This Master’s thesis investigates the language of words and images in the work of Belgian poet and painter Henri Michaux (1899-1984) through the practice of translation. I have chosen to translate texts that serve as critical and poetic inquiries into the nature of verbal and visual representation. In the critical introduction preceding the translations, I analyze Michaux’s relationship to the languages of words and images in the selected works. The selected translations appear in two sections: “On Words and Images” and “Images in Words.” In the first, I translate selections from Michaux’s reflective works on the practice of painting and writing. These include the essay “En pensant au phénomène de la peinture,” first published in Peintures et dessins (1946) and selections from Émergences-résurgences (1972). In the second, I translate selections from works of ekphrastic poetry, including “Dessins commentés,” first published in La nuit remue (1935), “Aventures de lignes,” from Passages (1937-1963) (1950, 1963), Lecture par Henri Michaux de huit lithographies de Zao Wou-Ki (1950) and En rêvant à partir de peintures énigmatiques (1972). I propose that these texts reflect Michaux’s hybrid view of representation. They embody a search for an ideal language that is neither purely verbal nor visual, calling for both words and images.

This thesis presents a text-image analysis of George Eliot‘s fourth novel, Romola (1862-63) based on the argument that the text and the illustrations by Sir Frederic Leighton introduce a discourse about the development of art from a Vasarian perspective. Both the text and the illustrations begin by portraying Romola with references to ancient Greek art and culminate in displaying her as a version of Raphael‘s Sistine Madonna. This implies not only the belief, current in Victorian artistic circles, that Raphael‘s work was the highest achievement in the history of art, but also that this historical development from ancient Greek sculpture to High Renaissance painting reflects the moral development of European civilization. As an idealized allegory for European civilization itself, Romola fulfills both moral and artistic roles as her moral progress from paganism to Eliot‘s religion of humanity closely follows her visual progress from a Greek statue to a Raphaelesque Madonna. The thesis is informed by the historiographical and fictional contexts of the Victorian historical novel and their influence on Eliot‘s work, as well as the tradition of historical painting and its importance for Frederic Leighton‘s paintings and illustrations. The concept of progress—historical, moral, and visual—is emphasized throughout.

Catulle, dans le poème 64, invente une ekphrasis d’un nouveau genre : au lieu de décrire une œuvre d’art dans sa matérialité pour la mettre sous les yeux des lecteurs selon la tradition rhétorique, il fait parler son personnage principal, Ariane. En quoi la figure d’Ariane a-t-elle permis à Catulle d’entériner une évolution de l’ekphrasis entamée par la littérature hellénistique, à savoir la focalisation non sur la matérialité de l’objet, mais sur son sens, une réflexion sur les liens entre vision et diction ? Il convient d’éclairer ce poème majeur de la littérature latine en le réintégrant, d’une part, aux multiples représentations figurées d’Ariane dans l’Antiquité et, d’autre part, à la lignée des ekphraseis précédentes, concept entendu au sens de « texte consacré à une œuvre d’art » pour inclure descriptions mais aussi narrations ou courts dialogues comme ceux des épigrammes ecphrastiques. En particulier, la prise de parole de l’objet d’art se révèle un topos épigrammatique hellénistique qui nécessite une étude systématique. Ce motif, baptisé topos de l’illusionnisme de l’art, mesure la qualité d’une œuvre d’art à sa capacité à sembler sur le point de parler, se mouvoir ou prendre vie. La typologie de ce topos met en évidence l’évolution de l’esthétique et de la relation entre poésie et arts figurés. Le poème 64 de Catulle se révèle alors reprendre ce topos – comme de nombreux textes après lui – pour constituer une surenchère illusionniste dans l’ekphrasis où l’œuvre d’art prend vie. La poétique de Catulle trouve un éclairage nouveau qui permet de mieux tracer la réception de l’esthétique alexandrine à Rome et l’influence de Catulle sur les poètes latins postérieurs. / This interdisciplinary dissertation uses text and image studies, intertextuality and metapoetics to analyze the relationships between vision and diction in ekphraseis understood as texts devoted to works of art, and particularly in Catullus’s canonical poem 64. Poem 64 has puzzled many critics by its “disobedient ekphrasis” of a coverlet: not only does it scarcely describe its subject, but it turns into a long monologue by Ariadne, the main figure woven into the coverlet. I argue that, far from disregarding the coverlet, Catullus elaborates on a topos of Hellenistic ekphrastic epigrams that measures an artwork’s value by its illusionist capacity to “seem about to speak” and “come to life”. My extensive classification of the epigrammatic variants of this topos reveals its presence in Catullus through specific keywords. Ariadne’s representation on the coverlet is so lifelike that it starts to speak. Instead of following the critical tradition which considers Ariadne’s speech as another instance of epic or tragic monologue, I analyze it as a major Catullan innovation, in dialogue with the aesthetic debates of his day. Bringing together Hellenistic and Roman figurative arts and literatures sheds a new light on Catullan poetics and, more generally, on the reception of Alexandrian aesthetics in Rome and on Catullus’s influence on posterior Latin poets.

Valentine Penrose est une poète, romancière et collagiste surréaliste moins connue que certaines de ses homologues telles Frida Kahlo ou Claude Cahun. Si les quelques études qui lui ont été consacrées reconnaissent l’omniprésence du féminin et le caractère inquiétant de certaines manifestations de la femme dans son œuvre, les sources de ces représentations n’ont guère été explorées. Pour combler cette lacune, notre mémoire s’applique à analyser l’œuvre de Penrose afin d’y mettre en lumière la présence textuelle et picturale du saphisme littéraire et du roman gothique, deux influences majeures de l’auteure-artiste. En plus d’étudier en détail les collages insérés dans le recueil de poèmes Dons des féminines, nous explorerons également les nombreuses images in absentia du corpus, car nous constatons que l’écriture penrosienne a très souvent recours aux effets de style « picturaux ». Par conséquent, au fil de nos analyses, nous allons osciller entre une étude littéraire et une approche intermédiale des rapports texte/image, afin de mettre en relief la réactualisation polymorphe de deux traditions ; la présence du saphisme et du gothique transparaît à travers l’emploi de certaines figures de femme, les partis pris thématiques de Penrose, le choix des décors et des trames narratives. Au terme de la présente étude, nous aurons mis en évidence trois figures de femmes propres à l’univers penrosien : la femme-nature, la fugueuse et la rebelle exemplifient, à nos yeux, la manière dont l’œuvre de Penrose se situe à la croisée du saphisme littéraire et du roman gothique. / Valentine Penrose was a surrealist poet, novelist and collagist, less well-known than many of her female counterparts such as Frida Kahlo or Claude Cahun. Albeit few, there are studies on Penrose that recognize both the omnipresence of women and their often disquieting portrayal. The origins of these representations remain, however, largely under-explored. In order to fill this considerable lacuna in existing knowledge on Penrose’s work, this thesis will analyze her œuvre, highlighting the textual and pictorial presence of two major influences: literary Saphism and the Gothic novel. In addition to analyzing the collages that accompany the poetry in Dons des féminines, we will also study the corpus’ many images in absentia, as we believe that Penrose’s style very often has recourse to “pictorial” literary devices. Consequently, throughout our analyses, we adopt both a literary and an intermedial approach, looking closely at both textual and pictorial representations of women in order to demonstrate the polymorphous borrowing of two traditions; Saphism and the Gothic appear via the representation of certain characters, Penrose’s thematic biases and the choice of particular spatial environments and narrative structures. The present study thereby sheds light on the representation of three female figures specific to Penrose’s universe: the woman of nature (la femme-nature), the fugitive (la fugueuse) and the rebel (la rebelle) each exemplify the way in which Penrose’s œuvre is located at the crossroads of literary Saphism and the Gothic novel.

Orientador: Norma Wimmer / Resumo: Baseada na abordagem funcional dos Estudos Descritivos da Tradução e seguindo o modelo de José Lambert e Van Gorp (1985), propomos a análise da obra Through the looking glass and what Alice has found there (1871) de Lewis Carroll, mais comumente traduzida no Brasil como Alice através do espelho. O corpus deste trabalho é composto de quinze edições brasileiras que foram selecionadas a partir de um estudo historiográfico e da edição comentada The Annotated Alice (1965), como texto-fonte (TF). Preferencialmente, utilizou-se três edições distintas como referência para cotejamento e análise: Alice no país do espelho, tradução de Monteiro Lobato (1961); As aventuras de Alice no país das maravilhas & Através do espelho e o que Alice encontrou lá (1980), tradução de Sebastião Uchoa Leite; Alice através do espelho (2015) tradução de Alexandre Barbosa de Souza. Essa pesquisa teve como etapas: (1) análise descritiva cotejando as edições por meio do modelo proposto por José Lambert e Van Gorp (1985), iniciando com levantamento de dados preliminares, seguido de macro e microanálises do corpus e, por fim, a verificação do contexto sistêmico, destacando as relações intertextuais e intersistêmicas com o intuito de verificar os principais procedimentos e estratégias tradutórias utilizados pelos tradutores/adaptadores na tradução da narrativa, dos poemas e Nursery Rhymes e trocadilhos da obra, verificando, ainda, de que maneira a linguagem visual representada pelas ilustrações, presentes em to... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: Based on the functional approach of Descriptive Translation Studies and following the model created by José Lambert and Van Gorp (1985), we propose an analysis of the book Through the looking glass and what Alice has found there (1871) written by Lewis Carroll, most commonly translated in Brazil as Alice através do espelho. The corpus of this work is composed by fifteen Brazilian editions that were selected from a historiographic study and by the commented edition The Annotated Alice (1965), as source text (ST). Preferably, three different editions were used as a reference for comparison and analysis: Alice no país do espelho, translation by Monteiro Lobato (1961); As aventuras de Alice no país das maravilhas e através do espelho e o que Alice encontrou lá (1980), translated by Sebastião Uchoa Leite; Alice através do espelho (2015) translated by Alexandre Barbosa de Souza. This research had as stages: (1) descriptive analysis comparing the editions using the model proposed by José Lambert and Van Gorp (1985), starting with a survey of preliminary data, followed by macro and micro analysis of the corpus and, finally, the verification of the systemic context, highlighting the intertextual and intersystemic relations in order to verify the main translation procedures and strategies used by the translators / adapters in the translation of the narrative, of the poems and Nursery Rhymes and puns of the work, also verifying how the language visual represented by the illustrations, p... (Complete abstract click electronic access below) / Resumen: Basados en el enfoque funcional de los Estudios Descriptivos de Traducción siguiendo el modelo de José Lambert y Van Gorp (1985), proponemos un análisis de Through the looking glass and what Alice has found there (1871), traducido más comúnmente en Brasil como Alice através do espelho. El corpus de este trabajo está compuesto por quince ediciones brasileñas que fueron seleccionadas de un estudio historiográfico y de la edición comentada The Annotated Alice (1965), como texto fuente (TF). Preferiblemente, se utilizaron tres ediciones diferentes como referencia para la comparación y el análisis: Alice no país do espelho, traducción de Monteiro Lobato (1961); As aventuras de Alice no país das maravilhas e através do espelho e o que Alice encontrou lá (1980), traducido por Sebastião Uchoa Leite; Alice através do espelho (2015) traducida por Alexandre Barbosa de Souza. Esta investigación tuvo como etapas: (1) análisis descriptivo comparando las ediciones utilizando el modelo propuesto por José Lambert y Van Gorp (1985), comenzando con una encuesta de datos preliminares, seguida de un análisis macro y micro del cuerpo y, finalmente, la verificación del contexto sistémico, destacando las relaciones intertextuales e intersistémicas con el fin de verificar los principales procedimientos y estrategias de traducción utilizados por los traductores / adaptadores en la traducción de la narrativa, de los poemas y rimas infantiles y juegos de palabras del trabajo, también verificando cómo fu... (Resumen completo clicar acceso eletrônico abajo) / Doutor

Vicissitudes in the British-German relationship since the Second World War have been reflected in the social and political cartoons produced and published in Britain and Germany referring to the other and the European and international context of their relationship. This survey focuses primarily on press cartoons, analysing and interpreting their content along imagological lines. National stereotypes, symbols, and other imagery are identified and their origins, uses, and possible meanings investigated. The research shows that British cartoonists have often had easy recourse to imagery drawn from and connected with twentieth-century military conflicts and the experience of National Socialism, which they have been loathe to set aside even after fifty years of peace. Such imagery has come particularly to the fore during periods of tension between the two countries. On the other hand, German cartoonists have generally relied upon an older and less provocative palette of imagery. Towards the end of the twentieth century and after reunification, the German caricatural depiction of Britain and the British became less circumspect, with evidence of a sharper and more critical approach. Significant themes and topics in the depiction of the ´other´ are also identfied, such as each country´s position within the European Community, and their treatment is charted.

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Si la littérature pour la jeunesse est fréquemment illustrée de dessins, qu’advient-il lorsque ces illustrations sont des photographies ? Le corpus d’œuvres pour la jeunesse illustrées de photographies, dont la recension était à peine entamée et qui s’avérait plus conséquent que supposé, requérait d’être étudié sous divers angles. L’ambition de cette thèse est de mettre en évidence les liens étroits entre les livres pour la jeunesse et l’illustration par la photographie et de mesurer les incidences des relations entre ces deux arts ou genres « mineurs », selon des perspectives historiques et géographiques larges. En circulant dans les littératures européennes et nord-américaines, de 1860 à nos jours, cette thèse démontre que la production photolittéraire pour enfants se constitue comme un véritable genre éditorial, même si aujourd’hui encore ces productions sont occultées sous l’appellation de « Littérature de jeunesse » ou, dans le monde anglo-saxon, sous celle de « Picturebooks ». Cette étude, s’inscrivant dans le champ de la photolittérature, met à jour les agencements des dispositifs phototextuels et examine comment texte et photographies s’articulent pour faire sens pour un jeune lecteur. Elle retrace aussi les liens entre quelques théories pédagogiques et la réception critique de ces ouvrages, exposant la façon dont elles sont solidaires de certaines options éditoriales. / Literature for the young is often illustrated by drawings, but what happens when the illustrations are photographs? Only recently has the corpus of photographically-illustrated children’s literature begun to be examined. It is proving to be much more extensive than had previously been imagined, and necessitates a study from several different angles. The aim of this thesis is to highlight the close links between children’s books and photographic illustration and to measure the implications of the relationship between these two arts (considered ‘minor’ from a broad historical or geographical perspective) Covering European and North American literature from 1860 to the present day this thesis shows that photoliterary production for children is in fact a publishing genre in its own right, although today many such productions are still filed under the label “Picturebooks” or in French, “Littérature de jeunesse” [children’s literature]. By invoking the field of photoliterature, this study brings to light the layout of various phototextual devices and examines how text and photographs combine to create meaning for a young reader. It also retraces the relations between certain pedagogical theories and the critical reception of these works, revealing the manner in which both are inextricably bound up with particular publishing decisions.

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Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthique. / This thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience.