Dissertations / Theses on the topic 'Naturalisme (mouvement littéraire) – Europe'
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Filippini, Sally. "Le naturalisme européen au théâtre : une étude des rapports entre le roman et la scène." Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2023. http://www.theses.fr/2023UCFA0065.
Full textThis research work focuses on the study of the adaptation of naturalist novels for the theatre. A widespread phenomenon in the XIX century, adaptations for the theatre promised glory to novelists attempting a literary career. Moreover, they marked a shift towards a renewal of the theatre itself in all possible ways: acting, staging, and themes. For this reason, a comparative study of several European naturalist authors (Zola, Goncourt, Capuana, Lemonnier, Galdós, Hardy) makes it possible to build a wide general picture and identify common practices. Furthermore, the analysis carried out during the research also highlights significant socio-literary trends emblematic of the construction of a capitalist and democratic society opening the way to the XX century
Prioux, Virginie. "Naturalisme français et naturalisme espagnol : esthétiques croisées." Tours, 2007. http://www.theses.fr/2007TOUR2003.
Full textFrom the 1880s, after Zola’s success on publishing The Experimental Novel, Spanish authors such as E. Pardo Bazán, B. Pérez Galdós or L. Alas, also known as Clarín, started showing a keen interest for naturalism. They published their own literary theories, acclaiming that new way of writing while keeping a certain distance from their model. It is crucial to stress upon the gap between the willingness to embrace modernity and the rejection of overly pessimistic and sometimes immoral novels. Spanish literature at the end of 19th century was therefore at a crossroad between modern aesthetic and the remembrance of the Spanish Golden Age. Midway between legacy from the past and modernity, the Spanish novel turned into a genuine identity statement of a country so roughly badly treated by History. Thanks to literature, following the French model but while definitely maintaining its specificity, Spain entered modernity for the very first time
Thiltges, Sebastian. "Paysages silencieux dans le roman réaliste (1850-1900)." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC028.
Full textIn search of silent landscapes or of the silence of the landscape, this thesis explores a wide open corpus of realistic novels published in France, in England and in the German-speaking countries between 1850-1900. This comparative reading represents a literary journey looking for a particular type of landscape, not with geographical connotation, but perceived as an imaginary and sensitive space. Against the romantic commonplace of silent landscape, "realistic" silence often appears as an attempt Io muzzle the romantic voices, while demonstrating that realism reinvents the relationship between the human being and the natural world, between the subject and the object of perception. Abrogating the hegemony of the visual and the verbal, uniting objective and humanist observation, establishing a relation between the landscape and the reader, silence allows Io discover unexplored spaces and guarantees the experience of a new reading, as the attempt to listen to the natural and textual worlds
Guerrero-Alburquenque, Isabel. "Le naturalisme français dans la prose chilienne à la fin du XIXème siècle et au début du XXème siècle." Bordeaux 3, 1994. http://www.theses.fr/1994BOR30058.
Full textBedert-Lauprêtre, Danièle. "Le péritexte chez les romanciers naturalistes : topologie littéraire et typographie textuelle." Paris 3, 1995. http://www.theses.fr/1996PA030135.
Full textThe technical progresses of the middle and the end of the 19th century, the evolution of the historical and social context have modified the conception of the book who became an object. The advent of the competition in the book market obliged writers and editors to adopt a real strategy. The different elements who play an important role in the conversion of a text into a book, the "peritext" change from an edition to an other and is a part of the strategy. At the fragile limit between text and "out of text", the "peritext" can be use by the writers to present their intentions of writing, to answer the critic, to affirmate their support to the naturalist mouvement or their desire to break off whit him. At once signal and sign, the "peritext" can be a demarcating elemant very significant the reader. Studying the use of the "peritext" by a literary group confirm the existence of networks that influence, in the naturalist mouvement, at once the writing and the reading of the texts
Lochard, Yves. "Le discours sur la pauvreté dans le roman réaliste et naturaliste (1850-1914)." Paris 3, 1994. http://www.theses.fr/1995PA030009.
Full textIn the second half of the nineteenth century, social questions were taken into account in both politics and literature. They generated numerous social inquiries, essays and pamphlets which formed the background to novel writing at a time when popular themes were being recognized by serious literature. Essays, pamphlets and social inquiries form a discursive configuration which nurtures the realist and naturalist novel. With this constant dialogic interaction between social writings and novels as a backdrop, the actors of the charitable relationship can be listed in a paradigmatic perspective. They include the benefactors and the poor, but also the institutions which operate as collective actants. The mutations which affect the conventional thematic roles of the philanthropist and the benefactress are noticeable. The status of the pauper in fiction is similar to his status in the social discourse he remains a patient relying on helpers. The destinies of the poor confirm their statuses of patients. They are affected by fatal heredities or depend on a pathogenic environment whose metonymy suggests noxious influence. On the contrary, the benefactors shape their lives according to ethical choices or spiritual values marked by a sacrificial dimension even at the turn of the century, when traditional philanthropy tends to recede. The pauperism generates a major interdiscursive circulation between functional writings and fiction, which both handle it similarly in terms of themes, norms and methodology. However, fiction is not the mere replica of social discourse. All the likely combinations between dialogue and doxa are to be found, from fictionnal writings overdetermined by social discourse to novels which quote it ironically
Ruset, Séverine. "Au-delà du naturalisme : les métamorphoses de l'espace et du temps dans les dramaturgies anglaises contemporaines." Paris 3, 2007. http://www.theses.fr/2007PA030128.
Full textThe naturalistic tradition is deeply rooted in English contemporary theatre, where numerous writers – anxious not to impede the clarity and the relevance of the critical examination to which they subject the problems of their time – attempt to reproduce scrupulously the reality they observe. Others choose on the other hand to distort and remould it. They create strange, heterogeneous and mobile space-times ; not to offer the audience an escape, but rather to energise the relationship between the fictional world and the real world. Our thesis investigates the forms and stakes involved in the metamorphosis of space and time in English contemporary drama. Through a corpus of seventeen plays written after 1968, we examine how the renewal of space and time structures undertaken by some writers influences the representation of reality and the spectatorial experience. Hence the treatment of time appears as a determining factor. Contrary to the naturalistic chronotope, which gives priority to space, the free forms which come under our scrutiny have made time the variable of the theatrical equation
Louâpre, Muriel. "La manière noire, le mal à l'oeuvre dans le roman naturaliste et décadent." Tours, 2001. http://www.theses.fr/2001TOUR2035.
Full textGoula, Vassilia. "Le naturalisme chez M. Karagatsis : thèmes et formes." Paris 3, 2002. http://www.theses.fr/2002PA030110.
Full textThe study deals with the naturalistic dimension of Karagatsis' (1908-1960) works and consequently with his position in this literary trend. Research is based on comparisons (similarities - differences) with the main representative of French naturalism, Émile Zola. This highlights to which point Karagatsis applied the same method, examining and setting out "human documents". Then, we focused on how French naturalism influenced Greek literature via works translations, on how the trend was welcomed in dailies and magazines, on the similar approach of Greek writers with mores study, the first examples of naturalistic literature and the impact of this trend until the 30s generation. Karagatsis' works have been studied on a thematic and formal point of view. First, we examined the influence of surroundings on characters. We noted Karagatsis interest for the presentation of each surroundings - external (environment); internal (family, background, place of the character); social (professional, social groups, open/closed worlds). Among characters, we have distinguished various categories: literary, historical and family characters. We have studied type-function characters, their label and their portrait, specificities of Karagatsis' characters. We have evoked their sexuality, their link with the land, their role in the action: the willingness, the power, the knowledge, and anti-hero characters. Then, we studied forms (internal structures of texts), in particular the place of the description in Karagatsis' stories and its stylistics. We also studied its rhetoric via its utterance, the way it intervenes in the plot, the intertextuality issue, irony and value systems. The documents we studied in our research prove French naturalism had a strong impact on Karagatsis as he applied the method in many of his books
Sahin, Can. "L'influence des écrivains français sur les doctrines littéraires des romanciers turcs de la période de la modernisation et les réalisations." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA028.
Full textNovel is a gift to Turkish literature of the period of modernization. Changing social and political events undoubtedly affects on literary form. 19th century in the Ottoman Empire at dizzying speeds where there is a period of development and change. During this period, France is almost like a pop-up window of the Ottoman Empire in Europe. Place a thousand years of classical Turkish literature in the European model is replaced with a new understanding of literature. In this change French literature has been exemplary in litrature. In this study, the period of Reformation French influence in Turkish literature has been examined from a broader perspective. The causes of the French influence in Turkish literature and its reflections have tried to read through the first Turkish novel. For the first time in this process, beginning with the translation of the French novel of French romanticism, French realism and French naturalism led to the Turkish author. This academic endeavour is carried out on the texts of French writer of which direction they affect Turkish writer has been demonstrated in a detailed manner
Deffarges, Anne. "De la naissance du naturalisme sous la Troisième République à sa réception dans la social-démocratie allemande (1865-1897)." Paris 3, 2003. http://www.theses.fr/2003PA030073.
Full textBetween 1886 and 1897, in times when the Social Democracy seemed to be about to reach power, the question of naturalism raised violent debates which resulted in scissions. The "Jungen affair" was the German expression of a deeper movement existing throughout Europe where a socially committed literary and theatre current were contesting the more political currents for the lead of the popular movement. The reception of French naturalism, as the main novelistic expression, in the German Social-Democracy, which was the main political party, gave rise to a discussion opening on all the 19th century's deep evolutions. Values of naturalism and socialism were confronted in various fields, including the relation between aesthetics and history. This German reading sheds a light on Zola and naturalism, which is fairly different from what we are used to in France
Spandonis, Sophie. "L'imagination du monde interieur. Ecritures de la psychologie dans les recits de la decadence, de ludine (1883) a monsieur de phocas (1901)." Paris 3, 2000. http://www.theses.fr/2000PA030085.
Full textDufief, Anne-Simone. "Alphonse Daudet romancier." Paris 4, 1995. http://www.theses.fr/1994PA040323.
Full textThe thesis reconsiders un unsatisfactorily treated aspect of daudet's works : his novels. It aims to determine the relation ship with naturalism, and to understand the reasons why the author has long been considered as a writer for the school, for the youth. A study of the sources of his inspiration leads to analyse the interconnections between short stories and novels. The strong implication of the author in his works justifies a reflection on the ambiguities of the autobiographical vein. There is not only one, but several "midis" of daudet : what is the meaning of such a contrasted representation of proven ce? one chapter attempts to show how daudet creates his characters, how he gives the illusion of life through portrait a nd psychology; it stresses on the very great importance given to private life, which explains that the representation of the family unit is a touch stone in his novels. The sensibility of the novelist is a prism through which reality is distorted. Two tunes are dominant : the burlesque, t ied to parody and the pathos, expressing the pessimism of the writer. The aesthetic of fragmentation characterizes this art which gives priority to the sensation and portrays readily the modern aspects of the world. Daudet's scepticism expresses itself through this "impressionism"
Oktapoda, Efstratia. "La documentation sociale et folklorique dans la littérature naturaliste française et grecque (1865-1920)." Montpellier 3, 1995. http://www.theses.fr/1995MON30040.
Full textCompared with the french one, the greek naturalistic output from the period 1865-1920 is quite different as concerns the topic : essentially urban in france, but mainly rural in greece. However, the methodology is similar, as it is a truly documentary one. The greek, like the french, used to base on documents borrowed from scientific information and to carry out themselves socio- ethnographical studies when their personal experience was not sufficient. The most punctilious writers, such as zola, carcavitsas or daudet, even wrote out some notebooks, diaries and other small journalls, which constituted a very meticulous and accurate exercise of reflection, necessary for the elaboration of their works. Now the naturalistic work is finally an intricate universe, gathering within itself social sciences and literature, as well as document and art work. The genesis of the french and the greek naturalistic works is revealing of the way in which the exploitation of socio-ethnographical and folkloric document and of popular language acts in the naturalistic novels and short stories. The analysis of the exploitation of the gathered documents shows that they are above all the elements of a narrative and epic literary transformation. The preponderence of the literary motivation entails that the different sociological borrowings used in the naturalistic work cannot be blindly relied on
Patsiou, Vassiliki. "Réalité historique et transcription litteraire : le cas de Constantin Theotokis." Paris 1, 1987. http://www.theses.fr/1987PA010683.
Full textConstantin Theotokis after writing his early works, abandons the subjectivity of imaginary creation and turns towards the objectivity of historical reality. The production of the text of "the slaves in their chains" constitues the outcome of a persistant work on a project. This project reveals the intention of the writer to expose the bonds of causality, bonds which both determine the sequence of dramatical events and explain the various relationships between the characters. Despite the detailed description of the present of the first decade of the twentieth century, the allusions to historical events go back to earlier times. The evocation of historical events which concern the past more faithfully depicts the actual present and moves the time of the narration six centuries back. Out of the forty-eight characters only thirteen are directly related to the development of the action. These characters which aren't the principal motive forces in the development of the story, embody social types and are bearers of historical information. The life of characters goes beyond the limits of the temporal development of the novel. It is connected with real people and reflects real life situations which both serve as a historical link to the narrative process, although they play no important part in the development of the action
Pelosse, Renate. "Le Théâtre de Strindberg en Allemagne entre 1890 et 1912." Paris 4, 1988. http://www.theses.fr/1987PA040246.
Full textLeading figure of the modern theatre, August Strindberg combines a tremendous dramatic creativity with a constant attachment to the theatre of his time and with a remarkable diversification in the aesthetic expression. Situated in the social and historical background of Germany between 1890 and 1912, the theatre of Strindberg was influenced by the culturel climate of the wilhelm period and faced to new ideas, such as naturalism and neo-romantism. Therefore Strindberg became the witness of the history of the German theatre. By the controversies he raises (audience and critics) and the problems arising from the realization of his plays (directors and actors), he reveals us the contradiction of the German cultural system: censorship, court and commercial theatres as opposed to marginal theatres, travelling companies, cabarets and dramatic associations. His plays underline also the slow evolution of theatrical aesthetics illustrated by Otto Brahm, Max Reinhardt and Georg Fuchs. The part played by Strindberg as an inventor and a practitioner of the stage (projection equipment, scenery, "intimate theatre", "dreamplay stage") as well as the integration of his ideas in the revival of the German theatre, are particularly studied in this thesis
Arnoux-Farnoux, Lucile. "Constantin Théotokis dans le contexte du roman européen (1898-1922)." Paris 4, 2000. http://www.theses.fr/1999PA040237.
Full textBender, Niklas. "La Lutte des paradigmes : la littérature entre histoire, biologie et médecine, 1850-1900 (Flaubert, Zola, Fontane)." Paris 8, 2007. http://www.theses.fr/2007PA083168.
Full textTaking its starting point in the actual discussion between natural sciences on the one hand, social sciences and humanities on the other, my thesis explores the conflict of these two forms of knowledge at the end of the nineteenth century. At that moment, cultural life is engaged in a battle opposing a historical paradigm with a biological and medical one. Two conceptions of human life are at stake: a culturalist vision which defends the historical development of mankind with its possibilities and its progress; and a naturalist vision which analyzes the determinants of a stable human nature. The two paradigms have an extraordinary importance for literature, exerting a strong influence on the depiction of romanesque characters and even on the fundamental structure of the fictional worlds. The analysis proceeds by questioning six representative novels, simultaneously allowing a comparison of the French and the German literature of the time: Salammbô and L’Éducation sentimentale by Flaubert; Nana and Germinal by Zola ; Effi Briest and Irrungen, Wirrungen by Fontane. The thesis takes a close look at their historical, medical and biological sources and analyses how they are adapted to fiction. It broadens its approach in opening historical (Michelet, Burckhardt) as well as philosophical perspectives (Nietzsche). It concludes that the relationship between literature and scientific knowledge is placed in-between two extremes: the explicit reference to biomedical and historical sources, marked by a transfer of themes and structures ; and the adaptation of a fundamental model, not clearly taken from a source but which nevertheless corresponds to a scientific mode of thought
Cominetti, Philippe. "L'inspiration scientifique dans le roman post-naturaliste : du naturalisme français à la littérature japonaise du premier XXème siècle." Bordeaux 3, 2005. http://www.theses.fr/2005BOR30005.
Full textBy considering the way scientific elements are integrated in naturalist fiction, as well as in post-naturalist novels, this dissertation aims at defining the features of a textual norm ((the so-called "realistic-code")from the double point of view of poetics and ideology. With French texts as a starting point and a Japanese corpus (1895-1960) considered as a case study, transmission of French naturalism (Zola's theoretical discourse, and anatomical imagination) and development of scientific inspiration in the Japanse context of tremendous modernization -which implies enhanced presence of science and technical objects- shall be pondered. The first part deals with scientific inspiration in the naturalist context, where it is defined as dissemination (alteration of rationality, visualization, production of objects) and qualified as genesis of subsequents forms. These forms, examined in a second part along a historical perspective relate to texts progressively structured according to the "systemic organization of technical objects". In the third part, hermeneutical tools are provided for the previous description, leading to the hypothesis of a fetishistic structure of scientific inspiration. Beyond such a local interpretation of naturalism's outgrowth, it shall be possible to reconsider French and European Literature, thus providing insights about the nature of fiction in realist texts, and the correlation between the questions of science and the subject
Urbanik-Rizk, Annie. "Du romantisme à la modernité : écriture mythologique et transfiguration du quotidien dans l'oeuvre de Michel Tournier." Paris 4, 2003. http://www.theses.fr/2003PA040153.
Full textIn these words, Michel Tournier does not only sum up his aesthetics, but also suggests the contradictions of his writing. Finding his inspiration at the romantic source - and in particular from german writers - and at the nostalgic quest for essences, he choses narrative patterns similar to those of the german Märchen, and he considers philosophy as the servant of poetry. Tournier's works display modernity based on formal variations, the humoristic distance and the difficulty in grasping the writer's meaning. The concept of "epiphany within triviality" - or Verklärung - throws a light upon those discrepancies common to all naturalist writers. Between romanticism and modernity, they are situated at the very time when one experiences the impossibility of mimesis and its endeavour to find a meaning. Expressing a way of looking kindly at reality in order to celebrate it, in spite of its apparantly unsettling weirdness, the mythological writing of Tournier is not a mere re-writing of myths, but the exaltation of beings and things, bearing within themselves the infinite
Rebière-Cornet, Martine. "La société comme matière romanesque : convergences naturalistes dans les romans de Zola, Clarín, Pérez Galdos et Emilia Pardo Bazán." Bordeaux 3, 2004. http://www.theses.fr/2004BOR30019.
Full textThis study entitled, "Society as a subject for a novel". The convergence of elements of Naturalism in the novels of Zola, Clarín, Pérez Galdós and Emilia Pardo Bazán, endeavours to analyze the influence of the author of the Rougon-Macquart series on his fellow spanish authors. The Second Empire and the Spanish Restoration period will be shown to have been at the forefront of the literary scene. In Zola's works and those of the spanish naturalist writers, the middle class and the working class will express the economic and social changes in each country and in modern society. In their novels, Zola and the spanish naturalists manage to depict the society in which they lived from a literary point of view through the use of naturalist description, free indirect speech and everyday language. Both physiological or sociological determinism will play their part in the creation of Zola's Characters and those of the Spanish naturalists. However Galdós, Clarín and doña Emilia Pardo Bazán will never portray their characters in the same primitive way as Zola. Finally, spanish naturalism will soon develop into a form of spiritualism that is more characteristic of the French literature of the second half of the nineteenth century, the period which heralded the Decadent movement
Macke, Jean-Sébastien. "Emile Zola - Alfred Bruneau : pour un théâtre lyrique naturaliste." Reims, 2003. http://www.theses.fr/2003REIML002.
Full textComposer Alfred Bruneau was one of the most popular musicians in the late 19th century. It is with its meeting with Emile Zola that it owes its first success, in 1891, with le Rêve. He then produced several lyric dramas inspired by the novelist's works. Emile Zola got interested in this artistic process and strated writing books for Alfred Bruneau. This fruitful association left quite a surprising literary corpus which alows us a new reading of Emile Zoal's works. Naturalistic opera house also emerged with its own codes and theoric bias. Lyric naturalism was thus in the foreground until 1907 and deeply changed the french and european musical world. An original documentation was needed to study this relatively unknown part of Emile Zola 's works. Therefore the rich collections kept by Alfred Bruneau were used a lot correspondences, private letters, original notes and manuscripts. . . The meticulous investigation of these documents give new and essential material to 19th century literature and music specialists
Da, Silva Frédéric. "Aux confins du naturalisme : Paul Bonnetain (1858-1899)." Paris 3, 2008. http://www.theses.fr/2008PA030156.
Full textPaul Bonnetain is a forgotten writter, although his two first novels, Charlot s’amuse (1883) and L’Opium (1886), are still famous because of their outrancies. He had a rich life made of various experiences and far away travels which feed his imagination. In 1881, he begins in parisan press and raises quickly to the most famous news papers, among others with his short stories which conciliate Realism and Exotism. His career was punctuated with ambiguities and contradictories statements and his litteraries influences are both numerous and various. If his admiration for Edmond de Goncourt remains the same, the fervent disciple of Émile Zola he was, renounced Naturalism with crashes, as instigator of the “Manifeste des Cinq” in 1887. Although he was a great figure of the litterary word of his time and recognized for his lively and coloured style, he left Paris to take up a colonial career. Paul Bonnetain explorated unkown geographic spacies and found news litteraries horizons too. For all these reasons, his works must be discovered
Thorel-Cailleteau, Sylvie. "Naturalisme et décadence : une approche du roman entre 1857 et 1914." Paris 4, 1992. http://www.theses.fr/1991PA040146.
Full textThe purpose of this thesis is to elucidate the terms of a correlation between two aesthetics usually considered antinomic, to understand the trail of thoughts of novelists,such as Huysmans,who went from one aesthetic to the other,and to examine from then the evolution of the Novel. .
Beillacou, Florence. "Tuer l'idéal. L'anti-romantisme de Zola et des naturalistes." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA121.
Full textFrom the beginning of his literary career, Zola fought against Romanticism.This opposition allowed him to build the unity of the Naturalist movement, a movement which first sprung into existence with the publication of "Evenings at Médan" (1880), the collection of short stories co-written with Céard, Maupassant, Hennique, Alexis and Huysmans. Naturalist authors, united by their hatred for Romanticism, joined forces against yesteryears’ dominant movement to defend a new aesthetics and a new school of thought: Naturalism. Thanks to Zola’s efforts to publicise this controversy, Naturalists gained visibility in the press and the publishing sector. It is largely through this opposition to Romanticism that Naturalists developed their own, deeply anti-idealistic aesthetics, and defined their positions on issues such as literature’s relation to society and politics. Their anti-Romantic stance further shaped their works of fiction. Naturalist characters often appeared as victims of Romantic culture. Moreover, Naturalist authors developed their critical discourse by dismantling clichés considered as typically Romantic. Through the novel’s metadiscourse, they inserted anti-Romantic polemic in the fiction, in an often critical and self-reflexive way
Yao, Bah Kouakou Alfred. "Ayi Kwei Armah, Sony Labou Tansi, écrivains de la rupture ou adèptes d'un naturalisme à l'africaine." Paris 4, 2003. http://www.theses.fr/2003PA040066.
Full textContrary to oral literature, which has always been practiced, the growth of African written literature, which started at the first contacts between Africans and people from written civilization, can be divided into three steps. The first movement was initiated by Europeans who used to denigrate Africans asserting that they had no culture. In the second movement led by the first African scholars, mainly those from the Négritude movement, the focus was on the apology of African culture. Our study was elaborated on the last step of that evolution focusing on the English-speaking author Ayi Kwei Armah and the French-speaking Sony Labou Tansi's writings. Unlike their predecessors, Sony and Armah, whose writings are quite similar; choose to give an impartial view about their society. Throughout methodological patterns close to Naturalism, which are based on ambivalence, meticulousness, plausibility and an "impure" way of writing,both authors stigmatise everybody's responsibility in the plagues Africa is confronted with. Despite some light shades in their approach, Sony and Armah's closeness brings to say that there is no actual difference between French-speaking and English-speaking Africa. Above all the gloomy images they draw from their continent, both remain optimistic about its future. A bright future they imagine through the refusal of monolithism and by the practice of an alternation mentality. In regard to all the changes that have been taking place since the publication of these novels, this optimistic perspective cannot be considered as illusive
Bouayad, Nadia. "Les techniques narratives dans les soirées de Médan 1880." Bordeaux 3, 1986. http://www.theses.fr/1986BOR30021.
Full textRegarded as the "manifesto" of the naturalist movement, the soirees de medan are a collection of six short stories written by six different authors who all aim at the same purpose: they wish to depict reality such as it is, the reality of the 1870 franco-prussian war disemcumbered of all commom place ideas such as the general patriotism of the french people. The narrative techniques of all six authors meet in carrying the tale through contrasts which produce irony, often satirical, in the whole bulk of the stories. But hennique and zola stand out in paying particular attention to the psychology and behaviour of their characters to the prejudice of the action. On the other hand, ceard and alexis, while they abundantly discuss the psychology of their characters, go against the principles of the naturalist writing and of maupassant's own theories. But all of them have chosen common people, "non-heroes", either socially or morally. This writing forgoes neither symbol nor myth; it is full of the affective tendancies of these authors. It bears the mark of impressionism especially for five of these authors. Through the subjects delt with, the temperateness of the satirical language, and a kind of romantic lyricism, zola is the least innovative of all. Among the others the way of creating realistic illusion goes through an impressionistic writing which reveals the nature of the author's sensibility as well as the importance of time, instant and duration in a literary genre which emphasizes temporal intensity along the tale. One should not refer to a narrative code common to all these writers unless one points out the differences which reveal original tempers through a common prospect
Bonnin-Ponnier, Joëlle. "Le restaurant dans le roman naturaliste : narration et évaluation." Paris 3, 1998. http://www.theses.fr/1998PA030129.
Full textThis work considers the subject of the restaurant in the naturalist corpus as a novelistic topos, a prescriptive focal point establishing a certain way to look at body and nature, a social representation and culturally significant table manners whose analysis can contribute to what phillipe hamon calls a "poetics of the evaluative". Commited to schemes, both evaluating and evaluated, a fictional population shows a "know-how to behave" and also a "know-how to enjoy", made up of a "know-how to see" and technical and socio-ethical "know-how to do " together with a " know-how to say". Taking into account all these aspects, allows to show the "ideology-effect" of the naturalist works, which in the text is conveyed by the idea which the character have of their projects and purpose and from the narrative point of view is to be perceived through the specific way the narrator deals with the theme, the narrator being indeed non devoid of aesthetic and philosophical presuppositions, as, together with his capacity of making up endless narrative variations around the restrictive pattern of the narration of life given as banal and ritualized and around the even more codified theme of "the restaurant scene" (first narratologic part), and also when expressing the elaborate judgements of his characters (second part centred on evaluation), he translates their experiences in spite of the special links the establishment is supposed to have with pleasure and festivity, with a critical "artist" vision, full of nostalgia for the aristocratic ideals of the past and of a pessimistic outlook of life. This double bias is highlighted by continuous confrontation with the novellistic intertext and above all the non fictional intertext (gastronomic and touristic guides, treatives on good manners) which often reveals, trough the praising of the pleasures of eating, a deep love of our condition
Benarfi, Khmai͏̈s. "Les ambigüités du naturalisme américain et l'évolution vers l'expression subjective de la réalité." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10026.
Full textJouini, Asma. "Théorie et pratique du naturalisme dans l'ɶuvre romanesque de Joris-Karl Huysmans (1874-1883)." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2049.
Full textThis thesis deals with the work of Huysmans ranging from his first writings until the eve of his disagreement with Zola; À Rebours being the point of disjunction between an initial period of setting up and a series of multiple literary experiences where the naturalistic method is the guarantor of unity. For if naturalistic writing was, at some point in the life of Huysmans, a form of initiation, it has not ceased to be a way of thinking and the author claims this naturalist part even in his most mystical novels. Huysmans therefore wants to write a book while avoiding idealizing the world, that is to say, a non-fiction book. Through this, he takes part in the naturalist movement. For, to banish the intrusions of the author, in the name of experimental objectivity, is one of the foundations of the naturalist current. But paradoxically, by pushing the theoretical discourse of the experimental novel to the end of its logic, Huysmans' writing will lead to a sort of break-up of the traditional structure of the novel, as evidenced some years later the writing of À Rebours. Indeed, Huysmans draws in his own way Zola's naturalist theory. He quickly realized that this theory will lead to a dead end and that we must go to the edge of this experience in order to be able to pass on to others. But this stage of its formation definitely marked it, especially as a method of documentation. The literary experience of Huysmans during this decade is symptomatic of a more general state and makes it clear that the novel rests on a moving field
Iltchéva, Bogdana. "Transformations esthétiques du naturalisme d’Émile Zola chez les écrivains bulgares et roumains au cours des premières décennies du XXe siècle." Artois, 2007. http://www.theses.fr/2007ARTO0003.
Full textAt the beginning of the XXth century, Naturalism was well received in Bulgaria and Romania as it was throughout almost the whole area of the Balkans, mostly through the works of Emile Zola. Between the two World Wars, Naturalism retained its scandal reputation for both the Bulgarian and Romanian peoples as for the writers. Two emblematic novelists, Ghéorghi Raïčev in Bulgaria, and Liviu Rebreanu in Romania took some of the naturalist conceptions and adapted them for their own works. This process of transformation was an expression of a critical attitude. These authors chose not to imitate, but tried to reinvent the naturalist paradigms, transposing them into the context of Bulgarian and Romanian villages and towns. This refraction and interaction between Émile Zola, Ghéorghi Raïčev and Liviu Rebreanu concerned the choice of subjects, the conception of the characters, the use of figures and the elaboration of the frame of the action of their novels. This transformation of Naturalism reflects the very specific nature of the visions of the two Balkan authors, the weight of history and of the literary traditions of their two countries - Romania and Bulgaria
Klugkist, Marc. "Le naturalisme spiritualiste de Joris-Karl Huymans." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040147.
Full textThis thesis develops a philosophical approach of Joris-Karl Huysmans’ work, based on the concept of « naturalisme spiritualiste ». This approach distinguishes the depiction of reality, a key element of the naturalistic aesthetics, from a real that would be characterized by a regenerative intensity. The analysis of the philosophical ideas and figures superimposes three labyrinthine paths : the classical one, the mannerist one and the rhizomatous one. The impossibility to achieve a dialectical synthesis between a concrete reality and a mythical real leads Huysmans towards a pessimism where Schopenhauer’s influence prevails. Through a singular appropriation of artistic creation, dreams and mysticism, he extends the experimental domain of naturalism. The soul gone adrift, the body and the place become the problematic stakes which mark out his investigation method and his existential quest. The confrontation with Grünewald’s work is fundamental to understand the fertile paradoxes as well as the aporias of Huysmans’ thought. The desire of redemption proves to be illusionary but this failure opens up the scope of a prolific inventiveness, whitin the tragic affirmation of the fragmented being, between a sense of dereliction and an intuition of the sublime
Scarpa, Marie-Rose. "Le Ventre de Paris d'Emile Zola : une lecture ethno-critique." Metz, 2000. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/2000/Scarpa.Marie_Rose.LMZ0001.pdf.
Full textPitault-Moreau, Aurélie. "L'Oeuvre de Michel Houellebecq : une observation critique de la société." Tours, 2004. http://www.theses.fr/2004TOUR2025.
Full textThe poetic and romantic work of Michel Houellebecq offers to the contemporary reader a perception desillusioned of its reality. Inherent social critiscim at its writings supposes an engaged attitude of the author. Its texts indeed distill theories on the apparition of evils related at the sexual liberation and the advent of liberalism. However, Michel Houellebecq does not seem to wish that the literature embraces a social function. Our work proposes to determine the degree of engagement of the author. We will confront the literary work of Houellebecq with the naturalist's theorie of Emile Zola. We will rest on the qualities that Zola waited of a novelist, i. E. To be an observer and an experimenter. The representation criticizes of the society engages the novelist towards a responsibility ; witness of its time, he's also compromised with it. But does Houellebecq assume really its role of public
Carpisassi, Daniela. "La strategia discorsiva dell'ironia nella narrativa "muliebre" agli inizi del XX secolo : Clelia Pellicano (Jane Grey) e Gabrielle Willy (Collette)." Paris 3, 2008. http://www.theses.fr/2008PA030169.
Full textWe have compared how irony was used by two women writers at the beginning of the 20th century: the French Colette and the Italian Clelia Romano Pellicano. We have examined the navels of Claudine's series by Colette, and the two collections of short-stories Coppie and Novelle calabresi by Pellicano. The missing biography of the Italian writer has also been reconstructed. For this analysis we have revised the notion of feminine irony (and humor) and of women's comedy, reconstrueting the panorama of the existing theories and reconsidering some studies about the interdiscursive and relational dimensions proper of literary irony. We have historically contextualised our analysis identifying the characteristics of Belle Epoque's esprit and the relationship between caricatures and literary charge. We have picked out the ternis of the debate of this period about the excess and the quality of that female literature disqualified by the adjective « muliebre ». In this debate Colette has appeared as term of comparison for the works of the Italian women witers. Pellicano and Colette's irony emerges as a discursive strategy through which it is possible to inaugurate a "caring" conflict with the Other, in order to uncover the contradictions of their time and to deal with delicated subjets or themes considered awkward (i. E. The authorities' corruption or the relationship between sexes). Both women writers were related to the literary realistic model of their time by an irreverent way. We have studied it also reflecting upon the relationship between irony and Naturalism. Through irony and even self-irony about their status as women writers, they have created a relation with their readers
Tanaka, Takuzo. "Zola et le roman psychologique." Paris 4, 2005. http://www.theses.fr/2005PA040005.
Full textThe aim of this dissertation is to examine the characteristics and the development of the psychological representation in Émile Zola's novels, referring to the “psychological novel” in his time, represented by George Sand and Paul Bourget. From Thérèse Raquin (1867), against the idealism of the “psychological novel” in the manner of George Sand, the Naturalist Zola tries to substitute a physiology of the soul for the psychology; as well as the body, the soul is determined by the surroundings and the heredity. From La Joie de vivre (1884), however, under the influence of the “psychological novel” in the manner of Bourget, Zola progressively separates from the Naturalist determinism. He attaches great importance to the inner life of the characters in his novels and projects his own ideology and philosophy on the inner discourse of these characters. In his later works, the subjectivity of the author finally becomes predominant over the objectivity demanded by the Naturalist theory
Chotard, Françoise. "La circulation de l’information littéraire et scientifique en Europe entre 1710 et 1792, d’après les Nouvelles Littéraires du Journal des Savants." Thesis, Orléans, 2015. http://www.theses.fr/2015ORLE1139/document.
Full textDiverse, heterogeneous and over productive, the press was an essential player in the circulation of information during the Enlightenment. The Journal des Savants provided the press of the Ancien Régime with one of its most solid institutions, the first periodical of critical bibliography offering a precious resource for the intelligentsia. From 1710 until the beginning of 1792, the Nouvelles Littéraires occupied a singular place at the heart of the Journal, the editorial line of which it naturally followed. However, in order to thrive, it was forced to consolidate its identity through the consistency of its articles and through its flexibile response to the increasingly unwieldy publication.This study seeks to determine the physical and intellectual identity of the column, perceptible through its critical criteria and through its susceptibility to the dominant thinking which spanned the century. The importance accorded to different fields of knowledge will also be studied as this was part of the identity of the Nouvelles Littéraires, as will its sensitivity to the conflicts which split the intellectual establishment - not to mention society as a whole. Other fields also adopted an approach in which issues relating to intimacy and to ethics were no longer to be brushed aside, where the distinction between the private and public spheres was important and where science became a new religion. We will then examine the protagonists and the mechanisms involved in the circulation of information through institutional intermediaries as well as through geography (first European, then universal) based on exchanges that long animated la République des lettres. Finally, it is by observing how the Nouvelles Littéraires modified its initial intentions and shaped its identity that we see how the public established itself as one of the three main and constantly stretched areas that gave the column its coherence : power, the public and science
Teboul, Annabelle. "Le polymorphisme du héros réaliste-naturaliste chez Balzac, Flaubert, Maupassant et Zola ou le parcours initiatique d'un être oxymorique." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00935884.
Full textGoutaland, Carine. "À table : fonctions et représentations du repas dans la littérature naturaliste." Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20010.
Full textThis work aims at exploring narrative and metaphorical representations of mealtimes in French or French-language naturalistic authors, whether they be considered major or minor, in the last quarter of the 19th century. Though they were certainly not the first to represent characters partaking in a meal, these writers approached the theme of food in a new way, and this was received with some reticence by their contemporaries. Attributing a new status to meals, the number and importance of which in the narrative grew continuously, they underlined the physiological dimension of the act of eating and represented food in its material dimension, to sometimes negative lengths. Rotten foodstuffs and dyspepsia arrived on the literary stage, at a time when gastronomic discourse was singing the praises of the moderate hedonism of the middle-class table. The motif of the meal was an ideological focal point enabling writers to question the dominant alimentary scheme of things. But it was also a field of literary experimentation where the aesthetic choices of the writer were projected and shaped, the writer appearing as an eater engaged in a sometimes harmonious, sometimes indigestible confrontation with reality. The novelistic meal is an image of artistic creation, both a central point of the materialistic project of the representation of reality and a space where naturalism explored and went beyond its own limits
Schincariol, Andrea. "Naturalisme et photographie : l'influence invisible du dispositif photographique sur le roman d'Emile Zola, Guy de Mautpassant, Joris-Karl Huymans et Henry Céard." Toulouse 2, 2010. http://www.theses.fr/2010TOU20097.
Full textThis study consists in an analysis of the relationships between the photographic dispositive and five of the most significant works of the literary movement of Naturalism. In the first section of his thesis, the PhD student has analyzed two texts related with the literary genre of the “Fantastic”: the short story Le Horla (1887), written by Guy de Maupassant and Joris-Karl Huysmans's novel Là-bas (1891). The second section is entirely dedicated to the study of Nana (1880), by Émile Zola, and the influence of the photographic dispositive on the theme of “nude” with respect to the heroin of the novel, Nana. The third section consists in a photo-literary analysis of some of the poetic and aesthetic aspects characterizing the novels of Henry Céard, Une belle journée (1881) and Terrains à vendre au bord de la mer (1906). The candidate has operated a meticulous analysis of those literary works, with a focus, in the first place, on those textual marks suggesting the presence of the photographic medium; secondly, he has developed his photo-literary study trying to explore, on the deeper level of the literary enunciation, the function of the photographic dispositive with respect to the construction of the text. Besides, the candidate has proposed, starting from the novels that he has studied, some iconic references reflecting the photographic production contemporary to the authors of his corpus and also some photographic examples of present time
Ménard, Sophie. "« Les Guenilles humaines » ou les aveux du corps. Poétique de la révélation psychophysiologique dans l’œuvre d’Émile Zola." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100027.
Full textThis master’s thesis undertakes Émile Zola’s work towards a poetic consideration and the psycho-physiology revelation. It attempts to explain the structure, scientist and imaginary, of the analogical and metaphoric connections of the body and the spirit, which elaborate around the problems of the confession. During all the 19th century, the establishment of conformity between the physical and the psychic indicates the interest of the human sciences for the parallelism, the semiology and the taxonomy. It expresses especially the idea of a revealing language, symbolic of the interiority of the individual. Émile Zola does not escape this attraction for the eloquent functions from the body which animates the era. The truth in naturalist regime is produced by the body, because on him and in him are read the phenomena of the psyche, which are successively conscious and unconscious. The examination of the psycho-physiological demonstrations in the zolien novel depicted the importance of automatic mobility in the process of revelation. The spontaneous activity of the physical appearance and the psychic indicates the inexpressible one, the unknown and the indescribable of the character
Magalhaes, Suzana Marly da Costa. "Aluísio Azevedo, lecteur d'Emile Zola : Une étude sur les représentations de la ville dans Casa de Pensão et Pot-Bouille." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030004/document.
Full textNaturalism has been stereotyped and understudied in Brazil, and so have the relationships between Brazilian Naturalism and the European models that originated it. This thesis aims at shedding light on the relationships between Emile Zola and Aluisio Azevedo through the analysis of the representations of the city in the novels Casa de Pensão and Pot-Bouille. Parallelism and divergence between the two literary pieces will be presented. To this end, this study employs thematic criticism based on Walter Benjamin's categories in order to describe the urban imagery found in Azevedo's Casa de Pensão and Zola's Pot-Bouille, an imagery characterized by an opposition to modernity and the city. Also, both novels are inspired by the strong belief that the urban topos generates peculiar types of subjectivity. Hence, the collective habitations in focus – i.e., the immeuble disseminated by Baron Haussmann's urban reforms and the boardinghouses in Rio de Janeiro – would engender certain ways of being, acting and thinking in their dwellers. Such anthropological demarché translates as a sort of negative pedagogy, which displays an inappropriate educational process and points out its spurious results, thus implicitly or explicitly advancing an alternative educational model. It is here concluded that the pedagogical and topological approach implemented in Pot-Bouille appears in Casa de Pensão as a study of the national ailments, which is in turn demonstrated through the analysis of various models of subjectivity formation at specific loci of the city of Rio de Janeiro, namely the modest Portuguese two-storey houses and the typical boarding houses
Kiriow, Ivan. "Théories scientifiques et représentations littéraires de l'hérédité en France (1847-1902) : la science dans l'espace public, entre acculturation et appropriation." Paris, EHESS, 2010. http://www.theses.fr/2010EHES0126.
Full textThis dissertation studies the diffusion of the theories of heredity in the French literature of the second half of the nineteenth-century. In the perspective of a dialogical history of the « two cultures» (scientific and literary), it traces back the exchanges between scientific texts and literary works taken as relevant testi¬monies of the process of popularization of knowledge. Build in three sections, each one about a particular scientific theory (telegony, degeneration and « nervosime », atavism in criminals) and their novelistic incarnations, it follows the diffusion of doctrines, as well as their distortions and appropriations, determining elements of their penetration into the culture and society of an era
Gacoin-Marks, Florence. "Le roman réaliste slovène de l'entre-deux-guerres dans le contexte européen." Paris 4, 2005. http://www.theses.fr/2004PA040116.
Full textThe first part of the dissertation is concerned with novels following the 19th century realist tradition without any other influence. The first chapter presents two novels, which show a marked influence of Balzac's realism, although the impact of Duma's work is also quite strong. The second chapter is centred upon a naturalistic novel. The third chapter examines the "community novel" which developed under Zola's and Reymont's influence during the 1930's. The second part deals with novels, which move away from he European realist tradition and show other influences. In the first chapter the author discusses the decomposition of naturalist writing. The second chapter analyses the novels which were written under the influence of Knut Hamsun and other ruralist writers. The third chapter deals with the socialist turn which developed especially under the influence of Soviet literature: a generational novel, a proletarian novel, and an attempt at pure socilaist realism
Sibourg, Éléonore. "Science et surnaturel dans le cycle de Durtal de Huysmans." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040074.
Full textThis thesis examines interactions between science and the supernatural in Huysmans’s Durtal tetralogy. The protagonist, whose aesthetic and philosophical starting point is naturalism, converts to Catholicism. This unusual conversion reflects social upheavals contemporary with Huysmans’s cycle of novels. In the late nineteenth century, science, emerging as symbol of new hope and salvation for humanity, has in a sense replaced religion. The Durtal cycle catalogues the disorders generated by this replacement, and represents the creation of a new order more suited to Durtal’s persona, through deconstruction of existing codes and beliefs. Thus is shaped the intellectual and aesthetic matrix of the four novels. Pathology is at the intersection of the interactions between science and the supernatural, the various components of which constitute the subject of the three substantive chapters of the thesis. Figuring social degeneration and the creation of imaginary medical worlds founded on contamination, Huysmans’s text explores the boundaries between science and religion, thus offering a new cosmogony constructed around a concept of mystic substitution associated with Catholicism. Analysis of these textual explorations is followed by a study of the body and the soul as the two primary principles contributing to the conflicts articulated in Huysmans’s work. The conversion processes to which the body and the soul are subjected help to build renewed relationships between the material and the spiritual, the visible and the invisible. Writing thus appears as the result of an alchemical quest in which opposites can ultimately be reunited. The thesis concludes with a discussion of the development of the novel form, subject to so many contradictory influences. The pharmaceutical quality – in Derridean terms – of writing ends this crisis and restores the author’s authority, making of the Durtal tetralogy a work that is characterised at one and the same time by its naturalism and by its mysticism
Dia, Mariama. "Emilia Pardo Bazán. De la presse au livre. Les contes parus dans Blanco y Negro entre 1895 et 1910." Thesis, Pau, 2019. http://www.theses.fr/2019PAUU1054/document.
Full textIn this essay, we have analysed the tales of Emilia Pardo Bazán published in the newspaper, of monarchical obedience, Blanco y Negro between 1895 and 1910. A very fertile woman of letters, she is nonetheless a journalist very committed to a century ending and changing. Thus, we have studied her journalistic and literary activities in relation to her socio-political commitments and let's dissect her collaboration with the newspaper. We have also examined how her status as a female journalist has influenced her literary work. The interference between the two writing modes is analysed from the text editing and structuring of the story. We have determined the relationship between the two discourses as they have drunk from both writing methods
Scharf, Fabian. "L'Utopie dans les dernières oeuvres d'Émile Zola (1898-1903)." Paris 4, 2008. http://www.theses.fr/2008PA040254.
Full textThis research is dedicaded to the development of utopian thought in Emile Zola’s last works : “Paris” (1898), “Fécondité” (1899), “L’Ouragan”, “Travail” (1901), “L’Enfant roi”, “Sylvanire ou Paris en amour” (1902), and “Vérité” (1903). Zola announces his ideal society in first tales (“Contes à Ninon”, 1864) and novels and in his “Rougon-Macquart” series (1871-1893). In “Paris”, utopian thought starts from the ideological and polemical discourses engaged by the founding hero Pierre Froment, who opposes the decadent society of the end of the 19th century. In “Fcondité” the Froment family founds an ideal farm and colonies in Africa. In “Travail”, Luc Froment builds the City of Felicity of the 20th century by which Zola imagines a technological, scientific and artistic utopia. In “Vérité”, the author develops an educational program for the future. Finally, we are analyzing Zola’s eugenic ideas and the influence on his last novels by Charles Fourier as well as by anarchist and collectivist thinkers
Kohnen, Myriam. "Figures du Polygraphe. Zola, Daudet, Malot (1855-1880)." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030070.
Full textWhen asked about the three authors Zola, Daudet and Malot, most only know Les Rougon-Macquart, the stories, the novellas as well as the popular novels. Their works however show a much larger variety, which is the result of their careers as writers and journalists. Like their most famous predecessors Balzac, Hugo and Stendhal, they tried to become established in the world of journalism before becoming renowned writers. Just like Vallès, the brothers Goncourt, Baudelaire and Banville, the trio also assumed this initial step would guarantee the autonomy of the literary man. But it was not only the rise in press publication, the technical development and the growth of their readership that forced them to use their talents in multiple ways. The big cities awoke their interest in the social morals, the political and artistic events of their time, so much so that their reports from Paris or London become inspiration for certain novels. The three curious observers carried out research in the streets, at the same time creating a language based on reality and adapted both to the journalistic and the literary genre. From a pavement conversation in La Rue, Le Boulevard, Le Figaro or L'Événement illustré, they arrived at a modern conception of creation, certain aspects of which resemble the techniques used by the Impressionist painters and press illustrators of the "Second Empire". Beyond its social and historical meaning, the evolution of their careers thus highlights the importance of their work and the symbolic status of the writer and also reveals the impact of the first writings on the aesthetics of the three more "modern" novelists
Ndiaye, Assane Faye. "La place et le rôle du romanesque dans la poétique d'Émile Zola." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAL014/document.
Full textLes Rougon-Macquart, a huge literary composition containing twenty novels, is in many respects the most prominent testimony of Zola's poetic narrative. This poetics is grounded on the guiding principles of Naturalism that Emile Zola, prominent leader of this movement has developed in his various writings, as literary theoretician and critic. Among the features that Zola attributed to the naturalist story is the refusal to use "romance" in the poetics of his work. The adjective “novelistic" certainly derived from the radical of "novel". But taken in its noun form, romance has to do with the genre of the novel and the complex relationships as demonstrated by Jean-Marie Schaeffer for instance. It is worth recalling with this one the linguistic origin of the term and its evolution, and the semantic shift that propels the notion out of its literary context. To understand this concept, it is useful to replace it, as it does in an Anglo-Saxon context. Because, in English, one can distinguish between romance, which can be translated into French by "roman romanesque", and novel, which is the equivalent of "novel that has a realistic target." "Romance" has thus a double meaning: it refers to what relates to the novel as a genre, but also what is unique to the novel as romance. In this sense, it has become, over the centuries, pejorative: it indeed refers to a painting of idyllic passions, led to their extremes to graze the improbable. One can thus understand that the theoreticians of the novel, especially in the nineteenth century - the time when the genre aspired seriously and developed realistic aesthetics - are attacking some of their predecessors for not giving a realistic picture of things, to provide an idealized representation of life in which good triumphs over evil, the noble sentiments prevail over evil thoughts and where the representation of passions reached immeasurable proportions.Thus, if we refer to the principles of Naturalism applied in the poetics of Zola's story, we realize that the romance in its thematic design (through that by which we mean the idyllic painting of passions and the world) and not generic, is aside from the beginnings of the current. Zola criticizes indeed the behavior of his contemporaries and his predecessors whom he accuses of misleading the reader in childish dreams, in a too abstract painting of life. The nineteenth century, which saw the affirmation of science and its methods, Zola led to a sharp break with the past poetic novel. It is clear from that moment that Zola does not want to do the same in the stories that have rocked his adolescence; he intends to stand out from the ghosts of dreams, the novels of gods and heroes, characters of an unattainable aspiration because they are too abstract. For this avowed purpose, he is armed with science and its methods of analysis to conquer a fair and truthful representation of reality in the literary work, the novel in this case. Thus, since the "romance" is marked by a very strong negative axiologisation in its non-literary meaning and in which emerging "connotations of sentimentality or kitsch", it is then automatically disqualified by Zola's concept of the novel.Nevertheless, one can ponder over the reality of the ouster of romance in the story and in Zola's fiction. Can you imagine a poetic novel that manages to completely break with the usual schemes and the constituents of a genre to its origins, and conveyed by a secular tradition? It is interesting to wonder whether the romance is taken back into the work of Zola or not? It is these differences that have emerged between the actual poetics of the work and the theoretical statements of the author that we have studied in this thesis
Farhat, Amina. "Figures du discours critique : la réception humoristique des Rougon-Macquart de Zola (Pastiches et Caricatures)." Paris 3, 2007. http://www.theses.fr/2007PA030161.
Full textConsidered during a long time as means of derision and smutty and insane mockery, lampoons and caricatures addressed to zolien’s work had often been relegated to the rank of light, marginal and useless critic. However our work consists in demonstrating that while being comic and desidory, this manner a few particular to present the literary text was a means efficient to read, to understand, to analyse and to criticize zolien’s work. So and as turning in derision the naturalistic chief and his works, caricaturists were the first otherwise the alone to penetrate the deep sense of the thought and zolien’s creation, to see the diffrent nuances of the style and the zolien’s imaginary and to be able to return account of the specificity of a work one at a time and multiple. Lampoons and caricatures prove to be thus of institutionalization means that, while taking zolien’s norm and while perpetrating it, had participated in to constitute the work laughed at like creation literary therefore to clear it as fully-fledged literary text. Thus, and all while doing of the laughter and the exaggeration the same foundations of his readings, this humorous receipt proves to be one of the most important faces otherwise the more important and most serious of the naturalistic receipt to the XIXth century