Dissertations / Theses on the topic 'Langue poème'
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Lareau, Pascal. "Herméneutique du poème et altérité ; suivi de La langue liquide les yeux brûlé." Thèse, Université du Québec à Trois-Rivières, 2009. http://depot-e.uqtr.ca/1496/1/030120657.pdf.
Full textFondacaro, Giuseppe. "Poème en prose et conte poétique dans La Jeune Belgique (1881-1897) et La Wallonie (1886-1892)." Doctoral thesis, Universite Libre de Bruxelles, 2018. https://dipot.ulb.ac.be/dspace/bitstream/2013/275787/3/tesi.pdf.
Full textDoctorat en Langues, lettres et traductologie
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Abdelkader, Yamna. "Poétiques de la rive : la forme en jeu : la poésie de langue française issue du Maghreb (1995-2005)." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30054.
Full textThe French-language poetry from Maghreb, and more notably its aesthetics, remains a poorly researched subject, despite the numerous works produced by several dedicated authors. The following research document aims to identify the native and acquired cultural elements constituting a poem, basing itself in a collection belonging to six poets who have crossed the Mediterranean and have established themselves in France: Malek Alloula, Jamel Eddine Bencheikh, Abdelwahab Meddeb, Zaghloul Morsy and Amina Saïd. The chosen period (1995 – 2005) allows a comparison between the formal novelty and poetry writing and their relevance to the duality of both French and Maghreb tradition, such as they are present in the dawn of the new millennium. The visual elements of a poem, as well as its vocal form and its enunciation techniques, are highlighted by means of a linguistic and literary study approach, using poetics and inter-semiotics. These indicate the elements specific to Maghreb poetry written in France, in contrast to both French poetry in general and French-language poetry from Maghreb
Eyriès, Alexandre. "Traits d'union et relation dans l'ɶuvre d'Henri Meschonnic : langage, poème, traduction." Nice, 2009. http://www.theses.fr/2009NICE2016.
Full textBoth underlied by a poetic of relationship and by a thought on language - nourished by the experience of writing poems and translating the Bible - Henri Meschonnic’s work seek the passages in direction of the others, of the subjects. It develop an historic anthropology of language since a critic of rythm and also a critic mileage through the whole human sciences. The poem, as an ethical and political act, innervate the theory of relationship in and by the language. Against all the separatisms (prose versus poetry) and all the dualisms (sound and sense, living voice and dead letter), let’s listen the continuum between language, ethical and political who let the poem begin a mutual and reciprocal invention of a language’s form by a life’s form and of a life’s form by a language’s form. Poems of Henri Meschonnic are inventions of life. Those relationships-gestures aim at other subjects, drawing in a social language. The continuum that elaborate Henri Meschonnic’work makes her a lever to rethink the theory of language, first by writing poems, then in translating again the Bible and giving again rythm to her. Poem and translation, by making think on the language, make an invention of the unknown and produce ther own effects of knowledge. Writing poems, practicing both translation and epistemology of translation, and in the same time thinking again the theory of language are indissociable, because they merge with the life herself
Lécrivain, Claudine. "Surréalisme et traduction : analyse de la version en langue espagnole de poèmes surréalistes français." Bordeaux 3, 1991. http://www.theses.fr/1991BOR30004.
Full textThe analysis of the spanish translation of the surrealist poems written by peret, breton, desnos and eluard, is based on structural linguistic principles, unfolding along the following levels of description : phonologico-graphological, morphosyntactical (at the supra-syntagmatic and the intersyntagnatic level), and semantical (lexis and imagery). The analysis shows the particularities of surrealist researc trying to solve such pratical questions as the nature of language, the functioning of thought, and the importance of the sign vehicle; it makes us also aware of the devices which are necessary for the translators to achieve the passing over to a target-language of new poetic means where the "aesthetic element" is overshadowed by thought and inmediate writing, and of an exploring structure of mental mechanisms. Thus, the diverging and converging coordinates between the target-poems and their source-counterparts can be shown. The dominance of literary translations drives us to reflect on the well-foundedness of this choice and establishes different degrees of accurateness in literary translation, making it, thereby, the kernel of experimentation and possible solutions of the literary phenomenon
Bougy, Saint-Martin Catherine. "La langue de David Ferrand : poète dialectal rouennais du XVIIème siécle, auteur de La Muse normande." Caen, 1992. http://www.theses.fr/1992CAEN1097.
Full textThe norman muse is a collection of comic poems written by David Ferrand, a poet and printer from Rouen (1590-1660) for the Puy des palinods (literary society of the palinods), a literary contest organised every eighth december to commemorate the immaculate conception of the holy virgin. This works, written in the purin language, that of the textile workers in Rouen, is the subject of a phonetic, morpho-syntaxic and lexical study; its aim is to determine, in this corpus of twenty-eight books, what belongs to norman dialects, what is peculiar to the french language of the sixteenth and seventeenth centuries, and what is to be attributed to the authors's own imagination. The phonetic study tends to reveal that part of the phenomena that have been noted are archaism, witnessed in old and middle french, while another series of phenomena is to be linked to those described by dialectologists as characteristic of the norman dialects north of the joret line. The morpho-syntactic phenomena which are studied are most often witnessed in seventeenth century language
Velly, Jean-Jacques. "Richard Strauss : l'orchestration dans les Poèmes symphoniques, langage technique et esthétique." Paris 4, 1992. http://www.theses.fr/1991PA040208.
Full textThis ph. Doctorate has 2 main purposes : to make a technical devices' inventory susceptible to characterize the original aspect of R. Strauss' orchestral writing in the view to specify if it exists a straussian style of orchestration, then to replace it in the development of that technique during the XIXth century. The discussion was focused on a series of 10 musical works which were consistent in their genre (the 10 symphonic poems written by Strauss), era of writing (1886-1915) and style (end of romantic full orchestras’ growth). The various kinds of orchestras used by Strauss showed than this development goes through a progressive increase of instruments which starts with the orchestra "by 2" (Mozart, Beethoven) and reaches a "supra-classical" size, which is twice bigger than the previous one. The change from the classical to "supra-classical" orchestra requires news orchestral devices. Moreover, in his own orchestral technique, Strauss appears as the logical and ultimate successor of an orchestral writing tradition which starts from Berlioz to Wagner through Liszt. Richard Strauss is the final point of a romantic orchestra and in his biggest orchestral works, he anticipates the chamber orchestration which will get an important part during the XXth century
Karabatsa, Maria. "Le poète Costis Palamas (1859-1943) et sa contribution à la formation de la langue néo-grecque." Université Marc Bloch (Strasbourg) (1971-2008), 2005. http://www.theses.fr/2005STR20015.
Full textThis dissertation is a study of Kostas Palamas, the Poet Laureate of Greece, and his contribution in the shaping of contemporary vernacular Greek language. Palamas, a multitalented personality excelling as a poet, critic and journalist, played a determinate role in the dissension of bilingualism in the late 19th and 20th Century Greece. This open conflict took on the form of tyranny in view of the long-term suffering and degradation the Greeks had endured under Turkish occupation, which produced a sterile intelligentsia contemptuous of the people's verbal traditions and popular vernacular. It was a blatant attempt (especially in the 17th century and up to the period under this study) to impose the “katharevousa” καθαρεύουσα, a contrived purist language of officials that had never been used or spoken by anyone previously. Following in the footsteps of the poet Solomos, Palamas together with many of his contemporary personalities including Psycharis, devoted his whole life in establishing the “demotic” popular dialect the “lingua franca” as the official language. This was the speech of the people in their everyday life. He pursued this task with efficacious exuberance based on his poetic flair, critical finesse and refined writing vigor. He unrelentingly penned his views in many progressive publications campaigning on behalf of the “dimotiki” dialect. As a result, just as in the case of all the other western European people, this dialectic reinstatement, at first took shape through the power of poetry, to eventually culminate and spread throughout the Hellenic educational system. The fact that Palamas was there as the most suited person and at the right time made the difference as we have attempted to point out, to shed academic light on and finally comprehensively present
Morcillo, Françoise. "L'enjeu du savoir linguistique dans l'œuvre du poète Jaime Siles." Paris 4, 1993. http://www.theses.fr/1993PA040174.
Full textOur study of importance of linguistic expertise is organized along three levels of interpretation. The first, entitled neo-baroque discourse, assesses how the newness of Siles's poems is built up out of onomastic otherness-through the spacing-out of the proper names of Gongora, Quevedo, Lope but also Mallarmé, the notion of "barroco" may be re-interpreted as a palimpsest. The use of the palimpsest technique of visualising the text beneath the text lays bare the palimpset-type structure of the poetry. Combining the notion of palimpsest with a linguistic approach has led me to discern a second interrelation entitled the expressive function of language. According to this second level of significance, the craft of writing is seen to underlie the emotion of the subject, the semiotic adventure triggering off the somatic one. It also brings to the surface yet another method of temporising in Siles's poetic discourse, namely the mimological relation. Siles's proper name is dispersed, mapping out intertextuality and intervocality. Our interpretetion of the work of siles, as it stands today, is based on possibility of a grammatological reading of the text. The tripartite division into echogram, anagram and chronogram makes it possible to make out the rules governing the play of "difference"-how a contemporary Spanish poet fits in to the Spanish poetic tradition. How his writing plays with sameness and otherness
Salia, Issaka. "Léopold Sedar Senghor, poète et humaniste." Rennes 2, 1986. http://www.theses.fr/1986REN20004.
Full textThe first part is devoted to the negro-african features of Senghor's production and thought, linked as they are the ancestral milieu and rooted in tradition through the onomastic aspects, the cultural and political elements which serveas a backcloth to the writing process. The second part lays greater emphasis on black consciousness in Senghor's literary production. Senghor identifies unreservedly with that consciousness, whose most essential and positive virtues he sings with a view to voicing his humanism as well as his comprehensive vision of the negro-african world, which contrasts with his dichotomic and even antinomic vision of the european world. The third part is devoted to all the elements of Senghor's humanism that contribute to his conception of a universal civilisation: Senghor's poetics ; Senghor as literary critic ; negritude according to Senghor. These several points show the coherence and intrinsic logic of Senghor's thought. Indeed, senghor is not only a poet, but he is also a humanist, whose principles and anthropocentric preoccupations come out in his poetry as much as in his political speeches and his critical essays and studies. This third part outlines the evolution of the poet's thought as it expands from Senegal to humanity, from man to the universe, and it concludes with a tentative definition of senghor's humanism, such as i have tried to describe it, and which necessitates a sustained reading of the writer, both as thinker and politician. Senghor's production, which may be epitomized in the phrase "universal civilization", constitutes a robust entity, a monolithic whole, and sets forth a project which takes account of man's conditions and of the future of mankind caught in the convulsion of contemparary angst
Harnay, Patrick. "Recueillir le poème : modes et manières de comprendre pour l'école élémentaire." Paris 10, 2010. http://www.theses.fr/2010PA100170.
Full textKim, Gi-gook. "L'approche sémiostylistique des poèmes en vers chez Rimbaud." Paris 4, 1996. http://www.theses.fr/1996PA040030.
Full textThe semio-stylistics analysis, which is developed in this work, stands within a dialectical relation between the text and its reader. It aims at a new reading of Rimbaud’s text which formed the subject of many and various interpretations, because of the nature of his work. Our analysis is divided in two parts. In the first one, the semantics reading is dealth with. This reading is grounded on all the signs in the text. The reading contains a critical approach which, from the start until the end, splits each poem and built charts divided in two opposite values, positive and negative, for the two actants the "self" and the "non self". In the second part, we present an analysis grounded on a semiotics reading. It contains two chapters. The first chapter points out the existing links between the charts which analyses all the poems. In the second chapter, we show how the semiotics reading points out the dialectical structure within the poems in verse, referring to the notion of the intertextuality. It brings up the permanent features scattered in all the poems. Our work on Rimbaud’s poems in verse, is a productive reading, because the semio-stylistics reading allows the reader to understand the dialectical, circular and progressive structure. It moves the issue from "what does the text say" to "how the text says what it says"
Bertiau, Christophe. "Un "Ancien" perdu parmi les "Modernes" ?Jean Dominique Fuss (1781-1860), poète néo-latin." Doctoral thesis, Universite Libre de Bruxelles, 2016. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/235974.
Full textDoctorat en Langues, lettres et traductologie
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Elzière, Sophie. "Nuées d'oiseaux et crocus évangiles. Ted Hughes et le poème de l'être complet." Thesis, Sorbonne université, 2021. https://tel.archives-ouvertes.fr/tel-03789589.
Full textThis thesis explores Ted Hughes’s poetic work and focuses on the question of the completion of being and of language. The poet sheds light on the man of ‘logos’, heir to Socrates and Descartes, criminal because he wanted, by the sole force of his rational mind, to own and control the outer world of nature and to be the master of the inner world of his individuality, body and soul alike. The myths and stories that fill Ted Hughes’s poetic and critical work trace the trajectory of a human being who has acknowledged the harm he has done and asks for forgiveness to the Goddess of Complete Being, both his Mother-Earth and Sacred Bride, both Queen of Hell and Flower of Paradise. As he surrenders to her unconditionally, an ultimate and ‘last-ditch miracle’ occurs, one that reveals his true and divine ‘self at the source’, his ‘vital nucleus’ and ‘the most inaccessible thing of all’. According to the poet, one should speak like the animals and the birds that, far beyond human words, manage to ‘express this being pure and without effort’ and a truth ‘at the core of us – strange, beautiful, pathetic, terrible’. One should decipher the inaudible music of the wind, the grass and the rocks, because it bears the truth of a nameless Goddess, the ‘Annunciation of clay, water and sunlight’, or the ‘crocus evangels’, which tell man that he should take all the risks throughout his journey. The human being that the poet describes has a black wound on his body and a rainbow jewel in his soul; he has been through the softness of agony and the sorrows of ecstasy – and thus he feels the inmost core of being and of language, and the secret of the magic spell cast by poetry
Sandqvist, Olle. "Étude sur la langue dans deux poèmes en ancien français : L’Advocacie Nostre Dame et La Chapelerie Nostre Dame de Baiex." Linköpings universitet, Institutionen för kultur och kommunikation, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-92789.
Full textPetrecca, Miguel Angel. "La langue en question : trois poètes chinois contemporains de la troisième génération." Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0005.
Full textModern Chinese poetry or "new poetry" (xin shi 新诗) has had to fight from its beginnings to exist as a viable literary genre. Born out of the break with tradition and the rejection of the classical language, it has been haunted throughout its history by the question of the link with tradition, the tension between China and the West and the problem of language. The objective of our thesis is twofold. On the one hand, we aim to placethe issue of tradition, identity and language within the broader framework of the history of modern Chinese poetry in order to better understand its challenges in the current context, marked by the rise of nationalist discourses and the entry of Chinese poetry into the networks of world poetry. On the other hand, we want to see how this problem is embodied in the work of three poets of the third generation (di san dai shiren 第三 代诗人), that is to say, those who began to write in the wake of obscure poets (menglong shiren 朦胧诗 人). Our dissertations also aims to discover the works of these three poets who are among the most important figures of the current Chinese poetic scene (Yu Jian 于 坚, Xi Chuan 西川 and Bai Hua 柏桦), and to help draw the attention of French researchers to a poetry (contemporary Chinese poetry) which has not yet received the attention it deserves
Majeune-Girodias, Christine. "Théophile Gautier : poète, poésie, poétique." Clermont-Ferrand 2, 2001. http://www.theses.fr/2001CLF20002.
Full textGros, Gérard. "Le poète et la Vierge : étude sur les formes poétiques du culte marial en langue d'oïl, aux XIVe et XVe siècles." Paris 4, 1989. http://www.theses.fr/1989PA040064.
Full textChiarelli, Angelo. "L'Amor di Marfisa de Danese Cataneo dans la tradition du poème épique de la Renaissance italienne." Doctoral thesis, Universite Libre de Bruxelles, 2021. https://dipot.ulb.ac.be/dspace/bitstream/2013/332072/4/Tesi.pdf.
Full textDoctorat en Langues, lettres et traductologie
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Métail, Michèle. "Poétique curieuse dans la Chine ancienne : analyse des poèmes de formes variées." Paris, INALCO, 1994. http://www.theses.fr/1994INAL0011.
Full textOliveira, Dourado Lopes Antonio Orlando De. "L'effectivité improbable : une étude de l’adverbe ρεία, de l’adjectif χαλεπός et des termes qui en dérivent dans les poèmes homériques." Strasbourg, 2009. https://publication-theses.unistra.fr/public/theses_doctorat/2008/OLIVEIRA_DOURADO_LOPES_Antonio_Orlando_De_2008.pdf.
Full textThe neuter form of the adjective khalepos, the adverb khalepôs, the adjective rheídios and the adverbs rheîa / rhéa / rheidíos characterize the divine action and the heroic one, insofar the last one can suffer the negative influence of the former. We propose in this study that those terms indicate the teleological connection between word and action. Instead of the usual translations 'easy', 'difficult', 'easily', 'with difficulty', etc. , which express effort or lack of effort, we interpret those terms according to the connection between word and action: the god and the hero undertake to do something when they announce what they will accomplish. The homeric hero is not mainly concerned by what demands more or less effort, but, on the one hand, by what can or cannot effectively happen and, on the other hand, by what betrays their expectations. According to this perspective, we translate the adverb rheîa / rhéa / rheidíos by 'effectively'; the adjective rheidíos, by 'favourable' / 'effective'; the adjective khalepos, by 'treacherous'; the neuter khalepos and the adverb khalepôs, which express an 'impossible according to the circumstances', by 'improbable' and by the periphrasis 'it is improbable that'. After the main arguments presented in the first two chapters, chapiter 3 examines two particularly controversial passages: the two occurrences of khalepos qualifiyeng the proofs of Heracles (Odyssée, XI, 622 et 624) and the one qualifying divine manifestation (Iliad, XX, 131)
Doublet, Elisabeth. "L'autre côté du langage : l'humour et l'ironie dans les poèmes et les récits de Jean Grosjean." Lyon 3, 1997. http://www.theses.fr/1997LYO31010.
Full textSince 1946, jean grosjean has published many writings, both in poetry and in prose, sometimes intermingled with verses. What his writings really offer in terms of originality, compared to the overall work and translations published by the author, is that they go beyond biblical influence but are not totally detached from religious concerns. We have endeavored to bring to light the part played by humor and irony in this action, in a number of different registres. These devices range from puns and tricks and turns of language to declarations enabling the reader to perceive the religious feeling imparted by the words, through contradictory figures - antiphrases, paradoxes and situations - and analogies leading to contrasting representations. The legitimacy of these variations is to be found in their emotion. Their solution comes from the messianic reference outlined by the skillful interplay of allusions. This discreet disclosure also casts light on the relationship with language, defining the words used to depict the necessary intensity. The author reviews the ways of saying and thinking in religious, popular and cultural traditions to get to grips with their real fundaments. He dismisses foregone conclusions, systematizations and conventions prevalent in everyday usage. However, he also uses all necessary restraint. This concern is evident in the importance he places on the distance, doubt and interrogation that lead to a state of ambiguity. It is also to be found in the space attributed to variations of time and nature. Accordingly, the writer comes down to earth, in step with his readers. His approach is one of provocation and of battle against false pretenses but as a means of achieving an essential proximity that celebrates the simplicity of the living being reaching out to his creator. We have attempted to translate this movement which forms a paradoxical unity, as opposed to mere cliches and artificial originalities
Pey, Serge. "La langue arrachee ou la poesie orale d'action. Essai d'analyse et d'histoire de l'oralite dans le poeme a la fin du xxe siecle." Toulouse 2, 1995. http://www.theses.fr/1995TOU20086.
Full textSerge pey, the torn-out tongue or oral action poetry, a contribution to the history and the analysis of orality and of the poem at the end of the xxth century. Referring to the myth of philomela, the author analyses the complex relation between orality and writing. Philomela, "she who loves melody", witnesses the division of a poem, between the writing and the voice. Is the page a torn-out tongue? all writing bears its orality and all orality its writing. Based on the original experience of its author, this thesis analyses the oral exercise of poetry upto the contemporary limits of performance within which it evolves. Under the heading of "the buried tongue", the first part emphasizes the phonostylistic aspects of poetry and thus, forms its critical examination. In the search for his lost orality, the poet, like philomela, seeks his tongue in the rythm and the corporal aspects of reciting, forgotten by the western world, in the ritual act of the poem, in silence or in a transe. The explosion of dadaism and the extremist movements, which were paradoxically against the poem, has allowed the liberation of the mouth reciting the poem
Castille, Jean-François. "Naissance d'une esthétique de la prose de langue française : les enjeux de l'opposition prose poésie dans l'histoire des discours rhétoriques et poétiques de l'antiquité aux lumières." Caen, 2007. http://www.theses.fr/2007CAEN1488.
Full textTremblay, Roseline. "Le poète et le porte-parole : sociogramme de l'écrivain dans le roman québécois (1960-1995)." Paris 8, 1999. http://www.theses.fr/1999PA081596.
Full textBousquet, David. "Dub poetry : une étude de l'oralittérature dans les poèmes de Jean Binta Breeze, Linton Kwesi Johnson et Benjamin Zephaniah." Strasbourg, 2010. http://www.theses.fr/2010STRA1014.
Full textThis research is based on a number of text and peformances representative of the poetic movement known as "dub poetry", a form of english-speaking West Indian contemporary poetry. These works are noticeable for a generalised use of the creole language, the use of explicitly political messages and very intimate links with the agents and practices of contemporary Jamaican popular music. Although dub poets publish texts, the public performance of poetry remains the privileged means of diffusion of their work and the ultimate finality of their writing process. .
Kurts-Wöste, Lia. "L'effet esthétique : sémiotique(s) et philosophie du langage : A propos de quelques adaptations musicales de poèmes de Henri Michaux." Paris 4, 2004. http://www.theses.fr/2004PA040040.
Full textHow can you devise a new concept of esthetic experience phenomenology (the primary focus of wich, effect, is already evoked in traditional esthetics as a sublime event, the effect of rapture, or esthetic pleasure)? "Inter-semiotic" and "trans-semiotic" perspectives have enabled us to evolve towards a type of semiotics that focuses on the sensibility in the receptor activity (remaining thus faithful to the etymology of the term, aesthenasthai, "to sense"), and to observe throught this pluralism of semiotic activity (from the most somatic to the most conceptual) the possibility of a surrender to a "catastrophic" circulation between the different levels of semiotic activity, form the clearest to the most abstract. As a factual dimension of mind-body (like ambivalence:experienced/ seen), the esthetic experience calls for the renewal of this very ambivalence of the experience, at all levels of theoretical discourse (production and reception). Such a "theoretical experience" is achevied tapping into the pragmatic potentialities of esthetic tradition's avoidance of the speculative trend in philosophy; however, it does takes into account the romantic reflection on the linguistic nature of the philosophical discourse about the esthetic effect (even if it does not reach the same conclusions). Truth of an act of langage, objectivity linked to subjectivation, attenuated naturalism, hollow, residual reference, validity based on utility and pertinence criteria (not on verificability criteria), a phenomenology based on esthetic experience reveals the necessity of a plural rationality that avoids fright, as concerns phenomena of the human senses, a distinction between methodical rationality (based on pragmatic and ethical throught) and scientific rationality
Leonesi, Barbara. "Étude sur les traductions en chinois des poèmes de Eugenio Montale (1896-1981)." Paris, EHESS, 2005. http://www.theses.fr/2005EHES0081.
Full textThe topic of my thesis is the analysis of the chinese translations of Montale's poems, first published in China in 1978. First of all, translation problems of linguistic nature are taken into consideration : difficulties in identifying the syntactical structure of the original text and in selecting the meaning of a polysemous word; problems with the tenses and the moods of the italian vebs; the question of indefinite subjects and connectors. The thesis focuses then on problems of literary nature : how the Chinese translators have dealt with the different cultural background and its literary implications. The third part is devoted to the problems connected with Montale's style and language : the determination put after the determinate, the ironic tune and the jumble of registers. The textual analysis of the poems Corno inglese, Meriggiare pallido e assorto. . . , La casa dei doganieri, and Dora Markus is given in the last part, to exemplify how it has been carried on for the whole body of translations
Vera, Yupanqui-Béguin Lydda. "Le pari du discours lyrique à double voie du poète péruvien César Moro : Pérou 1903-1956." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10106.
Full textPopova, Yulia. "Du dis-corps de la langue vers une origine à-rimer : étude psychanalytique de la recherche d’une solution chez le poète Vélimir Khlebnikov : de la versification au chiffrage du monde." Paris 7, 2014. http://www.theses.fr/2014PA070137.
Full textVélimir Khlebnikov (1885 - 1922) – a Russian poet, one of the key figures of Russian futurism. This dissertation follows the traces of Khlebnikov’s work through his different modes of writing, looking first at his poetic practice, then his creation and theorisation of a unique language, one that he hoped would be able to exhaust the Real in its totality, and finally his numerical research, in order to identify both the specificity of his attempts to deal with the jouissance proper to each of these processes and the unary logic characteristic of his remarkable body of work, a logic which attests to a vital need. The radical nature of Khlebnikov’s experiment also leads us to question, in light of this approach and its inventiveness, the subject’s relation to the signifier. Finally, his work gives us the opportunity to think about a singular modality of linking and unlinking a work, a name and a body, opening up a field of reflection concerning structural shifts
Lamoureux, Myriam. "Une prise de parole sur la langue : l'ambivalence générique dans l'écriture poétique de Gaston Miron et de Patrice Desbiens." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25070/25070.pdf.
Full textMele, Ilenia. "Les cendres de Pascoli. Voix de la critique et modernité du poète de Barga." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA133.
Full textThe title of this thesis refers, explicitly, to the famous Pier Paolo Pasolini’s collection, The ashes of Gramsci. Pascoli’s influence on Pasolini explains only in part the title of the thesis. The ashes of Pascoli refers more specifically to the reception of the poet of San Mauro, together with a special attention to the effects on his work. According to this point of view, the continuity of Pascolian criticism has played a central role: from the end of the nineteenth century until the sixties of the twentieth century. It was at the end of this journey that it became clear to us that the different voices of criticism ended up interacting with each other, composing a network and giving a living image of Pascoli and his work to the reader. Gianfranco Contini and Pier Paolo Pasolini could not have marked a turning point in the reception of Pascoli’s work if he had not received the criticisms from Emilio Cecchi, Arturo Onofri or Renato Serra at the beginning of the 20th century. In their studies the image of Pascoli clearly emerges as poet of modernity, an aspect that Jean-Charles Vegliante still reaffirms today, highlighting as the poetry of Pascoli has continued to act on the national literature, for example on Montale of the Ossi, and beyond. And this in spite of the discredit that the Benedetto Croce's criticisms have cast on the work of the Pascoli to the point of considering him as the “ poeta delle maestrine”.The continuity of the criticism has also allowed us to grasp the importance of the historical context in the literary reception. Alongside the diachronic study, we have developed a work on two of the most emblematic poems of Pascoli – Italy (fifth chapter) and Gog and Magog (eighth chapter) – in order to understand the ideologies underlying the different approaches we have tried to reconstitute. This choice was not insignificant. These two poems, at the heart of the mythopoetic work of Pascoli, have divided critics. Nowadays Pascoli, whose poetic qualities make it possible to go back to Dante and Petrarch, represents one of the major Italian poets that it would be really significant to make him known in France
Haddad, Gelalian Lara. "Fouad Gabriel Naffah : plénitude et nauffrages d'une oeuvre." Paris 13, 2007. http://www.theses.fr/2007PA131024.
Full textThe Lebanese French speaking poetry reached maturity in the fifties and the sixties. Deeply influenced by surrealism, the modern generation of authors is yet represented by a poet whose art and views go against the surrealist sensibility of his contemporaries. Fouad Gabriel Naffah (1925-1983) was a poet in all means, but never got the recognition he hoped for. On the fringes of the Lebanese society as well as of the literary context, yet, he seizes the real and integrates the Lebanese landscape into a speculative creative process allowing “poetic living”. The creation of an intellectual poetic language raises description to the rank of cosmogony. Representing space as highly structured and paradoxical brings out new relationships between the subject and the world that are governed by the principle of immanence. Therefore, Naffah’s work can be read, oddly enough, as an original approach of lyricism, and poetic creation, brought into actualization or explained by the author, can be understood as a spontaneous phenomenology. Nevertheless, obstacles to such an ambitious conception of poetry rise mostly in itself, so much so that Naffah’s poems are, at the same time, a demonstration of fullness and a scene of collapse
Labyed, Amel. "Les Sophonisbe du XVIe siècle : textes et styles." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040193.
Full textThe Sophonisbe of the sixteenth century, the first regular tragedy, work of an Italian theorist (Trissino), a translation in prose made by the undisputed master of versification (Mellin de Saint-Gelais) and by the one who is regarded as the best representative of elegant prose (Jacques Amyot), a second translation in alexandrine verse which is the artefact of a grammarian (Claude Mermet), is a corpus which can only sharpen the curiosity and arouse the interest. These works will be joined together here on the model of bilingual editions and followed by a glossary The linguistic study is centred on the alternatives and the variations, whether graphic and morphological when comparing the two French translations, and the lexical and the stylistic when source and target texts are compared. These analyses show to what extent the evolution of these authors, both in the proper and figurative meanings, influences a language which is still in need of elaboration and codification. The constant moves between France and Italy are paralleled by a linguistic reflexion which is done by meetings (official or not), "fights ", and the inter-penetration of the world of the other and the culture of the other. Translating to exceed the models and to illustrate "Vulgar Latin", to develop a language so that we have nothing to envy the others, to offer works whose style competes with that of Virgil, Homers or Cicero and to have a ̎beautiful language̎ and a literature with undeniable stylistics qualities, was undeniably the ambition of our translators
Lapitre, Huguette Éna. "Le bruit des chaînes : recueil de poèmes ; suivi de La poésie de Jean-Noël Pontbriand comme lieu métaphorique de transcendance du langage plus paticulièrement dans Lieux-passages." Doctoral thesis, Université Laval, 2014. http://hdl.handle.net/20.500.11794/25974.
Full textHeulin, Antony. "La mort dans l'oeuvre de Yann-Ber Kalloc'h et Loeiz Herrieu : analyse de l´idée de la mort dans les poèmes de Yann-Ber Kalloc´h écrits pendant la Première Guerre mondiale et dans le récit de guerre Kammdro an Ankoù, Le Tournant de la mort, de Loeiz Herrieu." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20029/document.
Full textThe present thesis focuses on the conception of death in Breton writer Loeiz Herrieu’s story Kammdro an Ankou U – At the turn of Death, drawned from August 1914 to February 1919, as well as in Breton poet Yann-Ber Kalloc'h’s poems from his anthology Ar in Deulin – On my knees, written in Breton at the beginning of World War I. It fits within the scope of civilisation studies. First and foremost, the concepts of death and war are defined and illustrated through various sources and references, which give the reader insight into both men’s and their contemporaries’ mindsets. Besides, this thesis examines how Loeiz Herrieu and Yann-Ber Kalloc’h expressed their respective conception of death in their respective works. The critical comparison thus brings to light not only the very nature of the collective representations which influenced these works – especially those originating from the Catholic or nationalist, both Breton and French, imagination – but also to what extend the unprecedented conditions induced by the Great War forced these two men to invent new representations through their creation. Consequently, they gained a certain amount of individual freedom and a voice of their own, in this crucial moment of transition between tradition and modernity in society. Such a transition introduces the complete break of the development of individualism in European societies. In this perspective, the perception of Loeiz Herrieu and Yann-Ber Kalloc’h’s works improves the current understanding of the Breton folk’s state of mind at the beginning of the 20th century and of the reasons why Breton men accepted to go and sacrifice their lives on the battlefield in the name of France
Arce, Sotelo Manuel. "Les wankas de Tarcuyo : chants et rituels dans les Provinces Hautes de Cusco (Pérou)." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100174.
Full textFor communities altitude in Andean South, potato is more than a simple food product. Treated as a living being, its culture is the subject of a series of musical offerings throughout the agricultural cycle ritual. In the village of Tarcuyo (Province of Espinar – Cusco) sowing of this tuber is with the help of women singers ritual, know as the wankas. Their verses in quechua intended primarily to enable growing the plants and to other destinations such as the Pachamama (“mother earth”) workers or differents elements of nature. The analysis of this directory highlights various parameters that are his musical aesthetic: relationship with fertility and productivity, playful ritual of collective work, organization of the vocal repertoire as a program with musical stages, specific parameters steps keep coming gradually to reach the summit performance of the ritual. The achievements of this analysis will be made in parallel with the progress of the tinku, confrontation between two community coalitions also performed with female songs (qhashwas). It will see significant analogies between these two agrarian rituals High Provinces of Cusco.The wankas are also witnesses to the vocal power influencing the potatoes or people, but also the role of the singers, rituals intermediaries between the villagers of Tarcuyo and the underworld divinities, in an environment where modernity is more and more present
Aubry, Laurence. "Langage oblique et recomposition d'univers dans l'écriture poétique de Jules Supervielle : étude stylistique fondée sur les poèmes de Gravitations (1932), La Fable du monde (1938), Oublieuse mémoire (1949) et les Récits de l'Enfant de la haute mer (1931), L'Arche de Noé (1938)." Paris 4, 1999. http://www.theses.fr/1999PA040199.
Full textFolch, Maass Nicolas. "Mémoire et figures de la violence dans le langage poétique chilien (1950-1980)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA130.
Full textThe dictatorship of the military junta in Chile (09.11.1973-1990), the violence of which is all the more striking as it covers a very recent period in the history of this country, questions the autonomy of the symbolical system of the literary texts produced in this context. Indeed,it is the first time in the history of Chilean literature such an amount of texts have been written and published from exile or detention centres.Taking into account that this phenomenon is specific to its period, this study aims at studying the representations of memory in poetic language. It starts from the figuration of violence as it is expressed over a period of forty years (1950-1980) in six poets' production.The analysis of these works highlights the ability of poetic language to transcend the codification of so important a context, which is not, however, the only striking event of State violence in the history of Chile.The analysis of a collection of texts written by Nicanor Parra, Enrique Lihn and Jorge Teiller, major references of Gonzalo Millán, Tomás Harris and Rodrigo Lira 's poetry, is presented according a double perspective, linguistic as well as socio-litterary. The first part of this thesis focuses on the concept of the « subject in process », taken from Julia Kristeva's theory of language.This perspective aspires to analyze to what extent and how the representation of violence constitutes an expression of memory and a questioning about national identity in the Chilean poetry.The second part is based on the perspective of the theory of fields and the symbolic power as seen by Pierre Bourdieu in order to analyze the historical speech about national identity, and its representation of the exercise of violence in the fields of political and litterary production.Considered in a perspective which is less limited to their immediate socio-historical context of production, the relations maintained by language, violence and power, appear at the heart of this research
Una época tan violenta e históricamente cercana como la de la dictadura de La Junta Militar (11 de septiembre de 1973 / 1990), problematiza, entre otras, la autonomía del sistema simbólico de los textos literarios producidos dentro de ese contexto. A partir de lo anterior, nuestro estudio se interesa en la identificación de la memoria en el lenguaje poético desde la figuración de la violencia, principalmente aquel de seis poetas que abarca un periodo de cuarenta años (1950-1980). El interés del análisis versa sobre la capacidad del lenguaje poético para trascender la especificidad de un contexto tan importante y significativo, que sin embargo no es el único hito de violencia de Estado en la historia de Chile. La relación entre lenguaje poético y violencia se vuelve así central para la presente investigación.El estudio de textos de Nicanor Parra, Enrique Lihn y Jorge Teillier, como antecedentes poéticos mayores para la poesía de Gonzalo Millán, Tomás Harris y Rodrigo Lira, se presenta bajo una doble perspectiva : lingüística y socio-literaria. La primera parte del análisis implica un concepto de lenguaje poético acorde a la teoría del « sujeto en proceso » de Julia Kristeva. Esta perspectiva ambiciona verificar si las figuras de la violencia constituyen un discurso de memoria y de identidad en la poesía chilena. La segunda parte, se basa en la « teoría de campos » y del « poder simbólico » de Pierre Bourdieu, para analizar el impacto del discurso histórico de identidad nacional y la representación del ejercicio de la violencia en los campos de producción política y literaria
Benoist-Bruneau, Anne-Marie. "Emile Nelligan et la postérité." Paris 4, 1999. http://www.theses.fr/1998PA040145.
Full textLacire, François. "Pas spécialement poétique : Dé-spécialisation de la poésie au tournant du 21ème siècle : à partir des oeuvres de Nathalie Quintane et Christophe Tarkos." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. http://www.theses.fr/2020UPHF0002.
Full textPoetry talks about poetry; poets speak to poets. These have become self-evident tenets of a poetic modernity that has at once claimed a specific license for poetry and specific missions for the poet, and assumed their privileged isolation. When Nathalie Quintane writes on the back cover of Chaussure (“Shoe”, 1997) that “it really talks about shoes”, and that it is “a book of poetry that is not especially poetic, of a poetry that doesn’t force itself”, she emancipates herself from the specific locus of discourse that has come to be called “poetry”. When Christophe Tarkos affirms, on many occasions throughout his work, that poetry is a discourse of logical truth and clarification, of restrictive accuracy, of pragmatism and efficacy, as well as of discernment, he assigns tasks to it that remove it from the region of discourse to which it has long been assigned by so many traditions. Both Quintane and Tarkos diffuse and dilute the epistemic “question of poetry” (“la question de la poésie”, a very common phrase in French modernism) throughout the epistemological field ; they make the hodge-podge of all specific discourses into the general environment of reception and the general scale against which poetic discourse is measured. The first part of this thesis offers the coupling “question-of-poetry” / “question-if-poetry” as a way of characterizing the renewal, at the beginning of the 1990s, of the series of questions addressed to poetry in modernity. The second part broadens the scope of this problem: in the long-term, questioning the relevance of poetry as knowledge, discourse, and license amounts to questioning the character of the poet’s entitlement to know, to speak, and to make themselves into an exception. In a to-and-fro between a short plot (Francis Ponge, Jean-Marie Gleize, Christian Prigent) and a long plot (Plato, the sophists, German Romanticism, Heidegger), this thesis confronts the traditional specifications of poetry, the more or less poisoned kinds of license attributed to “the poem”, the more or less exclusive and excluding privileges granted to “the poet”, with the works of Quintane and Tarkos. From this perspective, the works of Quintane and Tarkos are radical : they tend to contest the attribution of any specificity to poetry (which they consider to be a public and secular activity that is subject to ordinary language), they are critical of the contemporary discursive division of labour, and strive to render impossible, by continual reference to archaic, classical, romantic, and modern schemas, the reconstitution of a poetic clergy in charge of telling the truth of Being, probing the depths of experience, or raising ordinary language out of its worldly compromises. Here, the word “poetry” no longer refers to a safe place of discourse or a non-place of knowledge, but to a kind of “critical thought” (Quintane) that is suspicious of any form of specialization, and assumes the same idiomatic condition as everyone : not knowing, as you start speaking, what you’re about to mean
Martah, Mohamed. "La réception critique de Lautréamont et de son oeuvre." Paris 12, 1994. http://www.theses.fr/1994PA120032.
Full textA challenge. This is how the reading of ducasse's work could be qualified. The hermetisme of his poetical works seems to discourage even the hermetically experienced readers, but which, in reality, invites them to taste <> whitch are les chants. . . And poesies. From challenge to risk, from risk to interpretation, from interpretation to the history readings, such is the progress of the critical reception of lautreamont and his works. From an aesthetic experience to anather, lautreamont proves more and more accessible and more and more readable. Thanks to critical works of leon bloy, andre breton, salvador dali, gaston bachelard, maurice blanchot, philippe sollers, and many others, the reading of ducasse's poetical works materializes in a production of critical texts. They attest to the reception of lautreamont, to his eminent place in the process of reading
Stout, Julien. "L’auteur au temps du recueil : repenser l’autorité et la singularité poétiques dans les premiers manuscrits à collections auctoriales de langue d’oïl (1100-1340)." Thesis, 2020. http://hdl.handle.net/1866/25398.
Full textThis thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon. This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.
Dagenais-Pérusse, Michel. "Mythe et sacré : le pouvoir des mots dans le Seigneur des anneaux." Mémoire, 2008. http://www.archipel.uqam.ca/1996/1/M10681.pdf.
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