This thesis aims to conduct a socio-political discourse analysis (SPDA) of digital articles discussing "The Portrait of Edmond Belamy," created by the Obvious team using AI. The sale of this portrait at Christie's auction for a record $432,500 excited the world. This was the first work sold at auction and created in collaboration with AI. The purpose is to explore AI and its integration into artistic practices and media discourse surrounding the event. The research question this dissertation seeks to explore is: "How AI-generated art, namely the portrait of Edmond de Belamy, is represented in digital media?". The sample consists of 12 articles from the UK and the USA outlets. It is analysed according to Van Dijk’s SPDA concepts as well as Actor-Network Theory (ANT) and Media Dissemination theory. Speaking about key findings, it can be mentioned that political-oriented magazines stress authenticity, while those on art and technology explore broader themes. Power dynamics among stakeholders shape perceptions of AI art, influencing its reception and evaluation. Market recognition at auctions underscores its value, reshaping perceptions of artistic worth. Ethical concerns raise questions on intellectual property, authorship, and code attribution, necessitating regulatory frameworks. Critical analysis provides diverse views on AI-generated artworks, challenging traditional notions of creativity and authenticity. The discourse reflects societal attitudes towards technology, creativity, and cultural production. Understanding AI art's implications aids informed dialogue and decision-making. Future research on practitioners' experiences offers insights into human-AI interactions in creativity, contributing to a nuanced understanding of this interplay.

Among the various studies written on the voluminous artistic production relating to the clownish figure in the XIXth century, more specifically on its melancholic form in the second half of the century, very few have carried interest to the novel. The objective of this master's thesis is to study the clown as a novel character, through Gavroche (Victor Hugo, Les Miserables ), Kenwell and Cox (Jules Claretie, Le Train 17) and the brothers Zemganno (Edmond de Goncourt, Les Freres Zemganno ). We will focus on the way those hyperbolic figures spread out their marginality, their laughter and their illusions within the novel, thus providing information on this one. Our analysis of the clown's passage through the novel, which always deploys in three phases (the marginal entrance, the ascension and the fall), demonstrates the incompatibility between the realistic material from the XIXth century and this nevertheless infinitely novelistic being.

Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.

Thesis (M.S.), Kinesiology and Health Studies--University of Central Oklahoma, 2010. / Includes bibliographical references (leaves 44-48).

« Pour arriver, voyez-vous, il n’y a que le théâtre… ». C’est ce conseil, adressé par Janin aux frères Goncourt en décembre 1851, qui oriente rapidement ces jeunes écrivains vers le chemin épineux du théâtre et de la mise en scène. Le Journal des Goncourt raconte durant quarante-cinq ans la relation tumultueuse des écrivains d’Henriette Maréchal avec la scène. Néanmoins, l’œuvre dramatique d’Edmond et de Jules de Goncourt est très peu étudiée et attire rarement les éditeurs. En témoigne l’absence de toute édition moderne de cette œuvre. Ce travail propose une édition électronique de quatre pièces écrites par les Goncourt : deux pièces originales signées par les deux frères : Henriette Maréchal (1865) et La Patrie en Danger (1889) et deux adaptations de romans réalisées par Edmond de Goncourt : Germinie Lacerteux (1888) et Manette Salomon (1896). Il s’agit à la fois d’une édition critique enrichie par des notes et des fiches thématiques, lexicales et biographiques, d’un espace interactif où les chercheurs pourraient à la fois puiser des ressources relatives à l’expérience dramatique des frères Goncourt et compléter les notes et textes annexés à cette édition, et enfin d’une illustration de l’apport des nouvelles technologies à l’édition et à l’étude des textes littéraires. La recherche témoigne d’une expérience d’exploration assistée par ordinateur d’un corpus littéraire et d’une réflexion sur la particularité et les limites d’une telle expérience. / « To succeed there is only drama ... » This is how Janin advice the Goncourt brothers in December 1851, which quickly directs these young writers to the tricky path of theater and drama. The Journal des Goncourt tells for forty-five years the tumultuous relation of the writers of Henriette Maréchal with the stage. However, the drama of Edmond and Jules de Goncourt is little studied and rarely attracts editors. The absence of any modern edition of their work is a proof to that. This work suggests an electronic version of four plays written by the Goncourt: two original works signed by the broth-ers themselves: Henriette Maréchal (1865) and La Patrie en Danger (1889) and two ad-aptations of novels by Edmond de Goncourt: Germinie Lacerteux (1888) and Manette Salomon (1896).It is both a critical edition enriched by notes and fact sheets, lexical and bio-graphical. That is an interactive space where researchers could both draw resources for the dramatic experience of the Goncourt brothers and complete texts and notes attached to this issue, and finally an illustration of the contribution of new technologies to the edition and study of literary texts. It is a computer-based research of a literary corpus and a reflection on the particularity and the limits of such an experiment.

No description available.

Thesis (M.F.A.), Design--University of Central Oklahoma, 2008. / Includes bibliographical references (leaves 64-68).

Consacrée à l’analyse comparée du Cid (1661) et de La Parodie du Cid (1972), cette thèse porte sur la « relation critique » qui a été établie par le biais de la parodie entre les deux textes. Empruntée à Daniel Sangsue, l’expression met en évidence le fait que la réécriture parodique d’une œuvre n’est pas seulement un exercice de divertissement, mais une manière de réaliser une critique de l’intérieur, dont le résultat n’est pas une étude analytique, mais un texte littéraire. Néanmoins, si la parodie ne se limite pas à faire rire, elle se construit, certes, en contraste avec le texte parodié – le comique étant un élément fondamental de cette relation. Comme, de 1941 à 1972, la PDC a subi des modifications, une analyse comparée des versions est aussi devenue impérative pour notre étude. Dans ce cas, nous avons évalué si les changements effectués par le parodiste au fil des années ont contribué à une lisibilité accrue de la pièce et à son adaptation à un public changeant. Écrite en Algérie française et en pataouète, la PDC a exigé également une mise en place des enjeux spécifiques de la pièce et de son époque. C’est pour cela que les rapports entre colonie et métropole aussi qu’entre les différents composants de l’ordre colonial sont ici convoqués et problématisés. Notre hypothèse est que la PDC est – selon une formulation de Sangsue – une « critique en acte», puisque se rapprochant du modèle cornélien, Brua prend aussi ses distances, produisant un texte nouveau. / Devoted to a comparative analysis of Le Cid (1661) and La Parodie du Cid (1972), this thesis focuses on the "critical relationship" that has been established through parody between the two texts. Borrowed from Daniel Sangsue, the concept of parody highlights the fact that the parodic rewriting of a text is not merely an exercise for entertainment, but a way of performing a critique from within, the result of which is not an analytical study, but a literary text. Nevertheless, if the parody is not limited to making people laugh, it is certainly built in contrast with the parodied text - the comic being a fundamental element of this relationship. As the PDC underwent changes between 1941 and 1972, a comparative analysis of the versions of the play also became imperative for our study. In this case, we assessed whether the changes made by the parodist over the years contributed to the increased readability of the play and its adaptation to a changing audience. Written in French Algeria and in Pataouète, the PDC also required a set of the specific issues of the play and its time. This is why the relationship between the colony and metropolis as well as between the different components of the colonial order is summoned and problematized here. Our hypothesis is that PDC is – according to a formulation of Sangsue – a "critique in act", since approaching the Cornelian model, Brua also distances himself, producing a new text.

The second edition of Shakespeare's sonnets, titled Poems: Written by Wil. Shake-Speare, Gent, and published by stationer John Benson in 1640, was a text typical of its time. In an effort to update the old-fashioned sonnet sequence in which its contents had first reached print, the compiler or editor of the Bensonian version rearranged the poems from the earlier quarto text, adding titles and other texts thought to have been written by or about the sonnets' author. The immediate reception of the 1640 Poems was a quiet one, but the volume's contents and structure served as the foundation for more than half of the editions of Shakespeare's sonnets produced in the eighteenth century. In part due to the textual instability created by the presence of two disparate arrangements of the collection, Shakespeare's sonnets served only as supplements to the preferred Shakespearean canon from 1709 to 1790. When, at the end of the century, the sonnets finally entered the canon in Edmond Malone's groundbreaking edition of the plays and poems together, Benson's version was quickly overshadowed by the earlier text, which was preferred as both more authorial and, due to Malone's careful critical readings, autobiographical. In contrast to the many scholars since Malone who have overlooked or denigrated the Poems of 1640, this thesis studies the second edition of Shakespeare's sonnets within the framework of the early modern culture that produced it, arguing that Benson's edition provides valuable evidence about the editorial habits and literary preferences of the individuals and culture for which it was originally intended.

Au moment où la prostitution semble exploser dans les villes, la fille des rues envahit la littérature de la seconde moitié du XIXe siècle. Cette héroïne nouvelle acquiert bien vite le premier rôle de ce qui devient un sous-genre romanesque à part entière, le « roman de fille », dont on mettra en évidence la structure et les motifs privilégiés. Un détour par les discours médicaux, moraux et sociaux du temps sur la femme et la prostituée nous permettra de mieux appréhender le fonctionnement et les significations multiples que ce personnage revêt en littérature. Figure du manque et de la dépossession, la prostituée interroge la vision masculine du féminin, mais elle traduit aussi les inquiétudes des contemporains face aux nombreuses mutations sociales, économiques et politiques du siècle ; elle se fait le reflet d’angoisses existentielles sur le rapport au corps, aux autres et à la mort, ainsi que le lieu privilégié de réflexions artistiques et esthétiques / While prostitution was exploding within the cities, the character of the prostitute flourished in the second part of the nineteenth-Century literature. This new heroine quickly gets the leading part in a soon-To-Be proper literary fictional sub-genre, the “prostitute novel”, whose structure and motifs will be pointed out in our research. We will evoke medical, moral and social discourses about women and prostitutes in the 19th century in order to grasp the numerous roles this character can assume in literature. As a protagonist of the loss and deprivation, the prostitute questions the masculine vision of women, but she also embodies her time’s worries about the multiple social, economical and political transformations happening. She also holds a mirror to existential anxieties about the relationship to the Body, the Other and Death, and appears to be a privileged character for artistic and aesthetic considerations