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Academic literature on the topic 'Drames bourgeois – 18e siècle'
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Journal articles on the topic "Drames bourgeois – 18e siècle"
Robert, Lucie. "Yvette Mercier-Gouin ou Le désir du théâtre." Document, no. 46 (January 19, 2011): 117–37. http://dx.doi.org/10.7202/045375ar.
Full textDissertations / Theses on the topic "Drames bourgeois – 18e siècle"
Frantz, Pierre. "Théorie et pratique du drame bourgeois 1750-1815." Paris 3, 1994. http://www.theses.fr/1994PA030127.
Full textCoudreuse, Anne. "Tentation et refus du pathos dans la littérature française du XVIIIe siècle : esthétique, éthique, réception." Paris 8, 1997. http://www.theses.fr/1997PA081318.
Full textThis survey of pathos in 18th century french literature is chiefly concerned with esthetical and ethical matters, as well as with the way they are re-interpreted in the 20th century. Through the reading of a sample of pathetic texts, a definition of pathos itself is envisaged : the word is applicable to whatever technique likely to raise emotion in the reader. The background to this study is thus multiple and ranges from rhetorics to the history of representation. Along with lexicological research, theoretical works of the period, such as those of abbe du bos, marmontel and chamfort, contribute to assert the importance of pathos in the whole 18th century production, especially in the fields of narration and drama. Pathos is somewhat of a melting pot of different esthetical forms and genres. It is a test for language and the body, through which new sexual identities become revealed, since not only women were then allowed to weep. Pathos systematically tends to involve the reader. Although lachrimose writing may be a taste peculiar to the siecle des lumieres, the fact remains that the shedding of tears is, in most cases, politically oriented, as witness its prevalence in legal proceedings or libertine novels. Yet, the seduction of pathos sometimes gives way to rejection. It is then dismissed as mere obscenity, and heavily mocked by parodic and ironic authors. A study of elegy and pathos in chenier's poetry, as well as a number of texts never republished since the 18th century (coqueley de chaussepierre, cubieres, bordes) will be found in the annex
François, Catherine. "Nivelle de La Chaussée, dramaturge, un précurseur méconnu." Paris 4, 2009. http://www.theses.fr/2009PA040112.
Full textFrench playwright Nivelle de La Chaussée is acknowledged as the father of sentimental comedy, or comédie larmoyante. For more than a century, Gustave Lanson’s partial and often unfair study has typified La Chaussée’s theatre into its current repute and warrants a thorough reassessment. After providing new enealogical biographical data, this thesis aims at restoring a more objective account of La haussée, the man and the dramatist. It explores the features of the genre larmoyant – of which he is the exclusive herald – through the various ramifications of his rich theatrical production: society parades, tragedies, fairy pastorals, tragicomedies, light comedies or farces, often adorned with music, songs and dances. Challenging the simplistic notion of larmoyant itself, the study follows the inflections of La Chaussée’s theatre, from mixed soft-hearted comedies to truly moving or serious plays announcing the drame bourgeois. It analyses their poetics and dramaturgy, before emphasising their moral and political significance. The conclusion relates how La Chaussée’s plays were received during the 18th century and describes their literary fate and posterity in France and across Europe in an attempt to restore La Chaussée’s duly-deserved pioneering role
Croq, Laurence. "Les "bourgeois de Paris" au XVIIIe siècle : identification d'une catégorie sociale polymorphe." Paris 1, 1998. http://www.theses.fr/1998PA010518.
Full textThis essay on the "Bourgeois de Paris" aims at determining meanings and uses of this qualification in literature and political, religious and social Parisian life from louis xiv to the french revolution. Enlightenment's literature distinguishs the "Bourgeois" on one part, nobility and popular classes on the other part, by their socio-cultural practices and their mentalities. There are a lot of groups of "Bourgeois de Paris" which are different because each gather fellows whose profession, degree of integration in the capital. . . Are not similar. When these men have a common status, they are associated to institutions inherited from middle age (municipality, confraternity of notre-dame for the "Bourgeois de Paris"), or they are integrated in legal or fiscal hierarchies (individual privileges, poll-tax). The theorical definition of these groups can be constant since their creation (the wide corporation of "Bourgeois de Paris" has been defined as inhabitants living in Paris since one year and one day, nobles and roturiers take part of it), il has sometimes changes because of financial needings of monarchy or wish of a social group (tradesman of "six corps" monopolize aldermanship). Socio-professionnal groups whose members use their latent status of "Bourgeois de Paris" can too change (nobles and members of parliament are less numerous in eighteenth century as electors of the two aldermen and as colleagues in the confraternity notre-dame). The "Bourgeois de Paris" who qualify themselves then in civil and professionnal acts, essentially notarial, are belonging to professionnal groups which are excluded de facto or de jure from collectives and individual privileges of homonymous groups : servents in work or retired, and others workers (as rents receivers), they choose this title instead of the name of their job
Jarnoux, Philippe. "Les bourgeois et la terre : activités, fortunes, stratégies foncières à Rennes au 18e siècle." Rennes 2, 1993. http://www.theses.fr/1993REN20012.
Full textIn the 18e century, Rennes used to look like a town dominated by the parliamentary nobility where the bourgeoisie only played a minor part. An accurate study of the tax papers shows however that this bourgeoisie was numerous, varied and wealthy. It was mostly a "bourgeoisie de robe" handling legal and administrative affairs thus reflecting the authorities of the town. But trade was present too and even played an increasing part throughout the century. Merchants and traders were more and more numerous in the bourgeoisie of Rennes and their incomes were often equal to those of men of law and "officers". In the neighbouring countryside the weight of this bourgeoisie showed itself in trade and above all in property ownership. The closeness of the town brought about changes into the land and agrarian structures and contributed to determine spheres of urban influence. Property ownership spread during the century but it was also differentiated according to wealth and job circle criteria. The man of law remained the example of the bourgeois property owner whereas the trader was less concerned with property investment. The differences in bourgeois behaviour patterns in relation to the land often match differences in social status
Long, Jia. "De l’instance poétique au discours métadramatique dans la trilogie espagnole de Beaumarchais." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL109.
Full textBeaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature
Bile, Sembo-Backonly Anicette Irène. "De la réforme esthétique à la réflexion sociopolitique : une lecture des drames de Louis-Sébastien Mercier." Paris 3, 2008. http://www.theses.fr/2008PA030069.
Full textLouis-Sébastien Mercier (1740-1814) is a craftsman of the drama. Its participation in the aesthetic reflexion was crowned by a vast theatrical production. While resting on the large theoretical texts of the author, this work privileges the dramas, to read the orientations of the dramatic reform which it carried out. It is a question of following the thought of Mercier who speaks about the writer “flagellator of vice”, “cantor of the virtue”, in order to analyze the dramatic and dramaturgic means by which the esthetic reform leads, in its dramas, with a thought on the transformation of the society. Middle-class dramas, heroic dramas or national plays, and historical dramas are analyzed together, to see how all these categories account for the capacity given to the theater, and make it possible to understand the Mercier’s literary, political and social ideal. The first part makes for the installation. It not only sticks to traverse the great ideas of reform supported by Mercier, but also to present the selected repertory. It releases a particular conception of the representation of the conditions, which constitutes finally the matrix of the sociopolitic reflexion that the second and the third parts reveal through paintings, figures of characters, speeches
Delvare, Anne. "Thomas-Louis Bourgeois (1676-1750/51) : contribution à l'histoire de la musique française dans la première moitié du XVIIIe siècle." Poitiers, 2007. http://www.theses.fr/2007POIT5022.
Full textThis thesis proposes as complete a biography as possible of the musician Thomas-Louis Bourgeois (1676-1750). The many facets of his career are explored (he was notably a “maître de chapelle”, singer, composer, “maître de musique”, professor and theatre director); his works are presented and analysed at once, so as to place them in the context of their creation (place, offices held by the musician, literary environment, patrons etc. ). The second volume consists in a reasoned catalogue of Bourgeois’ works, sorted following first musical genre, then chronological order. Preserved works as well as lost ones are included, printed editions as well as manuscripts. Each work, collection or fragment of work has been analysed according to the same criteria, among which the bibliographical description of the sources, the musical forces, some dating elements and the places where the copies can be found. We have added the edition of the grand motet Beatus vir
Pleschka, Alexander. "Théatralité et public. Les drames tardifs de Schiller et la tragédie classique française." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040204.
Full textThe present study shows how Schiller, as a consequence of his reading of Kant and Diderot, includes the audience in his dramaturgy and thereby gives the scenic situation a public character, which allows him to represent political issues typical of the French Revolution. This serves to explain why Schiller’s later plays, especially Wallenstein, Maria Stuart and Demetrius, adapt some features of French classical tragedy.The first part of the study explains how, during the Querelle du Cid, contemporaries developed an awareness of how the presence of an audience lends a public quality to the situation of dramatic performance. This public quality is reflected in contemporary prescriptive poetics and employed to affect the audience in Corneille’s and Racine’s dramaturgy.The second part describes how since the 18th century viewing drama has been regarded as a genuinely subjective action, instead of being seen, as before, as a public activity taking place in front of other spectators. This mode of viewing allows creating a public sphere which is abstract in a modern sense.The third and final part states how Schiller’s aesthetics lead to a partial integration of the theatre audience into the scene, which in turn gives the scene a public character, similar to the one of the French classical period. This concept of the public character of drama is then distinguished from concepts developed in Schiller’s theoretical writings and illustrated with analyses of his later plays