Lorsqu’un travail critique se propose d’étudier la présence du latin et de la culture classique chez des écrivains contemporains, c’est à la notion d’héritage que l’on pense tout d’abord. Mais cette notion d’héritage pose problème. Elle doit être considérée avec prudence, comme un possible leurre, même si elle est avérée dans les œuvres de nos trois auteurs, de par certains phénomènes formels itératifs, citations latines, ainsi que la transposition de textes antiques. S’il est donc évident que lesdites œuvres affichent une apparente continuité à la fois au niveau formel et au niveau des contenus de culture, l’Antiquité latine réinvestie perd son statut particulier : elle n’est ni objet du texte, ni voix de l’autorité, ni preuve d’érudition (même si elle feint de l’être), ni trésor d’outils rhétoriques qui favorise la séduction : au contraire, elle est un piège posé au lecteur qui fait trop confiance à sa culture. Le réinvestissement de la culture et des textes antiques que nos trois auteurs pratiquent s’approche dangereusement tantôt du stéréotype, du lieu commun, tantôt d’une réutilisation complètement personnelle de la culture antique. Le latin s’avère ou bien un produit de leur imagination d’écrivain (et en tant que tel il n’est pas tout à fait identifiable à la langue morte que nous connaissons), ou bien il fait partie de la productivité textuelle de l’écriture et passe du statut de texte à celui de matériau réutilisable. Le rapport qu’entretiennent Claude Simon, Pascal Quignard et Jean Sorrente avec le latin relève donc du paradoxe : ils réinventent, voire réécrivent l’Antiquité. / When a critic’s work intends to focus on the presence of Latin and classic culture in the work of contemporary writers, one thinks foremost of the notion of heritage. But it is this notion of heritage that poses a problem. One has to approach it in a very prudent way, as if it would be a lure, even though it is attested in the works of our three authors, through the use of recurrent formal parallels, Latin quotations, and the transposition and rewriting of ancient texts. Indeed, though it is evident that these works show an apparent continuity both in form and in cultural content, the reinvested Latin Antiquity looses its particular status: it is neither object of the text, nor voice of the authority, nor proof of erudition (although it sometimes pretends to be), nor treasure box of rhetorical tools that help seducing the reader: on the contrary, it is a trap for the reader who places his trust solely in his cultural knowledge. The reinvestment that our three authors apply to the Latin text and culture gets dangerously close either to the stereotype, the commonplace, either to a completely personal reuse of antique culture. Latin is thus either a product of their artistic imagination (and as such cannot be totally identified with the dead language that we know), either part of the textual productivity of their writing, which means that it must be considered as a reusable material rather than an autonomous text. The bond that ties Claude Simon’s, Pascal Quignard’s and Jean Sorrente’s works to the Latin is thus paradoxical in nature: what they do is reinventing, or rather rewriting Antiquity.

O objetivo deste trabalho é analisar como se deu a recepção ao \"novo romance\" no Brasil, notadamente no \"Suplemento Literário\", caderno cultural que integrava o jornal O Estado de São Paulo, e foi publicado entre os anos de 1956 e 1974. Inicialmente, foi feita uma apresentação geral do \"novo romance\", destacando-se suas principais obras e o contexto histórico-social do qual fazia parte. O \"novo romance\", movimento surgido em meados dos anos 1950 na França, causou um abalo nas estruturas da arte do romance, levando certos autores a questionar e a rejeitar as técnicas tradicionais - notadamente as de inspiração balzaquiana - da concepção romanesca, que consideravam desgastadas e ultrapassadas. Entre os autores que fizeram parte do movimento e que são abordados neste trabalho, pode-se ressaltar Alain Robbe-Grillet, Michel Butor, Nathalie Sarraute e Claude Simon. Apesar de haver outros escritores integrantes do \"novo romance\", esses foram os que tiveram maior divulgação no \"Suplemento Literário\". Um dos capítulos é dedicado a Claude Simon, cujo enfoque está no prêmio Nobel de Literatura que o escritor ganhou em 1985. Neste capítulo, são estudados diversos artigos de jornais e revistas que comentaram o assunto à época, e que reagiram de forma variada a essa conquista. Alguns artigos foram analisados isoladamente mas, sempre que possível e havendo pontos de contato entre eles, procurei fazer um cotejo, visando estabelecer semelhanças e diferenças, salientando opiniões contrárias e favoráveis. Para proceder à análise dos artigos e entender a reação da crítica diante das obras dos novos romancistas, tomei como base a teoria da recepção de Hans Robert Jauss, que estabelece a instância do leitor na realização da obra, a partir do conceito de \"horizonte de expectativas\". / The aim of this thesis is the analysis of the reception to the \"nouveau roman\" through the articles presented by \"Suplemento Literário\", a book of reviews published by O Estado de São Paulo, from 1956 to 1974. Firstly, we presented the general characteristics of the \"nouveau roman\" by introducing its main writers and its social and historic background. The \"nouveau roman\" was a literary movement started in the late 50\'s of the twentieth century that changed the way to produce and read novels, by rejecting the traditional techniques, mainly those related to Balzac\'s style of writing, considered as obsolete. Amongst all of the writers belonging to the \"noveau roman\" movement, we pointed out Allain-Robbe Grillet, Michel Butor, Nathalie Sarraute and Claude Simon. Even considering the fact that there were other important writers, those were the ones most referred by the authors who wrote articles to the \"Suplemento Literário\". One of the chapters of the thesis is dedicated to Claude Simon, Nobel Prize in Literature in 1985. In this chapter, we collected articles published in 1985 from newspapers and magazines in order to analyse the repercussion of the award granted to him. Some of the articles were studied separately, but, when we could find common ideas in their contents, we examined the articles in a way to emphasize differences and similarities, and different points of view. The reception theory, created by Hans Robert Jauss, was our point of reference to settle the approach of the articles as well as to understand all the reaction of the experts who criticize the novels produced by the writers of \"nouveau roman\".

Plus connu comme ethnologue que comme musicologue, André Schaeffner (1895-1980) a adopté, dans ses travaux sur la musique savante, une position contraire à un type de critique prétendument « objective », qui se voudrait neutre face à l’œuvre d’art. Il y revendique le droit à une « critique d’admiration », ne cachant pas ses préférences personnelles. La démarche de Schaeffner se caractérise par l’absence d’une « vision téléologique de l’histoire de la musique » ou de tout esprit de système, et par l’importance accordée à la mise en perspective historique et esthétique, à la contextualisation de l’œuvre du compositeur. Cette vision de la critique a été fréquemment dénoncée comme péchant par l’absence de tout jugement. En reconstruisant l’ensemble des circonstances qui entourent les événements auxquels il s’intéresse, en collectant et en soumettant à un examen attentif les documents qui y ont trait, Schaeffner remet en question des idées reçues, des clichés autour desquels flotte une trompeuse aura de légitimité. Cette thèse montre, en s’appuyant sur de nombreux documents – textes publiés ou restés inédits, notes de travail, riche correspondance –, comment Schaeffner a mené ce type d’étude critique à propos de l’œuvre de deux musiciens auxquels il a voué un intérêt passionné, l’un disparu : Claude Debussy, l’autre vivant et qu’il a pu côtoyer : Igor Stravinsky, ainsi que la manière dont on a accueilli ses travaux de son vivant, et leur validité aujourd’hui. / André Schaeffner (1895-1980), better known as ethnologist than for his musicological activity, in his works concerning classical music embraces a position against the kind of critique that claims to be “objective” or neutral towards the artwork. He makes a plea for a “critique of admiration” that takes sides and displays one’s preferences. His writings pay no heed to a teleological or systematic approach of the history of music. Instead, he puts the composer’s work in perspective, reconstructing its historical and aesthetic background. Many condemned this kind of approach as lacking any judgement criterion. Nevertheless, thanks to his study of the circumstances in which a composer’s works were created, Schaeffner was able to call into question common and supposedly true preconceptions and stereotypes. Based on a study of several documents – both published and unpublished texts, drafts, rich correspondence – this thesis shows how Schaeffner carried out this kind of critique, especially in his writings concerning two composers that he fervently admired: the deceased Claude Debussy and Igor Stravinsky, still alive at that time and with whom Schaeffner was acquainted; as well as how Schaeffner’s theories were received upon publication and what their validity is nowadays.

Notre thèse se propose d’analyser l’évolution des relations entre les milieux de l’architecture et du design français, de 1969 à 1989. Inspirée par la Hochschule für Gestaltung d’Ulm, permise par la venue en France de l’architecte suisse Claude Schnaidt (1931-2007), dernier vice-recteur de cette prestigieuse école allemande, la première vie de l’Institut de l’Environnement (1969-1971) s’affirme comme la principale rotule de cette étude. Si elle a fragilisé cet établissement situé rue Érasme à Paris, la ligne de tension entre architecture et design, considérés comme des disciplines autonomes, non assujetties l’une à l’autre, traversa de nombreuses autres institutions françaises dans les deux décennies suivantes, du CCI à l’ENSCI. Notre thèse s’attache à mettre au jour ces dynamiques antagonistes, contribuant tantôt à la consolidation des barrières disciplinaires en place, à la complexification du cadastre des pratiques et donc à l’intensification des rivalités entre spécialistes, tantôt à l’instauration de processus de fertilisation croisée, de différents degrés d’interdisciplinarité ou de transversalité (métissages des langages, créolisation des processus de conception, partage d’instruments de travail entre corporations). / This doctoral research studies the evolving relationships between the fields of architecture and industrial design in France, from 1969 to 1989. The early years of the Institut de l’Environnement (1969-1971) stand out as the main articulation of this study. The creation of this institution was inspired by the Hochschule für Gestaltung Ulm and made possible by the arrival in France of Claude Schnaidt (1931-2007) – a Swiss architect who was the last vice-rector of the prestigious German school. The tension between architecture and design, thought of as self-sufficient disciplines, not subject to each other, has weakened this institute located in Paris, rue Érasme. This tension traversed many other French institutions through the next two decades, from the CCI to the ENSCI. This doctoral thesis attempts to uncover these conflicting dynamics. On the one hand, they contributed to the consolidation of existing disciplinary boundaries, to the complexification of the practices' landscape and thus to the intensification of rivalries between specialists. On the other hand, they led to the creation of cross-fertilization process, of different degrees of inter- or transdisciplinarity (interbreeding languages or design process, sharing working tools between corporations).

This paper discusses the historical background of the Rapsodie for Orchestra and Saxophone by Claude Debussy and includes a comparison of two piano performance editions. Chapter I includes information on Elise Hall, her work with the Boston Orchestra Club and the circumstances of her commission of Claude Debussy which yielded the Rapsodie. Chapter II discusses the Editions Durand piano reduction and the reasons for its neglect by saxophone performers. This chapter includes a study of the techniques used by Eugene Rousseau to create his arrangement of the Rapsodie for saxophone and piano. The study concludes that the arrangement by Rousseau is more attractive to saxophonists and will be performed more frequently than the Durand reduction.

Detta konstnärliga examensarbete är ett försök att nå en fördjupad förståelse för pianostycket L’Isle joyeuse L.106 komponerat av Claude Debussy år 1904, i syfte att se hur den kunskapen kan sättas i relation till min musikaliska gestaltning av musiken. Till bakgrunden hör att stycket är förmodat inspirerat av 1700-talskonstnären Antoine Watteaus målning Le Pèlerinage à l’île de Cythère. Målningen föreställande kärlekspar på väg till eller från kärleksgudinnan Afrodites födelseö Kythera kan sättas i relation till att Debussy komponerade stycket under en vistelse på ön Jersey dit han reste med sin kärlek Emma Bardac. I bakgrunden tar jag upp historia både kring Debussys liv men även om tavlan och de stildrag i Watteaus måleri som jag tror kan ha varit en källa till inspiration för Debussy. Jag gör därtill en analys av stycket, mestadels utifrån mina egna tolkningar och associationer vid studerandet av den musikaliska texten men även till viss del med hjälp av litteratur om ämnet. I Watteaus måleri finns en atmosfär av elegans, glädje och lätthet som jag även finner i Debussys komposition och min analys av stycket leder fram till flera associationer kopplade till vatten, hav och lycka. Studien kan inte ge några konkreta svar på exakt vad Debussy ville när han komponerade musiken men kan fungera som utgångspunkt till inspiration för en pianist som planerar att spela verket. / This artistic thesis is an attempt to reach a deeper understanding of the piano piece L'Isle joyeuse L.106, composed by Claude Debussy in 1904, with the aim of seeing how that knowledge can be put in relation to my interpretation of the music. The piece is supposedly inspired by the 18th century artist Antoine Watteau's painting Le Pèlerinage à l'île de Cythère, which depicts several couples on their way to or from the birthplace of Aphrodite, the Island of Kythera. This can be put in relation to the fact that Debussy composed the piece during a stay on the island of Jersey where he traveled with his love Emma Bardac. In the thesis I present the historical background, both about Debussy's life but also about the painting and the stylistic features in Watteau's art that I believe may have been a source of inspiration for Debussy. I also do an analysis of the piece, mostly based on my own interpretation and associations when studying the musical text, but also to some extent with the help of literature on the subject. In Watteau's painting there is an atmosphere of elegance, joy and lightness that I also find in Debussy's composition and my analysis of the piece leads to several associations linked to water, sea and happiness. The study cannot provide any concrete answers to exactly what Debussy wanted when he composed the music but it can serve as a starting point for inspiration for a pianist who plans to play the work. / <p>Franz Schubert - Impromptu i f-moll, Op. 142 D. 935, No. 1 </p><p>Joseph Haydn - Pianosonat i Eb-dur, Hob. XVI 49 </p><p>Claude Debussy - Ur preludier bok 1 L. 117, No. 5 ”Les Collines d’Anacapri” </p><p>Claude Debussy - Ur preludier bok 2 L.123, No. 10 ”Canope”</p><p>Claude Debussy - L’isle joyeuse, L. 106 </p><p> </p>

The main purpose of this study will be to analyze the impressionistic style and techniques of Debussy, how the idiom came to be, and the influence of this particular idiom on two American composers. For thorough understanding, the poetic and artistic backgrounds of impressionism must be brought out; the biography of the man who originated the idiom, as well as his aesthetic theories, must be briefly covered. More objectively, from biographies and various other studies the techniques peculiarly impressionistic will be listed, and analysis will be made of several of the Debussy songs from various periods of his composition.

The purpose of this study is to acquaint the reader with certain scales, not merely as they are used to provide the theoretical "building stones" of all music, but as they have been used as actual scale passages in the piano music of two twentieth century composers. This is a study of the use of various scales in the piano music of Debussy and Ravel. A list of the piano music of these composers which was available for the present investigation is given in the Bibliography. A careful analysis of the music has been necessary in order to determine: First, the types of scales the composer uses; second, the interpretation of the scale in its context; third, the ways in which some scale passages are employed to help project musical thought in the composition; and fourth, the frequency of occurrence of types of scale passages.

No description available.

Le traumatisme de la Déportation a résisté au temps et demeure toujours un important repère identitaire pour l'Acadie moderne. Il est le motif et l'obsession de l'écriture romanesque chez Claude LeBouthillier. Le récit cherche à remplir une fonction testimoniale malgré la distance temporelle qui sépare le trauma de récriture. Il lui faut alors concilier fiction, historiographie et discours transgénérationnel. Pour ce faire, la figure auctoriale adopte trois postures : celle du romancier, de l'historien et du descendant de survivant. Cela dit, l'écriture qui témoigne que l'on a survécu à la tentative d'extermination de sa culture et de son peuple est un acte qui déstabilise l'ordre normal des rapports entre soi et l'Autre. Dans ce cas, écrire devient transgression, violence, voire terrorisme symbolique. Or, l'écriture ne saurait être une victoire satisfaisante. Le récit de survivance tient du paradoxe parce qu'il est non seulement la démonstration d'un certain contrôle sur l'événement traumatique, mais il révèle également i'emprise que l'événement continu d'exercer sur le survivant.