{"title":"Hypervisibilité et illisibilité dans l’écriture « logosonoscopique » de Jacques Sivan","authors":"Gaëlle Théval","doi":"10.58282/colloques.4012","DOIUrl":"https://doi.org/10.58282/colloques.4012","url":null,"abstract":"","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130619431","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
L’œuvre de la poetesse argentine Susana Thenon (1937-1990) se caracterise par son polymorphisme. Apres une premiere phase consacree a la composition de poemes lyriques et « trans-lyriques », Thenon entame l’ecriture de son quatrieme recueil intitule distancias ou l’ecriture poetique est influencee par les codes de la musique contemporaine, notamment par les Mikrophonies de Stockhausen. Parallelement a ce projet poetique, qui ne sera publie qu’en 1984, la poetesse explore la sphere de la photographie, ce qui lui permet de developper son imaginaire poetique tout en changeant de medium. Elle associe ainsi la poesie, la photographie et la traduction en travaillant une selection de poemes de Rilke. Elle approfondit par ailleurs la relation entre la poesie, la photographie et la danse dans une serie de photographies consacree a la danseuse argentine Iris Scaccheri. La permeabilite artistique que la poetesse met en place nous incite a nous interroger sur la dimension intersemiotique de son œuvre. Cet article traite d’un aspect specifique : le rapport entre poesie et musique.
{"title":"Résonances musicales dans distancias de Susana Thénon","authors":"Juanita Cifuentes-Louault","doi":"10.58282/colloques.3907","DOIUrl":"https://doi.org/10.58282/colloques.3907","url":null,"abstract":"L’œuvre de la poetesse argentine Susana Thenon (1937-1990) se caracterise par son polymorphisme. Apres une premiere phase consacree a la composition de poemes lyriques et « trans-lyriques », Thenon entame l’ecriture de son quatrieme recueil intitule distancias ou l’ecriture poetique est influencee par les codes de la musique contemporaine, notamment par les Mikrophonies de Stockhausen. Parallelement a ce projet poetique, qui ne sera publie qu’en 1984, la poetesse explore la sphere de la photographie, ce qui lui permet de developper son imaginaire poetique tout en changeant de medium. Elle associe ainsi la poesie, la photographie et la traduction en travaillant une selection de poemes de Rilke. Elle approfondit par ailleurs la relation entre la poesie, la photographie et la danse dans une serie de photographies consacree a la danseuse argentine Iris Scaccheri. La permeabilite artistique que la poetesse met en place nous incite a nous interroger sur la dimension intersemiotique de son œuvre. Cet article traite d’un aspect specifique : le rapport entre poesie et musique.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121562097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In Cet absent-la, Camille Laurens’ text and Remi Vinet’s photographs are equal forms of representation which illustrate the different shapes and aspects the memory of a beloved person can assume; together these two elements form a coherent whole. At first, this may seem surprising since the people on the pictures do not appear in the text while the characters whose photographs are described in the text – the ex-partner of the first-person narrator and her son Philippe, who died shortly after birth – do not figure on any of the pictures. Thus, both the ex-partner and Philippe, on the one hand, and the people on the pictures, on the other hand, are “cet absent-la”. Laurens and Vinet use this apparent contradiction between presence and absence to foreground their own conception of memory: through their visual and textual representations memory is at once associated with time and space but, at the same time, it also is defined as being beyond temporal and spatial boundaries. In my opinion, it is precisely the new dialectical relationship between text and image which creates the unique character of this novel. The present contribution offers an analysis of the book based on the dichotomy presence-absence specific to Cet absent-la as well as to memory.
{"title":"L’articulation intersémiotique du souvenir chez Camille Laurens et Rémi Vinet","authors":"C. Nägeli","doi":"10.58282/colloques.3978","DOIUrl":"https://doi.org/10.58282/colloques.3978","url":null,"abstract":"In Cet absent-la, Camille Laurens’ text and Remi Vinet’s photographs are equal forms of representation which illustrate the different shapes and aspects the memory of a beloved person can assume; together these two elements form a coherent whole. At first, this may seem surprising since the people on the pictures do not appear in the text while the characters whose photographs are described in the text – the ex-partner of the first-person narrator and her son Philippe, who died shortly after birth – do not figure on any of the pictures. Thus, both the ex-partner and Philippe, on the one hand, and the people on the pictures, on the other hand, are “cet absent-la”. Laurens and Vinet use this apparent contradiction between presence and absence to foreground their own conception of memory: through their visual and textual representations memory is at once associated with time and space but, at the same time, it also is defined as being beyond temporal and spatial boundaries. In my opinion, it is precisely the new dialectical relationship between text and image which creates the unique character of this novel. The present contribution offers an analysis of the book based on the dichotomy presence-absence specific to Cet absent-la as well as to memory.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"109 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126090550","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cet article presente et analyse l’adaptation du roman de Nabokov Lolita en une œuvre multimedia intitulee Lolita An Imagined Opera, creee en 2008. Cette œuvre est le fruit de la collaboration de Joshua Fineberg (compositeur) et des artistes Johanne Saunier, Jim Clayburgh et Kurt d'Haeseleer. Elle croise litterature, musique (electronique et acoustique), theâtre, danse contemporaine, art video. Cette etude presente la maniere dont la structure narrative a ete transferee dans l’adaptation, et expose les diverses strategies qui permettent de faire interagir les codes semiotiques en presence, afin de demontrer qu’il s’agit veritablement d’une œuvre intermediale/intersemiotique.
本文将纳博科夫的小说《洛丽塔》改编成多媒体作品《洛丽塔想象歌剧》，创作于2008年。这幅作品是作曲家Joshua Fineberg与艺术家Johanne Saunier、Jim Clayburgh和Kurt d' haeseleer合作的成果。它融合了文学、音乐(电子和声学)、戏剧、现代舞和视频艺术。本研究展示了叙事结构在改编过程中被转移的方式，并揭示了使符号学代码相互作用的各种策略，以证明这是一个真正的中间/符号学作品。
{"title":"Poetics of hybridity: Lolita, an Imagined Opera, a creation by composer Joshua Fineberg, scenographer Jim Clayburgh, choreographer Johanne Saunier, and video artist Kurt d’Haeseleer","authors":"Marie Bouchet","doi":"10.58282/colloques.3898","DOIUrl":"https://doi.org/10.58282/colloques.3898","url":null,"abstract":"Cet article presente et analyse l’adaptation du roman de Nabokov Lolita en une œuvre multimedia intitulee Lolita An Imagined Opera, creee en 2008. Cette œuvre est le fruit de la collaboration de Joshua Fineberg (compositeur) et des artistes Johanne Saunier, Jim Clayburgh et Kurt d'Haeseleer. Elle croise litterature, musique (electronique et acoustique), theâtre, danse contemporaine, art video. Cette etude presente la maniere dont la structure narrative a ete transferee dans l’adaptation, et expose les diverses strategies qui permettent de faire interagir les codes semiotiques en presence, afin de demontrer qu’il s’agit veritablement d’une œuvre intermediale/intersemiotique.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132029300","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Itinéraire obstiné du Boléro : Thierry Malandain, Michèle Lesbre, ou deux regards contemporains à l’œuvre1","authors":"Nathalie Vincent-Arnaud","doi":"10.58282/colloques.4000","DOIUrl":"https://doi.org/10.58282/colloques.4000","url":null,"abstract":"","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120877815","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
With the sfumato technique, Leonardo applied to his paintings a veil of smoke, giving the contours of landscapes, objects and characters,a blurred and indistinct appearance. Nowaday, filmmakers such as Nuri Bilge Ceylan or Theo Angelopoulos bring back to life the same poetics of "natural blur", incompletion and incompleteness.
{"title":"L’image atmosphérique : adaptation cinématographique d’une technique picturale","authors":"Rosine Bénard","doi":"10.58282/colloques.3886","DOIUrl":"https://doi.org/10.58282/colloques.3886","url":null,"abstract":"With the sfumato technique, Leonardo applied to his paintings a veil of smoke, giving the contours of landscapes, objects and characters,a blurred and indistinct appearance. Nowaday, filmmakers such as Nuri Bilge Ceylan or Theo Angelopoulos bring back to life the same poetics of \"natural blur\", incompletion and incompleteness.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126607109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Giacomo Casanova is a real historical figure who traveled, wrote, loved during the Enlightenment, and whose posterity is linked to the myth he has gradually become. The substantivation of his surname, which reduces this multi-talented adventurer to the archetype of the unrepentant seducer, took place through the numerous intersemiotic rewriting of his consequent autobiography, Histoire de ma vie. Artists of all disciplines have played with the codes of his legend; they sometimes amplify the myth, they sometimes try, at the contrary, to suffocate it, in order to find the real man behind it, or they even sometimes create a new character, very different from the myth or the literary figure.These three rewriting choices are particularly interesting to observe during the intersemiotic metamorphosis of the original text in still or moving images, because from a medium to an other one, the casanovian myth grows or dies, lives and changes according the different codes which shape it... and be shaped by it.
{"title":"Les métamorphoses intersémiotiques du mythe casanovien","authors":"E. Meunier","doi":"10.58282/colloques.3969","DOIUrl":"https://doi.org/10.58282/colloques.3969","url":null,"abstract":"Giacomo Casanova is a real historical figure who traveled, wrote, loved during the Enlightenment, and whose posterity is linked to the myth he has gradually become. The substantivation of his surname, which reduces this multi-talented adventurer to the archetype of the unrepentant seducer, took place through the numerous intersemiotic rewriting of his consequent autobiography, Histoire de ma vie. Artists of all disciplines have played with the codes of his legend; they sometimes amplify the myth, they sometimes try, at the contrary, to suffocate it, in order to find the real man behind it, or they even sometimes create a new character, very different from the myth or the literary figure.These three rewriting choices are particularly interesting to observe during the intersemiotic metamorphosis of the original text in still or moving images, because from a medium to an other one, the casanovian myth grows or dies, lives and changes according the different codes which shape it... and be shaped by it.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"88 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117279262","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the films that have been adapted from the Dangerous Liaisons, from Roger Vadim (1960) to the Korean Je Yong Lee (2003), the work of Laclos has been mixed with images from the Age of Enlightenment (Fragonard for Milos Forman) or painters of the classical period (Vermeer in Stephen Frears), either to illustrate the festive atmosphere or as counterpart to the classical composition of the novel. The luxury of the eighteenth-century combined the libertines’ way of life as well as the development of manufactures and nascent industry. This luxury is illustrated by the importance given to the costumes or the interior design that served as backdrop to the adaptations of 1988-89. Music is also given pride of place (jazz in Roger Vadim’s film), especially the opera (in Stephen Frears), in a story which portrays a musician (Danceny).
{"title":"Le dialogue des arts dans les adaptations des Liaisons dangereuses","authors":"A. Sebbah","doi":"10.58282/colloques.3991","DOIUrl":"https://doi.org/10.58282/colloques.3991","url":null,"abstract":"In the films that have been adapted from the Dangerous Liaisons, from Roger Vadim (1960) to the Korean Je Yong Lee (2003), the work of Laclos has been mixed with images from the Age of Enlightenment (Fragonard for Milos Forman) or painters of the classical period (Vermeer in Stephen Frears), either to illustrate the festive atmosphere or as counterpart to the classical composition of the novel. The luxury of the eighteenth-century combined the libertines’ way of life as well as the development of manufactures and nascent industry. This luxury is illustrated by the importance given to the costumes or the interior design that served as backdrop to the adaptations of 1988-89. Music is also given pride of place (jazz in Roger Vadim’s film), especially the opera (in Stephen Frears), in a story which portrays a musician (Danceny).","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115523994","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Focusing on Wayne Wang and Paul Auster’s movie Smoke as well as on the graphic novel adapted by Paul Karasik and David Mazzucchelli, this paper examines the dazzling reiteration and mirror effects at play in the visual adaptations of Auster’s fiction, and which in the end only deepen the endless mise-en-abime already present in “Auggie Wren’s Christmas Story” and in City of Glass. Disenchanted with a postmodern world of fragments and simulacrum, Auster’s patch-work nevertheless strives for a re-enchantment of the quotidian through story-telling and art-making, as means to create pure, inspiring images. Central to Auster’s fiction and their filmic or comics adaptations, many intertextual and metatextual devices bring to the foreground the question of art as language.
{"title":" “The Vertigo of Reiteration through Adaptation: Nicompictopoop Representations in City of Glass and Smoke.”","authors":"Bénédicte Meillon","doi":"10.58282/colloques.3961","DOIUrl":"https://doi.org/10.58282/colloques.3961","url":null,"abstract":"Focusing on Wayne Wang and Paul Auster’s movie Smoke as well as on the graphic novel adapted by Paul Karasik and David Mazzucchelli, this paper examines the dazzling reiteration and mirror effects at play in the visual adaptations of Auster’s fiction, and which in the end only deepen the endless mise-en-abime already present in “Auggie Wren’s Christmas Story” and in City of Glass. Disenchanted with a postmodern world of fragments and simulacrum, Auster’s patch-work nevertheless strives for a re-enchantment of the quotidian through story-telling and art-making, as means to create pure, inspiring images. Central to Auster’s fiction and their filmic or comics adaptations, many intertextual and metatextual devices bring to the foreground the question of art as language.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124885765","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In French contemporary literature, which is characterized by referential use, the hypothesis of a relation between literature and cinema appears through memory. The reference to cinema in literary texts conveys visual memory, opening up words to images, without these images to be really present in the texts. This shared cinematographic memory thus creates a connivance between writer and reader, which is built around culturally determined mental images.
{"title":"La référence cinématographique dans la littérature contemporaine française : la mémoire comme carrefour intersémiotique","authors":"Fabien Gris","doi":"10.58282/colloques.3937","DOIUrl":"https://doi.org/10.58282/colloques.3937","url":null,"abstract":"In French contemporary literature, which is characterized by referential use, the hypothesis of a relation between literature and cinema appears through memory. The reference to cinema in literary texts conveys visual memory, opening up words to images, without these images to be really present in the texts. This shared cinematographic memory thus creates a connivance between writer and reader, which is built around culturally determined mental images.","PeriodicalId":350956,"journal":{"name":"Circulations entre les arts. Interroger l'intersémioticité","volume":"16 11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-11-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127669842","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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