We are all influenced by memories when we pursue acts of creation. However, these reminiscences are often fleeting and elusive; they rarely are formalized, nor are they explicit in the final artifact. This work is based on a concrete representation of a childhood memory: the map of a city. The thesis explores ways to design and construct a place where others could, in turn, create their own memory. This place is located in Alexandria, VA, on South Fairfax Drive. It is an integrated mixed use program (Retails on the lower and ground levels, and residences on the 2 upper levels). This experimentation invites further questions. How strictly should the concrete representation of the memory guide the design? What are the qualities of the spaces resulting of such rules? How to engage in the tension between the explicit memory's realm and the contemporary world? How to express their respective materiality? |From| Memory of Walls |to| Walls of Memory / Master of Architecture

O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.

No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere. / In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.

Après la tragédie de la Seconde Guerre mondiale, les mots semblent ne plus suffire pour désigner le réel. La littérature du XXe siècle invente alors un langage nouveau, qui tend vers le silence. C’est ainsi que, traumatisé par l’Histoire, Georges Perec se tourne vers une écriture du silence, manière pour lui de réfléchir au langage et à ses limites, et cette démarche est perceptible surtout dans Un homme qui dort, La Disparition et W ou le souvenir d’enfance. La première partie de cette thèse s’ouvre sur les définitions du silence, puis se propose d’examiner sa rhétorique et ses motivations, et enfin de traiter les divers aspects du blanc, l’équivalent visuel du silence. La deuxième partie se concentre quant à elle sur l’examen des techniques narratives servant à la mise en place d’une écriture du silence : les jeux de la narration liés à la présence ou l’absence du narrateur, le morcellement narratif où le silence réside à chaque arrêt, et le patchwork intertextuel dont les voix remplacent celle de l’auteur. La troisième partie aborde enfin la question de la quête autobiographique que Perec a menée de manière plus ou moins oblique. Les thèmes de l’étrangeté à soi et de l’oubli se présentent comme des éléments essentiels car c’est la perte de mémoire et d’identité qui entraîne une perte de la parole. Puisque l’écrivain ne peut pas témoigner de l’expérience concentrationnaire qu’il n’a pas vécue, il assimile cette histoire collective, écho de son histoire individuelle, à une histoire fictive. Enfin, l’écriture perecquienne est un travail de deuil : l’auteur se sert du silence comme thème et technique d’écriture pour parler de la disparition de la mère, victime de la Shoah. / After the tragedy of the Second World War, words seem insufficient to represent reality. The authors of the 20th century have invented a new language that tends towards silence. Traumatized by history, Georges Perec thus turns to writing about silence. Through writing about silence, Perec contemplates the language and its limits; this approach is noticed particularly in Un homme qui dort, La Disparition and W ou le souvenir d’enfance. The first part of this thesis deals with the definitions of silence, then examines the rhetoric and motivations of silence. The different aspects of “the blank”–visual equivalence of silence–are also taken into account. The second part focuses on the narrative techniques implemented for the writing of silence. These techniques include the dynamic of narrative voices connected to the narrator’s both presence and absence; a fragmented narrative where silence exists after certain breaks; and the replacement of the author’s voice by an intertextual patchwork. The third part investigates Perec’s autobiographical elements which are more or less obliquely presented. Perec’s own alienation and forgetfulness are employed as key factors contributing to the uniqueness of silence as loss of memory and identity undermines the ability to speak. Since the author could not testify the trauma in the concentration camp through first-hand experience, he transforms collective history, echoing his individual history, into fictional history. Finally, Perec’s writings can be regarded as a literature of mourning: the silence, deployed as themes and literary techniques, is an instrument for recounting the loss of Perec’s own mother—a Shoah victim.

Este trabalho visa estabelecer uma relação entre literatura e psicanálise. Muito já se falou sobre o cruzamento entre essas duas práxis distintas, independentes e autônomas. Hoje, parece inevitável interligá-las, sobretudo, teoricamente. A idéia deste projeto nasce, inicialmente, do desejo de aproveitar uma relação pouco explorada entre dois autores franceses contemporâneos. Falecidos num intervalo de seis meses entre o final de 1981 e começo de 1982, Jacques Lacan e Georges Perec fizeram história na cena intelectual francesa do final do século XX. A fim de mostrar a amplitude dos estudos em torno da obra destes dois autores, cada um em seu território, é possível dizer que ambos se preocuparam, primordialmente, com a questão da letra, seja Lacan voltado para experiência analítica, seja Perec inteiramente imerso no campo literário. Situados na passagem do estruturalismo ao pós-estruturalismo francês, Lacan e Perec não se cruzaram diretamente. Gostaríamos de compreender as conseqüências de uma nova teoria do sujeito que se esboçava a partir da segunda metade do século XX, principalmente, a leitura que ambos fizeram de autores que freqüentaram e foram atravessados. Lacan deve ser visto como um analista. Perec tomado como um escritor. Porém, uma pesquisa de tal natureza pode se justificar pelos seguintes aspectos: 1. Ambos operam sobre o inconsciente. E daí decorre a enorme importância da obra e o ensino de Jacques Lacan. 2. Trata-se de difundir e disseminar um autor da maior envergadura, pouco conhecido e explorado no Brasil até hoje, que é o genial virtuose das letras e fenômeno literário internacional que é Georges Perec. / This dissertation aims to establish a relation between literature and psychoanalysis. A lot has been said about the crossing between those distinct praxis. Nowadays, it seams inevitable to interconnect at least theorically. The idea of this project arises initially from the wish to approach the relationship not explored until now from those two French contemporaneous authors. Deceased on interval of six months in the end of 1981 and the beginning of 1982, Jacques Lacan and Georges Perec made history in the intellectual French scene in the end of 20th century. To bring along the wideness of those researches, each one in your own territory, it´s possible to say that both are primordially with deep concern toward the subject of the letter. Lacan in the psychoanalytical experience and Perec submerse in the literary field. Lacan and Perec, placed from French structuralism and pos-structuralism, haven´t crossed directly. It would like to comprehend the consequences of the new theory of the subject that started from the second part of 20th century especially your studies across by other authors. Lacan must being seeing as an psychoanalyst. Perec as a writer. However a research of that nature must be justified by two aspects: 1. they operate of unconscious. This is the enormous importance of the work and teachings of Jacques Lacan. 2. It´s about to diffuse and disseminate a great author not known in Brazil until now, which is literary virtuous that is Georges Perec.

O trabalho tem por objetivo realizar uma leitura de imagens a partir de dois projetos autobiográficos de Perec: W ou a memória da infância e Récits dEllis Island, levando em conta as relações entre texto literário, fotografia e memória autobiográfica. Essa leitura será marcada, sobretudo, pelas ideias de Barthes, já que ao longo dessa pesquisa serão citados diversos trechos do seu livro A câmara clara - Nota sobre a fotografia, a partir do qual o crítico nos levará a levantar alguns questionamentos concernentes à obra de Perec. Na primeira parte do trabalho, serão apresentadas algumas interações entre o texto de Perec e outras artes, partindo em seguida para a delimitação dessa interação entre texto e fotografia. Essa será a questão principal no trabalho, discutida detalhadamente em relação aos dois textos mencionados, na segunda parte em relação à W e na terceira em relação à Ellis Island. Nessas duas partes, o objetivo principal será investigar de que maneira as imagens fotográficas farão parte do processo de escrita e quais os desdobramentos dessa inter-relação na produção do texto literário. / The study aims to perform an image reading of two autobiographical projects by Perec: W, or the memory of childhood and Ellis Island, taking into account the relationship between the literary text, photography and autobiographical memory.This reading is led, mainly, by Barthes considerations, since many aspects brought to this study are originally taken from his text Camera Lucida - Reflections on photography, in which the critic supports us to raise some issues related to Perecs work. In the first part of the study some interactions between Perecs text and other arts are presented, so later this interaction is delimited to text and photography. This is the leading issue of the study, specifically discussed with regards to the two mentioned texts, i.e., in the second part related to W and in the third part related to Ellis Island. In these two sections, the main purpose is to investigate how the photographic images take part into the writing process and which are the consequences of this inter-relationship in the literary text production.

No presente trabalho, estudamos as relações passíveis de ser estabelecidas entre três obras à primeira vista muito diferentes: as Bucólicasde Virgílio, Paludesde André Gide e Manderre, de Georges Perec. Nosso objetivo é mostrar uma espécie de percurso potencial de um personagem, Títiro, por meiodos textose as transformações por ele sofridas. Por meio de uma análise que leva em consideração o ponto de vista intertextual, tentamos compreender a apropriação feita por cada um dos autores, e as implicações causadas pelos diferentes contextos literários nos quais o personagem se insere. / In this research, we study the relations that can be established between three works at first sight very different: Virgils Eclogues, André Gides Paludesand Georges Perec Manderre. Our aim is to show some sort of potential path followed by acharacter, Tityrus, through the textsand the transformations undergone by him. Through an analysis that considers an intertextual point of view, we try to understand the appropriation made by each author, and the implications caused by different literary contexts in which the character is inserted.

Este trabalho visa estabelecer uma relação entre literatura e psicanálise. Muito já se falou sobre o cruzamento entre essas duas práxis distintas, independentes e autônomas. Hoje, parece inevitável interligá-las, sobretudo, teoricamente. A idéia deste projeto nasce, inicialmente, do desejo de aproveitar uma relação pouco explorada entre dois autores franceses contemporâneos. Falecidos num intervalo de seis meses entre o final de 1981 e começo de 1982, Jacques Lacan e Georges Perec fizeram história na cena intelectual francesa do final do século XX. A fim de mostrar a amplitude dos estudos em torno da obra destes dois autores, cada um em seu território, é possível dizer que ambos se preocuparam, primordialmente, com a questão da letra, seja Lacan voltado para experiência analítica, seja Perec inteiramente imerso no campo literário. Situados na passagem do estruturalismo ao pós-estruturalismo francês, Lacan e Perec não se cruzaram diretamente. Gostaríamos de compreender as conseqüências de uma nova teoria do sujeito que se esboçava a partir da segunda metade do século XX, principalmente, a leitura que ambos fizeram de autores que freqüentaram e foram atravessados. Lacan deve ser visto como um analista. Perec tomado como um escritor. Porém, uma pesquisa de tal natureza pode se justificar pelos seguintes aspectos: 1. Ambos operam sobre o inconsciente. E daí decorre a enorme importância da obra e o ensino de Jacques Lacan. 2. Trata-se de difundir e disseminar um autor da maior envergadura, pouco conhecido e explorado no Brasil até hoje, que é o genial virtuose das letras e fenômeno literário internacional que é Georges Perec. / This dissertation aims to establish a relation between literature and psychoanalysis. A lot has been said about the crossing between those distinct praxis. Nowadays, it seams inevitable to interconnect at least theorically. The idea of this project arises initially from the wish to approach the relationship not explored until now from those two French contemporaneous authors. Deceased on interval of six months in the end of 1981 and the beginning of 1982, Jacques Lacan and Georges Perec made history in the intellectual French scene in the end of 20th century. To bring along the wideness of those researches, each one in your own territory, it´s possible to say that both are primordially with deep concern toward the subject of the letter. Lacan in the psychoanalytical experience and Perec submerse in the literary field. Lacan and Perec, placed from French structuralism and pos-structuralism, haven´t crossed directly. It would like to comprehend the consequences of the new theory of the subject that started from the second part of 20th century especially your studies across by other authors. Lacan must being seeing as an psychoanalyst. Perec as a writer. However a research of that nature must be justified by two aspects: 1. they operate of unconscious. This is the enormous importance of the work and teachings of Jacques Lacan. 2. It´s about to diffuse and disseminate a great author not known in Brazil until now, which is literary virtuous that is Georges Perec.

This thesis is an account of my three sites-in-endotics, each project resulting in a participatory artwork: Thaw (2012), Northern Venetians (2013) and The Recollective (2015). I base these projects upon the writings of Georges Perec (1936-82). Perec saw endotics as a form of quotidian studies characterised by an internal perspective: everyday situations should be described from the vantage point of those already immersed in them, not from the position of an outsider. Hence the participatory character of these works. Through these projects, the participants explore their spatial practices as they engage in a collective writing. In this thesis I write my own spatial practice, describing my construction of the frameworks that enable the participants to tell their stories. My methodology outlines the theoretical and practical approaches I adopt, and explains my reasons for doing so. My literature review contextualises them. My case studies offer a reflective account of my practice based research. I conclude by returning to the potential usefulness of an endotic approach. Research Questions What are the ways in which I can use Perec’s endotic writings to construct a participatory art practice exploring everyday situations? Can we talk of participants as being the meaningful co-authors of an artwork? How do multilayered narratives portray the participants’ spatial practices?

Texte remanié de: Th. doct.--Litt. générale et comparée--Paris 3, 2000. / Bibliogr. p. 243-272. Index.