Les fictions de Claude Simon et de Yu Hua s’affranchissent de la représentation mimétique de la réalité, traditionnellement considérée comme dogme du roman. Leurs œuvres, qui ressassent la mémoire des événements historiques dans l’Histoire du XX° siècle, ne visent pas une restauration du passé au moyen de la chronologie et de l’enchaînement de causes et d’effets. Le vécu personnel de Claude Simon et de Yu Hua les incite à réfléchir sur la valeur de l’écriture face à la violence des désastres, et à remettre en cause toutes les modalités de représentation prétendant rétablir l’ordre du monde qui est en réalité radicalement chaotique. L’aspect insaisissable, obsédant de l’Histoire les obligent à partir à la recherche de formes nouvelles, et à élaborer une transfiguration de leur objet d’écriture. Ainsi, une expérience du temps chaotique voire fantastique, la hantise des aïeux et du père, les manifestations d’un érotisme intense, d’une violence aveugle, ainsi que tous les procédés de désorganisation de la narration, toutes les étrangetés du langage, témoignent d’un constat : l’évocation du passé ne peut advenir qu’obliquement. L’importance de l’Histoire dans la diégèse et dans la genèse de leurs œuvres réfute un type de critique qui identifie ces œuvres au formalisme. Ce lien organique entre l’Histoire et la fiction montre aussi qu’une certaine littérature contemporaine, caractérisée par une volonté de rupture avec les codes classiques de la représentation romanesque, surmonte une tentation nihiliste pour suggérer une éthique. / Claude Simon and Yu Hua’s fictions abandon the traditional mimetic representation of reality. Their works, which reexamine the memory of events in the History of the 20th century, are not aimed at restoring the past by means of a chronology and a sequential linking of cause and effect. The personal life experiences of Claude Simon and Yu Hua led them to reflect on the value of writing in the face of the violence of the century’s disasters, and to question the validity of a so-called realist literature pretending to re-establish the order of the world which is in reality radically chaotic. The elusive and obsessional character of History requires the writer to set off in search of new forms, and to elaborate a transfiguration in his literary objectives. Thus, the chaotic or even fantastic experience of time, the obsessive figures of ancestors and the father, the excess of eroticism or blind violence, as well as all the disorders in the narration and the strangeness of the language, all come within an attempt to speak of a past which can only be evoked obliquely. The importance of History in the diegesis and in the genesis of their works refutes a certain type of criticism which identifies these works with formalism. This visceral connection between History and fiction also shows that contemporary literature, marked by a spirit of rupture, goes beyond nihilism and in its own way realizes an ethical value.

L’étiquette « Art Déco » apparaît au milieu des années 1960 pour désigner des créations mobilières et architecturales de l’entre-deux-guerres. Les contours donnés au style évoluent cependant considérablement au fil des années, si bien qu’il est possible de distinguer trois grandes vagues de discours.La première, centrée autour de la France et de l’Exposition internationale des Arts décoratifs et industriels modernes de 1925, traite surtout du mobilier. Elle oppose souvent Art Déco et Modernisme et voit dans le premier le signe d’une société décadente, incapable de penser le monde de l’époque et de répondre à ses défis. L’Art Déco est condamné comme un prolongement anachronique du principe décoratif. Toutefois certains auteurs voient au contraire en lui « un dernier instant de bonheur ».La deuxième vague, essentiellement anglophone et américaine (alors que la première était plutôt italienne et française), repose sur une logique tout à fait différente. Apparaissant elle aussi dans les années 1960, elle accorde davantage de place à l’architecture. Elle fait de l’Art Déco une modernité alternative, un autre moderne, et rejoint les théories postmodernes qui se développent à partir des années 1970.La troisième, enfin, plus tardive, puisqu’elle commence dans les années 1980, se situe dans le prolongement de la deuxième. Elle se fonde sur les notions de malléabilité et d’hybridité et considère l’Art Déco comme une grammaire commune susceptible d’être adaptée dans des contextes très différents les uns des autres. Reposant sur un mouvement patrimonial puissant, elle s’observe aussi bien au sujet de Miami Beach que de Bombay/Mumbai ou Napier (Nouvelle-Zélande). Dans le monde francophone, cependant, cette approche de l’Art Déco reste relativement marginale et entre parfois en concurrence avec la notion d’architecture coloniale, même si des publications récentes portant sur Casablanca se situent indéniablement dans cette perspective. / The "Art Deco" label appeared in the middle of the nineteen sixties to designate furniture and architectures from the interwar period. The style's outlines evolved considerably over time, and it is thus possible to distinguish three different waves of description.The first one is centered around France and the 1925 Exposition internationale des Arts décoratifs et industriels modernes, and focuses mainly on furniture. It often presents Art Deco and Modernism as two opposites, and views the former as the sign of a decadent society, unable to understand the realities of the period and face its challenges. Art Deco is condemned by most authors as an anachronistic prolongation of the decorative principle, while some, on the contrary, see it as a last "moment of happiness".The second wave is essentially anglophone and American (whereas the first one was mostly French and Italian) It also appeared in the nineteen sixties, and gives preeminence to architecture rather than artefacts. Its foundation is completely different from the first wave since Art Deco is viewed as the "other modern" or an alternative modernity, a new definition very much influenced by the developing postmodern theories.Lastly, the third wave, which is more recent, appears to be a prolongation of the second one. It is a based on notions such as hybridity or malleability and views Art Deco as a grammar which can be easily adapted in very different contexts. Powered by a strong heritage movement, it concerns places such as Miami Beach, Bombay/Mumbai or Napier (New Zealand). In the French speaking world, however, this approach remains relatively rare, and concurrent notions such as that of colonial architecture are often preferred, even though recent publications about Casablanca constitute an exception.

« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits ». / « Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives.

The thesis considers Felix Guattati's notion of transversality, Fernand Deligny anti-pedagody, and Brigid Brophy's novel In Transit (1969) to argue that the terms of subsumption and stratification have the potential to address the conceptual apparatus of the avant-garde to avoid certain foreclosures concerned with the rhetoric of revolutionary transformation traditionally associated both with vanguardism in a politico-ideological sense and with the avant-garde as an aesthetic and critical project. To unlock the critical potential of the terms of subsumption and stratification in regard to the avant-garde, the theoretical framework of Félix Guattari and Fernand Deligny developed as a result of their clinical experience with psychotic and autistic patients, respectively, is used to foreground how subsumption and stratification are inherent in the notions of transversality, group subjectivity, assemblage of enunciation, signification, schizoanalysis, tracing, and mapping. Using these, the thesis argues that in order to address the theoretical foreclosures associated with the notion of the avant-garde, the latter should be viewed in the light of the complementary operations of subsumption and stratification. To substantiate the argument, the thesis juxtaposes Félix Guattari's notion of transversality,...

In this master’s thesis, the dance artist Adorée Villany's hitherto unexplored performances in Sweden 1914–1920 have been reconstructed and interpreted. Villanys naked dance aroused both interest and a lively debate in the Swedish press. She labelled her art “Reform Dance” and thus formed a part of the emerging modern dance movement. By moving beyond the morality debate surrounding her performances, visual and performative aspects of her dances and photographs are made visible.    In her art, Villany strived to bring dance forms from ancient culture to life. Her embodiment of images from ancient Egypt can be understood employing Warburg's concepts Pathosformula and Nachleben, explaining how art works through artistic imagery and form can resurrect emotions from another time. Villany's dance piece Salome’s dance has been reconstructed and analysed through a joint reading of the source materials film, texts and photographs. Here, Warburg's concept of Denkraum was proven productive as a theory and method.

[pt] Esta pesquisa investiga o cinema realizado por Alberto Cavalcanti, sua herança e a presença de traços conceituais e estéticos de sua obra na cinematografia italiana do pós-guerra. Existem duas características centrais que indicam similaridades entre o cinema realizado por Cavalcanti e o Neorrealismo: a priori, os aspectos sociais e poéticos intensos de seu trabalho, principalmente em sua fase francesa, em filmes como Rien que les heures (1926) e, mais tarde, mais explicitamente no cinema documental inglês em filmes como Coalface (1935). E a posteriori, o fato de Cavalcanti romper com as fronteiras entre documentário e ficção, desde de Rien que les heures e , sobretudo, na sua fase na General Post Office Film Unit. A partir dessas premissas, será possível uma análise das raízes do cinema moderno, historicamente creditadas ao Neorrealismo Italiano. / [en] This research investigates the films of Alberto Cavalcanti, his heritage and role as an aesesthetic pioneer in the post world war II era that preceded modern cinema. There are two main characteristics that indicate that his role in the neorrealistc movement was much more important than has previously been considered. First of all the intense social and poetic aspects of his work, primarily in his French phase, in films such as Rien que les heures (1926), and later more explicitly in English documentaries such as Coalface (1935). Cavalcanti dissolved the borders between documentary and fiction starting with his production of Rien que les heures and continuing through his entire involvement with General Post Office Film Unit. Beginning with these premises an analysis of the roots of modern cinema, historically credited to the Italian neo realism movement will be possible.

[pt] O foco principal desta dissertação é a investigação das propostas estéticas para a poesia que se desdobram do segundo ciclo das vanguardas no Brasil, especificamente as da poesia concreta, em uma perspectiva de sua importância no contemporâneo. Tomando como referência a produção de Augusto de Campos e Haroldo de Campos, o objetivo é identificar o conjunto conceitual e criativo ligado aos postulados de uma poética de invenção que, desde a criação do concretismo em meados da década de 1950 – mas sobretudo depois, na condição de pós ou ex-concretos –, vem inserindo informações significativas no debate estético do fim da modernidade. O espectro dessa atuação é amplo, orientado tanto pelo espírito transgressivo próprio da vanguarda quanto pela recuperação de uma tradição do novo amparada em um paideuma estético-teórico, tradutório. O trabalho se orienta pela hipótese de que a proposta de uma estética de invenção como tarefa incondicional da criação artística sobreviveu (e sobrevive) ao ocaso dessas mesmas vanguardas. Nesse sentido, uma parte da pesquisa busca avaliar as soluções formuladas pelos irmãos Campos — soluções que incidem sobre o princípio de uma poética de invenção vinculada à atuação no limite da linguagem pautada pela experiência incondicional do novo. Outra parte, que é o que buscamos avaliar, é a medida dessa perspectiva hoje: se ela consegue significar mais do que informações vindas de experiências de uma vanguarda histórica; se há elementos suficientes para postular que o legado de invenção, tal como proposto desde o instante inaugural do concretismo, continua a ser referência incontornável também no contemporâneo. / [en] The main focus of this dissertation is to investigate the aesthetic proposals for poetry that unfold from the second cycle of avant-garde in Brazil, specifically those of concrete poetry, from a perspective of their effects on present days. Taking as a reference the works of Augusto de Campos and Haroldo de Campos, the aim is to identify the conceptual and creative set connected to the postulates of a poetics of invention which, from the moment of the creation of concretism in the middle of the 1950 s – but especially afterwards, in the condition of post or ex-concretes –, has been inserting significant information in the aesthetic debates of the end of modernity. The scope of this action is broad, oriented both by the transgressive spirit of the avant-garde and by the recovery of a tradition of the new sustained in an aesthetic-theoretical, translational paideuma. This work is guided by the hypothesis that the proposal of a new aesthetic of invention as an unconditional task in artistic creation survived (and survives) the decline of these same avant-gardes. In this sense, a part of the research aims at evaluating the solutions formulated by the Campos brothers — solutions that focus on the principle of a poetics of invention bound to acting in the limits of language based on the unconditional experience of the new. Another part, which is what we aim to evaluate, is the measure of this perspective today: if it can mean more than information coming from experiences of a historical avant-garde; if there are enough elements to postulate that the legacy of invention, as proposed since the inaugural moment of concretism, remains an unavoidable reference also contemporaneously.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / Over time the conventional design process has minimally evolved from Hideo Sasaki’s staged-design process, one of the original models of landscape architectural design process (Murphy 2005, 50; Sasaki 1950, 35). Different types of conventional design process, as it is called in this study, incorporate more stages, devoting more time to each; however, the stages are still completed in an exact order due to the focus on problem solving. The lack of encouragement for personal creative thinking through an individual creative process within the conventional design processes used today is apparent in both the profession and the education of landscape architects today. Because a creative process does not simply solve problems but encourages creative thinking throughout design, the profession would see greater generation of new ideas if landscape architects began to embrace a more creative process, as identified by Graham Wallas in the 1920s (Lawson 2006, 149-150; Herrman 1995; Goswami and Goswami 1999, 43-44). Interviews with highly creative, or avant-garde, landscape architects, such as Thomas Balsley, Claude Cormier, Mikyoung Kim and Peter Walker, and assumedly creative artists helped to provide answers to primary research questions: How does the design process of avant-garde landscape architects compare to the assumedly creative process used by artists? And how can the conventional landscape architectural design process be reframed to incorporate more creative thinking in landscape architectural practice and landscape architectural education? Using a grounded theory approach, in-depth, open-ended interviews were completed with eight subjects. Initial coding themes were based upon broad categories from literature review. Substantial coding and analysis of interviews to find the creative and conventional design processes and characteristics of creativity for each subject resulted in emergent themes and sub-themes from the interviews. Analysis matrices were developed to document commonalities and discrepancies between initial themes from literature review and emergent themes from interviews. Conclusions on findings from initial and emergent themes include:highly creative landscape architects employ non-linear, creative processes throughout design, confidence in personal creativity is imperative to creative thinking, and landscape architectural programs should allow students flexibility and creative license for developing personal design processes.

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Thesis (MA)--University of Stellenbosch, 2000. / ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion. / AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.