Moins connues que Chez Mondrian, ou d’autres tirages devenus célèbres, les Distorsions de 1933 peuvent apparaître comme une série d’importance mineure dans l’œuvre d’André Kertész. La série de photographies qui la composent, vaste par le nombre, donne à voir des déclinaisons de nu qui n’ont plus rien d’académique, dans le traitement qu’en donne le photographe. Les corps, déformés grâce à un miroir courbe, surprennent de par leur modernité et leur caractère d’étrangeté, au regard du reste de la production de l’auteur. Constitue-t-elle pour autant une « parenthèse » dans son œuvre ? Il convient pour y répondre de s’interroger sur le contexte d’apparition de ces photographies et les raisons de leur création. Pour ce faire, une évaluation des composantes plastiques de chacune des images s’avère incontournable, avant que d’établir des liens et correspondances avec d’autres œuvres du photographe. L’angle choisi, qui favorise le rapport direct aux images en les plaçant au centre de la recherche, s’intéresse à la mise en œuvre des Distorsions à l’aune de la commande qui en suscita l’objectivation, tout en dévoilant comment ce cadre spécifique fut outrepassé. Le dispositif complexe employé pour la prise de vue est alors questionné, dans l’intention de mesurer l’importance et le rôle du miroir dans le dévoiement de l’image. A ce moment sont abordées, par le biais d’analyses à la fois formelles et esthétiques, les diverses typologies de corps, et leur rapport à l’espace dans l’image. Ce qui aboutit enfin à une vision d’ensemble, permettant de replacer ce corpus dans l’œuvre entier de Kertész, et de dégager les parentés intentionnelles dans sa logique de création. / Less known than Chez Mondrian, or other famous prints, the Distortions of 1933 may appear as a series of minor importance in André Kertész’ work. The series of photographs, wide ranging in numbers, lets us see versions of nude, whose have nothing to do with academic, in the handling given by the photographer. Bodies, distorted by a curved mirror, surprising in their modernity and their strangeness, compared with the rest of the author production. Does it make up a "parenthesis" in his work? To respond to this question, we should wonder about the developing context of these photographs and also the reasons of their creation. An evaluation of visual aspects of each image is necessary, before establishing links and connections with other works made by the photographer. The angle chosen, which favors the direct images by placing them in the center of research focuses on the implementation of Distortions in the light of the order in which aroused objectification, while revealing how this specific framework was exceeded. The complex device used for the shooting is asked then, with the intention of measuring the importance and role of the mirror in the image’s corruption. At this time are addressed through analysis of both formal and aesthetic, the various types of bodies, and their relationship to space in the image. This leads finally to a vision, to put this body in the whole work of Kertész, and to identify the intentional similarities in his creation logic.

Esta dissertação propõe uma interpretação da trilogia do escritor húngaro, judeu e sobrevivente dos campos de concentração e extermínio nazistas, Imre Kertész, composta por Sem destino, O fiasco e Kadish Por uma criança não nascida. A trilogia traça um movimento que vai da afirmação à negação da linguagem literária, deixando transparecer a impossibilidade de transmissão da experiência do horror do Holocausto. A trilogia de Kertész desenvolve-se no entrelaçamento dos discursos da literatura, da memória e da história e constitui um conjunto de obras que busca insistentemente um meio de expressão do horror e da opressão absoluta. Mas a resistência da linguagem frente à experiência, faz com que a primeira se volte contra si mesma e tenda à aniquilação, ao desnudar sua condição impossível. Ao analisar as obras em conjunto, este trabalho procura mostrar que a trilogia de Kertész é propositiva, uma vez que ela busca uma linguagem própria que visa não apenas representar o horror, mas também trazê-lo para dentro da narrativa e repensar, a partir da linguagem, a permanência ou não do pensamento que produziu a barbárie. / This dissertation proposes an interpretation of the trilogy Fatelessness, A kurdac (The failure), and Kaddish for an unborn child, by Imre Kertész, a Hungarian writer, a Jew and a survivor of concentration and extermination Nazi camps. The trilogy outlines a motion undergone by the literary language, from assertion to denial, baring that transmitting the experience of the Holocausts horror is an impossibility. Kertészs trilogy develops in the intertwining of literary, memory and historical discourses and constitutes a set of works that urgently seek a means to express absolute horror and oppression. But as language resists when facing experience, it turns against itself and tends annihilation while revealing its impossible circumstance. Analyzing the works as an ensemble, this dissertation shows that Kertészs trilogy is purposeful, as it seeks its own language which intends not only to represent the horror, but also to bring it into the narrative and rethink, from the language itself, the permanence or not of the mindset that produced that inhumanity.

Esta dissertação propõe uma interpretação da trilogia do escritor húngaro, judeu e sobrevivente dos campos de concentração e extermínio nazistas, Imre Kertész, composta por Sem destino, O fiasco e Kadish Por uma criança não nascida. A trilogia traça um movimento que vai da afirmação à negação da linguagem literária, deixando transparecer a impossibilidade de transmissão da experiência do horror do Holocausto. A trilogia de Kertész desenvolve-se no entrelaçamento dos discursos da literatura, da memória e da história e constitui um conjunto de obras que busca insistentemente um meio de expressão do horror e da opressão absoluta. Mas a resistência da linguagem frente à experiência, faz com que a primeira se volte contra si mesma e tenda à aniquilação, ao desnudar sua condição impossível. Ao analisar as obras em conjunto, este trabalho procura mostrar que a trilogia de Kertész é propositiva, uma vez que ela busca uma linguagem própria que visa não apenas representar o horror, mas também trazê-lo para dentro da narrativa e repensar, a partir da linguagem, a permanência ou não do pensamento que produziu a barbárie. / This dissertation proposes an interpretation of the trilogy Fatelessness, A kurdac (The failure), and Kaddish for an unborn child, by Imre Kertész, a Hungarian writer, a Jew and a survivor of concentration and extermination Nazi camps. The trilogy outlines a motion undergone by the literary language, from assertion to denial, baring that transmitting the experience of the Holocausts horror is an impossibility. Kertészs trilogy develops in the intertwining of literary, memory and historical discourses and constitutes a set of works that urgently seek a means to express absolute horror and oppression. But as language resists when facing experience, it turns against itself and tends annihilation while revealing its impossible circumstance. Analyzing the works as an ensemble, this dissertation shows that Kertészs trilogy is purposeful, as it seeks its own language which intends not only to represent the horror, but also to bring it into the narrative and rethink, from the language itself, the permanence or not of the mindset that produced that inhumanity.

The principal aim of this thesis is to investigate the reception of a text about the Holocaust by pupils of a class in upper secondary school. The text is Fatelessness by Imre Kertész, a text which can be seen as a complex account of the Holocaust. The study tries to shed light on the pupils’ reactions to the text and how the reading influenced their image of the Holocaust. The empirical material derives from a qualitative case study consisting of inquiries, interviews observations and written material from lessons, etc. The theoretical basis for the analysis is focusing on Kathleen McCormick’s concept of repertoires. Both texts and readers have repertoires which can match, mismatch or exist in tension with each other. The analysis focuses on parts of the pupils’ reception in form of the question of genre, style and language, the main character and the image of the Holocaust. The study shows that from an overall perspective the repertoires of the pupils and the text do not match. Instead they often exist in tension. The text has different signals about genre which can be interpreted in several ways. Fatelessness was a challenge for the pupils because of its language with long sentences, many descriptions and untranslated words, mainly German. The strongest reactions were to the main character Gyurka, whom the pupils at first interpreted as cold, naive and optimistic. For many of the pupils this image changed at the reading when they started to view his manners as a way to survive the concentration camps. Even though the text was challenging the images the pupils had about the Holocaust in many ways, their images did not change overall. Despite the fact that the pupils saw the reading of the book mainly as homework they were very engaged in lesson discussions. The study points to the importance of context and discussions about what the pupils bring with them when they encounter the repertoire of the literature of testimony, in this case Holocaust literature. It can be important for teachers to have an understanding of their pupils’ repertoires when they select what literature to read in class. The study also indicates that, as McCormick suggests, tension can be the most productive meeting of the repertoires.

<p>The principal aim of this thesis is to investigate the reception of a text about the Holocaust by pupils of a class in upper secondary school. The text is Fatelessness by Imre Kertész, a text which can be seen as a complex account of the Holocaust. The study tries to shed light on the pupils’ reactions to the text and how the reading influenced their image of the Holocaust.</p><p>The empirical material derives from a qualitative case study consisting of inquiries, interviews observations and written material from lessons, etc. The theoretical basis for the analysis is focusing on Kathleen McCormick’s concept of repertoires. Both texts and readers have repertoires which can match, mismatch or exist in tension with each other. The analysis focuses on parts of the pupils’ reception in form of the question of genre, style and language, the main character and the image of the Holocaust.</p><p>The study shows that from an overall perspective the repertoires of the pupils and the text do not match. Instead they often exist in tension. The text has different signals about genre which can be interpreted in several ways. Fatelessness was a challenge for the pupils because of its language with long sentences, many descriptions and untranslated words, mainly German. The strongest reactions were to the main character Gyurka, whom the pupils at first interpreted as cold, naive and optimistic. For many of the pupils this image changed at the reading when they started to view his manners as a way to survive the concentration camps. Even though the text was challenging the images the pupils had about the Holocaust in many ways, their images did not change overall. Despite the fact that the pupils saw the reading of the book mainly as homework they were very engaged in lesson discussions.</p><p>The study points to the importance of context and discussions about what the pupils bring with them when they encounter the repertoire of the literature of testimony, in this case Holocaust literature. It can be important for teachers to have an understanding of their pupils’ repertoires when they select what literature to read in class. The study also indicates that, as McCormick suggests, tension can be the most productive meeting of the repertoires.</p>

L'expérience des camps de concentration et d'extermination nazis a fait l'objet d'une multitude de publications dès les lendemains de la libération. Si plusieurs récits de déportation appartiennent à des formes "extrafictionnelles" (journal intime, autobiographie, récit de vie), certains déportés privilégient néanmoins la fiction pour rendre compte de leur expérience. Ce choix apparaît paradoxal puisque pour plusieurs la transformation de cet événement extrême de l'histoire occidentale soulève de nombreux enjeux moraux. Dans ce débat littéraire et éthique, dont l'une des figures les plus connues est Claude Lanzmann, représenter le génocide juif par la fiction représente une transgression, la fiction menaçant de banaliser les événements. À la lumière de ces critiques et face à la suspicion à l'égard du récit fictionnel, pourquoi ces écrivains-déportés choisissent-ils la fiction? Le présent mémoire vise à répondre à cette question par l'analyse d'une partie de l'oeuvre de deux auteurs déportés à Buchenwald, Imre Kertész et Jorge Semprun. L'étude de quatre textes s'impose puisque ces auteurs ont non seulement publié des romans sur leur expérience des camps (de Jorge Semprun Le grand voyage, 1963 et d'Imre Kertész, Être sans destin, 1998 pour l'édition française), mais ils ont, sous diverses formes, notamment par la fiction (dans L'écriture ou la vie, 1994 et Le refus, 2001) ou dans des entretiens accordés et discours prononcés, mené une réflexion à propos de leur écriture, proposant leurs réponses à plusieurs interrogations que nous soulèveront : comment écrire les camps? Quel langage employer? Quelle forme? Ces auteurs, nous le verrons, problématisent de manière particulière leur rapport à la fiction. En ce sens, la question "pourquoi la fiction?" requiert une segmentation des lieux de réponse. Il s'agira de procéder en trois temps. Dans le premier chapitre, comme les auteurs, par leur statut de "revenant", occupent une place centrale dans notre analyse, nous reconstituerons leurs conditions de déportation et étudierons l'épitexte auctorial public. Le deuxième chapitre, consacré à L'écriture ou la vie (Semprun) et Le refus (Kertész), met au premier plan la rencontre entre l'expérience concentrationnaire et l'expérience d'écriture. Par divers procédés, la fiction livre un discours sur elle-même, ce qui nous permettra de préciser notr question de départ. De cette manière, nous progresserons vers le troisième chapitre portant sur les oeuvres initiales : Le grand voyage et Être sans destin, points de départ et d'arrivée de notre problématique. Certains axes de réponse parcourront l'ensemble du mémoire. Que ce soit dans les oeuvres de fiction ou dans leur discours, les auteurs dévaluent le régime testimonial, inapte, selon eux, à dire la vérité des camps. Par le roman, ils répondent au mensonge historique du Troisième Reich. Entre l'exigence littéraire et de vérité, les auteurs cherchent à transmettre leur expérience, à saisir l'essentiel de celle-ci, et à rétablir une part de vérité historique par la fiction.

Imre Kertész ist 1929 in Budapest geboren und dort aufgewachsen. 1944 wurde er im Rahmen einer Judendeportation verhaftet und über Auschwitz in das KZ Buchenwald verbracht. Nach der Befreiung des Lagers 1945 kehrte er in seine Heimatstadt zurück, wo er seit 1953 als Schriftsteller und Übersetzer tätig war. 2001 verlegte er seinen Lebensmittelpunkt nach Berlin. 2002 erhielt er den Nobelpreis für Literatur. Ziel der Untersuchung ist die Rekonstruktion einer in Kertész’ Werk allegorisch codierten Anthropologie und einer damit implizierten Ästhetik. Die Basis der fraglichen Anthropologie ist der Begriff des Lebens. Das spezifisch menschliche Leben zeichnet sich durch den Prozess der kulturellen Evolution aus, welcher durch verständigungsorientierte Mittel rational zu steuern ist. Die hieraus resultierende Dialektik wird von autonomen Personen konstituiert. Dabei erscheint die generationenübergreifende Reproduktion der Personenrolle und des damit einhergehenden menschlichen Bewusstseins als unbedingte Pflicht im Sinne Kants. Letzterer Vorgang kann als ästhetische Erfahrung beschrieben werden, bei der die menschliche Ontogenese jeweils in Orientierung an paradigmatischen Darstellungen der Personalität respektive der Personalisierung erfolgt. / Imre Kertész was born in Budapest in 1929. He lived there until 1944, when, in the course of a deportation of Jews, he was arrested and taken to the KZ Buchenwald via Auschwitz. After the liberation of the camp in 1945 he returned to his home town, where he began to work as a writer and translator in 1953. In the year 2001 he moved to Berlin. He was awarded the Nobel prize for literature in 2002. The objective of the study is to reconstruct an anthropology allegorically encoded in the oeuvre of Kertész and a theory of aesthetics intrinsic to it. Fundamental to the anthropology in question is the concept of life. Human life in particular is characterized by the process of cultural evolution, which has to be controlled rationally by means of communication. The resulting dialectic is supported by autonomous persons. Thereby the transgenerational reproduction of personality and the corresponding human consciousness appears as a categorical duty in the sense of Kant. The latter proceeding can be described as an aesthetic experience in which the individual human ontogenesis is oriented to paradigmatic representations of personality respectively of personalization.

Imre Kertész ist 1929 in Budapest geboren und dort aufgewachsen. 1944 wurde er im Rahmen einer Judendeportation verhaftet und über Auschwitz in das KZ Buchenwald verbracht. Nach der Befreiung des Lagers 1945 kehrte er in seine Heimatstadt zurück, wo er seit 1953 als Schriftsteller und Übersetzer tätig war. 2001 verlegte er seinen Lebensmittelpunkt nach Berlin. 2002 erhielt er den Nobelpreis für Literatur. Ziel der Untersuchung ist die Rekonstruktion einer in Kertész’ Werk allegorisch codierten Anthropologie und einer damit implizierten Ästhetik. Die Basis der fraglichen Anthropologie ist der Begriff des Lebens. Das spezifisch menschliche Leben zeichnet sich durch den Prozess der kulturellen Evolution aus, welcher durch verständigungsorientierte Mittel rational zu steuern ist. Die hieraus resultierende Dialektik wird von autonomen Personen konstituiert. Dabei erscheint die generationenübergreifende Reproduktion der Personenrolle und des damit einhergehenden menschlichen Bewusstseins als unbedingte Pflicht im Sinne Kants. Letzterer Vorgang kann als ästhetische Erfahrung beschrieben werden, bei der die menschliche Ontogenese jeweils in Orientierung an paradigmatischen Darstellungen der Personalität respektive der Personalisierung erfolgt. / Imre Kertész was born in Budapest in 1929. He lived there until 1944, when, in the course of a deportation of Jews, he was arrested and taken to the KZ Buchenwald via Auschwitz. After the liberation of the camp in 1945 he returned to his home town, where he began to work as a writer and translator in 1953. In the year 2001 he moved to Berlin. He was awarded the Nobel prize for literature in 2002. The objective of the study is to reconstruct an anthropology allegorically encoded in the oeuvre of Kertész and a theory of aesthetics intrinsic to it. Fundamental to the anthropology in question is the concept of life. Human life in particular is characterized by the process of cultural evolution, which has to be controlled rationally by means of communication. The resulting dialectic is supported by autonomous persons. Thereby the transgenerational reproduction of personality and the corresponding human consciousness appears as a categorical duty in the sense of Kant. The latter proceeding can be described as an aesthetic experience in which the individual human ontogenesis is oriented to paradigmatic representations of personality respectively of personalization.

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-01-09T10:43:56Z No. of bitstreams: 2 Tese - Daniele Maia Tiago - 2017.pdf: 2460190 bytes, checksum: 6c9515ab73e5ddf3160ed8343eac72f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-01-09T10:44:59Z (GMT) No. of bitstreams: 2 Tese - Daniele Maia Tiago - 2017.pdf: 2460190 bytes, checksum: 6c9515ab73e5ddf3160ed8343eac72f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-01-09T10:44:59Z (GMT). No. of bitstreams: 2 Tese - Daniele Maia Tiago - 2017.pdf: 2460190 bytes, checksum: 6c9515ab73e5ddf3160ed8343eac72f6 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Diese Thesen greifen Holocaust Zeugenaussageschriften mit spezifischem Charakter und Erzählstrategien auf und verbinden diese mit der Integrationspolitik seit den 1990er Jahren im wieder vereinten Deutschland. Die Narrativen Strategien beinhalten die Analyse von literarischen Schriften von Zeitzeugen, um anhand derer zu prüfen, ob im vereinten Europa erneut Ängste bestehen und wie mit der Erinnerung und den Denkmälern des Holocaust umgegangen wird. Die spezifischen Schreibstrategien der Holocaust Zeugenaussageschriften zeigen in repräsentativer Form die Kraft der Sprache in Verbindung mit beispielloser Gewalt auf. Hiervon zu erzählen bedeutet seitens der Zeitzeugen im Namen derer die starben eine zweideutige ethnische Forderung, eine Versöhnung mit seinem eigenen Schicksal, den Holocaust überlebt zu haben. / Essa tese se propõe a pensar a efervescência de escritos testemunhais de caráter não ordinário e com estratégias narrativas específicas na década de 1990, numa Alemanha recém-reconstruída e reunificada, com novas políticas integracionais. Suas estratégias narrativas nos levam a questionar o porquê dos membros dessa categoria literária testemunhal usarem conscientemente seus escritos para pensar, entre tantas outras questões, por que uma Europa que, mesmo reunificada, é marcada pelo pavor da lembrança causada pelos monumentos ao holocausto e como o testemunho leva em seu âmago um topos ambíguo, uma verdade lacunar que o constitui. Essa é a impotência da linguagem que conhecemos para narrar o ocorrido, uma força representativa necessária e impossível ao mesmo tempo, uma potência que toma força na própria impotência para contar uma violência inaudita. Testemunhar em nome dos que morreram, seria além de uma exigência ética ambígua, uma reconciliação com a própria culpa por haver sobrevivido, e, portanto, eis a necessidade de estratégias específicas de escrita.

L’objet d’étude de cette thèse porte sur les anciens lieux d’habitation parisiens d’André Kertész et de Brassaï, tels qu’ils existent aujourd’hui. Il repose sur une analyse de photographies puisées dans leurs archives et sur un travail de terrain effectué dans ces lieux désormais habités par d’autres occupants. La prise de contact avec les habitants actuels a été l’occasion d’une collaboration participative puisque ces images d’archives ont généré un travail de création collective : placés à différents postes, différents points de vue préalablement identifiés dans ces anciens clichés, ces habitants ont effectué eux-mêmes un travail de re-photographie simultané. Cette recherche est le résultat d’une expérience urbaine qui combine documentation, interprétation et création. L’étude de deux archives photographiques, nous a permis d’identifier sept intérieurs et de répertorier un corpus de cinquante-sept clichés d’époque. Le caractère social et interactif de notre méthode de travail vise à une meilleure appréhension de ces lieux d’habitation et de notre héritage culturel dans une perspective de transmission; l’aboutissement étant une production plastique, une image panoramique cumulant différentes époques dans un même espace. Pour l’étude des rapports relationnelles des images et la définition des champs de représentation et d’interprétation, nous nous sommes appuyés sur le schéma de l’intertextualité. Nous avons cherché des analogies permettant de comparer les créations re-photographiques avec le modèle genettien de l’intertextualité. Ce principe d’une organisation « intervisuelle » a été complété par des méthodes théoriques chronologiques, topographiques et médiatiques. / The topic of my thesis is the former dwelling places of two famous Hungarian photographers, André Kertész and Brassaï. It identifies the pieces of the archives which were made in the private spaces of the artists. The identification is carried out through getting into the flats, into the spaces. Getting in touch with the present occupants is the beginning of a collective creative work. The pictures are taken in these spaces, from different point of views, but at the same time. My work is a documentation of an urban experience with a structure of a network. The research, which is built on the visual content of the archives, presents factual results and interpretational creative activity as well. Seven found interiors and the two archives have been examined, 57 pictures have been identified, which shed light on new parts of the artists’ biographies. The social requirement of the method of working up serves the collective cognition of cultural memories, the discovery of one’s own living space and the possibilities of passing them on. The act of Rephotography, points towards the future and makes the recipient think on. To interpret the relative relationship between the pictures, the thesis examines the possible representative domains of the photographical metaphor of intertextuality. It looks for analogies which enable that the works made in intervisual spirit could be compared to Genette’s intertextuality and it completes the method of arrangement with further chronological, topographical and medial theoretical schemes.