André Gide fait du paysage une donnée cardinale de son oeuvre narrative. L’objet de cette thèse en trois parties est d’en étudier les causes, les enjeux et les modalités. La représentation de l’environnement naturel est fonction d’une coloration subjective qui tend à se maintenir, voire à s’accentuer, au fil des évolutions de l’auteur, surtout lors de son passage du symbolisme au naturisme. L’expérience de la libération du moi sensible coïncide avec l’intensification d’une relation aux éléments, auparavant filtrée par la référentialité littéraire et artistique.À l’instar de l’écrivain, les personnages établissent une interaction active avec le paysage, parfois jusqu’à nourrir un rapport « érotocosmologique ». En tout cas, cette attraction pour la nature participe d’une révolution du sujet qui connaît ainsi une forme de renaissance et de requalification. L’approche géopoétique, telle que Kenneth White l’a élaborée au croisement des disciplines, permet de mieux appréhender les tenants et les aboutissants d’une pareille mutation ontologique.Notre étude, mêlant pour finir les acquis de la critique thématique et les outils de la démarche stylistique, s’attache à déterminer les particularités de la description gidienne, qui joue si volontiers de la brièveté, de l’inachèvement et du morcellement. L’usage fréquent de la focalisation interne, associée au déplacement du personnage dans l’espace, confère à la description un facteur dynamique et un caractère polysensoriel. Dans ces conditions, la description du paysage, loin d’être décorative, remplit, dans le récit, des fonctions importantes (mimésique, symbolique, proleptique, ou encore causative). Elle se révèle toujours articulée au tempérament et à l’évolution du personnage. D’ailleurs, elle finit par déserter une oeuvre narrative qui tend à se déporter vers les questions sociales, en tentant l’aventure créatrice du romanesque. / André Gide makes landscape as a cardinal datum of his narrative work. The purpose of this three-part thesis is to study the causes, issues and modalities. The representation of the natural environment is a function of a subjective coloration that tends to be maintained or even accentuated, as the author evolves, especially during his passage from symbolism in nature. The experience of the liberation of the "I" coincides with the intensification of a relation to the elements, previously filtered by literary and artistic referentiality.Like the writer, the characters establish an active interaction with the landscape, sometimes to feed an "erotocosmological" relationship. In any case, this attraction for the nature participates a revolution of the subject which is thus a form of rebirth and requalification. The geopoetic approach, as elaborated by Kenneth White at the crossroads of disciplines, makes it possible to better understand of such ontological mutation.Our study, finally mixing the achievements of thematic criticism and the tools of the stylistic approach, sets out to determine the peculiarities of the Gidian description, which plays so willingly on brevity, incompleteness and fragmentation. The frequent use of internal focus, associated with the movement of the character in space, gives the description a dynamic factor and a polysensory character. In these conditions, the description of the landscape, far from being decorative, fulfills, in the narrative, important functions (mimesic, symbolic, proleptic, or even causative). It is always articulated to the temperament and evolution of the character.

Cette étude propose de mettre en relation une pratique poétique propre à la communauté des pêcheurs du fleuve Sénégal, le Pékâne (Pekaan en poulâr) – en particulier l’une de ses composantes la moins connue, le Diârâlé (jaaraale en poulâr)- et un paysage : la vallée du Fleuve Sénégal. Le Pékâne est une poésie orale en poulâr chantée a capella par des Soubalbés, c’est-à-dire les pêcheurs du Fleuve Sénégal. Le Diârâlé est couramment défini comme de la poésie descriptive. Il s’agit d’une poésie ancrée dans un territoire local qui retrace l’itinéraire des poètes circulant au bord du fleuve Sénégal. Cette dimension géographique fondamentale a orienté le choix d’un cadre théorique particulier, celui de la géopoétique, qui n’a pas encore été mis à l’épreuve pour étudier le Pékâne et ses différentes composantes. C’est pourquoi cette étude essaiera de montrer en quoi le Diârâlé peut être défini comme une poésie paysagère qui a su s’adapter à un contexte très mouvant. Pour ce faire, trois questions principales seront abordées. La première partie analysera comment le Diârâlé se construit sur un réseau non seulement intertextuel mais aussi social et culturel. Une seconde partie s’interrogera sur les évolutions du Diârâlé en montrant qu’il s’agit d’un genre dynamique qui a su se perpétuer au-delà de Guélâye Âli Fâl, la figure tutélaire du Pékâne contemporain sur lequel toutes les études avaient jusqu’à présent porté. Enfin, une dernière partie montrera que le Diârâlé peut être considéré comme une poésie paysagère et nomade en prise avec les bouleversements environnementaux qui frappent de plein fouet la Vallée du Fleuve Sénégal.L’analyse s’appuiera sur un corpus de six textes oraux, transcrits en poulâr et traduits en français, collectés auprès de deux chanteurs de Pékâne au Sénégal en 2011 et 2012. / This dissertation aims to link a poetry specific to River Senegal’s fishermen called Pékâne (Pekaan) - especially one of its lesser-known component called Diârâlé (Jaaraale) - and a landscape : the Valley of the River Senegal. Pékâne is a fulani oral poetry sung a capella by fishermen of the River Senegal. Diârâlé is often defined as a descriptive poetry. It is deeply rooted in a local territory and it retraces the poets’ itinerary along the bank of the River Senegal. This fundamental aspect has lead me to choose a specific theoretical framework : the geopoetic approach which has never been used before to study Pékâne and its components. This is why, this dissertation tries to show why Diârâlé can be defined as a landscaping poetry which was able to adapt itself to a highly changing environment. Three main issues are raised.The first part analyses how Diârâlé is building itself not only on an intertextual network but also on a social and cultural network. The second part examines the Diârâlé actual evolutions, showing that it is a dynamic genre which was able to continue beyond Guélâye Âli Fâl, the tutelary figure of modern Pékâne. Finally, the last part shows that Diârâlé can be considered as a landscaping and nomadic poetry linked to environmental changes that are hitting the River Senegal Valley.The analysis is based on a corpus made of six oral performances collected in 2011 and 2012 in Senegal. Texts are transcribed in Fulani and translated into French.

Cette étude propose de mettre en relation une pratique poétique propre à la communauté des pêcheurs du fleuve Sénégal, le Pékâne (Pekaan en poulâr) – en particulier l’une de ses composantes la moins connue, le Diârâlé (jaaraale en poulâr)- et un paysage : la vallée du Fleuve Sénégal. Le Pékâne est une poésie orale en poulâr chantée a capella par des Soubalbés, c’est-à-dire les pêcheurs du Fleuve Sénégal. Le Diârâlé est couramment défini comme de la poésie descriptive. Il s’agit d’une poésie ancrée dans un territoire local qui retrace l’itinéraire des poètes circulant au bord du fleuve Sénégal. Cette dimension géographique fondamentale a orienté le choix d’un cadre théorique particulier, celui de la géopoétique, qui n’a pas encore été mis à l’épreuve pour étudier le Pékâne et ses différentes composantes. C’est pourquoi cette étude essaiera de montrer en quoi le Diârâlé peut être défini comme une poésie paysagère qui a su s’adapter à un contexte très mouvant. Pour ce faire, trois questions principales seront abordées. La première partie analysera comment le Diârâlé se construit sur un réseau non seulement intertextuel mais aussi social et culturel. Une seconde partie s’interrogera sur les évolutions du Diârâlé en montrant qu’il s’agit d’un genre dynamique qui a su se perpétuer au-delà de Guélâye Âli Fâl, la figure tutélaire du Pékâne contemporain sur lequel toutes les études avaient jusqu’à présent porté. Enfin, une dernière partie montrera que le Diârâlé peut être considéré comme une poésie paysagère et nomade en prise avec les bouleversements environnementaux qui frappent de plein fouet la Vallée du Fleuve Sénégal.L’analyse s’appuiera sur un corpus de six textes oraux, transcrits en poulâr et traduits en français, collectés auprès de deux chanteurs de Pékâne au Sénégal en 2011 et 2012. / This dissertation aims to link a poetry specific to River Senegal’s fishermen called Pékâne (Pekaan) - especially one of its lesser-known component called Diârâlé (Jaaraale) - and a landscape : the Valley of the River Senegal. Pékâne is a fulani oral poetry sung a capella by fishermen of the River Senegal. Diârâlé is often defined as a descriptive poetry. It is deeply rooted in a local territory and it retraces the poets’ itinerary along the bank of the River Senegal. This fundamental aspect has lead me to choose a specific theoretical framework : the geopoetic approach which has never been used before to study Pékâne and its components. This is why, this dissertation tries to show why Diârâlé can be defined as a landscaping poetry which was able to adapt itself to a highly changing environment. Three main issues are raised.The first part analyses how Diârâlé is building itself not only on an intertextual network but also on a social and cultural network. The second part examines the Diârâlé actual evolutions, showing that it is a dynamic genre which was able to continue beyond Guélâye Âli Fâl, the tutelary figure of modern Pékâne. Finally, the last part shows that Diârâlé can be considered as a landscaping and nomadic poetry linked to environmental changes that are hitting the River Senegal Valley.The analysis is based on a corpus made of six oral performances collected in 2011 and 2012 in Senegal. Texts are transcribed in Fulani and translated into French.

Cette étude propose de mettre en relation une pratique poétique propre à la communauté des pêcheurs du fleuve Sénégal, le Pékâne (Pekaan en poulâr) – en particulier l’une de ses composantes la moins connue, le Diârâlé (jaaraale en poulâr)- et un paysage : la vallée du Fleuve Sénégal. Le Pékâne est une poésie orale en poulâr chantée a capella par des Soubalbés, c’est-à-dire les pêcheurs du Fleuve Sénégal. Le Diârâlé est couramment défini comme de la poésie descriptive. Il s’agit d’une poésie ancrée dans un territoire local qui retrace l’itinéraire des poètes circulant au bord du fleuve Sénégal. Cette dimension géographique fondamentale a orienté le choix d’un cadre théorique particulier, celui de la géopoétique, qui n’a pas encore été mis à l’épreuve pour étudier le Pékâne et ses différentes composantes. C’est pourquoi cette étude essaiera de montrer en quoi le Diârâlé peut être défini comme une poésie paysagère qui a su s’adapter à un contexte très mouvant. Pour ce faire, trois questions principales seront abordées. La première partie analysera comment le Diârâlé se construit sur un réseau non seulement intertextuel mais aussi social et culturel. Une seconde partie s’interrogera sur les évolutions du Diârâlé en montrant qu’il s’agit d’un genre dynamique qui a su se perpétuer au-delà de Guélâye Âli Fâl, la figure tutélaire du Pékâne contemporain sur lequel toutes les études avaient jusqu’à présent porté. Enfin, une dernière partie montrera que le Diârâlé peut être considéré comme une poésie paysagère et nomade en prise avec les bouleversements environnementaux qui frappent de plein fouet la Vallée du Fleuve Sénégal.L’analyse s’appuiera sur un corpus de six textes oraux, transcrits en poulâr et traduits en français, collectés auprès de deux chanteurs de Pékâne au Sénégal en 2011 et 2012. / This dissertation aims to link a poetry specific to River Senegal’s fishermen called Pékâne (Pekaan) - especially one of its lesser-known component called Diârâlé (Jaaraale) - and a landscape : the Valley of the River Senegal. Pékâne is a fulani oral poetry sung a capella by fishermen of the River Senegal. Diârâlé is often defined as a descriptive poetry. It is deeply rooted in a local territory and it retraces the poets’ itinerary along the bank of the River Senegal. This fundamental aspect has lead me to choose a specific theoretical framework : the geopoetic approach which has never been used before to study Pékâne and its components. This is why, this dissertation tries to show why Diârâlé can be defined as a landscaping poetry which was able to adapt itself to a highly changing environment. Three main issues are raised.The first part analyses how Diârâlé is building itself not only on an intertextual network but also on a social and cultural network. The second part examines the Diârâlé actual evolutions, showing that it is a dynamic genre which was able to continue beyond Guélâye Âli Fâl, the tutelary figure of modern Pékâne. Finally, the last part shows that Diârâlé can be considered as a landscaping and nomadic poetry linked to environmental changes that are hitting the River Senegal Valley.The analysis is based on a corpus made of six oral performances collected in 2011 and 2012 in Senegal. Texts are transcribed in Fulani and translated into French.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2016-09-28T17:29:12Z No. of bitstreams: 1 diegobaratazanottiongaro.pdf: 2707234 bytes, checksum: cb7b623f86bc2a312c703ccbc541a7b3 (MD5) / Approved for entry into archive by Diamantino Mayra (mayra.diamantino@ufjf.edu.br) on 2016-09-30T13:38:46Z (GMT) No. of bitstreams: 1 diegobaratazanottiongaro.pdf: 2707234 bytes, checksum: cb7b623f86bc2a312c703ccbc541a7b3 (MD5) / Made available in DSpace on 2016-09-30T13:38:46Z (GMT). No. of bitstreams: 1 diegobaratazanottiongaro.pdf: 2707234 bytes, checksum: cb7b623f86bc2a312c703ccbc541a7b3 (MD5) Previous issue date: 2016-04-11 / O cinema, como ação de um transitar político no mundo, estampa nos nossos próprios corpos os efeitos de uma intensa mobilidade contemporânea. Mas o que, de fato, move o cinema? Sendo uma prática de espaços, o filme cria o seu próprio itinerário de passagem cuja emoção é o seu principal afeto de transporte - imagens e sujeitos mobilizam e são mobilizados pelo filme. Pautados nesse cinema de afetos, nos aliamos ao trabalho da diretora mineira Clarissa Campolina, a partir dos filmes O Porto, Trecho e Girimunho. Com eles propomos um itinerário especial em torno de questões sobre os espaços esvaziados pelo poder hegemônico, sobre o deslocamento errante e a força de um “movimento menor”. Reflexões que trazem à tona o deslocar como potência, como performance de trânsito nos espaços da tela e da vida que não cessam de apresentar novas configurações e conteúdos, que nos convidam a reconhecer as geopoéticas que redesenham, a todo momento, a nossa própria travessia no mundo. / The cinema, as the action of a political transition in the world, pattern in our own bodies the effects of an intense contemporary mobility. But what, in fact, move the movies? As a practice of spaces, the cinema creates itself its own passage itinerary whose emotion is its main transport affection - images and subjects mobilize and are mobilized by the film. Guided by this cinema of affects, we have allied ourselves with the work of the Brazilian director Clarissa Campolina, with the movies Porto, Trecho and Girimunho. With them, we propose a special itinerary aimed to specific questions relating to space emptied by the hegemonic power, the errant displacement and the strength of a "minor movement". Reflections that bring out the displacement as a potency, as a traffic performance in the areas of the screen and life that are constantly presenting new settings and contents, which invite us to recognize the geopoetics that redraw, all the time, our own world journey.

O objetivo do presente trabalho foi analisar os processos que levaram à invenção das práticas espeleológicas e do fenômeno espeleoturístico, sua produção social internacional e inserção no contexto brasileiro. Considera-se que o desenvolvimento da espeleologia como atividade de múltiplo sentido, técnico, esportivo, científico, lazer e contato com a natureza foi determinante para a geração do deslocamento e fluxos de pessoas para regiões onde existam sítios espeleológicos. Considera-se, como ponto de partida, que essa é a base apropriada pelo mercado, visando à implantação do turismo em cavernas. A abordagem teórico-metodológica multirreferencial parte dos conceitos da fenomenologia da imaginação de Bachelard e dos aportes da geopoética e da geografia humanístico-cultural, com contribuições também da percepção ambiental e da topofilia (Tuan). Pretendeu-se estudar o imaginário coletivo e os aspectos simbólicos da relação das sociedades humanas com as cavernas. Procurou-se, ainda, verificar as dinâmicas e fatores determinantes do processo espeleoturístico. Os procedimentos metodológicos enfatizaram uma análise das narrativas visuais e da produção de sentidos a partir das práticas discursivas de percepção da paisagem relativas às cavernas brasileiras, sua visitação turística e a proteção ambiental, destacando um estudo de caso no Vale do Ribeira (SP). Foi realizada uma ampla análise documental, utilizando materiais diversificados (textos filosóficos, religiosos e literários) coletados em bibliotecas, livrarias e alguns casos também em meio eletrônico. As imagens foram recolhidas em websites ligados ao tema caverna ou áreas afins, seja de entidades oficiais ou blogs e fotologs pessoais. Realizou-se também uma análise fílmica de 42 produções cinematográficas. O levantamento fotogeográfico e sociocultural das práticas espeleológicas e espeleoturísticas foi produzido durante as viagens de campo, realizadas entre 2000- 2010 em vários pontos do Brasil, com ênfase para o Alto Ribeira, e também em outros países (Portugal, Cuba), gerando um corpus com milhares de fotografias, acrescidas de outras disponibilizadas por colaboradores. Utilizou-se, ainda, métodos diversificados de entrevista, tais como gravações de depoimentos orais e entrevistas eletrônicas, por meio de questionário próprio, com 21 espeleólogos, sendo que 18 deles propiciaram dados sobre a representação do ser espeleólogo. Questionários sobre as representações sociais de cavernas foram incorporados ao estudo, aproveitando material que vimos produzindo no âmbito da Seção de História da Espeleologia da Sociedade Brasileira de Espeleologia (SBE), desde 1998, envolvendo 461 indivíduos. Os sujeitos principais são estudantes da educação básica ou do ensino superior, contrapondo moradores de áreas urbanas paulistas ou das proximidades das áreas de sítios espeleológicos, como no caso de Iporanga (SP). Os resultados demonstraram as influências do imaginário poético e do conteúdo simbólico das cavernas no desenvolvimento da atividade espeleológica e espeleoturística. As representações da paisagem cárstica e das práticas espeleológicas apareceram com extrema riqueza, tanto nos depoimentos, quanto nos documentos relacionados com temas filosóficos, religiosos, literários ou cinematográficos. É de fundamental importância ampliação dos processos educativos na formação do espeleólogo e dos cavernistas, a difusão das práticas espeleológicas e disseminação da espeleologia, aproximando racionalidades e subjetividades. Isso nos permite repensar sobre nossa relação histórica com o mundo subterrâneo, as interações da espeleologia e do turismo ao longo da trajetória da sociedade contemporânea. / The aim of this study was to analyze the processes that led to the invention of speleological practices and speleotourist phenomenon, and its international social production and its insertion in the Brazilian context. It is considered that the development of speleology as an activity of multiple meaning, technical, sporting, scientific, entertainment and contact with nature was crucial to the generation of movement and flows of people to areas where there are speleological sites. It is, as a starting point, that is the appropriate basis for the market, to the deployment of tourism in caves. The theoretical and methodological approach multi-referential starts of the concepts of the phenomenology of the imagination of Bachelard and the contributions of geopoetic and of the humanistic and cultural geography, with contributions also from the environmental perception and topophilia (Tuan). It was intended to study the collective imaginary and the symbolic aspects of the relationship of human societies with the caves. It is also to verify the dynamics and determinants of the speleotourist process. The methodological procedures emphasized an analysis of visual narratives and the production of senses from the discursive practices of landscape perception relating to Brazilian caves, tourist visitation and environmental protection, highlighting a case study in the Ribeira Valley (SP). It was performed an extensive documentary analysis, using varied materials collected in libraries, bookstores and in some cases also in electronic media. The images were collected from websites on speleology or related areas, or in websites of authorities or personal blogs and fotologs. There was also a film analysis of 42 film productions. The photogeographical and sociocultural survey of the speleological practices and cavingtourism was produced during the field trips, conducted between 2000-2010 in several places in Brazil, with emphasis on the Upper Ribeira Valley, and also in other countries (Portugal, Cuba), generating a corpus with thousands of photos, plus others photos provided by collaborators. It was used, yet, varied methods of interview, such as recordings of oral and electronic interviews, through the questionnaire, with 21 cavers or speleologists, of which 18 propitiated data about representations of to be a speleologist. The questionnaires on the social representations of the cave were incorporated into the study, using material that was produced under the History of Speleology Section of the Brazilian Speleological Society (SBE), since 1998, involving 461 people. The participants involved are students of basic education or university level, contrasting with urban dwellers of São Paulo or nearby places of speleological sites, such as Iporanga (SP). The outcomes they demonstrated the influences of the imaginary poetic and of the symbolic content from the caves into the development from speleological activity and speleotourist. The karst landscape representations and speleological practices appeared with extreme wealth, both in the testimonials and documents of philosophical, religious, literary and film themes. It is essential to increase the educational processes for the formation of cavers and speleologists, the spread of the speleological practices and the dissemination of caving, approaching rationalities and subjectivities. This allows us to rethink our historical relationship with the underworld, the interactions of caving and tourism along de trajectory of contemporary society.

O objetivo do presente trabalho foi analisar os processos que levaram à invenção das práticas espeleológicas e do fenômeno espeleoturístico, sua produção social internacional e inserção no contexto brasileiro. Considera-se que o desenvolvimento da espeleologia como atividade de múltiplo sentido, técnico, esportivo, científico, lazer e contato com a natureza foi determinante para a geração do deslocamento e fluxos de pessoas para regiões onde existam sítios espeleológicos. Considera-se, como ponto de partida, que essa é a base apropriada pelo mercado, visando à implantação do turismo em cavernas. A abordagem teórico-metodológica multirreferencial parte dos conceitos da fenomenologia da imaginação de Bachelard e dos aportes da geopoética e da geografia humanístico-cultural, com contribuições também da percepção ambiental e da topofilia (Tuan). Pretendeu-se estudar o imaginário coletivo e os aspectos simbólicos da relação das sociedades humanas com as cavernas. Procurou-se, ainda, verificar as dinâmicas e fatores determinantes do processo espeleoturístico. Os procedimentos metodológicos enfatizaram uma análise das narrativas visuais e da produção de sentidos a partir das práticas discursivas de percepção da paisagem relativas às cavernas brasileiras, sua visitação turística e a proteção ambiental, destacando um estudo de caso no Vale do Ribeira (SP). Foi realizada uma ampla análise documental, utilizando materiais diversificados (textos filosóficos, religiosos e literários) coletados em bibliotecas, livrarias e alguns casos também em meio eletrônico. As imagens foram recolhidas em websites ligados ao tema caverna ou áreas afins, seja de entidades oficiais ou blogs e fotologs pessoais. Realizou-se também uma análise fílmica de 42 produções cinematográficas. O levantamento fotogeográfico e sociocultural das práticas espeleológicas e espeleoturísticas foi produzido durante as viagens de campo, realizadas entre 2000- 2010 em vários pontos do Brasil, com ênfase para o Alto Ribeira, e também em outros países (Portugal, Cuba), gerando um corpus com milhares de fotografias, acrescidas de outras disponibilizadas por colaboradores. Utilizou-se, ainda, métodos diversificados de entrevista, tais como gravações de depoimentos orais e entrevistas eletrônicas, por meio de questionário próprio, com 21 espeleólogos, sendo que 18 deles propiciaram dados sobre a representação do ser espeleólogo. Questionários sobre as representações sociais de cavernas foram incorporados ao estudo, aproveitando material que vimos produzindo no âmbito da Seção de História da Espeleologia da Sociedade Brasileira de Espeleologia (SBE), desde 1998, envolvendo 461 indivíduos. Os sujeitos principais são estudantes da educação básica ou do ensino superior, contrapondo moradores de áreas urbanas paulistas ou das proximidades das áreas de sítios espeleológicos, como no caso de Iporanga (SP). Os resultados demonstraram as influências do imaginário poético e do conteúdo simbólico das cavernas no desenvolvimento da atividade espeleológica e espeleoturística. As representações da paisagem cárstica e das práticas espeleológicas apareceram com extrema riqueza, tanto nos depoimentos, quanto nos documentos relacionados com temas filosóficos, religiosos, literários ou cinematográficos. É de fundamental importância ampliação dos processos educativos na formação do espeleólogo e dos cavernistas, a difusão das práticas espeleológicas e disseminação da espeleologia, aproximando racionalidades e subjetividades. Isso nos permite repensar sobre nossa relação histórica com o mundo subterrâneo, as interações da espeleologia e do turismo ao longo da trajetória da sociedade contemporânea. / The aim of this study was to analyze the processes that led to the invention of speleological practices and speleotourist phenomenon, and its international social production and its insertion in the Brazilian context. It is considered that the development of speleology as an activity of multiple meaning, technical, sporting, scientific, entertainment and contact with nature was crucial to the generation of movement and flows of people to areas where there are speleological sites. It is, as a starting point, that is the appropriate basis for the market, to the deployment of tourism in caves. The theoretical and methodological approach multi-referential starts of the concepts of the phenomenology of the imagination of Bachelard and the contributions of geopoetic and of the humanistic and cultural geography, with contributions also from the environmental perception and topophilia (Tuan). It was intended to study the collective imaginary and the symbolic aspects of the relationship of human societies with the caves. It is also to verify the dynamics and determinants of the speleotourist process. The methodological procedures emphasized an analysis of visual narratives and the production of senses from the discursive practices of landscape perception relating to Brazilian caves, tourist visitation and environmental protection, highlighting a case study in the Ribeira Valley (SP). It was performed an extensive documentary analysis, using varied materials collected in libraries, bookstores and in some cases also in electronic media. The images were collected from websites on speleology or related areas, or in websites of authorities or personal blogs and fotologs. There was also a film analysis of 42 film productions. The photogeographical and sociocultural survey of the speleological practices and cavingtourism was produced during the field trips, conducted between 2000-2010 in several places in Brazil, with emphasis on the Upper Ribeira Valley, and also in other countries (Portugal, Cuba), generating a corpus with thousands of photos, plus others photos provided by collaborators. It was used, yet, varied methods of interview, such as recordings of oral and electronic interviews, through the questionnaire, with 21 cavers or speleologists, of which 18 propitiated data about representations of to be a speleologist. The questionnaires on the social representations of the cave were incorporated into the study, using material that was produced under the History of Speleology Section of the Brazilian Speleological Society (SBE), since 1998, involving 461 people. The participants involved are students of basic education or university level, contrasting with urban dwellers of São Paulo or nearby places of speleological sites, such as Iporanga (SP). The outcomes they demonstrated the influences of the imaginary poetic and of the symbolic content from the caves into the development from speleological activity and speleotourist. The karst landscape representations and speleological practices appeared with extreme wealth, both in the testimonials and documents of philosophical, religious, literary and film themes. It is essential to increase the educational processes for the formation of cavers and speleologists, the spread of the speleological practices and the dissemination of caving, approaching rationalities and subjectivities. This allows us to rethink our historical relationship with the underworld, the interactions of caving and tourism along de trajectory of contemporary society.

Mémoire en recherche-création / Jours de colère explore le recours aux forêts à travers deux voix narratives dont les récits se font écho durant plusieurs années. Soumises à diverses formes d’oppression, iels trouvent refuge tour à tour dans les mondes virtuels, les lieux abandonnés, les drogues, la fuite géographique, la promesse de la vengeance ou celle du suicide. Iels confient au papier leurs expériences les plus intimes, et dévoilent comme stratégie de rébellion la reconstitution permanente de leur identité. En cheminant avec les images inspirées par leur culture musicale, littéraire, cinématographique, les personnages configurent une citadelle dans laquelle nul ne peut les atteindre : iels regardent, depuis ses tours, la société dont iels souhaitent s’exclure. Entre ellipse, hors champs, et tendance à l’épuisement, leurs prises de parole témoignent d’un questionnement profond, tiraillé entre l’impossibilité de rompre avec les origines et le refus de l’héritage. « Dans les forêts de Sibérie » : (géo)poétique du Rebelle chez Sylvain Tesson interroge la figure de l’ermite mise en récit par Sylvain Tesson dans son roman Dans les forêts de Sibérie. En dialoguant avec les figures d’insurrection théorisée par Ernst Jünger dans Le Traité du Rebelle ou le recours aux forêts et Eumeswil, cet essai souligne les liens qui les unissent à l’ermite de Tesson – et ce qui les en détache. Il émerge de cette analyse un narrateur bien singulier : isolé du monde des humains et sa finitude, l’ermite tessonien s’inscrit dans le rythme des saisons, à travers sa prise de notes quotidiennes dans le carnet qui donne vie au roman. Sa pensée et ses gestes se modèlent sur le lieu qu’il observe avec attention, et habite en conscience d’être un invité. Grâce à sa manière de superposer une forêt imaginaire à la forêt de Sibérie, le récit de Tesson se réapproprie le champ d’action du Rebelle jüngerien, qui entre alors en résonance avec un espace géopoétique. / Jours de colère explores the Rebel figure through two narrative voices whose stories echo over several years. Subjected to various forms of oppression, both find refuge in virtual worlds, abandoned places, drugs, escape, promise of revenge or suicide. They entrust their most intimate experiences to their diaries, revealing the permanent reconstitution of their identity as an act of rebellion. Exchanging with and through the images drawn from their cultural background, music, books, films, the characters erect a citadel in which no one can reach them: from its towers, they look down upon the society from which they banished themselves. Between ellipsis and attempt to exhaust every bit of language, their words attest a deep questioning, torn between the impossibility of breaking with the origins and the refusal of heritage. « Dans les forêts de Sibérie » : (géo)poétique du Rebelle chez Sylvain Tesson examines the figure of the hermit as depicted by Sylvain Tesson in his novel Dans les forêts de Sibérie. In open dialogue with insurgency as theorized by Ernst Jünger in Le Traité du Rebelle ou le recours aux forêts and Eumeswil, this essay underlines the links that unite his thoughts to Tesson's hermit - and what detaches them from it. From this analysis emerges a very singular narrator: isolated from the human world and its finitude, the Tessonian hermit melts himself into the rhythm of seasons, through his daily observations in the notebook that gives life to the novel. His thoughts and gestures mimic the place he observes with attention, and in which he lives with the awareness of being nothing but a guest. Through the superposition of an imaginary forest on the forest of Siberia, Tesson's narrative reappropriates the field of action of the Jüngerian Rebel, thus reverberating a geopoetic space.

Durant toute sa vie, Samuel Taylor Coleridge, poète et philosophe romantique anglais, a consigné ses pensées et ses réflexions sous forme de fragments dans des Notebooks, aujourd’hui regroupés dans cinq volumes. Derrière cette écriture mosaïque se dessine l’histoire d’un esprit nourri d’une insatiable curiosité pour le monde naturel et la psyché humaine. Libre de toute contrainte de structure et de genre, l’espace des Notebooks est peut-être celui qui s’ajuste le mieux au rythme si particulier de la pensée du poète. Ces textes se donnent ainsi à lire comme le reflet d’une pensée en constante évolution, qui sans cesse digresse, explore des possibles, ouvre des voies inexplorées. Cette thèse se propose donc de tenter d’en saisir les variations par une approche rythmanalytique du corpus d’étude. L’écriture des premiers carnets est essentiellement nomade, elle témoigne d’un plaisir de pérégriner, de s’ouvrir à la texture du monde. Elle se nourrit de l’énergie d’un corps en mouvement et d’une volonté d’habiter poétiquement l’espace. Toutefois, au fil du temps, le regard du poète semble peu à peu substituer le diffus et le nocturne à l’espace géopoétique ; l’écriture des Carnets se replie sur l’intime de l’être et se teinte de mélancolie. L’écriture de la mélancolie ne serait-elle pas dès lors l’envers sombre de l’écriture nomade, une écriture qui se nourrit de l’énergie du désir et de l’angoisse, et qui ne cesse de s’enrouler sur elle-même pour tendre vers ce point obscur ? Néanmoins, la mélancolie des Carnets n’est jamais synonyme d’effondrement ou de néant, elle n’appelle pas le vide mais, bien au contraire, trouve sa source d’inspiration dans une formidable vitalité pour faire advenir au jour de la parole ce qui ne se donne à voir que dans l’obscurité de la nuit. / During all his life, the English poet and romantic philosopher Samuel Taylor Coleridge secretly kept his thoughts and reflections in his Notebooks, which have been published in five volumes. This mosaic writing tells the story of a mind fed on an insatiable appetite and curiosity for the natural world and the human mind. Freed from any structural or generic constraint, the Notebooks certainly offered the poet a scriptural space well-suited for the rhythm of his thought. These texts can thus be read as the reflection of a mind constantly evolving, digressing, exploring new areas and opening new vistas. This work is an attempt to seize the variations of the Coleridgian thought by approaching rhythmically the first three volumes of the Notebooks. The writing of his first notebooks is essentially nomadic and asserts the pleasure of wandering through the natural world and delving into its texture. It feeds upon the energy of a body exploring space and of a mind struggling to inhabit the world poetically. Yet, as time passes, the poet’s gaze seems to linger more on the nocturnal sky than on the natural space. The writing of the Notebooks is then no longer the poetic substrate of the early days; it turns inward, loaded with melancholy. The writing of melancholy could therefore be seen as the darker side of the nomadic writing, one that feeds upon the energy of desire and anxiety, that takes a circumvoluted path towards this “dark spot”. Nevertheless, melancholy does not mean the annihilation of the self nor does it call for hollowness. Its source of inspiration resides in the vital force of creation which strives to bring to the light of speech that which can only be glimpsed at in the darkness of the night.