Le spectacle vivant actuel fait la part belle à des représentations légères, divertissantes, qui jouent avec le mauvais goût et intègrent la culture de masse. Il se dégage alors de certaines mises en scène, à la valeur artistique pourtant indéniable, une tonalité qui amène à les qualifier de kitsch. Or, selon Hermann Broch, le kitsch est “l’anti-art” par excellence. Cette contradiction tient au fait que, lorsque le kitsch est envisagé à distance, comme l'ont démontré Susan Sontag et Guy Scarpetta, à un second degré, il peut accéder à l’art. Pour qualifier de kitsch une représentation sans que cela renvoie à un jugement de valeur dépréciatif et afin de comprendre les modalités de ce renversement, il faut au préalable identifier le kitsch. En s’appuyant sur les définitions de cette notion par des penseurs comme Walter Benjamin ou Clement Greenberg et sur les descriptions des propriétés du kitsch par Abraham Moles et Christophe Genin, cette thèse s'arrête, notamment, sur le rôle du processus autoréflexif de la métathéâtralité. Celle-ci permet en effet au kitsch, en se dénonçant comme tel, de devenir un outil scénique qui produit une esthétique que nous appelons métakitsch. Dans l’objectif de saisir concrètement les enjeux, les effets et les limites de cette esthétique, l’opérette s'est avérée le genre théâtral le plus propice. Aussi la deuxième partie de cette étude est-elle centrée, d’une part sur quatre œuvres de Jacques Offenbach par un même metteur en scène, Laurent Pelly, de l’autre sur l’analyse comparative de quatre représentations de La Belle Hélène d’Offenbach par des metteurs en scène différents. Il en ressort que l’utilisation du kitsch, qui offre une grande liberté aux metteurs en scène, engendre des spectacles souvent ironiques, voire caustiques, hybrides, éclectiques et ludiques. L’utilisation du kitsch, de l'anti-art dans l'art, semble répondre aux besoins de renouveau du public. / Modern live shows tend to be light and fun affairs which integrate with bad taste and popular culture. Some stagings, which possess an undeniable artistic value, have emerged with a tone that one could call kitsch. According to Hermann Broch, kitsch is the "anti-art". This contradiction arises because, as Susan Sontag and Guy Scarpetta have demonstrated, when kitsch is considered at a distance, with irony, it can be considered art. To call a show kitsch in a non-pejorative manner, and in order to understand the manner of this reversal, one must first define kitsch. Based on the definitions of this notion by thinkers like Walter Benjamin and Clement Greenberg and the descriptions of the properties of kitsch by Abraham Moles and Christophe Genin, this dissertation will notably end with the role of the self-reflexive process of metatheatre. This allows kitsch, in identifying it as such, to become a tool for the stage that produces an aesthetic that we call metakitsch. In terms of concretely defining the stakes, the effects and the limits of this aesthetic, the operetta has proved to be the most suitable theatrical genre. The second part of this study is centered, on the one hand, on four works by Jacques Offenbach presented by the same director, Laurent Pelly, and on the other, on a comparative analysis of four representations of La Belle Helene by Offenbach, presented by different directors. It will emerge that the use of kitsch, which offers a great deal of freedom to directors, produces spectacles that are often ironic, even caustic, hybrid, eclectic and playful. The use of kitsch, of anti-art in art, seems to meet the public's need for something new.

Gabriel Bounoure (1886-1969) a été durant plus de trente ans un acteur important de la vie littéraire française, collaborateur régulier de nombreuses revues prestigieuses. Il fut même, selon d’excellents juges, l’un des plus grands critiques littéraires de son temps. Il fut par ailleurs diplomate. Il vécut ainsi près de 30 ans à Beyrouth (1923-1952) avant de s’installer au Caire puis à Rabat. Au cours de sa carrière diplomatique, il a assumé de hautes responsabilités dans les domaines de la culture et de l’éducation. Gabriel Bounoure, garda, dans son exil oriental, des relations étroites avec la France. Par ses fonctions diplomatiques mais également par ses critiques qui, loin de s’attacher exclusivement aux écrivains les plus en vue de l’époque (Claudel, Gide) ou aux figures littéraires marquantes du XIXe siècle (Rimbaud, Nerval) ont contribué à faire découvrir des poètes alors jeunes comme Henri Michaux. Parallèlement, il éprouvait pour l’Orient une attirance et une affinité profondes. Il révéla ainsi au public français de jeunes auteurs francophones arabes comme Georges Schéhadé.Les liens entre Bounoure et l’espace méditerranéen sont complexes. La Méditerranée était alors le lieu de changements historiques décisifs. Quel rôle politique Bounoure a-t-il joué ? Quel acteur de la vie littéraire française fut-il à cette même époque ? De quelle façon ces deux facettes de sa personnalité, poétique et politique, ont-elles évolué ? Enfin, dans quelle mesure la réflexion politique et la réflexion critique se sont articulées ? Cette thèse rassemble ses articles critiques éparpillés dans les revues, donne à lire des témoignages et exploite de nombreuses archives inédites. / For more than thirty years, Gabriel Bounoure (1886-1969) played a major role in the French literary life, a regular contributor to many prestigious journals. According to excellent judges, he was even one of the greatest literary critics of his time. He was also a diplomat. He lived for nearly 30 years in Beirut (1923-1952) before moving to Cairo and Rabat. During his diplomatic career, he held positions of high responsibility in culture and education. During his eastern exile, Gabriel Bounoure remained closely linked with France, as a diplomat but as a critic as well, who did not focus exclusively on the writers most popular at the time (Claudel, Gide) or on prominent literary figures of the nineteenth century (Rimbaud, Nerval). He helped to discover young poets like Henri Michaux. Meanwhile, he felt an attraction for and a deep affinity with the East. He thus introduced to the French audience young Arab francophone writers like Georges Schéhadé.The links between Bounoure and the Mediterranean area are complex. The Mediterranean was then the place of decisive historical changes. What political role did Bounoure play? What was his role in the French literary life at the time? How did these two facets of his personality, poetic and political, evolved? Finally, to what extent did his thoughts and views both as a diplomat and a critic meet?This thesis gathers his critical articles scattered in journals, offers testimonials and uses numerous unpublished archives.

Cette recherche interroge la monarchie française en situation de crise en partant d’un pari politique hors norme, celui des prélats catholiques qui misèrent sur Henri IV, roi protestant. Elle étudie les diverses facettes de l’action politique de ces hommes et reconstruit les mécanismes de leur travail de légitimation du premier Bourbon, en privilégiant les premières années du règne. Centrer l’enquête sur ces années permet de restituer à cette période sa dimension d’incertitude vécue par les acteurs de la monarchie, qui se trouve généralement écrasée par le poids de l’histoire de la pacification, après l’édit de Nantes. Ce choix d’un temps court rend possible l’étude attentive des cérémonies possédant une grande importance symbolique, tels que l’abjuration et le sacre royaux. Trop souvent ces événements sont uniquement décrits, racontés par l’historiographie. L’analyse proposée ici s’attache à l’inverse à leur redonner leur dimension problématique, à réfléchir sur les choix stratégiques faits par le pouvoir, notamment en ce qui concerne leur publication, comme une seconde mise en scène, imprimée. En adoptant un angle d’observation centré sur l’engagement, tantôt exposé, tantôt discret du groupe de prélats (Jacques du Perron, Claude d’Angennes et leurs pairs), il devient possible d’appréhender la monarchie en tant qu’œuvre collective d’acteurs multiples qui agissent pour assurer sa survie. En proposant ainsi une alternative à la vision navarro-centrée qui domine largement l’historiographie, cette approche permet d’aborder d’une nouvelle façon la sortie des guerres de Religion et de révéler des acteurs peu connus, qui néanmoins jouent un rôle crucial dans ce processus. / This dissertation investigates the French monarchy during a moment of crisis, focusing on an exceptional political bet made by a number of catholic prelates who chose to support Henri IV, a Protestant king. Their varied political actions are studied here, and the mechanisms of their work of legitimation of the first Bourbon are reconstructed, with a particular attention to the first years of his reign. The emphasis on these years offers the opportunity to give back to this period its dimension of uncertainty, as lived by the actors of the monarchy, a dimension that is generally erased under the weight of the history of the pacification, beginning with the Edict of Nantes. The choice of a short period allows a careful analysis of ceremonies of great symbolic importance, such as the royal abjuration and coronation. Too often these events have been merely narrated by historiography. This analysis, however, seeks to reconstruct their problematic dimension. Specific attention will be paid to the choices made when these events were published, which constituted a second staging of the act in printed form. With the focal point placed on the political commitment of the prelates, which at times was explicit, and at other times remained discreetly hidden away, it becomes possible to understand the monarchy as the collective work of multiple actors who endeavoured to ensure its survival. Thus, by proposing an alternative reading of events to the Navarro-centric vision that largely dominates historiography, this approach discusses the end of the Wars of Religion from a new perspective, which uncovers lesser known actors, who nonetheless played a crucial role in this process.

Sabemos que a querela entre Jean-Jacques Rousseau (1712-1778) e Jean-Philippe Rameau (1683-1764) está sujeita a diferentes leituras, cujo interesse muitas vezes foi reduzido a um curioso anedotário ou a uma disputa produzida tão somente pelos humores de ambos. Nesta pesquisa, contudo, para além do relato biográfico e das conjecturas sobre as causas da rivalidade entre Rousseau e Rameau, intentamos priorizar uma análise que buscasse balizar os posicionamentos estéticos de um e outro, com ênfase nos argumentos expostos por Rousseau em sua contraposição ao sistema harmônico de Rameau. Ao longo deste debate, entendemos que, ao esquadrinhar e, posteriormente, criticar os escritos de Rameau, Rousseau teria encontrado ideias extraordinariamente férteis que favoreceram o desenvolvimento de seu pensamento musical. Para sustentar a tese da preeminência da melodia sobre a harmonia, assim contrariando os princípios do sistema ramista, o autor da maior parte dos verbetes sobre música da Enciclopédia, da Carta sobre a música francesa e do Dicionário de música, jamais deixaria de se referir ao sistema harmônico de seu rival. A presente pesquisa tem como objetivo compreender a querela Rousseau-Rameau sob este aspecto, assim como apontar a relação da disputa assinalada com inflamados debates que também estiveram em pauta na França da segunda metade do século XVIII, a exemplo da Querela dos Bufões. Para tanto, além de examinar aspectos pontuais dos escritos musicais já mencionados, cotejando-os com alguns dos principais textos da vasta obra teórica de Rameau, procuramos nos deter na análise do texto de Rousseau intitulado Exame de dois princípios avançados pelo Sr. Rameau, cuja tradução apresentamos em anexo. / We know that the quarrel between Jean-Jacques Rousseau (1712-1778) and Jean- Philippe Rameau (1683-1764) is subject to different readings, whose interest has often been reduced to a curious collection of anecdotes or to a dispute produced only by the humors of both. In this research, however, beyond the biography and the conjectures about the causes of the rivalry between Rousseau and Rameau, we aim to prioritize an analysis that sought to mark the aesthetic positioning of one and the other, with emphasis on Rousseaus arguments as opposed to the harmonic system of Rameau. Throughout this debate, we understand that Rousseau, by scrutinizing and later criticizing Rameaus writings, would have found extraordinarily fertile ideas that favored the development of his musical thinking. To support the thesis of the preeminence of melody over harmony, thus contradicting the principles of the Rameaus system, the author of most of the articles on music at the Diderots Encyclopedia, of the Letter on French Music, and the Dictionary of Music, would never fail to refer to the harmonic system of his rival. The present research aims to understand the quarrel between Rousseau and Rameau in this aspect, as well as to point out the relationship of this dispute with inflamed debates that also were in agenda in France during the second half of the Eighteenth-Century, like the Quarrel of the Bouffons. Therefore, in addition to examining specific aspects of the musical writings already mentioned, comparing them with some of the main texts of Rameaus vast theoretical work, we seek to focus on the analysis of Rousseaus text entitled Examination of Two Principles Advanced by M. Rameau, whose translation into Portuguese we presented attached.

Submitted by Setor de Tratamento da Informa??o - BC/PUCRS (tede2@pucrs.br) on 2016-05-10T13:24:07Z No. of bitstreams: 1 TES_ALMERINDO_ANTONIO_BOFF_COMPLETO.pdf: 1424543 bytes, checksum: c5fc6845e6654e6a216e1767b6bd2718 (MD5) / Made available in DSpace on 2016-05-10T13:24:07Z (GMT). No. of bitstreams: 1 TES_ALMERINDO_ANTONIO_BOFF_COMPLETO.pdf: 1424543 bytes, checksum: c5fc6845e6654e6a216e1767b6bd2718 (MD5) Previous issue date: 2016-03-03 / In creating psychoanalysis, at the end of the 19th century, Freud dedicated himself to explain the epistemological foundations in which he grounds his assumption of having created a new science, a new branch of natural sciences, with which it shared these epistemological foundations as well as its Weltanschauung. In mid-twentieth century, originating at the critique of psychoanalytical scientificity that came especially from neopositivist epistemology, it fell to Jacques Lacan to resume the question of psychoanalytical epistemology and to consolidate it over new foundations. The present thesis seeks to highlight the fact that, after the lacanian approach to the issue, an original way of conceiving psychoanalysis comes from outside of the psychoanalytical field, more precisely from Jacques Derrida?s philosophy. According to Derrida, psychoanalysis not only doesn?t fit in its entirety within the limits of a regional science, but it also comes to constitute, in harmony with derridean graphemathics, an original way of viewing the constitution of reality in general. The thesis follows the path of derridian critique to freudian epistemology and to lacanian structuralist psychoanalysis of the 1950?s, regarding the contemporary thought that seeks, in the last Lacan through the psychoanalytical field, and in Alain Badiou through the field of philosophy, the foundations of both in the fields of mathematical formalisation. Other than allowing to conceive a new psychoanalytical epistemology consolidated in his philosophy, the thesis follows Derrida in pointing at the challenging paths of a psychoanalysis to come. / Ao criar a psican?lise, a partir do final do s?culo XIX, Freud dedicou-se a explicitar os fundamentos epistemol?gicos em que alicer?ava sua pretens?o de haver criado uma nova ci?ncia, um novo ramo das ci?ncias naturais, com as quais ela compartilhava, portanto, tanto estes fundamentos epistemol?gicos quanto sua Weltanschauung. Em meados do s?culo XX, e agora a partir da cr?tica ? cientificidade da psican?lise provinda especialmente da epistemologia neopositivista, coube a Jacques Lacan retomar a quest?o da epistemologia da psican?lise para alicer??-la sobre outros fundamentos. A presente tese procura evidenciar que, ap?s a abordagem lacaniana do problema, vem de fora da psican?lise, mais precisamente da filosofia de Jacques Derrida, uma maneira original de conceber a psican?lise. Para Derrida, a psican?lise n?o apenas n?o cabe toda dentro dos limites de uma ci?ncia regional, como vem a constituir, em harmonia com a grafem?tica derridiana, uma maneira original de pensar a constitui??o da realidade em geral. A tese percorre os caminhos da cr?tica derridiana ? epistemologia freudiana e ? psican?lise estruturalista lacaniana dos anos 50 do s?culo XX, at? encontrar-se com o pensamento contempor?neo que busca, no ?ltimo Lacan pelo campo da psican?lise, e em Alain Badiou pelo campo da filosofia, a fundamenta??o destas no campo da formaliza??o matem?tica. Al?m de permitir pensar uma nova epistemologia da psican?lise alicer?ada em sua filosofia, a tese acompanha Derrida ao apontar para os desafiadores rumos de uma psican?lise por vir.

Nicolas Besnier (1686-1754) est le fils de François Besnier, chef du gobelet du roi, et d’Henriette Delaunay. Son oncle est Nicolas Delaunay et son parrain est Corneille Van Clève. Comme architecte, Nicolas Besnier fait le voyage en Italie de 1709 à 1712 ; étudiant à l’Académie de France à Rome, il obtient le premier prix d'architecture de l’Académie de Saint-Luc en 1711. Maître orfèvre en 1714, associé à Delaunay, logé aux galeries du Louvre à partir de 1718, il est nommé orfèvre du roi par un brevet en 1723. Il travaille pour la cour de France, notamment pour le remplacement de la vaisselle ordinaire du roi et pour les Affaires étrangères, ainsi que pour les comtes de Tarroca, de Pontchartrain, les duchesses de Retz, d'Harcourt, le maréchal de Castries, les ducs de Bouillon, de Levy, Horatio Walpole, Gaspard-César-Charles de Lescalopier, William Bateman, l'église Saint-Louis-en-l'ile, la cour de Wurtemberg, etc… Il devient échevin de la ville de Paris en 1729. A cette époque, il décide de collaborer avec son gendre Jacques Roëttiers de La Tour, à qui il laissera la conduite de son atelier d’orfèvre. De 1734 à 1753, il est directeur de la Manufacture royale de tapisserie de Beauvais. Il supervise la création de nouvelles tentures par Jean-Baptiste Oudry - Métamorphoses d'Ovide, Verdures fines -, par Charles Joseph Natoire - Histoire de don Quichotte - et par François Boucher - les Fêtes italiennes, Histoire de Psyché,Seconde tenture chinoise, les Amours des dieux, la Noble pastorale, les Fragments d'opéra ; cette période est vraiment « l'âge d'or » de la manufacture. Il quitte son logement aux galeries du Louvre en 1739 et il remet son poinçon d'orfèvre en 1744. / Nicolas Besnier (1686-1754) is the son of François Besnier, head of the Gobelet du Roi and Henriette Delaunay. His uncle is Nicolas Delaunay and his godfather is Corneille Van Clève. As an architect, Nicolas Besnier traveled to Italy from 1709 to 1712. As student at the Academy of France in Rome, he obtained the first prize of architecture of the Académie de Saint-Luc in 1711. He became master goldsmith in 1714, partner with Delaunay, and was housed in the Galeries du Louvre from 1718. He was appointed goldsmith of the king by a patent in 1723. He worked for the court of France, notably for the replacement of the king's ordinary serveware and for the Foreign Affairs, as well as for the Counts of Tarroca, of Pontchartrain, the Duchess of Retz, of Harcourt, the Marshal de Castries, the Dukes of Bouillon, of Levy, Horatio Walpole, Gaspard-Caesar-Charles de Lescalopier,William Bateman... He became the alderman of the city of Paris in 1729. At that time, he decided to collaborate with his son in law Jacques Roëttiers de La Tour, who led the his workshop of goldsmith. From 1734, and until 1753, he was director of the Royal Manufacture of Tapestry of Beauvais. He supervised the creation of newhangings by Jean-Baptiste Oudry - Metamorphosis of Ovide, Fine verdures, by Charles Joseph Natoire - History of Don Quixote and by François Boucher - Italian festivals, Story of Psiché, the second Chinese hangings, the Loves of the gods, the Noble pastoral, Fragments of opera. This period is truly the « golden age » ofmanufacturing. He left his lodging at the galleries of the Louvre in 1739 and in 1744 gave back his hallmark of goldsmith.

Welche Möglichkeiten hat ein Kunsthistoriker einen Film spezifisch zu analysieren? Ist das Fotogramm oder die Einstellung sein Forschungsgegenstand? Oder etwa die Wechselwirkung zweier Fotogramme, zweier Einstellungen? Der Künstlerfilm in all seinen Formen, also die vielfältigen Beziehungen von Bildender Kunst und Filmkunst, standen seit Beginn der kunsthistorischen Betrachtungen des Mediums in einem besonderen Fokus kunstwissenschaftlicher Neuorientierungen. Am Beispiel eines „prototypischen Künstlerfilms“, Jacques Rivettes „La Belle Noiseuse“ von 1991 untersucht der Autor, wie sich eine fotografische Filmanalyse verstehen und anwenden ließe. Ausgehend von klassischen Schriften, die die ästhetischen, bildnerischen Funktionen der Kamera theoretisieren, wird somit ein Zugang versucht, der, in Ergänzung zur vergleichenden filmhistorischen Analyse, zur filmpsychologischen Analyse und der feministischen Rezeption des Films, die Reflexionsebenen erweitern soll.

In this paper I have strived to provide a new view on a timeless classic of children’s literature, Winnie-The-Pooh. In psychoanalytic literary criticism concepts and theories of psychoanalysis is implemented while interpreting literature; in this paper, I have interpreted the novel incorporating concepts of the psychoanalytic schools of Sigmund Freud and Jacques Lacan while arguing that the denizens of the Hundred Acre Wood are manifestations of parts of the narrator’s unconscious. The first two sections of the paper present the theories and concepts of the two major schools of psychoanalysis as an introduction aimed at increasing the readability of the interpretation. The individual interpretations of each character are then presented separately, every section in some way involving psychoanalytic theory. Kanga, Roo, Piglet, Winnie-the-Pooh, Christopher Robin, Rabbit, Owl and Eeyore are shown to be repressed memories, feelings or thoughts. Included theoretical concepts are the Oedipus complex, the sexual development of infants, the journey of children towards consciousness, Lacanian desire and lack, Freudian dream interpretation and the conception that the unconscious is structured as language, among others.

<p>In this paper I have strived to provide a new view on a timeless classic of children’s literature, Winnie-The-Pooh. In psychoanalytic literary criticism concepts and theories of psychoanalysis is implemented while interpreting literature; in this paper, I have interpreted the novel incorporating concepts of the psychoanalytic schools of Sigmund Freud and Jacques Lacan while arguing that the denizens of the Hundred Acre Wood are manifestations of parts of the narrator’s unconscious. The first two sections of the paper present the theories and concepts of the two major schools of psychoanalysis as an introduction aimed at increasing the readability of the interpretation. The individual interpretations of each character are then presented separately, every section in some way involving psychoanalytic theory. Kanga, Roo, Piglet, Winnie-the-Pooh, Christopher Robin, Rabbit, Owl and Eeyore are shown to be repressed memories, feelings or thoughts. Included theoretical concepts are the Oedipus complex, the sexual development of infants, the journey of children towards consciousness, Lacanian desire and lack, Freudian dream interpretation and the conception that the unconscious is structured as language, among others.</p>

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.