Dissertations / Theses on the topic 'Kundera'
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Boden, Doris. "Irritation als narratives Prinzip : Untersuchungen zur Rezeptionssteuerung in den Romanen Milan Kunderas /." Hildesheim [u.a.] : Olms, 2006. http://deposit.ddb.de/cgi-bin/dokserv?id=2824603&prov=M&dok_var=1&dok_ext=htm.
Full textSin, Wai-see Wendy. "Postmodern strategies in selected works of Milan Kundera." Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472789.
Full textBissonnette, Annie. "Milan Kundera essayiste ou l'art du paradoxe." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/MQ48136.pdf.
Full textSilva, Rosimara Aparecida da. "Os signos da memória em Milan Kundera." reponame:Repositório Institucional da UnB, 2011. http://repositorio.unb.br/handle/10482/8694.
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A dissertação Os signos da memória em Milan Kundera pretende pensar de que forma as imagens apreendidas pela memória, quando traduzidas pela linguagem, viram signos carregados de significados no processo de criação de Milan Kundera. Para tanto, nos aprofundamos na teoria do filósofo Henri Bergson, que apresenta a memória como instância que estabelece a relação entre corpo e espírito e encontra na intuição o caminho para se atingir a interioridade do ser. Nossa hipótese é a de que Milan Kundera se utiliza de suas memórias como base de criação e, tendo na linguagem um meio para revelar o mundo, não fica preso a uma linguagem conceitual fechada, mas se utiliza de uma linguagem que explora a extensão do significado das palavras. _________________________________________________________________________________ ABSTRACT
The thesis The signs of memory in Milan Kundera intends to think how the images grasped by the memory, when translated through the language, become signs filled with meanings in Kundera's process of creation. In order to that we delve into Henri Bergson's theory that the memory is an instance that establishes the relationship between the body and the spirit and finds in intuition the way to reach the inner side of the human being. Our hypothesis is that Milan Kundera uses his memories as a basis for creation and, having in language a means to unveil the world, he is not limited to a closed conceptual language, but instead he uses a language that explores the extension of the meaning of the words.
Kheriji, Rym. "Boudjedra et Kundera, lectures à corps ouvert." Lyon 2, 2000. http://theses.univ-lyon2.fr/documents/lyon2/2000/kheriji_r.
Full textThis work attempts at establishing communication networks between the Algerian Rachid Boudjedra and the Czech Milan Kundera. Stemming from different generations and cultures, they do not really answer the requirements for traditional comparatism. However, they are perceived by critics as two of the most disquieting writers of the second half of the 20th century. Subversion, demythification, and exposure are the keywords of their writings, and thus can be the fundamental causes of any kind of interest towards their works. Yet, as this aspect has been many times raised and considered as a regional, cultural or circumstancial specifity, suggesting both authors' opening on universal issues became a necessity in this thesis. The study contains three parts. The first relates the origins of both authors' wrintings, bringing their routes closer to one another, and enlightening the roles they attribute to their narrators. The second part relates the main male and female figures evolving in the four novels, namely the mother, the she-lover, and the father. The latest leave the properly thematic frame to take the role of narration's catalysts. The attention given to those quite symptomatic figures of a former orientation of researches on maghrebian literature written in French, are justified by their very presence in Kundera's novels. Thus, they are no longer the monopoly of a North African literature, tortured and in serach of identity. Besides communication networks established between the two authors' novels, other networks take shape along the readings : those which are being created between the work and the reader. Mence, the third part of the work is devoted to interferences between writing and reading. It is made up of series of conclusions following the first two parts. This last part lies on the keystone of the novels studied. It is in this case a process based on questioning. The interrogative element indeed allows the transcendence of clichés and gives a sense to disconcerting aspect of wrinting. Chaotic and unrelated writing, what we commonly call delirium, the reversal of values through the process of irony, the launching of paradoxes and of the variational writing attempt, infact at destabilizing the reader, thus sending him back, through a silent dialogue, to his own uncertainties
Kheriji, Rym Bonn Charles. "Boudjedra et Kundera, lectures à corps ouvert." [S. l.] : [s. n.], 2000. http://demeter.univ-lyon2.fr/sdx/theses/lyon2/2000/kheriji_r.
Full textWard, Koral. "The decisive moment from Kierkegaard to Kundera." Thesis, Ward, Koral (2001) The decisive moment from Kierkegaard to Kundera. Honours thesis, Murdoch University, 2001. https://researchrepository.murdoch.edu.au/id/eprint/50275/.
Full textChoquette, François. "Destins intimes de la connaissance dans L'insoutenable légèreté de l'être de Milan Kundera /." Thèse, Trois-Rivières : Université du Québec à Trois-Rivières, 1999. http://www.uqtr.ca/biblio/notice/resume/03-2200466R.html.
Full textČeška, Jakub. "Království motivů : motivická analýza románů Milana Kundery /." Praha : Togga, 2005. http://catalogue.bnf.fr/ark:/12148/cb40108953n.
Full textBibliogr. p. 215-216.
Rizek, Martin. "Comment devient-on Kundera ? images de l'écrivain, écrivain de l'image /." Paris : Bagneux : L'Harmattan ; Numilog, 2001. http://www.numilog.com/bibliotheque/univ-reims/fiche_livre.asp?idprod=32455.
Full textSin, Wai-see Wendy, and 冼蕙思. "Postmodern strategies in selected works of Milan Kundera." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31953232.
Full textGrosdanis, Christos. "René Girard et Milan Kundera : connaissance du roman." Paris 7, 2014. http://www.theses.fr/2014PA070031.
Full textThis study is about René Girard's and Milan Kundera's essays on the art of the novel. According to these two authors the novel is pre-eminently a source of knowledge. At the first, we attempted to grasp the way in which Kundera and Girard perceive the novel's gnoseological function, as being distinguished, opposed or supplementing to the knowledge within social sciences and philosophy. Secondly, we tried to clarify the prospects that such an idea offers to literary criticism. The dead ends of structuralism and the emergence of the cultural studies force criticism to redefine its own function as well as the function of literature itself. By studying the relations that Girard and Kundera maintain with the literary criticism of the second half of the 20th century, we tried to show that their work can contribute actively to the current debates
Cartier, Annie. "Essai sur l'esthétique dans l'Immortalité de Milan Kundera /." Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2003. http://theses.uqac.ca.
Full textKadiu, Silvia. "George Orwell, Milan Kundera : individu, littérature et révolution /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41068998t.
Full textZhao, Jia. "Le roman ironique depuis 1980 : Kundera, Echenoz, Chevillard, Toussaint." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030160.
Full textIrony is back. Today, we are witnessing a burst of literary and artistic productions which are characterized by "thoughtful lightness". The irony is often described as postmodern irony because of his bonds with the entire cultural symptom of the postmodern society. With the rise of writers of a new generation of Editions de Minuit among whom Jean Echenoz, Eric Chevillard and Jean-Philippe Toussaint are predecessors, the postmodern irony has asserted itself in French literary creation to which added Milan Kundera who is a writer of another generation and of another culture. Irony of these writers is not only used as a way to distance from the writing, but also a vision of the world that we would call it the "cheerful disenchantment". We explore the relationship of irony and question of existence in our research. First of all, irony is a cleaved conscience. Such conscience state has come true in a mode of speech as exteriorization of the cleaved conscience and a way of obtaining an overview. In this research, we would like to go into detail the following questions: where shall we be situated is the long process of separation? What have the subject, his action and his way of being become? Which is the mode of speech that is derived of the conscience of this contemporary subject? We try to answer these questions with our reflections brought to the irony phenomenon in the contemporary literary representation
Lemmens, Kateri. "La philosophie à l'épreuve du roman chez Milan Kundera." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0028/MQ50537.pdf.
Full textLivernois, Jonathan. "La présence du sacré dans l'oeuvre de Milan Kundera /." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99379.
Full textCampeau-Devlin, Marianne. "Le motif du mirror dans l'œuvre de Milan Kundera /." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112328.
Full textRoberge, Valérie. "Méditation sur la liberté inspirée de Kierkegaard et Kundera." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29872/29872.pdf.
Full textLauen, Douglas. "Oedipus Fallen: Irony in the Fiction of Milan Kundera." Oberlin College Honors Theses / OhioLINK, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397227893.
Full textBoden, Doris. "Irritation als narratives Prinzip Untersuchungen zur Rezeptionssteuerung in den Romanen Milan Kunderas." Hildesheim Zürich New York Olms, 2005. http://deposit.ddb.de/cgi-bin/dokserv?id=2824603&prov=M&dok_var=1&dok_ext=htm.
Full textMcCauley, Christopher Michael. "Language, Memory, and Exile in the Writing of Milan Kundera." PDXScholar, 2016. http://pdxscholar.library.pdx.edu/open_access_etds/3047.
Full textBongo, Nadia. "L'altérité : dans les oeuvres d'Agota Kristof et de Milan Kundera." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3134.
Full textThe subject of my thesis is the otherness in the work of Agota Kristof and Milan Kundera. Their opposite styles are link by their defiance towards lyricism and mimesis. Moreover, they have a similar biography for they underwent the war, the soviet totalitarianism and exile. In this comparative study I interrogate the notion and its role in the shaping of the authors' writing. My inquiry focuses on four main subjects divided into fourth parts: the writing, the discourse, the body and creation. My method is interdisciplinary for I use the work of critics such as levinas, Lacan or Bakhtine. In the first part, I define and present the implications of the otherness and related notions regarding the construction of the novel. The writing relies on fragmentation by mixing different points of view, levels of narration and narratives (dream sequences, autobiography, anecdotes). Various elements are constructed and deconstructed expressing the split dynamic. The second part deals with the discourse regarding otherness. Seemingly opposite speeches (internal/external, direct/indirect) express that of the self. Paradoxically, the dialogue leads to the loss of otherness. Polyphony intertwines several voices: of the self, of the other, of society and in Kristof's case, of the officials. Does Otherness rely on their equilibrium? Yet, otherness begs the question regarding the link between the body and the discourse. The third part defines a corporal writing. Different discourses invite various understandings and experiences of the body for he can also appear to be the other
Richard, Rosimara Aparecida da Silva. "As memórias no jogo da criação romanesca de Milan Kundera." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/31434.
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Esta tese busca pensar a memória como fundamento e fundamentação no processo criativo do escritor Milan Kundera. Como corpus de análise foram selecionados os romances: Le livre du rire et de l’oubli, L’insoutenable légèreté de l’être e L’immortalité, nos quais se pode perceber um trabalho arquitetural complexo e rico com a memória, que aparece algumas vezes como base, para a edificação da narrativa e outras, como apoio, oferecendo-lhe respaldo intertextual. A análise parte de uma conceituação da memória apresentada pelo filósofo Henri Bergson, seguida de uma leitura da teoria de Hans-Georg Gadamer sobre o jogo, para pensar a (auto)representação. A segunda parte aborda características peculiares à escrita ficcional kunderiana, ressaltando a existência de um narrador bastante estratégico e responsável por articular a narrativa. A terceira parte se divide em três subpartes: primeiramente, apresenta uma análise dos dois primeiros romances, para demostrar uma mudança significativa na postura do narrador-autor-personagem, até a escrita do terceiro, nosso objeto principal de pesquisa. Na terceira subparte é apresentada uma análise mais aprofundada do romance L’immortalité, por ser este o que melhor exemplifica o paradoxo existente entre uma criação ficcional que se fundamenta, ao mesmo tempo, na memória e em conhecimentos objetivos.
Cette thèse cherche à réflechir sur la mémoire comme fondement et justification dans le procès créatif de l’écrivain Milan Kundera. Comme corpus d’analyse, ont été choisis les romans: Le livre du rire et de l'oubli, L’insoutenable légèreté de l'être et L’immortalité, dans lesquels on peut apercevoir un travail architectural complexe et riche en relation avec la mémoire, qui apparaît quelquefois comme base, pour l’édification de la narrative et d’autres, comme appui, en lui offrant de support intertextuel. L’analyse part d’une conceptualisation de la mémoire présentée par le philosophe Henri Bergson, suivie d’une lecture de la théorie de Hans-Georg Gadamer sur le jeu, pour penser à la (auto)représentation. La deuxième partie aborde des caractéristiques particulières à l’écrite fictionnelle kunderienne, en soulignant l’existence d’un narrateur très stratégique et responsable d’articuler la narrative. La troisième partie se divise en trois sousparties: d’abord, présente une analyse des deux premiers romans, pour démontrer un changement significatif de la posture du narrateur, jusqu’à l’écrite du troisième, notre objectif principal de recherche. Dans la troisième souspartie il est présenté une analyse plus approfondie du roman L’immortalité, puisque c’est celui-ci ce qui exemplifie le mieux le paradoxe existant dans une création fictionnelle basée, en même temps, sur la mémoire et sur des connaissances objectives.
Estrada, Vargas Graciela. "Ironie et parodie dans l’écriture romanesque contemporaine : Saramago, Fuentes, Kundera." Paris 3, 2007. http://www.theses.fr/2007PA030119.
Full textThe study of irony and parody in the writing of novels of Saramago, Fuentes and Kundera turns out to be an efficient means to comprehend a certain number of stylistic particularities of these writers, as well as to highlight their points of convergence. The relation between the writers includes friendship, similar actions as intermédiaires and same concerns. This study deals with some of their concepts. In their writings, we study a range of traditions, techniques and periods (from Diderot to Broch, from Cervantes to Ionesco). Among them, the scatological dimension, visible in the Cervantes works, which, in the contemporary novel written by the three writers, becomes a technique of ironic creation. The novels which are studied were published between 1958 and 1995. Using irony and parody, the three novelists reappraise the truth (of religion, politics, moral, society, art) that influences the spirit of contemporary societies. The Bible parody is a point of convergence in their writings, but with stylistic particularities. These novelists turn their back on any ideology, truth (certainty) or convention believed to be irrefutable by using irony and humour. The theoretic chapters of this study provide a historical panorama in order to distinguish the classic from the modern and post-modern parody and irony, including a detailed look about the differences between parody and pastiche, satire, meta-fiction and it’s interaction with irony. This study offers a model based on three major axes: the Sacred profanation, the Truth bifurcation and the Norm condemnation, to analyse irony and parody in the novels of the three writers
Avetyan, Shahane. "Milan Kundera (et autres) : penser et écrire dans l'autre langue." Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC055.
Full textAs a foreigner living in France, we were initially encouraged to study writers such as Nancy Huston, Louis Wolfson, Andreï Makine, who wrote in a language different from their own. In exile, these authors have quit their mother tongue, to speak in French. They evolved between two languages. Therefore, what language could be considered as their own? For them, when did French cease to be a foreign language? More generally, what remains of an author who has chosen to express himself in another language? These questions are illustrated by the biography of Milan Kundera, whose life and work have been shaped by the language change. In 1975 he left Czechoslovakia and settled in France. In his writings, in which we can feel the strength of History, the French gradually replaces Czech. To what extent did this change alter the course of his life and thoughts? What role did the exile play in his work and fame? To answer these questions, we studied his articles, plays, novels and the reception that was done to them in France and abroad
Vitturi, Nicolo' <1988>. "Arte e scrittura. Trevisan, Kundera,Bacon, Covacich, Auster, Calle, Klossowski." Master's Degree Thesis, Università Ca' Foscari Venezia, 2016. http://hdl.handle.net/10579/8497.
Full textElse, Steven Gavin. "In the absence of the supreme judge : Kundera, ambiguity, and the philosophy of religion." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343509.
Full textGlei, Jocelyn Kendall. "Expatriate of realism: Milan Kundera and the legacy of the eighteenth century French novel in La Lenteur and L'Identité." Thesis, Boston University, 1999. https://hdl.handle.net/2144/27654.
Full textPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-02
Bennett, Richard. "Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom Stoppard." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26254.
Full textChapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity.
Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
Noël, Alex. "Le déplacement de la mémoire dans l'oeuvre romanesque de Milan Kundera." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121583.
Full textCette étude se propose de faire une lecture croisée entre la mémoire et le déplacement dans trois romans de Milan Kundera dont les personnages sont des exilés (Le livre du rire et de l'oubli, L'insoutenable légèreté de l'être et L'Ignorance). Notre hypothèse est que le déplacement s'accompagne chez les exilés d'un changement dans leur façon de se souvenir du passé : ne pouvant plus compter sur la mémoire linéaire (propre au régime moderne d'historicité) pour conserver un lien avec un passé dont ils sont spatialement séparés, ils recourent à ce que nous proposons de définir comme un nouveau type de mémoire: la mémoire variationnelle. Afin de définir ce terme, l'intertexte homérique nous servira de clef interprétative : la figure d'Ulysse, convoquée par le narrateur de L'Ignorance à propos du thème de l'exil et de la nostalgie, permet de voir comment la mémoire variationnelle (mémoire par retour de motifs) se construit en réponse aussi bien à l'impossibilité de la mémoire épique (mémoire idéale d'un passé parfaitement conservé) qu'à l'échec de la mémoire linéaire (mémoire par définition toujours falsifiable).
Saulin-Ryckewaert, Anneliese. "Théorie et pratique du roman européen dans l'œuvre de Milan Kundera." Lille 3, 2003. http://www.theses.fr/2003LIL30008.
Full textTanaka, Shuko. "Le rire et la mélancolie dans les romans de Milan Kundera." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC008/document.
Full textLaughter and melancholy constitute the dominant atmosphere of the novels of Milan Kundera. These are the two faces of his attitude about man’s narcissism and of which his characters are reflections. But man is never the person he thinks he is. Kundera expresses this vision of man through the narrators in his novels, who explore the comic and the miserable aspects of the characters appearing in them. Given the fact that the experience of Kundera is reflected in the characters’ situations, on one hand, the narrator endorses a function of self-criticism. On the other hand, this narrator reflects the novelist, sometimes taking even the name of Kundera himself, and presents his image of the novelist which Kundera believes himself to be. Therefore, Kundera is not free of narcissism. Nevertheless, the novel is the only place that allows him to ponder over his narcissistic subjectivity by the way of relativization. For Kundera, the novel enables him to escape momentarily the condition of Narcissus, by the solitary and serious game of writing in the margins of hypothesis
Llop, Mangas Iris. "El saber de la incertesa. Kundera lector de Broch, Musil i Kafka." Doctoral thesis, Universitat de Barcelona, 2020. http://hdl.handle.net/10803/668514.
Full textIn his essays L’art du roman, Les testaments trahis, and Le rideau, the Czech writer Milan Kundera suggests a conception of the novel as a form of knowledge of existence. This idea is based, on the one hand, on his own experience as a novelist and, on the other hand, on his interpretations of the literary work of his pléiade of authors: Hermann Broch, Robert Musil and Franz Kafka. A critical study of his idea of ‘specifical novelistic knowledge’, based on the notion of essay, meditation, reflection, and though, will be developed through the analysis of Kundera’s readings. Moreover, the analysis of the key questions that structure his readings will show the hermeneutics of the novel built in the authors essays. Finally, the study of the academic reception of his work, and the kunderian heritage of the review L’Atelier du roman will show the contributions of Kundera’s essays to the debates of the theory of the novel.
Santos, Lindka Mariana de Souza. "O belo como um encontro múltiplo : Kundera e Diderot : fatalismos e leveza." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/31328.
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq).
O presente trabalho acontece de um encontro de leitura, entre minhas leituras dos romances de Milan Kundera e de Denis Diderot – mais especificamente, a leitura do romance de Diderot, Jacques, o fatalista e seu amo e a peça teatral criada por Kundera como sendo uma homenagem a Diderot, intitulada Jacques e seu amo – estas obras comporão o corpus de nossa análise. Esta dissertação se propõe a perceber e a pensar os conceitos de Fatalismo e de Leveza de um modo próximo ao que Milan Kundera (2006, p. 107) considerou como sendo o trabalho de um romancista, o trabalho de perceber que “sem cessar, os conceitos estéticos se transformam em indagações” e que um romance, frequentemente, “não é senão uma longa perseguição de algumas definições fugidias”. Dito de outro modo, dedicar-se-á, aqui, a pensar um conceito enquanto definições fugidias, é dizer, pensá-lo em sua dimensão estética e em seu potencial intuitivo – um conceito como sendo um modo de vida e de pensamento. Para tanto, propomos uma análise estética a partir da personagem Ludvik (La plaisanterie, 1967) e dos fatalistas de Milan Kundera (1981) e de Denis Diderot (1976). Tais personagens, pelo modo como são compostas e apresentadas esteticamente pelos autores, permitem-nos pensar as implicações existenciais de determinados modos de vida que se expressam sob a forma de fatalismos de uma época, ao mesmo tempo em marcam outros modos de vida e de subjetivação possíveis, mais leves.
The present work happens from a reading meeting, between my readings of the Milan Kundera and Denis Diderot novels – more specifically, reading the novel by Diderot, Jacques, the fatalist and his master and play created by Kundera as an honor to Diderot, entitled Jacques and his master – these works make up the corpus of our analysis. This dissertation aims to understand and think about the concepts of Fatalism and Lightness in a way close to Milan Kundera (2006, p. 107) considered as being the work of a novelist, the work of realizing that "without ceasing, the aesthetic concepts are transformed into inquiries"1 and a novel often "is but a long pursuit of some fugitive definitions"2. In other words, dedicate, here, thinking a concept while fugitive definitions, is say, think about it in your aesthetic dimension and your intuitive potential – a concept as a way of life and thought. Therefore, we propose an analysis from the aesthetic character Ludvik (La plaisanterie, 1967) and the fatalists of Milan Kundera (1981) and Denis Diderot (1976). Such characters, by the way they are composed and presented aesthetically by the authors, allow us to think the existential implications of certain ways of life that are expressed in the form of fatalisms of an epoch, at the same time they mark other possible ways of life and subjectivation, lighter.
Suditu, Loredana. "Milan kundera : l'identité à l'épreuve de l'exil : des frontières intérieures et extérieures." Angers, 2010. http://www.theses.fr/2010ANGE0061.
Full textWhen the theme of internal and external exile is chosen by a writer whose exile is atypical and whose work questions a world where exile itself became an atypical phenomenon, what is the acquired meaning ? Neither as a cosmopolitan writer nor in his novels does Milan Kundera understand exile in its usual meaning of dispossession, dislocation and suffering. Its meaning evolves rather in the sense of an assumed break with various forms of totalitarianism, whether political or anthropological, inferred by the "other", the modern world, the words or the images. In Kundera's novels, one can perceive the random nature of the classic identical parameters : social identity, physical identity, continuity in time, identification with one's mother tongue, roots and past. Besides, the relation with "other" unfolds under the ceaseless dynamics of masks and warping identity mirrors. Kundera so widens the meaning of uprootedness and carries a disenchanted glance on concepts such as nostalgia, return and home. In order to find their "self", Kundera's characters achieve internal and external displacements. They cross existential borders in space, time and spirit and find themselves exiled from all theit identity clichés. They partially find the centrality of their "self" in what they think is peripheral, and which, interiorized, provides identity. Nevertheless, identity and exile remain an open subject in Kundera's novels, as any identity process is at once ambivalent and individual, without acquiring the sense of a paradigm
Ivanova, Velichka. "Philip Roth et Milan Kundera, ou le roman aux prises avec l’Histoire." Paris 3, 2007. http://www.theses.fr/2007PA030057.
Full textThe study analyzes, in a comparative approach, the light that the modern novel casts on contemporary history. For this purpose the dissertation associates the Czech Milan Kundera and the American Philip Roth. It includes four works of each: The Joke (1967), Life is Elsewhere (1973), The Book of Laughter and Forgetting (1979), The Unbearable Lightness of Being (1984) by Kundera, American Pastoral (1997), I Married a Communist (1998), The Human Stain (2000), and The Plot against America (2004), by Roth. For the two writers, History is both a personal experience and a novelistic issue. The study progressively brings out the convergence between two fictional worlds which, at first appearance, seem to be complete opposites. Indeed, Kundera and Roth distance themselves from the dominant ideologies — authoritarian socialism of the ex-communistic regimes, on the one hand, and American democracy, on the other. The first chapter manifests the way the authors view heritage in its double dimension of personal history and literary patrimony. The second chapter considers a common rejection of the pathos of History. It focuses on the central role assigned to the motifs of the Utopian dream, of time, and of memory. The third chapter analyses the manner that the rewriting of real events and the construction of the novel transform history into a literary discourse. The study comes to a close with an analysis of the position of the author in the modern novel prompted by the autofictional element. In both authors, autofiction contributes to discredit and reinvent history
Duchesne, Hugo. "Petites proses géométriques, suivi de, La poésie au secours du roman." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=29500.
Full textThese four "Short geometrical proses" appear as "short stories" all of which tell a moment, a situation or the life of characters obsessed with geometrical figures such as the rectangle, the triangle, the square and the circle. This "nature of geometrical figures" brings forth sweet reveries which translate various feelings in a playful tone.
Parent, Thierry. "Quatre vies sur un chemin, et, Le hasard a l'oeuvre chez Milan Kundera." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32935.
Full textThe notion of chance is omnipresent in the works of Milan Kundera. Concentrating mainly on three novels, La Valse aux adieux, L'Insoutenable Legerete de l'etre and L'Immortalite---where the author proposes a "Theory of chance"---this study focuses on the foundations and consequences of chance in the fictitious world of Kundera. (Abstract shortened by UMI.)
Souza, Paulo Eduardo Lannes. "Memória, história e melancolia em a Insustentável Leveza do Ser, de Milan Kundera." reponame:Repositório Institucional da UnB, 2017. http://repositorio.unb.br/handle/10482/30536.
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No romance de Milan Kundera, A Insustentável Leveza do Ser, o narrador – sempre anônimo e distante das ações apresentadas na obra – relembra a trajetória de quatro personagens (Tomas, Tereza, Sabina e Franz), marcados pela invasão russa na República Tcheca, que ocorreu de fato em 1968. Porém, essa memória é falha, sendo recuperada de maneira não-cronológica e estando repleta de interpretações criadas a partir de leituras filosóficas posteriores àquele momento histórico. Encontrando-se diante da impossibilidade de um resgate total do que ocorreu no passado, o narrador se agarra aos fatos marcantes daquele período, usando-os como pano de fundo para cada um dos personagens e criando, dentro da obra, uma memória que passa do individual ao coletivo ao longo da narrativa. Também será possível perceber que a trajetória dos personagens é intensamente marcada pela melancolia, que existe como o produto da memória em questão. Partindo da análise do texto, o estudo propõe identificar o trabalho da memória desse narrador, o uso da história dentro da obra e os traços melancólicos existentes na narrativa kunderiana. Todos os questionamentos são levantados a partir da perspectiva teórica trabalhada nos ensaios do próprio Milan Kundera e dos escritos de autores como Paul Ricoeur, Roland Barthes, Jacques Derrida, Aleida Assmann, Maurice Blanchot, Luiz Costa Lima, Jean Starobinski, Georges Bataille e Octavio Paz.
In Milan Kundera's novel, The unbearable lightness of being, the narrator - always anonymous and distant from the events presented in the book - recalls the trajectory of four characters (Tomas, Tereza, Sabina and Franz), who are marked by Russian invasion in the Czec Republic, that actually occurred in 1968. However, he recalls this faulty memory in a non-chronological way. Besides that it is full of interpretations that were created from philosophical readings that he made after that historical moment. Finding himself faced with the impossibility of a complet rescue of what happened in the past, the narrator clings the striking facts of that period, using it as a background for each of the characters and creating, inside the text, an individual memory that becomes collective throughout the narrative. It will also be possible to perceive that the trajectory of the characters is intensely marked by the melancholy, that exists like product of the memory in question. Starting from the analysis of the text, this study proposes to identify the work of this narrator's memory, the use of the History inside the text and the melancholic traces in the Kunderian narrative. All these questions are raised from the theoretical perspective elaborated in the essays of Milan Kundera himself and the writings of authors like Paul Ricoeur, Roland Barthes, Jacques Derrida, Aleida Assmann, Maurice Blanchot, Luis Costa Lima, Jean Starobinsky, Georges Bataille and Octavio Paz.
Graven, Ashley Holm. "Selfhood, identity and madness in the works of Milan Kundera and Peter Carey." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/3904.
Full textChoquette, François. "Destins intimes de la connaissance dans L'insoutenable légèreté de l'être de Milan Kundera." Thèse, Université du Québec à Trois-Rivières, 1999. http://depot-e.uqtr.ca/3365/1/000658921.pdf.
Full textVaitonytė, Gintarė. "Sovietinės tikrovės ironizavimas Ričardo Gavelio romane „Vilniaus pokeris“ ir Milano Kunderos romane „Nepakeliama būties lengvybė“." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2011. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2011~D_20110616_173424-60168.
Full textMaster’s thesis analyses what victims of the Soviet reality are ironized in the Lithuanian and Czech novels written within 1987-1989. Research material and sources - Milan Kundera’s novel Nepakeliama būties lengvybė (The Unbearable Lightness of Being, 1987) and Ričardas Gavelis’ novel Vilniaus pokeris (Vilnius Poker, 1989), both of which depict the Soviet reality. The choice of novels was determined by plot difference and common political situation. The theoretical part of the paper presents the theory of the possibility of ironization and irony functions. The research part of the paper analyses ironized victims of the Soviet reality in Kundera’s novel Nepakeliama būties lengvybė and Gavelis’ novel Vilniaus pokeris. The paper reveals that different victims of the Soviet reality are ironized in the novels. The Soviet reality in Kundera’s novel is ironized through the choice of depicting life and existence, life and objective reality as irony victims. Each character tries to answer the following questions: whether what is happening in the Soviet reality is correct? Whether betrayal, prison, lie and cheapness are the things which should really prevail in the world? The concept of culture is presented differently in Kundera’s novel: a) culture promotes human maturity and reflects settled values; b) culture is a reflection of the change of values and the way of rebellion against the Soviet reality. The Soviet reality in Gavelis novel is ironized through the choice of cultural... [to full text]
Miletic, Tijana. "European literary immigration into the French language : readings of Gary, Kristof, Kundera and Semprun." Thesis, University of London, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.441233.
Full textBeghini, Federica. "À la recherche de la « pépite d'or » : Étude textométrique de l'œuvre de Milan Kundera." Electronic Thesis or Diss., Université Côte d'Azur, 2023. https://intranet-theses.unice.fr/2023COAZ2020.
Full textThis study consists of an integrated linguistic analysis of the work of Milan Kundera. By integrated analysis, we mean a linguistic study carried out through qualitative and quanti-tative methods. These methods belong to the field of textometry, a discipline whose objective is to analyse textual corpora through computer processing (Guiraud, 1960; Lebart, Salem, 1994; Pincemin, 2020). More generally, this work could therefore be included in the field of stylometry, since this textometric analysis is functional to the characterization of a style of writing (Magri, 2010). Indeed, the main objective of this research is to detect by contrast the elements that define Kundera's prose. To this end, two corpora were composed : a corpus of study and a reference corpus (Rastier, 2011). The first comprehends almost all the texts of Kundera's Œuvre I, II (Gallimard, Pléiade). The second is representative of the French literary landscape of the period in which Kundera published his texts (1968-2013).The corpora were first digitised and then examined using the textometry software Hyperbase (web and standard version), which employs both classical statistical methods and deep learning techniques (CNN, Convolutional neural network).This software allows various analyses on lexical, morphosyntactic and semantic levels. In particular, the following elements have been investigated : the vocabulary structure, morphological and syntactic aspects, morphosyntactic and multidimensional patterns, and finally the thematic structure.These elements were examined in an endogenous analysis of the corpus of study and in a series of exogenous analyses between the corpus of study and the reference corpus. Indeed, comparative studies between Kundera's work and the contrastive norm represented by the reference corpus aim to isolate the linguistic characteristics of the literary language of the time in novels, essays and short stories, in order to detect the distinguishing elements of Kundera's prose that differ from the linguistic model of his contemporaries' literary language. In addition, endogenous analyses of Kundera's work - made possible by the compilation of subcorpora - can account for linguistic constants that are independent of genre, period and/or language, as well as for linguistic variants determined by literary genre, diachronic and/or linguistic variability. In conclusion, this study employs an integrated methodology (linguistics, literature, statistics, deep learning) with the aim of defining the prototypical features of Kundera's idiolect, that is, the most significant elements that distinguish his writing from that of a representative sample of his contemporary French authors
Krupičková, Zuzana. "Aspects de la transtextualité dans l'oeuvre de Milan Kundera (Diderot, Kafka, Broch, Vančura et l'avant-garde tchèque)." Paris 3, 2006. http://www.theses.fr/2006PA030032.
Full textThe work herein is dedicated to the aspects of transtextuality in the work of Milan KUNDERA (born in 1929), which as yet haven't been studied in KUNDERA scholarship. It deals with and focuses on the relationship between KUNDERA'S work and the works of four authors: Denis DIDEROT (1713 – 1784), Franz KAFKA (1883 – 1924), Hermann BROCH (1886 – 1951) and Vladislav VANČURA (1891 – 1924). VANČURA, one of the most important Czech writers, was influential in the founding of the avant-garde movement in Czechoslovakia. We also searched for and studied the presence of avant-gardist intertexts in KUNDERA'S work. KUNDERA'S novels are well known by the French public, but we have also taken into account his written work which exists exclusively in the Czech language: poetry, short stories, and his theoretical work on VANČURA, entitled The Art of the Novel, published in Prague in 1960. In the first part, we have made a comparison between Jacques and His Master by KUNDERA and DIDEROT'S novel Jacques the Fatalist and His Master. According to the terms delineated by G. GENETTE, it is the only example of massive and declared hypertextuality in KUNDERA'S work. In the second part, we have researched the intertexts of KAFKA, BROCH and VANČURA in the work of KUNDERA. In addition, we have studied the context of the culture of the period and the circumstances in which KUNDERA encountered the work of each of these authors. We have searched out, described and analyzed the intertexts which exist in the work of KUNDERA in order to answer the following: What is the character of the intertext and in what measure does it exist in KUNDERA'S work? Does Kundera's work really share a common poetic with these predecessors, or has his association with them been more a conscious personal strategy? And finally, we have attempted to delineate and establish the functions of transtextuality in the work of KUNDERA
Bessebs, Véronique. "Un train en cache un autre, suivi de, Rêves et récit onirique chez Milan Kundera /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33272.
Full textThe second part of this master's thesis is a critical paper that focuses on the way in which dreams and oeniric writing unfold in the works of Milan Kundera. The method entails understanding and defining dream writing through a typology that categorizes the different types found according to their function. The varying degrees culminate when dreams and reality merge: how does the line that distinguishes the two become blurred? Can it be defined or delimited, and above all, on which thematic ground?
Kenzie, Alison M. "The magnificent sense of being relevant, a comparative study of Milan Kundera and André Brink." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0026/NQ31156.pdf.
Full textCloutier, Marenger Cynthia. "[Le] Je: personnage en devenir. Portrait du narrateur subjectif dans les romans de Milan Kundera." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95601.
Full textDans l'ensemble de son œuvre, Milan Kundera tente de dépasser le roman de type balzacien, devenu selon lui le modèle convenu du genre romanesque. Afin d'y parvenir, il redéfinit les codes hérités du XIXe siècle, basés sur l'illusion fictionnelle. Dans Le livre du rire et de l'oubli, L'insoutenable légèreté de l'être et L'immortalité, cette redéfinition passe en grande partie par l'omniprésence dans le roman d'un narrateur je possédant la particularité de créer ses personnages « devant» le lecteur. C'est à ce narrateur à la subjectivité assumée que nous avons choisi de consacrer cette étude, dans le but de comprendre quel est l'impact du je sur le récit. L'analyse des passages où le narrateur subjectif se manifeste dans nos trois romans nous a permis de constater que sa personnalité s'affirmait de l'un à l'autre, au point où, de présence dont la légitimité est à acquérir, le je devient la « matière première» de son roman, puis finit par incorporer la diégèse et se faire personnage.
Barroso, Maria Veralice. "A obra romanesca de Milan Kundera : um projeto estético conduzido pela ação de Don Juan." reponame:Repositório Institucional da UnB, 2013. http://repositorio.unb.br/handle/10482/15354.
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A presente tese tem como proposição investigar a atuação da personagem de Don Juan na obra romanesca de Milan Kundera. Para tanto, procurou-se pelo conjunto dos textos romanescos como espaço de observação e desenvolvimento das reflexões propostas. Esta pesquisa entende que, no tempo, por Kundera, denominado “Paradoxos Terminais da Modernidade”, as personagens de Don Juan dialogam com a condição humana constrangida pela ditadura do idílio e direcionada pela atitude lírica. Com o objetivo de procurar entender de modo mais abrangente e aprofundado o teor desse diálogo, buscou-se amparar nas proposições metodológicas apesentadas pelos estudos referentes à Epistemologia do Romance. Dialogando com tais orientações e priorizando a discussão estética, inicialmente, procurou-se traçar os caminhos percorridos por Kundera até tornar-se romancista. Nessa trajetória, buscou-se destacar as influências sociais e culturais no âmbito das transformações efetuadas do poeta ao romancista. Em seguida, tentou-se construir um panorama representativo das opções realizadas pelo autor enquanto romancista, aí destacando a relevância conferida à personagem ficcional. A partir de uma abordagem epistemológica, em um segundo momento, procurou-se pelas relações estabelecidas entre os Don Juans kunderianos com aqueles do passado. O percurso histórico traçado pela pesquisa teve por intuito, melhor compreender o quadro de referências com o qual Kundera dialoga, bem como, melhor entender o sentido dessa personagem no interior dos textos romanescos do autor. Enquanto elementos caracterizadores de Don Juan e excessivamente utilizados por Kundera, o riso e o erotismo foram também aqui objetos de investigações. Nos momentos finais da tese, interligando o estético e o epistemológico, a partir de uma perspectiva hermenêutica, buscouse realizar uma análise dos textos constitutivos de Risíveis Amores. A escolha desse livro se deu em virtude de sua condição no conjunto da obra. Pois, se aqui se defende que a obra de Kundera é vista como um projeto, na mesma medida, observa-se que Risíveis Amores é a apresentação desse projeto. O presente trabalho de pesquisa compreende ainda esta obra inaugural como um tributo a Don Juan e a partir do qual é possível estabelecer um diálogo profícuo com o todo da obra romanesca de Milan Kundera. ______________________________________________________________________________________ RÉSUMÉ
La présente thèse a pour objectif d’ investiguer les actions du personnage de Don Juan dans l'oeuvre de l'écrivain Milan Kundera. Pour cela, nous avons cherché un ensemble de textes romanesques comme espace d’observation et de l'élaboration de propositions de réflexions. Cette recherche est d'avis que, dans la période appelée par Kundera « Paradoxes terminaux de la modernité», les personnages de Don Juan dialoguent avec la condition humaine imposée par la dictature de l'idylle et guidée par l'attitude lyrique. Dans le but d'essayer de comprendre de manière plus complète et approfondie le contenu de ce dialogue, nous nous sommes appuyés sur les propositions méthodologiques présentées par des études à propos de l'épistémologie du Roman. En dialoguant avec telles orientations et priorisant la discussion esthétique, d'abord, nous avons cherché à retracer les chemins suivis par Kundera pour devenir un romancier. Dans cette trajectoire, nous avons cherché à mettre en évidence les influences sociales et culturelles dans le cadre de transfomations effectuées du romancier au poète. Ensuite, nous avons essayé de construire un panorama représentatif des choix faits par l'auteur en tant que romancier. À partir d'une approche épistémologique, dans un second moment, nous avons été en quête des relations établies entre les Don Juans kunderiens avec ceux du passé. Le parcours historique tracé par la recherche visait à mieux comprendre le cadre de référence avec lequel Kundera dialogue ainsi qu’à mieux comprendre la signification de ce personnage dans les textes romanesques de l'auteur. En tant qu’ éléments caractéristiques de Don Juan et trop utilisés par Kundera, le rire et l'érotisme ici ont été également des objets d'investigation . Dans les derniers moments de la thèse, en reliant l'esthétique et l’épistémologique, dans une perspective herméneutique, nous avons essayé d'effectuer une analyse des textes constitutifs de Risibles Amours. Le choix de ce livre a été fait grâce à son statut dans l'ensemble des oeuvres . Car si l'oeuvre de Kundera est considéré comme un projet, notamment Risibles Amours est la présentation de ce projet. La présente recherche comprend encore cet oeuvre inaugural comme un hommage à Don Juan et à partir duquel il est possible d'établir un dialogue fructueux avec l'ensemble de l'oeuvre de l'écrivain Milan Kundera.