Symfony Profiler

"App\Controller\HomeController::thematic"

"security.firewall.map.context.main"

"fr"

"home_thematic"

[
  "_locale" => "fr"
  "parcours" => "les-yeux-doc"
]

[]

"_security_main"

[
  Symfony\Component\Security\Http\Authenticator\Debug\TraceableAuthenticator {#319
    -supports: false
    -passport: null
    -duration: null
    -stub: "App\Security\OAuthAuthenticator"
    -authenticated: null
    -exception: null
    -authenticator: App\Security\OAuthAuthenticator {#320 …}
  }
  Symfony\Component\Security\Http\Authenticator\Debug\TraceableAuthenticator {#315
    -supports: false
    -passport: null
    -duration: null
    -stub: "Symfony\Component\Ldap\Security\LdapAuthenticator"
    -authenticated: null
    -exception: null
    -authenticator: Symfony\Component\Ldap\Security\LdapAuthenticator {#243 …}
  }
  Symfony\Component\Security\Http\Authenticator\Debug\TraceableAuthenticator {#322
    -supports: false
    -passport: null
    -duration: null
    -stub: "Symfony\Component\Security\Http\Authenticator\RememberMeAuthenticator"
    -authenticated: null
    -exception: null
    -authenticator: Symfony\Component\Security\Http\Authenticator\RememberMeAuthenticator {#323 …}
  }
]

"61f667"

""

"les-yeux-doc"

"*/*"

"gzip, br, zstd, deflate"

"INTERNET"

"Keep-Alive"

"ROUTEID=.1"

"catalogue-pp.bpi.fr"

"Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)"

"216.73.216.9"

"catalogue-pp.bpi.fr"

"443"

"https"

"catalogue-pp.bpi.fr"

"1"

"no-cache, private"

"text/html; charset=UTF-8"

"Tue, 22 Jul 2025 18:01:48 GMT"

"04fce2"

".1"

"Tue, 22 Jul 25 20:01:47 +0200"

"Tue, 22 Jul 25 20:01:47 +0200"

0

"""
{\n
    "filters": {\n
        "attributes": []\n
    },\n
    "facets": {\n
        "attributes": []\n
    },\n
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    "sort": "DEFAULT",\n
    "page": 1,\n
    "mode": "simple",\n
    "criters": {\n
        "parcours": "les-yeux-doc"\n
    }\n
}
"""

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[
  "588f5e033ac03d3c42ddcb5dda3294fcab48b9bd" => """
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    """
]

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"""
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Pierre (1938-2020)";}s:37:"\x00App\Model\Notice\x00directorsReferenced";a:0:{}s:23:"\x00App\Model\Notice\x00dates";a:1:{i:0;s:4:"1989";}s:32:"\x00App\Model\Notice\x00publishedDates";a:1:{i:0;s:4:"1989";}s:34:"\x00App\Model\Notice\x00maxPublishedDate";N;s:28:"\x00App\Model\Notice\x00otherDates";a:0:{}s:24:"\x00App\Model\Notice\x00resume";a:1:{i:0;s:1997:"Pierre Beuchot écrit à propos de son film : "Plus qu'un style, il y a une voix Dagerman. Cette voix simple parle doucement, sans emphase, de gens simples, d'enfants, de vieillards, de sa Suède natale. Elle est amicale pour les humbles, les solitaires, les victimes. Quand il s'agit du monde qui l'entoure, et particulièrement cette Suède neutre de la Seconde Guerre mondiale, la voix se fait tranchante pour dire les impostures, l'hypocrisie, la bonne conscience. Qu'on relise son admirable reportage sur l'Allemagne vaincue de 1946... La voix n'est pas moins impitoyable pour lui-même : ses textes autobiographiques examinent sans indulgence ses doutes et ses faiblesses. Nous entendons cette voix dès les premières lignes de ses romans ou de ses nouvelles. Impossible alors de ne pas s'interroger sur le mal obscur qui devait le conduire au suicide. Nous sommes donc allés à sa rencontre dans l'hiver suédois. Nous avons pris pour guide Klas Ostergren, un jeune romancier fortement marqué par son œuvre, auteur en particulier de "Dagerman, politicien de l'impossible". Ensemble, nous avons retrouvé la ferme où Dagerman - enfant abandonné - fut élevé par ses grands-parents. Nous avons retrouvé Anne-Marie Dagerman qu'il épousa à vingt ans. Dernière rencontre celle d'Anita Björk, la seconde femme de Stig Dagerman. En 1950, ils formaient tous les deux une sorte de couple idéal : elle était une comédienne célèbre - elle avait été la "Mademoiselle Julie" du film d'Alf Sjöberg - il était un écrivain admiré, adulé. Mais l'homme s'interrogeait, doutait : "Je suis trop facilement la proie de forces qui corrodent la vie." ("Posthume", rédigé en 1950.) 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Jean-André (1942-2009)";}s:37:"\x00App\Model\Notice\x00directorsReferenced";a:0:{}s:23:"\x00App\Model\Notice\x00dates";a:1:{i:0;s:4:"1989";}s:32:"\x00App\Model\Notice\x00publishedDates";a:1:{i:0;s:4:"1989";}s:34:"\x00App\Model\Notice\x00maxPublishedDate";N;s:28:"\x00App\Model\Notice\x00otherDates";a:0:{}s:24:"\x00App\Model\Notice\x00resume";a:1:{i:0;s:1420:""Un ami m'avait prêté un livre, tout en me déconseillant fermement de le lire. On devine la suite. Le livre s'intitulait : "Rien Va". Selon la volonté de l'auteur et comme à son habitude, il ne comportait ni prière d'insérer, ni indication de genre. Le titre, le nom de l'auteur et celui de l'éditeur, c'est tout. Le film préface garde la trace de cette plongée dans le texte, sans repères. Les textes qu'on entend dans le film n'obéissent pas à une logique de morceaux choisis. Ce sont des coupes, plus ou moins sauvages, opérées dans des tissus textuels de différente nature : journal intime, poésie, récit, roman. On a recherché la résonnance, non l'illustration. On entrevoit dans le film des lieux hantés par le fantôme (San Remo, Pico) ; Idolina Landolfi feuillette des textes de son père, un dimanche d'automne, dans un jardin de Florence. On entend aussi les témoignages, très périphériques, d'un médecin de la Riviera et d'un maçon de la Ciociaria. 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Dans ce court recueil de petits textes, le poète, âgé, solitaire se retourne vers son passé, méditant sur son travail, ses rencontres, ses amours... En exergue, il a placé trois mots : la Voix, le Sexe et la Mort, cette trilogie condensant à ses yeux tout ce qui a occupé sa vie et son oeuvre. Nous avons donc imaginé la rencontre du poète et de ses derniers textes." (P. Beuchot) Ce film se présente à la fois comme un voyage à l'intérieur de l'univers fantasmatique de l'écrivain, où se trouvent convoquées images de lieux et figures de femmes, et comme une exploration de son espace littéraire, entre-aperçu à travers la lecture d'extraits de ses œuvres, depuis "En Miroir" jusqu'à "Aventure de Catherine Crachat". 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Un film clandestin, tourné quelques années avant la fin de la dictature, permet de comprendre comment un homme secret, nourri des grands textes fondateurs de toute la Méditerranée, a pu devenir le poète le plus populaire de son pays.Espriu, à ce moment-là, donne suite aux paroles de Reverdy : "Absolument imprévisible l'écho qu'éveillera ce que tu écris en celui qui le lira. Il s'agit de peupler de murmures le désert que l'on a devant soi. "Ne pas baisser les yeux, inscrire la mort à la place qui lui revient, dire le néant quand rien ne peut le combler, sont les choix qui donnent leur tension aux vers d'Espriu. Sur le parcours qui mène à la chambre obscure où il se réfugiait pour écrire, Esther Lamandier accompagne de son chant un poème extrait de Final del laberint : "Diré del vell foc i de l'aigua", le poème des oubliés."En 1933, Espriu visite les Pyramides. Il a vingt ans et rêve de devenir égyptologue. La guerre civile qui l'attend en Espagne le transforme en scribe, gardien reclus d'une langue interdite : le franquisme punit en effet de prison quiconque parle, écrit ou enseigne le catalan. Chaque fois qu'ils posent leur plume, Espriu et les écrivains de sa génération se demandent s'ils n'ont pas écrit le dernier mot d'une langue déjà morte.Hanté par la peur de l'oubli, Espriu dessine son oeuvre comme un grand souterrain en spirale : le dernier mot de chaque poème relié au premier du suivant, le dernier poème d'un recueil appelant désespérément une reprise, une suite, un nouveau cycle. Des mots brefs, âpres, choisis pour durer, étayent ces galeries qui poussent leurs chemins dans le noir.Grand connaisseur de la Kabbale, s'identifiant aux Juifs chassés d'Espagne par l'Inquisition, Espriu à la fin de sa vie n'appelle plus son pays que "Sepharad". 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