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1
Vinolo, Stéphane. "Jean-Luc Marion : apologie de l'inexistence." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAK007.
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La phénoménologie de la donation se présente sous la forme d´un projet d´ouverture radicale du champ de la phénoménalité. Après avoir montré que la modernité a enfermé les phénomènes dans des conditions de possibilité dictées par un Sujet, et que la phénoménologie allemande a poursuivi ce geste en indexant les phénomènes sur l´horizon de l´objectité ou de l´étantité, Marion propose de reconduire le geste de la réduction phénoménologique à la seule donation. Ce faisant, il réintroduit en phénoménologie des phénomènes paradoxaux – phénomènes saturés – qui font violence, par excès, aux capacités réceptrices du Sujet. Marion introduit donc en phénoménologie une nouvelle modalité de l´invisibilité (et donc de la visibilité) que nous appelons « inexistence » (en opposition tout autant avec le non-être qu’avec la non-existence), dont la structure est paradoxalement fondée sur celle de l´écrit, puisqu´il s´agit ni plus ni moins, pour elle, que de présenter de façon positive une absence selon la logique de la signification. Ce faisant, et de par cette structure discursive de la visibilité, toute la phénoménologie de Marion peut être lue comme une véritable apologie de l´inexistenceThe phenomenology of givenness is presented in the form of a project of radical opening of the field of phenomenality. After having shown that modernity has enclosed phenomena under conditions of possibility dictated by a Subject, and that German phenomenology has pursued this gesture by indexing phenomena in the horizon of objectivity or of beingness, Marion proposes to reestablish the gesture of phenomenological reduction to single donation. In so doing, he reintroduces into phenomenology some paradoxical phenomena —saturated phenomena— which violate, by excess, the receptive capacities of the Subject. Marion thus introduces into phenomenology a new modality of invisibility (and thus of visibility) which we call "inexistance" (equally opposed to non-being as to non-existence), whose structure is paradoxically founded on that of writting, since it is neither more nor less, for inexistence, than to present in a positive way an absence according to the logic of meaning. In so doing, and through this discursive structure of visibility, all Marion's phenomenology can be read as a true apology for existence
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RICUPITO, Concetta. "Jean-Luc Nancy. Rappresentazione, esposizione, nudità." Doctoral thesis, Università degli Studi di Palermo, 2014. http://hdl.handle.net/10447/91248.
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Francisco, Maria Patrícia. "Um outro cinema - cinema documentário e memória." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27160/tde-29052009-152808/.
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A dissertação tem como proposta uma reflexão sobre o processo de realização de um documentário, a partir de minhas reflexões como realizadora. O trabalho tem como marco teórico e prático a memória na proposição de uma forma documental. Parto de conceitos literários sobre a memória subsidiada com referências fotográficas na invenção do conteúdo do documentário. Assim, entre filme e texto, tenho como propósito a apresentação de um pequeno panorama da história do cinema, focando alguns pontos referenciais que resultaram em mudanças para a linguagem do documentário contemporâneo. Na finalização do processo de um filme, estabeleço relações entre o ato de montar e uma possibilidade de montagem apontada por Jean-Luc Godard.The dissertation has as proposal a reflection on the process of to do a film documentary, starting from my reflections as director. The text has as theoretical and practical mark the memory in the proposition in a form documental. I leave of literary concepts about the memory subsidized with photographic references in the creation of the content of the documentary. Like this, between film and text, I have as purpose the presentation of a small panorama of the history of the movies, showing some primordial points that resulted in changes for the language of the contemporary documentary. In the finalization of the process of a film, I establish relationships among the action of editing and an edition possibility seen by Jean-Luc Godard.
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Anderson, Matthew. "Martin Heidegger and Jean-Luc Nancy on Community." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28642.
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This project will be an examination of the concept of community as it relates to ethics in the works of Martin Heidegger and Jean-Luc Nancy. I will examine Heidegger's thought concerning community and ethics, then the reception of that thought in the secondary literature. I will then examine Nancy's thought concerning community and ethics and his thought's reception in the secondary literature. The critical portion of this project will be an evaluation of Nancy's critical relationship with Heidegger's thought. I will clarify and defend Nancy's arguments against Heidegger's thought. I will also support solution that Nancy proposes. Finally, I will attempt to resolve a criticism commonly launched against Nancy: that his thought fails to engage concrete politics precisely where is must. I will argue that Nancy's thought does indeed engage the concrete by encouraging the development of a praxis, comportment or lifestyle amongst its recipients. Nancy's thought engages us in a dialogue. This dialogue is something which can, and does, continue outside of our relationship with the texts we read, potentially affecting the way we relate to others in our everyday lives.
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Zobenbuller, A. "Le motif du palimpseste chez Jean-Luc Lagarce." Thesis, Nottingham Trent University, 2016. http://irep.ntu.ac.uk/id/eprint/29033/.
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Résumé français: Cette thèse de doctorat explore le motif du palimpseste dans l’oeuvre de Jean-Luc Lagarce. Notre premier chapitre s’intéresse au palimpseste pris au sens de réécriture, afin non seulement de signaler cette pratique chez Lagarce, qui adapte de nombreux textes pour la scène de façon officielle ou plus libre, mais aussi pour analyser une pratique particulière de réécriture, l’auto-hypertextualité. À travers celle-ci, qui se concentre notamment autour du journal intime, nous montrons comment Lagarce exerce une « pratique de soi » au sens foucaldien vers la fin des années 1980, avec la découverte de sa séropositivité. Dans notre deuxième chapitre, nous nous intéressons à l’écriture elle-même afin de démontrer en quoi elle aussi relève du palimpseste. Héritier du Nouveau Roman et de ses émules, Lagarce propose une écriture où la temporalité est ambigüe, et où le présent est toujours problématique, voire impossible – comme nous le montrons en prenant l’exemple du film Journal 1. Ce sont ainsi trois caractéristiques de l’écriture du palimpseste qui apparaissent : le temps, le fragment et l’absence. Cette écriture se traduit sur scène par l’éclatement du texte en plusieurs voix et celui de la voix ellemême, notamment à travers l’épanorthose. Le résultat est une écriture verticale qui résiste au figement et appelle le lecteur à participer à la construction du sens. Le dernier chapitre est consacré aux rapports entre palimpseste et identité(s). Nous démontrons tout d’abord l’existence dans les textes lagarciens d’une identitépalimpseste de l’auteur, construite de façon indirecte : pris dans un élan plus autonarratif qu’autobiographique, Lagarce joue avec les traces et le brouillage. Nous étudions alors ce brouillage en nous penchant sur le spectre du sida, qui pose les bases d’un mythe personnel construit dans l’ironie et la combattivité face à la maladie. L’auteur se fait lazaréen, tout comme certains de ses personnages. Mort parmi les vivants, vivant parmi les morts, la figure de l’auteur reste encore aujourd’hui indissociable de son oeuvre. English Abstract: This thesis aims to explore the motif of the palimpsest in the work of Jean-Luc Lagarce. The first chapter focuses on the palimpsest as rewriting (in the sense developed by Genette). After showing how Lagarce rewrites the texts of other authors, in official or looser adaptations, the study analyses the specific cases where he rewrites his own texts. Revolving around the diary, these auto-hypertextual practices appear at the end of the 1980s after he discovered his HIV-positive status and can be considered as "practices of the self" as defined by Foucault. The second chapter focuses on the writing itself in order to highlight how it is also representative of the palimpsest. In the wake of the New Novel and its related movements, Lagarce offers a writing in which temporality is ambiguous and the present tense is problematic or even impossible – as will be shown through the example of the film Journal 1. Through the analysis of this example, three essential characteristics of the "writing of the palimpsest" will emerge: time, fragment and absence. On stage, this writing translates in the breaking up of the text between different voices and of the voice itself, notably though the use of epanorthosis. The result is a vertical writing that resists any static meaning and encourages the reader to participate in its construction. The last chapter is dedicated to the links between palimpsest and the selves. The first part seeks to unravel how a "palimpsestic identity" of the author is created in the lagarcian texts in an indirect way. Working more through "autonarration" than autobiography, Lagarce disseminates traces of his selves but only through a certain blurring. It is on this blurring that the second part focuses, and more specifically on what we call the « spectre of AIDS ». The disease, while never really mentioned, plays a very important part in the work of Lagarce and especially in the creation of a personal myth. The author, like some of his characters, becomes Lazarean, haunting his works before his death. Dead among the living and living among the dead, the figure of the author and his work still remain inseparable today.
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Thorn, Kathryn-Joyce. "Love in the philosophical theology of Jean-Luc Marion." Tallahassee, Fla. : Florida State University, 2010. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/2181915.
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Morrey, Douglas. "Jean-Luc Godard and the other history of cinema." Thesis, University of Warwick, 2002. http://wrap.warwick.ac.uk/1303/.
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Jean-Luc Godard's Histoire(s) du cinema (1988-1998) is a video work made up of visual and verbal quotations of hundreds of images and sounds from film history. But rather than simply telling (hi)stories of cinema, Godard makes a case for cinema as a tool for performing the work of history. This is partly because the film image, by virtue of always recording more of the real than was anticipated or intended, necessarily has history itself inscribed within its very fabric. It is also because montage, as the art of combining discrete elements in new ways in order to produce original forms, can be seen as a machine for realising historical thought. This thesis examines these ideas by discussing Godard's account of the role of cinema in the Second World War, and by analysing some of his recent work as examples of historical montage which attempt to criticise our current political climate through comparison with earlier eras. After a first chapter which sets out Godard's argument through an extensive commentary of Histoire(s) 1A and B, a second chapter discusses Godard's depiction of the invention of cinema and traces a complex argument about technology and historical responsibility around the key metaphorical figure of the train. Chapter 3 explores the ways in which Godard's historical approach to cinema allows him to maintain a critical discourse with regard to the geopolitical realities of late twentieth-century Europe (Germany, the Balkans), but also to the communications and business empires that have developed over the past few decades. A final chapter offers a detailed consideration of the nature of Godard's cinematic quotation and seeks to explicate the apocalyptic rhetoric of his late work. Aside from Histoire(s) du cinema, films discussed include Nouvelle Vague (1990), Allemagne neuf zero (1991), For Ever Mozart (1996) and Eloge de l'amour (2001).
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Coutinho, Carolina Detoni Marques Vieira. "Amor e dom na fenomenologia de Jean-Luc Marion." Universidade Federal de Juiz de Fora, 2014. https://repositorio.ufjf.br/jspui/handle/ufjf/496.
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Este trabalho tem por objetivo abordar o pensamento do filósofo francês Jean-Luc Marion acerca do amor. A busca pela univocidade do conceito filosófico de amor e a relação do mesmo com o tema do dom articulam-se em sua fenomenologia bastante particular. O amor, não mais dividido entre, por exemplo, eros e ágape, é tema da redução erótica de Marion, desenvolvida, principalmente, em sua obra Le phénomène érotique. A pretendida univocidade radical do amor, nos interpostos limites da fenomenologia e da teologia, em Marion, relaciona-se diretamente com a ipseidade, a alteridade e o conhecimento que, de Platão a Santo Agostinho, inserem-se na lógica própria do amor.
La proposition de ce travail c’est approcher la pensée du philosophe français Jean-Luc Marion par rapport à l’amour. La quête vers l’univocité du concept philosophique de l’amour et la relation de celui-ci avec le sujet du don s’articulent dans sa phénoménologie très particulière. L’amour, non plus divisé entre, par example, eros et agapè, c’est le sujet de la reduction érotique chez Marion, developpée surtout dans son oeuvre Le phénomène érotique. L’intentionée univocité radicale de l’amour, dans les limites interposées de la phénoménologie et la théologie, chez Marion, s’articulent directement avec l’ipseité, l’alterité e la connaissance qui, de Platon à Saint Augustin, s’intègrent à la logique même de l’amour.
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Vinuesa, Muñoz Cristina. "Manifestations circulaires dans l'oeuvre théâtrale de Jean-Luc LAGARCE." Paris 7, 2010. http://www.theses.fr/2010PA070038.
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II a souvent été dit de l'œuvre de Jean-Luc Lagarce qu'il s'agissait d'un théâtre du ressassement, qui exprimait un mal à dire, avec une thématique récurrente autour du retour, de la famille et de la mort, articulés par une philosophie de l'arrangement. Il est vrai qu'il y a dans la ligne dramatique de son théâtre et dans ses figures, des échos, inter et intratextuels liés à ces thématiques. S'il y a, certes, une tentative d'arrangement c'est-à-dire de besoin de réconciliation, ce ne sera pas pour revenir en arrière mais pour ajuster un présent dans le présent adoptant pour ce faire, une réflexion circulaire. Ainsi, nous analyserons l'espace et le temps, la fable et les figures selon trois manifestations circulaires : la roue, l'onde sphérique divergente et le cylindre. Celles-ci montreront une œuvre lagarcienne qui ne progresse ni linéairement ni chronologiquement mais circulairementIt has often been said that Jean-Luc Lagarce's plays were based on brooding over, expressing an « ill at speech », with recurring themes around homecoming, family and death, and a philosophy of conciliation. Echoes of such themes can actually be found in his drama and its characters, within or between the Unes. But if attempts to appease express a need to reconcile, they are not connected to the past but to an adjusted present with circular reflection. We will thus analyse space and time, fable and characters according to three circular expressions: the wheel, diverging spherical wave and the cylinder, showing that Largace's works progress in circles, as opposed to linear or chronological movements
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Abbott, Díaz Fernando. "An-arché: la ciudad en la nervadura de la autodeconstrucción del cristianismo: sobre el concepto de ciudad en la obra de Jean-Luc Nancy." Tesis, Universidad de Chile, 2018. http://repositorio.uchile.cl/handle/2250/150843.
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Informe de Seminario para optar al grado de Licenciado en FilosofíaEl siguiente trabajo tiene como objetivo profundizar en el concepto de ciudad dentro de la obra de Jean-Luc Nancy bajo la hipótesis de que este concepto —que en sí abarca el problema de la comunidad, el nihilismo, el cuerpo o la política— debe articularse con en el proyecto nancyano de lo que el autor mismo ha denominado la autodeconstrucción del cristianismo, inscribiendo de este modo la teoría de la ciudad en el corpus (del desvanecimiento) de la teología. En vistas de esto, la metodología de trabajo se remitirá a un análisis de tipo monográfico, que enlazará conceptos y sus desarrollos correspondientes dentro de la obra de Nancy, manteniéndose únicamente dentro del plano de discusión filosófico —y no sociológico, arquitectónico o literario. El resultado esto arrojará que no tan sólo que existe una solidaridad y una complementariedad entre el concepto de ciudad y otros como el de sujeto, técnica o creación, sino que la ciudad —considerada como objeto de la política, las artes y distintos tipos de praxis— adquiere un espesor ontológico (y anárquico) que no sólo dibuja una nueva relación con ella, sino que, de modo inverso, el arte y la política son confrontados por la ciudad a partir de la retirada de lo divino, y de todo arché, que caracterizaría a la autodeconstrucción del cristianismo y a la ciudad como tal.
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Piro, Vincenzo. "Entre phénoménologie et apophatisme : à partir de Jean Luc Marion." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3080.
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« Poète et non honnête homme. On ne consulte que l’oreille, parce qu’on manque de cœur » : il y a peut-être une très grande proximité entre cette pensée de Pascal et l’inspiration de la pensée de Marion. Dans l’article « De la “mort de Dieu” aux noms divins » il fait allusion à une logique de la charité à développer, comme tâche pour la pensée. Ce qu’on a tenté de reconstruire, c’est le développement de cette inspiration, en ayant comme point de départ le concept de négation, tel qu’il émerge dans Certitudes négatives. La négation constitue, dans ce texte, par le concept de certitude négative, un troisième élargissement de la phénoménalité, qui saisit non seulement l’excès de l’intuition par rapport aux concepts, mais l’impossibilité que l’excès impose aux concepts. Marion présente un discours sur la limite, transcendantale, à entendre comme le lieu où se donne un degré redoublé de réalité. Cette avancée, qui montre qu’aussi la négation relève de la donation, doit être mise en perspective avec le constat, qui caractérise la fin de Reduction et donation, que la négation, par l’ennui, est la condition pour accéder à la donation. On a essayé d’approfondir ce nœud par la reconstruction de l’émergence de la négation dans la pensée de Marion et de ses caractères, avec une particulière attention au concept de distance et à sa genèse. Par cette voie on a pu mettre en évidence l’articulation concrète et la centralité dans l’œuvre de Marion du rapport entre phénoménologie et apophatisme, et la façon avec laquelle elle peut se développer en une logique de la charitéBetween phenomenology and apophatism : starting from Jean-Luc Marion « Poet and not honest man. We consult only the ear, because we lack heart ». There is perhaps a great proximity between this thought of Pascal and the inspiration of Marion's thought. In the article « De la “mort de dieu” aux noms divins » he alludes to a logic of charity to develop, as a task for thought. What we have tried to reconstruct is the development of this inspiration, having as a starting point the concept of negation, as it emerges in certain Certitudes négatives. Negation constitutes in this text, by the concept of negative certainty, a third enlargement of phenomenality - after the givenness and saturated phenomena - which captures not only the excess of intuition in relation to concepts, but the impossibility that excess imposes on concepts. Marion presents a discourse on the transcendental limit, to be understood as the place where a redoubled degree of reality is given. This advance, which shows that the negation belongs to the givenness, must be put into perspective with the finding, which characterizes the end of Reduction and givenness, that negation, through boredom, is the condition for accessing the donation. We tried to analyze this crux by reconstructing the emergence of negation in Marion's thought and its characters, with particular attention to the concept of distance and its genesis. In this way it has been possible to highlight the concrete articulation and centrality in Marion's work of the relationship between phenomenology and apophatism, and the way in which it can develop into a logic of charity
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Tabet, Pascale. "Amour et donation dans la phénoménologie de Jean-Luc Marion." Caen, 2015. http://www.theses.fr/2015CAEN1017.
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La phénoménologie de Jean-Luc Marion possède le plus ample horizon : sa philosophie intuitive et pré-réflexive, inscrite au cœur de la saturation, effectue un élargissement du champ de la phénoménalité. C’est dans cet esprit qu’est ici explicité le phénomène érotique décrit par le penseur de la phénoménalité saturée. Cette tonalité affective fondamentale de l’existence est en effet aussi le phénomène-limite qui révèle un excès de sens et d’épreuve débordant et surabondant toute représentation opérée par une conscience intentionnelle et réflexive – parce qu’il porte en lui tout le poids phénoménologique de l’origine. L’amour exige donc une réduction qui ne saurait être comprise qu’à partir d’une phénoménologie radicale de la donation excessive. C’est en ce sens qu’il faut comprendre le donné auquel « réduit » la phénoménologie, donné qui ne s’identifie à aucun étant ni a aucun objet, mais à l’unique donation qui constitue l’essence absolue immanente à toute manifestation. Il est donc montré ici que la réduction phénoménologique implique pour Jean-Luc Marion le renversement et la radicalisation de la phénoménologie classique, celle de ses prédécesseurs Husserl et Heidegger, dont la pensée, ne s’occupant que de l’étant dans son être, reste encore prisonnière de la métaphysique, car elle ne se déploie que dans l’horizon de l’être. La démarche phénoménologique de Jean-Luc Marion est donc interprétée comme une contre-méthode qui m’impose une contre-expérience qui se donne a moi avant toute tentative de ma part de lui assigner un sens, m’excède par son déluge intuitif débordant le concept, du fait de son don généreux de soi. Ce paradoxe phénoménologique que Jean-Luc Marion appelle le « phénomène saturé », et qui décentre la phénoménologie du je transcendantal ainsi que de l’objet intentionnel pour leur substituer un moi adonné qui se reçoit de ce qu’il reçoit – ce paradoxe advient dans l’amour, seule condition ultime de la possibilité du soi, loin de toute exigence ontique et transcendantale et dans le seul horizon de la donation radicale excessiveTo Jean-Luc Marion’s phenomenology belongs the largest possible horizon: his intuitive and prereflexive philosophy widens the field of phenomenology. The author of this book plans to explain how the erotic phenomenon as a phenomenon of saturation. A fondamental affective tonality of existence which is at the same time a border phenomenon, an excess of sense exceeding any representation of an intentionnal and reflexive consciousness, for it carries the phenomenological weight of the origin. Love demands a reduction, which cannot be understood but by a radical phenomenology of excessive donation. It is in this sense that the datum “reduced” by phenomenology must be understood – which datum is neither a being nor an object, but the sole donation which constitues the absolute immanent essence of manifestation. This research shows that the phenomenological reduction according to j. -l. Marion implies the reversal and the radicalisation of the classical phenomenology of prior thinkers such as Husserl and Heidegger. Indeed, they only focus on the essence of being, and their phenomenology remains a captive of metaphysics, inasmuch as its only horizon is still the horizon of being. The phenomenological method of Jean-Luc Marion is therefore interpreted here as a counter-method which is given to me as a counter-experience before any attempt to give it a meaning: it overcomes me with a flood of intuitions far above the concept, because it gives itself so generously. This phenomenological paradox, which Jean-Luc Marion calls “saturated phenomenon”, drives phenomenology away from transcendental ego and the intentional object, to replace them by a given ego, which receives itself from all it receives. This paradox happens with love, the ultimate condition for the possibility of the self, away from all ontic and transcendental requirement, in the sole horizon of a radical excessive donation
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Lawell, Declan Anthony. "Thomas Gallus, Jean-Luc Marion and the reception of Dionysian Neoplatonism." Thesis, Queen's University Belfast, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.491711.
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This thesis is primarily concerned with presenting the philosophical thought of Thomas Gallus (d. 1246). It is thus a contribution to the study of medieval philosophy. Proof is offered for Gallus's authorship of a set of Glosses on the Celestial Hierarchy contained in the Parisian manuscript, Bibliotheque Mazarine, MS 715. Two complete texts of Thomas Gallus (Qualiter vita prelatorum and Spectacula contemplationis) are edited and presented for the first time, as well as many portions of the unedited Explanatio. From these texts, a portrait of Gallus's philosophical views is depicted. On the basis of this presentation, the thesis then seeks to compare Gallus's thought (from the standpoint of the metaphysics of being, with supplementary reference to Thomas Aquinas) with that of Jean-Luc Marion (from the viewpoint of a phenomenology of giving). In particular, the thesis focuses on how the writings of the Pseudo-Dionysius have been received by these respectively pre-modem and postmodern figures. The question guiding this comparison is: Can either of these two modes of discourse allow philosophy the possibility to investigate the Other, where in this thesis the Other is considered under the name of God? Or does deconstruction (represented by the works of Jacques Derrida) prevent philosophy from having any access to the Other?
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Osorio, Riveros Hugo. "Cine y pintura — análisis de la cinematografía de Jean-Luc Godard." Tesis, Universidad de Chile, 2011. http://www.repositorio.uchile.cl/handle/2250/101318.
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Ancona, Luiz Octavio Gracini. "Jean-Luc Godard no Brasil: da recepção à interdição (1961-1970)." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-25032019-112239/.
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Na bibliografia brasileira, Jean-Luc Godard aparece com destaque em pesquisas sobre o cinema brasileiro moderno e sobre a história da censura cinematográfica no país. O realizador franco-suíço é descrito como uma referência fundamental para alguns cineastas brasileiros modernos, como um norteador dos debates travados em nossa crítica e como um objeto de atenção especial por parte dos censores da ditadura militar. Partindo desse lugar privilegiado conferido a Godard, esta pesquisa investigou historicamente a recepção e a interdição dos filmes do cineasta no Brasil no período entre 1961 e 1970. Em um primeiro momento (capítulos 1 a 3), analisamos os debates estéticos e políticos suscitados na crítica pelos filmes de Godard em três jornais de grande veiculação do período (Correio da manhã, Jornal do Brasil e O Estado de S. Paulo); em seguida (capítulo 4), identificamos as apropriações que os críticos-cineastas Glauber Rocha e Rogério Sganzerla realizaram da obra godardiana em seus escritos; e, por fim (capítulo 5), abordamos a documentação censória relativa aos filmes do realizador. Dessa maneira, constatamos o importante papel que Godard desempenhou na conformação do cinema brasileiro moderno, bem como o impacto que sua obra exerceu, cultural e politicamente, no país. Conforme evidenciaremos, naquele momento havia uma conjuntura sociocultural modernista, de esquerda e jovem que favoreceu a recepção do cineasta no Brasil. Ao mesmo tempo em que foi lida à luz de tal conjuntura, a obra godardiana atuou enquanto seu catalisador, estimulando novos projetos e debates em seu interior. O cineasta foi instrumentalizado por projetos de vanguarda no cinema e em ouras artes, estimulou a politização de esquerda e dialogou com os anseios de uma cultura jovem e libertária em expansão. Paralelamente, confirmamos a atenção especial que Godard recebeu dos censores da ditadura militar brasileira. Afinal, a ditadura se opunha a tal conjuntura e, por isso, viu no cineasta um perigo a ser combatido, uma vez que seus filmes atentavam contra os dois pilares básicos da ideologia que norteava o regime, o anticomunismo e a moral conservadora. Conforme demonstraremos, tal atenção especial se deu sobretudo nos anos 1970, mas teve suas raízes em 1968, quando duas películas de Godard foram interditadas e uma imagem extremamente negativa do realizador foi consolidada no órgão censório.In the Brazilian literature, Jean-Luc Godard appears prominently in researches on modern Brazilian cinema and on the history of cinematographic censorship in the country. The Franco-Swiss director is described as a fundamental reference for some modern Brazilian filmmakers; as a guiding force on the debates held within our critique; and as an object of special attention by the censors of the military dictatorship. From this privileged place conferred to Godard, this research historically investigated the reception and interdiction of his films, in Brazil, between 1961 and 1970. First (Chapters 1 to 3), we analyze the aesthetic and political debates raised in criticism of Godard\'s films in three major newspapers of the given period (Correio da manhã, Jornal do Brasil and O Estado de S. Paulo). Then (Chapter 4), we identify the appropriations of the Godardian word made by the critical-filmmakers Glauber Rocha and Rogério Sganzerla. Finally (Chapter 5), we approach the censorship documentation relating to the director\'s films. Our findings showed the important role Godard played in the conformation of modern Brazilian cinema, as well as the impact that his work exerted, culturally and politically, in the country. As we will show, the socio-cultural context of the time modernist, leftist and youthful favored the filmmakers reception in Brazil. At the same time as it was read in the light of such a conjuncture, Godard\'s work acted as a catalyst for it, stimulating new projects and debates within. The filmmaker was instrumented by avant-garde projects in the cinema and in other arts, and then stimulated the politicization of the left and dialogued with the yearnings of a young and libertarian culture in expansion. We also found evidence of the special attention that Godard received from the censors of the Brazilian military dictatorship. Opposed to the referred conjuncture, the dictatorship saw in the filmmaker a danger to be fought, since his films were against the two basic pillars of the regime: anticommunism and conservative morality. As we will show, he received such special attention mainly in the 1970s, but it had its roots in 1968 when two of Godard\'s films were banned and an extremely negative image of the filmmaker was consolidated by the censorship.
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Lee, Jeong-Ha. "La notion d'"intervalle" dans le cinéma de Jean-Luc Godard." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0014.
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Notre recherche porte sur l'idée du montage, "intervalle", dont la notion a été conçue par le cinéaste russe Dziga Vertov dans les années 1920 en vue de "révéler l'image des pensées de l'homme vivant. " L'intervalle s'affirme fondamentalement comme le "temps du montage", actualisé sur la surface même des images en les mettant en interaction continuelle pour créer une autre idée dans le "montage ininterrompu". Nous retrouvons la même procédure de la pensée en image, "intervalle", dans le cinéma de Jean-Luc Godard, notamment dans ses essais-films depuis les années 1970 jusqu'à Histoire(s) du cinéma. Notre hypothèse se résume en ceci : 1) L'idée godardienne "Et" ou "Entre" comme noeud invisible entre des choses hétérogènes est en effet la récapitulation de la notion d' "intervalle" vertovienne, définitivement déplacée, réinventée dans la réflexion du temps qui crée. 2) La "fiction" filmique godardienne ne signifierait aussi rien d'autre que l'actualisation de la force vitale entre les images, effectuée par ce "temps du montage", "Et" ou "intervalle". 3) Cette forme du montage est capable d'inventer l' "histoire" de cinéma, fondée sur notre faculté de "mémoire" qui se réalise aussi dans le "montage ininterrompu". Finalement, cette notion du montage, "intervalle", caractérise le mouvement inhérent à la pensée créativeOur research deals with the idea of editing, "interval". Such a notion was conceived by the Russian director Sziga Vertov in the 20's in order to "reveal the image of the thoughts of the living human being". Fundamentally, the interval is establishing itself as the "time editing". It is updated on the mere surface of the images by being put in continuous interaction in order to create another ida in the "non interrupted editing". The same process of a thought in image, "interval", is to be found in the movies made by Jean-Luc Godard, in particular in his films-essays from the 70's until "History(ies) of the cinema". First, Godard's idea of "And" and "Between" seeign as an invisible link between heterogeneous things is indeed the recapitulation of Vertov' notion of an "interval" but its is translated, recreated in the reflection of a creative time. Secondly, the "fiction" in Jean-Luc Godard's cinema does not mean anything else vut the actualisation of the vital strength between the images, realised through this "time editing", "And" or "interval". And thirdly, this way of editing is also able to create the "history" of the cinema, based on our faculty of "memory" realised also in the "onon interrupted editing". Finaly, this notion of editing, "interval", characterises the inherent movement of any creative thinking
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Alich, Anna. "Alienation in Jean-Luc Godard’s Tout Va Bien (1972)." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1187058681.
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Pantenburg, Volker. "Film als Theorie Bildforschung bei Harun Farocki und Jean-Luc Godard /." Bielefeld : Transcript, 2006. http://catalog.hathitrust.org/api/volumes/oclc/65166689.html.
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Roggero, Jorge Luis. "Phénoménologie de la donation, héméneutique et religion chez Jean-Luc Marion." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL083.
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Le présent travail propose d’examiner le projet phénoménologique de Jean-Luc Marion en le caractérisant comme une herméneutique de l’amour. Il s’agit, ce faisant, de trouver au sein des possibles de la phénoménologie de la donation une réponse aux deux principales objections qu’elle a reçu : l’objection herméneutique (Greisch, Grondin et autres) et l’objection théologique (Janicaud, Benoist et autres). En suivant le modèle de la phénoménologie du jeune Heidegger, la phénoménologie de la donation opère comme une herméneutique en tant qu’elle doit déchiffrer le sens énigmatique du phénomène saturée et elle ne le fait qu’en s’appropriant philosophiquement d’une idée théologique : l’idée de l’amour. L’amour en tant que Grundstimmung fonctionne comme puissance de phénoménalisation de la donationThe present work aims to examine Marion’s phenomenological project by characterizing it as a hermeneutics of love. In doing so, I will try to find within the possibilities of the phenomenology of donation an answer to the two main objections it has received: the hermeneutic objection (Greisch, Grondin, and others) and the theological objection (Janicaud, Benoist, and others). Following the young Heidegger’s phenomenology, the phenomenology of givenness operates as a hermeneutics insofar as it must decipher the enigmatic sense of the saturated phenomenon and it does so only by philosophically appropriating a theological
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Schneider, Ulrich Johannes. "Fraktionierungen des philosophischen Diskurses." Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-149429.
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Drei fast zugleich veröffentlichte Texte französischer Philosophen zu lesen, mag zum Nachdenken über den Zusammenhang auffordern - hier soll einmal bewußt den Unterschieden nachgegangen werden, zum Erweis der Brüchigkeit des philosophischen Diskurses, der von vielen für manifest gehalten wird. Gibt es eine postmoderne, post-strukturalistische, post-analytische Philosophie? Das ist zweifelhaft. Es gibt Fraktionen. Es gibt so verschiedene Autoren wie Jean Baudrillard, JeanFrancois Lyotard und Jean-Luc Nancy.
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Oliveira, Tiago Luz de. "Diário de uma história de amor: estratégias narrativas no teatro de Jean-Luc Lagarce." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-13012016-103117/.
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Este trabalho tem o objetivo de investigar a dramaturgia do francês Jean-Luc Lagarce (1957-1995) examinando algumas características da sua escrita que chamamos de \'estratégias narrativas\' e que evidenciam o lugar central da palavra, escrita e falada, no seu teatro. Propõe-se adentrar o universo de Lagarce tomando-se como objeto de estudo elementos de alguns dos seus textos que permitem apontar tais esratégias e tentar definir como operam. A análise comparativa das duas versões do texto de Lagarce História de amor permite refletir sobre o personagem lagarceano, sua configuração e condição própria, dentro de um \'teatro da palavra\' que, por consequência, pode também ser pensado como um \'teatro da escuta\' e esculpido por um conjunto de vozes. Deseja-se, ainda, experimentar um olhar sobre a própria pesquisa, fazendo uso do diário enquanto estratégia narrativa e tentando buscar, no encontro com as diversas vozes que a atravessaram, a emergência de voz própria capaz de traduzir uma história de amor.This work has as objective to investigate the dramaturgy of Jean-Luc Lagarce (1957-1995) examining some of his writing characteristics that we call \'narrative strategies\' to show the centrality of the word, written and spoken, in his theater. It is proposed to enter the Lagarce\'s universe taking as object of study some elements of their texts that may point out such strategies and try to define how they operate. In-depth analysis of the two versions of the text Love Story allows reflect on the lagarceano character, its own configuration and condition within a \'word theater\' which therefore can also be thought of as a \'theater of listening\' and sculpted by a set of voices. We wish to also experience a glimpse into the research itself, using the diary as narrative strategy and trying to get on meeting the diverse voices that crossed the emergence of own voice able to translate a love story.
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Heikkilä, Martta. "At the limits of presentation coming into presence and its aesthetic relevance in Jean-Luc Nancy's philosophy." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/989360741/04.
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Fox, Albertine. "Acoustic Spectatorship : The 1980s Film and Video Work of Jean-Luc Godard." Thesis, Royal Holloway, University of London, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.694227.
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This thesis focuses on some of Godard’s most complex, innovative and daring experiments in sound design in a selection of key films and videos made predominantly during the 1980s. It charts Godard’s evolving experiments with live, electronic and pre-existing music, as well as his manipulation of voice, texture, spatiality and speed alteration. It aims to advance a theory of ‘acoustic spectatorship’, a term I have coined to establish and convey the depth and significance of the spectator’s experience of film through sound and the sense of hearing. The thesis develops an approach to Godard’s films from the perspective of sonic art, arguing that an emphasis on the active process of listening enables the spectator to perceive more fully the multileveled and multifaceted experiences that the chosen films and videos provide. It foregrounds Godard’s extraordinary sensibility to sound and his persistent efforts, which often go unheeded, to challenge the ingrained assumption that film is primarily a visual medium. The thesis will explore the expressivity of acoustic phenomena in a range of commercial feature films, video scenarios, short films and videos, along with a CD soundtrack release, engaging with Godard’s approach to film history, his conception of projection and his theory of montage. The close analysis performed in each chapter will be supported by a plural and interdisciplinary methodology. It draws on different intellectual and artistic disciplines, including musicology, sound theory, film theory, as well as writings by composers, writers, philosophers and poets, underpinned by the crucial discoveries of sound engineer Pierre Schaeffer, especially his fundamental concept of the acousmatic condition. By prioritizing the acoustic experience of the film spectator, this thesis constructs a new means of perceiving Godard’s 1980s film work, which, in turn, calls for a reassessment and redefinition of the very notion of spectatorship itself.
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Birks, Chelsea. "Violent subjectivity : new extremist cinema and the philosophy of Jean-Luc Nancy." Thesis, University of British Columbia, 2013. http://hdl.handle.net/2429/44806.
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Non-simulated penetrative sex, graphic sexual violence, gore, cannibalism, murder, incest, and necrophilia: excessive violence and explicit sexuality characterize European new extremism, a contemporary arthouse film movement that challenges audiences through its visceral interrogations of the body. Affect and embodiment are at the heart of the discourse concerning new extremism. Although approaching the movement from different frameworks, scholars agree that these films are transgressive in terms of style as well as content: they foreground the ways that cinema is able to impact the body, rather than the mind, of the spectator, and in doing so challenge traditional notions of spectatorship. This thesis examines new extremism in light of the work of contemporary French philosopher Jean-Luc Nancy, whose ontology of the subject provides a fresh perspective on the confrontational and occasionally traumatic cinematic experiences offered by these films. Nancy is a philosopher of limits: he argues that metaphysics has reached an impasse, and the way forward is to figure these limits in order to gesture towards what is beyond our ability to signify. He characterizes this excess in corporeal terms, arguing that there is always an excess in our material experiences that cannot be constrained to a system of thought. Using films such as Claire Denis’s Trouble Every Day (2001), Gaspar Noé’s Enter the Void (2009), Philippe Grandrieux’s Sombre (1998), and Marina de Van’s In My Skin (2002), I explore the ways that new extremism illustrates and exemplifies Nancy’s argument that the body is in excess of our understanding. The subject for Nancy constitutes itself, and in so doing divides itself from its body: this results in paradoxes and contradictions that are inexorable to our metaphysical thinking. But these paradoxes are suspended over the groundless non-essence of reality, a reality that we make images of through art and language. Nancy argues that art and existence are predicated on violence and cruelty, forces that he characterizes ambivalently as giving rise to the possibility of both abhorrent brutality and radical creation. New extremism touches on this ambivalence, using its central interrogation of the body to expose what is at the limit of our understanding.
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Levett, Nicholas Charles. "Finitude, singularity, community : an introduction to the thought of Jean-Luc Nancy." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271887.
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Sorlin, Philippe-Emmanuel. "Sur les histoire(s) du cinéma (1973-2004) de Jean-Luc Godard." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080143/document.
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Cette thèse, qui a pour objet dʼétude un seul film, celui de Jean-Luc Godard intitulé : HISTOIRE(S) DU CINÉMA, se compose de deux mouvements spéculaires distincts : avant le film et après le film.La première partie de notre thèse tente ainsi de produire la généalogie du film, c'est-à-dire à établir les divers et nombreux projets qui ont abouti aux multiples versions, qui ont été diffusées de façon parcellaires. La date que nous avons fait figurer dans notre titre correspond au plus large encadrement possible, correspondant entre son premier projet d'écriture : "Moi, Je" en 1973 et la date de sortie de la toute dernière version du film : "Moments choisis des Histoire(s) du cinéma" en 2004.Ensuite dans une seconde partie, notre réflexion a visé à interroger sur deux sortes d'éléments antérieurs qui ont donc prédéterminé a vouloir faire ce film. le premier étant Godard lui-même et les traces quʼil a laissé avant le film et le second domaine concerne les personnes autour de lui qui ont été des figures tutélaires : Langlois, Malraux et Bazin. La troisième partie entame l'aspect qu'on a nommé après le film. Il consiste à produire une critique du film en conduisant d'abord notre propre subjectivité à opérer un plan par plan précis des quinze premières séquences, relevant le pari qu'elle nous fournit une gamme esthétique relativement représentative du film. Ensuite nous avons répertorié un grand nombre de critiques qui ont été faites (jusqu'en 2008) car cela nous semble révélateur des types de discours quʼon tient devant le film, révélant cet objet filmique dans le monde cinéma. D'une certaine vue nous avons établi une pré-bibliographie du film par laquelle cette étude se termineThis thesis, have the object of a lonely film, that Jean-Luc Godard titled: Histoire(s) du Cinema (meaning History(ies) of Cinema) It consists of two distinct specular studies movements: before the film and after the film. The first part of our thesis try to produce a genealogy of this film. So by establishing the various and numerous projects that have resulted in a multiple versions, which have been disseminated in a parcel of time. The date that we have shown in our title corresponds to the widest possible framing, corresponding between his first writing project: « Moi, Je » (meaning Me, Myself & I) in 1973 and the releasing date of his latest version of the movie: « MOMENTS CHOISIS D’HISTOIRE(S) DU CINÉMA » (meaning Selected Moments of History(s) of Cinema "in 2004. Then in a second part, our reflection aimed at questioning two kinds of earlier elements which therefore predetermined to want to make this movie. The first being Godard himself and the traces he left before the film and the second domain concerns some people around him who were the Guardian figures: Langlois, Malraux and Bazin.The third part begins the aspect that was named after the film. It consists in producing a critique of the movie by first leading our own subjectivity to operate a plan by precise plan of the first fifteen sequences, raising the bet that it provides us with a fairly representative aesthetic range of the film. Then we have listed a lot of criticisms that have been made (up to 2008) because it seems indicative of the types of speeches that we hold in front of the film, revealing this cinematic object in the world of cinema. From a certain view we have established a pre-bibliography of the film by which this study ends
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Maria, João Paulo Miranda. "A influência do Grupo Dziga Vertov no cinema de Jean-Luc Godard." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284944.
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Orientador: Etienne Ghislain SamainDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O trabalho investiga a transformação estética no cinema de Jean-Luc Godard, analisando antes, durante e pós o grupo Dziga Vertov, encabeçado por Jean-Luc Godard e estudantes maoístas. A mudança estética de Godard é notada por muitos, contudo há escassez de estudos detalhados sobre a influência dos anos do Grupo Dziga Vertov. Portanto, este trabalho enfoca as principais características antes do grupo, relacionando-as às mudanças de posicionamento ocorridas durante o período de atuação do Dziga Vertov. Descreve, ainda, como estas alterações resultaram no cinema atual desenvolvido pelo cineasta, que aborda com maior profundidade novas ligações entre as imagens em movimento. Sob esse aspecto, o cineasta se coloca como um dos únicos da área que alcança tal façanha
Abstract: This work investigates the aesthetic transformation in Jean-Luc Godard' Movies, analyzing before, during and post the Dziga Vertov Group, headed by Jean-Luc Godard and maoist students. Change aesthetics of Godard is noticed by many, but there is a shortage of detailed studies on the influence of Dziga Vertov group' years. Therefore, this work focuses on the main characteristics before Group, relating to changes of positioning occurring during the period of Dziga Vertov' action. Describes, yet, how these changes have resulted in current cinema developed by filmmaker, which deals with greater depth new connections between the moving images. In this sense, the filmmaker is the unique in the area that reaches such a feat
Mestrado
Mestre em Multimeios
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Oliveira, Cícero Alberto de Andrade. "Brechas na eternidade: tempo e repetição no teatro de Jean-Luc Lagarce." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-18062012-101102/.
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A repetição, diria David Hume, nada muda no objeto que se repete em si, mas altera algo no espírito que o contempla: ela desencadeia uma diferença de percepção naquele que observa. Os textos do dramaturgo francês Jean-Luc Lagarce (1957-1995) são marcados pelo retorno sistemático de palavras, frases, expressões, personagens e temas, a ponto de a crítica recente que se articula em torno dele ver nessa característica uma espécie de ethos lagarciano. A análise pormenorizada de dois textos do autor Carthage, encore (escrito no início de sua carreira) e Jétais dans ma maison et j\'attendais que la pluie vienne (no fim de sua vida) revela um aspecto interessante: neles a repetição parece funcionar como uma agulha, tecendo a obra, desencadeando uma outra percepção da temporalidade na qual passado, presente e futuro vão gradativamente diluindo-se, condensando-se: suspende-se a apreensão da passagem do tempo e, simultaneamente, abre-se uma brecha na eternidade. O presente trabalho propõe-se a entender o uso da repetição nestes dois textos percebendo-a como um elemento performativo (de acordo com os trabalhos sobre teatro performativo realizados por Josette Féral, e sobre performance, de Paul Zumthor e Renato Cohen), isto é, cujo emprego numa sentença cria uma força ilocucionária capaz de produzir um efeito de suspensão temporal, alterando a percepção do público (leitor ou espectador).Repetition, according to David Hume, changes nothing in the object that is repeated, but modifies something in the spirit which beholds it: it unleashes a difference in perception in the observer. The texts of the French playwright Jean-Luc Lagarce (1957-1995) are marked by the systematic return of words, phrases, expressions, characters and themes, to the point that the recent criticism that revolves around him sees in this characteristic a kind of Lagarcian ethos. The detailed analysis of two texts of the author - Carthage, encore (written in the beginning of his career) and Jétais dans ma maison et jattendais que la pluie vienne (in the end of his life) reveals an interesting aspect: in them repetition works as a needle, weaving his work, unleashing another perception of the passing of time, in which past, present and future gradually thin out, becoming compact: the apprehension of the passing of time is suspended and, simultaneously, a gap to eternity is open. The present paper proposes to understand the use of repetition in these two texts as a performative element, that is, whose use in a sentence creates an illocutionary strength able to produce an effect of time suspension, modifying the perception of the public (reader or spectator).
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Knight, Taylor. "The intimate and the impossible : analogy without similitude in Jean-Luc Marion." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f5c54e3e-2eab-4c77-a40e-33f719cc0e93.
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In this thesis I argue that the constructive philosophical project of Jean-Luc Marion offers a new way of thinking the analogical relation between God and the human person. I particularly examine his concept of the saturated phenomenon in order to show how we might construct the relation between incommensurable terms (God and the human being) without requiring a similitude to mediate the relation. I argue that for Marion God's transcendence is understood as what he describes as "impossibility" and that his immanence is understood through Augustine's interior intimo meo, the God more intimate to me than I am too myself. I demonstrate that radical immanence is God's transcendence insofar as the event of the impossible precedes the being-possibility correlation of metaphysics. Thus I develop the relation of God and the human being as a coincidence of opposites more than an analogy: the infinite distance of radical alterity becomes a belonging together of the human being with God. As a consequence of this analysis, I develop a new concept of relation, which I call "hyperbolic relation." If similitude always threatens to abolish the alterity of the terms of the relation (as was Barth's objection to the analogia entis), in this case, alterity is maintained not by removing relation but by increasing it to the level of hyperbole. Like Marion's God who is "without Being," this analogy is "without similitude" by means of excess. The concept of God that I develop (impossible as intimate and vice versa) will consequently lead to a deepening of the concept of the human person through the transfiguration that saturation precipitates within the concept of relation.
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Ferreira, Veruza de Morais. "Entre cinema e pintura: o hibridismo no cinema de Jean-Luc Godard." PROGRAMA DE P?S-GRADUA??O EM ESTUDOS DA M?DIA, 2018. https://repositorio.ufrn.br/jspui/handle/123456789/25002.
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Essa disserta??o investiga como se d? a forma simb?lica atuante no hibridismo est?tico presente nos filmes de Jean-Luc Godard, especificamente em O Dem?nio das Onze Horas (Pierrot Le Fou, 1965), Paix?o (Passion, 1982) e Adeus ? Linguagem (Adieu Au Langage, 2014), no que toca a rela??o entre cinema e pintura. Duas quest?es centrais nortearam o foco desta investiga??o: como se d? a constru??o simb?lica da maneira pict?rica de Godard? Os elementos pict?ricos presentes na narrativa f?lmica se prop?em realmente a construir significados e transmitir sensa??es reais como as do movimento impressionista nas pinturas? A rela??o entre cinema e pintura na obra de Godard ? trabalhada aqui no contexto de promover um di?logo entre as artes e a comunica??o. Partindo do pressuposto de que filmes s?o objetos art?sticos que comunicam por meio de elementos simb?licos, este trabalho busca identificar a forma simb?lica de Godard dentro de uma linguagem h?brida por meio da an?lise de elementos como a cor e a luz.
This research aimed to expand the existing studies regarding the relationship between cinema and painting, investigating how the symbolic form acting in the hybridism present in the films of French film director Jean-Luc Godard. The dissertation is developed in two chapters. The first chapter, entitled "From pictorial to cinematographic", focuses on cinema and its transformations concerning the ways to represent the "real", emphasizing the French New Wave and Godard?s cinema. In the second chapter, entitled ?Cinema, painting and hybrid language in Jean-Luc Godard?, after defining the concept of hybridism and its applicability, regarding the use of color, to the aspects of symbolic, hybrid and intertextual representation in the cinema, the films Pierrot Le Fou (1965), Passion (1982) e Goodbye to Language (2014) are analyzed in light of Vanoye and Goliot-L?t? (1994), Penafria (2009) and Rose (2003). Throughout the text, the relationship between cinema and painting in Godard's work is carried out with a view to promoting a dialogue between art and communication. Two questions guided the investigation: how does the symbolic construction of Godard's pictorial way take place? Do the pictorial elements present in the filmic narrative really propose to construct meanings and transmit real sensations like those of the Impressionist movement in the paintings? In the understanding achieved by the research, it is affirmed that symbolism and poetics are inherent in cinema and painting in the film production of Jean-Luc Godard.
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Vega-Centeno, Máximo. "La dynamique economique de l’innovation de Mario Amendola y Jean-Luc Gaffard." Economía, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/117895.
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Gómez, Urra Sebastián. "Ecce Corpus: La exposición del cuerpo, de Nietzsche a Jean-Luc Nancy." Tesis, Universidad de Chile, 2008. http://repositorio.uchile.cl/handle/2250/109763.
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Kim, Seong-Tae. "Le cinéma de Jean-Luc Godard : l'image et l'histoire : une étude chronologique." Paris 3, 1999. http://www.theses.fr/1999PA030081.
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Le propos de cette etude est de comprendre le travail integral de jean-luc godard des le debut jusqu'a aujourd'hui (+ for ever mozart ;, 1996). Face a son monde, nous essayons de cerner une coherence. C'est son projet qui fait cette coherence, projet de sauver le cinema, la vie. Ce projet se deroule en deux periodes dont chacune revele sa propre facon. Dans la premiere periode il s'interesse a la recherche de l'image de la realite, l'image-espace. C'est pourquoi, mous appelons cette periode + le temps de l'image ; ou il s'interroge sur la substance de l'image. La, il s'attache a trouver l'image-espace et naturellement son travail devient stylise autour de cette recherche ; certain agencement se construit autour de cette recherche et notre etude est centre a cerner cet agencement. Mais, en approchant de la realite, godard rencontre l'ideologie qui fait cette realite et il trouve son role dans la lutte contre cette ideologie. Il devient combattant et son cinema est reexamine par lui-meme. Il s'introduit ainsi dans la deuxieme periode ou il s'interesse a la puissance de l'image qui nous permet de voir la verite, de trouver l'histoire. Il renonce a la recherche de l'image-espace, mais s'attache a rechercher l'image-histoire. Le cinema se presente comme une arme qui nous permet de voir autrement l'histoire et de cerner la vie de la naissance a la mort. Ses travaux nous presentent un autre agencement ou le style n'est pas cherche, mais toute l'histoire est examinee. Dans l'etude de cette periode, nous suivrons la derniere etape de sauver le cinema qui recherche la puissance de l'image de l'histoire. C'est pour cela que nous nommons cette periode + le temps de l'histoireThe purpose of this study is to understand the entire work of jean-luc godard from the beginning to today ("for ever mozart", 1996). In the face of its world, we try to surround a coherence. That is his project that makes this coherence, a project to save the cinema. This project unfolds in two stages each of which has revealed his own manner to save the cinema, therefore, following these two stages, we divide his works in two periods. In the first period his interest is in search of image of the reality, the image-space. So, we call this period + the time of the image ; where he tries to find the substance of the image, the cinema. There, his work becomes stylized around this research; certain arrangement built in this research and our study is centered to surround this arrangement. However, by approaching the reality, godard meets the ideology that makes this reality and he has found his role in the struggle against this ideology. He \ becomes militant, combatant and his cinema is re-examined by himself. He enters thus in the second period where he is interested in the power of image that allows us to see, to find the other history. It renounces in search of the imagespace, but he tries to research the image-history. The cinema is found as an arm that allows us to see otherwise the history and to surround the life from the birth to the death. Naturally, in his works, we find an other arrangement where the style does not search, but all history is examined. In the study of this period, we will follow the last stage to save the cinema that researches the power of the image that allow us to see, reflect on the history. That is in order that we appoint this period + the time of the history
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Cannon, Stephen. "Making political films politically? : the film making practice of Jean-Luc Godard." Thesis, Aston University, 1993. http://publications.aston.ac.uk/10301/.
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This thesis attempts to re-examine the work of Jean-Luc Godard and in particular the claims which have been made for it as the starting-point for a revolutionary cinema. This re-examination involves, firstly, a critical summary of the development of Structuralist thinking, from its origins in linguistics, with Saussure, through to its influence on Marxism, with Althusser. It is this `Structural Marxism' which prepared the ground for a view of Godard as a revolutionary film-maker so its influences on film theory in the decade after 1968 is traced in journals such as Cahiers du Cinéa and Screen and in the work of their editors and contributors. Godard's relationship with such theories was a complex one and some of the cross-breeding is revealed in a brief account of his own ideas about his film-making. More important, however is his practice as a committed `political' film-maker between 1968 and 1972 which is analysed in terms of the responses it makes to the cultural opportunities offered in the period after the revolutionary situation of May 1968. The severe problems revealed by that analysis may be partially resolved in Godard's greatest `political' achievement Tout va bien, but a comparative analysis proves that in earlier `a-political' films such as Vivre sa vie, he was creating more meaningful and perhaps even more revolutionary art, whose formal experimentation is more organically linked to its subject and whose ability to communicate ideas far oustrips the later work. In conclusion some indications are suggested of a more fruitful basis for Marxist theories of art than Structural variants, seeking a non-formalist approach in the work of Marx, of Trotsky, of Brecht and Luk`acs.
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Ellison, Matthew Samuel. "Figuring being-in-common : Jean-Luc Nancy and the 'retrait du politique'." Thesis, University College London (University of London), 2018. http://discovery.ucl.ac.uk/10048510/.
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This thesis offers a study of the question of the figure in the political writings of Jean-Luc Nancy. For Nancy the figure is the aesthetic means by which philosophy – and in the modern age, the totalising impulse of the subject – has sought to realise itself in and as politics. At the same time, Nancy argues that the contemporary polarities of attachment to and suspicion of figural instances of the common – identities, images, symbols, representations – operate within one and the same way of conceiving figuration. The task of philosophy is instead to articulate the ontological demand of being-in-common that Nancy claims is brought to light by the retrait du politique. Many critics have charged Nancy with privileging the fact of co-existence, which exposes politics to a radical indeterminacy, to such an extent that in his work politics ultimately disappears altogether. While certain commentators have more recently taken issue with this reading and insisted on the necessity of political figuration in Nancy’s thought, what remains unclear in these accounts is how such a figuration is to be thought. This question remains obscure and underdeveloped in Nancy’s own work too, perhaps for good reason, since he is wary of lapsing into the philosophical gesture of proposing figures that represent the common as a whole. Nevertheless, as I show, Nancy’s broader work contains resources to develop a minimal conception of the figuration of being-in-common, such that what is figured is the existential retrait by which politics is possible in the first place and which resists the production of a common being. If, as Nancy believes, the era of the effectuation of philosophy as the political (figure) is decisively over, for reasons both practical and theoretical, then such a thinking of figuration might constitute a way of reconceiving the relation between philosophy and politics.
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Alina, Kornienko. "Le théâtre de Jean-Luc Lagarce : les infinis locataires de la parole." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080010.
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La thèse actuelle présente une étude de l’œuvre complète du dramaturge, écrivain, metteur en scène et acteur français contemporain Jean-Luc Lagarce (1957-1995) dont la création dramatique a été pleinement reconnue après son décès et la découverte de sa dernière pièce Le Pays lointain qui a tout de suite connu un énorme succès critique et a été plusieurs fois mise en scène. Organisée en quatre chapitres majeurs, la présente recherche rencontre nécessairement les préoccupations des spécialistes du langage et plus particulièrement de la linguistique conversationnelle et de l'approche pragmatique. Ce regard croisé permet une réflexion sur la nouvelle poétique dramatique et littéraire de Jean-Luc Lagarce centrée sur la complexité inhérente à la réalisation empirique de la parole, au lieu de se réduire à un simple fonctionnement des interactions verbales attestées dans la société contemporaine. L’œuvre de Jean-Luc Lagarce se présente ainsi comme la résultante dramatique, stylistique et littéraire spécifique de ce théâtre discursif qu’est le « théâtre du langage »The present thesis presents a study of the complete work of contemporary French playwright, writer, director and actor Jean-Luc Lagarce (1957-1995) whose dramatic creation was fully recognized after his death and the discovery of his last play The Far Country, which has immediately been enormously critical and has been staged several times. Organized into four major chapters, this research necessarily meets the concerns of language specialists and more particularly of conversational linguistics and the pragmatic approach. This cross-look allows a reflection on Jean-Luc Lagarce's new dramatic and literary poetics centered on the complexity inherent in the empirical realization of speech, instead of being reduced to a mere functioning of verbal interactions attested in contemporary society. The work of Jean-Luc Lagarce thus appears as the dramatic, stylistic and literary resultant specific to this discursive theater that is the "theater of language"
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Alina, Kornienko. "Le théâtre de Jean-Luc Lagarce : les infinis locataires de la parole." Electronic Thesis or Diss., Paris 8, 2018. http://www.theses.fr/2018PA080010.
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La thèse actuelle présente une étude de l’œuvre complète du dramaturge, écrivain, metteur en scène et acteur français contemporain Jean-Luc Lagarce (1957-1995) dont la création dramatique a été pleinement reconnue après son décès et la découverte de sa dernière pièce Le Pays lointain qui a tout de suite connu un énorme succès critique et a été plusieurs fois mise en scène. Organisée en quatre chapitres majeurs, la présente recherche rencontre nécessairement les préoccupations des spécialistes du langage et plus particulièrement de la linguistique conversationnelle et de l'approche pragmatique. Ce regard croisé permet une réflexion sur la nouvelle poétique dramatique et littéraire de Jean-Luc Lagarce centrée sur la complexité inhérente à la réalisation empirique de la parole, au lieu de se réduire à un simple fonctionnement des interactions verbales attestées dans la société contemporaine. L’œuvre de Jean-Luc Lagarce se présente ainsi comme la résultante dramatique, stylistique et littéraire spécifique de ce théâtre discursif qu’est le « théâtre du langage »The present thesis presents a study of the complete work of contemporary French playwright, writer, director and actor Jean-Luc Lagarce (1957-1995) whose dramatic creation was fully recognized after his death and the discovery of his last play The Far Country, which has immediately been enormously critical and has been staged several times. Organized into four major chapters, this research necessarily meets the concerns of language specialists and more particularly of conversational linguistics and the pragmatic approach. This cross-look allows a reflection on Jean-Luc Lagarce's new dramatic and literary poetics centered on the complexity inherent in the empirical realization of speech, instead of being reduced to a mere functioning of verbal interactions attested in contemporary society. The work of Jean-Luc Lagarce thus appears as the dramatic, stylistic and literary resultant specific to this discursive theater that is the "theater of language"
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Mahjoub, Wafa. "Écriture diaristique, poétique et dramatique dans l'ɶuvre de Jean-Luc Lagarce : hybridité générique." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2001.
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La thèse est consacrée à l’Écriture diaristique, poétique et dramatique de Jean-Luc Lagarce et à l’hybridité générique qui la régit. Elle tente d’apporter un éclairage original sur les écritures variées du Journal et de certaines pièces de théâtre du dramaturge. L’écrivain met, en effet, en évidence dans son travail une esthétique de l’échec. Il tente le pari d’une poétique du décousu. En naviguant entre les genres, le journal personnel fait écho aux pièces tandis que les œuvres dramatiques puisent, de leur côté, leur essence dans une actualité personnelle et historique. Écrivain de son temps, le dramaturge représente des personnages dans leur milieu quotidien, précipitant le lecteur au cœur de l’intime et tressant, dans une écriture lyrique toutefois dénuée de pathos, des liens entre le particulier et l’universel, l’intime et le collectif. Le tragique qu’il insuffle à son écriture est lié à une tragédie du quotidien, ensemble de blessures vives véhiculées par un passé houleux et un présent tissé de souffrances et d’incompréhension. L’absurdité de l’existence conditionne une « action-état », presque passive, comme si les personnages enduraient une véritable « passion », qui freine l’action dramatique. Dès lors, le mouvement constant de la parole se substitue à l’action. Voix, images, mouvements, l’écriture lagarcienne se révèle alors à la fois poétique et dramatique, mettant l’hybridité au cœur de l’esthétique. Théâtre psychologique, psychanalytique et sociologique de la parole, il est aussi tragédie et poésie précaire du quotidien. Il est, finalement, tout ce qui constitue l’individu même : complexité, pluralité et sensibilité de l’être-au mondeThe thesis is devoted to the diaristic, poetic and dramatic writing of Jean-Luc Lagarce and to its generic hybridity. It tries to bring an original light on the playwright various writings of the Journal and some other plays.The writer puts in evidence in his work an aesthetics of failure. He tries to bet on a poetics of desultory. Navigating between genres, the diary echoes the pieces while dramatic works draw their essence in personal and historical actuality.Writer of his time, the playwright represents characters in their daily environment driving the reader into the heart of the intimate. In a lyrical writing, he braided links between the particular and the universal, the intimate and the collective.The tragedy he infuses into his writing is linked to a tragedy of everyday life, a set of vivid injuries conveyed by a stormy past and a present made of pain and misunderstanding.The absurdity of existence determines an “action-state”, almost passive, as if the characters endured a real "passion", which slows down the dramatic action. From then on, the constant movement of speech replaces action. Voice, images, movements, the Lagarcian writing is then both poetic and dramatic, putting hybridity at the heart of aesthetics.Psychological, psychoanalytical and sociological theater of speech, it also represents tragedy and precarious poetry of everyday life.It is, ultimately, all that constitutes the individual itself: complexity, plurality and sensitivity of being-to the world
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Badin, Alessandro. "Ecritures du Sida, écritures de l'intime : Hervé Guibert, Cyril Collard, Jean-Luc Lagarce." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSES004.
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Cette thèse examine la littérature du sida en France et la présence des écritures intimes au sein de cette production littéraire qui apparaît au cours des années 1980 parallèlement à l’émergence globale de la pandémie. La rencontre entre l’écriture de l’intime et l’écriture autofictionnelle donne lieu à des formes hybrides, qui sont l’expression d’un micro-pouvoir, essentiel à la parole, le seul dont le malade dispose pour dire la condition inédite qui est la sienne. Le corpus principal analyse l’œuvre de Cyril Collard, de Hervé Guibert et de Jean-Luc LagarceThe thesis examines AIDS-related literature in France with a particular focus on the writing of the self'. The meeting between diary an autofictional writing generates hybrid forms, which are the expression of a micropower, essential to language, that is the only way for the writes to express their condition of dying young men. Our main corpus includes texts by Cyril Collard, Hervé Guibert and Jean-Luc Lagarce
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Norton, Glen W. "The gift reciprocated, critical theory and Jean-Luc Godard's philosophy of the image." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape3/PQDD_0019/MQ56195.pdf.
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Aldridge, Nicholas Iain. "The arrival of mimesis and methexis in the enquiries of Jean-Luc Nancy." Thesis, Manchester Metropolitan University, 2014. http://e-space.mmu.ac.uk/324986/.
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This thesis advances from the conjecture that Jean-Luc Nancy's work demands to be interpreted according to the logic it describes. For Nancy unity is irreducible from exposure, because a distinct entity cannot be abstracted from its boundary conditions. It is my contention, therefore, that Nancy's work must be treated accordingly, as a syntactic unity that can only be understood in its exposure to other syntactic unities. Two interrelated claims are therefore made. First: that the current literature on Nancy’s work fails to identify that an inheritance from Plato and from Greek philosophy more widely is a key to the specificity of Nancy’s thinking, and second that only by retrieving this connection can Nancy’s contribution to contemporary ontological debates be made out. The thesis attempts to take a preliminary step in this direction by positioning Nancy’s work within a contemporary philosophical scene definitively characterised by its exposure to Ancient Greek philosophy. This investigation places a conceptual focus on the Platonic terms μίμησις and μέθεξις, terms which bear a rich history of implications in philosophies of immanence, transcendence, production, and art. I argue that in showing that there is never μίμησις without μέθεξις, and vice versa, Nancy shows that there is never immanence without transcendence, and vice versa. Furthermore, I argue that this mutuality places sensibility at the core of Nancy’s thought, and determines the artwork to be a privileged site at which the reciprocity of immanence and transcendence is presented. In this much, I suggest Nancy’s work offers an alternative to the demand for some mutually exclusive decision between immanence and transcendence.
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Charpentier, Frank. "Jean-Luc Godard : les films des "années 80" à la lumière de l'analogie." Paris 7, 1993. http://www.theses.fr/1993PA070055.
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Apres une longue periode de recherche en video, jean-luc godard revient au cinema en 1980. Si l'on en croit son affirmat ion, "l'analogie est le medium de l'art". Explorant cette notion complexe, d'abord dans le champ de l'analyse semiologiq ue de l'image puis jusque dans ses soubassements onto-theologiques, nous montrons comment godard utilise l'analogie, a l a fois comme outil hermeneutique et comme creation poetique pour construire, film apres film, une oeuvre nouvelle, unifi ee et ouverte, dont les differents volets organisent son rapport au mondeIn 1980, after a long period of video experimentation, jean-luc godard comes back to the cinema. To him, "analogy is the medium of art". First, we will explore this complex notion in the semiotic field of film studies, then we will trace in to its onto-theological origins. We will show how jean-luc godard uses the concept of analogy as a way of research and creation, and how he builds a new work, unified and open, whose every film is a peculiar expression of his relationship with the world
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Schleicher, Harald. "Film-Reflexionen : autothematische Filme von Wim Wenders, Jean-Luc Godard und Federico Fellini /." Tübingen : M. Niemeyer, 1991. http://catalogue.bnf.fr/ark:/12148/cb357437462.
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Coutinho, Mario Alves. "Escrever com a câmera: cinema e literatura na obra de Jean-Luc Godard." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-76SPF7.
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Esta tese pretende mostrar que, ao produzir sua obra cinematográfica, Jean-Luc Godard realizou, concomitantemente, uma obra literária. Para isso, foram estudadas teoricamente três diferentes modulações do literário no cinema godardiano: a adaptação como tradução intersemiótica, a literatura como intertexto, citação, plágio, dialogismo, polifonia; o poético e Arthur Rimbaud. Para cada uma dessas modulações, um filme foi analisado, à luz do referencial teórico pertinente. Desta maneira, analisou-se O desprezo como uma tradução intersemiótica de vários textos literários(o romance homônimo de Alberto Moravia e a Odisséia de Homero, principalmente); Alphaville como o exemplo de intertextualidade, polifonia, citação; o demônio das onze coisas que eu sei dela é abordado sob a perspectiva do ensaísmo literário e cinematográfico. Foi demonstrado que muitos dos filmes de Jean-Luc Godard ( ou algumas seqüências de certas fitas) poderiam ser enquadrados numa dessas modulações, e que alguns deles poderiam até mesmo ser descritos como pertencentes a mais de uma categoria estudada. Ficou evidenciado, também, que a intertextualidade literária na sua obra transformou-se num método orgânico e que o diretor utilizou os recursos cinematográficos (enquadramentos, luz, montagem) para filmar palavras, criar paronomásias, anagramas, usando cinematograficamente o som para jogar e brincar com as palavras. Em resumo, o trabalho procurou mostrar que Godard, concretamente, "escreveu com a câmera".
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Raimond, Sophie. "Les enjeux esthétiques et politiques des métamorphoses de l'œuvre de Jean-Luc Godard." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2019/document.
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Cette recherche est située aux frontières de l’Esthétique et Sciences de l’art et des Sciences de l’information et de la communication. Notre hypothèse de départ réside dans la contribution de l’œuvre de Godard à une recherche pluridisciplinaire. Cinéaste, critique, théoricien, vidéaste, archiviste et téléaste, Jean-Luc Godard est l’auteur d’une œuvre métamorphique qui redéfinit radicalement les frontières du cinéma. Condamnant l’ambition hégémonique des technologies actuelles, tout en les absorbant dans une pratique cinématographique expérimentale, Godard développe une pensée en actes filmiques qui n’a pas rompu avec l’actualité. Le montage, au fondement de la création de Godard comme de ses prises de paroles, aménage un espace où la rencontre contrariée de signes discursifs, visuels et sonores, issus aussi bien du vaste champ de la culture littéraire, philosophique, musicale, cinématographique, artistique, classique et moderne que de la production artefactuelle contemporaine, permet de rompre avec nos habitudes spectatorielles. Le montage de Godard interroge le devenir de la communication par l’image et la parole et offre une issue esthétique au règne du visuel. Notre développement s’appuie sur des analyses de discours et de l’image, avec une attention soutenue aux métrages produits par Godard en parallèle et à la suite de la conception des Histoire(s) du cinéma (1988-1998). De manière affirmée depuis les années 1990, la pratique cinématographique de Godard s’est convertie à une écriture essayiste et multimédiatique. Le principe du réemploi étant au fondement même des métrages de Godard, nous avons développé une analyse des fragments et citations du cinéaste, selon une approche comparatiste, qui nous a permis de croiser, dans une ouverture pluridisciplinaire, plusieurs théories de l’image, de l’œuvre d’art et du langage, comme autant de points de vue critiques pour penser les potentialités de communication de la création audiovisuelle. Godard, acteur paradoxal de la fin du cinéma, redéfinit le devoir-être du cinéma dont il s’agit de devoir faire les leçons théoriques, dans un court-circuitage des premières théories du cinéma (Epstein, Faure, de la phénoménologie merleaupontienne et de la pensée deleuzienne. Traditionnellement perçue comme consubstantielle au cinéma, la représentation du réel procède d’une dialectique du visible et de l’invisible, à l’œuvre dans les créations de Godard qui métamorphosent les enjeux esthétiques et politiques de l’image en mouvement. Dans la filiation des penseurs de l’École de Francfort (Adorno, Benjamin) et du poststructuralisme français (Baudrillard, Deleuze, Derrida, Foucault), les propositions esthétiques de Godard déploient une pensée qui redéfinit les conditions de l’émancipation politique et spectatorielle. Le cinéaste amène le spectateur-citoyen à une mise en cause radicale du semblant démocratique et lui propose, dans l’idée même de création et d’amour qui la génère, la possibilité de révéler les contours cachés du réel et de le modifier. Sarajevo, sujet central du cinéma tardif de Godard, permet d’ouvrir notre argumentaire aux possibilités d’action d’un montage éthique et politique pour dénoncer les formes plurielles d’aliénation qui s’établissent dans les politiques de disparition, la médiatisation des conflits et une communication qui agit à plusieurs niveaux. L’ambition de notre démonstration réside dans les possibilités de révolution contenues dans une forme que Godard appelle cinéma ou montage : un art de l’immaîtrisé et une force dissensuelle qui permettent d’interroger les relations entre esthétique et politique, dans le cadre d’une mutation généralisée des signes qui affecte le devenir anthropologique, économique et symbolique des sociétésThis research is at the intersection of aesthetics, arts, and information and communication sciences. My initial hypothesis was based on the contribution of Godard's work to multidisciplinary research. As a filmmaker, critic, theoretician, video producer, archivist and television director, Jean-Luc Godard is the author of a metamorphic work, which radically redefined the boundaries of cinema. Godard challenged the hegemonic ambition of current technologies and, at the same time, integrated them in an experimental film practice. Thus, he has developed a pensée en actes filmiques, without breaking with current times. The montage at the foundation of Godard's creation, and also expressed in his discourses, has created a space in which the contrary confluence of discursive, visual and acoustic signs – stemming as much from the vast field of literary, philosophical, musical, cinematographic, classical and modern artistic culture as from contemporary artefact production – and leads the viewer to break with his habits. Godard’s montage has questioned the future of communication by image and word, and has offered an aesthetic concept to the domination of the visual. My thesis was based on discourse and image analysis, paying a close attention to the films produced by Godard during and following the conception of Histoire(s) du cinema (1988-1998). Since the 1990s, Godard's film practice has become that of an essayist and a writer of multimedia. The principle of re-use has been at the very foundation of Godard's films. By exploiting this, I analysed the filmmaker's fragments and quotes. I used a comparative and multidisciplinary approach which allowed me to embrace several picture, artwork and language theories, all of them being critical points of view to think about the potentials of communicating by audiovisual creation. Godard, as a paradoxical player of the end of cinema, redefined the film's devoir-être, i.e. an imperative short-circuiting of early film theory (Epstein, Faure), of Merleau-Ponty’s phenomenology and of Deleuze’s philosophy. Traditionally perceived as an inherent element of cinema, the representation of reality proceeded from a dialectic of the visible and the invisible, at work in the creations of Godard which has metamorphosed the aesthetic and political issues of the moving image. In the wake of the Frankfurt School (Adorno, Benjamin) and of French poststructuralism (Baudrillard, Deleuze, Derrida, Foucault), Godard's aesthetic propositions have deployed a thought that redefined the conditions of political and spectatorial emancipation. The filmmaker has encouraged the citizen-spectator to a radical questioning of the democratic facade and, in the very idea of creation and love, he has revealed the hidden contours of reality and the possibility of changing it. Sarajevo, the central subject of Godard's late cinema, opened up a debate on the possibilities of action of an ethical and political montage to denounce the plural forms of alienation in the policies of disappearance, the media coverage of conflicts and communication acting on several levels. The ambition of my demonstration lies in the possibilities of revolution contained in a form that Godard has called cinema or montage: an art of the uncontrolled and of dissent allowing to question anew the relations between aesthetics and politics, as part of widespread mutation of signs wich affects the anthropological, economic and symbolic future of societies
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Scemama, Céline. ""Histoire (s) du cinéma" de Jean-Luc Godard : la force faible d'un art." Paris 1, 2005. http://www.theses.fr/2005PA010627.
Full textAbstract:
L'œuvre de Godard ne raconte pas, mais fait de l'histoire. Son scintillement de références impose une contemplation paradoxalement violente. À l'écran, des morceaux d'histoire se disloquent dans un kaléidoscope d'électrochocs permanents. Ce qu'on appelle en physique la force faible est ici la matière de l'histoire: toutes les errances éternelles qui restent sans secours. Le cinéma serait malgré lui coupable de n'avoir pu empêcher la Shoah qui a définitivement fracturé le siècle et l'idée de l'humanité avec. Telle est la force faible du cinéma. La faible force qui lui reste, celle du montage, concerne le passé. Sauver l'honneur du réel n'est pas sauver le réel, mais lutter contre l'oubli. L'œuvre fait violence par la continuelle commémoration. Si le ton est messianique, la résurrection par l'image n'est ni une explication, ni une expiation ni une solution. Rien ne se résout au cours du film et notre tâche n'est pas d'éclaircir les ténèbres, mais de saisir une vision de l'histoire.
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Gomes, Amorim Rui Miguel. "Da Historicitaçao do cinema na(s) "Histoire(s) du cinéma" de Jean-Luc Godard." Doctoral thesis, Universitat de Barcelona, 2015. http://hdl.handle.net/10803/393978.
Full textAbstract:
La(s) Histoire(s) du cinéma ocupan un I ugar crucial en la extensa fiImografía de Jean-Luc Godard, en tanto que meditación que se desea historia sobre el cine, pero también como sumario de un conjunto de filmes en el cual el cine, la cinefilia y la actividad crítica se encuentran siempre ligadas. Esta tesis se basa en un estudio de las ocho emisiones/capítulos de la(s) Histoire(s), pero, por limitación espacial, se concentra apenas en el l a, "Toutes les histoires".
Por un lado, esta emisión releva un ejemplo inevitable de la arquitectura de la(s) Histoire(s), no solo como primera emisión, pero porque ahí se inscriben prácticamente todas las cuestiones que serán trabajadas en las siguientes emisiones/capítulos. Por otro lado, considerando la profusión de elementos de distinta orden incorporados en la emisión/capítulo la (cinematográficos, fotográficos, literarios, pictóricos), se volvió indispensable la elaboración de glosas relativas a cada uno de esos elementos, de modo a establecer un mínimo de contextualización y de aproximación a sus implicaciones.
La doble dedicatoria de "Toutes les histoires" a Mary Meerson y Monic Tegelaar inscribe, con el primer nombre, la Cinemateca Francesa de Henri Langlois como condición histórico topológica para un acceso privilegiado a la historia del cine, mientras el segundo anticipa la cuestión del productor como condición para la realización cinematográfica Esta doble condición se encuentra designada en esta tesis a partir del neologismo cinemá'eteca (f i I madreteca), es decir, un espacio de nacimiento retroactivo registrado a partir de la experiencia cinéfila En este sentido, la cuestión de la composición de la(s) Histoire(s) se encuentra así condicionada por el capital cinematográfico de Godard, o sea, medida biográfica e consecuencia del papel de la Nouvelle Vague en la historia del cine.
En el interior de esta doble condición, y a partir de lo que designamos por “para(monta)je” según algunas consideraciones de Giorgio Agamben sobre el montaje en Godard y en Guy Debord, se inscribe así una historia del cine en la cual confluye una reconsideración del siglo XX según las dimensiones del cine y de la historia. La condición en los términos de Agamben, derivada de la cuestión de las condiciones de posibilidad según Kant, presenta aún la particularidad de poderse inscribir en la historia de la crítica y en la teoría del cine, ya que, mientras Bazin, al menos en apariencia, preconizaba un “montaje interdicto”, el filósofo italiano sugiere algo como un “rodaje interdicto” (o, al menos, desnecesario). Algunas condiciones para la(s) Histoire(s) relevan en términos históricos del adviento de las cintas de video en los años 80, pero también de la inscripción fotográfica de las películas y de elementos pictóricos (por lo menos 120 películas se encuentran en la(s) Histoire(s) según una fotografía, según lo que denominamos espasaje fotográfica del cine).
A través de una aproximación hermenéutica a “À propos de cinéma et d' histoire”, discurso pronunciado por Godard em Francfort-sur-le-Main el 17 de Setiembre de 1995, por ocasión de la entrega del premio Adorno, proponemos en la Introducción la posibilidad de considerar y encuadrar el proyecto de Godard como decurrente de la denominada revolución de Copernicus, a partir de una extensa secuencia de candidatos a su continuidad inscritos entre Kant y la cuestión del cine. En esa Introducción, presentamos por primera vez los dos principios que estructuran nuestro abordaje de la(s) Histoire(s): el principio del montaje inexistente y el principio de la razón cinematográfica. Con el primero, se designa una reformulación del montaje más allá de lo que, en una crítica a Eisenstein, Godard designa por un abordaje del material cinematográfico reducido a ángulos. Para el cineasta suizo, el "verdadero" montaje proviene de una actividad de pensamiento que no se puede limitar al mero encadenamiento de planos. El principio de la razón cinematográfica, a partir de una frase de Stanley Cavell, implica la cuestión de las posibilidades y límites del cine como instrumento de registro histórico.Within Jean-Luc Godard's filmography, Histoire(s) du cinema manages to be both an expansive meditation on cinema as a privileged condition of access to both history and thought, as well as a rather unique stance of a cinematographic autobiography. This thesis is based on a study of Histoire(s) du cinema eight chapters/episodes, but, due to spatial limitations, it focuses mainly on 1 a, "Toutes les histoires". "Toutes les histoires" is a privileged means of access to the automatic architecture of Histoire(s) du cinema, not only because it is its first chapter/emission but also because it manages to condense in a quite detailed way practically all the questions that wi I I be taken up i n the fol I owi ng emissions/chapters. "Toutes les histoires" double dedication to Mary Meerson and Monic Tegelaar inscribes, through the first name, Henri Langlois' Ci nematheque Frangai se as a privileged space to Film history, while the second name announces the question of the producer as an undeniable condition to cinema as an exemplary modulation of capital. This double condition is designated throughout the thesis following the neologism dnemcieteca, that is, the cinematheque as the space for a retroactive birth according to cinephilia. Within this double condition, and following another neologism, "para(monta)je," Godard inscribes a peculiar "history of cinema" where the history of the 20th century is reconsidered as a version of his cinematographic autobiography. The condition of "para(monta)je," composed according to Giorgio Agamben's remarks on Godard's and Guy Debord's cinema as a version of Kant's conditions of possibility, can also be considered according to the history of Film Theory since, according to a certain, or even superficial, reading of Andre Bazin, there is an insistence on "interdict montage," while the Italian philosopher proposes something like a "interdict shooting" (in the sense that Film history has already enough images of its own, and now it is up to filmmakers to devote themselves to montage and editing). Through a hermeneutic reading of “À propos de cinéma et d' histoire”, a speech Godard that delivered on the 17 September 1995 in Francfort-sur-le-Main, on the occasion of the reception of the Adorno Prize, we also propose in this thesis’ Introduction the possibility of considering and framing Godard’s project as a variant of the Copernican revolution according to the two principles that structure our approach to Histoire(s) du cinema: the principle of inexistent montage, and the principle of cinematographic reason.
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Guérette, Rivard Youna. "De la liberté dans l’amour: une étude du Phénomène érotique de Jean-Luc Marion." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/35242.
Full textAbstract:
Jean-Luc Marion dans son Phénomène érotique (2003) est à la recherche d’un concept, d’une description philosophique de l’amour humain. Selon la méthode phénoménologique qu’il suit, définir l’amour comme phénomène veut dire montrer comment l’amour apparaît pour un « je ». Il s’agit de voir comment on en vient à aimer. Marion décrit la situation où l’amour est donné en s’intéressant à la disposition humaine propice à l’amour. Nous soutenons que la liberté est pour Marion cette disposition essentielle à l’amour. La thèse apparait tout au long de l’oeuvre. Dans notre mémoire, nous tâchons de préciser de quelle liberté parle l’auteur.
Une exégèse du Phénomène érotique nous conduit à identifier deux réponses apparemment opposées à cette question du rôle de la liberté dans l’amour.
(1) Au début de l’oeuvre, Marion soutient la thèse que l’amour apparaît lorsque le sujet renonce à sa position autarcique; celle d’un ego qui se certifie lui-même et le monde. L’amour apparait en dépit d’une liberté comprise comme ce pouvoir a priori du sujet. Pour aimer, il faut entrer dans une certaine passivité et accepter de dépendre d’un ailleurs qui ne peut être maîtrisé.
(2) D’autre part, dans la troisième partie du livre, l’auteur montre qu’il n’y a pas d’amour sans une décision d’aimer et une avance vers autrui, indépendante de toute réciprocité. Autrement dit, pour qu’il y ait amour, il faut aimer sans attendre d’être aimé. « Je deviens amoureux parce que je le veux bien, sans aucune contrainte, selon mon seul et nu désir » (PÉ, 149), écrit Marion. Cette thèse de l’oeuvre a surpris en regard des thèses précédentes de Marion, principalement celles d’Étant donné. L’activité de la subjectivité y avait été réduite par l’auteur à la seule réception du donné, afin de laisser les phénomènes se manifester pleinement. Dans le phénomène érotique, la subjectivité semble récupérer de ses pouvoirs. Certains commentateurs ont vu un retour de transcendantalisme dans cette oeuvre et une contradiction de Marion avec lui-même. Nous faisons la lumière sur ces critiques.
La lecture thématique de l’oeuvre à partir de la question de la liberté nous montre que Marion articule deux conditions nécessaires à l’amour : une ouverture à l’égard d’un ailleurs qui dépasse le je et une avancée libre vers cet ailleurs. Prises l’une sans l’autre, ces deux conditions aboutissent à des apories, ce que nous montrons. L’auteur suggère ainsi que l’amour se trouve quelque part au-delà de cette stricte opposition entre passivité et activité. L’amour pour Marion n’est pas synonyme d’une passion où le sujet verrait tous ses pouvoirs submergés, mais il ne découle pas non plus d’un « volontarisme »; il se situe quelque part dans la synthèse de ces deux moments.
Notre thèse est que l’amour pour Marion va de pair avec la liberté. Mais il s’agit d’une liberté que l’auteur travaille à redéfinir. La liberté en amour prend chez Marion la forme d’un consentement à être affecté, synonyme d’abandon ou de disponibilité. Il ne s’agit ni d’une passivité totale, ni d’un pouvoir a priori, mais d’une capacité au sens qu’elle avait avant Descartes dans la notion latine de capacitas, synonyme de disponibilité d’un accueil. Marion analyse cette disposition dans deux textes précédents, ce qui jette un bon éclairage sur le sens de la liberté dans le Phénomène érotique.
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O'Neill, Clare. "Alienated "Others": the representation of women in the early works of Jean-Luc Godard." Thesis, University of Ulster, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588590.
Full textAbstract:
Jean-Luc Godard has long been recognised as a highly influential and innovative director who continues to this day to make radical and challenging films. This thesis examines his portrayal of women as "The Other" in his films made during the period of 1959 to 1966. It examines the characteristics of stereotypical Godardian women, their difficulties with communication, their place in the work sphere, in relationships, in Godardian society and in their environments. It argues that Godard, in his early films, continually presents women as being different from, and inferior to, men in all spheres of their lives. This makes women, by the definitions purported by Simone de Beauvoir, ''The Other" in opposition to the male 'Subject'. This is evinced through his frequent portrayal of women as subordinates. At work the sexual division of labour marginalises Godard's women and as a result they are often pigeonholed in service roles or driven to prostitution. In relationships, Godard shows how men are the dominant partners and often maintain conversational control over the women who lack the ability to articulate themselves and assert their independence. Godard's women are conditioned by a patriarchal society that objectifies and dehumanises them through the obsessive promotion of consumer capitalism, which drives the 'need' in women to maintain a perfect image for the consumption of men. Their environments are bleak and prison-like, with no attempt to escape, and any attempt to reject the values and rules of society characterises them as alienated "Others". The theme of women as "The Other" has yet to be covered in depth by any other academic, and as such the ideas put forward in this thesis not only expand upon the existing criticism of Godard's work but also generate an original analysis of Godard's portrayal of women.
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Callow, James. "A 'post-historical' cinema of suspense : Jean-Luc Nancy and the limits of redemption." Thesis, University of Bath, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.535376.
Full textAbstract:
This thesis theorises an approach to cinematic suspense derived from a set of films that challenge the teleological and redemptive principles of traditional narrative. It is argued that such a challenge is drawn from the need to account for conditions of violence and suffering without recourse to the traditional grounds of redemption. They set out to question the symbols that underpin a faith in its possibilities. Such films counter these grounds with a form of perpetuated suspense that continually withholds resolution, stressing and destabilising both the terms of redemption and the affect of its aesthetic representations. Significantly, this thesis examines films from the years following 1989 that confront this central theme within conditions of historical hiatus and the disintegration of ideological certainties occurring in the wake of European communism. These films, by Kira Muratova, Béla Tarr, Artur Aristakisyan, Alexander Sokurov, Bruno Dumont, Roy Andersson, Ulrich Seidl and Gus Van Sant, present a world in which human beings are always already turned against themselves, placing them in the context of contemporary philosophical aporias that identify the human condition as enigmatic and resisting of itself. They suspend the symbolic structures associated with redemption in order to reconfigure contemporary film as a „realist‟ cinema at the threshold of the interpretative and reconciliatory economies implicit in the soteriological mythology of Western thought. Tracing Paul Ricoeur‟s schematic account of the symbols and myths of a „fallen‟ world, the thesis turns on Jean-Luc Nancy‟s subsequent critique of the insufficiency of myths to properly account for existence. In place of an hermeneutic recovery of the real and its meaning, Nancy‟s „realist‟ philosophy of „sense‟ and its application to the cinema offer an account that speaks less of conflicting narratives of redemption than a radical stripping away of its terms, suggesting that it is redemption from the normative terms of redemption that ultimately constitutes the proper question at the heart of these films.