Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Cette thèse se propose d'étudier le phénomène littéraire défini comme la «nouvelle vague sarde», et plus particulièrement les formes et les raisons du mélange linguistique sarde/italien, qui caractérisent les œuvres des écrivains sardes publiées entre 1995 et 2010. A travers une analyse diachronique et synchronique de la littérature de la Sardaigne nous voulons montrer qu'on ne peut pas parler d'une vraie nouveauté ni d'une tendance unitaire telle qu'on puisse parler d’une «vague». En effet, cette «renaissance littéraire sarde» correspond à l'exploit simultané de quelques auteurs, qui profitent d'un climat de forte vitalité, au niveau national, des langues régionales, mais, surtout, d'une nouvelle liberté expressive, inaugurée par les romans de Sergio Atzeni au milieu des années 1990. Même s'il existe des différences remarquables parmi les formes et les effets liés au mélange linguistique utilisé dans les romans pris en examen, cette caractéristique du panorama littéraire contemporain sarde met en évidence une attention spéciale, de la part des auteurs, pour la langue parlée sur l'île dans les époques racontées, qu'il s'agisse du sarde ou de l'italien régional sarde. De plus, le choix du mélange de sarde et d’italien souligne la valeur attribuée aux formes expressives typiques de la Sardaigne, dans le cadre d'une représentation des particularités et des problématiques internes, liées aux relations entre le progrès et la tradition. / This thesis aims to study the literary phenomenon called «Sardinia nouvelle vague» and more particularly the forms and reasons of linguistic mixture between Sardinian and Italian, which characterize the works of Sardinian writers published between 1995 and 2010. Through a diachronic and synchronic study of Sardinian literature we want to show that we are not talking about something new. In fact, the "Sardinian literary renaissance" is the exploit of some authors who take advantage of a climate of strong national vitality, of regional languages, but, above all, a new freedom of expression, inaugurated by the works of Sergio Atzeni in the mid 90s. Despite significant differences in the forms and effects of mixture of language used in novels examined, this feature of the contemporary Sardinian literary scene marks a special attention by the authors to the language spoken on the island in different eras portrayed, whether it's Sardinian, regional Sardinian or Italian. Moreover, the choice of the mix of Sardinian and Italian emphasizes the value attributed to the forms of expression typical of Sardinia as part of a representation of the peculiarities and internal issues, related to the relationship between progress and tradition.

Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), though quite popular with the public at their time of release and continuing to leave an aesthetic stamp on contemporary cinema, have been received by some critics and viewers in general as pure contrivance with little edification. This thesis puts forward, however, that such interpretations of these Demy musicals as primarily saccharine, superficial, and light miss the elemental melancholy belied by the charming varnish. Here, the three are unified as a triptych that thematizes and aestheticizes lack and desire in ways that can speak directly to the queer viewer. This thesis first situates the films among criticism from the 1960s to the present, opening a discourse on the potential for diverse political and aesthetic readings of Demy's work that continues to the present queer reading. Through a method of narratological close reading, I unify the three films as a triptych, each a variation on themes of isolation, absence, and amorous lack. Jean-Pierre Berthomé's Jacques Demy et les raciness du rêve (1982) is a rich resource in presenting these three seemingly distinct films as a totality. Once justified for study as a triptych, my thesis presents a queer reading of the films' ostensibly heterosexual narrative structures. With the buttressing of the queer theory of Harold Beaver, Andrew Ross, and Michael Koresky, among others, this chapter demonstrates how the narratives of longing Demy crafts can speak to the queer viewer and transcend a heterosexual framework. Finally, my thesis moves beyond narrative to another continuity, the aesthetic of camp present throughout the triptych. Through an exploration of the interconnectivity of camp, gender performance, and seduction, drawing on scholars Susan Sontag, Judith Butler, and Jean Baudrillard, respectively, the aesthetic of Demy's triptych is situated in a queer sensibility. Catherine Deneuve, Demy's "princesse idéale," is read as the reification of this sensibility in her potent performance of gender at the confluence of masculine and feminine qualities, as well as the ideal tabula rasa onto which the queer viewer's desire and longing can be projected. Ultimately, the triptych's reconciliation of the visually confectionary and the narratively somber is celebrated, as it points to a victory over tragedy through affective agency. / Master of Arts / Jacques Demy's Les Parapluies de Cherbourg (1964), Les Demoiselles de Rochefort (1967), and Peau d'âne (1970), French musicals from a masterful director of the New Wave movement in cinema, have been generally received positively by the public, and especially by gay viewers. Yet, these Demy films have been met with a range of skepticism to derision by some critics and even by a number of Demy's contemporaries. The three films' narratives concern a nascent romance thwarted by the Algerian War and economic demands, potential amorous encounters prevented by missed connections and arbitrary social barriers, and a flight from incestuous demands and its consequences of isolation and ridicule, respectively. Though these narratives are fundamentally melancholic, they are aestheticized through kaleidoscopic colors, virtuosic dancing, and the beautiful music scores of Michel Legrand. This thesis reexamines these films as a triptych that, considered together, thematizes lack and desire in a way that can speak directly to the queer viewer. Areas of overlap between the filmic narratives and the queer experience in the West are excavated and explored to demonstrate how the films can carry intimate signification to sexual minorities, as well as other marginalized identities. Finally, the particular and continuous aesthetic of the three films is studied as a queer sensibility embodied by the star of all three, Catherine Deneuve. The ability of this triptych to transcend a singular heterosexual interpretation and to heighten its effects on the viewer through a tension of form and content is celebrated.

[pt] Esta tese relaciona os debates sobre modernidade, cultura e revolução na perspectiva das representações do corpo violado e sexualizado, e explora as repercussões de tais debates na chamada temporada política do Japão pós II Guerra Mundial. Especificamente, a análise se detém na problematização das esquerdas revolucionárias pelo cinema de Oshima Nagisa (1932-2013), reconhecido como mentor do Nuberu Bagu (a nouvelle vague japonesa), e de Wakamatsu Koji (1936-2012) e Adachi Masao (1939-), da vertente erótica/pornográfica Pinku eiga. Cineastas cuja produção foi orientada pela fusão de política, sexo e violência, e marcada pelo ativismo dos movimentos pró-democracia a partir dos anos 1950 — suplantado no início dos 1970, quando o país se converteu em uma potência econômica mundial. O debate sobre a aporia da modernidade japonesa, fundado na persistência de vestígios agonizantes pré-capitalistas em uma sociedade capitalista, produziu diversas narrativas antagônicas no decorrer do século XX. Dentre elas, a que refutava a subordinação cultural ao Ocidente deu respaldo ao imperialismo ultranacionalista na guerra que dilapidou o país. Em decorrência do processo de democratização e desmilitarização durante a ocupação do Japão pelos EUA (1945-1952), e dos conflitos que vieram com sua consecutiva reversão, as discussões sobre a modernidade se multiplicaram no conturbado pós-guerra. A abolição dos poderes políticos do imperador Hirohito, que foi levado a abdicar publicamente de sua condição divina e a assumir-se como simples mortal, foi a mais impactante das mudanças realizadas no período. Ao declarar a derrota do país e a sua carnalidade, o imperador implodia a força do Kokutai, o corpo-nação, que organizava todo o sistema simbólico nipônico. Nos primeiros anos da ocupação, escritores como Sakaguchi Ango (1906-1955) e Tamura Taijuro (1911-1983), referências da literatura carnal na cultura subterrânea kasutori, exaltavam o corpo carnal (nikutai) como contraposição ao corpo-nação (Kokutai). De fato, a literatura carnal foi uma das diversas expressões do pós-guerra que, em dissonantes abordagens, reverenciaram o nikutai e o shutaisei. Nela, a decadência e a imoralidade eram defendidas como base para uma apreensão mais realista da precariedade humana, para a construção de uma nova ética, subjetiva e autônoma (shutaisei), e como condição para o acesso ao moderno. O filósofo político Maruyama Masao (1914-1996), um dos mais conhecidos modernistas defensores da ética do shutaisei, posicionava a literatura carnal, no entanto, na contramão de um Japão democrático e culto (ou moderno), já que as representações sensuais e violentas expressavam justamente a natureza que deveria ser superada. Isto é, as abordagens da sexualidade, da crueldade e da perversão, embora reivindicassem o moderno (ou a recusa da autoridade do Kokutai), remetiam à sensibilidade nativa pré-moderna. O que sugere que a aporia da modernidade na desintegração do pós-derrota era expressa na ambiguidade da apreensão política do shutaisei. Noção que seria central na formação do sujeito político vinculado aos movimentos pró-democracia e na expressão das vanguardas artísticas dos anos 1950 ao início dos 1970. / [en] This thesis relates the debates about modernity, culture and revolution in the perspective of the depictions of the violated and sexualized body, and explores the repercussions of such debates in what became known as the political season of Japan after World War II. Specifically, the analysis focuses on the problematization of the revolutionary left factions by the films of Oshima Nagisa (1932-2013), recognized as mentor of the Nuberu Bagu (Japanese New Wave), of Wakamatsu Koji (1936-2012) and of Adachi Masao (1939-), from the Pinku eiga (Pink Film) genre, which dealt with the erotic and the pornographic. Filmmakers whose production was driven by the fusion of politics, sex and violence, and marked by the activism of pro-democracy movements beginning in the 1950s — supplanted in the early 1970s, when the country became a world economic power. The debate about the aporia of Japanese modernity, based on the persistence of agonizing pre-capitalist vestiges in a capitalist society, produced several antagonistic narratives throughout the twentieth century. Among them, that which refuted the cultural subordination to the West gave support to the ultranationalist imperialism in the war that squandered the country. As a result of the process of democratization and demilitarization during the US occupation of Japan (1945-1952), and the conflicts that came with its subsequent reversal, discussions of modernity multiplied in the troubled post-war period. The abolition of the political powers of the emperor Hirohito, who was led to publicly abdicate his divine condition and declare himself a mere mortal, was the most shocking of the changes made in the period. In declaring the defeat of the country and his carnality, the emperor imploded the power of the Kokutai, the nation-body, which organized the entire Japanese symbolic system. In the early years of the occupation, writers such as Sakaguchi Ango (1906-1955) and Tamura Taijuro (1911-1983), exponents of carnal literature in the kasutori underground culture, exalted the carnal body (nikutai) as a counterpoint to the nation-body (Kokutai). In fact, carnal literature was one of several postwar expressions, which, in dissonant approaches, revered nikutai, and the concept of shutaisei. In it, decadence and immorality were defended as the basis for a more realistic apprehension of human precariousness, for the construction of a new ethics, subjective and autonomous (shutaisei), and as a condition for access to the modern. The political philosopher Maruyama Masao (1914-1996), one of the best-known modernists who defended the ethics of shutaisei, posited carnal literature, however, against a democratic and cultured (or modern) Japan, since the sensual representations and violent ones expressed precisely the nature that should be overcome. That is, the approaches to sexuality, cruelty and perversion, while claiming the modern (or the refusal of the Kokutai s authority), referred back to the pre-modern native sensibility. This suggests that the aporia of modernity in the disintegration of post-defeat was expressed in the ambiguity of the political apprehension of the shutaisei. This notion would be central to the formation of the political subject linked to the pro-democracy movements and the avant-garde art expressions from the 1950s to the early 1970s.

Notre travail se consacre à l’étude exhaustive de l’œuvre cinématographique et théorique du cinéaste coréen contemporain Jang Sun-woo. Celui-ci fut d’abord un critique et un théoricien du cinéma, son concept de « Cinéma ouvert » (1982) vise à introduire et à penser un « nouveau cinéma ». Jang Sun-woo souligne le besoin d’une critique, d’une invention formelle et aussi d’une théorie pour le cinéma coréen saisie dans la logique de son Histoire. En particulier, le cinéaste coréen s’y positionne pour réaliser un cinéma en vue de l’harmonie entre l’individu et la communauté.Le « Cinéma ouvert » est un concept qui fusionne le cinéma et le théâtre. Il est influencé, d’une part par le Madanggeuk, le théâtre moderne coréen composé de plusieurs unités plus ou moins indépendantes de la narration, et d’autre part, par la théorie du montage d’Eisenstein travaillant sur la dialectique entre la continuité et la discontinuité. Pour Jang Sun-woo, l’œuvre reste ouverte, c’est-à-dire non close sur elle-même, au sens où elle ne s’achève qu’au moment de la réception par le spectateur. Les films intègrent explicitement l’expérience du spectateur, proposent le dialogue avec celui-ci et créent des initiatives en matière d’interpellation. Pour ce faire, ils emploient la répétition, la métamorphose, l’analogie, l’allégorie, l’abstraction et certaines formes d’hybridation. Notre monographie observe l’évolution de l’œuvre de Jang Sun-woo dans son ensemble (critiques, films, publications), en approfondissant les questions essentielles et spécifiques que celle-ci soulève : comment les notions de Minjung (peuple), de masse, de spectateur évoluent-elles ? L’esthétique de l’ouverture peut-elle permettre d’émanciper le spectateur et à quel type de changement aspire-t-elle ? Enfin, quel rituel Jang Sun-woo organise-t-il en vue de réaliser l’Utopie ? / This thesis devotes itself to the analysis of the film and the theoretical work of Korean contemporary director Jang Sun-woo. He was initially a critic and a film theorist, his concept of "Open Cinema" (1982) aims to introduce about "the new cinema" which accentuates the need of the critics, the formal invention and also a theory for the Korean cinema with the consideration about its historical context. In particular, Jang Sun-woo insists on making a movie with the harmony between the individual and the community.The "Open Cinema" is a concept that combines the aesthetic of the film and the theater. Firstly, it is influenced by the Madanggeuk, the modern Korean theater is composed with several acts more or less independent of the narrative. Secondly, it is inspired by Eisenstein’s theory of editing which is based on the dialectic form between the continuity and the discontinuity. For Jang Sun-woo, the film remains open in a sense that it finds its conclusion in the interpretation of the audience. In his idea, the film incorporates the experience of the audience and creates his interpellation. To realize that, Jang Sun-woo proposes several rhetorics of image like repetition, metamorphosis, analogy, allegory, abstraction, and certain forms of hybridization.Our monograph observes the evolution of Jang Sun-woo’s whole work (critics, films, publications) which raises the essential and specific questions: how the concepts of the Minjung (people), the mass and the audience were developed? Can the aesthetics of openness allow the audience to be emancipated and what kind of change it implies? Finally, what sort of ceremonial Jang Sun-woo organizes for performing Utopia?

Notre travail de thèse de sociologie présente le passage du cinéma allemand en France depuis 1990, de sa sphère de production jusqu'à sa sphère de réception individuelle. Il mobilise les études sur la culture de l'École de Francfort ainsi que les apports de la sociologie de la réception, et s'appuie sur une enquête empirique menée auprès d'acteurs de la branche de production allemande et de spectateurs français. La production contemporaine est traversée par des mutations qui convergent pour générer un paysage cinématographique plus diversifié. L'apparition d'une voie médiane entre cinéma commercial et cinéma d'auteur, les « divertissements de qualité », principalement représentés par les films historiques à caractère authentique, favorise une reconnexion du cinéma allemand avec son public local et international. Les instances d'exportation déploient une nouvelle politique de visibilité polarisée autour de cette voie médiane, valorisée en tant que marchandise culturelle. La réputation du cinéma allemand auprès des distributeurs français est revalorisée, mais s'opère selon un mode conformiste qui tend à privilégier les motifs historiques et à exclure les comédies allemandes des écrans français. Cette orientation guide des horizons d'attente spectatoriels en termes de cinéma historique de qualité, crédible et fiable. Cette catégorisation de la germanité filmique mène alors au réinvestissement actif de visions du monde plus ou moins stéréotypées par rapport à l'Autre. Cette réception favorise en outre la matérialisation de phénomènes abstraits, liés à une expérience généralisée de l'altérité, entre germanité et universalité. / This PhD presents the mechanisms of the appearance of German cinema in France since 1990, from its sphere of production to its individual reception. How can contemporary German cinema support new forms of encounter with the Other for French spectators? The analysis draws on the studies of culture undertaken by the Frankfurt School, as well as on contributions from the sociology of cinema and its reception. It also builds on empirical research conducted with major stakeholders : people working in German production on the one hand, and French spectators on the other. Since 1990 the production of German cinema has undergone changes resulting in the creation of a more productive film landscape. The rise in production has led to an increased export of German cinema, notably to France. This is a contradictory development: it has admittedly allowed a diversification in the nature of movies screened, but this diversification has been based on conformist approaches, smoothing out any heterogeneity. The export and advertising of the productions has tended to support historical themes whilst German comedies have been excluded from French screens in a self-fulfilling prophecy. The reception of contemporary German cinema has then led to an active reinvestment in more or less stereotypical worldviews of the Other. The encounter with German cinema has also fluctuated between being an experience of Germany and an experience of the world. The exoticism of German cinema has been too subtle to have any direct impact on the representation of the Other. Its influence has occurred implicitly on intertwined levels: on iconographic images, societal representations, as well as meta-representations. / Die Dissertation aus dem Fachbereich Soziologie stellt die Passagen des deutschen Kinos in Frankreich seit 1990 dar - von der Produktionssphäre bis hin zur individuellen Rezeption. Hierbei bedient sie sich sowohl an den Kulturstudien der Frankfurter Schule als auch an den Beiträgen der Rezeptionssoziologie. Des weiteren basiert sie auf einer empirischen Studie, die die Sichtweise von Akteuren der deutschen Produktionsbranche und französischer Konsumenten analysiert. Die zeitgenössische Produktion zeichnet sich durch diverse Mutationen aus, deren Kreuzung zu einer vielfältigeren Kinolandschaft führt. Die Entstehung einer Schnittmenge aus kommerziellem Kino und Autorenfilmen, die zu einer qualitativ hochwertigen Unterhaltung führt, basiert überwiegend auf Historienfilme mit authentischem Charakter und führt zu einem Rückschluss auf das deutsche Kino auf lokaler und internationaler Ebene. Der Export der Filme, die durchaus als Kulturgut wahrgenommen werden, trägt zu einer polarisierten Sichtweise bei. Das deutsche Kino wird aus der Sicht französischer Händler neu bewertet, bedient sich jedoch dabei einer sehr konformistischen Art und Weise, die dazu neigt, sich an historischen Filmen zu bedienen und deutsche Komödien auszugrenzen. Dies führt dazu, dass der französische Zuschauer, von seinem Nachbarn, qualitativ hochwertige Historienfilme erwartet. Diese Kategorisierung von Deutschtum in Filmen führt zu einer Art Stereotypisierung im Hinblick auf den Anderen. Diese Rezeption fördert wiederum die Materalisierung abstrakter Phänomene, die an einer generalisierten Erfahrung des Andersseins bezüglich Deutschtum und Universalität anknüpft.

Ce mémoire se penche sur l’absurde dans les oeuvres de deux mangakas de l’après Deuxième Guerre mondiale, soit Tsuge Yoshiharu（つげ義春） et Sasaki Maki（佐々木マキ）. Cette étude comparative approche l’absurde comme expérience et tente de penser l’écho que le concept a pu ou non avoir chez les auteurs en question. Pour ce faire, une exploration de divers courants underground des années 50 et 60 au Japon (culture kasutori, nouvelle vague japonaise et avant-garde) est menée afin de retracer comment ceux-ci auraient éventuellement influencés les oeuvres des auteurs analysées, elles-mêmes s’inscrivant dans la culture manga underground de l’époque. Cette section sert également de point d’appui afin de réfléchir sur la place que l’absurde aurait pu prendre au sein de la société japonaise, voyant ses fondements basculer à l’aube de la défaite et contrainte à coopérer sous tutelle américaine. C’est dans cette optique que nous proposons une lecture de l’oeuvre culte de Tsuge Yoshiharu, Nejishiki (ねじ式) comme exprimant une nostalgie propre à une « sensibilité absurde », telle que théorisée par Camus, via le motif de la réparation du corps. Parallèlement à ceci, nous nous attarderons à l’oeuvre de Sasaki Maki au coeur de laquelle le nansensu, compris comme interjection ainsi que référence au courant de l’ero-guro-nansensu, s’érige. À la suite de quoi, nous conclurons sur une comparaison entre les deux expressions de l’absurde chez les mangakas étudiés de manière à dégager, également, ce qui différencie le nansensu de l’absurde. / This text focuses on the artwork of two mangakas of the post Second World War, Tsuge Yoshiharu（つげ義春） and Sasaki Maki（佐々木マキ）. This comparative study investigates the absurd through its experimental component and tries to think the resonance that the concept might have had (or not ) among the authors cited. To this effect, we will explore diverse movements of the 50’s and 60’s in Japan (kasutori culture, Japanese new wave and avant-garde) in order to retrace how they might have eventually influenced the works of the mangakas analysed, themselves being part of an underground culture in the manga community of the time. This section also serves as a starting point for reflecting on the place that the absurd had in the Japanese society of that era, the country being recently defeated and obliged to cooperate under the American occupation which will bring profound changes to the society. It’s in the same vein that we propose a reading of Tsuge Yoshiharu’s masterpiece, Nejishiki (ねじ式), as expressing a nostalgia specific to what Camus calls an « absurd sensibility » through the motive of a body in search of repair. Alternatively, we will analyse Sasaki Maki’s work in the heart of which nansensu, thought as an interjection and in reference to the movement of the ero-guro-nansensu, is present. Finally, we will conclude on a comparison between the two expressions of the absurd in Tsuge and Sasaki’s respective work in order, as well, to elucidate what distinguishes nansensu from the absurd.