Thèse de doctorat--Histoire de la musique et musicologie--Paris 4, 1992. / Contient le catalogue raisonné de l'oeuvre de Roger-Ducasse. Bibliogr. f. 399-417.

Texte remanié de: Th. doct.--Hist.--Paris 4, 1995. / Contient un choix de documents. Bibliogr. p. 645-660. Index.

Pastorale pour Orgue (1909) is Jean Jules Aimable Roger-Ducasse’s only solo organ composition, which demonstrates skillful use of organ colors and demands a virtuoso technique for performance. Writing Pastorale in 1909, Roger-Ducasse synthesized compositional styles and techniques of two very different compositional approaches – impressionism and classicism. This study examines the stylistic characteristics of Pastorale by Roger-Ducasse as examples of both of these influences. the synthesis in Pastorale is primarily evident in the combination of classical forms and generic references with impressionist harmony and color. Thus, examining these musical elements provides hitherto unexplored insights into Pastorale as a master solo organ work of the early twentieth century. the dissertation is divided into four chapters. the first chapter presents the purpose, the significance, and the state of research of the piece. in the second chapter, I examine the traits of classicism through genre, form, thematic variation and other classicist elements of the composition. the third chapter presents the traits of impressionism including harmonic parallelism, extended chords, pedal points, ostinatos, and whole-tone scales. in the fourth chapter, I summarize the study and make a suggestion for further research of the piece.

Isidore Lucien Ducasse (1846-1870), poète français né en Uruguay, à Montevideo, est l'auteur de deux textes parmi les plus intrigants, provocateurs et mystérieux des lettres françaises : Les Chants de Maldoror, qu'il tentera de faire publier en 1869 sous un pseudonyme désormais célèbre, « Le Comte de Lautréamont » ; et Poésies, étrange double fascicule publié en deux temps l'année suivante, quelques mois avant sa mort, et qu'il signera de son nom véritable. Découvert par les symbolistes et les décadents, puis encensé par les surréalistes, Isidore Ducasse est devenu un véritable mythe. Aujourd'hui encore, on le considère, au même titre que Rimbaud, comme l'un des pionniers de la modernité poétique et du poème en prose. Ce travail se propose d'aborder l'oeuvre ducassienne en associant les approches littéraires et stylistiques à celles qui s'intéressent à l'imaginaire subjectif des auteurs. Il s'agira tout particulièrement d'articuler l'étude des Chants de Maldoror à celle de Poésies afin de saisir le caractère doublement réflexif d'une écriture qui, d'une part, fait un constant retour sur elle-même, et de l'autre, mène une profonde réflexion sur la création littéraire. En somme, l'enjeu de cette démarche sera de mettre en lumière les déterminations à la fois poétiques, esthétiques et intimes qui, chez Isidore Ducasse, président à l'acte créateur. / Unavailable

Missing page 6, and 23. Thesis (Ph.D.)--Boston University. / Initial acquaintance with the philosophies of C. J. Ducasse and J. B. Pratt gives one the impression that the two philosophers are closely akin. This impression, doubtless, stems from the fact that both authors are prominent Realists, outspoken Dualists, and widely recognized writers on religion. The purpose of this dissertation is to inquire into the very workings of these two ostensibly similar philosophical positions, to ascertain whether or not Ducasse and Pratt actually are in fundamental harmony, and to determine the basis for any essential difference which a comparative analysis might show to exist between selected views of the two authors. Within the context of this investigation, the author also intends, as a kind of secondary endeavour, to criticize and assess the general philosophical positions under scrutiny. [TRUNCATED]

This thesis will explore the ways in which the effects and affects of horror can be enhanced though the technique of hypotyposis. In an experimental translation of Les Chants de Maldoror (1874) by the Comte de Lautréamont, I will endeavour to draw out the imagery already in the source text in order to make the target text more horrific to the reader. In some places, I will change the course of the plot itself in order to make the target text more terrifying to the reader. The focus of this thesis will be on horror as an experience of the grotesque, and on the ambivalent mental state that the grotesque compels in the reader as they wait for a resolution to a scene, or attempt to resolve irreconcilable aspects of a certain object or being. I will begin with a historical overview of the concepts “grotesque,” “horror” as a literary genre, and “body horror.” Then, I will examine the ambivalence inherent in Maldoror (1874), the suspension generated by its narrative style and its genre, as well as how this ambivalence is used to prolong the affects of horror. I will explain how they are used to increase the time during which the reader is suspended in ambivalence. I will then proceed to examine hypotyposis as it relates to the valency of poetic imagery and the “real-in-the-instant” as theorized by Barbara Folkart. I will then explain the experimentation implicit in my translation through the lens of Haroldo de Campos’ “transcreation.” After a thorough analysis of my translation as compared to another, by Guy Wernham (1965 [1943]), it will be seen that hypotyposis is an extremely useful tool that can be put to great use in evoking horror.

Bien avant que les surréalistes n’érigent Lautréamont en précurseur de la modernité poétique, Les Chants de Maldoror (1869) et les Poésies (1870) ont eu leur place dans les débats des écrivains de la fin du XIXe siècle sur la décadence et le symbolisme. La réception de Lautréamont ne va pourtant pas de soi : son oeuvre d’Isidore Ducasse ne s’accorde guère avec les aspirations de l’époque ; et le manque crucial d’informations sur cet auteur laisse un vide que ses premiers lecteurs se sont efforcés de combler par l’élaboration d’un récit mythique. À travers l’étude d’un demi-siècle de lectures, fait de récupérations idéologiques, de querelles véhémentes et de fantasmes autour de la figure de l’écrivain maudit, cette thèse tente de reconstituer les réseaux de sociabilité littéraire de 1868 à 1917 en utilisant des outils d’analyse empruntés à la sociologie ; elle aspire en effet à montrer comment, grâce aux petites revues et aux cénacles, un mythe littéraire s’est élaboré au tournant du siècle. / Long before Surrealists seized upon Lautréamont in the name of poetic modernity, Les Chants de Maldoror (1869) and Poésies (1870) had been read by a whole literary generation which broached upon them in discussions about decadence and symbolism. But that reception is not obvious : Isidore Ducasse’s work is not a perfect reflection of the era’s aspirations, and the lack of information about its author generates a void to be filled only by a mythic story. It is necessary to parse this half-century of readings, full of ideological hijacks, fantasies about a supposed poète maudit as well as of literary disputes in which what is at stake is the discovery of a new Rimbaud. With the help of analytic tools borrowed from network sociology, our aim is to declineate the literary landscape in the years 1868 to 1917 in order to show how a literary myth took shape, through small journals and circles, at the turn of a century.

This thesis explores the relationship between Marcel Duchamp’s oeuvre and the texts of the Comte de Lautréamont, arguing that the author’s works comprise an overlooked and undervalued source of interest and ideas for the artist. Scholars have done an extraordinary job of documenting and analyzing a number of Duchamp’s literary sources and inspirations. Their work has elucidated the roles of Raymond Roussel, Alfred Jarry, Stéphane Mallarmé, Jules Laforgue, and Jean-Pierre Brisset, among others, for Duchamp. The work of Lautréamont, however, has received proportionally little attention, despite several indications of its importance for the artist. Among the few who have proposed such a connection, none have yet offered a broadly documented or sustained argument. Other historians, generally working under the premise that Lautréamont only came to Duchamp’s attention by way of the Surrealists, have explicitly rejected the possibility that the Uruguayan-French poet had any meaningful position in Duchamp’s library prior to the Surrealist championing of the author. This thesis proposes otherwise, making the case that Lautréamont was more fundamentally important to Duchamp than yet realized. Historical documents as well as statements by the artist himself and those closest to him suggest a stronger engagement by Duchamp with the works of Lautréamont than has been previously proposed. This relationship seems to have begun by as early as 1912, well in advance of the Surrealists’ discovery of the author, and it lasted throughout Duchamp’s life. Furthermore, an examination of Duchamp’s body of work demonstrates a number of strategic and thematic resonances between artist and author that reinforce what the archival evidence suggests. These resonances should be understood as open readings, rather than exclusive readings. They are proposed as additions to the existing constellation of understanding of Duchamp’s oeuvre, rather than as foreclosures upon other ways of reading Duchamp’s body of work. / text

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