Dissertationen zum Thema „Théorie queer dans la littérature“
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Rundgren, Heta. „Vers une théorie du roman postnormâle : féminisme, réalisme et conflit sexuel chez Doris Lessing, Märta Tikkanen, Stieg Larsson et Virginie Despentes“. Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080145/document.
Der volle Inhalt der QuelleSituated at the intersection between comparative literature and gender studies, this dissertation theorizes what I term the postnormâle novel. It deploys readings of four contemporary European novels along with a corpus of literary and feminist theory. The novels include Doris Lessing’s The Golden Notebook (1962), Märta Tikkanen’s Manrape (1975), Stieg Larsson’s Millenium trilogy or The Girl with the Dragon Tattoo (2005-2007) and Virginie Despentes’s Apocalypse baby (2010). My analysis of these texts examines the way in which the postnormâle novel reclaims social discourses of sexual difference for a mass audience while subtly displacing realist conventions in order to inscribe women’s—or lesbians’—experience of sexual conflict into the text. A four step process is used to study the work. First, I anchor the novels to a “realist real”, and study the function of detail within the postnormâle aesthetic. Then I chart the sociogram ’feminism’ in the novels and their reception. Thirdly, I read the narrative of what I call “counter-rape”, and lastly the inscription of woman-desire and the figuration—the constitution even—of entr’elles, a feminist space. The perspective of my study is postmodern, which implies a suspension—but not a disbelief—of the twofold question of literary status and literary evaluation, in order to focus on texts in their contexts. In this process, I aim to rethink the link between the notions of the feminine and the queer in light of contemporary feminist and lesbian perspectives
Lak, Zishad. „Noms et déplacements : étude de l’espace-temps dans les romans autochtones, canadiens et québécois du XXIe siècle“. Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40676.
Der volle Inhalt der QuelleFournier, Mat. „Vers une géophilosophie queer : homosexualité, transsexualité et exil dans l'Europe de l'Entre-deux-Guerres à travers les œuvres de Christopher Isherwood, Klaus Mann et Annemarie Schwarzenbach“. Paris 8, 2014. http://www.theses.fr/2014PA084149.
Der volle Inhalt der QuelleThis work questions notions of identity and subjectivity while building on Deleuzian geophilosophy, queer theory, and transgender studies. Gender, I argue, is an assemblage, that is, a stable yet contingent construction, built of heterogeneous elements. Queer, then, means the disruption of those assemblages, not in the form of stable identities, but obliquely, as « lines of flight », diagonals or points where the assemblage gets ruptured. While queer temporality has been, in the past years, explored by a wide range of scholarly works, I focus here on spatiality. Questions of border zones and orientation (as conceptualized by Sara Ahmed), as well as Deleuzian concepts such as thresholds of transition, planes of consistencies, or milieus and cartography, are particularly relevant to queer critique. To explore this geophilosophy of gender, I look mainly into the works of three authors writing in the heavily polarized political background of the thirties, with Europe, and particularly Berlin, as the center of gravity of a shifting world. Klaus Mann (1906-1949), Annemarie Schwarzenbach (1908-1942), and Christopher Isherwood (1904-1986), share the particularity of being uncloseted gays, which, according to Sedgwick's Epistemology of the Closet, places them in an atypical enunciative situation amongst Modernists. Their writing seems most of the time to operate in an undefined and fluid space between fiction and autobiography, as if their problematic condition of speech prevented them from adhering to any specific genre. Because they didn’t belong to the gender assemblages of their time, they created their own spaces, navigating across not only gender assemblages, but also escaping their social class or their citizenship
Bourse, Alexandra. „Le personnage métis, une figure hybride ? Identité sexuelle et identité raciale dans la littérature des Amériques“. Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040257.
Der volle Inhalt der QuelleThe theory of intersectionnality - resulting from « Black feminism » - is a precious concept to analyze the domination experienced by the « métis » characters as intersectionnal experiments in which power struggles based on race, sex and class are inextricably mixed. Incarnating interracial relations perceived as essentially violent the mestizo/mulatto characters are interpreted by a society which tries to subsume them into preset racial and sexual categories. This crispation of the thought is what we are interested in.Key words: postcolonial studies; genre/gender; sexualities; queer theory; mestizaje/ miscegenation; identity; intersectional analysis
Courapied, Romain. „Le traitement esthétique de l'homosexualité dans les oeuvres décadentes face au système médical et légal : accords et désaccords sur une éthique de la sexualité“. Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20038/document.
Der volle Inhalt der QuelleBy the end of the 19th century, medicine overwhelmingly took hold of the homosexual phenomenon, basing itself on new findings related to psychopathology. Not only were characters physically identified thanks to a series of so-called scientific criteria, but they were also analysed through mental mapping. Although the aim of the classification of sexual behaviours was to cure rather than punish, the practices of sexual minorities were still stigmatized. As far as the judiciary system was concerned, French laws were considered to be quite lenient in so far as homosexual relationships had no longer been regarded as offences since the 1810 penal code. Nevertheless, the distorted use of the affront to public decency enabled to control people's behaviours and, by the end of the century, an increase of the trials focusing on cases of indecent exposure could be noticed. Our work, that definitely ascribes itself within the field of Gender Studies and Queer theory, is first and foremost epistemological and seeks to analyze how a body of expertise about homosexuality emerged in the second half of the 19th century, through the medical corpus that turned out to be prevalent in the studies that were conducted then, as well as through both legal and literary texts, although they were quite overlooked then. Our analyses also pertain to the history of representations, as we offer to define the aesthetics of decadence by adding a signifier: homosexuality. Finally, we also plan on scrutinizing texts by relying on three main themes that are meant to emphasize the decadent use of a homotextuality : the symbol of flowers, the figure of the androgyne and the myth of Narcissus
Silveira, Franca Moema. „A construção de subjetividades homoeróticas na literatura de Caio Fernando Abreu“. Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA007.
Der volle Inhalt der QuelleThis thesis intends to investigate the creation of homoerotic subjectivities in Caio Fernando Abreu’s literary work from a narrative and discursive point of view. In order to do so, it analyses his short stories, chronicles and novels produced between the 1970s and 1996, year of his death. His personal correspondence is also examined as a counterpoint to his fictional narratives. Caio Fernando Abreu is a Brazilian contemporary author who has written frequently on the issue of homoerotism, a subject that is, at the same time, essential and secondary to his work. He was also one of the first Brazilian fiction writers to thematize AIDS at a time when the syndrome was directly associated to sexualities that challenged heteronormativity. Subjects are constituted in language and by language, therefore the stigmatization of homoerotically inclined subjects is also necessarily established through language, which is the primary raw material of literature. From this perspective, this work identifies three literary strategies the writer uses in order to escape this discursive trap: ambiguity, displacement and disclosure. Instead of assuming a marginalized sexual identity, his stories and characters defy monolithic categorizations and instead they adopt the notion of fluid, plural and interchangeable sexualities. This study also discusses the aesthetic and ethical dimensions in Abreu’s work as well as literature’s contribution to positively represent non-hegemonic sexualities
Esta tese pretende investigar a criação de subjetividades homoeróticas na obra literária deCaio Fernando Abreu, do ponto de vista narrativo e discursivo, através da análise de seuscontos, crônicas e romances, produzidos entre a década de 1970 e 1996, ano de sua morte.Sua correspondência pessoal é também analisada em contraponto aos textos ficcionais. CaioFernando Abreu é um dos escritores brasileiros contemporâneos que escreveu comfrequência sobre o homoerotismo, tema que é, ao mesmo tempo, central e secundário em suaobra. Também foi um dos primeiros escritores de ficção brasileiros a tematizar a AIDS, numaépoca em que a doença estava diretamente relacionada à experiência de sexualidades nãoheteronormativas. Os sujeitos são produzidos na linguagem e pela linguagem, e, portanto, oprocesso de estigmatização dos sujeitos homoeroticamente inclinados institui-senecessariamente através da linguagem, matéria-prima da literatura. Sob essa perspectiva,identificam-se neste trabalho as estratégias literárias utilizadas pelo autor para escapar aessa armadilha discursiva, dividindo-as em três categorias: a ambiguidade, o deslocamento ea explicitude. Verifica-se que, ao invés de assumir uma identidade sexual socialmentemarginalizada, suas histórias e personagens desafiam categorizações monolíticas e adotam anoção de sexualidades fluidas, plurais e intercambiáveis. Esse estudo discute ainda aconstrução estética de uma dimensão ética em sua obra e a maneira como a literatura podecontribuir para uma representação positiva de sexualidades não hegemônicas
Ali, Nancy. „Violence et fiction dans le roman contemporain de langue française, arabe, et anglaise (1960-2000)“. Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040035.
Der volle Inhalt der QuelleSummaryAs a result of the changes that have occurred in the latter half of the twentieth century, the world has witnessed a noticeable acceleration of history. This acceleration has manifested itself on many fronts – the historic, the scientific, the technological – but also on the literary front changing forever the way we represent our world and our place in it. This paper deals with the new modes of representation or mimesis in the work of art. How have the events happening outside the novel affected the very form, technique and the language of the contemporary novel? How has the violence that has been inflicted on the outside world being replicated and perhaps resolved in the literary narrative? Because narrative form is in itself a way of ordering and “bringing together” the fragmented events and incoherencies of reality, the very traditional form often violently manipulates this reality with the aim of giving meaning to an often inexplicable reality. By bringing into question the natural and given conventions of narrative, the experimental novels of the twentieth century have tried to realize original and unique forms that are able to represent different experiences. Our paper deals with primarily with these new conventions of representing reality and how, despite their fragmentation, experimentation, and violent rupture with the traditions of the past, they have nonetheless successfully produced “representations” of reality that faithfully capture our contemporary history characterized by acceleration as well as fragmentation. In order to justify this argument, we have compared narratives of fiction with the other two domains from which we derive the knowledge of our past, namely history and memory. Where is the place of fiction alongside these two often totalizing and totalitarian pillars of knowledge? Finally, what can literature do to those subjects of history who have systematically excluded from the writing of their dominant History? By taking the pen to write their side of the story, these “others” of the dominant historical document have both inscribed their particular stories on the existing palimpsest of dominant history, but have also forced the literary canons in which they belong to expand both their aesthetic and ethical boundaries
Wu, Chia-Chen. „La vie est traversée par le langage : étude sur l'évolution de l'identité et la configuration de l'écriture dans les romans de Qiu Miaojin“. Paris, EHESS, 2016. http://www.theses.fr/2016EHES0047.
Der volle Inhalt der QuelleIn this dissertation, I have analyzed three novels of Qiu Miaojin: "Plato's Hair", Notes of a Crocodile and Last Words from Montmartre from the angle of queer theory and semanalysis. These texts evoke the theme of the evolution of lesbians' identity, approximately corresponding to the transition from the repression to the liberation of lesbians in Taiwan, and they present a series of identity changes: from homosexual to "tongzhi" (comrade) and then queer. But this theme is never directly mentioned and it is only due to the author's double-writing activity that the reader becomes aware that: first, writing is a particular process of liberating oneself and even of allowing lesbians to invent their own identity; and secondly, the formal character of writing makes what is written fictional, like the loss or absence of its original meaning. It is this dual writing activity that gives to Qiu Miaojin's works their originality, furthermore, due to the processes of change and transformation in the texts, the author's personal experiences are not directly represented but are presented as a literary object that expresses the most fundamental relationships between literature and language, and this reveals the expressive power of language
Folléa, Clémence. „Dickens excentrique : persistances du Dickensien“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC146.
Der volle Inhalt der QuelleThis thesis looks at the text and afterlives of Great Expectations (1860-61), Oliver Twist (1837-39) and The Mystery of Edwin Drood (1870), by Charles Dickens. Ever since the Victorian era, these three novels have penetrated our collective imagination and have fed into various kinds of discourses, which are always determined by their conditions of production and reception. Thus, this thesis both performs microanalyses of its primary sources and explores the context in which each work was published. Its corpus includes filmic adaptations as well as more indirect reincarnations, such as rewritings, TV series and videogames featuring elements identifiable as ‘Dickensian’. The latter adjective points to a variety of fictional objects and cultural processes, which are gradually circumscribed throughout this thesis. In particular, the Dickensian and its afterlives are defined in connection with the ‘eccentric’, a term often used to conjure up the colourful and sometimes queer quality of Dickens’s texts. Here, however, a broader definition of this notion is adopted: the eccentric, which always stands halfway between a centre and its margins, is used to examine the many ambiguities of the Dickensian. For, as they move into new aesthetic and socio-cultural contexts, the fictions created by Dickens feed into discourses which can be normative and/or subversive, stereotyped and/or disturbing. My cartography of Dickensian afterlives gradually appears as chaotic, which eventually leads me to reconsider some of my methodological assumptions: Dickens’s fictions move in irregular and unpredictable ways, which often upset bibliographical, periodical and disciplinary boundaries
Grué, Mélanie. „Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison“. Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
Der volle Inhalt der QuelleBorn in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
Antonioli, Manola. „L'écriture de Maurice Blanchot : fiction et théorie“. Paris, EHESS, 1997. http://www.theses.fr/1997EHESA013.
Der volle Inhalt der QuelleBiyogo, Grégoire. „L'écriture et le mal, théorie du désenchantement : contribution aux recherches sur la théorie littéraire“. Paris 4, 1991. http://www.theses.fr/1990PA040165.
Der volle Inhalt der QuelleThe work attempts to establish the proposition of rational acceptability which controls the indissociability of writing and the question of disappointment,through Arts,History,Philosophy and Science,especially in West Europe and in Africa. .
Grué, Mélanie. „Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison“. Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
Der volle Inhalt der QuelleBesnard-Santini, Tiphaine. „Usages et mésusages des théories du sexuel dans le discours et la clinique "psy" en France contemporaine“. Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080087/document.
Der volle Inhalt der QuelleRevolutionaries and essential in Freudian thought, sexual theories gradually lost their transgressive role in contemporary psychoanalysis to become copies of social standards. This thesis proposes to study the effects of these theories on the capacity of French therapists to listen, from from a thorough analysis of Freudian and post-Freudian literature, but also of the dissidents and critical works of this current. This was in the aim to try on the hypothesis that, due to the content of the French psy training, therapists are badly prepared to listen, understand and help their patients in the expression of their sexual lives
Roux, Emmanuel. „Théorie et occasion dans l'œuvre de Machiavel“. Paris 4, 2000. http://www.theses.fr/2000PA040099.
Der volle Inhalt der QuelleFerraz, vidal junior Icaro. „Présence et représentation de l'analité dans l'Art contemporain“. Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0014/document.
Der volle Inhalt der QuelleThis thesis offers an analysis of the presence and representations of anality in contemporary art. The works analyzed here are grouped around three central axes: the first one investigates the relationship between sex and politics, the second is dedicated to the links between excretion and the industrial production system, the third one proposes a link between eroticism and ecology. In the first axis, we propose a path that goes through the relationship between matriarchy and patriarchy and comes to contemporary queer theory. In this context, we study the artistic and activist pornterrorist production. The second axis takes up the historical process of sanitizing cities and the Freudian formulations on the anal character to create a context for the analysis of works by Piero Manzoni, Wim Delvoye, Paul McCarthy and Andres Serrano. The last axis tries to create resonances between the philosophy of Gilbert Simondon, The solar anus, a short essay by Georges Bataille, the pictorial production by Jakub Julian Ziolkowski and the video Cooking, by Tunga, based on SimondonÕs concept of order of magnitude, from which we try to unravel the relationships of the anus with the cosmos in contemporary artistic production
Zimmermann, Laurent. „L' ivresse dans la littérature française depuis Baudelaire“. Paris 8, 2004. http://www.theses.fr/2004PA082421.
Der volle Inhalt der QuelleIn this study intoxication is defined as a temporal emergence that links two realms (one is related to drug and the other to the theme of inspiration) and questions a specific stake, the stake of the tension, a constituent of literature, between knowledge and pleasure. Within this frame, the study of a whole range of literary texts connected to intoxication leads to the reversal of the paradigm generally in use : intoxication considered as it is in the study, is not in opposition to theory but, on the contrary, combines with it. After these two parts more specifically concerned with problems related to theory but also to questions of methodology, three further parts are dedicated to text analyses and organized in such a way as to first bring about the foundation of speech, then of its development and finally of the limits encountered
Renombo, Steeve Robert. „L'écriture et le voyage : approches de l'itinérance : contribution aux travaux sur le comparatisme et la théorie littéraire“. Paris 4, 2000. http://www.theses.fr/2000PA040250.
Der volle Inhalt der QuelleHan, Yong-Hee. „Enjeux de la théorie du texte dans l'oeuvre de Roland Barthes“. Paris 8, 2003. http://www.theses.fr/2003PA082270.
Der volle Inhalt der QuelleWe studied the stakes of text's theory or litterary theory in Roland Barthes' work. We studied it in four parts : semiology, thematism, structuralism, " textualism ". We saw psychoanalisis all long our four parts. Barthes' semiology went thraugh different steps, which are not coherent from the begining to the end. His epistemology is linked to psychoanalisis more than linguistic. Thematism is introduced since the beginning of Barthes' theory and remains during a long period. Abaut his structuralism's epistemology, thematism and psychoanalisis are as important as linguistic. Especially psychoanalisis, which ruled over his structural thought. In textualism, since S/Z, psychoanalisis, almost lacanian, mixed up with materialism, is very actual. From now and then, he underlined words such as : " work ", " production ", " weaving ", " signifiance ", " enjoyment " to develop his text's theory
Balghagi, Farouk. „Réalisme et esthétique fictionnelle dans la littérature maghrébine et négro-africaine d'expression française“. Nice, 1998. http://www.theses.fr/1998NICE2027.
Der volle Inhalt der QuelleSuzuki, Masao. „Le hasard objectif dans l'oeuvre d'André Breton : phénomènes et théorie“. Paris 7, 1993. http://www.theses.fr/1993PA070051.
Der volle Inhalt der QuelleThe notion of "objective chance" defined by andre breton expresses, not the miraculous realisation of a desire pre-existing the event, but the undoing of such a desire, simultaneous to the invention of a new desire. By tracing the transformation of the semantic structure of the account describing a "coincidence", we demonstrate, on the one hand, that this definition applies to the main "autobiographical" accounts of breton and to l'amour fou in particular where the meeting with jacqueline lamba enables him to annul a series of significations linked to a "lost woman" and to stress anther series of significations given to a "new woman". We shall see, on the other hand, that the very word "objective" was chosen by breton to stress the absolute exteriority of the event in regard to the network of significations which supported the imaginary world of the subject before that event. The objective chance is therefore defined, not as the projection of our desire in a real event, but as a total reorganisation of the semantic networks which condition this projective process
Lemoine, Xavier. „Naissance et développement du théâtre queer aux États-Unis“. Paris 10, 2001. http://www.theses.fr/2001PA100112.
Der volle Inhalt der QuelleAlthough the notion of Queer Theater only began to develop in the early 1990s its stretch back to the beginning of the 20th century. Indeed, the portrayal of homosexuality on the stage has been shaped by moral and legal censorship revealing the tensions articulating theater as a whole. Queer theory, based on theoretical intertextuality, enables us to examine the way in which sex, gender, race and class are formed and how they are interrelated. Within this framework, queer criticism interrogates the politics of representation and attempts to grasp the forces that determine the boundaries separating the visible from the invisible. A general survey of drama reveals the variations that define both a history of Queer Theater and its construction as a category. "Homosexual theater," firstly characterized by the trope of the closet, was subsequently developed by a gay and lesbian theater informed by the trope of the coming out. Although this distinction is in itself an epistemological effect, it provides basic markers and explains the emergence of Queer Theater. Rejecting moot issues spawned by identity politics, Queer Theater sets out to utilize strategies against normative impulses perpetuated by a monolithic conception of the subject. Thus, Queer Theater offers a crosspollination that runs counter to the predominance of binary oppositions on stage. It then delves into the reception and production modes and attempts to open up the closure of interpretations and meanings of the text in order to go beyond heteronormativity. The AIDS crisis accelerated this process by questioning the status of the body furthered as well by the practice of camp, pornography and S/M. These aspects of queer performance, made more complex due to their performative effects, illustrate the queer momentum. Queer Theater therefore is a determining force on the stage, both pointing to its limitations and signaling new paths to keep it alive and on the cutting edge
Marull, Mélodie. „Du corps transgressif au corps subversif : corporéités dissidentes dans l'œuvre de Pierre Molinier“. Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0338.
Der volle Inhalt der QuellePierre Molinier's (1900-1976) art is fundamentally transgressive, regarding as much the process he elaborates as the topics he addresses. The artist's experiments are built on a complex network of influences, and we will explore how some of its nodal points - such as fetishism - are metaphorized in his photographic and pictorial techniques. This thesis deals with an understanding of how the images and the discourses they produce nowa-days appear to us as a proto-queer idea of identity, embodiment and sexualities. Furthermore, our research interrogates the perception of his works and their contextualization. Our analysis methodology is quite similar to the one that William F. Edmiston develops in Sade Queer Theorist, and is based on a deep look inside of the works and texts taken out of the artist's mail. Our thesis is articulated in two parts, looking alike the artist's creative process. The first part aims to develop the analysis of an outgrowth beyond the artist's body. Masks and prostheses are employed as body modification tools and participate in expressing a kind of authenticity in trickery. The creatures that Molinier builds based on his own photographs point out the path from multiplicity to unity and offer us to look at dissenting anatomies. The second part answers to the first and matches a movement of contraction. On the one side, the artist's relationship with the other is established on an absorp-tion mode, he understands the bodies ductile nature and uses them as creation materials. On the other side, auto- erotical experimentations take a firsthand place in the molinian paradigm, which reclaim the visual vo-cabulary of BDSM. In Molinier’s work, the body is shown as a creative materiality, on which the artist-alchemist builds in order to give birth to hybrid creatures, that embody his ideal of identity and sexualities fluidity. Pierre Molinier disrupts binaries and normativity, through both his auto-erotical practices and their mode of representation. Developing a language of the intimacy and the body, he redesigns their form and functions, combining masquerade and transgression, toward new embodiments
Santini, Sylvano. „La réception pragmatique de Gilles Deleuze dans la théorie littéraire américaine“. Thèse, Bordeaux 3, 2005. http://hdl.handle.net/1866/17235.
Der volle Inhalt der QuelleMarull, Mélodie. „Du corps transgressif au corps subversif : corporéités dissidentes dans l'œuvre de Pierre Molinier“. Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0338.
Der volle Inhalt der QuellePierre Molinier's (1900-1976) art is fundamentally transgressive, regarding as much the process he elaborates as the topics he addresses. The artist's experiments are built on a complex network of influences, and we will explore how some of its nodal points - such as fetishism - are metaphorized in his photographic and pictorial techniques. This thesis deals with an understanding of how the images and the discourses they produce nowa-days appear to us as a proto-queer idea of identity, embodiment and sexualities. Furthermore, our research interrogates the perception of his works and their contextualization. Our analysis methodology is quite similar to the one that William F. Edmiston develops in Sade Queer Theorist, and is based on a deep look inside of the works and texts taken out of the artist's mail. Our thesis is articulated in two parts, looking alike the artist's creative process. The first part aims to develop the analysis of an outgrowth beyond the artist's body. Masks and prostheses are employed as body modification tools and participate in expressing a kind of authenticity in trickery. The creatures that Molinier builds based on his own photographs point out the path from multiplicity to unity and offer us to look at dissenting anatomies. The second part answers to the first and matches a movement of contraction. On the one side, the artist's relationship with the other is established on an absorp-tion mode, he understands the bodies ductile nature and uses them as creation materials. On the other side, auto- erotical experimentations take a firsthand place in the molinian paradigm, which reclaim the visual vo-cabulary of BDSM. In Molinier’s work, the body is shown as a creative materiality, on which the artist-alchemist builds in order to give birth to hybrid creatures, that embody his ideal of identity and sexualities fluidity. Pierre Molinier disrupts binaries and normativity, through both his auto-erotical practices and their mode of representation. Developing a language of the intimacy and the body, he redesigns their form and functions, combining masquerade and transgression, toward new embodiments
Miot-Konopnicki, Danielle. „Contribution à l'histoire du structuralisme européen : les formalistes russes (1914-1929)“. Paris 8, 1993. http://www.theses.fr/1993PA08A005.
Der volle Inhalt der QuelleWe should not deal with formalism, but rather with formalists. However, in spite of their differences, the formalists have the same references and study the same subjects. They show that sound has a value independently from the meaning, they study discourse and what generates meaning the theoretical stake of this research is the making-up of "litterary science" which must have its own object and its own specific study. The formalists renew the notions of from and contents, and oppose them those of "device" and material. They investigate the composition and the "morphology" of works and genres, they elaborate the notions of system and structure. A particular conception of literary evolution results from their conception of formal analysis. The latter establishes "genetic" links between the phenomena. The formalists don't limit themselves to theory and history. They put forward the idea of the necessity of a "technology of discourse" in the fields of declamation, of the oratorical art, of translation and of "linguistic policy"
Voogd, Suzanne. „L'image de l'enfant dans la littérature de jeunesse britannique contemporaine“. Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20083.
Der volle Inhalt der QuelleThis dissertation deals with the way in which the child is pictured in contemporary British children’s literature. This study analyses the image of the child in the following works of fiction published between 1995 and 2005 by British authors : Philip Pullman, His Dark Materials ; Eoin Colfer, Artemis Fowl ; Jonathan Stroud, The Amulet of Samarkand ; J.K. Rowling, Harry Potter and the Philosopher’s Stone ; Kate Thompson, The New Policeman ; Alex Shearer, The Hunted ; Hilary McKay, Saffy’s Angel ; Anthony Browne, Into the Forest ; Lauren Child, Hubert Horatio Bartle Bobton-Trent ; Oliver Jeffers, Lost and Found. The analysis of the portraits of child characters and of the representations of their environment (both spatial and temporal) enables us to create a picture of the contemporary child as British children’s authors imagine him. The image of the child in adult literature has often been examined, but its analysis in the works that are meant to be read by children offers a different perspective, which illustrates both the reality of the child as it is perceived by the writers, and the ideal child which the author would like his young reader to emulate. Theories of reception enable us to investigate the child reader who is hiding between the lines of the text and to demonstrate the increasing autonomy granted to the child in literature, be it the child character or the child reader
Plaisance, Aurélie. „Statuts et fonctions de l'exemple dans l'essayistique québécoise (1972-1994)“. Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27245/27245.pdf.
Der volle Inhalt der QuelleWiser, Antonin. „Utopie de la littérature. La question littéraire dans l’œuvre de Theodor W. Adorno“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040111.
Der volle Inhalt der QuelleThis dissertation proposes to study the question of literature in the work of Adorno. It shows the utopian function which the philosopher attributes to literature as it draws the horizon of a "language without soil", a line of flight from the dialectic of reason. While philosophical discourse reproduces in its conceptual apparatus the mythical-rational violence against the non-identical singular, the language of literature seems able to indicate the possibility of reaching beyond the concept with the help of the concept, which is the utopian desire of negative dialectics. The challenge is not only epistemic: it is ethical-political as well, related to the possibility of establishing relations with others which are freed from the constraints of identity.In the literary works which he studies – those of Eichendorff, Hölderlin, Proust, Valery, Beckett or Kafka –, Adorno does however not seek a concrete figure of utopia, but rather traces of "what is our own and has been left blank" - both in these texts and in History. In those blanks, literature contains the « possible impossible » which haunts the present ; it is the picture without picture of Reconciliation (Versöhnung), a resource for both a radical critique of existence and for the desire of the other to come
Marian, Gabriel. „Les importations méthodologiques dans la critique littéraire française des dernières décennies“. Paris 4, 2006. http://www.theses.fr/2006PA040036.
Der volle Inhalt der QuelleDuring the second half of the XXth century, literary theories often developed according to a scientist pattern by means of methodological borrowings coming from social or applied sciences. But whereas the scientific status of these very theories is considered to be unstable by epistemological criteria, the inner nature of methodological borrowings looks very much alike to that of metaphors and fiction. If, on one hand, the part played by analogies and fictional models in the discourse of the exact sciences is strictly determined, on the other hand, it appears to be utterly vague and indistinct as far as the social sciences are concerned, which represents one of the direct sources of failure for the structuralist approach as well as for French “nouvelle critique”. Borrowings coming from saussurian linguistics, psychoanalysis and sociology, as well as models and formalisms copied on mathematics, represent by all means a bibliography that can also be read and interpreted in accordance with stylistic and aesthetic codes. By its tendency to progressively blur the boundaries between literature and sciences, structuralism also contributes to create a favourable environment for the advent of post-modern episteme
Mejía, José. „Polyphonie du discours fictionnel : les mirages de la voix et du temps étudiés chez quelques écrivains ibéro-américains“. Paris, EHESS, 1993. http://www.theses.fr/1993EHES0330.
Der volle Inhalt der QuelleRather than narrating a fantastic experience in the world of the characters, the examples of our corpus provide us with an experience which is fantastic only in the reading itself. These exceptional cases amount to a true fantastic enunciatioin. They are examined within the context of the polyphonic theory of enunciation of o. Ducrot. Our own investigations have induced us to revise the status of the narrator. We do not conceive of him as an omnipresent and single origin, different from the author in view of the fictitious nature of what is related. We do not conceive of him either as non-existent --a non-existence explained as an utterance without a speaker. Within our theoretical context, getting an imaginary "i" to speak or getting "nobody" to speak invariably leads to setting up enunciators. Therefore, our narrator is multiple. This "narrating crowd" can only be dealt with by a linguistic approach. It allows for subtle observation which brings out all the specificity and richness of the textual objects
Beaudrap, Anne Raymonde de. „Histoire du commentaire de texte dans les études françaises“. Rennes 2, 1992. http://www.theses.fr/1992REN20001.
Der volle Inhalt der QuelleThis work deals with the slow emergence of textual analysis known as "commentaire de texte" in the French school system, together with its official recognition as part of the baccalaureat exam. First considered as the mere explanation of e text (known as "explication de texte"), the "commentary" became progressively defined as a deeper reflection on texts where the intelligence and sensibility of the reader combine with his ability to analyse. . Its practice is marked by its history ; many possible approaches are found : the observation of various procedures, based upon a corpus of "commentaries" about one and the same text, enables one to have a diachronic view of phenomena and to analyse their historical, or even philosophical implications. Today, "commentary" work is an interlinking field of study in the French school system ; it appears in four different subjects, which necessitates a good cohesion as to its teaching according to common cognitive abilities. It is favoured by students and teachers alike, even though they would like modalities of its realization to be somewhat less strict. A reflection on the mistakes made and a diversification of the ways of teaching it contribute to a better definition of this exercise which is characteristic of our teaching
Leter, Michel. „L'autonymie dans la poésie française : introduction à l'heuristique littéraire“. Paris 8, 1994. http://www.theses.fr/1993PA080826.
Der volle Inhalt der QuelleThe aporia of the "nouvelle critique" is due to the fact that in limiting itself to hermeneutical methodology hardly a new trend -- the literary criticism today is essentially devoted to contingency of texts to the exclusion of their creative and aesthetic necessity. It is only when one leaves the domain of the strict ars interpretandi and subordonates it teleologically to the ars inveniendi of an heuristics, that literary criticism could recreate the texts. We call heuristics this asystematical and creative induction which in poetry as well as in the sciences does not dissociate the critical from the creative act. Autonymy is the scheme of literary heuristics in that it abolishes the dualism between speech (poem) and metalanguage (dictionary) and therefore between criticism (metadicourse) and creation (poetical discourse). Applied heuristic, when functioning as "crucial experiment", does not follow the scientific models of choosing between two hypothesis. Rather applied heuristics converts a traditional literary hermeneutical criticism into a heuristic one. Literary heuristics is an alternative to creative writing. It rejects neither historicity, nor theory, and method, but the concept of disciplines. The development of literary heuristics constitutes the anthropological foundation of general heuristics. Previous attempts to go beyond systems have been carried out with the purpose of criticizing reason, whereas general heuristics is presented here as a rational alternative to systems and disciplines
Yasuhara, Shinichiro. „Maurice Blanchot dans les années 1930 : la dissidence politique et la perfection littéraire“. Paris 8, 2006. http://www.theses.fr/2006PA082641.
Der volle Inhalt der QuelleThe aim of this thesis is to analyze the literary and political writings of Maurice Blanchot in the 1930s. It shows that certain political terms Blanchot uses — like "terror", "revolution" or "refusal" — belong to the political debate of non-conformists of the extreme Right. But, at the end of the 1930s, he uses these political concepts in the affirmation of the literary “purity” and specific force of the literature. This thesis thus clarifies the process by which Blanchot leaves the politics and extends, by his own literary writing, his philosophical and anti-psychological reflections on the human being; but this trajectory is not linear at all, it is rather in a spiral between the esthetics and the politics
Iwamatsu, Masahiro. „La fantaisie et l'invraisemblance dans la fiction post-réaliste“. Paris 4, 2003. http://www.theses.fr/2002PA040120.
Der volle Inhalt der QuelleThe post-realist fiction deviates from three conditions of realism : (1) causal homogeneity and (2) coreferential relation between the fictional world and the real world, (3) narrative reliability assured by modal distinction between the actual and the non-actual in fiction. The deviation from (1) yields the fantastic, the magical realism without hesitation, and the historiographic metafiction rewriting the history. The second is violated by the absence or the intentionally wrong usage of proper nouns, and the imaginary geography. Metafiction violates the third by plays of actual and non-actual. To complete Todorov's model and to analyse varied examples, we think over again the narratology based on linguistic models by referring to the modal logic that enables us to treat "questions considered heretic by orthodox structuralism" (M. -L. Ryan) and to propose a global model covering realism, absurd and metafiction
Maaouia, Zakia. „Le posthumanisme exposé : une étude sociosémiotique du corps extrême dans la culture visuelle“. Paris 1, 2012. http://www.theses.fr/2012PA010592.
Der volle Inhalt der QuelleSano, Tsuyoshi. „Métaphysique du sujet et théorie sociale dans "la Comédie humaine" de Balzac“. Montpellier 3, 2002. http://www.theses.fr/2002MON30042.
Der volle Inhalt der QuellePluvinet, Charline. „L'auteur déplacé dans la fiction : configurations, dynamiques et enjeux des représentations fictionnelles de l'auteur dans la littérature contemporaine“. Phd thesis, Université Rennes 2, 2009. http://tel.archives-ouvertes.fr/tel-00451032.
Der volle Inhalt der QuelleKuttner-Homs, Stanislas. „L'héritage de la littérature antique autoréférentielle dans l’œuvre de Nicétas Chôniatès“. Caen, 2016. http://www.theses.fr/2016CAEN1036.
Der volle Inhalt der QuelleThis work is dedicated to the study of self-reference in Ancient and Byzantine literature through the works of the historian and orator Niketas Choniates (c. 1155-c. 1217). Self-reference can be understood through three prisms: as the staging of the author himself ; as self-quotation; as the self-reference of texts themselves (metapoetics). As heir of a secular literary tradition, Niketas Choniates’ art seems to be self-referential. But because it is obvious that the concepts inherited from the Ancients by the Byzantine literati have drastically changed, it is necessary to go back from the Komnenos Era (XIth-XIIth c. ) to the "pretheoric" Era (Homer and Hesiod). Therefore, this study of self-reference achieves a double movement: in one hand, a diachronic movement from Troy to Byzantium, dealing with the constitution of the Ancient literary way of thinking; in the other hand, a reverse diachronic movement from Niketas to Homer, which is about the reception of Ancient thought by a Master of the Byzantine literature. Here, the self-reference is the hinge point of this two movements and maybe the nodal point of two civilizations
Lancry, Yehuda. „Théorie et pratique de la résistance en littérature : nouvelles approches de l'oeuvre de Michel Butor“. Nice, 1986. http://www.theses.fr/1986NICE2035.
Der volle Inhalt der QuelleJanton, Émilie. „Systèmes modèles et représentation dans les romans de Richard Powers“. Paris 7, 2009. http://www.theses.fr/2009PA070071.
Der volle Inhalt der QuelleThis dissertation proposes a mapping out of Richard Powers's novels based on the use of founding 20th century scientifîc theories such as the theory of information, Systems theory and chaos theory. This framing allows a reading of the novels which aims to account for the kind of representation resulting from the use of epistemological models in the writing. Seeing the novels as textual Systems allows to explore the relationships between the global and local organisational scales, the processes of movement and transfer taking place both in the writing and in the act of reading, so as to understand how complexity and information progressively emerge. The dynamics and involvement necessary to the constant gain in complexity are highlighted, as well as non-linearity and the essential principles of circulation and continuity, the sum of which allows for a global decoding of the informational machines under examination
Brun, del Re Ariane. „Fabulations lectorales : inclusion et exclusion du lecteur dans la littérature franco-canadienne“. Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39137.
Der volle Inhalt der QuellePinto, Ana Paula de Ávila. „Freud écrit : fictions dans l'œuvre et à l'œuvre“. Paris 8, 2008. http://octaviana.fr/document/134103599#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleSigmund Freud left his mark on the history of Western thought not simply by creating psychoanalysis, but also because of his talent as a writer and the literary quality of his work. The singularity of his writing calls for analysis. With the objective of demonstrating these ideas, this thesis examines a selection of Freudian texts in order to expose the characteristics of his writing, and in particular those literary aspects which would appear fundamental to his theoretical development and, indeed, the invention of psychoanalysis and which have exerted their influence in various fields, notably in that of literature. More specifically, this thesis explores the irruption of fantasy ("Phantasie") in Freudian texts, his relation to the creative writer ("Dichter"), and the speculation required by Freudian theorization, underlining a particular use of fiction which comes into play throughout his work. In this context, a study of the translation of Freudian texts including his conceptions of translation also proved to be necessary
Renard, Johanna. „Poétique et politique de l’ennui dans la danse et le cinéma d’Yvonne Rainer“. Thesis, Rennes 2, 2016. http://www.theses.fr/2016REN20032/document.
Der volle Inhalt der QuelleThe multiplicity of Yvonne Rainer’s art and intellectual works - in dance, performance, film, theoretic and poetic writings - makes her one of the essential artists in the history of art. As instigator of the post-modern paradigm shift in the dance scene, she pulled out movements from everyday life and put them at the core of her choreographic work, creating a radical juxtaposition to texts, pictures and objects. In the seventies, she became one of the main figures of experimental and independent cinema. Her polyphonic and reflexive cinematographic works entered in a dialogue with feminist, queer and postcolonial theories and struggles. The present thesis explores the notion of subjectivity and emotion in the film and dance of Rainer. Indeed, she has given the impulse for a radical renewal of the use of emotional material, which she considered as a given fact and an objective reality, in the artistic practice. In a context where boredom imposed itself as the dominant emotional style in the American artistic avant-garde after 1945, the artist offered a sensitive material experience. In particular, she created an acute conscience of time and put her audience in a specific emotional disposition, boredom, that can be described as tedious, cold and ordinary altogether. Then, in echo with women’s cinema, she explored boredom both as a process of subjectivation and as a strategy of subversion. Navigating between individual and collective dimensions, this research explores the aesthetic, political and personal stakes around the expression of boredom in Yvonne Rainer’s work
Locquet, Alexandre. „Analyses numériques de dynamiques chaotiques dans des systèmes optiques à délai : propriétés de synchronisation et extraction du déterminisme“. Besançon, 2004. http://www.theses.fr/2004BESA2044.
Der volle Inhalt der QuelleLévy, Pascal. „Télécommunications cryptées par chaos“. Besançon, 2004. http://www.theses.fr/2004BESA2048.
Der volle Inhalt der QuelleZamit, Fredj. „L'éthique de la presse dans l'oeuvre d'Albert Camus entre théorie et pratique“. Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0046.
Der volle Inhalt der QuelleAs a reflexive journalist, Albert Camus had started a questioning on the essence of journalism and on the journalist's behavior. This thesis proposes to study the conception of press ethics in the author's work between theory and practice. An analysis of a press corpus which was formed mainly by his writings in newspapers such as, Alger Républicain, Le Soir Républicain, Combat et L'Express (1938-1958). This analysis had been supported by the studying of a complementary corpus including his essays, his works of fiction and his circumstances writings (1935-1960) concerning journalism. In order to place the author's thought and his behavior within the context of the social institutions and the situations in which he moved, not only biographical approach was crossed with the speech analysis technics but also the author's work and his real-life had been highlighted. To start, a panorama of principles, values and rules of the journalistic ethic advocated by the author was drawn. After that, in view of the conflicts that had marked Albert Camus' work because they went through his time (World War II and the French-Algerian conflict), a fine study of his commitment for peace had been developed from the point of view of the ethic practice. This stage had two goals; the first was to define and to characterize the editorials practices and the author's commitment methods for peace. The second was to report about the journalistic device that had been mobilized by him
Kamal, Abderrahim. „Le Mnémotexte : essai d'une théorie du texte littéraire et de sa réception sur les "Géorgiques" de Claude Simon“. Bordeaux 3, 1989. http://www.theses.fr/1989BOR30031.
Der volle Inhalt der QuelleAndreotti, Francesca Romana. „Les ressources du français dans l'oeuvre de Giacomo Leopardi : théorie et pratique“. Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030071.
Der volle Inhalt der QuelleFrench - meant as a cultural and linguistic whole with a unique philosophical-literary coding structured in ensemble of forms, genres and texts – has a crucial role in the thought and in the works of Giacomo Leopardi, from the beginning of his philosophical and literary education to his very late writings. It is, indeed, the only modern language - i.e. the only available resource for the interlinguistic exchange in the translation-transaction - which acted significantly in the author’s elaboration and production, emerging as the other language par excellence. Its ambivalent role both in writing, where French is used in a fruitful and refined way, and in theory, where it is faced to a polemical and critical approach, is evident throughout the Zibaldone, in author’s theoretical considerations about languages and translation, in many notes about lexicology and contrastive linguistic as well as in literary forms varying from the assay to the poem or the letter. In this context, the first section of this thesis explores, from a translatological point of view, Leopardi’s use of French in those various forms of writings where the linguistic invention and the genesis of literary texts themselves set up in the field of the entre-deux between similar languages. The second section, instead, focuses on the relation among short forms, poetic writing and the practice of the re-writing from a language to another, in the translation-remake of A.V. Arnault’s La Feuille, the tale in form of a poem, that Leopardi put at the end of the Canti, in its very last structure published in 1835
Roux, Olivier. „La "fonction d'écrivain" dans l'oeuvre de Charles Sorel“. Thesis, Clermont-Ferrand 2, 2011. http://www.theses.fr/2011CLF20003.
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