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Trata-se aqui de uma aproximação entre João Guimarães Rosa (1908-1967), escritor brasileiro, e Édouard Glissant (1928-2011), filósofo, romancista, poeta e crítico martinicano. Os textos escolhidos para tal aproximação foram o Grande sertão: veredas (1956) e a produção ensaística de Glissant de modo geral. Pretendi identificar e analisar ressonâncias entre a escrita de ambos. Consideraram-se primeiramente as extrapolações de seus gêneros originais, ficção e ensaio, e como muitas vezes procediam paralelamente no trabalho da linguagem e sua implicação política, isto é, a relação entre ética e estética. Longe de formalismos, os autores entendem a expressão como intimamente ligada ao seu conteúdo e assim assumem a opacidade da linguagem, potencializando seu aspecto poético e retirando-a de práticas automatizadas ou instrumentais. Investigou-se principalmente: (1) a partir de Deleuze e Guattari, a concepção rizomática do texto e suas linhas de fuga; (2) a situação narrativa em Grande sertão: veredas; e (3) a partir da noção de opacidade de Glissant, sua realização como procedimento estético na contaminação do tratamento do espaço ficcionalizado. / This text aims at showing how an approach between the Brazilian writer João Guimarães Rosa (1908-1967) and the philosopher, novelist, poet and martiniquais literary critic Édouard Glissant (1928-2011) is possible. The texts chosen for such a reading were Grande sertão: veredas (1956) and Glissants essay production as a whole. Using those texts as a springboard, we intended to identify and analyze resonances between their writing procedures. First, it was considered their distancing from their original fictional and essayist genres. After that, our attention was drawn to the similar way in which they utilize language and understand its political implications that is the relationship between aesthetics and ethics. Far from being mere formalists, the authors seem to believe that there is an intimate relationship between expression and its content. This leads them to assume the opacity of language, bringing to the fore its poetical aspect and removing it from automatized or instrumental practices. Our efforts were concentrated on investigating: (1) the notion, drawn from Deleuze and Guattari, of rhizomatic text and its escape lines; (2) the narrative situation in Grande sertão: veredas; and (3) Glissants opacity notion and its accomplishment as an aesthetic procedure especially in the way fictional space is treated

Trata-se aqui de uma aproximação entre João Guimarães Rosa (1908-1967), escritor brasileiro, e Édouard Glissant (1928-2011), filósofo, romancista, poeta e crítico martinicano. Os textos escolhidos para tal aproximação foram o Grande sertão: veredas (1956) e a produção ensaística de Glissant de modo geral. Pretendi identificar e analisar ressonâncias entre a escrita de ambos. Consideraram-se primeiramente as extrapolações de seus gêneros originais, ficção e ensaio, e como muitas vezes procediam paralelamente no trabalho da linguagem e sua implicação política, isto é, a relação entre ética e estética. Longe de formalismos, os autores entendem a expressão como intimamente ligada ao seu conteúdo e assim assumem a opacidade da linguagem, potencializando seu aspecto poético e retirando-a de práticas automatizadas ou instrumentais. Investigou-se principalmente: (1) a partir de Deleuze e Guattari, a concepção rizomática do texto e suas linhas de fuga; (2) a situação narrativa em Grande sertão: veredas; e (3) a partir da noção de opacidade de Glissant, sua realização como procedimento estético na contaminação do tratamento do espaço ficcionalizado. / This text aims at showing how an approach between the Brazilian writer João Guimarães Rosa (1908-1967) and the philosopher, novelist, poet and martiniquais literary critic Édouard Glissant (1928-2011) is possible. The texts chosen for such a reading were Grande sertão: veredas (1956) and Glissants essay production as a whole. Using those texts as a springboard, we intended to identify and analyze resonances between their writing procedures. First, it was considered their distancing from their original fictional and essayist genres. After that, our attention was drawn to the similar way in which they utilize language and understand its political implications that is the relationship between aesthetics and ethics. Far from being mere formalists, the authors seem to believe that there is an intimate relationship between expression and its content. This leads them to assume the opacity of language, bringing to the fore its poetical aspect and removing it from automatized or instrumental practices. Our efforts were concentrated on investigating: (1) the notion, drawn from Deleuze and Guattari, of rhizomatic text and its escape lines; (2) the narrative situation in Grande sertão: veredas; and (3) Glissants opacity notion and its accomplishment as an aesthetic procedure especially in the way fictional space is treated

Cette thèse de doctorat intitulée « Édouard Leclerc : naissance d’un compagnonnage pour les prix bas (1949-1960) » vise à comprendre le processus ayant permis la constitution du mouvement des Centres Distributeurs Édouard Leclerc au travers de l’analyse de la démarche originale de leur fondateur.Nous avons ainsi cherché à comprendre pourquoi il souhaitait remplacer le commerce capitaliste et spéculateur par une formule constituée autour d’entreprises familiales. Nous avons cherché à comprendre qui était l’homme, ses principes et sa vision religieuse, son entourage et les appuis qui lui ont permis de constituer ce qui est devenu la première enseigne commerciale française à dominante alimentaire tout en s’interdisant d’utiliser initialement le terme de commerce. Par l’utilisation d’une approche qualitative de triangulation, nous pensons avoir défini les principes du mouvement autour de ce que l’on pourrait qualifier de « théorie de la juste distribution » développée par Édouard Leclerc qui permet d’éclairer d’un nouveau jour cette approche commerciale originale. / This doctoral thesis entitled "Édouard Leclerc: birth of a trade guild for low prices (1949-1960)" aims to understand the process that led to the formation of the movement of Centres Distributeurs Édouard Leclerc through the analysis of their original approach founder. We have tried to understand why he wanted to replace the capitalist trade and speculator by a formula built around family businesses. We sought to understand who was the man, his principles and his religious vision, peers and support that enabled him to build what became the first French commercial sign at Food dominant while initially prohibiting use trade term.By using a qualitative approach to triangulation, we think we have defined the principles of the movement around what could be called "theory of fair distribution" developed by Édouard Leclerc which can shed new day this original business approach.

During the 1860s in Paris, Edouard Manet and his circle transformed the style and content of art to reflect an emerging modernity in the social, political and economic life of the city. Manet's Olympia (1863) was foundational to the new manner of painting that captured the changing realities of modern life in Paris. One readily observable development of the period was the emergence of a small but highly visible population of free blacks in the city, just fifteen years after the second and final French abolition of territorial slavery in 1848. The discourse around Olympia has centered almost exclusively on one of the two figures depicted: the eponymous prostitute whose portrayal constitutes a radical revision of conventional images of the courtesan. This dissertation will attempt to provide a sustained art-historical treatment of the second figure, the prostitute's black maid, posed by a model whose name, as recorded by Manet, was Laure. It will first seek to establish that the maid figure of Olympia, in the context of precedent and Manet's other images of Laure, can be seen as a focal point of interest, and as a representation of the complex racial dimension of modern life in post-abolition Paris. It will then examine the continuing resonance and influence of Manet's Laure across successive generations of artists from Manet's own time to the present moment. The dissertation thereby suggests a continuing iconographic lineage for Manet's Laure, as manifested in iteratively modernizing depictions of the black female figure from 1870 to the present. Artworks discussed include a clarifying homage to Manet by his acolyte Frédéric Bazille; the countertypical portrayal by early modernist Henri Matisse of two principal black models as personifications of cosmopolitan modernity; the presentation by collagist Romare Bearden of a black odalisque defined by cultural, rather than sexual, attributes metaphoric of the cultural hybridity of African American culture; and direct engagement with Manet's depiction of Laure by selected contemporary artists, including Maud Sulter and Mickalene Thomas, often with imagery, materials and processes also influenced by Matisse or Bearden. In each case, the fitfully evolving modernity of the black female figure will be seen to emerge from each artist's fidelity to his or her transformative creative vision regardless of the representational norms of the day. The question of what, if anything, is represented by Manet's idiosyncratic depiction of the prostitute's black maid has seldom been comprehensively addressed by the histories of modern art. The small body of published commentary about Manet's Laure, with a few notable exceptions, generally dismisses the figure as meaning, essentially, nothing -- except as an ancillary intensifier of the connotations of immorality attributed to the prostitute. Manet's earlier portrait of Laure, rich in significations relevant to her portrayal in Olympia, is even more rarely discussed, and typically seen as a study for Olympia, rather than as a stand-alone portrait as this analysis suggests. The image of Laure as Olympia's maid is frequently oversimplified as a racist stereotype, a perspective that belies the metonymic implications of a figure that is simultaneously centered and obscured. It is in the extensive body of response to Laure's Olympia pose by artists, more than by historians, that the full complexity and enduring influence of the figure's problematic nuance can be seen. This dissertation, like the artists, takes its cues from the formal qualities of Manet's images of Laure, in the context of precedent images and the fraught racial interface within Manet's social and artistic milieu, to suggest new and revisionary narratives. It suggests that Manet's Laure can be seen as an early depiction of an evolving cultural hybridity among black Parisians- visible in Laure's placement, affect and attire--that took shape during the early years of the newly built northern areas of Paris that are today home to some of the largest black populations in central Paris. Within this context, an iconographic legacy of ambivalent yet innovative modernity can be asserted for the Laure figure -extending from Delacroix to Matisse, Bearden and beyond. This lineage can be seen as parallel to the long-established pictorial lineage for Manet's figuring of the prostitute Olympia. What is at stake is an art-historical discourse posed as an intervention with the prevailing historical silence about the representation and legacy of Manet's Laure, and by derivation about the significance of the black female muse to the formation of modernism. This analysis suggests that the black female figure is foundational to the evolving aesthetics of modern art. It suggests that Olympia's standing as a progenitor of modern painting can only be enhanced by breaking through the marginalization of Laure's representational legacy. It asserts that it is only when the bi-figural significance of Manet's Olympia is recognized that the extent and influence of Manet's radical modernity can be most fully understood.

Le concept de littérature nationale s’est développé de façon concomitante avec le concept d’État-nation en Europe à partir de la fin du XVIIIe siècle. L’État-nation est rendu possible en partie par la littérature qui agit, par un discours culturel, comme un vecteur déterminant permettant à une telle communauté de s’imaginer. L’institutionnalisation de la littérature sert alors d’outil aux pouvoirs et aux élites en place dans le double objectif d’asseoir leur dominance et de créer un sentiment d’identité nationale, non sans une certaine violence : une partie de la diversité culturelle évoluant à l’intérieur de la juridiction de l’État-nation est sacrifiée au profit de l’unité. Les premiers nationalismes modernes se développent en Europe dans un climat de rivalité : c’est en opposant sa propre culture à celle des États environnants que l’on cherche à définir son identité. L’objectif de notre thèse est d’étudier le rôle de l’écrivain contemporain dans la formation d’une littérature permettant à une communauté, cette fois mondiale, de s’imaginer. Nous analysons l’œuvre romanesque de J.-M.G. Le Clézio afin de dégager les stratégies mises en place qui permettent aux différents peuples du monde d’éprouver le sentiment d’appartenir à un groupe global dépassant les frontières de la nation tout en conservant la spécificité que chacun est en droit de revendiquer. Ainsi, le roman leclézien s’inscrit à plusieurs égards dans la tradition goethéenne de la Weltliteratur, qui se fait le pendant des littératures nationales : la littérature mondiale devient à son tour instrument devant promouvoir une identité et une unité, à la différence que ces dernières se vivent désormais dans la diversité assumée et dans un rapport lucide de relation plutôt que dans la rivalité. / The concept of national literature evolved in 18th century’s Europe at the same time as the concept of nation-states. As a matter of fact, nation-states were in part made possible by literature, which acts, because of the cultural discourse it conveys, as a key vector that enables communities to imagine themselves. The institutionalization of literature served as a powerful tool for the leaders and elites of each community. They used it to establish their dominance and create a sense of national identity. This institutionalization was often conducted with a certain violence, that is, by sacrificing—for the benefit of unity—part of the cultural diversity that was flourishing inside the nation-state’s borders. Moreover, modern nationalism was born in Europe in a climate of rivalry: it is by opposing one’s own culture to that of one’s neighbours that one sought to define one’s own identity. The objective of our thesis is to study the role of the contemporary writer in the creation of a literature whose objective is, this time, to allow the world’s global community to imagine itself. We analyze the novels of J.-M.G. Le Clézio to identify the strategies he uses to allow the world’s different nations to feel they belong to a global group while preserving the specificity they are entitled to claim. Le Clézio’s novels fit in several respects in the Goethian notion of Weltliteratur, that of a literature that’s a counterpart of national literatures. That world literature then becomes an instrument to promote a new identity and unity in a world where diversity is now valued and lucid relationships have replaced rivalry.

L’œuvre d’Édouard Glissant est toute au cheminement d’une formidable et inédite pensée, une « poétique de la Relation » ; et aménage un passage, une « conversion de l’être ». L’image poétique, qui atteint à la plus sûre connaissance du monde et du vivant, y restaure le lien organique et immédiat avec la « chair du monde », dont elle peut, provisoirement, receler les formes signifiantes en perpétuel changement. L’étude de certains textes permettra de suivre l’itinéraire de « l’être qui se trouve », et les notions d’errance et de démesure, développées au fur et à mesure par l’auteur, de saisir les mouvements de ces transformations. Le « pli » d’abord, que la phénoménologie du roman imprime à l’œuvre pour accomplir la « thérapeutique globale » de la communauté antillaise. Le récit de Relation ne se trouve pleinement déplié qu’après coup, dans les années 90, avec le roman Tout-monde. La pensée de la Relation se résoudra par « consumation dialectique » dans un ultime aphorisme, « Rien n’est Vrai, tout est vivant » ; et l’œuvre, en sa « cheminaison », dans la profondeur de sa propre étendue, aménageant son apparition-disparition au sein du « grand livre mouvant » de tous ces siècles où se sont accumulées les littératures du monde entier. Cette intertextualité constitutive amènera (par une approche comparatiste) à considérer les « lieux-communs » qui relient l’œuvre d’Édouard Glissant à celle de K. Yacine, de S.-J. Perse et d’A. Césaire. De même, la question de la création de langages sera examinée sous l’angle de sa théorie sur la traduction considérant celle-ci comme une forme d’écriture à part entière, une composition traçant le « rapport entre les langues ». / Edouard Glissant’s work is the development of a great and a unique thinking: a poetics of Relation. It also allows a passage, a "conversion of the being". The poetic image attains the most accurate knowledge of the living, and restores the organic and immediate links with the “flesh of the world". This poetic image temporarily holds its signifying forms, constantly changing. The analysis of some specific texts will follow the itinerary of "the being that finds its meaning". The notions of wandering and “demeasure”, developed progressively by the author, will help to indicate the movements of those transformations. First, the "fold" that the fiction’s phenomenology prints to the work in order to accomplish the "global therapeutic" of the Antilles community. The narrative of Relation will fully unfold with the novel Tout-monde in the 90s. The thought of Relation will find its own ontological reduction in a final aphorism, "Nothing is true, all is living". The work itself will achieve the termination of its route in the depth of his own “Extent”, telling its appearance-disappearance in the "large moving book" of all these centuries, when the world literatures have accumulated. This constitutive intertextuality will lead us (by a comparative approach) to consider the "common places” that link the work of Édouard Glissant to those of K. Yacine, of S.-J. Perse and A. Césaire. In the same “horizontal” way, the "creation" of new languages will also be observed under the angle of his theory on translation, seen as a new form of writing that composes the “connection between languages".

This dissertation aims to establish a technical discourse around Édouard Manet’s early watercolors and to clarify their intermediary function between his painting and printmaking in the 1860s. My project breaks from historically medium-specific divisions within museum collections and catalogue raisonnés to consider a series of case studies that attest to Manet’s working methods across media. Guided by collaborative efforts in conversation with curators and conservators, my close physical examination and analysis of the paintings, drawings, and prints that constitute each chapter resulted in new technical imaging that contributes unprecedented visual evidence to the study of Manet’s crucially influential career.

Québec Université Laval, Bibliothèque 2013

Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ROGERIO CAVALCANTE DE MORAIS.pdf: 2888343 bytes, checksum: 703c15350891bd366f004d12d08a2c12 (MD5) Previous issue date: 2016-02-19 / This thesis aims to establish relationships between different artistic systems involving intertextualities and relations between text and image. We analyze homological procedures between them. Selected texts from different periods, styles and language system. These texts are listed in order to provide readings that can mobilize fruitful way of the senses. The corpus is made up of the stories; "The telltale heart," Edgar Allan Poe, "Love", by Clarice Lispector, and screens; "Luncheon on the Grass" by Édouard Manet, and "Lovers" by René Magritte. We analyze the existing dialogue in the look between the two languages, verbal and plastic-visual. The work is theoretical basis authors dealing with intertextuality as well as analog and homological procedures addressing different systems. We demonstrate how the game looks permeates and immobilizes the form of artistic training. / Esta dissertação se propõe a estabelecer relações entre sistemas artísticos distintos envolvendo intertextualidades e relações entre texto e imagem. Analisaremos procedimentos homológicos entre eles. Para isso, selecionamos textos de diferentes épocas, estilos e sistema de linguagem. Esses textos serão relacionados de modo a propiciar leituras que possam mobilizar de maneira profícua os sentidos. O corpus é constituído pelos contos; O coração denunciador , de Edgar Allan Poe, Amor , de Clarice Lispector, e as telas; Almoço na Relva , de Édouard Manet, e Os amantes , de René Magritte. Analisaremos o diálogo existente no olhar entre as duas linguagens, verbal e plástico-visual. O trabalho tem como embasamento teórico, autores que tratam da intertextualidade bem como dos procedimentos analógicos e homológicos abordando sistemas diferentes. Demonstraremos como o jogo de olhares permeia e imobiliza a forma de capacitação artística.