Ce travail constitue une analyse de la place du pictural dans la poétique de Rimbaud. Il a pour objectif de comprendre la naissance du pictural, cette image particulière qui s’impose au lecteur dans les poèmes de Rimbaud. Le pictural désigne la plasticité de l’image poétique, qui prend la forme d’une image mentale évoquée par l’agencement des mots. Ce travail traite ainsi, non pas du rapport entre un certain poème et une certaine peinture, mais du lien entre la formation du pictural et la forme d’expression. L’auteur cherche à montrer l’importance du pictural qui est ancré dans la poétique de Rimbaud, à travers l’analyse de la formation et de l’évolution de la notion du pictural de ses premiers poèmes aux Illuminations. À cette fin, ce travail explore en premier lieu la connaissance livresque que Rimbaud avait de l’art, la naissance d’une définition personnelle de la peinture qui permettent l’apparition d’une forme primitive du pictural dans les premiers poèmes de Rimbaud. En second lieu, il analyse l’évolution du pictural propre à Rimbaud qui émerge de l’emprunt intentionnel aux formes d’expression déjà établies : les trois chapitres sont consacrés à l’ekphrasis, au pittoresque et à la métaphore dans les poèmes descriptifs des Illuminations. Mettant en relief le rôle de médium du pictural, entre le poète et le lecteur, le lecteur et le texte, et le texte et le poète, l’incorporation du moi du poète dans la poésie est analysée sous l’angle du pictural. La recherche porte finalement sur la correspondance esthétique entre le langage poétique de Rimbaud et le langage plastique de Roger de La Fresnaye autour des dessins de ce dernier pour les Illuminations. / In this analysis of how pictorial takes place in Rimbaud’s poetics, we aim at understanding the birth of pictorial, this particular image which compels the reader of Rimbaud’s poems. Pictorial refers to the plasticity of poetic imaging, when the ordering of words elicits the creation of a mental picture. This study does not deal with the relationship between a given poem and a given painting, but explores the link between the building of pictorial and the wording of expression. We attempt to show the importance of the pictorial that is anchored into Rimbaud’s poetics, through a study of how the elements of pictorial form and develop from his first poems to the Illuminations. We first explore the bookish knowledge of art that Rimbaud had acquired and the emergence of a personal definition of painting which gave birth to a primitive form of pictorial in the first poems of Rimbaud. Secondly, we examine the evolution of Rimbaud’s own pictorial after it had emerged from intentional borrowings from already established forms of expression : three consecutive chapters deal with ekphrasis, picturesque and metaphor in the descriptive poems of the Illuminations. By giving depth to the role of the pictorial’s medium, from poet to reader, reader to text, and text to poet, we analyze the incorporation of the poet’s ego in his poetry, under the pictorial viewpoint. Our research concludes with the esthetical correspondence between the poetic language of Rimbaud and the plastic language of Roger de La Fresnaye in his drawings to illustrate the Illuminations.

Ao apresentar criticamente ao público de língua portuguesa a obra da escritora irlandesa contemporânea Eavan Boland, por meio de uma seleção poética traduzida, que privilegia a visualidade e a ekphrase, este trabalho tece uma leitura intermediática (artes visuais e literárias) e verifica os efeitos de sentido da intermedialidade na construção do lirismo poético. Pressupondose a inevitável incomunicabilidade da linguagem, esta tese examina a intermedialidade, presente no processo de escrita entre as fronteiras do nacional e do cosmopolita e, sobretudo, do privado ao público e deste àquele, enquanto um recurso artístico, característico da pluralidade identitária da poesia, capaz de alcançar graus de comunicabilidade mais amplos, ou seja, menos deficitários. Por fim, a seleção de poemas aqui recolhidos traça o percurso íntimo da produção artística de Eavan Boland, momento em que os graus de articulação lingüística (seja por meio visual, verbal ou intermediático) assistem a uma suspensão de sua incomunicabilidade, e conseguem atingir esferas mais densas de sucesso comunicativo, fazendo vir à tona a natureza lírica da escrita: os movimentos concomitantes entre as esferas pública e privada referem-se à busca da interioridade, da subjetividade do eu-lírico, o auto-retrato da poetisa. Portanto, a partir do exercício interpretativo das traduções poéticas, bem como do estudo da intermedialidade, lê-se aqui a ekphrase como recurso poético na obra de Eavan Boland, capaz de metonimizar o transitar da voz poética na tradição irlandesa a partir de onde a poetisa fala, a nação irlandesa e a ruptura com essa tradição, a busca ao encontro do feminino, da voz da mulher e, acima de tudo, da voz poética enunciadora do fluxo comunicativo. / While presenting the work of the Irish, contemporary writer Eavan Boland to the public of Portuguese readers, by means of a poetic selection that privileges visuality and ekphrasis, this thesis establishes an intermediatic reading (visual and literary arts) and verifies intermediality´s effects of meaning in the construction of poetic lyricism. While presupposing language´s inevitable incommunicability, this thesis bears witness to the intermediality present in the process of writing in the frontiers of the national and the cosmopolitan and, above all, of the private and public and vice-versa, as an artistic tool, characteristic of poetry´s plural identity, which is capable of reaching broader, less deficient levels of communicability. Ultimately, the selection of poems here presented heeds to the intimate trajectory of Eavan Boland´s artistic production, which reveals levels of linguistic articulation (being them visual, verbal or intermediatic) that suspend its incommunicability and, then, are able to reach deeper spheres of communicative success, as it brings up the lyric nature of writing. The movements that go from the public to the private spheres of subjectivity refer to the search for interiority, for the self, the self-portrait in poetry. Therefore, from the interpretative exercise of the poetic translations, as well as from the study of intermediality, ekphrasis is here read as a poetic tool in the work of Eavan Boland, metonimic of the poetic voice´s transit within the Irish tradition, from where the poet speaks, the Irish nation and the rupture with such tradition, in search of the encounter with the Female, the woman´s voice and, above all, the poetic voice as enunciator of the communicative flow.

The Roman de Thèbes and Chrétien de Troyes' Erec et Enide are romances of an Anglo-Norman tradition, which were crafted during the second half of the 12th-century. The Roman de Thèbes, most probably created during the 1150s, is an anonymous reworking of Statius' first-century Thebaïd and relates the story of the battle between Greeks and Thebans, which breaks out because Oedipus' sons fight over their inherited lands. Chrétien de Troyes' Erec et Enide, an Arthurian romance, was created in ca. 1170 and culminates with the coronation of Erec as the new king of his lands. Both of these texts therefore deal with questions of land inheritance and were, very significantly, written during important stages in Henry II's career, as it was during this time frame that Henry II (1133-1189) gained dominance in the British Isles as well as in western continental Europe. My thesis will discuss these works separately, devoting the subsequent section to the ekphrastic accounts featured in the Roman de Thèbes. This chapter will focus on mappa mundi and Amphiareus' chariot and will discuss how these moments mirror the ambitions of Henry II during the early stages of his reign. Moreover, the penultimate section will then move on to discuss the coronation scene featured in Chrétien de Troyes' Erec et Enide, with a special emphasis on Erec's robe. This discussion will also examine how this scene mirrors the historical occurrences in of the late 1160s, during which time Henry tried to establish his authority in Brittanny. Ultimately, I will attempt to weave these moments together to provide a comprehensive reading of these ekphrastic accounts.

While Oscar Wilde's The Picture of Dorian Gray depicts the quintessential literary portrait endowed with uncanny life and movement, dozens of such magic portraits are featured in Victorian fiction. From the ravishing picture of the title character in Mary Elizabeth Braddon's Lady Audley's Secret to the coveted portrait of a Romantic poet in Henry James's The Aspern Papers, imagined portraits in these texts serve as conduits of desire and fear--windows into passions and repressions that reveal not only the images' external effects but their relation to the unconscious of their viewers. My dissertation turns a critical eye on this gallery of ekphrastic pictures--those not actually visible to the reader but rather visualizable through verbal description--to argue that the meditations on representation and desire that these novels and stories perform not only anticipate but augment theories of the image and the gaze developed primarily since the advent of cinema. Though the dissertation benefits from film theory's models of visual exchange, the distinctions between these portraits and images in film open up fertile analytical terrain. Ekphrastic magic portraits provide a unique opportunity to delve into the intersecting realms of word painting and image perception, the optics of desire and subjectivity, to advance critical discourses in visual studies that are framed both historically and theoretically. Using psychoanalytic and narratological methodologies, particularly those relevant to feminist and queer image theory, "The Ekphrastic Fantastic" demonstrates how the fictional visual exchanges on display in magic portrait stories elucidate various power struggles regarding sexuality and narrative structuring. These literary pictures thereby provide new access to the social and artistic commentaries that often subtend Victorian fiction. Each chapter considers three primary texts and the branch of image theory most relevant to their deployment of magic portraits. Laura Mulvey's foundational essay, "Visual Pleasure and Narrative Cinema," provides the point of departure in the first chapter, which looks at Charles Dickens's Bleak House, Braddon's Lady Audley's Secret, and Wilkie Collins's The Woman in White. The second chapter addresses Margaret Oliphant's "The Portrait," Thomas Hardy's "An Imaginative Woman," and James's The Aspern Papers with further feminist insights from Vivian Sobchack and Teresa de Lauretis. The final chapter determines the relationship of principles of visual representation and narrative production of the Aesthetic movement to magic portraits in Walter Pater's "Sebastian van Storck," Vernon Lee's "Oke of Okehurst," and Wilde's Dorian Gray, particularly as they relate to the nascent medium of cinema and the theories that soon as well as later arose to account for the impact of its kinetic mirage. The arc of my argument emphasizes how, as the Victorian period advances, the portraits become increasingly animate and subversive in their challenges to patriarchal gender norms and narrative formulas. In this way, they become the mechanisms by which new models of psycho-sexual relations can be expressed and new social and narrative systems can emerge.

My thesis is comprised of two articles, titled "Interpreting Britomart's Encounters with Art: The Cyclic Nature of Ekphrasis in Spenser's Faerie Queene III," and "Picture This, Imagine That: Teaching Visual Literacy in the Disciplines." The purpose of my first article is to argue that Edmund Spenser uses ekphrasis in his epic poem The Faerie Queene to draw comparisons between the regenerative natures of both art and life. I support my argument by examining three ekphrastic instances experienced by Britomart, the central knight figure of Book III of the poem: a magic mirror forged by Merlin, a tapestry telling the story of Venus and Adonis, and a statue of Hermaphrodite recollected by the narrator. Through close reading and the assistance of Murrary Krieger's ekphrastic principle of "stillness," I support that all three visual art objects underline and associate with the themes of cyclic regeneration in Britomart's quest, and ultimately reveal Britomart to be an exemplary reader of art for readers to emulate. The purpose of my second article is to develop an economically, technologically, and theoretically accessible framework for teaching visual literacy in the disciplines. To accomplish my goal, I extrapolate from Classical rhetoric's pedagogic use of ekphrasis as the first systematized method for teaching visual conceptualization, and adapt and extend it to suit the present needs of students in the 21st-Century classroom. To communicate the urgency of the need for students to enrich proficiency at visual literacy, I provide a literature review that narrates the growing need expressed by visual literacy scholars, composition theorists, visualization theorists and specialists, and the library community for an overarching visual literacy framework that provides scaffolding and common language for students. To demonstrate the framework's usability, I apply it to three disciplinary visuals: a World War 1-era poster by the American Red Cross, a museum installation exhibit for communicating marine science to the public, and the Alpha Helix model created by Linus Pauling. I also offer suggestions for classroom practices and activities for using the framework across K-12 through university-level teaching. / Graduation date: 2013

This paper examines Djuna Barnes's Modernist masterpiece, Nightwood, by exploring the author's particular styles of writing. As an ironist, a master of spectacle, and a visual artist, Barnes's distinct stylistic roles allow the writer to construct a strange fictional world that transcends simple categorization and demands close reading. Through textual analysis, consideration of how Barnes's characterization, and engagement with key critical interpretations lead to the conclusion that Nightwood's primary aim is to present the reader with an image of his or her own individual estrangement.

L'objectif de ce mémoire consiste à examiner l'apport de la vocalité et du verbal dans l'adaptation cinématographique du roman Le Baiser de la femme-araignée, de Manuel Puig. À partir de ce cas précis, ce travail interroge les caractéristiques dominantes relatives à la contribution de la voix sous son double aspect, matériel et narratif, dans la transposition des textes au cinéma. Il était d'abord nécessaire d'aborder le phénomène de l'adaptation en prenant particulièrement en compte les distinctions entre récits littéraire, scénique et filmique, et de faire part, par la suite, des diverses façons de concevoir le passage d'une oeuvre littéraire à l'écran. Or, ce corpus permet non seulement d'observer la réécriture du roman par le film, mais aussi la transposition en images mouvantes et sonores des récits de plusieurs films verbalisés par un des protagonistes. Ainsi, le double mouvement de l'ekphrasis (présentation verbale d'une représentation visuelle) et de son renversement réunit l'art de la narration à celui de la projection. L'utilisation de la voix caractérise fortement cette adaptation filmique du roman de Puig réalisée par Hector Babenco, en 1985. Dans un univers clos, en racontant des films à son compagnon de cellule, un des héros se prête à des batifolages vocaux qui, dans le roman, s'apparentent à de la novellisation, alors que transposés verbalement au cinéma, ils relèvent de l'ekphrasis et inspirent des images insolites. Celles-ci introduisent le spectateur à une expérience esthético-poétique du cinéma et favorisent parfois le jeu entre le réalisme et un des aspects de ce que Gilles Deleuze nomme « les puissances du faux ». Mais c'est surtout la puissance de la voix à produire un imaginaire où se rencontrent le filmique et le verbal qui, dans ce mémoire, retient l'attention. Partant de l'idée que la voix identifie un personnage au même titre que son visage et que l'impact qu'elle produit est du même ordre qu'un gros plan facial, nous avons examiné ce parallèle du visage et de la voix sur la base de la distinction établie par Gilles Deleuze entre « visagéification » (unité réfléchissante de l'image) et « visagéité » (traits expressifs). Selon diverses théories concernant la voix en général et la voix au cinéma, nous avons pu constater que la voix constituait à elle seule un univers et que son expression au travers du dispositif filmique offrait un raffinement et une multitude de moyens dans l'expression artistique. La voix, à la fois en tant que son et parole signifiante, se révèle centrale dans la manifestation d'une oeuvre, au même titre qu'un personnage. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Voix, Adaptation cinématographique, Novellisation, Ekphrasis, Mise en abyme, Le baiser de la femme-araignée, Puissances du faux.

<p>My twofold aim with this essay is, firstly, to examine the ideas about art expressed in the novel The Picture of Dorian Gray by the Victorian author Oscar Wilde. Secondly, I analyse how Oscar Wilde has implemented the philosophy of aestheticism throughout his novel. I achieve this by discussing the novel from the perspectives of the arts of painting, acting and literature. I examine the ideas expressed through the three main characters Dorian Gray, Basil Hallward and Lord Henry Wotton. I give occurrences of alliteration, epigrams and theatrical traits of the novel as examples of how the novel in itself is a beautiful work of art. With this essay I wish to highlight the need for all types of art mentioned in The Picture of Dorian Gray to be included in any discussion about art in the novel. My thesis statement is that the philosophy of aestheticism is promoted throughout the novel. This philosophy states that art should only be seen as something beautiful. Art should not be expected to teach its audience any moral lessons. The over-all conclusion is that it is indeed the philosophy of aestheticism that is promoted in The Picture of Dorian Gray, and the ideal of male beauty in particular.</p>

This dissertation analyzes the prose works of the “Nova Novorum,” a fiction series created and published by José Ortega y Gasset between 1926 and 1929. This collection included six works by four authors, five of which will be discussed in this dissertation. Pedro Salinas’ Víspera del gozo (1926) inaugurated the series. Benjamín Jarnés published two works: El profesor inútil (1926) and Paula y Paulita (1929). Antonio Espina is also responsible for two works: Pájaro pinto (1927) and Luna de copas (1929). The dissertation is divided into five sections. The first chapter introduces the topic of avant-garde prose during the 1920s in Spain, and the concept of ekphrasis as a methodological approach. Prose authors of the avant-garde were prolific during the first third of the twentieth century in Spain. They produced a new aesthetic sensibility with their experimental narrations. All of the works analyzed are examined through the lens of ekphrasis, which is the verbal representation of visual representation. Chapter Two discusses three relational aspects of ekphrasis: word and image, time and space, and the hermeneutics of ekphrasis. The first section examines the difference between narration and description. The second explores the relationship between time and space and the implications of the fact that a visual object is normally associated with space, while a verbal representation is associated with time. This section examines how authors incorporate spatial techniques into their narrations in ways that are commonly employed by painters. The third section of Chapter Two examines iconology and the hermeneutics of ekphrasis and how the authors use the trope of mimesis not to imitate nature but rather to distort reality. Chapters Three, Four and Five closely examine the images described by each author. This study draws on understanding of ekphrasis from literary studies and art history as well as theories of the literary avant-garde that stems both from Europe and from Spain in particular. Ortega y Gasset’s ideas about the novel and the avant-garde informed the basic assumptions of the authors of the “Nova Novorum,” who often used ekphrasis as a means of avoiding narrative progress. In many cases of ekphrasis found in the “Nova Novorum” collection, the representations of art are deployed in the same way in which the authors utilize metaphor, as a means of digressing from the narrative. These ekphrastic moments allow each author to withdraw from or slow down the narration, providing the author with the opportunity to focus on the use of language itself.

Texte remanié de: Diss.--Philosophische Fakultät--Köln--Universität, 1992. / Bibliogr. p. XI-XXVII. Index.