Dissertations / Theses on the topic 'Philosophie de la nature dans la littérature'
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Vincent, Manon. "Les animaux dans la littérature hellénistique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040225.
Full textOur study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective
Awad, Maria. "Les métaphores des trois règnes dans l'œuvre romanesque d'Émile Zola : transferts et métamorphoses, réifications et personnifications." Paris 4, 2001. http://www.theses.fr/2001PA040006.
Full textHan, Seung-Eok. "La modernité dans la poétique symboliste française et ses rapports avec la poétique orientale." Paris 8, 1994. http://www.theses.fr/1994PA080863.
Full textThe aim of this thesis is to follow the path of oriental poetry, and to compare this with the movement of the main ideas of french symbolism. It is particularly interesting to bring together the principles of french symbolism and the most subtle nuances of emotions, vital sensations and impressions of the soul in oriental poetry, the evocative value and signifying power of whose words we throw into light. To this end, we recall some symbolist ideas and we explain the reasons for our preference for symbolist literature and oriental poetry. We attempt to highlight the driving forces of peotic creation in its long itinerary and focus our attention on the revealing universe upon which artists tend to project a retrospective vision, conscience and sensibility in order to convey to us their perception of the reality of things and of life. Ours is a creative effort and initiative which discloses in the language of tao and of zen, a spiritual substance centred on nature. Nature, for the poet, symbolizes and reflects the tao
Lefort, Luc. "Le Génie du paysage : l'idéologie paysagère dans la littérature française des années 1800." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030009/document.
Full textThe first romanticism at the turn of the 19th century would be the successor to Rousseauism. However, we believe this translates into a radical break between the idea of nature as understood in the 18th century and the idea of landscape as expressed by the young writers in the 1800s. Until the Revolution, the idea of nature is still considered as the ideal setting for potential happiness, as evidenced, even on the ground, by landscape designers at the end of the former Regime. From the regular garden to the landscaped garden, landscape was only ever designed as a background. In the wake of the Revolution, landscape takes on a whole new meaning. It is no longer the divine setting where the intelligent man flourishes, but becomes the sublime figure of a new relationship that the man has with himself. Representations of the Enlightenment culture were based on transcendence and verticality; these give way to representations of romantic thought, built on immanence and horizontality.Thus elevated to the status of concept, the landscape gives rise to a new relationship with time and space, redefines the view point and the horizon and prioritises the relationship on the essence. We believe that this transformation of representations, which heralds the entry into the modern era, is the most profound effect of the upheaval caused by the Revolution. Our thesis claims that it is important to talk about the emergence of a landscape ideology for these 1800s if we are to understand what leads not only to the literature of Senancour, Germaine de Staël and Chateaubriand, but also the philosophy of Destutt de Tracy and Maine de Biran as well as the growth in the physical sciences, with Georges Cuvier, and the human sciences, with Jean-Baptiste Say, to quote our principal authors
Paoli, Michel. "Sens et fonctions de l'idée de nature dans la pensée de L. B. Alberti." Paris 4, 1994. http://www.theses.fr/1994PA040257.
Full textThe purpose of our study is to shows that L. B. Alberti's - humanist-architect - thought is constructed around an original and complex perception of nature. Alberti uses the nature in the fields of knowledge, morals and politics (De familia), or aesthetics (De re oedificatoria). . . , but not as a univocal idea - model of perfection and out-of-date concept whose attributes could be summarized in a few words. Nature is almost simultaneously reality - which should be accepted - , a programme to be realized, and an ideal to be respected. Therefore, the links between nature and man are just as complex, since nature is all together what is at the origin of human's reason, what the reason should accept and finally what it should naturally contribute to complete. On the whole, nature is not contemplated in a spontaneous nor in an ingenuous way. It is not only order and harmony. The albertian nature is at first a human notion, constituted to be useful to man. And, from this point of view, the first thing to do is to think the nature, to think of it as a complex thing that could lead man on both paths of acceptation and action. In Alberti's thought, the notion of nature is used to philosophically unify the points of view, while respecting the interactions between reality, fortune, reason and human's nature
Devergnas, Annie. "Le monde animal, végétal et minéral dans l'imaginaire des écrivains marocains de langue française." Rennes 2, 2002. http://www.theses.fr/2002REN20040.
Full text@In this study, my aim was to find out wether the Moroccan literature in French, in its whole, refers to a specific imaginary animal, vegetal and mineral world. My first part points out a prolific use of quotations, reflecting a polycultural heritage : Muslim tradition as well as the influence of French school, the anteislamic poetry and the ancient mythology. The quotations are also noticeable in a great number of clichés. The importance of orality is revealed through quotations of tales, folksongs, and a great number of proverbs and traditional insults throughout the corpus. In a second part I studied the descriptive methods of the writers, concerning landscapes, animals or plants. They sometimes develop in comparisons and in lists whose purpose is to catalogue the natural world. I then analysed the interpersonal relationship linking the writers to nature. Its attractive power is to be seen in friendship, sexuality, dreams, ecological awareness, as well as in stylistic choices. On the other hand, a repulsive power is to be found in the descriptions of a threatening natural world, while the characters become aggressive towards nature ; nightmares, visions of horror and death also belong to this negative aspect of relationships. Finally I studied the immanence of supernatural forces and the sacred in this literature, which appears through superstitions, sacrificial scenes, sacred trees, the myths of Mother Earth, as well as in exemples of identification between man and nature and anthropomorphism. It seems to me that the very Moroccan culture reveals itself through the imaginary animal, vegetal and mineral world of its writers. It is worth noticing that those who best illustrate this study are mainly the best known of them
Banes, Gardonne Marie-Stéphanie de. "La voix intimiste d'un poète de la terre." Bordeaux 3, 2002. http://www.theses.fr/2002BOR30054.
Full textJoseph Rouffanche was born in 1922, French teacher in 1961 and doctor in French literature in 1985, his poetry deals with the great elements of the literature and modern poetry in France : childhodd, the passion for the nature, the time and its own fate, the feeling of unfairness, feeling the life and the boarding school's experience like the most terrifying jail. Carrying on the Jean Follain's poetry in a certain way, Joseph Rouffanche finds his own answers to the strange and persistent questions which any man is confronted with one time, at least, in his life. With nostalgia and the most deep feeling of love for the disappeared childhood's world, Joseph Rouffanche sings the deep mystery of his world which focus on him writing and writing again
Lee, Myung-Eun. "L'insularité théâtrale au XVIIIe siècle." Paris 4, 2004. http://www.theses.fr/2004PA040002.
Full textThe objective of this thesis is summarized in the following question: is it possible to establish a general scheme of the 18th century's theatrical insularity? In other words, how does the figure of the island as the image of contemporary world formulate the drama writing? In which way does the island condition its evolution, mise-en-scène and public interpretation? If our attention is paid to the theatre pieces having the island as the action ground, it is as the way of insisting on the singularities of theatrical facts, for the island is as much theatrical a place as dramatic. But it is also as the way of insisting on the very specificities of the insular space, and on all the geographic imaginaries which comprehend the island in connotation. All the symbolic that emerge from the representations of the island grasp in itself the reflection of the epoch's self-image. Through all its connotations related to the configuration of insular topology, the insular scene distinguishes itself as more classic from the other places that we could meet in the theatre. The proper identity of each island and its originality with regard to all other places, including the other islands, can be never neutral in the development of the intrigue. On the contrary it has such influence on the development that the latter could be often totally dependant on the former. Considering the theatre to be fixed and limited in space (the scene) and in time (the duration of the representation), which constitutes its most characteristic mark, we find it obvious that the theatre is easily associated to insularity by these prosperities, and that theatricality and insularity have a common ground that makes their symbiosis, as it is said, natural
Constantinesco, Thomas. "Ralph Waldo Emerson : l'Amérique à l'essai - lectures de l'oeuvre en prose." Paris 7, 2009. http://www.theses.fr/2009PA070049.
Full textUpon his death in 1882, Ralph Waldo Emerson had already become a literary monument and was recognized as a founding figure of American culture. Published in 1837, "The American Scholar" is indeed hailed by many to be America's "intellectual Declaration of Independence. " However, if the "Belles Lettres" did contribute to creating the representation of a common imaginary whereby the American nation could invent itself and if, in the course of the nineteenth century, America wrote itself into existence, such an enterprise remained largely the province of fiction. Yet Emerson was always suspicious of fiction, which for him rhymed with illusion, choosing instead to write non-fictional prose, and more particularly essays. Contrary to some of his contemporaries who turned tales, romances, and novels into indigenous genres, free at last from the shackles of European Letters, Emerson turned towards the genre of the essay and made it one of America's privileged forms of literary expression. This thesis thus offers to read Emerson's essays as so many ways of approaching what "Experience" describes as "this new yet unapproachable America," considering them as the locus where the American democracy repeatedly writes and rewrites its social compact and continuously reinvents itself. By the same token however, and despite Emerson's aversion for fictional forms, the essays yield to the desire for fiction that haunts them in secret and become what he called "romances of character," fashioning the character of America's representative men even as the letters, the characters, take shape on the page
Bernasconi, Carine. "Poétique de la vie dans des oeuvres romanesques des littératures provençale et italienne : La trilogie de Pan de Jean Giono, La trilogie d'Hyacinthe d'Henri Bosco, La coupe de bois, Le chasseur et Anna de Volterra de Carlo Cassola, Le Christ s'est arrêté à Eboli de Carlo Levi et L'île d'Arturo d'Elsa Morante." Nice, 1999. http://www.theses.fr/1999NICE2021.
Full textRoldan, Sébastien. "Poétique du suicide dans le roman naturaliste : natures et philosophies de la mort volontaire (1857-1898)." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100096.
Full textHow did the French Naturalist novelists portray suicide? How did they deal with the romantic overtones of self-murder, a theme so strongly linked to the sentimental outbursts voiced by the previous generation of writers? Far from being banned for excessive romanticism suicide, albeit the object of openly expressed disdain by Naturalists, spreads its fiery black wings over much of the theoretically barren land that is the body of realistic novels complying – overtly or unwittingly – with the principles of Le Roman expérimental. The flaming, menacing, and enigmatic shadow thus cast over an intently objective and scientific literature is surprisingly apt at developing both polemic and polysemous fruits, and as it turns out sheds new light under the frightened but eager scrutiny of these novelists who found themselves fascinated by its great mystery, both sublime and deadly. If the state of knowledge at the time made suicide a problem essentially pertaining to medical and natural science, Naturalist literature itself was intent on synchronizing its depictions with the data, approach, and lexicon presented in scientific treatises. Yet suicide in these novelists’ fictions is loaded with a distinct philosophical sense which demands to be studied closely. Twelve Naturalist novels centered around self-murder, covering a forty-year period (1857-1898), stemming from Flaubert, Goncourt, Zola, Daudet, Maupassant, and Rod, serve as main ground for our investigation of eight chief interrogations, following two main orientations: we first review the diverse natures of suicide, then its many philosophies. Throughout are contemplated the literary and speculative reach of voluntary death
Rémy, Catherine. "Critique sociale et éducation dans l'oeuvre de Rousseau." Paris 1, 2000. http://www.theses.fr/2000PA010633.
Full textIto, Tadashi. "Le temps dans les essais d'Albert Camus." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030063.
Full textTo this day, there have been written numerous and remarkable studies which analyze the literary, philosophical, journalistic, and epistolary texts of Albert Camus from diverse perspectives : stylistic, narratological, linguistic, psychoanalytical, symbolic, thematic, biographical, intertextual, sociological, political, esthetic, ethical, philosophical, among others. Rare are studies which examine the idea and the image of time as conceived by this 20th century French writer, as evidenced in his philosophical-literary essays. Camus considers the conception of time by associating it with the circular movement of the Mediterranean world, beautiful and eternal, and that of the cosmos (Betwixt and Between, Nuptials), with the functioning of the human conscience which hopes, remembers, rebels (The Myth of Sisyphus), or with the course of both human and European history (The Rebel). By studying the complete works of Camus, especially, the following four essays—Betwixt and Between, Nuptipals, The Myth of Sysiphus, and The Rebel— our thesis aims to study three temporal notions which have not received sufficient critical attention: eternity, triple temporality (past, present, and future), and historical time
Haddad-Khalil, Sophia. "La rêverie élémentaire dans l'oeuvre de J. M. G Le Clézio : (Le Procès-verbal, La Fièvre, Désert, Onitsha, Pawana)." Clermont-Ferrand 2, 1999. http://www.theses.fr/1999CLF20005.
Full textThe aim of this thesis is first to determine the elementary's route, then to define its boudaries and finally to specify its function in j. M. G. Le clezio's works. Our study which is devoted to the following novels : le proces-verbal, la fievre, desert, onitsha and pawana, is basically inspired by the methods of gaston bachelard and mircea eliade. The quest of oneself and that which has been lived sets out our development. The first approach brings the human's uncertain has been lived to the fore as well as the social violence, which all motivate the quest of a new way of being. That quest opens the conquest of the imaginary and of a free and total word. Through the cosmic reverie, the matter's dynamic movement is analysed (earth, water, fire, air). The need of knowledge and deliverance becomes another reality's reflection, of a "there" that escapes from the awareness of wakefulness because it celebrates the elementary as a second awareness, previous to the human awareness, perhaps to any awareness. The element presents in this way the fantasizing, that is the has been lived of a fullness ; it specifies its poetical function and complicates the literary imaginary, that is no more to tell the text as a being, but as a desire to found the being. The accomplishment becomes a univer form of a material language. All that is outline in the last part, that bounds itself to the "new world", to the golden age time, that of eternal return and eternal present
Djamali, Nahid. "Gobineau iranien : le tropisme oriental dans la vie et dans l'oeuvre de Gobineau." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC035.
Full textAttentively deliberating 'Mémoire sur diverses manifestations de la vie individuelle', the unfairly least known work of Gobineau, we discover the influence and inspiration he receives from Shi ite mysticism, and more precisely from the oriental philosophy of Mollâ Sadrâ, which is the key code to comprehend this work. It not only returns 'Essay on the Inequality of the Human Races' to its proper place among the author's works, but also does him the justice he deserves. It also reveals his profound integrity, the indivisible feature of Gobineau's life and its eminently fictional dimension
Von, Kymmel Corinne. "Jean Giono ou l'expérience du désordre." Thesis, Artois, 2010. http://www.theses.fr/2010ARTO0003/document.
Full textThis thesis deals with the various forms of disorder that can be found in Jean Giono’s literary work. The chosen approach for this analysis is multifaceted, mainly literary but also anthropological, ethnological and sociological. The study first examines the thematic importance of nature. It reveals, despite climatic and seasonal disorders, the orderliness of the natural world Giono usually describes. The study then focuses on human beings in Giono’s work: philosophically bored by the monotony of a day-to-day order, they investigate various forms of diversions, and in doing so eventually experiment a dangerous violent action disorder, which leads them to physical or mental death. The study finally proves that artistic disorder seems to be the only one that can save mankind from everlasting metaphysical boredom: Giono’s work insists on the value of literary disorder. Writing enables him to test absolute disorder, considered to be the only way to benefit from a systematic vertiginous lack of balance
Girval, Edith. "L'art de la fiction chez Aphra Behn (1640-1689) : une esthétique de la curiosité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030047.
Full textRecent research on Aphra Behn has shown the link between the scientific prose of the period and Behn’s narrative fiction, while other scholars have underscored the importance of bodily and moral deformity in her works. Drawing on these apparently heterogeneous studies, this project aims at providing a global aesthetic framework for Behn’s fiction. The epistemological context of the late seventeenth century offers a stimulating insight in Behn’s fiction, especially through the notion of “curiosity”. This notion is at the centre of both the scientific and literary concerns of the period; the growing interest in natural philosophy progressively rehabilitates curiosity – which had been an object of scorn in the Augustinian tradition – first by valuing curiosity as the ideal attitude of the “scientist”, and by having curiosities as its major object of study – the rare, new, and unusual objects of the Wunderkammern replacing the “universal” objects of study of the Medieval and Renaissance science. At exactly the same time, in the literary field, the notion of curiosity undergoes a redefinition, in a somewhat similar fashion to that which occurs in the scientific field, shifting from the “generalities” of idealized romance to a new conception of curiosity in the emerging genre of the novel. Behn advocates for a radical mimesis of truth and extraordinary curiosities. At the time when Aphra Behn writes her fictional texts, curiosity is therefore a polysemic notion, whose unity can nonetheless be found in a set of specificities: curiosity is concerned, both in science and in literature, with the emotions/reactions of the “curious” scientist or reader; it is what leads us to experiment, and it comes from a desire for knowledge. But curiosity is also a transgressive desire: the distinction between two types of curiosity, a “good” and a “bad” curiosity, is central in Behn’s discourse. The parallel between Behn’s fascination with curiosities and the scientific episteme of her time is obvious in the numerous descriptions of exotica in Oroonoko, as the narrator explicitly compares the objects she shows to those which form part of the Royal Society repository, but the rest of Behn’s fiction is also concerned with this preoccupation with curiosity: in several of her other works, moral irregularities are conjoined with ‘natural’/physical irregularities which belong to the realm of curiosities. The various transgressions depicted in Behn’s fiction can therefore be seen as “curiosities”; Behn’s work can be read as a sort of Wunderkammern, as she herself seems to suggest when she wishes her novels were “esteem’d as Medals in the Cabinets of Men of Wit” – novelists collect and experiment on human nature just as natural philosophers do with nature (and art) in the cabinets of curiosities. But in her fiction Behn actually goes beyond the conventional notion of the cabinet of curiosities, by insisting on moral and physical monstrosity. In underlining the importance of the realm of curiosity in Behn’s fiction, this study aims at showing the specificity of her aesthetics and the originality of her conception of the novel; as she states in the preface to Oroonoko, writers, like painters, are supposed to “erase” defects: by deliberately choosing not to idealize nature, men, or society, and by choosing to systematically depict deformity and exceptions instead (rather than exemplary individuals), Aphra Behn invents her own conception of the novel, a sensationalist aesthetic of the “strange and novel”
Al-Bazaz, Fares. "La tolérance religieuse chez les hommes de lettres au XVIIIe siècle : différence, interférence, archaïsme." Thesis, Tours, 2011. http://www.theses.fr/2011TOUR2007/document.
Full textDuring the 18th Century, following Spinoza, Bayle and Locke’s writing, the question of a religious tolerance is in the centre of the debates. Voltaire, Montesquieu, Rousseau and Diderot, according to their visions of the problem, developed a theory around a notion which would give birth later to the freedom of conscience principle. Fictions, and especially the novels, allowed these authors to increase the spreading of a tolerance notion. Even if anti-Fanaticism has been an object of consensus between enlightenment Philosophers, it is necessary to admit that their conception of tolerance implied many differences of opinion. In his "Dictionnaire Philosophique", Voltaire appeared as the most dauntless champion; but what about the "Traité sur la tolerance"? Was Diderot’s indifference to all religion favorable to the proclamation of a tolerance? In their confrontations, especially against Voltaire and Rousseau, Enlightenment writers did not all the time observe the same demand. It is important to define, according to our corpus, these takings of position.Nevertheless, it should not be appropriate to cast on pervious periods modern ideals. This would lead to the danger of anachronism. Enlightenment writer were indeed, confronted to historical situations as well as cultural and ideological backgrounds completely different from ours
Aqelsaravani, Zahra. "L'homme, l'humain et l'humanisme dans les oeuvres d'Albert Camus." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30032.
Full textAlbert Camus himself distinguished three phases in his work: that of the absurd (awareness of non-meaning of life led Camus to the idea that man is ‘’ free to live without appeal’’, take a risk to pay the consciences of his errors and must exhaust the joys of this earth. Life accepts the non-sense of the world and finds happiness in even the absurd. Camus says that the absurd is not in man nor in the world, but in their common presences, in their ‘’ confrontation’’ and defines it as ‘’ indifference to the future and the passion to exhaust all that is given’’), that of the revolt: (revolt is considered by him as the only tenable position to face the absurd. It appears with the freedom and passion, as a valid solution and capable of ensuring justice. It alone can assure emotional action capable of overcoming unproductiveness and anxiety created by the absurd), that of the love (Camus meant here the love of man as he is, with its forces and intelligence as well as its limitations and weaknesses. Camus expresses his affection and solidarity towards man. This is not only a classical humanism which expresses itself, not just a moral position, but the position of a sensitive man. Camus still tries to approach these ‘’ few things’’ this ‘’obscure part’’ which is in every man, and himself in particular. This study examines the remarkable prose of Camus that concerns the issue of man, who progresses and changes over the years; attachment to the service of justice, relating to man whose idea is not separable from that of happiness; adherence to human and humanist ethics which are pushing the human mind to perfection. His art is not ‘’ a solitary joy’’. Camus formulates his expectation from man because art is the way of expression of communion between people
Lacoste, Frédéric. "L'oiseau dans la poésie de Saint-John Perse, Kenneth White et Philippe Jaccottet : une pensée analogique au service du mystère." Bordeaux 3, 2006. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2006BOR30021.
Full textThe question of the bird in contemporary poetry seems to be obvious. It's really impossible to open a collection of poems without seeing lots of explicit references to the bird : his fly, his singing, and his discreet but permanent presence. How to explain this recurrence in contemporary production ? And what's the foundation of the bird's particularity in the animal kingdom ? After justifying the connection of the three poets of our corpus, we based our work on analogical and transdiciplinary viewpoints. Reviving the medieval mysticism, poetry looks for the limits of human nature in the world-macrocosm. The bird, that seems the last limit for the human psychism, allows us to redefine animality in accordance with a principle of "consanguinity" (Saint-John Perse). Against the modern proclivity to dispersion and catalogue, this analogical thought circulating in the poems of our authors, wants to reconstruct the weft, to "sew up the universe". The metaphysical dimension, that is not often clearly claimed by our poets, is always underlying. Beyond a description of the real world, that is leaning on the precision of the science, another dimension, verging on rilkean "Ouvert", impregnates their works. The bird, through the patterns of the flight and the singing, draws the lines of poetics linked by aesthetic modernity
Le, Corguillé Fabrice. "Identité et hybridité dans les autobiographies amérindiennes des XVIIIe et XIXe siècles." Thesis, Brest, 2016. http://www.theses.fr/2016BRES0072/document.
Full textAs early as the 18th century, some Native American Indians began to give accounts of their lives in autobiographical texts using, often subversively, the semiotic codes of the white, dominant, Anglo-American society: English, alphabetical writing, texts made to be read. As hybrid compositions which combine discursive, rhetorical, and narrative practices from both the Native and Anglo-American worlds, these autobiographies also reveal how and why their authors address the ambivalent issue of socio-cultural and identity hybridity in the tense context of colonization.In a three-part rationale (to present oneself, to narrate oneself, to recompose oneself), this dissertation intends to investigate how, in these texts, the form is responsive to the content in order to create a narrative “performance,” a sort of “aesthet(h)ics” of creolization, from which spawns a valorizing stylistic and conjunctive identity. The autobiographies of five authors furnish the basis of our analysis: Mohegan Samson Occom's untitled manuscripts of1765 and 1768, Pequot William Apess's three different versions (1829 A Son of the Forest, revised in 1831, and “TheExperience of the Missionary,” 1833), Paiute Sarah Winnemucca Hopkins's Life Among the Piutes (1883), OttawaAndrew Blackbird's History of the Ottawa and Chippewa Indians of Michigan (1887), Omaha Francis La Flesche's TheMiddle Five: Indian Boys at School (1900)
Thierion, Chantal. "L'Oeuvre lyrique d'Albert Camus." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376188837.
Full textArtous-Bouvet, Guillaume. "Statut de la littérature dans le discours philosophique français après 1950." Paris 8, 2007. http://octaviana.fr/document/133291286#?c=0&m=0&s=0&cv=0.
Full textThis academic thesis concerns French philosophical discourses of the second half of the twentieth century. Among the essential features of these discourses is the constant concern with literature. Such a concern had two main consequences: in the first place, redefining the philosophical concept of literature; in the second place, affecting in return the style of these philosophical discourses. Such a redefinition of the mere concept of literature is drastic: literature is no more to be thought as expression or representation. It is, above all, language: the autonomous power of a play upon meanings, strictly remote from all others discourses. This redefinition put literature at a certain limit of knowledge: literature appears from now on as an outside object, according to the traditional criteria of philosophical knowledge. Dealing with this specific object, the philosophical discourses begin to wonder about their intercourse with the very act of writing. It is the birth of a French philosophical style, coined by authors of notable formal invention abilities - namely Jacques Derrida or Jean-François Lyotard. Philosophy is no more the simple commentary of literature; it has turned into inscription, imitation, and creation. Thereby, philosophy becomes a literary philosophy. With literature, knowledge is transcended - but literature still carries a truth, although it is not the philosophical truth. It is the truth which philosophy can not deliver: the truth about life
Trizio, Emiliano. "Nature, perception, idéalisation dans la philosophie de Edmund Husserl." Paris 10, 2005. http://www.theses.fr/2005PA100104.
Full textThis work focuses on Husserl's analysis of the relation that holds between the world of perception and its physical and mathematical description. We discuss the role of this issue within the framework of Husserl's idealism, and we offer an analysis of the contrast between phenomenological idealism and scientific realism. It is argued that Husserl's analysis contributes to the understanding of the sense and possibility if phenomenological idealism. We investigate the foundations of geometrical and physical idealisations in the life-world. More specifically, we analyse the role that measurement procedures play in the origin of physics, and the consequences of the use of measuring instruments on the status of physical idealisations. With this treatment we aimed at establishing a relationship between phenomenology and the issues treated in contemporary philosophy of science. Our work, then, should be thought of as standing midway between these two philosophical programmes
Trizio, Emiliano <1971>. "Nature, perception, idealisation dans la philosophie de Edmund Husserl." Doctoral thesis, Università Ca' Foscari Venezia, 2005. http://hdl.handle.net/10579/312.
Full textGravel, Nancy [Verfasser]. "Nature de la réalité dans philosophie de relation / Nancy Gravel." München : GRIN Verlag, 2018. http://d-nb.info/1167248090/34.
Full textBimbenet, Étienne. "Nature et humanité dans l'oeuvre de Merleau-Ponty." Clermont-Ferrand 2, 2001. http://www.theses.fr/2001CLF20007.
Full textBoudreault, Pierre-Luc. "Le hasard et la finalité dans la nature." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29057/29057.pdf.
Full textDieng, Doudou. "Droit de la nature et des gens dans la philosophie du droit." Rouen, 2014. http://www.theses.fr/2014ROUEL002.
Full textFrom the Latin jus naturale, natural right is the set of standards that take into account human nature and ultimate purpose. Natural right has been studied by authors like Hugo Grotius and Samuel Pufendorf, before taken up and developed by the social contract theorists, such as Thomas Hobbes, John Lock, and Jean-Jacques Rousseau. From a strict legal perspective, natural right is referred to as a rule consonant with human nature, and as such, considered as the ideal right, Hence, both within a State and with other kinds, natural right has often to deal with positive right (conventional). The latter breaks it or extends it. The attempt of this thesis to show that human rights has not been established with societies that are considered as modern, but conceptually, were created at the same time as humans. Its foundations are the very substance of our humanity. Therefore, all power was it a democratic one or not, may be limited by any other external power
Berlet, Jean-Luc. "La place du désir de pouvoir dans la nature humaine." Paris 4, 1997. http://www.theses.fr/1997PA040136.
Full textChun, Jong-ho. "La nature et la grâce dans les oeuvres de Prévost." Paris 4, 1997. http://www.theses.fr/1997PA040050.
Full textOur study consists in analyzing moral thoughts of abbe Prevost, concerning education by examining particularly themes of the nature and the grace in his two novels, the Memoires et aventures d'un homme de qualite and Cleveland. The novels of Prevost are didactic and theological. His concept of the human nature is closely linked to the augustinism and his heroes are bearers of moral and religious values who represent the human condition. In the beginning of his novels, Prevost presents a 'pupil of the nature' who is a man before the state of fall. His novel starts at the moment of the entry of this hero in the social life, which corresponds to the transition from the state of eden to the state of fall. He mainly describes the condition of the man fallen in this state. These heroes are marked by the obsession of an original sin, by the fallen nature and by the concupiscence. What is very important, it is the presence of the grace. We can find in these novels many miraculous elements to convert the heroes, and the divine grace appears often under the mask of the mentors. To save the fallen soul in the state of fall and to protect the natural innocence against the force of the original sin, Prevost insists on the instruction given by the mentors. Therefore, we can find in his novels, the call of the nature marked by the original sin and the call of the grace
Puccini-Delbey, Géraldine. "Amour et désir dans les Métamorphoses d'Apulée : réalités, poétique, philosophie." Paris 4, 1995. http://www.theses.fr/1995PA040231.
Full textLove, as the subject of the most of the inserted tales, may be a key to understand the global sense of the roman. Apuleius provides a moral reflexion on the human love, essentially based on insatiable desire and condemned to failure and seems at the same time to propose a solution that conciliates platonism with isiac syncretism
Diop, Alioune. "L'imaginaire animalier dans la littérature arabe." Paris 4, 1999. http://www.theses.fr/1999PA040180.
Full textAbdeljaouad, Firyel. "Les figures de l'autre dans l'oeuvre de romain gary et emile ajar ou comment le vif saisit le mort." Paris 3, 2000. http://www.theses.fr/2000PA030034.
Full textPépin, Éric. "La nature de l'intentionnalité dans la philosophie de John R. Searle." Thèse, Université du Québec à Trois-Rivières, 2009. http://depot-e.uqtr.ca/1574/1/030125217.pdf.
Full textVeiga, França Maria Célia. "Le concept de nature dans les Essais de Montaigne." Caen, 2008. http://www.theses.fr/2008CAEN1524.
Full textBourgne, Florence. "Écriture et philosophie dans le "Troilus" de Chaucer." Paris 4, 1996. http://www.theses.fr/1996PA040227.
Full textChaucer's Troilus seethes with allusions to Boethius' Consolatio, translated simultaneously. Contemporaries praised Chaucer's qualities as a translator, and called him a philosopher. This must be set against the backdrop of medieval philosophy, its width and its oral teaching, which promotes figures of authorities whose works are commented upon. The glosses in the Troilus manuscripts are summary notes, dialogical marks or genealogical and mythological notations, inkeeping with school commentaries. Boece's influence on Troilus is mostly structural, yet the interpolating of boethian elements entails a new re-writing mode, to be examined in the light of the nominalist realist debates (Chaucer was friends with a former oxonian logician). This intrusion of philosophy in the realm of writing submits literature to orality, although literature is seeking its independence. The translating technique used by Chaucer in Troilus and his coining policy make him part and parcel of the Tanslatio Studii movement, which upholds vernaculary languages. Chaucer is eager to establish a canon of his works, as were Dante or Machaut. Yet, Troilus' narrator poses as a monk, and references to books are unable to counter orality's supremacy over literacy
Masseran, Anne. "Sciences, femmes, littérature : étude de la dissociation de la science et de la littérature dans les écrits de Diderot, Rousseau et Goethe." Université Louis Pasteur (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR13167.
Full textThis study aims at a refined understanding of the process of dissociation of science and literature in the second half of the eighteenth century. This period seems revealing with regard to the establishment of new principles ordering the available knowledge. These changes finally led to our modern conception of links or disruptions between science and literature. However, it is also the moment for another major change closely interconnected with the first one the woman copy of the man or radically different, human being conceived as similar to the man while being simultaneously represented as the complete opposite was attracting the researcher's attention. Yet, with the act of scientific construction (fiction) the multifaceted aspects of women's lives (which had before been integral part of their representation) gradually vanished from the scientific sphere. The historic, heroic and symbolic aspects of her life will be more and more confined to the literature. Thus, the line separating science from literature finds it manifestation precisely in the different discourses dealing with the boundary-object "woman". In order to shed light on the dissociation process of science and literature with regard to the representation of women we chose to use the work of three authors: diderot, rousseau and goethe. Departing from their writings we also investigated closely the ideas put forward by scientists working at that period on similar issues such as buffon, maupertuis, bordeu, bergmann and others. The scientific, philosophical and ideological background for our study was constituted by l'encyclopedie edited by diderot et d'alembert (1751/1765) and l'encyclopedie methodique (1782/1832)
Muckensturm-Poulle, Claire. "Les gymnosophistes dans la littérature grecque de l'époque impériale." Paris 10, 1998. http://www.theses.fr/1998PA100156.
Full textYamazaki, Atsushi. "Bouvard et Pécuchet, le roman philosophique : classification, magnétisme, philosophie." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080050.
Full textThe purpose of this study is to investigate the unfinished work of Gustave Flaubert, Bouvard and Pécuchet, focusing on its own triple dimensions : encyclopedic, critical and comic, in order to reveal the philosophical meaning of this novel.The first part of this paper highlights the method how Bouvard and Pécuchet approach knowledge, and analyzes two models of their learning : the usage of signs and the classification. How to classify plants, animals, men ? This is the question to annoy them all the time during their encyclopedic journey. The question remains even in the Copy.The second part of the paper is devoted to the analysis of the episode of animal magnetism in chapter VIII of the novel. The general structure of the episode is based on the immense corpus of magnetism (Mesmer, Puységur). The theories and practices of the two magnetizers are full of epistemological implications, as long as each of their theories and practices refers to a certain moment of the history of magnetism. In order to clarify those implications, the “Mysticism-Magnetism” file must be explored. In other words, the purpose of the second part is to make this novel restore an epistemological scheme.The third part of the paper firstly discusses the epistemological scenario that closely links two episodes of chapter VIII, and secondly explores the “Philosophy” file. To the philosophical library in this novel, various philosophers such as Descartes, Cousin, Hegel, Spinoza and Montaigne are summoned. How did the novelist generate a narrative fiction from metaphysical questions such as final causes, free will and criterion of truth ? This is the main question studied in the third part
Rouan, Michel. "Le langage et son dehors dans la littérature contemporaine." Toulouse 2, 1992. http://www.theses.fr/1992TOU20066.
Full textFirst part. Starting from the werks of jean paulhan, we study the impossiblility to isolate the two terms of the linguistic sign, the singifier and the signified, we reject the idea that there could be a stratun or a rhetoric avant in language, and theorefore a stratum of the proper. Language is not divisible in identities. Second part. In the works of blanchot, we dispute the possibility that language could be outside or separated from the world. This time we refuse the idea that the reference is sufficient to account for the connection between language and the world, and therefore the possibility that thore could be, through this language which is supposed without any refrence, a language that would out of totality, third part. It is not necessary to suppose, as derrida does, that language is a pure form, inaudible and invisible, and so as to show its aporia we study the double position of nothingness, which is at the core of the logic of hegel. La conclusion, if language is paradoxically inaudible and invisible, it is so for reasons different form those given by derrida: it is exactly like any event, neither more, nor different
Lee, Joong-Min. "La nature dans l'œuvre romanesque de François Mauriac." Toulouse 2, 1998. http://www.theses.fr/1998TOU20080.
Full textThis documentary research is aiming to reveal the importance and the place that François Mauriac has reserved, through each of his novels, for the nature in the department from the Landes and around Bordeaux. We were stressing first the descriptive study of this natural environment in which the writer has placed his characters, bringing back, for the readers, childhood landscape with its forests of trees, its green or burnt meadows, its gardens in broom, its strews gushing down from the Pyrenees, its brooks murmuring in the plain and its river " Garonne " that is mingling her waters in the sea - waters. François Mauriac is completing his descriptions with the turning of the seasons that gives rhythm to the work in the fields and the growing of the vineyards. The situations that the writer has created, the feelings and the moods attributed to his heroes are at the beginning of contrasting reactions and positions on the surrounding nature. Everybody's attitudes are the matter of the second part of this study. At last, it was essential to shed light on Mauriac's love for his native southwest, on the importance of his prose and on the luxuriance of his style. The outline of this thesis in three parts, made easy the exposition of the ideas of which the bulk of them appears in this short summary
Durantaye, Félix de la. "Le concept d'organisme dans la première philosophie de la nature de Schelling /." Trois-Rivières : Université du Québec à Trois-Rivières, 2005. http://www.uqtr.ca/biblio/notice/tablemat/24596728TM.pdf.
Full textPeterschmitt, Luc. "Sciences de la nature et philosophie dans la pensée de George Berkeley." Lille 3, 2005. http://www.univ-lille3.fr/theses/PETERSCHIMITT_LUC/html/these.html.
Full textDurantaye, Félix de la. "Le concept d'organisme dans la première philosophie de la nature de Schelling." Thèse, Université du Québec à Trois-Rivières, 2005. http://depot-e.uqtr.ca/1627/1/000130440.pdf.
Full textMarmus, Roger. "". . . Seule la nature est belle. . . " : Réflexions sur la nature et descriptions artialisantes des paysages dans l'oeuvre d'August Strindberg." Paris 4, 2003. http://www.theses.fr/2003PA040150.
Full textThe purpose of this dissertation is to locate and understand the discourse of nature in the Swedish author August Strindberg's writing, and to expose the rules of composition governing his depiction of landscapes. The study is carried out with the help of analysing tools such as the concept of the "artialisation" of the landscape adhered to by the art philosopher Alain Roger, together with the theories of description put forward in the works of J-M. Adam, and A. Petitjean, and of P. Hamon. The first part aims to focus on Strindberg's view of nature through three main discursive fields: politics, science, and aesthetics. In the second part, samples of representatives texts (plays not included) are discussed, in order to reveal, what a A. Cauquelin terms the "rhetoric" of landscape, using a classification based on the magnitude of the scenery (such as the sublime in mountains, or conversely, the privacy of the garden), movement (the travels in France, Italy and Sweden), and place (Stockholm's archipelago)
Daney, de Marcillac Marie. "Le nom Ulysse dans les textes philosophiques occidentaux depuis la Seconde Guerre mondiale." Paris 8, 2011. http://www.theses.fr/2011PA083391.
Full textThis dissertation is a cartography of the name Ulysses in various philosophical texts of Western post-1945 tradition, built around a common reference to Ulysses. It offers an alternative reading of philosophical texts, which is not set on a philosophical hermeneutics, but focuses rather upon a hermeneutics that tries to determine the textual variants of Ulysses and their interpretations. This hermeneutics highlights the existence of a unique moment in the memory of Ulysses as corpus, which is demonstrated as a new version of the myth of Ulysses. The present interest in the figure of Ulysses proceeds from its capacity to trouble the border between various disciplines, especially that which divides philosophical and literary traditions. A study of the areas of textual interbreeding between philosophical texts and literary intertexts of Ulysses, the Odyssey and the literary tradition of its rewritings, the revelation of the character of Ulysses' intelligence in the philosophical texts as well as its figural dimension, demonstrate that Ulysses is in fact the alibi of philosophy. As non-disciplinary figure, his role serves to establish an opening towards that which lies beyond the philosophical texts in which he appears
Angoulvent, Anne-Laure. "Nature et Etat dans le Leviathan de Thomas Hobbes." Paris 2, 1990. http://www.theses.fr/1990PA020150.
Full textThe objet of this thesis is to place the leviathan in the context of a philo sophical, psychological and esthetic theory of baroque, using political and juri dical principals. The passage from the state of nature to the civil state translates the recognition of a necessary social into representation. But the achievement of eternal salvation through the observance of civil legislation makes the christian republic a sorry compromose betwwen a founding naturalist illusion and a redeeming civil iollusion. From this point, the leviathan appears to be an utopia, expression of a mythical time which would be the reflection of a christian time in search of it self.
Passavanti, Sandro. "Délire et pathologie de la perception dans l’Antiquité classique : Littérature, philosophie, médecine." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP067.
Full text«The Greeks and Romans did not analyze the trouble of mind deeply enough to give a common denomination to a kind of its symptoms, as relevant as they may be. They surely observed and knew hallucinations, of which we are talking about. But they did not recollect them under a general definition». This was the opinion of the French physician L.-F. Lélut (L’amulette de Pascal, 1846), a statement which clearly reflects the opinion of scientists of his time about ancient analysis of psychopathological sensory alterations. Exception made for a positivistic interest, aiming at recognizing psychiatric categories in some pathological phenomena depicted in classical literature, no general study has ever been devoted to the relationship between cognitive alterations and pathological disorders of perception. This research intends to address such shortcoming through a long-term investigation of classical texts, by taking into account this cluster of pathological experiences, from Pre-Socratic physiology to the medical treatises of Late Antiquity. This work is structured in three sections: first, a methodological introduction and an analysis of the current state of art leads to an inquiry on Hippocratic texts about cognitive and sensory alterations (5th- 4th centuries BC). A comparison between medical literature and theatrical episodes of visionary madness reveals the chronological and speculative priority of Euripidean representations of morbid visions as deceptive phenomena, in opposition to the archaic image of the visionary as ‘master of truth’. The second part of the thesis focuses on the history of philosophical thought about troubles of perception, from Alcmæon to Epictetus, through the twofold lens of physiology of perception and epistemology. By refusing the Pre-Socratic materialistic model, Plato and Aristotle openly formulated the problem of distorted perceptions of madness in terms of truth and falsehood and physiological explicability, in order to push back sophistic and relativistic arguments. The development of Hellenistic Stoic/Academic debates originated from an analogous opposition between dogmatic conceptions – resting upon a ‘pre-established harmony’ between men and their objects of knowledge – and, on the other side, skeptical objections about the supposed indiscernibility of sane and mad perceptions. The core of this debate, which lasted until the end of the Platonic Academy in the 1st century BC, was perpetuated by the Middle Stoicism and then received by the subsequent medical tradition: in the third section, particular attention is devoted to the treatises written by Celsus, Aretæaus of Cappadocia, Asclepiades, Galen, Cælius Aurelianus, in which the Hellenistic philosophical heritage grafted on to the earlier clinical and pharmacological traditions. This turning point represents the very foundation of every medical consideration about sensory disorders until the end of Classical Antiquity
Teodoro, Noe͏̈l. "Le réalisme dans les littératures d'Indonésie et des Philippines : comparaison entre Pramoedya Ananta Toer et Amado Hernandez." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0320.
Full textThe social histories of the literary traditions of the malay world, studied and analyzed from the comparative point of view, has yet to be undertaken. The present doctoral dissertation takes up a limited but an extremely important aspect of this area of research: the realist tradition in indonesian and philippine literatures with particular emphasis on the literary works of two contemporary and committed writers of the region: pramoedya ananta toer (1925 - ) of indonesian nationality and amado hernandez (1903-1970) of filipino nationality, with the end in view of bringing out the numerous intersting parallels or comparisons between the historical settings, the social contexts they describe and analyze. The goal or the raison d'etre of this comparative study is to present a number of significant "documentary sources" relating to the intellectual and social histories of island southeast asia