Comment faire l’amour avec un Nègre sans se fatiguer (1985) by Dany Laferriere and L’art du maquillage (1997) by Sergio Kokis, are two novels that are part of what is known as migrant literature in Quebec. Both explore the question of identity and alterity, one from a racial perspective and the other, from an individual and artistic one. If, on the one hand, the presence of otherness within identity refers to the importance of the other for the subject within the diegesis of the novels, on the other hand, it also represents the trace of a discursive other in the writing of the two novels. Hence, this thesis explores the importance of the other through a study of intermedial references to four paintings that prove to be significant for a better understanding of both novels. In Laferrière’s novel, the subject objectifies the other through his perception and his literary creation, and through this process, he objectifies himself. In Kokis’s novel, not only does the subject’s quest to reach the real Other end in failure, but by representing the other in art, he will eventually change the other’s identity. Acting as a theoretical framework for this analysis are Jacques Lacan's psychoanalytic studies on the relationship between the subject and the other, and Irina O. Rajesky’s and Peter Wagner’s respective theoretical texts on intermediality, with the help of which the links between the paintings and the themes at play in the novels are explored. / Thesis (Master, French) -- Queen's University, 2010-09-29 17:17:50.692

The novel Sudden death /Muerte súbita written by Álvaro Enrigue is analysed in this study, using the theoretical contributions of Werner Wolf and Irina Rajewsky, the typology of intermediality, and the model of modalities and modes of media elaborated by Lars Elleström.         The aim of this study lies, first on the blending of different media within the novel, the question of pictorial narrative, and argues that images narratives can generate the diegesis in Álvaro Enrigue's book. Second, to analyze how the mentioned intermedial relations to the paintings can create a meaning in the novel.       The novel by Enrigue relates some paintings of the Italian painter Caravaggio such as The calling of St. Matthew, Marta and Magdalena, Judith beheading Holofernes and Basket of fruits that have become important in creating the understandings the History of Mexico and the History of Spain. This intermedial study of the work of Enrigue "Sudden death" has shown that words have the power to represent images as well as give us the possibility of expanding the visuality of the media that are present in a literary text.

This thesis explores the relationship between Buzzati’s fiction and Anglophone culture, particularly the re-use of narrative and visual sources in his works. The analysis of the intertextual stratification in Buzzati brings to the fore the author’s urge to convey the significance of imagination through the fantastic mode. It also reveals an optimistic and playful side of Buzzati, which lies behind a pervading pessimistic tone. Buzzati’s re-working of images from other authors and of generic topoi is aimed at decrying the loss of imagination occurring in the transition to adulthood as well as a general disregard of fantasy characterizing modern technologized societies. Nonetheless, intertextual practices are a means to recover and originally re-present the fantastic imagery conveyed by the artists from whom Buzzati drew inspiration. Buzzati was especially keen on Anglophone literature and art; hence, the focus of this thesis, which is divided into four chapters. Chapter One deals with Buzzati’s re-use in his fiction of drawings by the English illustrator Arthur Rackham; this is a process in which visual memory and intermedia translation are paramount. Chapter Two investigates the link between Joseph Conrad’s heroes and the characterization of Buzzati’s (anti-)heroic figures; they are trapped in the mechanisms of lack of courage and time but eventually find their own ways to self-redemption. Chapter Three considers Buzzati’s reversal and borrowing of topoi belonging to the sea monster story and the ghost story; these practices are aimed at emphasizing the importance of fantasy. Chapter Four places Buzzati’s Christmas fiction between the Italian and the Dickensian tradition, showing how Buzzati re-works the genre’s stereotypes to recreate the Christmas spirit. Whether Buzzati engages in an intertextual dialogue with individual authors or literary traditions, examining the connections he established with Anglophone culture allows a reassessment of his work. Indeed, the Buzzatian fantastic reveals itself as poised between gloominess and faith in the redeeming power of imagination; the fantastic alternatives Buzzati offers against the dullness of reality also evince his enjoyment of the artistic creation per se.

A presente pesquisa é uma reflexão sobre a relação entre o fazer artístico e sua investigação teórica. Como ponto de partida, buscamos compreender o termo intermídia por meio dos modos operatórios que engendram os relacionamentos entre os meios de expressão artística. Qual a natureza da relação intermidiática? Como esta se realiza operacionalmente? Quais os operadores que induzem tal relação, e como estão presentes, como se relacionam, como delimitam, ou não, uma relação intermidiática? Como ponto de chegada, a aposta de que as noções de convergência audiovisual e de dispositivo nos permitem pensar os trânsitos operatórios entre os meios visuais e sonoros em uma prática artística específica. Esta, por sua vez, é caracterizada pelas dinâmicas das ações de um grupo de artistas em um ambiente coletivo e colaborativo de criação, do qual emerge um contexto de influências mútuas e intensificadas entre as ações dos artistas e entre imagem e som. No que concerne as noções de convergência audiovisual e dispositivo, a primeira diz respeito a uma busca por uma vetorização comum, tento em vista uma mesma situação visual e sonora, na qual encontramos um elo entre imagem e som; a segunda, a uma rede de conexões entre meios, materiais e práticas artísticas. Para a realização deste estudo, estabelecemos como estratégias de ação a experimentação artística, a análise de obras e a pesquisa bibliográfica. A escolha do campo problemático abordado e dos nossos objetivos são atravessados pela experimentação artística, de modo que prática e teoria estão continuamente em relação. Sob este prisma, caminhamos do particular ao geral, ou seja, a partir da análise de obras e da experimentação podemos tanto apreender alguns conceitos e ideias presentes na investigação teórica, quanto extrair algumas conclusões. Pretendemos assim responder às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / This research is a reflection on the relationship between artistic practice and its theoretical research. As a starting point, we seek to understand the term intermedia through operational methods that engender relationships between means of artistic expression. What is the nature of intermedia relation? How this is done operationally? Which are the operators who induces such relationship and how they are present, how they relate, how they delimit, or not, an intermedia relation? As a point of arrival, the assumption that the notions of audiovisual convergence and of device allow us to think the operative movement between the visual and audio means in a specific artistic practice. This in turn, is characterized by the dynamics of the actions of a group of artists in a collective and collaborative environment of creation, from which emerges a context of mutual and intensified influences between the artists action and between image and sound. Regarding the concepts of audiovisual convergence and device, the first is about the search for a common vectorization, having in mind the same visual and sound situation in which we find a link between image and sound; the second, a network of connections between material and artistic practices. For this study, we established as strategies of action an artistic experimentation, an analysis of the artworks and a bibliographic research. The choice of the addressed problematic field and our goals are crossed by artistic experimentation, so that theory and practice are continuously in relation. From that perspective, we went from the particular to the general, that is, from the analysis of the artworks and experimentation we can both learn some concepts and ideas in the theoretical research, as to draw some conclusions. We intend to meet the needs of the area of Visual Poetics, which emphasizes both theoretical and experimental research on the artistic processes.

A presente pesquisa é uma reflexão sobre a relação entre o fazer artístico e sua investigação teórica. Como ponto de partida, buscamos compreender o termo intermídia por meio dos modos operatórios que engendram os relacionamentos entre os meios de expressão artística. Qual a natureza da relação intermidiática? Como esta se realiza operacionalmente? Quais os operadores que induzem tal relação, e como estão presentes, como se relacionam, como delimitam, ou não, uma relação intermidiática? Como ponto de chegada, a aposta de que as noções de convergência audiovisual e de dispositivo nos permitem pensar os trânsitos operatórios entre os meios visuais e sonoros em uma prática artística específica. Esta, por sua vez, é caracterizada pelas dinâmicas das ações de um grupo de artistas em um ambiente coletivo e colaborativo de criação, do qual emerge um contexto de influências mútuas e intensificadas entre as ações dos artistas e entre imagem e som. No que concerne as noções de convergência audiovisual e dispositivo, a primeira diz respeito a uma busca por uma vetorização comum, tento em vista uma mesma situação visual e sonora, na qual encontramos um elo entre imagem e som; a segunda, a uma rede de conexões entre meios, materiais e práticas artísticas. Para a realização deste estudo, estabelecemos como estratégias de ação a experimentação artística, a análise de obras e a pesquisa bibliográfica. A escolha do campo problemático abordado e dos nossos objetivos são atravessados pela experimentação artística, de modo que prática e teoria estão continuamente em relação. Sob este prisma, caminhamos do particular ao geral, ou seja, a partir da análise de obras e da experimentação podemos tanto apreender alguns conceitos e ideias presentes na investigação teórica, quanto extrair algumas conclusões. Pretendemos assim responder às exigências da área de Poéticas Visuais, que privilegia pesquisas tanto teóricas quanto experimentais sobre os processos artísticos. / This research is a reflection on the relationship between artistic practice and its theoretical research. As a starting point, we seek to understand the term intermedia through operational methods that engender relationships between means of artistic expression. What is the nature of intermedia relation? How this is done operationally? Which are the operators who induces such relationship and how they are present, how they relate, how they delimit, or not, an intermedia relation? As a point of arrival, the assumption that the notions of audiovisual convergence and of device allow us to think the operative movement between the visual and audio means in a specific artistic practice. This in turn, is characterized by the dynamics of the actions of a group of artists in a collective and collaborative environment of creation, from which emerges a context of mutual and intensified influences between the artists action and between image and sound. Regarding the concepts of audiovisual convergence and device, the first is about the search for a common vectorization, having in mind the same visual and sound situation in which we find a link between image and sound; the second, a network of connections between material and artistic practices. For this study, we established as strategies of action an artistic experimentation, an analysis of the artworks and a bibliographic research. The choice of the addressed problematic field and our goals are crossed by artistic experimentation, so that theory and practice are continuously in relation. From that perspective, we went from the particular to the general, that is, from the analysis of the artworks and experimentation we can both learn some concepts and ideas in the theoretical research, as to draw some conclusions. We intend to meet the needs of the area of Visual Poetics, which emphasizes both theoretical and experimental research on the artistic processes.

In his plays, Heiner Mller uses postdramatic techniques to challenge audiences. Adaptations of his work tend to either engage with these techniques or attempt to make his work more comprehensible for audiences. In this thesis, I will investigate examples of Mller adaptations from different geographic locations outside of Europe. Each example uses a play by Mller to explore contemporary political issues. I will first cover the trend of adapting Mller textually, and the problems inherent in this process. Then I will provide an in-depth analysis of El Perifrico de Objetos Mquina Hamlet. This production, which is an Argentinean adaptation of Mllers seminal play Hamletmachine, uses postdramatic techniques that place spectators at the forefront in the production of meaning. As a result, Mquina Hamlet is able to link Mller not only to the political history of Argentina, but also to the history of violence in the world.

Portant sur luvre littéraire dE.T.A. Hoffmann (1776-1822), notamment sur les récits « Das Fräulein von Scuderi » et « Doge und Dogaresse » qui sont traités comme des paradigmes de luvre, le travail sest proposé comme objectif de mettre en évidence le fonctionnement intertextuel des ouvrages de cet auteur. En effet, bien quelle ait eu ses prédécesseurs en ce qui concerne lintertextualité chez Hoffmann, létude met au jour tout un réseau de références cachées (c.-à-d. non marquées) à dautres uvres qui, jusquà présent, sont passées inaperçues, entre autres : - des recours systématiques à dautres textes littéraires (en premier lieu aux uvres de Heinrich von Kleist et de Ludwig Tieck, et, à part cela, à des écrivains aussi divers que Boccace, Molière, M.G. Lewis ou Novalis) ; - des renvois précis et bien élaborés à la Bible et à la mythologie de lAntiquité ; - des citations de sources historiques ; - des recours à la peinture (entre autres Rubens, Canaletto, Hogarth, Goya, C.W. Kolbe) et à la sculpture (Michel-Ange), intégrant des éléments spécifiques de ces uvres en tant que composants narratifs au sein des récits ; - des références à lopéra (Mozart : « Don Giovanni » et « Die Entführung aus dem Serail » [« LEnlèvement au sérail »]) ou à la Commedia dellarte ; - des indices poétologiques (y compris des renvois aux poétiques dAristote ou de Boileau) inscrits dans luvre même tel un commentaire inhérent au texte ; - des références extratextuelles, c.-à-d. des allusions aux développements politiques et sociaux de lépoque scrupuleusement cachées, dépassant le domaine des artéfacts et qui, en quelque sorte, livrent des explications extérieures aux phénomènes textuels observés, tout en révélant des aspects dune critique sociale allusive et sous-entendue (le souverain, par exemple, y est nié en tant que centre positif dun État absolu et en tant que représentant de Dieu sur terre) sans jamais trouver, cependant, une issue de lambiguïté élémentaire qui pénètre luvre même jusquau fond de la sphère sociopolitique. La fonction principale de ces éléments consiste dans ce que cette étude décrit comme « lautoréflexion » de luvre même, c.-à-d. dans une réflexion de ses antécédents littéraires ou artistiques, de sa propre place dans lhistoire littéraire par le biais dune citation dautres uvres, celles-ci étant reflétées comme apparentées ou comme opposées. Ainsi, la thèse poursuit le chemin déjà indiqué par R. Homann (Munich 1986) qui, en partant des drames de Lessing et, surtout, de Kleist, avait démontré détonnants aspects dune autoréflexion de la littérature chez ces deux auteurs (et avait postulé le même caractère autoréflexif pour les successeurs dans le domaine de la littérature qualifiée par elle de littérature « esthétique ») parmi lesquels on peut également, daprès les résultats du présent travail, bel et bien ranger Hoffmann qui, dans sa propre uvre, livre dune manière bien précise la suite logique, conséquente et radicale du modèle établi par ses antécédents littéraires. Lidée centrale du concept de lautoréflexion de la littérature est que, après les résultats bouleversants des Lumières ainsi quen réaction contre lesthétique hégélienne du « beau » et en relation avec la proclamation de la « fin de lart », luvre « esthétique » (par opposition à luvre « naïve ») ne peut plus continuer à représenter simplement le monde, mais, en même temps, elle est dorénavant forcée à se représenter elle-même. Cest à cause de la disparition du narrateur omniscient qui était le garant dune histoire unifiée et à cause de la mise en question de la narrabilité dun monde qui est considéré comme étant devenu absurde que, dans les textes de certains auteurs, la littérature commence à parler delle-même. Par conséquent, les textes dHoffmann cette recherche sefforce bien de le démontrer sont lisibles à la fois comme des narrations dune histoire et, sur un deuxième plan « esthétique » ou « autoréflexif », comme des narrations de la narration, c.-à-d. comme des textes qui traitent implicitement de lacte décrire, qui contiennent leurs propres commentaires, qui comportent une sorte dhistoire littéraire inhérente. Cest ce plan autoréflexif que cette étude essaie de déchiffrer, et cest dans ce contexte que les récits dHoffmann témoignent dune modernité avant la lettre. Signes incontestables dune intrusion du « dehors » dans un intérieur dont on avait pensé quil était protégé et à labri des menaces de la multiplicité, symptômes dune contamination du « moi » par les puissances sous-jacentes de « lautre » devenues inévitables, les recours autoréflexifs à dautres uvres témoignent dune crise didentité fondamentale et bouleversante, dune identité déchirée de luvre dart ainsi que de sa propre mise en cause de son caractère unique. Au bout dune analyse de ces aspects à la fois, si lon veut, intertextuels et intermédiatiques à laquelle la thèse sest engagée, elle a, finalement, découvert un lien plus étroit et plus profond entre lautoréflexivité de luvre dune part et, dautre part, la disparition dune vérité absolue au milieu de ces uvres, c.-à-d. la « perte du centre » qui constitue le deuxième grand volet de létude. En effet, au cours des analyses, létude sest retrouvée face à des irrégularités troublantes dans les profondeurs incommensurables au-dessous de la surface saine des textes, à des ruptures narratives et à des contradictions immanentes qui sont cachées à lintérieur des récits et que la thèse sest, dès lors, efforcée de mettre en évidence. Cest aussi par ces fractures internes que les textes dHoffmann suivent les uvres de Kleist au-delà des sentiers battus de la narration traditionnelle ou « naïve », uvres qui sont, elles-mêmes, marquées de ruptures fondamentales. Cest par ces fractures internes, également, que les récits dHoffmann parlent de la disparition dun Dieu unifiant dans un univers brisé, dénué de sens, voire totalement absurde et, à cet égard, décidément « kafkaïen » bien avant la lettre, tandis que les références à « lautre » tournent autour dun centre vide, sans jamais pouvoir remplir la place laissée libre par la foi perdue. Et cest par ces fractures internes, finalement, que les textes témoignent dune négation des idées telles que les romantiques (parmi lesquels on a bien trop souvent rangé Hoffmann) les postulaient, ainsi que dune « décentralisation » du « moi » et du « monde » dans une uvre qui, à travers limage de la chute de lhomme, semble être tombée dans lobscurité, poussée loin au-delà des lumières dune clarté divine. Cette « perte du centre » décrite dans la thèse finit par révéler des correspondances surprenantes dans le domaine littéraire avec ce que H. Sedlmayr, dans son travail sur la peinture et les arts plastiques des 19e et 20e siècles (Salzbourg/Vienne 1948), a appelé la « perte du milieu », terme par lequel il désigne la disparition catastrophique et (à ses yeux) regrettable dun Dieu qui fut, un jour, au centre naturel de lart et du monde spirituel, mais qui, depuis lapparition de ce que Sedlmayr décrit comme un tournant historique autour de la Révolution Française, nest plus saisissable que par les signes de son absence. Mais bien que la thèse cherche à établir des liens entre les phénomènes textuels observés dune part et des événements ou changements historiques dautre part et notamment à trouver des explications à ces phénomènes dans ce quelle décrit comme la « révolution triple » (industrielle, métaphysique, sociopolitique) entrant en scène autour des années 1800 , elle aboutit, finalement, au diagnostic dune « crise de sens » plus vaste, plus complexe et plus profonde qui se manifeste dans les uvres dE.T.A. Hoffmann et qui paraît continuer de semparer de lhistoire de lhomme jusquà nos jours.

The award-winning Norwegian novelist Karl Ove Knausgård achieved great success with his latest book, Min kamp. Both commercially and critically, the novel was praised for its seemingly successful attempt to transcend the boundary between fiction and real life. Focusing on the auto-fictional narrator’s struggle to balance his daily life with his ever so demanding aesthetic ambitions, the novel gives high-detail descriptions of the most basic day-to-day chores, intimately mixed with philosophical reflections on topics such as painting, literature and postmodern civilisation. This essay proposes an alternative perspective on the realism of the novel. Instead of relying on a correspondence theoretical view, which highlights the level of correspondence of a particular representation with reality, I seek, inspired by Martin Heidegger’s thoughts on works of art, to trace a poetics which sees the verity in a work of art as the ”unconcealment” of the world, or the coming-to-being of objects. The function of art in relation to reality is to ”open up” the conventionally understood world and offer a perspective situated between an intellect-based outlook on the world and an intuitive and subconscious one. In order to carefully analyse the formal manifestation of the poetics in question, I turn to the notion of heteromediality, which proves fruitful in distinguishing, in the verbal text itself, certain formal traits usually associated with other media. I suggest that when found in the text, these traits function as a way of stressing the becoming of objects, rather than primarily their mere existence.

No description available.

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.