La représentation de médias non littéraires dans un roman est un phénomène encore peu étudié, voire marginalisé, au sein des études intermédiales. La difficulté de rendre compte des moments où le texte crée des effets empruntés à d’autres médialités est souvent relevée, parmi les travaux d’analyse. Ce mémoire vise donc la construction d’un modèle qui puisse servir d’outil pour l’analyse des phénomènes intermédiaux, en littérature. Revisiter certaines propositions théoriques pour mieux les mettre en relation permet, dans un premier temps, l’élaboration d’un modèle syncrétique précis et fonctionnel pour l’étude de textes qui présentent une dynamique intermédiale. Dans cette optique, le roman Océan mer, d’Alessandro Baricco, constitue un terrain fertile pour sa mise en pratique. L’application du modèle proposé au roman de Baricco permet donc, dans un deuxième temps, de tester sa fonctionnalité. Ce mémoire se veut ainsi une contribution aux recherches portant sur l’intermédialité littéraire contemporaine. / Non-literary media representation in novels is a phenomenon that has drawn little attention so far within intermedial studies – almost being marginalized. However, difficulty in setting out cases where a text creates effects borrowed from other medialities is often discussed in analysis works. This thesis thus aims for the development of a model that could be used as a tool to analyse intermedial phenomena, in literary texts. This analysis first of all goes back to some theoretical propositions, relating them better to each other, and by doing so, allows the development of a functional and accurate syncretic model for the study of texts with intermedial dynamics. In this perspective, Alessandro Baricco’s novel Océan mer constitutes fertile ground for practice. Applying the proposed model to Baricco’s novel thus allows, secondly, testing its functionality. This thesis would therefore be a contribution to research on contemporary literary intermediality.

Cette thèse a pour objet l'adaptation théâtrale du roman 'Tirano Banderas' (1926) de l'écrivain espagnol Ramón María del Valle-Inclán. À cette fin, une recherche sur la dramaturgie centrée sur le processus de transduction a été réalisée, concrètement sur l'interprétation et sur la transformation du texte original de Valle-Inclán, qui a donné lieu à un relevé mise en scène, comprenant le script et les principaux éléments de la représentation de la pièce "Tirano Banderas". En annexe sont joints le DC de la musique, les esquisses du décor et du maquillage, les partitions ainsi qu'un document audiovisuel de plusieurs scènes pilotes. / The goal of this thesis is a stage adaptation of the novel 'Tirano Banderas' (1926) by Spanish writer Ramón María del Valle-Inclán. Dramaturgical research into the process of transduction, that is, the interpretation and transformation of the original text by Valle-Inclán, has led to the creation of a director's notebook, a document that unites the objectives of the "Tirano Banderas" performance, focusing on the primary elements of the representation. Sketches of the set, makeup, a CD with music, the musical score, and an audiovisual document of varios pilot scenes have been added to the Appendix. / El objeto de esta tesis es la adaptación escénica de la novela 'Tirano Banderas' (1926) del escritor español Ramón María del Valle-Inclán. Con ese fin se ha llevado a cabo una investigación dramatúrgica focalizada en el proceso de transducción, es decir, de interpretación y de transformación del texto original de Valle, que ha desembocado en un cuaderno de dirección, documento que recoge la propuesta de espectáculo "Tirano Banderas", centrándose en los elementos principales de la representación. En anexo se adjuntan los bocetos del decorado, del maquillaje, un CD-audio con la música, las partituras y un documento audiovisual de varias escenas piloto.

Cette recherche dresse le portrait d’un nouveau genre sur le Web, la websérie. Il s’agit d’analyser la websérie québécoise afin d’en comprendre les influences, particulièrement les influences télévisuelles. Dans le premier chapitre, les théories de l’intermédialité, de la remédiation et de la convergence sont abordées afin de bien comprendre les différents types d’échanges entre les médias d’aujourd’hui. Dans le second chapitre, une vue d’ensemble, en ce qui a trait à l’histoire de la websérie au Québec, est donnée. Ensuite, quatre caractéristiques principales de la télévision sont analysées : le contexte de réception, la programmation, l’esthétique et la sérialité. Il est ensuite démontré que ces caractéristiques sont également présentes dans la websérie et il est expliqué de quelle manière elles le sont. Finalement, dans le dernier chapitre, des analyses de webséries sont faites afin d’exemplifier les différents liens entre les émissions de télévision et la websérie. / This research seeks to illustrate a new genre present on the Web, the webseries. Its goal is to analyse Quebec webseries in order to understand its influences, particularly those of television. In the first chapter, theories of intermediality, remediation and convergence are explained to clarify the actual context of exchanges between media. In the second chapter, a quick historical panorama of quebec webseries is set. Then, four caracteristics of television are explained: watching context, schedule, aesthetics and seriality. In addition, this work demonstrates that those four caracteristics are present in the webseries and it explains how they are developped. Finally, in the last chapter, we analyse webseries to exemplify different existing links between TV shows and webseries.

The thesis outlines one type of intermediality in literature, musical composition transformed into the structure of the modern novel. The theme is based on the philosophical and aesthetic ideas of the sovereign status of music within the other arts. The relationship between literature and music is described on the basis of this specific status. In the sphere of these various relations, attention is paid to the connection between musical composition and the composition of a novel (the manifestation of musical composition in a novel is named here as the musicality of literature). In the central part of the thesis there are demonstrated the possibilities of application of musical compositional devices in a novel through an analysis of three works (The Counterfeiters by André Gide, Point Counter Point by Aldous Huxley and Tonio Kröger by Thomas Mann). These musical compositional devices are: multiple melodic lines, musical cyclical forms and a leitmotif.

The main aim of the Master Thesis is the work of the 1940s by the American painter Edward Hopper (1882-1967) in a relationship to the long poem by Wystan Hugh Auden The Age of Anxiety. A Baroque Eclogue (1947). The Thesis in ten chapters researches Hopper's painting Nighthawks (1942), which is considered to be one of the most important works by Hopper from the war years. Unique position of this painting is reconstructed through intermedial projections and linkages towards the Auden's poem. Next to the interpretation of the intermedial relations, in the centre of the Thesis are time-space relations to Hopper's painting semantics due to period thoughs of temporality, atemporality and aperspectivism. An attention is also paid to the relation of the painting and phenomenology of temporal consciousness and continuance in connection with semantics of the space as "heterotopia".

L’ambition de cette thèse n’est pas de poser objectivement les rapports qu’entretient À la recherche du temps perdu avec le cinéma(tographe), pour la simple et bonne raison que ceux-ci sont à peu près inexistants, du strict point de vue de l’objectivité. N’ayant jamais mis les pieds dans un lieu qui projette ce type bien particulier d’images en mouvement, Proust n’est pas un écrivain intéressé par ce qu’on nomme aujourd’hui « cinéma ». On ne trouve que peu souvent son nom dans les anthologies faisant état des écrivains du début du siècle dernier qui ont commenté le spectacle des vues animées. Si par hasard il y est, on cite généralement les passages du Temps retrouvé, où est assez sévèrement critiqué le « défilé cinématographique des choses ». Que la critique de Proust à l’endroit du cinéma(tographe) soit une critique essentiellement négative n’est pas en soi gênant et ne contredit pas nécessairement le besoin de faire le point sur cette question. Il nous faut seulement adopter une vision plus artiste du problème, ou du moins accepter que le cinéma n’est pas limité à un seul mode d’existence stable : « cinéma » est en fait un pot-pourri d’idées, de concepts et de pratiques qui est voué au changement, et c’est précisément ce changement qui est digne d’intérêt. Une telle relativisation de l’idée de « cinéma » nous permettra d’explorer les différentes séries d’images et les séries techniques qui parcourent le roman de Proust et ses adaptations écraniques, afin de voir si elles sont en mesure de recouper l’une ou l’autre des fonctions que l’on a pu attribuer au cinéma au cours de son histoire. La présente thèse est donc en quelque sorte le procès-verbal des définitions du cinéma qu’a pu nous offrir notre lecture de Proust. Elle est aussi celui des différentes lectures que le cinéma nous permet de faire de la Recherche, des lectures « cinématographiques ». / This thesis does not objectively study ongoing relations between In Search of Lost Time and the cinema medium for the simple reason that, from the strict point of view of objectivity, they are almost non-existent. Having never set foot in a place that shows this particular type of moving images, Proust is not interested in what is now called “cinema”. At best, his name infrequently appears in anthologies of the early 20th century’s writers who commented this kind of spectacle. If by chance he is, the excerpts generally selected are the ones of Time Regained where the “cinematic parade of things” is quite severely criticized. But Proust’s criticism of cinema, albeit an essentially negative one, is not that much inconvenient and does not particularly contradict the need to investigate the matter. We just have to think the problem in a more artistic way, or at least to accept that cinema is not limited to a stable, single mode of existence: “cinema” is – and should be – a potpourri of ideas, concepts and practices that is bound to change, and it is precisely that change that is worth investigating. Such a relativization of the idea of “cinema” will allow us to explore different series of images and series of techniques that run in Proust's novel and its screen adaptations, while letting us see if they are able to match some functions that have been attributed to cinema during its history. This thesis therefore intends to be a record of cinema’s definitions that our reading of Proust’s work could offer. It is also a record of the many readings of In Search of Lost Time that cinema allows us, “cinematographic” readings.

No description available.

Arnaldo Antunes, atuante no cenário musical nacional, devotou-se também à produção no campo literário. Sua obra apresenta traços em estilo neoconcreto centrados em experimentações da materialidade visual e sonora da palavra e alia-se ao estilo neobarroco dos excessos de adornos e repetições sonoras e semânticas com efeito de opacidade de sentidos. Um outro aspecto relevante é o diálogo com o estilo neobarroco artístico de certas obras resultante do processo de convergência entre literatura e artes visuais e plásticas. Este trabalho tem como objetivo central analisar as criações expressivas de palavras - neologismos - e as metáforas em obras que apresentam os estilos neobarroco e neoconcreto, verificando como o artista faz escolhas lexicais para manifestar toda a sua criatividade. Estudamos processos de formação tais como a derivação, composição e o cruzamento lexical e a analisamos a criatividade metafórica resultante das combinações de unidades lexicais realizadas de forma expressiva. Os sentidos foram mapeados segundo transformações no campo semântico, observando-se a quebra da isotopia ou da coesão, das metáforas e das mesclagens conceituais. A recolha dos neologismos foi realizada de forma manual, passando pelo critério de exclusão segundo a consulta no Dicionário Houaiss e Villar (2009), ao passo que a seleção das metáforas se pautou na novidade expressiva. O estudo foi organizado segundo os critérios de aspectos de gêneros observados: a primeira dedicada ao estudo das metáforas e mesclagens conceituais em obras que apresentaram o efeito de genericidade de versos livres recolhidas nas obras Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si; a segunda, dedicada às criações lexicais formais e metáforas das obras em gêneros intermidiáticos nas exposições Luzescrita e Palavra em movimento; e a terceira, centrada nas criações lexicais e metáforas em gêneros intermidiáticos impressos nos livros Palavra desordem, As Coisas e Et Eu Tu, resultantes da convergência entre mídias cartazes e poesia, poesia e ilustrações e poesia e fotografia. / Arnaldo Antunes, an active artist in the national music scenery, devoted himself to the production on the literary field. His oeuvre presents traces of neoconcrete style centered in the experimentations on visual and audible materiality of the word, allied with the literary neobarroquism of the excess and repetitions of sounds and meanings with the effect of opacity of meaning. Another relevant aspect is the dialogue with the artistic neobarroque style, in certain works resulted from the process of convergence between literature and visual arts. This research has as main objective to analyse the expressive creation of words or neologism and the metaphors in works that presented the neobarroque and neoconcrete styles verifying how the artist makes lexical choices to express his own creativeness. We studied the processes of word formations as derivation, composition and blends and analyzed the metaphoric creativity result from the combination of lexical units made in an expressive way. The meanings were mapped according to the transformations on the semantic field, observing the break of isotopia and cohesions, the conceptual metaphors, and conceptual blends. The neologisms were collected manually, through the criteria of exclusion based on the dictionary Houaiss and Villar (2009), whereas the selection of metaphors was based on the expressive novelty. This study was organized in chapters following the criteria of the genre aspects observed: the first one specifically devoted to the study of the conceptual metaphors and blends found in works that presented the effect of genericity of new free verse collected from his works Psia, Tudos, 2 ou + corpos no mesmo espaço, n.d.a., Agora aqui ninguém precisa de si, ; the second one dedicated to the formal lexical creations and metaphors in the intermedial genres in the expositions Luzescrita and Palavra em movimento; and the final one directed to the lexical creations and metaphors in printed intermedial genre, in the books Palavra desordem, As Coisas and Et Eu Tu resulting respectively from the converging media, banners and poetry, poetry and images, and poetry and photograph.

Les liens qu’entretient le cinéma avec les journaux illustrés ont été perçus très tôt par les observateurs. Or, si les historiens semblent s’accorder sur une « influence » de la presse illustrée sur la production comique du cinéma français, les journaux humoristiques s’intéressent peu au cinéma de manière générale et ignorent complètement, ou presque, les films comiques. Comment expliquer ce phénomène ? Cette thèse propose de développer trois pistes de réflexion. En premier lieu nous tentons d’appréhender la manière dont la presse illustrée a perçu l’émergence et l’essor du spectacle cinématographique au tournant du XIXe siècle jusqu’au milieu des années 1910. Pour la plupart des chroniqueurs le spectacle cinématographique apparaît comme un intrus parmi les spectacles scéniques parisiens, déportant en quelque sorte la rivalité entre théâtre et cinéma dans la presse illustrée. Puis, en nous intéressant aux proximités entre films et journaux, il apparaît que le cinéma emprunte aux journaux autant qu’il recycle leurs histoires comiques, les modernise. Cela nous conduit enfin à envisager les deux médias sous l’angle de leurs divergences, à la fois idéologiques et politiques, empêchant une rencontre qui semblait pourtant à première vue inévitable. / The links between the cinema and the illustrated press were perceived very early by the observers. Now, if historians seem to agree on an "influence" of the illustrated press on the comic production of French cinema, humorous newspapers are not very interested in cinema in general and completely, or almost completely, ignore comic films. How to explain this phenomenon ? This thesis proposes to develop three lines of thought. First, we try to understand the way in which the illustrated press saw the emergence and growth of the film show at the turn of the 19th century until the mid-1910s. For most chroniclers the cinema appears as an intruder among the Parisian stage shows, deporting in a way the rivalry between theater and cinema in the illustrated press. Then, by looking at the proximity between films and newspapers, it appears that cinema borrows from newspapers as much as it recycles their comic stories, modernizes them. This leads us finally to consider the two media from the angle of their differences, both ideological and political, preventing a meeting that seemed at first sight inevitable.

<p>The thesis examines ’intermediality’ in Svenska Bios (Swedish Biograph) first fiction films. Värmlänningarne (1910), Fänrik Ståls Sägner (1910), Bröllopet på Ulfåsa (1910), Regina von Emmeritz och Konung Gustaf II Adolf (1910), Amuletten (1910), Emigranten (1910) and Järnbäraren (1911) are analysed in relation to theatre, literature, music and ‘reality’. A detailed discussion of intermediality is combined with specific theories relating to pictorialism and literary presentation in film. The thesis conclude, that early fiction films in general, and Svenska Bios films in particular, depended on their association with other media. The thesis also includes a short discussion concerning silent cinema music.</p>