Le travail abordé concerne le domaine de l’histoire artistique et culturelle. La période étudiée est le XXè siècle. Les événements se déroulent à New York et à Paris. - La recherche pose l’hypothèse suivante : la création, puis l’édification du premier musée d’art moderne, le MoMA à New York, ouvre la voie à l’architecture contemporaine, à travers l’édification du musée d'art moderne. Les pensées architecturales américaine et française, n’œuvraient pas dans le même sens. Tandis que l’une s’appuie sur une recherche formelle, qui trouverait des liens avec la réception de l’art moderne, l’autre oriente la projection formelle de l’architecture en relation avec la ville. La démonstration se fait à partir d'exemples, pris dans l’histoire de l’architecture moderne de 1910 jusqu'aux années fin soixante : la construction du Musée national d’art moderne à Paris en 1936, au Palais de Tokyo, la création en 1929 et la construction, en 1939, du MoMA à New York. Deux autres musées s'édifient à New York : le Solomon Guggenheim Museum en 1959, et le Musée Whitney en 1966, et les agrandissements du MoMA réalisés aux mêmes années. Sont pris en compte, concernant et autour des édifications muséales : les débats intellectuels dans l’art, les conflits, les acteurs, les lieux, les usages, les effets d’influence et de voisinages. L'histoire culturelle contemporaine se fait à plusieurs niveaux : - dans la période qui précède la réalisation des édifices muséaux, à travers l'analyse des réalisations architecturales et de leurs esthétiques, auprès des architectes auteurs des édifices.- Dans un autre temps, sont développés la réception et les usages des lieux mis en fonction des réalisations, et les effets d’influence des réalisations et de l'architecture. / The thesis concerns the history of contemporary architecture artistic and cultural. The period is the 20th century and the events take place in New York and Paris. - My research poses the following hypothesis. The creation and erection of the first museum of modern art, the MoMA in New York, opened the way to contemporary architecture though the edification of the museum. American and French views on architecture do not stem from the same school of thought. One direction of architecture leans on a formal view findings links in art and the reception of art, the other architecture opens the formal projection of architecture in relation to the city. - The demonstration is done using examples taken from the history of modern architecture from 1910 until the late sixties : the creation of MoMA in New York in 1929 and its construction in 1939. Then, there are the works of the Solomon Guggenheim Museum in 1959 and the realization of the Whitney Museum in 1966, and the enlargements of MoMA. In parallel, we are developing the construction of the National Museum of Modern Art in Paris in 1936, at the Palais de Tokyo. The following are taken into account the different intellectual considerations in Art, the artists, the conflicts, the actors and the places, the different uses and the influence of the neighbouring areas on the museums themselves, the architects and the aesthetics of the buildings put into function and the effects/influences caused by each building.

O objetivo desta pesquisa é analisar os tempos e os espaços de velocidade na cidade de São Paulo, no que diz respeito aos seus não-lugares. Para documentação da análise a fotografia foi o instrumento utilizado para intermediar o olhar do observador e do observado e a representação estética fica a cargo de impressões traduzidas pela autora pelo abstracionismo. Metodologicamente a observação participante foi escolhida por permitir flexibilidade à pesquisa e pelo aspecto emocional admitido pelo método. Após contato com textos dos autores Hall, Agambem, Giddens, Borriaud, Hardt e Negri, estabeleceram-se as bases de sustentação da pesquisa. Esses autores, além realizarem leituras atentas sobre o momento atual, tratam com profundidade da imbricação do tempo e do espaço no contemporâneo. Milton Santos traz definições que contribuem para entender a diferença entre território e espaço. Certeau elucida a diferença entre espaço e lugar. Augé, com uma lente ainda mais próxima, trata dos lugares e não-lugares. E é sobre os não-lugares onde se debruça a atenção deste estudo. Até o presente momento o resultado que se chega nesta pesquisa é de que, se em tempos anteriores onde o espaço estava diretamente ligado ao tempo havia uma má distribuição do espaço, hoje a distribuição desequilibrada se dá também através do tempo, não proporcionando ao sujeito espaço livre para construção de pensamentos aprofundados sobre o meio e sobre quem se é. As cidades refletem este desequilíbrio. Alguns espaços são disponibilizados na cidade para o descanso, porém, percebe-se que servem para energizar o sujeito para que volte ainda mais rápido a alimentar o sistema. / This study objective is to analyze time and spaces backwardness in velocity spaces at Sao Paulo city, regarding the non-places. Photography was the main instrument used for analyzes documentation to intermediate the observer and observed sights, and the appearance representation shall be borne of translated impressions by the author thought the abstractionism. Methodologically the participant observation was chosen due to permit flexibility to the study and for the emotional aspect supported by the method. After the acquaintance to the texts of the author Hall, Agambem, Giddens, Borriaud, Hardt and Negri, the bases for the study were stablished. This authors, in addition to accomplish mindful readings regarding the current moment, treat the depth imbrication of time and space at the contemporary. Milton Santos brings definitions that contributes to understand the different between territory and space. Certeau elucidates the difference between space and zone. Augé in a closer sight, treats places and non-places. The focus of this study is about the non places. Up to the present time the result that is reached in this study is, if in former times, where space was directly connected to time was a misdistribution of space, and today the unbalanced distribution also occurs over time, not providing to the individual free space to construct deep thoughts about the environment and about it who is. Cities reflect this imbalance. Some spaces are available in the city to rest, however, perceives that it serve to energize the subject, to get back even fast to feed the system.

O objetivo desta pesquisa é analisar os tempos e os espaços de velocidade na cidade de São Paulo, no que diz respeito aos seus não-lugares. Para documentação da análise a fotografia foi o instrumento utilizado para intermediar o olhar do observador e do observado e a representação estética fica a cargo de impressões traduzidas pela autora pelo abstracionismo. Metodologicamente a observação participante foi escolhida por permitir flexibilidade à pesquisa e pelo aspecto emocional admitido pelo método. Após contato com textos dos autores Hall, Agambem, Giddens, Borriaud, Hardt e Negri, estabeleceram-se as bases de sustentação da pesquisa. Esses autores, além realizarem leituras atentas sobre o momento atual, tratam com profundidade da imbricação do tempo e do espaço no contemporâneo. Milton Santos traz definições que contribuem para entender a diferença entre território e espaço. Certeau elucida a diferença entre espaço e lugar. Augé, com uma lente ainda mais próxima, trata dos lugares e não-lugares. E é sobre os não-lugares onde se debruça a atenção deste estudo. Até o presente momento o resultado que se chega nesta pesquisa é de que, se em tempos anteriores onde o espaço estava diretamente ligado ao tempo havia uma má distribuição do espaço, hoje a distribuição desequilibrada se dá também através do tempo, não proporcionando ao sujeito espaço livre para construção de pensamentos aprofundados sobre o meio e sobre quem se é. As cidades refletem este desequilíbrio. Alguns espaços são disponibilizados na cidade para o descanso, porém, percebe-se que servem para energizar o sujeito para que volte ainda mais rápido a alimentar o sistema. / This study objective is to analyze time and spaces backwardness in velocity spaces at Sao Paulo city, regarding the non-places. Photography was the main instrument used for analyzes documentation to intermediate the observer and observed sights, and the appearance representation shall be borne of translated impressions by the author thought the abstractionism. Methodologically the participant observation was chosen due to permit flexibility to the study and for the emotional aspect supported by the method. After the acquaintance to the texts of the author Hall, Agambem, Giddens, Borriaud, Hardt and Negri, the bases for the study were stablished. This authors, in addition to accomplish mindful readings regarding the current moment, treat the depth imbrication of time and space at the contemporary. Milton Santos brings definitions that contributes to understand the different between territory and space. Certeau elucidates the difference between space and zone. Augé in a closer sight, treats places and non-places. The focus of this study is about the non places. Up to the present time the result that is reached in this study is, if in former times, where space was directly connected to time was a misdistribution of space, and today the unbalanced distribution also occurs over time, not providing to the individual free space to construct deep thoughts about the environment and about it who is. Cities reflect this imbalance. Some spaces are available in the city to rest, however, perceives that it serve to energize the subject, to get back even fast to feed the system.

Le sujet du travail dans la littérature française connaît un renouveau depuis la fin des Trente glorieuses. Groupé au départ autour de quelques livres emblématiques, il se dégage au cours des années suivantes une polysémie d’expression dont l’unité semble difficile à appréhender. Cependant, une littérarité spécifique à ce sujet se développe et montre une créativité souvent originale, reconnue comme une particularité au milieu de toute la production littéraire. Semblant hésiter en permanence sur la meilleure manière de relater les activités humaines, les écrivains doivent justifier leur place et leur statut beaucoup plus pour le sujet du travail que pour n’importe quel autre. La notion de fiction est ainsi bousculée et hésite en permanence entre l’ancrage dans le monde réel et la manière romancée. Le travail, identifié jusqu’alors comme le sujet spécifique d’une littérature réaliste existante depuis Zola, est en passe de devenir un sujet neutre dans un romanesque banalisé. / There has been a resurgence of interest in the theme of work, since the end of the Thirty Glorious Years. Initially centered on a few emblematic works, there has emerged in subsequent years, multifaceted forms of expression that do not lend themselves easily to unifying categorisation. However, a specific literariness has emerged on this theme that reflects an originality that is unique within the realm of literary production. Whilst all writers hesitate about the best means to narrate human activities, those who write about work face particular difficulties in defining their position and status. The notion of fiction itself is challenged as it shifts between the domain of the real and the imaginary. Although the theme of work had been identified with realist literature since the time of Zola, it has since become a neutral subject in a trivialised corpus of fiction.

Dans Certainement Pas, je m’intéresserai à la problématique du jeu littéraire dans son rapport à la contrainte. Comment Chloé Delaume réussit-elle dans un premier temps à s’approprier un certain nombre de discours culturels et de formes a priori extralittéraires pour ensuite les transformer? Dans un second temps, comment s’y prend-elle pour « phagocyter » dans son écriture une pléthore de références littéraires? Conséquemment, quelle conception de la littérature livre-t-elle? Veut-elle, par l’aspect ludique de son roman, rendre un hommage filial aux auteurs d’hier et ainsi adopter une position empreinte de dévotion? Essaye-t-elle, au contraire, de « déchiqueter-dégurgiter » ces textes paternels et agir en iconoclaste? En procédant de cette façon, détruit-elle ou non le mythe de l’originalité en littérature? Finalement, comment s’effectue la réception de son texte ? Jouer le je est un projet d’écriture prolongeant les réflexions sur la place du jeu et de la contrainte dans la littérature. Prenant la forme d’une pièce de théâtre, il cherche à travailler la problématique de l’automatisme langagier actuel et devient une tentative de destruction de celui-ci. Ce texte met en scène deux personnages. La protagoniste principale, une jeune femme de vingt-cinq ans nommée Plume Liddell, étudiante en immunologie souffrant de dyslexie linguistique, participera à six séances de psychothérapie au cours desquelles elle parlera d’elle-même. L’autre personnage: la psychologue, restera muette ou presque tout au long des séances. / In Certainement Pas, I will be focusing on the problematic of the literary game and its relation to the constraint. First, how does Chloé Delaume manage to appropriate multiple extra-literary cultural discourses and forms a priori, in order to then transform them? Second, how is she able, within her style of writing, to "phagocyte" a vast quantity of literary references? Consequently, what concept of literature does she provide the reader? Does she aspire, by modeling her novel on a game, to filially acknowledge past authors, thus adopting a devoted position? Or, does she conversely attempt to "dissect/ regurgitate" these paternal texts in order to act iconoclastically? In this manner, does she succeed in destroying the myth of originality in literature? Last but not least, how is her text interpreted and received by the reader? Jouer le je is a literary project which broadens and pushes the boundaries of reflections on the role that the game and the constraint play in literature. Written as a play, the text seeks to hone the problematic of linguistic automatism, thus becoming a tool of the latter's destruction. The text features two characters. The principal protagonist, a young twenty-five year old woman named Plume Liddell studying immunology and suffering of linguistic dyslexia, shall participate in six psychotherapy sessions during which she will describe herself. The second character, the psychologist, will not speak for the greater part of the sessions.

Dans Certainement Pas, je m’intéresserai à la problématique du jeu littéraire dans son rapport à la contrainte. Comment Chloé Delaume réussit-elle dans un premier temps à s’approprier un certain nombre de discours culturels et de formes a priori extralittéraires pour ensuite les transformer? Dans un second temps, comment s’y prend-elle pour « phagocyter » dans son écriture une pléthore de références littéraires? Conséquemment, quelle conception de la littérature livre-t-elle? Veut-elle, par l’aspect ludique de son roman, rendre un hommage filial aux auteurs d’hier et ainsi adopter une position empreinte de dévotion? Essaye-t-elle, au contraire, de « déchiqueter-dégurgiter » ces textes paternels et agir en iconoclaste? En procédant de cette façon, détruit-elle ou non le mythe de l’originalité en littérature? Finalement, comment s’effectue la réception de son texte ? Jouer le je est un projet d’écriture prolongeant les réflexions sur la place du jeu et de la contrainte dans la littérature. Prenant la forme d’une pièce de théâtre, il cherche à travailler la problématique de l’automatisme langagier actuel et devient une tentative de destruction de celui-ci. Ce texte met en scène deux personnages. La protagoniste principale, une jeune femme de vingt-cinq ans nommée Plume Liddell, étudiante en immunologie souffrant de dyslexie linguistique, participera à six séances de psychothérapie au cours desquelles elle parlera d’elle-même. L’autre personnage: la psychologue, restera muette ou presque tout au long des séances. / In Certainement Pas, I will be focusing on the problematic of the literary game and its relation to the constraint. First, how does Chloé Delaume manage to appropriate multiple extra-literary cultural discourses and forms a priori, in order to then transform them? Second, how is she able, within her style of writing, to "phagocyte" a vast quantity of literary references? Consequently, what concept of literature does she provide the reader? Does she aspire, by modeling her novel on a game, to filially acknowledge past authors, thus adopting a devoted position? Or, does she conversely attempt to "dissect/ regurgitate" these paternal texts in order to act iconoclastically? In this manner, does she succeed in destroying the myth of originality in literature? Last but not least, how is her text interpreted and received by the reader? Jouer le je is a literary project which broadens and pushes the boundaries of reflections on the role that the game and the constraint play in literature. Written as a play, the text seeks to hone the problematic of linguistic automatism, thus becoming a tool of the latter's destruction. The text features two characters. The principal protagonist, a young twenty-five year old woman named Plume Liddell studying immunology and suffering of linguistic dyslexia, shall participate in six psychotherapy sessions during which she will describe herself. The second character, the psychologist, will not speak for the greater part of the sessions.

Ce travail de recherche se propose d’analyser le rapport de Samuel Beckett (1906-1989) à la danse ainsi que la relation de deux chorégraphes contemporains Dominique Dupuy (1930-) et Maguy Marin (1951-) à ses œuvres. La première partie démontre que Samuel Beckett a été influencé par la danse moderne qu’il a découverte dans l’entre-deux-guerres. Son écriture est devenue plus gestuelle et son propos plus politique. Ainsi, aux corps sains et glorieux promus par les arts nazis, oppose-t-il dans son premier théâtre les corps vulnérables travaillés par la vieillesse et les handicaps, ceux d’hommes que le IIIe Reich a voulu rendre superflus. En 1953, la danse de Lucky d’En attendant Godot est un moyen de dire l’innommable de cette violence. En 1981, la danse de Quad fait resurgir les fantômes du passé pour prévenir le retour du pire. Comment le dire ? La danse, un art du « non mot » participe à cette recherche qui traverse l’œuvre de Samuel Beckett. Ce dont on ne peut pas parler, c’est cela qu’il faut danser. Dans un deuxième temps, cette étude montre comment les œuvres de Samuel Beckett sont à leur tour inductrices de danses où les êtres vulnérables résistent et appellent au care. Danser avec Oh les beaux jours, Acte sans paroles et Cap au pire permet à Dominique Dupuy d’interroger les possibles du grand âge et d’en transformer les représentations. A partir de Fin de partie, Maguy Marin écrit en 1981 May B, une pièce chorégraphique, aux antipodes de la danse performante, qui rend visibles les handicaps. Son œuvre invite à une lecture actualisante de l’œuvre de Samuel Beckett prenant en considération la condition des personnes handicapées et permettant d’entrevoir la possibilité d’une société plus inclusive. La dernière partie témoigne qu’une lecture éthique des œuvres de Samuel Beckett et de leurs projections chorégraphiques peut devenir le vecteur de pratiques d’inclusion et d’émancipation par l’école. Telle est la vocation du projet Meeting Beckett mené en 2016-2017 en partenariat avec le chorégraphe K Goldstein, avec les élèves en situation de handicap d’un dispositif Ulis (Unité localisée pour l’inclusion scolaire) et ceux d’une classe de 5ème. Il s’agit enfin de se demander dans quelle mesure les pratiques artistiques peuvent susciter de nouveaux gestes professionnels à l’école et initier une dynamique inclusive, capable de faire une place à chacun et chacune au sein de la société. / This research analyses the relationship of Samuel Beckett (1906-1989) to dance and the relationship of two contemporary choreographers Dominique Dupuy (1930-) and Maguy Marin (1951-) to his works. The first part shows that Samuel Beckett was influenced by the modern dance he discovered between the two World Wars. His writing became more gestural and his discourse more political. Thus, to the healthy and glorious bodies promoted by the Nazi arts, he opposed in his first theatre the vulnerable bodies weakened by old age and disabilities, those of men whom the Third Reich wanted to make superfluous. In 1953, Lucky's dance in Waiting for Godot is a way of telling the unnamable of this violence. In 1981, the dance of Quad brings back the ghosts of the past to prevent the return of the worst. How to say? Dance, an art of the "non word", is part of this research that runs through Samuel Beckett's work. What one can't talk about is what one has to dance about. Secondly, this study shows how Samuel Beckett's works induce dances in which vulnerable beings resist and call for care. Dancing with Happy days, Act Without Words I and Worstward Ho allows Dominique Dupuy to question the possibilities of old age and transform its representations. Starting with Endgame, Maguy Marin wrote May B in 1981, a choreography miles apart from high-performance dance, which makes disabilities visible. Her work offers an updated reading of Samuel Beckett's work that takes into consideration the condition of disabled persons and allows us to envision the possibility of a more inclusive society. The last part shows that an ethical reading of Samuel Beckett's works and their choreographic projections can become the vector of inclusion practices and emancipation at school. This is the vocation of the Meeting Beckett project conducted in 2016-2017 in partnership with choreographer K Goldstein, with disabled pupils from an Ulis (Unité localisée pour l'inclusion scolaire) and 5th graders. Finally, we need to ask ourselves to what extent artistic practices can encourage new professional gestures at school and initiate an inclusive dynamic, capable of giving a place for everyone in society.

Cette thèse se propose de décomposer le spectre des commentaires critiques, historiques ou littéraires qui se sont projetés sur l'œuvre d'Édouard Manet dans la première moitié du XXe siècle, en regard de multiples contrepoints visuels. Cet «exercice de style méthodologique total» que permet Manet, selon les mots de Pierre Bourdieu, vise à rendre compte d'une réception mythique, monumentale et pourtant méconnue, tout en procédant en permanence à l'analyse réflexive de ses propres outils d'investigation. Par le prisme de ces présences posthumes très hétérogènes, souvent d'une grande violence, le but est de retracer la généalogie du concept narratif de «modernité» qui s'est déployé à partir d'Édouard Manet, en Europe et aux États-Unis, alors que son œuvre était simultanément défigurée en incarnation du classicisme national. Plus qu'une origine, Manet peut alors se définir comme un «carrefour» : un embranchement, à la puissance spéculaire considérable, d'idéologies, d'historicités et de projections fantasmagoriques. Ces analyses ont pour objet des réseaux très denses d'attraction, de répulsion, et de contamination entre différents systèmes d' énonciation dissonants, envisagés en regard des procédés déployés par Manet lui-même, dans le mouvement d'une œuvre à la fois profondément relationnelle et d'une radicale altérité. La problématique récurrente du fractionnement - dans la multiplicité de ses enjeux et de ses déterminations schizoïdes, du dualisme au fétichisme - forme le fil directeur de cet effort d'exhumation intellectuelle : est ici retracée en détail l'impossible tentative d'en finir avec un peintre qui ne cesse d'inquiéter une modernité constituée sur son nom. / The purpose of this dissertation is to decompose the spectrum of commentary, historical and literary, along with the multiple visual counterpoints, that were generated from the work of Édouard Manet in the first half of the 20th century. Manet allows for this « total methodological exercise », in Pierre Bourdieu's words, which endeavours to reckon with a mythical, monumental, yet mostly unknown reception, while continually conducting a reflexive analysis of its own investigative tools. Through the scope of these posthumous, heterogeneous and often extremely violent occurrences, the goal is to retrace the genealogy of the narrative concept of« modernity » which was uncoiled from the figure of Édouard Manet, in Europe and the United States, during a time when his work was simultaneously being distorted as an incarnation of national classicism. More than a point of origin, Manet can be defined as a « crossroad » : a powerful specular junction of ideologies, historicities and phantasmagorical projections. The abject of these analyses is the dense network of attraction, repulsion, and contamination that has been woven between the various and discordant systems of enunciation, studied in the light of processes set up by Manet himself, through a body of work both profoundly relational, yet radically alien. The recurrent question of fractioning, in its multiple issues and schizoid determinations - from dualism to fetishism - make up the guiding principle of this effort of intellectual exhumation; here are retraced in detail the impossible attempts that were made to do away with a painter who has time and again proven to be cause for concern to an idea of modernity created under his name.