En intégrant la peinture dans son écriture, Proust propose un équivalent visible de l’écriture. La peinture fait sortir du livre l’image visible et la met à la portée du lecteur. Grâce à la peinture, l’écriture sort du cadre des mots pour avoir une existence visuelle. Au lieu de dire ce qu’il « voit », Proust fait voir ce qu’il dit. L’art pictural constitue ici le point de départ à un mouvement de libération de l’imagination. L’écriture trouve dans la peinture l’énergie pour de nouvelles conquêtes sur l’inédit, de même que la peinture accède à une mobilité vivante à travers l’écrit. C’est précisément dans l’animation réciproque des deux arts que se joue la relation entre littérature et peinture chez Proust : lorsque le texte-tableau cesse d’être vu, l’écrit le remet en mouvement pour restituer sa complexité. Les réflexions évoquées dans l’expérience de cette recherche auront le but de montrer comment la littérature et la peinture (se) fondent (dans) la création verbale et comment elles aboutissent à la naissance d’une image mentale qui prend la forme d’une peinture. Dans cette étude, nous cherchons à approfondir diverses formes de mise en scène de l’image littéraire, ainsi qu’à montrer le processus dialectique de différents effets, l’effet figuratif et l’effet qui « fait tableau ». / By integrating painting in his writing, Proust offers a visible equivalent of writing. The paintings bring out of the book some visible images and put them within the eyes of the reader. Through painting, writing goes beyond the ‘scope’ of words and absorbs a visual existence. Instead of saying what he “sees”, Proust prefers showing what he says.The pictorial art is here the starting point to the imagination liberation movement. Writing learns from the paintings the energy to conquer a new form, and painting can access to a vivid mobility through writing. It is precisely in these reciprocal animations between arts that Proust intends to stablish the relationship literature-painting: when the text-picture ceases to be seen, writing re-introduces it into the movement and restores its complexity.The considerations discussed during this research aim to investigate how the relationship between literature and painting is based on a verbal creation and how these arts deliver a mental image that takes the form of a painting. In this study, we seek to concentrate on various aspects of ‘staging’ of the literary image, and to investigate dialectical process of different, figurative and painting-producing effects.

La présente étude vise à réexaminer l’oeuvre de Marguerite Yourcenar (1903-1987) sous le signe du néoclassicisme du XXe siècle. À travers une approche d’histoire littéraire et culturelle, sont analysés les écarts ou rapprochements qu’elle a opérés par rapport aux courants littéraires et artistiques de son temps, notamment ceux de l’Entre-deux-guerres. La première partie cherche à mettre au jour l’enjeu et la modalité de son rapport à l’Antiquité, en examinant, outre ses textespubliés, les documents inédits conservés aux archives à l’Université Harvard et à Petite Plaisance : le cahier dans lequel son père a copié des poèmes choisis ; le recueil Les Dieux ne sont pas morts (1922) et le tapuscrit de poèmes, « Album de vers anciens » (1917-1965) ; l’exemplaire de De Profundis sur lequel elle a laissé des traces de sa lecture. La deuxième partie retrace, en observant les textes publiés par l’auteur dans plusieurs revues ainsi que la correspondance, surtout dans les années trente et dans des écrits postérieurs sur cette période, l’itinéraire d’une jeune romancière qui n’est pas ignorante des courants majeurs — ceux qui se développent autour de la NRF, du courant dit du « retour à l’ordre » et de la découverte d’une nouvelle image de la Grèce — mais maintient un écart subtil entre eux et sa propre production. La troisième partie propose, à travers la caractérisation de son esthétique néoclassique, de définir Marguerite Yourcenar comme une figure de l’antimoderne et du dandy. / This study proposes to reexamine the works of Marguerite Yourcenar (1903-1987), focussing on the relation to the 20th century’s neoclassicism. By means of literary- and cultural-history approaches, it analyzes the gaps or connections between her and the literary or artistic currents in the Interwar period. The first part clarifies how the author moulded her view of ancient Greece and Rome, which affected her works. It examines published and unpublished documents conserved in Harvard University and in Petite Plaisance: the notebook in which her father copied the poems chosen by him; the collection of poems by Yourcenar, The Gods didn’t die (1922), and its related typed texts “Album of ancient poems” (1917-1965); the book De Profundis of Oscar Wilde which includes her reading notes. The second part traces the trajectory of the young novelist, which shows that she was not indifferent to the major currents; the NRF, the return to the order and the discovery of the new image of Greece. We examine especially her writings published in several magazines and her letters written in the thirties as well as her works concerning this period. The third part proposes to regard Yourcenar as an anti-modernist and a dandy, by clarifying her neoclassical aesthetics.

The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts & Musicology / M.A. (Fine Arts)

The use in pictorial art of visual reference to prototypes and conventions in encoding reality forms the crux of the theoretical research. The theoretical component complements the practical research, which focuses on the interplay between perceptions of 'reality' and visual conventions in landscape art. The existence of diverse realities, based on individual ideological and sociocultural perspectives, is acknowledged. In encoding these realities, artists may draw on a reservoir of stylistic, formal and conceptual prototypes. Visual reference constitutes an allegorical procedure because the artist refers to an antecedent text in the representation of a particular 'reality'. Pictorial signs also rely on conventions to convey meaning. Both the perception and the artistic recreation of different realities may thus be regarded as recycling processes. In a world saturated with visual information, reference to prototypes is a powerful procedure which assists contemporary pictorial artists in the creation of meaningful images of current realities. / Art History, Visual Arts and Musicology / M.A. (Fine Arts)

Die Untersuchung widmet sich der visuellen Thematisierung autoreferentieller Fragestellungen zur Genese sowie den Grundlagen und Zielen von Malerei in der italienischen Druckgraphik des ausgehenden 16. und 17. Jahrhunderts. Erstmals wird diese bildliche Auseinandersetzung mit abstrakten kunsttheoretischen Inhalten zum zentralen Untersuchungsgegenstand erklärt und anhand von vier hinsichtlich ihrer ikonographischen Dichte herausragenden druckgraphischen Beispielen - Federico Zuccaris Lamento della pittura, Pietro Testas Liceo della pittura, Salvator Rosas Genio di Salvator Rosa und Carlo Marattas Scuola del Disegno – vergleichend analysiert. Neben der Rekonstruktion der Entstehungszusammenhänge befasst sich die Analyse mit dem Verhältnis von Text und Bild, offenen Fragen der Ikonographie, der zeitgenössischen Verlagssituation sowie dem Adressatenkreis und somit schließlich der Motivation für jene komplexen bildlichen Reflexionen über Malerei. Als zentrale Gemeinsamkeit der kunsttheoretischen Blätter, welche im Kontext der römischen Akademiebewegung entstanden sind, konnte das Bestreben, die Malerei im Sinne einer Metawissenschaft über das neuzeitliche Wissenschaftspanorama hinauszuheben, erschlossen werden. Anhand einer umfassenden Neubewertung der einzigartigen Ikonographien wird erstmals aufgezeigt, dass dem Vergleich zwischen Malerei und Philosophie als der Mutter aller Wissenschaften in der visuellen Kunsttheorie des 17. Jahrhunderts eine vollkommen neuartige Bedeutung zukommt. Dieser hat neue Spielräume für die bildliche Definition des künstlerischen Selbstverständnisses eröffnet, die der traditionelle, aus dem Horazschen Diktum „Ut pictura poesis“ hervorgegangene Vergleich zwischen Malerei und Dichtung nicht in ausreichender Form bereit hielt. Folglich thematisiert die vorliegende Untersuchung auch die Frage nach dem spezifischen reflexiven Potenzial des Bildes, seiner medialen Autonomie und seiner möglichen Vorrangstellung gegenüber dem Medium der Sprache. / The study deals with the pictorial examination of self-implicating topics relating to the genesis, the fundamentals and the aims of painting by Italian printmaking of the late 16th and 17th century. For the first time, a research is focussed on the pictorial examination of abstract contents of art theory as shown in the selected and compared examples which are extraordinary regarding their iconographical concentration – the Lamento della pittura by Federico Zuccari, the Liceo della pittura by Pierto Testa, the Genio di Salvator Rosa by Salvator Rosa and the Scuola del Disegno by Carlo Maratta. Besides the reconstruction of the history of origins the research is dealing with the relationship of image and text, problems of iconography, the coeval publishing situation as well as the target audience of these prints and finally the motivation for those very complex visual reflections on painting. As essential similarity of those arttheoretical prints, which all araised within the context of the Roman Art Accademy, has been determined the ambition to specify painting as a kind of Meta-science, which is somehow superior to all other modern age sciences. By means of an extensive reevaluation of the unique iconography of every single sheet it became feasible to illustrate that the comparison between painting and philosophy as the origin of the entire spectrum of sciences has attained a completely new dimension within the pictorial art theory of the 17th century. The novel comparison has opened a wider range and diversity for the visual definition of the artists` self-conception compared to the traditional comparison between painting and poetry, as it emerged from the dictum „Ut pictura poesis“ by Horaz. Accordingly the study deals with the question of the particular reflexive capability of images, their medial autonomy and their potential primacy over language.