Texte remanié de : Dissertation : ? : Tübingen, Universität : 1998. / Bibliogr. p. [505]-541. Index.

Cette thèse porte sur les transgressions discursives, esthétiques et sociales de la frontière entre la vie privée et la vie publique effectuées par les créatrices françaises contemporaines Sophie Calle et Annie Ernaux. Dans une perspective féministe qui s’appuie sur les théories du quotidien, la thèse pose les questions suivantes : quelles libertés peut se permettre la femme-artiste ou l’écrivaine aujourd’hui ? Où, comment, et par qui se dessinent les limites éthiques de la création ? À la lumière des représentations souvent stéréotypées de la femme criminelle, le premier chapitre dégage de la réception des œuvres de Calle et d’Ernaux les « crimes » – entre autres, d’obscénité, d’impudeur et d’indécence – dont elles ont été accusées par la critique. Les trois chapitres suivants ciblent les diverses manières subversives et innovatrices dont Calle et Ernaux déjouent les perceptions acceptées de la féminité pour s’assurer la liberté totale en création : elles se construisent en flâneuses maniant la photographie ou l’écriture photographique comme une arme, en amoureuses blessées qui se vengent de leurs amants, et en théoriciennes manipulant les modalités de leur propre inscription dans les canons littéraires et artistiques. Cette thèse analyse au fil des chapitres les échos des œuvres de Calle et d’Ernaux au plan social, insistant sur le rapport fécond qui existe entre l’œuvre d’art et son cadre, interrogeant l’ethos de l’artiste et celui de l’art. Sophie Calle et Annie Ernaux répondent avec force à la nécessité de se positionner autrement face à l’art en tant que femme, notamment, en proposant l’art et l’écriture comme hors la loi. La conclusion étudie dans cette optique le phénomène récent de la « judiciarisation » de l’art. En examinant certains procès intentés depuis 2010 à des artistes, des écrivaines, des commissaires d’exposition et des maisons d’édition françaises, cette thèse questionne finalement les risques et les violences de la représentation tels qu’ils sont désignés par la loi. / This dissertation analyzes how contemporary French artist Sophie Calle and contemporary French writer Annie Ernaux transgress the discursive, aesthetic, and social boundaries between public and private life. Taking a feminist perspective and drawing on theories of everyday life, this dissertation asks: what liberties are the female artist and writer permitted today? Where, how and by whom are the ethical limits of creative practice established? In light of often stereotypical literary and artistic representations of the female criminal, the first chapter examines the accusations of obscenity, shamelessness and indecency levelled against Calle and Ernaux by their critics. The following three chapters identify the diverse, innovative and subversive ways in which Calle and Ernaux question accepted perceptions of femininity in order to seize creative freedom: they assume the distinct and tactical positions of flâneuses, heart-broken women avenging their ex-lovers, and theorists manipulating the reception of their own works. Together, these four chapters trace the artwork’s resonance in the public sphere, insist on the fruitful relationship that exists between a work of art and its frame, and consider the ethos of the artist as well as that of art. Sophie Calle’s and Annie Ernaux’s practices suggest that in order to achieve creative autonomy, art and writing must function outside of the constraints of moral, ethical, social and even civil laws. By examining instances in which artists, writers, curators and publishing houses have been subject to lawsuits in France since 2010, the conclusion of this dissertation studies a recent increase in the litigation of art and outlines some of the limits of representation as defined by the law.

Thesis (Ph. D.)--Punjab University, 1992. / Includes bibliographical references (p. 174-181).

This work deals with the relation of emotions to contemporary experimental animation. It engages in the emotional experience of a viewer to non-narrative film storytelling and its means of expression. At the same time, it examines what the creative processes and attitudes of filmmakers towards emotions in experimental animation are. Analysis of the questionnaires also reveals whether the creator counts on the viewer's specific interpretation of the film.

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It is my belief that theatre is the telling of stories, and that playwrighting is the creation of those stories. Regardless of the underlying motives (to make the audience think, to make them feel, to offend them or to draw them in,) the core of the theatre world is the storyline. Some critics write of the importance of audience effect and audience reception; after all, a performance can only be so named if at least one person is there to witness it. So much of audience effect is based the storyline itself - that structure of which is created by the power characters have over others. Theatre generalists learn of Aristotle's well-made play structure. Playwrights quickly learn to distinguish between protagonists and antagonists. Actors are routinely taught physicalizations of creating "status" onstage. A plotline is driven by the power that people, circumstances, and even fate exercise over protagonists. Most audience members naturally sympathize with the underdog or victim in a given storyline, and so the submissive or oppressed character becomes (largely) the most integral. By what process, then, is this sense of oppression created in a play? How can oppression/victimization be analyzed with regard to character development? With emerging criticism suggesting that the concept of character is dying, what portrayals of victim have we seen in the late 20th century? What framework can we use to fully understand this complex concept? What are we to see in the future, and how will the concept evolve? In my attempt to answer these questions, I first analyze the definition of "victim" and what categories of victimization exist - the victim of a crime, for example, or the victim of psychological oppression. "Victim" is a word with an extraordinarily complex definition, and so for the purposes of this study, I focus entirely on social victimization - that is, oppression or harm inflicted on a character by their peers or society. I focus on three major elements of this sort of victimization: harm inflicted on a character by another (not by their own actions), harm inflicted despite struggle or protest, and a power or authority endowed on the victimizer by the victim. After defining these elements, I analyze the literary methods by which playwrights can represent or create victimization - blurred lines of authority, expressive text, and the creation of emotion through visual and auditory means. Once the concept of victim is defined and a framework established for viewing it in the theatre, I analyze the victimization of one of American theatre's most famous sufferers - Eugene O'Neill's Yank in The Hairy Ape. To best contextualize this character, I explore the theories of theatre in this time period - reflections of social struggles, the concept of hierarchy, and clearly drawn class lines. I also position The Hairy Ape in its immediate historical and theoretical time period, to understand if O'Neill created a reflection on or of his contemporaries. Finally, I look at the concept of victim through the nonrealistic and nonlinear plays of the 20th century - how it has changed, evolved, or even (as Eleanor Fuchs may suggest) died. I found that my previously established framework for "making victim" has change dramatically to apply to contemporary nonlinear theatre pieces. Through this study, I have found that the lines of victimization and authority are as blurred today in nonrealistic and nonlinear theatre as they were in the seemingly "black and white" dramas of the 1920s and 30s. In my research, I have found the very beginnings of an extraordinarily complex definition of "victim".

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Cette étude s’organise autour d’une articulation : celle entre un médium (la photographie), une ville (Beyrouth), et les événements qui ont marqué son passé récent. Le thème des rapports entre la photographie et l’histoire, avec la pluralité de sens qui le décrit, vient, en arrière-fond de ces questions, délimiter l’horizon de cette étude ; le lien entre voir et savoir, antiquement aux sources de la connaissance historique (Hartog, Loraux), en représente la ligne de fuite. En premier plan, la relation photographique et historienne à l’événement constitue l’objet de cette recherche dont le propos est d’identifier dans la photographie une référence à l’histoire considérée en tant qu’écriture. Concrètement, cet argument se déplie sur deux mouvements. Il exige, dans un premier temps, une série d’analyses théoriques visant à étudier le potentiel de connaissance et le caractère formel de la photographie en qualité de représentation événementielle. En partant des expérimentations des avant-gardes (Lugon, Baqué), jusqu’au jumelage entre la photographie et la presse, il s’agira de montrer la part de lisibilité qui appartient aux narrations photographiques (Barthes, Lavoie). Ensuite, on prendra en considération le travail opéré par l’historien lors de l’opération historiographique visant à produire, autour de l’événement, une représentation historique (de Certeau, Ricœur, Ginzburg). Outre faire ressortir le caractère de visibilité qui appartient à l’écriture historienne, ce passage sera aussi l’occasion de produire une étude comparée de la photographie et de l’histoire (Kracauer) autour de notions ponctuelles, comme celles d’empreinte, d’indice et de témoignage. Le moteur de ce premier mouvement est la notion d’événement. Abordée d’un point de vue phénoménologique (Zarader, Marion, Dastur, Diano), elle nous permettra d’observer la photographie et l’histoire d’après la génétique de leur construction. Finalement, Beyrouth et son histoire façonnées par les images constituent le cadre à l’intérieur duquel s’organise le deuxième mouvement. Les analyses des œuvres de Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991) et Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) sont conçues comme autant d’espaces dialogiques entre la photographie, l’épistémologie de l’histoire et les événements historiques qu’elles représentent. Le propos est de faire ressortir le basculement qu’elles mettent en scène : de la chronique vers l’écriture d’histoire. / This study focuses on the connection between a medium (photography), a city (Beyrouth), and the events that have marked its recent past. The theme of the relationship between photography and history, with the plurality of meanings that describes it, defines the scope of this study. The link between seeing and knowing, which in Antiquity was the root of historical knowledge (Hartog, Loraux), represents its vanishing point. The photographic and historical relationship with the event constitutes the purpose of this research, the aim of which is to identify in photography a reference to history considered as writing. The argument of this dissertation unfolds in two stages. The first stage requires a series of theoretical analyses, which aim at studying the knowledge potential and the formal nature of photography as a factual representation. Starting with the experimentation of the avant-gardes (Lugon, Braqué), and exploring the twinning of photography and the press, our goal will be to demonstrate the part of readability that belongs to the photographic narratives (Barthes, Lavoie). We will then take into consideration the work accomplished by the historian during the historiographic process, aiming at producing an historical representation of the event (de Certeau, Ricoeur, Ginzburg). In addition to emphasizing the characteristic of visibility, which belongs to historical writing, this will also provide the occasion to produce a comparative study of photography and history through particular notions such as imprint, sign, and evidence. The driving force behind this first part is the notion of event. Broached from the point of view of phenomenology (Zarader, Marion, Dastur, Diano), it will enable us to analyze photography and history according to the genetics of their construction. Beyrouth and its history, shaped by images, are the context in which the second stage is organized. The analysis of the works of Sophie Ristelhueber (Beyrouth photographies, 1984), Robert Frank (Come again, 1991), and Lamia Joreige (Beyrouth, autopsie d’une ville, 2010) are conceived as dialogical spaces between photography, the epistemology of history and the historical events that they represent. The aim is to emphasize the shift they present in moving from chronicle to the writing of history.

My study is a theoretical intervention of the South African contemporary visual art of Mary Sibande. It focuses on the figure of Sophie representing the maid in three series; namely, Sophie-Elsie, Sophie-Merica, and Sophie-Velucia. The study applies Frantz Fanon’s thought to the understanding of the figure of Sophie while emphasising the themes of naming, the human subject, and presence-absence. The theoretical framework of this thesis is a decolonial epistemic theory, which is used as a lens to understand Fanon’s political thoughts. I argue that the themes of naming, human subject, and presenceabsence are inherent in Fanon’s thought. These thematic areas give a better understanding of the existential questions of the figure of Sophie in the antiblack Manichean world. It is important to unpack the figure of Sophie as a Manichean figure who represents the crossing of two different worlds – the white world and the black world, Africa and Europe. The study highlights the importance and relevance of reviving Fanon’s thought concerning decolonial contemporary African art and establishing other tools of interpretation necessary to understand decolonial aestheSis. The thrust of this thesis is to deploy decolonial epistemic theory as a theoretical framework to the Fanonian understanding of the figure of the three Sophies that embody the modern/colonial predicament of the figure of the maid and blackness. / Art History, Visual Arts and Musicology / Ph. D (Art)