Reconnu par les avant-gardes au tournant du XXe siècle pour sa rafraîchissante primitivité, encensé jusqu’aux années 1950, l’art naïf est aujourd’hui tout à fait négligé. Grâce aux expositions rares mais régulières qui lui sont consacrées, seul Henri Rousseau dit le Douanier semble encore susciter quelque intérêt. Mais les peintres révélés à sa suite, autodidactes et d’extraction populaire comme lui et répondant aux noms d’André Bauchant, Camille Bombois, Séraphine Louis, René Rimbert ou Louis Vivin, ne jouissent plus du même succès. Pourtant, leur reconnaissance durant l’entre-deux-guerres prit des dimensions insoupçonnées. «Peintres du Cœur Sacré», «Primitifs Modernes», «Maîtres Populaires de la Réalité» ou encore, outre-Atlantique, artistes folk et self-taught, ceux qui furent définitivement labellisés art naïf à partir de 1950, comptaient parmi les peintres les plus appréciés. Outre le fait de combler un chapitre encore peu investi de l’histoire de l’art et de celle du primitivisme, nous cherchons à comprendre les raisons d’un tel décalage. Notre thèse retrace et analyse ainsi la reconnaissance de l’art naïf, de son émergence avec Henri Rousseau en 1886 à son institutionnalisation par le Musée national d’art moderne français en 1948. A travers l’étude des définitions qui lui furent successivement appliquées, nous constatons que ce type de «primitifs», loin de demeurer associés aux artistes les plus avant-gardistes, fut aussi célébré par une famille artistique conservatrice et réactionnaire qui, tout en les encensant, eut certainement raison de leur postérité. / Revealed by the avant-garde at the turn of the 20th century for its refreshing primitivity, naïve art famous until the 1950’s is today completely neglected. Only Henri Rousseau known as the Douanier still draws attention thanks to the rare exhibitions that are still regularly organized on his work. But the ones who were recognized after his death, the self-taught and low-class people like him such as André Bauchant, CamilleBombois, Séraphine Louis, René Rimbert or Louis Vivin, don't ring a bell any more. However, their recognition during the in-between-wars both in France and in the United States was surprisingly successful. Known as the “Peintres du Coeur Sacré”, the “Modern Primitives”, the “Masters of Popular Paintings” or across the Atlantic as folk or self-taught artists, these painters who were definitively labeled as naïve art painters in France after 1950, were among the most appreciated ones. While completing a chapter of history of art and of the history of primitivism, we focused on trying to understand the reasons of such a shift. This PhD traces and focuses on the recognition of naïve art, from its birth with Henri Rousseau in 1886 to its institutionalization by the Musée national d’art moderne in 1948. By looking closely at the various definitions given to naïve art at different times, we can see that this type of “primitives” remains far from being associated to the most avant-gardist artists and that they were also celebrated by people from a more conservative and reactionary artistic tendency. This might have rushed their disappearance.

<p>Numera Nette Wermeld Enström.</p>

O presente trabalho tem como objetivo analisar a representação da cidade no romance Esaú e Jacó, de Machado de Assis. O Rio de Janeiro foi palco de inúmeras transformações nos mais variados campos (no econômico, no político e no social) ao longo do século XIX. A fim de entender esse processo, bem como de perceber seus reflexos nos episódios narrados, percorremos as inúmeras alusões acerca do universo urbano tanto no plano físico (nas ruas, na cidade, nas gentes e na moda) quanto no plano extrafísico (na economia, na religião e nos hábitos das personagens). Realizamos também uma leitura de ordem metafórica do texto que nos permitiu vislumbrar alguns símbolos de modernidade e primitivismo velados pela maestria do bruxo do Cosme Velho, os quais são percebidos nos transportes, nas tabuletas e nos gêmeos. A partir da decodificação dos signos citadinos, conseguimos compreender aquela sociedade e as vicissitudes enfrentadas em tempos de modernização. / The main purpose of this work is to analyze the representation of the city inside the novel Esaú e Jacó, by Machado de Assis. Rio de Janeiro city suffered lots of transformations in the most different fields political, economic and social during the 19th century. In order to become conscious about this process, as well as be aware of its reflections inside the novel, we searched the several mentions about the urban universe concerning the physical aspects (streets, the city as a whole, the people, and the fashion), and the extra-physical ones (economy, religion and characters’ habits). Besides that, we introduced a metaphorical reading that made us realize some symbols of the modernity and primitivism in the capital hidden in the text by the geniality of the author, and they can be seen, in some way, in the means of transportation, on the signboards, and in the twins. Through the decodification of the urban signs, we could understand that society and the vicissitudes faced in times of modernization.

O presente trabalho tem como objetivo analisar a representação da cidade no romance Esaú e Jacó, de Machado de Assis. O Rio de Janeiro foi palco de inúmeras transformações nos mais variados campos (no econômico, no político e no social) ao longo do século XIX. A fim de entender esse processo, bem como de perceber seus reflexos nos episódios narrados, percorremos as inúmeras alusões acerca do universo urbano tanto no plano físico (nas ruas, na cidade, nas gentes e na moda) quanto no plano extrafísico (na economia, na religião e nos hábitos das personagens). Realizamos também uma leitura de ordem metafórica do texto que nos permitiu vislumbrar alguns símbolos de modernidade e primitivismo velados pela maestria do bruxo do Cosme Velho, os quais são percebidos nos transportes, nas tabuletas e nos gêmeos. A partir da decodificação dos signos citadinos, conseguimos compreender aquela sociedade e as vicissitudes enfrentadas em tempos de modernização. / The main purpose of this work is to analyze the representation of the city inside the novel Esaú e Jacó, by Machado de Assis. Rio de Janeiro city suffered lots of transformations in the most different fields political, economic and social during the 19th century. In order to become conscious about this process, as well as be aware of its reflections inside the novel, we searched the several mentions about the urban universe concerning the physical aspects (streets, the city as a whole, the people, and the fashion), and the extra-physical ones (economy, religion and characters’ habits). Besides that, we introduced a metaphorical reading that made us realize some symbols of the modernity and primitivism in the capital hidden in the text by the geniality of the author, and they can be seen, in some way, in the means of transportation, on the signboards, and in the twins. Through the decodification of the urban signs, we could understand that society and the vicissitudes faced in times of modernization.

En 1892, la toile Manao tupapau de Paul Gauguin présente, à l’arrière d’une vahiné dénudée, un petit personnage encapuchonné. L’artiste explique qu’il s’agit d’un tupapau, d’un revenant dans les traditions polynésiennes. Le motif en réalité est déjà apparu en France en 1888, sans référence à l’Océanie, et ne cessera de hanter l’œuvre jusqu’au décès de Gauguin en 1903. Cette figure thanatique, intrusive dans une œuvre qualifiée d’exotique et d’érotique, méritait réflexion, d’autant que la critique l’a souvent banalisée ou effacée. Ce personnage montre-t-il que l’artiste cède au fantastique fin-de-siècle ? S’agit-il d’alimenter l’exotisme, comme les Orientalistes, en faisant cohabiter cette entité ténébreuse avec la «belle des îles» ? Y a-t-il, de la part d’un homme exécrant l’Europe mercantiliste et racialiste, un intérêt sincère pour le surnaturel polynésien persécuté par les missions chrétiennes ? Notre travail a montré que l’excursion dans les îles du Pacifique pouvait virer à la descente aux Enfers. Face à la normalisation coloniale et chrétienne des mœurs et croyances polynésiennes, la peur de la damnation, la mortalité effrayante dû au mal vénérien, le démon à capuche est la mort qui gagne sur les plaisirs, la diabolisation de la liberté sexuelle. Mais il exprime aussi une ingression dans les ténèbres de la psyché, une tension entre volonté de jouissance dans la nouvelle Cythère et peur d’une sexualité féminine diabolisée et indomptée, entre désir de régression vers la mère et envie de fuir une figure tutélaire anxiogène. Le petit génie macabre contribue enfin à orienter l’œuvre vers une esthétique originale, mettant à mal les stéréotypes artistiques et idéologiques. / In 1892, Paul Gauguin’s painting Manao tupapau shows, behind a naked Tahitian woman, a little hooded character. The artist explains that this is a tupapau, that is to say a ghost in the Polynesian traditions. In reality the pattern already appeared in France in 1888, without any reference to Oceania, and it will haunt the work of Gauguin until he died in 1903. This figure, invasive in a so-called exotic and erotic work, deserves special attention, especially as most critics often trivialised or deleted it. Does this character prove that the artist is yielding to fin-de-siècle fantasy ? Is it a way to feed exotism, like the Orientalists painters, by the coexistence between this shadowy ghost and the « belle des îles » ? Knowing that Gauguin hated the mercantilist and racialist Europe, does he have a real interest in the Polynesian occult world and beliefs as they were fought by Christian missions ? Our dissertation showed that Gauguin’s excursion in the Pacific islands went a downward spiral. When the Polynesian customs and religion are standardized by colonialism and Christianism, when guilt of damnation and mortality caused by the syphilis are spreading, the hooded genius represents death prevailing over pleasure, the demonization of sexual freedom. This figure expresses also a descent into the dark room that is Gauguin’s psyche, his being torn between will of enjoyment in the new Cythère and fear of a demonized and untamed female sexuality, between his desire to come back to the mother image and his avoidance of a stressful domination figure. At last the little genius helps to give the work an original esthetics, challenging artistic and ideological stereotypes.

O trabalho investiga a presença do expressionismo alemão em Mário de Andrade, a partir da análise de alguns momentos de sua atividade intelectual e artística sobretudo, sua crítica de arte, passagens de seus manifestos literários e os livros Losango cáqui e Amar, verbo intransitivo. A escolha desses momentos se deu após uma leitura abrangente da obra, em que foram identificadas três categorias igualmente essenciais ao expressionismo: o primitivismo, a deformação e a preocupação social, que, portanto, nos serviram de guia para o discurso crítico. / The dissertation investigates the presence of German Expressionism in Mário de Andrade, as from the analysis of some periods of his intelectual and artistic activities - especially, his art criticism, his literary manifestos\' passages and the books Losango Cáqui and Amar, verbo intransitivo. The choice of this specific moments occurred after an embracing reading of his work, which identified three essential categories to the Expressionism: the primitivism, distortion and social concern, that led us to the critical speech.

The topic of this diploma thesis is body modification culture phenomenon called 'suspension'. It is a voluntary act of suspending a human body from hooks or piercings that have been temporarily pierced through the skin. Suspension is an age-old technique practiced for example by North American Indian Mandan tribe. It has been brought to the modern era and body modification culture by modern primitives. The part of the thesis is a placement of suspension to the broader sociocultural and historical context, there will be also space for development of concept of body, embodiment and pain in the western word and ritual aspect of suspension. The source for this work is mainly accessible literature, internet pages dedicated to body modifications and participant observation completed with interviews with people who had been suspended.

La question centrale de cette étude est celle de savoir si les expériences perceptives peuvent être conçues comme des manières d’être réellement en contact avec le monde et si elles peuvent nous fournir des raisons d’entretenir certaines propositions à propos du monde, voire nous permettre d’acquérir des connaissances à son sujet. Cette compréhension intuitive de la perception est aujourd’hui comme hier largement combattue. Ce rejet passe généralement par l’adoption d’une forme ou d’une autre d’internalisme (de la perception et/ou de la justification et de la connaissance perceptive). Percevoir serait un phénomène purement ou essentiellement interne aux sujets dotés de capacités perceptives dont on pourrait douter qu’il puisse nous permettre de croire de manière justifiée ou de connaître quoi que ce soit. Peut-on éviter cette conclusion ? Peut-on apaiser les angoisses philosophiques qu’elle fait apparaître (sans pourtant affirmer y mettre fin ou encore qu’elles n’ont aucun sens) ? Tel est le but de cette étude. L’enquête philosophique proposée ici prend essentiellement trois formes: métaphysique, ontologique et épistémologique. Une investigation de la nature métaphysique de l’expérience perceptive est ensuite mise en œuvre. L’enjeu est alors de soutenir une forme assez robuste d’externalisme de la perception (Disjonctivisme métaphysique). De la nature de la perception, nous en venons dans une seconde partie à une réflexion ontologique sur la nature des propriétés avec lesquelles l’expérience perceptive nous met semble-t-il en contact. Le réalisme de la couleur est défendu contre diverses attaques antiréalistes. Les couleurs sont des propriétés réelles des choses auxquelles on les attribue correctement. Une ontologie réaliste, non réductive et non relationnelle des propriétés chromatiques est esquissée (Primitivisme de la couleur). Enfin, les enjeux épistémologiques de la perception sont mis en lumière et discutés. Nous défendons l’idée que l’expérience perceptive, en tant qu’elle nous met véritablement en contact avec le monde (objets, propriétés, faits, etc.), est un moyen par lequel certains êtres peuvent entretenir des croyances justifiées quoique cette justification soit non réflexive et prima facie. Différentes réponses aux attaques sceptiques contre la possibilité de connaître perceptivement certaines propositions sont enfin envisagées et rejetées. Une autre stratégie anti-sceptique est proposée (une défense néo-mooréenne de la possibilité de la connaissance perceptive, et une remise en cause du défi sceptique lui-même). Finalement, à la question philosophique classique « L’esprit peut-il réellement être en contact perceptif et cognitif avec le monde ? », rien ne nous force à répondre par la négative, que cette question soit abordée du point de vue de la métaphysique de la perception, d’un point de vue ontologique ou épistémologique. Du moins, c’est ce que notre étude cherche à montrer en soulignant à la fois qu’une réponse positive à cette question est parfaitement viable, voire correcte, et que la réponse négative a, quant à elle, toutes les chances d’être passablement erronée / The main topic of this study is to discuss the idea according to which perceptual experiences sould be conceive as ways of being in contact with the world and perceptual experiences can give reasons for believing some propositions about the world and can give rise to knowledge. Lots of philosophers countervail this intuitive and naive conception of perception. This rejection is linked to the fact that they adopt an internalist conception of perception and/or justication and/or perceptual knowledge. Perceiving sould be conceive as an purely internal event of subjects which possess perceptual capacities. And so, one may doubt that they can have justifications for their beliefs or that they can know anything. Is it possible to avoid this conclusion ? How to alleviate philosophical fear that this conclusion gives rise ? That is the aim of this study. The proposed philosophical inquiry comes in three forms. In the first place, indirect conception of perception is examined and criticized. Afterwards, an inquiry about the nature of perceptual experience is pursued. The stake for us is to defend a strong form of externalism about perception (metaphysical disjunctivism). Then, in the second part of this work, we get into an ontological reflexion about the nature of properties that perceptual experience seems to acquaintance us with. Color Realism is defended against various antirealist objections. Colors are or can be real properties of things. A realist, non redutive and non relationnal ontology for chromatic properties is sketched (color Primitivism). Lastly, the epistemological stakes of perception are underlined and examined. We defend the idea that perceptual experience is a mean by which certain beings can have justified beliefs although this justification is not reflexive and prima facie. It can be so if it's true that perceptual experience puts us in contact with the world (objects, properties, facts, etc.). We examine and reject different replies to skeptical attacks against the possibility of knowing anything. Then, another strategy is proposed (a morean defense of perceptual knowledge and the questioning of skeptical challenge itself). In fact, from an metaphysical, ontological or epistemological point of view, we don't have to give a negative reponse to the classical and philosophical question "Can mind be really in perceptual and cognitive contact with the world ?" or so we think. Indeed, our study underlines that a positive reply to this question is sustainable, not to say correct, and that the negative reponse is probably wrong

[pt] De Gaugin a Picasso, o primitivismo foi um conceito-chave para o desenvolvimento das vanguardas européias. Termo polêmico, historicamente associado ao processo colonialista e ao eurocentrismo, foi curioso reencontrá-lo como título do projeto de um dos artistas mais radicais e inventivos do século XXI: o tailandês Apichatpong Weerasethakul. Desenvolvido em 2009, o Primitive Project é um reencontro de Weerasethakul com o nordeste da Tailândia, a região de Isaan, e consistiu de uma exposição, compreendida de sete video-instalações e dois curtas-metragens, um livro de artista da plataforma Cujo, além do longametragem Tio Boonmee que pode recordar de suas vidas passadas, premiado com a Palma de Ouro em Cannes, em 2010. Partindo de uma discussão teórica, crítica e histórica do conceito do primitivo no século XX, a dissertação elabora uma leitura das propostas e imagens que constituem o Primitive Project, indicando a maneira como Weerasethakul apropria-se do termo primitivo, transformando-o em um espaço de experiência de outras possibilidades de encontro com o audiovisual. / [en] From Gaugin to Picasso, the primitive is an important concept in the development of the European avant-garde. A difficult term to deal with, historically tied to the process of colonialism and eurocentrism, it came as a surprise to find it as the title of a project from one of the most inventive and radical artists of the 21st Century: the thailandese Apichatpong Weerasethakul. Created in 2009, the Primitive Project is a reencounter of Weerasethakul with the northeast of Thailand, the region of Isaan, and consists of a art installation, made up of seven video-installations and two short-films, an artists book of the CUJO platform, and of the feature film Uncle Boonmee who can recall his past lives, awarded the Palme D or in Cannes, in 2010. Starting with a theoretical, critical and historical discussion on the concept of the primitive in the 20th century, the dissertation elaborates a reading of the images and concepts that constitutes the Primitive Project, indication how Weerasethakul appropriates the concept of the primitive, transforming it in a space for experiencing new possibilities of engagement with the audiovisual form.

Depuis que l'animal humain a conçu un système de technologies pour la pensée abstraite grâce au langage, la guerre contre le monde sauvage est devenu une voie à sens unique vers l'aliénation, la civilisation et la littérature. Le but de ce travail est d'analyser comment les récits civilisationnels donnent une structure à l'expérience par le biais de la ségrégation, de la domestication, de la sélection, et de l'extermination, tandis que les récits sauvages démontrent les possibilités infinies du chaos pour découvrir le monde en toute sa diversité et en lien avec sa communauté de vie. Un des objectifs de cette thèse a été de combler le fossé entre la science et la littérature, et d'examiner l'interdépendance de la fiction et la réalité. Un autre objectif a été de mettre ces récits au cœur d'un dialogue les uns avec les autres, ainsi que de tracer leur expression dans les différentes disciplines et œuvres pour enfants et adultes mais également d’analyser leur manifestations c’est redondant dans la vie réelle. C'est un effort multi-disciplinaires qui se reflète dans la combinaison de méthodes de recherche en anthropologie et en études littéraires. Cette analyse compare et contraste trois livres de fiction pour enfants qui présentent trois différents paradigmes socio-économiques, à savoir, «Winnie-l'Ourson» de Milne qui met en place un monde civilisé monarcho-capitaliste, la trilogie de Nosov sur «les aventures de Neznaika et ses amis» qui présente les défis et les exploits d'une société anarcho-socialiste dans son évolution du primitivisme vers la technologie, et les livres de Moomines de Jansson, qui représentent le chaos, l'anarchie, et l'état sauvage qui contient tout, y compris des épisodes de civilisation. En axant la méthodologie de ma recherche sur la façon dont nous connaissons le monde, j'ai d'abord examiné la construction, la transmission et l'acquisition des connaissances, en particulier à travers la théorie de praxis de Bourdieu et la critique de la civilisation développée dans les études de Zerzan, Ong, et Goody sur les liens entre l'alphabétisation, la dette et l'oppression. Quant à la littérature pour enfants, j'ai choisi trois livres que j’ai connus pendant mon enfance, c'est-à-dire des livres qui sont devenus comme une «langue maternelle» pour moi. En ce sens, ce travail est aussi de «l’anthropologie du champ natif». En outre, j’analyse les prémisses sous-jacentes qui se trouvent non seulement dans les trois livres, mais dans le déroulement des récits de l'état sauvage et de la civilisation dans la vie réelle, des analyses qui paraissent dans cette thèse sous la forme d'extraits d’un journal ethnographique. De même que j’examine la nature de la littérature ainsi que des structures civilisées qui domestiquent le monde au moyen de menaces de mort, je trace aussi la présence de ces récits dans l'expression scientifique (le récit malthusien-darwinien), religieuse, et dans autres expressions culturelles, et réfléchis sur les défis présentés par la théorie anarchiste (Kropotkine) ainsi que par les livres pour enfants écrits du point de vue sauvage, tels que ceux des Moomines. / Ever since the human animal devised a system of technologies for abstract thought through language, the war on wilderness has become a one way path towards alienation, civilisation and literature. In this work, I examine how the civilised narrative orders experience by means of segregation, domestication, breeding, and extermination; whereas, I argue that the stories and narratives of wilderness project chaos and infinite possibilities for experiencing the world through a diverse community of life. One of my goals in conducting this study on children's literature as knowledge, culture and social foundation has been to bridge the gap between science and literature and to examine the interconnectedness of fiction and reality as a two-way road. Another aim has been to engage these narratives in a dialogue with each other as I trace their expression in the various disciplines and books written for both children and adults as well as analyse the manifestation of fictional narratives in real life. This is both an inter- and multi-disciplinary endeavour that is reflected in the combination of research methods drawn from anthropology and literary studies as well as in the content that traces the narratives of order and chaos, or civilisation and wilderness, in children's literature and our world. I have chosen to compare and contrast three fictional children's books that offer three different real-world socio-economic paradigms, namely, A.A. Milne's Winnie-the-Pooh projecting a civilised monarcho-capitalist world, Nikolai Nosov's trilogy on The Adventures of Dunno and Friends as presenting the challenges and feats of an anarcho-socialist society in evolution from primitivism towards technology, and Tove Jansson's Moominbooks depicting chaos, anarchy, and wilderness that contain everything, including encounters with civilisation, but most of all an infinite love for the world. Stemming from the basic question in research methodology on how we know the world, I first examine the construction, transmission, and acquisition of knowledge, particularly through the lens of Bourdieu's theory of praxis, as well as the critique of language and literacy through Zerzan's, Ong's, and Goody's studies on the links between literacy, debt and oppression. Regarding children's literature depicting the three socio-economic paradigms, I chose three books with which I have been familiar since childhood, i.e. in whose narratives I have “native fluency” and, in this sense, this work is also about “anthropology at home”. Moreover, I compared and contrasted the underlying premises not only in the three books, but also with the unfolding narratives of wilderness and civilisation in real life, that I inserted in the form of ethnographic/journal entries throughout the dissertation. As I examine the very nature of literature, culture, and language and the civilised structures that domesticate the world through the threat of death and the expropriation of food, I also trace the presence of these narratives in the scientific (the Malthusian-Darwinian narrative), religious, and other cultural expressions and the challenges provided by anarchist science and theory (Kropotkin) as well as wild children's books such as Jansson's Moomintrolls.