Si la France n’est plus qu’une puissance moyenne en déclin relatif, la RFA est dans une phase de take off économique et amorce un rayonnement international. Dès son investiture, Brandt lance l’émancipation de l’Allemagne. L’Ostpolitik pourrait-elle avoir la priorité pour le gouvernement fédéral sur la politique communautaire ? La menace soviétique sur l’Allemagne est à prendre très au sérieux pour Pompidou. Réunification ; Neutralisation. Face à cette situation pluriellement très préoccupante, Pompidou a besoin de l’Europe ; mais en 1969, la construction européenne est dans l’impasse. 1971, Pompidou lance son modèle de construction de l’Union Européenne : le ‘gaullisme européen’. Son atout, Edward Heath, un ‘Européen sincère’. « On œuvre en commun, même avec l’Allemagne », affirme le Président. Le traité de l’Elysée : essentialité majeure dans l’apprentissage de l’autre ; embrayage du moteur franco-allemand ; banalisation des relations franco-allemandes. Ses enjeux : Pôle monétaire européen ; Coopération politique extérieure commune (Moyen-Orient) ; Programme ambitieux de la Conférence de Paris ; Identité Européenne ; Politique extérieure commune franco-allemande face à Moscou. Mais une politique autonome européenne pouvait-elle exister pour Washington ? Nixon et Kissinger manœuvrent pour imposer le partnership atlantique aux Européens. Crises du dollar (1971, 1973) ; Condominium américano-soviétique ; Conférence sur l’énergie. Bonn s’évertue en vain à œuvrer comme médiatrice entre Paris et Washington. / While France is only a middle power in relative decline, the FRG is in a phase of economic take off and begins an international influence. Upon his nomination, Brandt launches the emancipation of Germany. Could Ostpolitik have priority for the federal government over European Community policy? The Soviet threat to Germany is to be taken very seriously for Pompidou. Reunification; Neutralization. Faced with this plurially worrying situation, Pompidou needs Europe; but in 1969, the construction of Europe is deadlocked. 1971, Pompidou launches its construction model of the European Union: 'European Gaullism'. His asset, Edward Heath, a 'sincere European'. "We work jointly, even with Germany," says the President. The Elysée Treaty: major essentiality in the learning of the other; clutch of the Franco-German engine; normalization of Franco-German relations. Its challenges: European Monetary Pole; Common foreign policy cooperation (Middle East); Ambitious program of the Paris Conference; European identity ; Franco-German Common Foreign Policy against Moscow. But could an autonomous European policy exist for Washington? Nixon and Kissinger maneuvered to impose Atlantic partnership on Europeans. Dollar crises (1971, 1973); US-Soviet Condominium; Conference on Energy. Bonn strives in vain to work as a mediator between Paris and Washington.

Os romances Bouvard et Pécuchet (1881), de Gustave Flaubert, e La Vie mode demploi (1978), de Georges Perec, são lidos, nesta dissertação, a partir do tema da biblioteca, que se desdobra (assim como essas obras) em três vias que se entrecruzam: virtual, imaginária e real. As bibliotecas virtuais são construídas a partir de diversos registros e referências intertextuais deixadas por escritores em anotações, cadernos, correspondência, etc., que são tomadas como documentos da gênese de sua escrita. Já as bibliotecas imaginárias são aquelas tematizadas nos livros, ou seja, são encontradas em obras que ficcionalizam o espaço e a dinâmica das bibliotecas. As bibliotecas reais dos escritores, por sua vez, são formadas por volumes que fizeram parte de seu acervo pessoal. Esta pesquisa propõe refletir sobre as práticas de leitura e escrita de Georges Perec e Gustave Flaubert paralelamente à análise das obras La Vie mode demploi e Bouvard et Pécuchet. Essa reflexão resulta da observação de alguns vestígios de suas bibliotecas virtuais e reais e das relações entre aquelas três faces da biblioteca. Nesse sentido, esta dissertação pretende apresentar diversos arranjos que as múltiplas peças dessa biblioteca caleidoscópica podem formar. / In this dissertation, Gustave Flauberts Bouvard and Pécuchet (1881) and Georges Perecs Life a users manual (1978) are analyzed through the theme of the library, a theme that has (such as in the novels) three dimensions which interconnect: a virtual, a real and an imaginary one. The virtual dimension of the library is formed by the intertextual references and notes left by the writers in their writing process documents such as their notebooks and letters. The imaginary dimension of the library takes the form of the figuration of the library in the books that fictionalize the space and the dynamics of the library. Finally, the real dimension of the library takes the form of the books that were part of the writers personal libraries. Because of these three dimensions, this dissertation not only analyses the text of novels but also reflects about Perecs and Flauberts writing and reading practices. This is possible through the observation of the traces of the virtual and the real dimensions of the library and through the interconnection of three dimensions mentioned. In this sense, this dissertation aims at presenting some of the various arrangements that can be formed by the multiple pieces of this kaleidoscopic theme.

Cette thèse veut explorer l’idée de l’existence d’un roman de la non-linéarité, à travers un inventaire de la critique et l’analyse comparée de quatre ouvrages considérés comme appartenant à cette tradition (The life and opinions of Tristram Shandy, gentleman, de Laurence Sterne ; Pale fire, de Vladimir Nabokov ; La vie mode d’emploi, de Georges Perec ; House of leaves, de Mark Z. Danielewski).Dans le premier chapitre, est postulée la thèse de deux traditions dans l’histoire du roman : la tradition du roman réaliste, et une tradition caractérisée par l’utilisation de formes non linéaires. L’analyse des études sur la tradition réflexive du roman, sur la théorie du chaos appliquée à la littérature, sur les marges textuelles, sur la lecture et sur l’intertextualité seront pris en compte pour soutenir cette thèse.Sur la base de ces questionnements, le deuxième chapitre esquisse une définition du roman de la nonlinéarité, qui comprend un répertoire des procédés et des thèmes communs à cette tradition, ainsi qu’une réflexion sur ses approches du monde et de l’identité humaine.Le troisième chapitre laisse la place à l’analyse des textes du corpus. Les quatre romans sont analysés chacun pour ses spécificités, et aussi dans la perspective de vérifier le postulat d’une tradition d’un roman de la non-linéarité. En s’appuyant sur de nombreux exemples extraits des romans pris en considération, l’analyse s’articule en huit sections : le problème du commencement ; l’intertextualité ; la complexité du récit de vie ; les questions de l’interruption, de la procrastination et de l’absence ; les approches dutemps ; les approches du langage ; le thème du jeu ; l’impossibilité de la fin. / This thesis aims to explore the idea of the existence of a novel of nonlinearity, through an inspection of the criticism and the comparative analysis of four works considered as belonging to this tradition (The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne; Pale Fire, by Vladimir Nabokov; Life, a User’s Manual (La vie mode d’emploi), by Georges Perec; and House of Leaves, by Mark Z. Danielewski).The first chapter postulates the thesis of two traditions in the history of the novel: the tradition of the realist novel, and a tradition distinguished by the use of nonlinear forms. In order to support this thesis, I’ll take into account studies about the reflexive tradition of the novel, about chaos theory as applied to literature, about the margins of the text, about the reading experience, and about intertextuality.On the basis of this examination, the second chapter outlines a definition of the novel of nonlinearity, which includes a repertoire of the literary devices and themes common to this tradition, and a reflection about its perspectives upon the world and human identity.The third chapter is dedicated to the analyses of the texts included in the corpus. The four novels are analyzed for their distinctive features, and also in the aim of verifying the premise of the existence of a novel of nonlinearity. Drawing on numerous examples selected from the novels, these analyses are structured in eight sections: the problem of beginning; intertextuality; the complexity of life narratives; the issues of interruption, procrastination and absence; the approaches to time; the approaches to language; the theme of the game; and the impossibility of an ending.

A produção textual de Georges Bataille (1897-1962), privilegiadamente estudada nos campos da Literatura e da Filosofia, apresenta uma vasta gama de temas e é considerada por seus comentadores como refratária a qualquer classificação rigorosa e indexável. Contudo, ele é autor de uma obra de grande interesse para área da Antropologia em função de um forte experimentalismo dos conceitos e da escrita e de uma compreensão totalizante da experiência do pesquisador e do escritor. O presente estudo tem como objetivo o exame de parte específica da produção e atuação de Bataille que coincide com os inícios da institucionalização da antropologia francesa (anos 1920- 1930), quando o autor encontra-se envolvido com o projeto da revista Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) e bastante próximo dos antropólogos que colaboram com a publicação. Ao recuperar a formação primeira de Bataille como arquivista paleógrafo na École des chartes e seus primeiros escritos e interesses, entre os quais se encontra a antropologia de Marcel Mauss, o trabalho se dedica a construir as conexões entre a profissão de arquivista paleógrafo nas bibliotecas Francesas e a produção do escritor que tem lugar entre os anos 1918 e 1930, interessado em destacar os nexos entre essas dimensões e o processo de constituição dos museus na França sobretudo aquele que culminará no Musée de lHomme (1937). As experiências nas bibliotecas, nos museus e na revista colocam Bataille diante da questão da classificação e do arquivamento de objetos e documentos. O interesse em uma leitura de Bataille por essa via que procura relacionar a institucionalização da disciplina etnográfica na França ligada à formação, catalogação e arquivamento de documentos nos museus e o processo de criação do Dicionário de Documents auxilia a iluminar uma dupla intervenção crítica que consiste em construir um deslocamento, uma derivação da forma de pensar. Essa perspectiva diversa nos oferece um duplo olhar para os modos pelos quais a reflexão sobre o lugar das histórias da disciplina e seus praticantes tem sido experimentada. / This present study has the purpose of examining some specific parts of George Bataille´s production and action that correspond with the beginning of French anthropology institutionalization (1920s and 1930s), when the author finds himself immersed in the Documents, Doctrines Archélogie Beaux-Arts Ethnographie (1929-1930) magazine project and building a very close relationship with the professionals involved in the publications creation. By resuming Batailles first occupation as paleographer archivist at École des chartes and his primary written pieces and interests, among which is the anthropology of Marcel Mauss, the work is dedicated to build connections between his job inside French libraries and his activities as a writer from 1918 to 1930, when his interests were focused on highlighting the links between these dimensions and the constitution of the museums in France - especially the one that will culminate at the Musée de l\'Homme (1937). The experiences in the libraries, museums and the magazine put Bataille before the classification and filing of objects and documents. His interest in this path that searches for relating the institutionalization of the ethnographic discipline in France connected to framing ideas, cataloging and archiving documents in museums and the creational process of the Dictionary of the magazine helps to illuminate a double critical intervention that consists in building a movement, an offshoot of thinking. This different perspective offers us another look to the means through which the reflections on the place discipline stories and its practitioners have been experienced.

La thèse porte sur l’étude de l’emploi stylistique du lexique juridique français dans la prose de Georges Simenon. Il existe un nombre considérable d’ouvrages consacrés à la terminologie juridique, aux concepts de loi et de crime, au comportement discursif des avocats, à l’analyse linguistique des textes de lois, aux problèmes de la traduction du lexique juridique, à l’interférence linguistique, à l’étude des particularités pragmatiques, structurelles et sémantiques des textes des traités, et ainsi de suite. Dans notre thèse, le lexique juridique est étudié du point de vue de la stylistique, ce qui constitue sa nouveauté théorique aussi bien que pratique. Dans le premier chapitre, nous examinons certains termes d’appartenance juridique exclusive selon le classement de Gérard Cornu et nous montrons qu’une sixième partie d’entre eux sont susceptibles, au moins potentiellement, d’acquérir des sens figurés. Dans le deuxième chapitre, nous étudions 53 termes juridiques utilisés par Georges Simenon au sens figuré décrivant de différentes situations de la vie courante, qui, dans la plupart des cas, ne sont pas liées au droit. Dans le troisième chapitre nous analysons, du point de vue opposé, les figures stylistiques employées pour caractériser de différentes situations juridiques présentes dans la prose de Georges Simenon. Ainsi, même si ces figures stylistiques sont relativement peu nombreuses, les recherches effectuées montrent que Georges Simenon, malgré son intention affichée, n’est pas parvenu à éliminer complètement les figures stylistiques, un des éléments constitutifs essentiels du langage poétique. / Our thesis concerns studies of the stylistic use of the French legal vocabulary in Georges Simenon’s prose. In fact, legal terminology, concepts of law and crime, discursive behavior of lawyers, texts of laws, problems of legal translation, those of linguistic interference, those of pragmatic, structural and semantic peculiarities of the language of international agreements, for instance, were examined by different linguists. So, contemporary linguistics are interested in studying legal terminology from different points of view. On the other hand, during the last decades, linguostylistic studies are also developing very quickly. In our thesis, legal terminology is studied from the point of view of stylistics, and this approach constitutes its’ theoretical and practical novelty. In the first chapter we examine some terms belonging exclusively to legal terminology, in accordance with Gerard Cornu’s classification, and we show that in reality approximately one sixth part of them can acquire, at least potentially, some figural meanings. In the second chapter, we study 53 legal terms used by Georges Simenon in their figural meaning to describe different situations from everyday life which, in the most of cases, are not associated with legal situations. In the third chapter we analyze, from the opposite point of view, stylistic figures used to characterize different legal situations presented in Georges Simenon’s prose. To summarize, even if these figures are relatively small in number, our thesis shows that the writer, in spite of his artistic intention, was not able to eliminate them completely and that they remain one of the most important elements of the poetical language.

Jacques Brel, Georges Brassens and Léo Ferré are three emblematic figures of post-war French song, who have been seen by critics, journalists, and the public, as the epitome of chanson, and more generally of ‘Frenchness’. The starting point of this study is the observation that the legacy of the systematic association of Brel, Brassens, and Ferré – crystallised in Cristiani’s 1969 interview and in Jean-Pierre Leloir’s photograph of the interview – has enjoyed a prosperity which seems disproportionate to the actual relevance of the comparison between the three artists. In 1969, the three singers were significant figures of French song, but they were not the only ones. Bringing them together was therefore a promise of media success, but it was in no way expected to start a legend; and yet, the myth of the interview has today taken over its reality, to the extent that the Comédie Française is presently, almost thirty years later, turning it into a play which was staged in May 2008. The photograph of the three singers smoking and drinking around a table is, today, and for a vast majority of people, the only thing that they know about the famous interview, if not about the singers. The lack of obvious grounds to justify the exclusivity of the trio suggests that there is more to it than a musical trinity. By taking into consideration the oral dimension of song, the socio-cultural context in which the trio emerged, and the mediation of their celebrity, this study aims to identify the factors of cultural and national identity that have held together the myth of the trio since its creation. Besides shedding new light on the significance of the three artists individually, this study proposes to demonstrate that each singer embodies qualities with which the French people likes to be associated, and that the trio Brel-Brassens-Ferré can therefore be seen as an arbitrary sketch of a certain ‘Frenchness’. In particular, this thesis focuses on the trio illustrating the popular representation of a key issue of French national identity: the paradoxical aspiration to both revolution and the status quo. By taking the cultural icon ‘Brel-Brassens-Ferré’ as a case study through which to address questions of popular and national identity, this study contributes to cultural studies in two different ways. Firstly, through theorising the implications of the oral dimension of songs, it demonstrates the necessity of taking into consideration factors such as performance, the media, and the socio-historical context, when studying artists as societal phenomena. Secondly, it evidences the importance of the study of forms of popular culture, such as iconic singers or music, when investigating the ways in which a society perceives its own national identity.

Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique. / This master’s thesis is a study of the whole series Aux Abattoirs de la Villette, photographed by Eli Lotar in 1929. It demonstrates how the thirty-four prints were merged into Georges Bataille’s philosophy by the art historians of the 1990’s who based their interpretations upon the text « Abattoir ». This was published under the heading Dictionnaire critique inside Documents magazine. The series is taken apart from Bataille’s purpose in light of Lotar’s preoccupations and of the other editions of the photographs during the inter-war period. The first chapter insists on Eli Lotar’s photographic education preceding his visit to La Villette’s site in context with the slaughterhouse’s topic in the art Avant-garde. Then, it evaluates Aux Abattoirs de la Villette’s critical review based on Bataille’s conceptions of formless and sacrifices. The second chapter analyses the authorship conferred to the photomontages carried out by E.L.T. Mesens in Variétés (1930), who accentuates the similarities between the photographic and the slaughter cutting operations, and by Carlo Rim in Vu (1931), who reveals the human dimension of La Villette’s industry. The third chapter focuses on Lotar’s social preoccupations by according an importance to his collaborations with Germaine Krull and Joris Ivens. Finally, the series is addressed in an "intermediatic" perspective to emphasize the photographic point of view by comparing it with the painting Abattoir by André Masson, the poem Porte Brancion by Raymond Queneau and the film Le sang des bêtes by George Franju.

[O]uvrir fermer / les portes, la première partie de ce mémoire, est un projet de poésie, divisé en cinq sections, qui allie le vers libre et la prose. Le sujet poétique essaie d'animer et de ranimer son "récit", son "histoire", entre autres par le rappel fragmentaire d'événements ou de lieux, la redite de paroles déjà échangées et, par l'adresse et l'apostrophe rétroactives. Derrière une énonciation piétinante, une tendance à la répétition, derrière une rythmique à la fois fuyante et brisée se trouve un questionnement: que dire et comment le dire? Que nommer et comment le nommer? Si le ton du projet est lyrique et intimiste, il veut aussi chercher à se positionner face aux variations existantes du lyrisme. La seconde partie, Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, est un essai qui s'intéresse aux rapports auratiques et mémoriels (G. Didi-Huberman) entre l'écriture et les objets d'art (six sculptures de la série Island de Martha Townsend) qui accompagnent le recueil Le saut de l'ange de la poète québécoise Denise Desautels. / [O]uvrir fermer / les portes, the first part of this M.A. Thesis is a poetic project, divided in five sections, that combine free verse and poetic prose. The poetic subject tries to animate and reanimate fragments of her "story" by recalling memories of events or places, by repeating past conversations or by retroactively addressing thoughts. Behind a repetitive voice and behind a rythm that is at once fast or broken, we can find a reflexion: what and how can we say? What and how can we name? While the project's tone is lyrical and intimist, ouvrir fermer / les portes tries to take position facing the multiple variations of lyrism. The second part, the essay Les pouvoirs mémoriels de l'objet dans Le saut de l'ange de Denise Desautels, studies "auratic" and memorial (G. Didi-Huberman) connections between writing and the works of art (six sculptures of Island from artist Martha Townsend) that accompany the collection Le saut de l'ange by Quebec poet Denise Desautels.

La philosophie politique contemporaine est chargée d’une histoire qu’il reste encore à déblayer, tant la « guerre civile européenne » du siècle dernier a forcé son autodafé. Dans ce mémoire, nous prenons Georges Sorel, figure de proue du syndicalisme révolutionnaire des années 1900, comme figure archétypique de ce qui demeure en reste de cette histoire. Archétype non seulement de la manière dont des théoriciens de premier plan peuvent tomber, par la force de l’histoire, dans l’oubli le plus absolu, mais aussi archétype de ces forces mêmes, alors que Sorel est considéré par l’histoire intellectuelle comme le penseur ayant dressé le pont entre l’extrême-gauche et l’extrême-droite. Ce mémoire ne s’affaire pas directement à lui attribuer la « paternité du fascisme » ni à l’en disculper. Il s’agit bien plutôt de procéder à une déconstruction de ses principales idées à partir d’un angle essentiellement philosophique, procédé connaissant peu d’antécédents. Plus précisément, notre travail consiste à en dégager une définition de l’éthique, alors que le geste théorique principal de Sorel apparaît bien être une réduction du politique à l’éthique. Pour ce faire, nous mobilisons la philosophie contemporaine, notamment Gilles Deleuze et Giorgio Agamben, en raison de la forte affinité théorique qu’ils ont avec Sorel, particulièrement dans la définition de l’éthique. / Contemporary political philosophy is fraught with a history still to be discharged, as much as last century’s “European civil war” forced its concealing. In this masters thesis, we seize Georges Sorel, figurehead of the 1900s revolutionary syndicalism, as an archetypical figure of what is “in remaining” of this history. Archetype not only of the way in which popular theorists can be easily forgotten by the force of history, but also archetype of these forces themselves, as Sorel is considered by intellectual history as the thinker having set up the bridge between extreme left and extreme right. This master does not directly intend to attribute to Sorel the “paternity of fascism”, or to exonerate him. It rather develops a deconstruction of its principal ideas from an essentially philosophical standpoint, method virtually unprecedented. More precisely, our work consists to extricate Sorel’s definition of ethics, whereas his major theoretical gesture appears like a reduction of politics to ethics. To do so, we mobilize contemporary philosophy, especially Gilles Deleuze and Giorgio Agamben, because of their strong theoretical affinities with Sorel, particularly in their definition of ethics.

L’art symboliste pictural ou théâtral qui s’est développé à la fin du dix-neuvième siècle est habité par le sacré, que celui-ci se manifeste sous la forme du spirituel, du religieux ou sous toute autre forme (spiritisme, occultisme, mysticisme). Quelle que soit sa forme, le sacré est pour tous les symbolistes lié à l’art. Leurs recherches formelles, multiples et variées, tendent toutes à faire surgir l’invisible du visible. Or toutes voient l’émergence, dans les œuvres, de la représentation de la femme, qui dès lors devient intimement liée au «symbolisme». En véhiculant le sacré, la femme devient le symbole des idées des artistes sur leur art, voire le symbole du rapport de l’artiste à son art. Ainsi la thèse étudie la femme dans son rapport aux idées et à l’esthétique propres à chaque artiste, dans son interrelation avec l’art et le sacré et les études détaillées des œuvres dramatiques et picturales visent à montrer la variété et la complexité de ses représentations. En même temps, cette recherche est une étude d’ensemble concernant les relations entre le théâtre et la peinture dans la période fin-de-siècle, abordées non pas de l’extérieur, mais de l’intérieur (c’est-à-dire par les caractéristiques propres des œuvres), dans le cadre de la théorie de l’image ouverte, telle qu’elle a été développée par Georges Didi-Huberman. Finalement, que la forme d’expression artistique soit celle de l’art dramatique ou celle de l’art pictural, la femme n’est dans les œuvres que la manifestation d’une réflexion esthétique qui est aussi une réflexion philosophique, elle est le lieu de rencontre entre le Moi et l’Autre à partir duquel s’origine l’œuvre. / Symbolist art, be it pictorial or theatrical, which developed in the late nineteenth century was filled with sacredness, whatever its form: spiritual, religious or any other (spiritualism, occultism, mysticism). However in all its forms, sacredness is for all symbolists linked to Art. Formal research by symbolists, which is numerous and diverse, all tends to make the invisible visible. However all symbolists formal research saw in the works the emergence of the representation of women, which therefore becomes intimately linked to the "symbolism". By conveying sacredness, woman becomes the symbol of the ideas of the artists on their Art; even the symbol of the relationship of the artist to his Art. Thus this thesis studies woman in its relationship to the ideas and aesthetics of each artist, in its interrelationship with Art and the sacredness. The detailed studies of drama and paintings aim to show the variety and complexity of its representations. At the same time, this research is a global study on the relationship between theatre and painting in the end-of-century period, approached not from outside but from within (i.e. by the characteristics of works), as part of the theory of the open image developed by Georges Didi-Huberman. Finally, whatever the form of artistic expression – drama or painting – woman is only in the works, the manifestation of aesthetic reflection that is also a philosophical reflection, situated at the crossroads between the Ego and the Other, from which the work originates.