Univ., Diss.--München, 2001. / Literaturverz. S. 439 - 454. Literaturverz. S. 439 - 454.

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La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Composé entre 2007 et 2009, l’opéra La Métamorphose est une œuvre ambitieuse en raison de sa taille, mais également par son intention première de vouloir se rapprocher de l’idéal du Gesamtkunstwerk. Afin d’atteindre cet objectif, nous avons multiplié les efforts pour assurer une production professionnelle qui permettrait, non seulement, une interprétation correcte de l’œuvre, mais qui garantirait le financement nécessaire à un travail d’équipe dès la phase de conceptualisation. Bien que la production professionnelle de La Métamorphose n’ait pas eu lieu, comme convenu, à cause d’un désengagement de dernière minute du producteur principal, nous avons eu la chance de travailler une année complète en collectif ce qui a grandement aidé à synthétiser la prise de décision artistique liée à ce projet. Plus qu'une fin en-soi, cet opéra est alors devenu, par la force des choses, un véhicule permettant l'approfondissement et l'appropriation de plusieurs nouvelles techniques d'écriture avec l'aide, entre autres, de la Composition assistée par ordinateur : morphing, harmonie basée sur des analyses spectrales ou sur des modèles de résonance, profilage mélodique, etc. Le premier chapitre de la thèse aborde la genèse de La Métamorphose avec tout le travail de recherche précédant la composition proprement dite de l'œuvre : apprentissage des outils de programmation (MaxMSP, Openmusic), conception du livret, premières esquisses, travail de conceptualisation en équipe (compositeur, librettiste, metteur en scène, producteur). Le deuxième chapitre présente une analyse musicale approfondie de La Métamorphose en mettant l’accent sur les techniques d’écriture inspirées du thème universel de la transformation. Le dernier chapitre démontre la formalisation graduelle de ma démarche compositionnelle et propose une synthèse des nouvelles connaissances acquises lors de l'écriture de La Métamorphose. / Composed between 2007 and 2009, the opera La Métamorphose is ambitious by its size, but also by its first intention to get closer to the ideal of a total artwork. To do so, efforts have been multiplied to assure a professional production that would not only allow a correct performance of the work, but also give out the necessary funding to work as a team during the conceptualization process. Although the professional production of this work has not taken place as planned, due to a last minute disengagement of the main producer, the creative team still managed to work together one whole year, which greatly helped to synthesize artistic decisions linked to this piece. More than being a be-all and end-all, this opera project has become a vehicle allowing a further deepening and appropriation of many new compositional techniques with the help, amongst others, of Computer Assisted Composition: morphing, spectral analysis based harmony, resonance model based harmony, melodic profiling etc. The first chapter of this thesis approaches the genesis of La Métamorphose including all of the research preceding the composition of the work: mastering visual programming tools (MaxMSP, Openmusic), writing of the libretto, first drafts, conceptualization work as a team (composer, librettist, stage director, producer). The second chapter presents an analysis of La Métamorphose, putting the emphasis on compositional techniques isnpired by the universal theme of transformation. The last chapter demonstrates the gradual formalization of my musical reasoning and proposes a synthesis of the new knowledge acquired during the composition of La Métamorphose.

Ce mémoire propose de s’attarder sur la symbolique de la flânerie pour associer le déplacement physique de la marche à l’opération mentale qui l’accompagne, mais aussi pour y tracer un rapprochement avec l’évolution des pratiques de lecture au cours des deux derniers siècles. Si l’on exigeait auparavant du lecteur qu’il se fasse en quelque sorte pèlerin traversant religieusement une œuvre selon la volonté de l’auteur, c’est un tout nouveau lecteur qui revendique le droit d’errer textuellement du Nouveau Roman jusqu’à l’hypertexte. Le concept de parcours narratif se dessine alors ici comme une alternative aux études narratologiques traditionnelles, un nouvel axe herméneutique où le lecteur dynamise ses pratiques de lectures en traçant dans une œuvre ses propres sentiers narratifs. Prenant en exemple l’éclosion hypertextuelle aussi bien que les tortueuses littératures de Kafka et de Camus, il s’agira de voir comment cette lecture-errance a renégocié, dans l’imprimé comme dans le numérique, la relation entre auteur et lecteur pour offrir une littérarité qui soit mise en marche, enfin libre d’être agie, parcourue. / This mémoire proposes to dwell on the symbolism of the flânerie by associating the physical act of walking to the mental operation that accompanies it, while also seeking to draw a comparison with the evolution of reading practices over the last two centuries. If in the past the reader was expected to follow the path set by the author religiously, what followed, from the Nouveau Roman to the hypertext, was a whole new reader claiming the right to wander textually. The concept of narrative path emerges here as an alternative to traditional narratological studies; it constitutes a new hermeneutic approach where the reader makes his reading practices more dynamic by charting his own narrative paths inside the work itself. Using as examples the irruption of hypertext as well as the tortuous literatures of Kafka and Camus, this mémoire will examine how the wander-reading concept helps to renegotiate, both in print and digital forms, the relationship between the author and the reader in order to offer a literature that’s in movement, finally free to be acted upon, to be crisscrossed.

Esta tese busca refletir sobre a configuração fragmentária da produção do escritor Franz Kafka (1883-1924). Procura-se mostrar como a partir do final de 1916 ocorre na produção kafkiana uma inflexão formal decorrente de uma mudança no modo do escritor conceber o caráter danificado de sua escrita. / This thesis reflects upon the fragmentary configuration of Franz Kafka´s production. It aims to show how, from the end of 1916, occurs an formal inflection in the Kafkaesque production due to a change in the way the writer conceives the \"damaged\" character of his writing.

Lorsque l´architecture se déterritorialise de son milieu d´origine pour être conçue et éprouvée « en » littérature, son statut ontologique dominant et traditionnel se voit inévitablement altéré. Cette altération procède de la nature représentative de son art d´accueil, qui, comme le dit Etienne Souriau, présente un dédoublement formel en une forme primaire, celle du représentant (le langage littéraire); et une forme secondaire, celle du représenté (en l’occurrence ici l’architecture). Ceci fait que l´écrivain se voit inévitablement confronté à des conditions de conception de l´architecture différentes de celles de l´architecte. Nous proposons dans cette recherche une méthode d´observation analytique de ce que nous appelons les quatre plans de conception de l´architecture déterritorialisée dans le texte littéraire, et que nous appliquerons à deux récits: Le Dépeupleur de Samuel Beckett et Le Terrier de Franz Kafka. Les deux premiers détaillent la manière dont l´architecture se trouve organisée dans la diégèse de l’œuvre littéraire, ce sont: 1) le plan de conception de l’Objet architectural et (2) le plan de conception de l´Expérience que les personnages en font. Les deux autres détaillent la manière dont l´architecture se trouve modulée, amplifiée, déformée voire orientée par le langage artistique; ce sont: 3) le plan de conception de la Narration de l´Objet et de l´Expérience, ainsi que 4) le plan de conception de leur Textualisation. De l´articulation singulier par l´écrivain de ces quatre plans de conception découlera pour le lecteur une expérience esthétique et cognitive inédite de l´architecture que nous tentons d’évaluer dans ce travail. / When architecture deterritorializes itself from its domain of origin to be conceived and experienced “in” literature, its dominant and traditional ontological status is unavoidably altered. The cause of this alteration has to do with the representative nature of its host art, which, according to Etienne Souriau, presents a formal split into a primary form, the one representing (the literary language); and a secondary form, that of the represented (in this case the architecture). This situation causes the writer to be inevitably confronted by different conditions of conception of architecture than those taken into account by the architect. In this research we propose a method of analytical observation based on four levels of conception of the deterritorialized architectures within the literary text. We are going to apply this method to two short stories: Le Dépeupleur by Samuel Beckett, and Le Terrier (Der Bau) by Franz Kafka. The first two levels of conception detail the way architecture is organized within the diegesis of the literary work, and they are: 1) the level of conception of the architectural Object, and 2) the level of conception of the Experience the characters make of it. The two other levels detail the way architecture is modulated, amplified, deformed and oriented by the artistic language, and they are: 3) the level of conception of the Narration of the Object and the Experience, and 4) the level of conception of their Textualization. The very singular assembly of these four levels conceived by the writer will lead the reader to have an unprecedented aesthetic and cognitive experience of architecture that we attempt to evaluate in this research.

Desviando das interpretações tradicionais da obra de Franz Kafka que a tratam sob o aspecto do labirinto, caos, absurdo e burocracia, este trabalho propõe analisar os influxos da tecnologia e media óticos tanto em seus textos biográficos quanto ficcionais. Referente à tecnologia, será trabalhado o aspecto da vida profissional de Kafka, que regularmente é visto unicamente dentro do contexto do trabalho burocrático no escritório da companhia seguradora. Essa parcialidade normalmente negligencia o fato de Kafka ter sido um perito em máquinas e ter como uma de suas principais funções a de fiscalizar os níveis de periculosidade em diversas fábricas. O pressuposto é que esse aspecto não deixou de se infiltrar em sua obra. No sentido das inovações emergentes da época, o trabalho se ocupa, além do aspecto das máquinas, também com as novas formas perceptivas geradas pela experiência urbana. No ponto de vista do trabalho essa experiência urbana se sedimenta nos textos de maneira fortemente visual. Tanto a experiência dos carros e bondes quanto do cinema e Kaiserpanorama geram uma escrita fortemente visual. Assim, se aborda uma possível influência provinda dos media óticos. Quanto a este aspecto se trabalha inicialmente o cinema já que Kafka deixou registros de visitas ao cinematógrafo em muitas de suas anotações, tanto em diários quanto em cartas. O trabalho mostra o quanto esse medium não figurava simplesmente como um divertimento secundário para o autor, mas sim que ele deixou de diversas formas traços em sua escrita. Tais traços são verificados tanto através de temas utilizados pelo cinema mudo quanto na aplicação de técnicas cinematográficas emprestadas à narrativa literária. O segundo medium ótico analisado é o Kaiserpanorama, dispositivo bastante popular no início do século XX, que através de um dispositivo binocular permite assistir uma sequência de fotografias estereoscópicas estáticas com efeito tridimensional. Em seus escritos Kafka deixou manifestações bastante entusiásticas a respeito desse aparelho. A intenção de aproximar a obra kafkiana desses dois media essencialmente tão divergentes entre si, aponta assim uma particularidade de seus textos, ou seja, uma oscilação entre elementos dinâmicos (cinematográficos) e estáticos (fotográficos). / Deviating from traditional interpretations of the works of Franz Kafka that deal with them in terms of the labyrinth, chaos, absurdity and bureaucracy, the purpose of this work is to consider the introduction of technology and visual media on both his fictional and biographical texts. In relation to technology, this work will consider Kafka’s working life, which is usually only seen in the context of his bureaucratic functions with the insurance company. This bias often causes one to overlook the fact that Kafka was an expert in machines and that one of his main functions was to monitor the risk levels in several factories. The present analysis assumes that this part of his life also permeated the substance of his works. This work also considers new perspective forms resulting from the urban experience that manifest themselves in a markedly visual way in his texts. The descriptions of both his experience with cars and trams and that with cinema and Kaiserpanorama generate strong visual images. Records of Kafka’s encounters with cinematographers, in his diaries and letters, support the view that the visual media must be considered as a possible influence on Kafka’s work. This work shows how these media did not simply appear incidentally, but influenced his writing in many ways. Such influences are manifested in the themes of silent movies and in the application of cinematographic techniques borrowed from literary narrative. This work also considers the influence of Kaiserpanorama, a very popular early twentieth century optical medium. In his writings Kafka expresses great enthusiasm for this binocular device which permits a viewer to watch a series of still stereoscopic photographs providing a three-dimensional optical effect. In summary, the intention of this work is to analyze the convergence and combination of dynamic cinematographic influences and static photographic influences on some particular qualities of Kafka’s writings.

In Franz Kafka's The Judgement many things remain unsaid. Most of all it is the unpredictable behaviour of the father figure which is difficult to understand. That has caused a large number of interpretations and the critical reception continues. At the beginning of the story, the fictional father appears weak and ill, evoking memories of disease. Therefore, the following essay explores whether the behaviour of the father figure corresponds to the symptoms of dementia. For this purpose, the diagnostic criteria for neurocognitive disorders according to the Diagnostic and Statistical Manual of Mental Disorders were compared to the text. The analysis shows that many passages in the text reflect symptoms of dementia. However, it also shows that other interpretations are possible, which is not surprising given the indeterminacy of Kafka's work. As has already been established in earlier investigations, the fictional father stands as a symbol for authority. Assuming the father has dementia means that this authority is incurably ill. Therefore, the fictional father would symbolize an almighty institution in decline whose authority cannot be questioned by the individual. This way of interpretation emphasizes the unjust distribution of power. The acting figures represent unequal relations of any kind, in which the inferior has to obey the obviously ill but overpowering authority.

L’œuvre fictionnelle et critique de Maurice Blanchot entretient des rapports intenses avec la philosophie et la littérature allemande. Alors que la relation de Blanchot à la philosophie allemande a été largement étudiée, la thèse suivante porte sur son rapport à « l’espace littéraire »allemand – beaucoup moins analysé – et en particulier sur le « genre » fragmentaire qui fonde toute l’œuvre blanchotienne. Après un bref retour sur cette notion polysémique et complexe, on découvre dans les différents chapitres les empreintes profondes laissées par Franz Kafka et Paul Celan dans l’œuvre de Blanchot autour de cette « expérience du fragmentaire » vécue par les trois auteurs selon des modalités différentes.La première partie expose les liens qui unissent les trois auteurs afin d’explorer dans la deuxième partie les caractéristiques communes aux trois écritures fragmentaires. L’exil, la rupture imposée par la Shoah, la lecture comme processus de fragmentation, le rapport entre inconscient et écriture fragmentaire, l’esthétique du blanc et du vide, qui habite ces écritures, sont quelques uns des axes principaux de cette étude. Un des apports de cette recherche est la redéfinition du fragmentaire comme « style » à part entière. De plus, l’ensemble du travail est enrichi d’annexes regroupant notamment des manuscrits de Blanchot qui permettront au lecteur de saisir cette expérience à l’œuvre. / Both fictionnal and critical works of Maurice Blanchot have intense relations with the germanliterature and philosophy. But, whereas Maurice Blanchot’s relation to the german philosophy hasbeen widely studied, the following thesis cares about the german « literary space » – far lessanalysed – and more particularly about the fragmentary « genre » that structures the whole of Blanchot’s work. After briefly going back on this complex and polysemous notion, we discoverthrough the different chapters the deep imprints that both Franz Kafka and Paul Celan left onBlanchot’s work around this « fragmentary experience », which the three authors each livedaccording to different modalities.The first part of the work shows the links uniting the various authors so as to explore in the secondpart the common features to the three fragmentary writings. Among the various axis of this studyare the notion of exile, the breaking imposed by the Shoah, the experience of reading as a processof fragmentation, the relation between unconsciounesss and fragmentary writing, the aesthetics ofwhite and emptiness present in the works. One of the contributions of this research is that itredefines the fragmentary genre as a full-fledged style. Further more, the whole of the work is enhanced by annexes bringing together in particular some of Blanchot’s manuscripts. These willhelp the reader understanding this experience in process.

Zugl.: Freiburg (Breisgau), Universiẗat, Diss., 2006.