Discours situationniste dans l'oeuvre de Réjean Ducharme

Ce mémoire a pour objet l’analyse du discours situationniste dans l’œuvre de l’auteur québécois Réjean Ducharme, plus particulièrement dans Le nez qui voque (1967), L’hiver de force (1973) et Dévadé (1990). Partant du postulat que Ducharme a pu entrer en contact avec les idées issues du mouvement contre-culturel français de l’Internationale situationniste (1957-1972), il s’agit de repérer les similitudes entre les deux corpus et d’analyser de quelle manière celles-ci travaillent l’œuvre de Réjean Ducharme. Notre analyse micro-textuelle comparative se déploie sur trois axes principaux. Il est tout d’abord question de la place de l’art dans la société de l’époque et de la résistance à son institutionnalisation. Nous abordons ensuite les conceptions ducharmienne et situationniste de la ville qui, sur plusieurs points, se recoupent et se répondent. Finalement, nous analysons le discours économico-politique émanant des deux corpus, insistant sur la manière dont autant les personnages ducharmiens que les membres de l’Internationale situationnistes résistent à l’organisation capitaliste et hiérarchique de leur époque, lui préférant un idéal social basé sur le jeu, l’amitié et l’amour. Nous montrons que le discours situationniste est omniprésent dans l’œuvre ducharmienne et qu’il permet de souligner que, contrairement à ce que plusieurs critiques affirment, Réjean Ducharme est bel et bien un auteur politique.

Théorie du langage et esthétique totalisante dans l’œuvre poétique de Christophe Tarkos

Cette thèse prend pour objet le nouage entre l’autoréflexivité et la mise en forme esthétique dans la poésie de Christophe Tarkos, produite dans les années 1990. Elle met en lumière les rapports entre l’élaboration d’une théorie du langage au sein de cette œuvre poétique et ses visées esthétiques totalisantes. Il s’agit d’identifier les principes générateurs de la théorie et de fournir une analyse de ses fondements qui s’ancrent dans la crise de la représentation moderne commençant dans la deuxième moitié du dix-neuvième siècle. Les motifs de la crise revisités par Tarkos inscrivent sa poésie dans une historicité, et notre thèse tente d’interpréter cette actualisation dans une œuvre qui donne forme au monde et à la mémoire individuelle. L’hypothèse qui chapeaute notre étude est que la théorie du langage favorise l’intelligibilité de l’œuvre totalisante en lui offrant un support réflexif. Notre thèse, qui privilégie une méthode fondée sur l’analyse des textes, se divise en trois parties. La première propose une recension de la réception critique de l’œuvre, dont nous retraçons les grandes lignes d’interprétation, de Christian Prigent à Jean-Michel Espitallier. Tout en plaçant Tarkos dans le champ poétique français, cette étape nous permet de positionner notre recherche par rapport à certains lieux communs de la critique. La deuxième partie vise à étudier la théorie du langage de Tarkos à partir de ses manifestes principaux (Le Signe =, Manifeste chou, Ma langue est poétique et La poésie est une intelligence) qui révèlent plusieurs principes, pouvoirs et limites de la langue et de la poésie. Afin de montrer la spécificité du concept de la « pâte-mot » de Tarkos, nous l’étudions dans un dialogue avec la figure de la « pâte » langagière chez la poète française Danielle Collobert. La troisième partie propose une étude de la volonté et de l’esthétique totalisantes dans l’œuvre de Tarkos, qui cherche à donner forme au réel. En effet, la poésie répond à l’excès du réel par diverses stratégies. Tout en voulant représenter son caractère débordant par une énonciation logorrhéique ou en usant de procédés comme celui de la répétition, elle cherche à le maîtriser dans des formes textuelles stables comme des fragments de prose « carrés » (Carrés, Caisses), dans des listes énumératives (Anachronisme) ou dans des réseaux d’images. La volonté totalisante chez Tarkos semble également prendre origine dans un sentiment d’urgence qui concerne, en dernière instance, une bataille contre la finitude.

Los comportamientos del liderazgo y su relación con el desarrollo de los modelos de gestión

El propósito de este trabajo de investigación teórica, es lograr basados en el estudio de variables del entorno empresarial, como lo son los modelos de negocio, comportamiento, cultura y complejidad organizacional, estructurar un artículo que invite a la reflexión sobre la incidencia del comportamiento de los líderes para con los modelos de gestión. Con base en la información recolectada, se observan patrones funcionales en el comportamiento de las organizaciones, derivados de los modelos de comportamiento de quienes las dirigen. Las implicaciones podrían ser calificadas de favorables o desfavorables, si se les asocia como condición relevante en la perdurabilidad de las mismas en el tiempo.

El discurso sobre el actual proceso de paz en la revista Semana (2012-2014)

Este artículo presenta un análisis sobre el discurso del actual proceso de paz en la revista Semana entre los años 2012 a 2014, dada la relevancia de la participación de los medios de comunicación en un proceso trascendental para el futuro del país y la reconciliación de la sociedad. El objetivo es describir qué estrategias argumentativas usa la revista a partir de las noticias sobre el proceso de paz durante este periodo. La metodología utilizada se basó en los esquemas argumentativos (topoi), los cuales se identificaron de acuerdo con la estrategia argumentativa que propone Ruth Wodak. Partiendo del análisis de los topoi se encontró que de manera general el discurso de la revista frente a los diálogos de paz maneja un tono positivo y a favor del proceso, incluso antes de que se hiciera el anuncio formal de las negociaciones, además se evidenció que frecuentemente se trata de resaltar y visualizar la labor del gobierno del presidente Juan Manuel Santos.

Anàlisi crítica d'"Ofrena" (poesia) de Josep Carner

La tesi doctoral consisteix en una lectura crítica de la secció "Ofrena" composta de 178 poemes, del llibre que el poeta català (1884-1970) va publicar el 1957 com a obra poètica completa, després d'una profunda selecció i revisió dels poemes que havia escrit al llarg de més de 50 anys. La lectura deixa de banda la dimensió historiogràfica de la poesia de Carner i es centra en una anàlisi textual de la secció a partir d'un apartat de conceptes provinents de la teoria literària d'aquest segle i d'alguns dels corrent de pensament que en formen part, com l'estructuralisme, la semiòtica, el New Criticism, la desconstrucció, etc. Així, la tesi té dos objectius fonamentals: l'estudi del corpus que formen els poemes de la secció "Ofrena" de Poesia, i l'esbós de les possibilitats crítiques que ofereixen determinats enfocaments de l'estudi sincrònic de la literatura.

O videoclipe victimless crime e as imagens nos videoclipes

RESUMO: No âmbito do Mestrado em Estudos Cinematográficos da Universidade Lusófona de Humanidades e Tecnologias, propôs-se a concretização de um Projecto-Tese na área do videoclipe. O projecto consiste na produção, realização e edição de um videoclipe. Victimless Crime é o nome da música, criada durante o ano de 2009 e lançada em Maio de 2010, da banda pop lisboeta Soulbizness. O resultado é um videoclipe com a duração de três minutos e vinte e seis segundos, que entende a possibilidade de uma utilização real. Na componente teórica procede-se ao estudo do videoclipe enquanto formato audiovisual e suas especificidades. Segue-se a análise de Victimless Crime, através do Modelo de Análise proposto por Francisco J. G. Tarín, assente em três vectores essenciais: Análise Textual; Análise de Recursos Expressivos e Narrativos; e Interpretação. ABSTRACT: Within the scope of the MFA in Cinematography at the Universidade Lusófona de Humanidades e Tecnologias, a thesis project was proposed in the field of music video. The project consists of producing, directing and editing a music video for the song Victimless Crime, created in 2009 and released in May 2010 by the Lisbon-based pop band Soulbizness. The result is a three minute, twenty-three second music video, complete and ready to be released. The project also includes a theoretical component, consisting of a general review of the music video as an audiovisual format and its characteristics, followed by an analysis of Victimless Crime, as per the Analysis Model proposed by Francisco J. G. Tarín, which is based on three main topics: Textual Analysis; Narrative Analysis and Expressive Language Analysis; and Interpretation.

The representation of highly pathogenic avian influenza in the Chinese media

In the early 2000s the threat of Highly Pathogenic Avian Influenza captured the attention of the world's media. While China is often considered the epicentre of the panzootic, few studies have explored coverage of this variant of avian flu in China. To address this issue, the authors examined the portrayal of Highly Pathogenic Avian Influenza across four Chinese newspapers at the local and national level. A textual analysis was performed on 160 articles across an eight-year period from 2001–2008. The study approach drew from Critical Discourse Analysis and Social Representation Theory. The headline analysis showed the extent that risk of the disease was subverted by the depiction of a strong and efficient ‘China’ that was a global leader in the fight against the disease. Ideological referents were called upon to stress teamwork in confronting the crisis. The diachronic analysis illustrated how the relationship between commercial interests, science and public health risks played out within the Chinese media.

Digital imaging in popular cinema

This book investigates the challenges that the presence of digital imaging within the cinematic frame can pose for the task of interpretation. Applying close textual analysis to a series of case studies, the book demystifies the relationship of digital imaging to processes of watching and reading films, and develops a methodology for approaching the digital in popular cinema. In doing so, the study places contemporary digital imaging practice in relation to historical traditions of filmmaking and special effects practice, and proposes a fresh, flexible approach the the close reading of film that can take appropriate account of the presence of the digital.

Prowess, the Nine Worthies and the Hundred Years War: the Prologues to the Chroniques of Jean Froissart and Enguerrand de Monstrelet

An analysis of the evolution of the image of chivalry in the successive redactions of the Prologue to Froissart's Chroniques, focussing on the figures of the Nine Worthies as models of behaviour for young noblemen. This is then compared and contrasted with the prologue written by his continuator, Enguerrand de Monstrelet, whose work betrays a shift in sensibilities that expresses itself, inter alia, by a near-total absence of the Worthies in his Chronique. Close textual analysis suggests that the two choniclers shared a comparable sense of disillusion, though expressed in different ways.

Cosmic effects on the intimate screen: J. B. Priestley, Ralph Richardson and 'Johnson over Jordan' (1965)

This article considers ideas about the suitability of experimental, non-naturalist, narrative forms in theatre and television, through the example of a 1965 BBC2 adaptation of J. B. Priestley's 1939 play Johnson over Jordan. Using both textual analysis of the programme and research into the BBC production documentation, this essay explains how the circumstances and conditions of 1960s television adaptation and the star casting of Sir Ralph Richardson transformed Priestley's stage play. The TV adaptation achieved cosmic effects on an intimate scale, through inference and the imaginative integration of the studio space with dubbed sound.

Eye candy for the blind: re-introducing Lyotard's Acinema into discourses on excess, motion and spectacle in contemporary Hollywood

Jean-François Lyotard's 1973 essay ‘Acinema’ is explicitly concerned with the cinematic medium, but has received scant critical attention. Lyotard's acinema conceives of an experimental, excessive form of film-making that uses stillness and movement to shift away from the orderly process of meaning-making within mainstream cinema. What motivates this present paper is a striking link between Lyotard's writing and contemporary Hollywood production; both are concerned with a sense of excess, especially within moments of motion. Using Charlie's Angels (McG, 2000) as a case study – a film that has been critically dismissed as ‘eye candy for the blind’ – my methodology brings together two different discourses, high culture theory and mainstream film-making, to test out and propose the value of Lyotard's ideas for the study of contemporary film. Combining close textual analysis and engagement with key scholarship on film spectacle, I reflexively engage with the process of film analysis and re-direct attention to a neglected essay by a major theorist, in order to stimulate further engagement with his work.

Storytelling in song: television music, narrative and allusion in 'The O.C.'

Television’s long-form storytelling has the potential to allow the rippling of music across episodes and seasons in interesting ways. In the integration of narrative, music and meaning found in The O.C. (Fox, FOX 2003-7), popular song’s allusive and referential qualities are drawn upon to particularly televisual ends. At times embracing its ‘disruptive’ presence, at others suturing popular music into narrative, at times doing both at once. With television studies largely lacking theories of music, this chapter draws on film music theory and close textual analysis to analyse some of the programme's music moments in detail. In particular it considers the series-spanning use of Jeff Buckley’s cover of ‘Hallelujah’ (and its subsequent oppressive presence across multiple televisual texts), the end of episode musical montage and the use of recurring song fragments as theme within single episodes. In doing so it highlights music's role in the fragmentation and flow of the television aesthetic and popular song’s structural presence in television narrative. Illustrating the multiplicity of popular song’s use in television, these moments demonstrate song’s ability to provide narrative commentary, yet also make particular use of what Ian Garwood describes as the ability of ‘a non-diegetic song to exceed the emotional range displayed by diegetic characters’ (2003:115), to ‘speak’ for characters or to their feelings, contributing to both teen TV’s melodramatic affect and narrative expression.

Trevor Griffiths' 'Absolute Beginners': socialist humanism and the television studio

This article examines how conventional studio production strategies were active in the construction of political meaning in the 1974 television play 'Absolute Beginners' written by Trevor Griffiths. Produced for the BBC anthology series Fall of Eagles, the play dramatises Lenin's involvement with the Russian Social Democratic Workers Party (RSDWP) and explores the contradictions between personal ethics and political necessity. Through close textual analysis and contextual discussion of other plays in the series, this piece demonstrates how shot patterns and spatial and performative devices in 'Absolute Beginners' supported the drama's socialist-humanist themes. Drawing on existing writing about the studio mode, it argues that the qualities of intimacy and presentational distance that it engendered were highly appropriate for the personal and the political dialectic in 'Absolute Beginners'. While using authorship as a convenient category for referring to the coherence of Griffiths' thematic concerns and dramatic structure during this period, the article complicates notions of the television dramatist as author by arguing for the importance of visual style and showing how 'ordinary' studio form was operational in the play's political meanings.

Stylised worlds: Colour Separation Overlay in BBC television plays of the 1970s

This essay aims to understand and interrogate the use of Colour Separation Overlay (CSO) as a mode of experimental production and aesthetic innovation in television drama in the 1970s. It sets out to do this by describing, accounting for and evaluating CSO as a production technique, considering the role of key production personnel, and analysing four specific BBC productions. Deploying methodologies of archival research, practitioner interview, and close textual analysis, the essay also delivers a significant reassessment of the role of the producer and designer in the conceptualisation and realisation of small-screen dramatic fiction.

Women’s Popular Cinema in Greece: the case of Olga Malea

This thesis examines the film comedies directed by Olga Malea and released between 1997 and 2007 in Greece, in order to make a claim for the study of women’s popular cinema in Greece and beyond. Women’s popular cinema refers to films which are thematically associated with women’s cinema while operating in popular forms, such as genre. Olga Malea and her work make for a useful case study, in that they encapsulate the relationship between these two broad categories of women’s cinema and popular cinema. In addition, this thesis claims that the two categories inflect one another in interesting ways, and their intersections act as a productive framework for the analysis of women’s cinema as popular cinema, effecting a popularisation of usually marginalised themes. The introduction to this work primarily outlines the theoretical frameworks for the argument that follows, namely: women’s cinema and feminist theory; discussions around popular cinema; and considerations about authorship. The concept of national film cultures and its possible meaning in relation to Greece is also alluded to as a contextual factor. Each subsequent chapter advances the argument for women’s popular cinema through close textual analysis of the films in chronological order of their release. In particular, the analysis identifies recurrent strands and motifs in the director’s oeuvre, such as tensions between tradition and modernity, and the pervasive nature of patriarchy in informing national gender discourses. Having established the argument that women’s popular cinema is productive in popularising women’s cinema itself, the thesis concludes that, in the work of Olga Malea, its themes are conceived of, represented and perceived as prominent in the country during the period examined – and one can finally address women’s cinema as popular.