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Dissertations / Theses on the topic 'Avant-garde poetry'
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Burkett, Matthew Luis. "The Body In Avant Garde Poetry." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1150.
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This thesis examines the use of the body in avant-garde poetics, relating it to both theory and contemporary culture. An outline of how the body has been depicted, represented, and formalized in modernism is made, and contemporary issues involving the body, from what Meredith M. Render calls the “alienability” of the body to posthuman hybridity and technological transcendence. Language poetry, including the works of M. SourbeSe Philip, Clark Coolidge, Steve McCaffery, Charles Bernstein, Karen Mac Cormack, Lyn Hejinian, and Bruce Andrews is then examined for the body’s fraught usage in a generally non-referential poetics. The body’s place in conceptual writing combines contemporary technologies with a look back at Antonin Artaud’s corps sans organes.
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Racz, Imogen Anne. "Henri Laurens and the Parisien avant-garde." Thesis, University of Newcastle Upon Tyne, 2000. http://hdl.handle.net/10443/425.
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This dissertation examines the development of Henri Laurens' artistic work from 1915 to his death in 1954. It is divided into four sections: from 1915 to 1922, 1924 to 1929, 1930 to 1939 and 1939 to 1954. There are several threads that run through the dissertation. Where relevant, the influence of poetry on his work is discussed. His work is also analyzed in relation to that of the Parisian avant-garde. The first section discusses his early Cubist work. Initially it reflected the cosmopolitan influences in Paris. With the continuation of the war, his work showed the influence both of Leonce Rosenberg's 'school' of Cubism and the literary subject of contemporary Paris. The second section considers Laurens' work in relation to the expanding art market. Laurens gained a number of public commissions as well as many ones for private clients. Being site specific, all the works were different. The different needs of architectural sculpture as opposed to studio sculpture are discussed, as is his use of materials. Although the situation was not easy for avant-garde sculptors, Laurens became well respected through exposure in magazines and exhibitions. The third section considers Laurens in relation to the depression and the changing political scene. Like many of the avant-garde, he had left wing tendencies, which found form in various projects, including producing a sculpture for the Ecole Karl Marx at Villejuif. Patronage virtually ceased. However, Laurens was frequently included in articles in avant-garde journals and exhibited widely. The fourth section begins with the war. Laurens continued to live and work in Paris but was not included in official exhibitions. After the war, the press and State, which had largely disregarded members of the tcole de Paris, reversed this trend. As well as revisiting old sculptural themes, Laurens illustrated a number of books.
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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.
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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).Romance Languages and Literatures
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Ma, Ming-Qian. "Poetry as re-reading : American Avant-garde poetry and the poetics of counter-method /." Evanston Illinois : Northwestern University Press, 2008. http://www.loc.gov/catdir/enhancements/fy0809/2008000308-t.html.
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Morris, Marianne. "Problems of the 'political' in British avant-garde poetry and poetics, 2003-2012." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/7772/.
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This investigation addresses formal and conceptual problems in poetry, identified through critical investigations of my own and my poetic peers’ work, and through theoretical and philosophical texts (Butler, 2000; Hegel, 1807; Owens, 1980; Rose, 1996; Kappeler, 1986). The notion of a ‘political’ poetry, as loosely posited by contemporary critics (Archambeau, 2009) is discussed, using Ancient Greek readings of polis (Arendt, 1958; Yunis, 1996). Subsequent related topics for discussion include critical irony, subjectivity, feminist theory, and fantasy. Source material for their identification includes my own poetry (Morris, 2006; 2007), the poetry pamphlet IRA Quid (Brady et al., 2004), and criticism on the work of J.H. Prynne (Sutherland, 2010). I then discuss the influence of these readings on my practice, and present practice work written in response to the research aims. I present my practical poetic outcomes as an extension of the theoretical questions outlined by way of analysing individual poems, and by presenting poems as their own mode of discourse within the critical text. Research is shown to have influenced my practice through an evolving methodology that responds to questions unearthed during the project. This methodology develops a body politics through compositional experiments with the typewriter (Olson, 1965; Deleuze & Guattari, 1987; Abramović, 2011), and places emphasis on live performance as crucial to ‘political’ poetry due to its affects. Also provided are case studies of poetry readings given during the research period and their effects on practice, and a summary of Lyric & Polis, a festival of poetry readings and open discussion, which I hosted in Falmouth in February 2012. A concluding section looks at future possibilities for poetic practice in light of my findings, and suggests some ways for moving on from some of the key contradictions arising in relation to unequivocal poetic statements, and the question of ‘aboutness’.
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MacPhee, Graham. "Remembering the avant-garde : vision and time in the poetry of Frank O'Hara." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263158.
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Watkin, David Watkin. "In the process of poetry : the New York School and the avant-garde." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287397.
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Nicholas, Tessa Joseph Harmon William. "Imagining community individual influence and group cohesion in American avant-garde poetry and poetics /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1563.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Cooper, Michael T. "WELCOME TO THE PLANET: FORT LIVING ROOM O ROTTING SUN." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/192.
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O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.
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Mark, Alison Katherine Marshall. "Reading between the lines : language, experience and identity in the work of Veronica Forrest-Thomson." Thesis, Birkbeck (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362716.
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Greve, Charlotte. "Writing and the 'subject' image-text relations in the early Russian avant-garde and contemporary Russian visual poetry /." Amsterdam : Amsterdam : Pegasus ; Universiteit van Amsterdam [Host], 2004. http://dare.uva.nl/document/77848.
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Maloy, Jennifer. "Making an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics." Diss., Temple University Libraries, 2011. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/126719.
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EnglishPh.D.
The Making of an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics, explores how current discussions in the field of Composition and Rhetoric intersect with the theories and practices of select members of the avant-garde poetry community, focusing on the issues of genre, identity, and language. It examines each of these issues by juxtaposing discussions of leading Composition and Rhetoric scholars with creative and critical work of avant-garde poets, identifying common concerns, and describing diverse approaches to creating innovative writing practices. It demonstrates the connections between Theresa Hak Kyung Cha's multilingual text, DICTEE, and recent scholarship by Min-Zhan Lu and A. Suresh Canagarajah on multilingual student writers in order to argue for more discussion of language politics and linguistic awareness in the composition classroom. It also outlines the connections between Harryette Mullen's creative and critical work and scholarship by Donna LeCourt and Roz Ivanic on writer identity to explore new approaches to interpreting and responding to student texts. Finally, it reads Susan Howe's The Midnight in conversation with leading genre theorists such as Amy Devitt and compositionists such as Robert Davis and Mark Shadle who argue for assigning multigenre papers.
Temple University--Theses
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Clarke, John Wedgwood. "Louis Zukofsky and the Objectivist project, 1927-1934." Thesis, University of York, 2000. http://etheses.whiterose.ac.uk/14030/.
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Brennan, Paul Andrew. "The institution of art as a problem in the poetry of William Carlos Williams." Thesis, Nottingham Trent University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324730.
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Tomaszewska, Lara Halina. "Borderlines of poetry and art : Vancouver, American modernism, and the formation of the west coast avant-garde, 1961-69." Thesis, University of British Columbia, 2007. http://hdl.handle.net/2429/31696.
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In 1967, San Francisco poet Robin Blaser titled his Vancouver-based journal The Pacific Nation because the imaginary nation that he envisaged was the "west coast." Blaser was articulating the mythic space that he and his colleagues imagined they inhabited at Simon Fraser University and the University of British Columbia: a nation without borders, without nationality, and bound by the culture of poetry. The poetic practices of the San Francisco Renaissance, including beat, projective, and Black Mountain poetics, had taken hold in Vancouver in 1961 with poet Robert Duncan's visit to the city which had catalyzed the Tish poetry movement. In 1963, Charles Olson, Allen Ginsberg, and Robert Creeley participated in the Vancouver Poetry Conference, an event that marked the seriousness and vitality of the poetic avant-garde in Vancouver. The dominant narrative of avant-garde visual art in Vancouver dates its origins to the late 1960s, with the arrival of conceptualism, especially the ideas and work of Dan Graham and Robert Smithson. By contrast, this thesis argues for an earlier formation of the avant-garde, starting with the Tish poetry movement and continuing with a series of significant local events such as the annual Festival of the Contemporary Arts (1961-71), organized by B.C. Binning and Alvin Balkind, who was the curator of the Fine Arts Gallery at the University of British Columbia. The diverse artistic and intellectual practices of Robert Duncan, John Cage, Merce Cunningham, Stan Brakhage, and Marshall McLuhan presented at the Festivals were absorbed and adapted not only by poets and writers but also by artists, including Ian Wallace, Roy Kiyooka, Ian Baxter, Gary Lee-Nova, and Michael Morris. The cross-fertilization of avant-garde poetry and art was an international phenomenon. In New York, "anti-formal" art also embraced Cage and Cunningham as aesthetic models. Its effect in Vancouver was to de-stabilize European traditions of art that had been dominant. In the 1960s, Vancouver avant-garde artists constructed the west coast as an alternative space--alternative to American militarism and anti-communism, to Euro-Canadian cultural traditions and to the artistic dominance of New York. They helped to create a vital, transnational Pacific region.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
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Hamilton, Joshua Bridgwater. "Resituating Desire, Rewriting Reading| Spanish Neo-Avant Garde Visual Poetry and the Critique of Mass Media and Consumer Capitalism." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3587659.
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This dissertation examines the Spanish visual poetry of the 1960s and 1970s, which appeared during the later period of the Franco regime and responded to the rise of mass media and consumer capitalism. It draws on the theoretical work of Gilles Deleuze and Félix Guattari to examine how this poetry created an oppositional practice that destabilized the conventional use of codes in media, art, and literature. It brings to light what I will explore as the "schizoid" character of their work and how it redefines the roles of reader, writer, and text in order to create an awareness that is critical and resistant to what the visual poets position as authoritative discourses, such as capitalism, consumerism, and the authoritarianism of the dictatorship. They see these discourses as subjugating the individual's thought through codes of language and image, and they go about subverting such discourses by destabilizing the language and image itself on which those discourses are built.
This study focuses on the representative works of three different writers, Quizás Brigitte Bardot venga a tomar una copa esta noche by Alfonso López Gradolí, La caída del avión en el terreno baldío by José Luis Castillejo, and Textos y antitextos by Fernando Millán. López Gradolí's book restructures the notion of desire as it is represented in capitalist narratives of lack, ultimately schizophrenizing desire as a displaced logic of lack and creating new, interpersonal codes that redefine desire as immanent connection. Castillejo's work deconstructs representation through open-ended texts that multiply possible reading strategies, thus grounding desire in the process of building new codes. Millán's book deconstructs representation into a figural narrative that redefines the reader's role from that of a passive consumer to that of an active schizoanalyst that co-creates poetic codes and schizophrenizes transcendental structures that govern language and image.
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Franklin, Kelly Scott. "Out of place: Walt Whitman and the Latin American avant-gardes." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/5755.
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The poetry, prose, and personality of Walt Whitman have attained a truly global circulation, and scholarship continues to reveal his complex and lasting impact on literature, art, and politics around the world. This dissertation reveals Walt Whitman's extensive appropriation by the Latin American avant-garde, an artistic current that encompassed dozens of regional, national and transnational vanguardia movements across the Americas from roughly 1918 through the late 1930s. My work tells the story of how these pugnacious literary and artistic communities used Whitman as the raw material for a self-consciously "modern" art, as they circulated, adapted, and repurposed the US poet and his texts. The dissertation moves from south to north, beginning in Chile, proceeding to Nicaragua and Mexico, and ending with Latino writers in the United States. "Out of Place: Walt Whitman and the Latin American Avant-Gardes" argues that the literary and political appropriation of Whitman becomes a part of these movements' active participation in the hemispheric and global conversation of their day. What these aggressive avant-garde groups find useful, provocative, or generative in Whitman, then, offers us a unique perspective that cannot be left out of American literary studies. For as they wrestle with Whitman and the concept of "America," as they adapt Whitman into their notions of art, of nation and of language, and as they read him against the backdrop of globalization and modernity, a new Walt Whitman emerges, a vanguardista Whitman who sheds new light on the enduring relevance of his own radical project of making a poetry for the Americas.
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Ferriere, Tamara. "La construction de l'extraterritorialité chez Roberto Bolano : écriture de l'émigration et avant-garde." Thesis, Clermont-Ferrand 2, 2012. http://www.theses.fr/2012CLF20021.
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Cette thèse doctorale étudie le caractère extraterritorial de l’œuvre de Roberto Bolaño, laquelle est enrichie par le nomadisme de l’auteur (celui-ci ayant notamment vécu au Chili, au Mexique et en Espagne). Il représente l’image d’un écrivain déraciné du fait du découplage de ses textes vis-à-vis de sa terre natale. Ses personnages migrants semblent souvent désolidarisés de leur pays d’origine. Ils errent d’un continent à l’autre sans savoir où leurs périples s’achèveront. Nous verrons que l’expérience de l’exil, chez l’auteur, permet l’identification des relations qui existent entre l’œuvre, la société et le contexte historique. Bolaño met en lumière différents événements tels que des dictatures militaires et des guerres civiles, lesquels frappèrent l’Amérique Latine de 1960 à 1990. Il crée pour cela une sorte de tribunal littéraire. Cela permet à Bolaño d’évoquer les mémoires individuelle et collective, rappelant des instants douloureux à partir desquels le langage devient violent et désolant. Cette étude a aussi pour objet de chercher à dévoiler les éléments avant-gardistes qu’il intègre à son œuvre. Il tente de s’affranchir de toute norme et de s’opposer aux canons littéraires établis. Cela constitue un acte transgresseur qui lui permet d’effacer les frontières afin de construire de nouveaux espaces à travers son écritureThis doctoral thesis studies the extraterritorial nature of Roberto Bolaño’s writing,which is enriched by the nomadic life of the author (having lived in Chile, Mexico and Spain). He represents the image of a writer who has been uprooted an aspect which is reflected in the proportion of the text devoted to his native land. The migrant characters in his writings often seem disconnected from their countries of origin. They wander from one continent to another without knowing where their journey will end. We will see that the author’s experience of exile allows us to identify the links between Bolaño’sliterary works, society and the historical context. The author highlights different events such as military dictatorships and civil wars which occurred in Latin America between 1960 and 1990. He provides a sort of literary judgement on this period. This enables Bolaño to evoke individual and collective memories,recalling painful incidents, which give rise to violent and distressing language. In addition, this study attempts to unveil the avant-garde elements present in his literature. He attempts to go beyond every norm and to oppose himself to the established literary canons. This constitutes an act of defiance whic hallows him to erase the literary boundaries in order to give way to the creation of a new space through his literature
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Barthélemy, Clarisse. "La poésie, clef de la critique de Jean Paulhan." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040108.
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Jean Paulhan a consacré son œuvre à la recherche des lois de l’expression et à la mise au point d’une méthode critique qui en tienne compte. Cette quête s’enracine dans l’étude et l’expérience poétiques : elle commence avec les Hain-teny, poésies populaires malgaches, trouve sa formule critique dans Clef de la poésie et s’achève dans Le Don des langues, tandis que dans Les Fleurs de Tarbes sont posés les termes d’un renouvellement de la critique. Quel rapport à la poésie Jean Paulhan entretenait-il pour en faire le lieu de sa maturation critique ? C’est à cette question que tente de répondre cette thèse, en étudiant la place et la fonction de la poésie dans la vie et dans l’œuvre de Jean Paulhan. Une première partie présente une approche chronologique et sociologique du lien qu’entretient Jean Paulhan à la poésie, à travers ses découvertes propres, la formation complexe de ses réseaux de relations et son positionnement au sein du champ de la littérature, enfin son action en faveur de la poésie en tant que lecteur et éditeur. Une seconde partie analyse les enjeux de la poésie, à l’intérieur de l’œuvre de Jean Paulhan, dans la définition d’une méthode critique et la découverte de soi en sujet critique. Il s’agit ainsi de montrer comment, en cherchant la « clef de la poésie », Jean Paulhan trouve dans la poésie la clef de la critique et comment cette intimité intellectuelle entre l’expérience poétique et la méthode critique irradie non seulement au sein d’une majeure partie de la communauté poétique, mais aussi au sein de toute son œuvre et jusqu’à sa personnalité d’écrivainJean Paulhan devoted his work to the research of the laws of expression and to the development of a criticism method, which would take them into account. That quest takes root in his studying and experiencing of poetry: it starts with the Hain-teny, poésies populaires malgaches, achieves its critical formula in Clef de la poésie and ends up with Le Don des langues, while the basis of the renewal of criticism is set down in Les Fleurs de Tarbes. What kind of a relationship with poetry did Jean Paulhan maintain that would stand for the starting point of his own idea of criticism? In order to answer this question, this dissertation sets out to define the place and role of poetry in Jean Paulhan’s life and work. In its first part, the dissertation shows a chronological and sociological study of the link between Jean Paulhan and poetry, through his own finds, through the building of a complex network and his positioning in the literary field, lastly through his action for poetry as a reader and as a publisher. In its second part, the dissertation analyses how poetry is at stake, throughout Jean Paulhan’s work, in the invention of a criticism method, and in the discovery of his own self as a critique. This study means to show how Jean Paulhan, by looking for “the key to poetry”, finally finds in poetry the key to criticism, and how such an intellectual intimacy between the experiencing of poetry and the criticism method spreads through a large part of the poet community and enlightens both his whole work and his personality as a writer
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Pereira, Rodrigo Cardoso. "A concepção de palavra na poesia práxis." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270095.
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Orientador: Maria Eugenia da Gama Alves Boaventura DiasDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho descreve e analisa a concepção de palavra na poesia práxis, manifestação vanguardista brasileira do final dos anos 50 do último século. Dividida em três capítulos, a dissertação concentra-se na obra do fundador de Práxis, Mário Chamie, especificamente Lavra Lavra (1962) e no manifesto didático que lhe serve de posfácio. No primeiro capítulo, levantam-se as questões concernentes à oposição entre palavra e discurso no debate sobre poesia no Brasil e apresentam-se as primeiras idéias de Chamie sobre o assunto. A partir da análise de textos poéticos e teóricos do autor, detectamos uma linha que vai de uma concepção segundo a qual a palavra poética configura o mundo a uma visão que subordina a poesia aos dados concretos da realidade. No segundo capítulo, são analisados os princípios apresentados no manifesto didático do poema práxis e alguns textos de Lavra Lavra. Nesta parte, são apresentadas as concepções do autor acerca da palavra como "matéria-prima" e "energia". No terceiro e último capítulo discute-se a noção de engajamento em literatura, ressaltando-se os impasses entre experimentalismo e participação social na poesia brasileira dos anos 60. Também é apresentada a natureza do engajamento social de Práxis
Abstract: This dissertation describes and analyses the conception of word in Praxis Poetry, Brazilian avant-garde manifestation of the late 50's last century. The dissertation, divided into three chapters, focuses on the founder of Praxis, Mário Chamie, specifically Lavra Lavra (1962) and on the didactic manifest that was used as a postscript. In the first chapter, we present Chamie's first ideas raising questions concerned on opposition between word and speech in debate about poetry in Brazil. From the analysis of poetical and theoretical texts of the author, we detected a line of thinking in which the poetical word sets the world to a vision that subordinates poetry to specific evidences of reality. We analysed, in the second chapter, the principles presented on didactic manifest of Praxis, as some Lavra Lavra texts. This part shows the author's conceptions about the word as "raw material" and "energy". In the last chapter we discuss the involving notion at literature, emphasizing the impasses between the experimentalism and social participation in Brazilian poetry in the 60 years. Besides it has been presented the nature of engagement of Praxis
Mestrado
Mestre em Teoria e História Literária
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Mahot, Boudias Florian. "La Poésie insupportable : politiques de la littérature dans l’entre-deux-guerres européen, autour de L. Aragon, W. H. Auden et B. Brecht." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100131.
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Se dégageant du point de vue spiritualiste et idéaliste caractérisant la critique poétique contemporaine, ce travail vise à remettre en question la conception d'une poésie par principe détachée de tout enjeu politique et prend en charge des textes en partie exclus du canon poétique. Centré sur la politisation des poésies françaises, anglaises et allemandes dans l’entre-deux-guerres européen, le projet est historique et dresse une vision globale mais analytique des liens entre la poésie et la politique d’un point de vue à la fois théorique et historique. Le corpus central réunit L. Aragon, W. H. Auden et Bertolt Brecht et s’étend ponctuellement à A. Breton, X. de Magallon, S. Spender, C. Day Lewis, T. S. Eliot, E. Pound, W. Lewis, G. Benn, V. Maïakovski, R. Alberti, etc. Les trois auteurs principaux permettent une aisance méthodologique et conduisent l’évocation des réseaux littéraires européens et de certains effets de réception. L’étude prend aussi en compte certains titres de presse et revues littéraires variés (La N.R.f., Commune, Eurydice, The Criterion, The Left Review, Die neue Rundschau, Das Wort, etc.). La première partie de l’étude dresse un tableau historique des incompatibilités entre le genre poétique et l’exercice de la politique dans l’entre-deux-guerres, autour des querelles sur la « propagande » et la « poésie pure ». Analytique, la deuxième étudie les stratégies de l’inscription historique et de l’action politique à l’œuvre dans l’écriture et la publication des textes. La troisième partie livre un questionnement théorique sur le lien entre les poètes politiques et le temps en étudiant d’abord leur rapport avec la poésie des siècles précédents puis leurs relations aux théories modernistes de l’autonomie et au programme politique des avant-gardesLeaving behind the spiritualist and idealist method which is frequent in poetry criticism nowadays, this dissertation aims to challenge the model of an essentially non-political poetry. It adopts both a historical and theoretical approach and focuses on so-called minor poems or poems that were later on excluded from the literary canon. Focused on France, Britain and Germany between the two World Wars, it presents how poets became politicized and how they conceived of the links between poetry and politics between 1918 and 1939. The main corpus is composed of L. Aragon, W. H. Auden and Bertolt Brecht but also extends to A. Breton, X. de Magallon, S. Spender, C. Day Lewis, T. S. Eliot, E. Pound, W. Lewis, G. Benn and even V. Mayakovski and R. Alberti, etc. The three main authors should be considered as centres to explore the European literary networks and describe reception effects. The project also encompasses various newspapers, magazines and literary journals (La N.R.f., Commune, Eurydice, The Criterion, The Left Review, Die neue Rundschau, Das Wort, etc.). The first part of this research is historical and establishes how poets and critics quarrelled about the notions of “propaganda” and “pure poetry” over the period. The second part is analytical and delves into how poets evoke contemporary history and how they use writing and publishing strategies to make their poems more effective in the public space. The third part is more theoretical and depicts how poets conceived their own historicity, how they positioned themselves with respect to the poetry of the past, to contemporary modernist theories of artistic autonomy and to the political programmes of the Avant-Garde
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Schaffner, Anna Katharina. "Assaulting the Order of Signs : language dissection in Avant-Garde Poetry : textual politics from Cubist and Futurist to Concrete and Digital poetics." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/25159.
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This thesis investigates the implications of and motivations for language dissection in avant-garde poetry. The act of taking language apart on different levels of its organisation became the hallmark of avant-garde poetry in the 1910s and 1920s as well as the 1950s and 1960s. While dissatisfaction with language and culture and epistemological language scepticism had been expressed before the historical avant-garde emerged, they never affected the status of the signifier or the conventional order of linguistic signs. The poets of the historical avant-garde were the first to effectuate their critique poetically, to touch upon the very structure of linguistic organisation. After World War II, the concrete poets built upon the quest of their forerunners and recuperate techniques, strategies, and dominant concerns of the historical avant-garde. The parallels between the two phases are not only formally striking: moreover, the initial emergence and post-war renaissance of language dissection was triggered by similar driving forces such as developments in the sphere of the fine arts and technological changes and inventions. In both cases the assault upon the order of signs is not just an artistic device, but also represents a cultural strategy motivated by utopian or critical agendas. As this thesis shows, different attributes of language are targeted in different poetical frameworks: some poets are mainly concerned with the representative aptitude of language, while others apply their criticism to its epistemological and cognition-structuring dimension. For some avant-gardists, the assault upon the order of signs presents an attempt to transgress the limits of what is speakable and thinkable. Yet others call attention to the arbitrary, social and convention-based side of language. All poets, however, by means of emphasising the material dimension of language, aim at raising awareness and stimulating reflection upon the properties of the sign system used as well as to encourage the recipient to rethink the nature of conventions and social agreement in general.
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Papantoniou, Nowak Stéphane. "Le livre. Dedans / Dehors. Autour des éditions Al Dante : la question du medium : Livre, transmédialité et intermédialité. Contemporanéité et avant-garde. Questions de création littéraire et artistique. L'édition comparée." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSEN002.
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Cette thèse se propose d’étudier des pratiques poétiques dans et hors du livre à partir de parcours de poètes « passés » par les éditions Al Dante. Il s’agissait de questionner en particulier la notion de « performance », souvent réduite à une dimension scénique. Ou encore l’idée d’avant-garde, trop souvent limitée à une histoire politique close. L’idée d’avant-garde n’apparaît plus comme principe de structuration du groupe, mais comme spectralité agissante, conduisant à mêler des enjeux politiques — critique des institutions, critique de la langue dominante, contestations des places assignées par la culture — avec des enjeux esthétiques. Il est donc question de traduction poétique comme actualisation de la situation politique, et de transmédiation.L’approche stylistique a été progressivement supplantée par une approche médiologique pour problématiser des pratiques hétérogènes. La spécificité de la maison d’édition Al Dante nous permet de replacer le livre dans un écosystème poétique plus général, où le livre n’est plus la seule finalité, mais la médiation entre un processus de création et des manifestations publiques. Aussi peut-on lire ce moment contemporain non seulement comme l’émergence de thématiques dominantes, mais aussi comme une mise en crise de la centralité du livre et de son économie. La pratique des éditions Al Dante nous a donc amenés à défendre une « théorie du geste éditorial » qui ne se réduit pas à la mise en page d’un manuscrit, la production d’un livre et sa commercialisation, mais amène parfois à la création de livres qui ne possédaient pas d’espace éditorial. Repousser les frontières de l’édition, penser la spécificité du livre de « poésie-action » n’est pas sans paradoxes : déstructuration de la linéarité des discours, reconfiguration de l’espace de la page, adaptation spécifique des formats des livres et des polices de caractères. Ces pratiques ont pour enjeu la dimension performative du livre. En cela, on participe d’une manière renouvelée à une « performance typographique »This doctoral thesis offers to study poetic practices in and out of the book from poets’ itineraries published by the Al Dante publishing house. The thesis is questioning the performance's notion, most often reduced to its scenic's dimension, but also the avant-garde's idea, too often limited to a political history which has ended. The avant-garde notion doesn't appear anymore as the element structuring the group but as an acting spectrality, leading to mix political issues - criticism of the institutions, criticism of the dominant language, challenges the places assigned by culture - with aesthetic issues. It is therefore a question of poetic translation as actualization of the political situation, and of transmediation. The stylistic approach has been gradually supplanted by a mediological approach to problematize heterogeneous practices. The Al Dante publishing house specificities allow us to see the book in a more general poetic ecosystem, where the book is no longer the only purpose, but the mediation between a process of creation and public events. So we can read this contemporary moment not only as the emergence of dominant themes, but also as a crisis of the book’s centrality and its economy. The Al Dante publishing house practices has led us to defend a theory of “editorial gesture” that cannot be reduced to the layout of manuscript or the production of a book and its marketing, but sometimes leads to the creation of books that didn’t find an editorial space. To push the boundaries of edition, to think the specificity poetry-action’s book is raising paradoxes: the disintegration of the linearity of the speeches, the reconfiguration of the page’s space, the specific adaptation of the books forms and fonts. These practices concern the book’s performative dimension. So it participates in a renewed way to a "typographic performance"
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Huet, Marie. "L'image dans la poésie moderniste." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL183.
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La poésie française de l’entre-deux-guerres présente bien souvent un visage désuni, entre des groupes d’avant-garde à la parole théorique forte, qui renouvèlent en profondeur la pensée et la pratique de la poésie (surréalistes, dadaïstes ou poètes de la modernité bohème sous l’égide d’Apollinaire et de Reverdy), et des poètes sans affiliation, qui laissent une œuvre parfois orpheline de théorie (Claudel, Jouve, qui placent leur œuvre sous le signe de la spiritualité chrétienne, Saint-John Perse ou Fargue, qui recherchent la modernité loin de l’agitation des mouvements littéraires). Ce travail entend proposer une catégorie historiographique susceptible d’offrir une vue cohérente de la poésie de la période, à travers le concept d’image, tel que le développent notamment Reverdy et Breton dans leurs écrits théoriques. L’image et l’analogie sont au cœur des écrits théoriques de l’entre-deux-guerres : elles donnent à la poésie moderne la possibilité de se redéfinir hors des critères désuets du vers et de la rime, de s’identifier à l’expression de la pensée intuitive, dans le vis-à-vis de la rationalité portée par le positivisme. À travers elles, apparait également l’unité esthétique de la poésie de la période, marquée par le goût de l’imaginaire et du merveilleux, la tentation de l’hermétisme. Le concept d’image permet donc d’unifier la poésie de l’entre-deux-guerres, par-delà les divergences qui existent entre ces auteurs, et d’articuler celle-ci à sa théorie et à sa place dans l’histoire des idéesFrench poetry of the interwar years often presents an uneven complexion, between groups of the avant-garde that deeply renew both how to think of, and to practice poetry, thanks to their assertive theoretical discourse (surrealists, dadaïsts, or poets belonging to the bohemian modernity under the aegis of Apollinaire and Reverdy), and poets without affiliation, who leave behind them works that are sometimes devoid of theoretical parentage (Claudel, Jouve, whose writing is inspired by Christian spirituality, Saint-John Perse or Fargue, whose quest for modernity unfolds far from the frenzy of literary movements). This thesis wishes to construct a historiographical category liable to give a coherent view of the poetry produced during this period, through the concept of the image, as developed by Reverdy and Breton, particularly in their theoretical writings. The concepts of the image and the analogy are the heart of the theory written during the interwar years : they give modern poetry the possibility of redefining itself outside the obsolete criteria of rhyme and verse, of identifying itself to intuitive thinking as opposed to the rationality carried in positivism. Through them, there appears an aesthetic unity of poetry, characterised by a taste for the imaginary and the marvellous, and the temptation of hermeticism. The concept of the image thus makes it possible to unify interwar poetry, beyond the differences that exist between these authors, and to articulate poetry with its theory and its position in the history of ideas
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Mateus, Andrea Martins Lameirao. "A poética multifacetada de Jerome Rothenberg." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-14012015-170016/.
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A Poética Multifacetada de Jerome Rothenberg investiga o modo operacional da poética de Jerome Rothenberg (1931). Nascido em Nova York, em 1931, Rothenberg fez parte de uma geração intermediária entre movimentos poéticos bastante conhecidos de público e crítica: a poesia beatnik dos anos 1950 e 1960 e a language poetry do início da década de 1970. Junto com o poeta Robert Kelly, Rothenberg concebe a deep image nos anos 1960, movimento de curta duração, mas essencial para seu desenvolvimento poético. Rothenberg é conhecido principalmente por ter criado o termo etnopoesia e por seus experimentos com o que chamou tradução total, ao traduzir a poesia indígena norteamericana. A tradução total foi um método inovador de considerar a musicalidade, a presença de distorções de palavras ou palavras sem sentido, e outros mecanismos poéticos das artes verbais indígenas como parte integrante da composição. Dessa forma, o resultado da tradução deveria necessariamente contemplar todos esses aspectos. A partir de seu dito o primitivo é complexo Rothenberg passa a considerar aspectos poéticos da produção oriunda de culturas orais, ditas primitivas, como a base de seu conceito de etnopoesia. Sua busca pelo primitivo também o conecta diretamente com outros autores lidos como experimentais na poesia, de William Blake e Walt Whitman a Allen Ginsberg, passando por uma tríade modernista: Ezra Pound, William Carlos Williams e Gertrude Stein. A hipótese desta tese é demonstrar que o impulso etnopoético, aparentemente restrito ao seu trabalho como antologista e suas traduções, na realidade é mais abrangente e inclui sua própria produção poética. A etnopoesia se torna o conceito pelo qual podemos ler o seu retorno à sua ancestralidade judaica e seus poemas que tratam de temas como a vida dos judeus na Polônia dos anos 1930, a tradição mística da cabala e o Holocausto. A tese aborda também questões como inserção no meio poético, autoria, influência e originalidadeThe Multifaceted Poetry of Jerome Rothenberg deals with the methods applied by Jerome Rothenbergs poetics. Born in New York, in 1931, Rothenberg was part of a generation in between well known poetic movements: the beatnik poetry from the 1950s e 1960s and the language poetry of the 1970s. With fellow poet Robert Kelly, Rothenberg starts the deep image in the 1960, a short-lived movement, yet an essential one for his poetic development. Rothenberg is better known for having coined the term etnopoetry and for his experimentations with what he called total translation, while working with North-American Indian poetry. Total translation was an innovative method in considering musicality, the presence of word distortions or meaningless words and other poetic mechanisms of Indian poetry as an integral part of a poem or song, so that the resultant translation would necessarily contemplate all these aspects. From the perspective of his saying primitive is complex, Rothenberg starts considering the characteristics of poetry from oral culture, or those called primitive, as the basis for his concept of an etnopoetics. His search for the primitive also connects him with authors read as experimental in poetry, from William Blake and Walt Whitman to Allen Ginsberg, passing through the modernist triad Ezra Pound, William Carlos Williams and Gertrude Stein. The hypothesis of this thesis is to show how the etnopoetic impulse, apparently restricted to his work as anthologist and translator, is, in reality, much more broad in its spectrum and includes his own poetic production. Etnopoetry then becomes the concept we can use to read his return to his Jewish ancestrality and the poems dealing with topics such as the life of Jews in Poland in the 1930s, the mystical kabbalah and the Holocaust. This thesis also shows his insertion in the poetic scene, and debates questions like authorship, influence, and originality
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Billon-Grand, Pascal. "La poésie et la « révolution de l’existence quotidienne »." Thesis, Lyon 2, 2010. http://www.theses.fr/2010LYO20053/document.
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Du premier cercle romantique allemand, à la fin du XVIIIème siècle, jusqu’à l’Internationale Situationniste, dans les années 1960, en passant notamment par les groupes futuristes, dadaïstes et surréalistes, la poésie s’est identifiée au projet d’une révolution globale et permanente de l’existence quotidienne. Pendant près de deux siècles, tous ces poètes ont tenté de concilier les mots d’ordre marxiste et rimbaldien « transformer le monde » et « changer la vie ». Ce faisant, ils redéfinirent les formes et les pratiques de la poésie de même que les termes et les enjeux du programme socialiste révolutionnaire du XIXème siècle, définissant ainsi ce que nous appelons un « socialisme du XXème siècle ». Au-delà du domaine classique de l’écriture littéraire, la poésie doit désormais se réaliser en états superbes, en gestes et en comportements inédits, transposant dans le réel et dans les actes tout le potentiel de créativité jusque-là contenu dans le domaine des lettres et de la fiction. Ses principales caractéristiques (autonomie, culture des désirs, créativité et capacité à redynamiser et à repassionner le réel en excédant sans cesse les données sensibles et intellectuelles présentes) définissent un nouvel exercice de la vie, à la fois individuel et social, tandis que sa perception de l’univers, en tant que système dynamique, permet d’envisager un nouveau modèle politique fondé sur les mêmes principes d’autonomie, de créativité et de dynamisme social.Ce présent travail tente de cerner et d’analyser les enjeux et les pratiques liés à un tel projet, jusque dans ses prolongements les plus récents. Nous avons exploité l’histoire des idées en vue d’un seul véritable objectif : appréhender au plus près les enjeux de pratiques à la fois diverses et convergentes, mettre en évidence les apports, la pertinence et les éventuelles limites de leur démarche pour les réinscrire dans ce que nous appelons une « théorie des pratiques » et produire ainsi, au-delà de ces réalisations du passé, les fondements d’une nouvelle théorie pratiqueFrom the first german romantism, at the end of the XVIIIth century, to the International Situationnist, in the 1960’s, through the futurist, the dadaïst and the surrealist avant-gardes, poetry became one with the project of a global and permanent revolution of the everyday life. During almost two centuries, all these poets have tried to reconcile the marxist and the rimbaldian key-words « transform the world » and « change the life ». In doing so, they redetermined the forms and the practices of the poetry, as well as the terms and the stakes of the revolutionnary socialist program, determining what we call a « Twentieth century socialism ». Beyond the classical range of the litterary writing, poetry has now to be realized into new acts and behaviours, transposing all the potential of creativity contained in the letters and the fictions until now. Its main characteristics (autonomy, developement of the desires, creativity and ability to redynamize and to impassion reality) define a new way of life and its perception of the universe as a dynamic system defines a new political model based on the same principles of self-government, creativity and social dynamism.All along this work, we have tried to define and to analyze the stakes and the practices linked to such a project, up to now. We have processed the history of ideas with one purpose : to define the stakes of varied and convergent practices, their contributions and their limitations, in order to incorporate them into what we called a « theory of practices » and to create the basis of a new practical theory for the present times
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Dumoulin, Gilles. "Du collage au cut-up (1912-1959) Procédures de collage et formes de transmédiation dans la poésie d'avant-garde." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00943454.
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Le collage et le cut-up sont deux " procédés " apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cutup, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des " papiers collés " de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux " procédés ", qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : " L'écriture a cinquante ans de retard sur la peinture ", en entendant par là appliquer à la lettre - et à la littérature - la pratique même des " papiers collés " des expérimentations cubistes. Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie. C'est sur l'histoire de ces cinquante années " de retard " que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up.
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Liger, Marié Fabienne. "Le moi et le monde : quête identitaire et esthétique du monde moderne dans l'oeuvre poétique de Guillaume Apollinaire, Blaise Cendrars et Vladimir Maïakovski." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30069/document.
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Apollinaire, Cendrars et Maïakovski vivent une époque de changements qui modifient l’ordre des choses, offrant une mutation dont le progrès technique est l’illustration la plus évidente pour ces poètes qui glorifient les nouveaux moyens de communication comme le train dont le mouvement ininterrompu sert de fil conducteur à tout le poème de Cendrars la Prose du transsibérien et de la petite Jehanne de France ou comme l’aviation chantée par Apollinaire dans « Zone » et mise en scène par Maïakovski dans Le prolétaire volant. Le voyage devient un thème privilégié de cette poésie résolument tournée vers le mouvement. Entrevoyant une transformation irréversible, ils se trouvent aussi confrontés à un monde nouveau, qu’ils appréhendent dans sa misère, sa violence et son caractère brut. La ville moderne en est l’un des motifs les plus emblématiques. Elle apparaît comme un décor théâtralisé et digne de devenir objet d’une poésie qui se veut novatrice. Chantres de cette modernité naissante, ils se font les témoins voire les porte-parole de l’humanité misérable qui hante ce décor. Apollinaire et Cendrars évoquent souvent les émigrants, populations déracinées, sans patrie, en quête d’un illusoire Eldorado, tandis Maïakovski fait défiler toute une série d’infirmes dans sa tragédie Vladimir Maïakovski tragédie. Si le monde moderne devient objet d’observation, il est aussi cadre de l’errance poétique. A la soif de voyage de Cendrars correspond une problématique interrogation existentielle, alors qu’Apollinaire, entre tradition et modernité, confronte le mal être du mal aimé au monde qui l’entoure. Maïakovski, lui, cherche désespérément, à travers un lyrisme exacerbé, à lutter contre un esprit bourgeois et ignorant de la misère et des transformations du monde et à convaincre de la nécessité d’instaurer la révolution de façon complète. Marqués par la conscience aiguë de la nouveauté, ils se trouvent cependant pris entre un monde ancien, rejeté mais toujours présent, et un avenir incertain et inquiétant. C’est dans ce contexte que se met en place la problématique quête du moi. Le poète se heurte à un monde autre, indifférent qui ne le comprend pas, qu’il cherche à apprivoiser et à façonner tout en construisant une identité bien fragile. De l’observation du monde moderne arpenté par le poète naît une esthétique de la trivialité poétisée dans l’évocation d’une réalité crue, nue sans détour ni euphémisme. Le beau y côtoie le laid, à la suite de Baudelaire qui introduisit le monde moderne dans la poésie. Ainsi l’actualité vécue de façon aiguë fait –elle l’objet de l’attention du poète et devient poésie. Rendre le réel dans son immédiateté induit un lyrisme intense et douloureux où la quête prend la forme d’une plainte, d’une supplique et d’une révolte en même temps qu’elle pose un questionnement sur la poésie, ses formes nouvelles et son rôle dans ce monde moderneApollinaire, Cendrars et Maïakovski lived in an era of changes which initiated a new order of things, bringing about a transformation best illustrated by technical progress in the minds of these poets who glorified the new means of communication such as the train whose steady movement is the main thread of the whole poem by Cendrars Prose du transsibérien et de la petite Jehanne de France, or the plane glorified by Apollinaire in « Zone » or staged by Maïakovski in Le prolétaire Volant. Travelling became the privileged theme of this poetry consecrated to movement. Foreseeing an irreversible transformation, they were confronted with a new world that they grasped through its wretchedness, its violence and its rawness. The modern city is one of their most emblematic motives and it seems like a theatre set deserving of becoming the subject of a new poetry meant to be innovative. As the heralds of this budding modernity, they became the witnesses and even the spokepersons of wretched mankind who haunts this setting. Apollinaire and Cendrars evoke the migrants, the uprooted and stateless populations in quest for an unrealistic Eldorado whereas Maïakovski in his tragedy Vladimir Maïakovski presented a series of disabled people. If the modern world turned into a subject of observation, it is also a frame for poetic wandering. To Cendrars's thirst for travelling corresponds the problematic questioning of existence whereas Apollinaire, between tradition and modernity, opposes the malaise of the unloved one to the surrounding world. For Maiakovski's part, through heightened lyricism, he desperately seeks to struggle against a « bourgeois spirit » which ignores the misery and great changes of the world and to convince of the necessity to bring about an utter revolution. Impregnated by an acute awareness of novelty, they are caught between an old world, rejected but still present, and an uncertain worrisome future. It's within this context that the problem of the quest for the self is outlined. The poet comes up against a different and insensitive world which doesn't understand him, a world he tries to tame and shape while forging a quite fragile identity. An aesthetic of triviality poeticized in the depiction of a gritty, naked reality in an upfront way and with no hint of exaggeration is born of the poet's observation of the modern world. The beautiful is seen beside the ugly, as for Baudelaire who introduced the modern world to poetry. Thus reality experienced in a sharp way is the focus of the poet's attention and turns out to be poetry. Portraying the reality in its immediacy implies an intense and painful lyricism in which the quest turns out to be moaning, a plea and a rebellion as it questions poetry itself, its new forms and its status and role in the modern world
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Hérault, Marie-Hélène. "Formes et fonctions des écrits de Hundertwasser." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCH031/document.
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La recherche porte sur l’écriture abondante de Hundertwasser et sa place dans le positionnement de cet acteur du renouveau artistique. On lui reconnaît une « œuvre-vie » singulière, puisque, visant à bouleverser la société, il a élargi son domaine, passant de la peinture à l’écologie, via l’architecture. Partant du contexte géohistorique, de l’arrière-plan pictural du début du XXème siècle, des théories des scientifiques et des « prophètes » allemands du XXème siècle ainsi que de l’émergence des mouvements écologistes, il s’agit d’étudier les nombreux poésies, récits, discours, manifestes, interventions dans les médias et commentaires, où Hundertwasser expose et développe ses convictions. L’objectif est de montrer que la dynamique créative de l’artiste s’enracine dans ses écritsThe research focuses on the abundant writing of Hundertwasser and its place in the positioning of this actor of artistic renewal. He is recognized for his singular "work-life", since, aiming to upset society, he has expanded his field, from painting to ecology, via architecture. Starting from the geohistorical context, from the pictorial background of the beginning of the 20th century, the theories of 20th-century German scientists and "prophets" and the emergence of environmental movements, it is a question of studying the many poems, stories, speeches, manifestos, interventions in the media and comments, where Hundertwasser exposes and develops his convictions. The aim is to show that the creative dynamic of the artist is rooted in his writings
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Brun-Franc, Christel. "Émergence et développement des Cahiers du Sud. : Histoire d'un succès (octobre 1925 - septembre 1939)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3027.
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Ce travail vise à étudier, de manière critique et détaillée, la revue littéraire Les Cahiers du Sud, dirigée par Jean Ballard, durant la période de l’entre-deux-guerres (1925-1939). Il s’agit d’un travail d’histoire littéraire qui s’appuie sur les archives conservées à la bibliothèque municipale à vocation régionale de Marseille, l'Alcazar. L’étude commence au moment où Fortunio prend pour nouveau titre Les Cahiers du Sud et se dote de nouvelles ambitions, et se clôt avec l’interruption de quelques mois liée à la déclaration de guerre. La fin des années vingt marque le début d’un succès que les années trente viennent confirmer et accentuer, avec la parution de numéros qui font date. Le but de ce travail est donc de comprendre comment cette revue a pu acquérir au fil des numéros une telle reconnaissance, accumuler un tel « capital symbolique », malgré sa localisation provinciale, dans une France plus que jamais centralisée. Alors que l’on assiste à l’éclosion de nombreuses revues trop souvent éphémères, comment les Cahiers parviennent-ils à percer et à perdurer ? C’est ce qui les rend si atypiques, seule revue à s’être maintenue longtemps sans être pour autant parisienne.Il s’agit donc d’exploiter les ressources patrimoniales à disposition afin d’éclairer une entreprise revuiste dynamique originale et de la replacer dans le contexte plus général des revues de l’entre-deux-guerres pour en définir les particularités et en dégager une ligne directrice, qui ne correspond pas exactement à la ligne revendiquéeOur thesis focuses on a detailed and critical study of the literary review Les Cahiers du Sud, edited by Jean Ballard, during the inter-war period (1925-1939). This work of literary history uses the archives from the Alcazar, Marseilles’s public library promoting regional heritage. Our study starts when Fortunio was renamed Les Cahiers du Sud and defined new ambitions, and it ends on the interruption of several months that occurred because of the declaration of war. With the late 1920s came success, which became even bigger and more apparent during the 1930s with landmark issues being published.Our goal is therefore to understand how this review was able to gain such acclaim with time and gather such a “symbolic capital”, while being located outside of Paris, knowing how centralized the French state was. With numerous reviews – all too often short-lived – published also during this period, how did Les Cahiers du Sud manage to break through and last? This is what makes them so atypical – the only non-Parisian review that managed to exist for an extended period of time.Using the heritage resources available, this study casts a light on an energetic and original review and puts it in the more general context of reviews during the inter-war years, in order to define its specificities and reveal a guideline, which turns out to be somewhat different from the one they claimed to have adopted
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Werger, Susanna. "Le Caractère destructeur dans l'art : poétique, musique et performance des mouvements d'avant-garde autour de la première guerre mondiale." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC022.
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La destruction est un angle de vue capable d'englober un grand nombre d'auteurs et de compositeurs différents. Ce travail recherche les répétitions au cours de l'histoire littéraire, de trouver les moments de continuité ou de rupture. Le dénominateur commun du caractère destructeur sert à détecter une facette du style de l'époque. L'intérêt de contempler plusieurs domaines dans l'art des mouvements d'avant-garde réside dans la pratique artistique qui connaît de plus en plus d'échanges et de synergies entre les différents domaines ; les formes d'expression s'entre-influencent, s'entrechoquent et communiquent. L'ouverture des genres et des frontières linguistiques, pour les études comparatives, rend cette démarche d'autant plus indispensable : cela implique l'étude des grands travaux qui unissent toutes les formes d'expression. Il est donc souhaitable que l'on puisse comprendre et visualiser les réciprocités entre la littérature, la musique et la performance. Le slogan captivant du caractère destructeur synthétise une base créative de l'art d'avant-garde et touche à son paradoxe inévitable : la destruction implique en effet des aspects créatifs ; l'espace libéré sera rempli aussitôtDestruction is a perspective that encompasses a large number of different authors and composers. This work seeks patterns of repetition throughout literary history, to find moments of continuity or rupture. The common denominator of destructiveness is used to detect a facet of the style of the time. The interest in contemplating several fields in the art of avant-garde movements lies in artistic practice, which is experiencing more and more exchanges and synergies between the different fields of literature, music and performance; forms of expression influence each other, clash and communicate. The opening up of genres and linguistic borders for comparative studies makes this approach all the more essential: this necessitates the study of the major works that unite all forms of expression. It is therefore desirable to be able to understand and visualize the reciprocity between the above fields. The captivating slogan of destructive character synthesises a creative basis of avant-garde art and touches upon its inevitable paradox : destruction actually implies creative aspects; the space freed up is immediately filled again
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De, Pieri Damiano. "Aux origines du surréalisme (1917-1924). "Un nouveau temps du verbe être"." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA107.
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Cette thèse se propose de reconsidérer la naissance du surréalisme dans la période entre 1917 et la publication du Manifeste du surréalisme en 1924. La première partie se concentre sur les années 1917-1918 et montre comment Aragon, Breton et Soupault ont tissé leurs réseaux pour s'insérer dans le champ littéraire avant de créer la revue Littérature. En même temps le désir et la nécessité de publier pour atteindre la légitimité entrent en conflit avec un esprit de groupe et des exigences différentes révélant une délicate stratégie entre adhésion et subversion. Le prétexte d'un essai sur le lyrisme demandé par Reverdy à Breton est l'occasion de mesurer la distance qui se creuse entre les trois amis et la génération des poètes aînés afin d'apprécier les chemins qu'ils ont emprunté pour renouveler l'écriture de la poésie en allant vers l'horizon plus ambitieux d'une critique du langage. Dans la deuxième partie, qui traite des 1919-1924, est d’abord considéré le rapport entre la poésie et l’espace public à la lumière de l’essor de la presse. Enfin, à partir des revues artistiques et littéraires est esquissée une cartographie des tendances esthétiques et idéologiques d'où émerge le surréalisme. Le corpus est constitué par les revues qui « entourent » Littérature, c'est à dire qui forment le premier cercle autour de cette revue, au sens où elles sont mentionnées dans les rubriques consacrées aux revues et où elles accueillent parfois la signature des poètes du sommaire. Cet échantillon représentatif du champ littéraire permet de montrer le socle commun du surréalisme naissant aux modernistes et aux avant-gardes et, inversement, les lignes de fuite qui les distinguent. Cette étude s’inscrit ainsi à la croisée de la sociologie, de l’histoire et de la poétiqueThis dissertation aims to shed new light on the birth of surrealism in the period stretching from 1917 and the publication of Breton’s Manifeste du surréalisme in 1924. The first part of the thesis focuses on 1917 and 1918, highlighting how Aragon, Breton and Soupault built their networks in order to establish a place for themselves in the literary field before they went on to found the journal Littérature. The desire to publish, and the necessity to do so in order to acquire legitimacy, nevertheless conflicts with a strong group spirit as well as diverging demands, which reveal subtle strategies ranging from compliance to subversion. The occasion of an essay on lyricism that Reverdy commissioned Breton to write enables us to measure the distance that had come to separate the three poets from the preceding generation, and to explore the paths they followed as they strived to transform poetic writing and give it a broader horizon: that of being a critique of language itself. In the second part of the dissertation, which deals with the 1919-1924 period, we set out to examine first and foremost the relationship between poetry and public space, taking the rise of the press as a vanishing point. We then look at the landscape of the artistic and literary magazines of the time in order to sketch a map of the aesthetic and ideological orientations from which surrealism emerged. The corpus is formed of the reviews which “revolve” around Littérature, in other words the reviews which are related to it either because they are cited in the sections of the journal dedicated to other contemporary magazines, or because they involved the participation of the poets of the Littérature group themselves. This representative sample of the literary field allows us to reveal the shared foundation of surrealism, the modernists and the avant-gardes, but also the divergences that distinguishes it from them. This study thus places itself at the intersection of literary history, the sociology of literature, and literary criticism
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Rodríguez, Cerezales María. "Juan Larrea y Gerardo Diego: Poesía en Traducción." Doctoral thesis, Universitat Pompeu Fabra, 2011. http://hdl.handle.net/10803/48673.
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En esta tesis se estudian los aspectos de la poesía de Juan Larrea (1895-1980) relacionados con la traducción. Se presenta un corpus exhaustivo de las traducciones de Gerardo Diego (1896-1987) de poemas de Juan Larrea constituido a partir de textos publicados y textos conservados en el archivo personal de Diego. Se analizan los mecanismos de la escritura francesa de Larrea intervenidos por la doble presencia del francés y el español y los aspectos de la misma que representan una especial dificultad en traducción, y se ofrece asimismo un análisis de las traducciones de Gerardo Diego y una aproximación a los presupuestos de la teoría creacionista vinculados con la traducción poética. Se dedica un estudio al ultraísmo con el objetivo de contextualizar los comienzos poéticos de Juan Larrea y Gerardo Diego en la poesía de vanguardia y reconocer la naturaleza renovadora de esta en el panorama poético español de los años veinte. Igualmente, se ofrece un estudio sobre la experiencia universitaria de Juan Larrea en Córdoba (Argentina) como parte del análisis de su poesía.
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Ivana, Knežević. "Хришћанско и паганско у делу Растка Петровића." Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. http://www.cris.uns.ac.rs/record.jsf?recordId=101028&source=NDLTD&language=en.
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Predmet istraživanja u ovom radu jeste identifikacija i osvetljavanje dominantnih obrazaca avangardnog i hrišćanskog identiteta u delu Rastka Petrovića. Rastko uvek nastupa sa pozicije nekog ko je blisko upoznat sa umetnošću, istorijom i njenim nepredvidivim i nepravednim političkim projektima. Pokušavajući da rastumači njihove uzroke i posledice, stalno ističe potrebu za integralnim čovekom, kulturom i društvom uopšte, kako po pripadnike sopstvenog naroda, tako i na regionalnom i globalnom nivou. Rastkovo opredeljenje da je svet u nastajanju povezan s ideologijom dečaštva (mladića), znači da je čovek po njemu u događaju Bogomladenca doživeo vrhunac, tj. u potpunosti ispunio cilj ka kome oduvek teži. Suštinsko, a ne tek sporedno, akcidentalno određenje čoveka jeste da nadiđe sebe i stremi ka Bogu. Centralnu ulogu u okviru ove transcedencije trebalo bi da ima analiza apriorne strukture čovekovog bića i u njima prepozna otvorenost i sposobnost da se avangardna/hrišćanska poruka čuje i adekvatno razume. Rastko u tradiciji vidi istinsko uporište transcendencije i afirmacije verodostojnog bića i odgovarajuće slobode gde apsolutna sloboda i apsolutni autoritet nisu suprotstavljena svojstva, već izraz istog bića. Rastkove ideološke evropske pretenzije mogu se okvalifikovati kao veliki intelektualni napor i pregnuće da se stvori, usvoji i inkorporira jedan novi (obnovljeni) kulturni i religiozni mit koji se kao takav projektuje u praistoriju, a potom samoreguliše mnoge savremene fenomene.The main subject of this PhD thesis was to identify and shed the light on the dominant form of avant-garde and the Christian identity in the work of Rastko Petrovic. Rastko always acted from the perspective of someone who was closely familiar with the art, with history and its unpredictable and unjust political projects. Trying to understand its causes and consequences, Rastko Petrovic has repeatedly stressed the need for the integral and comprehensive man, culture and society in general, both in terms of his own people, and at the regional and global levels. Rastko’s commitment to the idea that the emerging World is connected with the ideology of boyhood, means that the man as an individual has culminated in Divine Child event, and only through that event has fully met the purpose towards which it has always aspired. The essential and not only secondary and accidental determination of man is to transcend himself and strive towards God. An a priori analysis should have the central role within this transcendence of the structure of human beings with its ability to recognize in them the openness and the ability to properly hear and understand the avant-garde / Christian message. Tradition is in the eyes of Rastko Petrovic the only true stronghold of such transcendence and affirmation of one true and credible human being and adequate freedom where absolute freedom and absolute authority are not contradictory properties, but an expression of the one same being. Rastko’s ideological European claims may be characterized as a great intellectual effort and endeavor to create, adopt and incorporate a new (renewed) cultural and religious myth which, as such, projects in prehistory, and then self-regulates many contemporary phenomena.
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Souza, Leandro Candido de. "Estética Noigandres: vanguardismo e antimimese no projeto concretista (1952-1964)." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12841.
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This work analyzes the concretist proposal presented by the activities of the Noigandres group formed by poets Augusto de Campos (1931-), Haroldo de Campos (1929-2003) and Decio Pignatari (1927-2012). Our thesis consists in the integration of the three poets through their different practices into a modeling artistic-cultural project whose strategy worked well tuned to the postmodern doxa of the commodification of modernism, the formalization of avantgarde and the utilitarian refunctionalisation of art. The abandonment of style and adoption of the text, the relationship established with the art institution, the theoretical-historical revisionism, the epistemological debate and the jump into the mass media confirm that a large distance has established between the concretists of Sao Paulo and the so-called high modernism at the turn of the century and its criticism by the historical avant-garde movements. Finally, we attempted to re-establish the analytical intersection from different sources - which consisted this doctrine - to draw from them notes on what was the role played by the three poet-makers in cultural disputes experienced in the course of the modernization process of Brazilian capitalism
Este trabalho analisa a proposta concretista apresentada pelas atividades do grupo Noigandres: Augusto de Campos (1931-), Haroldo de Campos (1929-2003) e Décio Pignatari (1927- 2012). Sua tese é a de que os três poetas integraram, por meio de suas diferentes práticas, um projeto artístico-cultural modelar cuja estratégia andava bem afinada à doxa pós-moderna de mercantilização do modernismo, oficialização das vanguardas e de refuncionalização utilitária da arte. O abandono do estilo e a adoção do texto, a relação estabelecida com a instituição arte, o revisionismo histórico-teórico, o debate epistemológico e o salto para dentro dos meios de comunicação de massas, confirmam que uma grande distância se estabeleceu entre os concretistas de São Paulo e o dito alto modernismo da virada do século e sua crítica pelos movimentos históricos de vanguarda. Por fim, tentou-se restabelecer, pelo cruzamento analítico de diferentes fontes, o que consistiu essa doutrina, para daí extrair apontamentos sobre qual foi o papel desempenhado pelos três poetas-formuladores nas disputas culturais vividas no curso do processo de modernização do capitalismo brasileiro
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Arx, Pauline von. "Francis Picabia et l’écriture poétique : des premiers poèmes publiés à la collaboration avec l’éditeur Pierre André Benoit (PAB)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040183.
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Francis Picabia, peintre-poète qui a traversé toute la première moitié du XXe siècle, nous a laissé en héritage un riche corpus d’écrits, dont la plupart a été publié, mais il reste encore aujourd’hui de nombreux inédits et des avant-textes conservés dans les archives. Si la période Dada de la poésie de Picabia est peut-être la plus connue, l’artiste a continué d’écrire des poèmes toute sa vie (il est disparu en 1953). C’est notamment après la rencontre avec son dernier éditeur, Pierre André Benoit (PAB), en 1948, que Picabia décide de révéler encore une fois saveine poétique, et publie un grand nombre de recueils, écrits entre 1939 et 1951.Ces poèmes naissent, plus particulièrement, sous l’empreinte des lectures des oeuvres de Friedrich Nietzsche, car l’artiste reprend systématiquement des passages du Gai Savoir, qui nous obligent à repenser les limites de l’écriture poétique, en général. On découvre alors une nouvelle manière de faire de la poésie, qui reprend, d’unemanière assez libre, le langage philosophique de La Gaya Scienza. PAB a sûrement compris la portée des nouveaux poèmes de Picabia et il s’est dédié à la réalisation de solutions créatives pour la présentation de ces écrits poétiques. Au-delà de cet intense travail il y a bien sûr une amitié, qui s’est manifestée notamment à traversl’échange de lettres, car les occasions de se rencontrer ont été très rares.Cette dernière période de l’écriture de Picabia est alors digne d’être remarquée et mérite d’être comprise et mise en valeur. Nous avons essayé, par cette recherche, de trouver une solution pour classer ces écrits, que nous aimerions inscrire dans le contexte de la « récriture intertextuelle »Francis Picabia (1879 – 1953), well-known French painter of the beginning of the twentieth century, was also an experimentalist poet of the avant-garde milieu, who wrote throughout his entire life. Part of his writings have been edited, but many unpublished works can still be found in archives. The Dada period of his poetry is perhaps best known, more particularly for his drawing-poems, but I have discovered during my research that his late writings contain many unrevealed aspects. Particularly after he met the editor Pierre André Benoit (PAB) in 1948, a new important period began in Picabia’s poetic output, during which he published his writings from 1939 to 1951. This intense collaboration took place mainly at a distance, through the exchange of frequent letters, soon turning into a sincere friendship. These publications, most of which are one-of-a-kind books, are printed personally by PAB on his printing press, and are often illustrated by the artist or by the editor himself.Surprisingly, Picabia’s late poetry is strongly marked by Friedrich Nietzsche’s writings, in particular by The Gay Science (1882). The “borrowings” are so evident, that they call for a specific, new interpretation: thus, this peculiar creative process can be seen as a phenomenon of appropriation, or “intertextual rewriting”. This process of “copying”, was applied by the artist indistinctively to his art and poetry and can function as a possible solutionfor the classification of his controversial poems
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Orlandi, Sibylle. "Les signes en jeu : surgissement et opacification dans les créations poétiques et plastiques de Ghérasim Luca." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20083.
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Notre travail interroge les différentes pratiques de création de Ghérasim Luca (livres-objets, albums, portfolios, plaquettes, poèmes-tracts et poèmes-affiches, récitals scéniques et télévisuels, cubomanies, dessins au point) à l’aune des expériences sémiotiques qu’elles engagent. Dire des signes qu’ils sont mis en jeu, c’est insister sur la dimension matérielle et éminemment sensible des mouvements de production et de réception. La question du sens est indissociable de celle du médium, dès lors que les signes se donnent à éprouver comme corps (corps sonores, corps graphiques ou typographiques) par des corps. La notion de surgissement permet de rendre compte de cette spatialité, qui a partie liée avec des phénomènes théâtraux, ceux d’apparition et de disparition : la page blanche, la bande sonore, l’écran, le panneau de bois peint, sont autant de lieux où peut s’inventer et se déployer une pensée incarnée. Quant à la notion d’opacification, employée en linguistique pour décrire certains phénomènes métadiscursifs, elle mérite d’être réévaluée et déplacée : nous nous efforçons de passer du domaine strictement verbal à un champ plus largement sémiotique.Notre parcours s’organise en quatre étapes solidaires, qui manifestent l’intrication des approches historiques, sémiotiques, linguistiques, médiologiques, stylistiques, mais aussi scientifiques et philosophiques. La première partie consiste en une exploration des créations plastiques, graphiques, sonores, qui intègre les diverses collaborations auxquelles Ghérasim Luca a pris part en Roumanie puis en France. La deuxième partie dégage un imaginaire linguistique, nourri de diverses traditions (l’atomisme de Lucrèce, l’alchimie, la Kabbale), qui fait du vide un principe structurant, et de l’écriture un travail d’agencement. Cet imaginaire, qui relève d’une pensée de la langue dans la langue, est lui-même volontiers mis à distance : il ne s’agit pas d’adhérer à ce qui serait une théorie, mais de circuler librement entre des conceptions apparemment inconciliables. La troisième partie décrit les jeux de perturbation du sens à partir du statut tout à fait singulier accordé aux autonymes, aux néologismes et aux noms propres dans les recueils de la période française : les divers types de trouble sémiotique et l’invention d’un hors-lexique participent d’un mouvement de déstabilisation. La quatrième et dernière partie est consacrée au geste de reprise, qui se décline sous de multiples formes, parmi lesquelles on compte le collage et le détournementThis work questions the different practices of Ghérasim Luca (book-objects, albums, portfolios, booklets, pamphlet-poems, poster-poems, scenic and audiovisual recitals, cubomanies, drawings) in light of the semiotic experiences they initiate. Asserting that signs are at stake means insisting on the material and highly perceptible dimension of both production and reception. From the moment that signs are perceived as bodies (audible bodies, graphic and typographic bodies) by other bodies, the question of meaning is linked to the question of medium. With the notion of emergence, we can analyse spatial phenomena, linked to theatrical ones, such as appearance and disappearance : the white page, the audiotape, the screen, the wooden panels are places where an embodied thinking can arise and expand. The notion of opacification, which is used by linguists to describe metadiscursive phenomena, can be reconsidered and redefined : we try to exceed the verbal domain and to adopt a global semiotic perspective, which includes non-verbal matters.This study is composed of four interdependent parts, which show the interpenetration of historical, semiotic, linguistic, mediologic, stylistic but also scientific and philosophical approaches. The first part explores the plastic, graphic and audio creations of Ghérasim Luca, including collaborations with several artists in Romania and France. The second part identifies what we could call a linguistic imaginary, fuelled by three different traditions (Lucretius’ atomism, alchemy, Kabbalah), which considers void as a founding principle, and writing as a layout. This imaginary, which inquires the possibility of thinking about language within the language, is playfully held at a distance by Ghérasim Luca : the point is not to adopt a theory, but to circulate freely between apparently incompatible approaches. The third part describes various phenomena of meaning disruption and focuses on the specific status given to autonyms, neologisms and proper nouns in his French period : the different kinds of semiotic troubles and the invention of a lexicon beyond the lexicon take part in the destabilisation process. The fourth part is about the activity of re-creation, which takes several forms, including collage and ‘détournement’
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Febvre-Flory, Marie-Cecile. "Le cubisme des poètes : étude des relations complexes entre la peinture cubiste et le langage : Apollinaire, Cendrars, Cocteau, Jacob, Reverdy." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0079.
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Cette étude aborde les relations intersémiotiques qui se sont nouées entre la peinture cubiste et les poètes qui fréquentaient les artistes de ce mouvement. La proximité de leurs questionnements montre que, en dépit du fait que l’histoire littéraire française ne reconnaisse pas de mouvement cubiste en poésie, il existe de nombreux points de concordance entre ces deux domaines. En tant que critiques, les poètes ont beaucoup écrit sur le mouvement, dont ils ont entrepris de se faire les défenseurs, même s’ils ont eu des difficultés à rendre compte de la richesse du cubisme. Cette peinture se présente en effet comme un obstacle au langage et à l’herméneutique, ce que l’on constate tout particulièrement avec la question de l’ekphrasis. De sorte que seule la puissance figurale du langage poétique permet au langage de rendre compte de celle de la peinture cubiste.Ce travail s’interroge sur la spécificité de ce mouvement pictural et sur les conditions de possibilités d’une analyse conjointe de cette peinture et de la poésie qui lui est contemporaine. Il s’agit aussi d’analyser les aspects du cubisme qui ont intéressé les poètes, ainsi que la manière dont ils ont surmonté la résistance qu’oppose la peinture au langage. L’utilisation d’un même métalangage pour la peinture cubiste et la poésie permet en fin de compte de travailler, malgré les limites inhérentes à cet exercice, sur la correspondance des arts et de trouver des similarités en ce qui concerne le mode d’apparition des œuvres, de leur structure et de la poïétique qu’elles incarnentThis thesis studies the intersemiotic relationship that links cubist painting and the poets who were in relation with the artists of this movement. The proximity between their creative interrogations shows that, despite the fact that the French literary history doesn’t recognize a cubist movement, there are nevertheless some concordance between these two artistic fields. As critics, the poets wrote a lot about cubism, being its defenders, however, they had some difficulties to translate into word the full measure of cubism, this art movement being an obstacle to language and to hermeneutic, as evidenced by the question of ekphrasis. Only the figural power of poetry can respond to that of this art.This study aims at wondering about the specificity of this pictorial movement and of the conditions of possiblity of a joint analysis of the cubist painting and the poetry wich is contemporary of it. Then, the aspects of cubism wich interested the poets are analyzed, as well as how they overcomed its resistance to language. At last, the fact that the same metalanguage can be use for both poetry and art allows to work, inspite of the limits inherent to this exercise, on the correspondance of the arts, to find junction points as regards the mode of appearance of the works, their structure, and the poietic they embody
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Clonts, Charlène. "Ontophonie et pictopoésie dans l'oeuvre de Gherasim Luca. : etude de la "variation continue"." Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1006/document.
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Cette thèse étudie le processus de variation continue comme une trame de fond de l’oeuvre complète de Gherasim Luca, afin de mettre en valeur ses aspects plastiques et phoniques, leur articulation ainsi que la façon dont la pictopoésie et l’ontophonie participent à l’autogénération textuelle. Considérant l’oeuvre à la croisée des arts, l’analyse souligne la structure des espaces textuel et iconique. Elle s’intéresse en outre aux figures (personae) émergeant d’une esthétique protéiforme et à l’espace figural du langage, mettant aussi à l’épreuve la théorie deleuzienne de la variation continue pour en montrer les ressorts et les dépassements. Enfin, la mise en oeuvre organique, phonique et linguistique del’ontophonie interroge les voix/voies nouvelles établies par la poésie orale et la médiopoétique, ménageant un accès vers l’analyse de la répétition et de la reformulation en tant que genèse infinieThe aim of this PHD is to study the process of the continuous variation, as the guiding principle for the complete works of Gherasim Luca. The purpose is to highlight both its plastic and its phonic aspects, how they work together, and also the way pictopoésie and ontophonie help create a perpetual selfgenerated text. Since the works stand at the crossroads of several arts, this analysis underlines the structure of the iconic and textual spaces. One of the axis of research, that focuses on the persona, as it emerges from a protean aesthetics, and on the figurative space proper to language, calls thus intoquestion Deleuze’s theory of “continuous variation”, while showing its internal mechanism and its exceedance. Finally, the phonic, the linguistic and the physical performance, in staging the ontophonie, brings into question the voices and the media as a means, established by the oral poetry and the mediopoetics, granting access to an analysis based on endless repetition and reformulation
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Troin-Guis, Marie Anysia. "Pratiques et poésies expérimentales de1960 à 1980 : enjeux esthétiques, éthiques et politiques : Julien Blaine, William S. Burroughs, Eugenio Miccini." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0457.
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Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthiqueThis thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience
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Cléren, Marie. "Entre figuration et abstraction, danse et poésie plastiques : échanges et influences entre les peintres, les chorégraphes et les librettistes entre 1909 et 1933, en France, Allemagne, Italie et Suisse." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040133.
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Phénomène protéiforme, l’abstraction picturale a bouleversé le monde des arts à l’aube du XXᵉ siècle. En Europe, de la Belle époque aux Années folles, les peintres d’avant-garde ont croisé le chemin de poètes et de chorégraphes avec lesquels ils partageaient le même désir de changement. Sous l’égide de mécènes ou d’amateurs éclairés, leurs collaborations ont donné naissance à des spectacles d’un genre nouveau où les frontières entre les différentes disciplines se trouvent abolies. Associer la peinture, art de l'espace, à la danse, qui y introduit le temps, soulève quelques questions qui ont fait émerger l’idée d’un « ballet plastique » se substituant au « ballet dramatique » théorisé par Noverre. L’art chorégraphique et l’art pictural ont exercé l’un sur l’autre une influence réciproque dont la recherche commence seulement à mesurer l’importance. Cependant, peut-on parler d’abstraction totale dans un domaine où rien n’est plus concret qu’un corps qui danse ? S’il n’y a pas une évolution linéaire alliant la figuration à l’abstraction entre 1909 à 1933, certains principes mis en œuvre sur les toiles ont été appliqués à la fois sur la scène et dans les coulisses du ballet. Les peintres vont-ils réussir à rompre l’illusion en sortant de la cage de scène ? En agrandissant leurs toiles, vont-ils réussir autre chose qu’un tableau animé ? Que devient le livret dans un ballet où la lettre s’efface devant les couleurs et les formes ? Poser la question de l’abstraction en littérature revient à remettre en cause l’existence même d’un texte comme support du ballet. Or, le livret, loin de disparaître, se métamorphose et occupe aussi une place de choix dans cette composition abstraiteIn the run-up to the 20th century, a multifaceted phenomenon called pictorial abstraction has turned the art community upside down. In Europe, from the “Belle Epoque” to the Roaring Twenties, avant-garde painters have crossed paths with poets and choreographers with whom they shared their desire for change. Their collaborations with donors and enlightened amateurs gave rise to a new kind of shows in which the boundaries between the various artistic disciplines have been abolished. The association of painting to spatial art and dance that also brought in time, raised questions that led to an idea of a “plastic ballet” as a substitute for “dramatic ballet”; an idea put forward by Noverre. The choreographic and pictorial worlds have had a reciprocal influence on one another; however, the research world is only now starting to consider the significance of these interactions. Anyhow, is it possible to talk about a total abstraction within this particular field, knowing that nothing can be more concrete than a dancing body? This trend is not a linear evolution from figuration towards abstraction between 1909 and 1933 but some principles used on canvases were applied in the ballet world, both on stage and backstage. Will painters manage to break the illusion by breaking out of the cage-like stage? By expanding the sizes of their paintings, will they have anything else to show than animated tableaux? What happens to the libretto in a ballet where letters are outweighed by colours and shapes? Questioning abstraction in literature involves questioning the mere existence of texts as the underpinning of ballets. Yet, the libretto is far from disappearing ; it transforms itself and is thus at the forefront of this abstract composition
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Martinez-Chauvin, Andrea. "L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)." Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
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Peut-on « faire » du surréalisme sans être surréaliste ? L’objet de cette thèse est de situer, au-delà des débats dont rend compte l’histoire littéraire, le cours de l’écriture pour trois poètes et un peintre-poète contemporains – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, entre 1918 et 1932. Cette période permet d’envisager la singularité de leurs premières œuvres dans le déroulement de leur création. Si la naissance en 1924 de l’aventure surréaliste, sous l’égide de Breton, ne suscite pas d’engagement de leur part, le désintérêt affiché n’est qu’apparent. Alors que la traduction du français vers l’espagnol bat son plein dans les revues ultraïstes, Larrea, Miró et Hinojosa se tournent vers la capitale française et font figure de passeurs dès 1925. Par leurs lectures, les quatre créateurs connaissent de première main les productions du surréalisme naissant, construisant leurs œuvres dans un rapport de connivence, par des échos et des caractéristiques formelles partagées. À cela s’ajoute une réception tronquée du mouvement en Espagne : ses modalités permettent de déceler le dialogue qui se noue, entre les premiers textes surréalistes et l'approche qu'en ont ces créateurs, dans des œuvres qui les singularisent dans le paysage littéraire espagnol. Ce rapport au surréalisme, délibéré mais tacitement entretenu, permet de discerner un questionnement sur la pratique de l’automatisme, versant dans le registre cosmique. Ainsi, les frontières s’estompent et laissent place à la conception architectonique d’une œuvre poétique en perpétuelle formation, qui se nourrit de la recherche d'un re-commencement, pour laisser de nouvelles empreintes sur la langue et sur la toileIs it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
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Jacquot, Clemence. "Plasticité de l'écriture poétique d'Apollinaire : une articulation du continu et du discontinu." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040060.
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Cette thèse s’attache à interroger et essaie de définir l’évolution stylistique de l’écriture d’Apollinaire, en l’articulant aux manifestations syntaxiques du continu et du discontinu au sein du discours poétique. Nous y observons comment le discontinu s’inscrit dans la pensée et l’écriture apollinarienne, tant sous la forme d’un motif obsédant, celui du morcellement et de la dissolution du corps, que comme principe de construction du discours, par les figures de juxtaposition et de raccourci syntaxiques. Nous essayons d’étudier les spécificités et l’évolution diachronique de la syntaxe poétique d’Apollinaire, grâce aux apports méthodologique de la textométrie (en particulier du logiciel de statistique textuelle : TXM).Nous analysons plusieurs dispositifs textuels représentatifs de l’articulation apollinarienne du continu et du discontinu : la proposition subordonnée relative, les effets de mise en liste et d’émiettement syntaxique (énumérations, accumulations, juxtapositions), ainsi que le cas particulier que constitue les calligrammes (espace de synthèse poétique, à l’image du renouvellement des régimes de visibilité). Ce type de structures et d’organisations du discours poétique permet en effet d’interroger les enjeux de la plasticité de l’écriture apollinarienneThis thesis aims to examine and define the stylistic evolution of Apollinaire's writing in light of the syntactic continuity and discontinuity in poetic discourse. It studies the place of discontinuity in his work, both as a haunting motif of the fragmentation and the dissolution of the poet's body through space, as well as a principle of discursive construction, by instances of juxtaposition and shortened syntax. It attempts to study the specificities and the diachronic evolution of Apollinaire by using textometry as a methodological tool (specifically the software for textual statistics: TXM). This thesis analyses several textual structures that represent Apollinaire's articulation of continuity and discontinuity: the relative subordinate clause, the effects of listing and syntactical splitting (enumerations, accumulations, juxtapositions), as well as the particular example of caligramms (a space of poetical synthesis, for instance the extension of regimes of visibility). This type of structure and organization of poetic discourse allows us to analyze the question of the plasticity of Apollinaire's writing
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Wheeler, Belinda. "At the center of American modernism Lola Ridge's politics, poetics, and publishing /." Connect to resource online, 2008. http://hdl.handle.net/1805/1683.
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Thesis (M.A.)--Indiana University, 2008.Title from screen (viewed on June 2, 2009). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Jane E. Schultz, Thomas F. Marvin. Includes vita. Includes bibliographical references (leaves 57-61).
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Silverberg, Mark Andrew. "Beyond radical art, the New York School poets and the neo-avant-garde." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ60668.pdf.
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Bronstein, Hilda. "Mina Loy and the problematic of gender for women poets of the avant-garde." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397972.
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Byers, Mark. "After the new failure of nerve : Charles Olson and American modernism, 1946-1951." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:02478ea1-832a-4ecc-9c47-a264ba746c49.
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One medium has dominated accounts of American art in the years following the Second World War. The period witnessed, in the words of one critic, a 'Triumph of American Painting', with advances in the easel picture far surpassing those in other media. Whilst more recent accounts have nuanced this view, drawing attention to developments in music and sculpture, literary contributions to the new American modernism have gone almost without assessment. Were there advances in literature comparable to those of Mark Rothko and Barnett Newman, David Smith and John Cage? Drawing extensively on his unpublished writings, After the New Failure of Nerve reveals the poet Charles Olson to have been the keenest literary advocate of the new American avant-garde and one of the most astute observers of its conditions and possibilities. Paying special attention to unpublished notes, lectures, and correspondence, the thesis utilises Olson's early writings in order to examine the momentum given early postwar modernism by a potent contemporary reaction against abstract rationality, a reaction identified at the time as a 'New Failure of Nerve'. Born of recent disillusionment with 'scientific' Marxism and New Deal progressivism, the thesis demonstrates the several ways in which this 'New Failure of Nerve' fuelled vanguard American art from the middle of the Second World War to the end of the decade. It argues that the new critique of abstract rationality - which was also reflected in the contemporary American work of the Frankfurt School - defined the way American artists understood the function of postwar modernism, the posture of the postwar modernist artist, and the status of the postwar modernist artwork. This pivotal moment in the history of modernism was shaped, I contend, by a philosophical critique explored most ambitiously by an American poet.
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Makkos, Joseph. "Recursive Loops." ScholarWorks@UNO, 2006. http://scholarworks.uno.edu/td/357.
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Damasceno, Kedma Janaina Freitas. "A vanguarda concretista no contexto da literatura cearense." www.teses.ufc.br, 2012. http://www.repositorio.ufc.br/handle/riufc/8087.
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DAMASCENO, Kedma Janaina Freitas. A vanguarda concretista no contexto da literatura cearense. 2012. 139f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2012.Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-05-19T13:07:13Z No. of bitstreams: 1 2012_dis_kjfdamasceno.pdf: 1886015 bytes, checksum: 533383cf1cf258f47eb38c850080fbe0 (MD5)
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The Concretism was an important avant-garde movement for the Brazilian literature. Emerged in the 50s and opposed mainly traditionalist poetry of "Geração de 45", breaking with the use of fixed forms and with the predominance of the verse and valuing the use of graphic visual space, the synthetic character of construction and other devices that enable the creation of a poetry endowed with objectivity. In this study, we analyze the manifestations of concrete poetry in the context of literature of Ceará. After Sao Paulo and Rio de Janeiro, Ceará was the state that contributed most to the performance of the Concrete movement in the country, emphasizing that there were two Exhibition of Concrete Art in the state, the first in 1957, just one year after official launch of the movement in São Paulo and the second in 1959. The poets Antônio Girão Barroso, José Alcides Pinto, Horácio Didimo and Pedro Henrique Saraiva Leão participated in the movement in the state and they are the poets who make up the corpus of this research. Ceará, as well as Sao Paulo and Rio de Janeiro, participated in the developmental aspirations of the 50s, which favored, in the cultural sphere, the opening to a proposal for renewal as concrete poetry. From the analysis of the poems of the concrete poets of Ceará, both in the years before the movement, during and after the Concretism, we drew up an overview of how was the manifestation of that avant-garde in the state, as well as their local. The highlights were the trends of these poets to combine modernist poems and Concrete poems, the concern about what was happening in society, especially in the 60s, and, from the 80s, the greater heterogeneity of the style and of the resources used by them. To understand the meaning of this heterogeneity, were discussed the views of "post-utopian poetry," of Haroldo de Campos, and "re-traditionalisation frivolous" by Iumna Simon. Finally, it is noteworthy that, despite the particularities of the concrete movement of Ceará in relation to Orthodox Concretism of São Paulo, is known that the poets of Ceará tended to keep important formal lessons to this movement, as the appreciation of the synthesis and concise vocabulary that incorporated to the poems.
O Concretismo foi um movimento vanguardista importante para a literatura brasileira. Surgiu nos anos 50 e opôs-se, principalmente, à poesia tradicionalista da “Geração de 45”, rompendo com o uso de formas fixas e com a predominância do verso e passando a valorizar a utilização do espaço gráfico-visual, o caráter sintético da construção e outros artifícios que possibilitassem a criação de uma poesia dotada de objetividade. Nesta pesquisa, analisam-se as manifestações da poesia concreta no contexto da literatura cearense. Depois de São Paulo e do Rio de Janeiro, o Ceará foi o estado que mais contribuiu para a atuação do Concretismo no país, ressaltando-se que ocorreram duas Mostras de Arte Concreta no estado, a primeira já em 1957, apenas um ano depois do lançamento oficial do movimento em São Paulo e a segunda em 1959. Os poetas Antônio Girão Barroso, José Alcides Pinto, Horácio Dídimo e Pedro Henrique Saraiva Leão participaram do movimento no estado e são os poetas que compõem o corpus desta pesquisa. O Ceará, assim como São Paulo e Rio de Janeiro, participou dos anseios desenvolvimentistas da década de 50, o que favoreceu, na esfera cultural, a abertura para uma proposta de renovação como a poesia concreta. A partir da análise dos poemas dos concretistas cearenses, tanto nos anos que antecederam o movimento, como durante e depois do Concretismo, traçou-se um panorama de como se deu a manifestação dessa vanguarda no estado, bem como de suas particularidades locais. Destacaram-se as tendências desses poetas de combinar poemas modernistas e poemas concretistas, a inquietação com o que se passava na sociedade, sobretudo na década de 60, e, a partir dos anos 80, a maior heterogeneidade do estilo e dos recursos utilizados pelos mesmos poetas. Para entender o sentido dessa heterogeneidade, foram discutidas as visões de “poesia pós-utópica”, de Haroldo de Campos, e de “retradicionalização frívola”, de Iumna Simon. Para finalizar, ressalta-se que, apesar das particularidades do movimento concretista cearense em relação ao Concretismo ortodoxo de São Paulo, fica notório que os cearenses tenderam a manter lições formais importantes para esse movimento, como a valorização da síntese e da concisão vocabular que incorporaram aos poemas.