Guillaume Apollinaire est incontestablement l’un des poètes français les plus célèbres du XXe siècle. Celui qui a participé aux mouvements d’avant-garde et écrit des poèmes comme «Le Pont Mirabeau» et «La Chanson du Mal-Aimé», s’est pourtant livré à une autre activité littéraire moins connue du grand public. En effet, la «prose d’imagination»—contes et romans—de l’écrivain est conçue dans les règles de «l’esprit nouveau», et selon une poétique de « la surprise » qui caractérise aussi ses vers. Friand de curiosa et de bizarreries de toutes sortes, le prosateur Apollinaire manifeste une prédilection pour les hérétiques, les aventuriers, les maniaques, les poètes disgracieux et les artistes originaux. Il n’a pas peur d’aborder des sujets étonnants, voire hétérodoxes, à la recherche du renouvellement esthétique. Cette écriture très particulière peut s’inscrire dans une certaine lignée de la littérature, parmi les genres et les ouvrages des auteurs voués à ce qui est fantastique, mystérieux, anticlérical ou subversif. Comme la vie et l’œuvre sont inséparables dans le monde apollinarien, il est naturel que la curiosité et le goût du bizarre de l’écrivain laissent des empreintes dans sa bibliothèque personnelle, ses agendas et dans ses chroniques anecdotiques. Et c’est effectivement dans le domaine du journalisme que se trouvent maintes «authentiques faussetés» d’un Apollinaire conteur, qui excelle à mêler le réel et l’imaginaire. Une telle tendance fusionnelle se traduit aussi par le mélange des genres artistiques et littéraires dans sa fiction, laquelle témoigne d’une volonté d’inventer au-delà de certains «modèles», de créer une nouvelle esthétique libre de contraintes formelles, tout en restant fidèle aux principes défendus par le poète Guillaume Apollinaire. / Guillaume Apollinaire is undoubtedly one of the most famous French poets of the twentieth century. However, apart from being a key figure in the early avant-garde movements and the author of The Mirabeau Bridge (“Le Pont Mirabeau“) and The Song of the Ill-Beloved (“La Chanson du Mal-Aimé“), the poet played another literary role less known to the public today. In fact, the “imaginative prose” (“la prose d’imagination“)—short stories and novels—of Apollinaire was written in the spirit of “l’esprit nouveau“ and in accordance with a poetics of “surprise“ which also shaped his poetry. Being an avid reader of curiosa and other unusual texts, the prosateur Apollinaire had a predilection for heretics, rogues, maniacs, ungraceful poets and eccentric artists. He was not afraid to write about shocking or unconventional subjects while aiming for aesthetic renewal. This very distinctive fiction writing belongs probably to a certain tradition in literature, where Apollinaire and some of his works remain among the genres and the authors who devoted themselves to fantastic tales, mysteries, anticlerical stories or other subversive texts. Since worldly experience and literary enterprise are inseparable in Apollinaire’s world, it is natural to notice many signs of the writer’s curiosity and his taste for the bizarre in his private library, his journals and his magazine columns. In fact, a large number of the so-called “true falsities“ (“authentiques faussetés“)—a term invented by Apollinaire himself who, as a brilliant raconteur, excelled in mixing reality with fantasy—can actually be found in the writer’s journalistic writing. As for his work of fiction, a similar tendency for mixing also reveals itself in the fusion of different artistic and literary genres. The “imaginative prose“ shows the author’s will to invent out of some existing “frameworks“, to create a new aesthetic free of genre constraints, while remaining faithful to the principles defended by the poet Guillaume Apollinaire.

This research investigates the Neo-Baroque aesthetic of excess in contemporary South African art, and explores reasons for the emergence of this style. It investigates artists who use their bodies as a site of resistance, to contest or reconstruct the dominant social values which establish differences between bodies to place them within the marginal position of ‘Other’. This investigation relates to post-colonial concerns. The artists’ exploitation of the Neo-Baroque aesthetic of excess as a comment on social concerns reveals a sense of crisis within South African society, similar to the conditions from which the seventeenth century Baroque style evolved. Neo-Baroque aesthetics of excess manifest in a variety of ways, and are particularly evident when artists transgress social boundaries placed on the body through abject and erotic associations. Excess ultimately arises from complexity, as hybrid art forms are created from the combination of media and content found within the art work. / Dissertation (MA)--University of Pretoria, 2012. / Visual Arts / unrestricted

This thesis is based on the belief that representations of women in contemporary Ugandan art serve cultural and political purposes. The premise is that the autonomous woman (seen as the new woman in this study), emerging in Uganda in the mid-1980s, agitated for the social, economic and political emancipation of women in Uganda. It has been demonstrated that the patriarchy attempted to subordinate, confine and regulate this new woman. The press, drama, music and film became powerful tools to force her into silence. This study posits that contemporary Ugandan art was part of this cultural discourse. Adopting a feminist art historical stance, it examines and assesses the gendered content of Uganda’s contemporary art masked as aesthetics. On the one hand, the study exposes the view that some men artists in Uganda use their works to construct men’s power and superiority as the necessary ingredients of gender difference. I demonstrate that some artists have engaged themes through which they have constructed women as being materialistic, gold-diggers, erotic and domesticated. I argue that this has been a strategy to tame Uganda’s new woman. On the other hand, the thesis attempts to show that some women artists have used visual discourse to challenge their marginalisation and to reclaim their ‘agency’ while revising some negative stereotypes about the new woman. This study makes an interdisciplinary contribution to Uganda’s art history, cultural studies and gender studies. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Art History)

Ce mémoire de maitrise se penche précisément sur une des caractéristiques de la culture du viol, soit l’érotisation des violences sexuelles. Il cherche à démontrer la présence de stratégies formelles et narratives érotisantes dans les scènes d’agressions sexuelles de longs métrages de fiction québécois des années 1960 à aujourd’hui et par le fait même, il étudie le fonctionnement du processus cinématographique d’érotisation. Afin de bien mener cette recherche, les agressions sexuelles, la culture du viol et l’érotisme font l’objet d’un exercice de définition. Le premier chapitre s’intéresse à la conceptualisation de l’érotisme, ce qui permet de circonscrire des stratégies formelles et narratives pertinentes à l’analyse de nos objets d’étude. Nous y détaillons les caractéristiques du cinéma érotique et du cinéma pornographique puisqu’elles participent au processus d’érotisation. Également, nous nous attardons sur la théorie des regards, notamment sur le male gaze, le female gaze et notre proposition de regard déplacé, puisqu’elle occupe une place prépondérante dans la définition de l’érotisme à l’écran. Le deuxième chapitre est consacré à l’analyse formelle et narrative de Gina (Denys Arcand, 1975) tandis que le troisième chapitre se concentre sur les études de La Rivière sans repos (Marie-Hélène Cousineau et Madeline Ivalu, 2019) et du cas limitrophe d’Elles étaient cinq (Ghislaine Côté, 2004) qui précise et nuance l’opposition entre l’érotisation et la non-érotisation des représentations d’agressions sexuelles. Ces analyses filmiques détaillées sont supplémentées de tableaux analysant 30 longs métrages. / This master’s thesis examines one of the rape culture characteristics, namely the eroticization of sexual violence. It seeks to demonstrate the presence of eroticizing formal and narrative strategies in scenes of sexual assault in Quebec feature films from the 1960s to the present. In doing so, it explores the functioning of the cinematic process of eroticization. To properly conduct this research, we define the concepts of eroticism, rape culture and sexual assault. The first chapter focuses on the conceptualization of eroticism, which allows us to determine formal and narrative strategies relevant to our objects of study analysis. Notably, we detail the characteristics of erotic cinema and pornographic cinema since they are all part of the eroticization process. Also, we elaborate on the gaze theory since it occupies a dominating place in the definition of cinematic eroticism, particularly on the male gaze, the female gaze, and our proposal of regard déplacé. The second chapter is dedicated to the formal and narrative analysis of Gina (Denys Arcand, 1975) while the third chapter focuses on the studies of La Rivière sans repos (Marie-Hélène Cousineau and Madeline Ivalu, 2019) and of the bordering case of Elles étaient cinq (Ghislaine Côté, 2004) which clarifies and nuances the opposition between the eroticization and non-eroticization of sexual assault representations. These film analyses are enriched by analytical grids covering 30 movies.

Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts & Musicology / M.A. (Visual Arts)

Dans le cadre d’une étude comparatiste, ce travail vise à analyser, en les rapprochant pour la première fois, les univers créatifs de l’écrivain italien Dino Buzzati (1906 – 1972) et de son confrère français Claude Louis-Combet (1932 –), selon la dualité chair et âme, qui est une constante de leur oeuvre respective. Les deux auteurs, par le biais de l’autobiographie romancée, de la réélaboration mythique, comme d’une vision originale de l’art figuratif, ont exprimé une sensibilité et un imaginaire étonnamment proches. Ils auront été accompagnés par des figures légendaires et des amis artistes, afin de guider le lecteur vers la dimension fantasmatique et mystique de son inconscient. / As part of a comparative study, this work aims to analyze, by bringing them together for the first time, the creative worlds of the Italian writer Dino Buzzati (1906 – 1972) and his French colleague Claude Louis-Combet (1932 –), according to the flesh and soul duality, which is a constant in their works. Both authors, through the fictionalized autobiography, the mythology reworking, as an original vision of figurative art, expressed sensitivity and imagination surprisingly close. They have been accompanied by legendary figures and fellow artists, to guide the reader into the mystical and fantasy dimension of his unconscious.

Made available in DSpace on 2016-04-28T19:59:14Z (GMT). No. of bitstreams: 1 Fabio Alessandro Somenci.pdf: 479433 bytes, checksum: 0b8a547c86dc3f04a242505e47c8876d (MD5) Previous issue date: 2008-11-26 / Secretaria da Educação do Estado de São Paulo / This dissertation has as initial aim to develop a study about the loving poetry of Fernando Pessoa himself, of the heteronimous Alberto Caeiro, Ricardo Reis and Álvaro de Campos, as well as to evidence the place occupied by the love theme in his work, despite of being little studied by the majority of researches of pessoa s poetic aventure. Initiating with the exposition of the significant aspects of the poetic production of the author himself and of the heteronimous, and passing, posteriously, to the presentation of a synthetic reflection of the theories about love (Eros) and the eroticism, developed by Plato and Georges Bataille, respectivily; the present study culminates with the analysis of representative poems for the comprehension of the theme. Having as a central hub the work with the language accomplished by Fernando Pessoa, this research aims to demonstrate the importance of the loving theme in his poetry, as well as its indissociability with the entirety of the work or heteronimic context that it belongs to. Considering the fact that the love is a strenght that joins the individuals by corporeal means leading them to the reproduction of bodies or animicus, leading them to the reproduction of ideas, but being, in both cases, an experience that leads to the improvement of the being, this study attempts to verify its form of presentation in the poetry of Pessoa and its relation with other poetic themes. Based on the analysis of the work through the perspective of the love theme, this research also desires to demonstrate how the eroticism is strictly connected with the poetry, through its corporeality, meanings and sensations that evokes, by means of sound, ceremony, representation or imagination. Besides, there is an intimate relation of the poetry with the words and of the eroticism with the bodies; the first interrupts the simple communication and the second, the reproduction / Esta dissertação tem como proposta inicial desenvolver um estudo sobre a poesia amorosa de Fernando Pessoa ele-mesmo, dos heterônimos Alberto Caeiro, Ricardo Reis e Álvaro de Campos, bem como evidenciar o lugar ocupado pelo tema do amor em sua obra, apesar de pouco estudado pela grande maioria dos estudiosos da aventura poética pessoana. Iniciando com a exposição de traços marcantes da produção poética do autor ele-mesmo e dos heterônimos, passa, posteriormente, a dedicar-se à apresentação de uma reflexão sintética das teorias sobre o amor (Eros) e o erotismo, desenvolvidas por Platão e Georges Bataille, respectivamente; o presente estudo culmina com a análise de poemas representativos para a compreensão do tema. Tendo como eixo central o trabalho realizado com a linguagem por Fernando Pessoa, esta pesquisa visa demonstrar a relevância do tema amoroso em sua poesia, bem como sua indissociabilidade com o conjunto da obra ou contexto heteronímico a que pertence. Considerando-se o fato de o amor ser uma força que une os indivíduos pela via corporal - levando-os à reprodução dos corpos ou anímica, levando-os à reprodução de idéias, mas sendo, em ambos os casos, uma experiência que leva ao aperfeiçoamento do ser, procura-se verificar sua forma de apresentação na poesia pessoana e sua relação com outros temas poéticos. A partir da análise da obra sob o ângulo do tema do Amor, o presente trabalho visa também, demonstrar como o erotismo está estreitamente ligado à poesia, através de sua corporalidade, dos sentidos e das sensações que evoca, seja por meio do som, cerimônia, representação ou imaginação. Além disso, existe uma íntima relação da poesia com as palavras e do erotismo com os corpos; a primeira interrompe a mera comunicação e a segunda, a reprodução

Both Temple and Tomb is a dissertation in two parts. The first part is an examination and analysis of a collection of 'colonial' sculptures on permanent display in the Royal Museum of Central Africa in Tervuren Belgium. The second part is a reflection on the author's own paintings, drawings and film and an examination of the critical potential of these images in challenging the colonial narratives of the RMCA. Part I presents two arguments. The first is that European aesthetic codes have been used to legitimize the conquest of the Congo and to award sanction to a voyeuristic gaze. The second is that the organization of the sculptures of Africans (and European females) into carefully managed spaces and relationships results in the creation of erotically-charged formations that are intended to afford pleasure to male European spectators. Part II examines the strategies used in Re-Turning the Shadows to disrupt (neo)colonial patterns of viewing that have become ritual and 'naturalized'. Against RMCA narratives that pay homage to the objectivity of science and research, the paintings and film present images that explore multiple subjectivities, mythologizing impulses, and metaphoric allusions. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)

Pin-up images have played an important role in American culture, in both their illustrated and photographic configurations. The pin-up is viewed as a significant representational cultural artifact of idealistic and aspirational femininity and of consumerism and material wealth, especially reflective of the mid-twentieth century period in America spanning the 1930s to the 1960s. These images not only reflect great shifts in social mores and women’s social status, but also affected changes in both areas in turn. Furthermore, pin-up images internationally circulated in magazines, advertising and promotional material, contributed to the manner in which America was idealized in Europe and beyond. Crucially, they influenced how an eroticized and glamorous, yet unrealistic, example of femininity came to be generalized as a desirous model of femininity. In recent years there has been vital, though limited, scholarly research into the cultural and social impact of pin-up imagery, to which this thesis adds to. This thesis takes a genealogical approach, charting the development of popular female-centric “pin-up” imagery in America since the 1860s and up to the 1960s, and its resurgence since the 1980s onwards. In doing so this thesis aims to provide a social, political and cultural context to the emergence of a specific archetypal sexualized femininity, with the aim of challenging the tendency to dismiss sexualized imagery as “anti-feminist” or as trivial. Toward that end, I examine the complexity of intentions behind the production of “pin-up” images. In taking this revisionist approach I am better able to conclusively analyze the reasons for the resurgence and reappropriation of pin-up imagery in late-twentieth- and early-twenty-first-century popular culture, and consider what the gendered cultural implications may be.

C’est durant la première moitié du vingtième siècle, c’est en étant contemporain des deux guerres mondiales, dans une France qui se sécularise, que Georges Bataille (1897 – 1962) construit une pensée – profondément nietzschéenne – scandaleuse. Conceptuellement, le corps n’est pas seulement au centre des préoccupations de Bataille, il se pense maintenant dans sa réalité outrancière : l’érotisme, l’ivresse et la souillure. On assiste à une sacralisation des débauches de toutes sortes. Et c’est ainsi que s’opère la singularité philosophique de Bataille puisque ce qui est sacré ne loge plus, selon lui, dans un sublime céleste, dans une divinité ou, en d’autres mots, dans les hauteurs, mais bien dans son exact contraire, c’est-à-dire dans le bas, dans l’excès, dans l’érotisme et dans le sale. Devant cette inversion de l’ordre du monde, ce qui est sacré, c’est la profanation même. C’est pourquoi, à partir de Mary Douglas, j’ai pu relier deux idées qui paraissent contraires : la souillure et le sacré. Ainsi, étant donné que Bataille est aussi écrivain (Sade fut l’une de ses influences majeures), j’ai pu inclure des récits de l’auteur qui illustrent parfaitement ces deux antinomies. C’est d’ailleurs l’un des traits les plus fondamentaux de son œuvre que j’ai aussi soulevé : toute l’œuvre de Bataille est paradoxale et antinomique. C’est justement à partir de ce même constat que j’aborde la question du mysticisme chez Bataille. Mais comme avec la question du sacré, la conception du mysticisme implique une critique implicite du christianisme (opposition du ciel contre la terre, par exemple). Nécessairement, c’est l’instant et son hasard – l’absence de but – qui ouvrent la voie à l’expérience, alors que l’écriture communique son essence tout en la rendant davantage intelligible. De là provient justement, par le caractère arbitraire de l’expérience, l’idée de chance que Bataille établit en diapason avec Nietzsche. À ce sujet, Nietzsche devient très présent dans le mysticisme bataillien, pensons à la figure du surhumain qu’on peut associer à celle de l’homme souverain ou encore à la volonté de puissance qu’on peut relier à celle de la volonté de chance. Dès lors, Bataille met de l’avant une mystique du jeu, celle-ci étant une mise en jeu radicale de soi-même d’où émerge la chance que Bataille évoque et qui n’est rien d’autre que la possibilité de l’expérience même. Somme toute, force est de constater que la fragilisation mentale et physique du mysticisme bataillien cache également un sacrifice de soi au nom de la jouissance, certes, mais aussi au nom du texte. / It was in the first half of contemporary 20th century when France was well secularized that Georges Bataille (1897 - 1962) constructed a scandalous - deeply Nietzschean - thought. The body is then conceptually not only at the center of Bataille's preoccupations, it now thinks of itself through its scandalous reality: eroticism, exhilarating and dirty. We are witnessing a sacralization of debauchery of all kinds and this is how Bataille's philosophical singularity operates. Indeed, a sacred thing does not exist in the sublime sky, in any deity or, in other words, in the heights, but in its exact opposite wich his the low, the excess, the eroticism and the dirty. This inversion in the order of the world is the desecration itself. This is why, with Mary Douglas, I was able to link two ideas that seemed contradictory to me: the dirty and the sacred. Knowing that Bataille is also a writer (Sade is a major influence), I can include a few stories to perfectly illustrate these two opposites. This is one of the most fundamental characteristics of the work I have mentioned: all of Bataille's works are paradoxical and antinomic. It is precisely from this same observation that I approach the question of mysticism in Bataille works. With the question of the sacred, the conception of mysticism involves an implicit critique of Christianity (opposition of sky and earth, for example). It is the instant and its hazard - the absence of purpose - that opens necessarily the way to experience as writing communicates its essence while making it more intelligible. From there precisely, Bataille developed the idea of chance in agreement with Nietzsche. Nietzsche becomes at the same time very present in the conception of the mysticism of Bataille. We can just think about the figure of the superhuman that we can associate with the sovereign man or even the will of power that we can compare to the will of chance. From then on, Bataille puts forward a mystic game, by placing himself in this radical game, from which the luck evoked by Bataille can emerge and which is nothing else than the possibility of experience itself. Finally, it is clear that the mental and physical fragility that are triggered in Bataille mystical experience also hide a form of self-sacrifice in the name of enjoyment but also in the name of the text.