Le naturalisme prétendant inclure tous les aspects de la vie, la question de la monstruosité omniprésente dans l’œuvre de Zola peut se traiter sous l’approche du monstre en tant qu’être exceptionnel comme sous celle du monstrueux applicable à chaque nuance de physiologie, de caractère, de comportement ou de sensibilité. La présence des monstres chez l’auteur est concurrencée par son usage plus général du monstrueux lui permettant de concilier une poétique de l’ordinaire et un objet narratif qui ne l’est pas pour tout dire de la complexité de l’existence. Si le monstre désigne d’abord l’être biologique contrefait, l’influence du milieu et de l’hérédité conditionne son apparition : face à différents règnes naturels monstrueux l’homme est menacé de succomber ou de le devenir à son tour ; les anomalies physiques se transmettent d’un parent à son descendant mais même guettent n’importe qui à tout âge. L’œuvre de Zola met ainsi en lumière les aveux des corps mais exprime déjà un changement de regard porté sur les malheureux affublés de tares et leurs juges improvisés. Puis, dans une lecture morale, la quasi-totalité des personnages est susceptible d’être le monstre d’un autre tant c’est là un concept peignant les angoisses et les méfiances inhérentes aux rapports humains, à moins de cibler des mécanismes pernicieux comme ceux de bêtise ou d’hypocrisie pour montrer que n’est pas toujours monstrueux celui que l’on croit ; la mythologie zolienne où monstres et monstrueux occupent un rôle central permet à ce titre de reprendre des thématiques ancestrales et de les adapter au monde contemporain. Approprié par l’écrivain, le monstrueux en régime zolien devient alors un véritable sujet esthétique. Le plus grand monstre aux yeux de qui peine à créer, c’est en définitive l’œuvre d’art elle-même qu’il faut maîtriser par un labeur patient : c’est l’œuvre problématique, trop exigeante, et le monstrueux qualifie ce qu’on rejette en elle comme le laid, l’obscène, le mensonger. Zola en a été lui-même la victime, qu’il s’agisse de ses textes ou de sa propre personne déformés par des parodies, des caricatures ou des attaques ad hominem. / Naturalism claiming to include all aspects of life, Zola’s work can be treated from the angle of the monster as outstanding being or of the monstrous as applicable concept to each nuance of physiology, temperament, behavior or sensitivity. Monster’s presence in author’s work is competed with his more general use of the monstrous, allowing him to reconcile a poetic of the ordinary and an extraordinary narrative object to say all the complexity of existence. If the monster first means distorted biological being, the influence of environment and heredity determines its appearance: confronted with monstrous natural kingdoms, man is threatened to succumb or metamorphose in his turn; abnormalities are passed from parents to descendants, but also affect anyone at any age. So Zola’s work highlights the confessions of the body, but already expresses a change of look on the unfortunates whose physical defects are showed and their improvised judges. Then, in a moral reading, almost all of the characters may be others’ monster, as this is a concept which reveals anxieties and mistrusts inherent in human relationships, unless are targeted pernicious mechanisms such as those of stupidity or hypocrisy in order to prove that isn’t always the monster that is believed; Zola’s mythology whose monsters and monstrous occupy a central role allows, in this capacity, to resume ancestral themes and adapt them to the contemporary world. Appropriated by the writer, the monstrous becomes a veritable aesthetic subject. The biggest monster in the eyes of the one who hardly writes is ultimately the work of art itself which must be mastered with a patient labor: the work is problematic, too demanding, and monstrous describes what is dismissed in it as the ugly, the obscene, the false. Zola was himself victim, through his texts or in his own person deformed by parodies, caricatures or ad hominem attacks.

Cette thèse analyse l’évolution des imaginaires de la grossesse depuis 40 ans ainsi que certaines de ses incidences sociales.La science embryologiste avait installé depuis le 19ième siècle une tradition de représentation réaliste du foetus humain. Au cours de la 2ième moitié du 20ième, les choses semblent changer. En 1970, les photos de Lennart Nilsson notamment ont coloré, autonomisé, esthétisé et humanisé le foetus. En France, le ‟foetus anatomique” s’est vu par ailleurs retiré des muséums, son image s’absente du ‟Larousse médical illustré” et des manuels de sciences naturelles. Quant au foetus présent dans l’art contemporain, il est surdimensionné ou dégoûtant : ce qui ressemble donc le plus à un ‟vrai” foetus se déréalise. L’haptonomie et certaines technologies autour de la grossesse vont accentuer ces modifications de l’image du foetus au profit des imaginaires parentaux.Les effets sociaux de cette idéalisation foetale sont variés. L’humanisation du ‟beau foetus” enlaidissant l’anomalie, la hantise maternelle du ‟monstre foetal” est d’avantage intériorisée et trouble le travail en médecine foetale. Leur refus de l’anomalie devenant plus implicite, médecins et parents adoptent un langage euphémisé. Mais même l’image du foetus avorté s’humanise. Elle devient émouvante. Quand un foetus est condamné, il faudra donc le réparer, concrètement et symboliquement. Les soignants qui invitent les parents à voir le foetus après sa mort vont le présenter comme un bébé dormant, réparé de ses malformations. Certaines mères, surtout quand elles envisagent une nouvelle grossesse, le représentent alors comme un ange, cet ange devenu omniprésent sur les forums Internet.Ce dispositif questionne les sociétés contemporaines : les spécialistes de médecine foetale se retrouvent aujourd’hui confrontés à certains parents refusant la naissance d’un enfant atteint de malformations sans gravité. Au miroir de leur bébé surgit un indicible : l’horreur d’un foetus porteur d’anomalie. L’esthétisation ne rend-elle pas les imaginaires de l’anomalie d’autant plus puissants qu’ils n’ont plus d’espace, autre que le for intérieur, pour se déployer ? / This thesis analyses the evolution of imagination of the pregnancy for forty years as well as some of its social incidences.The science embryologist had installed since the 19 th century a realist tradition of presentation of the human foetus. During half of the 20 th, things seem to change. In 1970, the photographs of Lennart Nilsson in particular coloured, empowered, aestheticized and humanized the foetus. In France, the ‟anatomical foetus” saw itself besides out-of- the way of the museums, its image absent in in the ‟illustrated medical Larousse” and the textbooks of natural sciences. As for the foetus present in the contempory art, it is oversized or disgusting : what looks like mots of ‟real” foetus derealises. The haptonomy and certain technologies around the pregnancy are going to stress these modifications of the image of the foetus for the benefit of parental imagination.The social effects of the foetal idealization are varied. The humanisation of the ‟beautiful foetus” making ugly anomaly, the maternal obsession of the ‟foetal monster” is more interiorized and discorders work in foetal medicine. Their refusal of anomaly becoming more implicit, doctors and parents adopt an euphemized language. But, even the image of the aborted foetus fallen through humanizes. It becomes moving. When a foetus is condemned, it will thus have to be repaired concretely and symbolically. The nursing who invite the relatives to see the foetus after his death will present him as a sleeping baby, repaired by his deformations. Certain mother especially when they envisage a new pregnancy, represent him then as an angel, this angel become omnipresent on the Internet forums.This dispositf questions the contemporary societies : the specialists of foetal medicine are faced with certain parents refusing the birth of a child affected by deformations without gravity. In the miror of their baby appears an unspeakable : the horror of an expanding foetus of anomaly. Does not the esthetisation make the imagination of the anomaly all the more powerful as they do not have more space other than the heart of hearts to spread ?

This essay takes a closer look at femininity/masculinity, sexuality and queer time and place in Charlaine Harris’ novel Dead Until Dark (2001). The essay’s theoretical framework consists of queer theory and skev theory. Skev is a Swedish word that translates loosely into strange or twisted. Skev theory has queer roots but is used to search for and question forms of normativity other than sexuality. This essay examines Bill and Sookie, the two main characters in Dead Until Dark, with the main aim of analyzing the different ways in which they are portrayed that makes them challenge (and sometimes confirm) norms concerning femininity/masculinity, sexuality and the use of  time and place. The analysis talks about Proper Girls and Proper Boys and how Sookie and Bill may or may not be able and/or willing to be Proper. Monsters and how being a monster impacts Bill’s and Sookie’s Properness is also central to the analysis. In short the essay shows that Bill and Sookie exist in a state of (in)betweenness and that this makes their characters subversive in that they are both skeva.

The purpose of this study was to identify Artaudian criteria contained in three different performance practices including (1) a television performance, (2) a live performance, and (3) a workshop performance. These included, respectively, (1) an episode from The X-Files television series; (2) MetamorphoSex, a live ritual performance with performance artist Annie Sprinkle; and (3) Rachel Rosenthal’s DbD Experience Workshop. Core criteria of Artaudian Theater of Cruelty were established through analyses of the relevant literature. These criteria were then coupled with characteristics of French feminist theory and a “shamanistic” perspective to create a theoretical-analytic tool with Artaudian criteria as its centerpiece. Also, performance analysis, experiential and experimental reflexive-subjectivity, and performative poetics were techniques applied for analytic purposes. Analyses identified a range of Artaudian criteria and feminist and “shamanistic” characteristics in the three performances; these included radical and performative poetics, embodied states of ecstasy and transformation, and non-reliance on written texts and scripts in performance practices. Among other things, analyses of different performance practices indicates that identified Artaudian performances, as a whole, tend to hinge upon performing “in the extreme” and may inadvertently serve to reinscribe race and imperialist hegemonies through an exaggeration of performing “whiteness in the extreme.” Additionally, women performing “in the extreme” are often unfairly characterized as heightened and exaggerated examples of “womanness.” Masked behind themes of women’s empowerment are cultural and performative archetypes of woman as “goddess,” “monster,” or heartless “cyborg.” Implications of these findings are discussed as well as the creation of public spaces where groups of people gather for an “extreme” performative event that, through dramatic spectacle and purpose, unites them with a particular theme or focus. It is argued that such spaces have the potential to catalyze endeavors seeking transformation and, in particular, transform the social lives of the participants. / text

哥德研究創建了自我的世界。批評與理論努力地透過客製化的方法與術語去捕捉與檢視哥德文學中不同的黑暗與恐怪模式。哥德不只是虛構的故事；它形塑與發聲了某些人類的經驗，並且探索了社會與文化的場境。關於哥德美學研究，大多是關於艾德蒙．伯克與伊曼紐．康德的壯美概念，闡釋人類主觀經驗的黑暗性，其中多著重於壯美與恐怖的力量，特別是其「壓倒性」效果的特色。這些方面，雖經研究開發，但仍未盡察其暗黑藝術。在哥德研究方面，厭噁曾被提及其影響的價值，但卻缺乏有系統地檢視與理論化。除了關於恐怖在哥德小說方面廣泛的研究，另一個原始的情動，厭噁，被指出其影響的價值，扮演重要的角色在於捕捉愉悅的厭噁與厭噁的愉悅於哥德黑暗美學的模稜性，如此重要但仍缺乏闡釋與理論化。此論文目標在於，透過重新解讀在《夜訪吸血鬼》、《沉默的羔羊》與《美國殺人魔》中有名/惡名的哥德怪物，多面檢視研究厭噁美學特性。 / Gothic studies have developed a world of its own. Criticisms and theories struggle to capture and examine various patterns of darkness and eeriness in Gothic literature through employing customized methods and jargons. The Gothic is not just about fictional stories; it shapes and articulates certain human experiences, and explores the societal and cultural circumstances. The studies of the Gothic aesthetics are mostly related to Edmund Burke’s and Immanuel Kant’s concepts of the sublime, elaborating the darkness of human subjective experience, in which the force of the sublime and terror is emphasized, especially the feature of “overwhelming” effect. Gothic aesthetics, in facets of sublime, terror, and horror, has been elaborated but not exhausted its art of darkness. Apart from extensively studied terror in Gothic novels, another primitive affect, disgust, which cannot be denied its affecting value but still lacks elaboration and theorization, plays a significant roles in the grasp of the ambivalence of pleasurable aversion and aversive pleasure of Gothic aesthetics of darkness. This dissertation aims at interrogating the multifaceted aesthetics of disgust via re-examinations of in/famous Gothic monsters in Interview with the Vampire, The Silence of the Lambs, and American Psycho.

This creative project has presented a computer-aided instruction game which teaches English past tense and past participle verb forms to students of English as a Second Language (ESL). The game portrays a graphics display of the learner facing a green, sharp-toothed creature.learner cannot accurately and consistently produce past and participle forms of randomly selected verbs, the display of the creature devours the learner's display. If the learner cannot accurately and consistently produce past tense of the creature devours the learner’s display. If the learner successfully produces such forms, the opposite happens; the learner’s display swallows the green monster. The game is entitled Monster.Programmed in Applesoft Basic, Monster includes review sections on English verbs. It also includes an auxiliary program to read student scores.

Cette thèse analyse l’évolution des imaginaires de la grossesse depuis 40 ans ainsi que certaines de ses incidences sociales.La science embryologiste avait installé depuis le 19ième siècle une tradition de représentation réaliste du foetus humain. Au cours de la 2ième moitié du 20ième, les choses semblent changer. En 1970, les photos de Lennart Nilsson notamment ont coloré, autonomisé, esthétisé et humanisé le foetus. En France, le ‟foetus anatomique” s’est vu par ailleurs retiré des muséums, son image s’absente du ‟Larousse médical illustré” et des manuels de sciences naturelles. Quant au foetus présent dans l’art contemporain, il est surdimensionné ou dégoûtant : ce qui ressemble donc le plus à un ‟vrai” foetus se déréalise. L’haptonomie et certaines technologies autour de la grossesse vont accentuer ces modifications de l’image du foetus au profit des imaginaires parentaux.Les effets sociaux de cette idéalisation foetale sont variés. L’humanisation du ‟beau foetus” enlaidissant l’anomalie, la hantise maternelle du ‟monstre foetal” est d’avantage intériorisée et trouble le travail en médecine foetale. Leur refus de l’anomalie devenant plus implicite, médecins et parents adoptent un langage euphémisé. Mais même l’image du foetus avorté s’humanise. Elle devient émouvante. Quand un foetus est condamné, il faudra donc le réparer, concrètement et symboliquement. Les soignants qui invitent les parents à voir le foetus après sa mort vont le présenter comme un bébé dormant, réparé de ses malformations. Certaines mères, surtout quand elles envisagent une nouvelle grossesse, le représentent alors comme un ange, cet ange devenu omniprésent sur les forums Internet.Ce dispositif questionne les sociétés contemporaines : les spécialistes de médecine foetale se retrouvent aujourd’hui confrontés à certains parents refusant la naissance d’un enfant atteint de malformations sans gravité. Au miroir de leur bébé surgit un indicible : l’horreur d’un foetus porteur d’anomalie. L’esthétisation ne rend-elle pas les imaginaires de l’anomalie d’autant plus puissants qu’ils n’ont plus d’espace, autre que le for intérieur, pour se déployer ? / This thesis analyses the evolution of imagination of the pregnancy for forty years as well as some of its social incidences.The science embryologist had installed since the 19 th century a realist tradition of presentation of the human foetus. During half of the 20 th, things seem to change. In 1970, the photographs of Lennart Nilsson in particular coloured, empowered, aestheticized and humanized the foetus. In France, the ‟anatomical foetus” saw itself besides out-of- the way of the museums, its image absent in in the ‟illustrated medical Larousse” and the textbooks of natural sciences. As for the foetus present in the contempory art, it is oversized or disgusting : what looks like mots of ‟real” foetus derealises. The haptonomy and certain technologies around the pregnancy are going to stress these modifications of the image of the foetus for the benefit of parental imagination.The social effects of the foetal idealization are varied. The humanisation of the ‟beautiful foetus” making ugly anomaly, the maternal obsession of the ‟foetal monster” is more interiorized and discorders work in foetal medicine. Their refusal of anomaly becoming more implicit, doctors and parents adopt an euphemized language. But, even the image of the aborted foetus fallen through humanizes. It becomes moving. When a foetus is condemned, it will thus have to be repaired concretely and symbolically. The nursing who invite the relatives to see the foetus after his death will present him as a sleeping baby, repaired by his deformations. Certain mother especially when they envisage a new pregnancy, represent him then as an angel, this angel become omnipresent on the Internet forums.This dispositf questions the contemporary societies : the specialists of foetal medicine are faced with certain parents refusing the birth of a child affected by deformations without gravity. In the miror of their baby appears an unspeakable : the horror of an expanding foetus of anomaly. Does not the esthetisation make the imagination of the anomaly all the more powerful as they do not have more space other than the heart of hearts to spread ?

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A pesquisa Corpolimite parte do discurso de onde a fisicalidade e experiência informe do corpo que atravessa camadas, dos rituais de passagem às políticas urbanas, cria complexidades e zonas desestabilizantes que revelam saberes via percepção e sentidos através da experiência poética em carne-viva. Partindo da perspectiva das modificações corporais no contexto das transformações extremas (como tatuagens, piercings, escarificação, implantes e suspensão corporal) o trabalho traça um percurso errático acerca das práticas de corpo que borram fronteiras, abrem fissuras e desviam, criando novos caminhos poéticos, novos jogos de significação. Baseando-se numa escrita poética e biográfica, o texto mistura imagem e palavra de forma a elaborar uma trama das complexidades envolvidas nos processos descritos. Trabalhando no campo da Performance Art e da Body Art o discurso arte-vida é permanente, trazendo à tona traços da vida cotidiana. Estes rastros transbordam e jorram pelo texto que é carne, matéria viva deste corpo de papel / Bodylimit is a study based on a discourse in which both the physicality and the amorphous experiences of the body as it crosses through layers of situations ranging from rites of passage to urban policies create complexities and zones of destabilization that reveal different forms of knowledge through sense perception and through a poetic experience felt in living flesh. Viewing body modification within the context of extreme transformations (such as tattoos, piercings, scarification, implants, and suspension), the research traces an erratic path through physical practices that blur borders and open fissures and detours to create new poetic paths and new games of signification. Utilizing a poetic and autobiographical writing style, the text mixes images and words to elaborate a web based on the complexities involved in the physical processes it describes. The study situates itself in the fields of Performance Studies and Body Art, in which the discourse of art-life is a permanent phenomenon that brings traces of quotidian life to the forefront of the text. These traces spill and overflow throughout the flesh-text, which is the living material in this body of paper

L’œuvre d’Alexandre Vialatte manifeste une attirance et même une fascination pour les monstres et, en profondeur, pour le monstrueux : son univers romanesque est marqué par la présence de monstres qui est à la fois motivée par la perception tragique d’une monstruosité inhérente au quotidien et à l’homme et par un imaginaire hanté par la problématique de l’identité, de la culpabilité et de la création de soi comme fantasme de réinvention. Confronté aux folies meurtrières de l’Histoire, à sa propre folie, Vialatte fut subjectivement mêlé aux conflits du XXe siècle. Entre les années vingt et les années soixante-dix, il imagine comme romancier puis comme chroniqueur un univers qui porte les traces de la désintégration du réel, de la négation de l’être. Les monstres qui hantent la fiction sont le signe d’une époque profondément ébranlée, ils révèlent comment l’imaginaire de Vialatte est travaillé par un sens aigu de l’Histoire. Plus libre encore que le monstre de toute forme et de toute frontière, le monstrueux structure en profondeur l’œuvre. Ce jeu de distorsion du réel jusqu’à la transgression apparaît disséminé dans l’ensemble du récit. Cette fascination pour les monstres et le monstrueux trouve son origine dans une perception tragique et insupportable du réel : le regard singulier de Vialatte trahissant une angoisse métaphysique et ontologique. Son écriture, son humour indécidable frappent par son caractère dissonant et troublant. Cette écriture marquée par la déformation et la fragmentation donne à l’ensemble de l’œuvre un caractère subversif et explosif, révèle un espace de l’ordre de l’impensable. L’écrivain trouve ici un moyen de définir ses choix esthétiques, d’accepter ses désillusions sans pour autant cesser d’écrire. L’aveu inconscient de cette attirance intime, personnelle pour le monstrueux révèle combien l’acte d’écrire lui-même se reconnaît habité par le monstrueux, combien il permet de transcender le réel, de le sublimer par le pouvoir de l’écriture. / Alexandre Vialatte’s work displays an attraction, even a fascination, for monsters, and, more deeply, for monstrosity: his novelistic universe is characterized by the presence of monsters. This presence is both due to the tragic perception of a monstrosity which inheres in everyday life and in Man himself, and by Vialatte’s imaginary world which is haunted by the question of identity, of guilt, and of the creation of the Self as a fantasy of reinvention. As Vialatte was confronted with the mad murders of History and with his own madness, he was subjectively involved in the wars of the 20th century. Between the 1920’s and the 1970’s he was a novelist and then a columnist who imagined a fictional universe bearing the marks of the disintegration of reality and of the negation of the being. Monsters haunting fiction are the sign of deeply troubled times, they reveal how Vialatte’s imagination is marked by an acute sense of History. Monstrosity, which is even more shapeless and boundless than monsters, underlies the whole structure of Alexandre Vialatte’s work: indeed, the transgressive distortion of reality is present in all the narrative. This fascination for monsters and monstrosity originates in a tragic and insuperable perception of reality: indeed, Alexandre Vialatte’s vision betrays a metaphysical and ontological anxiety. His writing and his ambiguous humor have a troubling and cacophonic character. His writing, which is characterized by deformation and fragmentation, gives a subversive and explosive aspect to the work as a whole, and reveals a space which is unthinkable. In his work, the writer finds a way to define his aesthetic choices, to accept his disillusions without ceasing to write. His unconscious admission of his intimate and personal attraction for monstrosity reveals how the act of writing itself is haunted by monstrosity, how it enables to transcend reality and to sublimate it through the power of writing.

Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro / A pesquisa Corpolimite parte do discurso de onde a fisicalidade e experiência informe do corpo que atravessa camadas, dos rituais de passagem às políticas urbanas, cria complexidades e zonas desestabilizantes que revelam saberes via percepção e sentidos através da experiência poética em carne-viva. Partindo da perspectiva das modificações corporais no contexto das transformações extremas (como tatuagens, piercings, escarificação, implantes e suspensão corporal) o trabalho traça um percurso errático acerca das práticas de corpo que borram fronteiras, abrem fissuras e desviam, criando novos caminhos poéticos, novos jogos de significação. Baseando-se numa escrita poética e biográfica, o texto mistura imagem e palavra de forma a elaborar uma trama das complexidades envolvidas nos processos descritos. Trabalhando no campo da Performance Art e da Body Art o discurso arte-vida é permanente, trazendo à tona traços da vida cotidiana. Estes rastros transbordam e jorram pelo texto que é carne, matéria viva deste corpo de papel / Bodylimit is a study based on a discourse in which both the physicality and the amorphous experiences of the body as it crosses through layers of situations ranging from rites of passage to urban policies create complexities and zones of destabilization that reveal different forms of knowledge through sense perception and through a poetic experience felt in living flesh. Viewing body modification within the context of extreme transformations (such as tattoos, piercings, scarification, implants, and suspension), the research traces an erratic path through physical practices that blur borders and open fissures and detours to create new poetic paths and new games of signification. Utilizing a poetic and autobiographical writing style, the text mixes images and words to elaborate a web based on the complexities involved in the physical processes it describes. The study situates itself in the fields of Performance Studies and Body Art, in which the discourse of art-life is a permanent phenomenon that brings traces of quotidian life to the forefront of the text. These traces spill and overflow throughout the flesh-text, which is the living material in this body of paper