Ce mémoire étudie la série Aux Abattoirs de la Villette photographiée par Eli Lotar en 1929. Il montre comment elle a été assimilée par l’histoire de l’art au texte « Abattoir » de Georges Bataille, aux côtés duquel ont été reproduites trois photos du corpus sous la rubrique Dictionnaire critique de la revue Documents. Cette emprise théorique sur la série est mise en perspective au regard de la démarche artistique d’Eli Lotar et des autres photomontages dont elle a fait l’objet ensuite. Le premier chapitre insiste sur la formation d’Eli Lotar et introduit son séjour à La Villette en lien avec la thématique de l’abattoir dans l’entre-deux-guerres. Il analyse ensuite la fortune critique d’Aux Abattoirs de la Villette qui s’appuie sur la philosophie de l’informe chez Georges Bataille. Le deuxième chapitre analyse le photomontage de la série fait par E.L.T. Mesens dans Variétés (1930) et le photoreportage reconstitué par Carlo Rim dans Vu (1931). Selon des points de vue et un travail formel différents, tous deux accentuent la dimension humaine de l’industrie d’abattage animal. Le troisième chapitre fait apparaître le regard posé par Eli Lotar sur le site de La Villette en tenant compte de ses préoccupations socio-artistiques à travers ses collaborations auprès de Germaine Krull et Joris Ivens. Finalement, il dresse une analyse comparative de la série avec la toile Abattoir d’André Masson, le poème Porte Brancion de Raymond Queneau et le film Le sang des bêtes de Georges Franju pour renforcer les spécificités du médium photographique. / This master’s thesis is a study of the whole series Aux Abattoirs de la Villette, photographed by Eli Lotar in 1929. It demonstrates how the thirty-four prints were merged into Georges Bataille’s philosophy by the art historians of the 1990’s who based their interpretations upon the text « Abattoir ». This was published under the heading Dictionnaire critique inside Documents magazine. The series is taken apart from Bataille’s purpose in light of Lotar’s preoccupations and of the other editions of the photographs during the inter-war period. The first chapter insists on Eli Lotar’s photographic education preceding his visit to La Villette’s site in context with the slaughterhouse’s topic in the art Avant-garde. Then, it evaluates Aux Abattoirs de la Villette’s critical review based on Bataille’s conceptions of formless and sacrifices. The second chapter analyses the authorship conferred to the photomontages carried out by E.L.T. Mesens in Variétés (1930), who accentuates the similarities between the photographic and the slaughter cutting operations, and by Carlo Rim in Vu (1931), who reveals the human dimension of La Villette’s industry. The third chapter focuses on Lotar’s social preoccupations by according an importance to his collaborations with Germaine Krull and Joris Ivens. Finally, the series is addressed in an "intermediatic" perspective to emphasize the photographic point of view by comparing it with the painting Abattoir by André Masson, the poem Porte Brancion by Raymond Queneau and the film Le sang des bêtes by George Franju.

The main focus of this thesis is to analyze three architecture models, displayed at three major art museums. Using Roland Barthes concept of the mythology as a meta layer to the language of the exhibition, the study of the models is also a way of studying their visual and institutional environment – thus inquiring into how the display of architectural models, in the context of the modern art exhibition, activates and displaces the discourse of the exhibition. Taking into consideration the different kinds of objects on display (and those that are not), as well as their relation to the artist and the artworks, the discussion is largely affected by the notion of the representation, as well as the ideology of the modernistic narrative. Upon analyzing these aspects, it becomes clear that the models all convey narratives of their own, that in turn are activated and transformed in their dialogue with the rest of the exhibition. The models become part of the larger narrative that visualizes different ideas about modernism and modernity. But the analysis of the interplay between model and display also show how underlying narratives of nationalism and the relationship between art and architecture are a dominant pretext in the exhibitions.

Lucy Snowe, the heroine of <i>Villette</i>, Charlotte Brontës final novel, is in constant conflict with the dichotomies of patriarchal culture. As she is perpetually torn between the opposing forces of patriarchy, Lucy Snowe inhabits what she calls her own <i>still shadow-world</i> (Brontë164). This thesis explains the nature of the intermediate space Lucy Snowe occupies and examines its repercussions on her mental state. Chapter One theorizes the effect of patriarchal dichotomies on Lucy Snowe to demonstrate that her mental conflict has its roots in the female experience of the opposition between nature and culture. Chapter Twos analysis of the nineteenth-century medical understanding of madness shows that Lucy Snowes melancholy is a symptom of the intermediacy created by conflicting patriarchal expectations. Chapter Three compares Lucy Snowe to the female figure in patriarchal master narratives, which draws attention to the serious consequences of patriarchal culture on women and demonstrates that Lucy is representative of women in conflict with patriarchal expectations. Ultimately, as part of Charlotte Brontës endeavor to represent truth rather than reality, Villette challenges patriarchal expectations of women and presents a different vision of womanhood.

Lucy Snowe, the heroine of <i>Villette</i>, Charlotte Brontës final novel, is in constant conflict with the dichotomies of patriarchal culture. As she is perpetually torn between the opposing forces of patriarchy, Lucy Snowe inhabits what she calls her own <i>still shadow-world</i> (Brontë164). This thesis explains the nature of the intermediate space Lucy Snowe occupies and examines its repercussions on her mental state. Chapter One theorizes the effect of patriarchal dichotomies on Lucy Snowe to demonstrate that her mental conflict has its roots in the female experience of the opposition between nature and culture. Chapter Twos analysis of the nineteenth-century medical understanding of madness shows that Lucy Snowes melancholy is a symptom of the intermediacy created by conflicting patriarchal expectations. Chapter Three compares Lucy Snowe to the female figure in patriarchal master narratives, which draws attention to the serious consequences of patriarchal culture on women and demonstrates that Lucy is representative of women in conflict with patriarchal expectations. Ultimately, as part of Charlotte Brontës endeavor to represent truth rather than reality, Villette challenges patriarchal expectations of women and presents a different vision of womanhood.

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Le travail discute le sujet du parc public urbain en essayant de comprendre l'importance de ce type architectural pour la ville. L'étude se veut une contribution à la discussion du rôle du parc public dans la vie urbaine, laquelle se réfugie, de plus en plus, dans des espaces fermés. D'abord nous faisons une analyse des jardins dans le monde occidental, du rôle des espaces naturels dans la ville et de l'évolution des concepts de parc et de parc urbain. Le travail focalise l'étude de trois parcs considérés ici comme emblématiques: le Central Park en New York, EUA, le premier des parcs publics construit exprès pour ce but, le Parque do Flamengo à Rio de Janeiro, Brésil, le représentant le plus important de ce type dans l'architecture moderniste brésilienne et le Parc de La Villette à Paris, France, lequel concrétise des concepts révolutionnaires sur la fonction et sur la morphologie du type parc urbain. À partir de l'analyse comparative de ces trois espaces et de l'étude de cette typologie, le travail conclut que le parc urbain est une conséquence des transformations qui ont eu lieu à partir de la révolution industrielle et qu'il est un équipement fondamental de la ville moderne. Le parc urbain ne peut pas être considéré comme un refuge pour que les gens s’écartent de la ville, mais un lieu qui la compose. Il est, de plus en plus, un élément composant indispensable à la ville elle-même. Le parc public est un des plus importants espaces ouverts et sa présence est absolument nécessaire pour permettre un caractère démocratique à la vie urbaine. Les villes se transforment à une vitesse croissante. La morphologie du parc doit donc rendre possible son propre renouvellement et aussi son adéquation aux nouvelles fonctions. / O trabalho discute a temática do parque público urbano, procurando compreender a importância deste tipo arquitetônico para a cidade. Pretende-se contribuir para a discussão do papel do parque público na vida urbana, que se refugia, cada vez com mais intensidade, nos espaços confinados. Parte-se de uma análise sobre os jardins no ocidente, o papel dos espaços naturais na cidade e a evolução dos conceitos de parque e de parque urbano. O trabalho centra-se no estudo de três parques, aqui considerados como emblemáticos: Central Park em Nova York, EUA, o primeiro parque público construído especificamente para este finalidade, Parque do Flamengo no Rio de Janeiro, Brasil, o mais importante representante deste tipo na arquitetura modernista brasileira e Parc de La Villette, em Paris, França, que concretiza conceitos revolucionários quanto à função e à morfologia do tipo parque urbano. A partir da análise comparativa dos três espaços e do estudo desta tipologia, conclui-se que o parque urbano é uma conseqüência das transformações ocorridas no processo da revolução industrial e que se constitui em um equipamento integrante da cidade moderna. O parque não é um espaço destinado à fuga da cidade, mas um lugar que dela passou a fazer parte, sendo, cada vez mais, um de seus componentes indispensáveis. Ele é um dos mais importantes espaços abertos e sua presença torna-se imprescindível por possibilitar um caráter democrático à vida da cidade. As transformações das cidades tornam-se cada vez mais rápidas. A morfologia do parque deve, pois, permitir sua renovação e sua adequação a novas funções. / In this dissertation we discuss the role of the urban park in order to ascertain its importance as an architectural type of the city. In this way, we endeavor to contribute to the discussion of the role of public parks in urban life, as an alternative to the current trend towards closed spaces. We depart from an analysis of western gardens, the role of natural areas in the city and the evolution of the concepts of park, and urban park. Three parks, here considered as emblematic, were selected: Central Park, New York, United States, the first public park ever to be primarily established with this aim; Parque do Flamengo, Rio de Janeiro, Brazil, the most representative of its type in modernistic Brazilian architecture; and Parc de La Villette, Paris, France, materializing revolutionary concepts in morphology and function. Based on a comparative analysis of these three parks and on the evaluation of their typology we may recognize the urban park as a consequence of transformations that took place during the industrial revolution, and a characteristic equipment of the modern city. Parks are not to be considered refuges, isolated from urban life, but as essential equipments of the city. They constitute one of the most important features of a city, and their presence became invaluable to add a democratic dimension to urban life. Cities change rapidly and the park morphology must change accordingly to permit its renovation and adaptation to new functions.

Cette thése traite de la mise en evidence des possibilites et des limites de cette methode ( Transmission/amortissement d'ondes ultrasonores) par comparaison avec la methode destructive classique.

This dissertation aims to examine the various ways in which three Victorian novels, such as Wilkie Collins?s The Woman in White (1860), Anne Bront�?s The Tenant of Wildfell Hall (1848), Charlotte Bront�?s Villette (1853), address the relationship between storytelling and self-formation, showing that a subject formulates a sense of self by storytelling. The constructed nature of self and storytelling in Collins?s The Woman in White shows that narrative is a significant way of attributing meaning in our lives and that constructing stories about self is connected to the construction of self, illustrating that storytelling is a form of self-formation. Anne Bront�?s The Tenant of Wildfell Hall exemplifies Bront�?s configuration of the relational and contextual aspect of storytelling and self-formation in her belief that self is formed not merely through the story he/she tells but through the triangular relationship of the storyteller, the story, and the reader. This novel proves that even though the writer?s role in constructing his/her self-concept through his/her narrative is important, the narrator?s triangular relationship with the reader and the text is also a significant component in his/her self-formation. Charlotte Bront�?s Villette is concerned with unnarration, in which the narrative does not say, and it shows that the unnarrated elements provide useful resource for the display of the narrator?s self. For Charlotte Bront�, unnarration is part of the narrative configuration that contributes to constructing and presenting the storyteller?s self-formation. These three novels illuminate that narrative is more than linguistic activities of the symbolic representation of the world, and that it cannot be fully conceived without taking into consideration the storyteller?s experience and thoughts of the world.

Le travail discute le sujet du parc public urbain en essayant de comprendre l'importance de ce type architectural pour la ville. L'étude se veut une contribution à la discussion du rôle du parc public dans la vie urbaine, laquelle se réfugie, de plus en plus, dans des espaces fermés. D'abord nous faisons une analyse des jardins dans le monde occidental, du rôle des espaces naturels dans la ville et de l'évolution des concepts de parc et de parc urbain. Le travail focalise l'étude de trois parcs considérés ici comme emblématiques: le Central Park en New York, EUA, le premier des parcs publics construit exprès pour ce but, le Parque do Flamengo à Rio de Janeiro, Brésil, le représentant le plus important de ce type dans l'architecture moderniste brésilienne et le Parc de La Villette à Paris, France, lequel concrétise des concepts révolutionnaires sur la fonction et sur la morphologie du type parc urbain. À partir de l'analyse comparative de ces trois espaces et de l'étude de cette typologie, le travail conclut que le parc urbain est une conséquence des transformations qui ont eu lieu à partir de la révolution industrielle et qu'il est un équipement fondamental de la ville moderne. Le parc urbain ne peut pas être considéré comme un refuge pour que les gens s’écartent de la ville, mais un lieu qui la compose. Il est, de plus en plus, un élément composant indispensable à la ville elle-même. Le parc public est un des plus importants espaces ouverts et sa présence est absolument nécessaire pour permettre un caractère démocratique à la vie urbaine. Les villes se transforment à une vitesse croissante. La morphologie du parc doit donc rendre possible son propre renouvellement et aussi son adéquation aux nouvelles fonctions. / O trabalho discute a temática do parque público urbano, procurando compreender a importância deste tipo arquitetônico para a cidade. Pretende-se contribuir para a discussão do papel do parque público na vida urbana, que se refugia, cada vez com mais intensidade, nos espaços confinados. Parte-se de uma análise sobre os jardins no ocidente, o papel dos espaços naturais na cidade e a evolução dos conceitos de parque e de parque urbano. O trabalho centra-se no estudo de três parques, aqui considerados como emblemáticos: Central Park em Nova York, EUA, o primeiro parque público construído especificamente para este finalidade, Parque do Flamengo no Rio de Janeiro, Brasil, o mais importante representante deste tipo na arquitetura modernista brasileira e Parc de La Villette, em Paris, França, que concretiza conceitos revolucionários quanto à função e à morfologia do tipo parque urbano. A partir da análise comparativa dos três espaços e do estudo desta tipologia, conclui-se que o parque urbano é uma conseqüência das transformações ocorridas no processo da revolução industrial e que se constitui em um equipamento integrante da cidade moderna. O parque não é um espaço destinado à fuga da cidade, mas um lugar que dela passou a fazer parte, sendo, cada vez mais, um de seus componentes indispensáveis. Ele é um dos mais importantes espaços abertos e sua presença torna-se imprescindível por possibilitar um caráter democrático à vida da cidade. As transformações das cidades tornam-se cada vez mais rápidas. A morfologia do parque deve, pois, permitir sua renovação e sua adequação a novas funções. / In this dissertation we discuss the role of the urban park in order to ascertain its importance as an architectural type of the city. In this way, we endeavor to contribute to the discussion of the role of public parks in urban life, as an alternative to the current trend towards closed spaces. We depart from an analysis of western gardens, the role of natural areas in the city and the evolution of the concepts of park, and urban park. Three parks, here considered as emblematic, were selected: Central Park, New York, United States, the first public park ever to be primarily established with this aim; Parque do Flamengo, Rio de Janeiro, Brazil, the most representative of its type in modernistic Brazilian architecture; and Parc de La Villette, Paris, France, materializing revolutionary concepts in morphology and function. Based on a comparative analysis of these three parks and on the evaluation of their typology we may recognize the urban park as a consequence of transformations that took place during the industrial revolution, and a characteristic equipment of the modern city. Parks are not to be considered refuges, isolated from urban life, but as essential equipments of the city. They constitute one of the most important features of a city, and their presence became invaluable to add a democratic dimension to urban life. Cities change rapidly and the park morphology must change accordingly to permit its renovation and adaptation to new functions.