Diss.--Philosophische Fakultät--Zürich, 1991. / Bibliogr. p. 168-177. Index.

Cette thèse porte sur les livres auto-illustrés réalisés par l'Autrichien Alfred Kubin (1877-1959), le Tchèque Josef Váchal (1884-1969) et le Polonais Bruno Schulz (1892-1942). En rapprochant les œuvres de ces auteurs et illustrateurs relativement méconnus et considérés comme marginaux selon les canons culturels de leur époque, ce travail souhaite démontrer qu'un paradigme se fait jour dans la pratique de l'auto-illustration et l'imaginaire du livre qui lui est associé. En tenant compte du contexte de la culture centre-européenne dans l'entre-deux-guerres et de la dimension technique de l'histoire du livre, dont les enjeux coïncident avec les réflexions contemporaines sur l'originalité et la reproductibilité mécanisée, la thèse définit la démarche d'auto-illustration comme la quête d'un « livre total de pacotille ». Mais il s'agit aussi de lui donner un cadre théorique en se focalisant sur l'analyse des rapports entre le texte et l'image afin de révéler certains traits récurrents qui défient le processus d'illustration classique : l'antériorité ou la simultanéité de l'image, qui permet l'information mutuelle des codes iconique et linguistique sur la page ou la favorise dans le texte, inverse aussi le principe de « transposition » inhérent à l'illustration, voire l'excède pour lui substituer un « dialogisme » intersémiotique. Ces phénomènes confirment l'importance du geste réflexif présidant à l'auto-illustration, qui suppose une hyperconscience du dispositif illustré mais prend aussi en compte l'omniprésence transgressive du créateur, qui envahit les seuils de l’œuvre, se figure en texte et en images, et en auteur, illustrateur, narrateur et personnage(s). / This dissertation deals with self-illustrated books by the Austrian Alfred Kubin (1877-1959), the Czech Josef Váchal (1884-1969) and the Pole Bruno Schulz (1892-1942). Comparing the works of these writers and illustrators, who are not quite famous and were considered to be on the margins of the cultural models of their time, the dissertation shows that a creative paradigm is to be found through self-illustration and the book imagery that goes with it. Taking into account the context of central-european culture during the interwar period, and the technical aspects of book history, which are linked to contemporaneous debates about originality and technical reproductibility, this study defines the production of these writers-ilustrators as a search for a « cheap total bookwork ». It is based on a theoretical framework which focuses on the relations between text and image in order to reveal recurring features which challenge the classical illustrating process : images being produced prior to or at the same time as the text provide for the mutual exchange of properties between words and pictures on the page and in the text itself. This practice also reverses the principle of « transposition » inherent to illustration, or even replaces it with an intersemiotic « dialogism ». These phenomena confirm the importance of the reflexive nature of self-illustration : not only does it require a high level of awareness of the illustrated apparatus but it also explains the transgressive omnipresence of the creator who invades the « paratext » and represents himself in texts and images as writer, illustrator, narrator and character(s).

ANNOTATION: The work The Mirror of Reality in the Imagery of Dreams of the 19th and 20th Centuries - Creative Individuality versus the Chaos of the Time is based on the assumption that dreams are inseparably linked to the concept of existence in human life (Michel Foucault). The study touches on the ways in which dreams are depicted in visual culture that does not coincide with chronologically organized historical events, but is an expression of a free alliance between artists in the European space and centuries of common experience. These works are generally socially critical, exposed to unimaginable pressure from public censorship. The artist must pretend it is only an innocent game, a crazy idea, a whim. At the same time, these paintings are not an expression of boundless imagination, but they are subject to the firm rules of spatial construction of the painting. This is due to the traditional delimitation of dark depths - the underworld of Virgil's Saturn myth of pre-Roman culture, alternating with the vertically felt open heavens as variants of the original Plato's The Myth of Er, which in the 20th century paintings is replaced by the idea of an open landscape with illumination on the low horizon. The work deals with the work of Albrecht Dürer, his copperplate Melancholia I (1514) and his so-called...