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Valihora, Karen. "Reading the late James." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61044.
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This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.
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Schooling, Dominique. "Le visuel et le textuel dans les trois derniers romans de Henry James." Paris 3, 2004. http://www.theses.fr/2004PA030162.
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Cette étude porte sur les aspects du visuel et du textuel dans les trois derniers romans de Henry James : The Ambassadors, The Wings of the Dove et The Golden Bowl. I The Ambassadors. Définition du processus de vision (du voir au savoir) ; étude de la technique descriptive et du point de vue : conclusion sur l'aventure visuelle de Strether en termes d'anamorphose. II The Wings of the Dove. Etude des descriptions comparées à celles de Balzac ; travail sur les métaphores (définitions et classement) ; métamorphose métaphorique de Milly en colombe ; la séduction comme thème et technique. III The Golden Bowl. Etude des descriptions comparées à celles des romans précédents : déréalisation du monde fictionnel ; images du jeu, des constructions, du théâtre ; de la duplicité à la dualité : travail sur la scission symbolique et le problème de l'interprétationThis study is based on the visual and textual aspects of Henry James's last three novels : The Ambassadors, The Wings of the Dove and The Golden Bowl. I The Ambassadors Definition of the process of vision (from seeing to knowing); study of the descriptive technique and of point of view: conclusion on Strether's visual adventure in terms of anamorphosis. II The Wings of the Dove. Study of descriptions compared to Balzac's; definition of metaphor and classification; Milly's metaphoric metamorphosis as a dove; seduction as a theme and a technique. III The Golden Bowl. Study of description compared to the first two novels: derealisation of the fictional world; game, building and theatre images; from duplicity to duality: symbolic split/schism linked to the problem of interpretation
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Tredy, Dennis. "Le regard innocent : le reflecteur et sa fonction dans les oeuvres de la période expérimentale de Henry James (1895-1899)." Aix-Marseille 1, 2003. http://www.theses.fr/2002AIX1A002.
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Après l'échec de Guy Domville en 1895, James reprit sa plume de romancier avec la ferme intention d'écrire six oeuvres toutes issues du métissage parfait de la quintessence de l'oeuvre dramatique et de l'essence du roman. Nous nous proposons ici d'analyser la nature exacte de l'experimentation littéraire marquant les oeuvres majeures de la période ("the Spoils of Poynton", "What Maisie Knew", "In the Cage","The Turn of the Screw", "The Awkward Age,et the Sacred Fount"),en nous appuyant principalement sur des analyses textuelles approfondies et comparatives, sur les théories littéraires développées par l'auteur, sur des préceptes narratologiques du 20e siècle et sur les recherches effectuées par un siècle de critiques jamesiens, La période expérimentale est le théâtre du réflecteur innocent" ; les nouveaux soucis d'ordre formel de James engendrent d'importantes modifications quant à la mise en scène narrative, aux rôles assignés aux personnages focaux et à sa propre vision de ron rôle en tant qu'auteur. Notre étude commence par une analyse de ce nouvel espace théâtro romanesque, de l'emploi des techniques et procédés du théâtre dans les romans et nouvelles de la période et de l'importance de Guy Domville en tant que modèle. Puis nous ecplorons les particularités de l'innocence jamesienne et l'importance de cette notion en tant que trait caractéristique dominant chez la plupart des personnages focaux, jeunes réflecteurs à la fois ingénus et perspicaces, tout en exposant les fonctions que remplissent ces incarnations de l'innocence visionnaire au sein des oeuvres hybrides de la période. Nous discutons également du choix de la "jeune nature féminine" réflecteur innocent idéal selon James. Enfin, nous étudions l'évolution au cours de la période du rapport auctorial-figural et de la prise de pouvoir de la jeune femme-réflecteur innocente aux dépens de "l'autorité" de la présence auctoriale jamesienne.
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Neethling, Miemie. "Cape curtains : a study of selected Cape Town theatres, 1843-1916." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/52726.
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Thesis (MDram)--Stellenbosch University, 2002.ENGLISH ABSTRACT: This study aims to reconstruct the history of the Capetonian theatrical venue of the second half of the 19th century. It explores the many different venues used for theatrical activities. Venues discussed include amateur theatres such as the Hope Street Theatre, Roeland Street Theatre, Haupt's Theatre and the Drury Lane Theatre. Due to the extensive research already done on the African Theatre on Riebeeck Square and the Garrison Theatre they are only briefly mentioned as part of the background to the social dynamics of Victorian Cape Town. Quite often venues such as banqueting halls, drawing-rooms and wine stores doubled as theatrical venues. Halls discussed include the Oddfellows Hall, the Mutual Hall and the Drill Hall. Although the main objective of the study was the theatrical venue, it is impossible not to mention the different drama companies that occupied these venues. Therefore, the activities of the drama companies were also discussed to a certain extent, because of the strong interrelationship between company and theatre house. These include, among others, the companies of Sefton Parry and Disney Roebuck. For the purpose of this study the theatrical venue has been defined as an indoors space, which is divided into two clearly demarcated areas, namely the stage and the auditorium. Because of this definition the early African theatrical activities are not included in this study and it deals rather with the Western theatre tradition, namely that of the early Dutch and English artists. The study deals primarily with the dominant English theatre post-1850 and the shift from amateur to professional theatricals. Professional theatres include the Theatre Royals of Harrington Street and Burg Street, the Exhibition Theatre and the Good Hope Theatre. At the end of the thesis parallels are drawn between the 19th and 20th century theatre houses such as the Opera House and the Tivoli Theatre. Another issue addressed by the study is the quest for a permanent theatrical venue or building in the early Cape theatre tradition.
AFRIKAANSE OPSOMMING: Die studie poog om die geskiedenis van die Kaapse teaters te herstruktureer. Dit ondersoek die verskillende plekke en geboue wat vir teater aktiwiteite gebruik is gedurende die tweede helfte van die 19de eeu. Amateur teaters wat bespreek word is onder andere, die Hoopstraat Teater, die Roelandstraat Teater, Haupt se Teater en die Drury Lane Teater. Die Afrika Teater op Riebeeck Plein en die Garnisoen Teater vorm nie deel van hierdie studie nie, aangesien daar alreeds heelwat oor hierdie twee teaters geskryf is. Daar word slegs kortliks in die Inleiding na hulle verwys in die agtergrond tot Kaapstad gedurende die Victoriaanse tydperk. Dramas is nie net in formele teaters aangebied nie, maar ook in verskeie informele plekke soos banketsale en dies meer. Sale wat gebruik is vir sulke doeleindes was onder meer die Oddfellows Saal en die Mutual Saal. Alhoewel die hoof oogmerk van die studie die vermaaklikheidsplek (theatrical venue) is, sou dit onvoldoende wees om nie die verskillende drama geselskappe te noem wat in hierdie plekke opgetree het nie. Daarom is die aktiwiteite van die geselskappe ook bespreek na gelang van hul betrokkenheid by spesifieke teaters, onder andere die van Sefton Parry, James Lycett en Disney Roebuck. Die vermaaklikheidsplek word vir die doeleindes van hierdie studie gedefinieer as 'n binnehuise spasie wat verdeel word in twee duidelik afgebakende areas, naamlik die speelarea en die ouditorium. Die definisie hou egter sekere beperkinge in: Dit sluit die vroee inheemse Afrika teater aktiwiteite uit. Gevolglik word die vroee Westerse teater tradisie van die Hollanders en die Engelse bespreek. Die studie fokus hoofsaaklik op die meer dominante Engelse teater gedurende die tweede helfte van die 19de eeu, en die oorskakeling van amateur na professionele drama. Professionele teaters wat bespreek word is die Theatre Royals (Harrington Straat en Burg Straat), die Exhibition Teater en die Goeie Hoop Teater. Aan die einde van die tesis word daar 'n vergelyking getref tussen die 19de en 20ste eeuse teaters, soos byvoorbeeld die Operahuis (1893) en die Tivoli Teater (1903). Nog 'n aspek wat aangespreek word is die soeke na 'n permanente teatergebou binne die vroee Kaapse teater tradisie.
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Durand-Bogaert, Fabienne. "De la séparation : Henry James du point de vue de ses traductions en langue française." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0A16.
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Articulant histoire et critique des traductions, cette these s'attache, a partir de plusieurs nouvelles et deux romans de l'ecrivain americain henry james et des traductions qui en ont ete donnees en langue francaise, a une analyse de la physionomie que revetent ces traductions et des raisons qui les ont produites comme elles sont. La question qui soustend l'ensemble du travail peut se resumer ainsi qu'est-ce qui, dans le paysage litteraire francais de telle ou telle epoque, determine les conditions de possibilite et d'existence d'une traduction? le chapitre premier est consacre a une etude de l'ecriture de henry james, dont la complexite est celebre (de par la structure des phrases, procedant volontiers selon le principe de l'enchassement, la mise en oeuvre de l'enigme et, d'une maniere generale, le foisonnement de plus en plus grand, a mesure que l'oeuvre progresse, de l'intangibilite). Le deuxieme chapitre s'attache a definir les lignes de force de la reflexion sur la traduction et precise la methodologie selon laquelle les traductions vont etre abordees a partir du chapitre suivant. Viennent ensuite, selon l'ordre dans lequel l'histoire les a disposees, les analyses de traductions a proprement parler: pour le xixe siecle, au chapitre trois, la traduction de la nouvelle the last of the valerii (1874), parue dans la revue des deux mondes sous le titre le dernier des valerius (15 novembre 1875). Pour le premier tiers du xxe siecle, aux chapitres quatre et cinq, la traduction, par auguste monod en 1912, de the siege of london et, en 1929, de the beast in the jungle par marc chadourne. Le chapitre six est consacre au cas particulier d'une traduction effectuee par un ecrivain: what maisie knew, roman auquel marguerite yourcenar a donne une voix francaise en 1947. Enfin, le chapitre sept analyse l'entreprise singuliere, a partir des annees 1980, de jean pavans, que semble animer la volonte de traduire l'ensemble de l'oeuvre jamesienne.
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Williamson, C. L. "The practice of power in Henry James' The portrait of a lady, The wings of the dove and The golden bowl." Thesis, The University of Sydney, 1988. https://hdl.handle.net/2123/26288.
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The following study of power in three novels of Henry James reflects not only the continuing fascination of James with this facet of experience but his meceaflng concern with its manifestation and controlled implementation in the relationships between people which constitute an integral part of life. Compatible with the progressively complex treatment of the issue of power in the novels in question, is the gradual shift in emphasis, from The Portrait of a Lady to The fielden Bewi, from power as a locatable entity to power as a process; and consistent with this is the increasingly self-conscious (conscious of itself) style of James himself where his style of writing parallels his concern for a process of writing (and reading) that is an end in itself rather than just a means to an end. Although I do not deal specifically with the question of James' style, the differences between The Portrait of a Lady and The Wings of the Dove and The Golden Bowl in terms of content are reflected in terms of style - both James' and my own - so that the relatively simplistic approach in The Portrait of a Lady is superseded, in The Wings of the Dove and The Golden Bowl by one of increasing complexity and subtlety.
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Iscu, Ionescu Andreea. "La correspondance de Henry James : hétéroglossia ou l'irréductibilité du Moi à travers les voix de l'écriture." Paris 7, 2013. http://www.theses.fr/2013PA070021.
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Epistolier prolifique, Henry James écrit durant sa vie plus de quinze mille lettres, dont dix milles environ ont été préservées mais seulement un peu plus de trois milles ont pu voir le jour. À travers l'étude des lettres publiées, je me propose de mettre en évidence l'ambivalence et les ambiguïtés d'un écrivain dont toute relation sociale est subordonnée au désir d'accomplir son œuvre. Afin d'atteindre son but et d'acquérir la paix désirée, il revêt des masques, se dissimulant derrière un style recherché, déconcertant, et brouillant souvent la compréhension de son message. De même, désireux de fuir le dévoilement ainsi que de toute image limitée, simplificatrice, James s'obstine à s'effacer dans le texte, à se cacher derrière l'écriture. Cette étude s'attache à repérer l'enfilade des stratégies déployées par la correspondance jamesienne afin de rendre irréductible son Premier travail approfondi sur la correspondance de James, ce travail de recherche porte sur un corpus précis de textes ou de « situations » épistolaires, notamment sur ce qu'il y a d'inédit, ce qui se dérobe aux contraintes du genre et ne prête attention à ses constantes que lorsque leur expression sort de l'ordinaire. Une véritable polyphonie est à lire dans la correspondance. Décelable dans les différentes manières de James de s'adresser aux destinataires (que j'ai nommé «voix de l'écriture »), elle correspond à une diversité de discours présente à l'intérieur de l'œuvre épistolaire. L 'analyse de l'architecture de ces voix dévoile l'ambition de l'écrivain de captiver et d'émerveiller ses correspondants, mais aussi de les manipuler, en arrêtant et en reprenant à sa guise l'échange épistolaireA prolific letter writer, Henry James composed more than fifteen thousand letters during his life, of which around ten thousand have survived but only a little over three thousand have been brought to light. Through this study of his published letters, I intend to demonstrate the ambivalence and the ambiguities of a man whose entire social relationships were subordinated to his wish to complete his work. In order to reach his goal and acquire the peace he desires, he puts on masks, disguising himself behind a contrived and disconcerting style that often confuses the meaning of his message. In addition, wishing to escape being unmasked as well as avoiding any kind of limited or simplistic image, James persists in erasing himself in the text, hiding himself behind his writing. This study attempts to folio w the series of such strategies deployed in his letters. A first detailed study of James' correspondence, this pièce of research focuses on a specific body of texts, particularly those presenting something out of the ordinary, which depart from the normal constraints of the genre, and not giving attention to regular themes unless the expressions used are unusual. There is a real polyphony to be discovered in this correspondence. This is discernible in the various ways that James addresses his recipients (something I’ve called "the voice of the writing"); it represents a diversity of speech at the heart of his letter writing. An analysis of the architecture of these "voices" unveils the writer's ambition to captivate and amaze his correspondents, but also to manipulate them by stopping and then starting the exchange of letters at his own volition
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Seddon, Deborah Ann. "At play in the master's workshop: the experience of reading in the novels of Henry James." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1007451.
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James's belief that "it is art that makes life" is essential to his own literary technique and to the reading experience within and in relation to his novels. The thesis seeks to posit the notion of reading as a fundamental concern in Henry James's fiction. Drawing largely on the phenomenological and anthropological approaches to the reading process of Wolfgang Iser, this thesis examines the Jamesian text as a performative event involving author, reader and character in creative and interpretative narrational struggles. Iser uses "play" as an integral term to describe the dynamic between author-reader-text which produces a literary work of art. In James's fiction the doubling of the author/reader and reader/character role within the text crucially structures a narrative form which is itself an inquiry into the human use of fiction. The Iserian conception of the act of reading as an engagement with the "gaps" within the play-space of the literary text can elucidate James's structural and thematic use of such sites of indeterminacy to foreground the enlivening necessity of an indeterminate "felt life" within human narrative structures. What Maisie Knew highlights the most important rule in the game -- the necessity for the reader to create meaning from the indeterminate aspects of the text. The shared exercise for author-reader-character is the attempt to access the child's unformulated inner reality to ascertain what Maisie knows. In the section on The Portrait of a Lady Iser's notion of reading as an ideational activity aids an inquiry into the human use of mental fictive picturing to compose reality. The Ambassadors demonstrates the "anthropological" need for the particular mode of consciousness brought about by the literary text when we engage in a world as real as but different to our own. Strether is the reader's ambassador in this world and his interpretative activity mirrors the reader's quest. In The Golden Bowl the bewildering multiplicity of readings made possible by the indeterminate aspects of the literary text instigates a contest for narrative forms in which the chosen fictions of the readers/characters must be actively willed into existence.
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Pradeilles, Elisabeth. "La rupture dans les nouvelles fantastiques de Henry James." Paris 3, 1997. http://www.theses.fr/1997PA030091.
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Les nouvelles fantastiques de henry james, en tant qu'elles obeissent a la definition du fantastique comme rupture de l'ordre etabli et qu'elles ont pour arriere-plan obsessionnel la conscience d'une inevitable se manifestant par la cloture d'un texte pourtant sans cesse repris et reprise pour eviter cette fin promise, constituent une << amusette >> linguistique destinee a combler un manque ou l'ecriture se revele tout juste capable de retranscrire, a travers des procedes d'ecartement et d'encadrement qui rappellent les enseignements de la psychanalyse et de l'histoire de l'art, ses propres manquements. Entre platon et derrida, l'ecriture jamesienne oscille entre presence et absence en passant par l'iconoclasme, nous introduisant ainsi a l'ecriture et a la pensee de notre siecleHenry james's ghost stories - inasmuch as they obey the definition of the fantastic as a rupture of established order and as they rely on the obsessive consciousness of inevitable death expressing itself in the closure of a text which remains, however, forever resumed and mended in the hope of avoiding this promised end (ing) - form a linguistic << amusette >>, whose aim is to fill in a gap where fiction writing is hardly capable of retranscribing its own failures through devices of spacing and framing such as those psychoanalysis and art history have now made us used to. Between plato and derrida, jamesian writing wavers between presence and absence, thus introducing us to the writing and thought of our century
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Geoffroy-Menoux, Sophie. "Henry James et la création fantastique." Toulouse 2, 1991. http://www.theses.fr/1991TOU20066.
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Wolkenstein, Julie. "La scène européenne dans les fictions internationales de Henry James : étrangeté, altérité et représentation d'un espace littéraire." Paris 3, 1996. http://www.theses.fr/1997PA030043.
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Les fictions de henry james qui ont pour decor principal la scene europeenne et que l'auteur lui-meme qualifiait d'"internationales" ont toujours ete decrites comme l'expression d'un projet de representation realiste, s'appuyant sur des donnees historiques et sociologiques indiscutables. Tout en denoncant le manicheisme qu'induit cette lecture stereotypee, notre etude a pour but de montrer le statut essentiellement fantasmatique du continent europeen, pretexte a l'exploration spatialisee d'une conscience : certes la fiction de james utilise un substrat reel et les differents elements, - paysages, religion, oeuvres d'art -, qui le constituent, mais les recompose pour en faire la simple et arbitraire materialisation d'un desir romanesque, la formulation concrete d'une subjectivite. La scene europeenne, bien que precisement referencee, se voit depossedee d'une identite reelle d'ailleurs problematique, et se prete aux deformations d'un point de vue qui substitue a la relation apparente d'etrangete celle d'alterite. L'espace de la fiction devient ainsi l'espace fictionnel par excellence, et reproduit, dans le corps meme de romans artificiellement fondes sur l'antithese, le contrat du lecteur avec l'oeuvre romanesque. Amorce des daisy miller, eprouve et defini dans the portrait of a lady, ce traitement radicalement litteraire d'un decor particulier permet a henry james de poursuivre une recherche formelle qui se degage peu a peu du pretexte initial pour aboutir, dans the golden bowl, a une complete interiorisation de l'univers romanesque, en meme temps qu'a une representation essentiellement spatiale du psychisme de ses personnages. En suivant methodiquement, d'une oeuvre a l'autre, l'evolution et la progressive abstraction du theme europeen, on decouvre enfin une reflexion, toujours portee par le romanesque, sur les statuts respectifs du lecteur, de l'auteur et du texte de fiction, dont americains et ancien continent ne sont que les representants privilegies.
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BOUVIER, BOURRAIN MIREILLE. "La plume et la pierre : architecture et création romanesque chez Henry James." Chambéry, 1997. http://www.theses.fr/1997CHAML005.
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Décor de l'oeuvre de fiction et métaphore du projet littéraire, l'architecture constitue l'un des thèmes majeurs des romans de James. Son importance est liée à l'intérêt de l'auteur pour les arts plastiques et au respect d'une tradition qui, par le biais de l'analogie, a depuis longtemps rapproché l'art des mots de celui de la pierre. Cette étude se propose de dégager les fondements d'une telle attirance pour l'esthétique architecturale et d'en apprécier l'application dans le roman, ces deux aspects soulignant, à leur tour, le caractère "spatial" de l'écriture jamesienne. En l'absence d'essais spécifiques consacrés à l'architecture, l'étude débute par l'analyse des carnets de voyage de James et son autobiographie. Dans ces textes s'exprime une sincère admiration pour l'ouvrage architectural, par le biais de multiples "impressions" dont le souvenir se retrouvera à la base même de la création littéraire. Une réflexion phénoménologique inspirée des travaux de Norberg-Schulz et de Heidegger permet de rattacher ce sentiment à un profond besoin de détermination spatiale. Or l'espace devient porteur de sens grâce à l'architecture qui en fait un phénomène concret, un "lieu" dans lequel l'homme trouve ses marques et y établit sa "demeure". L'architecture assume ce rôle dans l'espace physique mais aussi textuel comme le montre l'étude de "The other House". Erigée en modèle de l'entreprise littéraire dans les préfaces de l'édition new-yorkaise, l'architecture permet aussi de formuler un projet ambitieux mettant en exergue la supériorité de l'artiste et le rôle du lecteur dans la création du texte. Cependant, à l'instar de l'écriture qu'elles se proposent d'illustrer, les métaphores du discours critique présentent des ambigüités et des paradoxes. Aussi l'architecture littéraire jamessienne se pare-t-elle parfois d'un trompe-l'oeil qui, pour autant, ne remet pas en cause la qualité "monumentale" d'oeuvres telles que "The Portrait of a Lady" ou bien "The Wings of the Dove"Used as a setting in the work of fiction and a metaphor for creative writing, architecture is a major theme in Henry James's novels. Its importance stems from the writer's interest in the visual arts and from an analogical tradition which has for a long time established connections between the art of writing and that of building. This essay aims at examining the foundations of such fondness for architectural aesthetics and assessing its application in the novel, both of these aspects highlighting, in turn, the "spatiality" of James's writing. As no specific essay was ever written by James on architecture, the study starts with an analysis of his travel essays and autobiography. In these texts the author expresses a profound admiration for architectural achievements, through numerous "impressions" whose later remembrance lies at the very core of his literary creation. A phenomenological reading based on works by Norberg-Schulz and Heidegger enables to link that feeling to a deep-rooted need for spatial determination. Now space becomes meaningful thanks to architecture which converts it into a concrete phenomenon, that is to say a "place" where man can orientate himself and "dwell". Architecture plays such a role in physical but also textual space as is shown in the analysis of the other house. Presented as an art analogue for literature in the prefaces to the New York edition, architecture also helps shape an ambitious project which asserts the superiority of the artist and the role of the reader in the creation of the text. Yet, like the writing they purport to illustrate, the metaphors in the critical discourse are ambiguous and paradoxical. Indeed, James's literary architecture sometimes resorts to a trompe-l'oeil technique that nevertheless does not challenge the "monumentality" of works such as the Portrait of a Lady or the Wings of the Dove
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Zimmermann, Silvia Irina. "Die dichtende Königin Elisabeth, Prinzessin zu Wied, Königin von Rumänien, Carmen Sylva (1843-1916) ; Selbstmythisierung und prodynastische Öffentlichkeitsarbeit durch Literatur /." [S.l. : s.n.], 2003. http://archiv.ub.uni-marburg.de/diss/z2003/0624/.
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Zardo, Mônica. "A comparative study on the "American innocence" issue : Henry Jame's The American and Daisy Miller : a study." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7758.
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Esta dissertação aborda a questão da “inocência americana” em duas obras do escritor norte-americano Henry James, empregando conceitos da Literatura Comparada como base para a análise dos textos escolhidos: The American e Daisy Miller: A Study. Portanto, os conceitos de intertextualidade, influência e alteridade são fundamentais para o estabelecimento das confluências e divergências entre as duas obras. Este trabalho também apresenta uma análise, com base na teoria comparatista da interdisciplinaridade, entre a obra literária Daisy Miller: A Study e o filme Daisy Miller, dirigido por Peter Bogdanovich. O tema recorrente nas obras analisadas, o da “inocência americana”, foi abordado por Henry James em grande parte de sua produção literária, sendo um reflexo de sua própria experiência como o “outro”, bem como de suas observações sobre seus compatriotas, quando confrontados com os valores e tradições vigentes na Europa, no século XIX. James alcançou seu merecido lugar no cânone literário ocidental, graças ao seu estilo incomparável, o qual foi aperfeiçoando durante toda sua carreira e até hoje é parâmetro para escritores contemporâneos.This thesis approaches the “American innocence” issue in two works of the North- American writer Henry James by using some concepts of Comparative Literature as base to the analysis of the chosen texts: The American and Daisy Miller: A Study. Therefore, the concepts of intertextuality, influence and alterity are vital to establish the confluences and divergences between the analyzed works. This work also presents an analysis, based on the interdisciplinary theory, between the literary work Daisy Miller: A Study and the film directed by Peter Bogdanovich, Daisy Miller. The recurrent theme in the analyzed works, the American innocence, was approached by Henry James in most part of his literary production, being a reflex of his own experience as the “other”, and his observations on his countrymen, when confronted with the values and traditions in vigor in the nineteenth-century Europe. Henry James has achieved his place on the Western literary canon, due to his incomparable writing style, which he had improved through his career and still today is a reference to contemporary writers.
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Denance, Pascale Ortemann Marie-Jeanne. "I - " Tim -and-Me " essai sur l'entrelacs des genres comme fondement fictionnel à une rhétorique du sujet. Etude d'un corpus transgénérique de la fin du XIXe siècle : The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Perkins Gilman et une sélection de poèmes d'Emily Dickinson /." [S.l.] : [s.n.], 2007. http://castore.univ-nantes.fr/castore/GetOAIRef?idDoc=43136.
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Román, Ciero Fernanda. "Reactions and Responses to Daisy Miller’s Behavior in the Sophisticated Europe." Tesis, Universidad de Chile, 2010. http://repositorio.uchile.cl/handle/2250/109918.
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Rosenow, Cecilia. "Insoluble Ambiguity: Criticism and the Structure of the Frame Narrative in The Turn of the Screw by Henry James." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4908.
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Since its publication in 1898, The Turn of the Screw has been the focus of diverse critical interpretation. It has reflected shifts in critical theory that include the Freudian, psychoanalytic, mythological, structuralist, reader-response, linguistic, and new-historical schools. The majority of critical interpretations have focused on the governess's narrative and have excluded the prologue, or frame narrative, that begins the novella. The critics who did examine the prologue overlooked James's departure from the traditional use of frame narration and the importance of the structure of the frame in creating a text of insoluble ambiguity. James departed from traditional frame narration in four ways. By using only an opening frame, the reader is forced to rely on the prologue in order to determine narrative reliability. By creating a condition of reciprocal authority between the unnamed narrator and Douglas, the opening frame denies the possibility of using either character to substantiate the reliability of the other. The condition of reciprocal authority is constructed through a dialogue pattern in which the narrator and Douglas interpret each other's gestures and comments and finish each other's sentences. It is the use of the pattern in the prologue that prepares the reader to accept it in the governess's narrative. The governess repeats the dialogue pattern with Mrs. Grose and Miles. Their discussions appear to validate the governess as a reliable narrator when in fact her reliability is as impossible to determine as the reliability of Douglas or the frame narrator. The result of these departures from traditional frame narration is the construction of a text of insoluble ambiguity.
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Gualda, Linda Catarina [UNESP]. "Literatura e cinema: representações do feminino em Washington Square, Daisy Miller e The Europeans." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/103649.
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A tese objetiva discutir as representações do feminino a partir das relações entre literatura e cinema em níveis práticos e teóricos das obras literárias de Henry James Washington Square, Daisy Miller e The Europeans e dos filmes homônimos de Agnieszka Holland, Peter Bogdanovich e James Ivory, respectivamente, tendo como ponto de partida as protagonistas Catherine Sloper, Daisy Miller e Eugenia Munster. Acreditamos que tais representações equivalem, no contexto das obras, a uma apropriação do olhar masculino – the male gaze – sobre o corpo feminino. Os signos do cinema hollywoodiano estão carregados de uma ideologia patriarcal que sustenta as estruturas sociais e constrói a mulher de uma maneira específica, refletindo as necessidades e o inconsciente patriarcal. A partir de uma leitura intersemiótica, que rejeita a noção de fidelidade e vê a obra alvo como uma tradução do texto de partida, propomos uma reflexão a respeito da identidade de gênero criada e veiculada sob uma ótica masculina. Para isso, além da teoria de tradução, nos apoiamos, como suporte teórico, na teoria feminista do cinema contemporâneo, que se preocupa em desmascarar as imagens, o signo da mulher, para ver como funcionam os significados adjacentes ao código fílmico
This thesis aims to discuss the representations of the feminine concerning the relations between literature and cinema on practical and theoretical levels having as its basis Henry James’s literary works Washington Square, Daisy Miller and The Europeans, as well their homonymous filmic versions made by Agnieszka Holland, Peter Bogdanovich and James Ivory, respectively, having as starting point the leading figures Catherine Slopes, Daisy Miller and Eugenia Munster. We believe that such representations correspond, in the context of the works, to an appropriation of the masculine glance – the male gaze – over the feminine body. The signs of Hollywood´s film industry are loaded of a patriarchal ideology that sustains social structures and build woman in a specific manner, reproducting needs and patriarchal unconsciousness. Based on an intersemiotic reading, which refuses the idea of fidelity and sees the target work as a translation of the starting text, we propose a reflection about the gender identity created and conveyed in a male perspective. For that, beyond the translation theory, we have as a complementary theoretical support the feminist theory of the contemporary cinema which is concerned to unmask the images, the woman´s sign, to see how the adjacent meanings to the filmic code works
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Barker, Anne Darling. "Women and independence in the nineteenth century novel : a study of Austen, Trollope and James." Thesis, University of St Andrews, 1985. http://hdl.handle.net/10023/2319.
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'Women and independence in the nineteenth century novel : a study of Austen, Trollope and James', begins with the concept of independence and works through the three most common usages of the word. The first, financial independence (not needing to earn one's livelihood) appears to be a necessary prerequisite for the second and third forms of independence, although it is by no means an unequivocal good in any of the novels. The second, intellectual independence (not depending on others for one's opinion or conduct; unwilling to be under obligation to others), is a matter of asserting independence while employing terms which society recognizes. The third, of being independent, is exemplified by an inward struggle for a knowledge of self. In order to trace the development of the idea of self during the nineteenth century, I have chosen a group of novels which seem to be representative of the beginning, the middle, and the end of the period. Particular attention is given to the characterizations of Emma Woodhouse, Glencora Palliser, Isabel Archer, Milly Theale and Maggie Verver. Whereas in Jane Austen's novels the self has a definite shape which the heroine must discover, and in Anthony Trollope's novels the self (reflecting the idea of socially-determined man) must learn to accommodate social and political changes, in Henry James's novels the self determined by external manifestations (hollow man) is posed against the exercise of the free spirit or soul. Jane Austen's novels look backward, as she reacts against late eighteenth century romanticism, and forward, with the development of the heroine who exemplifies intellectual independence. Anthony Trollope's women characters are creatures of social and political adaptation; although they do not derive their reason for being from men, they must accommodate themselves to men's wishes. And Henry James looks backward, wistfully, at Austen's solid, comforting, innocent self and forward, despairingly, to the dark, unknowable self of the twentieth century.
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Anker, Richard. "Le principe spectral de la représentation : déconstruction mimétique dans l'oeuvre de Henry James." Paris 7, 2007. http://www.theses.fr/2007PA070091.
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L'intitulé, Le principe spectral de la représentation, est une traduction, quelque peu détournée, d'un énoncé du narrateur de The Sacred Fount, qui se dit affecté par une brusque prise de conscience de la « présence même du principe spectral (haunting principle) de sa pensée ». C'est le coup d'envoi d'un questionnement sur la hantise littéraire, voire sur la hantise mimétique, qui sous-tend l'oeuvre jamesienne. L'appréhension de ce « principe » implique la déconstruction de la logique mimétique, ou de la mimétologie, qui commande la structure formelle de l'oeuvre. L'étude commence par une analyse de la structure narrative et de la mimétologie (théâtrale, picturale, romanesque) jamesiennes comme elles se mettent en oeuvre dans The Tragic Muse. On discerne que la structure narrative jamesienne s'amorce à partir d'une « syncope », d'une disjonction paradoxalement conjonctive ; par l'opération d'un « tour spéculaire » le sujet, porté hors de lui par sa faculté de langage, se constitue par un réfléchissement mimétique de cette faculté même. La deuxième partie examine deux textes tardifs (« The Jolly Corner », « The Beast in the Jungle »), afin de suivre plus loin la déconstruction mimétique en question, et d'analyser la dépropriation originelle (l'insuffisance native) du sujet et la suppléance spéculaire, cette dernière ayant tendance à oblitérer la disjonction à l'origine du sujet. Dans la troisième et dernière partie en revanche (« A London Life », « The Visits », « The Turn of the Screw » »), l'analyse porte sur l'ex-position du sujet à la dé-propriation qui, paradoxalement, le constitueThe title, Le principe spectral de la représentation, is a "translation" of what the narrator of The Sacred Fount calls "the haunting principle" of his thought. The very "presence" of this principle turne out to be a (paradoxically) originary representation, a mimesis, of the language faculty of the narrating subject. What the apprehension of the haunting principle of his thought implies is the deconstruction of the mimetology that governs Jamesien form and narrative structure in general. The study begins then with a close reading of the The Tragic Muse, in order to bring out the mimetological structure (theatrical, pictorial, novelistic) of James's oeuvre, paying particular attentior to the disjunctions between rhetoric and narrative structure. Jamesien narration begins with a "specular turn", by means of which the subject, carried outside himself by the faculty of language, is constituted by a mimetic reflection of this very faculty. The second part of the study deals with two later texts ("The Jolly Corner", "The Beast in the Jungle"), where the analysis of the originary dis-appropriation of the subject and its mimetic constitution is carried further. Here it is observed that the specular turn tends to obliterate the mimetic condition of the subject (and the dis-appropriation which this condition implies). In the third and final part ("A London Life", "The Visits", "The Turn of the Screw"), it is rather the ("horrible") exposure of the Jamesien subject to its mimetic condition which is analysed
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Ohana, Julie. "La femme chez henry james et marcel proust." Toulouse 2, 1987. http://www.theses.fr/1987TOU20093.
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Ce travail se propose d'effectuer une approche thematique de la femme dans l'oeuvre romanesque de henry james et dans la recherche du temps perdu de marcel proust, deux romanciers sur lesquels de nombreuses recherches ont ete menees, pour l'originalite et la sensibilite que leurs oeuvres indiquent. Etablir une comparaison entre les personnages feminins des auteurs, est justifie par l'analogie prononcee entre les milieux sociaux frequentes et par l'ecart relativement restreint entre leur generation. Ainsi, plusieurs types feminins sont communs aux oeuvres, mais les divergences dues a leurs origines sociales et litteraire differentes, sont nombreuses et inspirent diverses nuances. Neanmoins, plusieurs caracteristiques demontrent le commun de deux perspectives masculines, et degagent une curiosite certaine de la femme, allant parfois jusqu'a l'obsession. Elle les intrigue a plus d'un titre, les preoccupe, les surprend toujours ; et cela, les romanciers tentent de le traduire dans les moindres details, parvenant a transmettre leur trouble croissant, a mesure qu'ils avancent dans l'exploration du personnage. Aussi bien l'un que l'autre auteur, avoue implicitement sa "defaite". Tous deux font basculer les approches litteraires existantes et instaurent la leur propre, james, avec le ton discret d'un homme que son puritanisme incite a une vision pudique, mais qui refuse de laisser rien dans l'ombre proust, plus brutalement, presque avec hargne. On percoit dans leur maniere d'aborder le personnage, des societes en mutation, que les reponses codifiees ne satisfont plus. Dans leur desir d'aller plus loin, de decouvrir et de reveler, ils otent le masque a leurs personnages feminins, pour extraire d'eux la femmeThis work attempts to make a thematic approach of the woman in henry james's novels and proust's a la recherche du temps perdu, two novelists about whom several studies have been led for their originality and their sensibility. To establish a comparison between the feminine characters of the two authors, is justified by the emphasized analogy between their social milieu, as well as by the relatively short interval, between their generation. Many feminine types, then, are common to the works, but the differences of their social and literary origins, also numerous, inspire them diversified nuances. Nevertheless, several traits prove the common between two masculine perspectives and show a great curiosity, turning sometimes into obssession, towards the woman. She preoccupies them for more than one reason, possesses their mind, always surprises them. The authors, in trying to translate this to its smallest detail, succed at expressing their growing confusion, as they deepen the exploration of the characters. Each one avows implicitely his "failure", but both reject the existing perspectives and impose their own. James does it with the discreet tone of a man led by his puritanism towards a chaste vision, but refusing to leave anything in darkness, proust, more brutally, almost viciously. One feels in their approach, societies in mutation, that codified answers do not satisfy anymore. The desire to go farer, to discover and to reveal. They put their feminine characters's mask down and extract from them the woman
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Valtat-Comet, Nelly. "Les jeux de la voix et du regard dans les nouvelles de Henry James." Paris 3, 1995. http://www.theses.fr/1995PA030063.
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Etude theorique et thematique de la voix et du regard comme elements constitutifs du pouvoir de creation artistique dans les nouvelles de henry james (edition etablie par leon edel: the complete tales of henry james, 1962-1964). Le chapitre 1: "champs", propose des microlectures de nouvelles peu connues de la periode d'apprentissage, et examine le "je" comme aventure d'une voix unique pour un regard unique. Le chapitre 2: portraits", est centre sur la notion, litteraire et picturale, de representation. "fantomes", le chapitre 3, etudie plus avant la dualite presence absence et les gommages successifs de l'illusion referentielle. Enfin, le chapitre intitule "papiers" (4) , regroupe les nouvelles dont les pers onnages centraux se definissent avant tout par leur activite d'ecriture, et propose une approche de la notion d'autorite narrative chez henry james, notamment a travers une etude des relations speculaires entre les differents niveaux d'enchassement des recits. Passerelles entre, d'une part, les ecrits theoriques jamesiens sur le roman et, d'autre part, les romans de james, les nouvelles offrent un champ d'application fictif aux theories et une dimension theorique a l'ecriture de fictionThis is a theoretical and thematic study of gaze and voice as components of artistic creative power in the tales of jmaes (the complete tales of henry james, leon edel, ed. , 1962-1964). Chapter 1 : "fields", offers detailed studies of several of the least known early tales, and explores the adventure of the "i" as a single voice for a single gaze. Chapter 2 : "portraits", is centered on the literary and pictorial notion of representation. Chapter 3 : "ghosts", goes further into the study of the coexistence of presence and absence. Finally chapter 4 : "papers", deals with the tales in which the main character is a writer, or a critic. Though a close examination of mirror effects between the different levels of embedded discoruses, it suggests an approach of the notion of narrative authority in henry james. The tales of henry james thus appear as links between his essays on narrative technique and his novels; as works of art they are a privileged field of experimentation for james's theories on fiction, and as diguised essays for james's theories on fiction, and as diguised essays they give a theoretical dimension to james's narrative activity
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Le, Reste Anne-Claire. "La question de la réalité dans les romans de la « période médiane » de Henry James (1881-1890) : le réalisme à l’épreuve du hors-texte." Rennes 2, 2007. http://www.theses.fr/2007REN20031.
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The Portrait of a Lady mis à part, les romans de la décennie 1880 furent souvent négligés au profit des romans ultérieurs de Henry James (qualifiés « d’expérimentaux » et de « majeurs ») par une critique qui tendit à évacuer les complexités de ce qui vint à être considéré comme la trilogie réaliste de James (The Bostonians, The Princess Casamassima, The Tragic Muse). En comparant ces trois romans au Portrait et aux productions des contemporains de James, et les versions d’origine à celles révisées vingt ans plus tard pour l’Édition de New York, notre travail se propose de montrer que ces quatre textes sont bien aux prises avec la question réaliste, mais d’une manière expérimentale qui teste la possibilité même du réalisme en tant que tentative de saisir un au-delà de la construction artistique. Cette entreprise est guidée par une suspicion fondamentale du romancier à l’égard de toute conception totalisante de « la réalité », susceptible de nuire à ce sens du « réel » qu’il cherche alors à créer par l’intermédiaire d’un jeu sur les frontières du texte. La démarche intertextuelle qui caractérise la construction de ces textes est ainsi le signe d’un positionnement vis-à-vis des pièges de la convention et des contraintes de la textualité en régime réaliste bien davantage que d’une volonté d’affiliation à un mouvement. Grâce à l’élaboration d’un art du portrait fonctionnant en creux, le texte jamesien va néanmoins chercher à déjouer cette inéluctable textualité, à accrocher quelque chose qui ne soit pas « tout texte » et ait bien à voir avec cette « impression de réalité » qu’il invoque sans relâche tout au long de la décennie
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Vice, Samantha Wynne. "Personal autonomy : philosophy and literature." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002853.
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Gerald Dworkin's influential account of Personal Autonomy offers the following two conditions for autonomy: (i) Authenticity - the condition that one identify with one's beliefs, desires and values after a process of critical reflection, and (ii) Procedural Independence - the identification in (i) must not be "influenced in ways which make the process of identification in some way alien to the individual" (Dworkin 1989:61). I argue in this thesis that there are cases which fulfil both of Dworkin's conditions, yet are clearly not cases of autonomy. Specifically, I argue that we can best assess the adequacy of Dworkin's account of autonomy through literature, because it provides a unique medium for testing his account on the very terms he sets up for himself - ie. that autonomy apply to, and make sense of, persons leading lives of a certain quality. The examination of two novels - Kazuo Ishiguro's The Remains of the Day and Henry James's The Portrait of a Lady - shows that Dworkin's explanation of identification and critical reflection is inadequate for capturing their role in autonomy and that he does not pay enough attention to the role of external factors in preventing or supporting autonomy. As an alternative, I offer the following two conditions for autonomy: (i) critical reflection of a certain kind - radical reflection, and (ii) the ability to translate the results of (i) into action - competence. The novels demonstrate that both conditions are dependent upon considerations of the content of one's beliefs, desires, values etc. Certain of these will prevent or hinder the achievement of autonomy because of their content, so autonomy must be understood in relation to substantial considerations, rather than in purely formal terms, as Dworkin argues.
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Pietri, Susi. "Histoires de lecture : écrivains-lecteurs de "La Comédie humaine"." Paris 8, 2007. http://www.theses.fr/2007PA082791.
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James, Hofmannsthal, Wilde, Rilke, Stevenson et maints protagonistes majeurs de la scène littéraire entre les deux siècles lisent et relisent La Comédie humaine comme un immense continent narratif à explorer de nouveau, hors les contraintes de sa canonisation littéraire. Ces interrogations inlassables, qui se déploient souvent pendant une vie entière, sont des histoires de lecture ouvertes et plurielles où s’inscrivent les incertitudes, les ruptures, les renversements, l’historicité des mises en perspective et des rapports à Balzac qui s’y explorent ou s’y inventent. S’essaient par là des figures exemplaires de la « lecture d’un écrivain par un autre écrivain », dans la multiplicité de ses enjeux, ses programmes, ses questions intransigeantes, ses recherches d’une relation utopique avec l’œuvre de l’autre, ses quêtes d’identité, ses mises en miroir du retour autoréflexif, ses efforts permanents d’invention, surtout, d’un nouvel espace où penser ensemble critique et écritureJames, Hofmannsthal, Wilde, Rilke, Stevenson and many other major figures in late 19th and early 20th century literature read and reread Balzac’s The Human Comedy as a boundless narrative territory to be explored each time entirely anew, beyond the limits of its literary canonization. This relentless questioning often displayed itself as a lifelong endeavour, within histories of open and multi-faceted readings where one may find uncertainties, ruptures, reversals, the historical nature of perspectives on and connections to Balzac, as investigated and invented by these writers. Thus, we have exemplary figures reading another writer, all with different stakes and programs, intransigent questions, explorations of a utopian relationship with another’s work, quests for identity, mirroring of reflections and counter reflections, permanent efforts to invent, and – above all – shape a new space where one’s thinking is at the same time criticism and writing
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Costa, Natasha Vicente da Silveira [UNESP]. "Espaço e focalização em The ambassadors, de Henry James." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/94140.
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O objetivo desta dissertação é explorar a relação intrínseca e sinérgica entre as categorias narrativas do espaço e da focalização e seu efeito de sentido no romance The ambassadors (1998), do escritor estadunidense Henry James (1843-1916). Os principais teóricos que servirão de base a esse estudo são Iuri Lotman (1978) com A estrutura do texto artístico e Osman Lins (1976) com Lima Barreto e o espaço romanesco relativamente às questões do espaço. Para o estudo da focalização, explorar-se-á principalmente The rhetoric of fiction, de Wayne C. Booth (1983), Discurso da narrativa, de Gérard Genette (1995) e Teoría de la narrativa, de Mieke Bal (2001). Será analisado, então, como a focalização sugere interpretações ambíguas quanto à consciência central do protagonista Lewis Lambert Strether e de que forma os Estados Unidos da América, a Inglaterra e a França, sob essa perspectiva, são elementos essenciais para a transformação do objetivo inicial do embaixador, para a caracterização psicológica e social de personagens e para a evocação de memórias
The aim of this dissertation is to explore the intrinsic and synergistic connection between the narrative categories of space and focalization and its effect in novel The ambassadors (1998), by the American writer Henry James (1843-1916). The main theorists who will base this study are Iuri Lotman (1978) with A estrutura do texto artístico and Osman Lins (1976) with Lima Barreto e o espaço romanesco, regarding the literary space. To study the focalization, this research will explore notably The rhetoric of fiction, by Wayne C. Booth (1983), Discurso da narrativa, by Gérard Genette (1995) and Teoría de la narrativa, by Mieke Bal (2001). Thus, this analysis investigates how the focalization implies ambiguous interpretations regarding the central consciousness of the protagonist Lewis Lambert Strether and how the United States of America, England and France, from this perspective, are key elements for the transformation of the ambassador‟s first purpose, for the social and psychological portrayal of characters and for the evocation of memories
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Voisin, Bérengère. "La lisibilité des Ambassadeurs de Henry James et de l'Homme sans qualités de Robert Musil." Rouen, 2004. http://www.theses.fr/2004ROUEL486.
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Cette étude porte sur la lisibilité de deux romans publiés dans la première moitié du vingtième siècle, les" Ambassadeurs" de Henry James et"L'Homme sans qualités" de Robert Musil, œuvres dont la lecture a été qualifiée, à de nombreuses reprises, de difficile. En s'appuyant sur les analyses issues des théories de la réception, cette recherche tente de rendre compte des difficultés rencontrés par le lecteur au cours de la lecture. Il s'agit ici de relever et d'étudier les éléments qui altèrent la lisibilité du récit afin de dégager les principaux mécanismes de lecture entravés. La première partie appréhende la lisibilité sous l'angle d'un processus, lequel génère des prévisions sur le texte à venir. La deuxième partie se propose de montrer que la lisibilité résulte également de la dialectique instaurée par le texte entre les éléments qui relèvent de la détermination et ceux qui relèvent de l'indéterminationThis study is about the legibility of two novels published during the first part of the twentieth century, "The Ambassadors" by Henry James and "The man without qualities" by Robert Musil. These works have often been qualified as being difficult to read. Using the analytical framework expounded in the theories of reception, this essay attempts to set out the difficulties encountered by the reader. It aims at identifying and examining thoses elements which alter the legibility of the narrative in order to bring out the key reading mechanisms thereby hindered. The first part views legibility as a process generating expectations about the text to come. The second part sets out to show that the legibility of both works also stems from the dialectic created by the text between the elements which may be defined as being determined and those which may be defined as being non-determined
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Kim, Bong-Gwang. "The Politics of Romance: Henry James's Social (Un)Conscious." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277823/.
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This study addresses the ideological properties of the two main modal strains in fictional representation of romance and realism in order to provide an antidote to the currently extremely negative view of the representational function of fiction. In the course of the discussion, three received positions in traditional literary criticism are challenged. Firstly, the view of literary form as ideology-free is undermined by demonstrating the ideological properties of the two modes. Secondly, the realism/romance binary opposition regarding the mode of fictional representation is critiqued by both uncovering the misconception of the former's competence for transparent representation and evincing the two modes' ideologically interactive relation. Lastly, the categorization of Henry James as an aesthete is problematized by historicizing and socializing his three texts.
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Garcia, Rosalia Angelita Neumann. "The tragedy of Isabel Archer in The portrait of a lady." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 1994. http://hdl.handle.net/10183/109240.
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A importância da tragédia clássica, assim como da arte grega em geral, tem sido analisada não só individualmente mas, também, em relação a muitas obras que foram produzidas na história da literatura. William Shakespeare, por exemplo, escreveu várias peças que contém elementos de tragédia, ou possuem uma visão trágica da vida Hamlet, uma das obras mais conhecidas do autor, pode ser lembrada como sendo uma tragédia moderna. A própria ideia de tragédia moderna é importante neste trabalho, já que através de alguns conceitos, pode-se explicar a transposição de elementos de tragédia clássica a s obras de diferentes períodos históricos, com as necessárias e naturais transformações que a tragédia sofreu devida a s diferenças de tempo, espaço, cultura, etc. De qualquer modo, o efeito duradouro desta antiga forma de arte pode dar origem a inúmeros estudos. Será analisada nesta dissertação a visão trágica do romance The Portrait of a Lady, de Henry James, publicado em 1881, atrav6s das ações da personagem principal e nas mudanças que ocorrem no rumo dos acontecimentos dentro do romance. Isabel Archer, a heroína do romance em estudo, enfrenta ambiguidade e contradições internas ao julgar e escolher a ação que ira tomar, ação esta que ira modificar o rumo de sua vida. Apesar de haver, também, na tragédia clássica, um herói, ou heroína, enfrentando a difícil questão de decidir qual ação deve tomar, esta decisão não só depende muitas vezes de fatores externos ( questões familiares, de estado, ou influencia divina), mas pode influir nestas próprias questões.The importance of classical tragedy, and Greek art in general, has been analyzed in itself and in relation to many works which were produced throughout the history of literature. The idea of "modern tragedy" is important in this sense, since it will explain the transportation of elements of Greek tragedy to literary works of diverse historical periods, with the necessary and natural transformation tragedy went through due to the differences of time, place, culture, etc. In any case, the long-lasting influence of this ancient form of art is a source of a great number of studies The Portrait of a Lady, by Henry James, published in 1881, is a modern novel which will be analyzed in this dissertation as having a tragic view of life. This can be seen through the actions of the principal character and in the turn of events which occur. The modern elements of tragedy present in the novel will be related to the classical ones to analyze the dilemma the heroine, Isabel Archer, faces, and to describe the ambiguity and contradictions this heroine deals with in judging and choosing the action she will take The necessity to organize the narrative patterns which indicated the tragic view in James' novel, led to a brief review of some ideas taken from semiotics, specifically those connected to the study of the polarity of signs in language. In this way, signs could be extracted from the novel to form two pairs of poles which functioned as a means of interpreting the tragedy of the heroine, Isabel, through the ambiguity present in the images used in narrative.
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Leroy, Maxime. "La préface de roman comme système communicationnel : autour de Walter Scott, Henry James et Joseph Conrad." Angers, 2003. http://www.theses.fr/2003ANGE0014.
Full textAbstract:
La thèse propose une lecture des préfaces de Walter Scott, Henry James et Joseph Conrad, ainsi que celles d'autres auteurs britanniques, à partir de diverses théories de la communication combinées à une approche systémique. Le chapitre 1 résume les principales théories existantes de la préface, et les situe dans la problématique de la thèse. Le chapitre 2 définit le statut des préfaces à partir de leur contexte communicationnel (appellation, destinateur, destinataire, lieu). Le chapitre 3 montre comment ces éléments de contexte s'agencent en systèmes organisés, aussi bien à l'intérieur de chaque préface que dans les rapports de celle-ci à son environnement. Le chapitre 4 décrit certaines fonctions communicationnelles induites, différentes selon les auteurs (la négociation, la leçon faite au lecteur, la conversation, la représentation du moi). Enfin, le chapitre 5 s'interroge sur la portée sémantique des préfacesThis dissertation offers a reading of the prefaces of Walter Scott, Henry James, Joseph Conrad and other authors, based on a systemic approach and on various theories of communication. Chapter 1 sums up the main existing theories on prefaces and shows their relevance to the present research. Chapter 2 describes the main elements in the schemes of communication of the prefaces : title, author, reader, locus. Chapter 3 shows how those elements form organised systems, both within each preface and regarding intertextual connections. Chapter 4 explores some of the functions of communication brought about accordingly by each author : negotiation, lecture to the reader, conversation, representation of the self. Finally, chapter 5 deals with the semantic effects of the prefaces
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Zagha, Muriel. "Figures de la possession dans les nouvelles de Henry James de la dernière période, 1898-1910." Paris 3, 1999. http://www.theses.fr/1999PA030088.
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Dans les nouvelles de la derniere periode (1898-1910), l'entreprise de representation jamesienne, "maison de la fiction" inspiree au premier chef par le monument balzacien, se presente comme une enquete esthetique et ethique dont le paysage social et imaginaire est jalonne par les figures cryptees de la possession, auxquelles les consciences jamesiennes se mesurent ou qu'elles cherchent a interpreter. Loin de se complaire a la contemplation des ecrans, voiles et fetiches empruntes a l'imagerie "decadente" contemporaine, la fiction jamesienne du style tardif a pour strategie la fusion des objets de sa critique dans la texture de l'oeuvre et le retournement de ces objets au profit de la creation. La tapisserie jamesienne brode au passage la figure enigmatique d'un auto-portrait chiffre de l'homme "de lettres", le maitre "henry james", dont le cannibalisme litteraire, lui aussi souvent vehicule par des images contestees, permet le miroitement des intercesseurs, mais signale aussi les traces de la "maladie astrale" angoissante de l'influence. Produits de la "subtilisation" de la masse representee par l'heritage balzacien et fruits des tensions animees par la lettre du puritanisme, lesfictions courtes de henry james entrelacent lecture et possession, ecriture et possession, possession et savoir, morale et possession. Derriere la problematique de la possession, une interrogation essentielle, implacable, se repete dans la fiction tardive de henry james : quel regard est-il legitime de porter sur autrui ?In the late tales of henry james (1898-1910), the architectural "house of fiction" inspired by balzac's monumental oeuvre appears as the result of an aesthetic quest for mastery and self-possession underpinned by a profound concern for the ethics of possession. A keen lover of the arts and of the stage. Henry james nonetheless criticizes the unsettling idolatry of his time, using contemporary types of representation as his tools. At the height of his career as a novelist, james appears more than ever as a consummate "literary cannibal", converting every influence, whether it be proudly celebrated or quietly ciphered into the text, into his own work, thus evolving the figure of the master, the man of letters. The main figure of possession in henry james's fiction may finally be the trace of new england puritanism, with the "province of piety" as sacred fount of a vision of the world as revelatory text and as main inspiration for james's moral concerns with the aftertaste of the fall, the status of the real thing, and the real right way of looking on
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Zardo, Mônica. "Tradução do texto teatral : novos desafios da investigação tradutória." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2012. http://hdl.handle.net/10183/66289.
Full textAbstract:
Esta tese se insere na área dos estudos de tradução, com ênfase na tradução teatral ou tradução do drama. É apresentada uma análise dos estudos de tradução no século XXI, com a finalidade de esclarecer o direcionamento atual dessa área do conhecimento. O foco da pesquisa é a tradução do texto teatral, ou tradução do drama, a qual, até a última década, era uma área negligenciada nos estudos da tradução, e, no mundo acadêmico, a peça teatral era, tradicionalmente, vista e traduzida como um texto literário. Para uma melhor compreensão da tradução do texto teatral é apresentada uma análise detalhada de todas as características do texto que possui a particularidade de somente atingir sua concretização quando representado. Também é apresentada uma abordagem histórico-descritiva das teorias da tradução teatral, procurando-se abranger os vários aspectos desse tipo de tradução, que pode ser orientada para o palco (stage-oriented) ou para o leitor (reader-oriented). Para complementar esta pesquisa, é apresentada uma proposta de tradução da peça Guy Domville, de Henry James, embasada nos pressupostos teóricos descritos anteriormente.The area of research of this thesis is translation studies, with emphasis on theater translation or drama translation. It presents an analysis of the translation studies in the 21st century, in order to clarify the present direction of this area of knowledge. The focus of the research is the translation of theatre texts, which, until the last decade, was a neglected field in translation studies, and, in the world of academe, the stage play was traditionally viewed and translated as a work of literature. For a better understanding of theatre translation is presented a detailed analysis of the features of the theatre text which main characteristic is be written to be performed. Is also presented a historical-descriptive approach of the theater translation theories, aiming to cover the various aspects of this kind of translation, which can be stage-oriented or reader-oriented. To complement this research, is presented a translation of the play Guy Domville, by Henry James, based on the conceptual framework mentioned above.
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Denance, Pascale. "I - « Tim -and-Me » : essai sur l'entrelacs des genres comme fondement fictionnel à une rhétorique du sujet. Etude d'un corpus transgénérique de la fin du XIXe siècle : The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Perkins Gilman et une sélection de poèmes d'Emily Dickinson." Nantes, 2007. http://www.theses.fr/2007NANT3036.
Full textAbstract:
L'étude d'un corpus transgénérique de la fin du XIXe siècle, constitué de The Portrait of a Lady de Henry James, The Yellow Wallpaper de Charlotte Pekins Gilman et d'une sélection de poèmes d'Emily Dickinson révèle l'entrelacs des genres en tant que fondement fictionnel à une rhétorique du sujet. Protéiformes sans toutefois se situer hors catégorie, ils ont recours à une écriture spiroïdale qui est la conjonction parfaite du narratif et du poétique. Leur emploi du féminin et de l'épicène fait apparaître les distinctions de genre linguistique qui avaient été occultées dans les écrits romantiques et réalistes. L'emphase que ces textes mettent sur l'énonciation et leur prise de distance avec les conventions narratives les différencient des textes précédents. Se détournant du cartésianisme, ils proposent une déconstruction du sujet qui n'aboutit pas toutefois à une vision aporétique. Remettant sans cesse en question l'apparente unité de la perception et de la conscience, ils construisent une vision kaléidoscope qui montre le sujet et le réel comme complexes et torturés, rarement absurdes.
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Scholar, John. "The impression in the essays and late novels of Henry James." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:3f9f1508-816d-43ce-8b65-13aaf045f851.
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This thesis examines the meanings and uses of the impression in the essays and late novels of Henry James. While James found fault with impressionism in French painting and literature, he repeatedly called the novel an ‘impression of life’, and used the term to figure important moments of perception and action for his protagonists. This thesis offers the first full-length study of the impression on its own terms, rather than through the lens of a wider artistic or philosophical movement, the most obvious example being impressionism. It locates James’s impression within an intertextual history comprising British empiricist philosophy (Locke and Hume), empiricist psychology (William James), British aestheticism (Pater and Wilde), and, looking forwards, twentieth-century theories of the performative (Austin, Derrida, de Man, Butler). It offers a series of close readings of James’s non-fictional and fictional treatments of the impression in his early criticism and travel writing (1872-88), his prefaces to the New York edition (1907-09), and the three novels of his major phase, The Ambassadors (1903), The Wings of the Dove (1902), and The Golden Bowl (1904). This exploration does not produce any unified definition of the impression in the work of James. It finds, rather, that the impression crystallizes one of James’s main themes, the struggle between art and life, a consequence of the competing empiricist and aesthetic tendencies that the thesis distinguishes within accounts of the impression available to James. The thesis goes on to show that impressions in James may be made as well as received, and so introduces a further distinction, between ‘performative’ and ‘cognitive’ impressions. It argues that what James does with these competing impressions – empiricist and aesthetic, cognitive and performative – is to make them the narrative focus of his late novels and their drama of consciousness.
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Cafeu, Rita de Cassia Oliveira Ferreira. "A escola normal da capital: instalação e organização (1906-1916)." Universidade Federal de Minas Gerais, 2010. http://hdl.handle.net/1843/BUDB-8CBSMB.
Full textAbstract:
O objetivo desta dissertação é analisar o processo de instalação, funcionamento e organização da Escola Normal da Capital entre os anos de 1906 a 1916, na cidade de Belo Horizonte, capital do estado de Minas Gerais. O foco desta pesquisa é a análise do ensino normal nesta instituição escolar, por meio da investigação histórica de seu funcionamento, organização administrativa e pedagógica. Para análise foram discutidas as seguintes categorias: currículo, espaços e tempos escolares e os sujeitos presentes na trama que organiza a instituição. O momento de instalação da escola normal em Belo Horizonte foi de intensas mudanças e acontecimentos no campo educacional, destaca-se entre outras a formulação de uma proposta de formação de professores fundamentada por uma concepção de educação escolar integrada aos debates republicanos e civilizadores. Na recém-construída cidade de Belo Horizonte, capital mineira, esperava-se, através da escola e da atuação do professor primário, a difusão do ideário de urbanização e civilização da população. Mas também as propostas para a criação da Escola Normal da Capital se desenvolveram em comunhão com o debate sobre a formação dos professores da época, que circulavam em outros estados brasileiros. Para a investigação da instauração da escola normal foi analisada a reforma de ensino primário e normal em Minas Gerais, autorizada pela Lei n° 439, de 28 de setembro de 1906, que buscou uma nova organização escolar para o ensino primário e normal. Com essa lei, foram definidas novas exigências para a formação daqueles que estariam atuando na nova organização escolar, buscando superar a situação do ensino encontrada nas escolas mineiras. O recorte temporal da pesquisa é o período de 1906 a 1916, datas referentes ao ano de decretação da legislação que autorizou o governo mineiro a criar a escola normal, até 1916 com a uniformização do ensino normal em todo o estado de Minas Gerais. Diferentes fontes documentais foram consultadas: legislações educacionais, relatórios dos Secretários do Interior, mensagens dos Presidentes do Estado, documentação específica da Escola Normal da Capital encontrada nos arquivos do Instituto de Educação, e no Arquivo Público Mineiro. Para a organização do texto desenvolvemos três capítulos, no primeiro abordamos sobre o estabelecimento das primeiras escolas normais nas províncias e/ou estados do Rio de Janeiro, São Paulo e Minas Gerais, no período imperial e início da República. No segundo verificamos a representação constituída sobre os professores primários com a reforma de 1906, e a organização administrativa e pedagógica da Escola Normal da Capital. No terceiro priorizamos as principais mudanças ocorridas na escola normal, especificamente em relação aos espaços e tempos, os conhecimentos e as práticas dessa instituição, com a primeira alteração regulamentar de 1910 até o ano de 1916 quando acontece a uniformização do ensino normal. Concluiu-se que a criação da Escola Normal da Capital buscou superar o modelo de formação docente do período imperial, e que seu órgão deliberativo, a Congregação foi um avanço em relação aos modos de decisões político-pedagógica anteriores por incorporar os professores da escola nas discussões e deliberações relativas ao funcionamento da instituição. Observa-se, contudo, que o processo de instalação e o funcionamento da Escola Normal da Capital não se fizeram sem tensões. Embates e contradições permearam tanto o ideário e as expectativas postas à própria formação docente em relação às melhorias para o ensino primário, quanto ao processo de criação, instalação e funcionamento da Escola Normal da Capital.O objetivo desta dissertação é analisar o processo de instalação, funcionamento e organização da Escola Normal da Capital entre os anos de 1906 a 1916, na cidade de Belo Horizonte, capital do estado de Minas Gerais. O foco desta pesquisa é a análise do ensino normal nesta instituição escolar, por meio da investigação histórica de seu funcionamento, organização administrativa e pedagógica. Para análise foram discutidas as seguintes categorias: currículo, espaços e tempos escolares e os sujeitos presentes na trama que organiza a instituição. O momento de instalação da escola normal em Belo Horizonte foi de intensas mudanças e acontecimentos no campo educacional, destaca-se entre outras a formulação de uma proposta de formação de professores fundamentada por uma concepção de educação escolar integrada aos debates republicanos e civilizadores. Na recém-construída cidade de Belo Horizonte, capital mineira, esperava-se, através da escola e da atuação do professor primário, a difusão do ideário de urbanização e civilização da população. Mas também as propostas para a criação da Escola Normal da Capital se desenvolveram em comunhão com o debate sobre a formação dos professores da época, que circulavam em outros estados brasileiros. Para a investigação da instauração da escola normal foi analisada a reforma de ensino primário e normal em Minas Gerais, autorizada pela Lei n° 439, de 28 de setembro de 1906, que buscou uma nova organização escolar para o ensino primário e normal. Com essa lei, foram definidas novas exigências para a formação daqueles que estariam atuando na nova organização escolar, buscando superar a situação do ensino encontrada nas escolas mineiras. O recorte temporal da pesquisa é o período de 1906 a 1916, datas referentes ao ano de decretação da legislação que autorizou o governo mineiro a criar a escola normal, até 1916 com a uniformização do ensino normal em todo o estado de Minas Gerais. Diferentes fontes documentais foram consultadas: legislações educacionais, relatórios dos Secretários do Interior, mensagens dos Presidentes do Estado, documentação específica da Escola Normal da Capital encontrada nos arquivos do Instituto de Educação, e no Arquivo Público Mineiro. Para a organização do texto desenvolvemos três capítulos, no primeiro abordamos sobre o estabelecimento das primeiras escolas normais nas províncias e/ou estados do Rio de Janeiro, São Paulo e Minas Gerais, no período imperial e início da República. No segundo verificamos a representação constituída sobre os professores primários com a reforma de 1906, e a organização administrativa e pedagógica da Escola Normal da Capital. No terceiro priorizamos as principais mudanças ocorridas na escola normal, especificamente em relação aos espaços e tempos, os conhecimentos e as práticas dessa instituição, com a primeira alteração regulamentar de 1910 até o ano de 1916 quando acontece a uniformização do ensino normal. Concluiu-se que a criação da Escola Normal da Capital buscou superar o modelo de formação docente do período imperial, e que seu órgão deliberativo, a Congregação foi um avanço em relação aos modos de decisões político-pedagógica anteriores por incorporar os professores da escola nas discussões e deliberações relativas ao funcionamento da instituição. Observa-se, contudo, que o processo de instalação e o funcionamento da Escola Normal da Capital não se fizeram sem tensões. Embates e contradições permearam tanto o ideário e as expectativas postas à própria formação docente em relação às melhorias para o ensino primário, quanto ao processo de criação, instalação e funcionamento da Escola Normal da Capital.
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Shaup, Karen L. 1979. "Disciplining the Senses: Aestheticism, Attention, and Modernity." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12094.
Full textAbstract:
vii, 157 p.In the second half of the nineteenth century, the Aesthetic Movement in England coalesced literary and visual arts in unprecedented ways. While the writers associated with the Aesthetic Movement reflected on visual art through the exercise of criticism, their encounters with painting, portraiture, and sculpture also led to the articulation of a problem. That problem centers on the fascination with the attentive look, or the physical act of seeing in a specialized way for an extended period of time that can result in a transformation in the mind of the observer. In this dissertation, I consider how Dante Gabriel Rossetti, Henry James, and Oscar Wilde utilize the attentive look in their poetry, fiction, and drama, respectively. As I argue in this dissertation, the writers associated with the Aesthetic Movement approach and treat attention as a new tool for self-creation and self-development. As these writers generally attempt to transcend both the dullness and repetitiveness associated with modern forms of industrialized labor as well as to create an antidote for the endless distractions affiliated with the modern urban environment, they also develop or interrogate systems for training and regulating the senses. What these writers present as a seemingly spontaneous attentive engagement with art and beauty they also sell to the public as a specialized form of perception and experience that can only be achieved through training or, more specifically, through an attentive reading of their works. While these writers attempt to subvert institutional authority, whether in the form of the Royal Academy or the Oxford University system, they also generate new forms of authority and knowledge. Even though the Aesthetic Movement is not a homogeneous set of texts and art works, the Aesthetic Movement can be characterized in terms of its utilization of attentiveness as a way to both understand and create modern subjectivity.
Committee in charge: Dr. Forest Pyle， Chair； Dr. Sangita Gopal， Member； Dr. Linda Kintz， Member； Dr. Kenneth Calhoon， Outside Member
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Hill, Marcos Cesar de Senna. "Quem são os mulatos?: sua imagem na pintura modernista brasileiraentre 1916 e 1934." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/JSSS-7TXPW9.
Full textAbstract:
Le sujet de cette recherche est le mulâtre, considéré comme figure centrale dune étude sur la formation de la société brésilienne, y compris sa culture. Le matériau qui structure ce processus est constituée de quatre peintures éxécutées par des artistes qui ont participé aumouvement moderniste brésilien engagé dès les premières décennies du xxème siècle. C'est dans cette période que prend origine la chronologie qui délimite létude ici proposée: de 1917 à 1934. En nous situant d'abord dans lHistoire de lArt, nous avons cherché unrapprochement avec dautres champs tels que lHistoire, la Sociologie et lAntropologie, dans lintention de mettre en place une vision amplifiée de la question concernant le métissage au Brésil.A presente pesquisa escolheu o/a mulato/a como foco motivador de um estudo sobre a formação da sociedade brasileira e da cultura por ela produzida. A materialidade que fundamentou esse processo foi constituída de quatro pinturas executadas por artistas brasileiros que participaram do movimento modernista, deflagrado no país a partir dasprimeiras décadas do século XX. Desse período decorre a cronologia que delimita o estudo proposto: de 1917 a 1934. Partindo da História da Arte, buscamos, com as análises aqui desenvolvidas, uma aproximação com outros campos tais como a História, a Sociologia e a Antropologia, no intuito de configurar uma visão mais ampliada da questão da mestiçagem no Brasil.
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Wilkins, Wendy. "Images of Italy and Italians in the modern English novel." Thesis, The University of Sydney, 2001. https://hdl.handle.net/2123/27857.
Full textAbstract:
The English literary imagination has been nourished on the experience and idea of Italy for centuries, at least since Chaucer's Italian visits in 1372 and 1378. A combination of survey, critical analysis and theory, the thesis examines the idea of Italy and the Italians in fiction in English from Henry James to the present. The thesis provides an inclusive account of literary themes and motifs about Italy and the Italians in the modern English novel, defining the modem tradition of fiction about Italy established by James, E.M. Forster and D.H. Lawrence, and describing the continuities and discontinuities which extend to postmodern, international fiction in English about Italy and Italians.
No single theoretical model is employed. An eclectic approach is favoured in order to draw together cultural history, literary history, discourse analysis, literary criticism and biography. In addition, the aim has been to recapture and examine the sense of flux and the idea of selfrealisation through art which characterise the Italianate impulse in past and present English fiction. In terms of method and focus, the thesis converses with ideas about Italy and the Italians, literary tradition, recent theories about the representation of place, and the notion of Italy as a favoured site for the development of literary identity and style.
An introduction traces the early development of the Italian image and establishes themes which appear in the succeeding chapters: otherness cultural and self identity; the 'gaze'; 'seeing' as a metaphor for self-knowledge; the importance of place in the formation of identity; and the connections between artistic representation and place. The second chapter, on Henry James, defines some of the main terms of the recent tradition, including the relationship between Italy and the act of imaginative creation. The James chapter examines the influence of Romanticism on his Italian work; the 'Italian' contradictions in his fiction; and his search, expressed in traditional Italianate tropes, for a transcending equilibrium. James's Italian tales are given equal consideration with the novels, and both are discussed in relation to the travel essays collected as Italian Hours. The third chapter, on E.M. Forster, focuses on the conflict between chaos and order in Forster's Italian fiction, and his concern with further perennial 'Italian' themes, including paganism, the Edenic myth, and the importance of art in self-becoming. The Italian motifs in Forster's stories are compared with those in his Italian novels Where Angels Fear to Tread and A Room with a View. A shorter chapter on D.H. Lawrence outlines his problematic place in the tradition. The final section deals with Italianate postmodernism. A lengthy introduction raises general issues and is followed by closer readings of texts which demonstrate the relevance of 'Italy' to postmodern writing in English. The English, American and Australian
authors chosen for closer comment include Robert Coover, Robert Dessaix, Michael Dibdin, Ian McEwan, Michele Roberts, William Trevor and Jeanette Winterson. The final section illustrates
the continuity of the image of Italy, especially the way its reputation as artifice lends itself to elaborate, postmodern metafiction.
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Rocha, Fernanda Cristina Campos da. "A reforma João Pinheiro nas práticas escolares do Grupo Escolar Paula Rocha - Sabará (1907-1916)." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/FAEC-84XGRB.
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Avec ce travail nous avons eu le but détudier et de comprendre la mise en oeuvre de la Reforma João Pinheiro par le biais des difficultés des élèves à conclure lenseignement primaire dans le délai de quatre ans et du grand redoublement dans la première année de lécole au Grupo Escolar Paula Rocha à Sabará, entre 1907 e 1916. Nous avons mis laccent sur la première classe de lenseignement primaire qui y est entrée en 1907, lannée de la création du Grupo Escolar et nous lavons acompagnée jusqen 1916. Cette période marque la première décennie de lintroduction de lenseignement progréssif de quatre ans. Nous avons explicité les pratiques scolaires dans lorganisation des années scolaires (de la première à la quatrième) en mettant laccent sur le quotidien du Grupo, surtout en ce qui concerne le redoublement et le délaissement de lécole primaire, et en mettant en rélation ces pratiques et la législation de la période. Pour la recherche nous avons pris par documents principaux les rapports de directeurs et dinspecteurs, les actes des examens, les livres dinscription et la législation mineira concernant la période étudiée. Pour lanalyse des documents quelques auteurs insérés dans le débat sur culture scolaire et pratique scolaire se sont montrés fondamentaux, tel que Chervel (1990, 1998), Julià (2001), Faria Filho (1996, 2007) et Vidal (2005); avons nous pris aussi par référence les études sociologiques de Lahire (1997) et Charlot (2000) pour analyser le redoublement des élèves. Ce travail a explicité les difficultés dimplantation de la reforme et le caractère créatif de lécole une fois que les institutrices, auprès de la direction, reconstruisent-elles dans leur quotidien les pratiques scolaires du Grupo concerné. Notre étude a le propos de donner une contribution à lhistoire des pratiques scolaires de lécole primaire mineira.Neste trabalho, buscamos investigar e compreender a implementação da Reforma João Pinheiro a partir dos impasses dos alunos em concluir o primário em quatro anos e da grande retenção no 1º ano do curso, no Grupo Escolar Paula Rocha, da cidade de Sabará, entre 1907 e 1916. Assim, enfocamos a primeira turma de 1º ano primário que ingressou em 1907, ano da criação do Grupo Escolar, e a acompanhamos até 1916. Esse período marca a primeira década da introdução de uma importante Reforma Educacional em Minas Gerais, responsável pela criação dos grupos escolares e pela introdução do ensino graduado, prevendo quatro anos para a sua conclusão. Preocupamo-nos em explicitar as práticas escolares acerca da organização dos anos escolares (1º ao 4º ano), enfocando o cotidiano do grupo, principalmente em relação à retenção e à não conclusão do primário, relacionando-as com a legislação do período. Utilizamos como fontes principais os relatórios de diretores e inspetores, as atas de exames, os livros de matrículas e a legislação mineira referente ao período aludido. Para a análise das fontes, alguns autores inseridos no debate sobre cultura escolar e práticas escolares foram fundamentais, como Chervel (1990, 1998), Julia (2001), Faria Filho (1996, 2007) e Vidal (2005); também nos apoiamos nos estudos sociológicos de Lahire (1997) e Charlot (2000) para a análise da retenção dos alunos no primeiro ano de escolarização. Este trabalho evidenciou as dificuldades de implementação da reforma e o caráter criativo da escola, visto que as professoras junto à direção vão recriando, em seu cotidiano, as práticas escolares do grupo em questão. Nosso estudo pretende ser uma contribuição para a história das práticas escolares da escola primária mineira.
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Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman." Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
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This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Blin, Marie-Christine. "Art et écologie dans l'Amérique du dix-neuvième siècle, 1820-1890 : artistes pionniers et exploration visuelle." Le Havre, 2013. http://www.theses.fr/2013LEHA0013.
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On attribue souvent aux œuvres des peintres Albert Bierstadt et Thomas Moran et des photographes Carleton Watkins et William H. Jackson un impact certain sur la création des parcs nationaux de Yosemite et Yellowstone. Plutôt que de rechercher des preuves de leur influence sur les hommes politiques – preuves qui se révèlent ténues et appartiennent plus à la légende qu’à la réalité – cette thèse se propose d’étudier comment la représentation du paysage a pu progressivement, au cours de la période 1820-1890, façonner les esprits américains au point qu’ils puissent admirer cette nature sauvage qu’ils redoutaient depuis longtemps et en venir à prôner ou à accepter qu’on la préserve. Dans une première partie, nous aborderons l’évolution de l’image de la nature et de l’art depuis l’arrivée des premiers colons et leurs destins croisés. Dans la seconde partie, nous nous intéresserons aux facteurs qui firent des artistes des pionniers de l’esthétique et de la préservation, les envoyant en mission d’exploration pour étudier les éléments naturels et recréer les scènes observées. Puis nous analyserons les écrits de certains artistes où transparaît une sensibilité écologique précoce et les actions concrètes de ceux qui luttèrent pour préserver certains sites. Enfin, dans la troisième partie, nous examinerons les innovations technologiques ou artistiques et l’adaptation des traditions picturales européennes qui favorisèrent l’appropriation visuelle de la nature : panorama et stéréographie, alliance de la vision de loin et de haut et de la précision télescopique ou pastoralisation par une présence humaine, animale ou par l’alliance du sublime et du beauThe works of painters Albert Bierstadt and Thomas Moran and photographers Carleton Watkins and William H. Jackson are often credited with having been instrumental in the creation of the Yosemite and Yellowstone National Parks. Rather than look for evidence of their influence on politicians – evidence which turns out to be flimsy and the stuff of legend more than reality –this dissertation aims to study how landscape representation between 1820 and 1890 progressively shaped American mentalities so that people came to admire the wilderness they had dreaded for a long time and to advocate or accept its preservation. In the first part we will deal with the evolution of the image of nature and art since the arrival of the first settlers and their shared destinies. In the second part, we will look at how artists were made into aesthetic and environmental pioneers, sent on a mission of exploration to study the elements of nature thoroughly and recreate the scenes they had observed. Then we will analyze the writings of some artists which show a precocious ecological sensitivity and the concrete actions of those who fought for the preservation of certain sites. Finally, in the third part, we will examine the technological or artistic innovations and the adaptation of European pictorial conventions that favored the visual appropriation of nature : the panorama and the stereography, elevated vision from a distance and telescopic precision, as well as its pastoralization by human, animal presence or by the union of the sublime and the beautiful
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Sa, Carolina Mafra de. "Do convento ao quartel: a educação das sensibilidades nos espetáculos teatrais realizados pelo Club Dramático Arthur Azevedo, em São João Del Rei MG (1915-1916)." Universidade Federal de Minas Gerais, 2015. http://hdl.handle.net/1843/BUBD-A3FHVR.
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Le but de cette thèse, cest de faire des recherches sur léducation des sensibilités qui se produisaient pendant les spectacles théâtraux réalisés par le Club Dramático Arthur Azevedo, une association damateur qui a existé entre les années 1915 et 1916, à São João del Rei, MG. La principale base des données utilisées dans cette recherche appartient au Groupe de Recherches en Arts Scéniques de lUniversité Fédéral de São João del-Rei. Ce sont deux recueils qui constituent la collection. Le premier a appartenu au Clube Teatral Arthur Azevedo, lassociation des amateurs de la ville qui a joué de 1905 à 1985. Et le deuxième, appartient à la collection privé dAntonio Guerra, un amateur de São João del-Rei. En autre, le livre écrit par Guerra en 1968 a été aussi très important dans cette recherche. Entre les bases de données on a utilisé des albums qui regroupent des journaux, des programmes de spectacles, dépliants et photographies sur la production de club recherché, des pièces manuscrites ou typographiées et quelques publications datées de la période qui composait la bibliothèque de la société dramatique. On a analysé aussi les livrets des originaux français et la version portugaise de la pièce O Periquito, (Vert-Vert), et aussi les images et les nouvelles des journaux sur les représentations, à Paris, pendant le XIXème siècle, des deux opérettes, qui se trouvent à la Bibliothèque Nationale de France (BNF) et à la Bibliothèque de lUniversité de Coimbra, au Portugal. Inspiré dans la notion de Zumthor, on comprend le théâtre étant un discours poétique et, alors, les spectacles théâtraux étant des performances, qui donnaient du plaisir au public. Ces performances, on les comprend comme un phénomène éducatif, pourvu quau moment où les auditeurs et les interprètes sont en interactions, et à la fois, les réalisent, alors ils constituent une poétique. Pour la construction de la méthodologie de cette recherche, on a pris la définition des sensibilités chez Sandra J. Pesavento et la notion de Febvre sur des systèmes des émotions qui a permis à la compréhension sur le théâtre comme un simulacre dun système des émotions. Pour faire une définition de la façon dont on prend les textes des pièces et les indices des mises en scène, on a pris comme référence Raymond Williams. On comprend le texte des opérettes sélectionnées - O periquito e A mulher Soldado comme ceux écrits pour être mis en scène. En abordant quelques scènes à partir des divers aspects et en considérant les sujets englobés dans la mise en scène et ses sensibilités, on a cherché à rebâtir « lunité essentielle » de la scène et à recueillir quelques sensations et sentiments qui probablement, ont affété les spectateurs pendant les représentations. Après avoir compris la constitution du Club D. Arthur Azevedo; le profil de son leader et hors mis ses associes; linsertion de cette assemblée dans la société de São João del-Rei; les significations du jeu dans la ville, on a dédié lanalyse des spectacles de ces deux opérettes les plus jouées par le club. La compréhension des questions liées aux sélections des pièces et la distribution des jeux de rôles entre les amateurs, nous a donné lidentification des sensibilités, qui entrelaçaient les relations entre ceux qui étaient sur le plateau et ceux qui étaient dans le public. Enfin, on a dédié à la poétique des opérettes, ou aux éléments des performances qui auraient plu au public: la partie musicale et la partie comique des représentations.O objetivo desta tese é investigar a educação das sensibilidades que se dava durante os espetáculos teatrais realizados pelo Club Dramático Arthur Azevedo, associação de amadores que existiu entre os anos de 1915 e 1916, em São João del-Rei MG. O principal conjunto de fontes utilizado para este estudo é mantido pelo Grupo de Pesquisa em Artes Cênicas da Universidade Federal de São João del-Rei. O acervo é constituído por duas coleções, a primeira pertenceu ao Clube Teatral Arthur Azevedo, associação de amadores da cidade, que teria atuado de 1905 até 1985, e o acervo particular de Antônio Guerra, amador são-joanense. O livro escrito por Guerra, publicado em 1968, também foi central nesta investigação. Entre as fontes, utilizamos álbuns que reúnem recortes de jornais, programas de espetáculos, panfletos e fotografias sobre as produções do clube investigado, peças manuscritas e datilografadas, os Estatutos da agremiação e algumas publicações do período que compunham a biblioteca da sociedade dramática. Foram também analisados os livretos dos originais franceses e da versão portuguesa da peça O Periquito, encontrados na Biblioteca Nacional da França e na biblioteca da Universidade de Coimbra, além de imagens e notícias de jornais sobre as apresentações, em Paris, durante o século XIX, das duas operetas estudadas, também disponíveis na BNF Paris. Inspiradas na noção de Zumthor, entendemos o teatro como um discurso poético e, portanto, os espetáculos teatrais como performances, que proporcionavam prazer ao público. Percebemos a performance como um fenômeno educativo, momento em que ouvintes e intérpretes em interação, ao mesmo tempo em que realizam, constituem uma poética. A noção de Febvre de sistemas de emoções possibilitou o entendimento do teatro como um simulacro de um sistema de emoções. A definição de Sandra J. Pesavento para sensibilidades contribuiu para a construção da metodologia desta pesquisa. Raymond Williams nos serviu como referência para definir o modo como lidamos com o texto das peças e com os indícios das encenações. Compreendemos o texto das operetas selecionadas O Periquito e A Mulher Soldado como textos escritos para serem encenados. Ao abordar algumas cenas a partir de diversos aspectos e ao considerar os sujeitos envolvidos nas apresentações e suas sensibilidades, buscamos reconstruir a unidade essencial da cena e elencar algumas sensações e sentimentos que possivelmente teriam afetado os espectadores durante as apresentações. Depois de compreender a constituição do Club D. Arthur Azevedo; o perfil de seus líderes e, minimamente de seus sócios; a inserção dessa agremiação na sociedade são-joanense; e os significados de sua atuação na cidade, nos dedicamos à análise dos espetáculos das duas operetas mais encenadas pelo clube. A compreensão das questões relacionadas com a seleção das peças e com a distribuição dos papéis entre os amadores resultou na identificação das sensibilidades, que permeavam as relações entre aqueles que estavam nos palcos e a plateia. A análise da estrutura narrativa das operetas nos permitiu compreender quais eram as sensibilidades hegemônicas acionadas por suas apresentações que, relacionadas com modelos de espectadores, indicaram possíveis sensações e sentimentos que essas cenas teriam gerado. Finalmente, nos dedicamos à poética das operetas, ou aos elementos das performances que teriam agradado ao público: a parte musical e a comicidade das apresentações.
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Goyet, Florence. "La nouvelle au tournant du siècle en France, Italie, Japon, Russie et pays anglo-saxons : Maupassant, Verga, Mori Ogai, Akutagawa Ryonosuke, Tcheckhov et James." Paris 4, 1990. http://www.theses.fr/1990PA040004.
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L'étude de nouvelles extrêmement différentes montre une conception identique de la structure, des conditions matérielles de publication, et du rapport lecteur-personnage. I-structure : personnages exemplaires, rendus presque abstraits par un traitement qui en fait des prodiges dans leur catégorie (ch. 1), et les oppose violemment dans une structure antithétique (ch. 2). La "pointe" est la traduction dynamique de cette antithèse (ch. 4). Pour permettre l'adhésion immédiate du lecteur, la nouvelle s'appuie sur des représentations préexistantes (ch. 3). Nouvelles longues et non-narratives échappent parfois à ce type d'approche (ch. 5). II-rôle de la presse : l'analyse d'une quarantaine de périodiques montre que les personnages ne peuvent jamais appartenir au monde des lecteurs : la nouvelle est "exotique". III-le regard exotique : c'est que tous les moyens rhétoriques sont utilisés dans le texte court pour mettre le personnage à distance. Tous les procédés classiques de l'ironie (ch. 2 & 3), mais aussi le discours rapporté et le "patois" (ch. 4), les narrateurs et les "récepteurs" (ch. 5 & 6) sont utilisés pour rejeter le personnage dans une "autre planète" (Maupassant), et, le plus souvent, le disqualifier. La nouvelle est le genre monologique par excellence, ne permettant pas la confrontation de deux "voix" (Bakhtine) de même statut (ch. 7)The study of a very wide range of very different stories shows that they share a common approach of structure, publishing conditions, and conception of their subject. Part I (structure): making of every element a paragon in its category (ch. 1), the short story uses them in an antithetic structure (ch. 2), which importance supersedes that of the characterization. "whip-ends" may dramatize such a tension (ch. 4). What allows the story to be short is that it relies heavily on readymade materials (ch. 3). Long stories and non-narrative stories may, however, escape such "laws" (ch. 5). Part II (publishing conditions) shows on forty-odd periodicals that the characters in the story could never belong to the readers' own world. "exotism" is the rule, even for realist or "naturalist" texts. Part III (the estranging look) shows this as being the result of conceiving the subject as "exotic". Close analysis of all rhetoric devices (with special discussion of the "free indirect speech" and "patois", plus the use of narrators and "reflectors" -ch4, 5 & 6) shows how they estrange the reader from the characters. The short story is a monological text: it never allows the confrontation of two equally valid "voices" (Bakhtine: ch. 7)
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Boyington, Mary. "« Esprit de Maupassant » : Henry James and the French realist movement, a re-evaluation." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0588.
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En 1888, le romancier américain Henry James écrit dans ses carnets intimes «Ô esprit de Maupassant, aidez-moi.» Cette invocation de l’écrivain français qu’il avait rencontré lors d’un séjour à Paris en 1875-1876, marque un changement important dans l’œuvre de James et présage de l’évolution de sa production de récits brefs pendant les années 1890. L’objectif de cette étude est d’exposer et d’explorer les connections entre ces deux auteurs du 19ème siècle en analysant les essais critiques de James sur le réalisme français, ainsi que ses romans et nouvelles inspirées par l’œuvre de Maupassant.Cette analyse comporte cinq chapitres ainsi qu’une introduction faisant état d’un angle mort dans le champ critique des études sur le sujet. Le premier chapitre traite, selon une perspective historique, de l’évolution de Henry James en tant que critique littéraire dans ses essais sur le réalisme français de 1865 à 1878. Le chapitre deux relate l’année que le jeune auteur passe à Paris parmi les auteurs du cercle flaubertien. Le troisième chapitre démontre l’évolution de l’esprit critique de James en analysant ses essais critiques sur Guy de Maupassant (1888,1889) et une présentation de sa philosophie sur sa propre production de nouvelles. Le chapitre quatre explore la réception critique et la traduction des œuvres de James et de Maupassant. Le cinquième et dernier chapitre présente une analyse d’œuvres de James influencées par les contes et nouvelles de Maupassant.Grâce à l’influence de Maupassant, James poursuivra pendant une décennie l’esprit de cet auteur sans jamais vraiment y parvenir. Cette quête l’amènera néanmoins à une redéfinition significative de son propre styleIn 1888, Henry James wrote in his notebooks, "Oh spirit of Maupassant, come to my aid!" This invocation of the French writer whom he met in Paris in 1875-76 marked a major change in James' work and introduced an evolution in his production of short fiction during the 1890s. The purpose of this study is to present the connections between these two authors by analyzing James's critical essays on French realism as well as his short fiction inspired by Maupassant's work.This critical study consists of five chapters as well as an introduction which points to a "blind spot" in the critical field of Henry James studies in relation to Maupassant. The first chapter analyzes Henry James as a literary critic in his essays on French realism published from 1865 to 1878. Chapter two relates the year spent in Paris during James's youth among the literary giants of Flaubert's circle. The third chapter demonstrates the evolution of James' critical thinking by analyzing his essays on Guy de Maupassant (1888, 1899) and a presentation of his philosophy on his own literary production of short fiction. Chapter four explores the critical reception and translation these authors' works of fiction in country the language of the other. The fifth and final chapter presents a textual analysis of works by Henry James influenced by Maupassant's contes and nouvelles.Following his encounter and his reading of Maupassant, James will pursue the spirit of this writer during the decade of the 1890s. However, James does not fully succeed in his attempts to imitate Maupassant. This quest will nevertheless lead to a significant redefinition of his own style
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Bergheaud, Lise. "Raymond Queneau, une formation au modernisme et à la modernité : 1917-1938, lectures fondatrices du récit anglo-saxon des XIXe-XXe siècles." Paris 3, 2008. http://www.theses.fr/2008PA030075.
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Le présent travail se donne pour objectif d’éclairer les liens entre l’œuvre narrative de Raymond QUENEAU et les récits anglo-saxons qu’il a lus et recensés de 1917 à 1938. Dans un premier temps, un classement raisonné à partir des listes de lectures queniennes nous a permis de délimiter une assemblée de dix auteurs, précurseurs ou emblèmes de la modernité en littérature, dont les écrits entrent en résonance précoce et prolongée avec les textes queniens (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). L’établissement de ce socle empirique nous a permis, dans un second temps, de dépasser les filiations déjà amplement discutées par la critique et, grâce à une confrontation minutieuse des écritures, d’identifier des corrélations plus souterraines, parfois méconnues. C’est dans ce cadre que nous avons cherché à répondre à nos questions : comment QUENEAU inscrit-il sa singularité littéraire dans le terreau d’une poétique moderne qui déstabilise radicalement les composantes de la fiction classique en soupçonnant la viabilité d’une représentation signifiante ? Ou encore : comment QUENEAU, entouré de ses pairs anglo-saxons favoris, figure-t-il littérairement l’ontologie de l’inquiétude face à l’abolition possible du sens du monde et des êtres ?This study aims at clarifying the connections between Raymond QUENEAU’s prose works and the narratives from the English-speaking world which he read and listed from 1917 to 1938. On the basis of a rational perusal of QUENEAU’s reading lists, we first delineated a group of ten writers who announce or epitomize literary modernity and whose writings reveal a concurrence, both precocious and lasting, with the French writer’s own texts (Edgar Allan POE, Lewis CARROLL, Joseph CONRAD, Henry JAMES, James JOYCE, William FAULKNER, Gertrude STEIN, Ernest HEMINGWAY, Henry MILLER, Erskine CALDWELL). This empirical foundation having been firmly established, we were then able to go beyond the links which have been widely discussed in current criticism and to identify less detectable and sometimes underrated relations. Within that framework we investigated several issues : how does QUENEAU express his literary originality against the background of modern poetics where the basic features of classical fiction are thoroughly undermined because of the doubt cast upon the validity of meaningful representation? Once seen in the company of his favourite English-speaking authors, how does Queneau use the art of writing to outline an ontology of anxiety when facing the possible annihilation of both mundane reality and beings?
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Gueye, Khalifa. "L'image de Galilée dans le développement de la philosophie des sciences en France entre 1850 et 1950 : l'exemple de Paul Tannery, de Pierre Duhem et d'Alexandre Koyré." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30084/document.
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Le mérite et la gloire de Galilée sont largement reconnus par ses commentateurs. La grande majorité des historiens lui octroie la paternité de la science moderne. Mais les lieux communs s’arrêtent à ces considérations. Tout se passe comme si le physicien florentin refusait tout enfermement méthodologique préférant prendre la couleur idéologique de ses exégètes. Il constitue un sujet de premier ordre en philosophie des sciences. Le développement de cette dernière, conçue comme discipline à part entière au début du XXe Siècle, s’est accompagnée en France d’une réflexion accrue sur lascience moderne et la philosophie qui la sous-tend. La glorification rationaliste des Lumières et du positivisme avait fait de Galilée le héros qui a permis de mettre la mécanique classique en lieu et place de l’ancienne physique aristotélicienne. Il était considéré par Comte comme l’inventeur de la Science. Au début du XXe S., le temps des révisions était venu. L’empirisme des Lumières et les faits généraux d’Auguste Comte laissent place à une conception aprioriste de la physique moderne défendue par Paul Tannery. La philosophie des sciences en France telle que nous la connaissons estnée avec les travaux de Tannery et de Gaston Milhaud. Si l’image de Galilée dans la pensée de Tannery est très proche de la perception d’Alexandre Koyré de la science moderne, Pierre Duhem, lui, se met en désaccord avec ses deux compatriotes en défendant l’idée d’une continuité entre la science médiévale et la science classiqueGalileo’s merit and fame are largely acknowledged by his commentators. The majority of philosophers refer to him as the father of modern science. But commonplaces stop with these considerations. Everything takes place as if the Florentine physicist refused any methodological imprisonment and did not mind taking the ideological color of his interpreters. His work constitutes a first-rate subject in philosophy of science. The development of the latter as a full-fledged discipline at the beginning of the 20th Century was accompanied in France with an intense reflection on modern science and the philosophy which underlies it. The rationalistic glorification of the Enlightenment and positivism had made Galileo the hero who allowed classical mechanics to replace astrological physics. He was considered by Comte to be the creator of Science. At the beginning of 20th Century it was time for a reevaluation. The empiricism of the Enlightenment and the general facts of Auguste Comte yielded to an aprioristic comprehension of modern physics defended by Paul Tannery. Philosophy of science as it is practiced today in France was shaped by the endeavours of Tannery and Gaston Milhaud. If the image of Galileo in Tannery closely resembles that found in Alexandre Koyré, Pierre Duhem, who defended the idea of a continuity between Medieval Science and Classic Science, stands apart
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Belot, Gondaud Caroline. "La figure du couple machiavélique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040178.
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La figure du couple machiavélique, présente chez Shakespeare, Laclos, Barbey d'Aurevilly, Henry James, James M. Cain, entre autres, est étudiée selon une triple approche. La première approche, d'inspiration structurale, vise à dégager les éléments constitutifs de la figure et son scénario permanent. L’analyse conduite sur la base de cette approche confirme l'existence de deux matrices, l'une fondée sur le couple Macbeth, l'autre sur le couple de libertins des Liaisons dangereuses. La seconde approche, qui relève d'une démarche herméneutique, met en évidence le substrat biblique de la figure du couple machiavélique dans sa version shakespearienne, qui serait une réécriture du récit de la Chute de la Genèse. La version laclosienne du couple machiavélique serait pour sa part le marqueur de la dégradation des relations amoureuses dans leur conception post-courtoise. Enfin, la troisième approche est esthétique: elle vise à étudier la construction de la figure, son effet sur le lecteur, et sa valeur ajoutée par rapport à la figure canonique du Méchant. Elle s'attache aussi à définir l'esthétique du mal associée à la figure du couple machiavéliqueThe figure of the Machiavellian couple, which appears in Shakespeare, Laclos, Barbey d’Aurevilly, Henry James, James M. Cain, among others, is studied through a three-fold approach. The first one is a structural one and aims at identifying the basic elements of the figure and its scenario. This approach confirms the existence of two matrix, one based on the couple of Macbeth and the other on the pair of libertines of Laclos’ novel Les Liaisons dangereuses. The second approach is interpretative and underlines the biblical basis of the figure of the Machiavellian couple in its Shakespearean version, which is a rewriting of the Fall of Adam and Eve while the couple of Laclos signals the deterioration of romantic relationships in a courtly meaning. The third approach deals with aesthetics and aims at studying the forms and poetics of the figure and its effect on the reader as well as its added value in relation to the “Canon figure” of the Villain. This third approach deals also with the aesthetics of Evil linked to the figure of the Machiavellian couple
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Campbell, Jeremy T. "Raising the pillar in the "house of fiction" : a study of the processes of development and change in the central characters of two novels of Henry James: The portrait of a lady and The ambassadors." Thesis, 2000. http://hdl.handle.net/10413/3291.
Full textAbstract:
The thesis focuses on a variation of James's interest in the "international theme", the effect of transatlantic influences on the development of personality, culture and idea. In the context of this theme it seeks to understand the processes in the development of, and portrayal of change in, the identities of two central characters in the fiction of Henry James, Isabel Archer and Lambert Strether. The two novels analysed, The Portrait of a Lady and The Ambassadors. have a strong contextual relevance to the ''international theme", and compass the span of James's career, providing some degrees of comparison. Beginning with a view of the preliminary vision that James had of the main elements of each central character, the thesis seeks to understand how Isabel Archer and Lambert Strether are subsequently shaped, and developed, by way of the incidents and experiences they meet, and what they make of them. Of primary importance amongst these are the relations they form with the other characters in the novel.Thesis (M.A.)-University of Natal, Pietermaritzburg, 2000.
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Maclean, Lisa Anne. "Henry James and James McNeill Whistler : representing modernity." Thesis, 1997. http://hdl.handle.net/2429/6754.
Full textAbstract:
This thesis is an examination of Henry James and James McNeill Whistler as
cultural analysts of modernity. Using the theoretical work of Peter Burger, Jurgen
Habermas and Theodor Adorno as a frame, I analyse James's and Whistler's theoretical
and artistic responses to modernity and the problematic status of autonomous art and the
modernist artist in late nineteenth century industrial capitalism. In so doing, I place both
figures in their social and historical context and show how their work not only reflects but
itself participates in the complex social and cultural transformations of late nineteenth
century society.
While Henry James has continued to attract critical attention from many quarters,
those who have studied him in the larger context of nineteenth-century avant-garde culture
are still relatively few. Of those contextual studies, none has examined James's career and
work in the light of parallel developments in avant-garde visual art during this important
and complex period. James McNeill Whistler, like Henry James an American expatriate
working in late nineteenth century London, has been the subject of many studies
describing his formal achievement; however, he has not yet attracted the attention of
critics interested in theories of modernist representation, gender and sexuality. Because
modernisation was a phenomenon which had an impact on all aspects of late nineteenth
century culture, as both James and Whistler themselves acknowledge, my interdisciplinary,
contextualist approach to cultural production can illuminate aspects of cultural theory and
practice which might remain hidden in analyses contained within disciplinary boundaries.
The present thesis is not primarily a work of art-historical scholarship nor is it an in-depth
textual analysis of the Jamesian canon; it is an analysis of the ways in which two
individuals deal with the conditions of their artistic practice. My thesis is original in its
bringing together of two important figures - a writer and a visual artist - whose theory and
practice reveals the complexity of early modern art's dialectical relationship with
modernity. In so doing, I offer a critical reevaluation of the work of Henry James and
James McNeill Whistler in light of its engagement with the discourses of modernity and
modernism.
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Zimmermann, Silvia Irina [Verfasser]. "Die dichtende Königin : Elisabeth, Prinzessin zu Wied, Königin von Rumänien, Carmen Sylva (1843 - 1916) ; Selbstmythisierung und prodynastische Öffentlichkeitsarbeit durch Literatur / vorgelegt von Silvia Irina Zimmermann, geb. Rada." 2003. http://d-nb.info/972852808/34.
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