Made available in DSpace on 2016-03-15T19:34:40Z (GMT). No. of bitstreams: 1 Vinicius Magalhaes Pinheiro.pdf: 574897 bytes, checksum: c05bf43fc9b0fc439704b93a5580bd82 (MD5) Previous issue date: 2008-08-27 / The present research has as object the investigation of the work of the Italian Marxist Galvano Della Volpe, in order to reconstruct his concept of law and his legalist s critic. In this construction, it was aimed at to study the author s works as a whole, in reading of his diverse texts. Still, it was looked to contrast the thought of Galvano Della Volpe ideas of other philosophers and lawyers, consulting with the works of the same ones. / A presente pesquisa tem como objeto a obra do marxista italiano Galvano Della Volpe, tentando construir seu conceito de direito e sua crítica da legalidade. Nesta construção, buscou-se entender a obra do autor como um todo, a partir da leitura de seus diversos textos. Ainda, procurou-se contrastar o pensamento de Galvano Della Volpe às concepções de outros filósofos e juristas, com consulta às obras dos mesmos.

O objetivo deste trabalho é analisar o modelo interpretativo de Sergio Milliet a respeito da arte moderna e, a partir dele, demonstrar como emerge, de sua teoria da marginalidade, a idéia de morte da arte moderna. Procuraremos circunscrever este problema no ano de 1942, provocando o diálogo entre Milliet e os outros discursos críticos contemporâneos a ele. Por meio dos cruzamentos reflexivos que se estabelecem neste ano, operaremos um trabalho de desmontagem e montagem dos discursos a fim de formar o entroncamento de 1942. Os resultados deste trabalho serão extraídos em função dos efeitos criados pela lógica argumentativa de Milliet, suas bases epistemológicas e pelos contatos entre os diversos textos que se encontraram ao longo do estudo. / The objective of this work is to analyze the interpretative model of Sergio Milliet about modern art and, from it, demonstrate how it emerges, from his marginality theory to the idea of the modern art death. We will try to circumscribe this problem in the year of 1942, provoking the critical dialogue between Milliet and the others contemporary speeches to him. Through the reflective crossings that were established in this year, we will operate a work of dismounting and mounting of speeches in order to form a confluence point of 1942. The results of this work will be extracted in function of the effect created by the logic arguing of Milliet, its epistemologic bases and by the contacts among several texts found throughout the study.

Raymond Queneau, né en 1903, grandit et vit au rythme du cinématographe, à peine plus âgé que lui. Toute sa vie il rendra compte dans ses écrits intimes, journaux et lettres, de sa vie de spectateur assidu au Havre, puis à Paris. Il peuplera sa langue, sa poésie et ses romans, de l’univers foisonnant des salles de cinéma, des stars de l’écran et de ses œuvres mythiques. Il fera apparaître un monde rêvé et pensé, fait de ses ombres et de sa lumière. Nourri de cinéma, il sera aussi nourri par lui. Parallèlement à son travail de poète en littérature, il pratiquera tout au long de sa vie, et sans jamais se défaire de son humour légendaire, le travail, parfois ingrat, d’écrivain de cinéma, art dans lequel il occupera plusieurs postes : critique cinématographique, juré de festivals, auteur de commentaires de films, scénariste, dialoguiste, auteur de chansons… A l’occasion, il deviendra même réalisateur ou acteur. Rendre compte de manière chronologique puis analytique de l’ensemble de ses travaux, appréhender le traitement de l’art cinématographique dans son œuvre littéraire, c’est ce que se propose cet ouvrage : partir à la recherche de Raymond Queneau, écrivain du vingtième siècle et « homo-cinématographicus ». / Raymond Queneau, who was born in 1903, grew up and lived at the pace of cinematograph that was hardly older than him. Througout his life, in his journals and letters, he reported his life as a regular movie-watcher. He filled his writings, his poetry and his novels with the blossoming universe of movie theatres, movie stars and masterpeices. In his work appears a dreamed and thougt out world, made of his shadows and his lights. Fed with cinema, he also fed it. Aside from his work as a poet in literature, he also, all along his life and without losing his legendary sense of humour, worked as a cinema writer. In this sometimes ungrateful job, he occupied many different positions : film critic, juryman in festival, writer of comments on movies, script writer, dialogue writer, songwriter, etc... He even occasionally became a filmmaker or an actor. To report chronologically of the totality of his work, to approach the treatment of the cinematographic art in his literary work, is what we suggest in this study : looking for Raymond Queneau writer of the twentieth century and “homo-cinematographicus”.

Au XIXe siècle, la photographie est vue comme une image vraie. Produite mécaniquement, elle serait la copie fidèle de la réalité, ce qui justifie la croyance en la vérité de ses images. Dès les premiers discours tenus à son égard, la photographie apparaît comme une image transparente, ne donnant rien d’autre à voir que la réalité, ce qui explique notamment les postures de rejet généralement adoptées par les écrivains et les artistes face à cette image, antithèse de l’art. Notre travail s’efforce de montrer comment, à l’inverse, la photographie a été, dans les textes littéraires en particulier, rendue à sa visibilité, c’est-à-dire à sa nature de vraie image. Pour cela, nous déterminons comment le phénomène optique de l’aberration, qui suppose une déformation de l’image plus ou moins visible, rend compte d’une pensée s’attachant à concevoir la photographie comme vectrice de troubles dans sa représentation. Nous examinons alors différentes manifestations de ces phénomènes dans la littérature, qui sont liées à une conscience de la matérialité des images, de leur mode de fabrication particulier, mais aussi de leurs défauts, opacifiant ce qu’elles représentent. L’attention de certains écrivains portée à ce que nous appelons la dimension photographique des photographies ouvre des pistes multiples sur la poétique des textes et situe le modèle photographique dans un ailleurs du réalisme. La réflexion sur la photographie dans les textes permet également de mesurer les conséquences d’une croyance en la vérité des images, croyance qui se révèle, à différents niveaux, comme aberrante. En effet, le fantasme d’une visibilité parfaite n’a pas seulement été appréhendé comme un moyen de mesure rationnelle du monde. La visibilité accrue et excessive de la photographie révèle au contraire ce que la réalité a de plus étrange et de plus inquiétant. Dans les textes, le modèle photographique éclaire alors une représentation fantastique du monde, lorsque celui-ci s’ouvre aux fantasmes et aux hallucinations. Nous tentons de cerner, à travers des œuvres littéraires et photographiques variées (Nerval, Champfleury, Nadar, Maupassant, Geffroy, Rachilde, Bonnetain, etc…) les différents phénomènes qui apparaissent comme les principaux agents de déréalisation de l’image photographique. / In the nineteenth century, photographs are first seen as true images. Produced mechanically, they would be the faithful copy of reality. This justified the belief in the truth of photographic images. From the earliest speeches made about it, photographs appeared as transparent images, giving nothing more to see than reality. This explains the postures of rejection generally adopted by writers and artists in the face of the photographic image, seen as the antithesis of art. Our work tries to show how, on the contrary, photography has been rendered in literary texts, to its visibility, that is, to its nature as a true image. To do this, we determine how the optical phenomenon of aberration, which is a deformation of the image, accounts for a line of thought which tries to conceive of photography as a vector of disturbances in its representation of reality. We then examine different manifestations of this phenomenon in literature. They are linked to a growing awareness of the materiality of the images and their particular mode of manufacture, but also of the defects opacifying what they represent. The attention given by certain writers to what we call the “photographic dimension” of photographs opens up multiple avenues to the poetics of texts and situates the photographic model beyond realism. The inquiry on photography in texts also makes it possible to measure the consequences of a belief in the truth of images, a belief that reveals itself, at different levels, as aberrant. Indeed, the fantasy of perfect visibility has not been apprehended only as a means of rational measurement of the world. The increased and excessive visibility of photography reveals, on the contrary, what is strangest and most disturbing in reality. The photographic model illuminates a fantastical representation of the world’s fantasies and hallucinations. The different phenomena studied then appear as the principal agents of derealization of the photographic image.

Cette thèse étudie comment la critique humoristique de l'actualité dans les médiasaudiovisuels de masse français est devenue un genre médiatique à part entière. Le travail« sérieux », « invisible », aux finalités « visibles », parfois surexposées, des « humoristesd'actualité », s'inspirant de la tradition des bouffons d'antan, revisite quotidiennement lesmises en récit journalistiques en les décalant, par « déboîtement ». Le croisement de troisspécialités sociologiques (des médias, du travail et de la critique), le recours à des entretienssemi-directifs (n=43) et à des corpus médiatiques conséquents (presse écrite et séquencesaudiovisuelles) permettent de décrire des trajectoires, des statuts, des savoirs-faire et des rôlesconstitutifs d'une expérience artistique et professionnelle. En interaction avec leurs deuxprincipales sources d'inspiration (professionnels de la politique et journalistes), les humoristesd'actualité produisent une critique réflexive, contestataire ou dénonciatrice. Cette critiquespécifique, méthode de dévoilement aux règles implicites et explicites, constitue une « carteblanche » pour aller le plus loin possible, malgré les risques (pressions, licenciements, procès,etc.), les polémiques régulières, les tentatives de construction de « lignes jaunes »(philosophique, politique, journalistique), et les controverses à la visibilité parfois maximale(affaire Strauss-Kahn), qui pèsent plus ou moins sur la définition des normes du travail(censure, autocensure, etc.). L'imagination créatrice des humoristes d'actualité participepleinement du processus de « publicisation critique » de la démocratie, et teste son idéal deliberté d'expression. / This thesis explores how the news humorous critic in the French audiovisual mass media hasbecome a media genre in its own right. The "serious", "invisible" work, made for "visible"ends, sometimes overexposed, of these "news humorists" who are inspired by the tradition ofjesters of old, regularly revisits journalistic narratives, and shifting them by "pulling-out"(déboîtement). The crossing of three sociological literatures (media, work and criticism),semi-structured interviews (n = 43) and a substantial media corpus (print media andaudiovisual sequences) allows us to describe the trajectories, statutes, know-how andconstituent roles of an artistic and professional experience. Interacting with their two mainsources of inspiration (elected officials and journalists), news humorists are producing a criticthat can be reflexive, protestive or reprobative. This specific critic, unveiling method, withimplicit and explicit rules, constitutes a "carte blanche" to go as far as possible, despite therisks (pressures, layoffs, lawsuits, etc.), regular polemics, attempts to set "yellow lines"(philosophical, political, journalistic), and controversies with high visibility (the Strauss-Kahncase), all of this weighing more or less on the definition of work standards (censorship, selfcensorship,etc.). The creative imagination of news humorists then fully participates in theprocess of "critical publicisation" of democracy, and tests its ideal of freedom of expression.

This thesis focuses on present prehension of publicistic genre of film review by its authors and seeks for its differences from original theoretical definitions including the reasoning and question on its future change. Derivation of our research is confirmation of hypothesis which was conclusion of previous bachelor thesis and it speaks of transformational tendency of film reviews in time. Combination of quantitative and qualitative technique gathering data, therefore questionnaire survey with present-day film reviewers and semi-structured interviews with well-known figures, aims to the most perfect capturing of their present output, equipment for it and values, but also theirs own authorship opinions about points of importance within writing about movies and how it is changing in time and eventually where it is heading.

No description available.

This thesis aims to explore the influences and references, with a particular focus from occultism and western esotericism, found in the film trilogy of The Three Mothers directed by Dario Argento. The trilogy composed of Suspiria, Inferno and The Mother of Tears was produced in a timeframe of thirty years from 1977 to 2007, so it embeds three decades, it also reflects the willingness from the director to disconnect himself from the usual representation of supernatural and horror films of witches and power. The three films Suspiria, Inferno and The Mother of Tears, present an innovative point of view, first of all, the representation of power in the context of horror and secondly, for the nature of references distributed throughout the trilogy. This thesis presents a film analysis of Suspiria, Inferno and The Mother of Tears investigating the semiotics behind the symbols, storytelling, characters, and technical aspects of film production. This work concludes that the deep desk research conducted by Argento on occultism and western esotericism before engaging into the production has deeply influenced it. The references to occultism, western esoteric schools, Steiner and alchemic influences are several, Christianity is also present in the trilogy with a dystopic lent. There is also a gender aspect analysed in the trilogy connected with the representation of feminine power, as the mothers in the trilogy represent witches, a supreme independent source of truth and power disconnected from any Christian and/or masculine representation. Suspiria, Inferno and The Mother of Tears can be then interpreted as a way to challenge the patriarchate power. This thesis is opening with the relevance of references from occultism to be found in several expressions of popular culture in our contemporary society. However, this aspect has not been investigated further than that. It has been utilized to serve the purpose of highlighting the elements in common between Argento’s trilogy and those expressions of popular culture (i.e. horror and supernatural TV series). If this research will be one day extended, the next step would be to find, in other expressions of popular culture (films, manga, graphic novels…), references in line with the ones traced in the trilogy. This would lead to investigate further the way occultism has influenced expressions of art and culture. Another point that is kept for a potential future research, would be to investigate which other examples of horror and supernatural films will be produced (or had been produced), where power and feminine representation breaks the traditional tendency of connecting power either with a Christian notion of evil or with a patriarchal form of power. In this regard, I am sure expressions from Artificial intelligence will come to play a role, but this is due maybe for the future, and maybe for another research to connect these dots.

No description available.

En Amérique du Nord aux XX et XXIe siècles, les auteurs étudiés : Ying Chen (La mémoire de l’eau, L’ingratitude et Quatre milles marches : un rêve chinois), Dany Laferrière (Comment faire l’amour avec un nègre sans se fatiguer, Pays sans chapeau et Je suis fatigué), et, Wajdi Mouawad (Incendies, Littoral et Je suis le méchant) avancent des oeuvres qui sont l’expression de voix, à la fois contrastantes, divergentes dans la littérature nationale québécoise. Prenant leur distance par rapport à des représentations stéréotypées de leur époque telles que la littérature d’exil et la littérature du voyage, les auteurs migrants campent des histoires à travers lesquelles s’offrent des images nouvelles de la ville nord-américaine, des lieux emblématiques, une rencontre à l’autre. L’auteur migrant se livre, d’ailleurs, à l’instar de sa trajectoire éclatée dans la ville, à un jeu avec le lecteur en endossant plusieurs rôles, plusieurs figures auctoriales. L’écriture migrante se révèle palimpseste : elle intègre différents modèles littéraires tout en les dépassant. Dans sa construction interne, dont le processus de création, on retrouve ce dérobement aux normes littéraires. Enfin, elle offre une vision du monde réconciliatrice et bienveillante en faisant cohabiter les vivants avec les morts. / In the America of the XXe century, works of Ying Chen, Dany Laferrière and Wajdi Mouawad express voices that are, at the same time, different, various and deviating for the ones of the quebecker’s national literature. Taking their distance toward stereotyped representations of their time, like the exilic literature or the travel literature, migrant authors set stories where brand new images of the northern towns emerge, as well as emblematic places and the meeting of the other occurs. The migrant author reveals, just like his exploded path, a game with the reader by taking over several roles, several auctorial figures. His writing is therefore, a palimpsest: it’s integrating various literary models while it goes beyond. In its intern construction, in its creation process, we may discover how it shielded literary norms. Finally, the migrant writer offers a view of the world that is both reconcile and indulgent by making live together the alives and the deads.