Dissertations / Theses on the topic 'Personnages dans la Bible'
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Vaiss, Paul. "La figure de Melchisédek dans la Bible hébraïque." Paris 8, 2013. http://www.theses.fr/2013PA084184.
Full textMelchisdech appears only in Genesis 14 where he greets Abraham and in Psalm 110. Yet in later writings, especially in the epistle to the Hebrews, he is given a prominent role. It seems a fact that the narrative of Gn 14 is no late legend. Actually, the decline of the IIIrd dynasty of Ur gave way to the creation of small turbulent city-states. Archeology confirms the disappearance at this period of a prosperous civilisation along the banks of the Jordan. The antiquity of the narrative is enhanced by the impressive number of archaic words and phrases similar to those in the Mari or Ugarit tablets. A stylistic and linguistic study of the text of Gn 14 evidences its consistency. Its links with the whole Abrahamic cycle cannot be assigned to mere chance. So that it is impossible to view verses 18-20, which recount the meeting of Abraham and Melchisedech, as a late insertion with ætiological aims. Melchisedech is rather one in a series of irenic characters who appear in Scripture so as to illusrate the extension of Israel’s election by YHWH to all nations. The introduction of Melchisedech in Psalm 110 seems to be linked to the enthronment of the kings of Judah. A thorough examination of the traditional MT makes it possible to solve most of its difficulties. The hypothesis of a postexilic creation is untenable. If then Psalm 110 dates back to the reign of David, it seems that it was written at the end of his reign, when the Lord “delivered him from all his ennemies”. The Messianic vein which would start with Gn 3: 15 and 49: 10, include Balaam’s oracles, the Davidic covenant, Psalms 2 and 110 and the prophets and end up with the Messiah himself is an hypothesis which should not be underestimated
Tonguino, Emmanuel. "La malédiction de Canaan et le mythe chamitique dans la tradition juive." Paris 1, 1991. http://www.theses.fr/1991PA010581.
Full textHow a man cloud be both and peaceably Jewish and black (i. E. Falacha) if Noah has cursed Cham through Canaan ? 1. A description of the "Hamitic myth" (chiefly in Judaism, but a bit also in Christianity and Islam) i. E. Of the malediction of Canaan in the book of genesis and the progress of its misinterpretations from the beginnings till our time. That Ham and his descendants have been cursed by the Noachian malediction of Canaan in the hard core of the Hamitic myth. 2. Understanstanding of the interpretations of this malediction and the reasons why the biblical text has been turned into racialism. 3. Finally, a call to a true world-wide brotherhood
Roudière, Sébastien Carine. "Les figures bibliques dans les quatre premiers livres de François Rabelais." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20094.
Full textBiblical hermeneutics is based on the correspondence between the biblical figures of the Old Testament and those of the New Testament. Rabelais updates this typology of figures while playing. The work of his work reflects the crisis of figurative representation in the sixteenth century and he also operates a literary transition to Roman fiction and establishes a new regime of truth inspired by the Bible that invites the reader to adhere to his. The passage from "the Bible of the novel" to the “Bible of the novel”leaves considerable room for a readership as broad as expected
Toräng, Patrik. "Lecture et relectures du 1er fratricide : Cai͏̈en et Abel dans le Nouveau Testament à la lumière de Genèse 4 et des évocations de ce texte dans les littératures juive, samaritaine et chrétienne anciennes." Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20049.
Full textElmali, Abdurrahman. "Moi͏̈se (Mûsâ) et son message d'après le Coran et ses commentateurs." Paris 4, 1988. http://www.theses.fr/1988PA040110.
Full textConsidered as a great prophetic personnality,Moses,in the Qur'an,occupies an important place and is related at length through different literary styles. .
Ferrier, Béatrice. "La Bible à l’épreuve de la scène : la métamorphose du sacré dans l’histoire de Samson (1702-1816)." Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/in/theses/2007_in_ferrier_b.pdf.
Full textThe numerous adaptations (on the stages theatrals and/or lyricals) of the biblical episode show a transformation of the conception of the Ancient Testament in eighteenth century. The corpus begins with canticles and cantatas then contains genres for entertaining : we play tragi-comedy at the Italian Theatre, parodies at the Fair, melodramas and pantomimes on boulevards theatres, puppets’ plays. We can add the Voltaire’s famous opera continued by oratorio, hierodrama or revolutionary chorus. The corpus is interesting because plays are linked with “intertextualité” which reveals a progressive distance from biblical “hypotexte”. This distance, on rewriting’s plan, result at a sense’s diversion, particularly with the displacement of Samson on Dalila – in conformity with the public’s taste – and with the ideas defended. Samson’s story is changed from Christian sense fixed by biblical exegetes to serve ideologies sometimes differents, event opposites, like deism or free-masonry. So, by leaving religious universe, Samson’s episode enters in secular world which it translates politics, spirituals and aesthetics preoccupations. Nevertheless, despite of holy’s loss because of the stage, the biblical episode doesn’t loose any sacred forms : it finds a new sacred with the scenic spectacle that becomes nearly a social ritual. Through Diderot’s theories and original natural language’s theories, we assist to the birth of a new sacred form particularly based on communion between men, based on social ritual. Consequently, we assist to a Christian holy’s metamorphosis in a secular sacred form like it exists in our modern society
Ponsot, Hervé. "Abraham dans la théologie paulinienne (Rom IV. Gal III) : fonction littéraire, historique et théologique de la paternité d'Abraham." Paris 4, 1985. http://www.theses.fr/1985PA040119.
Full textGronner-Timsit, Yaël. "Rachel et Léa - entre tradition et contemporanéité : représentation des deux matriarches de la Bible à la société juive contemporaine en France et en Israël, au fil du Tamuld de Babylone, du Midrach Rabba du commentaire de Rachi et du Zohar." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0152.
Full textThe thesis consists of a thematic exploration of six sources -five textual and one oral. The textual sources are among the most influential in the Jewish tradition: the Bible, the Babylonian Talmud, Midrash Rabba, Rashi’s commentary on the Bible, and the Zohar. As for the Oral source, it consists of interviews with French and Israeli Jews, examining representations of Rachel and Lea's figures. This work addresses initially roles of the two matriarchs in the fundamental texts of the Jewish tradition it next presents study of the development of the biblical story through time and texts. After analysing recurrences of different themes of Rachel and Leah in the various sources, it then examines differences and modifications of these themes, in. Order to understand the reason and meaning of their modifications. It further inquire through interviews about the kinds of images associated with the figures of Rachel and Leah today, how they are perceived, the places they occupy in the interviewee's life, and whether they are considered part of a distant past or relevant today. Finally, it compare between the roles of the two matriarchs in contemporary Jewish society and their role in the textual sources of the Jewish tradition
Lahouani, Abdel Fattah. "Morphologie du récit dans le texte coranique : la sourate de Joseph." Paris 5, 1993. http://www.theses.fr/1993PA05H068.
Full textOur search tent to analyze the narrative koranic by using the recent studies in the semiotic textual domain, like those has been done by Greimas A. J. And his disciple. The analyze of the Joseph's narrative koranic is at the same time textual and intertextual. In fact in the first time, it deals with the detection of the narrative structure which subtend our text. In the second time, we try to demonstrate if this structure is similar or distinct than the joseph's narrative structure related in the bible. As for, the last chapter of our search, it represented by frensharabic dictionary of the semiotic concept in which is based on our analysis
Wajeman, Lise. "La parole d'Adam, le corps d'Eve : les "premiers parents" et le péché originel dans les textes et les images au XVIe siècle, en France, Allemagne et Italie." Paris 4, 2003. http://www.theses.fr/2003PA040165.
Full textThe representation of Adam and Eve arouses particular interest during the sixteenth century. The renewal of Bible translations, the importance of the theological debate between the Reformation and the Roman Church lead to a plethora of entirely new readings of the Holy Book ; the story of the first genuine couple raises questions in a century fascinated by the problem of origins and makes it possible to represent naked figures in a religious context. Original sin, as recounted in Genesis 3, crystallises a series of fundamental oppositions. It induces the fall, i. E. The change from eternal life to a lifetime measured by death, but it also brings life to the body, as a source of pain and pleasure, marked by the differences of gender, and turns a world in which clear signs and language reign into a world of darkness, where the line between truth and falsehood blurs. The representation of original sin seems then to become a mirror in which a work of art can contemplate itself and reflect upon how to bring (christian) truth to the reader/ viewer. While the written word tends to restrict the reader's freedom and force a certain interpretation upon him, pictures tend to reenact the confusion brought about by original sin and make full use of their ambiguous seduction
Gligor, Adela Elena. "Mythes et intertextes bibliques dans l'œuvre d'Anne Hébert." Phd thesis, Université d'Angers, 2008. http://tel.archives-ouvertes.fr/tel-00441301.
Full textElkayam, Moshé. "La typologie de Cai͏̈n et Abel dans les littératures hébrai͏̈ques, araméenne, sumérienne, akkadienne, de l'ancienne Egypte, ougaritique, indo-iranienne, chrétienne et islamique." Paris 8, 1992. http://www.theses.fr/1992PA080682.
Full textFournié, Éléonore. "Gomer et les siens: une famille vétérotestamentaire dans le giron marial : miniatures et bois gravés des manuscrits et des imprimés de la Bible historiale, XIVe-XVIe siècle." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0123.
Full textThe purpose of this doctorate is to study the manuscripts and the prints of the Bible historiale, holy history written by Guyart des Moulins by the end of the XIIIth century from the Historia Scolastica by Petrus Comestor. The Bible historiale meets a great succeed during the XNth and XVth and we tried to collect ail the remaining manuscripts ail over the world -144 pieces. Proposais for classifications have been made to understand this production. By the end of the XVth century, the Bible historiale is printed by Antoine Vérard; then we get interested by the twenty-seven printed during the first half of the XVIth century. In the manuscripts and the prints, we get attached to Gomer, the wife of prophet Hosea, the first of the twelve Little Prophets of the Bible. A catalogue of her representations in the manuscripts of the Middle Age and in the prints of the first half of the XVIth century was established; it helps us to appreciate the importance of the Jerôme'comments in the representation of Gomer in the Bible historiale; the character is used to show first how fits the biblical kinship in the Bible, then to push up the cult of saint Anna and finally to contribute to promotion of the cult of Virgin Mary, by its participation to one of the most important quarrel of the time : the Immaculate Conception of the Virgin Mary, and by its valorization of the Christian "holy family"
Sauvêtre, Maïté. "Joseph d'Arimathie et les romans du Graal." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL176.
Full textIn the early XIIIth century, Joseph of Arimathea starts making an appearance in the Holy Grail stories. When Christ was laid to rest, Joseph of Arimathea is supposed to have collected the Holy Blood in a Vessel whose posterity is well-known. The study of such a historical figure leads us to assess how intertwined the Grail corpus and the Scriptures can be. The biblical figure ushers the Grail into the Sacred History. Through his existence, the literary works mean to highlight some Christian truths while eventually remaining works of fiction. From then on, the status of the character calls for clarification. Does he get bestowed with fictional features ? To what extent does he relate to the time of Passion as well as to the Arthurian legends ? These questions do not always call for the same type of answer. Joseph of Arimathea safeguards the unity of the Grail Romances, while delineating differences between them. His life story and poetic persona vary and these changes reflect the literary intent in each of the literary works. They go to show the distinction between prose and verse and how the Judea matter takes a new shape in the Grail texts. The authors claim responsibility for stating the truth and for recording History, while adjusting to the requirements of the narrative and to their upper-class readership. Thanks to his biblical origin, Joseph of Arimathea is instrumental in giving legitimacy to the story, thereby giving it additional value. He also reveals how the secular aristocracy take up and inflect the clerics’ discourse to their own benefit, in order to grant themselves a new stance in the spiritual real. What is emerging is that this figure invites various levels of analysis, be they of poetic, literary and socio-historical nature, which all need to be brought to light
Negovanovic, Catherine. "Phèdre et la femme de Putiphar dans les littératures des XIXe et XXe siècles : deux figures de tentatrices à l'épreuve de la condition féminine." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040184.
Full textEven if comparing Phaedra and Potiphar’s wife seems to be strange, this study has pointed out the structural similarity of their stories and probably a same origin : the confrontation between Ishtar and Gilgamesh in the 2nd millennium B.C. The pattern of the rejected temptress who takes revenge has split and has taken two directions. In the Near East, it became the Potiphar’s wife motif and in the Greek area Phaedra’s myth. Through literary history, the preference has gone sometimes to one, sometimes to the other, until this amazing situation : Potiphar’s wife overruns the 19th century and Phaedra the 20th. The origin of the biblical temptress explains the phenomenon. She’s oriental during a period in which Europe is fascinated by Orient and Orientalism. Furthermore, she has inherited Christian ancestral misogyny and Sade’s influence. Finally, the figure meets the myth of the femme fatale born in the second part of the century. In fact, in reaction to the beginnings of feminism as if it were an invasion, men build a phantasie of feminine Evil. And Potiphar’s wife and its avatars become lustful seductresses. But first Word War balances the situation and Phaedra comes back. Embodying new beliefs, she echoes back the female condition. Subversive, personifying Desire and the fulfilment of the feminine, claiming for a new place in society, sweeping ancient rules, embodying political and timeless human values, this new Phaedra is in the middle of this chaotic 20th century a bright and eternal heroine
Hetzel, Aurélia. "La reine de Saba : des traditions au mythe littéraire." Paris 4, 2009. http://www.theses.fr/2009PA040113.
Full textThe Queen of Sheba plays an important role in the traditions of the three monotheist religions as well as in literature and arts. The paths that take us from the religious texts to the literary myth show the various figures that she embodies, from wisdom to lust. The exploration of the types of intertextual relationships and of the relationships between arts, reveals the variations undergone since the initial scenario, the persistent aspects of the myth, as well as the way in which the mythical potential of the founding texts operates in the structure and the literacy of the texts. The analysis of the modalities of appearance of the Queen of Sheba allows us to consider works as relays, circumlocutions and variations, and reveals that in the imagination the queen of Sheba is an ideal model and her myth is an exemplary story
Limardo, Elisabetta. "Esther : motifs iconographiques chrétiens et juifs XVIe-XVIIe siècles." Paris, EPHE, 2002. http://www.theses.fr/2002EPHE5009.
Full textThe thesis is composed by three parts. The first contains a state of the art of the Jewish and Christians researches about Esther. The second part consist of the analysis of the biblical sources - Bible of the LXX, Vulgate, Targumim -, of the post-biblical sources - Flavius Josephus, Midrashim and Josippon -, and a chapter about the book of Esther in the Christian and Jewish exegesis. The third part develops the historical and iconographical themes. The historical background is focused on the phenomenon of the Marranos, that may be considered as the cause and the effect of the presence of Jewish and Christian elements in the same image. The iconographical study is focused on a certain number of cycles ; it faces the problems of interpretation of the story of Esther and analyses its symbolical values. It is completed by a specific analysis of a French cycle, drawn by Antoine Caron and engraved by Denis de Mathonière (1572-1582). The work is completed by an ample bibliography, a series of representative images and two annexes containing a comparative file of the chosen cycles and a series of iconographical datas
Akotia, Benjamin Kokou. "La construction des personnages du cycle d'Abraham." Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20033.
Full textThe stories of the Abraham’s cycle, not to say of the entire book of Genesis, depict the male characters systematically being separated and the female characters scrupulously being the spouses of the men of their group. This structure seems to determine a discourse with a specific anthropological scope. The separations lead to the dissolution of the earthly ties and create the nomadic lifestyle, whereas the upholding of the women within the group creates endogamy. The two main components of the cycle, namely the action tales and the benediction tales, give each one a particular characterization. In spite of their apparent harmony, the two characterizations are conflicting. The first is particularistic while the second is universalistic. It is requested that the fathers separate, principle of the nomadic lifestyle; while their descendants gather, foundation of the sedentary lifestyle
Mouzet, Aurélia. "Moïse : un prophète noir transatlantique ? : enjeux du mythe biblique de Moïse et de la Terre promise dans les romans de Zora Neale Hurston, Sylvia Wynter, Ngugi wa Thiong’o, et Pius Ngandu Nkashama." Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100016/2020PA100016.pdf.
Full textBlack writers in Africa and in the African diaspora drew heavily on biblical stories, which have thus become a part of the development of the literary imagination in Sub-Saharan Africaand the Americas. Of all of the forms taken by Moses, it is the image of a liberating hero bringing his people to the gates of the promised land after having delivered them from theenslavement that has been privileged in the Black Atlantic imaginary. Drawing upon thisfigure, Zora Neale Hurston, Sylvia Wynter, Ngugi wa Thiong’o and Pius Ngandu Nkashama question the role of the literary work as it relates to religion, politics, and community in theUnited States during Jim Crow, in Kenya and Jamaica during the colonial era, and more generally in post-colonial African societies. The themes that mark Mosaic stories form thebasis of the denunciatory posture adopted by the authors. The prophetic imaginary allows them, moreover, to interrogate the status of the word, be it literary, political, or religious.Through the written word, these authors trace the contours of true emancipation of the Black ethos and situate writing as a metaphor for the promised land
Ferraro, Séverine. "Les images de la vie terrestre de la Vierge dans l'art mural (peintures et mosaïques) en France et en Italie : des origines de l’iconographie chrétienne jusqu’au Concile de Trente." Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL033/document.
Full textThis thesis is devoted to wall images of the Virgin’s earthly life, an iconographic sequence composed of the young Mary’s history and episodes from Christ’s life which are related to the Virgin, until Pentecost. This research comes within the extended framework from the early Christian art to the Council of Trent. It is based on an abundant iconographic documentation which includes more than 2300 pictures, wall paintings and mosaics, preserved in France and Italy. The first part of the thesis is dedicated to the quantitative analysis of the iconographic documentation, according to a triple point of view. A thematic analysis identifies three phases in the chronological sequence of the Virgin’s earthly life, while specifying the quantitative importance of each of the studied iconographic themes. An analysis of the geographical distribution of different listed conservation sites reveals spatial characteristics which are specific to each territory studied, in connection with local history. Finally, a chronological analysis allows to integrate wall images from great phases of the art history, as well as to highlight the most emblematic decorations. The second part of the thesis is devoted to the iconographic investigation itself. As preamble, the various textual sources used in this research are presented. They are grouped into three categories : canonical sources, apocryphal gospels and medieval texts. The iconographic analysis of different themes about the Virgin’s earthly life are organized around three sequences : episodes preceding Christ’s birth (youth of Mary and Incarnation), those of Jesus’ Childhood (from the Nativity to Jesus among the Doctors) and those of adult Christ in which Mary plays a role (from Wedding at Cana to Pentecost). This analysis’ objective is to determine the different components of studied iconographic themes and to establish their specific typology, while stressing constants and breakpoints. The highlighting of the links between images and textual sources is also a priority of this research. Cross-cutting issues related to the development of Marian iconography itself, the process of images diffusion, the perception of the Marian figure as an edifying model and the study of the link between images and texts or their location in the ecclesial space are presented in the form of concluding reflections. In parallel, a selection of wall images of the Virgin’s earthly life, chosen according to the analysis arguments for their exemplary nature, is represented as three catalogues matching narrative sequences mentioned above. The selective bibliography on the various conservation sites is presented in each catalogue. Other bibliographic tools are provided in appendices volume. A thematic directory, listing all the wall images that belong to the iconographic documentation of the study, is also provided in appendix
Jouve, Vincent. "L'interaction lecteur personnages dans le roman." Paris 3, 1990. http://www.theses.fr/1990PA030085.
Full textThe aim of this study is to rethink the question of the novel character on the basis of a theory of reading. The first part ( perception ) concentrates on an analysis of the mental process through which we imagine th character when we are reading. We try to show how the identity of the novel character emerges from a cooperation between the text and the reader. The second part ( reception ) analyses what relations - either conscious or unconscious ones - take place between the rea- der and the characters. The character is examined as the basis upon which the rea- der can foresee the story, understand the text and experience feelings. The third part ( implication ) studies the phenomenology of the interaction between the reader and the characters and its extra-textual extensions. In the last part ( application ), we test our theory through the analysis of excerpts of three novels. We chose them from a historical point of view ( medieval novel, classical novel, "nouveau roman" ) and a formal one ( narative, dialogue, character- sketch ). These excerpts are taken from the roman d'eneas, an anonymous twelfth century narra- tive, from illusions perdues by balzac and from molloy by beckett
Lee, Yoo-Jin. "Les personnages féminins dans le roman d'Ysaÿe." Paris 4, 2003. http://www.theses.fr/2002PA040178.
Full textThe novel Ysaÿe le Triste is based on a Knight's adventure at the end of the fourteenth century. My study of this anonymous novel is particularly dedicatied to the female characters. We observe that the female charaters are very interesting, for example the noblewomen takes upon the role of courteous lady and fairies invite us to their fantasty world. Tonc, who is from a different world is a dwarf and he manipulates the main characters, so that the novel ends in the marriage of the protaganists. As other novels, even this one evokes a desire with the caracters intermix. In particular, the novelist through these women, create a imaginary romantic sensation which existe in the feminine world medieval times, and in the same time we also discover the importance of these female characters in his novel
Simasotchi-Brones, Françoise. "Personnages romanesques et societes antillaises." Paris 3, 2000. http://www.theses.fr/2000PA030094.
Full textHakizimana, Justin. "Le choix des personnages dans une œuvre littéraire : Le choix des personnages dans Madame Bovary de Gustave Flaubert et dans Candide de Voltaire." Thesis, Högskolan Dalarna, Franska, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:du-13646.
Full textGlémée, Marache Marie-Christine. "Les personnages anonymes dans le théâtre de Sophocle." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30079.
Full textModern studies on Greek tragedy are usually based either on the structural contrast between « individual characters » and « collective character » (chorus) or on a social-type contrast between heroes (born into an illustrious mythical family) and people of modest origins. In fact, both reading grids don’t take into account the characters which are at the same time « individuals » and « ordinary people », the anonymous characters (some fifteen in Sophocles’). Regarded as simple « small parts », they have never been the subject of a specific study. In the ancient and modern stage directions (didascalies) of the text, they are refered to by a common noun, most of the time reflecting their function (messenger), their work (shepherd) or their age (an old man), but this common noun can vary for the same character from an edition to another. The survey first deals with the origins and the history of these designations, from the oldest manuscript of Sophocles’text to the most recent editions. The second part of the thesis studies the position and the part of these characters in the tragical plot : if , as expected, their influence on the action is limited, in return they are essential instruments for the construction of space and time, characteristics of every tragedy, they are the « go-between » required for an internal communication between the other characters, as well as the necessary vehicle for communication from the author to the audience. Last, the third part presents the ancient concept of « character » and tries to decide in which extent these anonymous can be given a « nature » in the aristotelician meaning
Ajjan, Boutrad Bacima. "Les personnages dans l'œuvre romanesque de Julien Green." Toulouse 2, 1999. http://www.theses.fr/1999TOU20065.
Full textThis thesis presents a study of Julian Green’s characters. The novelist is animated by a constant preoccupation: his fictional creatures. In his work, by the slant of heroes, he tempts an interior exploration of his depths, across an intimate writing. The classical tradition of his writing doesn’t conceal oddness in the conception nor in the treatment of his characters. These last are at the same time single and multiple. They suffer all of a mysterious and permanent interrogation on themselves. The writing of Green and the adventure of his characters feed essentially of their particularly acute vision of the word. SO, the system of the characters reveals enigmatic and dark, the narration worries exclusively of following them with their impulses and give to narration the shape of a permanent production of the character in his tragic climate. Such a gait is not without relationship with the features which define the portrait of an authentic character, of an archetype translating all by the body who demonstrates the convulsions of the soul and the mystery of the predestination of the singular be conceived by Green
Giafferri-Huang, Xiaomin. "Les personnages dans "therese desqueyroux" de francois mauriac." Paris 3, 1986. http://www.theses.fr/1986PA030079.
Full textThe problem of character has always been one of the focal points in mauriac criticism. This study of characters in "therese desqueyroux" a field of study where semiotico-narratological methods are brought into play. As a signifier of character, the "label" holds meaning because it fulfils narrative and descriptive functions by designating the place of the characters in the narration and providing their first semantic indications. The staging of the characters creates an effect of hierarchy through procedures of qualification, deployment ans focalisation. A psychological causality specific to mauriac and the intorior monologue given to heroine characterize the highlighting of the "heros". Defined in semiotics as the meeting point of the grammatical and the semantical components, the "actor" issues from two correlative structures: the narrative structure organize the units of meaning, regulating the transformation of the "actants" during the narration; the discursive structure gives a semantic description of the status and forms of this units. The signified of the characters is inseparable from other components of the text. In this novel, the role of space goes beyond that of mere serroundings; it becomes a language of psychology and constitutes a second system of meaning of the characters. Such a study aims to bring to light the mechanism of mauriac's characters; it both responds to the constraints of the genre and to the originality of the work
Giafferri-Huang, Xiao min. "Les Personnages dans "Thérèse Desqueyroux" de François Mauriac." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37598471m.
Full textGuillemot, Jean-Marie. "Les para-personnages dans l'oeuvre de Jean Racine." Paris 4, 1999. http://www.theses.fr/1998PA040327.
Full textRoux, Josselin. "La danse de Miryam : une approche littéraire et anthropologique d'Ex 1-15,21." Strasbourg 2, 2007. http://www.theses.fr/2007STR20001.
Full textThe main purpose of this thesis is to put the Miryam’s dance back in his literary context (Exodus 1-15:21), and then, place this dance in the way of thinking and value system detectable in the Bible. For this purpose, some anthropological and hermeneutic directions are proposed. They are inspired by the sociology of Marcel Mauss, the phenomenology of Maurice Merleau-Ponty, and the semiotics of Algirdas Greimas. These different approaches allow to define the modalities of a kinesic analysis which play a part in the semiotic and narratologic analysis of the biblical texts. With these analyses, the sense of the biblical hebrew expressions speaking of the women's dance is clarified. Lastly, an interpretation of the Miryam's dance is proposed starting with this question: how is this dance (Ex 15:20-21) a logical conclusion to the tale of the escape from Egypt (Ex 1-15:21)
Zazoun, Flavie. "Variations autour du Livre d’Esther : de la vision biblique au regard porté par la littérature et les arts sur les personnages." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040042.
Full textStarting with a study of Racine's Esther, this thesis analyses the biblical story and its sources and follows its literary, artistic and religious becoming through the centuries and across Europe. This "genetic" approach results in a tableau portraying a wide variety of artistic creations. The biblical story appears to have been counted among a number of founding texts which contributed to a common (European) culture. Composed four centuries before our era, its uses and applications go beyond the religious and the liturgical. The figure of Esther quickly came to be seen as an archetype of the faithful: she is associated by analogy with Mary the mediator and recognised as an exemplary queen. More broadly, Esther and Ahasuerus represent the perfect model of the royal couple. Through the ages, the Book of Esther has inspired many artists and writers. Amidst the huge corpus of re-writings, theatrical adaptations hold a prominent place, made up of both tragedies and parodies. If Mordecai remains worthy of praise, Haman is generally portrayed as an object of rebuke or ridicule. Because it abolishes geographical, historical, political and social borders, this text is at the source of an important part of European heritage
Sansoni, Caterina. "Les personnages d'Elsa Morante : construction, dimension sociale et dynamiques relationnelles des personnages dans l'oeuvre romanesque d'Elsa Morante." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC013/document.
Full textThis research focuses on the study of the characters in Elsa Morante's novels. The characters are analysed mostly in relation to the apparently conflictual relationship between their recognizable social dimension and their equally clear literary characterisation. The first aspect is examined with the help of some ideas inspired by the sociological studies carried out by G. Simmel and E. Goffman, while the second is centred on the literary construction of the characters. These two aspects contribute to highlight Morante's understanding of Realism: a concept that revolves around the human events experienced by “living but fictional characters” and that is closely connected to the 20th century. One of the central themes is the relationship with the others and with oneself, together with the search for identity, thanks to and notwithstanding the presence of stigmas. The two dimensions of this study were examined analysing each novel, they are at the same time essential and interdependent: on the one hand we see the realism of human dynamics, analysed with the help of sociological theories, and on the other hand the narrative universe, based on a continuous work of re-use and personalization of stereotypical characters and elements that can be recognised on the basis of literary tradition
Carman, Jodi Rebecca. "Le regard des personnages feminins dans l'oeuvre de Colette." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ43842.pdf.
Full textCarman, Jodi Rebecca. "Le regard des personnages féminins dans l'oeuvre de Colette /." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28044.
Full textRenee Nere of La Vagabonde, novelist and music-hall mime, is examined in the second chapter. For Renee, liberty is more important than the security of the established identity which marriage offers. The pain associated with her choice to remain alone underscores the oppression that she must bear.
"Colette" in La Naissance du jour is studied in Chapter Three. There we discuss the importance of "Sido" in the construction of "Colette's" life model, a construction that never ends. The differences between mother (poet) and daughter (novelist) are studied along with their similarities. Again, reflection and writing are found to be more noble than love.
Barthouil-Ionesco, Ilinca. "Les personnages féminins dans le théâtre de Camil Petrescu." Inalco, 1986. http://www.theses.fr/1986INAL0001.
Full textAït-Aarab, Mohamed. "Evolution des personnages dans l'oeuvre romanesque de Mongo Beti." Lille 3, 1988. http://www.theses.fr/1988LIL30003.
Full textFrom ville cruelle, the author's first work published in 1954, to la revanche de guillaume ismael dzewatama, his last accomplishment in 1984, mongo beti always resigned himself to the same task : to reveal the misfortunes which overwhelm the african continent in his novels. The colonization, far from being a philanthropic undertaking, according to the cameronese author, brought about an imbalanced society in which black people and white people neither have the same rights, nor the same duties in society. The accession to independance, according to mongo beti, wasn't but a tremendous deception : the european colonizer was succeeded by an african tyrant whose principle aim, with the help of armed repression and the police was to further along a comfortable social situation to the handful of privileged citizens. The contemporary period is characterized by the political, economical and cultural domination of the well-developped and industrialized north over the south, which is not merely a victim of the unequal exchange, but also of its own defect, which mongo beti does not fail to criticize : the lack of democracy, its chaos, corruption and incapability. . . However, mongo beti's pessimism sometimes lends itself to moments
Gumery-Emery, Claude. "Les personnages féminins dans l'oeuvre romanesque de Jorge Amado." Rennes 2, 1985. http://www.theses.fr/1985REN20007.
Full textKupfer, Ketty. "Les personnages juifs dans "la comedie humaine" de balzac." Paris 4, 1997. http://www.theses.fr/1997PA040098.
Full textBALZAC, WRITER AND HISTORIAN OF MORALS, TOOK UPON HIMSELF TO DESCRIBE IN LA COMEDIE HUMAINE, THE COMPLETE STRUCTURE OF HIS TIME'S SOCIETY. IN HIS "GALERY OF PERSONAGES" HE INTEGRATED SOME THIRTY JEWS PARTICULARLY IN LES SCENES DE LA VIE PRIVEE OF THE ETUDES DE MOEURS. PUNCTILIOUS OBSERVER AND "PASSIONATED VISIONARY", BALZAC SAW THE NEW REALITY OF THE JEWISH EMANCIPATION IN THE FIRST HALF OF THE 19TH CENTURY. BALZAC, IN HIS PRIVATE LIFE, MET ASSIMILATED JEWS AND HAD FOR THE ROTHSCHILD MIXED SENTIMENTS OF JEALOUSY AND ADMIRATION. HIS DESCRIPTION OF ORTHODOX JEWS HE MET DURING HIS TRIPS TO EAST EUROPE, ARE without ANY COMPLACENCY. BALZAC, IN HIS WORKS, DID NOT ESCAPE FROM OLD STEREOTYPES BUT ACCORDED TO HIS JEWISH PERSONAGES, QUALITIES WHICH HE LIKED TO PRETEND FOR HIMSELF AS QUEST FOT POWER, KNOWLEDGE, AMBITION. . . COURTESAN OR ARTIST, THE JEWISH WOMAN OF LA COMEDIE HUMAINE SEEMS TO COME OUT OF THE BIBLE BUT CAN NOT REACH A SOCIAL STATUS LEGALISING HER CONDITION. BALZAC IS AT THE BREAKPOINT OF THE TWO WORLDS WHICH FRANCE WILL MEET A FEW YEARS LATER WHEN BURSTS OUT THE AFFAIRE DREYFUS
Kany, Laurence. "Le système des personnages dans l’oeuvre romanesque d’Eugène Sue." Paris 3, 2007. http://www.theses.fr/2007PA030104.
Full textEugene Sue is an unrecognized writer, however his literary work is signicant and his name was international at his time. Through his thematic of characters system, we can notice the progress of an ideology of this protean writer. The manichean system, who govern Sue's characters, is put in place from the designation of the characters, and strengthened by the portrait. Extrapolating, we will say that the villain will be imperfectly named. In addition, there's no opposition or nearly between be or seem to be. Consequently, ugliness is the attribute of a negative character. The hero found his place in Sue's novel notably by creating a superman with the Rodolphe character's in Les Mystères de Paris. In opposition, we found evilness geniuses who haven’t got any pretext to their malicious intents. Eugène Sue considers his characters as a support to an ideological demonstration. The education and the social background are the first reason evocate to explain the character lowering. Take back the Fournier and Saint Simon theories, he suggests reformation aimed at improve social condition of the poorest, namely the women and the lower class. We can feel the conversion to the socialism of the writer at the end of his career up till the hero’s representation which is from now on plebeian
Peyronnet, Marianne. "Les personnages féminins dans l'oeuvre dramatique de Sean O'Casey." Paris 8, 1997. http://www.theses.fr/1997PA081255.
Full textIn ireland, from the beginning of the century to the sixties, men dominate their female fellow-citizens in every field. The elementary rights of the irish women are flouted : they are deprived of citizenship, are relegated to the home in spite of their resistance. Sean o'casey, in his dramatic works, during the whole period, depicts female characters fighting for their emancipation. He shows brave heroines confronted by coward companions and lovers. They are determined to free themselves from male yoke. O'casey paints images of women which cause displeasure to his contemporaries because of their realism, because they are too far from the models of submitted mothers and wives desired by the religious and nationalist groups. He creates a language to make them appear superior ; he gives them a political function. He maintains that women only will be able to construct a better, a more egalitarian world. Through his works, the evolution of his thought can be read ; a change in his way of looking at woman's place in society is revealed. If he can be considered at the beginning as a "feministe differencialiste", he becomes at the end a feministe
Jassim, Hassan. "Personnages et stéréotypes dans les romans d’Alain Robbe-Grillet." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040080.
Full textThis thesis aims at investigating the presence of stereotypical characters in the work of Robbe-Grillet retrieved from the paralitterature. Stereotypes that will be discussed in this work are: the romantic loner, wandering the city, the vigilante crime, the detective, the killer, the trio of novels of the jealousy, the prostitute, the perverse voyeur, the stripper, and the storyteller. After this “exploration”, we reach the flowing conclusion: as a whole, the work of Robbe-Grillet is rooted in the stereotype. However, we will discover that this is not an apology for stereotype. But simply taking into account its action in contemporary culture and the role of the latter in the elaboration discourse of the work
Siarnowski, Renée. "Thèmes, personnages et valeurs dans les romans d'Evelyn Waugh." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb375939724.
Full textGumery-Emery, Claude. "Les Personnages féminins dans l'oeuvre romanesque de Jorge Amado." Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37594792f.
Full textBellaïche-Kupfer, Ketty. "Les personnages juifs dans "La Comédie humaine" de Balzac." Lille : A.N.R.T, Université de Lille III, 1997. http://dds.crl.edu/CRLdelivery.asp?tid=12292.
Full textVictoria, Marie-José. "La cantatrice dans la littérature romantique française : entre incarnation et sublimation /." Villeneuve d'Ascq : Presses universitaires Septentrion, 2000. http://catalogue.bnf.fr/ark:/12148/cb37115311d.
Full textGlossaire p. 504-505. Bibliogr. p. 506-509. Index (des noms cités, des opéras cités, des personnages littéraires, des personnages musicaux).
Rusthoven, Thea van Til. "Chromo-analyse des personnages dans La bête humaine d'Émile Zola." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1996. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ35447.pdf.
Full textNaumann, Claude. "Le système des personnages dans les films de Jacques Becker." Nancy 2, 1996. http://www.theses.fr/1996NAN21004.
Full textBecker’s films are, first and foremost, character-based. The object of this doctoral thesis therefore is to study how, in his movies' worlds, Becker brings his characters to life and how he makes the spectators believe in the characters' reality. The first part consists in an indexation of the great sociological and geographical typologies of the characters and aims at bringing out these typologies' autobiographical, social and political meanings. The second part shows how Becker’s construction of his characters precedes along lines which are common to all his films, whatever their subjects: his character-building is defined by his refusal to resort to a single hero or protagonist and by his preference for a group-character or a couple-character. This system calls for precise directorial choices so that Becker’s characters come to life through what they "do" more than through what they "are”: this system thus involves a marked preference for lesser-known actors or actors who are not "stars", for a restrained way of acting, for a short digenesis time which helps create the illusion of a temporal continuity and for a clear rejection of a literary way of speaking or of a traditional story-board based on the characters' actions. The last part of the thesis is devoted to an analysis of the constant and changing features in Becker’s representations of men and women as they appear through his films' different characters
Gérard, Delphine. "Les configurations triadiques de personnages dans l'oeuvre de Thomas Mann." Lyon 3, 1997. http://www.theses.fr/1997LYO31009.
Full textTriadic configurations of characters turn out to be a constitutive element of thomas mann's narrative work, a key enabling the reader to clarify the ways in which the narrative proceeds and to understand thomas mann's thought in its most subtle psychological motivating forces. Common denominator to various themes such as adultery, the art/middle class antagonism, homosexuality and incest, the triadic configurations of characters reveal the existence of fecund interrelationships between reality as experienced by thomas mann and its literary transcription. Privileged place where life and fiction, but also consciousness and unconsciousness, meet, "seismograph" of sometimes traumatic affective shocks, the triadic structure faithfully reflects the emotional complexity of a writer who, as he followed an ardent spiritual quest, endeavoured to compensate for the profound duality of his existence. The numerous, sparkling triadic configurations of characters prove to be the pre-eminent place where a desire for synthesis operates. It ends in a failure before resulting, in the joseph and his brothers tetralogy, in the hope for a fully realized humanity, a symbol of androgyny and of "coincidentia oppositorum". Yet, ternarity finally appears as the reflection of a fundamental ambivalence in thomas mann, the resolution of contradictions being actually a fading victory, bound to be conquered again and again and liable to be lost again and again
NOMURA, MASATO. "La parole des personnages dans madame bovary de gustave flaubert." Paris 4, 1993. http://www.theses.fr/1993PA040144.
Full textGustave flaubert's madame bovary, a novel that is very modern as well as classical, offers an interesting problem of the use of dialogue. By analysing flaubert's practice of using dialogue, i try to show how he presents and organises the speech of caracter and how he achieves comical effects in conversation. First, the dialogues in the novel are examined from the aspect of their forms : tirades, monologues, short speeches and isolated speechs in narration. The next point to be considered is flaubert's way of inserting the dialogue in scenes and giving a certain unity to the text by repetition. At last, the comical effects on the novel that depend on traditional schemes of comedy are studied
Vogel, Ruth. "Types de personnages marginaux dans l'oeuvre narrative de heinrich boll." Paris 4, 1987. http://www.theses.fr/1986PA040174.
Full textThis study covers the majority of heinrich boll's novels, as well as some of his short stories. Boll uses the outsider figures -generally portrayed in a positive light - to criticise the society of his time. These characters reject the post-war ideology based on materialistic ambitiousness and an attitude of ruthless self -interest, they are suspicious, if not hostile, towards all institutions, including the catholic church. They believe in love of one's fellow-beings and the brotherhood of mankind. They remain faithful to the memory of those killed by the nazi regime, whom the other characters try to forget. The differences between the outsiders and those around them can be summed up in the notion of humanity (menschlichkeit). These features remain true of all outsider figures in boll's fiction, but there are changes and developments in their characters at other levels. The indifference, the resignation an the melancholy of the early outsiders give way to fulfilment and happiness in the later ones; indeed the latter, far from being isolated, are liked and supported by those around them. Gradually deepening awareness leads thes characte4s to choose freely, and finally claim the right to, a non-conformist life-style on the outskirts of society