Academic literature on the topic 'Cocteau, Jean (1889-1963) – Psychologie'

Numa obra plena de multifaces, Jean Cocteau (1889-1963) foi, sem dúvida, o grande poeta do século XX, tanto na literatura, no teatro, nas artes gráfico/ plásticas, como na arte visual cinematográfica. Cocteau sempre fez poemas de suas manifestações criativas, pelas quais perpassavam o imaginário mítico, os contos de fadas, a filosofia, com sua concepção do estético, do fantástico na comunicação visual e nas relações humanas. A Bela e a Fera, obra cinematográfica de sua autoria, com base no conto original de Madame de Beaumont estimula o espectador nesses elementos citados, pois, certamente ninguém melhor do que o autor conhecia o simbólico, a fantasia, a poesia das evocações imaginárias. Este texto busca refletir sobre a comunicação visual e a cultura mítica da cinematografia de Jean Cocteau, o poeta do surrealismo e do imaginário, na concepção deste conto de fadas filmado, buscando relações entre a modernidade e o imaginário mitopoiético de sua obra.

AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundscape. Indeed, Cocteau was comfortable with the selection and arrangement of sonic elements to the extent that his regular collaborator Georges Auric became almost dispensable. Nevertheless, Auric's willing support enriched the final film and Cocteau created a highly self-reflexive work through his arrangement of the composer's music with pre-existing musical borrowings. Cocteau's engagement with contemporary developments in film and art music can be heard throughout this film, highlighting his position as a poet simultaneously establishing himself in the canon of art and looking to the future.

L'espace dans les Enfants terribles est structure essentiellement par l'opposition entre le haut et le bas d'une part et le dedans et le dehors d'autre part. Ces divisions recoupent celles qui opposent les êtres idéalisés aux autres, la chambre au monde, le royaume du jeu à l'univers du réel et peut-être plus profondément encore le principe du plaisir au principe de réalité. Face au monde les enfants élaborent les stratégies de la fuite qui leur permettent de s'isoler dans la chambre et de recréer par le jeu un univers à l'image de leurs rêves. L'étrangeté de cette scène nous entraine vers la psychanalyse pour tenter de lire les fantasmes inconscients qui irriguent notre texte. L'étude des trois récits de rêve va nous permettre de déceler ceux que nous retrouverons dans l'ensemble du texte. A travers le jeu subtil de l'ombre et de la lumière, apparait le fantasme de la scène primitive qui réunit les protagonistes du drame œdipien. Nous verrons alors comment Dargelos nous entraine vers le fantasme homosexuel, l'admiration pour la virilité étant un des reflets inverses de l'angoisse apportée par l'absence du père. Nous verrons ensuite comment Elisabeth peut être vue comme la mère castratrice et comment s'organise le fantasme de retour à la mère qui imprègne tout le roman. Dans les descriptions de la chambre, dans l'étude du trésor des enfants, c'est tout le rapport difficile au corps maternel, l'angoisse de la castration et du corps morcelé qui se laisseront cerner. Cette lecture des fantasmes sera mise sous l'emblème du jeu. Il représente le fil que l'on a tenté de dérouler entre le texte et notre lecture. Notre approche des enfants terribles sera une façon de prolonger le jeu
In "Les Enfants terribles" space is mainly built by the opposition between, an one hand, height and bottom, on the other hand, by the inside and the outside these divisions meet those which oppose idealized beings to the others, bedroom to the world, gaine kingdom to actual universe and perhaps much deeply pleasure principle to principle of reality. Facing the world, children evolve escape strategies which permit them to isolate themselves in the bedroom and to recreate by the game a universe like the picture of their dreams. The strangeness of this scene involves us to the psycho-analysis in order tempt to read the unconscious "fantasmes" which feed our text. The dream narratives study will allow us to delect those which we will find again in the whole text. Through the shadow and light subtle game appears original scene "fantasmes" which joins the protagonists of the oedipian drama. Then we will see how Dargelos involves us to the homosexual "fantasmes", the admiration for the virility being one of the inversed gleans of the anguish brought by the absence of the father. Then we will see how Elisabeth can be seen as the "castratric" mother and how is organized the return to the mother "fantasmes" which impregnates all the novel. In the bedroom descriptions, in the children treasure study, it is all the difficult rapport with moterly body, "castration" anguish and the "corps morcelé" which will let themselves surround. This reading of the "fantasmes" be put under the game symbol. He represents the thread which we have tempted to unroll between the text and our reading

La thèse Jean Cocteau et l'Italie porte – comme en témoigne son titre - sur l'analyse des relations de Jean Cocteau avec l'Italie. Elle s'inscrit ainsi dans le sillage des études qui, surtout dans ces dernières années, se sont occupées de la dimension européenne de Jean Cocteau, en mettant en relief l'influence que le poète a eu sur la culture européenne de la première moitié du XXe siècle. Jean Cocteau et l'Italie essaie de reconstruire un panorama des relations du poète avec la péninsule. Elle s'articule sur quatre chapitres qui traitent, chacun, un aspect du problème : les voyages et les séjours du poète, les liens, l'Italie dans l'œuvre, la réception de l'œuvre et le jugement sur le personnage de la part des italiens. En annexe, une série d'inédits (notamment des correspondances) est présentée, qui montre la profondeur et l'importance des relations humaines et artistiques du poète avec ses contemporains italiens : de Giorgio de Chirico à Alberto Savinio, de Gabriele d'Annunzio à Fabrizio Clerici. Cette étude représente une première tentative d'offrir une synthèse d'un sujet qui se révèle très intéressant et très riche. Son importance est témoignée surtout par les résultats de la recherche archéologique qui, conduite dans plusieurs archives (françaises mais surtout italiennes), a révélé l'importance, non seulement pour ce qui est de l'histoire littéraire mais aussi, plus spécialement, pour l'évolution de la personnalité et de l'œuvre de Cocteau, du rapport avec l'Italie
As the title underlines, the thesis Jean Cocteau et l'Italie deals with the analysis of the relations between J. C. And Italy. It becomes part of the trend of studies which, mainly during last years, have been dealing with Jean Cocteau European dimension, underlining the influence the poet had on the European culture in the first part of XXth century. Jean Cocteau et l'Italie tries to reconstruct an outline of the relations between the poet and the peninsula. The thesis is devided into four chapters, each of them dealing with a particular side of the problem: the journeys of the poet, his relations, the image of Italy in his work, how people aknowledge it and how italians judge the character. The appendix contains a series of unpublished textes (in particular some correspondence letters), showing the depth and the importance of the human and artistic relations between the poet and his Italian contemporaries: from Giorgio De Chirico to Alberto Savino, from Gabriele D'Annunzio to Fabrizio Clerici. This research is a first way to offer a synthesis of a very rich and interesting subject. Its importance is witnessed, above all, by the results of the archeological research dealt in different archives (French and Italian especially), which showed the importance of the relationship between Italy and the poet, for his literary history, personality and works

Cette étude vérifie l'hypothèse selon laquelle le sommeil figure parmi les thèmes majeurs de la poésie de Jean Cocteau (auteur français, 1889-1963). L'examen de l'œuvre coctalienne a donné lieu à une recherche thématique organisée en trois temps : La place déterminante du thème du sommeil dans l'œuvre romanesque, théâtrale poétique et graphique du poète. Les formes variées des divers sommeils coctaliens et leurs fonctions dans les œuvres abordées. La part du sommeil du poète dans l'œuvre. Par là, cette recherche tente de mettre en évidence une vision du monde particulière et une logique des sommeils reflétant la démarche poétique de Jean Cocteau, poète du demi-sommeil
This study is meant to prove the assumption according to which sleep is a major theme in Jean Cocteau's poetry (French poet 1889-1963). The study of Jean Cocteau's work has been here organised into three major themes : The importance of the theme of “sleep” in the novels, plays, poems and artistic works of the poet. The various forms given to the concept of sleep and their function in the studied works. The part played by sleep in the poet's own life and its repercussions in his work. This piece of research tends to bring forward a vision of the world, a logic of sleep which is part of Cocteau's poetical approach and the specific spaces sleep create in the life and work of this poet of sleep

Jean Cocteau, poète aux écritures multiples, intègre très tôt l'art chorégraphique dans sa création poétique. Ainsi, réalités quotidiennes sublimées, décalages rythmiques, figures emblématiques et autres thèmes ou motifs récurrents se répondent de poésies en ballets. Cette interaction danse poésie a un retentissement certain dans son oeuvre, lui assurant une profonde cohésion. La poésie devient chez Cocteau une force vitale imprégnant le monde, force que seul le poète medium peut capter. Puisant aux diverses sources du mysticisme, jean Cocteau développe une vision d'un univers pluridimensionnel de mondes emboîtés à l'infini, abolissant toute notion de temps, simple reflet de l'emboîtement des espaces. Hésitant entre secret et explications, l'attitude paradoxale de Cocteau déroute la critique et donne naissance a de nombreux malentendus. Cocteau, fascine par la création chorégraphique, perpétue pourtant à sa manière une tradition française du ballet théâtre. A son exemple d'autres écrivains (Claudel, Cendrars, Picabia, Valery, Gide) vont tenter l'aventure et ce mouvement, particulièrement manifeste dans l'entre-deux guerres ravive les questionnements sur la relation entre danse et poésie et sur la pureté en art
Jean Cocteau, poet with numerous types of writing, very early integrated choregraphic art into his poetic creation. That way sublimated daily reality, symbolic characters and many other recurrent themes and patterns can be found again and again both in his poems and ballets. This interaction between poetry and dance had definite repercussions in his works leading to a deep cohesion. Poetry became in Cocteau's works a strength that filled the whole world and that only the poet as a medium could fully grasp. Drawing from the various sources of mysticism, Cocteau develops a view of a 'pluridimensional' universe made of worlds that endlessly fit together, abolishing the concept of time, reflecting merely the interlocking of space. Vacillating between secrecy and explanations, Cocteau's paradoxical choices dismayed the critics and gave birth to many misunderstandings. And yet in his own way Cocteau, fascinated by the choregraphic creation, carried on the French traditions of 'ballet-theatre'. Following his example, other writers (Claudel, Cendrars, Picabia, Valery, Gide) tried the adventure and this movement which was most patent between the two wars reopens the debate on the relation between dance and poetry and on the purity in art

"la poesie de theatre" de jean cocteau consiste a montrer "le plus vrai que le vrai", provocant le regard neuf qui devoile ce que la routine nous cache. Cette conception theatrale se resume en trois methodes : la rehabilitation du lieu commun, le rajeunissement du mythe et le renouvellement des poncifs. A travers la presence constante du personnage qui represente le poete, cocteau insiste sur la valeur morale de la poesie et poursuit son eternelle quete de l'inconnu et de la verite. Le theatre lui a permis de realiser non seulement un art total, mais aussi son propre mythe
"the theatre poetry" of jean cocteau consists of a work conveying the utmost truth which provokes a new glances unveiling the routine that we hide behind. This theatrical conception is summarized into three methods : the rehabilitation of the commonplace, the rejuvenation of the myth and the renewal of devoid themes. Through the constant presence of the personage representing the poet, cocteau puts emphasis on the moral value of poetry and proceeds with his eternal search of the unknown and the truth. Theatre has allowed him to realize not only total art, but also his own myth

La question de la réception allemande ouvre un vaste champ où Jean Cocteau joue sur les identités, systématiquement mises au service de la stylisation de sa personne. Dans cet horizon de « l’automythographie » (Jean Touzot), la thèse procède d’abord à la description historique et analytique de l’itinéraire et de l’accueil de la « poésie de théâtre » coctalienne outre-Rhin, sur la base d’un ample dossier de presse. Elle donne un synopsis de plusieurs centaines de mises en scène en langue allemande et discute, dans une approche herméneutique, les raisons de la réception qui change avec les époques. Après une analyse textuelle des écrits de Cocteau, la thèse montre ensuite que le poète instrumentalise et stylise cette réception à différentes fins. Dans le contexte de la poétique coctalienne, l’autostigmatisation en « poète persécuté » est une stratégie rhétorique visant à revendiquer constamment l’originalité artistique et l’authenticité personnelle
The issue of the German reception of Jean Cocteau opens a large space where he plays with identities which he systematically instrumentalizes for his “self-fashioning” (Greenblatt). In this perspective the thesis first procedes to the historical and analytical description of the criticism of Cocteau’s “poésie de théâtre” in Germany. Based on a large dossier of over 2. 000 press articles, the thesis gives a synopsis of several hundred theatratical productions in German language until the year 2000, and discusses, in its hermeneutical approach, the reasons for the changing reception. After an analysis of Cocteau’s writings about his own reception, the thesis then shows that the poet instrumentalizes and fashions this reception for occasional or permanent aims. On the systematical background of Cocteau’s poetics, the thesis reads the poet’s recurrent self-fashioning as the “persecuted poet” as a rhetorical strategy which constantly claims artistic originality and personal authenticity

The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process.
Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course.
Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry.
All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality.
According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.

Jean Cocteau est connu pour son œuvre polymorphe : littérature, cinéma, dessin. La photographie représente cependant un nouvel aspect de la recherche du poète. Photographe dans la première partie de sa vie, il fut aussi un modèle omniprésent devant l'objectif des plus célèbres, multipliant les séances de pose en quête du portrait idéal. Jean Cocteau ne s'est jamais désintéressé du médium, mais c'est sans nul doute dans l'écriture qu'il occupe une place prépondérante. En étudiant les préfaces des livres de photos, le discours critique et les œuvres de fiction, la photographie se révèle chez le poète et devient un nouveau " véhicule de poésie "
Jean Cocteau is well known for his polymorphic work : literature, cinema, drawing. Photography however represents a new aspect of the poets research. Photographer in the first part of his life, he was also an omnipresent model and faced the objectives of the most famous, multiplying his sittings in search of the ideal portrait. Jean Cocteau never tired of this medium, although, without any doubt, it is in writing that he occupies a dominating place. By studying the forewords of books dedicated to photographer, critical speach and fiction, photography is revealed to the poet and becomes a new " vehicle for poetry "

The thesis examines a select amount of poesie by the artist Jean Cocteau, and through interpretation, explores the architecture of his work. This process of interpretation poses two questions: What is the role of the architect today, compared with his role as understood throughout history? How does the production of architecture today reflect the mechanisms of capitalism with its division of knowledge and labour, compared with an architecture which is inclusive and reconciliatory?
A clear message emerges from Cocteau's Poesie as a response to the two aspects of Orpheus: the first is represented by the processes of individual creativity, and the second by the collective realization of a project, whether it be a work of theatre, the production of a film, or the design and realization of a building.
A work does not end in handing it over for someone else to finish.

L’univers poétique de Jean Cocteau est fascinant lorsqu’il parle du corps humain, celui de l’auteur bien évidemment, mais aussi le nôtre. Quel autre approche pourrait impliquer aussi instinctivement, émotionnellement et pour ainsi dire si directement un lecteur au cœur d’une écriture ? Chaque mot de Cocteau désignant une partie symbolique de son propre corps, nous incite à redécouvrir le rapport intime, réel et complexe de l’homme avec son habitacle charnel, primordial. Ce que nous voudrions avant tout exposer dans cette thèse et faire connaître aux autres lecteurs, est bien cette figure qui reste encore méconnue de l’œuvre de Cocteau. Chemin faisant, nous sommes aussi invités à déceler la présence obsédante d’un deuxième corps dans cette même écriture : c’est un corps éthéré, fantomatique, invisible à l’œil nu mais rêvé, sublimé et puissamment parlant de poète. C’est à travers ce corps idéal que Cocteau tente de nous transmettre son message unique : la poésie est. L’écriture de Cocteau représente en fin de compte un corps des mots, né du mariage symbolique du corps humain et du corps inhumain, de la chair mortelle et de l’essence poétique prodigieuse et immortelle
Poetic universe of Jean Cocteau is fascinating when he talks about the human body, that of the author of course, but also our own. What other approach could involve so instinctively, emotionally, as it were, so directly a reader in the depth of the writings. Each Cocteau’s word designating a symbolic part of his body, incite us to go in search of the intimate, real and complex connection of the human being with his vital, carnal tabernacle. In this thesis, we want, first of all, to expound and to have a view of this unknown figure of Cocteau’s writings. On this way, we’re also requested to detect an obsessive presence of a second body, vaporous, invisible and almost a phantom. In fact, it represents a poet’s whole mind structure, his psychic organ dreamed, sublimated and specially meaningful. Through this ideal mind body, Cocteau tries to transmit us his unparalleled message : the poetry does be. All things considered, the writings of Cocteau show a body-writings composed by words, human body and undying poetic essence