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The novel Rimbaud le fils written by Pierre Michon is analysed in this study, using the theoretical model of modalities and modes of media elaborated by Lars Elleström (2010), the typology of intermediality defined by Werner Wolf (2002) and Irina Rajewsky’s (2010) metatheoretical reflections upon the concept of borders. The novel by Michon relates to some famous photos that have become important in creating the understandings of Arthur Rimbaud as a poet and a myth. The guiding question of the analysis has been: How can the intermedial relations to the photos create meaning in the novel?   The theoretical model of Elleström has been applied in order to define the modalities and modes involved in the photography and in the written text of the novel. Thereby the significant differences and similarities between the different media have become distinguishable. The categorization proposed by Wolf and the remarks made by Rajewsky on the concepts of borders, have helped to link together the observations of modalities and modes with the hermeneutic reading of the text. Using the intermedial references has shown to be a possible way to express or to reinforce the literary expression of for instance: the heaviness of the literary legacy and mythology, the absent, the genius, the departure, the silence, the religious language, the unknown, the literary sham, the survival and the protective power of an expressive richness that relates to or implies several semiotic systems.

Partant de l'influence de la photographie victorienne de Julia Margaret Cameron, de la photographie et du cinéma d'avant-garde des années 1920 et de la production photographique de Virginia Woolf elle-même (albums de Monk's House), cette étude pose l'hypothèse que l'écriture de Virginia Woolf s'en inspire pour devenir à la fois photographique et cinématographique, photo-cinématographique. Explorant le texte comme dispositif complexe, nous analysons la plasticité de sa prose à travers motifs et stratégies de représentation afin de voir dans quelle mesure photographie et cinéma réforment et reforment le texte woolfien, dans ses modalités formelles et esthétiques, ainsi que dans sa portée éthique et politique. Après avoir replacé l'œuvre dans son contexte moderniste et souligné l'importance du rôle joué par la Hogarth Press, qui permet à l'écrivaine d'intégrer des images en texte, nous mettons en évidence le cinématisme de ses œuvres à travers l'exploration photo-filmique de la ville moderne et la structuration en montage du flux de conscience. Nous considérons ensuite le battement anachronique des fluctuations temporelles qui structurent l'œuvre dans ses phénomènes mémoriels de hantise et de survivance, l'image faisant retour en texte dans une durée contractée (instantané) ou dilatée (défilé d'images), à la fois personnelle et intime, collective et historique. Nous envisageons enfin le texte comme un espace de négociation subversif où l'image permet à l'auteure de prendre position "poéthiquement", alors que sont mis en scène des personnages atypiques à l'identité inassignable. / This study contends that Virginia Woolf's writing draws its inspiration from Julia Margaret Cameron's Victorian photographs, the 1920s avant-garde photography and cinema, and Woolf's own Monk's House Albums, making her work at once photographic and cinematographic, or photo-cinematographic. Exploring the Woolfian text as a complex representation device, I examine the plasticity of its prose and narrative strategies to show how photography and cinema help to shape its aesthetic, but also ethical and political contents. This thesis first places Woolf's works in their modernist context and underlines the part played by the Hogarth Press, enabling Woolf to include images in her texts. I then shed light on the kinematic aspect of her work by analysing the photo-filmic exploration of the London scene and the montage of stream of consciousness. The third part probes into the anachronic rhythm of fluctuating time, emphasising the haunting aspects of memory through surviving images that condense their temporality in the instant (snapshot) or unroll it (streaming images) ; thus time achieves a personal and intimate, but also collective and historical dimension. Finally, I look at the Woolfian text as a subversive place of negotiation inhabited by eccentric characters with elusive identities and in which images help the author to make a "poethical" stand.

I denna studie studeras dagordningsteorin, intermedial dagordning och vilken skillnad som underhållningsmedia, i detta fallet dokumentärer och tv-serier, kan ha för hur media rapporterar om olika ämnen och sporter. Syftet i den här studien är att se hur underhållningsmedium potentiellt kan göra intryck på medias dagordning genom intermedial dagordning. Vi använder oss av tv-serien Formula 1: Drive to survive som ett case för att se skillnaden på medias rapportering mellan två olika tidsperioder. För att göra detta använder sig studien av en kvantitativ innehållsanalys där vi analyser artiklar, framtagna från mediearkivet retriever, med hjälp av SPSS. Vi analyserar 200 olika artiklar där 100 stycken är tagna från tidsperioden 2015-2018 och de resterande 100 artiklarna är från 2019-2022. Studiens teoretiska ramverk är dagordningsteorin, intermedial dagordning och gestaltningsteorin. Resultaten från studien visar på ökningar av bland annat mängden pressutskick och artiklar som hanterar ämnet ekonomi. I studien analyserades det även ifall förekomsten av rykten och spekulationer var hög i rapporteringen men det visade den sig inte vara. Vi har sett att fler länder rapporterade om Formel 1 i den andra tidsperioden. Analysen visade en minskning av antalet notiser i den andra tidsperioden och även en ökning av antalet pressutskick i samma tidsperiod. De enda märkvärdiga skillnaderna vad gäller omfång var att standardavvikelsen var lägre i den andra tidsperioden. Framställandet av Formel 1 tycks inte ha förändrats på något markant sätt efter Formula 1: Drive to Survive. Utifrån vår studie så finns det få markanta skillnader mellan tidsperioderna. I denna studie och i detta case så ser vi inte att det skett något markant intermedial dagordning även ifall allmänheten möjligtvis har fått ett större intresse för Formel 1 efter Formula 1: Drive to Survive. / In this paper we are studying the agenda setting theory, intermedial agenda setting and what differences entertainment, in this case documentaries and tv-series, can make on how the media are reporting on different subjects and sports. The purpose of this study is to see how entertainment media can potentially make an imprint on the media’s agenda setting through intermedial agenda setting. We are using the tv-series Formula 1: Drive to survive as a case to see the differences in how the media are reporting on the sport between two different time periods. To accomplish this we are using a quantitative content analysis where we analyze articles, collected with mediearkivet retriever, with the help of SPSS. We analyzed 200 articles with 100 articles taken from the time period of 2015-2018 and the remaining 100 articles taken from the period 2019-2022. The theoretical framework of the study is the agenda setting theory, intermedial agenda setting and framing theory. The results of the study show increases in, among other things, the amount of press releases and articles dealing with economics as a subject. In the study, it was also analyzed if the occurrence of rumors and speculation was high in the reporting, but it turned out not to be. We have seen more countries reporting on Formula 1 in the second time period. The analysis showed a decrease in the number of notices in the second time period and also an increase in the number of press releases in the same time period. The only significant differences in scope of the articles were that the standard deviation was markedly lower in the second time period. The representation of Formula 1 does not seem to have changed in any significant way after Formula 1: Drive to Survive. Based on our study, there are few differences between the time periods. In this study and in this case, we do not see that there has been any significant intermedial agenda setting, even if the public has possibly gained a greater interest in Formula 1 after Formula 1: Drive to Survive.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Esta pesquisa se dedica à investigação dos modos de invenção em arte que utilizam como base da sua construção a materialidade técnica e tecnológica. Partimos de uma pesquisa-ação, que teve como objetivo principal o desenvolvimento de metodologias possíveis para a inserção de conteúdos relacionados à cena intermedial na formação de docentes de teatro. Sistematizamos um estudo de caso alicerçado em duas produções artísticas contemporâneas: Shary Boyle e Collectif Lebovitz. Nos aproximamos de seus processos criativos com o maquínico, destacando em seus modos de agir a elaboração de uma mentalidade técnica associada ao conhecimento das etapas de concretização dos aparelhos, ciclos de invenção e modulações criativas pertinentes aos processos em grupo. Em paralelo empreendemos cursos de extensão voltados para alunos das Licenciaturas em Teatro das universidades UFMA e UFRGS, com o intuito de experimentarmos modos de encenar e apreciar a cena intermedial, partindo de uma perspectiva ética/ estética, deslocando-nos da primazia humanista ou tecnicista para uma uma ênfase sobre a correlação dos processos de individuação entre homem e máquina. A referida mudança de perspectiva, no contexto desta investigação, gerou a construção da disciplina Laboratório de Arte, Tecnologia e Educação, componente curricular obrigatório do Curso de Licenciatura em Teatro da UFMA, que pretende atuar como rearticulador de uma mentalidade técnica, voltada para o ensino e apreciação da Cena Intermedial nos contextos formativos das Licenciaturas em Teatro no Brasil. / This research is dedicated to investigates ways of the invention in art; that uses as a basis for this construction, the technical and technological materiality. We start from an action research, which aimed to develop possible methodologies for the inclusion of content related to the intermedial scene, in the formation of drama teachers. We systematized a study of case, starting from two contemporary art productions: Shary Boyle and Colecttif Lebovitz. We approached from their creative processes with the machinic, highlighting in his ways, the development of a technical mentality associated with knowledge of the stages of concretization of the device, invention cycles, and relevant creative modulations to processes in a group. In parallel, we organized extension courses for Undergraduate Drama Teachers of UFMA and UFRGS universities, to experience ways to stage and appreciate the intermedial scene, starting from an ethical/aesthetic perspective, shifting the humanist or technicalities primacy, for a correlation to the individuation process between man and machine. That change of perspective, in the context of this investigation, led to the construction of the discipline Laboratory of Art, Technology and Education. This compulsory curricular component in the UFMA degree in theater acts as an articulator of technical mentality, focused on teaching and appreciation of Intermedial scene in the formative context of undergraduate drama teachers in Brazil.

This study addresses the theatre of Romeo Castellucci’s group, the Socìetas Raffaello Sanzio, and its director’s engagement with visual arts. In particular, the study analyses the tenth episode M#10 Marseille of Castellucci’s major production Tragedia Endogonidia, a work composed of 11 episodes, each dealing with a European capital. Using the notion of intermediality, this thesis demonstrates how an intermedial performance integrates questions and principles connected with visual arts within the framework of a new concept of performance called ‘interformance’. The author introduces Henk Oosterling’s definition of intermediality where he uses Derrida’s theory of différance to explain the notion as a back and forth movement created by the interaction of media whose differences produce tension within the spectators. This tension suspends and postpones the audience’s meaning generation, thus opening the possibility of a multiplicity of meanings. As a result, the meaning of an interformance directly depends on the interrelationship of media and the subjectivity of the spectator.

This study addresses the theatre of Romeo Castellucci’s group, the Socìetas Raffaello Sanzio, and its director’s engagement with visual arts. In particular, the study analyses the tenth episode M#10 Marseille of Castellucci’s major production Tragedia Endogonidia, a work composed of 11 episodes, each dealing with a European capital. Using the notion of intermediality, this thesis demonstrates how an intermedial performance integrates questions and principles connected with visual arts within the framework of a new concept of performance called ‘interformance’. The author introduces Henk Oosterling’s definition of intermediality where he uses Derrida’s theory of différance to explain the notion as a back and forth movement created by the interaction of media whose differences produce tension within the spectators. This tension suspends and postpones the audience’s meaning generation, thus opening the possibility of a multiplicity of meanings. As a result, the meaning of an interformance directly depends on the interrelationship of media and the subjectivity of the spectator.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal