Dissertations / Theses on the topic 'Monstres'
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Milcent, Anne-Laure. "Monstres et monstrueux dans l'œuvre d'Alexandre Vialatte." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL027/document.
Full textAlexandre Vialatte’s work displays an attraction, even a fascination, for monsters, and, more deeply, for monstrosity: his novelistic universe is characterized by the presence of monsters. This presence is both due to the tragic perception of a monstrosity which inheres in everyday life and in Man himself, and by Vialatte’s imaginary world which is haunted by the question of identity, of guilt, and of the creation of the Self as a fantasy of reinvention. As Vialatte was confronted with the mad murders of History and with his own madness, he was subjectively involved in the wars of the 20th century. Between the 1920’s and the 1970’s he was a novelist and then a columnist who imagined a fictional universe bearing the marks of the disintegration of reality and of the negation of the being. Monsters haunting fiction are the sign of deeply troubled times, they reveal how Vialatte’s imagination is marked by an acute sense of History. Monstrosity, which is even more shapeless and boundless than monsters, underlies the whole structure of Alexandre Vialatte’s work: indeed, the transgressive distortion of reality is present in all the narrative. This fascination for monsters and monstrosity originates in a tragic and insuperable perception of reality: indeed, Alexandre Vialatte’s vision betrays a metaphysical and ontological anxiety. His writing and his ambiguous humor have a troubling and cacophonic character. His writing, which is characterized by deformation and fragmentation, gives a subversive and explosive aspect to the work as a whole, and reveals a space which is unthinkable. In his work, the writer finds a way to define his aesthetic choices, to accept his disillusions without ceasing to write. His unconscious admission of his intimate and personal attraction for monstrosity reveals how the act of writing itself is haunted by monstrosity, how it enables to transcend reality and to sublimate it through the power of writing
Cuny-Le, Callet Blandine. "Rome et ses monstres." Paris : J. Millon, 2005. http://catalogue.bnf.fr/ark:/12148/cb40000320x.
Full textVerret, Arnaud. "Monstres et monstrueux dans l'oeuvre d'Emile Zola." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA056/document.
Full textNaturalism claiming to include all aspects of life, Zola’s work can be treated from the angle of the monster as outstanding being or of the monstrous as applicable concept to each nuance of physiology, temperament, behavior or sensitivity. Monster’s presence in author’s work is competed with his more general use of the monstrous, allowing him to reconcile a poetic of the ordinary and an extraordinary narrative object to say all the complexity of existence. If the monster first means distorted biological being, the influence of environment and heredity determines its appearance: confronted with monstrous natural kingdoms, man is threatened to succumb or metamorphose in his turn; abnormalities are passed from parents to descendants, but also affect anyone at any age. So Zola’s work highlights the confessions of the body, but already expresses a change of look on the unfortunates whose physical defects are showed and their improvised judges. Then, in a moral reading, almost all of the characters may be others’ monster, as this is a concept which reveals anxieties and mistrusts inherent in human relationships, unless are targeted pernicious mechanisms such as those of stupidity or hypocrisy in order to prove that isn’t always the monster that is believed; Zola’s mythology whose monsters and monstrous occupy a central role allows, in this capacity, to resume ancestral themes and adapt them to the contemporary world. Appropriated by the writer, the monstrous becomes a veritable aesthetic subject. The biggest monster in the eyes of the one who hardly writes is ultimately the work of art itself which must be mastered with a patient labor: the work is problematic, too demanding, and monstrous describes what is dismissed in it as the ugly, the obscene, the false. Zola was himself victim, through his texts or in his own person deformed by parodies, caricatures or ad hominem attacks
Rouillot, Marchandise Martine. "Figures de la monstruosité." Université Louis Pasteur (Strasbourg) (1971-2008), 1998. http://www.theses.fr/1998STR1PS04.
Full textVisan, Irina. "Les monstres au 18ème siècle en France : hétérogénéités discursives et pluralités argumentatives." Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30091.
Full textThe purpose of this work has been to study the characteristics and the specificity of learned discourses on monsters in Enlightened France. We wanted to describe and define the features of a positive period1 in the history on monsters. In order to answer this question we have focused on three learned frames of the 18th century: the academic papers published in the Royal Academy of Sciences of Paris, the treatises of natural history, the childbirth manuals and two dissertations on the topic of the legitimacy of late childbirths. In these three frames, the importance accorded to the deformed body depends on the author’s ethos, on his methodological approach and on the goals and aims of the discipline in which he is writing.We have seen that in the three discursive frames the authors insist on the real existence of the monsters which are carefully detached from fabulous connotations and from superstitions. The dissections and the observations are important ingredients in the work of the academicians who examine the deformed body per se. The natural history treatises adopt a general perspective and the authors deal with the immensity of the nature. In these general works the monsters become a component of nature and reflect its diversity. This naturalization of monsters underlines the fact that the malformations are seen as concrete defects which occur in nature even if the authors can’t propose any new explanations and theories for the malformations. In the childbirth manuals which have a didactic goal the authors consider the monstrous child in a pathological perspective and explain how to deliver it in the best given conditions.Our study has shown that despite the evolution and progress in the approach to the abnormal bodies, some gasps, deficiencies and unsaid things remain and denote of the transitory aspect of the 18th century thought on the topic on monsters. This positive period constitutes a chain or a phase between the fabulous period and the scientific period of the teratology which begins in the 19th century
Petrilli, Aurore. "La lignée monstrueuse de Phorkys et Keto : étude mythologique et iconographique." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040070.
Full textSince the end of Antiquity the myths which were related to polytheist religions have gradually been pushed aside towards the grounds of lore, although our culture keeps quite vivid the memory of great myths. Nevertheless, in order to be able to understand both ancient religions and societies, turning back to myths is an absolute necessity. Numerous works, some of which vulgarise, are devoted to the subject. However, contemporary studies - thus following the ways of the ancient themselves – mainly dwell on the lives of Greek heroes. As opposed to this general tendency, our study will be dealing with those forgotten creatures, beings of fantasy that are so often encountered in mythological tales and without whom the fame of these mythic heroes would be lessened. Most of these fearful creatures are issued from Phorkys and Keto’s long lineage. Among their numerous offsprings, we have chosen to study those generally known as “monsters”. We have set up a selection among these monsters in order to underline common characteristics. Thus, we intend to consider only creatures that are unique, monstrous by birth, having fabulous morphologies, such as for instance the Hydra and Cerberos. Based on both literary and iconographic sources we will attempt to draw a history of the traditions linked to these lineage members. Some more information on the topic will at times be provided by a few comparisons with foreign mythologies. The geographical and chronological boundaries of our study have to be quite large. The period will span from the 9th or 8th centuries BC up to the 3rd century AD. As for geography, the whole of Greece, both continental and insular, is concerned, as well as Asia Minor and Magna Graecia
El, Mgani Abderrahim. "Approches de la monstruosité : essai sur une désacralisation du monstre ou contibution à une étude historico-épistémologique d'une rationalisation du "sensible"." Bordeaux 3, 2001. http://www.theses.fr/2002BOR30007.
Full textMazet, Christian. "Meixoparthenoi : l’hybridité femme-animal en Méditerranée orientalisante et archaïque (VIIIe-VIe s. av. J.-C.)." Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP039.
Full textIn the art and thought of various cultures of the orientalising and archaic Mediterranean (8th-6th centuries BC), the Oriental figurative repertoire played a significant role as a source of inspiration for many iconographic creations. This PhD thesis aims to evaluate this question of the “orientalisation” of images in the light of a particular theme, the iconography of the woman-animal hybridity, through ancient literary sources, their models (allogeneic or endemic), their circulations, their experiments and their uses in archaeological context. Very soon integrated into the imaginary of ancient Greece, the female hybrids are one of the most characteristic manifestations of these oriental loans attested on a considerable number of material productions. It is about defining the factors and the actors of these appropriations, reinterpretations and transformations, by questioning particularly the role of the itinerant craftsmen and the context of reception of the models. In this perspective, our research attempts to determine whether the receptor populations appropriate the original meaning of these images from the Aegean-Eastern world, which should already be determined, or if they undergo a re-semantisation of a symbolic order, even ideological. This research is based on the occurrences of the theme in the Near Eastern, Greek, Etruscan and Italic cultures
López-Ríos, Santiago. "Salvajes y razas monstruosas en la literatura castellana medieval /." Madrid : Fundación universitaria española, 1999. http://catalogue.bnf.fr/ark:/12148/cb37735577b.
Full textEl, Abed Nesrine. "Oeuvre monstre, création informe." Thesis, Paris 1, 2013. http://www.theses.fr/2013PA010677.
Full textThis study I entitled "Monster Work, a Formless Creation" is to be inscribed within a contemporary art research that deals with the idea of the extreme in relation to plastic phenomena, for the latter depend on the theory of form and on a great plasticity enhanced by personal creations that happily melt traditional sculptures with digital technology. As a matter of fact, combining the digital image, the clay and the video, with the monster, was a way to reach what is profound within formless and cruel works of art that are of painful and torn resemblances. The monstrous form is, thus, not reduced to a simple conscious significance, it transcribes an unambiguous discourse and the monster becomes the concept, par excellence, of my plastic practice. The work of art becomes connected to the "monstrum" and the image is inherently endowed with a visual power (in French "monstrative"). Every image, be it digital, photographic or video graphic is a monstrance. Sculpture would be the representation of the fallen body or the image of death that appears in Narcissus Mirror and that is no longer related to any form of resemblance, showing a reflection that grasps the Mask of Medusa. This research that is focusing on formlessness serves to dispel the myths under violent and rugged practices supported by a theoretical research based on the philosophy of Georges Bataille as well as that of anthropologists and phenomenologists, and through their thoughts, the work brings the different experiences of extremes, excess and loss to the dimension of sacrifice
Duhamel, Cédric. "Les figures du monstre dans la littérature mexicaine contemporaine (XXème - XXI ème siècles) : héritage, intertextualité et invention." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR114/document.
Full textThe monster intrigues and fascinates: he was studied, dissected, and abundantly staged in literary works. He remains nevertheless mysterious: we find for example similar monsters in distant cultures without any contact so temporarily as geographically. But if the teratology is prosperous in numerous countries, this craze appears to be less shared when it is the contemporary Mexican literature because monsters are less analyzed there. Nevertheless, they are present and numerous. A big part of our work consists in proposing a typology of the figures of the monster of the Mexican folklore by grouping those who appear in collections of legends or the dictionaries of strange creatures. It allows to understand how it is perceived in the popular belief and then reused by authors of fictional works.The monster is registered in a collective popular imagination, shared at first orally then passed to the paper, and transmitted in inheritance to the future generations. The literary writing is inspired by this inheritance, what creates a sort of hypertextuality between the present collective imagination in the myths and the legends, and the individual imagination of the author by means of its works of fiction. The latter revives these sources and even modifies them. The intertextuality is also present between the Mexican fictions and those besides of the world, what invites us to propose a comparative literary analysis when this one is possible. The purpose of this work is to determine through these sets of writing and these inventions, the stakes in these figures of the monster in the Mexican literature
Sariols, Persson Deerie. "Figures de l'altérité au XXe siècle : des bestiaires aux monstres." Paris 3, 2007. http://www.theses.fr/2007PA030077.
Full textXXth century’s Western culture has inherited from the past to recreate its own animal and monstrous imaginary. But the founder myths of modern alterity are born in the XIXth century : Frankenstein or the Modern Prometheus, by Shelley, Dracula, by Stoker, The Strange Case of Dr. Jekyll and Mr. Hyde, by Stevenson. The Horla, by Maupassant embodies the unspeakable monster. The Island of Doctor Moreau, by Wells is an example of “humanimal”, between man and beast. Literary genres as fantasy, science-fiction or horror, in fiction, films, comics or computer games, have adopted monsters and animality in classical or new forms, especially concerning the approach to the body as a theme. Animality reflects life’s nonsense in Kafkas’s Metamorphosis, but sometimes it chooses rather irony and humor in short genres (Borges and Cortázar), in animal fables (Truismes, by Darrieussecq, Great Apes, by Will Self) or in a renewal of traditional fairy tales (The Company of Wolves, by A. Carter). The three main stakes from the monster as a confrontation with the other are fear, death and evil. So it can be idealized (as in Bradbury’s The Martian Chronicles) or taken as an enemy (as Lovecraft’s Great Old Ones). Death can be represented by zombies or vampires, also in a search for immortality, through the figure of artificial man, golem (The Golem, by Meyrink), robot (R. U. R. By Čapek), mutants or cyborgs. Absolute evil is incarnated by Satan. Today’s society believes rather in man’s inner evil, as Bradbury’s A Clockwork Orange describes. Orwell’s 1984 shows the monstrous political system. The comic Maus, by Spiegelman, describes how horror has actually been in real history. Solaris, by S. Lem, on the contrary, goes beyond good and evil in a rather metaphysical science-fiction story
Jeon, Seung-Hwa. "L'inexplicable chez Samuel Beckett : Dieux du chaos et monstres inconcevables." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC127/document.
Full textThe purpose of this thesis is to show how clichés collapse and exists the inexplicable that Beckett notices as a condition of existence that coexists with other conditions, light and darkness ; and as chaos, composed by art destroying prejudices and clichés, and seen by Gilles Deleuze and Félix Guattari. This demonstration therefore proposes, on the one hand, to examine the fall of the gods of creation, sources of truth, wisdom and progress, and their denaturation into gods of chaos, and on the other hand, the elements abnormal writing, likely to be named monsters, because of their strangeness and ambiguity that prevent them from being defined. As for the gods of chaos, it will be the parody of the Christian God, Jesus Christ and Prometheus the inventor, and their degradation by which the creator will no longer be distinguished from his creature. As for the inconceivable monsters, the conditions of the monsters and the negative reactions towards them, which paradoxically imply the monstrualization, will be revealed by the theme of flowers, and the two mythical images, androgynous and Siamese, will reveal the impossibility of the identification or the significance, and the state of the interstage or confusion
Le, Callet Blandine. "Les representations de la monstruosite dans la litterature latine d'epoque republicaine (1er siecle avant j. C. )." Paris 12, 2001. http://www.theses.fr/2001PA120054.
Full textDuceppe-Lamarre, Armelle. "Les éléments orientaux dans l'art celtique laténien, d'après l'étude des monstres." Paris, EPHE, 2000. http://www.theses.fr/2000EPHE4046.
Full textFaucher, Evangeline. "Le musee noir d'A. Pieyre de Mandiargues : musee des horreurs ; Monstres." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31104.
Full textThe mandiarguian text acquires its fantastic dimension through a progressive transformation of the protagonist's point of view, inciting him to perceive his environment as a gigantic monstrous entity. Contact with this entity causes the protagonist's own personality to be replaced by that of the monster. Yet it is the woman who, as a representative of the sacred in the logic of fantastic stories, remains in Mandiargues' text the best incarnation of the monstrous figure. Man, who represents the profane, will emerge contaminated by the sacred from his encounter with the monstrous and devouring woman. This contagion is incarnated by the androgynous figure, which remains most convincingly represented within this work by the negro. Finally, by comparing Mandiargues' writing devices with the techniques used in horror museums of old for monsters stage exhibitions, we will be able to confirm our initial hypothesis: the monster figure, by being the motor of the fantastic element dynamic, is essential to the unity of the collection.
The second part of this work in literary creation is a collection of fantastic short stories, all of which feature the same troubling presence. This presence possesses several characteristics of the monster figure, as seen in the work of Mandiargues.
Barreto, Junia. "Figures de monstres dans l'oeuvre théâtrale et romanesque de Victor Hugo." Paris 3, 2006. http://www.theses.fr/2006PA030016.
Full textFaced with a gallery of characters known as monsters in Victor Hugo's plays and novels, we examine his conception of monsters and monstrosity. By treating two literary genres, we may compare and contrast different types of monsters whose creation occurs at distinct moments in Hugo's production. This profusion of monsters leads us to reflect on the possibility of establishing categories; whether they are identifiable or contradictory. This research is made up of major methodological perspectives, dealing with physical, socio-political, and moral monstrosity. The notion of the monster in Hugo exceeds any all-encompassing definition and presupposes the refusal of unification, and its transgressive force implies two sides, a negative pole and a positive one, revealing its complexity
Martin-Lavaud, Virginie. "Présence et fonctions du monstre dans la vie psychique des enfants." Paris 13, 2005. http://www.theses.fr/2005PA131010.
Full textThis research relates to the presence and the functions of the monster in the psychic life of children from 6 to 11 years old, who engaged in a psychotherapy work. At first, it locates the monster in a historical and aesthetic dimension and examines after the statute of its representation. The questions treated concern the formal regression characteristic of dreams and the aesthetic methods of constructions of the monster by metamorphosis, deformation and “assemblage-collage”. In the second part are examined, starting from clinical situations, three introduction modes of the monster into the speech of the children : see monster, to be monster and to become monster. In the third part, four functions of the monster are developed : the apocalyptic function which relates to the unconscious's subjective truth, the phallic function which engages the sexuation, the topographic function who's builds limits, and the aesthetic function which organises the threatening and unknown
Dubois-Joucla, Leila. "L'utopie et ses monstres : images du corps et perspectives des nouvelles technologies." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30033.
Full textThis research work has been built along a visual art thought upon the image of the body in the era of digital technology. It leans on a personal plastic practice, dedicated to the diversion of the advertising ideal of beauty, that has contributed to fix the limits of the research. The dreams of perfection of the western society have always shaped the human body in the image of an ideal. This body was thus considered has beautiful, but the reverse side was sometimes monstrous. Today, the powerful wave of technological and scientific innovations is reviving these dreams, opening up the way to new utopian views and new images. On the art scene, among the hyper idealized visions that flood our everyday environment, freaks bred by the digital technology and the multimedia are arising. In the meantime, some figures created by contemporary artists can be distinguished by their ambivalence between dream body and feared body. A few examples are: Aziz and Cucher, Michaël Najjar, Nicole Tran Ba Vang, Inez Van Lamsweerde, or Keith Cottingham. How can these images be interpreted, at this moment in time where the fascination exerted by the contemporary mutations is at least as important as the fears and the doubts that they inspire? Would it be the desire to see that ideal come true or, on the contrary, to denounce its totalitarian spirit?
Moreau, Arrabal Luce. "Les monstres et le monstrueux au siecle d'or : recherches sur les creatures fabuleuses dans les lettres espagnoles de 1550 a 1650." Paris 10, 1997. http://www.theses.fr/1997PA100102.
Full textThis work consists of three parts, an introduction which distinguishes the different terms pertaining to monstrosity, and a conclusion. The first part is organised as an inventory of fabulous creatures (non- composite monsters, composite monsters, the monster dynamic : spontaneous generation and uncommon births). The second part (interpretation) is dedicated to the study of "'rational" motifs capable of explaining the existence of fabulous creatures, followed by a study of mentalities which attempts to shed light on the phantasms these unique beings reveal. The chapter dealing with the metamorphosis in four works of cervantes (theatre, novel, don quijote and persiles} offers concrete illustrations of the previously mentioned rational motifs and irrational phantasms. The last part entitled "three projections of the monstrous" endeavours to analyse the essence of the monstrous in lyrical poetry (gongora), theatre (calderon : comedy, mythological comedy, the auto sacramental), and allegorical prose (gracian and el criticon). The conclusion articulates the principal commentaries inspired by the different aspects of the thesis, demonstrates that fabulous creatures continue to prosper after 1650, and suggests several new possibilities for research
Bretonnier, Christine. "Le nom-du-père, monstres, secret et transgression dans l'oeuvre de Jean Giono." Paris 7, 2006. http://www.theses.fr/2006PA070069.
Full textAs roland barthes declares: "in fact, the knowledge of deep ego is illusory: there are only different ways to speak it". These are these "different ways to speak it" that iwill try to identify in the works of dur corpus through our system of reading, it is seing understood that there is not a neutral one. Any work being actually an event which carries the act of literary creation with a literary meaning that is created in and identified by the reader. The function of the literature being 'to institutionalize subjectivity" the problem thus remains open to a serene investigation. The name of the father, monsters, secret and transgression. All is said, and in the same time, nothing is said; too much or not enough. The statement of the death of the father puts in abyss the death of the grandfather, of his obliteration. Giono, thinker, novelist, poet, painter and musiÇian, have more than one secret in his bag. "passez muscade!". Giono, the artist, the conjurer, subjects to our glance its gallery of monsters greedy amateurs of all the transgressions, and designating itself as a monster. Like all the characters of smooth talkers, "escamoteurs", "bonneteurs", acrobats, that one finds in his works, giono, the manipulator, passed behind the appearance of the things. The manipulated must see only pire there, fall into the panel, be caught with the illusion. All the expressions employed by giono belong either to the field of optics between the visible one and the invisible onÇ, or to the field of hunting and they then translate the report/ratio of the prey to its predator. Giono, poet, artist, without leading the world, sets the question. Could the world carry put its game without the artist?
Garcin, Étienne. "Les monstres et le monstrueux dans le roman populaire de 1830 à 1870." Paris 4, 1997. http://www.theses.fr/1996PA040176.
Full textOne can distinguish two movements within the XIXth century popular novel. Firstly, a body of work similar to the comedy of manners, for example the work of Paul de Kock. Secondly, a set of authors influenced by the gothic novel including Eugene Sue, Frederic Soulié, Alexandre Dumas, Paul Féval and Ponson du Terrail. A study of their works, published between 1830 to 1870, plus those of other authors of lesser importance in this respect, has led to observe that monstrosity is omnipresent in their respective fiction. This notion of monstrosity includes both aesthetics and moral aspects, and is significant enough to entail a study of the narrative of the popular novel and an analysis of the degeneration of romantic idealism. Synthetically the presence of horrific caracters, sordid situations or repugnant elements reveal a loos of the literary nature of literature which, at the same time, paves the way for the realistic and naturalistic novel through experimentation with rudimentary mimesis. Thus, popular literature raises the question of how far one can go in a literature that does away with beauty. Offshoots of the Romantic Movement, adapted to the transformation of the masses into general readers, the popular novel of the period 1830 to 1870 expresses a continual fascination for evil and wickedness at work in a traumatized society and a taste for the superhuman which is strangely reconciled in a defense under the guise of bourgeois moral values. Monsters and monstrosity in the popular novel of this period may well be the point of convergence where XVIIIth century rationalism, implemented in the XIXth century, and the imaginary forms brought about by the more traditional literary forms, are united and in harmony with each other
Suratteau-Iberraken, Aurélie. "La contribution de Denis Diderot à la connaissance des monstres au XVIIIème siècle." Paris 1, 1998. http://www.theses.fr/1998PA010519.
Full textAcademicians and encyclopedists want to naturalize monsters, according to aristotelian way. Notion of "anomaly" appears rather than notion of "abnormal". Exemplarily, the method founded on "observation" allows academicians to occult providentialism in dispute. Diderot's contribution gives a methodological pattern to the philosopher of science. He shows the background of metaphysical resistances in order to establish accidentalism and epigenesis. The self-organization of matter and the emphasis of accidents make up a new natural history. Double monsters prove limits of dualism to think death, will and personal identity. The context is anthropological. These debates on monsters are indubitably dependent on such a pre-scientific era. Diderot's method aims less at objectifying these vitalistic properties than at establishing his own inscription in the theory of knowledge : scepticism is not a relativism. Newborn legal medicine refers the norm to natural normality, and exposes the confusion between social and natural criterions to legitimate discimination. Medicine and moral science have to take care of malformations and material inequalities, in so far as they commend specialization of institutions. Diderot shows the deadlock of this way of naturalization which is inable to integrate abnormal beings and to rationalize social welfare. However, he doesn't substitute an apology for "difference" for these scientist basis. On the contrary, he dwells on the powers of bodies, the limits to education, and the spontaneous intolerance to pain, so that he institutes a "biological normalcy". Diderot builds up strong conceptual resistances to two contemporary standards of thinking "selection" regarding prenatal diagnosis. He neither makes life sacred nor initiates liberal eugenics. Paradoxically, axiology is rather more dependent on materialistic philosophy than on finalist and spiritualistic systems. The latter are more efficient to consider ways of neutralizing affects
Candiotto, Bruno Ferres. "Monstr.: entre monstros e aparelhos." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/1916.
Full textCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
MONSTR. BETWEEN MONSTERS AND APPARATUS is a theoretical and practical, literary, essayistic and imagery experiment based on applying an artistic operator: monstr. . Through this operator the text of the thesis was constructed proposing a self-questioning of the principles that govern the form of a dissertation in which images and words interacts without hierarchy. What emerges in the dissertation as "monstr." refers to the mode of appointing the creation process, while this process happens considering the strangeness of the act of creation, when creation is actually an interdiction of the creation itself. A radical investment in interdisciplinary dissertation led to the effect of this methodological application. Important authors of the theoretical scenario were used in the process we call "monstrification". Among them fundamentally i quote from Vilém Flusser. He and others served not as authority, but as partners who enter into a dialogue under the proposed methodology. A glossary was built to explain the terms of the text. This glossary aims at bringing the reader closer of the epistemology "monstr." which was used throughout the dissertation extending the theoretical horizons of the reader. The images produced by the "manipulation" of photographs, aims at not to illustrate the text, but to enable a dialogue with it. It suggests a dive in the deep water; a sensory and abysmal depths. All photographs displayed here are nothing more than self-portraits produced by the artistic operator, which exposes them through an admittedly nonlinear aesthetic, emphasizing hybrid characteristics and unusual "plurality" of himself. Actually these photographs have been manipulated and were set to "manipulate" and to be manipulated, causing reflections not only about the "visual" but also about the "sensory" and the myriad of possibilities that this dialectic allows.
MONSTR. ENTRE MONSTROS E APARELHOS é um experimento teórico e prático, literário, ensaístico e imagético baseado na aplicação de um operador artístico: monstr. . Por meio desse operador construiu-se o texto da dissertação proposto como autoquestionamento dos próprios princípios que regem a forma de uma dissertação em que a imagem e a palavra interagem sem hierarquia. Aquilo que na dissertação surge como monstr. refere-se ao modo de nomear o processo de criação, enquanto esse processo se dá tendo em vista a estranheza do próprio ato de criar quando a criação é, na verdade, interdição da própria criação. Um investimento radical na interdisciplinaridade provocou a dissertação como efeito dessa aplicação metodológica. Autores importantes do cenário teórico foram usados dentro do processo que chamamos aqui de monstrificação . Entre eles cito fundamentalmente Vilém Flusser. Ele e outros servem não como autoridade, mas como parceiros que entram em diálogo nos termos da metodologia proposta. Um glossário foi construído para explicitar os termos do texto, esse glossário visa aproximar o leitor da epistemologia monstr. que foi usada ao longo da dissertação ampliando os horizontes teóricos do leitor. As imagens produzidas por manipulação de imagens, fotografias, visam não a ilustração do texto, mas um diálogo com ele. Sugerem um mergulho em águas profundas; profundeza sensorial e abismal. Todas as fotografias aqui expostas nada mais são do que auto-retratos produzidas pelo operador artístico, que as expõe por meio de um estética assumidamente não linear, enfatizando características híbridas e pluralidade incomum, próprias de si mesmo. Tratam-se na verdade de imagens manipuladas, programadas para manipularem por meio delas mesmas, e que permitem serem manipuladas, provocando reflexões não somente acerca do visual , mas também do sensorial e da miríade de possibilidades que essa dialética permite.
Ruatta, Stéphanie. "Présence du monstrueux et du prodigieux dans la littérature grecque d'époques archaïque et classique : étude sémantique du mot téras." Nantes, 2013. http://www.theses.fr/2013NANT3039.
Full textLabrouillère, Isabelle. "De la littérature fantastique au cinéma d'horreur : les figures du monstrueux de Tod Browning à Dario Argento." Toulouse 2, 2001. http://www.theses.fr/2001TOU20017.
Full textCritical tradition opposes the fantastic in literature and the fantastic in the cinema, a dichotomy which in essentially one of a fantastic hiding its object, and one displaying it. This distinction fails to take into account the plurality of discourses at play within the works under discussion. Even if the works dealt with here are cinématographic (the fantastic of the present study is primarly an iconic and cinématographic, the literary theory has an important role. The common denominator of the films presented inthis study lies in their way of renewing the traditional discourse of the monstrous by refusing the stereotypes of the cinématographic fantastic, and by challenging the interpretative codes of the viewer. A distinction is thus made between the fantastic object, which upsets the viewer's expectations and the object of the fantastic, which confirms the rules of the discourse and allows the spectator to play with them. Thses two aspects of the fantastic are studied in Dracula (Tod Browning, 1931), and King Kong (Shoedsack et Cooper, 1933). The fantastic object is also analysed in Frankenstein (Whale, 1931), together with Caligari (Robert Wiene, 1919), and their customary similarities questioned. Frankenstein is the starting point of reflection on the representation of the body of the actor. From the opposition of monster and star, points of contact emerge which permit the demonstration of the essential unity of the two concepts. This analsysis finds a resonance in Sunset Boulevard (Billy Wilder, 1951). Following the study of the classical cinema, an analysis of the new parameters in the representation of the monstrous body has been undertaken, whether in it disapperance (Body Snatchers, Siegel, 1956), or it graphic excess (Suspiria, Argento, 1977). These studies analyse the representation of the monstrous from a different perspective to that generally held in the fantastic as a genre, and question the links between, these new bodies and the viewer
Moca, Matteo. "Figures du surréalisme italien : (Les mots, les corps, les métamorphoses, les animaux et les monstres)." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100024.
Full textIn this work, the issue about the existence of Surrealist Literature in Italy will be analysed. It is obvious that, differently from the French environment where it was born and developed following precise theoretical rules, Surrealism has never taken a clear shape in Italy. Having said that, some influences and a certain affinity to Surrealist poetics is evident in some authors. In this work, the possible existence of an Italian Proto-surrealism which anticipates the 'French explosion' is taken into consideration. In particular, the works of Alberto Savinio, Antonio Delfini and Tommaso Landolfi, have been studied together with the artistic and literary experience of the Metaphysical 'School' which plays an important role in the definition of theoretical standards of Surrealism both in France and in Italy. In every author taken into consideration, the contact points and the adherence to Surrealist Literature, specifically in relation with André Breton's theoretical works, have been highlighted. It is clear that, for every author, the study followed autonomous lines. There was no intention, indeed, to theorise a possible belonging of these writers to a close and harmonious groups as in France. There was, instead, the aim of considering the possible impact of Surrealist poetic on the works of these authors. At the end of the work, it might be stated that, despite the several differences, there was a moment in Italy in which a certain group of authors produced a Surrealist Literature. They did not completely follow Breton's theoretical treatise, but they surely knew it and explored some of its elements
In questo studio ci siamo proposti di rispondere alla questione concernente l'esistenza, in Italia, di una letteratura surrealista. É fuori di dubbio che il surrealismo in Italia non ha mai preso una forma definita, differenziandosi in questo rispetto alla Francia dove è nato e si è sviluppato seguendo delle regole teoriche precise; nonostante questo, alcune influenze e una certa vicinanza alla poetica surrealista è evidente in alcuni autori. In questa tesi si prova a dimostrare che, in certi momenti, è possibile parlare anche di un protosurrealismo italiano che anticipa l'esplosione francese. Si sono studiate, in particolare, le opere di Alberto Savinio, Antonio Delfini e Tommaso Landolfi, ma anche l'esperienza artistica e letteraria della scuola metafisica che gioca un ruolo importante nella definizione dei paradigmi teorici del surrealismo sia in Francia che in Italia. In ognuno degli autori che si sono studiati, abbiamo messo in luce i punti di contatto e l'adesione alla letteratura surrealista, in particolare in relazione ai lavori teorici di André Breton. È evidente che, per ognuno degli autori, il discorso ha seguito delle linee autonome e, in effetti, non si aveva l'intenzione di teorizzare un'appartenenza ipotetica di questi scrittori a un gruppo unito e affiatato come in Francia, ma di valutare il possibile impatto della poetica surrealista nelle opere di questi autori. Malgrado tutte le differenze, si pensa di poter affermare, alla fine del lavoro, che c'è stato, in Italia, un momento dove un certo gruppo di autori ha prodotto una letteratura surrealista. Essi non hanno ripreso pienamente il dettato teorico di Breton, ma certo conoscendolo e esplorando alcuni elementi
Hvala, Emma, and Emma Olsson. "Är monstret under sängen verkligen ett monster?" Thesis, Malmö högskola, Fakulteten för lärande och samhälle (LS), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27192.
Full textRay, Jean-Charles. "Les systèmes de la peur : approche transmédiatique de l’horreur dans la littérature et le jeu vidéo." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA033/document.
Full textThe aim of this thesis is to study the stakes and strategies behind the apparition of fear in novels and video games. Through a comparative approach, I intend to theorize the bridging of these mediums and the paradigms structuring scary fictions. At the core of this work lie the ability of video games and literature to create uncertainty and strangeness from a rigorous code (be it textual, digital or game rules) during the interaction with the reader/gamer and the conflicting interdependence between mimesis (as a shaping of reality) and phantasia (as a resurgence of a reality that defies reason).As fear’s catalyst, the monster is at the heart of my formal analysis. The synthesis of a large corpus allows for an identification of four archetypes from which the various manifestations of monstrosity spread: the barbarian, the gorgon, the phantom and the chimera. These figures personify the dark corners of western culture. The barbarian embodies the confrontation with an alien whom invades a familiar environment as well as the violent and chaotic base upon which rests civilization. The gorgon represents the radical otherness, fascinating and terrifying. To go near it is to venture out of the world and to run the risk of being contaminated by the monster, becoming unable to go back home. The phantom conveys the stakes of the haunting, of an undead past that is still part of the present. As the baring of a tearing in time continuity, it is to be reintegrated through the solving of the enigma it poses. Ultimately, the chimera is the one who transgresses categories. With its numerous faces, it defies the rational organisation of reality. Finally, a study of the author’s figure, of the adaptation process and of the fictional worlds extensions offers an outlook on the mobility of monsters and their capacity to cross borders, whether they are creative intents, mediatic frames of worlds of fiction.These conclusions are based on a dialogue between literary works and video games selected in a diverse corpus that aims to merge analytical thoroughness and an encompassing vision
Acuti, Isabelle. "Le monstre dans l'art de 1950 à nos jours." Paris 1, 1998. http://www.theses.fr/1998PA010532.
Full textMartín, Alegre Sara. "More human than human: aspects of monstrosity in the films and novels in english of the 1980s and 1990s." Doctoral thesis, Universitat Autònoma de Barcelona, 1996. http://hdl.handle.net/10803/4915.
Full textAquesta tesi es proposa començar a omplir aquest buit, començant per qüestionar la idea que la monstruositat es limita a les criatures repulsives del cinema de terror i, en segon lloc, mirant el monstre des d'un punt de vista més ampli que inclogui els dos mitjans més populars de la ficció actual: la novel·la i el cinema. Pel que fa a la monstruositat en si, aquesta tesi deixa de banda una taxonomia tradicional que la limitaria a les llistes d'exemples per obrir un nou territori per l'anàlisi dins els Estudis Culturals en anglès en examinar el conjunt total de les representacions de la monstruositat a la ficció per categories com monstre humà i no-humà, estètic i moral, mític i polític. S'estudia el monstre, doncs, en el context de grans línies narratives que expressen les principals tensions culturals del nostre temps i que justifiquen la divisió en capítols. El monstre de ficció és un símptoma d'aquestes tensions però també part de les estratègies usades per la psicologia humana per guarir-nos de les ferides en la nostra auto-estima causades per la monstruosa realitat de la conducta humana. Els títols originals dels capítols són (la tesi està redactada en anglès): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Aquesta tesi inclou també una àmplia llista de fonts primàries (novel·les i pel·lícules).
La función crucial del monstruo como figura de la Otredad humana ha hallado expresión cultural desde los inicios de la civilización, de modo que los monstruos a menudo han ocupado una posición central en los diversos períodos culturales del pasado. Al final del s. XX, la presencia ubicua del monstruo se manifiesta como uno de los rasgos más prominentes de la cultura Occidental, en un sentido amplio. Los monstruos abundan sobre todo en las novelas y las películas en inglés de los 80s y 90s. Pese a ello, se ha debatido la monstruosidad dentro de los Estudios Culturales en inglés básicamente en relación a la ficción de terror, sobre todo el cine. Investigadores como Andrew Tudor en Monsters and Mad Scientists (1989), Noël Carroll en The Philosophy of Horror (1990), David Skal en The Monster Show (1993) y Barbara Creed en The Monstrous-Feminine (1993) han escrito análisis muy perceptivos del monstruo en este género. No hay, sin embargo, un discurso sobre la monstruosidad misma, definida como compleja construcción cultural que recoge los diversos tipos de monstruos y que está presente en la mayoría de manifestaciones culturales más allá del cine de terror.
Esta tesis se propone iniciar el llenado de este vacío, empezando por cuestionar la idea de que la monstruosidad se limita a las criaturas repulsivas del cine de terror y, en segundo lugar, observando al monstruo desde un punto de vista más amplio que incluya los dos medios más populares de la ficción actual: la novela y el cine. Sobre la monstruosidad en sí, esta tesis no entra en una taxonomía tradicional, que la limitaría a las listas de ejemplos, para abrir un nuevo territorio de análisis dentro de los Estudios Culturales en inglés al examinar el conjunto total de les representaciones de la monstruosidad en la ficción per categorías tales como monstruo humano i no-humano, estético y moral, mítico y político. Se estudia al monstruo, pues, en el contexto de grandes líneas narrativas que expresan las principales tensiones culturales de nuestro tiempo y que justifican la división en capítulos. El monstruo de ficción es un síntoma de estas tensiones pero también parte de las estrategias usadas por la psicología humana para curarnos las heridas en nuestra auto-estima causadas por la monstruosa realidad de la conducta humana.
Los títulos originales de los capítulos son (la tesis está redactada en inglés): 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. Esta tesis incluye una amplia lista de fuentes primarias (novelas y películas).
The crucial function of the monster as mankind's Other has always found an expression in culture since the dawn of civilisation and, so, monstrosity has frequently occupied a central position in the diverse cultural periods of the past. By the end of the twentieth century, the ubiquitous presence of the monster appears to be one of the most conspicuous features of contemporary Western culture in its widest sense. The monster thrives in particular in the novels and films in English of the 1980s and 1990s. Nevertheless, monstrosity has been only discussed within English Cultural Studies mostly in work dealing with horror fiction, especially with the horror film. Researchers such as Andrew Tudor in Monsters and Mad Scientists (1989), Noël Carroll in The Philosophy of Horror (1990), David Skal in The Monster Show (1993) and Barbara Creed in The Monstrous-Feminine (1993) have written perceptive analyses of the monster in that genre. Yet, there is no available discourse on monstrosity itself, understood as a complex cultural construction that gathers together the widely different types of monster and that is present in most contemporary cultural manifestations beyond the domain of horror films.
It is the aim of this dissertation to start filling this gap, beginning first by questioning the idea that monstrosity is represented essentially by the repulsive creatures that can be found in horror films and second, by looking at the monster from a more comprehensive point of view which includes the two most popular vehicles for fiction today: films and novels. Regarding monstrosity itself, this dissertation disregards a traditional classificatory standpoint that would limit analysis to drawing lists of examples. Instead, this dissertation opens new ground for cultural analysis within Cultural Studies by considering together the representations of fictional monstrosity: human and non-human, aesthetic and moral, mythical and political. The monster is, thus, studied within the context of master narratives that express the main cultural tensions in our time and that justify the division into chapters of my dissertation. The fictional monster is a symptom of these tensions but it is also part of the strategies used by the human psyche to heal the wounds inflicted on its self-esteem by the monstrous reality of human behaviour.
The chapters are: 1 Fascinating Bodies: The New Iconography of Monstrosity; 2 Old Monsters, New Monsters: Vision and Re-Vision From Screen Adaptation to Novelization; 3 Nostalgia for the Monster: Mythical Monsters and Freaks; 4 Evil and Monstrosity: The Moral Monster, 5 The Politics of Monstrosity: The Monsters of Power; 6: Frankenstein's Capitalist Heirs: The Uses of Making Monsters; 7 Gendered Monstrosity: The Monstrous-Feminine and the New Woman Saviour and 8 Little Monsters?: Children and Monsters. The dissertation also include an extensive list of primary sources (novels and films).
Govers, Marianne. "The maiden of the straits : Scylla in the cultural poetics of Greece and Rome." Paris 4, 2005. http://www.theses.fr/2005PA040166.
Full textIn ancient Greek and Roman cultures, Scylla is a sea-monster that usually combines – albeit in manifold ways – features of a dog, a woman, and a fish. Through a close study of her representations in texts and images, this thesis analyses the fears that Scylla comes to embody in various sources as well as the metaphors that connect those fears and secure the coherence of her development across time and genres. In particular, it is argued that three models underlie many of Scylla's representations – the rapacious sea-monster, the sexually aggressive woman, and the bride-to-be – and that they all involve a narrow and potentially dangerous passage, be it the throat of a predator, the female genitals, or the transition into womanhood. By focusing on a specific figure of Greek and Roman mythology, the thesis sheds light on current theoretical debates including the relation between texts and images, the relevance of the notions of “myth” and “mythical figure,” and the role of gender in representations of monstrosity
Antunes, Gabriela. "An der Schwelle des Menschlichen : Darstellung unf Fonktion des Andersartigen in mittelhochdeutscher Literatur." Strasbourg, 2011. http://www.theses.fr/2011STRA1095.
Full textThis thesis aims to analyze a series of monstrous creatures in three Middle High German texts : the Alexander of Strasbourg, the Herzog Ernst B and Wirnt von Grafenberg's Wigalois, written between 1180 and 1220. It focuses on the research of the concepts of monster and monstrosity in the Middle Ages through the study of a corpus of so-called monstrous representations, of peoples and individuals similar tu huaman beings with whom the heroes maintain a contact along a journey. This research has allowed us to understand the value of this concept in the germanic literature of the chosen period, as well as to know the lexical field used to describe it. The plurality of words corresponds therefore to the variety of functions assumed by these creatures in literature, but also to their variety of forms. As representations of the Other, they help to define the limits of the Self by both the hero and the reader. Their physical difference does not establish a barrier that disallows a friendly contact with the Other. However, an absolute integration between the Self and the Other, in terms of a process of inclusion, remains problematic - this will finally depend of the form they assume. Conclusively, as expressions of the untouchable, the monsters slip out of normality and remain the face of the intangible
Schoonaert, Marie. "La femme-monstre en France au XVIIe siècle (Théâtre et Iconographie)." Thesis, Limoges, 2020. http://www.theses.fr/2020LIMO0004.
Full textThis work presents the theme of female monstrosity from 1635 to 1697 through the specificity of four case studies : Médée, Phèdre, Méduse and Madame Jobin inspired by La Voisin. The study of different theatrical genres like tragedy, musical tragedy and comedy, but also the analysis of engraved portraits and mythological or satirical engravings highlights the successive variations of the idea of " monster woman " in the whole XVII century. This thesis attempts to show that the portrayal of female monstrosity on stage or on pictures conveys the idea that the monstrosity is gradually destroyed. This destruction of the idea of monstrosity goes with the destruction of the hero or the heroin. These ideas have already been approached by Paul Bénichou and then by Sophie Vergne. This study shows that from Médée, model of the monster woman, no other woman can equal her. Every artwork follows the political, moral or aesthetic particularities contemporary to its writing. This context limits the display, on stage in particular, of a total female monstrosity as embodied by Médée. Every one of the theatrical and iconographic artworks, from Phèdre to the character of Lustucru, shows a meaning of the monstrosity that is specific to it, depending on it’s release or performance year. It indicates how the idea of " monster woman " always adapts to its context in order to represent successfuly the idea
Girval, Edith. "L'art de la fiction chez Aphra Behn (1640-1689) : une esthétique de la curiosité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030047.
Full textRecent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”
Ansen, Selen. "Aux confins du corps : le monstrueux : (esthétique du corps et de l'informe dans le 7e Art." Strasbourg 2, 2001. http://www.theses.fr/2001STR20058.
Full textChouchane, Chiraz. "Topologie du monstre : la place logique du langage entre la trace et l'image-cristal." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H309.
Full textThe term monster is paradoxical; it is at the same time word and thing, the former being bath blank and esoteric. lt designates an invisible that is nevertheless manifested in the form of irrational information. ln other words, that which is revealed through the monster often appears as nonsense, an aberration. As such, the monster is given in the guise of a mathematical question whereby difference, in itself intangible, is announced. ln the present research, difference is understood in the gaping stretch between the zero and the zero of experience where bath work of art and the dazzling speed of the creative act coïncide; a topological place that bears the trace of the intellect while endowing the image with transparency or its "crystal". This impossible place of experience would be the place of logic; a place towards which language converges and from which it emerges all at once. This research is primarily concerned with the question of movements rather than with the teratology of monsters; it deals with this force, thus described, as it traverses the artist facing the perils of rupture. For that matter, the monster is associated with a higher order of creation, one that is, nevertheless, constantly submitted to the test of existence
Delage, de Luget Marion. "Du monstre dans l’œuvre intermédiale de David Lynch : ou comment les arts peuvent déborder le cadre formel de l’identité." Paris 8, 2012. http://www.theses.fr/2012PA083543.
Full textThe intermedial Work of Lynch deconstructs canons: it says this monster, formal organization which does not respect the symbolic economy, the one who becomes emancipated of this myth of the archetype, on which identical constructions are based. Which mechanisms produce the genre, the archetype (Aristotle), and consistently the exception? Which devices are elaborated to generate these iterative representations (J. -L. Déotte)? A model always promulgates corrections and disqualifications ( Derrida); against it, Lynch proposes an irreverent use of the notions of anomaly and defect. Arbitrary partitions distinguish the taboo and the sacred (M. Douglas). Let us question these limits which attest to a totality by protecting its homogeneity: the frame, predicative structure, to denounce its artificiality. Let us criticize the comprehensiveness that Beauty supposes: Lynch put dislocation of bodies forward against it, generating this set, not an indivisible and exclusive unity, but network of linkings. And let us envisage strategies thwarting the reproduction of the same. Against the invariant of the summetria, the négentropie (R. Caillois). Against these hierarchies distinguishing good and bad forms, the critical solutions of bas matérialisme (G. Bataille), performativity (J. Butler), informe (Y. -A. Bois, R. Krauss). Lynch parodies this standard which leads to the loss of identity, insisting: viability and reproducibility are not indossociably coupled. This for a definition of the monster in art, fertile, métastable, in progress ( Lyotard): an operation proposing a re-meaning of the established standards - the good shape of the individual, of the work, and the ideal of the practices
Céard, Jean. "La nature et les prodiges : l'insolite au XVIe /." Genève : Paris : Droz ; [diffusion Champion], 1996. http://catalogue.bnf.fr/ark:/12148/cb39150621f.
Full textDerail-Imbert, Agnès. "Allures du corps dans Moby-Dick; or The Whale de Herman Melville." Paris 8, 1997. http://www.theses.fr/1997PA081931.
Full textMaadi, Aziza. "De"Monstre" à "Malformation" : Histoire des représentations du corps difforme dans la société française du XVIème au XVIIIème siècle." Paris 13, 2011. http://www.theses.fr/2011PA131014.
Full textFrom the 16th to the 18th century, several complex theories about the causes of body abnormalities were formulated. The first term which characterizes a monster is different and our work will firstly consist in defining that specific difference. In order to explain the births of monsters, theologists, scientists of modern era pinpointed many reasons. Since the mid-17th century, far from all the superstitions, scientists wanted to transform the irrational image of the monster into a rational one. This rationalization was possible thanks to the explanation of phenomena which were strongly linked to the magic and religious sphere for a long time. The influence of that sphere lasted till the 19th century. This is the reason why the combination observations- arbitrary theories, proposed by modern medicine, exists. The constant toing and froing between physiology and ethics is a key element in the study of abnormalities. We set out to follow the progresses of the rationalization and of the medicalization of the perceptions of the monstrous body and more precisely: How the monstrosity has evolved from the religious/imaginary sphere to the scientific/ medical sphere, by becoming a pathology that one tries to fix in order to integrate people with body deformities into the Modern French society
Campmas, Aude. "Les monstres et l'hybride : les usages littéraires des discours naturalistes en France pendant la seconde moitié du XIXè siècle." Paris 7, 2008. http://www.theses.fr/2008PA070080.
Full textThe first part of the thesis is an epistemological survey. It examines professional nineteenth-century definitions of the relationship between language and organic life. In the academy, these relationships are found to be variously revisited and reconceived through studies by natural scientists de Candolle, de Las and Germain de Saint Pierre, as/well as in phytographies and dictionaries. In wider society, such questions are posed implicitly throughout the exploding genre of popular science. This survey examines a wide cross-section of such material and asks this question: how have natural scientists produced a scientific discourse on organic life, and under what constraints? This first part identifies three key types of scientific knowledge: scientifically-verified facts ("les données savantes"); naturalist methods; and knowledge which theorises, even questions these facts and methods. The second part of the thesis is a literary analysis. It examines how this tripartite scientific discourse is integrated into systems of story-telling found in the nineteenth-century french novel, namely in selected texts by Hugo, Huysmans, Verne and Zola. The second part builds on the epistemological survey above, where self-consciously 'scientific1 discourses of de Candolle et al are found to be fully codified systems. It examines the ways in which these systems operate within these literary texts and the effects of their operations, discussing first how novelists have exploited the scientists' conclusions to conserve an illusion of scientific validity
Schnabel, William. "Les monstres familiers de H. P. Lovecraft : une analyse des images tératologiques dans la vie et l'oeuvre de H.P.Lovecraft." Toulouse 2, 1995. http://www.theses.fr/1995TOU20077.
Full textThe present study focusses primarily on the teratological images in the life and fiction of h. P. Lovecraft. Our objective is to show the links between the two as well as the way in which the author's life intrudes in his art. Lovecraft's monsters function as a sort of mirror revealing the negative or dysphoric aspects of his life. Throughout his fiction, his images of monsters are filtered, deformed, enlarged and condensed as a result of his own personal experience, and eventually become obsessional metaphores, bearing the author's unique trademark. Our study begins with an investigation of lovecraft's racism, before concentrating on his use of vampires and the theme of the double. We conclude our research with an analysis of the author's use of space as an integral part of his teratological images
Vignolo, Paolo. "L' Europe à l'envers : les antipodes dans l'imaginaire de la Renaissance." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0006.
Full textDuring the Renaissance, the imagination associated with the antipodes acted as a powerful rhetorical devise to imagine new worlds on the basis of beliefs, dreams and legends accumulated through the preceding centuries. Facing the cultural upheaval due to the European expansion overseas, the antipodes contributed to the transition from Christian cosmology to modern geography, and to the reappraisal of the distinction human vs non-human. The inhabitant of the antipodes, once identified with either the races described by Pliny or the peoples at the extreme borders of the Earth, became the savage of the modern colonial ideology. Four main myths joined together in this imaginary melting pot: the classical Golden Age; the Paradise on Earth of the Judaeo-Christian tradition; the Greco-Roman idea of a universal Empire; and the land of Cockaigne of the Medieval folk-lore. This fusion gave birth to the myth of Utopia and it provided a decisive contribution to the development of the idea of Europe
Río, Rodríguez Ángel del. "Poética del monstruo posmoderno en la narrativa breve fantástica: Fernando Iwasaki, David Roas y Pilar Pedraza." Doctoral thesis, Universitat Autònoma de Barcelona, 2020. http://hdl.handle.net/10803/671299.
Full textEl principal objetivo de esta tesis doctoral es establecer una poética sobre la figura del monstruo contemporáneo, de género fantástico, partiendo de nuestra hipótesis en la que sostenemos que, en la ficción posmoderna, se cultiva y se acude a un tipo de figuras monstruosas caracterizadas por unos rasgos evolutivos, diferentes a las formas tradicionales o clásicas empleadas por la ficción fantástica. Asimismo, profundizamos en el análisis de 4 seres monstruosos que consideramos significativos en lo que refiere al uso y a la presencia de estas criaturas, para observar cómo funciona el cultivo de una tipología seleccionada de monstruos posmodernos: el vampiro, el licántropo, el revenant y el doble. De tal forma que podremos evaluar si se produce una modificación en clave posmoderna.
The main objective of this doctoral thesis is to establish a poetics about the figure of the contemporary monster, of a fantastic genre, starting from our hypothesis in which we argue that, in postmodern fiction, a type of monstrous figures characterized by some evolutionary traits, different from the traditional or classical forms used by fantasy fiction. Likewise, we delve into the analysis of 4 monstrous beings that we consider significant in terms of the use and presence of these creatures, to observe how the cultivation of a selected typology of postmodern monsters works: the vampire, the lycanthrope, the revenant and the double. In such a way that we will be able to evaluate whether there is a postmodern modification.
Turgeon, Charest Jennifer. "Apprivoiser les monstres par le théâtre : analyse du traitement des sujets difficiles dans le théâtre jeune public contemporain au Québec." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/23635.
Full textGraille, Patrick. "L'idée de monstre au XVIIIe siècle : savoirs et fantasmes." Paris 4, 1998. http://www.theses.fr/1998PA040074.
Full text"Qu'entendez-vous donc par un monstre ?" this question, twice asked by Diderot - first in his translation of Shaftesbury (1746) and later in the elements de physiologic (1781) - serves as the point of departure this thesis. Conceived of as pluridisciplinary intellectual history project encompassing the history of the life sciences, the history of nature, the history of medicine as well as a cultural history of monstrosity which spans the domains of literature, philosophy, esthetics, ethnology, religion, and law, this work attempts to underline the originality and the essential function of monstrosity in the era's imagination. Object of knowledge and fantasy, the monster remains a "paradoxe" - to cite Linnaeus - incompatible with the uniformity and reasonableness of nature as it was postulated by those living in the era of the encyclopedia. Simultaneously lacking and overflowing with meaning, the monster evokes order and optimism as well as disorder and suffering for the century's pundits and common people alike ; in this sense, the treatment of the monstrous body is a reflection of the era's contradictory world views. An integral factor in several epistemological revolutions during the era, the monster has an ambivalent status: as a signal and beacon for some thinkers, and as a disrupting and transgressive counterexample to any normative principle for others
Michaut, Cécile. "Gémeaux, androgynes, hermaphrodites, Narcisse : unité et dualité du corps politique, 1562-1676." Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20008.
Full textThe double monsters (creatures with two sexes, two bodies or two heads, such as androgynes, hermaphrodites, joint Gemini) were, in the 16th and 17th centuries, notable figures because there were many them and because they raised distressing issues. The double monster is, on the one hand, a sign announcing schims and civils wars, a sick or deviant figure ; but it is also sometimes announcing reconciliation and is a symbol of concord, peace and love. This study aims at reflecting on the meaning of these double monters. Our hypothesis is that they hold a discourse of a political nature on the Other (among a corpsb or a city). But that discourse, from the first religious conflicts (1562) to the publication of The Southern Land Known by Foigny (1676), evolved. The first part of this study is devoted to the definition of the single family of myths, including Hermaphrodite, the Androgyne, Janus, the Gemini and Narcissus. It shows how, from Antiquity onwards, those figures have been questioning the relation to the other. The second part reveals how those figures have become, in the 16th and 17th centuries, the ambivalent political emblens of war as well as peace, of order as well as disorder. The third part explains how novelists and poets have concentrates on the hermaphrodite. It analyses how and why that equivocal and hunted monster became, in the 17th century, the mouthpiece of a new State that does no longer tolerate otherness, and yet needs it
Triaire, Sylvie. "Une esthétique de la déliaison : Flaubert, 1870-1880." Paris 8, 1999. http://www.theses.fr/1999PA081716.
Full textDaveluy, Marie-Ange. "Métamorphoses et monstruosités dans l'oeuvre d'Eugène Ionesco." Bordeaux 3, 1987. http://www.theses.fr/1987BOR30030.
Full textIn whole ionesco's work, the classifications and the meanings of metamorphosis and monstruosities, enligtened by psychoanalysis and by the author's mysticism, political engagement and play on formalism, give place to interpretations for richer than the one which is generally attributed to the only rhinoceros