body of work; Chapter 3 and 4 provide synchronic evidence of the polemical use of the topos of the world upside-down during the French religious wars in Huguenot and Catholic polemic and in depictions of socio-political turmoil. Charting the variety of uses of the topos of the world upside-down throughout the sixteenth century, this thesis connects the world upside-down and its historical context; and contributes to the scholarship on religious polemic.
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Mueller, Marieke. "Subjectivity in Sartre's 'L'idiot de la famille' : biography as a space for the development of theory." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:54f60363-e148-4481-b710-c7e68a908bd5.
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In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Boyle, Amy L. "Marcel Broodthaers and Fred Wilson : contemporary strategies for institutional criticism." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98914.
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This thesis compares two contemporary artists who practice institutional criticism, Marcel Broodthaers and Fred Wilson. Looking specifically at Broodthaers's fictional museum project the Musee d Art Moderne, Departement des Aigles from 1968-1972 and Wilson's 1992 installation Mining the Museum at the Maryland Historical Society, this thesis will critically analyze each artist's similar application of deconstruction as a method. Both artists employ allegory and history as aesthetic strategies of deconstruction; using allegorical structure, the artists mobilize objects that have been arrested in history, disrupting a historical continuum that would otherwise remain foreclosed. The focus of this study will be to explore the critical approaches of Broodthaers and Wilson individually as well as the similar theoretical tendencies of the artists jointly; this investigation will assess the effect of institutional criticism on the museum's present condition, unfolding both what has changed and what is still at play within this practice.
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Ausoni, Alain. "En d'autres mots : l'écriture translingue de soi." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:e06d8806-9bc2-4be1-ab9a-c1b63ba38541.
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For several reasons, translingual writers, defined here as authors who write in a language that is not their native one, have gained increased visibility in recent years. This is particularly true in the context of French literature where, more frequently than before, and with a more explicit recognition of their particular status, translingual writers have received important literary prizes and have been welcomed into the French Academy. Central to this recognition is their rich and diverse mobilisation of life writing, a corpus curiously neglected in the study of the phenomenon of literary translingualism. This thesis focuses on the writers Andreï Makine, Hector Bianciotti, Vassilis Alexakis, Nancy Huston, Agota Kristof and Katalin Molnár. It demonstrates that the translingual experience, in its capacity to question one's sense of self and provide novel tools for the exploration of one's personal history and subjectivity (conceived as an experience in language), appears eminently suited to the genre of life writing and that, in the current configuration of the French literary space, life writing is demanded from translingual authors. It proposes an original cartography of contemporary translingual literature in French, suggesting that more than any similarities in the conditions of their literary adoption of French, what creates family resemblance between translingual writers is the types of relation with their adopted language that are constructed in their autobiographical texts.
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White, Claire. "Work and leisure in late nineteenth-century French literature and visual culture." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610774.
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Lacroix, Michel 1969. "La beaute comme violence : la dimension esthetique du fascisme francais, 1919-1939." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37754.
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Everything about fascism is aesthetic: this is what our thesis aims to demonstrate, based on the example of interwar French Fascism (1919--1939). It studies both discourses, symbolic practices, and literary texts, in order to show the multiple aspects of fascism's aesthetic dimension. Two theories, discourse analysis and sociocriticism, have guided us and permitted us to explain the interaction between aesthetics and ideology.Our thesis is divided in three parts, each one devoted to one of fascism's central themes: the leader, the youth, and the group. In our first chapter, we examine the charismatic leader's many faces, among which are the poet and the warrior. We then show that fascism's discourse on heroism makes of the epic hero an ideological model and that, in its turn, this ideological hero greatly influenced Pierre Drieu la Rochelle's representation of the hero. But, as we indicate, Drieu's novels reveal that the cult of the hero is both a glorification of the self and a self-hatred. In our second chapter we examine fascism's cult of youth such as it was in Italy and Germany, after which we have demonstrated that, in a way, French fascism was an extreme radicalization of the contemporary French discourse on youth. Then, we analyse one of Robert Brasillach's novels which brings to the fore the dark side of fascism's cult of youth: its death drive.
In our last chapter, we unearth the aesthetic principles underlying fascism's political spectacle, principles that we also find at the heart of Drieu's texts. We consequently state that Drieu has adopted fascism's aesthetic years before he realized he had fascist ideas. Going a little further yet, we stipulate that Drieu thus reveals that the aesthetic was one of the main roads towards fascism. We then establish, in our final conclusion, a synthetic description of fascist aesthetics: an aesthetics of pathos, exhibition, sublime, violence, and death.
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Gaudette, Stacey Leigh, and University of Lethbridge Faculty of Arts and Science. "Genêt unmasked : examining the autobiographical in Janet Flanner." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2006, 2006. http://hdl.handle.net/10133/531.
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This thesis examines Janet Flanner, an expatriate writer whose fiction and
journalism have been essential to the development of American literary modernism in
that her work, taken together, comprises a remarkable autobiographical document which
records her own unique experience of the period while simultaneously contributing to its
particular aesthetic mission. Although recent discussions have opened debate as to how a
variety of discourses can be read as autobiographical, Flanner’s fifty years worth of
cultural, political, and personal observation requires an analysis which incorporates
traditional and contemporary theories concerning life-writing. Essentially,
autobiographical scholarship must continue to push the boundaries of analysis, focusing
on the interactions and reactions between the outer world and the inner self. This thesis,
therefore, will situate Janet Flanner as an important writer whose experience among the
modernist literary community in Europe informs, and is recorded in, her writing.v, 93 leaves ; 29 cm.
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Tvardovskas, Luana Saturnino 1983. "Dramatização dos corpos : arte contemporânea de mulheres no Brasil e na Argentina." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280015.
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Orientador: Luzia Margareth RagoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-22T21:58:15Z (GMT). No. of bitstreams: 1 Tvardovskas_LuanaSaturnino_D.pdf: 48560551 bytes, checksum: 319fe4c4f559ca8407db46edd5d574eb (MD5) Previous issue date: 2013
Resumo: Esta tese aborda a poética visual de artistas brasileiras e argentinas, cujas obras de arte empreendem um discurso critico a violência material e simbólica de gênero, por meio de imagens do corpo. São focalizadas, a partir de uma perspectiva feminista, as artistas contemporâneas brasileiras Ana Miguel, Rosana Paulino e Cristina Salgado, e também as argentinas Silvia Gai, Claudia Contreras e Nicola Costantino que se utiliza de transfigurações, dramatizações e manipulações sobre imagens corporais como manobras transgressivas e de resistência. O trabalho será norteado teórica e metodologicamente pelos estudos feministas e pelo "pensamento da diferença", sobretudo por Michel Foucault e Gilles Deleuze
Abstract: This research approaches the visual poetics of Brazilian and Argentinian artists whose artworks undertake a critical discourse of violence of gender (material and symbolic) through images of the body. From a feminist perspective, we focus on the Brazilian contemporary artists Ana Miguel, Rosana Paulino and Cristina Salgado and also the Argentinian Silvia Gai, Claudia Contreras and Nicola Costantino. Their work deals with transfigurations, dramatizations and manipulations on body's images as transgressive maneuvers of resistance. The methodology of this work will be guided by the Feminist studies and by the Difference theory, especially by Michel Foucault and Gilles Deleuze
Doutorado
Historia Cultural
Doutora em História
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Bain, Keith Norman. "Hyperartifical cinema and the art of cool." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52880.
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Thesis (PhD)--Stellenbosch University, 2002.ENGLISH ABSTRACT: In this thesis, an ontology of contemporary cinema is developed using the position assumed by postmodern thinkers (notably Jean Baudrillard) and contemporary filmmakers. Using Baudrillard's perspective it is argued that the cinematic apparatus is an expression of both human curiosity and a desire to place "reality" at a distance. While the spectator seeks involvement with the viewed subject, he or she remains detached from the images which simulate the various "realities" in which he or she becomes "involved" through the act of viewing. The contemporary Western subject is said to crave "meaning" in a universe which is increasingly secular, materialistic, individualistic and, to a certain extent, "virtual". Life is also said to be more ironic, providing illusory concessions such as communication in lieu of interaction, information instead of knowledge, choice in favour of quality, surfaces rather than depth, and images which ultimately extinguish "the real". Moving images may be said to allude to the artificial nature of a "reality" which is itself a human construction. This suggests that the role of the camera is to place both the world and human subjects "at a distance", thereby objectifying (and potentially dehumanising) the subject-objects of the gaze. Many postmodern films are concerned with the functioning of the cinematic apparatus itself, and these films - implicitly and explicitly - deal with the way in which subjectivity is established through the cinematic gaze. "Realism" in the cinema has to a large extent shifted from the documentation of the world, to techniques which problematise the viewer's experience of "reality". Interactivity, faux-verité and the hyperrealism of computer graphic imaging, have contributed to the confusion of various forms of screen "realism", arguably impacting on the viewer's experience of "reality". In another sense, "reality" has been transformed by the blurring of distinctions between high and low cultural paradigms, increasingly evident in work that privileges the showing of "perverse", "profane", "grotesque", "vulgar" and explicit "realities". Boundaries between private and publiC spaces are eroded as the cinematic apparatus takes spectators into increasingly intimate personal spaces, demystifying and popularising the unknown and previously hidden. Considering the influence of commercial and socio-economic factors on the development of contemporary cinema (emphasizing Hollywood), the thesis looks at the aesthetic, thematic and narrative concerns of both mainstream and niche-market films. Focus is given to the socalled postmodern aesthetic which is closely linked to what some critics call recycling (an inability to say anything "new"), some label "empty" (meaningless) and many see as "schizoid" (able to be read in various, often contradictory, ways). The thesis proposes that contemporary (postmodern) cinema is a "pure" form which increasingly sets "reality" at a distance so that it's illusory nature is emphasised. It also demonstrates how contemporary films serve as reflections of a world which is itself nothing but a reflection (artificial construction). Like dreams, fantasies and other "virtual realities", the cinema represents a form of "remembering" which is detached from any particular time or space. In this sense, cinematic moving images enable viewers to engage with aspects of their own humanity which may be quite independent of the "reality" status of the world.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word die uitgangpunte van postmoderne denkers (by uitstek Jean Beaudrillard) en kontemporêre filmmakers benut om 'n ontologie van die kontemporêre film te ontwikkel. Vanuit Beaudrillard se perspektief word geargumenteer dat die filmiese apparatuur 'n uitrukking is van die mens se Inherente nuuskierigheid en die behoefte om "realiteit" op 'n afstand te hou. Alhoewel die kyker streef na betrokkenheid by die subjek wat bekyk word, bly hy of sy altyd afsydig (detached) van die beelde wat die verskeie "werklikhede" simuleer waarby hy of sy in die proses van kyk "betrokke" raak. Daar word beweer dat die hedendaagse Westerse subjek verlang na "betekenis" in 'n heelal wat al meer sekulêr, materialisties, individualisties en, tot 'n sekere mate, "virtueel" word. Die lewe is deurspek met ironie en maak allerlei illusionêre toegewings aan die "werklikheid", byvoorbeeld deur voorkeur te gee aan kommunikasie in plaas van interaksie, inligting in plaas van kennis, keuse in plaas van kwaliteit, oppervlakkighede in plaas van diepgang en beelde wat uiteindelike "die werklikeid" uitwis. Daar kan gesê word dat filmiese beelde (moving images) verwys na die kunsmatige aard van "realiteit", wat op sigself 'n menslike konstruksie is. Hiermee word dus gesuggereer dat dit die funksie van die kamera is om beide die wêreld en menslike subjekte "op 'n afstand" te plaas, en daarmee te objektiviseer (en moontlik te dehumaniseer). Baie postmoderne films hou hulle besig met die manier wat die filmiese apparatuur self funksioneer, en hierdie films ondersoek die wyse waarop subjektiwiteit deur middel van die kamera verkry word. "Realisme" in die film het tot 'n groot mate verskuif van die dokumentasie van die wêreld na tegnieke om die kyker se ervaring van die "werklikheid" te problematiseer. Interaktiwiteit, faux-verité en die hiper-realiteit van rekenaar gegenereerde beelde het bygedra tot die verwarring oor die verskeie vorme van filmiese "realisme", wat mens sou kon argumenteer 'n impak op die kyker se siening van "die werklikheid" het. In 'n ander sin, is "die werklikheid" getransformeer deur paradigma verskuiwings waardeur die onderskeide tussen "hoë" en "lae" kulture vervaag, iets wat al meer gedemonstreer word deur werke wat verkies om die "perverse", "profane", "groteske", "vulgêre", en eksplisiete "realiteite" te wys. Die grense tussen private en publieke ruimtes vervalook waar die filiese apparatuur kykers in al hoe intiemer persoonlike ruimtes inneem, om daardeur dit wat voorheen onbekende en versteek was te demistifiseer en populariseer. Met inagname van die invloed wat die kommersiële en sosio-ekonomiese faktore op die ontwikkelling van die hedendaagse film (veral van Hollywood) het, kyk die proefskrif na die estetiese, tematiese en narratiewe kwessies wat beide hoofstroom en niche-mark films kenmerk. Daar word veral gefokus op die sogenaamde post-moderne estetiek wat gekoppel word aan wat sommige kritici recycling noem (dws die onvermoë om iets nuuts te sê), ander as "leeg" (dws betekenisloos) beskou, en baie ander weer "shizoid" brandmerk (dws dit kan in verskeie, menige kere kontradiktoriese wyses, gelees of verstaan word). Die proefskrif bevind uiteindelik dan dat die kontemporêre (postmoderne) film 'n "suiwer" vorm is wat dit geleidelik regkry om "realiteit" op 'n afstand te hou, om sodoende sy eie illusionêre wese te benadruk. Dit illustreer ook hoe kontemporêre films funksioneer as refleksies van 'n wêreld wat self niks meer is as refleksie (kunsmatige konstruksie) is nie. Nes drome, fantasieë, en ander "virtuele realiteite", verteenwoordig die film 'n tipe "onthou" (remembering) wat onafhanklik is van 'n spesifteke tyd of plek. In hierdie sin help filmiese beelde kykers om hulself te kontfronteer met aspekte van hulle eie menslikheid wat onafhanklik is van hul werklikheidsstatus in die wêreld.
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Sadoun, Clara. "Le roman de La Vie parisienne, 1863-1970: presse, genre, littérature et mondanité, 1863-1914." Doctoral thesis, Universite Libre de Bruxelles, 2010. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209915.
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Fondée en 1863,la Vie parisienne est une revue illustrée, galante et mondaine qui connut, jusqu'aux années 1930, un très grand succès. La thèse ici présentée s'attache à en retracer l'histoire, à en étudier le discours social, notamment sur les femmes, et son implication - problématique - dans le champ littéraire.
Doctorat en Langues et lettres
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Fouse, Kathryn. "Surrealism in the Piano Music of Representative Twentieth-Century American Composers: With Three Recitals of Selected Works of Ives, Cowell, Crumb, Cage, Antheil, and Others." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc332492/.
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This study is an examination of the Surrealist movement and its influence on the piano music of twentieth century American composers. The first chapter explores the philosophies of the Surrealists as well as the characteristics found in Surrealist art and literature. The characteristics discussed include: 1) the practice of automatism; 2) the juxtaposition of unrelated themes or images; and 3) the creation of dream-like atmospheres.
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Lynch, Sylvio III. "Morality and Aspiration: Some Conditions of Norman Rockwell's Four Freedoms." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1577554501384163.
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Bouko, Catherine. "La réception spectatorielle et les formes postdramatiques du spectacle vivant." Doctoral thesis, Universite Libre de Bruxelles, 2009. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210342.
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Selon différents théoriciens (Guénoun, Lehmann, Ryngaert, etc.), la fin du vingtième siècle se caractérise par l'émergence de nouvelles formes théâtrales, marquées par la contamination des pratiques spectaculaires.Hans-Thies Lehmann reprend la notion de "théâtre postdramatique" proposée par Richard Schechner pour qualifier ces formes métissées de spectacle vivant La thèse défendue est la suivante :le théâtre postdramatique trouve sa spécificité non seulement dans la transgression des codes dramatiques mais surtout dans des processus de réception spécifiques qu'il importe de définir, à l'aide d'outils notamment sémiotiques. Ces processus sont situés et construits par rapport à différents modèles interdisciplinaires.
Doctorat en Information et communication
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Brahamcha-Marin, Jordi. "La réception critique de la poésie de Victor Hugo en France (1914-1944)." Thesis, Le Mans, 2018. http://www.theses.fr/2018LEMA3006/document.
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Cette thèse étudie la réception critique de la poésie de Hugo en France entre 1914 et 1944. Elle se fonde sur une conception large et englobante de la « réception critique ». Ainsi, elle envisage la manière dont l’œuvre poétique hugolienne est reproduite et diffusée (dans des éditions savantes, des éditions populaires bon marché, des livres de luxe, des manuels scolaires, des anthologies…) ou fait l’objet d’adaptations (mises en musique, parodies et pastiches) ainsi que les discours tenus sur la poésie de Hugo, que ceux-ci émanent d’universitaires, d’écrivains et intellectuels, de journalistes, de militants, d’hommes politiques, etc. En mobilisant un corpus riche et varié, en confrontant des démarches critiques provenant de champs très différents, notre travail fait apparaître quelques problématiques récurrentes.Celles-ci sont notamment relatives au statut de Hugo comme auteur patrimonial, à la centralité de la poésie dans son œuvre (et en particulier à la centralité des trois grands recueils de l’exil, Les Châtiments, Les Contemplations, La Légende des siècles), aux lectures et aux appropriations politiques auxquelles cette poésie donne lieu, à la manière de situer Hugo dans l’histoire de la poésie française (selon les cas, aux côtés de Lamartine et Musset ou aux côtés de Baudelaire, Rimbaud et Mallarmé). Au-delà du seul cas Hugo, notre travail jette aussi quelques éclairages sur la place de la poésie dans l’imaginaire du premier XXe siècle et sur la manière dont cette période se définit par rapport à un double héritage poétique, « romantique » et « moderne »This dissertation studies the critical reception of the poetry of Victor Hugo in France over the period 1914-1944. Relying on an inclusive conception of “critical reception”, it considers the way in which Hugo’s poetic work was reproduced and circulated (in scholarly editions and cheap popular editions, in luxury books and school textbooks, in poem collections...) or adapted (turned into parody or pastiche and set to music by various composers). It also looks at the many discourses that were held on Hugo’s poetry, whether by academics, professional writers and intellectuals, journalists, political men and activists, etc. Drawing on an extensive corpus and a wide range of sources, confronting methodological approaches borrowed from different study fields, our work helps to throw light on Hugo’s importance as an integral part of French cultural heritage; on the centrality of poetry (especially of the three major collections published while Hugo was in exile, Les Châtiments, Les Contemplations, La Légende des siècles) within his work; on the political readings and the political uses that were made of Hugo’s poetry; on the competing ways of categorising Hugo’s work within French poetry and among French poets, as a Romantic akin to Lamartine and Musset or as a modernist equated with Baudelaire, Rimbaud and Mallarmé. Beyond the sole case of Hugo, our dissertation also sheds light on the importance of poetry in the imagination of the early 20th century, and on the way in which the literature of the period sought to define itself in relation to a two-fold poetic legacy, that of romanticism and that of modernism
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MacDonald, Juliette. "Aspects of identity in the work of Douglas Strachan (1875-1950)." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/7357.
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This thesis explores facets of Scottish identity via the decorative work of Douglas Strachan. Nations and nationalism remain extraordinarily potent phenomena in the contemporary world and this work seeks to examine aspects of Scottish nationhood and cultural identity through Strachan's evocation of history, folklore, religion and myth. It has been argued that these are the chief catalysts for enabling people to define and shape their understanding of themselves and their place within society. Cultural identity is often understood as a passive form of nationalism which is remote from its political counterpart. Yet there are strong arguments to counter this belief. This thesis addresses some of the issues raised by such arguments and adopts an ethno-symbolic approach in order to re-evaluate Strachan's work, and that of his contemporaries. The thesis also develops the theoretical and contextual debates concerning the decorative arts in general and stained glass in particular in order to raise awareness of its merits and its role within our society.
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Pirson, Chloé. "Les cires anatomiques (1699-1998) entre art et médecine: étude contextuelle de la collection céroplastique du musée de la médecine d'Erasme." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210884.
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Based upon a servey of the Université libre de Bruxelles medecine museum anatomical waxes collection, my Phd aims to study in an historical context the anatomical waxes fron the 18th Century to the 20th Century. We demonstrated who the didactical items created by sculpture ways appeared throw their successif uses from medical teaching to the prevention of the diseases of the time in the anatomical fairground attractions.Sur base d'une étude de la collection des cires anatomiques du musée de la médecine d'Erasme, ma thèse de doctorat vise à l'étude contextuelle de la production de cires anatomiques depuis la fin du 18e siècle jusqu'au 20e siècle. Nous avons montré comment ses objets didactiques, produits par des moyens sculpturaux, ont été perçu à travers leurs usages successifs depuis l'enseignement médicale jusqu'à la prévention sociale des maladies d'époque, au sein des musées anatomiques forains.
Doctorat en philosophie et lettres, Orientation histoire de l'art et archéologie
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Melo, Maria da Assunção Gil Correia de. "António Dacosta e o sentido de pertença na pintura. Motivações, resistências e inovações." Doctoral thesis, Universidade de Évora, 2021. http://hdl.handle.net/10174/30073.
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Nesta tese pretende-se fazer uma releitura crítica da obra de António
Dacosta, muito mais ampla, para além da fase surrealista. Para tal, foi
necessário compreender como o lugar, a identidade e o sentido de pertença
podem influenciar a vontade e a expressão do artista. Neste caso mais
específico, como a ilha e a sua cultura própria influenciaram a sua iconografia,
embora sempre com uma intencionalidade universalista. As questões de
memória e identidade poderão ser mais determinantes do que as tendências ou
correntes artísticas em vigor. O desconhecimento que existia sobre a
iconografia das ilhas foi por vezes confundido com o surrealismo. Compete,
assim, fazer uma destrinça.
O contexto histórico e espiritual que está na origem do despertar da
identidade, bem como o papel dos agentes culturais, importa nesta análise. Foi
também relevante perceber como o surrealismo foi apreendido pelos artistas
portugueses, que o prolongaram para além da primeira metade do século XX,
sob a égide da necessidade de uma reforma temática.
António Dacosta, frequentemente associado a duas fases distintas, foi
um pintor, mesmo quando, aparentemente, esteve em silêncio, mesmo quando
se confundiu com um poeta e com um crítico de arte. Na verdade, Dacosta
continuou a pintar. Foi sempre esse o seu desígnio. A vontade de ser dos
Açores, em Lisboa ou em Paris foi tão forte que as suas visões míticas de uma
religiosidade pagã são uma constante. Nesse sentido, analisou-se o que fez, a
relação entre o artista e o lugar de origem, como um produtor de uma imagética
muito própria transposta para a tela: a busca um significado nas paisagens, nos
lugares, nas pessoas e nos seus rituais promovendo um debate interdisciplinar,
entre arte, antropologia e etnografia.
A modernidade, o choque e um modo muito próprio de ser ilhéu, sem
forçar, sem ter pressa, podem tê-lo agrilhoado a uma vontade de fazer nem
sempre consistente. São dinâmicas próprias que estão na origem das
motivações da pintura de Dacosta O ensinamento e a lucidez de nunca se ser velho de mais para
recomeçar são também lições que se tiram desta obra, deste percurso que
importa compreender; ABSTRACT
António Dacosta and the Sense of Belonging in Painting. Motivations,
Resistances and Innovations
This thesis intends to make a critical reinterpretation of António
Dacosta's work, much broader, beyond the surrealist phase. For this, it was
necessary to understand how the place, the identity and the sense of belonging
can influence the artist's will and expression. In this more specific case, how the
island and its own culture influenced its iconography, although always with a
universalist intention. The issues of memory and identity may be more decisive
than current trends or artistic trends. The ignorance that existed about the
iconography of the islands was sometimes confused with surrealism. It is
therefore up to you to make a difference.
The historical and spiritual context that is at the origin of the awakening
of identity, as well as the role of cultural agents, matters in this analysis. It was
also relevant to understand how surrealism was understood by Portuguese
artists, who extended it beyond the first half of the 20th century, under the aegis
of the need for a thematic reform.
António Dacosta, often associated with two distinct phases, was a
painter, even when, apparently, he was silent, even when he mistook himself for
a poet and an art critic. In fact, Dacosta continued to paint. That was always his
purpose. The Azores' desire to be in Lisbon or Paris was so strong that their
mythical views of pagan religiosity are constant. In this sense, we analyzed
what he did, the relationship between the artist and the place of origin, as a
producer of his own imagery transposed to the canvas: the search for meaning
in landscapes, places, people and their rituals promoting an interdisciplinary
debate, between art, anthropology and ethnography.
Modernity, shock and a very unique way of being an islander, without
forcing, without being in a hurry, may have tied you to a desire to do not always
consistent. These are dynamics that are at the origin of the motivations of
Dacosta's painting. The teaching and the lucidity of never being too old to start over are also
lessons that can be learned from this work, from this journey that is important to
understand.
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Mihail, Benoît. "Le "Néo-Flamand" en France: un passé régional retrouvé et réinventé sous la Troisième République." Doctoral thesis, Universite Libre de Bruxelles, 2002. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211363.
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Yang, Yin-Hsuan. "Les salons caricaturaux au XIXe siècle : des origines à l'apogée." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100004.
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Le Salon caricatural est le compte rendu comique composé de charges d’œuvres d’art exposées au Salon. Les premiers Salons caricaturaux apparaissent au début des années 1840, et c’est sous le Second Empire que ce genre de revue parodique atteint son apogée, obtenant un succès dans la presse satirique illustrée. Sous prétexte de faire rire, cette critique en images met en œuvre un moyen efficace de juger l’art, qui fonctionne en contrepoint de la critique d’art écrite. Les enjeux critiques que propose cette imagerie comique s’inscrivent en fait comme découlant des discussions sur les rapports entre l’image et le texte, ainsi que le révèlent les trois modèles de 1846. Sensibles à l’actualité artistique, les dessinateurs du Salon caricatural jouent souvent un rôle multiple, tantôt celui du railleur inoffensif, tantôt celui du critique sérieux, tantôt encore celui de l’artiste exposant. Dans les revues parodiques se reflètent non seulement la réaction caractéristique du public bourgeois, mais parfois aussi le goût personnel et les jugements esthétiques des dessinateurs eux-mêmes vis-à-vis des œuvres d’art contemporaines. Face à un art en pleine transition durant le Second Empire, le Salon caricatural prend part d’une manière active à la réception de l’art par une formule sarcastique qui traduit à la fois le dégoût pour l’école classique en voie de déclin et le rejet des formes novatrices, notamment Courbet et son réalisme. Cette version drolatique et insolite de l’histoire de l’art fournit aussi une nouvelle perspective à l’histoire de la critique d’artThe Salon caricatural was a comic review consisting of caricatures of art works exposed at the Salon. The first Salons caricaturaux appeared in the early 1840s, and it was under the Second Empire that this type of parodic review reached its height, obtaining success in the illustrated satirical press. Under the pretext of humor, this critique in images provided an efficient method of judging art, working in counterpoint to written art criticism. The critical issues proposed by this comical imagery were in fact the products of debates on the relationship between image and text, as the three 1846 models reveal. Conscious of contemporary artistic currents in art, Salon caricatural cartoonists often played multiple roles; at times inoffensive mocker, at times serious critic, and at times exposing artist. These parodic reviews reflected not only the characteristic reaction of the bourgeois public, but also on occasion the personal tastes and aesthetic judgments of the cartoonists themselves with respect to contemporary works of art. With art in a major period of transition during the Second Empire, the Salon caricatural actively participated in the reception of art through a sarcastic format that translated both the distaste for the declining classical school and the rejection of innovative forms, notably those of Courbet and his realism. This humorous and peculiar version of art history also provides a new perspective to the history of art criticism
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Mariano, Fábio Roberto 1989. "Faulkner na França : uma análise dos prefácios escritos às traduções dos livros de William Faulkner publicadas na França nos anos 30." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269954.
Full textAbstract:
Orientador: Eric Mitchell SabinsonDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-27T20:21:09Z (GMT). No. of bitstreams: 1 Mariano_FabioRoberto_M.pdf: 721675 bytes, checksum: 0863ae488f30abc0a8c4cbb050955f56 (MD5) Previous issue date: 2015
Resumo: O objetivo deste trabalho é compreender a recepção de Faulkner na França a partir de uma contextualização da literatura francesa nos anos 1930 e da leitura detalhada dos referidos prefácios. O que está em primeiro plano não é uma leitura crítica do autor, e sim uma organização de leituras críticas anteriores. Ao fim do texto, é esboçada uma proposição acerca do apelo específico que Faulkner teve na França. Dos seis livros de Faulkner publicados durante os anos 30, cinco trazem prefácios. Esses textos são de autoria de figuras de grande influência no ambiente literário francês: os tradutores Maurice-Edgar Coindreau e René-Noël Raimbault, o crítico e escritor Valery Larbaud e o escritor, político e jornalista André Malraux. A partir das leituras propostas nesses prefácios, é possível tentar estabelecer uma relação entre o ambiente cultural da França e a obra de William Faulkner. Para estabelecer tal relação, este trabalho se divide em três partes, cada qual correspondendo a um de seus capítulos. Em primeiro lugar, faz-se uma análise do ambiente histórico e literário da França. Em segundo, uma leitura atenta dos prefácios é feita, levando-se em consideração também quem são seus autores. Por fim, o terceiro capítulo é um movimento de interpretação dos prefácios à luz da análise feita no primeiro capítulo
Abstract: The present dissertation aims at an understanding of the reader response to Faulkner in France. It is based both on a study of the mentioned prefaces and on an attempt to describe the literary and critical standards of the time. The main point here is not exactly a critical reading of the author's work in itself, but an effort of organizing earlier readings. This study is closed by a hypothesis about Faulkner's specific appeal to French readers. Five out of the six of Faulkner's books published during that time are prefaced, all of them by Frenchmen: translators Maurice-Edgar Coindreau and René-Noël Raimbault, literary critic and writer Valery Larbaud and politician, journalist and novelist André Malraux. A detailed analysis of these prefaces may be an effective strategy to establish a connection between Faulkner's work and the French cultural environment in which he is read. In order to effectively make such a connection, this dissertation has been divided in three parts, each of which corresponds to one of its chapters. In the first one, the literary and historical context of France is analyzed. In the second, a close reading of each of the prefaces is made, taking into account not only their words and references, but also their authors. In the third and last chapter, the prefaces are interpreted according to what had been exposed in the first chapter
Mestrado
Historia e Historiografia Literaria
Mestre em Teoria e História Literária
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Oscherwitz, Dayna Lynne. "Representing the nation cinema, literature and the struggle for national identity in contemporary France /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3034944.
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Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
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En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
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Boykin, Dennis Joseph. "Wartime text and context Cyril Connolly's Horizon /." University of Sydney, 2007. http://hdl.handle.net/2123/1959.
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Doctor of Philosophy (PhD)This thesis examines the literary journal Horizon, its editor Cyril Connolly, and a selection of its editorial articles, poems, short stories and essays in the context of the Second World War, from 1939-45. Analyses of these works, their representation of wartime experience, and their artistic merit, serve as evidence of a shared and sustained literary engagement with the war. Collectively, they demonstrate Horizon’s role as one of the primary outlets for British literature and cultural discourse during the conflict. Previous assessments of the magazine as an apolitical organ with purely aesthetic concerns have led to enduring critical neglect and misappraisal. This thesis shows that, contrary to the commonly held view, Horizon consistently offered space for political debate, innovative criticism, and war-relevant content. It argues that Horizon’s wartime writing is indicative of the many varied types of literary response to a war that was all but incomprehensible for those who experienced it. These poems, stories and essays offer a distinctive and illuminating insight into the war and are proof that a viable literary culture thrived during the war years. This thesis also argues that Horizon, as a periodical, should be considered as a creative entity in and of itself, and is worthy of being studied in this light. The magazine’s constituent parts, interesting enough when considered separately, are shaped, informed, and granted new shades of meaning by their position alongside other works in Horizon. Chapters in the thesis cover editorials and editing, poetry, short stories, political essays, and critical essays respectively. Analyses of individual works are situated in the context of larger concerns in order to demonstrate the coherence of debate and discourse that characterised Horizon’s wartime run. In arguing that Horizon is a singular creative entity worthy of consideration in its own right, this thesis locates itself within the emerging field of periodical studies. Further, by arguing that the magazine demonstrates the value of Second World War literature, it articulates with other recent attempts to reassess the scope and quality of that literature. More specifically, this thesis offers the first focused and in-depth analysis of Horizon’s formative years.
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Jeffroy-Meynard, Marie-Nicole. "FROM BAROQUE TO ROCOCO: PUBLIC TO PRIVATE SPACE IN THE HÔTEL DE SOUBISE." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1204.
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I will build an argument utilizing the Hôtel de Soubise as a case study for the way in which the division between exteriors and interiors depicts the shifting cultural fabric of 18th-century French society.
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Seniuta, Isabella. "Histoire du Eye Club : les valeurs de la photographie : Paris-New York (1960-1989)." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H004.
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Cette thèse s’interroge sur l’invention d’une formule : The Eye Club. Inventée par l’historienne américaine Eugenia Parry, elle désigne un regroupement actif dans les années 1960-1990 composé de : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff et Robert Mapplethorpe. Ces douze figures vivent entre la France et les États-Unis et sont rattachées par plusieurs facteurs culturels et temporels. Ce «club» n’est pas à proprement parler un cercle de sociabilités, c’est une constellation, une nébuleuse faite de positionnements culturels épars et de projets artistiques divers. La question principale qui a guidé cette enquête est la suivante : en quoi ce Eye Club et ses acteurs, pris individuellement, ont-t-ils contribué à réévaluer la valeur commerciale, esthétique et institutionnelle, de la photographie dans les années 1960-1990 entre Paris et New York ? La chronologie démarre avec les engagements d’André Jammes dans le monde de la photographie au tournant des années 1960 et se termine en 1989, l’année de la mort de Mapplethorpe. L’enquête réalisée dans les archives et auprès des acteurs a fait émerger des noms connus, et d’autres, qui sont demeurés dans les coulisses de l’histoire. Cette étude se propose de lever le voile sur un réseau interdépendant d’acteurs, dont les intérêts communs pour la photographie ont permis de créer le marché de la photographie, tel que nous le connaissons aujourd’hui, et son institutionnalisation. Le premier volume de la thèse propose, dans une perspective transatlantique, une réflexion sur ce regroupement à partir des images et des correspondances. Le second volume rassemble vingt-quatre entretiens réalisés au cours des cinq années de recherche. D’abord avec les figures du Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare et Alain Paviot), puis avec les familles des acteurs du Eye Club et enfin avec diverses personnalités du monde photographique (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hambourg, Susan Kismaric, Hans Peter Kraus Jr., Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma et Daniel Wolf). Ensemble, les deux volumes esquissent une histoire de rencontres entre des passionnés de photographie qui s’est principalement articulée sous une forme orale entre la France et les États-Unis dans les années 1960-1980This thesis questions the invention of a phrase : The Eye Club. Invented by the American historian Eugenia Parry, it has been designating a grouping active in the 1960s-1980s composed of : Pierre Apraxine, Hugues Autexier, François Braunschweig, Françoise Heilbrun, André Jammes, Gérard Lévy, Harry Lunn, Philippe Néagu, Alain Paviot, Richard Pare, Sam Wagstaff and Robert Mapplethorpe. These twelve characters lived between France and the United States and are connected and related by several cultural and temporal factors. This grouping is not, strictly speaking, a circle of sociability, it is rather a constellation or a nebula made of scattered cultural positions and diverse artistic projects. The main question that guided this survey is the following: in what way does the Eye Club and its individual actors contributed to the re-evaluation of the commercial, aesthetic and institutional value of photography between the early 1960s and the late 1990s among Paris and New York ? The chronology begins with André Jammes' involvement in the world of photography and ends in 1989, the year of Mapplethorpe's death. An inquiry of archives and key players has brought to light some well-known names, and others that remained in the shadow of history. This study aims at unveiling an interdependent network of actors, whose common interests in photography have made it possible to establish, in one generation, the photography market as we know it today. The first volume of the thesis offers, from a transatlantic perspective; an investigation and analysis of this based on photographs and correspondences. The second volume brings together twenty-four interviews conducted over my five years of doctoral research. First with the main protagonists of The Eye Club (Pierre Apraxine, Françoise Heilbrun, Richard Pare and Alain Paviot), then with the families of The Eye Club and finally with various personalities from the world of photography (Frish Brandt, Peter Bunnell, Denis Canguilhem, Sylviane De Decker, Viviane Esders, Patrick Faigenbaum, Philippe Garner, Maria Morris Hamburg, Susan Kismaric, Hans Peter Kraus Jr, Harold Jones, Baudoin Lebon, Eugenia Parry, Françoise Reynaud, Samia Saouma and Daniel Wolf). Together, the two volumes sketch a history of encounters between photography enthusiasts that has, up to now, been mainly articulated in oral form between France and the United States in the 1960s and 1980s
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Crousier, Elsa. "Marta Traba ou l'art en écriture : recherches sur les dialogues entre littérature, critique d'art et arts plastiques dans l'oeuvre de Marta Traba." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE2125.
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Marta Traba (1923-1983), écrivaine et critique d’art argentino-colombienne, est principalement connue en Amérique latine pour ses écrits critiques, son engagement pour le développement de l’art moderne en Colombie, et plus largement pour sa « théorie de la résistance » qui prône dans les arts plastiques une défense des identités culturelles latino-américaines. Son œuvre littéraire, en revanche, est beaucoup moins connue. Or, elle est non seulement très riche, mais elle forme le pendant narratif à son œuvre critique, un ensemble de récits innervés, de manière plus ou moins profonde, des conceptions et de la culture trabiennes sur l’art. Il s’agit dès lors de reconsidérer ces deux pans de sa production écrite comme un tout cohérent, et de montrer les influences et les interactions entre sa critique d’art et sa littérature, mais également entre les arts plastiques qui forment sa culture artistique et ses écrits fictionnels. Il apparaît alors que Marta Traba conçoit et pratique son écriture critique comme une écriture « littérarisée » et, réciproquement et surtout, sa littérature comme une littérature « artialisée » : la valorisation constante du regard esthétique sur le monde et d’une sensorialité exacerbée dessine un idéal de contemplation tout au long de son œuvre littéraire ; les insertions continues d’une terminologie critique et de références aux œuvres d’art, sur un mode tantôt clairement didactique, tantôt subtilement ludique, invitent le lecteur à lire ses fictions et poèmes au prisme du sous-texte artistique qui enrichit leur sens ; enfin, le récit devient le lieu d’expérimentation des théories trabiennes de la « résistance », entre réaffirmation de la place de l’Amérique latine sur la carte de l’art mondial, mise à distance défensive des influences nord-américaines et réappropriation locale, par « transculturation », des modèles artistiques étrangers. L’étude de l’artialisation de la littérature trabienne est donc loin d’être l’analyse d’un simple procédé formel : elle dégage, nous semble-t-il, un véritable style trabien, miroir de l’écrivaine et de ses convictionsMarta Traba (1923-1983), an Argentinian-Colombian writer and art critic, is most famous in Latin America for her critiques, her commitment to develop modern art in Colombia, and, more generally, for her “theory of resistance” which advocates the defence of the many cultural Latin-American identities in fine arts. Her literary work, however, is far less well-known. And yet, not only is it very rich, but it also constitutes the narrative counterpart to her critiques – a collection of tales innervated, to different degrees, with Traba’s notions on and knowledge of art. It is consequently about reconsidering these two sides of her written production as a consistent whole, and identifying the influences and interactions between her art critiques and her literary work, as well as between the fine arts which make up her artistic culture and her fictional writings.It then appears that Marta Traba devises and practices her critical writing “literarily” as she does, above all, her literary work “artistically”: the constant enhancement of the aesthetic eye on the world and of an intensified sensory experience shape an ideal of contemplation throughout her literary work; the continuous inserts of a critical terminology and of references to art works, sometimes in a clearly didactic mode, sometimes in a subtly playful manner, invite the reader to read her fiction stories and poems in the light of the artistic subtext which enriches their meaning; finally, the tale becomes the place where Traba’s theories of “resistance” are tested, at the crossroads of the re-affirmation of the place of Latin America on the map of international art, of the defensive distancing from North American influences, and of the local re-appropriation, by “transculturation”, of the foreign artistic models. The study of the artistic mutation of Traba’s literary work is therefore far from boiling down to the analysis of a mere formal process: from our point of view, it reveals an authentic style, Traba’s style, which is the mirror of the writer and her convictions
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Bundu, Malela Buata. "L'Homme pareil aux autres: stratégies et postures identitaires de l'écrivain afro-antillais à Paris, 1920-1960." Doctoral thesis, Universite Libre de Bruxelles, 2006. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210803.
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Cette étude porte sur le fait littéraire afro-antillais de l’ère coloniale (1920-1960). Il s’agit d’examiner les stratégies des agents à partir des cas de René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant et Mongo Beti et de percevoir comment ils se définissent leur identité littéraire et sociale.Pour ce faire, notre démarche s’articule en deux temps :(1) examiner les conditions de possibilité d’un champ littéraire afro-antillais à Paris (colonisation française et ses effets, configuration d’un champ littéraire pré-institutionnalisé, etc.) ;(2) analyser les processus de consolidation du champ, ainsi que les luttes internes qui opposent deux tendances émergentes représentées d’abord par Senghor et Césaire, ensuite par Beti et Glissant, dont les prises de position littéraires mettent en œuvre des « modèles empiriques » ;ceux-ci régulent et unifient leurs rapports au monde et à l’Afrique.
This study relates to afro-carribean literature in colonial period (1920-1960). We want to examine the strategies of agents like René Maran, Léopold Sédar Senghor, Aimé Césaire, Édouard Glissant and Mongo Beti ;and we want to understand how they invente literary and social identity.
Our approach is structured in two steps: we shall analyse (1) the conditions for an afro-carribean literary field to appear in Paris (french colonialism and its consequences, configuration of literay field.) ;(2) the consolidation of this field and the internal struggles between two tendances represented by Senghor and Césaire, by Glissant and Beti whose literary practice shows the “empirical model” that regularizes and consolidates their relation with the world and Africa.
Doctorat en philosophie et lettres, Orientation langue et littérature
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