This thesis aims to investigate the experience of travel and the representation of Italy in the works of British women writers of the nineteenth century. A close reading of literary texts by Mary Shelley, Elizabeth Barrett Browning and George Eliot will help establish a connection between their journey to the Peninsula and their development as women and writers. The separation from their homeland and the confrontation with Italian culture were indeed pivotal for Shelley, Barrett Browning and Eliot in gaining a new perspective on their native land, breaking free from the rigid codes of behaviour expected from English ladies, and acquiring the authority and the confidence to write. It will be shown that in contrast to other Grand Tourists, Shelley, Barrett Browning and Eliot went beyond a mere description of Italian beauties and moved into the realm of social commentary. By avoiding stereotypical representations of the Peninsula and engaging in an authentic dialogue with the country and its inhabitants, they broadened the scope of travel narrative and explored matters of public importance to provide insight into national ideologies, while expanding the boundaries of the female sphere. The research will reveal that the experience of travel was not only essential in their journey to become professional writers, but it also increased their desire for the liberation of Italy as well as their own. / Questa tesi si propone di indagare l’esperienza di viaggio e la rappresentazione dell’Italia nelle opere delle scrittrici britanniche del XIX secolo. L’analisi di alcuni testi letterari di Mary Shelley, Elizabeth Barrett Browning e George Eliot aiuterà a stabilire una connessione tra il soggiorno nella Penisola ed il loro percorso individuale di emancipazione come donne e come artiste. Il distacco dalla madrepatria e il confronto con la cultura italiana furono infatti determinanti per Shelley, Barrett Browning ed Eliot per acquisire una nuova prospettiva sulla loro terra d’origine, per liberarsi dai rigidi codici di comportamento che contrassegnavano la vita delle donne in Gran Bretagna e per acquisire l’autorità necessaria per scrivere. Verrà dimostrato che, a differenza di altri viaggiatori del Grand Tour, Shelley, Barrett Browning ed Eliot andarono oltre la mera descrizione delle bellezze italiane, soffermandosi su temi di carattere sociale e politico. Evitando rappresentazioni stereotipate della Penisola e impegnandosi in un dialogo autentico con il Paese e i suoi abitanti, esse contribuirono ad espandere i confini della narrativa di viaggio fino ad esplorare questioni di importanza pubblica in linea con le emergenti ideologie nazionali e, allo stesso tempo, ad oltrepassare i confini della sfera femminile. La ricerca rivelerà che l’esperienza del viaggio non fu solo essenziale nel loro percorso per diventare scrittrici, ma contribuì ad accrescere il desiderio di liberazione per loro stesse e per l’Italia.

KÁŠOVÁ, Eva. Slovak Prose in German Translations after 1968 (Reception as a Way of Building the Picture of Slovak Culture and Identity) [MA Thesis]. Charles's University in Prague. Faculty of Arts. Department of Central European Studies. Supervisor: Doc. PhDr. Rudolf Chmel, DrSc. Degree of qualification: Master. Prague: Faculty of Arts, Charle's University, 2014. 73 p. The main topic of this MA thesis is a literary critical reflection of Slovak prose in German translations after 1968. The thesis focuses on cultural-literary reflections of Slovak prose in German linguistic context. The author analyses the reviews from German and Austrian linguistic area, while pointing out the differences in literary works in different (though close) linguistic contexts. The theoretical background of the thesis lies in imaginological theories and the author characterizes four basic perspectives of reading Slovak literature based on them. Her aim is to formulate an objective and complex image of the literary critical opinion on Slovak literature in the aforementioned areas. The thesis is divided into three chapters with an introduction and a conclusion. Keywords: Review. Reflection. Translation. German linguistic context. Imagology. Image.

No atual contexto em que vivemos, a globalização, isto é, o fenômeno que promove a aproximação entre países e as representações culturais de seus produtores, justifica-se destacar a mais importante tarefa nesta realidade: a tradução. Destacamos nessa pesquisa a relevância e posteriores conseqüências num contexto intercultural cuja direção tradutória seja de países periféricos para os demais países, como a versão da obra literária infanto-juvenil Do Outro Mundo de Ana Maria Machado para o inglês. O livro traz uma série de referências culturais brasileiras, referências históricas e de conscientização sobre a igualdade social e racial discutidas em uma linguagem para crianças. Ainda, essa tradução não foi realizada por um falante nativo da língua meta, mas por uma tradutora que tem como língua materna a mesma da autora e respectiva obra literária, o português brasileiro. Assim, articulamos a Estética da Recepção e a Imagologia, teorias literárias que dialogam com os Estudos da Tradução, para a formulação da seguinte hipótese, de que a apreensão da cultura brasileira pelo consumo de uma produção cultural, como o livro infanto-juvenil, por um público alvo peculiar que se encontra ainda em processo de formação de seus valores e visão de mundo, dentro do contexto cuja autora deteve enorme controle do resultado final, visto a sua parceria de criação com a tradutora, privilegiará a manutenção de traços culturais da nossa sociedade. Aqui, estes se encontram representados por imagens construídas pela escritora no original e, posteriormente, pela tradutora na tradução, dentro de uma temática de extrema relevância social, além de uma forma engenhosa que exige diferentes níveis de interpretação dos leitores nesse contato entre culturas. Assim, com base nos fundamentos teóricos, buscaremos demonstrar essa hipótese no nível discursivo em três pontos principais: a identificação das imagens no texto original e traduzido que apresentam marcas da identidade cultural brasileira; segundo, o fato de que tradução e original fazem parte do universo infanto-juvenil exigindo um enfoque na recepção estética; e por último, a particularidade dessa tradução, isto é, os desdobramentos de uma parceria entre escritora e tradutora que traz uma diferente perspectiva para o resultado final. / In the current moment we live in, the globalization, that is a phenomenon that promotes approximation among countries and cultural representations from their producers, we highlight the most important task present and essential within it: translation. We emphasize in our research the possible consequences within an intercultural context where the translation direction is from periphery to center, as we see in Do Outro Mundo by Ana Maria Machado and its translation into English. This childrens book brings many Brazilian references about History facts, social and racial civil rights. Yet, its translation was not made by a native of English, instead, a Brazilian translator who happens to be the authors daughter who contributed with this research by revealing some of the issues presented in this particular translation. Therefore, we articulate the Reception Theory and the Imagology Studies both literary theories with Translation Studies to formulate the following hypothesis: the comprehension of Brazilian culture by a specific target audience, that is, children who are still developing their moral and social values by a translation of a book which there was a peculiar interference by the partnership between the author and the translator. It will show as a result the maintenance of the cultural representation of our society. Thus, this representation is composed by the images constructed by the author in the original text and later by the translator in the translated text revealing a theme of enormously social relevance and within a form that demands from the reader different levels of interpretation.

No atual contexto em que vivemos, a globalização, isto é, o fenômeno que promove a aproximação entre países e as representações culturais de seus produtores, justifica-se destacar a mais importante tarefa nesta realidade: a tradução. Destacamos nessa pesquisa a relevância e posteriores conseqüências num contexto intercultural cuja direção tradutória seja de países periféricos para os demais países, como a versão da obra literária infanto-juvenil Do Outro Mundo de Ana Maria Machado para o inglês. O livro traz uma série de referências culturais brasileiras, referências históricas e de conscientização sobre a igualdade social e racial discutidas em uma linguagem para crianças. Ainda, essa tradução não foi realizada por um falante nativo da língua meta, mas por uma tradutora que tem como língua materna a mesma da autora e respectiva obra literária, o português brasileiro. Assim, articulamos a Estética da Recepção e a Imagologia, teorias literárias que dialogam com os Estudos da Tradução, para a formulação da seguinte hipótese, de que a apreensão da cultura brasileira pelo consumo de uma produção cultural, como o livro infanto-juvenil, por um público alvo peculiar que se encontra ainda em processo de formação de seus valores e visão de mundo, dentro do contexto cuja autora deteve enorme controle do resultado final, visto a sua parceria de criação com a tradutora, privilegiará a manutenção de traços culturais da nossa sociedade. Aqui, estes se encontram representados por imagens construídas pela escritora no original e, posteriormente, pela tradutora na tradução, dentro de uma temática de extrema relevância social, além de uma forma engenhosa que exige diferentes níveis de interpretação dos leitores nesse contato entre culturas. Assim, com base nos fundamentos teóricos, buscaremos demonstrar essa hipótese no nível discursivo em três pontos principais: a identificação das imagens no texto original e traduzido que apresentam marcas da identidade cultural brasileira; segundo, o fato de que tradução e original fazem parte do universo infanto-juvenil exigindo um enfoque na recepção estética; e por último, a particularidade dessa tradução, isto é, os desdobramentos de uma parceria entre escritora e tradutora que traz uma diferente perspectiva para o resultado final. / In the current moment we live in, the globalization, that is a phenomenon that promotes approximation among countries and cultural representations from their producers, we highlight the most important task present and essential within it: translation. We emphasize in our research the possible consequences within an intercultural context where the translation direction is from periphery to center, as we see in Do Outro Mundo by Ana Maria Machado and its translation into English. This childrens book brings many Brazilian references about History facts, social and racial civil rights. Yet, its translation was not made by a native of English, instead, a Brazilian translator who happens to be the authors daughter who contributed with this research by revealing some of the issues presented in this particular translation. Therefore, we articulate the Reception Theory and the Imagology Studies both literary theories with Translation Studies to formulate the following hypothesis: the comprehension of Brazilian culture by a specific target audience, that is, children who are still developing their moral and social values by a translation of a book which there was a peculiar interference by the partnership between the author and the translator. It will show as a result the maintenance of the cultural representation of our society. Thus, this representation is composed by the images constructed by the author in the original text and later by the translator in the translated text revealing a theme of enormously social relevance and within a form that demands from the reader different levels of interpretation.

Transculturalism refers to how cultural barriers are transcended and how cultures meet. Because the transcultural perspective reflects hitherto unrepresented spaces, it revises and innovates literary canons. This study investigates aspects of transculturalism in texts dealing with travel by the Canadian writer Janice Kulyk Keefer. It also explores how these aspects might alter our view of Canadian literature. The transcultural perspectives between mainstream Canada and Ukraine, Europe and Acadie have been analysed through three tropes of travel: departure, passage and arrival. Keefer’s texts have been read in accordance with Mikhail Bakhtin's dialogic theories to chart transcultural encounters and clashes. This thesis argues that a historic consciousness of their ethnic group gives the young generation a transcultural position that enables them to profit from their dual cultural competence. Although Imagined Communities are affirmed as receptacles of the cultural heritage, the impending environmental catastrophe demands that the national interests that they represent be abandoned for international co-operation. In Keefer’s European texts the transcultural aspects reflect how travel becomes synonymous with quests and epiphanies. Travelling is described as a learning process in Rest Harrow where the protagonist’s increasing cultural competence changes her from a tourist to a real traveller. The transcultural aspects also unmask prejudices, collisions and failed transitions. In this context Imagined Communities are criticized as agents of the colonial discourse, chauvinism, and intolerance. The transcultural perspective also reveals that patriarchal paradigms and the silencing of persecutions victimize the young generation. Furthermore, their ignorance of the mother tongue works as a linguistic barrier shutting them out from their ethnic group. Keefer's Acadian texts support Bakhtin's contention that isolated groups become intolerant to strangers and deviants. While the transcultural perspective unmasks tourists' perception of other countries as idiosyncratic, also the travellers' own ironic postmodernist view of themselves as tourists and of the artificiality of tourism is featured. The cultural assumptions of literary discourse are challenged by border blurring phenomena such as story-telling, the camivalesque, intertextuality and historiographic metafiction. Thus the morality of Keefer's transcultural approach lies also in her literary technique. The alternative perspective inherent in transculturalism makes individuals break away from their given cultural context to embrace a new transcultural ethos. / <p>Diss. Umeå : Umeå universitet, 1996</p> / digitalisering@umu

Abstract This study examines indices of Finnishness in the production of second- and third-generation Finnish-American authors. Its aim is to analyse the common ethnic traits of Finnishness proposed by ethnographic research in relation to the literary texts presented by the selected authors. The research is literary in nature, investigating both societal and social arguments that are depicted in the central works of five chosen authors: namely, Lauri Anderson's Heikki Heikkinen And Other Stories of Upper Peninsula Finns; Mary Caraker's Growing Up Soggy and Elina, Mistress of Laukko; Joseph Damrell's Gift; Lynn Laitala's Down from Basswood; and Paula Robbins's Below Rollstone Hill. One of the most important disciplines within the field of Comparative Literature – where the function of critical scrutiny is to examine cultural identity, and various cultural models – has been imagological literary research. For the purposes of the present thesis, the theoretical basis of this research has been taken as the cognitive theory of cultural meaning in Comparative Literature, with its imagological approach. Raija Taramaa's theoretical model of Finnishness provides a supportive framework which helps to analyse Finnishness in the works of the five selected writers (who have no developed ability in the Finnish language). Through these means it is hoped that the present research will open up to its readers a deeper understanding of the cultural models describing Finnishness in the production of second- and third-generation Finnish-American authors, leading them into a detailed exploration of the ways in which the ethnic indices of Finnishness have remained in the cultural memories of these chosen authors. The research has indicated that cultural indices endure from generation to generation in an unfamiliar environment even at the time when the identity of the person in question has been changed during the former generation, for example, with respect to his or her native language. The study also reveals that a number of the indices representing the original culture have become simplified over the years, and that the cultural cohort of individuals exhibiting those traits has developed certain stereotypes that have faded in past decades but not yet disappeared. The ethnicity of a minority group of Finnish Americans surrounded by several other more dominant ethnicities has developed into symbolic ethnicity with limited commitments to ethnic cultural activities. The ethnic activities of the symbolic identifiers are likely to have an occasional character and to be acceptable in a multiethnic setting. / Tiivistelmä Tutkimuksen lähtökohtana on tarkastella toisen ja kolmannen polven amerikansuomalaisten kirjailijoiden tuotantoa suomalaisuuden näkökulmasta. Tarkoitus on tuoda esille niitä suomalaisuuden etnisiä piirteitä, jotka tänä päivänä ovat sellaisiksi tunnistettu sekä suomalaisten että amerikkalaisten etnografien tutkimuksissa. Työni sijoittuu kognitiivisen kirjallisuudentutkimuksen kenttään. Se sisältää yhteiskunnallisia ja sosiaalisia argumentteja siinä määrin kuin niitä esiintyy tutkimuksen kohteena olevissa teoksissa. Tutkimukseni kirjailijat sekä heidän teoksensa ovat: Lauri Anderson, Heikki Heikkinen And Other Stories of Upper Peninsula Finns, Mary Caraker, Growing up Soggy sekä Elina, Mistress of Laukko, Joseph Damrell, Gift, Lynn Laitala, Down from Basswood, ja Paula Robbins, Below Rollstone Hill. Tutkimuksessa käytetään kulttuurimalleja sekä skeemoja analysoitaessa imagologista lähestymistapaa, joka kirjallisuudentutkimuksen alalla on muodostunut yhdeksi tärkeimmistä lähestymistavoista nimenomaan kulttuuri-identiteettiä sekä eri kansallisuuksien kulttuurimalleja tutkittaessa. Kehittämäni teoreettinen malli suomalaisuuden eri piirteistä tukee fiktiivisten sekä osittain ei-fiktiivisten teosten analysointia luo sen viitekehikon, jonka mukaisesti olen tarkastellut suomalaisuutta valitsemieni viiden amerikansuomalaisen kirjailijan tuotannossa. Tutkimus pyrkii selvittämään missä määrin suomalaisuutta ilmentävät kulttuurimallit ovat säilyneet toisen ja kolmannen polven suomen kieltä osaamattomien amerikansuomalaisten kirjailijoiden kulttuurisessa muistissa sävyttäen heidän kerrontaansa suomalaisuuden eri etnisiä piirteitä tietoisesti tai tiedostamatta kuvaavina. Tutkimus osoittaa, miten kansalliset kulttuurilliset erikoispiirteet säilyvät sukupolvelta toiselle vieraassa kulttuuriympäristössä myös silloin, kun kulttuurin kokijan identiteetti on jo aiemman sukupolven aikana esimerkiksi kielen osalta muuttunut toiseksi. Moni suomalaista identiteettiä ilmentävä peruspiirre on vähitellen yksinkertaistunut tai saanut uusia vaikutteita mutta säilyttänyt kuitenkin siitä tietoisen ryhmän keskuudessa erilaisia suomalaisuudeksi luokiteltavia stereotyyppisiä käyttäytymisen malleja, jotka vuosikymmenten kuluessa ovat haalistunut, mutta eivät vielä hävinneet. Pienen amerikansuomalaisen vähemmistön identiteetti monien hallitsevampien etnisyyksien puristuksessa on vähitellen muodostunut symboliseksi etnisyydeksi, jolloin yksilöillä on vapaus valita sitoutumisensa aste kyseessä olevan kulttuurin vaatimuksiin. Näin ollen amerikansuomalaisuutta ilmentävät tavat ja tunnusmerkit ovat suomalaisuuteen liitettyinä saaneet osaksensa sellaisia arvoja ja toimintamalleja, jotka sekä symbolisen että epäsäännöllisen luonteensa vuoksi ovat helpommin hyväksyttäviä monikulttuurisessa ympäristössä.

Le domaine de l’imagologie est défini, par les comparatistes, comme un domaine de frontière, entre littérature comparée, histoire, ethnopsychologie. Nous nous sommes situés dans une perspective imagologique dans le cadre de cette recherche, pour décrire les étapes de la formation de l’image des Roumains dans des écrits français du XVIIIe et XIXe siècles. Ces étapes sont marquées par des textes de référence dans l’histoire des relations franco-roumaines, nous mentionnons ici le premier grand livre sur les Moldo-Valaques de Jean-Louis Carra, en passant par le livre de Stanislas Bellanger, jusqu’aux écrits d’Abdolonyme Ubicini, sans oublier ceux des divers consuls français, ou historiens, amis des Roumains.La Roumanie ne s’est pas faite en un jour. L’image des Français sur les Roumains s’est cristallisée durant le XIXe siècle. Il est vrai, dès le XIIIe siècle, des militaires français, des commerçants étaient arrivés sur les terres habités par les ancêtres des Roumains. Mais l’attraction vers l’Orient, cultivée surtout par le XVIIIe et le XIXe siècle, tout comme l’inquiétude qu’exerçaient en Europe les Empires Ottoman et Russe ont fait que de plus en plus de Français, aventuriers, révolutionnaires, exilés, hommes politiques, militaires voyagent vers l’Est européen.Même s’ils sont rédigés durant un séjour en pays roumain, au début, les écrits français sur les Roumains sont influencés par les chroniques moldo-valaques et par les textes antérieurs. Au fur et à mesure que les moyens de transport s’améliorent et que le kéroutza est remplacé par le train ou le bateau sur le Danube, les ouvrages sont beaucoup plus personnels, sans ignorer les textes antérieurs. Nous avons démontré que cette reprise des mêmes fragments d’images, faisant référence à des domaines récurrents (histoire, habits, logements, moeurs, organisation, ressources naturelles, paysage, ethnies), a abouti à composer une image qui est loin de la touche négative du cliché. Les enregistrements scripturaux sur les Roumains du XIXe siècle allaient préparer le terrain pour la naissance de la nation roumaine. Ce moment, ouvrant la voie à la grande amitié France-Roumanie, coïncide avec l’apparition dans les textes officiels des mots Roumain, Roumanie.Nous nous sommes intéressés aux écrits français sur les Roumains d’une période mal connue, sinon pas du tout, mais ce n’est pas une analyse exhaustive, notre recherche ne fait que commencer un travail qui pourra déboucher sur l’étude des textes d’ambassade, des échanges de messages entre les consuls français et le gouvernement français, avant même que la première ambassade française s’installe en Roumanie au XIXe siècle. L’étude des écrits sur lesquels nous nous sommes arrêtés se constitue en analyse de divers documents, essais historiques, mémoires, récits de voyage, statistiques. Notre analyse opère avec les concepts d’image (au sens de représentation), de8 stéréotype, d’ethnotype, en termes de réception de l’Autre, avec tout ce que l’altérité a de caractéristique. L’image finale ressort des récurrences des mêmes éléments sur lesquels les auteurs insistent (stéréotypes). / The field of imagology is defined by comparatists as a frontier domain, somewhere in between comparative literature, history and ethnopsychology. We have approached the subject matter from an imagological perspective in order to describe the image formation stages of the Romanians in several French writings in the 18th and 19th century. These stages are marked by several reference texts along the history of the French-Romanian relations, we mention here the first great work on the Moldo-Vlachs by Jean-Louis Carra, following Stanislas Bellanger’ book to Abdolonyme Ubicini’s writings, without forgetting those of various French consuls or historians, friends of the Romanians.Romania has not come into being within a single day. The French people’s image on the Romanians crystallized along the 19th century. True, in the 13th century French military men and merchants arrived in the lands inhabited by the ancestors of the Romanians. But the attraction of the Orient, cultivated especially in the 18th and 19th century, as well as the apprehension exerted in Europe by the Ottoman and Russian Empires determined more and more adventurers, revolutionaries, exiles, politicians and soldiers to travel towards Eastern Europe. Even if they were written during a stay in the Romanian countries, at first, the French writings about the Romanians bear the influence/ mark of the Moldo-Vlach chronicles and earlier texts. As transport is getting better and the keroutza is replaced by train or ship along the Danube, later works become increasingly personal without disregarding previous writings. We have demonstrated that this resuming of the same fragments of images referring to recurring domains (history, habits, dwellings, morals, organization, natural resources, landscape and ethnic groups) resulted into composing an image which is far from the touch of the negative cliché. The scriptural records about Romanians in the 19th century would prepare the ground for the foundation of the Romanian nation. This point coincides with the appearance in the official texts of the words Romanian, Romania, everything preparing the ground for the great France-Romania friendship. We are mainly interested in the period when the writings are scarce, as compared with the French books appearing in the 20th century. The study of these writings constitutes in the analysis of various documents, historical essays, memoirs, travel narratives and embassy reports. This analysis operates with concepts of image (meaning representation), stereotype, ethnotype in the terms of perceiving the Other with everything Alterity has characteristic. The finale image is appearing of recurrence of the same elements which the authors insist on (stereotypes).

[pt] A atualidade nos presenteia com novas e curiosas maneiras de expressar conhecimento e cultura. Dentre as mídias que avançam rumo ao futuro, percebemos os jogos eletrônicos como arautos de uma nova dialogia, calcada no uso tecnológico, transgeracional, interativo, dinâmico e principalmente divertido de nossa produção de imagens. A presente dissertação analisa o fenômeno cultural dos jogos eletrônicos em função de sua visualidade interativa, construções simbólicas que guardam estreita relação com as novas tendências da comunicação in absentia, da hipermidiação e da transmidiação. O texto define conceitos intrínsecos ao entendimento dos jogos eletrônicos como reflexo de um momento histórico, celebrante da nossa participação e envolvimento com processos lúdicos. Analisados alguns exemplos publicados e comercializados, os designers são apontados como indivíduos responsáveis pela conceituação e produção de projetos que não terminam no uso da opus, mas sim no valor agregado que trazem consigo para a materialidade do mundo. Jogos eletrônicos habitam na compreensão mútua: de sua materialidade objetiva e de sua imaterialidade participada. São objeto e processo em simultâneo, catalisadores de expectativas e vivências simuladas e emuladas. Da trajetória condicionada pela velocidade de avanços técnicos ao entendimento de um multiverso simbólico colecionados como experiências durante sua fruição, traçaremos vínculos entre o enlevo envolvente e a conscientização de uma linguagem visual emergente, baseada na ereção conceitual de componentes visuais que se relacionam para evidenciar a mensagem. Uma fundamentação imagética, que sugere o princípio de uma gramática visual a partir de um discurso para perfeita integração entre aquele que projeta, aquele que joga e seu jogo. / [en] Modernity provides us with new and curious ways to express knowledge and culture. Amongst the media that advance into the future, we perceive electronic games as heralds of a new dialogic process, based on technological, transgenerational, interactive, dynamic and mainly entertaining use of our image production system. This dissertation analyzes the electronic game as a cultural phenomemon through its interactive visuality, as well as the symbolic constructions, which keep a close relationship with the new trends of in- absentia communication, hypermidiation and trans-mediation. Electronic games intrinsic concepts are presented as reflection of a historical moment; a moment that celebrates our participation and involvement with playful processes. Designers are also presented as responsible for conceptualizing and producing projects that do not end at the use of the opus, but in the embedded value in the world materiality. Electronic games exist in the mutual understanding of its objective materiality and its participative nonmateriality. Together, object and process become catalysts of simulated and emulated expectations. We will show the links between the viewer`s involvement and his awareness of an emerging visual language through its path influenced by the speed of techcnical improvements and the understanding of a symbolic multiverse, which happens during reception. Such language is based on the conceptual erection of visual intermingling components showing the message. An image-based explanation suggesting the beginning of a visual grammar stemmed from a discourse that integrates creator, player and game.

Cette étude comparative des œuvres d’Edouard Glissant et de Derek Walcott examine le devenir de la littérature antillaise ainsi que l’évolution des littératures dites postcoloniales.A partir des notions critiques d’esthétique, de politique, de culture et de stratégie discursive, nous avons examiné les œuvres de Glissant et celles de Walcott selon une perspective historique. En effet, la question de la place de l’Histoire étroitement liée à l’expérience personnelle des auteurs est au cœur des textes. Ils mettent en avant l’odyssée d’une Histoire antillaise marginale et fantasmée qui cherche à se frayer un chemin et concurrencer une Histoire traditionnelle.De cette tension, se dégage un jeu de dualité où continuités et ruptures, résistance et appropriation du discours de l’Occident constituent au fil de l’étude un trait distinctif de l’approche des textes. Mais ce qui en montre l’intérêt et l’originalité, c’est leur capacité à s’ériger comme un exposé représentatif du monde contemporain. La question de l’Histoire va au-delà du parcours colonial du monde occidental et le discours qui s’en rattache est loin d’une dénonciation ou l’expression d’une culpabilité et encore moins celle des bienfaits de la colonisation. Les auteurs appellent en revanche à l’expression d’une vision fragmentée de l’Histoire dont l’approche se situe dans la reconnaissance de la diversité des représentations historiques, littéraires et culturelles. Qu’il s’agisse d’épopées, de récits de vie, de chroniques historiques ou politiques, de simples anecdotes ou de réflexions philosophiques qui ponctuent le vaste champ de leur production, Walcott et Glissant apportent un souffle nouveau à la pensée postcoloniale et prolongent son avenir. Ensemble, ils communiquent, échangent et s’opposent parfois pour faire apparaître des procédés conceptuels et méthodologiques qui permettent d’appréhender autrement la littérature, les sciences humaines et sociales. / This comparative study of the works of Edouard Glissant and Derek Walcott examines the development of postcolonial literatures especially west indies literature.Based on the critical notions of aesthetic, political, cultural and discursive strategy, we assessed the works of authors through a historical perspective. Indeed, the question of the place of history and personal experience is at the heart of the texts. The authors highlight the fantasised odyssey of a marginal Caribbean History which is trying to make its way and to be in competition with a traditional History.From this tension, emerges a set of duality where continuities and ruptures, resistance and appropriation of the discourse of the West are honoured hallmark of this works. However, what shows interest and originality, is their ability to establish themselves as a functional presentation of the contemporary world. The question of history goes beyond the colonial path of the Western world, hence the discourse that is coming from it isn’t relegated to complaint or quest of guilt and even less of the benefits of colonization. On the contrary, the authors call the expression of a fragmented view of History. Whether epics of life story, historical or political columns, simple stories or philosophical reflections that punctuate the vast field of production, Walcott and Glissant give new impetus to the postcolonial thinking and extend its future. Together, they communicate, interact and sometimes clash to reveal the conceptual and methodological processes that allow us to understand literature in antoher way, humanities and social sciences.

Metteur en scène contemporain dont l’itinéraire personnel est une conséquence de la décentralisation théâtrale, Daniel Benoin tire sa force de création du passage de l’image mentale à sa concrétisation dans le spectacle vivant par l’hybridation de savoirs multiples et de techniques artistiques. Cette étude d’un destin particulier dans un rapport holiste avec l’art dramatique permet une théorisation du processus de création dans lequel un regard croisé entre phénoménologie et pragmatique confirme l’hypothèse d’une empreinte matérielle et stylistique. L’approche comparative d’un grand nombre de représentations et de l’ensemble des répétitions préalables à cinq spectacles (Wozzeck, La Cantatrice chauve, Faces, la reprise de La Cantatrice chauve, Le roman d’un trader) définira cette empreinte comme idiosyncrasique, formelle et originale, le tout commun à l’ensemble de l’œuvre observée. Ainsi, grâce aux concours de pré-images modulables et fécondes, les images mentales primordiales s’installent au cœur de la création et la vision onirique se révèle être l’essence même de la particularité artistique de ce metteur en scène. La recherche entreprise ouvre alors des perspectives renouvelées quant à l’esthétique et à la présence/absence de l’artiste dans des domaines élargis (cinéma, danse, peinture, photographie, musique, écriture). / Daniel Benoin, a contemporary stage director whose personal career was a consequence of theatrical decentralization, draws his creative strength from his ability to make mental images become concrete in live shows by using numerous knowledge and artistic techniques in a hybrid way. This project on a distinctive destiny in a holist connexion with Drama enables to theorize about the creation process in which a crossed look at phenomenology and pragmatism confirms the hypothesis of a material and stylistic imprint. The comparative approach of many performances and of all the preliminary rehearsals to five theatrical shows (Wozzeck, La Cantatrice chauve, Faces, the remake of La Cantatrice chauve, Le roman d'un trader) will eventually define this mark as an idiosyncratic, formal and original one, to be found in the whole work which was studied. Thus, thanks to the help of fertile and adjustable pre-images, essential mental images settle in the heart of creation and the oneiric vision turns out to be the very essence of the artistic particularity of this stage director. Therefore the research opens up renewed angles about the aesthetics and the presence/absence of the artist in enlarged fields (such as cinema, dancing, painting, photography, music, writing).