Dans Offices, Mallarmé érige en modèle esthétique la figuration liturgique, dont les gestes stylisés indiquent l'invisible, ce "soi" qui est dieu et qui, se tenant en retrait au tréfonds de l'intimité humaine, ne peut être saisi dans les formes courantes de la rationalité et de la vie sociale, d'où la triple métaphore symboliste de la séparation : hermétisme, aristocratie, élection. Le geste liturgie du poème opère une soustraction : il retranche du réel un temps et un espace sacrés, cercle magique que sont l'ile de prose, la vitre des fenêtres ou chez Yeats une étreinte rêvée, métaphore d'un éden fictif où les choses sont restituées à leur virginité, ou se produit une idéalisation du monde qui permette sa superposition avec le ciel intérieur de l'âme. Dans cette fête qu'est le poème, le geste réactualise le jaillissement premier du monde, fait surgir une enfance fictive de la terre, annule les conséquences de la chute réinterprétée comme la distance qui sépare la réalité du rêve, ressaisit le soi originaire dans le mythe pour raviver symboliquement la banalité, il sacre et glorifie. l'idéalisation liturgie et poétique exige une double forme d'abstraction, dématérialisant et schématisant, éclairée à la lumière de la théorie kantienne du schème comme instrument de passage et de participation, dans les deux sens, du matériel au spirituel, du concret à l'abstrait, du visible, comme instrument de suggestion indirecte et de figuration mythique. Le geste poétique volatilise les êtres pour libérer une forme schématique, idéale, susceptible de coïncider avec les "rythmes essentiels" du soi, de sorte qu'advienne une correspondance symbolique entre le réel et ce que rêve en l'homme sa part métaphoriquement divine en tant que créative et récréative. Sont étudies chez les trois auteurs, dans cette perspective de l'abstraction mythique et liturgie suggérée par Mallarmé, plusieurs figures ainsi que deux schèmes essentiels de leur poésie : le schème baptismal et celui du néant irradiant, qui visent à produire une restauration de l'être sans sa splendeur originelle.

This thesis explores how art produced in the former GDR has been looked upon, handled and exhibited after the reunification of Germany in 1990. Swedish Art History has paid little attention to art in the GDR. The debate starting in the 50s between the spokesmen for abstract art and the defenders of figuration restrained for a long period the ability to look upon art from the GDR without prejudices. This led to a rejection of all figurative art in the GDR and sweeping judgmental attitudes, like it´s all “kitsch”. Comparatively few artists in the GDR however, painted in the style prescribed by political leaders. An open issue in this study was, against background: Has GDR art gained in interest and respectability?    This study focuses on two exhibitions The Divided Heaven in Neue Nationalgalerie, Berlin and an exhibition in Kalmar konstmuseum, Sweden, named Maintaining the Order of Things – the Aesthetic of Modernism in Commercialism, Nationalism, Elitism and Socialism, 2011. The exhibitions have been analyzed along several dimensions: The number of works from the GDR, strategies for hanging them, the presentation of the exhibitions in information brochures and the homepage of the museums. Descriptions of the works give information on typical motives in the GDR over time and some information as regards the artists. The way the building has supported visitors in experiencing an exhibition has been considered and its importance as an institution.     The study of the two exhibitions illustrates two different strategies for showing art from the GDR, in contrast or integrated. The Swedish exhibition which primarily exposed paintings from the 60 s focused on comparing GDR paintings and the Swedish sketches on commissioned  etchings on vases from Orrefors glassworks.  The German exhibition exposed GDR art together with art from other countries, along thematic lines.     The study indicates an increasing interest in the art from the GDR, which is confirmed by the great number of exhibitions 2012.  Also projects researching the art from this period in German history and the construction of a new museum for it supports the idea that interest in and respect for art produced in the former GDR is gradually established. This increased interest has not yet included the officially promoted style – Socialist Realism. / <p>Vid den elektroniska publiceringen har två bilder tagits bort från den ursprungliga versionen av upphovsrättsliga skäl, bild 21 och 26.</p>

Zugl.: Giessen, Univ., Diss.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

O Estudo de Caso é um método comumente utilizado nas pesquisas psicológicas e psiquiátricas. Freud, ao fundar a psicanálise, seguiu o mesmo modelo, apresentando estudos de caso a partir de tratamentos psicanalíticos ou de documentos escritos, embora ele oferecesse uma ligação íntima entre os sintomas observados e a história do sofrimento dos pacientes. Desenvolvendo um tipo específico de intervenção psicanalítica chamada ‘construção’, Fédida propõe a ‘Construção do Caso’, a qual está vinculada à supervisão do caso atendido. Ao examinar aspectos como a memória em psicanálise, a ficção, o dispositivo ‘Traço do Caso’, o autor desta Tese estuda o recolhimento dos dados pelo analistapesquisador e sua conseqüente transformação em caso metapsicológico a ser publicado. O estudo baseia-se na leitura das “Memórias de um Doente dos Nervos”, de Daniel Paul Schreber, nas “Notas Psicanalíticas sobre um Relato Autobiográfico de um Caso de Paranóia (Dementia Paranoides)”, de Sigmund Freud, e nas contribuições de Jacques Lacan em ‘De uma Questão Preliminar a Todo Tratamento Possível da Psicose’. O autor propõe considerar a ‘Construção Metapsicológica de Caso’ como um método de escritura do caso em sua vertente ficcional, o qual parte da figuração trazida pelo paciente em tratamento, recebendo, do psicanalista, uma transfiguração que garanta a sua inteligibilidade. Para o autor, o caso publicado é sempre do analista. / Case Study is a common method used in psychological and psychiatric research. Freud, when creating Psychoanalysis, followed this model and presented case studies from psychoanalytic treatments or written papers, but offering an close connection between the observed symptoms and the history of the patients sufferings. Developing an specific type of psychoanalytic intervention called “construction”, Fédida proposes a “Case construction” that is related to a supervision of the case under treatment. When analyzing in Psychoanalysis such issues as memory, fiction, the “trait of the case” device, the author of this Thesis studies the data collection by the analyst-researcher and its subsequent transformation in a meta-psychological case to be published. The study is based in readings of Daniel Paul Schreber’s “Memories of my nervous illness”, in Sigmund Freud’s “Psycho-Analytic notes upon an autobiographical account of a case of paranoia (Dementia paranoides)” and in Jacques Lacan’s contributions in “A preliminary question about any possible treatment of psychosis”. The author suggests the consideration of a “Metapsychological Case Construction” as a writing method for the case in its fictional side, that departing from the figuration brought by the patient to the treatment, receives a transfiguration of the fantasy from the psychoanalyst which guaranties its intelligibility. For the author, the published case always belongs to the analyst.

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.

Submitted by isabela.moljf@hotmail.com (isabela.moljf@hotmail.com) on 2016-08-04T19:17:16Z No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d79804b53 (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2016-08-05T11:52:14Z (GMT) No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d79804b53 (MD5) / Made available in DSpace on 2016-08-05T11:52:14Z (GMT). No. of bitstreams: 1 beatrizpinheirodecampos.pdf: 34924654 bytes, checksum: 5922820685f778576f36653d79804b53 (MD5) Previous issue date: 2013-07-03 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O presente trabalho propõe uma leitura comparada dos textos críticos de Quirino Campofiorito e Mário Pedrosa e tem o intuito de abranger a área de estudo da História da Crítica de Arte, bem como propor novos olhares para a produção da crítica de arte brasileira . Os textos aqui analisados datam do final da década de 1940 até o final da década de 1960. Os temas estudados vão desde a função da crítica de arte segundo os críticos, passando pela questão da pintura de paisagem, as questões da arte bruta, ou a arte dos “loucos”, da arte primitiva ou naif, até culminar na questão central deste trabalho, a da arte abstrata e das vanguardas abstrato-formais brasileiras. O trabalho buscou apresentar um dos grandes debates criado pelos críticos, o da abstração, através de uma revisão de alguns aspectos que se tornaram importantes para o entendimento do conceito de arte abstrata no pensamento de cada crítico, demonstrando como se deu o surgimento da arte abstrata no Brasil através dos olhos da crítica de arte, e como essa relação influenciou direta e indiretamente à edificação da abstração no cenário artístico brasileiro. O intuito deste trabalho é proporcionar ao leitor uma análise comparada e, através dela, propor como os discursos críticos são importantes para se entender como, através das décadas, alguns conceitos relacionados à arte mudam, e como as referências dos críticos de arte são importantíssimas para se compreender tais mudanças. / This paper proposes a comparative reading of the critical works of Quirino Campofiorito and Mário Pedrosa, aiming to cover the study of the History of Art Criticism as well as proposing a new approach to the production of Brazilian art critics. The texts analyzed hereof date from the late 1940s to the late 1960s. The topics studied range from the function of art criticism for the critics - through the issue of landscape painting, raw art (or the art of "crazy"), the primitive or naive - resulting in the central discussion of this work: abstract art and avant-garde abstract-formal in Brazil. This work aims to present one of the great debates created by art critics - that of the abstract art - through a review of some aspects which are now important to the understanding of the concept of abstract art through the work of every critic, demonstrating how the emergence of Brazilian abstract art took place through the eyes of art criticism and how this relationship, both directly and indirectly, influenced the creation of abstract art in Brazilian artistic scene. The objective of this study is to provide the reader a comparative analysis and, through it, point out how important critical discourses are in order to fully understand how related art concepts change over the years and how these critics references are essential to understand such changes.

Tels que l’historiographie de l’art les a enregistrées, l’œuvre de Paul Rebeyrolle et sa carrière (1945-2005) posent question au-delà de cette définition stricte, base factuelle d’une hypothétique notice d’encyclopédie : qu’est-ce qu’un peintre français des IVe et Ve républiques ? Paul Rebeyrolle est connu pour être méconnu, reconnu, toujours, comme un excellent peintre, loué par certains comme l’un des plus importants de la période, en France, mais demeure réduit à la portion congrue de l’histoire de l’art contemporain français, lorsque celle-ci juge bon de le mentionner. Il a pourtant bénéficié d’un succès précoce, dans les années 1950, dans le sillage d’un Bernard Lorjou ou, surtout, d’un Bernard Buffet, avant de subir un désaveu équivalent. Un marchand aussi important qu’Aimé Maeght et des préfaciers aussi renommés que J.-P. Sartre ou M. Foucault n’y auront rien changé. En cela, il est exemplaire de tout un pan de l’art français qui, avec la Ve république et sa politique culturelle, semble avoir été déclassé pour un certain nombre de raisons qu’il reste encore à évaluer : différends esthétiques, mésententes plastiques, dénis hérités de la querelle des abstraits et des figuratifs, non-dits liés à la question de l’engagement politique de l’artiste, imprécisions ou partis-pris critiques et légèreté des commentaires journalistiques friands de poncifs... Autant de malentendus qui ont contribué à brouiller la juste appréciation de son œuvre et l’ont tenu éloigné d’une véritable reconnaissance institutionnelle. / The way they’ve been retained by Art historiography, Paul Rebeyrolle’s work and his carreer (1945-2005) appear to be problematic beyond this strict definition, factual basis for an hypothetical encyclopedia entry : what defines a French painter under the 4th and 5th republics ? Paul Rebeyrolle is well-knowed for being under-estimated, always acknowledged as a great painter, sometimes even praised as one of the most important painters of that period, in France, but still limited to the smallest share of the French history of contemporary art, when this one finds it appropriate to mention it.Yet he benefited of an early success, during the 50’s, in the wake of painters such as Bernard Lorjou and especially Bernard Buffet, before enduring a similar disavowal. An art dealer as important as Aimé Maeght and preface writers as renowned as Jean-Paul Sartre or Michel Foucault didn’t make any difference. Thus, he appears to be paradigmatic of an entire part of French art which, under the 5th republic and its cultural policy, seems to have been downgraded for a certain number of reasons that still needs to be evaluated : aesthetic disagreements, plastic discords, denial inherited from the abstract and figurative painters’ quarrel, unsaid things about the artist’s political commitment, art critics’ vagueness and preconceived opinions, journalistic frivolity fond of clichés... As many misunderstandings that led to interfere with a fair appraisal regarding his work and prevented him from ever getting a real institutional recognition.

Cette thèse aborde le problème de la détection automatique des comparaisons figuratives dans des textes littéraires en prose écrits en français ou en anglais et propose un canevas pour décrire ces comparaisons d’un point de vue stylistique. Une comparaison figurative correspond ici à toute structure syntaxique qui met en parallèle au moins deux entités, déroge au principe de compositionnalité et crée une image mentale dans l’esprit de ceux à qui elle est destinée.Trois éléments principaux distinguent notre approche des travaux précédents : son ancrage dans les théories linguistiques et cognitives sur les comparaisons littérales et figuratives, sa capacité à gérer des marqueurs appartenant à différentes catégories grammaticales et sa flexibilité qui lui permet d’envisager différents scénarios syntaxiques. De fait, nous proposons une méthode comprenant trois modules complémentaires : - un module syntaxique qui utilise des dépendances syntaxiques et des règles manuelles pour identifier les comparaisons potentielles ainsi que leurs composantes ;- un module sémantique qui mesure la saillance des motifs détectés et la similarité sémantique des termes comparés en se basant sur une base de données préétablie ;- et un module d’annotation qui fournit entre autres des informations sur le type de comparaison (idiomatique, sensorielle…) et sur les catégories sémantiques employées.Pour finir, au vu des données recueillies au cours des deux campagnes d’annotation que nous avons menées, il paraît clair que la détection automatique des comparaisons figuratives doit tenir compte de plusieurs facteurs parmi lesquels la saillance, la catégorisation et la syntaxe de la phrase. / This thesis tackles the problem of the automatic recognition of similes in literary texts written in English or in French and proposes a framework to describe them from a stylistic perspective. For the purpose of this study, a simile has been defined as a syntactic structure that draws a parallel between at least two entities, lacks compositionality and is able to create an image in the receiver’s mind.Three main points differentiate the proposed approach from existing ones: it is strongly influenced by cognitive and linguistic theories on similes and comparisons, it takes into consideration a wide range of markers and it can adapt to diverse syntactic scenarios. Concretely speaking, it relies on three interconnected modules: - a syntactic module, which extracts potential simile candidates and identifies their components using grammatical roles and a set of handcrafted rules, - a semantic module which separates creative similes from both idiomatic similes and literal comparisons based on the salience of the ground and semantic similarity computed from data automatically retrieved from machine-readable dictionaries;- and an annotation module which makes use of the XML format and gives among others information on the type of comparisons (idiomatic, perceptual…) and on the semantic categories used.Finally, the two annotation tasks we designed show that the automatic detection of figuration in similes must take into consideration.Finally, the two annotation tasks we designed show that the automatic detection of figuration in similes must take into consideration a series of features among which salience, categorisation and the sentence syntax.