Tesi sul tema "Littérature photographique"
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Monjour, Servanne. "La littérature à l’ère photographique : mutations, novations et enjeux (de l’argentique au numérique)". Thèse, Rennes 2, 2015. http://hdl.handle.net/1866/13614.
Testo completoSchincariol, Andrea. "Naturalisme et photographie : l'influence invisible du dispositif photographique sur le roman d'Emile Zola, Guy de Mautpassant, Joris-Karl Huymans et Henry Céard". Toulouse 2, 2010. http://www.theses.fr/2010TOU20097.
Testo completoThis study consists in an analysis of the relationships between the photographic dispositive and five of the most significant works of the literary movement of Naturalism. In the first section of his thesis, the PhD student has analyzed two texts related with the literary genre of the “Fantastic”: the short story Le Horla (1887), written by Guy de Maupassant and Joris-Karl Huysmans's novel Là-bas (1891). The second section is entirely dedicated to the study of Nana (1880), by Émile Zola, and the influence of the photographic dispositive on the theme of “nude” with respect to the heroin of the novel, Nana. The third section consists in a photo-literary analysis of some of the poetic and aesthetic aspects characterizing the novels of Henry Céard, Une belle journée (1881) and Terrains à vendre au bord de la mer (1906). The candidate has operated a meticulous analysis of those literary works, with a focus, in the first place, on those textual marks suggesting the presence of the photographic medium; secondly, he has developed his photo-literary study trying to explore, on the deeper level of the literary enunciation, the function of the photographic dispositive with respect to the construction of the text. Besides, the candidate has proposed, starting from the novels that he has studied, some iconic references reflecting the photographic production contemporary to the authors of his corpus and also some photographic examples of present time
Morand-Dupuis, Marie-Hélène. "L'ekphrasis photographique et le rapport au biographique chez Annie Ernaux et Patrick Modiano : le cas d'Une femme et de Chien de printemps". Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28082.
Testo completoWiener, Elise. "Trace d'existence et énigme de la présence : du photographique à l'oeuvre dans l'écriture de Patrick Modiano". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0018.
Testo completoPhotography is a major topic in Patrick Modiano’s writing, it mingles together presence and absence, inscription and withdrawal, Being and non-Being. In many of his novels, photographs are documents that help the character to evolve in his quest to find the tracks of a missing relative or a forgotten memory. Futhermore, photography is a conceptual model in the narrative : the author examines the past and explores reality in a way that has a lot to do with the paradoxal characteristics that defines photography. The narrative construction does neither bring back the past nor those who disappeared, but instead builds up a poetic of memory that brings up the context of his disappearance. Digging for fragments and traces of anonymous persons, Modiano's narrative gives them back their subjectivity and their dignity, constructing thus a philosophical thought on existence. The story progresses recollecting disparate details build up together to enlight dust of stars that shimmers from the dark matter of the memory
Nachtergael, Magali. "Esthétique des mythologies individuelles : le dispositif photographique de Nadja à Sophie Calle". Phd thesis, Université Paris-Diderot - Paris VII, 2008. http://tel.archives-ouvertes.fr/tel-00640863.
Testo completoCastro, da Cunha Luiz Manoel. "Les drailles féminines de « Grande Sertão Veredas » de João Guimarães Rosa, dans la traduction intersémiotique photographique de Maureen Bisilliat". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL017/document.
Testo completoThis thesis conducted an analysis of the relationship between literature and photography, with the object of study the work: the novel Grande Sertão: Veredas (1956) by João Guimarães Rosa, which has translated for the photography of Maureen Bisilliat in the work, A João Guimarães Rosa (1969). Since its inception, photography rehearsed some steps in the dialogue with the literature. However, were the vanguard of movements that showed greater interaction, leading questions about the artistic work not only on the picture that tried to consolidate as art as well as art by itself in general. Surrealism can be considered as a landmark dialogue, innovation, artistic pioneer among these languages. In the literature, the study of the interaction with writers provided a brief knowledge of some names in the literature that dialogued with photography in his works, lovers of the photographic medium, were also considered photographers. In this work, we treat photography as a inter-semiotic translation, or even creative transposition. The photographic image is not only meant to illustrate the words of the writer. It dialogues with the text, and this construction does not occur randomly and direct way. The research demonstrated that the creative process is similar on both artists the diversity of its aesthetic. The two express their specificities, but at the same time, they nevertheless share equivalents, either convergences or divergences, enabled through metaphorized pictures of backcountry environment and its inhabitants. In intersemiotic dialogue built on João Guimarães Rosa, it was necessary to fragment the novel Grande Sertão: Veredas in captions for the picture to explore the latent feminine in this work. This femininity has been revealed through literary theory that presents a critical rich fortune about the female in Grande Sertão: Veredas. The photographic essay is driven in that the characters perceive the images surfacing through their legends, in addition to several female members silently emerge from images which related durandiano universe belonging to the nocturnal regime. Maureen Bisilliat, makes us believe in the possibility of reframing of Rosa's work, the relationships between reality and fiction, such as duality present from the surrealism that communes with the Imaginary of Gilbert Durand
Esta tese realizou uma análise das relações existentes entre literatura e fotografia, tendo como objeto de estudo a obra literária Grande Sertão: Veredas (1956) de João Guimarães Rosa, traduzida em fotografias de Maureen Bisilliat na obra A João Guimarães Rosa (1969). Apesar de a fotografia ensaiar passos na interação com a literatura desde o seu surgimento em 1849, os movimentos de vanguarda é que propiciaram questionamentos sobre o fazer artístico não só na fotografia, bem como da própria arte em geral. O diálogo entre essas linguagens enfatizou-se sobretudo na escola surrealista, considerada como um marco de inovação e pioneirismo artístico nessa inter-relação. Essa interação propiciou um breve conhecimento de alguns nomes da literatura que dialogaram com a fotografia em suas obras, escritores amantes da fotografia, alguns considerados também fotógrafos. Neste trabalho ocorre uma tradução intersemiótica, ou ainda, uma transposição criativa. A imagem fotográfica não serve apenas para ilustrar as palavras do escritor. Ela dialoga com o texto, e essa construção não se dá de maneira aleatória nem direta. A pesquisa demonstrou que o processo criativo de ambos os artistas é o mesmo na diversidade de suas estéticas. Os doisexpressam suas especificidades, mas, ao mesmo tempo, revelam equivalências, seja por convergências ou por divergências, viabilizadas por intermédio de imagens metaforizadas do ambiente sertanejo e em seus habitantes. No romance, foi necessária a fragmentação, em forma de legendas, por parte da fotógrafa para dialogar com as imagens, ao menos num primeiro momento. A feminilidade latente na obra é desvendada através da teoria literária, que apresenta um rica fortuna crítica acerca do feminino em Grande Sertão: Veredas. O ensaio fotográfico é acionado ao tempo que se percebe as personagens aflorando nas imagens literárias em suas legendas, além de diversos elementos que emergem, como as imagens relacionadas com o universo durandiano: o elementofeminino, pertencente ao regime noturno. Maureen Bisilliat faz acreditar na possibilidade de ressignificação da obra rosiana, das relações entre a realidade e a ficção, dualidade tão presente desde o surrealismo, que comunga com o Imaginário de Gilbert Durand
Chauvet, Émeline. "Littérature, photographie et pornographie : Questions de temporalités". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0060.
Testo completoThrough the aesthetic similarities between French and American literature and photography, this research work intends to analyse the discourse on pornography (which we will call "metapornography") staged by postmodern art and its repercussions on the pornographic body. This work is based on three photographic series, A History of Sex by Andrés Serrano (1995), Sex Pictures by Cindy Sherman (1992) and Pornography by Édouard Levé (2002), as well as three novels, Souvenirs du triangle d'or by Alain Robbe-Grillet (1978), Blood and Guts in High School by Kathy Acker (1978) and Les particules élémentaires by Michel Houellebecq (1998). A secondary corpus borrowed from literature and photography as well as from films or performance will also support the analysis. The heterogeneity of the corpus of study allowed the search for homogenizing criteria that could guide the whole analysis, namely: the crisis of the subject, the de-hierarchization, the importance of metatextuality with the rejection of the cult of the unique and the permanence of discourses on the end. The demonstration therefore takes these invariants into account by systematically linking them to the expression of a particular temporality and its effects on the pornographic body: we are witnessing a successive deformation of the pornographic body which, by way of hybridity, crossing boundaries and fragmentation, has only one solution left: to rebuild itself. But this reconstruction, intimately linked to a process of diversion, is marked by an aesthetic of the too much and the kitsch. All that remains is a cold, worn-out body, on the edge of death, calling for its own outcome
Ligios, Caterina <1984>. "Un parcours entre littérature et photographie: Michel Tournier, Arthur Tress". Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1752.
Testo completoEdwards, Paul. "Littérature et photographie : la tradition de l'imaginaire (1839-1939, Royaume-Uni et France)". Université Paris-Est Créteil Val de Marne (UPEC), 1996. http://www.theses.fr/1996PA120051.
Testo completoIt is possible to trace the history of relations between literature and photography in england and france (1839-1939) de received opinion grounded on a narrow definition of photography. The major encounters between writers and photographers reveal a photo-literary tradition where photography leads not to the real world objectively transcribed by the camera bu the imaginary, in accordance with idealist preoccupations (neoplatonism, christianity), and show the inadequacy of contemporary theory, centred on the supposed "ontology" of the photographic image that makes it a reminder of death. In england, literary photography (robinson,cameron,coburn) gives rise not to simple illustration but, when interpreted in the context of the whole work in which they are inserted - an interpretation till now unattempted -, to subjective readings, where the photographs create their own fictions or represent what the characters see. In france, marey's chronophotography led valery to use an objective, scientific photography to relinquish the immobile time of symbolism and approach subjective time ; whilst breton, using freudian psychoanalysis and, even more, the remains of christian idealism, invests ordinary photography with all the powers of dream. The popular photo-novel reveals, on the contrary,a misuse of photography's reality-effect. Rodenbach's undervalued work serves to demonstrate, in le regne du silence, through the use of photographic metaphors and situations, the suspect idealism of the "theory of spectres", and to suggest in bruges-la-morte, where text and photographs together constitute a totally new kind of novel - revealed by the first ever analysis of the negatives, vari and retouching -, the pathological nature of the association between photography on the one hand, and melancholy and the reminder of death on the other
Couvidat, David. "La collection "terre humaine" de Jean Malaurie (1955-2015) : littérature, anthropologie et photographie". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC030/document.
Testo completo“Terre Humaine” Publishers’ Series (1955-2015), which is supervised by a French explorer and geographer, Jean Malaurie, may be examined as a heuristic space of diffusion of ideas, objects and practices to explore, in the 2nd half of the twentieth century, the tightness of the literary field in contact with anthropology and photography. The diversity of the authors’ backgrounds, writing genres, spaces and periods of time, masks the underground unity of an editorial and self-claimed universal enterprise which aims at understanding the most diverse populations, both in time and space, to uncover the mysteries of the human existence. Networking testimonials on societies scattered around the globe discloses a parallel worldview. In connection with the Annales review and the 19th century realism and naturalism, early reflections on writing in social sciences end up spawning an ethnographic literature grounded in exploring ways of living and thinking among marginalized groups worldwide. Ethnography is not anymore only considered as a scientific method to collect data but more broadly as a textual, visual and audiovisual writing genre relating the tragic metamorphosis of a society in contact with a civilization
Pallas, Basile. "De la vue au regard : littérature et photographies au XIXe siècle". Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30055.
Testo completoIn the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image
Cristini, Corinne. "Émergence et rôle de la photographie dans la littérature espagnole de 1839 au début des années 1870". Paris 4, 2004. http://www.theses.fr/2004PA040147.
Testo completoThese thesis works deal with the links between the universe of photography and Spanish literature marked by costumbrismo, from 1839 to the beginning of the seventies. First, it was necessary to study how literature resorted to optical instruments before the advent of photography. In this literary context, we have selected collective works such as Los españoles pintados por sí mismos (1843-1844), others works from two authors regarded as really costumbristas : Mesonero Romanos and Antonio Flores. We have also studied less famous writings, some texts extracted from the Almanac of Eusebio Juliá, or articles taken from newspapers and magazines. This thesis aims at showing how the photographic representation system appeared into Spanish literature deeply imbued with pictorial model. It is interesting to see how the new literary images created by photography express the ambivalent vision of authors towards photography they find both fascinating and contemptible. The role of photography is also perceptible through a new literary theme symbolised by a new character : the photographer. Finally, we have confronted text and illustrations (lithographs and plates from photographic model) in two books : Crónica del viaje de Sus Majestades y Altezas Reales a las Islas Baleares, Cataluña y Aragón en 1860 by Antonio Flores and Diario de un testigo de la guerra de África by Alarcón
Bonnafous, Saurine. "Jean Cocteau et la photographie". Montpellier 3, 2002. http://www.theses.fr/2002MON30056.
Testo completoJean Cocteau is well known for his polymorphic work : literature, cinema, drawing. Photography however represents a new aspect of the poets research. Photographer in the first part of his life, he was also an omnipresent model and faced the objectives of the most famous, multiplying his sittings in search of the ideal portrait. Jean Cocteau never tired of this medium, although, without any doubt, it is in writing that he occupies a dominating place. By studying the forewords of books dedicated to photographer, critical speach and fiction, photography is revealed to the poet and becomes a new " vehicle for poetry "
Conant, Chloé. "La littérature, la photographie, l'hétérogène : étude d'interactions contemporaines : C. Boltanski, W. Boyd, S. Calle, G. Davenport, J. Roubaud, W.G. Sebald". Limoges, 2003. http://www.theses.fr/2003LIMO2008.
Testo completoKoeniguer, Alexandra. "Autour du roman-photo : de la littérature dans la photographie. Les objets de Marie-Françoise Plissart et Benoît Peeters". Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-00980585.
Testo completoMerzeau, Louise. "Du scripturaire à l'indiciel : texte, photographie, document". Phd thesis, Université de Nanterre - Paris X, 1993. http://tel.archives-ouvertes.fr/tel-00490006.
Testo completoBourdieu, Séverine. "Proses de la mémoire : enquête, archive et photographie dans le récit français contemporain". Bordeaux 3, 2006. http://www.theses.fr/2006BOR30057.
Testo completoFocusing on a corpus of contemporary French novelists, namely Pierre Bergounioux, François Bon, Annie Ernaux, Johan-Frédérik Hel Guedj, Pierre Michon, Patrick Modiano and Jean Rouaud, we will be examining a paradigm change which took place recently in the writing of memory. The works under analysis were written between the end of the nineteen seventies and the early 21st century. For reasons which are at the same time personal (episodes of grief), generational and historical (the fractures of the 20th century), the individual, family or collective past is now experienced as and marked by a sense of loss and escheated inheritance. Perceived as a riddle, it becomes actively investigated by the subject who seeks to inherit from it. It will be demonstrated that this process of investigation, centred as it is around the collection and the questioning of archives (letter-writing, notebooks, pictures, newspaper cuts, witness accounts and various material remains), borrows from methods of research and understanding belonging to other fields of knowledge, particularly social and human sciences, and from other types of discourse and writing, such as journalistic and police investigation. The borrowing rules themselves will be examined as so many questionings and defacements, with an eye on the renewal of literary forms that they bring about, as well as on the displacement of the relation between history and memory, and between document and fiction that they offer
Lu, Yichen. "L'écriture de soi à l'épreuve de la photographie : Annie Ernaux et Hervé Guibert". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL037.
Testo completoThe Self-writing has been invaded by an increasingly assertive presence of photography since the 1980s. The influence of photography as an image, act and medium extends beyond the redefinition of the human perception to challenge the confines of the literary representation of the Subject. With the present study, we propose to examine the various processes of appropriation of the photographic - understood in its broad sense which includes all the representations, real and imaginary, with photographic characters - in the autobiographical writing, exemplified by the works of Annie Ernaux and Hervé Guibert. These processes reveal the complex relationships – from seamless complementarity to virulent conflict – between Self-Writing and photography. Integrated respectively as visual paratext and counterpart of their literary work, photography is an extremely malleable object, which "articulates in a complex way anchoring in the real and opening to the imaginary". Considered as a literary mutation agent, it allows deconstructing the canonized models of autobiographical expression so as to extend the human representation beyond the predicate area
Rascle, Laetitia, e Laetitia Rascle. ""Empreintes" : suivi de Création littéraire et photographie argentique : intermédialité pour une poétique de l'image". Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/33310.
Testo completoLe présent mémoire de maîtrise s'intéresse à la question de l'image et en propose une exploration placée sous le signe du double. Entre recherche et création, poésie et photographie, éclatement formel et méditation ontologique, ce mémoire ouvre des dialogues pour tenter de comprendre, en deux temps, la mécanique des confluences et leur intérêt sur le plan des processus créateurs. À la croisée des notions qu'il embrasse : l'image ; et le faisceau de ses manifestations, qu'elles soient de l'ordre de l'empreinte (trace), de l'archive (souvenir) ou encore de l'aura (lumière). Fruit d'un travail à quatre mains, Empreintes invite tout d'abord à entrer en immersion dans un monde duel où le fond comme la forme participent de la perte des repères. Présenté dans un format hors norme (deux fois 66 pages disposées tête-bêche) , le recueil photo-poétique joue avec l'espace et le temps, proposant d'arpenter en cinq tableaux les paysages laissés par des êtres qui ont été aimés, qui ont été perdus. Une parole s'élève des blessures et du silence pour retrouver leur trace , se dégage peu à peu de ses propres ruines pour naître à elle-même – puis mourir à nouveau – en un cycle sans fin. Empreintes laisse ainsi sourdre la parole vivante en abordant, par le thème de l'eau, le deuil sous toutes ses formes. Pour soutenir ce recueil, la partie Création littéraire et photographie argentique : intermédialité pour une poétique de l'image offre ensuite une réflexion en deux parties . Un rapport de laboratoire permet de remonter le fil du processus créateur pour mieux saisir, par l'archivage, la genèse du recueil. Il présente les trois méthodes de création intermédiatiques expérimentées entre écriture et photographie. Un essai lyrique sur la photographe franco-canadienne Alix Cléo Roubaud (1952-1983) aborde enfin la magie du nu féminin pour clore cette quête de l'image en pleine lumière
This Master's thesis deals with the topic of images and leads its exploration with a dual-view. Midway between research and creation, poetry and photography, formal fragmentation and ontological meditation, this memoir opens dialogues in a two-stage attempt to understand the mechanics of confluences and their relevance with regard to creative processes. At the crossroads of notions covered : images ; and the irrange of manifestation, whether in terms of footprints (trace), archives (memory) or aura (light). Fruit of a four-hands work, Empreintes is first of all an invitation to immerse oneself in a dual world where both substance and form contribute to a loss of bearings. Presented in a non-standard size (twice 66 pages arranged head to tail), the photo-poetic collection plays with space and time, offering a five-step walk among landscapes deserted by beings once beloved, now forever lost . A Word rises from wounds and silence to recount them, emerges gradually from its own ruins to self- originate - then die again - in an endless cycle. Empreintes then lets the living Word arise in addressing mourning in all its forms by the theme of water. To support this collection, the Création littéraire et photographie argentique : intermédialité pour une poétique de l'image part then offers a reflection in two stages. A lab report traces back the thread of the creative process to better understand, via archiving, the genesis of the collection. It presents three methods of intermedia creation experienced between writing and photography. A lyrical essay on the French-Canadian photographer Alix Cléo Roubaud (1952-1983) eventually addresses the magic of the female nude in order to end this quest for images in full light.
This Master's thesis deals with the topic of images and leads its exploration with a dual-view. Midway between research and creation, poetry and photography, formal fragmentation and ontological meditation, this memoir opens dialogues in a two-stage attempt to understand the mechanics of confluences and their relevance with regard to creative processes. At the crossroads of notions covered : images ; and the irrange of manifestation, whether in terms of footprints (trace), archives (memory) or aura (light). Fruit of a four-hands work, Empreintes is first of all an invitation to immerse oneself in a dual world where both substance and form contribute to a loss of bearings. Presented in a non-standard size (twice 66 pages arranged head to tail), the photo-poetic collection plays with space and time, offering a five-step walk among landscapes deserted by beings once beloved, now forever lost . A Word rises from wounds and silence to recount them, emerges gradually from its own ruins to self- originate - then die again - in an endless cycle. Empreintes then lets the living Word arise in addressing mourning in all its forms by the theme of water. To support this collection, the Création littéraire et photographie argentique : intermédialité pour une poétique de l'image part then offers a reflection in two stages. A lab report traces back the thread of the creative process to better understand, via archiving, the genesis of the collection. It presents three methods of intermedia creation experienced between writing and photography. A lyrical essay on the French-Canadian photographer Alix Cléo Roubaud (1952-1983) eventually addresses the magic of the female nude in order to end this quest for images in full light.
Cordié, Levy Marie-Hélène. "L' autoportrait dans la photographie américaine de 1839 à 1939". Paris 7, 2007. http://www.theses.fr/2007PA070023.
Testo completoThe aim of this thesis is to show the evolution of self portraiture in photography in the United States during the first hundred years the medium was practised. A supple chronological approach was used following the direction identity formed itself. About fifty self portraits were selected out of a corpus of two hundred for their visual richness, their inner interest, and because they were done by professional photographers. In order to understand the signs inherent in each picture, a peculiar method called "tactile micro analysis" was used. Sometimes, anonymous self portraits were mentioned to show that some trends of thoughts were relevant to a collective dynamics. Moreover, as American novels came into existence at the same time as photography was born, correspondences were established with literature so as to give density to the signs present in the picture. Although this research is based on a formal taxinomy anchored in the western painting of portraits, what is mainly at stake here is to show the evolution in the way photographers looked at themselves first but also, at the world and their own practice. The subtle constant discrepancy between these approaches showing sometimes that photographers expressed their point of view in a most unexpected way was brought into light in this study
Mathieu, Patrick. "Réenchanter le monde par le voyage et la photographie : une quête narrative". Paris 4, 2003. http://www.theses.fr/2003PA040257.
Testo completoPhotography has managed to change the relation between man and his environment and consequently, the way he talks about it. The notions of space and time have experienced the greatest change of all. By breaking through the fictitious frame or temporality and space, photography has superseded all myths. It has brought a new divided look to literature and the wolrd's perception has become more objective. With time, literature tends to loose its referent potential for the benefit of an indexical representation. Writers have been deeply influenced by photography and have tried to express these notions. In return, as far as they are concerned, photographers have evolved with literature, taking changes into account, acknowledging the out-of-frame and the deconstruction techniques and finally using different narrative levels or ways of interpreting a picture. The exploration of the world is more than ever common to both literature and photography. It used to be odd but now appears familiar as what usually lies far away has become "the same". However, we can still notice in photographers a persisting and developing habit for a narrative quest. The artist must sort out between brutality of its referent, the necessary biographic share, the plastic arrangement of the reality connected with time: in a specific kind of photography, the narrative function -what is told- takes over the "acknowledging" function -what is seen- and thus enlivens the world
Bernard, Olivier. "Le roman de Claude Simon, texte mosai͏̈que : intégrations et enjeux des fragments rapportés dans le roman de Claude Simon". Caen, 2001. http://www.theses.fr/2001CAEN1326.
Testo completoErbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080033.
Testo completoIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Le, Guen Laurence. "Littératures pour la Jeunesse et photographie, mise à jour et étude analytique d’un corpus éditorial européen et américain, des années 1860 à aujourd'hui". Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20029.
Testo completoLiterature for the young is often illustrated by drawings, but what happens when the illustrations are photographs? Only recently has the corpus of photographically-illustrated children’s literature begun to be examined. It is proving to be much more extensive than had previously been imagined, and necessitates a study from several different angles. The aim of this thesis is to highlight the close links between children’s books and photographic illustration and to measure the implications of the relationship between these two arts (considered ‘minor’ from a broad historical or geographical perspective) Covering European and North American literature from 1860 to the present day this thesis shows that photoliterary production for children is in fact a publishing genre in its own right, although today many such productions are still filed under the label “Picturebooks” or in French, “Littérature de jeunesse” [children’s literature]. By invoking the field of photoliterature, this study brings to light the layout of various phototextual devices and examines how text and photographs combine to create meaning for a young reader. It also retraces the relations between certain pedagogical theories and the critical reception of these works, revealing the manner in which both are inextricably bound up with particular publishing decisions
Beauregard, Martin. "L'image écartelée : une étude exploratoire des rapports entre la photographie et le récit". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010574.
Testo completoA photographic work is built around a story, one being narrated by the text or the image, one that one is telling just to oneself or that is being shared with others. Such a work is animated by the problematic relationships it may have with the novel or the film, partly caused by its fixed ontological purpose and the narrative effects it produces in the spectator’s imaginary world. The concept of image-écartelée brings forth this tension between the photography and the experience of creation. It allows one to contemplate the various processes of deconstruction and reconstruction of the image, generating a profound reflection concerning the structural matrices and semiotic narratives. L ’image—écartelêe asks us to examine the different modalities of allegory and reflexivity of the photographic medium in its relation to the images in the narrative. By this means, et multiple interplay of temporalities is produced, between the story and the memories it evokes, which retraces even the act of writing and a personal practice of the photographic art
Erbetta, Alejandro. "Mémoire et (re)construction d'histoires individuelles, familiales et collectives (approches photographiques)". Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080033.
Testo completoIn a time of exacerbation of the self-representation (through the socialnetworks, among other things), our subject of study proposes a reflection onmemory and the reconstruction of histories in the artistic practices. Using as astarting point a personal photographical work (Reprises), we propose a linkbetween theory and creation, in a dialectic that starts from the analysis ofpersonal works, to establish a dialogue with theorists and contemporaryartworks dealing with these issues. In this kind of retrospective approaches thatreinterpret the past, the artists work from the material and memory traces, suchas the images of family albums, archives, documents, or testimonies. Mixingdifferent esthetical universes in a new unity, they make coexist their ownimages with existing sources, disappeared lives with their own existences. Theirworks thus become a artistic re-creation and postulate a special narrative spacewhich evokes a poetics of the memory. Partial and fragmentary, they show anarrative reconfigured by the imaginary and the editing. They exceed thestrictly photographical field and open their language to the dialogue with otherarts, taking the form of hybrid artworks. What relation can be set betweenmemory, reconstruction and identity, between individual and collectivehistory ? If the past is being transformed, how to rebuild it ?
Perrigault, Laurence. "Jacques Prévert et la photographie : acteur de l'avant-garde, modèle de l'après-guerre (1928-1974)". Rennes 2, 2006. http://www.theses.fr/2006REN20002.
Testo completoIn the 30s, Prevert and his friends photographers contributed to found the emblematic artistic ideas of the period between the wars. Then the dialogue made between his writing and photography became very rich, even though it did not always lead to real collaborations. This can be seen through the significant place that photography took in Prevert's work, subtly poiting out thus how this technique was shaping his relations with the world, how it influenced the way he was catching reality. After the Liberation, Prevert took up the dialogue with photography again thanks to a new generation of photographers. From now on the relationship he kept us with them was different from the one he had had with the photographers 15 years earlier. Whereas with the latter, one could guess some mutual competition which had pervaded their respective works, after the war Prevert became a model to a whole generation of artists who chose to pursue the aesthetics started by their predecessors
Maria, Charlotte. "Correspondances de Claude Cahun : la lettre et l'oeuvre". Caen, 2013. http://www.theses.fr/2013CAEN1710.
Testo completoThis study is concerned with the correspondence of Claude Cahun. It is an important body of work that includes most of the letters received and sent by Cahun, to which we have access. Additionally, this corpus can be seen as a cross- correspondence, including dialogue with Henri Michaux, André Breton and Robert Desnos. There are also letters addressed to Peter Champion, Andre Gide, Pierre Albert-Birot, Charles-Henri Barbier, Gaston Ferdière Jean Humbert, Léo Malet, Roger Roussot Ryeul Jean, Jean Legrand, Jean Schuster, George Schwob, Marianne Schwob and Jacques Viot. And, finally, there are other letters addressed to Claude Cahun from by Nicolas Calas, Jacques B. Brunius, René Crevel, Mops Sternheim-Ripper and Paul Éluard. The thesis is organized in two essential parts. The first part includes the ensemble of Cahun's correspondence, which we have organized, presented and annotated, so as to elucidate circumstances warranting the writing of the letters. These notes also work to give a unique perspective of the literary and political aspects that underly Cahun's dialogue with so many of the major authors of the twentieth century. The second part of this study attempts to situate, in a socio- historical manner, an artist who underwent a transformation from fin-de-siècle modernism (inherited from her uncle, Marcel Schwob) to the politically engaged avant-garde of the 1920s and 30s. This second part of the study also pursues the problematic of autobiographical writing and its relation to the communicational problems associated with personal letters. In other words, this study takes poetic approach toward Cahun's epistolary and other writings, which have too often been seen as subordinate to her more shocking photographic production
Reverseau, Anne. "Le rôle de la photographie dans l’esthétique moderniste (1905-1930) : changer le regard du poète". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040040.
Testo completoThis dissertation examines the transformations of the poetic gaze through the prism of the photographic imaginary in the modernist age. Literary reviews and works by Apollinaire, Cendrars, Reverdy, Fargue, Mac Orlan, Albert-Birot, Morand, Larbaud, Soupault, Levet, Segalen or Roussel enable us to examine the role of photography between 1905 and 1930. The influence of photography is tangible in the realms of amateur and recreational practices, iconography or collections. Photography appears in poems as an external model, alternately magic, exotic, technical or documentary. Photography thus informs poetry from within: descriptions, real-life effects and optical devices show the link between the representations of the visual and the photographic gaze. This dissertation emphasizes the continuity between Modernism and Surrealism and demonstrates how photography redefined the modernist aesthetic in poetry
Dulong, Annie. "Arpenter l'horizon : poèmes, photographies, nouvelles et réflexions ; suivi de Pour une théorie de l'acte créateur". Thesis, Université Laval, 2006. http://www.theses.ulaval.ca/2006/23677/23677.pdf.
Testo completoKuzina, Tatiana. "Objet et modèle archéologique dans la création sur la Shoah". Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080025.
Testo completoReflections upon Holocaust writings are centred on the witness, his testimony and its transmission, such that any work that makes these notions less applicable is shifted to the margins. This thesis suggests a change of viewpoint by focusing on these margins and by presuming the existence of an alternative memory model. It studies literary and visual works that unravel the Holocaust theme through objects and proposes to examine their ability to echo in a specific piece as well as in the creative production as a whole, to point out their combinatory capacity and to observe how their absence manifests itself. Analog photographs included in the narrative raise particular questions: being objects and pictures at the same time, they represent key elements of the plot, and although they bring the lost people into the post-event context, they do not enhance the visibility and the accessibility of the past. Their opaque and solid nature provides them with an independent value and imposes a reassessment of the relationship between the witness, the narrator and the reader. Within this model the presence of a witness is not essential for the recollection of the past: he is a character of the narrator’s quest. The latter assumes the role of an archaeologist exploring his present, discovering the remnants of the past, describing them and trying to interpret them, his attempts, however, never amounting to a coherent story. Thus the creative production reveals a third agent of the memory: it urges the reader’s emancipation challenging him to construct the subject matter and to become a true protagonist of the archaeological model
Carrara, Giuseppe. "Les mots bien en vue : rhétorique et poétique du photo-texte". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100023.
Testo completoThe PhD thesis aims to investigate and reconstruct the evolution and forms that literary photo-text in prose has taken from its birth to the present day. The research is part of a theoretical and methodological framework that takes into account the broader relationship between media and literary texts to propose a theory of literary remediation that takes into account the longue durée of the relationship between visuality and literature and provides an analytical model for the study of the relationship between various forms of representation. Within such a perspective, the photo-text is defined as a rhetorical ecosystem, that is to say a complex, open and reticular structure of elements that presupposes dialogue, conflict and the constant co-implication of all aspects of the art-work. We proceed, therefore, to identify categories to describe the specific photo-textual rhetoric and the modes of structural organization. The third and last chapter of the first part is of a historical nature and is dedicated to the reconstruction of the diachronic evolution of the photo-text. The second part of the thesis is dedicated to an analysis and mapping of photo-texts in the contemporary age, from the nineties to the present day. A typology has been proposed that selects and classifies the works according to the most representative trends of this period, taking into account four main factors: theme, genre, referentiality and the specificity of the relationship between text and photography. Five main tendencies have been identified in order to frame hyper-contemporary photo-texts: fetishism; life narratives; memory; reality; falsehood
Schmitter, Gianna. "Estrategias intermediales en literaturas ultracontemporáneas de América Latina. Hacia una TransLiteratura". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030016.
Testo completoThe general objective of this thesis is to study inter- and transmedial strategies in emerging Latin American literatures in relation to new technologies. The corpus is composed of books by authors from Argentina, Chile and Peru that have been published in paper format between 2000 and 2015 and that introduce the Internet and/or images photography, video and the own visuality of the text that emulates interfaces. In the first part, a status of the issue reviews the relationship between technology and literature in Latin America and a second one the theories of intermediality in order to develop a model of inter- and transmedial strategies for the corpus. It is postulated that these literatures are TransLiteratures that are written not only with the verbal language, but also with and through the other mediality and its inherent logics. The corpus is classified and analyzed based on: (1) the media combination between text and photography in five publications by M. Bellatin (part II); (2) expanded literature, in other words paper-books that are expanded through videos on YouTube or their own website, therefore artifacts by A. López, T. Rodríguez, and J. Pinos/A. Díaz are considered (part III); (3) the media evocation of the internet in literature through the digital aesthetics of the page (M. Raimon, D. Link, A. López, G. Viñao, I. Elordi, C. Ulloa Donoso, C. Apablaza), the narrative logic of a video game (E. Castromán) and hyperlinks (S. Sebakis, C. Apablaza), and the logic of an uncreative writing that originates in the gesture of copying and pasting and sharing foreign discourses, frequently used on social networks (C. Gradin, A.L. Cauros, L. Lutereau) (part IV)
El objetivo general de esta tesis es estudiar las estrategias inter- y transmediales en literaturas latinoamericanas emergentes en relación con las nuevas tecnologías. El corpus se compone de libros de autores y autoras de Argentina, Chile y Perú que han sido publicados en formato papel entre el 2000 y el 2015 y que introducen internet y/o la imagen fotografía, video y la propia visualidad del texto que emula interfaces. En una primera parte se proponen dos estados de la cuestión: uno, respecto de la relación entre tecnología y literatura en América Latina; el otro, sobre las teorías de la intermedialidad, a fin de elaborar un propio modelo de estrategias inter- y transmediales para el corpus. Se postula que estas literaturas son unas TransLiteraturas que se escriben no solamente con lo verbal, sino con y a través de la otra medialidad y sus lógicas inherentes. Se clasifica y analiza el corpus en torno a: (1) la combinación mediática entre texto y fotografía en cinco publicaciones de M. Bellatin (parte II); (2) la literatura expandida, i.e., libros-en-papel que se expanden mediante videos en YouTube o una página de internet propia, a partir de obras de A. López, T. Rodríguez y J. Pinos/A. Díaz (parte III); (3) la evocación mediática de internet en la literatura mediante la estética digital de la página (M. Raimon, D. Link, A. López, G. Viñao, I. Elordi, C. Ulloa Donoso, C. Apablaza), la lógica narrativa de un videojuego (E. Castromán) y de los hiperenlaces (S. Sebakis, C. Apablaza), y la lógica de un escribir sin escribir que se origina en el gesto del copiar y pegar y el compartir de discursos de una autoría ajena tan habitual de las redes sociales (C. Gradin, A. L. Caruso, L. Lutereau) (parte IV)
Pal, Gyöngyi. "Le dispositif photo-littéraire en France dans la seconde moitié du XXème siècle : analyse de l'oeuvre de François-Marie Banier, Jean-Loup Trassard, Lorand Gaspar et Denis Roche". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00481329.
Testo completoBourget-Davron, Anne-Cécile. "L'exploration de l'image dans l'abîme de la discursivité : une analyse picturale de The Tunnel de William H. Gass". Paris 7, 2012. http://www.theses.fr/2012PA070071.
Testo completoThe Tunnel questions representation as it sets images against discourse and reminds us of a century where image and discourse have served the propaganda of fascist and totalitarian regimes. The complex inter-semiotic play developed by William Gass creates a space of disobedience and résistance against a narration whose authoritarian and destructive goals exposes a mentality that the author called the "fascism of the heart". The objective of this dissertation is to observe the way image negotiates its place in the text in order to compete with a narrative discourse. In the first part of this study, I focus on the opposite roles of image and speech. The second part deals with the notion of "iconotext", as defined by Michael Nerlich and Alain Montandon, through the analysis of inter-semiotic experimentations in an attempt to restore the dialogic dimension of language from protean letters to sentences that shape calligrams. The third part of this study observes how a formal transaction between narration and photography participates in the foundation of a photographical writing that echoes the pictorial poetics defined by Liliane Louvel. The fourth and last part is dedicated to dream narratives, that relate to metafiction as they are stories within stories, and investigates images as products of figurative speech
Kuzina, Tatiana. "Objet et modèle archéologique dans la création sur la Shoah". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080025.
Testo completoReflections upon Holocaust writings are centred on the witness, his testimony and its transmission, such that any work that makes these notions less applicable is shifted to the margins. This thesis suggests a change of viewpoint by focusing on these margins and by presuming the existence of an alternative memory model. It studies literary and visual works that unravel the Holocaust theme through objects and proposes to examine their ability to echo in a specific piece as well as in the creative production as a whole, to point out their combinatory capacity and to observe how their absence manifests itself. Analog photographs included in the narrative raise particular questions: being objects and pictures at the same time, they represent key elements of the plot, and although they bring the lost people into the post-event context, they do not enhance the visibility and the accessibility of the past. Their opaque and solid nature provides them with an independent value and imposes a reassessment of the relationship between the witness, the narrator and the reader. Within this model the presence of a witness is not essential for the recollection of the past: he is a character of the narrator’s quest. The latter assumes the role of an archaeologist exploring his present, discovering the remnants of the past, describing them and trying to interpret them, his attempts, however, never amounting to a coherent story. Thus the creative production reveals a third agent of the memory: it urges the reader’s emancipation challenging him to construct the subject matter and to become a true protagonist of the archaeological model
Marcus, Gustaf. "Paria : Brottslingen och normaliseringen av människan i Strindbergs, Hanssons och Geijerstams författarskap". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL139.
Testo completoThis study explores the representation of the criminal and the wider question of the normalization of man seen through the works of August Strindberg, Ola Hansson and Gustaf af Geijerstam. The question of the identity of the criminal attracted considerable attention at the end of the 19th century. It was explored in new, prestigious scientific fields that relied upon cutting-edge photographic technology and statistics as forms of surveillance for defining types of human beings. In the literary works, the criminal thus functions as an appealing topic through which deeper cultural anxieties about deviance, decline and degeneration could be voiced and discussed. However, the criminal is a complex figure who at the same time tended to be seen as a sick, deviant or abnormal individual in need of normalization, and as a superior being who expresses his personal freedom and individuality. This ambivalent process, called a “game of normality”, is in turn understood in post-Foucauldian terms as a form of “governmentality”, or as a continuous shaping of a field of situated freedom and individuality
Harada, Misao. "La Cohérence du texte chez André Breton. Une étude de quatre oeuvres : Nadja, Les Vases communicants, L’Amour fou et Arcane 17". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030038.
Testo completoThis study aims at clarifying the textual coherence in four autobiographical narratives of the Surrealist Poet André Breton: Nadja, Les Vases communicants, L’Amour fou and Arcane 17, which we propose to call “bretonian tetralogy”. Our main thesis is the central importance, in this “tetralogy”, of acts and means of convincing the reader of the genuineness of Surrealism. And the author succeeds in establishing a dynamic tête-à-tête relation with his reader, which endows each narrative with its inward coherence. Photography plays a key role in this rhetoric scheme, and we put forward the interpretation of “bretonian tetralogy” as a variation of 19th century’s illustrated book modernized by the medium and visualization device. On the basis of Freud’s theory about dream and theatricality, we demonstrate that these narratives must be considered as virtual theatres since incorporated theatricality is a way of reminding and exploiting, in the shape of a text, the discourse situation underway between communication partners; Breton and his reader
Sassi, Sonia. "Roland Barthes : figures du discours de l'amour, de la mort et du deuil dans "Fragments d'un discours amoureux", "La chambre claire. Note sur la photographie" et "Journal de deuil"". Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100039.
Testo completoThis doctoral thesis is entitled Figures of the speech of love, death and mourning in Fragments of a lover’s discourse, Camera Lucida. Reflections on Photography and Mourning Diary, published respectively in 1977, 1980 and 2009. At the point of convergence of language sciences and literature, this long-term research is based on a generative approach, understanding the three texts of the corpus in relation to each other, throughout the stages of the investigation conducted. In the analysis of the three essays, which constitutes an interdependent triptych, the objective of this thesis is not only to highlight the affinities and their intersections, but also their differences and disparities at all levels: the configuration of the themes, words, notions and key expressions constituting love, death and mourning, the morphology and composition of the three texts, the metaphoricity and its semiotics, the enunciating dispositions of the speech and the interdiscourse they support. Thus it will be easy to recognize what a science of enunciation and discursive formations can bring to literary analysis: microreadings centered on lexis, minute details and sequences through which literature confronted with love passion, funeral amazement and grief, affirms its strength, but also its collapse
Bertrand, Anne. "Walker Evans, écrits et propos. Edition critique". Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC122.
Testo completoThis thesis aims to provide a critical study of the texts Walker Evans (1903-1975) signed and published during his lifetime. One of the most important photographers of the United States, from his exhibition "American Photographs," at the Museum of Modern Art(MoMA) of New York, and the eponymous book, in 1938, Evans first wanted to become a writer. With the exception of one decade, from the early 1930s to the early 1940s, when hefocused solely on photography and produced the core of his work, never in his life did Evansstop writing. However, he did not theorize about photography but sparingly, and quite late in life. An essay is considering the relation of the photographer to writing ; a selective anthology gathersmost of his texts, each with an introduction which presents and analyses its contents, in the light of sources from the Walker Evans Archive at the Metropolitan Museum of Art in New York; an iconographical volume reproduces Evans's publications combining his texts and images. Evanswrote as a critic for Time Magazine (1943-1945) beside his friend Agee, then contributed to Fortune(1945-1965). He there invented the form of portfolios combining a short text he would write and images, either by him or by others, often times on vernacular subjects. Furthermore, he would sign critical essays in various periodicals, particularly on photography. From the end of the 1960s, while he was teaching at Yale University, he would publish a few theoretical writings which are decisive for the history of the medium, notably the interview with Leslie Katz which was published at the occasion of Evans's second retrospective at MoMA, in 1971. Here Evans coined the phrase "documentary style", which qualified his own photography, and would apply to manyworks by contemporary artists. At get being his main reference for photography, the other references he mentions are principally literary: Flaubert and Baudelaire, or James, Proust, Nabokov. They indicate how concerned the photographer was, always, with writing, and style
Massé, Joey. "Jeux et enjeux du regard : entre plaisir et danger : l’œuvre d’art dans le roman de Siri Hustvedt". Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0028/document.
Testo completoThe aim of this thesis is to study the relations between word and image in three of Siri Hustvedt’s novels: The Blindfold (1992) What I Loved (2003) and The Blazing World (2014). Hustvedt’s works of fiction contain many long ekphraseis – the result is the “pictorial” saturation of the literary text. The works of art described are mainly fictitious and make reference to a wide variety of techniques and mediums (painting, photography, installation, video). The author invents works of art that progressively evolve from two-dimensions to three-dimensions and from still image to moving image. This thesis examines the function of the insertion of these images in the literary text and questions the impact of this event on the reader/viewer. In each novel, the encounter between the “narrator-viewer” and the works of art leads to an aesthetic or a sensual pleasure. The characters take part in mirror and mask games that can put them in danger. The confrontation with the work of art results in a loss of control and a form of alienation when the characters are symbolically blind or trapped by their own perceptions. The reader’s active participation reaches a climax in The Blazing World
Malzner, Sonja. "La représentation des africains dans les relations de voyage pluri-médiatiques européennes du début du vingtième siècle". Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0350.
Testo completoThe interest of this PhD-thesis originates from the conjunction of two important questions, the first one being that of representation of Africans in literature - and especially in travel literature and in photos. The thesis aims to show that the representation of the "other" is not always as fixed and as clear as one might think. Parting from different theories of the perception of the "other", we aim to show that the representation of the "other" in these illustrated travel books is very often ambiguous. The second is a question of communication and deals with the combined usage of different types of media (text, photographs, drawings, layout, peritexte (Gérard Genette). It originates thus from intermediality. The work aims to clarify the role of these different types of media in respect to the representation of Africans. Does the combination of these different types of media draw a picture of Africans which is different from that depicted in the text or in the image on its own? It is interesting to look at the added value which might be achieved by the combination of these elements. Does the added value arise from newly created dimensions which could not have been achieved by any one form of media on their own?
Kim, Seonja. ""L'image fantôme" chez Hervé Guibert". Paris 12, 2004. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990003948580204611&vid=upec.
Testo completoWe studied the concept of the "ghost image" in literary and photographic works of Hervé Guibert, a French journalist, writer and photographer (1955-1991). Our objective was to show that the ghost image, which is, according to the writer, a mental et literary representation, appears also in his photographies. We descrihed the ghost image as a backup of memory, making visible a photography however flot realized. The ghost image is situated in consequence hctween two systems of parallel representations, the literay and the photographic. It is what led us to the exploration of Guibert's photographie works where we observed the auhor's narcissistic split personality linking it to the image of the ghost. For the best comprehension of these works, where Guibert seems to succeed in representing the invisible, we interpreted them here under the category of the metaphysical sublime. In pursuit of a hereafter, Guibert seems to be transformed into a ghost image
Bourget, Virginie. "L'oeuvre d'art à l'épreuve de sa reproduction imprimée". Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00267657/fr/.
Testo completoPrinted reproductions of works of art are a source of an ambiguity in the status of the artwork thus reproduced. We observe this duality through three types of articulation of the work of art in the form of its printed reproduction: evidence, derivation and re-use. However, in indicating a confusion these forms do not allow us to distinguish between the artistic and non-artistic statement. The intention of the person behind the reproduction should make it possible – their action, following their intention, will be aimed towards a particular horizon; it should therefore be simple for the viewer to classify a reproduction, and yet, confusion persists. The reproduction of the work of art takes it into unfamiliar worlds, constantly shifting the boundaries between art and non-art through the action of exchange, rupture, and decontextualisation. It disturbs the ‘habitus’ that allows us to recognise the work of art; it asks us to endlessly re-examine the relationships which define it, to accept a play of boundaries that modifies not only the definition of the work of art but also the values and the aesthetic experience that it produces
Bardizbanian, Audrey. "Après la Shoah : écritures de la trace dans les œuvres de Jonathan Safran Foer, Daniel Mendelsohn, et Art Spiegelman". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040183.
Testo completoThis study explores the works of Jonathan Safran Foer, Daniel Mendelsohn, and Art Spiegelman through the notion of trace, the founding principle of the aesthetics and ethics of post-Holocaust writing. The incomplete knowledge of these “post-Holocaust generations” implies the presence of a “postmemory”, the “deferred” nature of which requires the imagination to be put to work and informs the creative approach of these post-Holocaust artists and writers, reconstructing their family’s past. These haunting narratives are marked by a “memory shot through with holes” and are often the result of a break in the bond of filiation, and therefore a hiatus of transmission. Having embarked on a quest for knowledge, narrators and protagonists examine the event through material traces, as well as real or imaginary returns to their places of origin. These narratives are made up of heterogeneous elements which create visual ruptures and are informed by various temporal disruptions: disorders, chronological breaks, latency and repetition – all symptomatic of the deferred action of trauma. Finally, these postmemorial texts raise the issue of the ethics of representation. The performativity of language, the fictionalization of History, and the issue of transmission are at the heart of these works in the making, and ethically question their authors’ responsibility, between transfer and the work of mourning
Giannecchini, Hélène. "Alix Cléo Roubaud, photographe et écrivain : l'élaboration de l'oeuvre". Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20031/document.
Testo completoAlix Cléo Roubaud (1953-1983) was a Canadian photographer and writer known as the wife of the poet and mathematician Jacques Roubaud or as the friend of the movie director Jean Eustache. Alix Cléo Roubaud has been for a long time known by other works than her own. Until 2009, her diary, which was published in 1984 by the French publishing house le Seuil, was the only way of discovering her photographs and texts. This book has allowed her work not to be forgotten and has also influenced for a long time the way it has been welcome, that is to say as a private record.This doctoral thesis, based on an unpublished body of more than six hundred photographs, hundreds of letters and theorical essays, proposes to see Alix Cléo Roubaud's work in a new way. Relying on an unfinished production, itstudies the making of the texts as of the photographs and focuses on two main elements, the purpose and the manner of the artist which reveal more the process than the product.In an approach both photographic and literay this thesis proposes to analyse the several forms the artist uses to write about herself, the photographic dimension of her work , not only the photographs she made but also the building of an original picture theory, and finally how the different ways it has been received have contributed to make it understood as well as defined
Zogovska, Elena. "L'enseignement du Français Langue Étrangère en Macédoine à partir de textes littéraires des XIXe et XXe siècles sur Paris". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA045.
Testo completoThe literary text with his artistic, historical, linguistic, cultural and sociological power is privileged medium for the class of the French as a Foreign Language. Relying on the literature to teach various aspects of the French language and culture is the main idea of this research. But what type of literary text to choose? Paris – the world capital of art and culture, the home of writers, poets and artists, the most visited place in Earth, the nest of lovers and romantics, Paris dreamed, Paris loved, Paris fantasized: with this series of attributes, the City of light in the past has been and today still is an inspiration for writers and poets from around the world. It is magical Paris, poetic and festive, but also Paris unfortunate and unhappy that inspires, fascinates and drives them to write. An exceptional literary heritage has therefore built up over the centuries. In this context, a literary corpus of nineteenth and twentieth centuries in Paris - very diverse, consisting of novels, chronicles, collections of poems and plays - is at the heart of this thesis. Three dimensions are mentioned: linguistic, literary and cultural. The study of many facts about the language, then the discovery of the specificities of French literary genres, as well as putting into perspective numerous questions on Paris and his inhabitants – all these are topics of my work. I also demonstrate that the literature does not lock in on itself, but opens, goes further and embraces the other arts such as painting, photography and cinema. The literature pierces a new path to French culture and makes teaching/learning of the French as a Foreign Language more dynamic and more creative. Different approaches and techniques are implemented so that linguistic, literary and cultural skills are acquired in the most efficient way possible by the learners of French as a Foreign Language
Arribert-Narce, Fabien. "Photobiographies : pour une écriture de notation de la vie (Roland Barthes, Denis Roche, Annie Ernaux)". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030104.
Testo completoThis thesis examines the literary genre of photobiography, which encompasses autobiographical works in which photographs play an essential role, be they reproduced or merely described within the text. It focuses more specifically on the works of three contemporary photobiographers, Roland Barthes, Denis Roche and Annie Ernaux. These authors share a desire to capture material traces of their own existence and to grasp the concrete reality of their lives. In doing so, they follow the model of photographic recording and produce a notational form of life writing that significantly challenges traditional autobiography. In Barthes’s photobiographical project, the photograph is not only viewed as an exemplary form of the notation of the present, but also provides a number of studium and punctum ‘biographemes’ that eventually construct a fragmented autobiographical subject. Roche’s photobiographical activity is that of a practitioner (he is both a photographer and a writer) and consists in ceaselessly accumulating graphic ‘deposits’ of life and in incorporating them within intermedial devices that exploit the principal characteristics of photography (instantaneity, mechanicity, exposability, seriality). Finally, Ernaux’s ‘auto-socio-biographical’ work provides a sociological and historical testimony that makes use of the photograph to reveal the collective dimension and alterity of the ‘self’. This body of work belongs to the paradigm of analogue photography, which is anchored in the twentieth century and is on the verge of disappearing at the dawn of the twenty-first
Pal, Gyöngyi. "Le dispositif photo-littéraire en France dans la seconde moitié du XXème siècle : analyse de l’oeuvre de François-Marie Banier, Jean-Loup Trassard, Lorand Gaspar et Denis Roche". Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00481329/fr/.
Testo completoDuring the second half of the 20th century the status of photography has changed: institutionalization of the medium, its use in conceptual art, the crisis of photojournalism, the invention of digital photography, together with the transition to more pragmatist aesthetics, have influenced the recognition of the always changing nature of signs. New concepts have appeared subsequently in the definition of photography such us the terms of “traces” and the so-called “dispositif”. The limits of photography have thus extended beyond its physical manifestation. These transformations have caused a mutation in the text/image relationship in general. The possibilities of combining photos and texts are questioning the value of both mediums' truthfulness, which becomes problematic in particular in the use of photos in autobiographical writings. But once this problem was overcome a wide range of text/image combinations became possible either in autobiographical or fictional photo-literature writings. The second part of the study aims to explore these “intermedia” mixtures through a parallel monographical research on the work of François-Marie Banier, Jean-Loup Trassard, Lorand Gaspar and Denis Roche. These French artists are in fact mixing up their photographic and literary works, but each one in a different and personal way, which also requires developing new methods of analysis. This research therefore seeks to understand how the problem of the paradoxical meaning of photography appeared and was overcome in the theory of photography, in photo-literary autobiographies and in the works of writers who combine text with photography
Cachera, Aurélie. "Le geste hystérique à Vienne autour de 1900 ˸ étude de formules de pathos dans des nouvelles d'Arthur Schnitzler et des photographies de Trude Fleischmann". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030062.
Testo completoThe aim of this thesis is to study the migration of hysterical gestures as seen in Photographic Iconography of the Salpêtrière through a selection of Arthur Schnitzler’s short stories and Trude Fleischmann’s photographs. The use of Aby Warburg’s pathos formula (Pathosformel) and survival (Nachleben) is the esthetical and methodological foundation of this research. The first chapter examines the gestures of the female patients at the Salpêtrière and the context in which they emerged in Jean-Martin Charcot’s ward. Also, it recounts the paradigm shift from Charcot to Freud by questioning the transition from a visual approach to one based on listening. This mutation is analysed through cultural transfers conceived as dynamic processes for, in this journey from Paris to Vienna, a true transformation, and not just a simple circulation of hysterical gestures, operates. The second chapter studies Schnitzler’s Frau Berta Garlan, Frau Beate und ihr Sohn and Fräulein Else through the figure of the Hysterica, name given to the hysterical pattern surviving within this corpus. This concept enables Charcot’s hysterical patients to become a permanent pattern and to track the occurrences of their gestures. This part also shows that the Hysterica is torn between a hysterical movement and the risk of melancholia. Finally, the third chapter explores four of Trude Fleischmann’s photographs in the presence of the images of the Salpêtrière. This approach highlights the migration of hysterical gestures within Fleischmann’s creations, and the agency they reveal, in her photographs as well as in those taken at the Salpêtrière