Made available in DSpace on 2014-12-17T15:07:11Z (GMT). No. of bitstreams: 1 PaulineC_DISSERT.pdf: 1436457 bytes, checksum: 04c33336ff060b2af5183628038a0548 (MD5) Previous issue date: 2014-05-23 / Notre dissertation propose un questionnement ayant pour th?me l identit? cr?ole dans l oeuvre Texaco (1992), du martiniquais Patrick Chamoiseau. Texaco op?re une r?trospective de l histoire martiniquaise en y apportant un nouveau point de vue, influenc? par la culture populaire martiniquaise, inversant ainsi les repr?sentations traditionnelles forg?es ? partir des mod?les m?tropolitains. La th?orie principale utilis?e dans cette dissertation est celle d Edouard Glissant, lorsqu il utilisa la notion de rhizome pour l adapter ? la r?alit? de la culture cr?ole. D apr?s cette perspective, une racine unique, qui repr?senterait symboliquement une culture unique, tuerait les autres racines se trouvant ? son alentour, alors que le rhizome, c est-?-dire la racine multiple, irait ? la rencontre des autres racines et se m?langerait avec elles, pour former un ensemble qui s ?tend ? l infini. La th?orie pr?sente dans le livre de Patrick Chamoiseau ?crire en pays domin? (1997), s est r?v?l? ?tre d une importance fondamentale dans notre dissertation, en ce qui concerne le questionnement sur l usage de la langue de la m?tropole dans une ancienne colonie. Cette r?flexion va permettre de commencer une discussion ? propos de l influence de la culture m?tropolitaine sur la culture de l ancienne colonie, qui dans ce cas, se voit opprim?e. Pour commencer, nous verrons dans la premi?re partie les m?canismes d oppression utilis?s en ce qui concerne la n?gation de l identit? cr?ole, s aidant de syst?mes de domination linguistiques et culturelles. Dans la seconde partie, nous ?tudierons l ?mergence d une identit? cr?ole dans Texaco, gr?ce ? une tentative de r?ecriture d une des possibles histoires de la Martinique / O presente trabalho prop?e pesquisar a identidade crioula em Texaco (1992), do autor martinicano Patrick Chamoiseau. A obra faz uma retrospectiva da hist?ria martinicana, trazendo um olhar novo, influenciado pela cultura popular martinicana, ao inv?s de representa??es tradicionais moldadas nos modelos metropolitanos. A teoria principal usada na disserta??o ser? a de Edouard Glissant, quando utilizou a no??o do rizoma de Deleuze para adapt?-la ? realidade da cultura crioula. Nessa perspectiva, a raiz ?nica, que simbolicamente representaria uma cultura ?nica, mata as outras ra?zes ao seu redor, enquanto o rizoma, ou seja, a raiz m?ltipla vai ao encontro das outras ra?zes para formar um todo junto com elas, e estender-se ao infinito. A teoria presente no livro de Patrick Chamoiseau, Escrever em pa?s dominado (1997), revela-se de uma import?ncia fundamental na nossa disserta??o, no que diz respeito ao questionamento sobre o uso da l?ngua da metr?pole numa antiga col?nia. Essa reflex?o permitir? abrir uma discuss?o sobre a influ?ncia da cultura metropolitana na cultura da antiga col?nia, que se v? oprimida. Logo, veremos na primeira parte os mecanismos de opress?o usados na nega??o da identidade crioula, atrav?s de sistemas de domina??o lingu?sticos e culturais. Na segunda parte, iremos analisar a emerg?ncia da identidade crioula em Texaco, gra?as a uma tentativa de reescrita de uma das poss?veis hist?rias da Martinica

Dans les années 1970, les cinéastes soviétiques arrivaient à faire des films de qualité malgré toutes les contraintes et bien qu’étant obligés de tourner conformément aux critères de la censure. On peut parler de l'originalité et d’une certaine liberté d'expression, comme les caractéristiques du cinéma soviétique de cette période, puisque le contrôle du contenu des films est devenu moins strict par rapport aux décennies précédentes. Ces années sont marquées par la naissance de la collaboration fructueuse du cinéaste Nikita Mikhalkov avec le compositeur Edouard Artemiev. Un regard très profond sur l’histoire et la littérature de son pays est la particularité de toutes les créations de Mikhalkov, ce qui lui a valu le Grand Prix au festival de Cannes et l'Oscar du meilleur film étranger avec Soleil trompeur (1994). Quant à Artemiev, l’auteur de l’Opéra Crime et Châtiment, la maîtrise des différents styles (musique savante, musique électronique, musique rock et musique du monde) lui a permis de posséder une large palette de possibilités pour accomplir les tâches les plus difficiles en matière de musique de film. Il s’agit donc du tandem de deux maîtres incontestables dans leurs domaines respectifs, deux artistes qui se complètent. Ce travail de recherche vise à explorer le langage musical et les choix esthétiques d’Edouard Artemiev, ainsi que les différentes fonctions de sa musique dans les films de Nikita Mikhalkov. Cette étude s’appuie sur des extraits de partitions, fournissant ainsi au lecteur des références concrètes. / In the 1970s, the Soviet filmmakers, despite of all the restraints and being obliged to conform to the censorship criteria, were able to create quality movies. It is possible to consider that the originality and a certain freedom of expression were the characteristics of the Soviet cinema at that period, due to the fact that the control over the content of movies had become less strict than in previous decades. These years were marked by the birth of the successful collaboration between the filmmaker Nikita Mikhalkov and the composer Edouard Artemiev. A deep insight of his country's history and literature is a distinctive feature of all the movies made by Mikhalkov. This particularity brought the director the Grand Prix at Cannes and the Oscar for the best foreign film for his movie Burnt by the Sun (1994). As for Artemiev, the author of the opera Crime and Punishment, his perfect knowledge of different styles (classical music, electronic music, rock and world music) allowed him to possess a wide range of possibilities in order to accomplish the most difficult tasks in creating the film music. This is the tandem of two incontestable masters in their respective fields, two artists who complement each other. This research aims to explore the musical language and the aesthetic choices of Edouard Artemiev, as well as the different functions of his music in the films of Nikita Mikhalkov. This study is based on the extracts of different scores, providing the concrete references to the reader.

[pt] Se imagem, por sua anfibologia, pode ser tomada como uma proposição dada à contemplação tanto quanto uma operação da consciência, a pintura parece ser um locus privilegiado para observar a intensificação de seus desafios ao pensamento, assim como arena apoteótica de sua neutralização. Este trabalho se empenha em deslindar alguns aspectos do problema das imagens, visando contudo, aclarar a possibilidade de uma reflexão sobre a mímesis na pintura moderna. O trabalho do pintor Édouard Manet (1832-1883) é assim analisado como contra-exemplo da reiteração de uma premência imitativa nas artes visuais – sem que com isso deixe de se enfatizar as profundas conexões estabelecidas entre obra e mundo. Nossa especulação incidirá sobre a formulação do lugar das imagens no pensamento ocidental, a fim de aclarar se algumas proposições iniciais não se apresentam ainda como entraves na reflexão contemporânea. Por não ser de todo corriqueiro, o empreendimento teórico sobre a mímesis, juntado aí a ênfase das imagens como um modo de relação sui generis, permite refletir sobre a ênfase poiética na pintura de Manet, distanciando-a da sombra de ser ela uma mera crônica reiterativa. Esta investigação, portanto, pretende oferecer uma objeção ao mecanicismo imitativo de alguns dos discursos sobre artes visuais. / [en] If image, due to its amphibology, can be taken as a proposition given to contemplation as much as an operation of consciousness, the realm of painting seems to be a privileged locus to observe the intensification of its challenges to thought, as well as an apotheotic arena of its neutralization. This paper endeavors to unravel some aspects of image s surrounding issues, aiming, however, to clarify the possibility of a reflection on mimesis in modern painting. The work of painter Édouard Manet (1832-1883) is thus analyzed as a counter-example of the reiteration of an imitative urge in the visual arts – without neglecting to emphasize the deep connections established between the work and the world. Our speculation will focus on the formulation of images locus in Western thought, in order to clarify whether some initial propositions do not yet present themselves as obstacles in contemporary reflection. As it is not commonplace, the theoretical enterprise on mimesis, along with the emphasis on images as a unique mode of relationship, allows us to reflect on the poietic emphasis in Manet s painting, distancing it from the shadow of being a mere scandalous and repetitive chronicle. This investigation, therefore, intends to offer an objection to the imitative mechanism of some established discourses on visual arts.

Th. doct.--Paris 1-Sorbonne, 1976. / Sources et bibliogr. f. 138-144 (t.1). Index.

Edouard Manet, Edgar Degas and Mary Cassatt had unique visions of the Paris Opera House. Thus each artist perceived and portrayed the pageant of fashionable contemporary life at the Opera from diverse perspectives. Manet rendered a singular image of this world, that of a masked ball, which elicits an extraordinary insight into the manners and mores of an era. The focus by Degas on the dancers on stage invites a penetrating look into the spectacle of the performance from exceptional viewpoints. Mary Cassatt's depictions, exclusively of the female spectators in the audience, intimate a serious reflection of her earnest feminist attitudes. / From the costumed revellers in the foyer, to the brilliant presentation on stage to the elegant spectators in the loges, these images inspired by the Opera endure as remarkably distinctive.

Zugl.: Freiburg (Breisgau), Univ., Diss., 2007

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

Mem.--Histoire de l'art--Paris--Ecole du Louvre, 1996. / Bibliogr. P. 158.

Thesis (doctoral)--Université de Paris X, 1971. / Includes bibliographical references (p. 727-730) and index.

En même temps: Thèse Neuchâtel, 2006. / Bibliogr. Index.