<p>The purpose of this dissertation is to chart the development of an ambivalent female identity in the Gothic genre, as exemplified by Ann Radcliffe&rsquo / s late eighteenth century fictions. The thesis examines the social and literary context of the emergence of the Gothic in English literature and argues that it is intimately tied up with changes in social, political and gender relations in the period.</p>

Que signifie voir ? et en quoi l'étude d'une œuvre artistique favoriserait-elle l'examen philosophique d'une telle question ? Centré sur le problème de la vision dans l'œuvre d'Alberto Giacometti, ce travail entend mettre au jour une certaine exemplarité de l'artiste dans l'élaboration philosophique de la question de la vision, en posant les conditions d'un dialogue entre art et phénoménologie. Car la vision chez Giacometti problématise l'apparition des choses d'une manière qui bouleverse l'évidence de la constitution d'objet et ébranle la subjectivité. Voir, c'est voir apparaître, mais cette apparition n'est pas simple montée au visible d'une forme accédant à quelque stabilité objective : l'artiste nous force à penser ce que nous proposons d'appeler une " désapparition " de l'objet. L'art se donne en effet comme une forme d'inquiétude du regard, qui balance l'objet entre apparition et disparition, le retire étrangement au toucher et émeut remarquablement le sujet en lui suggérant une dimension sublime de la visibilité qui le renvoie finalement à sa propre mortalité. Sur tous ces points, la phénoménologie peut éclairer l'œuvre de l'artiste, quoique la "résistance" de cette même œuvre à l'égard des thèses philosophiques s'avère tout aussi éclairante : loin de nous amener à la simple conclusion d'une extériorité de l'art et de la philosophie, cette résistance peut en effet se comprendre comme une invitation à retravailler, d'une façon critique, la phénoménologie elle-même.

The present dissertation deals with the artistry of the Swedish artist Vera Frisén (1910-1990). The emphasis is being put on her landscape paintings from Västerbotten, in the northern parts of Sweden, but also includes self-portraits from her early years as a painter. Vera Frisén was born in Umeå, but lived more than half her life in Stockholm. During springtime and summer, she did however return to Västerbotten and the vil¬lages of Stöcksjö and Kolksele, where she painted the majority of her landscape paintings. The study has been given a chronological frame, where the first part sketches out the contexts and environments that came to have an influence on Vera Frisén and her artistic development. Consequently, the thesis starts with a brief biographical presen¬tation, but then moves forward to issues more central to the subject. Important as¬pects are for example her years as a student in the art academy of Otte Sköld in Stockholm during the late 1920’s, and her first separate exhibition at the gallery Färg &amp; Form in 1941. Other issues that are being illuminated in the study are the artistic and cultural conditions in Vera Friséns hometown Umeå. The discussion mainly cen¬ters on issues that took place during the 1930’s and the 1940’s – the time when Vera Frisén established herself as an artist. The second part of the dissertation includes analyses of Vera Friséns paintings. In the search of concepts that further can explain the more profound existential values in her work, the study also links the themes in her paintings to other painters in the his¬tory of landscape painting. Concepts central for discussion are for example the aes¬tethical and philosophical issue of the sublime, as it is formulated in the discourse of Immanuel Kant during the late 18th century. Thoughts expressed by other artists, writers and philosophers, linked to Vera Friséns own thoughts on the subject, are also valuable instruments in gaining a deeper understanding of her work.

La postérité du roman gothique anglais des origines (1764-1824) dans lequel on trouve le germe de genres aussi populaires aujourd'hui que la littérature fantastique, le récit d'horreur ou le roman policier prouve qu'une réelle fascination émane de ces textes. Afin d'en dégager la profondeur et d'expliquer cette fascination qui perdure malgré les réserves d'une partie de la critique, le présent mémoire se propose de débusquer au sein de cinq des premières oeuvres majeures et représentatives de ce genre la présence d'une expérience universelle, celle du sacré. C'est donc dans une perspective religiologique que les textes sont étudiés, ce qui s'avère d'autant plus pertinent que cet angle d'analyse n'a encore été qu'effleuré par les spécialistes du genre. Ce n'est pas un hasard si des concepts comme le surnaturel, le mystérieux et le terrifiant, servant à définir le roman gothique, constituent également des termes-clés à la base de toute analyse religiologique. Leur examen permet en effet de souligner la présence, dans ces romans, d'une interrogation sur l'identité, sur les origines et sur le tout autre. Endroits sombres ou grandioses, paysages vertigineux et verticalité des constructions; les décors et l'atmosphère, créés suivant les théories d'Edmund Burke, sont sublimes et inspirent la transcendance. De même, qu'il soit question des lieux souterrains et labyrinthiques qui évoquent la Terre-Mère ou des personnages puissants et tyranniques qui s'avèrent numineux, diverses composantes caractéristiques du gothique se révèlent donc symboliques. Ensemble, ces éléments contribuent à la révélation de structures religiologiques archaïques allant de périples initiatiques effectués par les héroïnes à la succession permanente du cosmos et du chaos, la venue de ce dernier se trouvant favorisée par les transgressions et les excès des tyrans. Au terme de l'étude, nous sommes à même de constater que plus encore qu'à une renaissance individuelle, c'est à une régénérescence collective que la quête identitaire de l'héroïne aboutit et que l'analyse religiologique permet d'affirmer l'importance de la collectivité et des rôles sociaux par opposition à l'individualisme et à l'égoïsme qu'incarne le tyran. Cette approche marque ainsi sa différence envers les études plus individualistes, psychologiques ou historiques souvent menées sur le roman gothique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : XVIIIe et XIXe siècles, Roman gothique, Sacré, Analyse religiologique, Sublime, Symboles.

Emily Dickinson, with a soul passing beyond the confines of mainstream gender ideology, religiosity, natural theology, transcendentalism, and literary conventions, creates the sublime in her poetry, which demonstrates her realization and manipulation of inspiring thoughts and liberating movements experienced where diverse conscience stirrings, ideologies, ideas, axioms and discourses intersect. Dickinsonian sublime offers an example for Jean-Fran&#x00E7;ois Lyotard¡¦s discourses on the modern and postmodern sublime, which coincidentally mirror Dickinson¡¦s time, her personal response and reaction. Liberating herself from the confines of gender ideology as well as female literary conventions, Dickinson invents her own self and identity, suggesting differences among women, who can be discontinuous and multiple instead of being a category with ¡§ontological integrity¡¨ (Judith Butler, Gender Trouble 23). She embodies a writer who creates according to her nature and experience as a sensitive person constantly investigating inwardly and outwardly, blurring traditionally-assigned gender distinctions, alternating between various roles, and reversing gendered traits instead of just being a subordinate advocate of mainstream domesticity, gender identity, or religiosity. Not traveling on the path constructed by the traditional theological system but abolishing its authority over her thoughts, attitudes, deeds, or interpretations and manipulation of language, Dickinson interrogates received doctrines and develops her own understanding of religion, idiosyncratic employment of the Bible, and definition of language. Inspired but not dominated by new sciences, natural theology, or transcendentalism, Dickinson cultivates and reinforces her ability to analyze, judge, and examine things ¡§without respite, without rest, in one direction¡¨ but in all directions (Ralph Waldo Emerson, ¡§Intellect¡¨ 179), transcending the confines of both natural theology and optimistic transcendentalism while displaying her ¡§active soul,¡¨ "power of forming great conceptions¡¨ and ¡§vehement and inspired passion¡¨ (Longinus, ¡§On the Sublime¡¨ 80) and intending to be what is advocated in Emerson¡¦s ¡§The American Scholar¡¨¡X ¡§Man Thinking¡¨ (64). Not conforming to literary traditions, Dickinson enters a realm of artistic experiment, representing a great poet reflecting the individualism and potentiality of American poetry in her age as well as in the modern and postmodern periods. Not making her readers passive receivers of messages or meanings, her idiosyncratic methods in rhyme, language, images, and syntax promote ¡§the sense of palpitant vigor¡¨ (Amy Lowell 7) and sublimity, repeatedly challenging, deconstructing, or activating her readers¡¦ thinking and various faculties. As a self-reliant nonconformist experimenter with a Socratic philosophic spirit, her poetry of ¡§possibility¡¨ provokes ¡§polymorphous,¡¨ multiple, ¡§psychological¡¨ inspirations and creates a subjective, dynamical, and liberatory sublime.

This dissertation aims to investigate the shaping of a national literature within travel narratives written by William Bartram, Washington Irving, George Catlin, Thomas L. McKenney, Thomas Jefferson Farnham, and Francis Parkman. I focus attention on two issues: (1) National and racial identity, and (2) Territorial, cultural, and capitalist expansionism. National and racial identity construction is examined by clarifying how the narratives’ underlying voices—the National Symbolic and the Racial Symbolic—encourage the reading public to embrace the values vital in forging American collective identity. Identity invention is also seen in romantic representations of the American landscape and Native Americans. Between 1790 and 1850, the widespread trope of the Noble Savage and “distantiation” working in the Burkean aesthetics of the sublime were used as ideological frames for viewing “Others,” crucial in defining the American “self” by making the white Americans’ shift of association/dissociation with their primitivized Others possible. In order to analyze the narratives’ representation of expansionism as a national desire, this study investigates how romantic rhetoric and the appeal to morality (or the Law) were employed as decisive ideological foundations for rationalizing expansionism. Chapter I establishes the legitimacy of evaluating travel narratives as a significant part of America’s national literature. Chapter II reveals that democracy, masculine robustness, and the myth that Americans are a chosen people of progress are featured aspects in the portrayals of American pathfinders. Chapter III shows that the racial identity of “civilized whites” is forged in accordance with a miscegenation taboo informing negative portrayals of half-breeds and racial boundary crossing. Chapter IV illustrates that American freedom, simplicity, wholesome civilization, and youthfulness are presented as national characteristics through adapting the romantic tropes of the Noble Savage and the aesthetics of the sublime. Chapter V investigates the perverse mode of desiring in the iterative triangular relationship between romanticism, morality, and expansionism—the nation’s civilizing project par excellence. Chapter VI appraises the travel narratives’ roles in defining American selfhood and reflecting (and promoting) an imperialistic desire for expansion.

Texte remanié de: Thèse de doctorat--Anglais--Montpellier 3, 2004. Titre de soutenance : L'esthétique du sublime dans les peintures d'Henry Füssli, 1741-1825, d'après les pièces de William Shakespeare. / En appendice, choix de documents. Bibliogr. p. 351-370. Index.

Thèse de doctorat : Lettres modernes : Paris 12 : 2004. / Version électronique uniquement consultable au sein de l'Université Paris 12 (Intranet). Titre provenant de l'écran-titre. Bibliogr. : 295 réf.

Reproduction de : Thèse de doctorat : Littératures françaises et comparées : Paris 4 : 2006. / Titre provenant de l'écran-titre.

While the sublime aesthetic has a long and complex critical history, it is nonetheless a schizophrenic concept. Indeed, in the over two thousand years since the sublime became a subject of learned inquiry, it has not been resolved into any one concrete idea, but has become, rather, an expansive tapestry of disparate if interconnected theoretical threads from which aestheticians may pick and choose to define what they mean by the term "sublime." Kant postulates one sort of sublime, Burke another, and Lyotard, Zizek, and the Romantics still others. In this way, the contemporary sublime aesthetic is, in essence, an ever-extending discourse of recombinatory effort. The goal of this dissertation is to stitch together the competing conceptual threads that constitute the contemporary definition of the sublime aesthetic and to uncover the foundational core from which all those ideas spring. Through analysis and deconstruction of several major theories on the sublime as well as through critical evaluation of a host of literary and cinematic texts (for example Kubrick's 2001: A Space Odyssey and Don Delillo's White Noise), this dissertation contends that the deepest substratum of the sublime aesthetic lies in dynamism and possibility. Indeed, both art objects and philosophical rationale show that the sublime aesthetic is, at base, the recognition of the entire sphere of the possible and its necessarily constitutive threatening dynamism in a physically or ideologically destructive object or act of vast size, power, or mystery. This dissertation argues that a theory of the sublime as possibility that entails uncontrollable dynamism helps to further clarify - if not fully explicate - the aesthetic and resolves the tension and incompatibility between preexisting ideas on the subject. Therefore, as a new theory of the sublime aesthetic, this dissertation is, at very least, a novel formulation of an ancient and undervalued concept in art and critical theory and, at best, a work that unearths the deepest, heretofore unrecognized, layers of an aesthetic experience central to human perception.