Thesis (doctoral)--Université de Paris X Nanterre, 1998. / Includes bibliographical references (p. 473-480).

Thesis (doctoral)--Université de Paris X Nanterre, 1998. / Includes bibliographical references (p. 473-480).

Texte remanié de: Th.--Philosophy--University of Glasgow, 195? / Bibliogr. p. 179-180. Discographie p. 173-176. Liste des compositions de Roussel : p. 159-172. Index.

Dissertation--Philosophische Fakultät--Kiel--Christian-Albrechts-Universität, 1979. / Bibliogr. p. 377-393.

Reproduction de : Thèse de doctorat : Littérature française : Le Mans : 2007. / Titre provenant de l'écran-titre. Bibliogr. p. 359-374.

Albert Roussel, a contemporary of Ravel and Debussy, composed nine chamber works which include the flute. His general musical style as well as his use of the flute in these works is discussed in this lecture recital.

Note:

No description available.

Habilitationsschrift--Sprach- und Literaturwissenschaft--Mannheim--Universität, 1986.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Psicologia, 2007. / Submitted by Érika Rayanne Carvalho (carvalho.erika@ymail.com) on 2010-09-09T14:51:39Z No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Approved for entry into archive by Lucila Saraiva(lucilasaraiva1@gmail.com) on 2010-09-20T15:54:02Z (GMT) No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Made available in DSpace on 2010-09-20T15:54:02Z (GMT). No. of bitstreams: 1 2007_Ana Janaina Alves de Souza.pdf: 1617345 bytes, checksum: d55a9e63399c920e52c5cfa58b6898de (MD5) / Esta dissertação analisa a obra do escritor francês Raymond Roussel, tendo como ponto de partida a proposição de Michel Foucault de que a literatura seria um locus de transgressão, onde os limites da linguagem são postos em xeque. No livro póstumo Comment j'ai écrit certains de mes livres (1935), Raymond Roussel apresentou seu procedimento de escritura, que deu origem aos romances Impressions d'Afrique (1910) e Locus Solus (1914). O procedimento envolve o uso da sinonímia e da homofonia, a decomposição de termos e a suspensão do significado, tendo como resultado uma literatura que busca especificamente tornar as palavras "desenhos de rébus". O método de escrita de Roussel nos dá ensejo a pensar as relações traçadas pela psicanálise entre palavra e coisa, de um lado, e linguagem, inconsciente e memória, de outro. Sua frase, "em mim, a imaginação é tudo", se contrapõe à chamada "psicobiografia", possibilitando uma reflexão sobre o encontro entre arte e psicanálise. Ao final deste trabalho, percebe-se que a obra de Raymond Roussel permanece enigmática tal como o umbigo do sonho resiste à interpretação. Seu procedimento de criação insiste na quebra e destruição do sentido, na impossibilidade de ligação. Confrontada com o tal texto, a psicanálise não procura um sentido fixo, que desvende a obra, mas a produção de novas palavras que venham estranhar o texto - e a própria psicanálise. ______________________________________________________________________________________________________ ABSTRACT / This dissertation analyses the work of the French writer Raymond Roussel, starting from the proposal of Michel Foucault that literature is a locus of transgression, where the limits of language are questioned. In Comment j’ai écrit certains de mes livres (1935), published after his death, Raymond Roussel presented his writing method, which has originated his others books Impressions d’Afrique (1910) and Locus Solus (1914). This procedure involves the use of synonymy and homophony, the decomposition of terms and the suspension of meaning, creating a literature that seeks specifically to transform words in “pictures of rébus”. Roussel´s writing method invites us to think about the relations brought by psychoanalysis, first, between word and things, and second, between language, memory and the unconscious. His statement “in me imagination is all” opposes to the so called “psychobiography”, which enables a reflection about the encounter of art and psychoanalysis. At the end of this study, we realized that the work of Raymond Roussel remains as enigmatic as the navel of dream resists to interpretation. His creation procedure insists in the breaking and destruction of meaning, in the impossibility of connection. Faced with such text, psychoanalysis does not seek a single meaning, which unravels the whole work, but the production of new words that questions not only the text but the psychoanalysis itself.