Zugl.: Trier, Univ., Diss., 2006

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

Les Gommes, Le Voyeur, La Jalousie, les trois premiers romans de Robbe-Grillet, constituent la premiére phase de l'oeuvre de l'écrivain. Dans cette étude il s'agira de voir ce qui sépare la vision du monde et l'écriture de Robbe-Grillet de la tradition littéraire qui l'a précédé, ce qui, de cette tradition, subsiste encore chez lui, et ce en quoi consistent l'originalité et la spécificité de l'univers romanesque robbe-grilletien. D'une part, Robbe-Grillet rompt avec les formes et normes romanesques établies, d'autre part, il crée son propre univers romanesque. Cette rupture est manifeste dans Les Gommes comme l'est l'apparition d'un nouvel espace littéraire dans Le Voyeur, et surtout dans La Jalousie. Pour bien comprendre l'art et la position théorique de Robbe-Grillet, pour bien comprendre son oeuvre, il est absolument indispensable de connaltre la rupture d'avec l' " ancien " et le début d'un processus littéraire propre a Robbe-Griliet. L'une et l'autre se dessinent clairement dans Les Gommes, Le Voyeur, et La Jalousie. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

No description available.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Commentary on the visual arts in the past decades has noted a shift towards a 'return to narrative', particularly in relation to painting, photography and video, but also media where narrative concerns have perhaps been marginalised, namely contemporary installation and sculpture. Artists as diverse as Simon Starling, Mike Nelson, Tracey Emin, Robert Gober and Mariko Mori have been the subject of a general announcement of narrative as being at the forefront of international contemporary art practice. Closer to home, artist curator Richard Grayson's 2002 Sydney Biennale (The World May Be) Fantastic, has also examined this renewed interest in the possibilities of narrative for contemporary visual art. / In terms of sculpture, 'narrative' artworks can simply refer to the depiction of an action taking place, as in a tableau. Metaphorical, political, or other theoretical contextualising of a work can be another type of 'story', interpreting the otherwise pure materiality of an object. 'New narrative' might be seen as a development of postmodernist approaches of the 1980's, as exemplified say in the paintings of David Salle, wherein differing narrative styles, referents, and subject voices coexist simultaneously. It is perhaps not coincidental that the demise in the rigid orthodoxy of prescribed meta-narratives in politics would coincide with the rise of narrativity and fiction in contemporary visual art practice. What might be different today is the extent to which specifically personal, 'occult', or political discourses often appear instead of, or along side, early postmodern 'surface' readings of artworks. Indeed this new interest in narrative has been described as a 'gleefully regressive step', by one author. / This research project attempts to chart some possibilities for narrative within contemporary sculpture and installation through a complementary and reflective studio practice combined with writing, with particular reference to notions of non-dualistic, complex and personal perspectives on the reading of artworks. In particular, my research has been informed by my perspective on some critical debates relating to James Joyce's Ulysses, and the novels of Alain Robbe-Grillet. The creative outcomes of this research, together with this exegesis (which combined form the 'thesis'), suggest that an understanding of divergent relativist, structuralist, and 'surface' understandings of narrative literacy approaches since the start of the twentieth century might add to our reading of some important recent developments in the visual arts. / Thesis (MVisualArts)--University of South Australia, 2004.

Zugl.: Regensburg, Univ., Diss., 2007

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in French." Includes bibliographical references (p. 409-432).

Diss.--Leipzig, 2002. / Bibliogr. p. 204-221. Notes bibliogr.

Les Romanesques (1984-1994) de Robbe-Grillet forment une autobiographie qui se caractérise par le fait qu'elle conteste la possibilité même de son entreprise. Selon son auteur, l'opacité de l'inconscient, la trop grande volatilité des souvenirs et la part d'invention que comprend nécessairement toute écriture personnelle anéantissent à toute fin pratique la possibilité de l'autobiographe de restituer fidèlement (c'est-à-dire objectivement) son vécu. Conscient de l'influence de l'imaginaire et de l'inconscient sur la perception et la mémoire, Robbe-Grillet rejette le contrat de sincérité et d'authenticité que commande le « pacte autobiographique » pour signer un « pacte fantasmatique » avec le lecteur. Ce que nous proposons essentiellement de faire dans ce travail, c'est d'analyser comment l'auteur des Romanesques s'attaque aux structures canoniques de la langue et de l'autobiographie classique pour donner forme et figure à ses fantasmes. Dans le premier chapitre, nous cherchons à cerner le projet autobiographique robbe-grilletien; nous nous intéressons en premier lieu à la façon dont Robbe-Grillet définit lui-même son entreprise. Il apparaît clairement que la nouvelle autobiographie s'appuie sur les théories freudiennes et postfreudiennes du sujet (celles de Benveniste et de Lacan notamment) en plus d'être très marquée par l'entreprise autobiographique de Roland Barthes. Dans le deuxième chapitre, nous tentons de mettre en évidence la façon dont Robbe-Grillet exploite ses fantasmes, s'en sert comme générateurs de récit. S'il attache une grande importance à l'exploration de son univers fantasmatique, Robbe-Grillet n'hésite pas par ailleurs à utiliser toutes sortes de subterfuges, de stratégies narratives et discursives afin de brouiller le sens de son texte. S'apparentant à un véritable travail d'autocensure, ces processus d'écriture permettent à l'écrivain de se dégager de sa responsabilité énonciative et, par le fait même, du caractère angoissant de ses fantasmes. Afin de dégager et de décrire la nature et la logique du fantasme et du rêve, le caractère onirique de l'écriture robbe-grilletienne, le recours aux textes de Freud portant sur ces questions s'avère incontournable. Enfin, la dernière partie du mémoire s'intéresse au caractère pervers de la fantasmatique robbe-grilletienne. C'est dans l'obsession de Robbe-Grillet pour la représentation du sexe féminin et sa conception sadique de la création que s'expriment le plus fortement les désirs pervers de l'auteur. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Robbe-Grillet, Romanesques, Autobiographie, Psychanalyse, Perversion