Réalités pseudonymes: Lyotard, Beckett, Levé, Cojo, Invader Open Access

Gaillard, Julie (2016)

Permanent URL: https://etd.library.emory.edu/concern/etds/xk81jm01t?locale=en


This dissertation focuses on proper names in order to analyze how reality is articulated across a variety of artistic disciplines (literature, photography, theater, and street art), and as we shift from analog to digital modes of mediation. Jean-François Lyotard's philosophical elaboration of the concept of proper name as the hinge that articulates the world that we perceive and the significations that we attach to it provides its theoretical frame. As he argues, a proper name guarantees the identity of the referent and the continuity of reality through time and space, and through the various modes of its representation. Chapter I details Lyotard's articulation of procedures of nomination with the establishment of reality in The Differend as well as in other texts where the problem of nomination intersects with questions of identity formation and affect. Chapter II analyzes Samuel Beckett's uses of proper names in Watt, The Unnamable, Footfalls, and Rough for Radio, and shows how they simultaneously function as tools to establish reality and as opaque principles undermining all rationality and reality. Chapter III studies how Édouard Levé's literary and photographic works freeze the mechanisms of the proper name, thereby laying bare the processes that constitute identity, space, time, and "information" as these processes are inflected by technologies of communication. While using exclusively analog technologies, Levé reflects upon the increasing mass and speed of circulation of digital data, its corollary transformation of images into clichés and of proper names into stereotypes. Chapter IV analyzes phenomena of name-borrowing in an intermedial performance trilogy by Renaud Cojo. Reflecting upon issues of embodiment in relation to mimetic identification, Cojo investigates questions of identity formation and community building by confronting the space of the stage with that of social media. The last chapter envisions the global "space invasion" project of Invader, which displaces the graffiti tradition of name writing and combines it with video game, mosaic, pixel-art, and a smartphone application. It shows how Invader opposes playful participatory anonymous practices to normative top-down surveillance and redefines the boundaries between map and territory to question individual and collective inscriptions in space.

Table of Contents


I. Le nom propre, en théorie

I.1. Le nom propre, charnière de la réalité

I.2. La métaphysique du propre : Jacques Derrida

I.3. Charnière du moi ? Coalescence identitaire et cohérence pronominale - J.-F. Lyotard

II. Samuel Beckett - réalités troubles

II.1. Noms en série (Watt)

II.2. La déixis impossible et le naufrage du sujet

II.3. Le nom propre, zone d'inintelligibilité

III. Edouard Levé - réalités suspendues

III.1. La réalité à l'index: actualiser la virtualité (Gros plan sur le nom)

III.2. Virtualiser l'actualité. (Disparition du nom propre)

III.3. L'aleph : identité, temporalité, virtualité

IV. Renaud Cojo - réalités potentielles

IV.1. Pragmatique du nom propre schizophrène

IV.2. Un hétéronyme sur une autre scène

IV.3. Pseudonyme et possibilité

IV.4. "Pronom propre" vs "pronom commun"

IV.5. "Qui dit 'je'"

V. Invader - réalités anonymes.

V. 1. Contours d'un projet viral

V. 2. La carte et le territoire

V. 3. Enfance de l'art, art de l'enfance

V. 4. Anonymat vs surveillance


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