Dissertations / Theses on the topic 'Marché littéraire'
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Candido, Zambelli Paula. "Les anthologies littéraires au Brésil : littérature et marché littéraire au xixe siècle." Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030063.
Full textThe term "anthology" covers a collection of different literary practices dating back to antiquity. Around the 18th century in Europe, more precise and recurring structures emerged in modern literary anthologies that allowed them to be considered as a genre: they became profitable cultural products that combined literary, historical and national discourses. This diachronic study of literary anthologies in Brazil in the 19th century investigates the European, and specifically Portuguese, origins of literary collections in order to understand the first manifestations of the phenomenon in Brazil in the context of the acceleration of the transatlantic movement of people, prints and ideas that was characteristic of this period. From its first steps in Brazil, the anthology genre has proven to be varied and dynamic. The category of national parnasos, mosaicos, florilègios, harmonias and liras, which most often attract the attention of critics, is neither homogeneous nor isolated. Within the emerging literary system, booksellers' catalogs and newspaper advertisements are full of compilations aimed at the moral education of youth and the entertainment of families, mainly through short stories. We also find the presence of various thematic, contemporary, programmatic and also regional poetic collections, whose circulation is not negligible despite the limits imposed on literary practices at the time. This context, already visible in the middle of the century, will continue to increase in terms of diversification and volume towards the end of the 19th century and throughout the following one
A expressão « antologia » abrange uma série de práticas letradas diferentes que remontam desde a Antiguidade. Na Europa, por volta do século XVIII, as antologias literárias modernas assumem contornos mais precisos, permitindo considerá-las como um gênero: tornam-se produtos culturais rentáveis associando discursos literário, históricos e nacionais. Este estudo diacrônico sobre as antologias literárias no Brasil do século XIX examina as origens europeias, particularmente portuguesas, da coletânea literária, com o intuito de compreender as primeiras manifestações do fenômeno no Brasil, inscritas num contexto de crescimento das circulações transatlânticas de pessoas, impressos e ideias que caracterizam o período. O gênero antológico no Brasil, desde seus primórdios, mostra-se variado e dinâmico. A categoria dos parnasos, mosaicos, florilégios, harmonias e liras nacionais, que atraem frequentemente a atenção da crítica, não é homogênea nem isolada. Dentro do sistema literário em formação, os catálogos de livreiros e os anúncios de jornais estão repletos de títulos destinados à formação moral da juventude e ao entretenimento das famílias, principalmente através do gênero literário novela. Constata-se ainda a presença de numerosas coletâneas poéticas, temáticas, contemporâneas, programáticas e regionais, cuja circulação não se pode desconsiderar, apesar dos limites impostos às práticas literárias na época. Visível já na primeira metade do século, tal estrutura continuaria aumentando em termos de diversificação e de volume na segunda metade do oitocentos e ao longo do século seguinte
Vincent, Josée. "Les professionnels du livre à la conquête de leur marché les associations professionnelles dans le champ littéraire au Québec (1921-1960)." Thèse, Université de Sherbrooke, 2002. http://savoirs.usherbrooke.ca/handle/11143/2727.
Full textSarmiento, Sequeda Favio. "Cοnstructiοn de l'identité culturelle en Cοlοmbie à travers sa littérature (ΧΧe-ΧΧΙe siècles) / La cοnstrucción de la identidad cultural cοlοmbiana a través de la literatura cοntempοr∈nea." Electronic Thesis or Diss., Normandie, 2024. http://www.theses.fr/2024NORMR058.
Full textThis doctoral thesis explores the construction of Colombian cultural identity as depicted through contemporary literature. It is structured into three key chapters. The first chapter provides an in-depth literary analysis of four major contemporary Colombian works, focusing on how they address core aspects of Colombian cultural identity, specifically family, religion, and violence. These elements are examined as fundamental pillars in the reflection of national identity. The second chapter transitions to the study of the literary market in Colombia, comparing its evolution with the reception and impact of Colombian literature in France, and thus highlighting intercultural exchanges. The third chapter focuses on the influence of cultural identity in education and analyzes recurring cultural identity figures found in Colombian museums, discussing how these symbols contribute to the broader discourse on national identity
Thierry, Raphaël. "Le marché du livre africain et ses dynamiques littéraires : le cas du Cameroun." Thesis, Université de Lorraine, 2013. http://www.theses.fr/2013LORR0302/document.
Full textSince the eighties, international industrial firms enter North publishing houses' capital. This was the beginning of what is called book globalization. That process raises a standardization fear of published material; it also involves the emergence of thoughts and projects concerning bibliodiversity. In that context, African book's market has been structured in different kind of networks with the goal of sustaining its diffusion/distribution. On the end of the nineties, scholar researches increase their interest for African literature production's background. Behind each book, we find institutions, economies, authors' strategies, which are important to take in account. In this present work, we will consider the relations between African literary productions and Global book's market. Secondly, our work will focus on Cameroonian book's market as an editorial system, and will question its participation to the economy of literature at national, regional and international scales
Morel-Flont, Teresa. "La solitude dans le théâtre de Gabriel Marcel." Paris 4, 1988. http://www.theses.fr/1987PA040427.
Full textFabre, Bruno. "Récriture et création, dans "Vies imaginaires" de Marcel Schwob." Paris 4, 2007. http://www.theses.fr/2007PA040290.
Full textMarcel Schwob’s Vies imaginaires suffered for a long time from the image of a learned storywriter tied to Schwob’s name and from a lack of originality he has been criticized for. Our study attempts to show how important this work is in the history of biography, by comparing it to its patterns and with the writer’s precursors’ works. Being at odds with the referential and scientific biography, Vies imaginaires is in line with a relation of English works which led the author to renounce the exemplary nature and the requirement for truth peculiar to the classic paradigm of the genre. Most of the texts used by the writer to reinvent his protagonists’ life are literary works, biographies or translations into English language. The listing of the intertextual material used by the author and the study of its rewriting reveal how Schwob is appropriating these works and bring the writer’s creativity out. The reprocessing of former biographies and the reinventing of characters borrowed from History are coming to the elaboration of a completely new work, the genesis, the writing principles, the composition and the imaginary form of which are pointing out an original creation of his own which is taking the lead to the biographical fictions of the 20th century
Terrier-Hermann, Véronique. "Détournements du littéraire dans les arts plastiques : 1964-1994." Paris 1, 1998. http://www.theses.fr/1998PA010509.
Full text"Diversion and appropriation of the literary in the visual arts, 1964-1974" is a study of the uses of literature as artistic matter. This research takes part in the prolongation of the complex history of relationships between art and words, and comes from a double artistic legacy: the use of writing in both painting and conceptual art. It is a matter of revealing, by a comparison of art works, a new direction in contemporary art, that, beyond the word targets literature itself and leads artists to divert the literary genre. By appropriation and diversion we mean the transfer and conversion (transformation) of the literary object thus diverted. These "stories of literature" in the visual arts have been studied according to four modes of appropriation or diversion elaborated by the artists, which have allowed us to treat the art works illustrate our remarks. In the 'eclipse' mode, we have analysed pieces from marcel broodthaers and allen ruppersberg, in 'fiction', those of Lean Le Gac and Patrick Corillon, in 'interpolation', those of broodthaers, Jef Geys, Barbara Bloom and Rodney Graham, and finally, in 'appropriation', others from broodthaers, Corillon, Sherrie Levine, Ruppersberg, Le Gac and Gérard Collin-Thiebaut. In conclusion, regarding the studied art works, we analysed the theories of the literature on which the artists had based their work, from the "sovereignty of the same" by Michel Foucault to the "tower of Babel" by Borges, before making a synthesis of the field of experimentation of these hybrid art works and their place in modernity
Vateva, Anna. "Approche monographique de la traduction littéraire : Proust en Bulgare." Paris 10, 2008. http://www.theses.fr/2008PA100193.
Full textThe constitution of this work stems from our translation experience. Specifically, its starting point is our translation in Bulgarian of a collection of extracts from A la recherche du temps perdu by Marcel Proust. In a broader sense, the practitioner that we are turned to the theory in order to clarify and thereby improve his practice. The theoretical part of this work is devoted to reflection on translation in general and on our practice in particular. At first we examine some fundamental theoretical problems. Their presentation revolves around two main themes: the question of literalism and the relation between theory and practice. We tackle these issues through the consideration of three différent perspectives: metaphysics of translation, poetic of translation and translating science. Secondly, we ondine the elements of our specific experience. The presentation of preparatory work is followed by analysis of our translation. This analysis aims to identify the transposition of the systematic nature of the proustian text and to compare our translation choices with those made by the Bulgarian translaters of the existing versions. Translation theory and practice are in a mutual lighting. Analyzing his own practice using theoretical tools is an extremely useful experience. The accumulation of data derived from translators' introspection serves as basis for theoretical studies on the translation
Agostini, Ouafi Viviana. "Musicalité poétique et tradition littéraire : Giacomo Debenedetti, critique et traducteur de Marcel Proust." Caen, 2001. http://www.theses.fr/2001CAEN1325.
Full textFabre, Juliette. "Marcher, penser, écrire : la Promenade littéraire de La Mothe Le Vayer à Rousseau." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL112.
Full textFrom the end of the seventeenth century to the eighteenth century, promenades took various forms: from concrete places such as walkways, to social gatherings, promenades also refer to a metaphor of writing itself: a supple form of writing relying on paradoxical aims. Following the patterns of the scholarly dialogue or the society conversation, promenades allowed the inclusion of embedded pieces and miscellaneous fragments. Their closeness to satires, novels or periodicals made them appear as a cradle for articulating ideas and searching for modes of expression, for both famous authors such as Diderot and Rousseau and less known or even anonymous ones. This study focuses on a selection of texts entitled Promenade and focuses on the choice of a resolutely open pattern that combines freedom and entertainment, lightness and depth. Turning from promenades to solitary walkers, literary promenades evolved during the eighteenth century towards the expression of the self - reveries replaced dialogues and allowed walkers to explore new landscapes
Brun, Marion. "Marcel Pagnol, un « illustre méconnu » : réflexions sur les valeurs d'une œuvre littéraire et cinématographique." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040118.
Full textThis thesis provides a new study on a writer usually neglected by scholarship : Marcel Pagnol. Taking his case as a starting point, this study aims to analyze the processes of legitimation and construction of canon. This research, building on sociology of literature, investigates the paradoxes of an “illustrious unrecognized” who pertains to official, classical and patrimonial literature but that nonetheless remains discredited by several matters. His fame and successes damage his symbolic capital; his regional particularism may prevent him from reaching universality. Between institutionalization and disrepute, Pagnol draws a medium path and carries out a medium art (middlebrow culture) which reconciles goodliterature and general public. In theater, he makes commercial theater, boulevard theater and some of the avant-garde come to an agreement, proving the permeability in dramatic field. In cinema, he combines art-house movies, literary script and neorealist avant-garde with popular melodramas. In literature, he emphasizes continuity between oral tradition and media innovation. This middlebrow author, this modern conservative balances regionalism against parisianisme, intellectualism against pragmatism, in a medium way that makes cinema and theater, theater and variety, tale and radio interact
Maini, Matilde. "Expressions de la périphérie dans la littérature brésilienne contemporaine." Thesis, Paris 10, 2016. http://www.theses.fr/2016PA100058/document.
Full textStarting from the concepts of the centre and the periphery, this thesis analyses their representation in Brazilian contemporary literature and their relationship in the Brazilian and international publishing market. Focusing on four Brazilian contemporary writers with different personal and creative paths – Rodrigo Ciríaco, Marcelino Freire, Ana Paula Maia e Patrícia Melo – this research aims to demonstrate that they can be placed on an imaginary line, which develops through multiple gradations. Therefore, this continuum is opposed to a binary opposition’s point of view. From this perspective, the emergence of a new literary movement from the suburbs of Brazilian big cities, the literatura periférica, is analyzed in order to try to understand how it is different, or not, from other literary discourses. Finally, the thesis observes the presence of Brazilian writers, especially exponents of literatura periférica, in the international publishing market, through their translation and participation in major international cultural events such as Frankfurt Book Fair and Paris Book Fair
Shimoni, Yaacov. "La demande de monnaie en Israël : 1955-1981 : analyse comparée de différentes formulations de la littérature." Paris 10, 1985. http://www.theses.fr/1985PA100078.
Full textSakamoto, Hiroya. "Les inventions techniques dans l'oeuvre de Marcel Proust." Paris 4, 2008. http://www.theses.fr/2008PA040009.
Full textCritics often consider the presence of newly invented technologies in À la recherche du temps perdu as a "modernist" or "futurist" aspect of a novel reputed to be backward-looking without fully taking into account Proust’s criticism of progressive notions applied to art. By combining intertextual close reading and cultural history, this dissertation explores the complexity of Proustian representations of modernity, focussing on four machines : the telephone, the bicycle, the automobile, and the plane. It includes a comprehensive survey of Proust’s corpus (correspondance, earliest works, pastiches, critical writings, novel, and edited manuscripts), as well as an archeological investigation of literary and cultural representations (contemporary novels, poems, journalistic or polemical texts such as questionnaires, columns, manifestoes, and iconographic documents such as postcards or posters). This contextual analysis allows us to better examine the historical singularity of Proust's aesthetic, ideological, and strategic use of these vehicules. This dissertation not only shows the symbolic, narrative, poetic, and theoretical interest of these motifs within the story of an artistic vocation and the conception of life and the work of art as a network, but also emphasizes the social and dialogical dimension of Proust's style which, irreducible to an immediate transcription of personnal experience, uses and undoes the ommonplaces of his time to create an allusive and ambiguous representation of modern experience and discourse. Proust's representations of modernity are ambivalent : ludic, dramatic, ironic and critical, often associated with the theme of sexual ambiguity
Dostie, Claude Jr. "Le traitement des marchés financiers chez les politologues une revue critique de la littérature en ÉPI." Mémoire, Université de Sherbrooke, 2011. http://hdl.handle.net/11143/5675.
Full textBouazis, Charles. "La théorie de l'écriture comme domaine d'objet : écriture du texte littéraire et symptôme psychanalytique dans l'œuvre de Marcel Proust." Paris 10, 1988. http://www.theses.fr/1988PA100104.
Full textArvisais, Alexandra. "L'esthétique du partage dans l'œuvre littéraire et picturale de Claude Cahun et Moore." Thesis, Lille 3, 2018. http://www.theses.fr/2018LIL3H006/document.
Full textThe polymorphic work of Claude Cahun, author and artist from the first half of the 20th century, and Moore, visual artist, is essentially based on the idea of sharing. From 1913 to 1954, Cahun and Moore developed a work that relies in part on shared creation, that is to say, it is produced symbiotically by two collaborators, but whereas another part is undertaken solely by one of the artists. Their work takes on the double path of writing and artistic expression (drawing, photography, photomontage, object) to express their vision of the equivocal subject and art under the sign of the multiple. With the perspective of studying writing and the image as two inseparable means of expression, the notion of sharing will allow to consider both Cahun’s and of Moore’s approach between literary and artistic movements and genres, between an author and an artist, between the subject and its doubles and between the arts and the media issues. By proposing the notion of sharing as an operational concept, this thesis seeks to recontextualize Cahun’s and Moore’s work according to its belonging in the cultural and literary history of late symbolism, modernism and the surrealist avant-garde, embracing both the late 19th century and the first half of the 20th century. Their vision of the work as a space for sharing between the textual and the visual is accomplished by a collaboration between author and visual artist, which redefines the status of the solitary creator. I will also approach the self-representation approach from the notion of sharing as the identity construction of the Self, through many self-projections on paper or film, goes through duplication to express the être-au-monde of a subject that does not recognize itself within the boundaries of univocal gendered and identity categories. The act of sharing results in the creation of a hybrid work combining words and images in a process that goes beyond the illustration of the text by the image to favor dialogue between media. Sharing is essential as the notion par excellence to capture a work that has made out of duplication – of filiations, intertexts, creator, identity and the oeuvre itself – its modus operandi
Ikeda, Jun. "La culture littéraire dans À la recherche du temps perdu." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040020.
Full textIn this thesis, we discuss the aspect of “critique-novel” of Marcel Proust’s À la recherche du temps perdu (1913-1927). Proust originally undertook this novel as a series of fragments of critique that are titled le Contre Sainte-Beuve, but in the process of writing, the uncompleted fragments slid to a novel. This origin partly accounts for the plenty of references to literary works in this roman. Then, what is the point of the transformation from a critique to a novel? Our hypothesis is that this transformation occurs due to the transition of Proust’s main interest—from the monological narration of the critique towards the dialogical and descriptive discourse of the novel of manners, in which characters are concerned with literature in their own way. In order to demonstrate the hypothesis, we examine various aspects of characters who talk of literature in the novel, analyzing their opinion for four most frequently referred authors, Madame de Sévigné, duke de Saint-Simon, Hugo and Balzac. This approach has enabled us to find that the characters’ opinions represent the reception of the authors in question, and that the opinions have a role of typifying and situating the characters in the plot. Therefore we can conclude that Proust chose to draw the behavior of people around literature with the form of novel instead of simply stating his own idea
De, Guido Cédric. "Marcel Schwob, « un journaliste de l’espèce rare »." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20008.
Full textThe full texts of Marcel Schwob first appeared in newspapers. It is proposed to investigate the influence of this journalistic "matrix", with its strong constraints on writing Marcel Schwob, and symmetrically the influence of the subsequent publication of the same texts in collections on their reception by the reader.The texts of Marcel Schwob, they remain repositories (descriptive of reality, stories or anecdotes of things seen , reflections on court cases) are the site of a fictionalization of chronic, which poses the problem of constraints Marcel Schwob subscribed and those (such as duress direct reference to the news) he is exempt. But this fictionalization of journalistic writing is not original to the late nineteenth century, and it will be replacing it in a tradition. It would then be possible to consider journalistic writing in Schwob as a defining experience of insertion techniques of knowledge about the past or contemporary reality not only chronic but also in fiction. Moreover, we show that the boundary between writing called "journalistic" and write so-called "literary" is not relevant to Marcel Schwob, nor for writers-journalists who are her contemporaries.The erudition Marcel Schwob shows is used to hide (and, in Moeurs des diurnales to exhibit) references and scholarly but apparently fictitious allusions in any doubtful case to the reader, as it is true that it would be impossible to verify all, which demonstrates the impossibility of exhaustively annotated critical edition of the works of Schwob
Zellagui, Katia. "Du côté de chez Swann : analyse morpho-syntaxique semi-automatique et statistique d'un texte littéraire." Besançon, 2004. http://www.theses.fr/2004BESA1035.
Full textOur laboratory team the (LASELDI, of the University of Franche-Comté) works with automatic analysis of literary corpora. We labelled each linguistic unit (we consider 2 kinds of units: simple words and compound words) from the Proust's text "Du côté de chez Swann", by using two tools which were available to us : the Intex system and the DIATAG program. We designed a processing data sequence in order to build a corpus that is completely tagged (and disambiguated) whose labels are sufficiently rich. Then we associated to each linguistic unit its lemma, a morpho-syntactic category, and a flexional information. The different types of lexical ambiguities are solved either semi-automatically (by the main dictionaries and the local grammars) or manually to resolve complex ambiguities. Then we detailed the entire processing data sequences: pre-processing of the text, the creation of necessary lexical resources, and the construction of local grammar of disambiguation. An interactive program was used to manage residual ambiguities. These various processing data have allowed the tagging of 170 170 words of a text and presented a quality tagging (which was evaluated). We finally presented an application by creating a grammar of nouns groups and classifying the sentences of the corpora according to their structures. In the end, we propose a thematic analysis by using the methods of textual statistic. The factorial analyses which are a result of this processing data, (innovating in the sense that they are based on disambiguated occurrences) allowed us to validate certain intuitive analysis on the topic of time
Guzowski-Saurier, Delphine. "Médiations et co-construction du patrimoine littéraire de Marcel Proust : la Maison de Tante Léonie et ses visiteurs." Phd thesis, Université d'Avignon, 2003. http://tel.archives-ouvertes.fr/tel-00940273.
Full textSchoenecker, Aurore. "Les traductions françaises de l'espagnol et le marché du livre (1600-1660) : enquête sur une pratique d'écriture." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEE090.
Full textThe literary influence exercised by Golden Age Spain on France in the first half of the 17th century is related to a very considerable mass of editorial activity. This thesis, which combines the history of the book and literary history, studies French translations of Spanish texts which circulated in France between 1600 and 1660 - translations concerning texts of all kinds (religious, literary, scientific, technical, etc.).In order to evaluate this editorial activity, a bibliometric enquiry must first be carried out. This enquiry allows us to reconstitute the history of of the circulation of this material in print. The principal centres of production are identified and the production of the workshops of the booksellers’ operating in this market are examined. The analysis then shifts to the activity of translation itself, in all its diversity. The profiles of the different principal translators from Spanish to French are laid out: the professional translator, the enlightened amateur, the printer, the cleric, the physician, etc. Particular attention is paid to men of letters who attempt to conciliate what is perceived as lowly hackwork with their literary ambitions. Finally, the translators’ practices themselves are the object of study, through comparison, using textual analysis as well as examining questions of format and layout, of different (concurrent or successive) translations of the same text. Account is thus made of the diverse motivations of these versions and the specificity of each writing project and publication. Taking as its base a large swathe of writing produced in French often neglected by literary history, this study of the penetration of Spanish culture in France and of the world of translators looks anew at the relation between writing and publication, as well as at the editorial role in the construction of literary legitimacy
Granger, Sabrina. "L'imaginaire du sacré dans les contes de Marcel Schwob." Grenoble 3, 2006. http://www.theses.fr/2006GRE39048.
Full textA severe cultural crisis shakes European spiritual foundations in the late nineteenth century. Essential symbolic structures seem to crumble and society undergoes a process of secularization. Yet during the same period, a deeply-felt religious sensitivity manifests itself in various ways ; not only the main themes of the Catholic revival, but also occultism, satanism and esoteric doctrines inspire many French authors. The very notion of the sacred is in crisis and this paradoxical situation results from a widespread intellectual and artistic longing for a new way of interpreting the world. Marcel Schwob (1867-1905) occupies a peculiar position in literary history, and his ambiguity, so often emphasized by critics, makes him an emblematic figure of this constrastridden epoch. Indeed Schwob as a storyteller likes to draw figures and motifs from a universal cultural repertoire. But he is also a scholar, a disciple of Saussure and Bréal, and is very interested in the works of significant folkorists. A constant dialogue between myth and modernity underlies his entire work. How does a notion like the sacred appear in this author's writings ? The purpose of this study is to demonstrate that these two mental processes, the mythic and the modern, which seem a priori to exclude one another, are reconciled by Schwob, in such a way as to create a very personal conception of the sacred. Based on a clearly interdisciplinary approach at the crossroads of literary theory, anthropology and ethnology, this dissertation analyzes Schwobian fictional space and time, then the author's own myth of language and finally his representation of the body
Suzuki, Junji. "Marcel Proust et le japonisme." Paris 4, 1996. http://www.theses.fr/1996PA040277.
Full textThe aim of this thesis is, on the one hand, to examine facts which testify to contacts between Marcel Proust and diverse Japanese things that were mentioned in his writings, and on the other hand, to reveal the structure of japonism in remembrance of things past. We also analyze some aesthetic affinities between Proust and Japanese art. The first chapter is devoted to the study of relations between Proust and several writers who were interested in Japanese culture. In the second chapter, we examine Proust’s acquaintances with certain friends who had an inclination for Japanese things. In the third one, we consider several facts and things that connected our novelist with Japan, for example, some Japanese works of art owned by the Goncourt. The veiled structure of japonism in his novel becomes clear in the fourth chapter: the structure consists of six principal characters who form two contrasting groups. Finally, in the last chapter, we treat the problem of aesthetic affinities between Proust and Japanese art
Barekat, Behzad. "Fidélité en traduction littéraire : recherche sur la traduction persane de "A la recherche du temps perdu" de Marcel Proust." Paris, INALCO, 2004. http://www.theses.fr/2004INAL0009.
Full textWe have intended in this research to apply an interpretive point of view of translation on the Persian translation of "A la recherche du temps perdu" of Marcel Proust. Our work is essentially based on the interpretive theory elaborated by Danica Seleskoivitch and Marianne Medere, enriched by the ideas extracted from other theories of translation. Considering the "literary translation" as a creative, more literary than linguistic phenomenon, we have carried out a process which begins with the hermeneutic phase of "comprehension" supposed to give us as a reader-translator, a deep understanding of the structure and the function of the text by following a logico-deductive reasoning. The second phase is "deverbalisation" through which we seize the meaning as the outcome of the form/content interaction. The final phase is "reexpression" as a creative, verbal construction providing us with a physiognomy similar to that of the text, fulfilling the same function and producing more or less the same effect. In the second part of our research, we have made use of the model of Antoine Berman (1995) for evaluating the quality of the Persian translation of "La Recherche". The confrontation of the text and the translation, in order to be exact enough, has been performed in macrostructural, superstructural and microstructural levels. Our triple criterion for faithfulness - faithfulness to the text, to the demands of the target language, and to the horizon of expectations of the readers – has been an attempt to see the translation in the polysystem of Persian culture. Finally, believing that no first translation of great literary works is accomplished, we have brought our own translation of the first chapter of the original text
Songoulachvili, Catherine. "Les figures de l'animal chez Marcel Aymé et Mikhaïl Boulgakov." Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20002.
Full textTamraz, Nayla. "L'inscription du portrait-tableau dans À la recherche du temps perdu de Marcel Proust (1871-1922)." Paris 3, 2004. http://www.theses.fr/2004PA030149.
Full textStudying the registration of the portrait-painting in A la recherche du temps perdu means wondering about the ways of its insertion in a romantic discourse as well as the ways of its writing, and this going from statements which suggest an ekphrasis, reconsidered in the light of a real painting and art criticism. A contamination of the system of representing La Recherche ensues, so that the scriptural portraits can be read as pictorial paintings. Eventually it appears that Proust assigns different functions to these two categories of portraits : by « painting » his characters, he makes living portraits of them for certainly esthetic reasons, but to the actual esthetic object, Proust attributes another function, which is to « signify ». At the different levels of senses and interpretation of La Recherche , the descriptions of painted portraits appear then as real hermeneutic cores assuming multiple functions in the general economy of the work
Zhou, Hao. "De la Marche à la Fuite - lire Claudel en partant de l'Orient." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040097.
Full textThis thesis studies Art poétique of Paul Claudel and his influence in his creation with a Chinese critical perspective. To avoid excessive interpretation, I develop an intercultural approach. In the actual process of reading, I use the classical Chinese aesthetic and literary theories to summarize synthetically the aesthetic effect of the works as a whole, and proposes the two kinds of effects as “walk” and “escape”. Then I use the traditional western method of textual analysis and the method of documentary research, to link effects to text. The observation of the development and transformation of these two forces can cross the apparent complexity of the poet’s work, and reveal the direct influence and possible convergences between his thought and Eastern thought
Drouin, Guy. "S'écrire : essai sur les figures de la création littéraire dans les oeuvres de Louis-Ferdinand Céline et de Marcel Proust." Thèse, Université du Québec à Trois-Rivières, 2000. http://depot-e.uqtr.ca/3153/1/000677391.pdf.
Full textMatsubara, Yoko. "Proust et Racine : les références raciniennes dans les écrits de Marcel Proust." Paris 4, 2008. http://www.theses.fr/2008PA040066.
Full textThis thesis attempts to analyze the references to Racine found in the writings of Proust. Efforts are targeted to discuss how and why the references are integrated into Proust's work, and what effects they have on the central motifs of the novel, "À la Recherche du temps perdu". We should think about the question from three perspectives : that of the language, of the characters and of the story. We note that the references to Racine are used for theatrical dramas of the novel. Consequently, we approached not only the playwrights - the narrator, Albertine, Charlus and Mme des Laumes- , but also their dramas, established on their imaginary reading of Racine's tragedies, Esther, Athalie, Bérénice, Andromaque and Phèdre. With the eyes of these playwrights, the world appears complex : the readers are between two or three worlds of which they do not arrive at knowing which is true. We consider also how the references to Racine function : they prescribe the gestures and the look of the characters in the novel. By these references, the space also is transformed into the scenes of the theatre. The verses of Racine, whose original tonality was solemn and pure, and who were intended for a sacred and tragic scene, are used in the roman for a profane and comic piece. An analysis is focused on this process, which brings to light the comic and profane aspect hidden in the tragedies as well as the tragic and sacred side in the comedies
Ramaux, Christophe. "Marché, contrats, règles et institutions, les spécificités de la relation salariale : en partant de la littérature contemporaine, jalons pour une grille de lecture alternative." Paris 1, 1996. http://www.theses.fr/1996PA010006.
Full textThe dissertation takes place between the field of labour economics and organisation economics. It proposes an alternative theory of the specifities of the employment relationship. A critic of contractual theories in economics is first proposed. Two kinds of studies are distinguished inside these theories : the theories in terms of "price-contracts" and the contractual theories of organisation. Their differences are pointed out, however it is shown that these theories agree to consider the employment relationship as an exchange contract. The limits of these theories are exposed. An alternative analysis of the institutionnal determinations of employment relationship is exposed by using a critical scrutinization of convention theories, regulationnist and marxian theories. Our analysis opposes to contractual approach which combines exchange economics and contract economics, it proposes to combine exchange and production economics and the economics of the rules in order to account for the specifities of the employment relationship
Rowner, Ilai. "Ecriture corporelle : Théorie des événements littéraires." Paris 7, 2012. http://www.theses.fr/2012PA070008.
Full textWhat is literature's approach to the event? How does literature produce and give testimony to events? The event is generally defined in this study as any occurrence, real or fictional, within a singular verbal work. The event is that which obviously comes about, yet in its very essence the event comprises a dimension of inexhaustibility, an unknown element that refuses perception and appropriation, and that constructs and depends on the creative engagement of the stylistic and fictional work. Reading Heidegger's later writings and discussing his reception by French thinkers such as Blanchot, Derrida, and Deleuze, my study defines the act of literary creation as a progression towards the event and, most particularly, as the experience of the un-happening element within the happening. As I argue, while the event incessantly acts in the literary work as an unprecedented call for absolute creation, literature offers the evasive voice and image of the non-place within the taking place. My study demonstrates how these theoretical premises may be applied to actual literary works by analysing Marcel Proust's and Louis Ferdinand Céline's air raid passages in Le Temps Retrouvé (1927) and in the first book of Féerie Pour Une Autre Fois (1953) respectively. In these passages, the experience of literature—as both an act of writing and reading—becomes the vital move of the event itself: the more one surrenders to the violent and impersonal corporeality of the event, the more the work becomes "the offspring of the event," as Deleuze joyfully remarks (Logique du Sens, 1969)
Le, Roux Aude. "Imaginaire et écriture de la mort dans l'oeuvre de Marcel Proust." Paris 3, 2002. http://www.theses.fr/2002PA030117.
Full textIn the search for images, metaphors and comparisons, which, in Proust's work, aim to speak of the unspeakable, to reach the unknowable, in short, to say Death : this project, inspired by thematic criticism, covers the whole of Proust's work (letters, essays and novels, published texts and drafts). While studying first of all the relationship between Proust's way of writing and stereotypes concerning death, then trying to establish a conceptual and "dogmatic" definition of death, and finally, focusing on deathly images which are linked with vegetable, animal and mineral kingdoms, one identifies three goals : to show how Proust deals with innovation and imitation ; to evaluate the extent to which his discourse regarding death coincides with or steps back from the way he uses macabre images ; to enlighten both the death metaphor's power of liberation and the paradoxical strength of resistance against death and the forgetting which lies within them. Indeed, the yellow foliages of hair, the rotten fruits and the reddened faces dried up like berries which appear in "Le Bal de têtes" turn it into a winter garden ; the strange beast shaking the grand-mother's body, the birds which sinisterly fly above Albertine's head, the monstrous and age-hold whales and the human cocoons of the last "Matinée" transform À la recherche du temps perdu into a strange ark ; the grotesque puppets, the motionless recumbent statues, the crumbled sculptures, the dark etchings fill a novel of reification and petrifaction According to Proust, death is "eminently positive" and "fragmentary", thus "familiar" : this double conviction is brought to the fore by the succession of images which embody it. But, in doing so, and by the power of Proust's metaphor, the complex beauty of his work is brought to fruition, promising it to artistic eternity
Léonce, Thierry. "Le fantastique dans l'oeuvre romanesque de Marcel Brion." Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00699768.
Full textAthias, Béatrice. "La voix dans A LA RECHERCHE DU TEMPS PERDU de Marcel Proust." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC076.
Full textFrom its very first pages, the narrator of Remembrance of Things Past evokes the voice of his mother as she reads François le Champi, to the great pleasure of the child still within. The vestiges of the enveloping, soft voice left by this initial reading, which will reappear at many points in the text, lead us to question the effect of a text carried by such a voice as well as its connection with that of the narration. The rich and complex relationship that the nostalgic hero maintains with other characters' voices also comes into play, frequently commented on by the Narrator. This study therefore looks at the voice in Remembrance both from a thematic and poetic standpoint. We have already looked at the various forms of dissatisfaction engendered by a universe that continually flees those seeking to comprehend it. But we have also considered the devices permitting the hero to achieve a sense of fullness through listening, including the synesthesia and reception of an untranslated otherworldly voice, source of literary inspiration. We have alsoexamined the experiential modalities of the voice belonging to a hero-Narrator marked by auditive hyperesthesia : whether he allows to resonate within him the voices he adores, those which persecute him by brutally insisting on his conformity, thereby threatening his genius. This leads as well to a consideration of the writing of Remembrance as an act which, while incorporating the oral exchange, reduces it to silence, the voice appearing in the text solely through the latter's sound amplification
Germani, Elisabeth. "La mode comme expression du sacré dans l'oeuvre de Marcel Proust." Aix-Marseille 1, 1996. http://www.theses.fr/1997AIX10009.
Full textTraditional criticism excludes social signs from signs of art in proust's work. In fact it appears that the writing of fashion, sign of the world in the expression of what is ephemeral and fashionable, sign of times, could be linked to the sacred, thus becoming a sign of art. The writing of fashion - in its widest meaning - lies within an attempt to drag the work from the profane discontinuity. Knowing that choosing duration, eternity is a deathly mistake for the writer, marcel proust chooses a present living in the relation to the other, to the time of the other. And this is in this relation and not in the loneliness of the self that the infinite of the sacred opens up. Convinced that what lives, dies, the writer chooses the aestheticism of the moment. Thus social signs are parts of the signs of arts: the material of fashion being a privileged means of telling the time being, his writing is the salvation of the present which thus eludes from the temps perdu. Rejecting an everlasting present for a renewed present, the writing of fashion while saying appearance, leads to the being. The aestheticism is the one of the present moment held in the present regarded as sacred of the work of art
Ferrali-Landes, Sylvaine. "La référence à la littérature du XVIIe siècle dans les écrits de Proust : formes et significations." Paris 4, 2000. http://www.theses.fr/2000PA040270.
Full textBenoît, Sophie. "La marche d’Hubert Aquin parmi les ombres : le mythe d’Orphée et Eurydice dans le roman "Prochain épisode " suivi de "Les grimoires de l’ombre"." Thesis, Université Laval, 2014. http://www.theses.ulaval.ca/2014/30340/30340.pdf.
Full textLacaille-Lefebvre, Armelle. "La poésie dans "A la recherche du temps perdu de Marcel Proust"." Paris 4, 2008. http://www.theses.fr/2008PA040168.
Full textThis study analyses the poetic manifestations, origins, themes and forms in "A la recherche du temps perdu". First, the world is celebrated and transformed in an impressionistic and baroque way (light, reflections, colors, arabesque) and by different filters, technical (optical instruments, glass, pictorial poetry) and subjective (magic, religion, antiquity, the Orient, Bible). Then it is a poetry of body and soul (senses, synaesthesia, humble life, sleep, society life, baroque multiplicity, love, memory, time, epiphany). Finally, several stylistic devices show the poetical writing (metaphors, words, "as if", rupture, expansion, unity, syntax, composition), which is also musical (lyricism, sounds, rhythm, composition, repetition, leitmotiv). Thus poetry in the novel depends on an inner necessity, and is true to Proust's purpose: the creation of an eternal work of art
Azizi, Meriam. "Le faire transformatif dans trois adaptations de La Recherche de Marcel Proust : analyse contrastive." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0274.
Full textThis work relates to the inherent transformations to the transition from literary medium to cinematografic one.To study this issue, a double corpus was analysed, formed on one side of three textes taken from remembrance of the things past, on another side their respective film adaptations namely Swann in love of Volker Schlöndorff, The Time regained of Raoul Ruiz and The Captive of Chantal Akerman. Using this corpus, we were able determine the types of processing involved as well as the implemented strategies and the mecanisms underlying those latter. From this point of view, the practice of transposition is no longer matter of fidelity but a transtextuel dynamics that results in three inter semiotic links wich are resistance, deviation and extension. Thus filmic transposition becomes a language and the adaptation a kind of speech
Yelengeyeva, Irina. "L’adaptation théâtrale de l'oeuvre de Dostoïevski : (Jacques Copeau, Carles Dullin, Albert Camus, Dominique Arban, Marcel Bluwal)." Limoges, 2014. https://aurore.unilim.fr/theses/nxfile/default/a66d4865-6511-41dc-8486-c0dd0e852d12/blobholder:0/2014LIMO2003.pdf.
Full textThe first stage of the dissertation work is devoted to the scenic and film image (seen by a spectator on the stage and on the screen). It reveals six material details: staircase, bundle of money, watch, candle, letter, icon. Their iconic and axiological meanings in Dostoyevsky’s novel are transformed on the screen and on the stage into a scenery helping an actor to render his role. The analysis of the same scene made by adaptators belonging to different movie movement reveals identical images. It appears that everything is repeated in these adaptations. The findings of analysis lead to a second party which focuses on characteristics of the Dostoevsky’s style writing such as: destruction of the direction of causality; parallel venues - places of events of equal importance; the repetition of words and gestures - the society’s presence in the novel. On the other hand, imperceptible actions and physical movements such as : race, walking, light and shadow, that are imperceptible while reading find their significance on the screen. This same gap that brings out the personality of the adaptor builds the third party, which, omitting the betrayal of the translator, focuses on the meeting between the reader and his vision, individually stereotyped by his occupation, his beliefs, his profession. Such an approach makes us believe that the adaptor seeks in novelist’s work a ready-made image to juxtapose it with his own, long matured one. Or he is looking for an idea to embody it in the same way by an image that he has already been prepared long ago
Gauthier, Rodolphe. "L'usage de l'œuvre, un autre paradigme artistico-littéraire de la deuxième révolution industrielle jusqu'à nos jours : Marcel Proust, Georges Bataille, Pascal Quignard." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL104.
Full textThis thesis deals with the work of three symptomatic authors, Marcel Proust (1871-1922),Georges Bataille (1897-1962) and Pascal Quignard (1948), as milestones, in order to studythe evolution of the place and the role of the piece of art in literature since the second Industrial Revolution until today. This work therefore questions the structural,socioeconomic and political data, which constitute the agency of an artistic production, but also evolution in the subject-object relations, definition of what art is, specific tropes,preference of a downward movement to an ascending (transcendental) movement,experimentation as a cognitive foundation, the preference of a position of being-in-theworld to the notion of being-in-the-world, the abandonment of idealism and metaphysics for the development of other ontological regimes. These elements compose what we can call a paradigm of the shadow, a minor paradigm compared to a major, dominant and coercive one
Boyer, Frédéric. "Comprendre et compatir : l'exégèse biblique du récit au secours d'une herméneutique littéraire : Pascal, Dostoievski, Proust." Paris 7, 1988. http://www.theses.fr/1988PA070032.
Full textAUnderstanding narratives from the biblical tradition can't be separated from the observance of justice which enjoins us to love others, our brothers. The Christian exegesis is acknowledgement in itself, through the forms of the related life of the people of Israel, of the incarnate body of god made human acting to save us from the beginning. The inseparable couple of the exegetic Christian tradition : interpretation and charity, implies the revelation of this world of justice towards our neighbour through scripture. From its biblical origin, writing slides off its status of substitute and becomes the area of freedom of a tradition based on verbal figures the meaning of which educates our relation to the world more than il would proceed from it. The task of understanding texts no longer consists in overcoming the distance between the horizon of the text and that of the interpreter only. Access to interpretation can be reached only if it allows the strengthening of fraternal links by turning the meaning of literary work into meaning for our coming existence itself. With a study of the biblical notion of "figure" in les Pensees by Pascal, the Christian originality is an offer of an hermeneutic temporality to the man who is confronted with the apocalyptic questions of existence. . . .
Barathieu, Marie-Agnès. "Les mobiles de Marcel Proust, une sémantique du déplacement." Toulouse 2, 1999. http://www.theses.fr/1999TOU20046.
Full textA semantic study of travelling and private means of transportation: les "mobiles" (horse-drawn vehicles, automobile, bicycle, aeroplane) in the Recherche and the two chapters in Jean Santeuil (from the sociological, affective, artistic and literary aspect). A study of the relationship of means of transportation and the fashion of an age (Belle époque) and the evolution of society (collapse of aristocracy, and the rise of middle class) as well as the semiological status of the characters (emblem, indirect or differential characterization, mediation, auxiliary) and the modalisation (expression of narrator, organised distribution, indirect language, enunciation). Their relationship with inversion particularly through drivers (baron de Charlus, le chauffeur de Balbec; and bicyclists (Albertine in Recherche, Servois in Jean Santeuil) but also through hero-narrator's interest in all these. Their relationship with the Swann's sentiments, the differents Odette (dame en rose, dame en blanc) and with a famous metaphor (faire catleya). Their relationship towards writing (motion and emotion) and the initiation novel the three memorable vehicles ("epiphanies-machines"), the vocation of the author of la Recherche du temps perdu ; reference to notion of M. Bakhtine : chronotope; their relationship with (visionary or static) art in general (motion, color generalised metamorphosis) and artists (Berma, Elstir, Bergotte, hero-narrator). Their relationship with biography of Marcel Proust (above all Alfred Agostinelli, Jacques Bizet), study of mobility of text of Proust
Dubuis, Patrick. "L'homosexualité masculine dans la littérature française de la première moitié du vingtième siècle." Rouen, 1994. http://www.theses.fr/1994ROUEL191.
Full textFrom the dawn of the century to the 1950 s (or from A. Gide and M. Proust to J. Genet) a genuine discourse on homosexuality appeared in french literature. It first played a great part in imposing a social model (that of the effeminate homosexual), which is still alive today. Then, in popular novels especially, it marked out the main stages of his wordly destiny, highlighting it almost always in a tragic way. Such a representation of the "homosexual condition", perhaps because it was extremely conventional, was expressed with surprising originality on a purely literary level. Whether victims of censorship, or self imposed censorship, a great many of the novelists concerned worked out, on a symbolical level, a sort of "mystique" of the homosexual desire. Likewise, they readily used some techniques of expression (transposition, suggestion. . . ) Which renewed the possibilities of language. It follows that some classical data of text analysis (the genre, the themes. . . ) Were dramatically altered. Finally, the success of such a discourse at that time leads us to wonder about the possible existence of a homosexual literature
Dachraoui, Sophia. "Présence et fonctionnement de l'Eternel retour dans les oeuvres littéraires du XXe siècle : Marcel Proust, Samuel Beckett et Claude Simon." Strasbourg, 2010. http://www.theses.fr/2010STRA1031.
Full textTo demonstrate that the real and eternal creation which results from the Nietzsh’s Eternal return, this is the purpose of this research work. A meticulous comparison between Zarathoustra, la Recherche du temps perdu, Molloy and La Route des Flandres demonstrate the transition from the repetition-reproduction to the repetition-creation. Analysis also bring into play other thinkers : Hume, Descartes, Schopenhauer, Freud etc. The main question is the Gilles de Deleuze’s relecture of Nietzche’s philosophy. Actually for Deleuze the Eternal return depends of tree funding stages or tree repetitions : the return of the Same, of the Similar, then the return of the Different or Eternal return. The first two repetitions fail, because they depend from the Life drive. The repetition of the Same or Habitus which is made according to the present time, limit oneself to a stagnant and immovable life and promises no eternity. The repetition of the Fellow is made by Mnémosyne, who tries to assure eternity and join present and past. But the return of the Similar is insufficient to create : Éros becomes allied to Mnémosyne, disguises the pure past and prevents it from appearing as it is. In both cases, the death threatens the eternal vocation. Then arose the death drive or Thanatos : the time becomes an empty form which consumes past, present and allows only the return of the future creation. The creator-phoenix has to achieve its creation, die and be reborn in her. Eternal return returns from then to exclude the Same and the Similar and make the return of the Different only possible. Yet the difference is the expression of a reversal. It is the sense of " the holy YES" about which speaks Nietzsche. After the " No" to every pre-established and to any value, takes place the reversal of the " destrictive No" in a " creator YES". The Nihilism overturrns in creative assertion. Eternal return returns to all the values which he has to break to create new ones. In literature, this reversal of the models is parodic
Richard, Jean-François. "Un cerveau géminé et ses réseaux : littérature, science et relations Québec-France chez Louis-Marcel Raymond (1915-1972)." Thèse, Université du Québec à Trois-Rivières, 2008. http://depot-e.uqtr.ca/1987/1/030080312.pdf.
Full textMeguro, Junko. "La nourriture chez Marcel Proust." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA072/document.
Full textIn this study, I try to throw new light on the representation of food and dishes as well as place of eating: kitchens, dining rooms and restaurants in Proust’s work, particularly In Search of Lost time. Proust, under the influence of 19th century novelist such as Balzac and Flaubert, who describe food as literary motif, always slips into his books many allusions to food and meats. I work the first part of my study to the dish called a “bœuf à la casserole” which is served in the familial dining room. This dish appears for the first time in “the good-night scene” The sorrowful young boy regards the act of eating it as a quasi-religion rite, that way comfort him, especially since the area of the dining room reminds him of the maternal womb, in other words the most comforting place in the whole world. Then, in the second part of my study, I attempt to deal with the relation between the “petite madeleine” and Bergotte’s death. For birth, death and resurrection, in the religious sense of the death, continue the thematic shared by both of those episodes. The “petite madeleine”, symbol of birth or resurrection, and the potatoes, of which Bergotte, who is dying, wrongly thinks they cause him a feeling of sickness, has a lot in common. Finally, in the third part of my study, I try to describe the relation between foods, meals, places of eating and characters in the light of Proust’s predecessors 19th century novelists, who consider a mirror of their own characters
Stambouli, Carmen. "Les structures temporelles de "Jean Santeuil" de Marcel Proust : inventaire des manuscrits." Paris 3, 1998. http://www.theses.fr/1998PA030157.
Full textTemporal structures of marcel proust's jean santeuil ;is an analysis of the different aspects of time in jean santeuil, proust first attempted at novel writing. This unfinished novel does not only retain the main themes of la recherche but is also, through the narrative of the "affaires", a late century chronical. Aware of the flying time, proust engages in an incertain quest to recapture present, past and future time. We have revealed this awareness of time through the study of chronological, historical and experienced time. An analysis of the time modes as well as the studying of time in jean santeuil's sentence structure, seemed necessary to complete the first part of this work. An inventory of manuscripts along with la pleiade edition studied, a material description of manuscripts (paper, size, ink, and hand writing and features) along with a transcription of 105 pages numbered by marcel proust (the whole work with notes and remarks) are subject of the second part of this study
ZEE, HWANG SHEUE-SHYA. "Le monde paysan dans les oeuvres romanesques de marcel ayme." Lyon 2, 1988. http://www.theses.fr/1988LYO20047.
Full textOur work consists in : firstly the conjugaison of geographical realities (the native land of the author) and romantic subjects (the imagination of the author) that allows him to build a background of his rural characters, secondly the caracteristics of the aymian peasant through his daily life and his mentality, thirdly the love of the country people that takes a prominent part in the family life and determines the peasant's behaviours, finally the sublimation of rustic life through a magic farm