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The French surrealist poet, Henri Michaux, has remained aloof from all groups and schools of writers, preferring to pursue independently his principal aim in writing which is to resolve, or at least approach, the problem of being, the problem of the meaning of life itself. His works reveal two distinct visions of the world. One is the real world, the world of the outside, of tangible things and places, the world of the daily routine of reality. The other is the imaginary world, the world of the inside, of the "self", the world of dreams, fantasies, inventions and hallucinations. In each of these worlds, Michaux is threatened by what he calls '"presences'* and '"absences". The former represent all the hostile forces in his worlds, all the things which get in the way and add to the anxiety of his existence. The latter represent nothingness, complete emptiness, the great void which brings fear and solitude. Confronted with these "presences" and "absences", his mental life becomes one of anguish. It is the purpose of this study to identify the "presences" and "absences", to define them, whenever possible, and to show how they form, in large measure, the poetic world of Henri Michaux. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Dissertação (mestrado)-Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2009. / Submitted by Patrícia Nunes da Silva (patricia@bce.unb.br) on 2011-06-09T18:34:04Z No. of bitstreams: 1 2009_LucianaPereiraSobrinho.pdf: 947738 bytes, checksum: 0ae8697800d2ca5ce1fb380d5bd4fd66 (MD5) / Approved for entry into archive by Patrícia Nunes da Silva(patricia@bce.unb.br) on 2011-06-09T18:34:42Z (GMT) No. of bitstreams: 1 2009_LucianaPereiraSobrinho.pdf: 947738 bytes, checksum: 0ae8697800d2ca5ce1fb380d5bd4fd66 (MD5) / Made available in DSpace on 2011-06-09T18:34:42Z (GMT). No. of bitstreams: 1 2009_LucianaPereiraSobrinho.pdf: 947738 bytes, checksum: 0ae8697800d2ca5ce1fb380d5bd4fd66 (MD5) / Esta dissertação apresenta o poeta belga Henri Michaux, de modo a evidenciar que corpo é o ponto de partida e o meio pelo qual a escrita michaudiana se realiza. Portanto, selecionou-se os seguintes poemas, Os olhos, Magia, Circulando dentro do meu corpo e Movimentos, retirados de obras de períodos diferentes da vida desse poeta. Primeiramente, demostra-se a biografia do poeta, entretanto, não há interesse em resumir este trabalho em uma análise biográfica. E sim, provocar o leitor, fazendo que perceba Henri Michaux como um poeta que, de certa forma, desenvolveu sua escrita a partir da consciência de um corpo que experimenta. Assim, o autor por meio da sua experiência de vida prática e existencial criou uma escrita plena de imagens do corpo com o intuito de imprimir em si o mundo, revelando um corpo que sofre e descreve seus sofrimentos. Em seguida, realiza-se as análises dos poemas mencionados. Logo depois, conclui-se pelas análises e traduções que o poeta cria uma escrita singular e imagética em que a relação entre o espaço interno e externo é contraditória e complementar, pois a obra michaudiana mantém essa relação entre o poeta e a experimentação corporal de si mesmo para causar em seu leitor reações súbitas por meio da linguagem poética. Ao final, há as traduções dos poemas como uma forma de leitura complementar para melhor compreender as análises que as antecedem. ______________________________________________________________________________ ABSTRACT / This paper aims to present the Belgian poet Henri Michaux, by means of highlight the body as being the starting point and the way the writing of Michaux is performed. For that reason, there have been selected the following poems “ Les yeux”, “ Magie”, “ En circulant dans mon corps” and “Mouvements” These poems were taken from different periods of his life. Firstly, it explored Michaux‟s biography, but it did not mean to put these words shortened in a biographical analysis. However, it aimed to provoke the reader by making him understand Henri Michaux as a poet who developed somehow his writing from the conciousness of a body he experienced. This way, the writer created a style of writing full of body images, which printed on him the world he had around and revealed such a suffering body and all its descriptions at the moment he experienced his practical and existential life. Then, the poems above were analyzed. It was concluded from the analysis and translations of those poems that the writer forms a unique and imaginal writing where the relation between inside and outside spaces is contradictory and complementary. It is accordingly stated because Michaux‟s work keeps the relation between poet and self body experimentation just to make his readers having such sudden reactions through the poetic language. Finally, there are the translations of the poems as a complementary reading to better understand the precedent analysis. ______________________________________________________________________________ RÉSUMÉ / Cette dissertation présente le poète belge Henri Michaux de manière à évider que le corps est le point de départ et le moyen pour lequel l‟écriture michaudienne se réalise. Alors, on a sélectionné les poèmes suivants « Les yeux », « Magie » « En circulant dans mon corps » et « Mouvements », retirés des oeuvres des périodes différentes de la vie de ce poète. Premièrement, on démontre la biographie du poète, cependant, il n'y a pas d'intérêt en résumer ce travail à une analyse biographique, mais de provoquer le lecteur en lui faisant apercevoir Henri Michaux comme un poète qui d'une certaine manière a développé son écriture à partir de la conscience d'un corps qui expérimente. Ainsi, parmi l'expérience de sa vie pratique et existentielle, l'auteur a crée une écriture pleine d'images du corps avec l'intention d'imprimer en soi le monde, en révélant un corps qui souffre et décrit ses souffrances. Ensuite, on analyse les poèmes mentionnés. Puis on conclut par les analyses et les traductions que le poète crée une écriture singulière et imagée donc la relation entre l'espace interne et externe est contradictoire et complémentaire, parce que l'oeuvre michaudienne maintient cette relation entre le poète et l'expérimentation corporelle de soi-même pour causer aux lecteurs des réactions subites travers le langage poétique. À la fin, il y a des traductions des poèmes comme une forme de lecture complémentaire pour mieux comprendre des analyses antérieures.

Henri Michaux first discovered mescaline in 1956. This encounter proved a lasting influence on the work of the writer who, for at least ten years, struggled to circumscribe, then tried to explain the nature of the terrible shock he had received from the mind-altering chemical. The event was so important for the poet that in due time, it brought about a veritable conversion, a total and uncompromising revision of his most fundamental relationships towards the function of language and thought, and towards the basic premises of existence in general. Signs had hinted, previously, at this sudden transfiguration of his vision. His relationships with other drugs (ether, opium) betrayed his hidden desire to go beyond the limits ordained by his tragically caustic and defiant mind. Yet mescaline alone, as a weapon, proved strong enough to overcome Michaux's chronic insubordination, and clear the prolific way that led him toward the realisation and acceptance of that obscure other whose presence he had hitherto only felt, and which had been asleep within him forever.

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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.

The aim of this Master’s thesis is to analyse formal and thematic layers of the artistic films produced by the pharmaceutic company Sandoz and to put them in the relation to the specific history of the company. Sandoz laboratories produced mainly in the 60’s and 70’s several artistic films (e.g. La Femme 100 Têtes which was the adaptation of Max Ernst’s collages or Images du monde visionnaire with the presence of artist Henri Michaux). The thesis explores some of the films and, at the same time, describes the production background and cinematographic context in the relation to the history of Sandoz laboratories.

Le texte poétique devient, au XXe siècle, de plus en plus difficile à définir. Il a perdu plusieurs attributs qui aidaient autrefois à le caractériser (vers, rimes, parallélismes), et ne se laisse pas non plus circonscrire par le biais du lyrisme :bon nombre de poètes, en effet, ont abandonné le programme de la "poésie pure" pour renouer avec un art descriptif, narratif ou argumentatif. Dès lors, faut-il considérer que l'organisation poétique n'est qu'une structure de surface qui se surajoute à un type de texte de base, en entraînant certaines conséquences sur le plan sémantique et grammatical ?N'existe-t-il pas malgré tout des propriétés typiques de l'oeuvre poétique, qui permettent d'instaurer un rapport tout à fait particulier entre le lecteur, le langage et le monde ?<p>Nous avons voulu nous pencher sur ces questions en explorant le phénomène de l'hétérogénéité discursive chez quelques poètes francophones du XXe siècle. Nous constaterons que ceux-ci n'hésitent pas à décrire, à raconter ou à argumenter, mais nous verrons aussi que la poésie tend à transfigurer les schémas de base auxquels elle s'allie, si bien qu'un récit en vers n'est pas du tout semblable à son homologue en prose. C'est par cet angle d'approche que nous espérons contribuer à faire mieux comprendre le mystère poétique, qui déroute terriblement les jeunes lecteurs. / Doctorat en philosophie et lettres, Orientation langue et littérature / info:eu-repo/semantics/nonPublished