Apparue aux États-Unis dans les années 70, la bande dessinée autobiographique s’est épanouie plus tardivement en France : très consciente d’elle-même, elle s’est structurée dans les années 90 d’un point de vue collectif et éditorial et s’est révélée en cela pleinement structurante. Cette alliance n’allait pourtant pas de soi puisqu’elle semble rompre par nature avec d’autres formes du neuvième art, à commencer par l’aventure, la science-fiction ou le divertissement, autrement dit avec ce qui constitue parfois dans l’imaginaire commun la vocation même de la bande dessinée. L’écriture de soi semble donc fournir de manière spontanée les outils d’un décloisonnement : la transgression, l’hybridation et le lyrisme apparaissent comme trois modalités d’ouverture de l’espace traditionnel du neuvième art. À la recherche de nouveaux équilibres créatifs, l’auteur s’est notamment confronté à l’épineuse question de l’autoportrait. Traditionnellement art du personnage, la bande dessinée force le dessinateur à résoudre des équations qui semblent a priori insolubles et à inventer des ruses qu’il nous revient de décrire : l’autoportrait s’hybride avec l’autoreprésentation, l’identité avec l’altérité, le réel avec la fiction. C’est tout un changement de paradigme que la bande dessinée autobiographique introduit dans l’ordre de la représentation et de la narration : de ce point de vue, elle offre un fil conducteur permettant de traverser l’histoire et la modernité du neuvième art. / Born in USA during the 70's, autobiographical comics blossomed later in France : endowed with a strong self consciousness, it happened to be structured from a collective or editorial point of view in the 90's. This syncretic genre wasn't obvious a priori, because it seems to originate in itself a failure with other forms of the ninth art, especially adventures, science-fiction or entertainment, in other terms with what stands for comic strips purposes in most people mind. The writing of the self may provide spontaneously tools for an opening up : breaking, hybridization and lyrism appear to be three ways to enlarge the traditional area of comic strips. Searching for new creative balances, the author has studied the vexed topic of self-portrait. Usually considered as the art of character, comic strips enforce the art cartoonist to solve equations that first seem insoluble and to invent tricks that we owe to describe : self-portrait hybridizes with representation of the self, identity with otherness, reality with fiction. And that is because autobiographical comic strips introduces a whole change of paradigm in the order of representation and narration : from this point of view, autobiography offers a thread allowing to travel all over history and modernity of the ninth art.

Made available in DSpace on 2016-04-28T19:59:16Z (GMT). No. of bitstreams: 1 Lilian Silva Salles.pdf: 493708 bytes, checksum: 2b749fcdf6f14148af1f472b90764d53 (MD5) Previous issue date: 2009-04-30 / This study aims to elucidate the parody rewriting of the Parable of the Prodigal Son and its mythic allusions in Raduan Nassar s novel Lavoura Arcaica. Our aim is to point out, in Nassar s narrative discourse, the peculiarity of its structure in which we have identified poetic procedures as lyricism, silence, the sacred and the profane. These strategies recur in the novel, alternating the organic and the visceral with the problematization of the natural and the mythic. Therefore, we raised the following question: how does Lavoura Arcaica engage itself in a dialogue parody with the Parable of the Prodigal Son , and reconstruct, in a poetical prose, the mythical family ties, generating the rite of cosmic renewal? For us Lavoura Arcaica reconstructs these mythical ties through a tense lyricism between the dialogism and the silence. The mythical family ties in Lavoura Arcaica promote a circular narrative in which the rite of comic renewal is organizing with the fusion of the mystic and of parodying the presence of the sacred and the profane that bring the subject back to the organic, visceral and natural. Reflecting upon this issue, we studied the theory of myth dealing with the concept according to some scholars as Mircea Eliade, Gilbert Durand and Joseph Campbell. For the discussion of parody and dialogism, we have focused on Mikhail Bakhtin studies. We also discussed, the sacred and the profane as a pecualiarity of Nassar s novel, focusing on Mircea Eliade s studies, and the question of silence, presented in the novel, basing on Eni Orland´s studies. On the relation between poetry and lyricism, we have chosen the critical essays of T.S. Eliot. This study on Nassar s novel showed us that the mythical family ties are the bases for the discursive tensions and the parody rewriting of myth. Along this project, we observed that in the narrative discourse the myth of the eternal return has constructed Lavoura Arcaica as a great allegory of the ruins of a family unit / O presente estudo tem por objetivo elucidar a reescritura mítico-paródica da Parábola do filho pródigo presente no romance Lavoura arcaica, de Raduan Nassar. Nosso intuito é flagrar, nesse discurso narrativo de Nassar, a peculiaridade de sua escritura, na qual identificamos procedimentos poéticos como: o lirismo, o silêncio, o sagrado e o profano que apresentam no discurso dialógico do romance recorrência e alternância do orgânico, do visceral e do natural que otimizam a questão do mito no romance. Para tanto, levantamos a seguinte questão: De que maneira o romance Lavoura arcaica, de Raduan Nassar, ao dialogar de forma paródica com a Parábola do filho pródigo, reconstrói, em prosa lírica, os laços míticos de família, gerando um rito de renovação cósmica? As principais hipóteses que nos orientaram foram: ao dialogar com a Parábola do filho pródigo, o romance Lavoura arcaica reconstrói os laços míticos de família por meio de um lirismo tenso entre o dialogismo e o silêncio. Ainda cogitamos que os laços míticos de família, presentes em Lavoura arcaica, promovem uma narrativa circular, na qual o rito de renovação cósmica assume a fusão do místico e do paródico pela presença do sagrado e do profano, trazendo o homem de volta ao orgânico, ao visceral e ao natural. Para refletir sobre essa problemática, traçamos um percurso de estudo do mito tratando o conceito segundo os teóricos Mircea Eliade, Gilbert Durand e Joseph Campbell. Da mesma forma, a respeito da paródia e do dialogismo, temos como base teórica os estudos de Mikhail Bakhtin. Por uma peculiaridade desse romance nassariano, o sagrado e o profano foram estudados a partir dos estudos também de Mircea Eliade, já a questão do silêncio presente no romance está embasado nos estudos de Eni Orlandi. Revelamos as relações de poesia e lirismo, tendo como embasamento os ensaios críticos de T.S. Eliot. Enfim, a pesquisa evidenciou-nos que os laços míticos de família foram os construtores das tensões discursivas e da reescritura paródico-mitica presentes no romance. Ao longo deste trabalho, observamos que o mito do eterno retorno no discurso da narrativa constrói Lavoura arcaica como metáfora da busca de uma unidade familiar perdida

O presente estudo propõe-se ao levantamento das relações intertextuais tantas vezes apontadas, porém quase nunca aprofundadas por nossa crítica literária entre o filósofo existencialista Jean-Paul Sartre e o romancista brasileiro Carlos Heitor Cony. Em seu conjunto, o trabalho baseia-se em dois planos: no primeiro, são criteriosamente assinaladas as semelhanças temáticas e, eventualmente, formais da prosa ficcional de ambos, tendo por objetos de estudo os seus respectivos romances de estreia: A náusea e O ventre; no segundo, o mais relevante para meus atuais propósitos, acentua-se a investigação das diferenças, sobretudo estilísticas, da literatura conyana em relação à do pensador francês. Portanto, em sentido mais amplo, o trabalho trata-se de uma ampla reflexão acerca do processo de apropriação antropofágica na linha oswaldiana de alguns dos típicos temas existencialistas de Sartre e de sua adaptação por meio de um estilo que denota traços individuais cujas características são a ironia cortante, o humor sarcástico e algum lirismo por parte de Cony, do que decorre um inusitado acariocamento do Existencialismo sartriano. Dentro dos limites formais deste tipo de estudo, são ainda referidos diversos outros textos filosóficos e literários destes intelectuais em uma tentativa de corte transversal o mais elucidativo possível de suas obras. / The present study intends to inquire the intertextual relations – often pointed, though almost never deepened by our literary criticism – among the existentialist philosopher Jean-Paul Sartre and the Brazilian novelist Carlos Heitor Cony. In its whole, the study is based upon two levels: in the first one, the thematic and occasionally formal similitudes in the fictional prose of both authors are criterioulsy shown, taking as objects their respective first novels: The Nausea and The Womb. In the second level, which is the most relevant among my purposes at this moment, there is an emphasis on the differences, mainly stylistic, of Cony’s literature in relation to the one by the French philosopher. Therefore, in a larger sense, this study is about a broad reflection regarding the anthropophagical appropriation in the oswaldian line of some of the typical sartrean existentialistic themes, and its adaptation through a style that denotes individual traces whose characteristics are acid irony, sarcastic sense of humor and some lyricism by Cony – from which flows an unexpected tropical and loose philosophical vision (in the carioca style) of the sartrean existentialism. Within the formal limits of this kind of research, many other philosophical and literary texts from these scholars are also referred to, planned as a transversal cut which intends to be able of elucidating as much as possible from their work.

Cette thèse sur l’oeuvre de Christian Bobin (1951-) porte aussi et avant tout sur le lyrisme et le désenchantement contemporains. En posant pour horizon ces deux objets de discours, j’interprète le discours éthique et poétique sur l’« enchantement simple » chez l’auteur français. Dans une perspective herméneutique, il s'agit d'éprouver l'hypothèse selon laquelle les oeuvres de Bobin véhiculent un discours poétique « répliquant » (Ricoeur) à un certain discours intellectuel dominant, s'énonçant contre lui, mais aussi en réitérant plusieurs de ses credo. La première partie annonce la posture théorique et la méthode (comparatiste), puis définit le lyrisme et le désenchantement comme horizon d’interprétation. La seconde partie, qui interroge l’identité « poéthique » (Pinson) de l’auteur (entendu comme catégorie du texte), dévoile la manière dont l’auteur prend acte du désenchantement et du nihilisme : en masculinisant le désenchantement, le reliant au logos, et en féminisant l’enchantement, l’associant au muthos. Le parti pris du temps authentique est soutenu par la valorisation de conduites et d’attitudes temporelles relevant de l’éthique de l’authenticité (Rousseau), alors que le parti pris du féminin correspond à la valorisation d’attitudes relevant de l’éthique de la bonté (Levinas). Puisque la première éthique mise sur le temps du sujet et que la seconde favorise le temps de l’autre, un premier paradoxe émerge au coeur des messages spéculatifs véhiculés, dont on prend la mesure grâce au discours de l’auteur sur le temps, les hommes, les femmes et la bonté. Dans la troisième partie, je mets au jour le grand projet éthique dont l’auteur investit son oeuvre : écrire pour prendre soin, soigner. Après avoir défini ce que j’appelle « l’écriture du care » chez Bobin, je m’attarde aux figures féminines fondatrices de l’oeuvre et constate que l’ambition est triple chez l’auteur : premièrement, prendre soin du présent, deuxièmement, protéger les femmes de la misogynie et troisièmement, revaloriser les attitudes care qui leur sont traditionnellement reconnues et comprendre, dédramatiser, esthétiser leur « folie ». Apparaît alors un second paradoxe : la valorisation simultanée de figures charnelles inscrites dans la temporalité (maternité) et de figures atemporelles, hors temps (extase). Enfin, un regard sur les « femmes à venir » bobiniennes montrera trois figures promises à la pratique du soin promue par l’auteur. Au final, c’est non seulement la poéthique bobinienne qui est mise en lumière, mais aussi des postures éthiques et poétiques centrales en Occident, que plusieurs poètes lyriques adoptent « en temps de détresse » (Hölderlin). / This thesis on the work of Christian Bobin (1951-) is first and foremost a study of lyricism and contemporary disenchantment. Within the frame of these two modes of discourse, I interpret the French author’s ethical and poetic discourse of “simple enchantment”. From a hermeneutical perspective, I test the hypothesis according to which Bobin’s works convey a poetic discourse by “replying” (Ricoeur) to a certain dominant intellectual discourse directed against him, but also by reiterating many of his credos. The first part of this thesis presents the theoretical frame and method (comparatist), and defines lyricism and disenchantment as an interpretive horizon. The second part, which questions the author’s “poethic” (Pinson) identity (understood as category of the text), unveils the manner in which Bobin sees disenchantment and nihilism: by masculinizing disenchantment, linking it to logos, and by feminizing enchantment, associating it with muthos. The belief in authentic time is maintained by valorizing behaviours and temporal attitudes in accordance with the ethic of authenticity (Rousseau), whereas the bias of the feminine corresponds to the valorization of attitudes in accordance with the ethic of kindness (Levinas). Because the first ethic relies on the subject’s time and the second favours the other’s time, an initial paradox emerges at the heart of the conveyed speculative messages, which are freighted with the author’s discourse on time, men, women and kindness. In the third part, I illuminate the author’s grand ethical project: writing to care for, to nurse. After defining Bobin’s “writing of care”, I look at the founding feminine figures of his work and note that the author’s ambition is threefold: first, to care for the present; second, to protect women from misogyny and to reassert the value of care attitudes for which they are traditionally recognized; and third, to comprehend, defuse, and beautify their “madness”. Hence, a second paradox emerges: the simultaneous valorization of carnal figures inscribed in temporality (maternity) and those outside time (ecstasy). A look at Bobinian “women still to come” will reveal three anticipated figures committed to the practice of caregiving. Finally, not only is Bobinian poethic illuminated, but a light is also shed on central poetic and ethical postures in the West, which many lyrical poets adopt “in times of distress” (Hölderlin).

O presente estudo propõe-se ao levantamento das relações intertextuais tantas vezes apontadas, porém quase nunca aprofundadas por nossa crítica literária entre o filósofo existencialista Jean-Paul Sartre e o romancista brasileiro Carlos Heitor Cony. Em seu conjunto, o trabalho baseia-se em dois planos: no primeiro, são criteriosamente assinaladas as semelhanças temáticas e, eventualmente, formais da prosa ficcional de ambos, tendo por objetos de estudo os seus respectivos romances de estreia: A náusea e O ventre; no segundo, o mais relevante para meus atuais propósitos, acentua-se a investigação das diferenças, sobretudo estilísticas, da literatura conyana em relação à do pensador francês. Portanto, em sentido mais amplo, o trabalho trata-se de uma ampla reflexão acerca do processo de apropriação antropofágica na linha oswaldiana de alguns dos típicos temas existencialistas de Sartre e de sua adaptação por meio de um estilo que denota traços individuais cujas características são a ironia cortante, o humor sarcástico e algum lirismo por parte de Cony, do que decorre um inusitado acariocamento do Existencialismo sartriano. Dentro dos limites formais deste tipo de estudo, são ainda referidos diversos outros textos filosóficos e literários destes intelectuais em uma tentativa de corte transversal o mais elucidativo possível de suas obras. / The present study intends to inquire the intertextual relations – often pointed, though almost never deepened by our literary criticism – among the existentialist philosopher Jean-Paul Sartre and the Brazilian novelist Carlos Heitor Cony. In its whole, the study is based upon two levels: in the first one, the thematic and occasionally formal similitudes in the fictional prose of both authors are criterioulsy shown, taking as objects their respective first novels: The Nausea and The Womb. In the second level, which is the most relevant among my purposes at this moment, there is an emphasis on the differences, mainly stylistic, of Cony’s literature in relation to the one by the French philosopher. Therefore, in a larger sense, this study is about a broad reflection regarding the anthropophagical appropriation in the oswaldian line of some of the typical sartrean existentialistic themes, and its adaptation through a style that denotes individual traces whose characteristics are acid irony, sarcastic sense of humor and some lyricism by Cony – from which flows an unexpected tropical and loose philosophical vision (in the carioca style) of the sartrean existentialism. Within the formal limits of this kind of research, many other philosophical and literary texts from these scholars are also referred to, planned as a transversal cut which intends to be able of elucidating as much as possible from their work.

O presente estudo propõe-se ao levantamento das relações intertextuais tantas vezes apontadas, porém quase nunca aprofundadas por nossa crítica literária entre o filósofo existencialista Jean-Paul Sartre e o romancista brasileiro Carlos Heitor Cony. Em seu conjunto, o trabalho baseia-se em dois planos: no primeiro, são criteriosamente assinaladas as semelhanças temáticas e, eventualmente, formais da prosa ficcional de ambos, tendo por objetos de estudo os seus respectivos romances de estreia: A náusea e O ventre; no segundo, o mais relevante para meus atuais propósitos, acentua-se a investigação das diferenças, sobretudo estilísticas, da literatura conyana em relação à do pensador francês. Portanto, em sentido mais amplo, o trabalho trata-se de uma ampla reflexão acerca do processo de apropriação antropofágica na linha oswaldiana de alguns dos típicos temas existencialistas de Sartre e de sua adaptação por meio de um estilo que denota traços individuais cujas características são a ironia cortante, o humor sarcástico e algum lirismo por parte de Cony, do que decorre um inusitado acariocamento do Existencialismo sartriano. Dentro dos limites formais deste tipo de estudo, são ainda referidos diversos outros textos filosóficos e literários destes intelectuais em uma tentativa de corte transversal o mais elucidativo possível de suas obras. / The present study intends to inquire the intertextual relations – often pointed, though almost never deepened by our literary criticism – among the existentialist philosopher Jean-Paul Sartre and the Brazilian novelist Carlos Heitor Cony. In its whole, the study is based upon two levels: in the first one, the thematic and occasionally formal similitudes in the fictional prose of both authors are criterioulsy shown, taking as objects their respective first novels: The Nausea and The Womb. In the second level, which is the most relevant among my purposes at this moment, there is an emphasis on the differences, mainly stylistic, of Cony’s literature in relation to the one by the French philosopher. Therefore, in a larger sense, this study is about a broad reflection regarding the anthropophagical appropriation in the oswaldian line of some of the typical sartrean existentialistic themes, and its adaptation through a style that denotes individual traces whose characteristics are acid irony, sarcastic sense of humor and some lyricism by Cony – from which flows an unexpected tropical and loose philosophical vision (in the carioca style) of the sartrean existentialism. Within the formal limits of this kind of research, many other philosophical and literary texts from these scholars are also referred to, planned as a transversal cut which intends to be able of elucidating as much as possible from their work.

L’objet de ce travail est d’éclairer l’esthétique et l’éthique de la poétique de Francis Ponge à partir de la notion de Nature. La première partie étudie la notion de Nature chez Ponge en tant que monde extérieur et son matérialisme qui, fortement influencé par le matérialisme antique, est caractérisé par l’antimétaphysique. Cette partie met également en relief le rapport étroit entre sa pensée matérialiste et la pensée immanente spinoziste, résumée dans l’expression de « Dieu ou la Nature ». Les aspects immanents des choses dans ses œuvres peuvent être mieux saisis, en effet, à l’aide de la notion d’« immanence » spinoziste. La deuxième partie explore, quant à elle, la relation entre la Nature et la littérature et le développement d’un nouveau lyrisme matérialiste chez Ponge. Pour lui, la littérature se naturalise et la Nature se littérarise. Son approbation de la Nature se traduit par sa contresignature apposée aux choses.Son nouveau lyrisme matérialiste, qui s’oppose au lyrisme traditionnel, se caractérise autour de notions telles que la vibration, l’aspiration, ou la « réson ». La troisième partie, enfin, examine le nouvel humanisme de Ponge ainsi que son éthique.La relation entre la Nature et l’homme s’articulera autour de thèmes éthiques essentiels comme l’altérité, le nouvel humanisme et le salut de l’homme. Son éthique consiste à vivre heureux. Nous l’aborderons à travers différents thèmes tels que la sagesse antique, l’harmonie du « non-soi » et du « soi », l’éthique de la joie, le hasard et la liberté. / The purpose of this study is to examine the aesthetics and the ethics of Francis Ponge’s poetry through the notion of Nature. The first part examines the concept of Nature in Ponge as the outside world and his materialism which, heavily influenced by ancient materialism, is characterized by the anti-metaphysical. This part also explore the close relationship between his idea and Spinoza’s immanent idea, summarized in the expression of "God, or Nature". The immanent aspects of things in his work can be fully understood with the help of the concept of "immanence" of Spinoza. The second part examines the relationship between Nature and literature and the development of Ponge’s new materialist lyricism. For him, literature becomes naturalized and nature becomes literarized. The approval of nature is reflected in his countersignature for things. His new materialist lyricism, contrasted with the traditional lyricism, is characterized by notions such as vibration, aspiration, "réson". The third part will focus on the new humanism and the ethics of Ponge. The relationship between Nature and man will be treated primarily on certain essential themes of ethics such as otherness, the new humanism and the salvation of man. His ethics is to live à happy life. Various topics, such as ancient wisdom, the harmony of the "non-self" and the "self", the ethics of joy, chance and freedom, will be discussed.

L’objet de cette thèse est de définir un type de poésie visuelle moderne (XXe-XXIe), que nous avons nommé la poésie graphique et qui attache une importance considérable à l’expérimentation plastique du signe graphique, qui manifeste une conscience aiguë des ressources visuelles de la graphie et entend réaliser la poésie dans la matérialité des formes de l’écriture. La poésie graphique désigne une pratique de la poésie à caractère spécifiquement graphique, qui recouvre tant une peinture du signe qu’un travail typographique de la lettre pour élaborer le poème. Cette pratique graphique et plastique du poème s’inscrit dans la continuité, mais également dans un certain renouveau des avant-gardes poétiques et artistiques du XXe siècle, notamment du surréalisme. Les logogrammes de Christian Dotremont, les poèmes-estampes et les livres d’artistes (Éditions Erta) de Roland Giguère, les recueils de signes inventés et d’encres d’Henri Michaux et la typoésie de Jérôme Peignot constituent des formes de poésie graphique. Notre étude porte donc sur des œuvres francophones, issues des domaines belge, français et québécois, produites entre 1950 et 2004. Trois caractéristiques définissent principalement la poésie graphique : l’ambiguïté et le nomadisme du signe du poème par rapport aux ordres sémiotiques — scriptural, iconique et plastique —, la présence d’un rythme et d’un lyrisme graphiques, comme modalités de l’expression du sujet dans la matière graphique, et une remise en cause de la ligne de partage entre les arts autographiques et allographiques, nécessitant de nouveaux modes de perception et de lecture du poème et du livre, soit une « iconolecture » et une « tactilecture ». / The purpose of this thesis is to define a type of modern visual poetry (20th – 21st), that we called graphic poetry. The graphic poetry focuses on a plastic and visual experimentation of the graphic sign, demonstrates an important conscience of the visual potential of the written form and tries to produce poetry in the materiality of the writing shapes. The graphic poetry refers to a practice of poem which is specifically graphic and includes a painting of the sign as a typographic work of the letter in order to produce the poem. This artistic practice of poetry follows and also renews the poetic and plastic avant-gardes of the 20th century, more particularly surrealism. Christian Dotremont’s logograms, Roland Giguère’s artists’ books (Editions Erta) and prints-poems, Henri Michaux’s anthologies of invented painted signs and Jérôme Peignot’s typoems are some forms of graphic poetry. Our study focuses on francophone works, which come from Belgian, French and Quebec fields, published between 1950 and 2004. Three characteristics mainly define the graphic poetry : the ambiguity and the nomadism of the sign in relation to the semiotic systems (graphic, iconic and plastic), graphics rhythm and lyricism, as modalities of the expression of the subject in the graphic material, and a questioning of the distinction between autographic arts and allographic arts, requiring new ways of perception and reading of the poem and the book, that we called visual-reading and touch-reading.

À partir des autoportraits photographiques de Vivian Maier (1926-2009) et Francesca Woodman (1958-1981), la thèse de ce texte est que la figuration féminine nous transmet un art de disparaître. Si l’on établit que cet art serait présent de manière plus ou moins active dans l’ensemble de l’iconographie du féminin, on montre que c’est un contexte particulier qui en révèle l’existence : celui de l’émancipation des femmes depuis la fin du XVIIIe siècle, de l’invention de la photographie au XIXe siècle et du bouleversement écologique contemporain. En effet, on constate chez Vivian Maier et Francesca Woodman, et plus largement dans l’autoportrait photographique féminin, une écologie poétique déterminée et engendrée par la technique photographique et les mutations modernes dans la vie des femmes, où se rencontrent désormais le destin de la figuration féminine dans l’histoire de l’art et le destin possible de notre espèce. Cette thèse propose de tirer de ces autoportraits un nouveau modèle pour habiter le monde en ce moment de transition historique à l’égard du genre et de la nature. / Drawing from the photographic self-portraits of Vivian Maier (1926-2009) and Francesca Woodman (1958-1981), this thesis argues that feminine figuration conveys an art of disappearing. Establishing that this art is, to a certain extent, at work across the iconography of the feminine, we are showing that it was brought to light within a specific context: the emancipation of women since the end of the 18th century, the invention of photography in the 19th century and the contemporary ecological crisis. Indeed, a poetic ecology emerges through the works of Vivian Maier and Francesca Woodman in particular, and the feminine photographic self-portrait as a whole, determined by the photographic technique and modern changes in women’s lives, where the destiny of feminine figuration in art history converges with the possible destiny of our species. From these self-portraits, this thesis offers to draw a new way of inhabiting the world in this historic moment of transition with regard to gender and nature.

Réalisé en cotutelle avec l'Université de la Sorbonne - Paris IV / L’objet de cette thèse est de définir un type de poésie visuelle moderne (XXe-XXIe), que nous avons nommé la poésie graphique et qui attache une importance considérable à l’expérimentation plastique du signe graphique, qui manifeste une conscience aiguë des ressources visuelles de la graphie et entend réaliser la poésie dans la matérialité des formes de l’écriture. Cette pratique graphique et plastique du poème s’inscrit dans la continuité, mais également dans un certain renouveau des avant-gardes poétiques et artistiques du XXe siècle, notamment du surréalisme. La poésie graphique désigne une pratique de la poésie à caractère spécifiquement graphique, qui recouvre tant une peinture du signe qu’un travail typographique de la lettre pour élaborer le poème. La particularité des poètes graphiques est leur double vocation, celle d’écrivain et celle de plasticien. Ils expérimentent l’écriture dans sa dimension linguistique et dans sa dimension graphique, en considérant que l’activité de scription ou de linotypie — c’est-à-dire la peinture ou le dessin du mot, du signe graphique, la typographie et l’édition — est déjà littérature. Autrement dit, ils envisagent que la création et la matérialisation du poème procèdent du même geste. Les logogrammes de Christian Dotremont, les poèmes-estampes et les livres d’artistes (Éditions Erta) de Roland Giguère, les recueils de signes inventés et d’encres d’Henri Michaux et la typoésie de Jérôme Peignot constituent des formes de poésie graphique. Notre étude porte donc sur des œuvres francophones, issues des domaines belge, français et québécois, produites entre 1950 et 2004. Trois caractéristiques définissent principalement la poésie graphique : l’ambiguïté et le nomadisme du signe du poème par rapport aux ordres sémiotiques — scriptural, iconique et plastique —, la présence d’un rythme et d’un lyrisme graphiques, comme modalités de l’expression du sujet dans la matière graphique, et une remise en cause de la ligne de partage entre les arts autographiques et allographiques, nécessitant de nouveaux modes de perception et de lecture du poème et du livre, soit une « iconolecture » et une « tactilecture ». / The purpose of this thesis is to define a type of modern visual poetry (20th – 21st), that we called graphic poetry. The graphic poetry focuses on a plastic and visual experimentation of the graphic sign, demonstrates an important conscience of the visual potential of the written form and tries to produce poetry in the materiality of the writing shapes. This artistic practice of poetry follows and also renews the poetic and plastic avant-gardes of the 20th century, more particularly surrealism. The graphic poetry refers to a practice of poem which is specifically graphic and includes a painting of the sign as a typographic work of the letter in order to produce the poem. The main characteristic of graphic poets is their double vocation : they are writers and visual artists. They experiment writing in its linguistic dimension and its graphic dimension, because they believe that the action of drawing a line or making of a linotype setting — namely the painting or the drawing of the word, of the graphic sign, the typography and the publishing — is already literature. In other words, graphic poets think that the creation and the materialization of the poem proceed of the same gesture. Christian Dotremont’s logograms, Roland Giguère’s artists’ books (Editions Erta) and prints-poems, Henri Michaux’s anthologies of invented painted signs and Jérôme Peignot’s typoems are some forms of graphic poetry. Our study focuses on francophone works, which come from Belgian, French and Quebec fields, published between 1950 and 2004. Three characteristics mainly define the graphic poetry : the ambiguity and the nomadism of the sign in relation to the semiotic systems (graphic, iconic and plastic), graphics rhythm and lyricism, as modalities of the expression of the subject in the graphic material, and a questioning of the distinction between autographic arts and allographic arts, requiring new ways of perception and reading of the poem and the book, that we called visual-reading and touch-reading.