[pt] Rumor de Arquivo: Rosário Fusco, c est la vie! encena por meio de arranjos, vozes e máquinas mediadoras, um trânsito entre O Agressor, obra de ficção de Rosário Fusco e a vida do escritor. Exploram-se, neste contexto, documentos de arquivo em torno do autor, especialmente inclinado ao recorte de cartas inéditas (e esparsas) - mantidas entre o mesmo e Mário de Andrade, de 1927 a 1940 - sempre a explorar e transformar privações, desvios, apagamentos, invariavelmente impostos à pesquisa biográfica, como nascedouro de invenções casadas com reflexões, acerca do objeto de pesquisa. Diante da ruína de arquivo, o autor, contaminado por sua personagem David, inscreve, no espaço ficcional, seu impulso desejante. Busca, assim, refazer o rastro – ou resistir ao inevitável mal que apaga a memória – deixando um traço de verdade. Ao seguir os passos da Crítica Biográfica, Rumor de Arquivo funda um teatro de, usando expressões de Eneida Maria de Souza e, secundariamente, de Philippe Lejeune, invenção e estetização da memória (...), mentindo-verdadeiramente. / [en] Rumor de Arquivo: Rosário Fusco, c est la vie! stages by means of arrangements, voices and mediatory machines, a transit among the fictional work O Agressor by Fusco and the author s life. In this context, the author s archival documents are explored, aiming specially in a collection of unknown (and sparse) letters, traded between the author and Mário de Andrade, from 1927 to 1940, with the intent to explore and transform privations, deviations, deletions, which are invariably imposed on biographical research, as a source of inventions related to reflections over the object of research and its subsequent manifestations. Rosário Fusco s aggressor impels DAVID, the aggressor, to an open scene, exposed, a denouncer of the mediating voices; Standard, already re-harmonize and altered in its irrepressible virus. Facing a form of archive fever, as a trail is craved, a sparkle of truth ignites in contrast with inherent and unconditional restrictions. Following in the footsteps of Biographical Criticism, Rumor of Archive establishes a theater, and employing the expressions of Eneida Maria de Souza and secondly Philippe Lejeune, invention and aestheticization of memory (…) truthfully-lies.

Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...

彈幕（Danmaku, danmu），是一種評論分享系統，原生於日本線上影音交流平台，其直接覆蓋在影視文本的文字符號文化展現特殊觀影型態。隨著影片播放過程以及彈幕隨機出現，使用者於觀影當下必須隨時改變閱聽焦點來理解瞬間變化的內容，意義生產更加複雜。 彈幕影片呈現出高度流動的觀影文本與觀影狀態，然則現行分析影視文本、媒介、閱聽人研究尚未針對三者變動交互關係－亦即彈幕與影視文本交疊的型態，及閱聽人的接收歷程與反應進行深入分析。Deleuze和Guattari的塊莖思維強調物質與概念的生成（becoming）與裝配（assemblage），以力量的關係作用構成動態的世界觀。據此，本研究設計一個詮釋「流動性」的研究架構，用以同時探究彈幕文本的瞬間形變與使用者觀看影片的瞬間審美體驗。 本研究將彈幕文本與使用者視作兩部「機器」，透過情動力（affect）串聯彈幕、影像內容、使用者異質感受交雜變動的歷程。研究最後提出「嬉遊文本」與「文本人」的概念來說明塊莖式審美的意涵，以及未來的可能應用。 / Danmaku, or Danmu, is a comment-sharing system originating from Japanese online video-streaming platforms. It constitutes a specific viewing state. Videos are covered with texts and symbols, which keep varying and breaking the connotation and denotation of meaning. Danmaku also complicates the perception of the audience. However, such frequently changing viewing contexts have never been studied thoroughly.To illustrate the interrelation among media, texts and audience, this study aims to develop a “fluxional” research framework. To interpret “sudden” metamorphoses of clips and “sudden” visual experiences while people are viewing Danmaku films, this study takes Deleuze and Guattaris’ figurative concepts of rhizome as main research perspectives. Rhizomatic thinking focuses on the “assemblages” of physical objects and metaphysical concepts as well as how they are “becoming,” which all together constitute a dynamic worldview. In this study, Danmaku films and the audience are both seen as “machines”, through which the “affect” flows. The “affect” forms various rhythms, which energize the constant changing of the content in a video, arousing instant sensation and comprehension. In the end, this study brings up “collective play script” and “text-er” to conceptualize the context of Rhizo-aesthetic experience, in a hope to offer a new approach to understand new media interface and content design.

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Mémoire en recherche-création / Sōma, c’est le temps de l’inscription de l’écrit sur et dans le corps, c’est le temps de la somatisation, de la révélation de l’affect comme symptôme, du corps qui réplique à la violence extérieure. C’est également un recueil de fragments qui se suivent comme tant de scènes et qui, à la manière d’un « corps sans organes », se lient les uns aux autres selon des connexions productives, « des circuits de conjonctions, des étagements et des seuils, des passages et des distributions d’intensité, des territoires et des déterritorialisations […] ». Un peu comme chez Collobert, l’aventure des fragments s’inscrit avant tout dans un parcours phénoménologique, dans les moyens que se donne le texte pour traduire l’expérience corporelle de la souffrance. Dans Sōma, la narration oscille entre le passé, temps de l’enfermement, de la maladie, des premiers balbutiements de l’écriture, et le présent de l’écriture, source de maux comme de soulagement, qui préside à la création du recueil. Grâce à l’enchevêtrement de ces deux temps narratifs, le je poétique explore les différents états du corps féminin souffrant, qu’il s’agisse de souffrance physique comme de souffrance psychologique. « Corps là, noué aux mots » : plasticité de l’écriture et voilement du je dans Dire II de Danielle Collobert interroge d’abord la plasticité à l’œuvre dans le recueil Dire II de Danielle Collobert. Grâce à une étude approfondie du concept de plasticité tel qu’explicité par la philosophe Catherine Malabou, qui emprunte la notion à Hegel, il nous est permis d’en dégager quelques fonctions : potentiel de donation et d’explosion de la forme, du corps et du sujet. Formellement à l’œuvre dans le recueil à l’étude, ces fonctions innervent et décrivent la nature scripturaire du passage de Dire I à Dire II et qualifient, avec justesse, les métamorphoses internes qui ont lieu dans Dire II. Ces fonctions s’incarnent concrètement grâce à un changement de paradigme textuel : la parataxe remplace la phrase longue, l’horizontalité laisse place à la verticalité, les vers deviennent de plus en plus hachurés, le sujet morphologique semble progressivement disparaître. Ce dernier point ouvre la réflexion sur le second pan principal de l’essai, soit, le voilement du je au sein du recueil. Intrinsèquement reliée à la question de la plasticité, l’apparition et la disparition du sujet poétique soulèvent celle de l’assujettissement, c’est-à-dire de la formation du sujet qui, elle aussi, s’inscrit sous le signe de la plasticité puisque le sujet poétique est en constant devenir, il n’est jamais stable, pareil et identique à lui-même. Les métamorphoses ainsi que les différents états du sujet mènent à une étude approfondie des liens qui existent entre celui-ci et son corps, dont la représentation hante le texte. Examinant les liens entre texte, sujet et corps, l’essai esquissera, notamment grâce à l’apport de Maurice Blanchot, Évelyne Grossman, Gilles Deleuze de Jacques Derrida, une pensée de l’écriture comme souffrance corporelle, de la souffrance comme inscription textuelle. / Sōma is the time of an inscription of the text on and in the body, it is the time of somatization, of the revelation of the affect as a symptom, of the body responding to external violence. It is also a collection of fragments which follow one another like so many scenes and which, like a body without organs, are linked to each other according to productive connections, " circuits of conjunctions, stages and thresholds, passages and distributions of intensity, territories and deterritorializations […]2 ". A bit like with Collobert, the adventure of fragments is first and foremost part of a journey towards a phenomenological writing, in the means that the text gives itself to translate the bodily experience of suffering. In Sōma, the narration oscillates between the past, a time of confinement, illness, the beginning of writing, and the present of writing, a source of pain and relief, which governs the creation of the collection. Through the entanglement of these two narrative tenses, the poetic subject explores the different states of the suffering female body, whether it is physical suffering or psychological suffering. " Body There, Tied to Words " : Plasticity of Writing and Veiling of the I in Dire II by Danielle Collobert first questions the plasticity at work in Danielle Collobert's Dire II. Thanks to an indepth study of the concept of plasticity as explained by the philosopher Catherine Malabou, who borrows the notion from Hegel, we are able to identify some functions: potential for donation and explosion of form, the body and the subject. Formally at work in the work under study, these functions innervate and describe the scriptural nature of the passage from Dire I to Dire II and aptly qualify the internal metamorphoses that take place in Dire II. These functions are concretely embodied thanks to a change of textual paradigm: the parataxis replaces the long sentence, horizontality gives way to verticality, the lines become more and more hatched, the morphological subject seems to gradually disappear. This last point opens the reflection on the second main part of the essay, that is, the veiling of the I within the collection. Intrinsically linked to the question of plasticity, the appearance and disappearance of the poetic subject raises that of subjugation, that is to say of the formation of the subject which, too, is inscribed under the sign of plasticity since the poetic subject is in constant evolution: it is never stable, the same and identical to itself. The metamorphoses as well as the different states of the subject lead to an indepth study of the links that exist between him and his body, the representation of which haunts the text. Examining the links between text, subject and body, the essay will sketch, thanks in particular to the contributions of Maurice Blanchot, Évelyne Grossman, Gilles Deleuze and Jacques Derrida, a thought of writing as bodily suffering, of suffering as textual inscription.

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Ce mémoire propose une lecture de la notion de l’« haptique », issue du contexte pictural de l’ouvrage Francis Bacon : Logique de la sensation du philosophe français Gilles Deleuze (1925-1995), appliquée à un paradigme, non plus visuel, mais sonore. Ainsi, la notion de « musique moléculaire », codéveloppée par Deleuze et Félix Guattari (1930-1992) dans Capitalisme et schizophrénie 2 : Mille plateaux, est invoquée. Dans la perspective d’une haptique musicale, il se dégage des parallèles étroits entre les différents concepts en lien avec l’haptique de Bacon et la conception deleuzo-guattarienne du moléculaire. Structuré en deux parties, ce mémoire tâchera, dans un premier temps, de fournir un aperçu général de l’haptique et d’en explorer les principaux éléments picturaux tout en proposant de manière continue des liens avec la musique, notamment par le biais de témoignages des compositeur·rice·s français·e·s Pascale Criton (née en 1954) et Pascal Dusapin (né en 1955). Dans un second temps, ce mémoire s’emploiera à établir des correspondances entre l’haptique deleuzien relevant du paradigme visuel baconien et la conception deleuzo-guattarienne de la musique moléculaire. Il en ressortira que les notions de « devenir », d’« indiscernabilité » et de « modèle analogique » constituent des principes communs au figural et à la musique moléculaire, s’en dégageant alors une perspective esthétique haptique plus globale qui relève, autant dans le paradigme pictural que musical, d’une « logique de la sensation ». / This thesis propose a lecture of the notion of ‘haptic’, taken from the pictorial context of Francis Bacon : Logique de la sensation, by French philosopher Gilles Deleuze (1925-1995), apply to a paradigm that is no longer visual, but audible. The notion of ‘molecular music’, co-developed by Deleuze and Félix Guattari (1930-1992) in Capitalisme et schizophrénie 2 : Mille plateaux, is invoked. From the perspective of musical haptic, close parallels emerge between various concepts related to Bacon’s haptic and Deleuzo-Guattarian’s conception of the molecular. Structured in two parts, this dissertation will first provide a general overview of the notion of ‘haptic’ and explore its main pictural elements, while continuously proposing links with music, notably through the testimonies of French composers Pascale Criton (b. 1954) and Pascal Dusapin (b. 1955). Secondly, this dissertation will seek to establish correspondences between the Deleuzian haptic of the Baconian visual paradigm and the Deleuzo-Guattarian conception of molecular music. It will show that the notions of ‘becoming’, ‘indiscernibility’ and ‘analogical model’ are principles common to the figural and to molecular music, giving rise to a more global haptic aesthetic perspective which, in both the pictorial and musical paradigms, stems from a ‘logic of sensation’.