Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo / A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial

Leitura da narrativa O estrangeiro, de Albert Camus, e da narrativa fílmica O homem que não estava lá, dos irmãos Ethan Coen e Joel Coen, com vistas a propor uma reflexão literária sobre o desconcerto do sujeito num mundo de solidão, indiferença e nonsense existencial. Oriundas do esmaecimento de qualquer sentimento diante da inexorabilidade da consciência da finitude, pelo comparatismo e com apoio no conceito de intertextualidade, são passadas em revista as trajetórias contingentes de Ed Crane − protagonista da obra cinematográfica − e Meursault, personagem central do romance camusiano. Luz e sombra potencializam a aterradora atmosfera de absurdo na qual se desequilibra Ed Crane, em sua existência obscura, em contraponto com a claridade reinante no percurso de Meursault. Ambos os personagens são condenados pela sociedade, de maneira insólita e definitiva, por intermédio de textos que denunciam, outrossim, a engrenagem trágica do sistema judiciário, permitindo-nos conectar os citados personagens, Plume Um certo Plume, de Henri Michaux e Joseph K. angústia errante engendrada por Franz Kafka em O processo / A reading of Albert Camus narrative The Stranger and of the narrative of the movie The Man Who Wasnt There, by Cohen brothers (Ethan Coen and Joel Coen), so as to propose a literary reflection on the uneasiness of the subject in a world of loneliness, indifference and existential nonsense. Arising from the fading out any feeling towards the inevitable awareness of finitude, by the comparatism and the support of the concept of "intertextuality", contingent trajectories of Ed Crane - protagonist of the movie - and Meursault, central character of the camusian novel, are reviewed. Light and shadow potentiate the fearful atmosphere of absurdity in which Ed Crane unbalances, in his obscure existence, as opposed to the light reigning in Meursault. Both characters are condemned by society in an unusual and definite way, through texts which show the tragic gear of the judiciary system, allowing us to connect the cited characters, Plume Un certain Plume, by Henri Michaux and Joseph K. "anguish errant" created by Franz Kafka in The Trial

In the wake of the industrialization, urbanization, and global conflicts of the late nineteenth and early twentieth centuries, Europe was forced to call into question its Enlightenment faith. In particular, Bildung—as the cultural education of the individual that emerged out of the Enlightenment—lost its footing amidst experience’s new texture of trauma. This thesis will examine Rilke’s Duineser Elegien, Proust’s Du côté de chez Swann, and Michaux’s Misérable miracle as each work pertains to and reconceives of the intertwining of Bildung and elegy, as a literary form both underpinned by and unconvinced of Bildung. For them, I will argue, elegy served as a potential form for re-writing historical indifference and for preparing, through limit-experience and loss, linguistic antidotes for the elision of difference produced in history’s wake.

Ce travail s’interroge d’une part sur la pratique de l’écriture du voyage chez les écrivains voyageurs francophones qui ont visité ou séjourné en Chine entre 1840 et 1939,et d’autre part sur la manière dont leur écriture traite des notions d’exotisme et d’altérité.Le paradigme du voyage romantique constitue un point de repère important, même si les siècles antérieurs ne sont pas à négliger. La réflexion prend en compte des complexités géographique, historique, politique, culturelle et philosophique qui ont marqué l’Occident et l’Extrême-Orient pendant cette période de cent ans. À ces enjeux « collectifs » s’en ajoutent d’autres plus personnels qui ont leur importance : la dimension individuelle du voyage, les données biographiques, les convictions spirituelles, les lectures et la conception même de l’écriture et de la littérature.La première partie de la thèse envisage les traits fondateurs du récit de voyage et aborde les récits du corpus d’un point de vue historique. La deuxième partie explore les interactions qui régissent le voyage et son écriture afin de mettre en évidence un art de composition qui transforme le vécu et le souvenir en écrit. La troisième partie appréhende l’écriture du voyage sur le plan de l’imaginaire, à travers la notion d’exotisme dans une vision qui se veut synthétique, et la question de représentation de l’altérité par le truchement de deux thèmes fédérateurs : le blanc de la carte et la langue chinoise. / This study concerns itself with two aspects of the techniques of French-speaking travel writers who visited China between 1840 and 1939 and of those who lived thereduring this period: on the one hand their writing practices and on the other the manner inwhich their texts deal with the notions of exoticism and the Other. The archetype of the romantic voyage constitutes an important reference, but the preceding centuries are takeninto account, too. The study integrates the geographical, historical, political, cultural andphilosophical complexities which characterised the West and the Far East during this particular hundred-year period. These « collective » factors are complemented by other similarly important but specifically personal elements : the individual character of thejourney, biographical details, spiritual convictions, reading preferences and the writers’particular conceptions of literature and writing.The first part of the dissertation examines the founding characteristics of the travelwriting and approaches the corpus from an historical perspective. The second part exploresthe interactions between the journey itself and the way it is described in order to highlightan art of composition which transforms experience and memories into writing. The thirdpart considers the travel writing as the work of the imaginary through a synthesizing analysis of exoticism, and the problem of the representation of the Other by means of twounifying themes: the blank areas on the map and the Chinese language.

Cette recherche de thèse vise à reconstruire des éléments de genèse de la composition électroacoustique de Pierre Boulez dans les années cinquante à travers l’étude d’esquisses et de manuscrits conservés au Paul Sacher Stiftung. Notre thèse s’est fondée sur deux approches complémentaires : la reconstitution du contexte musical, esthétique et historique et l’étude des esquisses. Dans la Partie I, nous avons tout d’abord examiné les Fonds Pierre Schaeffer afin de retracer le déroulement du premier stage de musique concrète au GRMC. La réorganisation des esquisses et la reconstitution du processus de montage sonore nous ont permis de souligner que la composition des deux études de musique concrète (1951-52) était une étape indispensable pour le développement de la pensée sérielle de Boulez dans le sérialisme intégral. Dans la Partie II, nous avons mis en relation la composition de Symphonie mécanique (1955) et Poésie pour pouvoir (1958) avec le concept de « sons organisés » dans Déserts (1954) d’Edgard Varèse en traçant la transition de la musique concrète à la musique mixte. Boulez y a développé la notion de « blocs sonores » originairement exploitée dans l’écriture instrumentale et orchestrale. Notre étude a éclairé que Boulez avait procédé par tâtonnements de façon cohérente et développée afin de réaliser l’intégration des mondes instrumentaux et électroacoustiques. En ce sens, il est raisonnable que Poésie pour pouvoir soit considérée comme l’origine de la « musique mixte » chez Pierre Boulez. Par ailleurs, cette tentative de confrontation était inévitable pour Boulez afin de réaliser la transmutation musicale de l’exorcisme corporel du poème de Henri Michaux. / This research aims to reconstruct the compositional process of Pierre Boulez’s electroacoustic compositions of the fifties through the study of sketches and manuscripts preserved at the Paul Sacher Stiftung. Our thesis was based on two complementary approaches: the reconstruction of the musical, aesthetic and historical context and study of the sketches. In Part I, we first examined the Pierre Schaeffer archives in order to explore the program of the first musique concrète workshop at the GRMC. The eorganization of the sketches and the reconstruction of the process of sound synthesis allowed us to emphasize that Boulez’s composition of the two musique concrète studies (1951-52) was an indispensable stage for the development of his concept of serialism. In Part II, we related the composition of Symphonie mécanique (1955) and Poésie pour pouvoir (1958) to Edgard Varèse's concept of "Organized sound" in Déserts (1954) by tracing the transition of musique concrète to electroacoustic music. Boulez developed in his electroacoustic pieces the notion of "sound blocks" originally used in instrumental and orchestral pieces. Our study reveals that Boulez proceeded by trial and error in a coherent and developed way in order to realize the integration of the instrumental and electroacoustic sounds. In this sense, it is reasonable for Poésie pour pouvoir to be considered as the origin of mixed music in Pierre Boulez’s oeuvre. This confrontation of the instrumental and electroacoustic sounds was essential for Boulez’s realization of a musical translation of Henri Michaux's poem.

Ce mémoire de maîtrise se divise en deux parties. Dimitri, qui prend la forme d’un recueil de onze courts textes, est une création hybride empruntant à la fois au roman et au recueil de nouvelles sans adhérer complètement à l’une ou l’autre de ces formules, et se construit autour du personnage singulier de Dimitri. Évoluant dans un monde qui lui est étranger, Dimitri tente d’exister par le biais de la parole, mais chacune de ses tentatives est vouée à l’échec. De la dissolution du personnage à la typologie de l’étranger aux autres et à soi-même dans Plume, d’Henri Michaux, Palomar, d’Italo Calvino et La Nébuleuse du crabe, d’Éric Chevillard s’intéresse au phénomène d’amenuisement du personnage. Cette analyse propose de voir quel sens peut revêtir la mise en scène des personnages de Plume, de Palomar et de Crab, et de quelle vision du monde participent les œuvres qui les accueillent. / This master thesis is divided into two parts. Dimitri, a collection of eleven short texts, is a hybrid creation within both the novel and the short story collection without completely conforming to either of them and is built around the singular character of Dimitri. Coping in a world that is foreign to himself, Dimitri tries to exist through speech, but each attempt is doomed to failure. From the dissolution of the character to being quite oblivious to his own existence and to his surroundings in Plume, by Henri Michaux, Mr. Palomar, by Italo Calvino and The Crab Nebula, by Eric Chevillard takes into account the phenomenon of depletion of the character. This analysis intends to explain how to consider and make sense of the characters of Plume, Palomar and Crab, and what vision of the world participate the works that receive them.

Il existe un théâtre des pensées, un espace de création et de jeu où se révèle l’activité pensante. Dans leurs essais, Péguy, Valéry, Artaud et Michaux ont pratiqué un tel théâtre. Par-delà leurs différences, leurs pensées sont remarquables en ce qu’elles cherchent à se représenter à elles-mêmes à travers un modèle théâtral, lequel se configure au point d’intersection de trois théâtres. Le premier renvoie au théâtre réel du premier XXe siècle, qui voit se développer des expérimentations de mise en scène. Les lieux de spectacles et les milieux artistiques dans lesquels évoluent les quatre auteurs abordés participent à la diffusion de ces formes modernes de théâtralité, qui constituent de nouvelles possibilités de représentation dont s’imprègne leur imaginaire. Dans cet imaginaire se déploie un deuxième théâtre, théâtre intérieur auquel diverses voies – mystiques, poétiques (Baudelaire et Mallarmé) et philosophiques (Freud et Bergson) – donnent accès. Un troisième théâtre s’ouvre dans les textes, en se réalisant dans les formes et les valeurs de l’essai. La généalogie du genre, qui passe par Montaigne et Nietzsche, révèle comment, au cœur de l’écriture essayistique, interagissent théâtralisation des pensées et théâtralisation du texte. Une poïétique théâtrale se fonde que les quatre auteurs mettent en œuvre. Les pensées théâtralisées, faisant appel à des figures et des dispositifs qui rappellent ceux qui s’inventent sur les scènes modernes, sont mises en espace, en mouvement et en voix. Les textes veulent donner à voir ce théâtre des pensées où gestes, costumes, décors, éclairages, chœurs, etc., forment des compositions signifiantes. / There is such a thing as a theatre of the mind, a space for creation and play, in which the process of thinking is revealed. Péguy, Valéry, Artaud and Michaud have all experienced this in their essays. Beyond the differences that distinguish their works, their thinking processes are remarkable as they seek to reveal themselves through a model that finds its origin at the intersection of three forms of theatre. The first is the actual theatre of the early 20th Century, in which many experiments occur in the art of mise en scène. The stages and artistic settings in which these four authors evolve are vessels for the transmission of new and modern forms of theatricality ; they present the authors with new possibilities as far as performance is concerned, possibilities from which their minds take inspiration. On this inner stage of the mind, a second form of theatre unfolds to which various paths – mystical, poetic (Baudelaire and Mallarmé) and philosophical (Freud and Bergson) – give access. A third type of theatre can then be found in the four authors’ works, through the various shapes and values of essayistic writing. The genre’s genealogy, from Montaigne to Nietzsche, reveals, at its very core, an interaction between dramatizations of the mind and the text. In other words, a theatrical poietic emerges, which the four authors employ. The dramatized thoughts, calling on devices and mechanisms reminiscent of those being invented on modern stages, are put into place and pushed into movement, given a voice. The texts seek to show this theatre of the mind in which actions, costumes, décor, lighting, chorus, etc., intertwine, forming meaningful compositions

En quoi Michaux fonde-t-il son échange littéraire et artistique sur les gestes ? Nous montrerons qu'il inaugure le partage d'un espace d'action par l'activité de l'agi-sentir et du voir. Dans nos analyses, nous resterons au plus près de l'expérience du mouvement, en l'examinant dans ses relances et ses retours selon une circulation qui relie le regard, la trace, la corporéité et l'imaginaire. Pour accompagner théoriquement notre démonstration, nous avons sollicité des penseurs ayant comme point commun le mouvement - qu'il soit abordé d'un point de vue physiologique, anthropologique, phénoménologique, philosophique, artistique ou chorégraphique. Chacun se focalise sur une activité de l'œuvre qui met le lecteur/spectateur face à sa présence vivante. En définitive, la pratique du geste de Michaux engendrera celle d'une lecture inédite, qui deviendra à son tour productrice de gestes - à la fois éprise et ravisseuse des formes-forces qu'elle (re)découvre à mesure.

The objective of this work is to analyze the relation of a literary text to one's identity, to its understanding and to its formation through the written language. The relation between man and the world founded on the awareness of one's own visibility serves as the basis for this analysis. Further, the analysis draws on a hypothesis that one's own visibility within the world is perceived as both a threat and as something inauthentic. Thus, human beings make considerable effort to form themselves according to their own principles or to become someone else with the help of literary text, to take on various disguises and masks, but also to use language as a tool enabling them to uncover their own authenticity. On the onset, such approach was represented by Stendhal's work that is considered as the founding stone of literary egotism. The reason is that, in his work, Stendhal focuses exclusively on himself, which is manifested by a double gesture: self-analysis and self-construction. Both these gestures, performed by the means of language, have a number of successors in various literatures, including Czech literature and the work of Jakub Deml. In Deml's texts, too, the double gesture of self-analysis and self-construction can be recognized. By modifying his own identity, mainly through the inclusion of other...

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