Esta é uma investigação sobre Memória. Na presente tese, partimos da compreensão de que a exploração de imagens magicamente ativadas na criação de trabalhos artísticos pode promover a transição entre diversos níveis de realidade, permitindo, a partir da exploração da arte da memória, a construção ou a emergência de significados complexos. Entendendo a memória como traço e utilizando a psicanálise como poética, exploramos as imagens magicamente ativadas pela memória, enquanto capacidade de (re) significação através de uma instalação artística que representou a transição do indivíduo em seu processo de re-conhecimento e re-invenção de si mesmo. / This is an investigation about memory. In this thesis, we start from the understanding that the exploitation of magically activated images enabled the creation of artwork can make the transition between different levels of reality, allowing, through exploration of art of memory, the construction or the emergence of complex meanings. Understanding the memory as trace and using psychoanalysis as poetic, explored the magically activated images by memory, while the ability to (re) signification through an artistic installation that represented the transition from the individual in the process of re-discovery and reinventing yourself.

Thesis (M.A.-Res.)--University of Wollongong, 2009. / Typescript. Includes bibliographical references: leaf 107-115.

L’enjeu de cette thèse sur Henry Fuseli est de tenter de montrer la façon dont cet artiste a conçu sa pratique de la peinture d’histoire comme un véritable spectacle. En nous appuyant notamment sur l’analyse du corpus d’œuvres shakespeariennes peintes, dessinées et gravées par l’artiste entre 1768 et 1825, nous avons essayé de mettre au jour les processus de « spectacularisation » à l’œuvre chez Fuseli. L’étude de la participation de l’artiste à la société anglaise et à ses divertissements - spectacles privés, fréquentation des théâtres publics et d’attractions plus populaires - a permis de mesurer en quoi une culture visuelle bien plus large que celle issue de la simple production théâtrale informe la production de l’artiste. Le spectacle populaire, véritable modèle caché du peintre, a nourri la réflexion de Fuseli sur la recherche de l’effet en peinture, dans sa relation avec la mémoire du spectateur. Contre l’idée commune faisant de Fuseli un peintre visionnaire, ancrant son œuvre dans sa seule imagination, cette thèse a pour ambition de montrer la nature du rapport éminemment matériel que l’artiste entretint avec les spectacles de son temps. La mise au jour du rôle des réminiscences de la scène de théâtre dans la création picturale et l’étude du transfert d’un certains nombre de « signes matériels » de la scène au tableau (tels que le cadre, les portes, le rideau…), nous ont permis de mettre en évidence l’esthétique en acte dans la peinture d’histoire de Fuseli. C’est la question de la relation que cette peinture instaure avec son spectateur qui clôt notre étude : une forme de pacte au sein duquel celui qui peint et celui qui regarde s’accordent, le temps du regard, pour croire à ce qui est donné à voir, afin d’en éprouver l’effet. / Trying to demonstrate how Henry Fuseli’s practice of history painting was truly conceived as a show is what is the challenge of this thesis. By basing ourselves mainly on the analysis of the corpus of Shakespearian paintings, drawings and engravings made by the artist between 1768 and 1825, we have tried to highlight the processes of spectacularisation (theatrical devices) within Fuseli’s work. The study of the artist’s involvement in the english society – his attendance to various entertainments such as privates shows, public theatres or even more popular scenes – enabled us to measure that the artist’s production is the result not only of the mere theater scene but accounts for a much broader visual culture. Hidden model for the painter, the popular scene nourished Fuseli’s thoughts in the search for painting effects and the induced relationship with the spectator’s memory. Despite the common belief of Fuseli being a visionary painter who’s work sets roots solely in his imagination, this thesis ambition is to show the very concrete and material links of the artist with the scenes of his time. Highlighting reminiscences of the theatre scene in the pictorial creation and the moving from the scene to the painting of a number of “material signs” (such as the frame, the doors, the curtain…) have enabled us to show the aesthetics performing within Fuseli’ history paintings. Our study ends with the relationship that these paintings generate with their spectator : a kind of pact in which for the time of a glance painter and spectator agree to believe in what is given to see so as to experi-ence its effects.

Comment mémoriser quand tout semble déjà mémorisé, enregistré, archivé ? Comment produire de la mémoire quand chacun se trouve entouré d’appareils disposés à mémoriser pour lui ? Comment opérer une distinction entre une « mémoire » prothétique, externalisée, déterritorialisée et une mémoire qui serait de l’ordre de l’expérience ? Notre hypothèse est que pour saisir la spécificité de cette mémoire, il faut comprendre en quoi elle relève d’un processus avant tout corporel. La mémoire non seulement s’inscrit dans le corps, mais plus encore procède du corps. Les « arts de la mémoire » qui envisagent la mémoire comme un procédé associant une image à un lieu laissent ainsi impensé le troisième terme de cette association : le corps, et plus précisément le corps affecté. C’est l’art, et en particulier l’art à partir des années soixante, qui nous semble restituer de la façon la plus manifeste ce processus quand il prend le corps comme médium et articule ainsi étroitement les notions de pratique, de mémoire et de corps, à travers trois modalités principalement : la trace, l’inscription, l’archive. Pour comprendre comment les pratiques artistiques à partir des années soixante donnent à repenser les pratiques mémorielles, nous nous intéresserons donc au corps qui se mesure à l’espace et y laisse une trace (Richard Long, Piero Manzoni, Stanley Brouwn) ; au corps qui répète un même geste et par cette répétition, inscrit ce geste en lui (Samuel Beckett, Bruce Nauman, Vito Acconci, Andy Warhol) ; au corps enfin qui se fige, se stratifie et devient lui-même sa propre archive (Jeff Wall, Gerhard Richter). / How to memorize when everything seems already memorized, recorded, archived? How to produce memory when one is submerged by tools, apparatus already memorizing for oneself? How to operate a distinction between a prosthetic, external “memory” and a memory which proceeds from experience? The specificity of memory consists in, and this is our hypothesis, bodily processes. Not only does memory inscribes itself in the body, but it also proceeds from the body. The arts of memory (the ars memoriae of the Antiquity) which conceive memory as a procedure associating an image with a place, do not take in consideration the other term of this association: the body, or more precisely, the affected body. Art, and specifically art since the sixties, reconsiders the link between body and memory by using the body as a medium, thus closely articulating notions of practice, memory and body through three modalities: trace, inscription, and archive. In order to understand how art practices since the sixties have contributed to redefining memory practices, the research will focus first on the body which confronts itself to space and leaves a trace (Piero Manzoni, Richard Long, Stanley Brouwn), then on the body which repeats the same gesture and by the way of this repetition, inscribes this gesture in itself (Samuel Beckett, Bruce Nauman, Vito Acconci, Andy Warhol), and finally, the body which becomes itself a body-archive (Jeff Wall, Gerhard Richter).

La collection de sermons ad status du maître franciscain Guibert de Tournai († 1284), inscrite dans le nouvel art de prêcher qui se développe au XIIIe siècle, est surtout connue pour la particularité de son organisation, qui répartit les sermons selon les états de vie d'auditoires plutôt que selon les occasions du temps liturgique. Cette thèse réalise un bilan et une actualisation des connaissances sur l'auteur et la collection, ainsi qu'une analyse approfondie de cette œuvre, assortie d'une transcription intégrale. Elle ouvre également la voie d'une réinterprétation du remploi littéraire chez Guibert de Tournai, et propose une lecture nouvelle du découpage ad status à la lumière de la mnémotechnique et des arts de la mémoire. Le premier chapitre fait un bilan des connaissances sur Guibert de Tournai. Enfant de la bourgeoisie flamande, il reste fidèle à sa terre d'origine et aux hommes qu'il a connus ici, bien longtemps après que ses études et son engagement dans l'ordre franciscain l'ont amené à Paris. Intellectuel fécond dans des genres variés, son œuvre laisse entrevoir une personnalité éprise de mystique et de contemplation. Personnage proéminent dans le paysage intellectuel parisien des années 1260, en relation avec de grands personnages politiques et intellectuels de son temps, il s'intéresse aussi aux questions de formation et de transmission du savoir, et bien évidemment à la prédication que nous le voyons pratiquer, grâce à des reportations parisiennes, jusqu'au soir de sa vie. Le deuxième chapitre est consacré à la présentation et l'analyse détaillées de la collection ad status. La tradition en est foisonnante, compliquée par quelques accidents conjoncturels dans la transmission du texte. Elle laisse tout de même entrevoir un texte qui semble relativement stable. Dans son contenu, systématiquement analysé, la collection est un bel exemple de « sermons modernes » dans sa manière d'arranger la matière prêchable, en se servant de très nombreuses distinctiones pour structurer les textes. Le troisième chapitre explore le rapport de Guibert à l'intertextualité ou « remploi » littéraire. Le maître franciscain puise volontiers sa matière dans d'autres œuvres : son remploi des Sermones vulgares de Jacques de Vitry dans ses sermons ad status est connu de longue date, mais il a aussi trouvé chez Guillaume d'Auvergne une partie de la matière première des sermons sur les sacrements. Les emprunts à Jacques de Vitry, mesurés grâce à l'indicateur des exempla, se révèlent moins systématiques et plus complexes qu'on aurait pu le penser, montrant à quel point le remploi littéraire faisait partie intégrante du processus de création, pour Guibert comme pour d'autres auteurs médiévaux. Le rôle des œuvres de Guibert comme réservoirs de matière, faisant à leur tour l'objet de remploi dans des œuvres de genres et d'auteurs variés, est également mis en évidence dans une série de textes. Le dernier chapitre enfin propose une nouvelle lecture du choix d'organisation ad status de la collection, une interprétation alternative du projet de Guibert. Plutôt qu'un miroir de la société réelle ou idéale du prédicateur, la composition de sermons selon des états de vie de l'auditoire peut être comprise, à la lumière des arts de la mémoire, comme un ingénieux outil mnémotechnique pour l'organisation de la matière prêchable. En faisant des status des « lieux de mémoire », Guibert a réalisé une classification thématique de la matière prêchable selon les topoi attachés aux états de vie. / The collection of ad status sermons by the Franciscan Guibert de Tournai (d. 1284), rooted in the new art of preaching that was developing in the thirteenth century, is best known for its particular organization, arranging the sermons according to the social position (or estate) of their audience rather than by liturgical occasions. This thesis assesses and updates our knowledge of the author and the collection, and provides an in-depth analysis of this body of work, accompanied by a complete transcription. Furthermore, the thesis paves the way for a reinterpretation of the ways in which Guibert used and adapted earlier texts, and it proposes a new understanding of the ad status division, in light of mnemonics and the art of memory.The first chapter assesses our knowledge of Guibert de Tournai. A child of the Flemish bourgeoisie, he remained faithful to his land of origin and to the men he knew there, long after his studies and his engagement in the Franciscan order had led him to Paris. Intellectually fertile in a variety of genres, his works hint at a personality passionate about mysticism and contemplation. A pre-eminent figure in the Parisian intellectual landscape of the 1260s, connected to the key political and intellectual figures of his time, he was interested in questions regarding the acquisition and transmission of knowledge, and evidently in the preaching we know – thanks to Parisian reportationes – that he practiced until his twilight years.The second chapter offers a detailed presentation and analysis of the ad status collection. There are many extant manuscripts, and their analysis is complicated by several inconsistencies in the transmission of the work, but overall and over time the text seems relatively stable. The content of the collection, systematically analysed, provides an excellent example of the “modern sermon” in the way it arranges the material for preaching, drawing on numerous distinctiones to structure the texts.The third chapter explores the link between Guibert and intertextuality or textual reuse. The Franciscan master took much of his material from other works; his reuse of the Sermones vulgares of Jacques de Vitry in his ad status sermons has been known for a long time, but he also found much of his preaching material for sermons on the sacraments in the work of Guillaume d’Auvergne. Guibert's appropriation of the work of Jacques de Vitry, measured through the use of his predecessor's exempla, is revealed to be less systematic and more complex than scholars would otherwise have predicted, demonstrating just how, and to what extent, textual reuse was integral to the creation process for Guibert as well as for other medieval authors. The role of the works of Guibert as reservoirs of material, in turn themselves reused in works of various genres and authors, is demonstrated through the analysis of a number of later texts.The final chapter proposes a new consideration of Guibert's choice of constructing his collection as an ad status text. The composition of sermons according to the social position of the audience can be understood, in light of the art of memory, as an ingenious mnemonic tool for the organisation of preaching material rather than as a mirror of a real or ideal society. In turning the status into “lieux de mémoire”, Guibert created a thematic classification of preaching material according to topoi attached to the estates.

Cette thèse se propose de définir l'ékphrasis performée, de la théoriser et de montrer son applicabilité concrète aux études théâtrales. Il s'agit d'un syntagme par lequel nous désignons le point de rencontre entre les possibilités rhétoriques de l'ékphrasis et les moyens du performatif. Cependant, l'ékphrasis ne se réduit guère à une intention purement mimétique, mais elle est toujours l'expression d'un regard aussi distancié que partiel sur le monde. À partir de la théorisation qu'on a réalisée de l'ékphrasis performée, on a élaboré quelques instruments d'analyse dont l'objectif est de comprendre certains aspects de la construction de l'image sur scène, de son utilisation dans le théâtre en général et dans le théâtre contemporain en particulier. La deuxième et la troisième parties de la thèse présentent ensuite deux parcours de recherchedifférentes. Ainsi la deuxième partie est dédiée à l'oeuvre de Samuel Beckett, tandis que la troisième est dédiée au théâtre de Anagoor. Ces deux parties se présentent comme une forme d'application des principes de l'ékphrasis performée. / The aim of this thesis is to develop a theory of performed ékphrasis. This rhetoric figure, generally studied in comparatives studies between literature and visual arts, holds a performative potential. From theory, I have extracted relevant rhetoric tools for an understanding of some aspects of image building on (also contemporary) theatre action. Ékphrasis doesn’t just reply to a mimetic intention but it always returns a partial sight on reality. Following this performed ékphrasis perspective I havefocused on Samuel Beckett’s work and Anagoor’s contemporary performances. / La presente tesi di dottorato si propone di elaborare una teoria dell'ékphrasis performata. L'ékphrasis, categoria retorica normalmente trattata in studi comparativi tra letteratura e arti visuali, ha in sé un potenziale performativo che viene qui dimostrato. In seguito, dalla teoria, sono stati estratti degli strumenti di analisi per la comprensione di alcuni aspetti della costruzione dell'immagine in scena, del suo utilizzo nel teatro in generale e nel teatro contemporaneo in particolare. Poiché si tratta di una tecnica di slittamento tra generi e oggetti di natura diversa, che agisce con operazioni di montaggio e rimontaggio delle immagini (per via discorsiva o visiva), l'ékphrasis non risponde mai a un'intenzione puramente mimetica, ma restituisce sempre uno sguardo parziale sul mondo. In quest'orizzonte si presenta l'approfondimento di due casi emblematici per una concreta dimostrazione dei meccanismi di funzionamento dell'ékphrasis performata: l'opera Samuel Beckett e i lavori della compagnia italiana contemporanea Anagoor.

Rather than being located in a field of art that addresses genocide through assumptions connected with identity issues or activism, this thesis of an artist’s exploration of artistic response to genocide in post World War II art practice, is informed by the emerging field of genocide scholarship. Seeing a parallelism between the concerns of genocide scholars and artists who respond to genocide, this thesis is an interdisciplinary study of art positioned alongside the field of genocide scholarship, as theorised by scholars such as Donald Bloxham and A. Dirk Moses. In addressing genocide through broader historical trends, periods and structures, it assumes that artists who respond to genocide share with genocide scholars a concern about genocide at a secondary level and share the potential to create illumination in the field. This thesis explores art practices that address genocide conceptually through structure and material. The central claim of this thesis is that recent and contemporary art practices, here discussed, show a concern to respond to genocide as an ethical response, and that they do so by engaging with the complexity of abstract issues such as complicity and agency. The initial analysis of Adorno’s discourse on ethics, as it relates to response in art, sets up a level of complexity for two further investigations that interrogate the discourses of victim representation and lens-based documents of genocide through ethics and agency. Together these provide an analytical framework for the project. Close readings informed by genocide scholarship, of art practices including those of Jimmie Durham and Francis Alÿs, take forward notions in the existing critical field. These readings yield not only the evidence that demonstrates a commitment to creating ethically based art through conceptually informed practice, in artists responding to genocide, but also the value of a cultural critique that is informed by genocide scholarship.

No description available.

Pendant soixante-dix ans, de 1945 à 2015, les artistes italiens ont, à travers leurs œuvres, mené un travail de mémoire. Entre une génération née avant le Fascisme, une alors qu'il est à l'apogée de sa puissance impérialiste, une autre après la guerre et enfin une génération de jeunes artistes nés trente ans après la fin du conflit, les mémoires singulières et collectives se bousculent. L'objectif de cette recherche est de reconstruire l'histoire de ces témoignages sur un passé vécu ou pas, et de donner les outils pour comprendre les conditions de leur genèse. Parler de la mémoire à travers des œuvres d'art est une expression intime, singulière, mais également un acte éminemment politique. Les manipulations de la mémoire du Fascisme influencent-elles tout au long de la période la création sur le sujet ? Quelles postures les artistes adoptent-ils face aux problématiques soulevées par une redéfinition du danger fasciste alors que la dictature est officiellement terminée ? Quelles formes plastiques sont données à ces remémorations et réactualisations ? / Over a period spanning 70 years, 1945 through 2015, ltalian artists carried out a "memory" endeavour for those generations that were bom before the fascist era, during the period of its highest imperialistic aims, during the aftermath of the war, and even for the generation of those artists bom 30 years after the end of the war. As a result, a multitude of individual and collective memories had emerged. This work aims to reconstruct and track the history of these memories (whether or not actually experienced by the artist), and to provide the tools to understand the genesis ofthese memories. Analysing "memory" through art pieces is an intimate, singular, and political act. To what extent fascist memory manipulations affect artistic creations? How do the artists react and position themselves, once confronted with the problems of re-defining "Fascism", after the dictatorship fell? Which new "plastic forms" emerge from these new adaptations of individual and collective memories? / Durante settant'anni, dal 1945 al 2015, gli artisti italiani, attraverso le loro opere, hanno svolto un lavoro di memoria. Fra una generazione nata prima del Fascismo, una nata quando questo è al culmine della sua potenza imperialista, un'altra nata dopo la guerra e infine una generazione di giovani artisti nati trent'anni dopo la fine del conflitto, le memorie individuali e collettive si affollano. L'obiettivo di questa ricerca è di ricostruire la storia di queste testimonianze su un passato, vissuto o no, e di fomire gli strumenti per capire le condizioni della loro genesi. Parlare della memoria attraverso le opere d'arte è un'espressione intima, singolare, ma allo stesso tempo un atto eminentemente politico. Nel periodo preso in esame, le manipolazioni della memoria del Fascismo influenzano la creazione su questo tema? Quai è la posizione degli artisti di fronte alle problematiche nate da una ridefinizione del pericolo fascista, sebbene la dittatura sia ufficialmente caduta? Quali forme plastiche son date a queste rimemorazioni e riattualizzazioni?

The Forum was the center of Roman life. It witnessed a barrage of building, destruction and reuse from the seventh century BCE onwards. By around 80 BCE, patrons chose to renovate the Senate House and Comitium with a fresh paving of tufa blocks. Masons leveled many ruined altars and memorials beneath the flooring. Yet paving also provided a means of saving some of Rome’s past. They isolated the Lapis Niger with black blocks, to keep the city’s sinking history in their present. Paving therefore became a technology of memory for recording past events and people. Yet how effective was the Lapis Niger as a memorial? Many modern scholars have romanced the site’s cultural continuity. However, in fifty years and after two Lapis Nigers, the Comitium had borne a disparity of monuments and functions. Rome’s historians could not agree on what lay beneath. Verrius Flaccus reports that the Lapis Niger ‘according to others’ might mark the site of Romulus’s apotheosis, his burial, the burial of his foster father Faustulus, or even his soldier, Hostius Hostilius (50.177). Nevertheless, modern archaeologists have found no tombs. Instead of trying to comprehend these legends, most scholars use them selectively to isolate a dictator, deity or date. We must instead understand why so many views of the Lapis Niger emerged in antiquity. Otherwise, like ancient antiquarians, we will re- identify sites without end. Recreating how these material and mental landscapes interacted and spawned new pasts tells us more about the Lapis Niger than any new attribution. / text