La présente recherche s'attache à mettre en relief l'un des aspects particuliers de l'art : la peinture.Il s'agit, à la suite d'une pratique personnelle cultivée depuis plu¬sieurs années et explorant les relations complexes entre expression plastique et intégration de la lettre écrite, de réfléchir sur l'entité singulière qu'est l'écriture.C'est alors que, conjuguant le travail plastique et le travail de recher¬che, se conduit cette étude dont l'objectif se fonde et se développe autour de la question des rapports texte/image au sein des œuvres peintes traversant et construisant l'ensemble de l'histoire de l'art occidental.En 1924, l'artiste Paul Klee (1879-1940) déclare :" Ecrire et dessiner sont identiques en leur fond " . Un cloisonnement entre les disciplines littéraires et pictu¬rales fait néanmoins foi depuis des siècles et ce malgré l'étymologie commune des ter¬mes " écrire " et " dessiner " formulée à partir du mot grec grapheïn . Mais, au regard des pratiques artistiques menées par les cubistes, tels le po¬choir ou le papier collé, par les futuristes, tel le bouleversement des co¬des de composition et de mise en page, par Dada, telle la destruction du langage, par les surréalistes, telle l'" écriture automatique ", par les lettristes, telle la prise en compte de la singularité de la lettre même, et par l'Art conceptuel envisageant l'écrit comme une matière à l'œuvre, nous voyons que les liens tissés entre le domaine iconique et le domaine textuel se renou¬vellent cons¬tamment et mérite un examen approfondi.Ainsi, notre recherche organise et analyse les différents usages concédés à la lettre par l'univers pictural. Elle met en valeur son intégration, son implication, son évolution et sa résonnance dans le champ visuel. La tra¬duction des modalités plastiques de l'écriture, après l'observation d'œuvres contemporaines comme celles de Jenny Holzer, de Claude Closky ou de Ta¬nia Mouraud, fait émerger l'indice d'une nouvelle organisation actuelle des codes graphiques qui, après le règne de la figuration et celui de l'abstraction en art, explore le graphème comme une matière picturale première et à part entière. Paul KLEE, Théorie de l'art moderne, Gallimard, Paris, (1956), 1998, p. 58. Bruno DUBORGEL, Figures du grapheïn, Publications Universitaires de Saint-Etienne, Saint-Etienne, 2000, pp. 11-12. " Grapheïn... A/ Primitivement, égratigner, écorcher... B/ Par suite, tracer des signes pour écrire ou pour dessiner, d'où : I/ Graver... II/ Ecrire... [...] Le verbe graphô est attesté depuis Homère. Sens : "érafler" (Cf. Iliade 17, 599), tracer, dessiner, écrire, d'où rédiger un décret, etc. ", extraits du Dictionnaire Grec-Français d'André Bailly (16e édition, Hachette, Paris, 1950) et du Dictionnaire étymologique de la langue grecque de Paul Chantraine (Histoire des mots, Klincksieck, Paris, 1968).

Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.

Le présent mémoire cherche à relever, à travers la lecture du texte Le bain de Diane de Pierre Klossowski, les modalités propres au littéraire pour penser les liens entre les concepts d’immanence et de transcendance. Proposant en premier lieu la mise en place des concepts nécessaires à une telle entreprise, je m’attarde à des auteurs tels que Platon, Apulée, Pierre Hadot, Gilles Deleuze et Michel Foucault, ayant contribué à la conception du démon tel qu’il est décrit chez Klossowski, ainsi qu’au concept de simulacre, concept clé de la pensée de l’auteur à l’étude. En retraçant la création et la représentation de ces concepts dans divers textes, pour ensuite les retracer dans Le bain de Diane, je cherche à montrer l’importance de la figuration littéraire dans le rapport complexe que nous entretenons avec les notions de sensible et de suprasensible. / The present thesis seeks to address, in a reading of the text Le bain de Diane by Pierre Klossowski, the specific modalities through which literature aims to understand the complex ties between concepts of 'immanence' and 'transcendence'. To do so, I begin by introducing the concepts necessary for such an undertaking ⎯ reading authors such as Plato, Apuleius, Pierre Hadot, Gilles Deleuze and Michel Foucault, all of whom have contributed to the concept of the 'demon' as described in Klossowski’s work ⎯ and by introducing the concept of 'simulacrum', a key concept in Klossowsi’s writing. By tracing the creation and representation of these concepts in various texts and then identifying them in Le bain de Diane, I attempt to demonstrate the importance of literary figuration in our complex relationship with concepts of the 'sensitive' and the 'suprasensitive'.

La présente étude aborde une œuvre de Théophile Gautier, Arria Marcella, au regard de la thématique de l’imagination créatrice. L’analyse se concentre sur la nouvelle elle-même, mais prend largement en compte aussi l’ensemble des œuvres narratives, et au-delà, du polygraphe – critique d’art, critique dramatique, récit de voyages et dans une moindre mesure poésie. Ce travail s’organise en trois temps : la première partie expose les différentes composantes de la nouvelle, montre la manière dont Gautier organise sa narration à partir d’un matériel intertextuel, et d’un objet transitionnel qui lui permet de mettre en scène l’aventure rétrospective d’un jeune homme du xixe siècle dans l’antiquité, à la rencontre de son idéal féminin. Arria Marcella est d’abord le récit d’un parcours, diurne, puis nocturne ; réel, puis mental. La seconde partie traite de l’imagination créatrice, donc de l’image et de sa restitution fécondante par l’écriture, à travers le travail descriptif d’un regard qui prend position. Il ne s’agit pas de restituer, mais d’enchanter le réel en le passant au révélateur du fantastique, de la survivance et de la figurabilité. La troisième partie analyse Arria Marcella à travers le prisme de lectures complémentaires qui entendent montrer la richesse de l’œuvre, laquelle occupe une position stratégique permettant d’éclairer la production de Gautier dans son ensemble. L’approche procède en trois temps : esthétique ; philosophique, par le biais d’un examen approfondi de la composante platonicienne et néoplatonicienne, fondamentale bien que filtrée, dans Arria Marcella et plus largement dans les œuvres narratives de l’auteur; générique enfin, puisqu’il s’agit de montrer comment la nouvelle pompéienne atteint au Gesamtkunswerk en mêlant les genres créatifs. / The subject of this PhD is a short story by Théophile Gautier, entitled Arria Marcella, as seen through the theme of creative imagination. Although the present dissertation focuses on this particular short story, it also takes into consideration the author’s entire works – fiction, art criticism, travel literature and to a lesser degree, poetry. The 3-part study begins by describing the different sections of the short story, and the way Gautier organized his narration. The story is based on different literary sources and a transitional object (a museum artefact) through which he staged the adventures of a nineteenth-century young man encountering his female ideal in ancient times. Arria Marcella is the story of a walk at daytime then nighttime, in reality and in the character’s mind. The second part deals with creative imagination: image and the way it is transformed and enriched in literature through descriptive work as seen through the writer’s eye. Rather than remaining faithful to reality, it is a matter of enchanting reality through the fantastic genre, survival and figurability. The third part is devoted to an analysis of Arria Marcella through further readings so as to highlight its complexity. Thus, this work, which holds a strategic position among Gautier’s works, can help explain his writings. The viewpoint is threefold: aesthetic, philosophical, through a close examination of the Platonism and Neoplatonism features – essential though filtered, and finally generic since it shows how the Pompeian short story reaches Gesamtkunswerk by combining different creative genres.

Neste trabalho, estudaremos os filmes da trilogia Matrix do ponto de vista da figuração. A análise do tecido narrativo dos filmes objeto desse estudo revela uma série de falhas e inconsistências. Essas falhas expõem alguns dilemas da experiência sob o domínio do capitalismo tardio. As zonas de ambigüidade e indefinição que identificamos em Matrix nos orientaram a pensar essa obra cinematográfica como um esforço cognitivo mal resolvido. Essa é a epistemologia travada de Matrix, que será estudada não como uma simples falha de diagnóstico resultante da falta de lucidez cognitiva dos criadores da série, mas sim como um exemplar significativo da exposição de limites da figuração histórica. / In this work, we are going to study the Matrix trilogy from the perspective of figuration. The analysis of the narrative fabric of these movies reveals many failures and inconsistencies. Such failures expose some dilemmas of the experience under the domain of late capitalism. The ambiguity and indetermination zones which we identified in Matrix have led us to think these movies to be an unsolved cognitive effort. This is the jammed epistemology of Matrix, which is going to be analyzed not as a simple diagnosis failure due to the movies\' creator\'s lack of cognitive lucidity, but as a significant example of the exposition of the limits of historical figuration.

Este trabalho se propõe a analisar os modos de leitura de Operación Masacre (1957), de Rodolfo Walsh (1927-1977), e de seus textos prévios publicadas no jornal Revolución Nacional, nos dias 15 de janeiro e 29 de janeiro de 1957. A dissertação analisa as formas como foram lidas as antecipações do livro (em geral como denúncias, notícias e reportagens), concluindo que as nomenclaturas utilizadas não fazem jus às técnicas (fundamentalmente ficcionais) e aos procedimentos manipulados por Walsh nesse jornal. Quanto ao livro, a dissertação demonstra como a crítica acadêmica o considerou basicamente como Testemunho (Rama, 1976; Piglia, 1987; Viñas, 1996) e/ou como Não-ficção (Sánchez, 1992; Bocchino, 2004; 2007). A partir dessas leituras, a dissertação estuda como o gênero Não-ficção usa-se de técnicas do Realismo, enquanto o Testemunho rechaça tais técnicas em nome do caráter irrepresentável da experiência traumática. Diante de tais considerações, a dissertação compara as estratégias de Walsh para retratar as cenas de violência com as de outras obras dos gêneros Testemunho e Não-ficção. Assim, mediante as análises das técnicas de cada gênero, o trabalho conclui que, igualmente ao que acontecia nos textos prévios publicados no jornal, Walsh compõe a narrativa do livro por meio de técnicas ficcionais, sobretudo a autofiguração autoral, que constitui o principal assentamento de sua verossimilhança. / This study aims at analyzing the modes of reading Operación Masacre (1957), from Rodolfo Walsh (1927-1977) and his previous texts published in the newspaper Revolución Nacional on January 15th and January 29th in 1957. The dissertation analyzes the modes in which anticipations of the book were read (generally as denunciations, news and reportings), concluding that the nomenclatures used do not do justice to the procedures and techniques (fundamentally fictional) used by Walsh in that newspaper. With regard to the book, the dissertation demonstrates how the academic criticism considered it basically as a Testimony (Rama,1976; Piglia, 1987; Viñas,1996) and/or as Non-fiction (Sánchez,1992; Bocchino, 2004; 2007). From these readings, the dissertation examines how the Non-fiction genre uses techniques from Realism, while the Testimony rejects those techniques in the name of the unrepresentable nature of the traumatic experience. Based on these considerations, the dissertation compares the strategies of Walsh to depict the scenes of violence to the strategies of other works of the Testimony and Non-fiction genres. Thus, through the analysis of the techniques in each genre, this work comes to the conclusion that, similarly to what happened in the previous texts published in the newspaper, Walsh composes the narrative of the book with fictional techniques, mainly the authorial self-figuration, which constitutes the main registration of its verisimilitude.

Este trabalho se propõe a analisar os modos de leitura de Operación Masacre (1957), de Rodolfo Walsh (1927-1977), e de seus textos prévios publicadas no jornal Revolución Nacional, nos dias 15 de janeiro e 29 de janeiro de 1957. A dissertação analisa as formas como foram lidas as antecipações do livro (em geral como denúncias, notícias e reportagens), concluindo que as nomenclaturas utilizadas não fazem jus às técnicas (fundamentalmente ficcionais) e aos procedimentos manipulados por Walsh nesse jornal. Quanto ao livro, a dissertação demonstra como a crítica acadêmica o considerou basicamente como Testemunho (Rama, 1976; Piglia, 1987; Viñas, 1996) e/ou como Não-ficção (Sánchez, 1992; Bocchino, 2004; 2007). A partir dessas leituras, a dissertação estuda como o gênero Não-ficção usa-se de técnicas do Realismo, enquanto o Testemunho rechaça tais técnicas em nome do caráter irrepresentável da experiência traumática. Diante de tais considerações, a dissertação compara as estratégias de Walsh para retratar as cenas de violência com as de outras obras dos gêneros Testemunho e Não-ficção. Assim, mediante as análises das técnicas de cada gênero, o trabalho conclui que, igualmente ao que acontecia nos textos prévios publicados no jornal, Walsh compõe a narrativa do livro por meio de técnicas ficcionais, sobretudo a autofiguração autoral, que constitui o principal assentamento de sua verossimilhança. / This study aims at analyzing the modes of reading Operación Masacre (1957), from Rodolfo Walsh (1927-1977) and his previous texts published in the newspaper Revolución Nacional on January 15th and January 29th in 1957. The dissertation analyzes the modes in which anticipations of the book were read (generally as denunciations, news and reportings), concluding that the nomenclatures used do not do justice to the procedures and techniques (fundamentally fictional) used by Walsh in that newspaper. With regard to the book, the dissertation demonstrates how the academic criticism considered it basically as a Testimony (Rama,1976; Piglia, 1987; Viñas,1996) and/or as Non-fiction (Sánchez,1992; Bocchino, 2004; 2007). From these readings, the dissertation examines how the Non-fiction genre uses techniques from Realism, while the Testimony rejects those techniques in the name of the unrepresentable nature of the traumatic experience. Based on these considerations, the dissertation compares the strategies of Walsh to depict the scenes of violence to the strategies of other works of the Testimony and Non-fiction genres. Thus, through the analysis of the techniques in each genre, this work comes to the conclusion that, similarly to what happened in the previous texts published in the newspaper, Walsh composes the narrative of the book with fictional techniques, mainly the authorial self-figuration, which constitutes the main registration of its verisimilitude.

L'efficience fondamentale, i.e. l'efficience comprise comme conformité de la valorisation par les marchés financiers à la valeur fondamentale des titres est en tant que telle peu testée. Notre recherche vise à renouveler ses modes de test en se basant sur une conception constructiviste de la valeur fondamentale. Ce renouvellement, axé sur l'adoption d'un point de vue d'investi, est mis en oeuvre sur 4 cas de sociétés cotées françaises sur une période de 3 ans. La première partie de la thèse est consacrée à l'identification des acteurs les plus légitimés de ce type d'expression publique. Elle montre que ce sont les analystes financiers sell-side. La deuxième partie étudie la relation entre l'estimation publique de la valeur fondamentale par ces acteurs et l'évolution des cours. Elle aboutit au constat d'une estimation fortement dépendante de la dynamique du marché. La troisième partie apporte des éléments d'explication de ce constat en présentant sous la forme d'une configuration le mode d'interdépendance dans lequel s'inscrivent à la fois les analystes, les investisseurs et d'autres acteurs. / Fundamental efficiency, i.e. efficiency understood as the fact financial asset prices reflect their intrinsic value is as such rarely tested. Our research aims at a renewal of its test modes based on a constructivist conception of intrinsic value. This renewal, centered on an investee’s point of view, is implemented on 4 cases of French listed firms on a 3-year period. The first part of the thesis is devoted to the identification of the most recognized actors of this kind of public expression. It shows these are the sell-side financial analysts. The second part studies the relationship between the public appraisal of intrinsic value by these actors and stock price changes. It establishes this appraisal heavily depends on market dynamics. The third part tries to explain this by displaying as a figuration the interdependence mode in which analysts, investors and other actors are all involved.

Submitted by Angela Maria de Oliveira (amolivei@uepg.br) on 2018-05-09T11:25:04Z No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Thiago Bittencourt.pdf: 996185 bytes, checksum: e2ebd21348b6e3e4c52279439d12241c (MD5) / Made available in DSpace on 2018-05-09T11:25:04Z (GMT). No. of bitstreams: 2 license_rdf: 811 bytes, checksum: e39d27027a6cc9cb039ad269a5db8e34 (MD5) Thiago Bittencourt.pdf: 996185 bytes, checksum: e2ebd21348b6e3e4c52279439d12241c (MD5) Previous issue date: 2018-03-23 / Este é um trabalho dedicado a analisar o romance A última quimera de Ana Miranda, com objetivo principal de investigar como ocorre a figuração de dois escritores personagens na narrativa, os poetas Augusto dos Anjos e Olavo Bilac. A partir de então, compreender como se dá a reconstrução de um momento da história da literatura, pelo qual evidenciamos a manifestação de pensamentos críticos sobre as poesias desses dois escritores e sobre a própria história literária que se formava na época. Nesse percurso, nos propomos a conferir outras produções romanescas da autora que também apresentam escritores como personagens. Buscamos saber o que a crítica acadêmica defende sobre a obra em questão e entender o motivo do crescente interesse pela ficcionalização de escritores reconhecidos pelo cânone literário. Para tanto, consultamos dois estudiosos que já se dedicaram a investigar algumas produções literárias como essas: a pesquisadora Leyla Perrone-Moisés e o crítico Carlos Reis. / This is a work dedicated to analyze the novel A última quimera (The last chimera) by Ana Miranda, with main objective to investigate how two characters writers figuration in the narrative, the poets Augusto dos Anjos and Olavo Bilac. From then on, understand how the reconstruction of a moment in the history of literature, by which showed the expression of critical thinking about the poems of these two writers and about own literary history that was formed at the time. In this way, we are dedicated to check others literary works of the same author who also present writers as characters. We seek to see what the academic criticism argues about the novel in question and know the reason for the growing interest in fictionalization of writers recognized by the literary canon. To this end, we consulted two scholars who have dedicated to investigate some literary productions as these: the researcher Leyla Perrone-Moisés and the critic Carlos Reis.

Qu'est-ce qu'une tête? C'est à cette question que Marwan (né à Damas en 1934, habitant à Berlin depuis 1957) s'est confronté dans sa démarche artistique, en commençant par la figure humaine et en passant par le visage. Si ce dernier, traité horizontalement, est reconnaissable dans ses traits, la tête, effigie verticale, s'efface. Les deux motifs jouent au caché-voilé, deviennent paysages et viennent à la rencontre. Le présent travail qui s'appuie sur la biographie et sur une étude transculturelle, questionne le visage dans son œuvre depuis 1964. L'accès à sa problématique picturale a été rendu possible grâce aux sources premières : dessins préparatoires, écrits et entretiens avec l'artiste, qui ont permis d'enrichir la recherche en abordant des aspects anthropologiques aussi bien que plastiques. Nourri de la double culture orientale et occidentale, Marwan participe au questionnement du visage humain dans ses métamorphoses par rapport à l'absence, à l'inanimé, au voilement-dévoilement, au même et à l'autre, au singulier et à l'universel. / What is a head ? This is the question that Marwan (born in Damascus in 1934, residing in Berlin since 1957) has confronted in his artistic approach, starting from the human figure and passing through to the face. If the latter, treated horizontally, is recognizable in its features, the head, vertical effigy, fades. The two patterns play between being hidden and masked, at times blending into landscapes and merging together.This research, built from biographical and cross-cultural study, questions the subject of the face in his work since 1964. The accessibility to his complex pictorial was made possible from primary sources: preparatory drawings, writings and interviews with the artist. These sources have led to the study of anthropological themes and plastics, which have further enriched the research of his artistic approach.The fusion of the Eastern and Western cultures have driven Marwan's questioning of the human face and its metamorphosis in relation to absence, to the inanimate, to veiling-unveiling, to the same and the other, to the singular and the universal.