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Depuis les années 1940, l’art dans le monde arabe traverse des questionnements quant à son authenticité et son identité. Cette thèse souligne dans sa première partie l’importance et l’influence du patrimoine et de l’héritage culturel de la peinture arabe contemporaine. La deuxième partie détaille les éléments culturels provenant de l’héritage patrimonial, dont la complémentarité entre la calligraphie et l’arabesque. Dans la calligraphie contemporaine, des artistes explorent et ont développé de nouvelles formes dans la calligraphie arabe, un art riche qui met au jour la composition plastique de la lettre et sa valeur abstraite. La quête identitaire sera traitée sous la forme d'un mariage entre l’art du passé et l’art de la modernité, via l’étude de la lettre arabe. Elle s'illustre au moyen d'ornements traditionnels de l’art populaire (naïf ou non) comme l’une des sources d’inspiration dans la société arabe actuelle. De ces travaux émergent un questionnement sur l’esthétique et la plasticité de la calligraphie. La troisième partie porte sur la définition et l’apparition de l’orientation artistique nommée Al-Hurufiya et les deux manifestations ponctuelles et majeures qui ont accompagné son apparition, respectivement théorique et artistique : le rassemblement de « la dimension unique » et le Groupe de Casablanca. La quatrième partie expose les différentes caractéristiques de la peinture hurufie, en répertoriant les méthodes employées par les artistes arabes spécialisés dans ses pratiques. Enfin, dans la cinquième partie, nous exposons et expliquons la démarche plastique qui nous inspire à partir de l’usage de la lettre arabe, des signes, des symboles et des autres motifs d’arabesque. L’enjeu est de présenter la relation singulière que nous entretenons avec cet art et de nous inscrire dans le continuum hurufi, pour ensuite nous permettre de bifurquer sur d’autres modes plastiques. / Since the 1940s, the art in the Arab world is going through questions about its authenticity and identity. This thesis emphasizes in its first part the importance and influence of the heritage and cultural legacy of contemporary Arab painting. The second part details the cultural elements from the historic heritage, whose complementarily between calligraphy and arabesque. In contemporary calligraphy artists to explore and have developed new forms in Arabic calligraphy, a wealthy art reveals the plastic composition of the letter and its abstract value. The quest for identity is treated as a marriage between the art of the past and the art of modernity, through the study of the Arabic letter. It is illustrated by means of traditional folk art ornaments (naive or not) as a source of inspiration in the current Arab society. From this work emerged a questioning of aesthetics and plasticity of calligraphy. The third part deals with the definition and development of artistic orientation named Al- Hurufiya and two point and major events that have accompanied its appearance, respectively theoretical and artistic: the gathering of the “single dimension” and the Group Casablanca. The fourth part describes the various features of the hurufie painting, identifying the methods used by Arab artists specialized practices. Finally, in the fifth section, we present and explain the artistic approach that inspires us from the use of the Arabic letter, signs, symbols and other Arabesque motifs. The challenge is to present the unique relationship we have with us this art and enroll in the hurufi continuum, then allow us to fork over other plastics modes.

abstract: ABSTRACT The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893. A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.” Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans. Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans. / Dissertation/Thesis / Doctoral Dissertation Music 2016

Il s’agit de reprendre la question autobiographique à l’époque où le genre se constitue en Europe, au premier XIXe siècle, en déplaçant le regard vers les marges du genre. Les œuvres de Jean Paul, d’Ugo Foscolo, de Stendhal et de Gérard de Nerval sont d’abord étudiées sous l’angle de la poétique des genres dont elles déstabilisent les catégories. La thèse déplace la question générique en soulevant les enjeux éthiques et politiques du récit de soi qui sont liés à l’expérience du sujet et du temps. À côté de ce qui deviendra le canon en matière d’autobiographie se dessine une autre ligne autobiographique qui, en souvenir de Laurence Sterne, se place sous le signe de l’imagination et de l’arabesque. Les œuvres du corpus mettent en évidence la ligne de poésie de la vie et du sujet. Ces poétiques autobiographiques excentriques manifestent une dissemblance de soi, du temps et de l’histoire. Elles mettent en crise l’identité pensée comme « mêmeté » et l’idée d’un temps homogène. Le soi n’est pas un ; l’autobiographe n’est seul ni dans sa peau, ni dans sa langue, ni dans sa plume ; il se déplace entre les lieux et entre les langues, ne trouvant pas d’assise. La figure de l’auteur est plurielle et collective, en rupture avec le mythe du génie. Aux transfigurations de soi s’ajoutent les transfigurations de la mémoire qui ressaisit le passé au présent et pour l’avenir. Expérience mélancolique de revenance, le récit de soi multiplie les fantômes qui sont le signe d’un deuil personnel et des disjonctions de l’histoire. Témoignant des révolutions du siècle, l’autobiographe ouvre aussi l’histoire individuelle et collective : le récit de soi est prospectif. C’est une mémoire au futur. / The thesis takes up the question of autobiography by focusing on works at the margins of the genre during the early 19th century, the period in which autobiographical writing in Europe came into its own. The works of Jean Paul, Ugo Foscolo, Stendhal and Gérard de Nerval destabilize established generic and canonic categories. They do so by pointing to the ethical and political issues at stake in the narration of the self, which are in turn linked to the experience of the subject and of time. The thesis thereby identifies and explores another autobiographical “line” emerging alongside canonical forms of the genre, a “line” which recalls Laurence Sterne through the use of arabesques and the reliance upon imagination in life narratives. These works emphasize the “line of poetry” which constitutes life and the subject. The poetics of these eccentric autobiographical works explores dissemblance in writing the self, time, and history. They question reductive understandings of identity as ‘sameness’ and conceptions of time as homogenous. The self is not ‘one’; the autobiographer is alone neither in his body, nor in his language, nor in the act of writing. Rather, he is in constant movement between places and languages, unable to establish a stable grounding for his narrative. The author’s persona is multiple and collective, inverting the myth of the romantic genius. Such transfigurations of the self are tied to transfigurations of memory, which allow for the past to be reenacted in the present and for the future. This melancholic experience is also one of haunting, for narratives of the self draw on the figure of the phantom as a sign of mourning for both personal and historical disjunctions. As witnesses of recent or contemporary revolutions, the autobiographers stress the incomplete nature of both individual and collective history, that is, the potential that such history contains. Narrating the self is therefore prospective; it is memory addressing the future.

This dissertation explores a history of the grotesque and its meaning in art and literature along with those of its related term, the arabesque, since their co-existence, specifically in literature, is later treated by a well-known nineteenth-century American writer in Tales of the Grotesque and Arabesque- Theories or views of the grotesque (used in literature), both in Europe and America, belong to twelve theorists of different eras, ranging from the sixteenth century to the present period, especially Modernism (approximately from 1910 to 1945)--Rabelais, Hegel, Scott, Wright, Hugo, Symonds, Ruskin, Santayana, Kayser, Bakhtin, (William Van) O'Connor, and Spiegel. My study examines the grotesque in American literature, as treated by both nineteenth-century writers--Irving, Poe, Hawthorne, and, significantly, by modernist writers--Anderson, West, and Steinbeck in Northern (or non-Southern) literature; Faulkner, McCullers, and (Flannery) O'Connor in Southern literature. I survey several novels and short stories of these American writers for their grotesqueries in characterization and episodes. The grotesque, as treated by these earlier American writers is often despised, feared, or mistrusted by other characters, but is the opposite in modernist fiction.

My installations are propositions for an imaginary world that relies on its own internal logic, a world of believability without recognition. While the work references landscape it also emphasizes its contrivance, as it is automatically estranged in an "unnatural" gallery setting. I subvert or de-familiarize the materials and processes that I use in the service of creating a fictitious environment. My places are impossible places. They are irregular, illogical, and unstable. Our imagination can be one of most dangerous things to psychological stability as it is an inventory of all things possible, no matter how irrational or improbable. The irrational is always an option, a lingering threat. The imagination seems to hate permissions and limitations, but is nevertheless lodged within them. I want to create a sense of nonsensical logic. If all things that can be imagined are logical possibilities, I want to find the place where fantasy seems to be just barely reality. If I can't have an inherent contradiction, I'll take an apparent one.

[pt] O presente trabalho busca explorar, no universo pictórico de Henri Matisse, o processo de uso da cor - seus efeitos e desdobramentos - como veículo de passagem do suporte tradicional - o quadro de cavalete - aos Papiers Découpés, trabalhos desenvolvidos na última década da vida do artista. No intuito de inscrevê-los como decorrência do conjunto da obra, procura-se verificar a linha condutora que liga os Papiers Découpés ao cerne da poética do artista. Toma-se como proposição o Decorativo, principal fator de sucesso nessa ousada transposição da qual resulta uma pintura arquitetônica. / [fr] Le présent travail a pour but d explorer, au sein de l univers pictural de Henri Matisse, le processus d utilisation de la couleur - ses effets et dédoublements - comme véhicule de passage du support traditionnel - le tableau de chevalet - aux Papiers Decoupés, travaux développés au cours des dix dernières années de sa vie. Nous cherchons à vérifier le fil conducteur qui lie Les Papiers Découpés au coeur de la poétique de l artiste, avec l intention de les inscrire comme conséquence de l ensemble de l oeuvre. Nous proposons le Décoratif comme facteur principal de succès au cours de cette audacieuse transposition, dont il ressort une peinture architecturale.

[pt] Peter Eisenman intempestivamente advertiu que a doutrina modernista da relação entre forma e função não fez mais do que fazer perdurar um discurso inalterado há 500 anos. Para reparar tal equívoco ele preconiza romper com a função como principio fundador e considerar a representação uma falsa autoridade que sugere algum tipo de relação verdadeira entre o objeto arquitetônico e o que ele significa. À vista disso, Eisenman investiga a ideia de presença e a representação da presença, como repressores de novos significados e decreta a imprescindibilidade do reconhecimento completo da metafísica: a ideia de presença e a presença da ausência. Para alcançar esse deslocamento Eisenman elabora uma arquitetura outra produzida como texto no lugar de uma arquitetura como imagem, que intenciona romper com a dialética metafísica e seus pares de oposição através de uma exploração do entre. O texto nunca permite um único significado. Para suscitar tamanha ambivalência Eisenman vai recorrer a dois termos: O Arabesco e o Grotesco, evocando com essas duas palavras todo um sistema de conceitos e metodologias que conduziram sincronicamente o seu trabalho e o seu pensamento. Essa dissertação pretende demonstrar o potencial notável que viabilizou o arabesco e o grotesco se tornarem texto, rompimento de oposições e hieraquia de valores, esvaziamento de signos, turvarmento de fronteiras e sistemas classificatórios convencionais e, principalmente, explorar a poética. Validando, assim, que eles são o próprio deslocamento da metafísica arquitetônica. / [en] Peter Eisenman has untimely warned that the modernist doctrine of the relation between form and function has only lasted a speech unchanged 500 years ago. To repair this misconception it is necessary to break with function as the founding principle and to regard representation as a false authority that suggests a kind of true and exact relationship between the architectural object and what it means. In doing so, Eisenman investigates the idea of presence and the representation of presence, as repressors of other interpretations and new meanings, and decrees the indispensability of the complete recognition of metaphysics: the idea of presence and the presence of absence. To achieve this displacement Eisenman elaborates an other architecture produced as a text rather than an architecture as an image, which intends to break with metaphysical dialectics and its opposition peers through an exploration of the between. The text never allows a single meaning. To arouse such ambivalence Eisenman will use two terms: The Arabesque and the Grotesque, evoking with these two words a whole system of concepts and methodologies that synchronously conducted his work and his thinking. This dissertation intends to demonstrate the extraordinary potential that allowed the arabesque and the grotesque to become text, breaking of oppositions and hierarchy of values, emptying of signs, blurring of boundaries and conventional classificatory systems and, above all, exploring the poetic. Validating, therefore, that they are the very displacement of architectural metaphysics.

Cette thèse porte sur l'examen psychologique de l'enfant marocain d'âge scolaire qui consiste à copier et reproduire de mémoire deux figures géométriques complexes à savoir la Figure Complexe de Rey (1941), constituée de formes géométriques majoritairement droites et la Figure Complexe en Arabesque, modélisée lors de cette étude et constituée avec un nombre de formes géométriques courbées égal à celui des droites. L'efficience au niveau de la rétention mnésique des sujets est définie par la réalisation d'un score élevé relatif à la qualité graphique de la figure géométrique complexe, l'utilisation des stratégies de réalisation évoluées, et sa réalisation en un temps minimal ayant des représentations mentales vis-à-vis de cette figure traduites par une production langagière avec un lexique mental riche par le nombre, par les thèmes qui reflètent son identité culturelle et par les systèmes linguistiques utilisés.Les 360 enfants âgés de 6 à 13 ans, en plus d’avoir été soumis à un questionnaire sociodémographique et de compétences linguistiques, ont participé à une épreuve de latéralité et à une passation interindividuelle de la Figure Complexe de Rey (Rey, 1941) et de la Figure Complexe en Arabesque dans deux ordres inversés avec deux modes d'évaluation classique et dynamique (Kirkwood et al., 2001) dans une perspective intra individuelle.Les résultats montrent que l'efficience d'un enfant marocain d'âge scolaire lors d'un examen psychologique se développe en fonction de ses compétences linguistiques, de l'évolution de son âge, de l'avancement de son niveau scolaire et de l'appartenance de son école à un milieu urbain. Cependant, cette efficience n'est pas liée à son genre (fille/garçon), à son profil de latéralité (droitier/gaucher), à la directionnalité du tracé qui domine ses productions graphiques (haut/bas ; droite/gauche) et à l'ordre de passation (FCR/FCA ; FCA/FCR). Cette même efficience se manifeste davantage par l'intermédiaire de l'évaluation dynamique à l'encontre de l'évaluation classique et légèrement liée à la passation de la FCA. / This thesis focuses on the psychological examination of Moroccan school-age children, which consists of copying and reproducing from memory two complex geometric figures, namely Rey Complex Figure (1941), comprised mainly of straight lines, and Arabesque Complex Figure, modeled in this study and incorporated with a number of geometric shapes equal to straight lines. The efficiency level of the memory retention of topics is defined by the achievement of a high score on the graphical quality of the complex geometrical figure, the use of advanced implementation strategies, and its implementation in the shortest time with mental representation of this figure translated into a language production with a rich mental lexicon by numbers, by theme reflecting its cultural identity and the linguistic systems used.This study samply is composed of 360 children aged 6 to 13 years, who, in addition to having been subject to a sociodemographic and language skills questionnaire participated in a test of laterality and interindividual placing of the Rey Complex Figure (Rey, 1941) and the Arabesque Complex Figure in two orders reversed with two assessment methods classic and dynamic (Kirkwood et al., 2001) in an intra individual perspective.The results show that the efficiency of a Moroccan school-age child during a psychological examination develops according to his/her language skills, the development of his/her age, the advancement of his/her school grade and the belonging to his school to a urban environment. However, this efficiency is not gender related (girl / boy). Similarly, it is not related to his/her lateral profile (right / left), the directionality of the plot that dominates its graphic productions (up / down, right / left) and the order of execution (RCF / ACF, ACF / RCF). This same efficiency manifests itself more through dynamic assessment against the conventional assessment and slightly related to the award of the ACF. / تركز هذه اللأطروحة على الاختبار النفسي للطفل المغربي في سن التمدرس والذي يخص نسخ شكلين من الأشكال الهندسية، المعقدة باعتماد التذكر، وإعادة إنتاجهما. يتعلق الأمر بالشكل الغرافي المركب لراي (Rey, 1941) الذي يتألف أساسا من الخطوط المستقيمة؛ والشكل الغرافي المركب بالأرابيسك والذي تمت نمذجته خلال هذه الدراسة حيث يتألف بدوره من الأشكال الهندسية المستقيمة والأشكال الهندسية المنحنية على حد سواء.تم تحديد مستوى كفاءة احتفاظ الأطفال بالشكل الهندسي المعقد في الذاكرة ارتباطا بتحقيق درجة عالية من الجودة الرسومية له، واستخدام استراتيجيات التنفيذ المتقدمة، وتنفيذها في أقصر وقت ممكن مع التمثل الذهني للصورة المركبة وترجمتها إلى إنتاج لغوي موسوم بمعجم ذهني غني بالوحدات المعجمية، وبالمواضيع التي تعكس هوية الطفل الثقافية، وبالأنظمة اللغوية المستخدمة عددا وعدة.تهم هذه الدراسة 360 طفلا تتراوح أعمارهم ما بين 6 سنوات و 13 سنة، تم استبيان وضعيتهم الاجتماعية والديموغرافية، ومهاراتهم اللغوية. كما شاركوا في اختبار التجانب واختبار بين-فردي خاص بالشكل الغرافي المركب لراي (Rey, 1941) والشكل الغرافي المركب بالأرابيسك وفق ترتيبين معكوسين ومع أسلوبين اثنين من أساليب التقييم: الأول كلاسيي، والثاني ديناميي (Kirkwood et al., 2001) ومن منظور داخل-فردي.لقد أظهرت النتائج أن كفاءة الاحتفاظ في ذاكرة عند الطفل المغربي في سن التمدرس، خلال اختبار نفسي ما، تتطور ارتباطا بكفاياته اللسانية، وتقدمه في السن، وتطور مستواه الدراسي، وبمدى انتماء مدرسته إلى سياق حضري. لكن هذه الكفاءة لا علاقة لها بمتغير الجنس (ذكر / أنثى)، ولا بمتغير الجانبية (أيمن / أيسر)، ولا باتجاهية الرسم المهيمن على الإنجازات الغرافية (أعلى / أسفل، يمين / يسار)، ولا حتى بترتيب تنفيذ مهام إنتاج الأشكال (الشكل الغرافي المركب لراي/ الشكل الغرافي المركب بالأرابيسك؛ الشكل الغرافي المركب بالأرابيسك/ الشكل الغرافي المركب لراي).غير أن هذه الكفاءة نفسها (كفاء الاحتفاظ في الذاكرة) تتمظهر بشكل أقوى وأوضح بموجب التقييم الديناميي في مقابل التقييم الكلاسيي، وبعلاقة طفيفة بإنتاج الشكل الغرافي المركب بالأرابيسك.

Wind repertoire, especially for flute, has received little focused attention in the musicological world especially when compared with other instruments. This gap in scholarship is further exacerbated when the scope of time is narrowed to the last quarter of the twentieth century. Although Minimalism and New Complexity are – at least superficially – highly divergent styles of composition, they both exhibit aspects of a response to modernism. An examination of emblematic examples from the repertoire for solo flute (or recorder), specifically focusing on: Louis Andriessen’s Ende (1981); James Dillon’s Sgothan (1984), Brian Ferneyhough’s Carceri d’Invenzione IIb (1984), Superscripto (1981), and Unity Capsule (1975); Philip Glass’s Arabesque in Memoriam (1988); Henryk Górecki’s Valentine Piece (1996); and Steve Reich’s Vermont Counterpoint (1982), allows for the similarities in both genre’s response to modernism to be highlighted. These works are situated historically and characteristics of both styles are highlighted with particular regard to Late or Post-Modernism. / Graduate