Camille Claudel is a sculptor who has traditionally been approached in terms of her relationship to Rodin and his influence on her work. Indeed, the two shared a passionate relationship and there are certainly similarities between the two sculptors' work which provide for fascinating analyses. However, one of the acknowledged but previously unexplored speculations on Claudel's art suggests that it involves a measure of veiled spirituality sealed within its stone. It is precisely this sacred element within her sculptures that offers viewers an opportunity to experience transcendence while identifying with fundamental themes. Furthermore, Claudel created her figures as a method of interior healing and deliverance. This theme of redemption will be essential to arriving at the more profound, multifaceted interpretations of her sculptures. To highlight the connections to the various artists and movements discussed in the thesis, Claudel's piously thematic art can be compared to the nontraditional illustrations by Vincent Van Gogh, Paul Gauguin, and the religious depictions of James Tissot, as well as being seen as engaging with the idea of theosophy and the Symbolist art movement. It is true that in fin-de-siècle France, due to the advancing secularization of society, viewers did not understand religious and spiritual symbolism in art as comprehensively as they had in the past. However, it will be necessary to show that Claudel was not the only artist interested of her era who persisted in conveying spiritual themes within supposedly secular scenes. Yet, Claudel's work remains unique in that it communicates the theme of redemption through its creation as well as through its creator. Chez Claudel, the art and the artist are united and one cannot be fully understood without the other. Moreover, through her masterpieces, she did not only offer insight into the meaning of existence; through her redemptive works she found momentary salvation for herself and for others from the excruciating outward oppression present at the close of the 19th century. Unfortunately, since the moment she began to successfully achieve recognition for her work critics have been content to view each of Camille Claudel's sculptures as a deliberate response to her tumultuous relationship with Rodin. This thesis will investigate more enlightened interpretations made possible when one simultaneously considers the role of her spirituality. It will become unmistakably clear that Camille's brother Paul was right when he stated that her work is vastly different from all other artists' "because it welcomes light and radiates the inner dream that inspired it" (Ayral-Clause 157).

Note:

Ce document de recherche-création fait état des réflexions qui m'ont habitée ces deux dernières années quant à la manière d'aborder l'entre-deux en tant que matière en arts visuels. Ce mémoire aborde, principalement, la relation de mutualisme qui opère entre les pratiques du dessin et de la peinture par rapport à celle de la sculpture. Il s'agit donc d'une étude sur la métamorphose sous plusieurs angles : dans l'œuvre, dans son pigment, dans sa relation aux autres œuvres et dans la signification de ses formes. Sous l'esthétique du biomorphisme, ma recherche use du multiple pour explorer ces formes qui évoquent le vivant sans pourtant imposer une lecture explicite. Par la prolifération des propositions ; par l'abondance des dessins, sculptures de céramique et autres subjectils, l'exposition qui accompagne ce mémoire présente diverses œuvres hybrides dont les différents états de transformation vont de : la forme à l'informe, du bidimensionnel au tridimensionnel, et de l'objet d'art unique à l'ensemble d'œuvres. Je recommande la lecture de ce document à toute personne s'intéressant aux états liminaires, aux pratiques matérielles de l'art et aux formes émanant du vivant.

Comment un troisième fils d'une famille de noblesse récente eut-il autant de pouvoirs sur la province du Lyonnais, Forez et Beaujolais, sous le règne de Louis XIV, est l'interrogation principale de ce sujet. En effet, Camille de Neufville fut lieutenant général du roi en 1646, avant de devenir archevêque de Lyon en 1653, cumulant ainsi toutes sortes de pouvoirs à la fois temporels et spirituels qui se mêlent et s'entremêlent alors que lui les veut étanches. Il convient d'analyser au travers de deux mots-clés, "pouvoir" et "fortune", comment il put atteindre un tel niveau de pouvoirs, puis comment il exerça ses charges de lieutenant général et archevêque, comment il imprima matériellement ses fonctions dans le paysage au travers de résidences séparées et comment il ancra, dans la province, le pouvoir de sa famille, de manière visible en érigeant le marquisat de Neufville. Ensuite, il convient d'étudier par quelles ressources en influences, en hommes (les différents réseaux), il put se maintenir au pouvoir pendant plus de quarante années et ce qu'il en retira en terme de fortune. / How could the third son of a recently annobled family gather so many powers in the Lyon, Forez, Beaujolais province, under the reign of Louis XIV? Here lies the main question of this work. Actually, Camille de Neufville was lieutenant general for the King in 1646, before becoming Archbishop of Lyon in 1653, this holdong concurrently all sorts of powers that were closely intermingled, though he wanted them totally independent. Consequently, we will point out, through two key words, "power" and "fortune", how he could get to such a high level of powers, then how he fulfilled his offices as lieutenant general and Archbishop, how he practically imprinted his practice on landscape through separated residences, and how he anchored the power of his family in the province, in a patent fashion, by creating the marquisat of Neufville. Then we will study on which influential and human ressources (his different networks) he relied on to stay in power for more than forty years and what he gained in terms of fortune.

This thesis explores the influence music has on learning a foreign language. The purpose of the thesis is to find out if rhythm and music encourage students to learn French grammar, and more precisely how to conjugate verbs. We have created a rap-style learning technique to assist in conjugating the verbs “être” (to be) and “avoir” (to have). We then taught two different lessons to each grammar in this context: one with the “rap-method” and one without rhythm, which is a more classic approach. The students, who are all beginners of the French language, come from a school in the south of Sweden. After the two lessons we conducted a comparative study where we asked the students which lesson was the best. To support our study, we present theories based upon the connection between language learning and music. The two theories are: L’Apport de la musique dans l’apprentissage d’une langue étrangère (2012) written by Camille Jedrzejak and Sensibiliser les enfants à une langue étrangère par le biais d’une activité musicale (2008) by Pamula Malgorzata. The study showed that music has a value in foreign language learning and that students learned better the materiel during the “rap-method” than during the other, more classical method. Grammar lessons are often considered as boring and the students don’t like them. Changing them into a more playful method could get them more interested to learn. The theories in action reap positive results and could be used more in language-learning than they currently are. It turned out that the “rap-method” is a good method to learn grammar.

The alternatim practice is one of the oldest and longest observed liturgical practices in the French Catholic Church. With the gradual addition of the organ to the practice beginning in the fifteenth century, the organ came to play an important liturgical function that exists to this day. Organ improvisations in the liturgy gave rise to composed organ masses such as those of François Couperin (1668-1733). Composition of the Baroque organ mass continued through the Classical period and into the nineteenth century. Liturgical and musical changes through the decades of the nineteenth century, however, led to a gradual cessation of the composition of organ masses. These same changes gave birth to a new type of liturgical mass that, while not performed in the traditional alternatim style, displayed stylistic and liturgical influences from the Baroque organ masses of the preceding centuries. Messe, op. 4, of Camille Saint-Säens (1835-1921) was composed in 1856 in the midst of nineteenth-century changes and reforms. This mass is the pivotal event between the masses of the preceding generation and those that were to follow, notably those of Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937). Because the viva-voce presentation of this document featured a performance of Louis Vierne's Messe solennelle, op. 16 using a solo organ edition of the work, Appendix A includes considerations for the work as well as an overview of four solo editions.

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.

This thesis explores the nature of contemporary sculptural practices in relation to the broader field of installed sculpture (which deploy articulated, interrelated, but autonomous components) and in the context of recent approaches to both curation and display. The artistic work and attendant commentary constitute a response to the issues of sculptural agency and display raised by both the practice-based outcomes and key works of several contemporary artists: Gabriel Kuri, Gedi Sibony, Melanie Counsell, Marc Camille Chaimowicz and Michael Dean. In a number of exhibitions ‘post-installation’ practices and the function of ‘montage’ sculpture is examined. Through outlining the current landscape of sculptural production and medium specificity a progressive notion of the monument is established. The sculptural artwork is seen to retain a political resistance, as both art-object and thing in the world. An assessment is made of how sculptures produce space within and through their exhibition context, directly related to the production of space as a whole (a social morphology posited by Henri Lefebvre). Applying a conception of time in reference to spatial production opens up the artwork’s potential to draw on complex codes of mnemonic function, which can potentially generate emancipatory agency from ideological issues in late-capitalism. Re-readings of key installed works by Marc Camille Chaimowicz and Mark Dean, through contexts derived from Nietzsche and Mark Fisher, reveal how sculptures can activate specific mnemonic codes, or collective memory. Such art works utilise a ‘forgetful memory’ – a reflexive process of positing, junking and reimagining relationships to cultural information. The body of artistic work produced for this research, intertwined with its critical reflection, makes an original contribution to knowledge by interrogating theoretically and experientially the potentials of ‘the sculptural’, as part of the plural production of art and exhibition-making. By means of practice and its outcomes, the research engages the current dynamics of spatial production and radicality of sculptural objecthood. The work examines the complex relationships between social memory and historicity, with which sculpture in an exhibition environment can engage.

Made available in DSpace on 2016-04-28T20:38:52Z (GMT). No. of bitstreams: 1 Gesimary de Santi Azevedo.pdf: 4299348 bytes, checksum: 0da813be496ede343be189d7d8abfd80 (MD5) Previous issue date: 2005-11-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The present dissertation proposes itself to a floating reading of the sculptures works written on rocks - by a French sculptor Camille Claudel (1864 1943). Her written works on rocks talk by themselves and affect the one who gazes them. This research was born in this relational field of the work done with the contemplator s eye. I sought the sculptor s biography only afterwards. I was supported by historical conditions and, mainly, by the work itself, it raised me the opening to a psychoanalytical reading about it, as well as, about its effects on my own subjectivity. In this study I describe the route of my floating theorizations as I saw the work and read Camille Caudel s biography. A visible and sensitive work does not limit itself to what is realized, but it leads the contemplator s eye to a visible and, therefore to a tellable. I will talk about the sublimation, the symptom, and the idealization, using a Freudian psychoanalytical referential and, to talk about passion, alienation and the asymmetrical relationships, I will support my work on Piera Aulagnier. Two basic theoretical supports will be enough for my research at this moment / A presente dissertação se propõe a uma leitura flutuante das esculturas obras escritas em pedras, da escultora francesa Camille Claudel (1864 1943). Suas obras escritas nas pedras falam por si só e afetam quem as contemplam. Nesse campo relacional da obra feita com os olhos do contemplador, que nasceu esta pesquisa. Só posteriormente busquei a biografia da escultora. Apoiando-me nas condições históricas e, principalmente, na própria obra, esta me suscitou a abertura para uma leitura psicanalítica, bem como, de seus efeitos sobre a minha própria subjetividade. Neste estudo descrevo o percurso de minhas teorizações flutuantes, conforme via a obra e lia a biografia de Camille Claudel. Uma obra visível e sensível não se limita ao que se percebe, mas leva o olho do contemplador a um visível e, portanto, a um dizível. Direi da sublimação, do sintoma e da idealização, usando um referencial psicanalítico freudiano e, para dizer da paixão, da alienação e das relações assimétricas, me apoiarei na obra de Piera Aulagnier. Dois suportes teóricos básicos serão suficientes para a minha pesquisa, neste momento

Les travaux de Marcel Mauss connaissent au tournant des années 1980 un renouveau d’intérêt, notamment avec la revue du MAUSS. Cet intérêt serait attribuable à la conception originale du social comme symbolisme qui s’esquisse chez ce durkheimien hétérodoxe. Cette thèse compare les perspectives de quatre lecteurs contemporains du symbolisme maussien issus de la socio-anthropologie française, soit Camille Tarot, Bruno Karsenti, Alain Caillé et Jacques T. Godbout. Si ces derniers s’entendent sur l’importance des travaux de Mauss, le sens à donner aux concepts de fait social total et de don diffère sensiblement selon les auteurs : Tarot et Karsenti, en accordant plus d’importance à la découverte du fait social total, décèlent chez Mauss une conception sociale accordant une place à la totalité symbolique, alors que Caillé et Godbout, en insistant davantage sur la découverte maussienne du don, y trouvent les prolégomènes d’un tiers paradigme se situant entre l’holisme et l’individualisme.