Thesis (M.F.A.)--The University of North Carolina at Greensboro, 2008. / Directed by Amy Lixl-Purcell; submitted to Dept. of Art. Title from PDF t.p. (viewed Aug. 27, 2009). Includes bibliographical references (p. 10).

Ce mémoire propose une lecture du recueil Art poétique d’Eugène Guillevic. Art poétique parait non seulement comme un livre où se développe la recherche patiente d’un principe directeur, mais aussi comme « l’autoportrait d’un poète qui continue de s’interroger et d’interroger le monde » . Le poète a résumé cette double interrogation dans l’expression suivante : « Écrire, c’est bien s’inscrire dans le monde » . Cette formule inspire notre réflexion sur le recueil et nous amène à avancer l’hypothèse suivante : la reprise du genre de l’art poétique par Guillevic s’accorde paradoxalement avec sa recherche d’une expression subjective et singulière. Au cours de ce mémoire, nous allons examiner les relations que le sujet guillevicien entretient avec l’espace et le temps. Nous allons chercher notre appui dans la théorie du discours, telle que la décrit Émile Benveniste. / This dissertation will develop an interpretation of Art poétique by Eugène Guillevic. This anthology in not only a treatise on poetry, but also a “self-portrait of a poet who continues to interrogate himself, and interrogates the world” . This issue is expressed by Guillevic himself: “Writing means making ourselves part of the world” . This sentence leads to the following hypothesis: the genre of “ars poetica” is a means that paradoxically leads Guillevic to write in an intimate manner. This dissertation is an outline of the relations that the poetical subject attempts to maintain with space and time. The theory of discourse of Emile Benveniste will constitute the primary theoretical background for this analysis.

Figure éminente du groupe des Fantaisistes, Tristan Derème (1889-1941) est surtout connu pour sa production poétique. Y réduire son œuvre serait, cependant, faire fi d’une masse de livres (Le Quatorze juillet ou petit art de rimer quand on manque de rimes, Le Poisson Rouge, L’Onagre Orangé, La Libellule Violette, parmi beaucoup d’autres) qui constituent, sous la forme spéciale d’une réflexion à plusieurs voix, autant d’essais sur un très grand nombre de questions, surtout d’ordre formel, touchant la poésie française.Il s’agit d'abord de voir en quoi et comment ce massif ignoré de la littérature du XXe siècle se situe au carrefour d’une tradition très classique, qu’il prolonge, et des perspectives les plus modernes, qu’il préfigure, aussi bien à travers son « dit » (les conceptions et positions développées, qui font l'objet d'une première partie), qu’à travers son « faire » (les créations, avec diverses contraintes inédites d'écriture et de réécriture, analysées dans un deuxième temps). Cette réflexion polylogale, menée dans un salon littéraire fictif, interroge de façon essentielle la théorie littéraire. La forme ludique et originale de ce « dire » occupe la troisième et dernière partie de l'étude, avec pour horizon une perspective métathéorique : et si une poétique de la poésie ne pouvait s'écrire que dans la fantaisie ? / An eminent figure in the group of French writers known as the « Fantaisistes », Tristan Derème (1889-1941) is best known for his poetical works. However, limiting Derème’s achievement to his poetry implies putting aside a considerable number of books (Le Quatorze Juillet ou petit art de rimer quand on manque de rimes, Le Poisson rouge, L’Onagre orangé, La Libellule Violette, to name but a few) which constitute a series of essays employing multiple voices to explore a wide range of questions relating to French poetry, particularly its formal properties.This thesis first explores the ways and means by which this little-commented opus of twentieth century literature operates at a theoretical crossroads, extending an undoubtedly classical tradition whilst anticipating strikingly modern perspectives. Consideration is given both to the substance of Derème’s writing (the conceptions and positions which he develops, which are the subject of the first part of the thesis) and do the literary form of his work (his formal innovations, experimenting with diverse writing and re-writing constraints, which are analyzed in the second part). Set in a fictional literary salon, Derème’s polyvocal reflections raise fundamental questions concerning literary theory. The ludic and original form of these reflections is the subject of the last part of the study, which opens up a meta-theoretical perspective: what if a poetics of poetry could only be written as fantasy ?

Ce mémoire propose une lecture du recueil Art poétique d’Eugène Guillevic. Art poétique parait non seulement comme un livre où se développe la recherche patiente d’un principe directeur, mais aussi comme « l’autoportrait d’un poète qui continue de s’interroger et d’interroger le monde » . Le poète a résumé cette double interrogation dans l’expression suivante : « Écrire, c’est bien s’inscrire dans le monde » . Cette formule inspire notre réflexion sur le recueil et nous amène à avancer l’hypothèse suivante : la reprise du genre de l’art poétique par Guillevic s’accorde paradoxalement avec sa recherche d’une expression subjective et singulière. Au cours de ce mémoire, nous allons examiner les relations que le sujet guillevicien entretient avec l’espace et le temps. Nous allons chercher notre appui dans la théorie du discours, telle que la décrit Émile Benveniste. / This dissertation will develop an interpretation of Art poétique by Eugène Guillevic. This anthology in not only a treatise on poetry, but also a “self-portrait of a poet who continues to interrogate himself, and interrogates the world” . This issue is expressed by Guillevic himself: “Writing means making ourselves part of the world” . This sentence leads to the following hypothesis: the genre of “ars poetica” is a means that paradoxically leads Guillevic to write in an intimate manner. This dissertation is an outline of the relations that the poetical subject attempts to maintain with space and time. The theory of discourse of Emile Benveniste will constitute the primary theoretical background for this analysis.

Thesis (M.A. (Hons)) -- University of Western Sydney, 2000. / Includes bibliographical references (leaves 25-26).

Thesis (Ph. D.)--University of Iowa, 2000. / Supervisor: Adalaide Morris. Title-page, preliminaries, Certificate of approval, and Table of contents issued in paper (x, 6 leaves ; 28 cm.). Includes bibliographical references. Also issued on CD-ROM (35 files, 132 megabytes).

The author of this thesis examines the style of P. Papinius Statius'poetics in two of his descriptive poems from the Silvae. In the Introduction she puts forth basic data of his life and works. Then she describes Flavian building program and activities of Roman élite in relation with Statius' other descriptive poems. The author consequently puts separately both poems in question, that is Silvae 1.1. and 4.6, in historical and artistic context, then she summarizes existing research on the poems, then she defines genre, style and literary background of each poem and examines their structure. At the end of each chapter the author presents latin text and czech translation, commentary and analysis of typical elements of Statius's poetics in particular sections of the poems according to their structure. In the Conclusion the author summarizes what she has learned about the style of Statius' descriptive poems in relation to the people and objects described.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.

A tese que aqui se apresenta tem por finalidade proceder à análise crítica do processo de criação dos artistas José Leonilson e Louise Bourgeois. Fazendo uso da metodologia da Literatura Comparada, entendida em termos de investigação do espaço intervalar, pressupõe-se sua eficácia na análise de obras tais como as dos artistas citados, consideradas em função de três elementos principais. São estes a relação entre o processo de criação e a subjetividade; o desenvolvimento de temáticas de ordem afetiva e a elaboração de peças que congregam elementos visuais e verbais. Tomou-se como pressuposto a possibilidade de reflexão a respeito do sentido da produção dos artistas tendo como base a noção de ressonância entre palavras e imagens poéticas, conforme sugerido por Gaston Bachelard. Nesse sentido a tese propõe um aprofundamento do espaço intervalar da Literatura Comparada, identificado na alternância entre aproximação e distanciamento entre imagens. Assim procedeu-se operativamente a um trabalho de análise da obra de Leonilson e Bourgeois de forma associativa, buscando a ressonância do sentido de suas imagens em imagens poéticas e literárias que também refletem sobre a relação entre a subjetividade e o processo de criação, bem como elaboram uma dimensão afetiva. Tais procedimentos, sustentados em estudos críticos sobre a poesia, permitiu delimitar alguns elementos fundamentais para a caracterização do espaço intervalar de criação de Leonilson e Bourgeois. A tese desenvolve-se sobre as noções de gesto poético e imagem poética, as quais permitem caracterizar o espaço de criação dos artistas nos termos de uma paisagem litorânea desenhada pela conversa entre o artista e o outro. Conversa constituída na alternância entre fala e silêncio. / This thesis aims to analyse José Leonilson’s and Louise Bourgeois’ creative processes. The applied methodology relies on the conception of Comparative Literature as analytical enterprise operating in “in-between” spaces. Thus, such methodology, as we try to demonstrate, would be adequate as a critical approach of visual art productions such as elaborated by these artists. We operated having on site three main characteristics of their productions. The first of them is the strong relation between the creative process and the artists’ subjectivity. This was observed also in relation to the emotional thematic developed by the artists’, as much as the relation between verbal and visual elements in their pieces. We further assumed that the elaboration of meaning regarding these artists pieces might be developed with the notion of resonance between words and images, as proposed by Gaston Bachelard. In such sense, the thesis tries to enhance the comparative “in-between” space as the space where images alternatively near and distance themselves from one another. Thus, the analysis of Leonilson’s and Bourgeois’ production operated through the association between their images and those of other poetic and literary pieces which also depict on the relation between the creative process and subjectivity, as much as on the emotional dimension claimed by these artists. Such procedures, sustained by critical studies on poetry as well, enabled us to characterise Leonilson’s and Bourgeois’ creative process as an “inbetween” place. In order to reach this place, the thesis operated on the notions of poetic gesture and of poetic images, which unfold in the identification of the creative process as something of the order of a seaside landscape drawn by the conversation between the artist and the other. A conversation sustained by speech as much as by silence.