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Kamalakkannan, Sarath Babu. "Madymo modeling of the IHRA pedestrian head-form impactor." Columbus, Ohio : Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1093887296.
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Thesis (M.S.)--Ohio State University, 2004.Title from first page of PDF file. Document formatted into pages; contains xiv, 89 p.; also includes graphics (some col.). Includes abstract and vita. Advisor: Dennis A. Guenther, Dept. of Mechanical Engineering. Includes bibliographical references (p. 84-87).
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Tuohy, Brent Travis. "Development of Biodynamic Modules for Forensic Applications." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/35940.
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Work has been done to develop the computer laboratory portion of a course in biodynamic modeling, with particular emphasis towards applications in forensic engineering. Three course modules have been developed which explore the whiplash injury mechanism, pilot ejection and windblast, and gait analysis. These case studies make use of software entitled MADYMO (MAthematical DYnamic MOdeling). Each case study provides the scene, outcome, details, and instructions for setup of the biodynamic model. An "In-House" User's Manual has also been written so that students without previous MADYMO or UNIX experience can become proficient at using the program. Through the case studies presented within this thesis, students will gain insight into injury mechanisms and learn valuable biomechanical modeling tools.Master of Science
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Moorcroft, David Michael. "A Finite Element Model of the Pregnant Female Occupant: Analysis of Injury Mechanisms and Restraint Systems." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/44030.
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For women of reproductive age, automobile crashes are the leading cause of death worldwide. It has been estimated that 40,000 women in the second half of pregnancy are involved in motor-vehicle crashes each year. It has been estimated that between 300 to 3800 will experience a fetal loss. Placental abruption has been shown to account for 50% to 70% of fetal losses in motor vehicle crashes. While there is a growing database of medical case studies and retrospective studies describing the outcome of motor vehicle accidents involving pregnant occupants, as well as the effect of seatbelts on fetal survival, previous research has not produced a tool for engineers to use to improve the safety of a pregnant occupant in a motor vehicle. The goal of this project was to develop a model that can quantify the stresses and strains on the uterus of a pregnant woman in order to predict the risk of injury. A finite element uterine model of a 7-month pregnant female was created and integrated into a multi-body human model. Unrestrained, 3-pt belt, and 3-pt belt plus airbag tests were simulated at speeds ranging from 13 kph to 55 kph.
Peak uterine strain was found to be a good predictor of fetal outcome. The uterine strain sufficient to cause placental abruption was seen in simulations known to have greater than 75% risk of adverse fetal outcome. Head injury criteria (HIC) and viscous criterion (V*C) were examined as a check of overall occupant protection. The 3-pt belt plus airbag restraint provided the greatest amount of protection to the mother.
The model proved successful at predicting risk of fetal demise from placental abruption and verified experimental findings noting the importance of proper restraint use for the pregnant occupant.Master of Science
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Veetil, Anil K. P. "Development of a methodology to simulate vehicle rollover using MADYMO." Thesis, Coventry University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436300.
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Pang, Toh Yen, and tohyen_pang@yahoo com. "The transmission of vibration at the lower lumbar spine due to whole-body vibration: a numerical human model study." RMIT University. Aerospace Mechanical and Manufacturing Engineering, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060825.160144.
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Lower back disorders due to whole-body vibration (WBV) are the most common injuries reported by professional drivers. Such injuries often have long-term complications leading to significant personal and societal costs. An improved mathematical model of the whole human body would contribute to a better understanding of the mechanisms of lower back injury and be valuable in injury prevention research. Current biodynamic human models reported in the literature lack detailed information for predicting the non-linearity due to vibration amplitude of transmission of vibration from seat to a human. Therefore, one of the primary objectives of this research has been to develop and validate a detailed threedimensional biodynamic human model, with special attention given to the incorporation of active trunk muscles with non-linear stiffness properties. These muscles have been incorporated into an existing spine and neck model of a MADYMO 50th percentile male occupant model. A detailed multi-body human model has been developed, called MODEL ONE. This thesis shows that incorporating non-linear stiffness functions and energy dissipation using hysteresis or damping into a human model is appropriate for predicting non-linear biodynamic responses in arbitrary excitation functions. A major advantage of MODEL ONE compared to other multi-body models and lumped mass models is its ability to predict nonlinear seat-to-human transmissibility. However MADYMO 50th male occupant models use simplified geometry and rigid bodies to represent the lower lumbar spine. These simplified spinal models have no ability to simulate the internal stresses and deformations of soft tissues, even if these are the apparent cause of lower back pain (LBP). Therefore a detailed finite element human lower lumbar spine model - with appropriate material properties and capable of simulating internal stresses⎯is necessary, in order to better understand spinal injuries under WBV. A three-dimensional finite element model of a lower lumbar spine motion segment - called MODEL TWO - has thus been developed for the present study. MODEL TWO comprises a detailed geometric description of vertebrae, nucleus pulposus, endplates, and intervertebral discs. The intervertebral discs lump together the annulus fibrosus, ground substance and ligaments. The vertebrae have been assumed to be rigid. The material properties of the intervertebral discs of MODEL TWO were obtained from test matrices and from various parameter data reported in the literature. MODEL TWO has been validated against cadaveric experiments reported in the literature. The mechanical behaviour and stress distribution within the MODEL TWO intervertebral disc agree reasonably well with the cadaveric experiments. MODEL TWO was integrated into MODEL ONE to form a new human model, called MODEL THREE, which was subsequently dynamically validated against volunteers� responses to WBV reported in the literature. MODEL THREE, as presented in this thesis, consists of a multi-body human model with detailed representation of a finite element (FE) lower lumbar spine. As far as the author is aware, MODEL THREE is the first model with detailed representation of a FE lower lumbar spine to successfully demonstrate that it is capable of simulating the stress profile of the entire intervertebral disc and endplate region due to WBV. The simulated results revealed abnormal stress concentrations in both the posterior and xviii the posterolateral annulus. The stresses increased most in the posterolateral intervertebral discs region during WBV, suggesting a possible mechanism for disc mechanical overload leading to fatigue fracture and degeneration. The results from MODEL THREE are promising and lead to a more comprehensive understanding of the behaviour of the intervertebral disc under WBV. MODEL THREE has also provided a good foundation for the development of a bio-fidelity human model. However, implementation of currently unavailable and/or inadequate in vitro and in vivo experimental studies is needed to further validate and develop MODEL THREE. A better understanding of injury mechanisms and the clinical significance of LBP will ultimately be arrived at using a combination of analytical models with in vitro and in vivo experimental data.
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Ratliff, Adam R. "Designing a Surrogate Upper Body Mass for a Projectile Pedestrian Legform." The Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=osu1204662790.
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Hagerling, Weronika. "Madame Brilliant." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-16460.
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Jag har i mitt examensarbete gjort en kollektion kläder till den fiktiva Madame Brilliant, baserad på färgstarka personligheter som bl. a Anna Piaggi och Elsa Schiaparelli. Slår man upp ”glamourös” i en svensk-fransk ordbok finner man glamourös heta brilliant och det är just glamour mitt examensarbete handlar om, vardagsglamour.Jag har till Madame Brilliant skapat drömgarderoben. De plagg den excentriska kvinnan alltid drömmer om men aldrig hittar ute i butikerna; Färgstarka feminina kappor, klänningar och hattar att bära till vardags.Jag har i mitt arbete lagt stor vikt på färgkombinationerna, därför är stylingen och de små detaljerna mycket viktiga. Liksom färgerna i en tavla förhöjer varandra, förhöjer kläderna i min kollektion varandra och ger varandra karaktär.Färgsprakande kläder upplevs ofta som billiga, ofta för att de är gjorda i dåliga kvalitéer till tonåringar eller så är de tantiga och gjorda i linne för kulturtanten. Jag har därför gjort en kollektion till kvinnan som varken vill vara tonåring eller tant, kvinnan utan ålder, mina plagg har ingen ålder, bara personlighet. Jag har valt att använda mig av lyxiga material som man oftast inte använder till färgstarka kläder; siden, ull, sammet, viscosecrepe, fjädrar och hårfilt. Jag har även använt mig utav enklare material som bomull och syntetmaterial, men då just för att det ska ge en viss känsla åt plagget. Tygerna har jag gjort mer personliga genom applikationer och att blanda olika mönster och färger i plaggen.För att ge kollektionen en tidlös känsla har jag använt mig av klassiska feminina siluetter, timglasformen, prinsess-skärningen, fodralklänningen. Kläderna i min kollektion ska hålla i flera säsonger och vara bärarinnans favoritplagg. De plagg man aldrig slänger för att de är unika, tidlösa och gjorda i material av bra kvalité.Kollektionen är inspirerad av den kvinnliga kurviga kroppen, d v s kvinnor med midja , byst och rumpa. Mycket av modet ute i butikerna är gjorda till pojkflickan. Mitt mål är att framhäva kurviga kvinnors skönhet, men även personlighet hos var och en, att det inte handlar så mycket om kropp och ett vackert ansikte, med mina kläder spelar det ingen roll hur man ser ut, allt handlar om personlighet. Jag vill med min kollektion sprida färg, glamour, energi, humor och glädje. Säga nej till vardagstristessen och ja till vardagsglamouren!I have in my degree collection made a wardrobe for the fictive lady Madame Brilliant based on colourful women like Anna Piaggi and Elsa Schiaparelli. I have been working with everyday glamour and bright colours. I have created for Madame Brilliant the dream wardrobe. I have made the clothes the colourful women dream of, but never find in stores, feminine coats, dresses and hats, glamorous clothes for everyday life in exclusive fabrics.In my design process I’ve been working with the combination of colours, that’s why the styling and the small details are very important. Just like the colours in a painting give each other life, the clothes in my collection give each other life with the colours and pattern in the fabric.Many people experience brave colour as cheap, often because they’re made in cheap fabrics and are made for teenagers or old ladies without any sense of style and fashion. I have made my collection for the woman/girl without any age who likes clothes with a lot of personality and in exclusive fabrics. I have made my clothes in materials such as wool, silk, velvet, viscosecrepe, feathers to give them a more exclusive look that colourful clothes mostly don’t have.With my collection I want to spread colour, glamour, energy, humour and happiness.Program: Modedesignutbildningen
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Carmo, José Carlos Mariano do. "Madame Pommery." Florianópolis, SC, 2003. http://repositorio.ufsc.br/xmlui/handle/123456789/85776.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Literatura.Made available in DSpace on 2012-10-20T23:01:48Z (GMT). No. of bitstreams: 1 198301.pdf: 409753 bytes, checksum: d5ecfff2c7fe6f99b2aa5e548541a465 (MD5)
Esta dissertação, num primeiro momento, faz uma sucinta revisão crítica, pontuando as principais análises sobre o romance único de José Maria de Toledo Malta (pseudônimo Hilário Tácito), Madame Pommery. Para o leitor, será possível mapear e percorrer quase todos aqueles que se dedicaram a não silenciar e a recepcionar o romance, em diversas épocas, a partir de sua publicação. No entanto, o objeto mais importante aqui é a personagem Mme. Pommery e de que maneira esta, ultrapassando fronteiras regionais, sendo uma pobre imigrante no início do século passado e na provinciana cidade de São Paulo, consegue ascender socialmente, por meios não convencionais. Mulher, puta e caftina, Mme. Pommery tem uma capacidade empresarial ímpar, num meio hostil e numa estrutura socialmente fechada, formada, no mínimo, por três pilares de nossa formação: o coronel, o doutor e o bacharel. Na última etapa, vinculamos a protagonista, em especial pelo pragmatismo que nela se apresenta, à corrente picaresca, procurando equivalências em sociedades e civilizações distintas, não só no tempo e espaço, mas que compõem um caráter supranacional, conscientes de que a mesma pode ser vista, em parte, como uma neopícara e, principalmente, como a primeira malandra que se faz na literatura brasileira, aquela que aprende o ABC da trapaça e, hilária e tacitamente, chega ao topo social. Esta mulher deixa de ser submissa, deixa de ser inquilina, deixa de ser prostituta e cafetina, para ser uma conspícua senhora, a entrar para o eletrizante e aristocrático clube social da época e, com certeza, para a história da literatura brasileira.
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Cho, Chul Hyung. "Madame Chrysanthème : the opera and its relationship to Madame Butterfly /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/11430.
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Chery, Sobolewski Josette. "Madame Riccoboni épistolière." Paris 4, 1994. http://www.theses.fr/1994PA040403.
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Ce travail étudie la correspondance d'une romancière célèbre au 18e siècle, essentiellement sous l'angle de l'art épistolaire. Il analyse les procédés et inventions de l'épistolière, leur adaptation à des correspondants divers, leur évolution au cours d'une existence, les informations nuancées que l'étude de l'expression nous apporte sur les sentiments, les réactions et les intentions de mme Riccoboni. Un parallèle avec les lettres fictives de ses romans tente de dégager ce qui rapproche et sépare l'art épistolaire romanesque de celui pratiqué dans la vie réelle, et montre comment mme Riccoboni utilise le matériau romanesque dans sa correspondance privée. Le but de cette thèse est ainsi de compléter notre connaissance d'une femme de lettres des plus connues au 18e siècle, en même temps que de contribuer à une meilleure analyse des ressources de l'art épistolaire à une époque où il brille particulièrementThis thesis studies the correspondence of a famous author in the 18th century, principally from the point of view of the art of writing letters. It analyses the letter-writer's processes and inventions, their evolution during her life, the varying informations that the expression-study bring us about feelings, reactions and purposes of mrs Riccoboni. The drawing of a parallel with the fictitious letters of the novels tries to bring out what puts together and parts the art of writing letters in a novel and the same art in true life, and shows how mrs Riccoboni makes use of the romantic material in her private correspondence. So, the aim of this thesis is the completion of our understanding about a woman of letters, a very well-known in the 18th century, as well as a contribution to a better analysis of the art of writing letters in an age where it specially shines
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Karjalainen, Helena Pirkk. "Madame Roland écrivain." Université Stendhal (Grenoble ; 1970-2015), 1994. http://www.theses.fr/1994GRE39018.
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Le but de cette these est d'etudier madame roland comme femmeauteur. Elle comprend d'abord une etude sur la formation intellectuelle et morale qui consiste en une education religieuse et philosophique. Elle est suivie d'une analyse des formes de la creation litteraire presentant cinq aspects differents : les oeuvres de loisir et reflexions diverses (oeuvres de jeunesse) ; laz forme epistolaire ; les recits de voyage ; "l'ecriture journalistique" et les memoires. Cette oeuvre reflete enfin son temps par son caractere historique decrivant les societe francaise pendant la vie de l'ecrivain, et aussi par le langage qui vit au fil des changements sociaux. L'oeuvre de madame roland montre une sensibilite rousseauiste avec une conception "romantique" et idealiste de la vieThe aim of this thesis is the study of madame roland as a writer. The first part of this thesis describes her intellectual and moral education which includes religious and philosophic studies. Then, an analysis of her literary work creation is exposed presenting five different aspects of writing : les oeuvres de loisir et reflexions diverses (the works written during the youth of the writer) ; the epistolary form of the writings ; the journey accounts ; the "journalistic writing" and the memoirs. This work bears witness of the days in which madame roland lived by its historical aspects, describing the french society and also through its language which moves with social changes. Finally this work shows a "rousseauistic" sensibility tainted with a "romantic" and idealistic conception of life
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Li, Chun-hoi Benjamin, and 李俊海. "Madame butterfly and orientalism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952732.
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Li, Chun-hoi Benjamin. "Madame butterfly and orientalism." Hong Kong : University of Hong Kong, 2000. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B22535305.
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House, Jud Laraine. "Madame Pele novel & essay /." Connect to thesis, 2006. http://portal.ecu.edu.au/adt-public/adt-ECU2007.0009.html.
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Paré, Eric Zavenne. "Madame Bovary est une machine." Thesis, Metz, 2009. http://www.theses.fr/2009METZ003L.
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Partant du principe qu'une machine ne sait pas qu'elle est une machine et du présupposé selon lequel un robot n'a pas de conscience, ce travail étudie le parallèle entre la fabrication des créatures de roman et la fabrication des machines. Parmi ces figures, Madame Bovary est un archétype. Comme tout autre machine, Emma Bovary ne sait pas qu'elle en est une. Emma est une machine à texte, elle est faite de livres. Pourtant, elle ne peut pas avoir lu Madame Bovary. Parce qu'Emma n'est pas consciente qu’elle est l'appareil de Flaubert, nous l'avons rapproché des fonctionnements et des disfonctionnements du Monstre de Frankenstein, encore écervelé avant l'épiphanie des livres qu'il découvre au creux d'un chemin. Après avoir défini les enjeux stratégiques de ses lectures, Emma est présentée comme une machine homéostatique, d'une part du point de vue de la thermodynamique, et d'autre part, du point de vue de l'entropie, une résultante du bovarysme, causée par les distorsions entre la vie et la lecture. Dans un premier temps Emma perçoit, puis ressent, par les feedbacks de ses lectures. Elle se transforme alors en une mécanique à émotions, gouvernée par son bovarysme. Ce sentiment renvoie à toutes ses perceptions et ses appétits. Par ses désirs, Emma démontre une capacité à comparer et à se projeter, formulant les prémices d'une conscience autobiographique. De la même manière qu'il représente l'inconscient social à partir d'automates déambulatoires, tels la figure du pied-bot ou de l'aveugle, Flaubert réussit à induire une idée de conscience dans sa créature machineAccording to the fact that a machine does not know that it is a machine, and to the supposition that a robot has no conscience, this work explores parallels between the creation of the characters of a novel and the fabrication of machines. Among these figures, Madame Bovary is an archetype. Like any other machine, Emma Bovary does not know that she is one. Emma is machine created from text. She is made from the stuff of books. However, she could not have read the book Madame Bovary. Because Emma is not aware that she is a device of Flaubert, there are some similarities between her and the functions and malfunctions of the Monster of Frankenstein that didn't have a conscience until the moment of epiphany with the books he discovered in the woods. After the definition of the strategic challenges of her readings, Emma is presented as a homeostatic machine, first from the viewpoint of thermodynamics, and secondly from the viewpoint of entropy, a result of the bovarysme caused by distortions between life and reading. Emma's perceptions and feelings depend of the feedback of her readings. She becomes an emotional device, governed by her bovarysme. This feeling is present in all her perceptions and her appetites. Through her desires, Emma demonstrates an ability to compare and project herself, formulating the beginnings of an autobiographical conscience. In the same way as he represents social unconsciousness with ambulatory automatons such as the figure of the club-footed Hippolyte or the blind man, Flaubert is able to induce an idea of consciousness in his machine-creature
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Giacomet, Luciane. "Revitalização portuária : caso Puerto Madero." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2008. http://hdl.handle.net/10183/14975.
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A pesquisa apresenta o estudo de caso da revitalização urbana do desativado Puerto Madero, em Buenos Aires. A reciclagem de antigos espaços portuários deteriorados consiste em um dos principais temas do urbanismo contemporâneo. Devido à atualidade do assunto, o estudo do projeto e da realização de Puerto Madero representa uma experiência referencial para outras cidades em situação semelhante - como Porto Alegre, onde foi desenvolvido o trabalho -, uma vez que cria um precedente exemplar de uma operação efetivada em um contexto latino-americano, no decorrer de um período relativamente curto. Embora a primeira parte do trabalho seja voltada ao conhecimento histórico do porto de Buenos Aires e da sua evolução urbana até os dias atuais, o foco do estudo centra-se na analise do projeto realizado, não só do ponto de vista urbano, como também arqui-tetônico. O estudo do projeto é segmentado em quatro partes, corres-pondentes aos diques do porto, em que se destaca a diversidade dos exemplares existentes na área. Por fim, elegeu-se um determinado número de tipologias representativas, das quais foram examinadas as suas qualidades projetuais. A elaboração de um amplo panorama da operação Puerto Madero possibilitou seu entendimento no contexto metropolitano, histórico, urbano e arquitetônico.The investigation presents a case study on the urban revitalization of the deactivated Puerto Madero, in Buenos Aires. Recycling deteriorated old portuary places is one of the principals contemporary urbanism themes. As a contemporary issue, the study of Puerto Madero´s project and revitalization represents a referential experience to other cities at similar situation – such as Porto Alegre, where this work was developed-, once it creates an exemplar precedent context, during a relatively short period. Although the first part of the investigation was oriented to the Buenos Aires port’s historical knowledge and its urban evolution until the present days, the investigation’s focus is centered in the analysis of the executed project , not only by the urban point of view, but also the architectural. The project’s studies is segmented in four parts, correspondent to the docks ports, which stand out the diversity of existing exemplars in the area. Finally, a determined number of representative typologies were chosen, being their projectual’s qualities evaluated. The elaboration of a vast panorama of Puerto Madero´s operation allows the understanding of it metropolitan, historical, urban and architectural context.
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Marchal, Roger. "Madame de Lambert et son milieu." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37594942f.
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Plagnol-Diéval, Marie-Emmanuelle. "Le Théâtre de Madame de Genlis." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb376089641.
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Marchal, Roger. "Madame de Lambert et son milieu /." Oxford : the Voltaire foundation, 1991. http://catalogue.bnf.fr/ark:/12148/cb35499399h.
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Jesus, Roberto Carlos de Santana. "Linguagem e errância em madame Bovary." Universidade Católica de Pernambuco, 2017. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=1264.
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Emma Bovary é a heroina do romance de Gustave Flaubert que termina se suicidando. Este dissertação surgiu a partir de inquetações profissionais que me conduziram a pesquisar pelo viés da Linguística, psicanálise e Literatura, e formular como objetivo geral a errância do desejo e da palavra em Madame Bovary, especificando a relação errante de Emma Bovary com a palavra e a errância do desejo através dos processos metaforonímicos. Esta pesquisa é teórica-empírica e a metodologia que elegemos persegue o rastro freudiano da análise da obra literária Gradiva - uma fantasia pompeiana, cujo título ficou conhecido como Delírios e Sonhos na Gradiva de Jasen (1907 [1906]). Como a investigação teve por alvo da pesquisa uma obra literária, se fez necessário analisar em duas vertentes diferentes:
uma que pudesse contemplar essencialmente o aspecto literário, e pela outra vertente, pesquisamos estes mesmos eventos nos campos da Linguística e da Psicanálise. Emma Bovary personifica a figura de uma histérica que, guiada por um não querer saber, tem sua vida calcada na repetição, no retorno dos significantes, como se andasse em círculos, numa espécie de jogo metaforonimico, em busca
daquilo que é faltoso, impossível de ser assimilado. Da saída da casa dos pais parao convento, do retorno para o lar paterno; do casamento com Charles Bovary aos adultérios; e das mudanças de cidade em cidade, foi de onde extraímos material para analisar o significante morte, que no romance desliza sobre os significantes cemitério e veneno. A errância com a palavra não permitiu Emma suturar um ponto de basta, ainda que sua avidez pelos romances pudesse propiciar este bem. Na errância do desejo, a deriva, Emma embriaga-se, evenena-se nas paixões, e desliza para o suicídio.
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Marchal, Roger. "Madame de Lambert et son milieu." Université Nancy 2, 1985. http://www.theses.fr/1985NAN21010.
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Plagnol-Diéval, Marie-Emmanuelle. "Le théâtre de madame de Genlis." Paris 10, 1987. http://www.theses.fr/1987PA100043.
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Madame de Genlis est l'auteur d'un théâtre d'éducation à l'usage des jeunes personnes, aujourd'hui oublie. Ce travail analyse le corpus et dégage des critères pertinents pour des œuvres analogues. Citons parmi ceux-ci la genèse de l'œuvre théâtrale édifiante, la morale, la technique dramaturgique (intrigue, temps et personnage) et l'aptitude à la représentation. Ce théâtre se caractérise par une esthétique néo-classique : il repose sur la morale, l'affrontement inégal du bien et du mal et la répartition des personnages entre vertueux, imparfaits et méchants. La morale laïcise l'enseignement de l'église. Sont loues la tempérance, le courage moral, la charité et critiques l'orgueil, la paresse, les défauts de la parole, l'intrigue et l'affectation de perversité. Le but est de préserver l'harmonie sociale. Cependant, l'adaptation de la morale à la société n'implique pas un témoignage historique objectif, puisque l'idéologie et les mythes genlisiens (comme celui de la famille) se substituent à la peinture des mœurs. La technique dramaturgique résulte également d'un compromis entre le didactisme et les nécessites théâtrales comme le montrent les transformations de l'intrigue et du temps. Le style édifiant crée des formes fixes (scène de morale, exemplum, abstraction morale, sentence et hors-texte). Le personnage est au carrefour de ces tensions, influence par le mode de représentation du théâtre mondain, le schématisme du théâtre édifiant, l'inversion des schémas actanciels traditionnels et la création de nouveaux actants. Toutefois, le théâtre édifiant n'ignore pas la théâtralité : la publicité de la vertu passant par la représentation. Le théâtre de madame de Genlis, dans son unité et son originalité, répond à un vœu moral, social, pédagogique et illustre le passage des lumières à la France des notablesMadame de Genlis wrote a theater of education, today forgotten. This work analyses this theater and brings out valuable criterions for other similar works, such as the genesis of the play, the morals, the art of the theater (plot, tempo and characters) and fitness for performance. This theater is based upon a neo-classical aesthetics including morals, unequal struggle between good and evil and breakdown of the characters by the virtuous, the unperfected and the wicked. Morals secularize religious ethics. Temperance, moral strength and charity are praised, while pride, laziness, gossip, intrigue and perversity are criticized. The aim is social harmony. The adaptation of morals to society however does not imply an objective historical testimony, as the genlisian ideology and myths (family for instance) take the place of realism. The art of the theater is consequently a compromise between didactic and dramatic necessities, which explains the metamorphoses of tempo and plot. Edifying style is characterized too by original turns of phrases, for instance moral sketches, abstractions and mottos. Characters are influenced by performances of a theater of society, schematic of edifying theater, reversal of traditional comic characters and creation of new heroes. These works nevertheless care for performance because of the publicity of virtue. Madame de Genlis's theater is characterized by unity and originality; it corresponds to a moral, social and pedagogical expectation: this work shows the transition between the age of enlightenment and the nineteenth century of Louis-Philippe
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Leblond, Françoise. "Madame Roland et son monde intellectuel." Paris 4, 1998. http://www.theses.fr/1998PA040065.
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Ce travail est l'aboutissement d'une démarche qui m'a conduite à la rencontre de Madame Roland en 1993 pour un mémoire de maîtrise dont le sujet était : Madame Roland et l'éducation, puis pour un diplôme d'études approfondies en 1994 : Madame Roland et son monde intellectuel. Madame Roland, née Marie-Jeanne Phlippon en 1754, a été guillotinée à l’âge de trente-neuf ans en 1793, après avoir été incarcérée à la prison de l'abbaye à Paris. Bien que la terreur se soit chargée de fournir un dénouement tragique à son existence, sa biographie pourrait se résumer à quelques banales indications sur une enfance protégée dans le Paris bourgeois du milieu du XVIIIème siècle : le catéchisme et les amies de couvent, un mariage avec un homme de sa condition, Jean-Marie Roland de la Platière, la naissance d'une fille, Eudora. Son monde intellectuel, que la lecture fébrile des philosophes a développé, fait la part belle à l'imagination et à la sensibilité : son enthousiasme pour les idées révolutionnaires, sa passion secrète pour Buzot, sa frénésie politique des dernières années lorsque Roland devient ministre de l'intérieur, en témoignent. Madame Roland est l'observateur privilégié d'un monde intellectuel qui, dans l'histoire de la pensée occidentale, constitue un moment décisif : la seconde moitié du XVIIIème siècle. Elle est surtout une autodidacte. Le choix que nous avons fait ici d'insister sur le rôle de l'éducation, de la philosophie et de la politique est étroitement lié à son autobiographie comme expression des valeurs bourgeoises, sur le point de s'émanciper d'une société basée sur les privilèges de naissance et de propager des valeurs nouvelles. Ses mémoires mettent en scène son monde intellectuel, et cette source d'information est si riche qu'entre l'histoire des structures et celle de son expérience, elle ouvre la voie à une véritable histoire des enjeux de l'autoformation dans la bourgeoisie féminine en FranceThis work is the result of a process which has conducted me to meet Madame Roland in 1993 for a memorandum of maitrise whose theme was Madame Roland et l'éducation, then for a diplome d'études approfondies in 1994 : Madame Roland et son monde intellectuel. Madame Roland, born Marie-Jeanne Phlippon in 1754, has been guillotined in the age of thirty-nine in 1793, after a incarceration in abbaye prison in Paris. Although the terreur has given a tragic end to her life, her biography could be summed up with some common instructions on her protected childhood in the middle-class of Paris in the middle of the eighteenth century: catechism and convent friends, marriage with a similar estate man, Jean-Marie Roland de la Platière, birth of her daughter, Eudora. Her intellectual world, developed by reading philosophy, give some importance to imagination and sensibility her enthusiasm for revolutionary ideas, her secret love with Buzot, her politic frenzy during the last years when Roland became minister of the interior, give us evidence Madame Roland is a privileged spectator of an intellectual world which, in the history of occidental thought, constitutes a decisive moment ; the second half of the eighteenth century. She is above all an autodidact. Our choice here is the importance of education, philosophy and politics is very linked with her autobiography, as the expression of middle-class going to free herself from a society based on birth privilege and promulgate new values. Her memoires are the theatre of her intellectual world, and these source of information is so rich that into history of structures and her experience, she opens a way for a real history of auto formation stakes into feminine middle-class in France
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Pereira, Antonio. "Myasthenia gravis : l'histoire de madame h." Lille 2, 1988. http://www.theses.fr/1988LIL2M375.
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Gérard-Chieusse, Sophie. "Madame de Lafayette et la préciosité." Paris 4, 2000. http://www.theses.fr/2000PA040171.
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Les enquêtes historiques menées ces dernières années sur la préciosité et les précieuses ont permis de mettre en valeur le rôle tenu par ces dernières dans la société du XVIIe siècle et leur place dans la constitution du champ littéraire. Reconsidérer alors la vie et l'œuvre de Mme de Lafayette à la lumière de la préciosité a permis de manifester la vérité du jugement des frères de Villers qui, en 1658, affirmaient que la comtesse était « une des prétieuses du plus haut rang et de la plus grande volée ». Sa vie le confirme en effet, qui la place au cœur d'un réseau précieux et révèle une personnalité, un tempérament, une psychologie propres aux précieuses. L'étude des œuvres susceptibles de constituer la culture précieuse de Mme de Lafayette, l'Heptaméron de Marguerite de Navarre, le théâtre de Corneille, l'Astrée d'Honoré d'Urfé et la production romanesque de Mlle de Scudéry ont permis une lecture nouvelle des œuvres de Mme de Lafayette, invitant à y reconnaitre des thèmes, une éthique, voire une esthétique, ainsi qu'une vision du monde propres à la préciosité. Les investigations ainsi menées ont permis de faire un portrait de la comtesse en précieuse et de mettre en valeur, à travers une œuvre originale, ce qui fut, parmi d'autres, une stratégie possible de la préciosité.
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Letexier, Gérard. "Deux fondatrices du roman : Madame de Villedieu (1640-1683) et Madame de Lafayette (1634-1693) : étude comparative." Paris 4, 1995. http://www.theses.fr/1995PA040250.
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Cette étude doit permettre de reconsidérer l'importance de Mme de Villedieu dans l'histoire du roman et la dette de Mme de Lafayette envers elle. Les romans historiques de Mme de Villedieu opèrent une unification classique de la vision dès Alcidamie, reprise et intériorisée dans Zayde de Mme de Lafayette dont la construction et la nostalgie de l'héroïsme semblent issus de Carmente. L'inspiration hispano-mauresque permet à Mme de Villedieu de transposer des fêtes contemporaines sans gêner l'action: cette innovation sera reprise dans la Princesse de Clèves. Jusqu'en 1669, les nouvelles de Mme de Villedieu, divertissantes et ornementales, restent proches de celle de Segrais. Mais ses recueils de 1670-1675, malgré un didactisme parfois lourd, la rapprochent de l'auteur de la princesse de Montpensier : souci d'historicité, visions graves marquées par l'augustinisme et la Rochefoucauld. La princesse de Clèves intériorise l'apport de Mme de Villedieu : approches de l'histoire, climat, épisodes… Mme de Lafayette a répondu au problème de roman par l'analyse, sa contemporaine par la primauté de l'action et un certain réalisme. L'une et l'autre ont inauguré les deux voies royales du roman : la peinture de la vie intérieure, celle de la société. Mme de Villedieu est une pionnière du roman de mœursCompared with Mlle de Scudery'novels, those of Mme de Villedieu present a unified vision, quite classical (Alcidamie). Mme de Lafayette's Zayde re-uses that vision in a more inner maner, but that novel construction and nostalgic atmosphere come from Mme de Villedieu's Carmente. As for the feasts evocations of the galanteries grenadines, which don't stop the action -a new thing in 1673- Mme de Lafayette will remember then in her Princesse de Cleves of 1678. Up to 1669, Mme de Villedieu's single short stories are quite influenced by Segrais' nouvelles francaises because they are at first decorative and entertaining. But in 1670-1675, her books of short stories remined the reader of Mme de Lafayette's princesse de Montpensier. History treatment, gravity of a vision sgaped by augustinism -so essential in those days- and la Rochefoucauld are much alike in the two writers' works. La Princesse de Cleves re-uses a vision largely elaborated by Mme de Villedieu and which had already been re-used by the French novelists of the 1670' , like Saint-Real, Boursault or Prechac. But Mme de Lafayette's treatment of the tradition as well as of Mme de Villedieu's fictions us an analyst's treatment :. .
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Goulet, Emmanuelle. "Pouvoir féminin à la cour de Louis XV." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40980.
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Cette thèse analyse le pouvoir social des femmes de la haute aristocratie à la cour de Louis XV (1723-1774). La société de cour, telle que théorisée par le sociologue Norbert Elias, était formée d’une multitude de réseaux de courtisans dans lesquels les femmes jouaient des rôles essentiels. Ne pouvant exercer le pouvoir politique au même titre que les hommes, ces femmes avait tout de même une capacité d’agir (agency) au sein de la cour. Elles développèrent des stratégies utilisant leur pouvoir social, soit leur capacité d’intervenir dans les relations sociales de la cour, pour consolider et favoriser leur mobilité sociale et celle des membres de leur réseau. Ces stratégies furent étudiées par l’entremise des mémoires de cinq femmes ayant fréquenté la cour et les courtisans au XVIIIe siècle, soit Madame de Brancas, Madame du Hausset, Madame de La Ferté-Imbault, Madame Campan et Madame de Genlis. D’abord, cette thèse analyse le temps, soit celui de la cour de Louis XV, celui de la rédaction des mémoires et celui de leur publication, ainsi que l’espace de la cour en tant que composantes qui orientèrent les stratégies féminines. Bien que ces composantes fussent des contraintes à l’action des courtisanes, ces dernières développèrent tout de même leurs stratégies en fonction du temps et de l’espace pour parvenir à leurs fins. Leurs stratégies ont été également façonnées selon des règles d’étiquette et d’éthique comportementale qui régnaient à Versailles. Ne pouvant en faire abstraction, les courtisanes surent les utiliser à leur avantage. Enfin, se trouvant au coeur de réseaux complexes, les femmes de la noblesse développèrent des méthodes d’utilisation de ces réseaux afin d’atteindre leurs objectifs d’ascension sociale. Cette thèse démontre donc que les femmes de la noblesse avaient une capacité d’agir bien réelle par l’exercice de leur pouvoir social et qu’elles étaient essentielles au fonctionnement de la mécanique de la société de cour qui, au XVIIIe siècle, n’était pas en déclin, mais avait plutôt atteint l’apogée du processus de civilisation.
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Bouhouch, Souad. "L'esthétique du tragique chez Madame de Staël." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0155.
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Cette étude est consacrée au tragique dans les fictions d’amour staëliennes. Les héros nobles sont livrés à une lutte vaine contre le destin, en sachant qu’ils vont mourir. Leur ambivalence les empêche de vivre tout épanouissement individuel, dans une société qui vit un immense échec social, moral et politique. Le bonheur précaire vécu est suivi du silence, de l’absence et du sentiment d’une culpabilité mortelle dans un espace et un temps initialement tragiques. Le sujet tragique remet en cause ses qualités morales et intellectuelles. Lucide, démuni devant le savoir tragique, désillusionné sur l’amour et sur la vie, cet être accomplit son rôle tragique : se sacrifier et disparaître. Son renoncement donne un effet émouvant et sublime. Staël dénonce à travers le tragique les crimes de la Révolution, la tyrannie de napoléon. La souffrance humaine peut être perfectible. Le tragique staëlien donne une leçon esthétique : la vérité est dans la liberté morale et la beauté de l’âmeThis study is devoted to the tragic in love staëliennes fictions. The noble heroes engaged in a futile struggle against fate, knowing they will die. Their ambivalence prevents any living individual fulfillment in a society that lives a huge social failure, moral and political. Precarious lived happiness is followed by silence, the absence and the feeling of a deadly guilt in a space and a time initially tragic. The tragic subject undermines his moral and intellectual qualities. Lucid, powerless before the tragic knowledge, disillusioned about love and life, this being accomplished his tragic role: sacrifice and disappear. His renunciation gives a moving and sublime effect. Staël denounces the tragic through the crimes of the Revolution, the tyranny of Napoleon. Human suffering can be improved. The tragic staëlien gives an aesthetic lesson: the truth is in moral freedom and beauty of the soul
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Alayrangues, Pierre. "Madame du deffand epistoliere ou l'impossible communication." Paris 4, 1986. http://www.theses.fr/1986PA040042.
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Pour madame du deffand, la correspondance est le lieu et l'instrument d'une interminable quete de soi, d'un continuel questionnement de son existence qui fait penser a un journal intime, a des "essais" a la facon de montaigne. S'eprouvant tout au long de sa vie comme etrangere a ses origines, a son monde, a son siecle et a elle-meme, degoutee de tout (et d'abord d'elle-meme), elle cherche a faire de ses correspondants les auxiliaires de cette aventure d'etre par des tentatives decevantes d'identification (avec les figures parentales fortement idealisees et donc inaccessibles de voltaire et de madame de choiseul), d'"adoption" (en realite tentatives pour modeler des etres qui repondent a son attente avec les figures filiales de julie de lespinasse et de d'alembert), et enfin d'abandon de soi dans une relation crispee (qui voudrait etre une relation amoureuse) avec l'autre represente de facon exemplaire par walpole. En realite, muree dans un narcissisme inexpugnable de caractere nettement pathologique (melancolie chronique), elle ne peut s'accommoder de l'exteriorite qui oppose a la libre expansion du moi son opacite (sa resistance) ou son insipidite (son insignifiance : henault) on peut lire dans cette espece de biographie spirituelle une frustration affective profonde qui conduit a une crise des valeurs, a une metamorphose de la sensibilite, au vertige devant une existence dont il faut assumer solitairement le risque au sein d'un monde qui se derobe dans une absence radicale et d'une duree vide offerte a l'invention du moiFor madame du deffand, letter-writing is the thorough means of an endless selfinvestigation (or quest), of an exerlasting wondering about one's existence which reminds of a personal diary, of "essays" such as montaigne wrote them. She felt alien to her background, her world, her age and even to her own self all through her life ; she was disgusted with everything (first and foremost with her own self) she tried to turn her pen friends into the auxiliaries of this quest for living through disappointing attempts at identification (such as highly idealistic parents'images, voltaire's and madame de choiseul's out of reach gifts), at adoption (as a matter of fact, attempts at shaping up beings that reflect her expectation, with julie de lespinasse's and d'alembert's filial relation-ships), at last at self-surrender in a thwarted relationship (which meant to be a loving one) with the other one perfectly embodied in walpole. As a matter of fact, blocked up by an ineradicable narcissism, a definitely pathological, chronical melancholy mania, she couldn't adjust herself to the outside world that set in action against the free expansion of her ego, its standing value or its lack of meaning. This kind of spiritual biography can be read as a deep, emotional frustration which leads to a "value" crisis (or upheaval), to a thorough change of the sensitivity, to a giddy feeling when living has to be faced, the risk of which must be run, alone, in a world doesn't provide any support because it keeps vanishing and because self growth can only be achieved from an empty span of time
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Raissi, Lobna. "Pédagogie dans les oeuvres de Madame d'Epinay." Nice, 2011. http://www.theses.fr/2011NICE2009.
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Mansour, Zeinab. "Analyse du discours rapporté dans Madame Bovary." Paris 3, 1991. http://www.theses.fr/1992PA030039.
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Dans madame bovary, le discours des personnages insere dans celui du narratoeur est manifeste sous la forme de discours rapporte. Nous avons tente dans notre etude d'etablir une typologie coherente des trois formes du discours rapporte, a savoir le discours direct, le discours indirect et le style indirect libre. Le discours des personnages se manifeste sous sa forme la plus "pure" par le discours direct. Le discours direct designe bien la citation litterale des paroles prononcees ou pensees d'un personnage a l'interieur de la fiction romanesque. Quand il est realise par le discours indirect et le style indirect libre, le discours des personnages, tout en contenant des marques qui lui sont propres, en possede d'autres qui caracterisent le discours du narrateur. Le discours indirect est une opinion rapportee sans qu'elle soit citee a la lettre. Le narrateur reformule a sa facon la parole qu'il rapporte. La parole rapporte au discours indirect doit s'adapter a l'environnement textuel, ce qui la modifie dans plusieurs de ses caracteres textuels. Quant au style indirect libre, on y trouve melees des elements qu'on considere disjoints: la presence de deux actes d'enonciation et la perte d'autonomie des embrayeurs du discours cite. Le style indirect libre constitue le maillon essentiel du dispositif stylistique dans madame bovaryIn madame bovary the discourse of the characters which is inserted in that of the narrator takes the form of reported speech. In this study, i have tried to establish a clear distinction between three types of reported speech : direct speech, indirect speech and free reported speech. The characters' reported discourse takes its "purest" form in direct speech describes well literal citation discourse which is spoken or though about of character within romanesque fiction. When it is expressedthrough indirect speech and free reported speech, the characters' discourse, which contain certain ideolectal features, contains other features which are characteristic of the narrator. The indirect speech takes the form of an opinion which is cited without being camed to the letter. The narrator reformulates the discourse he reports, but in his own way. The reported discourse in the indirect speech is constrained to be adapted to the context which results in several modifications in textual character. As for the free reported speech there is a mixture of elements which one could consider disjointed such as two texts existing coteminously and the loss of coherence feature in the reported speech
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David, Odette. "L'écriture de soi au féminin : subversion idéologique et formelle dans l'Histoire de Madame de Montbrillant de Madame d'Épinay : thèse." Nice, 2005. http://www.theses.fr/2005NICE2025.
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L´Histoire de Madame de Montbrillant, de Mme d´Épinay, écrite au XVIIIe siècle ne paraît dans son intégralité qu´au XXe. Mise en concordance avec les Confessions de Rousseau, elle se singularise par sa subversion idéologique et formelle, mais aucune étude littéraire n´ayant été réalisée, son classement restait problématique. Cette thèse eut pour objectif d´établir définitivement l´œuvre de Mme d´Épinay, en distinguant les parutions tronquées du XIXe siècle, de l´édition intégrale de 1951. Dans le but de classer l´Histoire de Madame de Montbrillant, il a fallu examiner minutieusement et pour la première fois, le texte hybride dans son ensemble. L´auteur restitue la société de son salon fréquenté par les Philosophes des Lumières sous des noms d´emprunt, afin de respecter les convenances d´usage, mais de nombreux indices de vérité révèlent l´identité des personnages et authentifient leur action. En conséquence, cette écriture de soi au féminin, contemporaine des Confessions de Rousseau, est sans aucun doute à classer dans le genre " autobiographie " du XVIIIe siècleThe Story of Madame de Montbrillant, by Mme d'Épinay, written in the eighteenth century, was not published in its entirety until the twentieth. Within the context of its relation to the Confessions of Jean-Jacques Rousseau, it is striking in its ideological and formal subversion, but in the absence of an examination of its literary merits, its classification has remained problematic. This thesis proposes a definitive classification of the work of Mme d'Épinay by distinguishing the truncated editions of the nineteenth century from the integral edition of 1951. In order to classify the Story of Madame de Montbrillant, we found it necessary to examine, in detail, and for the first time, the text in its entirety. The author reconstructs the society of her salon, frequented by the Philosophes des lumières, using fictitious names, in order to respect the conventions of the time, but numerous clues reveal the true identity of these characters and authenticate their actions. Consequently, this feminine writing of the self must necessarily be classified under the genre of eighteenth-century autobiography
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Sabela, Tomáš. "Podnikateľský plán firmy Madam s.r.o." Master's thesis, Vysoká škola ekonomická v Praze, 2012. http://www.nusl.cz/ntk/nusl-162770.
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The diploma thesis describes the creation of a business plan for an existing company, which specializes in the manufacture of windows and doors, located in Slovakia. Its business objective is to establish, together with other shareholders, the new company abroad. The aim of this work is the evaluation of the business plan and a detailed description of all elements that are important in the process of its implementation. The theoretical part of work explains the purpose of the business plan, its goal is distribution basic requirements and description, which serves as a basis for the practical part. Practical part deals with creation of a specific business plan, focusing on its main components -- financial plan, marketing and business strategy.
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Muller, Andréa Correa Paraiso 1972. "De romance imoral a obra-prima = trajetórias de Madame Bovary = From an immoral novel to a masterpiece: Madame Bovary trajectories." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270048.
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Orientador: Márcia Azevedo de AbreuTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho busca estudar a recepção de Madame Bovary (1857), de Gustave Flaubert, no âmbito do processo de consolidação do gênero romanesco, focalizando as mudanças pelas quais passaram os critérios de avaliação crítica de romances ao longo do século XIX, tanto na França quanto no Brasil. Por meio de pesquisa em anúncios de livrarias e em artigos publicados em periódicos oitocentistas, reunimos dados sobre a circulação e a leitura crítica desse romance no Brasil, nos primeiros anos após seu lançamento na França (1857) e após o surgimento da tradução portuguesa (1881) até a virada do século. Investigamos também a recepção da obra na França no mesmo período, recepção essa a que certamente tiveram acesso muitos homens de letras brasileiros, considerados o interesse local que havia na época pela cultura francesa e a presença de periódicos franceses em nosso país. Os resultados obtidos foram analisados à luz de processos relevantes na trajetória do gênero romanesco no século XIX, tais como as transformações do público leitor e dos parâmetros de apreciação da prosa romanesca e a circulação internacional dos impressos
Abstract: This thesis aims to investigate the way Madame Bovary (1857), by Gustave Flaubert, was received regarding the process of consolidation of the novelistic genre. It focuses on the changes of the criteria for novels critical evaluation went through along the XIX century, both in France and in Brazil. Surveys on bookshop advertisements and papers published in journals in the 1800s produced data about the circulation and the critical reading of this novel in Brazil, in the few years after it had been launched in France (1857) and after it had been translated into Portuguese (1881) up to the end of that century. The reception of this novel in France in the same period was also investigated, as this certainly had some repercussion among many Brazilian men of letters due to the local interest at the time in the French culture and the presence of French journals in our country. Results obtained were analysed taking into consideration the processes considered relevant to the trajectory of the novelistic genre in the XIX century, such as the changes of the parameters of appreciation of novels and the international circulation of publications
Doutorado
Historia e Historiografia Literaria
Doutora em Teoria e História Literária
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Dade, Eva Kathrin. "Madame de Pompadour die Mätresse und die Diplomatie." Köln Weimar Wien Böhlau, 2009. http://d-nb.info/998879096/04.
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Hara, Kunio. "Puccini's use of Japanese melodies in Madama Butterfly." Cincinnati, Ohio : University of Cincinnati, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=ucin1060955367.
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Nobre, Thalita Lacerda. "Madame Bovary e a histeria: uma leitura psicanalítica." Pontifícia Universidade Católica de São Paulo, 2007. https://tede2.pucsp.br/handle/handle/15556.
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The purpose of this dissertation is to carry out a psychoanalytical reading concerning the protagonist of the literary composition Madame Bovary. This book, written by Gustave Flaubert and published in 1856 same year that Sigmund Freud was born caused a great repercussion in the French society, at that time. Because of that, the author was judged for offence to the public and religious moral . My objective using Ema Bovary as a study object, is because, principally, she presents some characteristics that can be understood, trough the Psychoanalysis like female hysteria. To become this agreement clearly, in this dissertation, I started with freudian´s theory and so I used the contribution from other authors about female psyche constitution and it accidents that cause the hysteric neurosis , after this, I present the Gustave Flaubert´s romance book with a psychoanalytical reading. Ema Bovary is not described by its author as a perfect, spotless and sufferer woman, but yes, she is described like a woman with real human beings characteristics. And these ones (of the protagonist) can have been determinative to this book became a workmanship cousin, until the current days
O objetivo desta dissertação é realizar uma leitura psicanalítica a respeito da protagonista da obra literária Madame Bovary. Este livro, escrito por Gustave Flaubert e publicado em 1856 ano do nascimento de Freud causou uma grande repercussão na sociedade francesa da época. Por causa disto, o autor foi julgado por ofensa à moral publica e religiosa . O meu intuito de utilizar Ema Bovary como objeto de estudo se deve, principalmente, pelo fato dela apresentar características que podem ser compreendidas, à luz da Psicanálise, como histeria feminina. Para tornar claro esse entendimento, nesta dissertação, parto da teoria freudiana e de autores que com ela contribuem sobre a constituição psíquica feminina e os desarranjos que ocasionam a neurose histérica , e após isto, apresento o romance de Flaubert com uma leitura psicanalítica do mesmo. Ema Bovary não é descrita, por seu autor, como uma mulher perfeita, impecável e sofredora, mas sim, com caracterísiticas humanas reais. E estas características da protagonista podem ter sido determinantes para que este livro seja considerado uma obra prima, até os dias atuais
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Tsolakis, Anastasios. "Stendhal et Madame de Stae͏̈l : une inimitié élective." Paris 3, 2002. http://www.theses.fr/2002PA030045.
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La relation entre Stendhal et Mme de Stae͏̈l apparaît dans la divergence comme dans la convergence. Affinités et oppositions, conflits et ententes en tracent les contours et la signalent. Hégélienne dans son essence, elle est lieu d'affrontements, d'antinomies et de tension : Napoléon et actualité politique, littérature et avenir des lettres, nations et perspectives politico-littéraires, société, individu, création et rôle de l'artiste, autant de thèmes amenant des réflexions multiples, conformes ou incompatibles. L'inimitié devient le trait premier d'une relation ambigue͏̈. Car si Mme de Stae͏̈l nourrit souvent le discours stendhalien, elle est aussi la cible préférée de commentaires hargneux. Irréductiblement reniée, elle imprègne cependant la pensée du beyliste. Image hai͏̈e est fascinatrice, elle est condamnée sans appel pour ses " faiblesses " stylistico-morales, mais les emprunts de Stendhal, ainsi que des similitudes étranges, nous montrent une vérité enfouie. Reconnaissance et dissidence, appropriation et sécession vont ici de pair. .Divergence and convergence inform Stendhal's relation to Mme de Stae͏̈l. Affinity and opposition, conflict maps its contours and complicity proclaims it. Hegelian in essence, it is ground for antinomian tensions and confrontation: Napoleon, and contemporary politics in the emergent nation-states of Europe; artistic creation and the role of the artist, the future of literature and letters, society and the individual: a great multiplicity of themes for thought and reflection, both discordant and harmonic. In time, however, enmity will become the definitive quality of this ambiguous relationship. For, if Mme de Stae͏̈l often motivates stendhalien discourse, she is the eternal mark of his vilipending commentary. Mercilessly repudiated, she is the spurned genetrix of Beyle's thought. Despised image, she fascinates. She remains without recourse in the face of his harsh condemnations of her stylistic and ethical "weaknesses", and yet his debt to her is irrefutable. Furtive similarities reveal buried truths. Gratitude and mistrust, appropriation and secession here walk hand in hand. .
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Tyl, Pierre. "Madame d'Épinay, son salon et son oeuvre littéraire." Paris 1, 1993. http://www.theses.fr/1993PA010692.
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Devenue par son mariage l'épouse d'un fermier général, possesseur d'une grande fortune et de noblesse récente, Mme d'Epinay s'est trouvée avoir accès à l'élite parisienne, brassage de financiers, de nobles de robe et de nobles d'épée. Attirée par ce monde élitaire, mais s'y sentant mal préparée par son éducation, rejetant à la fois l'ascétisme janséniste et la dissipation mondiale dans laquelle se jetait son mari, elle constitua un cercle intime, formé de financiers, de nobles amateurs de littérature et d'hommes de léraires du Moyen Age, ou la femme était le garant d'un art de vivre appelé courtoisie puis civilité et débouchant sur la civilisation. Constitée d'un noyau dominé d'abord par Jean-Jacques Rousseau puis par Diderot, le cercle intime se rangea dans le camp des philosophes des lumières, prônant le développement de la civilisation et dénigrant la religion. Victime de la prodigalité de son mari et accablée par une maladie endémique, Mme d'Épinay sut transformer ses handicaps en éléments attractifs, pour maintenir son cercle qui bénéficia des relations de Grimm, son amant, avec des cours étrangères. Inscrivant une activité de femme de lettres dans sa fonction de salonnières, elle laisse une oeuvre qui témoigne de son parcours intellectuelBy her mariage, Madame d'Epinay became the wife of a tax farmer. She was, thus, introduced to the parisian elite. She was attracted by this select world, but feeling badly prepared to it, by her education, rejecting both "jansenist" acetism and the frivolous social life to which her husband gave himself, she constitued an intimate circle of financiers, noblemen amateurs of literature and writers. Her circle was in the continuity of the precious salons and the middle-age literary courts where women were the defenders of an art of living called courtesy, then civility and leading to civilisation. This intimate circle was dominated by Jean-Jacques Rousseau, then Diderot and stood on the side of the enligthment philosophers, claiming the development of the civilisation and denigrating the religion. Beeing the victil of her husband prodigality, and overwhelmed by an endemic decease, Madame d'Epinay succeeded to transform her handicaps into attractive elements in order to maintain her circle which took advantages of Grimm's, her lover, relations, with foreign courts. By including a literary woman activity in her fonction of a salon lady, she was produced a wide literary work
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Karmarkar, Medha Nirody. "Madame de Charrière et la Révolution des idées /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487843688957987.
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Noakou, Alexandra. "Narratological and stylistic problems in translating 'Madame Bovary'." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.422039.
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Roshansobh, Rebecca. "La vision de la vieillesse chez Madame de Lambert." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ53216.pdf.
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關美德 and May-tak Rowena Kwan. "The literary reception of Flaubert's Madame Bovary in China." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31208642.
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Sato, Yoko. "La mort dans la "Correspondance" de Madame de Sévigné /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb375684981.
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Kwan, May-tak Rowena. "The literary reception of Flaubert's Madame Bovary in China /." [Hong Kong] : University of Hong Kong, 1988. http://sunzi.lib.hku.hk/hkuto/record.jsp?B12370101.
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Parodo, Francesca <1980>. "Le traduzioni italiane d'autore di Madame Bovary di Flaubert." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2008. http://amsdottorato.unibo.it/1030/.
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Confrontarsi con lo stile di un autore e riuscire a trasferirlo con tutte le sue
sfumature in un’altra lingua rappresenta da sempre per il traduttore una sfida di non
poco conto, soprattutto se le peculiarità stilistiche da riprodurre sono quelle di un autore
come Flaubert. È nell’incredibile universo racchiuso negli studi e nelle ricerche relative
alla traduzione, nel quale, timidamente, ci proponiamo di inoltrarci, attraverso uno dei
capolavori della letteratura mondiale, Madame Bovary, e in particolare attraverso
un’indagine critica di alcune traduzioni italiane realizzate da scrittori in proprio: Diego
Valeri (1936), Oreste del Buono (1965), Natalia Ginzburg (1983) e Maria Luisa
Spaziani (1997).
Focalizzeremo la nostra attenzione innanzitutto sulla traduzione d’autore, nella
quale, più che in ogni altra tipologia di atto traspositivo, si intersecano fedeltà e
tradimento, creatività e interventismo, letteralità e rielaborazione.
Proseguiremo con un’ampia e articolata analisi del testo di partenza, in cui
verranno messe in luce le principali peculiarità del romanzo e dello stile autoriale.
Entrando poi nella specificità delle diverse traduzioni, procederemo a un esame
comparativo della resa di alcuni tratti caratteristici del romanzo da parte dei vari
traduttori, in particolare circa le metafore e le similitudini; la terminologia specialistica,
che denota il realismo flaubertiano; i vocaboli appartenenti a diversi livelli linguistici,
attinti sia dalle varietà diacroniche sia da quelle sincroniche del francese e infine, alcune
configurazioni frastiche particolari del testo, quelle che, anziché improntarsi alla
varietas grammaticale, mostrano una monotonia grammaticale voluta, con la funzione
di riprodurre a livello sintattico quanto espresso semanticamente.
Seguirà l’analisi del contesto socio-letterario in cui si collocano le traduzioni
oggetto di studio, articolata in un’indagine comparativa sullo stadio della lingua italiana,
sullo statuto della traduzione e sulle attitudini traspositive riguardo a certi elementi del
discorso. La determinazione del quadro d’insieme, unitamente agli aspetti estrapolati nel
corso della trattazione, consentirà la definizione di ogni sujet traduisant e della sua
position traductive circa il significato, le finalità, le forme e i modi del tradurre, nel
tentativo di ricondurre le variazioni apportate al testo originale allo stile di ogni singolo
scrittore in proprio.
A completamento del lavoro inseriremo in appendice la nostra proposta
traduttiva degli atti del processo a Madame Bovary.
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Boainain, Regiane Magalhães. "Madame Pommery: na multiplicidade de vozes, a tradição reinventada." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/14878.
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Previous issue date: 2008-09-26The present research focuses on the study of the interdiscursivity and the digressions in Madame Pommery by Hilário Tácito. This dissertation objective is to raise data on how tradition is worked in this novel, aiming at explaining its effects in the text. The leading hypothesis in this research is that the strategy of bringing tradition by means of intertextuality modalities has double feature in Madame Pommery. This writing procedure can both denote criticism to the models from the early XXth century or reverence, reinforcing the idea that, in the old, you may find the key to the modern. This dissertation also investigates in which aspects the digressions constitute the work s essence. Hypothetically we deduce that the digressions are strategies employed by the narrator to make the obedient reader, used to passive literature to be an active reader. The analyze of the work allowed us to prove that Tácito, by means of intertextuality modalities, seeks the tradition, not as a copy, but as a review of the past. His writing form both reverences a style and an author, as also signalizes the saturation of a literature not suitable to the reality lived in São Paulo in that time. The work points to new literary possibilities, which soon would be created by the Modernism. Moreover, by the analysis it is possible to affirm that Tácito s modernity is on the fact of being able to, by intertextuality and digression, take the reader out from passivity, involving him in the narrative. This way, Tácito shows the necessity of looking at the reading process from another extremity: the reader, who would only be studied by the Literary Criticism, from 1970 s on
A presente pesquisa centra-se no estudo da interdiscursividade e das digressões em Madame Pommery, de Hilário Tácito. O objetivo deste trabalho é levantar dados sobre a tradição na obra de Tácito, visando explicar seus efeitos no texto. A hipótese que norteia a pesquisa é de que a estratégia de trazer a tradição por meio de modalidades intertextuais tem caráter duplo em Madame Pommery. Esse procedimento de composição pode tanto indicar crítica aos modelos do início do século XX quanto homenagem, reforçando a idéia de que, no antigo, se pode ter a chave para o moderno. Esta dissertação também investiga em quais aspectos as digressões constituem a essência da obra. Hipoteticamente deduzimos que as digressões são estratégias empregadas pelo narrador para desautomatizar o leitor obediente, habituado a uma literatura pouco ousada. A análise da obra permitiu-nos comprovar que Tácito, por meio de modalidades intertextuais, busca a tradição, porém, não como uma cópia, mas como redimensionamento do passado. Sua forma de composição tanto homenageia um estilo e um autor, como também sinaliza a saturação de uma literatura não condizente com a realidade vivida por São Paulo na época. A obra aponta para novas possibilidades literárias que, logo, o Modernismo iria criar. Além disso, pela análise é possível afirmar que a modernidade de Tácito está no fato de conseguir, via intertextualidade e digressão, retirar o leitor da passividade, inserindo-o na narrativa. Com isso, Tácito mostra a necessidade de se olhar para a outra extremidade do processo de leitura: o leitor, que só viria a ser estudado pela Crítica Literária, a partir de 1970
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Mello, Renata Aiala de. "Flaubert, Madame Bovary e Emma Bovary: ecos de ethos." Universidade Federal de Minas Gerais, 2012. http://hdl.handle.net/1843/LETR-95PMLL.
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Située entre la Linguistique et la Littérature, cette recherche vise à décrire certains ethé de Gustave Flaubert, de son roman - Madame Bovary, et son personnage - Emma Bovary. Nous cherchons à (re)constituer ces ethé et de les mettre en relation dans une sorte de miroir, d'écho. Comme cadre théorique, nous utilisons la Semiolinguistique de Patrick Charaudeau, en particulier le contrat de communication, ainsi que des recherches d'autres auteurs qui étudient la notion d'ethos tels que Patrick Charaudeau, Ruth Amossy et Dominique Maingueneau, par exemple. Cette notion d'ethos nous aide aussi à (re)composer les images de soi dans nos corpora, en les contextualisant dans la société bourgeoise française du XIXe siècle.Sedimentada nas interfaces entre a Linguística e a Literatura, essa pesquisa tem por objetivo maior delinear alguns ethé de Gustave Flaubert, de sua obra Madame Bovary, e de sua personagem Emma Bovary. Buscamos (re)constituir esses ethé e relacioná-los entre si, numa espécie de espelhamento, de eco. Como arcabouço teórico, contamos com a Semiolinguística de Patrick Charaudeau, mais particularmente com o quadro do contrato comunicacional, além de trabalhos de outros autores que estudam a noção de ethos, como Patrick Charaudeau, Ruth Amossy e Dominique Maingueneau, por exemplo. A noção de ethos nos ajuda, ainda, a (re)compor as imagens de si presentes em nossos corpora, contextualizando-as na sociedade burguesa francesa do século XIX.
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Gonçalves, Luís Carlos Pimenta. "Postérités de Madame Bovary au Portugal XIXe-XXe siècles." Paris 3, 2002. http://www.theses.fr/2002PA030026.
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Cette thèse se propose de rendre compte de la réception de Madame Bovary au Portugal du XIXe au XXe siècle en révélant ses irradiations multiformes qui s'étendent du dictionnaire encyclopédique au manuel de littérature, du simple article de journal à la thèse universitaire, de la traduction littérale à la traduction littéraire, de l'influence thématique à l'influence stylistique et qui constituent la fortune d'une oeuvre. Dans la première partie un recensement presque exhaustif de la critique journalistique et universitaire tant dans les journaux et essais contemporains de l'œuvre qu'au vingtième siècle témoigne du phénomène de la réception médiatrice. Un questionnaire sur Madame Bovary auquel ont répondu un peu plus de deux cents lecteurs permet de dégager quelques variables quant au degré de connaissance non seulement du récit de Flaubert mais également de son importance dans l'histoire de la littérature portugaise. Dans la deuxième partie une comparaison et analyse contrastive des (re)traductions de Madame Bovary souligne des phénomènes linguistiques, stylistiques et sociolinguistiques liés à la problématique du livre traduit. .This thesis examines the evidence for the reception of Madame Bovary in Portugal in the nineteenth and twentieth centuries. Multi-faceted influences, ranging from the encyclopaedic dictionary to the manual of literature, from the simple newspaper article to the university thesis, from the literal to the literary translation, and from the effects on theme to the effects on style, make up the record of a masterpiece's fortune. In Part One, a more or less exhaustive census of newspaper and university criticism, written for the press or in essay form, from the period in question through the twentieth century, helps to clarify the phenomenon of the book's reception. A questionaire concerning the book, to which more than two dozen readers responded, permitted, for its part, a demonstration of some variables in the degree of familiarity not only with Flaubert's narrative but also with its importance in the history of Portuguese literature. In Part Two, a comparison and contrastive analysis of (re)translations of Madame Bovary emphasises not only the linguistic and stylistic but also socio-linguistic aspects, associated with the problematic of the translated book. .
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Sato, Yoko. "La mort dans la correspondance de Madame de Sévigné." Paris 4, 1999. http://www.theses.fr/1999PA040030.
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Dans sa correspondance, Mme de Sévigné parle abondamment de la mort, soit sous forme de nouvelles, ce qui constitue notre première partie << chronique de la mort >>, soit sous forme de réflexion, ce qui fait l'objet de notre deuxième partie << l'art de mourir chez Mme de Sévigné >>. La première partie présente les différents aspects de la mort dans la société de l'ancien régime : les évènements qui la précèdent ou la suivent, les morts violentes et non violentes ou la grande actualité de cette période. Cette chronique est le reflet de la société et de l'époque où vécut Mme de Sévigné, et témoigne de l'évolution des mentalités depuis lors, qu'il s'agisse du rôle du médecin et du prêtre, de la présence de la mort dans la vie quotidienne, et en particulier de la mort des "grands", "spectacle" en face duquel ils doivent se comporter en "grands". La deuxième partie montre la manière dont la marquise a vécu la maladie et la mort de ses amis et de ses proches, surtout les accouchements et la maladie de sa fille, ensuite, de quelle façon elle concevait sa propre mort et s'y préparait. L'évolution de ses réflexions montre le lent mais sur approfondissement de sa personnalité et son acheminement vers une foi chrétienne inébranlable, imprégnée de conviction janséniste. Tant éprise d'amour pour sa fille au milieu de sa vie, la marquise semble avoir trouvé à la fin la sérénité affective, morale et religieuse pour mourir en bonne chrétienne.