Le titre de cette thèse est « Le rôle et la place de l’écriture automatique chez trois écrivains surréalistes français : André Breton, Benjamin Péret et Claude Courtot ». Elle a pour objet l’étude du rôle et de la place de l’écriture automatique dans le surréalisme, c’est-à-dire dans la vision du monde surréaliste et, particulièrement, dans la pratique poétique et dans les activités surréalistes. Le mot automatisme est souvent pris pour synonyme de surréalisme et la pratique de l’écriture automatique est souvent considérée comme obligatoire pour tous les écrivains surréalistes. Le présent travail propose d’évaluer dans quelle mesure cette association (cette synonymie) est correcte et de le faire en analysant le point de vue de trois écrivains surréalistes français sur l’automatisme ainsi que leur adhésion (et la façon dont ils y adhèrent) – ou non – à cette pratique : André Breton (1896-1966), Benjamin Péret (1899-1959) et Claude Courtot (1939). / O título da tese é “O papel e a importância da escrita automática em três escritores surrealistas franceses: André Breton, Benjamin Péret e Claude Courtot”. Seu foco reside no estudo do papel e da importância da escrita automática (no surrealismo, ou seja, na visão de mundo surrealista e, especificamente, na prática poética e nas atividades surrealistas. A palavra automatismo é frequentemente considerada como sinônimo da palavra surrealismo e a sua prática tida por obrigatória para todo escritor surrealista. Este trabalho pretende avaliar em que medida essa associação é correta, através da análise do ponto de vista de três escritores surrealistas sobre o automatismo bem como da verificação de sua adesão e forma de adesão – ou não adesão – a essa prática. Os três escritores que formam o corpus desta pesquisa são: André Breton (1896-1966), Benjamin Péret (1899- 1959) e Claude Courtot (1939).

Orientador: Mauro William Barbosa de Almeida / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T09:42:49Z (GMT). No. of bitstreams: 1 Lolli_PedroAugusto_M.pdf: 242147 bytes, checksum: 746a7d8d5115955e5c8ded13832c1f9e (MD5) Previous issue date: 2005 / Mestrado / Antropologia Social / Mestre em Antropologia Social

Cette thèse de pensée politique propose une relecture des oeuvres de Claude-Henri de Saint-Simon et de Charles Fourier, deux penseurs du « socialisme utopique » français du 19e siècle, allant dans le sens de leur association avec les pensées actuelles du « contre l’État », de la division originaire du social et de la dialectique de l’émancipation. À l’aide de l’interprétation de l’utopie développée par Miguel Abensour, qui est mobilisée tout en conservant à son égard une distance critique, il est montré en quoi Saint-Simon et Fourier participent à la découverte de la société comme objet de connaissance scientifique et comment cette découverte ouvre des possibilités inédites pour penser la transformation sociale. L’apport particulier de la thèse est alors l’étude des effets de la rencontre de l’utopie et du socialisme afin de saisir l’idéal coopératif à titre de mode alternatif d’institution de la société. Il est avancé qu’il se trouve, dans les oeuvres de ces deux auteurs, un cadre pour penser la liberté politique en ce que, tant Saint-Simon que Fourier, s’appuient sur une théorisation de l’utopie qui non seulement repère dans le présent les éléments d’un ordre nouveau à opposer à l’ordre établi, mais qui s’articule à même une conception ouverte de l’histoire basée sur la vérification de la satisfaction des besoins du grand nombre. Il est également avancé qu’en raison du procédé d’écart propre à l’utopie, se pose la possibilité, au sein même du socialisme, de cultiver une conscience du politique sensible au risque d’inversion des visées d’émancipation.

In 1966, René Le Roy (1898-1985) and his student Claude Dorgeuille co-authored Traité de la flûte historique, technique et pedagogique. This treatise presents the culmination of Le Roy's career as a renowned performer and teacher in both Europe and North America. His approach to the study of music, as presented in the method, diverges from traditional French training, instructing teachers to compose exercises specific to the needs of the student and by using repertoire as source material. Claude Dorgeuille writes of the method, "...the Traité gives an outline analysis of the principal elements of technique, thus allowing exercises to be devised as appropriate to the needs of the individual." Using Le Roy's treatise, I demonstrate the application of his teaching to Jacques Ibert's Deux stèles orientées pour voix et flûte (1925), a work dedicated to and premiered by Le Roy, through the creation of individual exercises tailored to preparation of Ibert's work.

Four works are selected to demonstrate the stature and demands of this craft and to represent a pinnacle in the art of contemporary woodwind doubling. Concerto for Doubles, by Thomas Filas, Concerto Tri-Chroma. by Michael Kibbe, Rhapsody Nova, by Clare Fischer and Suite for Solo Flute. Clarinet and Alto Saxophone by Claude Smith all represent rare, major solo works written specifically for three individual woodwind doublers. The paper will begin with a history of the practice of woodwind doubling from the fifteenth century to the present. The four works will then be examined by considering form, style and related performance practices.

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This thesis, consisting of five chapters, studies descriptions and images in the novels of Claude Simon which show death as an “effect of character”, in other words, as a sort of character endowed with the same traits as actual literary characters. The first chapter examines how theoreticians define literary characters. Due to the fact that death materializes as a quasi-character during the act of reading since the reader needs to decipher textual clues in order to visualize death as an effect of character, I refer to Vincent Jouve’s theory of the character-effect. The chapters that follow seek therefore to demonstrate that death possesses an anatomy which resembles that of literary characters. The second chapter concentrates on images of the dying body which are reminiscent of themes in the artistic works of the Dance of Death, of Vanitas, and of the grotesque, and which produce in the reader the impression that death has a physical body. The third chapter also analyzes descriptions of the suffering body, as well as metaphorical language in order to show that death possesses a speaking body. The fourth chapter focuses on the presence of the life drive in the representation of death. It seems that death desires life in the same way as the other characters, therefore I envision death with a body composed of drives. The fifth and final chapter pursues the affective body of death by studying descriptions of intense bodily experiences. By accumulating all the images of the different bodies, one sees the sketch of a character that I identify by the designation “the effect of character of death”. / Thesis / Doctor of Philosophy (PhD)

This study examines how the French bestselling detective novel Total Khéops (1995) by Jean-Claude Izzo relates to three literary sub-genres of detective fiction to which it mainly has been associated since it first was published: roman noir français (French roman noir), polar marseillais and Mediterranean noir. By assembling the most significant criterions of these sub-genres and analyzing their presence in Total Khéops, or its architextuality within the crime novel, this approach aims to reveal in what sub-genre this novel mainly should be categorized. The results of the study show that Total Khéops exhibits central features of all the three sub-genres, but as the findings overlap, and that several characteristic traits are possible to associate with more than one of these categories, it’s difficult to judge to which sub-genre this novel mainly belongs. However, the study indicates that the focus on the elements of place and local culture of the city of Marseille in Total Khéops sets a new standard in the way the polar marseillais was to develop to a proper sub-genre in the late 1990s: these features are to be considered as new in the domain of French crime fiction.

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