[PDF] LA VIE EN Livre de 800 pages imprimé

View - Download LA VIE EN

Previous PDF

Next PDF

Thèse de doctorat

Hélène Marquié

Université Paris 8 - Vincennes-Saint-Denis

;PQ^aPc^XaTSzcdSTbST6T]aTTc

Céline Caumon

Annie Mollard-Desfour

Pascal Rousseau

]XeTabXcÍbT]WXbc^XaTST[zPac

Pierre Sauvanet

Hélène Marquié

18 Novembre 2021

3(7, 7( +,672,5( '·8 1( &28 /(85

VOLUME E

illustrations, certaines ont été floutées dans cette version numérique de la thèse. Il est toutefois possible de retrouver facilement la plupart de ces images grâce aux liens hypertextes fournis dans les tables des illustrations. Je conseille au lectorat de lire le document au format " deux pages », comme un livre. La mise en page a en effet été pensée en ce sens pour articuler texte et illustrations de la manière la plus efficace possible.

VOLUME E

ANNEXES

RÉFÉRENCES

INDEX

TABLES

L A V I E E N

1050

RHODOSYNTHESIS } 1055

ANNEXES1075

SOURCES1211

BIBLIOGRAPHIE1257

LIENS1334

RÉFÉRENCES1342

INDEX1345

TABLES DES ILLUSTRATIONS1377

TABLE DES MATIÈRES1449

RHODOSYNTHESIS

" LA VIE EN ROSE ‡ KEVIN BIDEAUX " ROSE ‡ 1056 ink is a very common colour, but also a particularly complex and difficult to define one. Firstly, it encompasses a wide range of shades, from red to white, but also extending to yellow, orange, violet and even grey. Pastel pink, bright pink, neon pink, powder pink, there are shades of pink for every taste: hot pink, baby pink, millennial pink, cherry-blossom pink, peach, salmon, rose quartz, Pepto Bismol pink, bubble-gum pink, Lolita pink, princess pink, Barbie pink, Pompadour pink, Tiepolo pink, Baker-Miller pink, Mountbatten pink, Elvis pink, Indian pink, ... associated with complementary or contradictory emotions and sensations. It is thus associated with youth, childhood, beauty, joy, happiness, flowers, spring, sexuality, W^\^bTgdP[XchVaTTSZXcbRWqHowever, one of its meanings stands out more than the others, making pink a colour that is often little appreciated, while at the same time making it so fascinating: femininity, which systematically appears in the first meanings of pink in books or articles dedicated to colours. bTRcX^]b{U^aVXa[b|X] advertisements, ... Pink is almost always associated with girls and women, feminine and/or femininity. Conversely, what is considered feminine can be represented in pink. Moreover, if pink connotes femininity, it does not refer to any definition of it, but to a stereotypical one. The femininity cliché that says that women wear skirts, heels and make-up, that they are beautiful, sexy and seductive, or sweet, candid and naive. Pink thus often reduces femininity to a plastic characteristic, to appearances, pushing the feminine into purely superficial, artificial and accessory considerations. The omnipresence of pink in representations of femininity could be considered insignificant, but it also has repercussions on girls and women themselves: on their relationship to the expectations of femininity, on their relationship to others to men as well as to other women and more generally on their relationship to the world. Even when associated with the masculine, pink retains its link with femininity. The combination of pink and masculinity is thus perceived as a mark of effeminacy, often understood as proof of homosexuality. P

RHODOSYNTHESIS ‡ EXTENDED ABSTRACT "

ROSE ‡ 1057 "

c^cWTSTbXaTc^[XUccWTeTX[^]fWPc{la vie en rose| implies. The French expression means seeing the bright side of things, sometimes in an overly optimistic way. It evokes a dream of utopian happiness that is sold to us in novels, films and television series, and which we ultimately find it hard to believe in. However, it is with all the optimism of the expression that I invite the readers to follow me through this thesis. Whether you love it or hate it, there is no doubt that what follows will captivate you as much as pink has captivated me for years.

1. FIFTY SHADES OF PINK

THESIS

The question is therefore to know

femininity?Indeed, although the feminine symbolism of pink seems obvious, it is not natural. This simple question requires us to uncover the complex processes of meaning of the colour, in relation to its history and its co-construction with femininity. This first question is complemented by a second: of pink and its symbolism?This second aspect of the research concerns the symbolic effects of pink in different contexts of use (in the arts, cinema, fashion, etc.), and the concrete repercussions of these effects on individuals of both sexes, in terms of identity construction and social relations. One of my hypotheses is that the election of pink as a symbol of femininity is induced by weaker previous connotations. These would have led to a crystallisation of the symbolism of pink around femininity. I thus study the way in which the modes of production and distribution of pink dyes (in dyeing and painting), the names of the colour, and its uses in the visual arts, literature or fashion have contributed to making pink the symbol of femininity that it is today. Conversely, artistic, cultural and discursive productions that attempt to divert pink from its symbolism of femininity, either by exaggerating it to reveal its artificiality (hypersexualisation and hyperfeminisation), or by displacing it in a masculine context (notably through transvestism), paradoxically contribute to reinforcing this symbolism. I still consider that the polysemy of pink is guided by its symbolism of femininity, which acts as the primary symbolism. All the other connotations of pink would therefore derive from this primary sign. This would show how gender, as a categorising concept, is operative within the symbolic system. Conversely, it would show how pink is also one of the tools by which gender maintains and reinforces power relations between masculine and feminine. It would also highlight the links " LA VIE EN ROSE ‡ KEVIN BIDEAUX " ROSE ‡ 1058 ems of social and aesthetic categorisation, specifically sexuality, race, class or age. Finally, I assume that pink participates in an aestheticisation of gender: it makes its process visible by marking the feminine (and only the feminine). This aestheticisation would be both visual by spreading through the cultural media and metaphorical through repetition in discourse. The repetition would thus lead to an automatism that would consolidate the association of pink with the feminine, making it all the more difficult to deconstruct the symbolism. In particular, I assume that marketing has made pink an exclusively feminine mode of consumption, which has forced the association of femininity with both pink and consumerism. This then also assumes the adherence of audiences to the meanings of pink, in the context of a reception of the various artistic or cultural productions that make use of it. Paradoxically, this aestheticisation of gender through colour would contribute to the invisibilisation of its processes by rendering them superficial, anecdotal and insignificant, making attempts to deconstruct the symbolism of the colour all the more complex. The thesis then provides a better understanding of how pink participates in the process of gender categorisation through the aestheticisation of gender in images (artistic, advertising, cultural, etc.), fashion (children's, women's and men's) or discourses (scientific, literary, political, etc.) and the repetition of stereotypes. In turn, it explains how these representations reinforce the gender system. More specifically, I focus on the construction of the symbolism of pink femininity in Western Europe (particularly in France and England) and in the United States, where it really crystallises. However, as globalisation and economic and cultural exchanges have spread these Western connotations to the whole world, I am also interested in other geographical areas, in particular Japan.

2. THE BLUES OF PINK

While everyone (or almost everyone) agrees that pink refers to stereotypes of femininity or male homosexuality, research on pink is subject to some discredit. I myself have had to face forms of depreciation for taking an interest in such a {| subject. I have been accused of over-interpreting epiphenomena, or even generalising my personal experience with the colour, as I have been dressing only in pink for over ten years. deconstruct pink and its symbolism, whose various uses only serve to maintain relationships of domination. The rejection of pink, and of research on pink, would

RHODOSYNTHESIS ‡ EXTENDED ABSTRACT "

ROSE ‡ 1059 "

that structures society. These reactions also seem to reflect a global disinterest in colours and their study.

7Xbc^aXRP[[hR^[^daWPbP[fPhbQTT]cWTeXRcX\^UP{RWa^\^_W^QX| manifests

itself in numerous and varied attempts to rid culture of colour, to devalue it, to denigrate its importance, to deny its complexity. At the heart of the concerns of ancient philosophers, colour has long been ignored by research. Worse, even though it is an important characteristic of artistic creation (particularly in painting), it has long remained the great forgotten of art history. Considered superficial, artificial, futile, even immoral, it is attributed a decorative, cosmetic value, which always amounts to thinking of it as accessory. At the same time, because of its covering capacity, colour is also associated with seduction, deception, cunning, make-up and women. Colour is thus either dangerous or insignificant, or both. More exactly: it is dangerous because it is perceived as insignificant. More than other colours, pink is a victim of this chromophobia: although more and more scientific studies are being carried out on colours, few of them deal with the question of pink. Even the historian Michel Pastoureau only devoted a short chapter to pink in his book Rouge. Histoire d'une couleur(2016). The books that focus exclusively on pink are so rare that it is possible to make an almost exhaustive list. In

2002, Annie Mollard-Desfour published Rose: Dictionnaire de la couleur, mots et

expressions d'aujourd'hui, XXe-XXIe siècles about pink in French. In 2006, Barbara Nemitz collected four texts on the use of pink in contemporary art in Pink. The Exposed colour in contemporary art and culture (2006). In 2018, as part of an exhibition dedicated to the uses of pink in fashion at the Fashion Museum of the Fashion Institute of Technology (FIT) in New York, Valerie Steele edited the catalogue Pink: The History of a punk, pretty, powerful color (2018). It brings together seven academic articles on the links between fashion and pink, making it the most detailed contribution to research on pink to date. To date, there are no monographs or doctoral theses in French or English dedicated exclusively to pink. However, at the time of writing this thesis, Dominique Grisard is also devoting her habilitation to the history of pink in relation to gender (Pink.

En/gendering a colour.

" LA VIE EN ROSE ‡ KEVIN BIDEAUX " ROSE ‡ 1060

3. 3H1.·6 $1$720K

"The Gender problem ‡Pink through gender studies, and vice versa as studied by the disciplinary field of system of differentiation and categorisation of humanity into two distinct categories {\PbRd[X]T|P]S{UT\X]X]T|and as a tool for thinking about gender relations. Gender categorisation is governed by three principles: a principle of exclusivity what is feminine cannot be masculine and vice versa sation the masculine is superior to the feminine and a principle of universalisation the masculine is also universal, neutral, and in so doing the feminine is always particular. Gender is therefore not a product of sexuation, and it is consequently necessary to distinguish between sex and gender in order to challenge the naturalistic assumptions that serve to justify the {| is also necessary to highlight the mechanisms by which it is constructed and maintained. Gender does not only apply to individuals, but also determines a bicategorisation of other living beings, things, or abstract principles, such as colours. Gender is thus also symbolic, continuing in a series of binarities that no longer have anything to do with biological sexuation, but which can be brought together by analogy with the masculine/feminine couple (strong/weak, outside/inside, sky/earth, culture/nature, spirit/body, ?X]ZXbcWdbPbb^RXPcTSfXcWcWT{UT\X]X]T|VT]STaRPcTV^ah the same (symbolic and socio-cultural) amplitude, with blue signifying masculinity only in specific cases (in childhood in particular), and systematically when pink is opposed. However, the abstract gender categories signified by pink cannot be dissociated from the gender relations of domination to which they are related. Although they qualify things that have nothing to do a prioriwith gender and anatomy, these attributions and functionings of colour are indeed induced by relations of domination between the sexes. "Colourful ‡Colour studies: a specific framework for a specific subject Colour is absolutely everywhere: around us, on us, in us, to us, it is part of everything we see at every moment. The corpus studied in this thesis is thus vast,

RHODOSYNTHESIS ‡ EXTENDED ABSTRACT "

ROSE ‡ 1061 "

film and television, video games, marketing, but also book covers, record sleeves, music videos, and a whole range of images distributed on the Internet. Moreover, there is no consensual definition of colour, sometimes considered as a luminous phenomenon (for physics, chemistry and physiology in particular), sometimes as a cultural phenomenon (for the human and social sciences). Colours are thus like abstract categories constructed from a multiplicity of factors, both individual and collective. It was therefore necessary for me to adopt a transdisciplinary approach. For this reason, my research is also situated in the field of including art and cinema, but also but also television, video ga\Tb\dbXReXST^bq register of images, artefacts, objects, instruments and devices, and how subjectivities are profoundly affected by images. Cultural studies is thus concerned with the question of images, but also with the modes of their production and dissemination,quotesdbs_dbs46.pdfusesText_46

[PDF] le livre de l'enfant et la rivière

[PDF] le livre de la mort et de l'au del? avis

[PDF] le livre de la mort et de l'au-del? - de thanatos ? la résurrection quantique

[PDF] Le livre de ma mère, questionnaire

[PDF] le livre définition

[PDF] Le livre des abaques

[PDF] le livre des merveilles de marco polo résumé par chapitre

[PDF] le livre des merveilles de marco polo texte intégral

[PDF] le livre des merveilles marco polo 5eme

[PDF] le livre des merveilles recit de voyage

[PDF] le livre des proverbes bible

[PDF] le livre des questions gregory stock pdf

[PDF] le livre des questions neruda

[PDF] le livre du discours décisif pdf

[PDF] le livre journal en comptabilité pdf