Au tournant du XXème siècle en Espagne, une réaction au naturalisme se fait jour dans un panorama théâtral dégradé. Dans ce contexte de crise des langages artistiques, une série de propositions dramaturgiques voit le jour à partir de 1916. Les œuvres retenues sont envisagées pour en dégager l’énergie plastique dans ses dimensions tant textuelles (littéraire, dramatique et dramaturgique) que scéniques, lorsque les œuvres ont été représentées à l’époque. Phénomène majeur de renouveau du théâtre entre 1916 et 1934, les synesthésies sont étudiées au croisement de l’émergence d’un théâtre du corps (cantonné jusqu’alors aux genres assimilés à la pantomime et à la revue), et de la naissance des grandes compagnies de danse, au moment de l’apogée de l’âge d’argent. Cette délimitation chronologique des textes choisis caractérise un intervalle temporel signifiant au regard de l’histoire culturelle et des problématiques esthétiques. La période correspond à l’arrivée des Ballets Russes à Madrid et s’étend jusqu’à la fondation et la dissolution de la Compañía de Bailes españoles par Encarnación López La Argentinita et F. García Lorca en 1933-1934. La thèse analyse les formes et les implications des synesthésies, procédés d’expression plastiques et rythmiques. Après la mise en évidence d’un contexte scientifique et artistique propice à l’avènement d’un théâtre synesthésique, le travail étudie les réponses apportées par des dramaturges (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán) qui ont tiré parti des synesthésies pour semer dans leurs textes dramatiques les éléments d’une possible rénovation du théâtre espagnol de leur temps. / A reaction against naturalism developed in Spanish drama at the turn of the 20th century against a backdrop of an impoverished national scene. In a context of crisis in artistic expression and codes, a number of responses came out from 1916 on. This doctoral thesis considers the dramatic works in the corpus to characterize their plastic energy in its various dimensions, textual — literary, dramatic and dramaturgic — as well as scenographic — when the plays were actually staged at the time. A major phenomenon in the revival of Spanish drama between 1916 and 1934, synaesthesias are studied in relation to the emergence of physical theatre and corporeal mime — then mostly confined to genres categorized as pantomime or cabaret — and the birth of major dance companies in the heyday of the Silver Age. The choice of such a chronological span for the texts selected identifies a relevant time frame in matters of cultural history and aesthetics as it coincides with the arrival of the Ballets Russes in Madrid and runs until the foundation and dissolution of the Compañía de Bailes españoles by Encarnación López La Argentinita and Federico García Lorca in 1933-1934. This thesis analyses the forms and significance of synesthesias as artistic and rhythmic modes of expression. After highlighting a scientific and artistic background propitious for the emergence of synesthetic drama, it examines the achievements of playwrights R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra and R. del Valle-Inclán who made use of synaesthesias to work in their texts elements that would energize a revival of Spanish drama. / En el periodo de entresiglos (XIX-XX), en un panorama teatral degradado, surge en España una reacción contra el naturalismo. En un contexto de crisis de los lenguajes artísticos, despunta una serie de propuestas dramatúrgicas. Las obras de teatro seleccionadas se examinan intentando extraer de ellas la energía plástica en sus dimensiones tanto textuales como escénicas, en el caso de las obras puestas en escena en la época. Fenómeno mayor de renovación del teatro del primer tercio del siglo XX, las sinestesias se estudian en un conjunto de obras comprendido entre 1916 y 1934, en el cruce de la emergencia de un teatro del cuerpo, confinado hasta entonces a los géneros asimilados a la pantomima y a la revista, y del nacimiento de las grandes compañías de danza, en pleno apogeo de la Edad de Plata. Dicha delimitación cronológica de los textos escogidos caracteriza un intervalo temporal significativo desde el punto de vista de la historia cultural y de las problemáticas estéticas. El periodo coincide con la llegada de los Ballets Rusos a Madrid y se extiende hasta la fundación y disolución de la Compañía de Bailes españoles por Encarnación López La Argentinita y F. García Lorca en 1933-1934. La tesis analiza las formas e implicaciones de las sinestesias, recursos de expresión plásticos y rítmicos. Tras poner de relieve un contexto científico y artístico propicio para la emergencia de un teatro sinestésico, el trabajo consiste en estudiar las respuestas que propusieron los dramaturgos (R. Alberti, M. Aub, J. Bergamín, T. Borrás, F. García Lorca, R. Gómez de la Serna, M. Hernández, G. Martínez Sierra, R. del Valle-Inclán), que sacaron partido de las sinestesias para sembrar en sus textos dramáticos los elementos de una posible renovación del teatro español de su tiempo.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de l'Université de Montréal (www.bib.umontreal.ca/MU). / Cette thèse portant sur le potentiel musical des analyses sonores consiste en une recherche créative et artistique portant sur des propriétés caractéristiques du comportement sonore mis en lumière via divers types d'analyses et susceptibles d'assister la composition musicale. Ce travail présente l'élaboration des outils d'analyses programmés et utilisés à cette fin, en plus d'un corpus de 6 oeuvres dont l'ordre de présentation correspond à leur chronologie d'écriture, et dont la conception et l'analyse musicales sont inégalement exposées (du bref aperçu au survol exhaustif). Au fur et à mesure de la recherche, le répertoire ci-développé intègre, par élargissement conceptuel, des considérations analytiques pour d'autres phénomènes vibratoires (comme la lumière ou l'harmonie des sphères) et, esthétiquement, toute cette démarche est fondée sur le concept aristotélicien de la mimesis, où l'idéal artistique consiste en la sublimation de la nature. / This thesis about the musical potential of sound analysis consists in an artistic and creative research on characteristic properties of sound behavior revealed by various types of analysis and likely to assist musical composing. This work presents the elaboration of analysis tools programmed and used on purpose, in addition of a corpus of six works which the order of presentation corresponds to their chronology of writing, and which both conception and musical analysis are unevenly exposed (from brief to exhaustive overviews). As the research occurs, the featured repertory integrates, by a conceptual enlargement, some analytic considerations for other vibratory phenomena (as light or the harmony of the spheres) and, aesthetically, all that approach is founded on the aristotelician concept of mimesis, in which the artistic ideal consists in the sublimation of nature.

During the late 19th century, arts and literature had a surge of sensory awareness, made manifest through sensory analogy, intersensory metaphor, and synaesthesia. This dissertation explores this phenomenon through a study of five poets and artists: Charles Baudelaire, Arthur Rimbaud, Dante Gabriel Rossetti, John Barlas, and Julia Margaret Cameron. Using imaginative sensing, these artists transformed the relationship between artist and observer, assigning greater responsibility to their audience while simultaneously asserting artistic control of their work. Their fascination with sensory mixing and multisensory awareness demonstrates unique ideas about perception and embodiment, ideas that have sparked both controversy and imitation. I begin with a brief history of the condition known as synaesthesia, considering its position as an “abnormal” clinical condition, a desired artistic state of transcendence, and a simple transfer of metaphor. Chapter 1 describes how two French poems brought synaesthesia to public consciousness and prompted a literary movement. In Chapter 2, I explore how poet-painter Dante Rossetti used “acts of attention” and unheard music to demand viewers’ embodied participation. Chapter 3 introduces John Barlas, a relatively obscure British poet who crafted exotic, sensory-laden environments that hovered between the actual and imagined, insisting that the reader use his sensory imagination to participate. Moving to the realm of photography in Chapter 4, I consider Julia Margaret Cameron, whose “out-of-focus” pictures changed photography from a mechanistic technology to high art by incorporating the sense of touch. Historically, the senses have been ranked and separated, with priority given to vision, the sense most associated with reason. I argue that considering the senses as bundles of interconnected experiences and through imagination rather than as isolated methods of physical perception can show how the senses function culturally and give us a much greater understanding of how we process the world. While no time period has regarded the senses with the intensity of the late 19th century, the embodied approach of the era can be applied to our current “sensory revolution” and can impact how we regard technology, cultural studies, and interdisciplinarity. Evaluating how 19th century artists blended the senses through imaginative constructs gives a more thorough explanation of the characteristic sensuality of the period and provides a model for how sensing can function more fully in current endeavors.

La réflexion autour des correspondances entre les arts a traversé bien des milieux dans le Paris de la fin du XIXe. Il s’est tissé ainsi un réseau discursif lié à la synesthésie, dans lequel de multiples courants de pensée se sont retrouvés, certains aux origines lointaines, comme les présupposés occultistes, ainsi que tant d’autres qui se sont progressivement ajoutés au cours du XIXe siècle. C’est par exemple le cas des discours héritiers de la Naturphilosophie, des théories symbolistes dérivées de l’idéalisme, des postulats wagnériens ou encore des découvertes scientifiques et physiologiques liées au phénomène de la synesthésie. À travers l’étude de différents théoriciens attachés à la synesthésie – Wyzewa, Favre, Mauclair – et créateurs – Verlaine et Mallarmé en ce qui concerne la poésie, Chausson et Debussy pour la musique, Redon et Denis pour les arts plastiques – et par le biais d’une approche interdisciplinaire, nous étudions les mécanismes qui ont rendu possible la formulation de ce discours synesthésique, dans lequel on peut décerner des aspects de type esthétique, théorique, idéologique, sociologique et scientifique. / The reflection on the correspondences among the arts made a remarkable impact on the cultural scene of late nineteenth-century Paris. This gave rise to a whole discursive framework linked to synaesthesia around which several lines of thought converged. Some had remote origins, such as the occultist approach; others were gradually incorporated during the nineteenth century, as in the case of the principles derived from the Naturphilosophie, the theoretical symbolist assumptions linked to the idealistic tradition, the inheritance of Wagnerian’s postulates or the scientific and physiological discoveries regarding the phenomenon of synaesthesia. Based on the work of both theoreticians –such as Wyzewa, Favre, Mauclair- and artists -the poets Verlaine and Mallarmé, the musicians Chausson and Debussy and the painters Redon and Denis– linked to synaesthesia, and following an interdisciplinary approach, this Ph.D. research analyses the mechanisms that gave rise to the synaesthesic discourse, taking into account its aesthetical, ideological, sociological and scientific aspects. / La reflexión en torno a las correspondencias entre las artes tiñó los diversos ámbitos del panorama cultural del París de finales del siglo XIX. Ello generó un entramado discursivo ligado a la sinestesia en el que se dieron cita diversas corrientes de pensamiento, algunas con orígenes remotos, como las propuestas ocultistas, y otras que se habían ido incorporando progresivamente a lo largo del siglo XIX, como los discursos herederos de la Naturphilosophie, los supuestos teóricos simbolistas ligados al legado idealista, la herencia de los postulados wagnerianos o los descubrimientos científicos y fisiológicos en relación con el fenómeno de la sinestesia. A través del estudio de diferentes teóricos –Wyzewa, Favre, Mauclair– y creadores –Verlaine y Mallarmé desde la poesía; Chausson y Debussy desde la música; Redon y Denis desde la plástica– ligados a la sinestesia y mediante un enfoque interdisciplinar, se han estudiado los mecanismos que posibilitaron este discurso sinestésico, en los que entran en juego aspectos de tipo estético, teórico, ideológico, sociológico y científico.

This thesis examines nonhuman phenomenological experiences, communication, and sensory perception in Barbara Gowdy’s The White Bone. Drawing on literary and pedagogical theories by Roman Bartosch, Monika Fludernik, Marco Caracciolo, David Herman, and Judith Langer, the thesis argues that Gowdy’s novel employs narrative strategies and devices that involve nonhuman experientiality evoked from sensorial configurations, narration, and textual cognitive and embodied experiences. These represented experiences disrupt human primacy by establishing a disorientation that challenges the anthropocentric bias in the novel and decenters the human reader. Moreover, the thesis offers suggestions for using the novel in conjunction with envisionment building to discuss animal alterity and anthropocentrism in the Swedish EFL classroom.

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The present dissertation investigates similes and their importance in Eichendorff’s narrative work. The sources of the investigation consist of seven of Eichendorff’s narratives. Their 734 similes make up the corpus, which is presented in its entirety in the appendix. The context of the similes is partly included as well. Initially, I define the concept of “simile” more precisely, partly distancing myself from the definitions found in classical dictionaries of literary terms. After this, I describe my procedure for analysis in detail. This turned out to be necessary, since there was no similar study to be found on this topic in the extensive literature on Eichendorff. The search for models of types of similes brought me back to antique rhetoric as well as to Middle High German epic poems. In the first analysis, the types of similes occurring in the corpus are presented. The syntactic structures of image receivers and image givers are used as criteria. Four structures of similes occurred: a) classical similes and b) similes with image givers, which represent adverbial clauses and c) as / as if – clauses or are d) subject-related. The frequency and the development of frequency of types of similes are presented as well. In the second step of the thesis, I investigate whether similes tend to depict conditions/qualities or procedures/actions. It turned out that similes reflecting conditions/qualities, i.e. epic similes, dominated strongly. The high number of similes could possibly be explained by the functions carried out by epic similes in narrative texts. In the third part, I concern myself with the question whether the similes of the corpus are imaginative representations only and what kind of sensorial perceptions they express. Admittedly, the dominating percentage of the similes proved to be images, but more than fifteen per cent consist of sounds and other sensorial perceptions. Furthermore, imaginative similes, but also sounding similes express motion, so that they illustrate pictures in motion and sounding motion respectively. These come close to synaesthesia, whereas only five similes illustrate „pure“ synaesthesia. In contrast, subject-related similes are perceptions of different sensations and feelings, illustrating the inner life of a character not shared by any other character. Finally, the semantic content of the similes is investigated in order to determine the metamorphosis, i.e. the trope transfer from proprium to improprium. It turned out that only the classical simile originating in antique rhetoric is suitable for a semantic analysis. Above all, there is great variation in the trope transfer. The metamorphosis human being → nature dominates strongly, which makes the narrative text appear as a palimpsest, in which yet another world glimmer in front of the human being behind every character. However, the many trope transfers that convey reality → unreality could be interpreted as transitions and as a “magical code” of Eichendorff. Furthermore, the semantic analysis uncovers content and motives of classical similes. It becomes clear that pre-constructed – and only pre-constructed - content is imitated here. Consequently, it can be asserted that Eichendorff’s great number of similes constitute or at least contribute to the formulaic manner (according to Kohlschmidt) and the intertextuality (according to Nienhaus) in Eichendorff’s narrative work. Above all, the subject-related simile type turns out to be a typical representative of Romanticism because of its subjectivism. Together with its preformed semantic content, it constitutes the “romantic formula” of Eichendorff’s work.

Numerical cognition has been shown to share many aspects of spatial cognition, both behavioural and neurological. However, it is unclear whether a particular type of spatial cognition, visuospatial mental imagery (VSMI), may play a role in symbolic numerical representation. In this thesis, I first show that mental rotation, a form of VSMI, is related to two measures of basic numerical representation. I then show that number-space synaesthesia (NSS), a rare type of VSMI involving visualised spatial layouts for numbers, does not show an advantage in mental rotation, but shows interference in number line mapping. I next present a study investigating links between NSS and the ability to learn novel numerical symbols. I demonstrate that NSS shows an advantage at learning novel numerals, and that transcranial random noise stimulation, which increases cortical excitability, confers broadly similar advantages that nonetheless differ in subtle ways. I present a study of transcranial alternating current stimulation on the same symbol learning paradigm, which fails to demonstrate effects. Lastly, I present data showing that strength of numerical representation in these newly-learnt symbols is correlated with a measure of mental rotation, and also with visual recognition ability for the symbols after, but not before, training. All together, these findings suggest that VSMI does indeed play a role in numerical cognition, and that it may do so from an early stage of learning symbolic numbers.

Denna kvalitativa studie undersöker sinnena och synestesi som pedagogisk resurs inom det drama-och teaterpedagogiska fältet. Covid-19-restriktionerna under 2020/21 ledde till anpassningar i studien där empiri från fysiska träffar föll bort. Syftet är att lyfta fram sinnena och synestesis roll i drama- och teater-estetiska lärprocesser ur ett fördjupat teoretiskt och ett praktiskt empiriskt perspektiv. Framför allt ur ett multilitteracitetspedagogisk teoretiskt perspektiv och med stöd av L.S. Vygotskis tankar om föreställningsförmåga/fantasi, Augusto Boal´s begrepp om det estetiska rummet och M. Merleau-Ponty syn på synestesi blir viktiga. Metodansatsen som stödjer syftet består av olika fenomenologiskt inspirerade metoder som fokuserar på individens egen erfarenhet. Hela studien genomfördes på två enskilda faser; en fördjupad litteraturgenomgång som kan anses som en litteraturstudie, ett essäskrivande vars empiriska material är två väldokumenterade tidigare drama- och teater-estetiska lärprocesser. Allt insamlat empiriskt material analyserades och kontrasterades med de valda teorier och begrepp. Resultatet i studien visar på en stor inverkan av sinnena på hela barnens kognitiva och kreativa utveckling. I ett pedagogisk/konstnärlig sammanhang visar det sig att sinnena är avgörande bland annat för en optimal förståelse i utövandet av metaxis, en process där eleven/skådespelaren agerar i karaktär och i det indirekt upptäcker den egna individens erfarenheter. Studien identifierar synestesi som ett icke-neurologiskt tillstånd och som en förmåga som kan främjas i drama- och teater-pedagogik och som dessutom blir mer identifierbar inom strukturerade ritualer. Ur ett större pedagogiskt sammanhang belyser studien drama- och teater-estetiska lärprocessers multimodalitet med hjälp av multilitteracitetspedagogisk teori. Detta i sin tur bidrar till att nyansera den “mediepanik debatten” och vidgar diskussionen om den traditionella skolans begränsade syn på multimodalitet och bruket av det i relation till ny medieteknologi. / This qualitative study aims to explore the senses and Synaesthesia as a pedagogical resource in the field of Applied theatre and drama. The Covid-19 restrictions during 2020/21 led to adaptations in the study, where empirical data from physical meetings were not included. The purpose is to highlight the role of the Senses and Synaesthesia in Drama and theatre-aesthetic learning processes, from an in-depth theoretical and a practical empirical perspective. In the theoretical framework become relevant especially the Multiliteracy pedagogical theoretical perspective and with the support of L.S. Vygotsky’s Theory of Imagination, Augusto Boal's concept of The Aesthetic space and M. Merleau-Ponty's view on Synaesthesia. The methodological approach that supports the purpose, consists of various phenomenologically inspired methods that focus on the individual's own experience. The entire study was carried out in 2 individual phases; an in-depth literature review that can be considered as a literature study, an essay writing whose empirical material is two well-documented previous Drama and theatre aesthetic learning processes. All collected empirical material was analysed and contrasted with the chosen theories and concepts. The results of the study show a great impact of the Senses on the cognitive and creative development of the infant. In an educational/artistic context, it appears that the Senses are crucial, among other things, for an optimal understanding in the practice of Metaxis, a process in which the student/actor acts in character and in doing so indirectly discovers his/her own individual experience. The study identifies Synaesthesia as a non-neurological condition and as an ability that can be promoted in pedagogy and that, moreover, becomes more identifiable within structured rituals. In a wider pedagogical context, the study highlights the multimodality of Drama and theatre aesthetic learning processes using Multiliteracy pedagogical theory. This in turn helps to nuance the so-called debate “media panic” and broadens the discussion on the traditional school's limited view of Multimodality and its use in relation to new media technology.