Дисертації з теми "Deleuze, Gilles (1925-1995 ; philosophe) – Et le cinéma"
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Deane-Freeman, Timothy. "Le Dehors Numérique : Deleuze et l'écran contemporain." Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100035.
The problem this thesis intends to address is that of a certain disconnect between the cinematic philosophy of Gilles Deleuze and the condition of the contemporary moving-image, which, in the years since Deleuze wrote on film, has been radically altered by its transformation into digital format(s). It is my central contention that a productive relationship between this philosophy and contemporary screen cultures is indeed possible, and potentially of great value, provided we can reread and extend certain key Deleuzian concepts.Pursuant to this goal, drawing on a concept deployed throughout Deleuze’s Cinema II: The Time-Image (1985), I argue that digital images can engender certain unique relations with an “outside” –an unarticulated presence beyond the frame, which serves to unground and problematise thought. The “outside” –developed from the literary philosophy of Maurice Blanchot– constitutes a genetic condition of thought, which sees the thinker confronted with that which is fundamentally un-thought, an unrecognisable terrain to which she must respond with creative, novel solutions. This model of thought, I argue, impels us away from habitudes and orthodoxies, forcing us to become radically open to contingency and change –a movement commensurate with what I will claim is the fundamental political orientation of Deleuze’s philosophy
Hême, de Lacotte Suzanne Véronique. "Le cinéma et l'image de la pensée." Paris 1, 2009. http://www.theses.fr/2009PA010651.
Keleris, Argyrios. "Politique et esthétique du “mineur” dans le cinéma indépendant américain des années 1980 aux années 2010Lignes de fuite, tensions et originalité des formes créées dans leur rupture avec le système hollywoodien." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080107.
The objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance
Ménard, Claire. "L’Insoutenable flexibilité de l’Être : réseaux et errances dans la littérature et le cinéma contemporains." Electronic Thesis or Diss., Paris 8, 2016. http://www.theses.fr/2016PA080151.
This dissertation studies representations – in contemporary French and Francophone literary fiction and feature films – of the developing condition associated with global markets and networking technology; a condition that the word “flexibility” aptly summarizes. My approach to this issue draws on the “rhizome” concept proposed by Gilles Deleuze and Felix Guattari – that is, on the idea of a discursive space in which everything is connected and which therefore functions like a network. As the Deleuze and Guattari critique of categorization highlighted the non-linear and non-centrifugal nature of the structures governing the creation of meaning, it can also help us study new forms of representation, communication and signification which are by essence both polymorphic and in constant mutation. This state of affairs supposedly gives more room to creativity and innovation; it can be argued, nevertheless, that in the 21st century, capitalism itself behaves more and more like a rhizome, that is to say an ever-changing and polymorphic structure, which forces human beings to constantly adapt in order to fit into this world, thereby becoming more flexible. We have only begun to take stock of this ongoing process of enforced flexibility, and of the suffering that may result from it for the ever-adapting humanity that we have become. My dissertation calls this anguish or unease courtesy of Milan Kundera – “the unbearable flexibility of being.” This research aims at studying this anguish in French Contemporary Literature and Films in works of literature by Jean Echenoz, Jean-Philippe Toussaint, Michel Houellebecq, Marie Redonnet and Eric Chevillard and in films by directors such as Leos Carax, Laurent Cantet, Nicolas Klotz, Noémie Lvovsky, Jean-Marc Moutout and Cédric Klapisch
Pamart, Jean-Michel. "L’énigme Image-temps. L’Image-mouvement et L’Image-temps de Gilles Deleuze : essai de généalogie philosophique." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030084.
To what extent are the books written by Deleuze about cinéma philosophy books ? Following a genealogical reasoning, our study shows how Deleuze “captures” in different ways the works of four philosophers – Kant, Bergson, Peirce, Spinoza – in order to get ahead in his own philosophy. From his encounter with cinema as a whole, Deleuze continues his reflection about transcendental empiricism, reconsidering the issue of image ands signs and secretly revisiting Spinoza’s ethics to offer a new system of ethics which no longer answers the question “What can a body live ?” but its generalization “what can an image live ?” Following the figure of a post-kantian spinozism that we have identified in Deleuze’s work, time as an affect of the self by the self in Kant’s philosophy can be equated with the self-affections of the second kind of knowledge in Spinoza’s work : time becomes the place where spiritual life can spread in the attribute of thought. Being at the same time a genesis of sensitivity, a cosmogony, semiotics and ethics, The Movement-image and The Time-image constitute a system of genetics of image powers of which film-makers singular creations are both the landmarks and the touchstones : Deleuze’s encounter with these movies allows his philosophy to undergo the test of the real and to make it change its course each time he meets a film-maker’s thinking. Deleuze uses cinema which becomes the experimental checking of his philosophy where as cinema “captures” Deleuze and leads him to open up new ways of thinking. In this mating display, Deleuze is the wasp and cinema is the orchid
Lefebvre, Romain. "Hong Sang-soo, un cinéma de la croyance : continuités, discontinuités, conflits d’images et mutation des personnages." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080106/document.
Our thesis proposes a comprehensive view of Hong Sang-soo’s work, from the assumption that thereis a special affinity between cinema images and thought. This assumption agrees with Hong Sang-soo’s project, whichis to modify habits of thoughts and to struggle against illusions through movies.We build our run around the problem of « belief », which refer according to Gilles Deleuze to the possibility forman to connect himself again to the world after a breaking of unity, and allows us to articulate image analysis,philosophical approach and the characters existences. By studying narrative structures and the use of some formalprocesses such as repetition or undoubling effects, we highlight the production of a discontinuous world by the imagesand conceptions of death, time, identity, possible and reality that are specific to Hong Sang-soo. An hidden plot emergesfrom our analysis : a conflict between « images of thought », a tension between continuity and discontinuity that takesplace both inside movies, within the characters existences, and between movies and a spectator.By building a coherent lecture of Hong Sang-soo’s cinema, we want to emphasize his critical implications. Whencritical reception too often confines him to the topic of sentimental relationships, we show that everything that takesplace on the sentimental field involves a mental stake. We also mean to underline that Hong Sang-soo’s cinema, fromthe loss of traditional beliefs, bears within himself a positive outcome, bringing into play new capacities and anaffirmation of new values (difference againt resemblance, instant against prolongation, novelty against reproduction,etc.), and appeals to an evaluative perspective
Zabunyan, Dork. "Voir, parler, penser au cinéma : L'Image-mouvement et l'Image-temps de Gilles Deleuze." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0084.
Deleuze asserts that is two books on cinema - The Movement-Image (1983) and The Time-Image (1985) are "philosophy books". This statement is the starting point of our analysis which tries to replace this essay onmoving images within the general process and work of Deleuze. The main assumption is to insist on the importance of the "doctrine of the faculties" the author analyses since 1968 first with Difference and Repetition in a confrontation with Kant's critical philosophy. The awkward question underlining the link between the "movement-image" and the "time-image" is adressed through this assumption with a specific focus on the idea of "sighted cinema" developped by Deleuze in the interspace of the two volumes, and which formally refers to the particularities of this "doctrine of the faculties". This same doctrine mainly enables to go into the modalities of the disjunction among the visual and the word, which are investigated by Deleuze through contemporary cinema
Yoo, Ga Yeon. "Éthique et esthétique de l’image dans la philosophie de Gilles Deleuze." Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080121.
Our thesis work aims to identify the essential character of the image in the philosophy of Gilles Deleuze. It is true that he is the first philosopher to consider the movement of images as the basis of thought. He has indeed written several books about the image. To him, it resembles the movement of thought and ideas and, as such, it is a means of expression and a way of existing, so it is substantial in expressing philosophy. The image allows thought to become a process to facilitate the thinker's reasoning, to understand his act, to desire life and to form the sensible. This is why Deleuze does not limit his theory of the image to the image of cinema, but extends it to all images of thought. This long neglected dimension is beginning to interest more in research on the philosophy of Deleuze. Indeed, the image makes it possible to invent the actual and virtual world of thought, and the possible and real world of existence, so that it is political, ontological and existential. The image invites us to enter into a new sensitivity and a new composition of the relationships of thoughts. The ethics of the image consists of a totality of ideas which expands and differs into everything, which accelerates in movement and slows down in rest. It constitutes its ultimate and absolute unity in a singular way of aesthetic activities. This is how the ethics of image creates a new image that is aesthetic, stylistic and transcendent in its heterogeneities, discontinuities, insensibility. The aesthetic style image specifies this new image as a new form of thought and defines it by constituent elements, expressions and contents
Huang, Chien-hung. "Le montage comme mode de pensée : trois aspects essentiels de montage à partir du paradoxe de la théorie de Gilles Deleuze sur le cinéma." Paris 8, 2004. http://www.theses.fr/2004PA082437.
The two works devoted to the cinema, Movement-Image and Time-Image of Deleuze, constitute a philosophical text complexes which, on a side "problématise" the cinema as a specific mode of the image, and another "met en scene" the confrontation of the cinema and the philosophical thought. But this problematization and the mise en scene reveal the rupture forming "political" confrontation between the cinema and the philosophy, and constituting our principal problems. We approach this problem by three paradoxes of his theory (which constitute three of the essential aspects of montage), namely the representation, the obtusity and the politic, by analyzing the different manners of montage
Pérez, Valérie. "(Se) gouverner selon la nature et la vérité : lire "Emile ou de l'éducation" de Jean-Jacques Rousseau avec Foucault et Deleuze." Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080133.
This work is attempt to discuss Rousseau's problematisation of education, using concepts drawn from contem-porary French philosophy. However, if one examines the relation between Foucault and Emile by em-ploying the concept of alèthurgie, one cannot but be struck by the figure of the governor in Emile, who appears in the text to be the guarantor and the condition for the emergence of an idea of truth within the narrative- a truth which is natural, which governs the activities of men, and which is deeply in-volved in the process of education. In his 2012 lectures at the College de France, published under the title ‘The government of the living,’ Michel Fou-cault strove "to develop the concept of government by the truth" through an analysis of the power relations within Oedipus. In particular, Foucault ana-lysed the relation between truth, knowledge, and the exercise of governmen-tal power. In this work, I examine the relation between Foucault’s analysis and Emile Rousseau’s novel Emile. The relation between them may seem paradoxical: after all, Foucault is concerned with truth, and Emile is a work of fiction. The government of childhood can also be illuminated by the Deleuzian concept of Becoming. The Becoming does have something to tell us about childhood, the emancipation of the individual, and about education as a life-long project
Karadaku, Dritan. "L'art de gouverner et la resistance au pouvoir : au delà des dichotomies." Paris 8, 2012. http://www.theses.fr/2012PA083507.
First of all, this thesis develops two different meanings for the term democracy. The first, it's about contents and confrontation of divergent interests and the second it's about its institutional forms, i. E. As Démocratisme. While basing itself on Foucault, Deleuze, Rancière, and Arendt, we will get into the problematic of the relations between people and the institutional forms that the aforementioned produced. Then, starting from the analyzes of Lefort, Arendt and Balibar we will try to understand the way in which the old dichotomy “Greek-barbarian” reappears in the modernity of a renewed symbolic system. In the third chapter, in order to understand the forms of art to control and resistance the capacity, we will follow two different and similar methodologies at the same time: the genealogy of the power (Foucault) and the “schizo-analyzes” of Deleuze and Guattari. In the fourth chapter, we will analyze, starting from Foucault, Deleuze, Balibar, Rancière and Kant, the problems which appear in the dichotomies built on the opposition: Human rights - rights to the life, equality - inequality, State - civil society and totalitarian State - minimal State. Lastly, in the fifth chapter we will reconsider the problems generated from the relations between people or multitudes and political institutions. We will follow in this chapter the thought of Machiavelli and that of Spinoza. The people-institutions relations will be analyzed like a power struggle or a confrontation of powers. The result is an opinion which is built primarily around the concept of the common freedom of the human being. For this reason, we consider it perfectly current and a possible “leak-line”, in view of a properly political freedom
Keleris, Argyrios. "Politique et esthétique du “mineur” dans le cinéma indépendant américain des années 1980 aux années 2010Lignes de fuite, tensions et originalité des formes créées dans leur rupture avec le système hollywoodien." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080107.
The objective of this thesis is to study the American independent cinema from the point of view of the difference which it founds with the Hollywood cinema, as a line of flight which deteritorialises the latter, while creating for itself new forms of expression and content. That supposes to consider its relation with the Hollywood cinema as one between two plans of immanence emerged on the same level of individuation inside a broader plan of immanence, that of the North-American cinema. And, at the same time, it supposes to consider the difference between these under-plans in what it implies for a cinema-thought, namely a thought in terms of blocks of movement-images and time-images, facing the particular tensions which characterize the American society. Within this framework, the principal distinction that should be considered is that which passes between: on the one hand, the Hollywood cinema and its various ways (genres, organico-active régime) “of saving” the difference, by representing it; and of representing it by bringing it back to the requirements of only one great form in direct affinity with what I define as a dream of continuity and of coherence of American society; and, on the other hand, the independent cinema and its various ways of testifying to a rebellious core which deteritorialises the predetermined direction towards which the actions and the situations of the Hollywood cinema converge. What is beyond or below Hollywood organic representation and that the independent cinema tears off from the latter is a space of wandering and intensive distribution between forces of power and forces of resistance
Fradet, Pierre-Alexandre. "L'apport philosophique du sens commun : Bergson, Cavell, Deleuze et le renouveau du cinéma québécois." Thesis, Université Laval, 2017. http://www.theses.fr/2017LYSEN025.
The eminently polysemic concept of common sense was depreciated by a vast segment of Western philosophy, which saw at best in it the expression of unwarranted beliefs, at worst the manifestation of erroneous and naïve beliefs. Where many commentators have pinpointed critiques of common sense in the thoughts of Henri Bergson, Stanley Cavell and Gilles Deleuze, three prominent figures of the philosophy of cinema, we strive here to bring out the positive conception they develop of that concept, notwithstanding the occasional suspicion they may cast on it. To put it in more precise terms, we seek to explain to what extent certain meanings of common sense are apt to satisfy the ambition of knowing reality itself. In the first place, we review the argument elaborated by certain speculative realists (specifically Quentin Meillassoux and Graham Harman) in order to clarify, on the one hand, reflections which will be the object of discussions and replies in the subsequent chapters, and, on the other hand, to show that the philosophical depreciation of common sense goes on even in the most contemporary debates on objectivity. We then bring out the angles under which, according to Bergson, Cavell and Deleuze, common sense is apt to bring us closer to reality itself. In the second place, we enter fully into the field of cinema and examine in what way different works associated with the revival of Quebec cinema (Denis Côté, Stéphane Lafleur, Sébastien Pilote, Rafaël Ouellet, Xavier Dolan, Anne Émond, Rodrigue Jean, the collective Épopée, Mathieu Denis and Simon Lavoie) end up completing, radicalizing or criticizing in their way the reflections developed in the first part around common sense and the real. In opposition to those who characterize those works as « mimetic », « thoughtless » and « aestheticizing », we thus bring to the fore the way in which those films, paying attention to the depth of ordinary experience and to the requirement of finding a certain balance between incessant becoming and constant stability, do succeed in nuancing and refining philosophy
Jeong, Boram. "Theory of subjectification in Gilles Deleuze : a study of the temporality in capitalism." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080165.
This dissertation looks at time as a socially or psychologically imposed ‘structure’ that determines the ways in which past, present and future are weaved together in the subject. This inquiry presents (1) a critical role of temporality in the formation of the subject, (2) a specific temporality characteristic of contemporary financial capitalism, and (3) the pathologies of time found in the subjects of capitalism. The first two chapters provide an extensive analysis of Deleuze’s passive syntheses of time given in Difference and Repetition, which reveals the subject’s passive relation to time as a structure of ‘becoming.’ The following chapters examine how this ontological structure of time interacts with socio-economic temporalities in its production of the subject. I particularly focus on the temporal structure of debt, which has become a general condition of the subjects in the current economic system. I claim that the debt-based economy produces ‘melancholic subjectivity,’ characterized by a dominance of the past and the inhibition of becoming
Jabre, Elias. "La pulsion de pouvoir : traduire la psychanalyse dans le champ politique entre Deleuze et Derrida." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080009.
This thesis dissertation develops a comparative analysis of Derrida’s and Deleuze-Guattari’s thought from the point of view of their relation to psychoanalysis. We confront two strategies used to re-involve psychoanalysis in the field of philosophical-political questions. Both strategies involve a reinterpretation of the "Freudian speculation" on the power-drive as developed in Beyond The Pleasure Principle. According to Freud, any body is bound to itself by a force without origin. However, this power-drive reveals that any socius, community, or institution is groundless, in spite of being grounded in a kind of writing. We then stress the necessity to translate into the legal and political fields this detour logic which exceeds the logic of sovereignty and allows us to rethink power distribution. We also explore whether there is a more just way of doing this. While Derrida undertakes formalizations with a kind of hyperbolic reason using a calculation that finds it necessary to calculate with the incalculable event that rewrites any social body – the other which presents itself and that we have to allow into our experience –, we argue that Deleuze-Guattari have bypassed deconstruction and rejected representation for the sake of an immanent justice. This partially jeopardizes their gesture, although it converges to a certain extent with that of Derrida
Finichiu, Alice. "Territoires entre-deux : agencements, biopolitique et junkspace." Electronic Thesis or Diss., Paris 8, 2014. http://www.theses.fr/2014PA080005.
Rem Koolhaas’s diagnostic of the modern metropolis shows a generic city with no end, no identity, no past, no streets where the only activity remaining is shopping and the « in-transit » condition is becoming universal. An important part is missing from this analysis: the biopolitical condition of the metropolis, that could explain a number of Junkspace’s characteristics, like the fact that it contains the possibility to resist the generic condition. In the light of this review and in accordance with the philosophical directions that Gilles Deleuze and Félix Guattari draw in A Thousand Plateaus, this research intends to identify the intervals witnessing the biopolitical dimension of Junkspace by rallying the assemblage theory as hypothesis for the architectural and urban theory. The general postulate is that these intervals are in-between territories functioning as laboratories of assemblages that show a political and resistant architectural practice redefining the very part of the architect. Three lines of research are deployed. The first one questions the relevance of an architectural assemblage thinking in the context of the current territorial transformations. Operating a crossing with Deleuze and Guattari’s thought, architecture is understood as a process of assembling and re-assembling. The second line of research is questioning the biopolitical dimension of Junkspace identifying the critical points of its assemblages and evaluating the in-between paradox. The third research line is testing the in-between territories potential to create opportunities for new spatial configurations
Kim, Geon. "Sur la relation distanciée entre le film et son spectateur chez Jean-Luc Godard, jusqu'à 1979 : d'après la théorie théâtrale de Bertold Brecht." Paris 1, 2002. http://www.theses.fr/2002PA010542.
Masset, Thibault. "Critique et clinique des stratégies de paix au XXIème siècle : une critique deleuzo-guattarienne du pouvoir au XXIème siècle." Electronic Thesis or Diss., Paris 8, 2019. http://www.theses.fr/2019PA080008.
My thesis proposes a method of identification of the power, a creation of abstract tools to this end, an critical evaluation of the diversity of the forms of expression of the power and a proposition of measures in order to solved power problems within the framework of a materialistic deleuzo-guattarian political philosophy. Our subject is divided at four moments: the first one is a critical moment of identification of the configuration of the scientifico-political power and the definition of the task of the political philosophy towards him since an at first abstract analysis then the put in perspective of this one by a concrete analysis of the contemporary historic and political processes. The second moment consists in establishing a theory of including political philosophy with regard to all the existing critical approaches. In the third moment, it is a question at first of proposing a contents in the political theory by the presentation of concrete operators of analysis and then to legitimize the position of the political deleuzo-guattarian philosophy in the contemporary field. Finally, according to the materialistic perspective applied to the field of the political philosophy, we formulate concrete proposals for the establishment of a lasting peace by investing the contemporary political legal and strategic field. The objective is to offer a key for understanding contemporary politics by the critical approach guaranteeing a knowledge of the desirous processes presiding over the most viable and livable possible forms of order of the social organizations. We propose strategies to reach these goals
Pinguet, Léo. "Esthétique des clichés : épistémologie, généalogie et usages cinématographiques aberrants d’un phénomène normatif." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H301.
This work examines the conditions of possibility of an aesthetic of clichés. The approach is mainly based on three directions: a commentary of Gilles Deleuze and his use of the notion cliché; an epistemological and genealogical investigation combining the contributions of literary studies and philosophy from an aesthetic point of view; an analysis of American films by Joe Dante, Brian de Palma, David Lynch, John Carpenter and Paul Verhoeven. Clichés are generally perceived, reflected and judged in a strictly depreciative way as a failure of the discourse or as failure for the works of art, a failure that refers to alienation and anesthesia. Identifying the paradigm of hostility that prevails in their apprehension, as much as the ordinary model of recognition and designation of the phenomenon allows, on the contrary, to glimpse an aporia of clichés between normativity and aberration. The analysis of the aesthetic device of certain films, which problematizes the relationship between bodies, brain and images while manipulating the clichés without being judged as such, allows to consider another way of feeling the clichés and other types of clichés
Samaha, Mahboub Caline. "Logique et Réalité chez Hegel et Aristote. Dialogue avec Adorno et Deleuze." Electronic Thesis or Diss., Poitiers, 2019. http://theses.univ-poitiers.fr/66692/2019-Samaha-Mahboub-Caline-These.
In this thesis, we challenge the critique of identity as being what oppresses difference and evolution. We try to show that the search for identity in the Hegelian system does not undermine the real but on the contrary enriches it and is a condition for its evolution and for our freedom. We also show how the emphasis on unity when interpreting a philosopher, here Aristotle, is legitimate because it allows us to emphasize in him a contribution to the search for knowledge and freedom well more than the emphasizing separation and preserving mystery and irreducibility. The latter could rather alienate us while giving us an illusion of freedom and space. We therefore oppose a logic of transcendence and separation, and show how this logic is in itself reductive. Our work has thus led more specifically in a first part to take on the ideas of unity, identity and completion present in Hegel and to show versus Adorno mainly that said ideas do not oppose human freedom but that on the contrary they imply it and are a necessary condition thereof. We try in a second part to support a Hegelian interpretation of Aristotle that takes into account unity, opposing in particular Pierre Aubenque who defends a separation and irreducibility in Aristotle. Finally, in a last part we support the representation of the real through logic - the contradiction in Hegel and the opposites in Aristotle - with the aim of showing that the negative of the representation allows an effective power over the real and cannot be considered illusory as claimed by Deleuze and Nietzsche. In this work, our reflection is led by the criticism made by these philosophers and commentators against the Hegelian philosophy and what it includes in terms of presuppositions, identity, system and logic. By highlighting the contradictions inherent in their criticism, we show that the Hegelian philosophy and the perspective it proposes overcome these contradictions and move towards freedom
Maffioli, Francesca. "Les voix multiples d’Amelia Rosselli (1930-1996) : figures et variations d'un sujet poétique en lutte." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080028.
Amelia Rosselli’s work took shape, within Italian lyric poetry, as an experience of subversion of the process of sublimation and of stylisation of the female body. Through the translation and the analysis of the content of poems chosen from the collections Cantilena (1953), La Libellula (1958) and Variazioni belliche (1964), I conducted a critical exegesis of the texts. I performed an analysis according to suggestions of a dialogical practice with the poetical text and with a female subjectivity often hidden, anchored to my critical investment inside feminist comparatism. From petrarchist idea of deletion and “suppression” of women’s body – deletion, of which Pasolini talked already in relation to the genesis of Italian poetry and its characterisation of the lyrical canon – I analysed how the attempt to ease the impact potentially dangerous of love affection has caused the denial of sensuality. The language of camouflaged sorrow is then established as a deliberated choice included in some poetics where it is not the statement that reveals, but the poetical word, which in its cryptic canonical measure, is able to make resonate beyond declarations. We can observe the deployment of a “sursensual device”, similar process to what Gilles Deleuze perceived in Sacher-Masoch's literary personality. The process of subversion does not seem a reconstitution of identity roles, but rather a deconstruction of the traditional model. The starting point for the analysis of those deconstructions is based on the hypothesis that the non-functionality of the desiring organisms (desiring subject and desired object) will lead to a reject of the organic and at the same time to a revelation of an eccentric subjectivity. The revision of the literary model of the canon lies in the hypothesis that a set of female figures of the mythical and literary repertoire in Greco-Roman antiquity are placed in the imaginary practice of Amelia Rosselli's poetical writing, with a view to incorporate the nature of the characters born and conceived inside and by the patriarchal imaginary and to form the body of a subject that aims at making them speak through the voice of a female poet
Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Electronic Thesis or Diss., Paris 10, 2012. http://www.theses.fr/2012PA100054.
The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?
Baltus, Benoît. "Le philosophe artiste : La mise en surface de la philosophie : Panopticon, Amor fati, Etre au monde, L’Ethique." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100054.
The philosopher artist is a either fantasized or disowned figure. Its very possibility represents the impossible border between philosophical discourse and artistic creation. Although Nietzsche invokes this polemical figure, he has not been able to establish the philosopher artist. Indeed he abandons it in favor of a reincarnated Dionysos, better armed to overcome the confrontation with Apollo. Here is, then, an orphan figure which seems to only refer to a romantic and idealistic nostalgia where philosophy, at last, would share its privileged objects as well as its analytical methods with artistic practice. The question should nonetheless be asked: through what means ought the philosopher artist carry together art and philosophy?This thesis attempts to reintroduce this “eternal” problem by investigating every step of the way the typical tensions that this figure convokes: form and content; metaphysics and phenomena; language and metaphor. Similarly, although Nietzsche is the central figure of this investigation, we will also call upon other and equally typical philosophers such as Merleau-Ponty, Deleuze, as well as Spinoza and Aristotle. However, the aim of the thesis is not to grasp once again these properly philosophical problems as their utterance should be tested through artistic practice. Rather than uselessly attempt to elect a figure without master nor limit, the thesis thus contemplates, each time, a solution through artistic creation, manifested in original choreographic creations. These creations were produced in parallel with the research and elaborate singular works of art based on the same questions as the thesis. They confer to the dissertation a certain plasticity that the purely philosophical argument may have lacked. Further, they abolish the border inasmuch as they confront the same constraints as the argument: Panopticon interrogates panoptism as studied by Foucault in Discipline and Punish; Amor Fati elaborates on the concept of “eternal return” developed by Nietzsche; Etre au Monde recasts the question of sensibility as explored by Merleau-Ponty; finally, L’Ethique strives to reinvest from a sensible point of view the architecture of the axiomatic work of Spinoza. Is it not the meaning of the philosopher artist? Experiment and feel to study the effects?