Dissertationen zum Thema „Roman biographique – 19e siècle“
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Ouriachi, Katia. „Si la philosophie m’était contée : figures de philosophes dans les fictions narratives contemporaines“. Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL168.
Der volle Inhalt der QuelleThis thesis analyzes the renegotiation of the relationship between literature and philosophy in narrative fiction at the turn of the 20th and 19th centuries, through the representation of philosophical figures. These figures, which the author sees as objects of value, reveal a claim to the cognitive scope of fiction and the proximity of novelistic thought to philosophical discourse. In the 20th century, the philosopher was the foil of the artist, the thought of the novel took shape against him, manifesting itself in fictional essays. Today, while philosophy is increasingly staged and valorized within fiction, theoretical developments in fiction are rarer. Fiction thus asserts that its own regime of veracity lies in its capacity to imagine. Staging philosophers allows to articulate living and thinking. By emphasizing the story of the philosopher's life and actions, fictional narrative brings philosophical thought down into the realm of sensible experience, and puts it to the test. Literature is often presented as the place where discourses of knowledge come undone. But contemporary texts are part of a form of thought that is enriched by its proximity to philosophy. A dynamic relationship between philosophical discourse and the thinking of the novel is emerging. Where the novel of the previous century thought against philosophy, today's novel thinks with philosophy. Renewing the dialogue with philosophy, the narrative renews its own aesthetic. Contemporary authors are forging original narrative forms to tell the story of philosophy, rather than to expound it
Besle, Edwige. „Madame de Laisse, une femme de lettres au XVIIIème siècle, éléments pour une enquête biographique et littéraire“. Orléans, 2007. http://www.theses.fr/2007ORLE1082.
Der volle Inhalt der QuelleAuthor of five works between 1773 and 1778, Madam de Laisse since fell into the lapse of memory. Its life remained unknown, this work is thus presented in the form of an outline of its biography. However, a large side of its life remains still quite mysterious. If it is possible to follow it and to find which could be its youth, its life of woman, married with Mister de Laisse, then with the count de Garrault. Its existence for the revolutionary period remains opaque. Nevertheless, this study made it possible to better understand which was this woman writer and which was its circle of close friends. Some of her friends are transposed in a way more or less disguised in its books, in particular Mister Leroy de Fontigny. The major work Madam de Laisse forever studied. However, "Ouvrage sans titre, Minerve le donnera" is an interesting epistolary novel putting in scene two girls : Julie and Sophie. Novel of separation, since one is in France and the other in Italy, the two writers share thanks to the letters their emotions in front of the events which they face. The epistie dedicated to the queen Marie-Antoinette expresses the will of the author clearly to show that there is no happiness without virtue. She indicates, thanks to her novel, the dangers which the women must avoid and qualities that they must develop in order to be able to claim with a happy life
Fabre, Bruno. „Récriture et création, dans "Vies imaginaires" de Marcel Schwob“. Paris 4, 2007. http://www.theses.fr/2007PA040290.
Der volle Inhalt der QuelleMarcel Schwob’s Vies imaginaires suffered for a long time from the image of a learned storywriter tied to Schwob’s name and from a lack of originality he has been criticized for. Our study attempts to show how important this work is in the history of biography, by comparing it to its patterns and with the writer’s precursors’ works. Being at odds with the referential and scientific biography, Vies imaginaires is in line with a relation of English works which led the author to renounce the exemplary nature and the requirement for truth peculiar to the classic paradigm of the genre. Most of the texts used by the writer to reinvent his protagonists’ life are literary works, biographies or translations into English language. The listing of the intertextual material used by the author and the study of its rewriting reveal how Schwob is appropriating these works and bring the writer’s creativity out. The reprocessing of former biographies and the reinventing of characters borrowed from History are coming to the elaboration of a completely new work, the genesis, the writing principles, the composition and the imaginary form of which are pointing out an original creation of his own which is taking the lead to the biographical fictions of the 20th century
Córdoba, Marie. „L'écriture biographique dans l'oeuvre d'Elena Poniatowska“. Caen, 1997. http://www.theses.fr/1997CAEN1216.
Der volle Inhalt der QuelleQuerido diego te abraza quiela, hasta no verte jesus mio and tinisima are three texts by elena poniatowska which can be considered as biographies since they talk about three women who have really existed : angelina beloff, called quiela, russian painter exiled in paris, josefina borquez, called jesusa palancares, poor peasant woman from tehuantepec and tina modotti, expatriate italian in the usa, then in mexico, photographer and international communist militant. Those three lives are apparently very different and elena poniatowska chose three distinct literary genders : epistolary novel for the first, testimonial novel for the second and fiction for the last. But beyond those differences, a same practice of writing appears, and a same destiny for these three women. Elena poniatowska alwaysinfringes the literary gender she has chosen. So she takes away all the peculiarities of referential texts (no prologue, no photos, imaginary names. . . ) and she multiplies them in the only book which proclaims it belongs to fiction; so in tinisima, photos are omnipresent. The three women suffered deaths which build again their identity : son's death for quiela, mother's death for jesusa, lover's death for tina. Those three persons are very important in the feminine identity elaboration. After those deaths each one has to construct herself out of the areas which patriarcal tradition assigns to women : love and maternity. Each one talks about this second birth as if she would generate herself. Simbolically that amounts to refusing genealogy as origine of identity. The deconstruction of gender that poniatowska practices is an echo of this new feminine identity elaboration
Thérenty, Marie-Ève. „Mosaiques etre ecrivain entre presse et roman 1829-1836“. Paris 7, 2000. http://www.theses.fr/2000PA070012.
Der volle Inhalt der QuelleYagli, Ali. „Le roman turc au regard du roman français au XIXe siècle“. Toulouse 2, 2004. http://www.theses.fr/2004TOU20029.
Der volle Inhalt der QuelleIn this work, we examined the literary period called Tanzimat(1850-1910), which was developed under the influence of European Literature. This period is a fundemantal change not only in history, politics, and society but also in art and literature. Thanks to these changes (Reforms in 1839) Ottoman Empire was introduced to the European ideas in literay and social areas. As a consequence of cultural or social relations with the western world, novel form entered the Turkish literature in second half of the 19 th century. During this period, many Turkish writers knowing western civilisation produced literary works especially novels to prepare the society for social and political reforms as well as to introduce western ideas. Among these writers, Ahmet Mithat Efendi was the most prolific pioneer in creating a new novel-reading society which was formerly a reader of national literature such as epic, folk tale, Mesnevi, and others, mostly in verse originating from Divan Litearture and Folk literature. Ahmet Mithat Efendi wrote Denizci Hasan in 1872, the first Turkish novel, borrowing its elements from Alexandre Duma's Monte-Cristo. Under the light of this influence, we did a comparative study between the two novels: Denizci Hasan and Monte-Cristo. Especially we focused on how seccessfuly Ahmet Mithat Efendi did this when he combined the western narrative elements making use of Dumas Père's Monte-Cristo as his original simple with those of Turkish folk tales into new novel form. This dissertation having 5 parts gives detail about the rise of Turkish novel under the influence of western literature especialy 19th century French novel in the main parts, and the beginning of the first historial and poltical relations with the western world, especialy France in the introductory parts
Andréassian, Anne Elisabeth. „Les représentations de l'entreprise dans le roman français au XIXe siècle, 1829-1891“. Paris 1, 2010. http://www.theses.fr/2010PA010546.
Der volle Inhalt der QuelleLavergne, Elsa de. „La naissance du roman policier français (1865-1915)“. Paris 4, 2007. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=EleMS01.
Der volle Inhalt der QuelleThis study relates the rise of the French detective novel from late Second Empire to the First World War. It springs up in the judicial novels of Emile Gaboriau (1836-1873), the “father of French detective novel” and of his imitators, unrecognized novelists of the Second Empire and the Third Republic. It ends up with the first great cycles of detective adventures in the Belle Epoque, Arsene Lupin’s ones, written by Maurice Leblanc, and Rouletabille’s by Gaston Leroux. First, the research singles out the historical, literary and social factors which favoured the emergence of this genre: the popular press and serial novel development, the public’s rising interest for criminal topics and the evolution of police methods. It shows how appeared and progressively came into practice a new kind of novel, based on the actions of the character of the detective and on the process of piecing together the crime scenario. Second, the study puts the detective novel back in its connections with the contemporary world and emphasizes the wealth of its content. 19th century detective novels possess a realist vocation and tend to be similar to documents about the functioning of institutions and the rules of society. Their themes reveal the fears and the astonishment of the contemporaries who experienced the deep mutations of the industrial and urban civilization as a trauma and wondered about their consequences. Detective novels mirror the fears of a society who faces new dangers, but they either reflect its hopes, based upon the scientific and technical progress
Maupeou, d'Ableiges Evrard de. „Les débuts d'Élémir Bourges (1852-1886)“. Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040107.
Der volle Inhalt der QuelleOur thesis recounts the youth of Elémir Bourges (1852-1925), from his birth in Manosque until his departure for Samois in August 1886. We examine the novelist’s childhood in Marseille, his artistic discoveries, his first literary projects (influenced by Parnassianism and Naturalism) and the friendships he formed in Paris from 1874 (with Bourget, Coppée, Bouchor, Richepin, Redon, Zola, Montesquiou, Margueritte, Lorrain, Primoli, Goncourt, Mirbeau, etc.), the genesis of Jacques d'Aubray, La Haine de Joël Servais, Angélique Pitié, Sous la hache, Le Crépuscule des dieux, L'Enfant qui revient, Les oiseaux s’envolent et les fleurs tombent, his dramatic criticism in Le Parlement, chronicles in Le Gaulois, literary critic in La Revue des chefs-d’œuvre, his meeting in 1878 with Anna Braunerova, his future wife, and with the Czech artist Zdenka Braunerova, the reception of Le Crépuscule des dieux (1884) and Sous la hache (1885). Our biography is based on a large number of unpublished documents from the National Library of France, the Buzzini-Bourges fund of the Archives of the State of Valais, the Literary Archives of the Museum of Czech Literature (Prague), the Archives of Museum of Central Bohemia in Roztoky and private collections. It includes an edition of the manuscript of Jacques d'Aubray, Bourges’s first novel
Berthier, Danielle. „Le roman historique pour le jeunesse en France au XIXe siècle“. Artois, 2008. http://www.theses.fr/2008ARTO0001.
Der volle Inhalt der QuelleThis work tries to explain the way how the historical novel for children appeared and evolved during the nineteenth century. Moral novels appeared within the “Œuvres des bons livres” and with the Catholic publishers who created collections specialised in moral education. Historical novels turned “classical” novels were considered at this time as subversive and were published for the youth rarely and with a great number of precautions. To tell history in a novel – as Augustin Thierry did for example - was badly considered among educational circles, even if the romantic movement and the taste for history were finally victorious. The first youth historical novels told about the Middle Ages and the chivalrous ideal: this ideal applied to the Revolutionary period. Successive political régimes played a part in the development of the genre, fostering some ideologies and practices. Many books had a great longevity, as one can see in the general editorial production of the time. The appearance of the idea of Prehistory, coinciding with the establishment of the Republic, was the ground of a new look upon the past. However, one can say that the past was dealt with during the century in a stable way, born with the divergent trends resulting from the French Revolution
Malacan, Joanna. „Lecteurs et lectures dans le roman allemand de la première moitié du XIXe siècle“. Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10124.
Der volle Inhalt der QuelleFerrière, Hervé. „Bory de Saint-Vincent (1778-1846) : naturaliste, voyageur et militaire, entre Révolution et Monarchie de Juillet : essai biographique“. Paris 1, 2006. http://www.theses.fr/2006PA010618.
Der volle Inhalt der QuelleRabsztyn, Andrzej. „L'écriture et le langage dans le roman épistolaire français et polonais de 1760 à 1820“. Paris 3, 2004. http://www.theses.fr/2004PA030163.
Der volle Inhalt der QuelleThe dissertation, which can be situated in the comparative studies section, aims at demonstrating to what degree Polish epistolary novel, drawing from French inspirations, represents the distinctive features of Polish speech and culture. The study refers to the question of writing and language analysed on two narrative levels, the author's discourse and the protagonist's discourse. First part of this study specifies the key terms regarding letter theory and demonstrates development and classification of epistolary novel. The second part deals with such para-textual elements as titles and forewords which exemplify similarities and differences between French and Polish cultures. The third part's main focus is the letter with particular emphasis on the situation in which the writer presents the moment of writing (writing abort writing) which results in the emergence of meta-language (métalangage). Subsequently, drawing from M. Głowiński's theory (formal mimetism) the study explores the relationship between fictitious letter writers and the rules of epistolary art. As well as it analyses two basic letter types: love letter and a letter to a friend
Neboit-Mombet, Janine. „L'image de la Russie dans le roman français (1859-1900)“. Clermont-Ferrand 2, 2002. http://www.theses.fr/2002CLF20011.
Der volle Inhalt der QuelleLetourneux, Matthieu. „Poétique du roman d'aventures entre civilisation et sauvagerie : 1860-1920“. Paris 4, 2001. http://www.theses.fr/2001PA040180.
Der volle Inhalt der QuelleThe romance of adventure was a major popular genre during the XIXth and XXth centuries in western countries where, despite national specificities, some common properties clearly appeared, belonging to the romance tradition : violent events organized according to the structure of misadventures and Adventure, which provides its shape and themes, and exotism. .
Gefen, Alexandre. „Vies imaginaires : le récit biographique comme genre littéraire aux dix-neuvième et vingtième siècles“. Paris 4, 2003. http://www.theses.fr/2003PA040208.
Der volle Inhalt der QuelleThis work offers a repertoire and an analysis of the different uses of biographical narration in French Literature, both in the XIXth and the XXth century: hagiographic fictions, novels with a biographical chronotope, "biographèmes", lives of imaginary characters or imaginary lives of actual characters, "biofictions". These texts, for which the Vies imaginaires by M. Schwob (1896) and the Vies minuscules by P. Michon (1994) offer two major models, enter in opposition with the representations of positive historical biographies and with the famous or exemplary lives produced by a collective memory: they use the linguistic, narrative and topical patterns of biography with an aesthetical aim, often in a playful and demystifying way. Giving rise to major theoretical questions concerning classifications of genres and status, these lives play an important part in defining the modern literary field and in the renewal of poetics. Major occasions for a reflection upon himself by the writer, often brief or fragmentary, these texts serve in effect as an alternative for the novel, whether they lead to excess in measure and sacralization of writing (since they become the place for a second genesis), or to an egalitarian and materialistic realism. They embrace at the same time the understanding of a vital totality (a destiny, be it small, romance-like, tragic or playful) and a direct or oblique way of enquiring on other people. Literary workshop for personal identities and new art of memory, these lives can be defined, with R. Barthes, as "the impossible science of the unique being" and echo the contradictory tendencies of modern culture that constitute the pride of difference and the duty of transmission; in this way, they bear witness to the hermeneutic and cognitive stakes of literary fiction when it has to be a substitutive humanism or religion
Bonnin-Ponnier, Joëlle. „Le restaurant dans le roman naturaliste : narration et évaluation“. Paris 3, 1998. http://www.theses.fr/1998PA030129.
Der volle Inhalt der QuelleThis work considers the subject of the restaurant in the naturalist corpus as a novelistic topos, a prescriptive focal point establishing a certain way to look at body and nature, a social representation and culturally significant table manners whose analysis can contribute to what phillipe hamon calls a "poetics of the evaluative". Commited to schemes, both evaluating and evaluated, a fictional population shows a "know-how to behave" and also a "know-how to enjoy", made up of a "know-how to see" and technical and socio-ethical "know-how to do " together with a " know-how to say". Taking into account all these aspects, allows to show the "ideology-effect" of the naturalist works, which in the text is conveyed by the idea which the character have of their projects and purpose and from the narrative point of view is to be perceived through the specific way the narrator deals with the theme, the narrator being indeed non devoid of aesthetic and philosophical presuppositions, as, together with his capacity of making up endless narrative variations around the restrictive pattern of the narration of life given as banal and ritualized and around the even more codified theme of "the restaurant scene" (first narratologic part), and also when expressing the elaborate judgements of his characters (second part centred on evaluation), he translates their experiences in spite of the special links the establishment is supposed to have with pleasure and festivity, with a critical "artist" vision, full of nostalgia for the aristocratic ideals of the past and of a pessimistic outlook of life. This double bias is highlighted by continuous confrontation with the novellistic intertext and above all the non fictional intertext (gastronomic and touristic guides, treatives on good manners) which often reveals, trough the praising of the pleasures of eating, a deep love of our condition
Nayrolles, Jean. „Roman et néo-roman : de l'invention du passé dans la culture archéologique et dans l'art du XIXe siecle français“. Toulouse 2, 1994. http://www.theses.fr/1994TOU20054.
Der volle Inhalt der QuelleLyon-Caen, Judith. „Lectures et usages du roman en France, de 1830 à l'avènement du Second Empire“. Paris 1, 2002. http://www.theses.fr/2002PA010604.
Der volle Inhalt der QuelleGomez, Sandrine. „L'adultère féminin dans le roman au dix-neuvième siècle“. Paris 8, 2002. http://www.theses.fr/2002PA082135.
Der volle Inhalt der QuelleNovelists like Honoré de Balzac, Gustave Flaubert, George Sand, Stendhal. Have got put on light thid epoch by the adoulterous theme. As well, we took the census eight same notions of four romanics of mentioned authors : Le Lys dans la vallée, Madame Bovary, Indiana, Le Rouge et le Noir : the heroin as well as enclosed accepted in specific social class and in the social institution of mariage, the scripture of conjugal life, the provincial universe, the boredom, the religion ; the adoulterous and it's works and the death who's conclude these paper existences. The authors are they tempted with the choice of the adoulterous theme to consider this violation of conjugal faith as an female emancipation form ? But, for which result ?
Tison, Guillemette. „L'enfant et l'adolescent dans le roman francais 1876-1890 contribution a une histoire des personnages de roman“. Lille 3, 1996. http://www.theses.fr/1996LIL30013.
Der volle Inhalt der QuelleThe end of the xixth century saw, in france, a spectacular expansion of the novel/the thesis presented here studies the picture that these novels give of the child, previously neglected in fiction, especially when it was written for adult readers, and defines new patterns of characterization involving a certain number of choices and narrative techniques. These novels embody many stereotypes which express particular social situations but also aim at touching the reader's heart. The period puts a new emphasis on the body, with its activity, its pains, its pleasures. The mental life of the child, too, becomes worthy of interest : inspired by the social sciences, novelists hint at the existence of the unconscious, the child gains in depth and mystery. The social background also helps to define the child character by setting around him limits which he may observe or transgress ; his life is presented as material or moral progress towards maturity. As he is subjected to influences that contribute to his education, the child in novels is confronted with a series of initiation scenes which enable him to discover life and to win his own place in society. A great difference appears among the various types of novel : whereas works for the youthful public and popular stories present a child undergoing little change and easily fitting into society, more demanding novels use the child figure to question established values. The decline, during the period 1876-1890, of a type of hero endowed with every virtue, heralds a psychological and aesthetic crisis which can be seen in contemporary literature and makes a transition to the xxth century novel, where the adolescent figure becomes a vehicle for calling the world into question
Monacelli-Faraut, Martine. „La tentation primitiviste dans le roman utopique anglais de 1872 à 1962“. Nice, 1987. http://www.theses.fr/1987NICE2021.
Der volle Inhalt der QuelleAn enduring tradition of thought holds that man is naturally good and that he was meant to live in harmony and symbiosis with nature of which he is part and parcel. In the century when science opens prospects of infinite progress to man he still longs for a remote past and convinces himself that he should revert to a simpler way of life in order to achieve happiness. Many utopists wish the advent of a regenerated man, living in a purified environment transformed by the revival of handcraft and agriculture, capable of living in society without any political institutions. One will find that various legends and myths as well as the theories of influential thinkers have played a great part in the elaboration of the utopian projects. The anti-utopian novels display a similar fascination for this philosophy of history which leads us to think that the primitivistic temptation goes beyond the cult of nature and the past to answer a metaphysical quest which puzzles over man's place in the universe, his essence and his destiny
Rai-Gonneau, Ecatherina. „"Van'ka Kain : le Cartouche russe : essai de biographie criminelle dans la Russie de Catherine II“. Paris, EPHE, 2006. http://www.theses.fr/2006EPHE4105.
Der volle Inhalt der QuelleThis study of Russian attempts to compose a biography of Van'ka Kain (1718-after 1756) includes the three earliest known narratives depicting the career of the celebrated rogue turned police informant, originally published between 1775 and 1779: the so-called "Short Tale", "Kain's Autobiography" and a novel by Matvej Komarov, as well as french translations of the Short Tale and Komarov's novel. It defines successive stages of the biographical cycle between 1775 and 1826 and identifies a network of previously undetected cross-influences, long obscured by the uncertain status of the author and the literary texts. These complex links compel the reevaluation of widely-held assumptions about the influence of the collection of songs and the Story of the Life of Louis-Dominique Cartouche published together with some versions. The biography of Matvej Komarov is first reconstructed. His work is then compared with probable literary sources and known facts about the life of the historical Van'ka Kain and his contribution to the emergence of the novel form in Russia is evaluated. Finally, by tracing the reception of the cycle and its main character in the 19th and 20th centuries, the study illustrates how the Russian printing press created its first popular myth
Dast, Stéphanie. „Roman et confluence des genres (1827-1840)“. Paris 4, 2003. http://www.theses.fr/2003PA040027.
Der volle Inhalt der QuelleThe study of the output of romantic literature in france between 1827 and 1840 highlights the dominant position occupied during these years by a genre which contemporary critics and the authors themselves defined as universal. The period is remakable in that novels (second-rate novels or recognised masterpieces) appear capable of going beyond and indeed absorbing all other genres. In 1827, the "Préface of Cromwell" affirmed the desire of the "romantiques" to break free of genre-imposed limits. However, the Hugolien thesis triumphed less easily in drama than in fiction, which alone was able to merge all genres, traditional or otherwise. However, in 1840, the novel ceased to be such a "laboratory of genres" where anything goes: firstly, it once again resorted to clichés with the emergence of the serialised novel and mass-produced literature and, secondly, it abandoned genre-related excentricities in order to move towards realism in the novel. However, the hybrid novel of 1830, is multi-faceted in the way in which it merges the various genres, which fluctuate between between anarchy and order. Thence, by incorporating history and drama, the novel gains in terms of credibility and overall unity. However, at the same time, a wave of quietly ironic works mocked the aspirations of this generation to create a "total" novel : absorbing and deforming everything in their path, these fragmented works circumvented and renewed obsolete genres and even sought to go beyond their limits. By tacking all the various genres, they appear to be challenging literature itself, but as part of a movement from which the romantic novel, apparently badly shaken, emerges reinvigorated. This regenerative capacity can be found in novels which are apparently unclassifiable, which, for example, veer first towards dialogue-based genres, the towards poetry, seeking another type of harmony between the genres within a novel, towards whose development they contribute just as much as the ironic novels
Pignier, Nicole. „Le romanesque au XVIIIème siècle et au XIXème siècle : des correspondances intimes passionnelles au roman : essai de définition“. Limoges, 1998. http://www.theses.fr/1998LIMO2011.
Der volle Inhalt der QuelleDerennes, Eric. „Henri V (duc de Bordeaux, comte de Chambord) ou la monarchie traditionnelle française à l'épreuve de la modernité post-révolutionnaire (1820-1872) : approche biographique d'une rupture progressive“. Paris 10, 2003. http://www.theses.fr/2003PA100085.
Der volle Inhalt der QuelleHenri d'Artois, duke of Bordeaux, then count of Chambord, was the last child of the eider branch of the Bourbons. Driven out France with his family by the July-august 1830's revolution, he lived consequently in exile (Scotland, Austria), where he finally died, without never really to have been able -nor perhaps wanted- to go up on the throne. Indeed, his archaically conception of the traditional monarchy -revisited more than real- ran up against modernity resulting from the Revolution without an arrangement being possible. Attached to his principle of monarchical legitimacy (cf. The white flag), he was let lock up in the long space time of the exile which found his roots in impregnated education and training of the values of Ancient Regime that he had received when he was a child. The legitimist party, on which Henri V exerted himself a control, was able never to revive the royalist flame in France worked with a crescent scale by new problems (dechristianization, democracy, proletariat, socialism, etc). His history was initially that of a latent renouncement, before appearing an obvious refusal of the requirements of the modem times
Picaper, Françoise. „L'enfant dans le roman français du XIXe siècle (1850-1914)“. Paris 3, 1995. http://www.theses.fr/1995PA030164.
Der volle Inhalt der QuelleThe child imposes his presence in french literature around 1850. Ostentious or reserved, this new character becomes an indissociable actor of the storyline. Progressively the classification by types (the orphan, the battered child, the abandoned child, the schoolboy, the kid. . . ) gives place to descriptions of "individual cases" which draw their inspiration from the writer's own experience. The various aesthetics combine to develop a semiotics giving information about the social consideration of the child during the second part of the nineteenth century ; at the same time, they begin to influence, through the significance they grant to this character, on his condition in life
Ayache, Lydie. „L'image de la femme dans le roman anglais, 1836-1876“. Paris 4, 1995. http://www.theses.fr/1994PA040278.
Der volle Inhalt der QuelleThe novel, a literary genre which was created in England in the 18th century, developed immensely and became very popular in the 19th century. The great authors were no longer the privilege of the elite, but were read by an increasing number of readers in such a constant way that they were used to improve the morals of the population. A new literary ideal was invented, and it inspired a series of remarkable novels. My work deals with this new feminine ideal, and follows its evolution in the 19th century literary production, through the novels of William M. Thackeray, Charles Dickens, Charlotte, Emily, Anne Brontë and George Eliot. My aim is to show that, thanks to the Victorian ideal, these great authors found new literary devices which revealed a deeper and more authentic image of woman
Torcinaro, Emanuela. „Le personnage "lecteur" dans le roman et les arts picturaux du XIXè siècle européen“. Limoges, 2011. http://www.theses.fr/2011LIMO2012.
Der volle Inhalt der QuelleThe aim of this research is to show the way how the European nineteenth century novel could be able to represent the social and cultural changes of a time both through its characters and the comparison between the images depicted in the novels and those ones portrayed by the painters. Therefore, the thematic continuity and the mutual influence between the two arts will be demonstrated. This inter artes research is the result of a thematic type study whose constant is the "character as a reader", who makes his appearance in literature when reading becomes relevant as a social practice as well. The interest here is focused on the character who uses to read as a passion, who plunges himself into the text, and completely abandoning himself to it almost to be likely to get lost. The "character as a reader" is there in many literary masterpieces, and only with a careful and accurate study among the classics of Italian, French, Russian and English literature it has been possible to make a selection and have a homogeneous corpus. Even though in the 800s is the usually less considered figure of the woman reader as the love novelette consumer who stands out, and girls are seen having their heads full of silliness by those kind of novels -instead of reading the Bible and the Sacred Texts - it will eventually emerge the real meaning of their readings : not only women read because of their love for culture, but also to learn, to know, in spite of the role the 800s society has relegated them to. It is considerable the predominant presence of women in the act of reading in paintings, as well. All in all, through a continuous comparison between the novel and the pictorial work and a deep socio-historical analysis of the period, the written and painted image of the reader has been demonstrated as prevailing in the European eighteenth century
Phal-Bellessort, Marie-Christine. „L'évolution du roman épistolaire au début du XIXe siècle en France, en Allemagne et en Angleterre : d'Oberman (1804) aux Mémoires de deux jeunes mariées (1842)“. Paris 4, 1997. http://www.theses.fr/1997PA040236.
Der volle Inhalt der QuelleThis thesis consists in a comparative study : its purpose is to present results and show how the epistolary novel developed at the beginning of the XIXth century in three European countries : France, Germany and England. In the course of her study, the author of this survey endeavored to raise a certain number of questions and bring out answers to these questions. In the first part, after a short historical outline, she made an inventory and examined the alleged disappearance of that type of novel. In the second pat, she wondered under which forms the epistolary novel had survived and whether a new definition of the genre was made necessary. At the same time, she laid stress on the limits, paradoxes and narrative options at stake. Finally, in the third part, the author's aim was to analyze the continuity of the genre as well as to study why it is so modern. Thus, she delineated the themes tackled in the epistolary novels; she studied now these themes adjusted to the new forms of the novel, such as the historical novel and the private diary. She also defined the part they played in the emergence of new modes of writing such as the monologue. The epistolary novel is a genre which has kept changing and moving. It evolved thanks to its multifarious Romanesque forms. The XIXth century novelists succeeded in the epistolary novel. It is much later, at the beginning of the century that this mode of writing would be operated by writers, as a literary technique in itself. Even if it is impossible to ignore the fact that the epistolary novel wasn't equally successful in France and England in the one hand, and in Germany on the other hand, it can't be denied that it lived through the whole romantic period and that this very ability to resist enabled the genre to live to this day
Sango, Sophie. „Le "roman confession" au XIXe siècle“. Thesis, Toulouse 2, 2015. http://www.theses.fr/2015TOU20025.
Der volle Inhalt der QuelleIn literature, confessions can be inserted into novels. Confessions belong to the autobiographical genre and can show faults, sins and guilty behavior whereas novels belong to the fictional genre. Our work analyses the extent to which a new genre appears in the literary history, and most particularly in the 19th century. Indeed, the “novel confession” is a genre of the 19th century, with its own characteristics
Foulon, Jacqueline. „Représentation de l'Indien dans le roman américain de la première moitié du 19e siècle“. Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0049.
Der volle Inhalt der QuelleThis work results from the close reading of nineteen American novels written in the first half of the 19th century, in a search of the various representations of the Indian they might display. Crossed investigations proved that the authors, well-informed about the violent past of their familiar areas and about their former inhabitants, mostly chose the forms of the historical romance and tale : either noble or ignoble, Indians were rejected out of the new nation. Yet, the ironical Paulding, the Christian Cooper and the humanist Strange styled their Indian characters in an open and human way. Following the gothic and romantic influences, C.B. Brown, Neal, Bird despite a more realistic tone, pictured Indians as the negative part of the self which is to be repelled. On the contrary, the woman's voices of Child and Sedgwick sketched them as ideal knights. Simms and Cooper sometimes set them in the violence of an epic drama out of which the new Adam will arise, sometimes in the sublime beauty of pristine American wilderness. So, no national destiny is left for the Indian but one buried in fancy
Le, Meur Jegou Monique. „Forme et nature comparées de la caricature dans les romans anglais et français du XIXe siècle“. Paris 3, 2000. http://www.theses.fr/2000PA030107.
Der volle Inhalt der QuelleDionne, Ugo. „La voie aux chapitres : poétique de la disposition romanesque, 1650-1870“. Paris 3, 2002. http://www.theses.fr/2002PA030020.
Der volle Inhalt der QuelleThe subject of this dissertation is the disposition, the physical and material organization of the novel. Our main focus is on seventeenth- and eighteenth-century prose fiction, but we occasionnally overstep these boundaries, by discussing works of the Middle Ages, the Renaissance or the (early) nineteenth century. What we hope to establish is a historical poetics of novelistic division, where the formalist tendencies of traditional structural poetics are counterbalanced by an unremitting stress on " real " texts and novels, considered in all their historical specificity. The domain of the disposition include four different phenomena. There is the dispositif, the way a novel is divided into parts, books and chapters ; but there is also the archidispositif, where the single work (the opus) is federated in a larger ensemble (like the cycle or the sequence) ; the paradispositif, which appears when a novel is published in serial form ; and the quasidispositif, which occupies the same space as the dispositif (the volume), and appears in three main kinds : the collection, the anthological novel, and mimetic fiction. .
Zainoun, Ibtisam. „Aspects mythologique, métaphysique et idéologique dans le roman maritime“. Paris 3, 2005. http://www.theses.fr/2005PA030100.
Der volle Inhalt der QuelleThe Goal of this project is the research of the universal sea novel. We engage therefore in a comparative study of several maritime literary works examining French, English, Arabic and Spanish literature through examples from V. Hugo, J. Conrad, E. Hemingway and H. Mina. The sea novels present several common and fundamental features, that traverse the sociocultural differences of their authors, as well as varying levels of literary talent. They form a genre of literature defined not only by thematic elements, but also by its style, its aesthetic concepts and a common philosophy of life. Aspects of mythology and metaphysics characterise the universal sea novel and a specific psychological profile typifies its characters. This study also highlights the inaptitude of the sea novel for ideological approaches. The sea novel is the product of a language that draws its power from man's primitive reverie and such profound psychic structures as the unconscious. This language spans the centuries and geographical zones for it translates the desires of both modern and archaic men
Tournier, Isabelle. „Balzac, le hasard, le roman“. Paris 8, 1992. http://www.theses.fr/1992PA080677.
Der volle Inhalt der QuelleChance seen in various ways through the examples of balzac's novels is the topic of the thesis. . We look at it in several ways : 1) through the balzacian vocabulary and its connections with common words for chance, words which the dictionnaries reflect 2) through the attachements between the text and his discourse and which it summons up, explicitly or not, (those of sciences, of philosophy and history) 3) in the intertextuality of balzac's novels (following both synchronic and diachronique perspectives) 4) through the linkages between a novel of balzac and tradition with who speaks of chance stemming from greeks origins and gives it a place in certains scenes, certain moments 5) through the texts themselves of novels where chance give way to moral and philosophical interrogation, tieing it to moral and intrigue in the plots and binding it ot a specific vision of the world, a specific understanding of of causes and effects
Benitez, Roca Sylvie. „Aben-Humeya et les morisques dans deux oeuvres de la littérature espagnole du XIXe siècle : (dimension poétique et idéologie)“. Montpellier 3, 2001. http://www.theses.fr/2001MON30037.
Der volle Inhalt der QuelleGouin, Thierry. „Stendhal roman. Aragon, barres, zola, balzac, gracq, valery : stendhal et ses ecrivains-lecteurs“. Lyon 2, 1997. http://www.theses.fr/1997LYO22026.
Der volle Inhalt der QuelleAragon, barres, zola, balzac, gracq, valery. Stendhal and the writers who read. Stendhal roman could be called thus. Would it mean more then, than what is seems to mean? would it say better, that one day i learnt that stendhal was a novel and not a novelist? that i wondered where it came from and where it was going to. Would it say better that, as it became a novel, stendhal got lost for ever for me. Would it say better that, reading aragon and then reading barres, reading a stendhal and its contrary, i could verify the reality of this loss? would it say better how, in balzac, i have seen the birth of the novel of stendhal? how i have seen zola refuse with all his strength to believe in this birth? how i have seen gracq, on the contrary, accept it entirely? would it say better how i have seen the novel of stendhal jeopardize valery and, almost at the same time, save aragon? would it say better how, after all, at the end of the novel of stendhal, i have discovered that there was only me? if it would like to summarize itself to grap itself, would stendhal roman mean more?
Callet-Bianco, Anne-Marie. „Le roman cyclique chez Alexandre Dumas“. Paris 4, 1993. http://www.theses.fr/1993PA040024.
Der volle Inhalt der QuelleThis analysis is based on three romantic series by dumas: the Valois cycle, the trilogy and the memoirs of a physician. These works are characterized by a cyclic architecture, animated by a double movement, prospective and retrospective, which determines the reading of the whole. The handling of the characters is clearly felt through this singular structure, as is that of time: one finds in dumas two different approaches to time, one linear and another cyclic, which coexist constantly. Elsewhere, the cyclic structure reflects dumas' historical thinking (and its contradictions). On fact he gets his inspiration from Vico and from his conception of a cyclic progression of humanity, based on the ideas of "corsi" and "ricorsi". But above all he adheres, as does Michelet, to the idea of a linear history based on an irreversible progress. Beyond the reversal of similar situations, the dumas' novels illustrate the evolution different represented groups: the royal family and the nobility are heading for disaster, whereas the people are growing in importance. In a parallel way, fiction retraces the mutation of value systems and of philosophies of action. From one cycle to another, the sense of history seems to be more difficult to grasp
Santurenne, Thierry. „L'opéra dans la fiction narrative française de 1850 à 1914“. Paris 4, 2003. http://www.theses.fr/2003PA040094.
Der volle Inhalt der QuelleAs other nineteenth-century cultural works did, opera contributed to enriching writers'imaginative world, concerned about both its artistic and institutional dimension. In the second part of the period, narrative fiction references to the lyrical phenomenon make it the basis of a metaliterary thought in which the prima donna's personality, the way the performance is looked at, the voice rendering are so many themes used by novelists and short story writers to stage their relationship with writing. This support of opera to the self-reflexive meaning of the works adds to their anthropological purpose. Thus, the hints to the lyrical performance provide the writers with an essential tool for exploring the limits of the reality painted in fiction. Narrative fiction resorts to the sung drama as well, symbolizing the unstable equilibrium between the Apollinian and the Dionysiac, to emphasize the threat exerted by the latter on society, incessantly endangered by a devastating cruelty which persuades the myths enriching opera. Finally, its connivance with the socio-political field supplies the novelists with a significant material to the social criticism in which they represent moreover the emergence of a rebellious subjectivity through the consciousness of a spectator from now on more responsive to his own mental representations than to the splendours of the prevailing ideologies
Georgescu, Corina-Amelia. „Le regard comme signe de la mentalité dans le roman du XIXe siècle“. Paris 4, 2004. http://www.theses.fr/2004PA040084.
Der volle Inhalt der QuelleThe main objective of this dissertation is to analyse the look as a sign of the outlook in the XIXth century French novel. Belonging to more different fields (art, philosophy, psychology, sociology, medicine, literature), the look asks for a special treatment, as it cannot be approached only using the classic literary methods (i. E. The thematic one, the poetic one or the linguistic one), but also taking into account information provided by fields such as psychology or the study of the outlooks. This dissertation points out those characteristics of the look which can be found in all the novels, in spite of their belonging to different literary movements such as romanticism, realism, and naturalism: space, time, characters, limits, contents, form, message, functions and effects. Analysing these characteristics leads us to the conclusion that the look is a unitary phenomenon governed by a precise set of rules established according to the time's usages
Tilliette, Marie-Agathe. „Figures de marginaux dans le roman historique européen (1814-1836)“. Electronic Thesis or Diss., Paris 10, 2021. https://eu02.alma.exlibrisgroup.com/view/uresolver/33PUDB_UBM/openurl?u.ignore_date_coverage=true&portfolio_pid=53224216790004674&Force_direct=true.
Der volle Inhalt der QuelleThe European historical novel (United Kingdom, France, German and Italian states) is explicitly anchored, in the first decades of the 19th century, in the contemporary national issues. Not only does it take part in the formulation of national history, but it also opens the narration of history to new figures – most of them fictional – from the people and even from the fringes of society: beggars, bandits, madmen and madwomen, gypsies and other outcasts parade across the pages of these best-selling novels. This multifaceted category in the historical novels may be subsumed under the concept of “social margin” which underlines its paradoxical unity: figures rather than characters, insofar as they both play highly individualized roles and may be read as types, they are defined by an aesthetic, social and narrative fluidity. Because they frequently change costumes and appearance, move freely along the whole social spectrum and often serve in the plot as triggers or unsettling elements, social outcasts create a space of uncertainty in the historical novels. They question or even disrupt the norms: in the representation of history, which shouldn’t be based on the singular or the eccentric, but also in the new social and national standards. These characters on the fringes of society – epitomes, as it were, of instability – establish in the historical novels an even larger issue, encouraging us to examine usually accepted borders between social and asocial, human and non-human, and even life and death. Blurring many epistemological dualisms, they invite us to redefine the idea of limit and to consider under a new light the composite essence of the historical novel
Talairach-Vielmas, Laurence. „Le secret et le corps dans le roman à sensation anglais du dix-neuvième siècle“. Toulouse 2, 2000. http://www.theses.fr/2000TOU20047.
Der volle Inhalt der QuelleGuisy, Maryan. „La représentation du monde politique dans le roman au XIXe siècle“. Paris 3, 2006. http://www.theses.fr/2006PA030066.
Der volle Inhalt der QuelleThe realist novel which dominates 19th century literature has set itself the objective of writing the history of social customs and practice. The political world is one of the themes it tackles and this study questions its representation during a period (1815-1914) which is characterized by major institutional instability and many crises. Through the image which is projected of the actors (leaders, opponents, crowds, "public opinion"), of the places, the intrigues, the rituals, the significant historical events (revolutions, affairs) multiple tensions emerge: competition between the novelist and his characters, hesitations between the functions of writer and politician, difficulties in respecting aesthetic presuppositions with the hero’s return to favour, the reintroduction of the "novelistic" format and the use of a mannered style (symbols, metaphors). As regards the "documentary objectivity", it is often damaged by authors who venture "to take sides"
Chujo, Shohei. „Pulsions du roman : le cas Barbey d'Aurevilly“. Paris 10, 1987. http://www.theses.fr/1987PA100198.
Der volle Inhalt der QuelleThis thesis treats of the novels and stories of a French author, Barbey d'Aurevilly (1808-1889) from the point of view of "desire". The first chapter is devoted to the analysis of "corporality" in the works of Barbey. In the first place, we draw the "conflict of red and white colors" from the study of the signs which can be seen on the body of Barbey's heroines: flush. This analysis of the "conflict of colors" guides us to that of the function of red and white metaphors in his novels. Then we study the specific corporality in Barbey. The second chapter deals with sexuality, especially Satanism, phantasm of "sealing" of female sexual organs, negative mothers, incest, change of sexes, etc. In the third chapter, we treat the dualistic problem of the matter and form in Barbey’s novels, namely, that of the relation between fictional elements and structure of narration. From the analysis of the former we induce the fatalism, which is opposed to his Christianity, and from that of the later, the agnosticism as ideological support of his narration technique. In search of what leads him to continue writing in spite of his fatalistic and agnostic tendency, we discover in him a desire to live suspensively the intermediate conditions out of the sterile deterministic space-time
Hayek, Katia. „Folklore, surnaturel et réalité dans quelques romans français et tchèques de la postérité "gothique" au premier XIXe siècle : ètude du lien entre la construction imginaire et l'historicité“. Thesis, Lille 3, 2019. http://www.theses.fr/2019LIL3H053.
Der volle Inhalt der QuelleFolklore, supernatural and reality, the combination of these words may surprise, but the confrontation is fruitful. The link between folklore and the supernatural seems, in part, evident in the popular novel of Gothic romance posterity at the beginning of the nineteenth century. Therefore, crossing the borders of the real and the unreal, commonly accepted in fictitious writing included supernatural, invites us to reconsider the category of the fantastic, and its vocation to entertain, in their relation to the vraisemblance. How may the supernatural folklore have something to say about the real and therefore, about human history?The comparative perspective that dominates the study of some popular French and Czech romances, which are inherited of the Gothic romances, emphasizes the functioning of folkloric motifs within the fictional frameworks. Beyond the ornamental and entertaining functions that are usually attributed to them, they crystallize the tensions that exist between the fictional construction and reality. Supporting the authors’ inspirations and their originality, the continuous presence of folklore in these narratives, leads to a reassessment of the generic framework related to the supernatural and reconsideration of the relationship of these fictions to the historicity. These so-called popular works, destined for a public which is claimed to be no less so, also illustrates contemporaneous time. The writing of the supernatural finally conceals more than one subversive discourse: social, political but also intimate and aesthetic
Bouchard, Sébastien, und Sébastien Bouchard. „Humanimalité et indignation : apports de la fiction romanesque à la question philosophique du rôle de l'animalité dans le devenir humain de l'homme après Darwin“. Doctoral thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/37801.
Der volle Inhalt der QuelleThèse en cotutelle, Doctorat en études littéraires, Université Laval Québec, Canada et Université de Rouen Mont-Saint-Aignan, France.
Depuis la théorie de l’évolution de Darwin, la science ne représente plus l’homme au-dessus du règne animal, elle l’y inscrit : c’est un animal, de la classe des mammifères, de l’ordre des primates, de la famille des hominidés, du genre homo et de l’espèce sapiens. Pour nommer cette nouvelle fraternité entre l’homme et l’animal, nous proposons le néologisme d’humanimalité, qui postule, par sa graphie même, un lien indéfectible entre humanité et animalité. De L’étrange cas du Dr Jekyll et M. Hyde de Robert Louis Stevenson (1886) à La planète des singes de Pierre Boulle (1963), en passant par Les racines du ciel de Romain Gary (1956) — où le mot « écologie » apparaît pour la première fois dans un roman —, les romanciers explorent cette nouvelle fraternité en mettant en scène des êtres, des créatures et des situations qui n’existent pas dans la réalité. Ce faisant, ils déploient des perspectives de réflexion que la réalité ne met pas toujours à notre portée. Dans la série des quinze romans réunis ici, qui composent le corpus à l’étude, une « voix », celle du narrateur ou du protagoniste, invite le lecteur à s’indigner du fait que l’hominisation ne se soit jamais complétée par une humanisation. Si l’ancêtre animal de l’homme est effectivement devenu homo faber, erectus, puis sapiens, il est toutefois douteux de croire qu’il soit parvenu jusqu’à l’homo humanus (l’homme authentiquement humain). Les raisons de cet écueil s’articulent toutes autour du thème de l’« animalité », qui renvoie tantôt à la part animale en l’homme, tantôt aux rapports que l’homme entretient avec les animaux. Aborder, ainsi que nous le faisons, les romans retenus dans l’ordre chronologique de leur publication permet d’esquisser une petite histoire de l’évolution du thème de l’animalité dans la littérature européenne, de découvrir que, passé le choc de la « hantise des origines » suscitée par la théorie de Darwin, les romanciers nous encouragent à nous réconcilier avec notre propre animalité et à reconnaître la dignité des animaux. En un siècle où l’homme est responsable de deux guerres mondiales, la barbarie ne peut plus être pensée comme la marque d’une « bête » en l’homme, mais plutôt comme l’un de ses propres : l’homme, un animal inhumain. Des romanciers suggèrent même que l’homo humanus ne serait pas l’une des prochaines étapes de l’évolution de sapiens, mais une simple « fiction », une histoire que l’humanité se raconte sur elle-même et qui n’aura jamais d’incarnation réelle en ce monde. Seul gage d’espoir, cette faculté que nous avons de nous indigner contre ce qui outrage cette fiction d’une espèce appelée à devenir plus humaine. Romans analysés : L’étrange cas du Dr Jekyll et M. Hyde de Robert Louis Stevenson (1886), La Machine à explorer le temps et L’île du docteur Moreau de Herbert George Wells (1895 et 1896), L’étalon de David Herbert Lawrence (1925), Le loup des steppes de Hermann Hesse (1927), Morwyn de John Cowper Powys (1937), Kaputt de Malaparte (1944), 1984 d’Orwell (1949), Molloy de Samuel Beckett (1951), La peau et les os (1949) et Le wagon à vaches de Georges Hyvernaud (1953), Sa Majesté des Mouches de William Golding (1954), Les racines du ciel de Romain Gary (1956), Sylva de Vercors (1961) et La planète des singes de Pierre Boulle (1963).
Depuis la théorie de l’évolution de Darwin, la science ne représente plus l’homme au-dessus du règne animal, elle l’y inscrit : c’est un animal, de la classe des mammifères, de l’ordre des primates, de la famille des hominidés, du genre homo et de l’espèce sapiens. Pour nommer cette nouvelle fraternité entre l’homme et l’animal, nous proposons le néologisme d’humanimalité, qui postule, par sa graphie même, un lien indéfectible entre humanité et animalité. De L’étrange cas du Dr Jekyll et M. Hyde de Robert Louis Stevenson (1886) à La planète des singes de Pierre Boulle (1963), en passant par Les racines du ciel de Romain Gary (1956) — où le mot « écologie » apparaît pour la première fois dans un roman —, les romanciers explorent cette nouvelle fraternité en mettant en scène des êtres, des créatures et des situations qui n’existent pas dans la réalité. Ce faisant, ils déploient des perspectives de réflexion que la réalité ne met pas toujours à notre portée. Dans la série des quinze romans réunis ici, qui composent le corpus à l’étude, une « voix », celle du narrateur ou du protagoniste, invite le lecteur à s’indigner du fait que l’hominisation ne se soit jamais complétée par une humanisation. Si l’ancêtre animal de l’homme est effectivement devenu homo faber, erectus, puis sapiens, il est toutefois douteux de croire qu’il soit parvenu jusqu’à l’homo humanus (l’homme authentiquement humain). Les raisons de cet écueil s’articulent toutes autour du thème de l’« animalité », qui renvoie tantôt à la part animale en l’homme, tantôt aux rapports que l’homme entretient avec les animaux. Aborder, ainsi que nous le faisons, les romans retenus dans l’ordre chronologique de leur publication permet d’esquisser une petite histoire de l’évolution du thème de l’animalité dans la littérature européenne, de découvrir que, passé le choc de la « hantise des origines » suscitée par la théorie de Darwin, les romanciers nous encouragent à nous réconcilier avec notre propre animalité et à reconnaître la dignité des animaux. En un siècle où l’homme est responsable de deux guerres mondiales, la barbarie ne peut plus être pensée comme la marque d’une « bête » en l’homme, mais plutôt comme l’un de ses propres : l’homme, un animal inhumain. Des romanciers suggèrent même que l’homo humanus ne serait pas l’une des prochaines étapes de l’évolution de sapiens, mais une simple « fiction », une histoire que l’humanité se raconte sur elle-même et qui n’aura jamais d’incarnation réelle en ce monde. Seul gage d’espoir, cette faculté que nous avons de nous indigner contre ce qui outrage cette fiction d’une espèce appelée à devenir plus humaine. Romans analysés : L’étrange cas du Dr Jekyll et M. Hyde de Robert Louis Stevenson (1886), La Machine à explorer le temps et L’île du docteur Moreau de Herbert George Wells (1895 et 1896), L’étalon de David Herbert Lawrence (1925), Le loup des steppes de Hermann Hesse (1927), Morwyn de John Cowper Powys (1937), Kaputt de Malaparte (1944), 1984 d’Orwell (1949), Molloy de Samuel Beckett (1951), La peau et les os (1949) et Le wagon à vaches de Georges Hyvernaud (1953), Sa Majesté des Mouches de William Golding (1954), Les racines du ciel de Romain Gary (1956), Sylva de Vercors (1961) et La planète des singes de Pierre Boulle (1963).
Lamarque-Rootering, Marie-Pierre. „Les adaptations théâtrales de romans français au XIXe siècle“. Paris 3, 2007. http://www.theses.fr/2007PA030155.
Der volle Inhalt der QuelleLiterature or imposture ? The theatrical adaptations of 19th century French novels invaded the Parisian scene signed by the greatest writers : Paul de Kock, Alexandre Dumas (the father), Eugène Sue, Paul Féval, George Sand, Alexandre Dumas (the son), Octave Feuillet, Jules Sandeau, Emile Zola, Alphonse Daudet, Edmond de Goncourt, and Jules Verne… Speculating on the popularity of a novel, they swept into a verbose creative spiral authors, theatre directors and the public, all voluntary prisoners of a lucrative production system. The novel went beyond the scope of theatre’s narrow context. The Procrustean Couch : The Weight of Word sis metamorphosed into a Pandora’s Box. From text to out of (con)text, the novel transferred to theatre threw all referential drama codes (generic, structural, stylistics, sets of themes and the spectacular) off balance, making a mockery of conventional censurers. It faces a mainly hostile, dramatic criticism disorientated by poetically imitated origins. From the serial story with its theatrical downward spiral, imitation in the sense of a transformed copy, the essence of literary creation in its Aristotelician sense was modifying an already dramatic landscape. Was it invention or copy ? Literary ownership dictated its law within international literary conventions. The process of the theatrical adaptation of novels was legalized in 1886 during the Congress of Bern. From « imitation » to « adaptation », literature spiralled downward to acquire a secondary, second place status unworthy of literary history
Pradeau, Christophe. „L'idée de cycle romanesque : Balzac, Proust, Giono“. Paris 8, 2000. http://www.theses.fr/2000PA081683.
Der volle Inhalt der QuelleMunck, Olivier. „Le peintre dans le roman du XIXème siècle : histoire des rapports de la littérature et de la peinture, de l'homme et du réel“. Paris 4, 1994. http://www.theses.fr/1994PA040041.
Der volle Inhalt der QuelleThe painter's figures from balzac to proust compose an original romantic art history showing the relationship between man and reality. Looked on aesthetic effects, this pastiche, from a composition borrowed to la comedie humaine, spreads out a tragedy, firming social, physiological and philosophical principles and causes, rules for the hero as for his art work. The hypothesis relies on the increasing part of painting as essential element in the evolvement of perception and creation. The comparaison between fiction and reality offers a summary of the influences of the pictural expression upon the litterary one, those reciprocal of this peculiar hero, from a fiction to another one, on his own creator, defining the connection between the thing perceived and expressed, the writing and the reader