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L’Encyclopédie « entière » ou comment mettre en relation le discours et les planches, à travers l’exemple du traitement en image et en texte de l’étonnement
Get PDFIt is a fact: Encyclopedia’s text (in 17 volumes) is read without considering the plates (in 11 volumes), but it could be useful and relevant to take an example of a strong interaction between text and plates. The example that is choiced is a passion : astonishment. To compare its presentation in text and plates, three particular plates from DESSIN are studied and all the articles about the passion of astonishment and surprise are examined
« Un pont admirable entre visible et invisible » : approches picturales de la mort et de la vie chez Lorette Nobécourt
No full textLorette Nobécourt is a living French writer (she was born in 1968). In her work takes place a quest of the "Word", the holy name she gives to literature. A great feeling of spirituality comes out from her texts. From 1999 to 2012 she wrote three texts about three different pictural works : La Raie by Chardin (french painter), L’Ordre du monde by Sujata Bajaj (indian artist) and L’Usage des jours by Guillaume Bardet (french designer). Trough her texts appears her literary and spiritual evolution. Literature proved to be a spiritual ritual, like a memento mori, but also an real prayer, an hymn in praise of the « living life »
Sur l’image qui manque à nos jours, Pascal Quignard et l’imaginaire de l’absence
Get PDFThis article aims to investigate the role of the image in Quignard’s writing. Image is always present in his works, either directly, with the use of images taken from ancient art, or indirectly, thanks to the images that arise from his use of certain metaphors and expressions. In particular, here we take into consideration his Sur l’image qui manque à nos jours, in order to show how his discourse on the image takes the shape of a philosophical speculation on the missing images in our life. Indeed, for Quignard, we always live with the presence of the missing images, that is all we cannot see but we can imagine, for instance that of our conception. Moreover, the author analyses in this work four ancient images and four ancient texts. In so doing he confirms – even if partially – the Horatian formula ut pictura poesis, i.e. the link between these two forms of art. For him, the writing has the purpose of explaining the sense and the discourse that images represent. His way to present this to the readers is original and it does not belong to any other literary or artistic tradition of the past
Fragments d’un discours iconographique : Poétique de l’image dans L’Empire des signes de Roland Barthes
Get PDFRoland Barthes was not only a literary theorist, a critic or a semiotician. Above all, he was concerned with signs, symbols and representations which shape the everyday life and nourish both identities of the individual subject and the social group. As the world celebrates in 2015 the centenary of his birth, the question of his intellectual and literary legacies has never been more relevant. In the large scope of his works, L’Empire des signes, published in 1970 following several trips to Japan, is rather a particular piece which hinges on a specific combination of text and images. By looking at the structure of Barthes’s work and the relationship between the author’s discourse and the meanings released through the images, this paper aims to highlight the poetics of the image as a founding element in L’Empire des signes. The study of three categories of images used in the volume and their confrontation with the author’s developments shed new light on the contribution of the iconographic element towards a valuable understanding of signs and significations
Narcisse et la photographie. De l’objectivation à l’objectivité
Get PDFBaudelaire blamed the bourgeois society and its photographic narcissism which leads to a perversion of the mythical posture and to a loss of consciousness of the ontological dissimilarity between reality and its image. That is why literature has to develop the imagination of the photographic image, which is both useful and magical, both referential and wondrous. Writers of the romantic era may disdain or admire photography, but they all experience the photographic objectivity and thus develop an antidote to the vain objectification of the collective Narcissus
La poésie silencieuse d’Henri Michaux à René Magritte ou quand le poème se substitue en tableau
Get PDFHenri Michaux, Paul Klee and René Magritte enroll in a interdisciplinary perspective where painting looks as poem and vice versa. Correspondence between writing and painting defies taxonomy of the pictorial and scriptural in order to establish a new trans-esthetic approach. Painting interpretations show that poetry writing and pictorial articulate two tactics for the same strategy: auscultate the problem of being
La visualité exacerbée chez Georges Bataille (et Luis Buñuel) : l’image de l’œuf et ses implications obsessionnelles dans Histoire de l’œil (1928) et Un Chien andalou (1929)
Get PDFThe aim of the study is to analyze Bataille’s Story of the Eye (1928) and Buñuel’s An Andalusian Dog (1929) as accurate examples of artworks that were broadly inspired by images from subconsciousness. Both authors are particularly fascinated by the ‘eye’ which becomes an object of obsession in their output. The ocular reference is however often replaced with the image of the egg, by the process of metonymy that has its origin in Bataille’s imagination and early compulsions. As such, both eye and egg, initially being almost divine, gradually become deformed, abject and, ultimately, annihilated. The image of eye and egg, symbolically the birth of universe, becomes paradoxal in the textual layer, as it’s constantly being deformed by obsessive thoughts from the past
Images et narration dans l’œuvre de Dany Laferrière
Get PDFNarrative developments often stem from images in Dany Laferrière’s work. On the other hand, some of the narration in Laferrière’s fiction and nonfiction is synthesized in narrative snapshots that resemble descriptions. Temporal dimension plays a key role in this constant shift between image and imagination, because, as Didi-Huberman has shown, images carry an anachronistic element. This element also allows Laferrière and his narrators to use mainly simple present tense, even when the content of the narration is set in the past. Nevertheless, images are never explained or rationalized in Laferrière’s work, which keeps the mystery and ambiguity that characterize visual representations
Écrire l’image dans l’espace – transgression des formes poétiques au début du XXème siècle
Get PDFThe aim of this article is to present the connections between literature and art, as well as a graphic and artistic sing. The main subject of the study is the problem of typography, pictography, calligraphy and the visualisation as a sign created from the merging of a verbal code and a drawing representation. The dialogue of two sisters, due to which poetry has become a verbal painting /pictura loquens/, exhibits the variety of artistic creations based on the selected French literature of the early 20th century. The new tendencies which provoked the writers and painters, they could define the plasticity of words and pictures, as well as discover similarities of these two layers. The study attempts to discuss the co-existence and co-implication of the verbal codes and pictorial codes
Mon portrait par Bonnat : imaginaire scénique de l’homme politique républicain
Get PDFBefore World War 1, French painter Léon Bonnat became famous by portraying celebrities, among which almost every leading politician in the newly founded Republic. His academic and dark style however was criticized by art critics and humourists; hence his portraits put on stage in character comedies have to be read as critics of the very people they represent and of himself as an official artist