Dissertations / Theses on the topic 'Roman sexuality'
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Morelli, Angela R. "Representation of gender and sexuality in Roman art, with particular reference to that of Roman Britain." Thesis, University of South Wales, 2005. https://pure.southwales.ac.uk/en/studentthesis/representation-of-gender-and-sexuality-in-roman-art-with-particular-reference-to-that-of-roman-britain(fb4e7985-7ef0-4c8c-b8ce-5da20d010d2c).html.
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The subject matter for this research is the representation of femininities and masculinities in Roman art with particular reference to that of Roman Britain. The study focuses on the visual presentation of gender for specific deities, personifications and figural images in funerary art; this includes concepts of sexuality that in some cases become entwined with the study of gender. I have endeavoured to demonstrate how socially constructed values add to the understandings of gender and Roman art. The first chapter concentrates on Roman concepts relating to masculinities and femininities, detailing how these are portrayed in visual culture. This entails the identification of gender markers in various forms including clothing (for example the toga and stola), jewellery (such as the bulla) and distinct objects (for instance, military paraphernalia, weaving combs and spinning equipment). Following this broad introduction to gender in Roman art, the study then centres on specific deities, commencing with Venus and Mars, then Diana and Apollo, and Minerva and Hercules - each one has a particular gender ascription. I examine these in terms of visual representation and how their specific femininities and masculinities were presented. Personifications and figural funerary art, respectively, are the following and final chapters of the research. The former deals with the use of personifications in Roman art and the latter with patronage and presentation of figural tombstones and inscriptions. Both chapters observe these issues with preference towards the demonstration of gender allocation and any undertones implicated.
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Walton, Sarah. "Rufus the Cineadus, &, The 'pivot of authenticity' : representing ancient Roman sexuality in fiction." Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:14022.
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The thesis includes a novel, Rufius the Cinaedus, and an exegesis, The ‘Pivot of Authenticity’: Representing Ancient Roman Sexuality in Fiction, which explores how I creatively engaged with the historical sources to write Rufius the Cinaedus, and the different approaches taken by novelists when writing ancient Rome. Rufius the Cinaedus is a love story between Aeson, a street kid and his mentor, Rufius set in fourth century Alexandria, a period of religious revolution. Plucked from the red-light district, Aeson is groomed for the academy – and as Rufius’ lover. The novel aims to demonstrate the ancient Roman sexual paradigm and explores gender identity, childhood, comradeship and the heroism of ordinary people in a time of turmoil. The exegesis explores the tension that exists between authentically representing the sexuality of ancient Roman characters, and making them engaging for a modern audience. This raises the question: to what extent is historical authenticity desirable? Modern novels of ancient Rome are displaced in terms of time, language and authorship – which necessitates a degree of anachronism. Novelists must decide where to position the ‘pivot of authenticity’: the relationship between the author’s aim with respect to historical authenticity and the reception of the reader. To bridge the gap in time, novelists shift the ‘pivot’, often overlaying modern morals and sexual norms on to the ancient Romans. Authors have been interviewed about their approach to writing historical fiction to validate their process. The original contribution is the ‘pivot of authenticity’, which developed as a composition tool to assist the aim of historical plausibility in Rufius the Cinaedus. The phrase also adds to the discourse of literary theory on the historical novel, and can be used as a tool to evaluate a novel’s relationship with history.
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Jakobsson, Hilda. ""Jag slog honom flera gånger och kysste honom mellan varje slag" : Incest, pedofili, sadomasochism och gotik i Carina Rydbergs roman Månaderna utan R." Thesis, Stockholms universitet, Centrum för genusstudier, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78483.
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I denna studie undersöker jag Carina Rydbergs skildring av "dålig" sexualitet. Jag gör en närläsning av Rydbergs roman Månaderna utan R. Läsningen utgår från Michel Foucaults och Jacques Derridas dekonstruktionsteorier samt från Judith Butlers genusteorier. Jag undersöker huruvida romanen kan läsas som gotisk, huruvida Rydberg kan sägas luckra upp gränsen mellan "god" och "dålig" sexualitet, samt huruvida hon skildrar sadomasochistiska kvinnor som subjekt. Jag kommer fram till att Rydberg kan sägas luckra upp gränsen mellan "god" och "dålig" sexualitet och att hon, genom att skildra sadomasochistiska kvinnor som subjekt, stör könade sexualitetsnormer. Häri ligger Rydbergs subversiva potential. Detta betraktar jag som en aspekt av den gotiska tradition som Månaderna utan R kan sägas tillhöra.
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Labbioui-Harrison, Camille. "Une quête problématique de soi dans le roman maghrébin contemporain : religion, sexualité, altérité." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA155.
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Les personnes ayant subi la colonisation, survécu aux troubles qui précèdent les indépendances, et pu profiter du retrait colonial en adoptant ses modèles ne sont pas en peine d’identité. Mais ceux qui n’ont pu le faire faute d’opportunité ou d’adaptabilité, ou du fait de leur âge, sont aptes à rejeter ces modèles requérant l’abandon des traditions vestimentaires ou autres, celles qui leur conféreraient une identité, croient-ils, si la collectivité redevenait homogène. Zahra la triste protagoniste de ʿAm al-fil, de la Marocaine Laylā Abū Zayd, ettrois des quatre vieux protagonistes de ʿUššāq Bayya, du Tunisien al-Sālimī, partagent cette hantise de pureté culturelle au point de se rendre encore plus malades qu’ils ne le sont, surtout à propos de l’argent qui « pourrit tout ». Zahra n’est ni tendre ni sensuelle, et son mariage cesse quand son mari, soudain enrichi, prend une maîtresse ; et les trois autres entretiennent secrètement un fantasme sexuel sur une même femme sans qu’elle le sache, ce qui perce au jour tandis que le fils du quatrième, un émigré enrichi en Allemagne, décide de l’épouser. Zahra finit par se tourner exclusivement vers Dieu pour s’assurer le paradis tandis que les vieillards vivent dans la terreur de l’enfer. Que ceux qui ont eu la jeunesse la plus douce en guérissent avant de mourir désigne la véritable altérité. C’est la perversité d’une tradition que valident des croyances religieuses terrifiantes, laquelle empêche l’amitié entre garçons et filles et les marie sans souci des goûts et aptitudes, puis invite les hommes à maltraiter femme et enfants pour compenser. Comme peu guérissent de leur enfance, le cycle recommence et la tradition se perpétueThose undergoing colonization, surviving pre-independence turmoil, and profiting from the colonizer’s withdrawal by adopting its models, are not looking for an identity. Yet those who are not adaptable, blind to opportunity, or old, are prone to reject models requiring giving up clothing or other such aspects of tradition which, they believe, would grant them a sense of identity – if only their community became homogenous again. The pitiful protagonist in ʿAmal-fil (Year of the Elephant), by Morrocan author Laylā Abū Zayd, and three of the four aged protagonists in ʿUššāq Bayya (The Lovers of Bayya), by Tunisian author Al-Sālimī, have a fear of cultural pollution so acute that they make themselves even sicker than they already were, especially when it comes to money which “rots everything”. Zahra is neither softhearted nor sensuous, and her marriage is brought to an end when her suddenly rich husband takes a lover; and the other three secretly nurture a sexual fantasy about the same woman while the son of the fourth, a visiting émigré who grew rich in Germany, decides to marry her. Zahra eventually turns to God to assure a place for herself in heaven whereas the old men agonize in the dread of hell. By dismissing this fear before they die, the two men who had the easiest youth point to the nature of genuine alterity in their community. It is the perversity of a tradition validated by terrifying religious beliefs, which prevents friendships among adolescent boys and girls, then marries them off with no consideration for their tastes and aptitudes, and then invites the men to brutalize wife and children in compensation. Since very few ever recover from their childhood, the cycle starts again and the tradition survives
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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.
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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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Szabo, Bobbie. "Love is a Cunning Weaver: Myths, Sexuality, and the Modern World." Kent State University Honors College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ksuhonors1493247491671522.
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Borglin, John. "Makt och maktlöshet i Onåd : En studie om hur J.M. Coetzees roman Onåd kan användas i svenskundervisningens jämställdhetsarbete." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-92790.
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Denna studies syfte och forskningsfråga är att undersöka och besvara hur J.M. Coetzees roman Onåd kan förstås med utgångspunkt i de intersektionella kategorierna kön, ras och klass samt hur man som pedagog kan tillämpa romanen i den svenska gymnasieskolan för att diskutera och undervisa om jämställdhet och människors lika värde. För att nå syftet och frågeställningen undersöks kritiska delar av romanen med hjälp av diskursanalys. Tidigare forskning används också för att undersöka romanen. Metoden är utvald för att synliggöra de strukturer som omger karaktärerna i romanen och handlingsutrymmet de får. Romanen undersöks sedan intersektionellt för att påvisa hur kön, ras och klass påverkar människors livsvillkor. Analysen bedrivs med målet att påvisa hur romanen kan användas för undervisning om människors lika värde och jämställdhet. Resultatet visar att diskursanalysen är ett bra sätt att närma sig romanen genom, för att undervisa om jämställdhet och människors lika värde. Om läraren undervisar med hjälp av diskursanalys lyfts diskussionen om romanen till att handla om hur uttryck och handlingar påverkar och fastställer människors handlingsutrymmen. Det ger även en förståelse för hur människor positioneras i en diskurs. Eleverna får genom detta en möjlighet att se och förstå hur uttryck och handlingar placerar människor i olika makthierarkiska positioner, och att detta inte behöver spegla människans faktiska kvalitéer eller kunskaper. Så småningom kan denna förståelse användas för atti frågasätta stereotyper och normer som förtrycker människor. Genom Skolverkets ämnesspecifika formulering som handlar om att förstå människors livsvillkor med hjälp av litteratur kan läraren nå den ämnesövergripande formuleringen som handlar om att främja jämställdhet och människans lika värde.
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Marquez, Hugo. "Pursuing the origins of “Sex against Nature”: a genealogical study of the development of Graeco-Roman and Christian thinking concerning male same-sex sexuality." Thesis, Wichita State University, 2011. http://hdl.handle.net/10057/5186.
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This research is aimed to explain the origins and evolution of the philosophical antagonism to male same -sex sexuality under the argument that same-sex relations were contra naturam. It spans from classical Greece through the early middle-ages, and covers Platonism, Aristotelianism, Epicureanism, Greek Stoicism, Roman Judaism, Neoplatonism, and Christianity. A recurrent presence behind all antagonism to male same-sex sexuality was the Socratic ethics of abstention, and notions natural supernatural teleology. Other contributors were negative social connotations of passivity in adult men, and the intrinsic power differences that existed within the male same-sex relationships of antiquity. The argument that same-sex relations go against nature seems to fare worse under more modern understandings of the universe, animal sex-life, and the evidence against intelligent design in evolution of life forms.Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of History.
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Klabunde, Michael Robert. "BOYS OR WOMEN? THE RHETORIC OF SEXUAL PREFERENCE IN ACHILLES TATIUS, PLUTARCH, AND PSEUDO-LUCIAN." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin989521908.
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Nauert, Kenneth Brian Jr. "After Vatican II: Renegotiating the Roles of Women, Sexual Ethics, and Homosexuality in the Roman Catholic Church." TopSCHOLAR®, 2018. https://digitalcommons.wku.edu/theses/2444.
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Vatican II was one of the most seminal councils in Roman Catholic Church history, having far reaching effects on the universal institution.1 One of the most important outcomes of Vatican II was not the reforming of orthopraxy, but the dialogue that developed regarding three specific issues – the transforming of women’s roles in Church life, Catholic sexual ethics, and the Church’s relationship with LGBTQ+ individuals.2 The decades following Vatican II became a new era of religious dialogue among Catholic scholars and theologians, which established new discussions on women’s ordination, sexual ethics, and attitudes towards homosexuality in the contemporary world.
This thesis examines dialogue concerning women’s ordination, as well as the dialogue that developed from Pope John Paul II’s teachings in his Theology of the Body regarding sexual ethics and the agency of queer persons in the Church. It explores the dialogue among scholars and theologians on the changing role and opinion of women in ministerial positions, the shifting understanding of sexual morality, and the changing attitudes towards queer individuals that developed because of Vatican II’s emphasis on discussion.
Vatican II decisively changed the way the Church practices and performs its numerous responsibilities in our modern world. However, the result also included a deeper understanding of the individual needs, ideas, and beliefs of the laity. In 2014, the Vatican’s International Theological Commission referenced the importance of laity’s role as members of the universal Church:
Putting faith into practice in the concrete reality of the existential situations in which he or she is placed by family, professional and cultural relations enriches the personal experience of the believer. It enables him or her to see more precisely the value and the limits of a given doctrine, and to propose ways of refining its formulation. That is why those who teach in the name of the Church should give full attention to the experience of believers, especially lay people, who strive to put the Church’s teaching into practice in the areas of their own specific experience and competence.3
In doing so, greater concern for discussion of these issues developed, which is documented in this thesis.
1 To maintain efficiency within the overall thesis, from this point the term “Roman Catholic Church” will be shortened to “the Church.” This in no way is meant to mean the Catholic Church is the only church but is a way to provide a shortened term for a longer name. It also is not meant to delineate the entirety of the Body of Christ within the religious tradition of Christianity to the Roman Catholic Church.
2 Orthopraxy in this case refers to the correct performance and practice of certain rituals and ritespredominantly found within the Roman Catholic Latin Rite Mass.
3 International Theological Commission, “Sensus Fidei in the Life of the Church,” (Vatican City, 2014).
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Widén, Anita. "Roten till det onda : en studie i häxmotiv, kvinnlig sexualitet, husmoderlighet och moderlighet i Ulla Isakssons historiska roman Dit du icke vill." Thesis, Södertörn University College, School of Gender, Culture and History, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-1819.
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Ulla Isaksson (1916 – 2000) wrote many novels, often with a woman or several women as protagonists. In Dit du icke vill (“Where Thou Willst Not”) from 1956 she depicts a crisis of faith in a woman, which would not have been successful had she chosen a contemporary setting. She uses an adequate historical framework, the prosecution of witches in Sweden in the 17th century, well documented in reliable sources. Her novel includes a message about oppression of women, manifest in patriarchal ambition to control ancient wisdom about healing and herbs and the denial of pre-Christian habits that include knowledge about female fertility, earlier exercised by midwives and wise women and men.
In “The Root of Evil” the novel is placed in a feminist tradition, where the author, like older writers like Fredrika Bremer, Ellen Key and Elin Wägner, pleads for “social mothering”. A major difference is that, in her own life, Ulla Isaksson has experienced pregnancy, giving birth and breastfeeding which none of the pioneering Swedish feminist writers had. Emilia Fogelklou, pioneering theologian, wrote about witches as wise women, a study that influenced Ulla Isaksson. The witches are described as mirroring Hanna “the Good Mother”. Their fantasies about life at “Blåkulla” are similar to the everyday life at a wealthy farmstead. This kind of mirroring reminds of the theories of Gilbert and Gubar, who assume that female writers in the 19th Century hid their revolt against patriarchy in mad women, like “The Madwoman in the Attic” in Jane Eyre. In the 1950s, golden age of the Swedish housewife, a female writer might well hide her anger at the circumscribed role model dedicated to women in a similar use of Anti-Women. The real witches clearly contrast the obedient protagonist, a true “Angel in the house”.
The villagers´ struggle to clear the ground from the ensnaring roots that hinder the male prosecution of witches imply a symbolic reading: this evil root is ancient matriarchal knowledge of childbearing and birth control. A theory on the original causes for the witch hunts in western Europe is introduced: the population sank in the 15th century and one reason, beside plagues, starvation and warfare, was that women aware of how to prevent childbearing and giving birth to a lot of children were killed during the witch hunt. Churches and kings introduced the prosecution of witches and wise women, including midwives.
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Hilali, Bacar Darouèche. "L’autofiction en question : une relecture du roman arabe à travers les œuvres de Mohamed Choukri, Sonallah Ibrahim et Rachid El-Daïf." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20130/document.
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Depuis son invention par Serge Doubrovsky en 1977, le concept d’autofiction n’a cessé d’évoluer et de stimuler la réflexion sur la production romanesque. Après sa consécration en France, l’autofiction gagne les littératures européennes et occidentales, d’abord en Allemagne et en Pologne, puis au Canada et aux États-Unis, ou encore en Espagne et en Amérique latine. Elle franchit ensuite les frontières pour s’adapter aux spécificités culturelles des littératures étrangères. Elle est adoptée au Japon, questionnée en Iran et pratiquée aux Antilles, dans l’Océan Indien, en Afrique du Sud, au Brésil ou encore en Chine. Depuis quelques années, le phénomène littéraire semble gagner le monde arabe. Certains écrivains s’en réclament, d’autres s’en accommodent et d’autres préfèrent employer divers concepts pour définir leur pratique romanesque, ce qui a poussé la critique arabe à forger un vocabulaire technique. Parmi les notions proposées, un terme se dégage : al-taḫyīl al-ḏātī. Mais cette nouvelle terminologie peut-elle attester l’émergence d’un « nouveau genre » dans la littérature arabe ? La présente thèse se propose donc d’étudier la question de la validité de l’autofiction dans la littérature arabe. La première partie de cette thèse donne un aperçu historique de la longue tradition d’écriture du moi depuis le XIXe siècle. La seconde partie questionne la production romanesque contemporaine, ensuite présente un certain nombre d’œuvres qui sont à mi-chemin entre l’autobiographie et la fiction, pose le débat critique et fixe notre cadre théorique. La troisième partie est consacrée à l’étude des œuvres choisies de Mohamed Choukri, de Sonallah Ibrahim et de Rachid pour observer au plus près la pratique autofictionnelle, d’en comprendre les mécanismes et d’en connaître les motivations. À partir de ces trois auteurs et des exemples qu’ils nous donnent de leur pratique d’écriture, on se propose dans la conclusion d’établir un modèle d’autofiction arabe et de définir des thèmes que l’on pourrait appliquer à un vaste ensemble de textes modernes et contemporainsSince its invention by Serge Doubrovsky in 1977, the concept of auto-fiction has continued evolve and stimulate thinking about the novel and its production. After its consecration in France, the auto-fiction has won over European and Western literature, starting first in Germany and Poland, Canada and the United States, as well as gathering acclaim in Spain and Latin America. It then crossed borders and adopted itself to the cultural specificities of foreign literature which is why it has also been adopted in Japan, questioned in Iran and practiced in the Caribbean, the Indian Ocean, South Africa, Brazil or China. In recent years, this literary phenomenon has also gained momentum in the Arab world. Some Arab writers have adopted it, others have accommodated it, and still others have chosen various concepts to help define their practice as novelists, inspiring the critics to create a new technical vocabulary such as: al-taḫyīl al-ḏātī. However, does the creation of new Arabic terminology within the realm of auto-fiction merit the claim that a ‘‘new genre’’ has emerged in the Arabic literature? This study raises the question of the validity of the auto-fiction as applied to Arabic literature. Therefore, the first part of this thesis gives a historical panorama of the long tradition of auto-fiction since the 19th century. The second part questions the contemporary novel’s production, then presents a number of works that are part autobiography and part fiction, exemplifying the critical debate that sets up the theoretical framework of this study. The third part is dedicated to studying selected works by Mohamed Choukri, Sonallah Ibrahim and Rashid El-Daïf and examining the practice of these authors use of auto-fiction in order to understand its mechanisms and their motivations. In conclusion, as a result of the examination of these three authors and the examples they give of their writing, an attempt is made to show a pattern for Arab auto-fiction in order to identify some of the themes that could be applied to a wide set of modern and contemporary texts
استمرّ مفهوم autofiction أو "ذات متخلية" في تطوّره و تطوير التفكير حول إنتاج الرواية، منذ اختراعه من قبل سيرج دوبروفسكي في عام 1977. بعد تكريسه في فرنسا، يتقدّم المفهوم في الأدب الأوروبي والغربي، أوّلاً في ألمانيا وبولندا وكندا والولايات المتّحدة، أو في إسبانيا وأمريكا اللاتينية. ثم يجتاز الحدود ليَتَأَقْلَمَ بخصوصيات ثقافة الأدب الأجنبي. فتَمّ اعتماده في اليابان، شُكِّكَ به في إيران وتمارس في منطقة البحر الكاريبي والمحيط الهندي وجنوب أفريقيا والبرازيل والصين. وفي السنوات الأخيرة، يبدو أن هذه الظاهرة الأدبية تكتسح العالم العربي. بدأ بعض الكتّاب يصرحون بانتماء نصوصهم إلى هذه الكتابة الأدبية، والبعض الآخر يعترفون بأن نصوصهم تنتمي سردياً إلى هذا النوع الأدبي غير أنها تحافظ على تجنيسها المألوف (الرواية، السيرة الذاتية، الخ) وآخرون يفضلون استخدام مفاهيم مختلفة لتعريف تجاربهم الروائية، مما دفع النقاد العرب بصياغة مفردات تقنية جديدة. و يظهر من بين المفاهيم المقترحة مصطلح "الــــتخييل الذاتي". ولكن هل هذا المصطلح الجديد يمكنه أن يشهد ظهور "نوع جديد" في الأدب العربي؟يطرح هذا البحث مسألة صحة التخييل الذاتي في الأدب العربي. يقترح الجزء الأول من هذه الأطروحة إعطاء لمحة تاريخية عن تقليد قديم في كتابة الذات منذ القرن التاسع عشر . والجزء الثاني يطرح إنتاج الرواية المعاصرة، ثم يعرض عدداً من الأعمال الروائية التي تقع بين السيرة الذاتية والخيال، ويثير النقاش حول هذه المسألة في النقد العربي والغربي، ثم يثبت الإطار النظري. ويخصّص الجزء الثالث في دراسة الأعمال المختارة لمحمد شكري، وصنع الله إبراهيم ورشيد الضعيف لمراقبة ممارسة كتابة "التخييل الذاتي"، لاستعاب آلياتها ومعرفة دوافعها. ومن هؤلاء المؤلفين لثلاثة ومن الأمثلة المتواجدة في كتاباتهم، نقترح في الخاتمة إقامة نموذج للتخييل الذاتي العربي وتحديد مواضيع من الممكن تطبيقها على نطاق مجموعة واسعة من النصوص الحديثة والمعاصرة
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Kone, Guiba Abdul Karamoko. "La Représentation de l'espace africain postcolonial dans le roman littéraire français : Une lecture de "L'Etat sauvage" de Georges Conchon, de "Tombeau pour cinq cent mille soldats" de Pierre Guyotat, de" Les Flamboyants" et de "Le Tyran éternel" de Patrick Grainville, et de "Mais le fleuve tuera l'homme blanc" de Patrick Besson." Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0077.
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Notre sujet découle d’un vif intérêt pour la question du lien entre la littérature et l’Histoire. Nous cherchons à savoir comment l’écriture littéraire française fait la satire d’évènements ayant émaillé le cours de l’Histoire de l’Afrique francophone. Ensuite, le titre de notre travail exprime notre préoccupation pour la littérature française dépeignant ou évoquant l’Afrique francophone. Nous nous attachons à la manière dont certains écrivains français font la satire de l’Afrique francophone à travers les textes qui ont recours à la mimesis. De ce fait, une attention particulière fut accordée aux différents indices (l’espace, le temps, les personnages, l’esthétique) de représentation de l’Afrique francophone dans le roman français, et à l’histoire de l’Afrique francophone dans le roman français postcolonial. L’analyse de l’espace et des personnages a eu pour point d’ancrage les différentes figures de représentation de l’Afrique francophone, présentes, dans certains romans français contemporains. Quant à celle qui porte sur le temps, elle a eu pour ancrage l’analyse du temps narratif, de la narrativité, du jeu du narrateur. Nos hypothèses de recherche sont les suivantes : le jeu et le caractère des personnages, la description de l’espace et le temps, dans le roman français sur l’Afrique, sont-ils symptomatiques de l’Afrique francophone ? En quoi le style hérité des écrivains sud-américains participe-t-il à la représentation de l’Afrique francophone postcoloniale ? Quel est le rôle des figures de style dans le processus de narration ? Les auteurs français contemporains, en dépit des efforts consentis pour prendre leur distance les vues, les mentalités et les idéologies de l’époque coloniale, ne véhiculent-ils pas d’« anciens » clichés et stéréotypes dans leur représentation de l’Afrique ? En d’autres termes, le roman français contemporain n’est-il pas une continuité du roman colonial ? Par exemple, dans cette perspective, quels sont les rôles joués par l’emploi itératif de la boue et de la sexualité au sein de notre corpus ?Our subject stems from a keen interest in the question of the link between literature and history. We seek to know how French literary writing satirizes events that have enamelled the course of the History of Francophone Africa. Next, the title of our work expresses our concern for French literature portraying or evoking Francophone Africa. We focus on the way some French writers satirize French-speaking Africa through texts that use mimesis. As a result, particular attention was given to the various indices (space, time, characters, aesthetics) of representation of French-speaking Africa in the French novel, and to the history of French-speaking Africa in the postcolonial French novel. The analysis of space and characters was anchored by the different representation figures of French-speaking Africa, present in some contemporary French novels. As for the one that deals with time, it was based on the analysis of the narrative time, the narrativity, the narrator's play. Our research hypotheses are as follows: the play and character of the characters, the description of space and time, in the French novel on Africa, are they symptomatic of French-speaking Africa? How does the style inherited by South American writers contribute to the representation of Francophone postcolonial Africa? What is the role of figures of speech in the narrative process? Do contemporary French authors, despite their efforts to distance themselves from the views, mentalities and ideologies of the colonial era, not convey?
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Rebola, Joana Margarida de Figueiredo Lima. "Grandchildren of the revolution : sexuality, nation and Frank Ronan." Master's thesis, Universidade de Aveiro, 2007. http://hdl.handle.net/10773/2776.
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Mestrado em Estudos InglesesEsta tese propõe-se a investigar expressões do discurso gay irlandês contemporâneo na obra do autor irlandês Frank Ronan. O tratamento literário de temas como a influência da Igreja Católica, a importância da célula familiar irlandesa, ou a manifestação de posições políticas relacionadas com nacionalismo e colonialismo nas suas obras será analisado, com vista a examinar como estes e outros factores moldam a maneira como o discurso homossexual é construído na república da Irlanda e no trabalho de Frank Ronan em particular. Também será dada atenção a estereótipos nacionais e o seu efeito na escrita de Frank Ronan. ABSTRACT: This dissertation proposes an investigation of expressions of the contemporary Irish gay discourse in the fiction of Irish author Frank Ronan. The literary treatment of themes such as the influence of the Catholic Church, the importance of the Irish family cell, or the manifestation of political views, concerning nationalism and colonialism in the novels will be analysed, in order to study how these and other factors shape the way that homosexual discourse is constructed in the Republic of Ireland and in the work of Frank Ronan in particular. Attention will also be given to Irish national stereotypes, and their effect on Ronan’s writing.
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Pellerin, Pierre-Antoine. "La performance autobiographique et les masques du masculin dans la légende de Duluoz de Jack Kerouac (1947-1965)." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030167.
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Les romans à la première personne qui composent la Légende de Duluoz, le cycle autobiographique de Jack Kerouac (1922-1969), sont souvent étudiés à l’aune de la vie privée de l’auteur ou de la mythologie qui entoure les écrivains de la Beat Generation. À la lumière de l’approche performative du genre autobiographique et du genre masculin ainsi que des recherches historiographiques récentes sur la masculinité et la sexualité masculine durant la période de la Guerre froide, cette thèse se propose de déconstruire l’éthos de spontanéité confessionnelle et de virilité héroïque qui entoure l’écriture de Kerouac. Le récit de soi n’est pas chez lui un reflet fidèle du « je » ou un compte-rendu factuel de la vie de son auteur, mais une mise en scène publique de l’identité auctoriale masculine, un théâtre de l’identité en mots et en actes. Ce jeu de masques participe d’une stratégie narrative qui vise à construire une vision idéale de soi en tant qu’homme et en tant qu’écrivain et doit être lu dans le cadre de son projet de revitalisation d’une littérature et d’un homme menacés de déclin à ses yeux. En même temps, les travestissements de sa persona d’auteur témoignent de l’emprise du soupçon d’homosexualité sur la production littéraire des années 1950 et donnent à voir le malaise qui mine cette mascarade du masculin qui menace toujours d’exposer les larmes, les silences et les contradictions qu’elle cherche pourtant à masquer à tout prixThe first-person novels which make up the Duluoz Legend, the autobiographical cycle written by Jack Kerouac (1922-1969), are often analyzed in the light of what is known of their author’s private life or of the mythology that surrounds Beat Generation writers. Informed by performative approaches to the genre of autobiography and to the masculine gender as well as by recent historiographical research on masculinity and masculine sexuality during the Cold War period, this thesis seeks to deconstruct the ethos of confessional spontaneity and of heroic manliness that surrounds Kerouac’s writings. His narrative of the self are not faithful reflections of the “I” or factual accounts of the author’s own life, but a public staging of male authorial identity, a theatre of identity in words and actions. This playful masquerade sustains a narrative strategy that aims at constructing an ideal vision of oneself as a man and as a writer and shall be read in the perspective of his wish to revitalize American literature and masculinity which he feared to be in decline. Yet, these acts of cross-dressing of the authorial persona also testify to the powerful sway of anti-homosexual paranoia over the 1950s literary output and show the trouble that undermines this performance of masculinity which constantly threatens to reveal the tears, the silences and the contradictions that it tries so hard to mask
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Eriksson, Helena. "Husbands, lovers, and dreamlovers : masculinity and female desire in women's novels of the 1970s /." Uppsala : [Uppsala university], 1997. http://catalogue.bnf.fr/ark:/12148/cb376854815.
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Clary, Françoise. "Rebellion et sexualité dans le roman noir américain de Chester Himes à Hal Bennet." Paris 3, 1985. http://www.theses.fr/1985PA03A022.
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Boie, Vera. "Writing sexual revolutions : novel of manners und Sexualität im Romanwerk von Sinclair Lewis und John Updike /." Würzburg : Königshausen und Neumann, 1995. http://catalogue.bnf.fr/ark:/12148/cb389933264.
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Chujo, Shohei. "Pulsions du roman : le cas Barbey d'Aurevilly." Paris 10, 1987. http://www.theses.fr/1987PA100198.
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Cette thèse aborde l'œuvre romanesque de Barbey d'Aurevilly (1808-1889) du point de vue du "désir". Le premier chapitre est consacré à l'analyse de la "corporalité" dans l'œuvre de Barbey. Nous analysons d'abord le "conflit des couleurs rouges et blanches" à partir de la découverte du signe corporel des héroïnes: la rougeur. Cette analyse des couleurs nous conduit à celle de la fonction des métaphores rouges et blanches. Ensuite, nous étudions la corporalité spécifique chez Barbey. Dans le deuxième chapitre, nous traitons la sexualité, surtout le satanisme, le fantasme du "cachetage" du sexe féminin, les mères négatives, l'inceste, le changement de sexes, etc. Le troisième chapitre porte sur la question dualiste de la matière et de la forme dans le roman aurevillien, c'est-à-dire celle du rapport entre les éléments romanesques et la structure narrative. De l'analyse du premier, nous induisons le fatalisme qui s'oppose à la foi catholique chez Barbey; de celle du dernier, l'agnosticisme comme appui idéologique de son art narratif. En cherchant ce qui l'amène à écrire malgré ses convictions fatalistes et agnostiques, nous découvrons chez lui un désir de vivre en suspens l'état intermédiaire hors de l'espace-temps déterministe et stérileThis thesis treats of the novels and stories of a French author, Barbey d'Aurevilly (1808-1889) from the point of view of "desire". The first chapter is devoted to the analysis of "corporality" in the works of Barbey. In the first place, we draw the "conflict of red and white colors" from the study of the signs which can be seen on the body of Barbey's heroines: flush. This analysis of the "conflict of colors" guides us to that of the function of red and white metaphors in his novels. Then we study the specific corporality in Barbey. The second chapter deals with sexuality, especially Satanism, phantasm of "sealing" of female sexual organs, negative mothers, incest, change of sexes, etc. In the third chapter, we treat the dualistic problem of the matter and form in Barbey’s novels, namely, that of the relation between fictional elements and structure of narration. From the analysis of the former we induce the fatalism, which is opposed to his Christianity, and from that of the later, the agnosticism as ideological support of his narration technique. In search of what leads him to continue writing in spite of his fatalistic and agnostic tendency, we discover in him a desire to live suspensively the intermediate conditions out of the sterile deterministic space-time
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Diamantopoulou, Elisabeth-Alexandra. ""Corps et sexualité : représentations dans l'orthodoxie grecque et le catholicisme romain : étude comparative." Paris, EPHE, 2010. http://www.theses.fr/2010EPHE5021.
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Les représentations du « corps » et de la « sexualité » telles qu’elles se dégagent, respectivement, de la déconstruction des discours religieux de l’Orthodoxie grecque et du Catholicisme romain, font ressortir des conceptualisations divergentes, qui mettent notamment en lumière la construction et le fonctionnement différents de la « normativité » au sein des deux cultures religieuses. L’étude diachronique comparée des systématisations respectives théologiques, d’une part, et juridiques-canoniques d’autre part, nous amène à constater la profondeur de la « différence anthropologique » qui existe entre ces deux confessions, et ceci malgré leur appartenance commune à la « famille » de la religion chrétienne. Cette divergence traduit en réalité une vision du monde [« Weltanschauung »] et de l’être humain différente, et en vient à se concrétiser notamment à partir du XIIème siècle, avec la double transition, dans l’Occident latin, d’une part, du droit canon du premier millénaire (« jus antiquum ») à la nouvelle science canonique (« jus canonicum ») et, d’autre part, de la « théologie des Pères » à la théologie dite « scolastique » - cette grande synthèse de théologie et de philosophie opérée à partir du XIIIème siècle. L’ensemble de ces mutations profondes vont exercer leur influence sur la conceptualisation du mariage et de l’« acte conjugal », ce qui conduira progressivement à la formation d’une nouvelle « morale sexuelle », codifiée et contraignante, en rupture avec les schémas conceptuels du corps et de la sexualité d’une part, et la Tradition théologique et canonique d’autre part, qui marquèrent le premier millénaire chrétien, soit l’ère de l’« Église [chrétienne] indivise »The representations of “body” and “sexuality” that can be drawn respectively from the religious discourses of Greek Orthodoxy and Roman Catholicism, illustrate the different conceptualizations of these issues that highlight the divergent construction and functioning of “normativity” within the two religious cultures. The comparative diachronic study of the respective systematizations, theological on one hand, and “juridical-canonical” on the other hand, leads to the conclusion that there is a profound “anthropological difference” between these two confessions, in spite of their common belonging to the «family» of the Christian religion. This profound divergence which represents, in reality, a different Worldview [“Weltanschauung”] as well as a different conception of the human being, gets a concrete expression after the significant changes that shaped Roman Catholicism from the 12th century onwards in the Latin West; more specifically, after the double transition operated, on one hand, from the Canon Law of primitive Christianity (“jus antiquum”) to the new canonical science (“jus canonicum”) and, on the other hand, from the « Theology of the Fathers » to the Scholastic theology – the big synthesis of theology and philosophy that took place from the 13th century onwards. All these significant transformations had far-reaching and fundamental consequences thereof, and contributed to the progressive shaping of a new sexual moral code, as well as to a new understanding of marriage and the « conjugal act », breaking off radically with the conceptual schemes and the theological and canonical Tradition that marked the era of the « undivided [Christian] Church »
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Kowalska, Aleksandra. "Les représentations de la sexualité féminine dans les romans féminins britanniques d'Aphra Behn aux sœurs Brontë." Lille 3, 2010. http://www.theses.fr/2010LIL30009.
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Située à la croisée de la littérature, de l'histoire des idées et des mentalités ainsi que des études sur les femmes, cette thèse est consacrée à une analyse des représentations de la sexualité féminine – exprimée de façon individuelle mais aussi influencée par des facteurs sociaux et culturels – dans les romans féminins de la fin du XVIIe siècle (à partir d'Aphra Behn, considérée comme la première femme écrivain professionnel en Angleterre) au milieu du XIXe siècle (moment de la publication des œuvres des sœurs Brontë). La destinée sexuelle de la femme (la séduction, l'amour, le mariage, le viol) constituait alors le sujet principal des romans féminins, où deux types majeurs des représentations se distinguent : d'une part, l'affirmation de la sexualité féminine (l'accentuation de son importance et de son pouvoir dans la vie des femmes ainsi que l'idée de leur épanouissement à travers la passion amoureuse et sexuelle) et, d'autre part, la répression de la sexualité féminine, (le fait de nier son importance, la présentation de l'amour dépourvu de sexualité, la condamnation morale des femmes qui osent vivre leur sexualité librement et l'éloge de l'héroïne chaste et réservée). Le plan fondé sur une progression thématique plutôt que chronologique permet de mettre au jour des liens et des sujets communs à des romancières que l'on ne croit pas souvent proches (par exemple, Aphra Behn et Charlotte Brontë)This thesis, situated at the crossroads of literature, the history of ideas and mentalities, and women's studies, analyses representations of female sexuality – expressed individually and also influenced by social and cultural factors – un women's novels from the end of the seventeenth century (starting with Aphra Behn, considered to be the first professional female writer in England) to the mid-nineteenth century (when the works of the Brontë sisters were published). At that time, the sexual destiny of women (seduction, love, marriage, rape) was the main subject of women's novels, where two keys types of representation can be distinguished : on the one hand, the affirmation of female sexuality (emphasising its signifiance and power in the lives of women and the idea of women gaining self-fulfilment through sexual passion) and, on the other, the repression of female sexuality (the denial of its importance, the presentation of love without sexuality, the moral condemnation of women who dared to express their sexuality freely and the exaltation of the chaste and reserved heroine). Rather than taking a chronological approach, this thesis advances by theme, revealing links between, and common ideas shared by, novelists who are rarely considered to be similar (e. G. Aphra Behn and Charlotte Brontë)
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Ghali, Elham. "Le thème de la guerre et du sexe dans le roman féminin : 1975-1992." Paris 5, 1996. http://www.theses.fr/1996PA05H017.
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Nordqvist, Linnéa. "Berättelser, genus och sexualitet i svenskundervisningen : En komparativ analys mellan Jessica Schiefauers roman Pojkarna och Alexandra-Therese Keinings filmatisering." Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-99816.
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Syftet med denna studie är att jämföra hur genus och sexualitet skildras i Jessica Schiefauers roman Pojkarna (2011) och dess filmatisering från 2016. Studien ämnar även att utröna hur skillnader i fråga om hur medierna skildrar genus och sexualitet påverkar deras didaktiska potential i svenskundervisningen på gymnasiet. Både romanen och filmen analyseras med ett queerteoretiskt perspektiv. I analysen tillämpas Yvonne Hirdmans genuskontrakt (1997,2001) för att analysera hur medierna förhåller sig till det normativa system i vilket mannen utgör normen. För att analysera hur karaktärerna förhåller sig till socialt konstruerade föreställningar om genus tillämpas Maria Nikolajevas (2017) schema över stereotypiskt kvinnliga och manliga egenskaper. Konstruktioner av genus och sexualitet analyseras med Judith Butlers (2007, 1993) teorier om genus performativitet och den heterosexuella matrisen. I syfte att utröna filmens didaktiska potential i förhållande till romanen används Martha Nussbaums (1997) teorier om världsmedborgare och narrativ fantasi. Analysen visade att det både finns skillnader och likheter i fråga om hur genus och sexualitet konstrueras i de två medierna. Skönlitteraturens förmåga att skildra karaktärernas inre liv gör att romanen i större utsträckning kan skildra hur enskilda karaktärer påverkas av genusföreställningar. Filmen ger dock en komplexare förståelse för hur vissa av karaktärerna förhåller sig till genusstereotyper och den heterosexuella matrisen. Den didaktiska analysen visade att både romanen och filmen kan användas i syfte att utveckla elevernas narrativa fantasi, även om det finns mindre skillnader som bör beaktas i didaktiska sammanhang.
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Gilles, Florent. "Soumission, révolte, sexualité : l'éducation des jeunes filles de Mme de Lafayette à Sade." Thesis, Reims, 2016. http://www.theses.fr/2016REIML006/document.
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Cette thèse s’intéresse s’attache à définir le topos littéraire de la jeune fille nubile faisant son entrée dans le monde et son rapport avec la réalité historique, sociale et culturelle de la fin du XVIIe et du XVIIIe siècle. Comment le modèle fictionnel de la jeune fille et le réel interfèrent-ils l’un sur l’autre ? À la lumière des gender studies, nous nous intéressons à la littérature comme participant de la construction culturelle des genres et à cette époque en tant que naissance d’un certain féminisme L’éducation des jeunes filles, absente ou incomplète volontairement, apparaît alors comme une propédeutique à la future condition asservie de la femme à cette époque, au rôle que la société attribue au genre féminin. L’éducation est alors à comprendre dans une acception large : éducation intellectuelle, morale mais aussi sentimentale et sexuelle. Dans cette optique notre corpus regroupe trois types d’œuvres, fort diverses en apparence, afin d’avoir une vue d’ensemble sur ce phénomène : à des œuvres morales et des majores, s’ajoutent des œuvres licencieuses et des minores, œuvres des romancières pourtant à succès du XVIIIe siècleThis thesis deals with how to define the literary report of the nubile young girl breaking into the world and its link to the historical, social and cultural reality in the end of the 17th century and 18th century. How the fictional model of the young girl and the reality interfere in each other? With the help of " gender studies", we will take interest in literature as an active participant of the cultural construction of genres , and in this era as the birth of a kind of feminism. The young girls missing or deliberately incomplete education , appears as a foundation course to the future enslaved condition of woman of this era, to the role given to the feminin gender by society. The word education is to be understood in a larger way: intellectual education, moral education but also sentimental and sexual education. From this perspective, our corpus joins together three types of works, really different works, in order to have an overview on this phenomenon: moral and major works, loose and minor works, and works of female yet successful writers from the 18th century
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Eriksson, Sanna. "Identitetsutveckling och dess koppling till sexualitet, vuxenblivande och föräldraskap – en jämförelse baserat på karaktärer i tre romaner författade av Aidan Chambers." Thesis, Luleå tekniska universitet, Pedagogik, språk och ämnesdidaktik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85740.
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Denna studie undersöker tre romaner av författaren Aidan Chambers och korrelationen mellan hur individerna söker sin identitet med sexualitet och föräldraskap som fokus. En analys av alla tre romaner har gjorts kopplat till de frågeställningar som lade grunden för studien. Studien adresserar även litteraturanalys och boksamtal kopplat till lärarrollen. Litteraturen i studien analyseras med hjälp av metoderna nykritik, närläsning, narratologi och hermeneutik.
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Rundgren, Heta. "Vers une théorie du roman postnormâle : féminisme, réalisme et conflit sexuel chez Doris Lessing, Märta Tikkanen, Stieg Larsson et Virginie Despentes." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080145/document.
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Entre littérature comparée et études de genre, cette thèse vise à théoriser ce que j’appelle le roman postnormâle. A partir d’un corpus constitué d’un ensemble de romans européens contemporains [The Golden Notebook de Doris Lessing (1962), Les Hommes ne peuvent être violés (1975) de Märta Tikkanen, la trilogie Millénium ou Les Hommes qui haïssent les femmes (2005-2007) de Stieg Larsson et Apocalypse bébé (2010) de Virginie Despentes], d’une part, et d’un corpus de textes théoriques, littéraires et féministes, d’autre part, j’analyse la façon dont le roman postnormâle reprend le discours social concernant la différence des sexes pour s’adresser à un large public, tout en déplaçant subtilement les conventions réalistes afin d'inscrire dans l’écriture l’expérience du conflit sexuel du point de vue des femmes, voire des lesbiennes.Je procède en quatre étapes : j’étudie 1) l’ancrage des romans dans un « réel réaliste » et la fonction du détail dans l’esthétique postnormâle ; 2) le sociogramme du ‘féminisme’ dans les romans et leur réception ; 3) le récit de ce que j’appelle le contre-viol ; 4) l’inscription du désir-femme et la figuration, voire la constitution, d’un entr’elles. Ma proposition de théorisation du roman postnormâle s’inscrit dans une perspective postmoderne : elle implique de suspendre, sans toutefois l’ignorer, la double question de la littérarité et de l’évaluation des œuvres, au profit d’une étude de l’objet littéraire en contexte. Enfin, du point de vue de la théorie féministe, ce travail ambitionne de repenser les liens entre les notions de féminin et de queer, à l’aune des théories féministes et lesbiennes contemporainesSituated at the intersection between comparative literature and gender studies, this dissertation theorizes what I term the postnormâle novel. It deploys readings of four contemporary European novels along with a corpus of literary and feminist theory. The novels include Doris Lessing’s The Golden Notebook (1962), Märta Tikkanen’s Manrape (1975), Stieg Larsson’s Millenium trilogy or The Girl with the Dragon Tattoo (2005-2007) and Virginie Despentes’s Apocalypse baby (2010). My analysis of these texts examines the way in which the postnormâle novel reclaims social discourses of sexual difference for a mass audience while subtly displacing realist conventions in order to inscribe women’s—or lesbians’—experience of sexual conflict into the text. A four step process is used to study the work. First, I anchor the novels to a “realist real”, and study the function of detail within the postnormâle aesthetic. Then I chart the sociogram ’feminism’ in the novels and their reception. Thirdly, I read the narrative of what I call “counter-rape”, and lastly the inscription of woman-desire and the figuration—the constitution even—of entr’elles, a feminist space. The perspective of my study is postmodern, which implies a suspension—but not a disbelief—of the twofold question of literary status and literary evaluation, in order to focus on texts in their contexts. In this process, I aim to rethink the link between the notions of the feminine and the queer in light of contemporary feminist and lesbian perspectives
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Dussault-Frenette, Catherine. "L'expression du désir féminin adolescent étude des (re)configurations des normes sexuelles genrées dans quatre romans québécois contemporains." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5692.
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Les schémas sociaux de la sexualité, dans une société régie par le pouvoir patriarcal, s'élaborent selon une perspective androcentrée, qui nie aux femmes et aux filles la légitimité de leurs désirs. Longtemps posées en tant qu'objets d'un désir masculin, les femmes, accédant notamment à la subjectivité littéraire, redéfinissent depuis peu leur rapport au désir et à la sexualité. Considérant le moment d'entrée dans la sexualité comme crucial quant à la construction de l'identité sexuée, la présente recherche interroge la représentation du désir féminin chez des personnages d'adolescentes tirés de quatre romans québécois contemporains :Les fous de Bassan d'Anne Hébert (1982), Volkswagen Blues de Jacques Poulin (1988), L'île de la Merci d'Élise Turcotte (1997) et La petite fille qui aimait trop les allumettes de Gaétan Soucy (2000). À travers un cadre d'analyse constructionniste, regroupant la théorie des scripts sexuels (Gagnon), la construction sociale de l'identité de genre (Butler) et la théorie de l'intersubjectivité (Benjamin), cette étude vise à évaluer le potentiel agentif des personnages d'adolescentes dans l'expression de leur désir et l'expérimentation de leur sexualité. L'analyse littéraire du corpus choisi est soutenue par deux principaux objectifs : le premier consiste à identifier, dans un premier temps, les scripts sexuels qui président à l'expression du désir féminin, et à statuer, dans un deuxième temps, s'il y a concordance ou discordance entre le discours et les comportements adoptés par les personnages féminins et les normes de genre véhiculées par les schémas sexuels dominants. Le second objectif réside dans l'examen des variations entre les représentations du désir féminin dans les oeuvres écrites par des femmes et dans celles écrites par des hommes. Chacun des romans faisant l'objet d'un chapitre, l'analyse approfondie de ceux-ci montre que tous les personnages féminins du corpus cherchent à inscrire leur désir au sein de scripts alternatifs -- bien que marqués par l'hypotexte hétéronormé -- aux scripts sexuels dominants, fondés sur la reconnaissance intersubjective. L'accession des jeunes filles du corpus au statut de sujet désirant, laquelle passe par la subversion des scripts sexuels dominants, s'avère toutefois ardue, tant sur le plan intrapsychique qu'interpersonnel, leur imaginaire étant colonisé (Roussos) par le discours patriarcal. Accordant la première place à l'analyse sémiotique du contenu romanesque, l'analyse vise ultimement à révéler la défaillance des discours dominants sur le sexuel, principalement en ce qui a trait à l'initiation sexuelle des jeunes filles.
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Pinto, Renato. "Duas rainhas, um príncipe e um eunuco = gênero, sexualidade e as ideologias do masculino e do feminino nos estudos sobre a Bretanha Romana." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280841.
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Orientador: Pedro Paulo de Abreu FunariTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Desde a Renascença Inglesa no séc. XVI, a história da Bretanha Romana (ou Britânia) e as imagens de alguns de seus mais proeminentes protagonistas, tais como a rainha Boudica ou o príncipe Carataco, servem como fontes recorrentes e fluídas para a construção de identidades nacionais britânicas. Estes líderes romano-bretões, de acordo com o clima político-social no qual suas imagens ressurgem, podem ser considerados tanto como selvagens empedernidos que recusaram os modos civilizados quanto como heróis e heroínas da resistência contra o invasor romano. Do séc. XVI até meados do séc. XX, discursos de respeitabilidade, estabilidade e de tradições herdadas foram geralmente criados para ajudar a transpor os desafios e a ansiedade trazidos pelo fluxo e refluxo do que seria conhecido como, primeiro, o Império Inglês e, mais tarde, Britânico. No início da Idade Moderna, antiquários, cartógrafos, dramaturgos, pintores, e, depois, acadêmicos vitorianos e eduardianos reconstruíram de forma continuada as imagens dos bretões e de suas figuras icônicas ao reinterpretarem a cultura material existente e os textos clássicos relacionados com a Bretanha Romana. Neste processo, interpretações acríticas das relações de gênero e dos protocolos sexuais do passado foram misturadas às ideologias do masculino e do feminino do presente por artistas, acadêmicos e políticos, mutatis mutandis. Os discursos resultantes foram muitas vezes usados para fazer comparações entre o Império Romano e o Britânico - quase sempre ressaltando suas benesses - e para inventar definições normativas para os papeis de gênero e para as sexualidades humanas do presente. Historiadores e arqueólogos que estudam a Bretanha Romana têm contribuído ora para insinuar um imperialismo positivo e paralelismos entre o passado e o presente, ora para desconstruir tais discursos, sendo os últimos da geração pós-colonialista, grosso modo. Ao fazer uso da historiografia, literatura, das artes visuais e análises da cultura material, almejo pesquisar a dinâmica que existe entre as aspirações imperial-nacionalistas discursivas e as construções das ideologias do masculino e do feminino - identidades sexuais e de gênero inclusas - no contexto dos estudos sobre a Bretanha Romana, desde o séc. XVI
Abstract: Since the English Renaissance in the sixteenth-century, the history of Roman Britain and the images of some of its most prominent protagonists, such as queen Boudica and prince Caratacus, have served as recurrent and ever-changing sources for the construction of British national identities. These Romano-British tribal leaders have been considered either as savages who refused civilized manners or as heroes of the resistance against the Roman invader, depending on the vagaries of the socio-political context in which their images re-emerge. From the sixteenth to the middle of the twentieth-century, discourses of respectability, stability and of inherited traditions were often created to help to overcome the challenges and the anxiety brought about by the ebbs and flows of what was to be known, first, as the English, and later, as the British Empire. Early Modern antiquarians, cartographers, playwrights, painters, and, also, Victorian and Edwardian academicians, continuously reconstructed the images of the Britons and their iconic figures by reinterpreting the classical texts and the extant material culture related to Roman Britain. In this process, uncritical interpretations of gender relations and sexual protocols of the past got mixed with modern ideologies of the masculine and the feminine by artists, intellectuals and politicians alike. The resultant discourses were frequently used to make comparisons between the Roman Empire and the British - often as not highlighting their benefits - and to invent normative definitions for the gender roles and human sexualities of the present. Roman Britain historians and archaeologists have contributed both to insinuate positive imperialism and parallels between the past and the present as well as to deconstruct such discourses, the latter being done mostly by the post-colonial generation. Using historiography, literature, artistic visual manifestations and the analysis of material culture as documents, I aim to research the dynamics that exist between imperial-nationalistic discoursive aspirations and the constructions of masculine and feminine ideologies - gender and sexual identities included - in the context of the studies about Roman Britain, from the sixteenth-century until today
Doutorado
Historia Cultural
Doutor em História
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Parey, Armelle. "Représentations de l'ère victorienne dans le roman des iles britanniques (1969-1995) : "The french lieutenant's woman" de John Fowles, "The last testament of Oscar Wilde" de Peter Ackroyd, "Nice work" de David Lodge, "Possession" de A.S. Byatt, "Clare" de John Mackenna, "Poor things" d'Alasdair Gray." Caen, 2000. http://www.theses.fr/2000CAEN1290.
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Cette these examine les representations de l'ere victorienne proposees par le roman des iles britanniques du dernier tiers du xxeme siecle. Les romans sont etudies en regard de la double specificite de l'ere victorienne : son ecriture et son image. Une double re-ecriture est a l'oeuvre dans ces romans qui participent d'un contexte litteraire postmoderne. D'une part, ils se positionnent par rapport au projet realiste qu'ils revelent comme une illusion : par le biais d'un jeu autour de documents dits factuels et/ou l'emploi de personnages "reels" ("the last testament 0f oscar wilde" de peter ackroyd, "clare" de john mackenna et "poor things" d'alasdair gray) ; par la presence d'intertextes victoriens apparents dans le mode narratif, l'intrigue et les conclusions qui lui sont apportees ("thefrench lieutenants woman" de john fowles, "possession" d'a. S. Byatt et "nice work" de david lodge). D'autre part, ils proposent une re-evaluation de l'ere victorienne qui s'appuie sur une perception de l'histoire selon laquelle celle-ci est une construction elaboree a partir de textes. L'etude de l'heroine victorienne vue par le xxeme siecle montre que celle-ci est une representation detournee deses comparses litteraires du siecle precedent. La presence de personnages atypiques remet en question les stereotypes sur la sexualite des victoriens. Tandis que certains romans offrent une representation interne du passe, d'autres affichent la distance temporelle et presentent ce faisant une approche critique du xxeme siecle et du postmodernisme.
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Pidoux, Patrick. "Roman et actualité politique dans les années soixante et soixante-dix en France et en République fédérale d'Allemagne." Paris 3, 2003. http://www.theses.fr/2004PA030005.
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Herbert, Nadim. "Artificiell romans : En genusvetenskaplig analys av romantiska relationer mellan artificiellt intelligenta och mänskliga karaktärer i filmerna "Be Right Back", Ex Machina och Her." Thesis, Uppsala universitet, Centrum för genusvetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384619.
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This thesis examines romantic relationships between human and artificially intelligent characters in the science-fiction films Ex Machina (2014), Her (2013) and “Be Right Back” (2013) from anthology series Black Mirror. The purpose of the thesis is to examine these relationships in relation to norms concerning corporeality, gender, sexuality and romance, exploring how the portrayal of these relationships and the characters in them subvert and/or reinforce those norms. A descriptive coding method was used followed by analytical coding to determine which theoretical concepts would be applied to which scenes. The theoretical framework consists mainly of Judith Butler’s theories on gender-performativity and Donna Haraway’s cyborg-figuration, and other theoretical concepts that were not used as extensively. The analysis showed that the films occasionally reinforce the norms in question due to cis- and heteronormative tendencies within the romantic relationships and due to normative aspects within the construction of the characters. A few examples of this is depicting a heteronormative, vocalized femininity and sexualized, normatively female bodies as well as partly establishing stereotypical, gendered dynamics in the romantic relationships. However, the study also showed that these films construction of the characters and their romantic relationships manages to subvert the above-mentioned norms. They do so by highlighting how corporeality is integral to the social construction of gender and not separate from that process, by critiquing monogamy being the normative type of romantic relationship and by exposing the male characters’ objectifying gaze towards female characters’ bodies. Through these transgressive examples and several others like them, the films display the subversive potential of science-fiction.
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Benghenissa, Nacer Edine. "L'image de la femme occidentale dans l'Orient moderne (approche sémiotique de la composante cognitive et passionnelle dans "Al-havy al-lâtînî" de Suhayl Idrîs)." Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX1A082.
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Dans une perspective qui met en contraste deux mondes et deux systemes de valeurs differents : l'orient et l'occident, nous avons tente de poursuivre le rythme, les transformations et le mouvement inscrit dans l'histoire reunissant quatre acteurs le heros, jeanine, la mere et fu'ad, du roman de suhayl idris: al-hayyal-latini (le quartier latin) paru a beyrouth en 1954. Pour des raisons methodologiques, nous avons commence par situer notre roman dans le contexte litteraire oriental, en mettant l'accent sur le tradition romanesque anterieure qui avait pour theme la confrontation entre l'orient et l'occident. Nous avons aborde ensuite l'essentiel de notre sujet et qui se resume en l'etude du parcours du heros en quete de sa liberte en fait, le heros, a travers son experience parisienne, tente de se liberer a la fois de l'emprise de sa mere et du systeme de valeurs oriental. Par consequent, nous avons essaye de repondre a deux questions que pose cette nouvelle donnee: quel est le parcours qu'empreinte le heros pour acquerir cette liberte? pourquoi cette quete passe par son experience sexuelle avec une occidentale, en l'occurrence jeanine? pour repondre a ces questions, nous avons mis l'accent sur la dimension cognitive et passionnelle de cette quete, sans pour autant negliger l'apport d'etudes sociologiques et anthropologiques pour mieux cerner les valeurs mis en jeu dans le roman. Voila les deux grandes parties qui constituent l'essentiel de notre recherche.
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Aidoudi, Wejdene. "Figures féminines dans l’œuvre de Zola : des romans aux films : lecture sémiologique." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0275/document.
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Cette thèse de doctorat s’articule autour de trois axes. Elle a trait d’abord à la configuration de la sexualité féminine dans l’œuvre des Rougon-Macquart et dans son adaptation cinématographique. La recherche est ainsi centrée sur la représentation du corps féminin et de sa métamorphose dans l’œuvre romanesque zolienne ainsi que dans l’œuvre filmique correspondante. Quant au deuxième axe de recherche, il se rapporte à l’étude des photogrammes, des lexies au niveau de l’incipit et de l’excipit des romans zoliens et à partir de l’ouverture et du dénouement des adaptations qui en ont été faites. Les divergences entre les romans et leur mise en scène interrogent par ailleurs la question de la fidélité du cinéma à la littérature dont il s’inspire, qui reste jusqu’au jour d’aujourd’hui une question assez problématique. Une analyse des seuils filmiques et romanesques a été jugée ainsi fort utiles. Ces seuils s’avèrent un espace où le sens de la créativité et le don artistique du concepteur de l’œuvre filmique ou romanesque voient le jour. Au terme de notre recherche, nous avons constaté que la femme zolienne évolue dans un milieu où interfèrent le réel, l’imaginaire et le symbolique. Et c’est à à travers son rapport avec les lieux et les objets que cette femme accède au rang de figure. La métaphore animalière constitue ainsi l’essence même de la figuralité zolienne qui met en relief ces corps féminins et les dotent d’une présence mythologique. Finalement le naturalisme zolien est-il d’une veine expressionnisteThis doctoral thesis is structered around three axes. It deals with the configuration Of the female sexuality in the work of Rougon-Maquart and it its film adaptation. The research is centered on the representation of the female body and its metamorphosis in Zola’s novel works as well as in the corresponding film works. As for the second axis of research, it relates to the study of photograms in the incipit and excipit of Zola’s novels and from the opening and settlements that have been made. The divergences between the novels and their staging also question the question of the film’s fidelity to the literature on which it is based , which remains a rather problematic issue until today. An analysis of filmic and novel thresholds was found to be very useful. These thresholds turn out to be a space where the creativitity and artistic gift of the designer of the filmic or romantic work are born . At the end of our research, we have noticed that Zola’s female evolves in a background where the real , imaginary and symbolic interfere. And it is through her contact with the settings and objects that she reaches the rank of a figure. The animal metaphor thus constitutes the very essence of Zola’s figurality which hilghlights these female bodies and endows them with a mythological presence. Finally is Zolian naturalism an expressionist vein ?
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Rascle, Floriane. "Écritures dramatiques et romanesques des XXe et XXIe siècles à l’épreuve des arts non verbaux. Modèles et dispositifs." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA110.
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L’observation de la présence des arts non verbaux au cœur des œuvres de Marguerite Duras, Lawrence Durrell, Elfriede Jelinek et Péter Nádas nous invite à considérer la musicalité et l’iconicité des écritures dramatiques et romanesques contemporaines en termes de modèle mais aussi de dispositif. Des phénomènes de dialogue, d’hybridation, de polyphonie, de dialogisme, d’intermédialité, de ce que Jacques Rancière nomme « l’impurification » au cœur d’un « régime esthétique de l’art » révèlent les rêves, désirs et pulsions du verbal pour d’autres arts, mais aussi pour des représentations à l’artisticité discutable. La fabrique d’un corps organique, sexuel, érotique voire pornographique par les écritures contemporaines nous convie à envisager le métissage entre art et non-art en termes de dispositif performatif et à proposer une lecture queer des œuvres. À l’heure du postmodernisme, le recours des écritures au non-verbal se donne à lire à la fois comme la manifestation d’une crise du logos et de la représentation et comme l’enjeu d’une rénovation esthétique et politique de la littérature. Qu’ils modélisent le verbal ou fassent brutalement irruption et déchirure en son sein, les arts non verbaux concourent au renouvellement des formes littéraires, mais aussi à leur politicité et au renouveau de la fiction. Cette étude ambitionne donc d’explorer le carrefour esthético-politique que dessinent, entre le milieu du XXe siècle et ce début de XXIe siècle, les relations plurielles entre les arts verbaux et non verbaux dans l’art verbal par excellence, la littératureThe observation of the presence of non verbal arts within the works of Marguerite Duras, Lawrence Durrell, Elfriede Jelinek and Péter Nádas leads us to examine the musicality and the iconicity of contemporary dramatic and novelistic writings in terms of model, pattern and devices. Dialogue, hybridization, polyphony, dialogism, intermediality, and what Jacques Rancière calls “impurification” within the “Aesthetic Regime of Art”, display the dreams, desires and longings of verbal art for other arts, but also for representations whose artistic content is arguable. The fact that contemporary writings produce an organic, sexual, erotic, even pornographic body invites us to focus on the interactions between arts and non-arts with regard to their performative devices and to propose a queer reading of the works. In Postmodernism, the fact that writings draw on non verbal forms can be understood as the expression of the failure of Logos – both language and reason – and of representation. Moreover, what is also at stake is an aesthetic and political reform of literature. Whether they tend to impose new verbal models or break into them, non verbal arts contribute not only to reshape literary forms but also to emphasize their political substance and renew their fictional content. This dissertation aims to investigate the crossroads between aesthetics and politics that the various relationships between verbal and non-verbal arts display, from mid-20th century to the beginning of the 21st century, within Literature, the verbal art par excellence
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Cabaloue, Sophie. "Identités, sexualités, écritures dans les autofictions de la diaspora cubaine à New York : Sonia Rivera-Valdés et Jacqueline Herranz-Brooks." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0104/document.
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Nos travaux s’articulent autour de la construction identitaire par l’écriture des auteures de la diaspora cubaine à New York et s’appuient sur les autofictions de Sonia Rivera-Valdés et Jacqueline Herranz-Brooks. Ces auteures contemporaines, qui définissent les contours du sujet lesbien à travers érotisme et désir, déstabilisent les identités nationales, culturelles et sexuelles en mettant en scène des personnages qui évoluent en dehors de la norme, en marge du système politique, social et sexuel. Elles redéfinissent l’identité cubaine à partir d’une perspective intimiste, qui s’éloigne de l’image politisée. Notre approche littéraire et socio-historique éclaire les mécanismes de constructions identitaires des auteures au regard du contexte de production des œuvres. Les nombreux témoignages, auprès des auteures et des garantes de l’institution cubaine, nous ont permis d’identifier ce contexte littéraire et socio-historique dans lequel les auteures ont évolué et produit leurs œuvres. Sonia Rivera-Valdés et Jacqueline Herranz-Brooks, à travers leur trajectoire littéraire, se définissent en tant qu’auteure lesbienne dans un espace géographique fragmenté. Elles « fictionnalisent » leurs souvenirs pour retracer leurs parcours de vie, qui est la fois témoignage (discours qui révèle une situation socio-historique : être lesbienne à Cuba, la difficulté d’intégration des migrantes à New York) et en même temps fiction, leur permettant ainsi de projeter leurs idéaux. C’est donc entre témoignage et reconstruction du passé, ancré dans le présent de production, que les auteures se construisent dans un espace fragmenté entre Cuba et New York. L’écriture, ainsi que la photo pour Herranz-Brooks, en tant qu’actes créatifs leur permettent de refaire vivre leurs expériences afin de construire une identité en devenir d’auteure et de femmes lesbienne, migrante, cubaine de la diasporaMy work deals with the building of identity through the writing of women writers from the Cuban Diaspora in New York. It focuses on autofictions by Sonia Rivera-Valdés and Jacqueline Herranz-Brooks. These contemporary writers, - who have a knack for defining the lesbian subject through the use of eroticism and desire- also manage to unsettle national, cultural and sexual identities by putting forward characters who develop out of the norm, away from the political, social and sexual system. These writers give a new definition to Cuban identity from an intimate perspective, which is far from the politicized image we know. My literary and socio-historical approach sheds light on the mechanisms of the construction of the identities of these women writers, considering in particular the context of production of their works. The numerous field surveys on the writers and guarantors of the Cuban institution made it possible for me to identify the literary and socio-historical context in which the women writers developed and produced their works. Through their literary careers, Sonia Rivera-Valdés and Jacqueline Herranz-Brooks describe themselves as lesbian writers living in a fragmented geographical space. They succeed in fictionalizing their memories in order to tell their lives. The text is both testimony – a narrative describing a socio-historical situation, being a lesbian in Cuba, the difficult integration of the migrants in New York- and fiction, enabling them to project their ideals. It is therefore in between testimony and reconstruction of the past anchored in the present that the women writers build a fragmented space between Cuba and New-York. Writing, as well as photography for Herranz-Brooks, seen as creation, made it possible for them to give life again to their past experiences so as to build themselves an identity as writers and as lesbian, migrant, Cuban women from the Diaspora
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LeBlanc, Éric. "Le bleu des garçons : suivi de : «Pourquoi se refuser, ce soir, à cette supposition?» : imaginaire et contamination narrative dans Dix heures et demie du soir en été de Marguerite Duras." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/33224.
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Ce mémoire de maîtrise en recherche-création se divise en deux parties, soit un recueil de fictions et un essai théorique. Le bleu des garçons regroupe douze fictions interrogeant le désir masculin. La forme versifiée des textes explore la frontière entre prose et poésie, alors que la mobilisation de stratégies narratives variées et d’un style minimaliste exacerbe les non-dits de chaque situation, tout en brouillant la ligne entre le réel et l’imaginaire. Qu’ils soient fils, oncles, amoureux, queers, traîtres ou voyageurs, les protagonistes de ces fictions se rejoignent à travers la mise en doute de leur identité, de leur sexualité et de leur rapport avec autrui dans un moment de crise concentré dans l’espace et le temps. En continuité avec les considérations narratologiques du recueil, «Pourquoi se refuser, ce soir, à cette supposition?» Imaginaire et contamination narrative dans Dix heures et demie du soir en été de Marguerite Duras étudie l’adhésion de la narration de ce roman aux fabulations de la protagoniste. Notre essai analyse comment l’émotion et les appréhensions croissantes de cette dernière, initiées par le désir, contaminent le regard narratif en focalisation interne et contribuent à l’objectif cognitif de l’œuvre : faire du sensible son événement central.This Master’s Dissertation in research-creation splits in two parts: a collection of short fictions and a theoretical essay. Le bleu des garçons regroups twelve fictional stories questioning masculine desire. The texts’ versified form explores the limit between prose and poetry, while the use of various narrative strategies, along with a minimalist style, highlights every situation’s underlying sense and blurs the line between reality and imagination. They might be sons, uncles, lovers, queer men, traitors and travellers, the protagonists of these short fictions still come together as they challenge their identity, their sexuality and their relationship with others in a critical moment condensed in time and space. Ensuing from the creative part’s narratological issues, “Why refuse oneself, tonight, to this supposition?” Imagination and narrative contamination in Marguerite Duras’s Dix heures et demie du soir en été studies this novel’s narrative adherence to the protagonist’s imagination. Our essay analyses how the narration’s gaze and internal focalization are contaminated by the main character’s growing emotion and apprehensions initiated by desire, while assisting the book’s cognitive objective: making passion its central event.
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Ficheux, Gaëlle. "Eros et Psyché : l'être et le désir dans la magie amoureuse antique." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00189672.
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« Voix des marginaux », « voix des femmes» ou « témoignages du déni des mâles », la question de l'identité et des ambitions des magiciens de l'Antiquité semble bien souvent catalyser les présupposés ou les préjugés anciens et modernes. La majorité des travaux historiques consacrés à la magie antique se sont principalement appuyés sur l'étude des sources littéraires. Mais ces enchantements de littérature n'offrent généralement qu'une image stéréotypée de la magie amoureuse, la lisibilité des personnages ou des situations étant essentiellement liée à l'exploitation de certaines caractéristiques réductrices ou schématiques accessibles à tous. L'étude de ces sources demeure primordiale afin d'éclairer la représentation des enchantements amoureux conçue par les sociétés antiques. Mais il est souvent regrettable que la littérature occulte les autres sources et plus singulièrement les défixions, qui sont les seuls témoignages directs du recours à la magie à travers l'ensemble du bassin méditerranéen antique. Ce traveil de recherche est consacré à l'étude systématique des défixions amoureuses de Grèce, d'Italie, d'Egypte et d'Afrique romaine, datées du Ve s. av. au Ve s. ap. Elle analyse l'ensemble de ces textes et les replace dans les contextes sociaux et culturels de leur élaboration afin de mettre en évidence l'identité et les désirs de ces femmes et de ces hommes singuliers qui eurent recours à la magie amoureuse dans l'Antiquité
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Steiner, Liza. "Échos sadiens dans la littérature contemporaine : énoncé d’une nouvelle économie politique." Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC015.
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Ce travail interroge les points de convergence existant entre l’œuvre du Marquis de Sade et celle d’un corpus d’écrivains contemporains : Tony Duvert, Catherine Millet, Aldo Busi, Elfriede Jelinek, James Graham Ballard, Bret Easton Ellis, Don DeLillo et Nelly Arcan. En effet, l’hypothèse surgie de la scène sadienne alliant sexualité et économie trouve un écho dans la littérature contemporaine. Mais la structure sociale, libérale et individualiste, qui s’y trouve décrite, engage des protocoles de lecture différents. De la posture élitaire de libertins sadiens mettant en danger les fondements de la société, au nivellement démocratique impliquant un nouveau conformisme, se joue une mutation des rapports intersubjectifs. En nous livrant des personnages soumis à la tyrannie du consumérisme, les auteurs de ce corpus redéfinissent l’économie des passions et de la jouissance. De la numération des partenaires à une production sexuelle devenue production économique, notre corpus fait valoir le désir comme un analyseur social des nouveaux rapports de violence. Si les stratégies narratives de nos auteurs varient, les gestes d’écriture concourent tous à déjouer ce nouvel Éros mortifèreThis work studies the ground shared by the work of the Marquis de Sade and a corpus of works by contemporary writers : Tony Duvert, Catherine Millet, Aldo Busi, Elfriede Jelinek, James Graham Ballard, Bret Easton Ellis, Don DeLillo and Nelly Arcan. Sade’s hypothesis of a combination of sexuality and economy finds echoes in contemporary literature. But the social, liberal and individualistic structure which such literature describes entails different reading protocols. From the elitist posture of Sadian libertines, which endangers the society’s foundations, to democratic leveling, which involves a new conformism, we can see a mutation of the intersubjective relations in progress. The authors of this corpus redefine the economy of passion and the economy of enjoyment by presenting us with characters subjected to the tyranny of consumerism. From the enumeration of sexual partners to a sexual production turned into economic production, our corpus highlights desire as a mode of analysis of new violence within society. The authors in our corpus may not use the same narrative strategies, but their respective ways of writing all contribute to defeating this deadly new Eros
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Bremert, Tamara Jade. "Sex in Suetonius: Sexual Material as a Characterisation Device for Tyrannical Emperors." Thesis, 2021. https://hdl.handle.net/2440/134038.
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This thesis analyses the ways in which Suetonius uses sexual material as a characterisation device in his de Vita Caesarum. While Suetonius’ detailed descriptions of the emperors’ sex lives have long entertained readers, scholars usually dismiss them as scarcely credible gossip. However, these passages do warrant serious study. The thesis approaches Suetonius’ Caesares from a literary standpoint and argues that sexual material serves as a device to characterise the ‘bad’ emperors as archetypal tyrants. I begin by assessing the stereotypical behaviour of the tyrant character and determine that Suetonius is employing this character-archetype in the biographies of his tyrannical emperors. I argue that sexual behaviour was a key aspect of the tyrant figure, who was often characterised by his unrestrained and deviant sexual desires and by the ways in which he abused his power in order to fulfil them. Suetonius employs various structural and rhetorical techniques within his passages on the emperors’ sexual habits to emphasise this tyrannical characterisation. I demonstrate that the passages are placed at vital points within the biographies, drawing emphasis to their cruel, arrogant, and lustful nature. The tyrannical character is further highlighted through Suetonius’ arrangement of each anecdote within the passage, as well as his use of other rhetorical techniques, including generalisation and contrast. My analysis of the passages shows that they drastically alter the reader’s perceptions of the emperor in question and thus serve a key function in Suetonius’ narrative. I also argue that deviant sexual material is employed by Suetonius precisely because it was so emotive to Roman readers. Deviant sexual behaviour served as ‘proof’ that a man lacked the necessary masculine virtues to rule others. As sexual encounters in Roman society were usually constructed around a power imbalance, Suetonius’ tales of deviant sexual behaviour serve as metaphors and exempla for how an emperor uses (or abuses) his power, and whether he is fit to wield it. Suetonius’ passages on the tyrannical emperors’ sex lives influences the reader to view the men as justifiably removed from power. This thesis demonstrates that Suetonius’ descriptions of deviant sexual behaviour are more than just prurient gossip. Rather, his rhetorical use of sexual material serves a strong narrative purpose, furthering his characterisation and judgement of these emperors as tyrants.Thesis (MPhil) -- University of Adelaide, School of Humanities, 2021
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Crawford, Matthew B. "Eros under a new sky : Greek reassessments of politics, philosophy and sexuality in light of Roman hegemony /." 2000. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:9978015.
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Racine, Julie. "D’un didactisme à l’autre : étude sociocritique du roman québécois pour adolescents (1980-2000)." Thèse, 2011. http://hdl.handle.net/1866/7082.
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Alors que la critique soutient souvent que le didactisme dans la littérature québécoise pour la jeunesse est chose du passé, l’analyse sociocritique, dans le présent mémoire, de plusieurs romans pour adolescents publiés après 1980 montre plutôt qu’il y subsiste et que les thèmes (conflits entre parents et adolescents, famille, sexualité) et les formes (narration ou focalisation à partir du point de vue de personnages adolescents) souvent invoqués par la critique pour prouver sa disparition constituent précisément les dimensions d’un didactisme d’un nouveau genre. Les personnages adolescents des romans analysés proposent des portraits de parents, des jugements sur des modèles familiaux et des citations de conseils sur la sexualité qui peuvent tous être considérés comme des stratégies didactiques. En plus de mettre de l’avant certaines valeurs, ces discours tenus par les adolescents constituent un métadidactisme qui réinscrit dans les œuvres elles-mêmes la relation, qui est au cœur même de la définition de la littérature jeunesse, entre un adulte détenteur de savoir et un jeune considéré comme un être en formation.While critics often argue that didacticism in Quebec youth literature is obsolescent, a sociocritical analysis of some novels written for teenagers since 1980 shows that themes (parent-teenager conflicts, family, sexuality) and forms (narration and focalisation from the perspective of teen characters) frequently used to prove didacticism’s disappearance are, in reality, the manifestations of a new kind of didacticism. Their portraits of parents, judgments of family models and advice on sexuality, always shared by teenage characters, can in fact be considered didactic strategies. In addition to promoting specific values, those discourses build a metadidacticism which reiterates, in the novels themselves, the relationship that defines youth literature : a relationship between a knowledgeable adult and a young human being in training.
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Haskins, Susan Louise. "From marriage comes virgin flesh : a comparison between classical male and Christian male perceptions of female sexuality with the advent of Christianity in the Roman Empire in the first four centuries AD." Thesis, 2002. http://hdl.handle.net/10413/4523.
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From the first to the fourth century AD, male perceptions of female sexuality
underwent a radical change with the advent of Christianity. This thesis is an
investigation into classical male and Christian male perceptions of female sexuality,
to determine the manner and extent to which this change in perceptions took place.
The investigation will be two-fold, studying both the laws that established these
perceptions, as well as representations of female sexuality within specific, subjective
male-authored texts. A study of the marriage legislation of Augustus and a male
writer of the early Empire, Apuleius, shows an underlying pattern of thought, or
paradigm, of female sexuality among classical males. Female sexuality was
perceived as existing for the sole purpose of procreation, and males in positions of
authority thought that it needed to be under male control in order to ensure
acceptable sexual behaviour. They believed this would be best achieved by situating
it under the authority of the family. With the advent of Christianity, however, a new
competing paradigm on female sexuality emerged, which challenged the perceptions
of men of the classical era. The church fathers spurned the classical view of female
sexuality by instead advocating lifelong celibacy. They too, believed female
sexuality had to be controlled, but they placed it under the authority of the church,
and outside the family. Since the basis of the classical and Christian patterns of
thought differed so markedly, especially when the Christian paradigm was first
being formulated in the second century, it was inevitable that they would come into
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conflict. Advocates of the classical paradigm tried to suppress Christianity by
persecuting its supporters. Some Christian women became victims of this conflict.
This thesis will also include an example of this conflict - the martyrdom of the
female Christian Perpetua, who left a record of her persecution in the form of a
diary. The conversion of the Emperor Constantine to Christianity in the fourth
century brought about the end of the conflict ana a victory for the Christian
paradigm. The church fathers suggest that the shift from classical to Christian was
total and complete. However, closer examination of Constantine's legislation and
the work of the influential church father Jerome shows that while this shift was
complete in theory, it did not extend very far into social and legal practice.
Although the Christian ideals of the church fathers were a major component of thenew paradigm, it also came to be composed of classical notions - now motivated by
Christian thought - that were held by Constantine and the upper classes. It was
these classical notions that shaped the social reality of life in the fourth century AD.
The nature and extent of the paradigm shift was therefore radical and far-reaching in
theory, but not in practice.Thesis (M.A.)-University of Natal, Durban, 2002.
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Attikpoé, Kodjo. "De la transgression comme pratique esthétique dans les romans de Sami Tchak." Thèse, 2011. http://hdl.handle.net/1866/8744.
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Cette thèse a pour objectif d’examiner l’œuvre romanesque du Togolais Sami Tchak (de son vrai nom Sadamba Tcha Koura). Parmi les écrivains africains francophones dits de la nouvelle génération, il se distingue par une esthétique qui s’inscrit essentiellement dans une dynamique transgressive et transculturelle. À travers un recours systématique au matériau de la sexualité, Sami Tchak construit une poétique, qui, au-delà de son audace transgressive, de son aspect délibérément choquant et provocateur, s’attache à interroger l’existence humaine, à mettre en évidence les misères et les faiblesses de l’Homme. En outre, cette poétique de la sexualité est porteuse de sens du social : elle sert de prétexte à l’auteur pour dépeindre l’existence de ceux qu’il appelle des « vies sans horizon », des « vies sans relief », mais aussi pour déconstruire la doxa.
Mû par le désir de s’imposer comme une voix individuelle, de s’éloigner du dogme enfermant de l’africanité, Sami Tchak choisit de marquer son propre territoire littéraire par le biais d’une démarche transculturelle, en ancrant son œuvre dans la mémoire de la littérature. Cet ancrage se double d’une construction polysémique de l’espace.
La présente étude s’appuie sur une triple approche, intertextuelle, sociocritique et transculturelle. Par exemple, elle montrera que, contrairement à une certaine critique qui le soupçonne de tourner le dos à l’Afrique, le projet romanesque de Sami Tchak procède d’une conscience à la fois africaine et universelle : même dans les romans qui se déroulent dans l’espace latino-américain, on remarquera que l’auteur possède l’art d’évoquer l’Afrique, surtout à travers des discours allusifs, implicites.This thesis aims to examine the novels of the Togolese writer Sami Tchak (whose real name is Sadamba Tcha Koura). Among the so-called New Generation of francophone African writers, he is noted for his fiction that lies within a transgressive and transcultural dynamics. Through a systematic use of sexuality, Sami Tchak creates a poetics that, on the other side of his transgressive boldness and his deliberately shocking and provocative aspect, seeks to examine human existence, to highlight human misery and weaknesses. In addition, this poetics conveys social meaning: sexuality serves as a pretext for the author to depict the lives of those he calls “lives without horizon” or “lives without depth”, and also to deconstruct the doxa. Sami Tchak wants to be heard as an individual voice. He wants to distinguish himself by diverging from the dogma of “Africanity”. Thus, he marks his own literary territory through transcultural features: literary memory assumes a central place in his fiction, which is also characterized by a polysemic configuration of space. The theoretical framework used in this study concerns intertextuality, sociocriticism and transculturality. For instance, the thesis will show that contrary to the literary criticism which suspects him of turning his back on Africa, the fiction of Sami Tchak proceeds from an African and universal consciousness: even in the novels that take place in the Latin American countries, we notice that the author has a talent for talking about Africa, especially through allusive discourse.
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Jeníková, Jitka. "Obraz sexuality v moderním arabském románu." Doctoral thesis, 2017. http://www.nusl.cz/ntk/nusl-371324.
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The intention of this doctoral thesis is to present a comprehensive account of the evolution of the way sex and sexuality are portrayed in modern Arabic novel and put it in the context of given era, culture and religion. On a selected sample of 30 novels printed between 1934 and 2009 we can trace clear evolution of the central themes, all of which are constantly present throughout the hundred-years-existence of modern Arabic novel. For the sake of greater comprehensibility the thesis is split in two big parts, i.e. female and male sexuality, and further arranged into thematic subchapters all of which discuss specific issues related either to male or female sexuality. Furthermore, individual chapters deal with the topic in general, put it in proper cultural-religious framework and fill in all available historical and statistical data. Next comes the part dedicated to analysis of selected novels portraying sex a sexuality with excerpts translated directly from primary sources. Aside from peculiar themes typical for Arabic culture such as honor, virginity and related issue of honor killings this thesis discusses the way modern Arabic novels deals with both female and male homosexuality, discovering one's body and masturbation, abortion, sexual violence, impotence, infertility and prostitution. Also it...
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Lebedová, Anna. "Barbey d'Aurevilly mezi romantismem a dekadencí." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369914.
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(in English): The main objective of the thesis Jules Barbey d'Aurevilly between romanticism and decadence is not only to describe Barbey's novels Un Prêtre marié and L'Ensorcelée but specially to put these two works into context of decadent aesthetics. At the beginning of this work stood the question of whenever we can consider Jules Barbey d'Aurevilly (similarly to Charles Baudelaire) to be a pioneer of the decadent movement. We will be analysing generally universal themes, such as love, pride or revolt, but we will see them through the prism of decadence, allowing them to obtain new meanings. The same motive of love, standing for passion in a romantic work, attains in Barbey's universe a character of a pathological instinct. We have divided our work into three chapters. The first one represents a theoretical part, in which we had put Barbey's work into its literary-historical context, and we had shown the topics of the generation of "disenchanted" romantics preceding the generation of decadents. Consequently, we have arrived at the main motives of decadence par excellence. The second chapter, in which we focus on the novel Un Prêtre marié, is then the essential core of our work. Through character analysis we study motives such as hysteria, incest, pride, sadomasochism, sexuality and others,...
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"Éducation érotique : Pietro Aretinos "Ragionamenti" im libertinen Roman Frankreichs /." Stuttgart : M & P, 1994. http://catalogue.bnf.fr/ark:/12148/cb37623307r.
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Marx, Lambertus Petrus. "The appropriation of Pauline sexualities in the homilies of John Chrysostom." Diss., 2017. http://hdl.handle.net/10500/23585.
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Throughout the ages historical text criticism has been used to study texts of ancient authors of Christian ethical values. Two such persons were Paul the apostle and John Chrysostom. This study
shows that text historical criticism is not without problems. The problem lays not so much in the idea of historical text criticism, but how it was and is still being applied today, it is never without bias.
This use of the texts of Paul and Chrysostom who were both very outspoken on the subject of sexuality has caused great amounts of emotional and in cases also physical pain to people who misapplied historical text criticism and as Martin and others have effectively shown, any such interpretation of text that has a intention to hurt people cannot be the right method.
Ancient sexuality worked and was constructed completely different from the sexuality of modernity.
The way gender was appropriated in ancient times, the way sexuality was construed and applied were
set against a wholly different context and set of rules than that of the current day. This becomes
clear in Roman and Hellenistic sexuality that is discussed in detail in this study. Unlike modern
times, the ancients did not have a simplistic two-sex model that was based on biological sex, in their world, one’s actions determined one’s sex. Both Paul and Chrysostom were very well educated people, they were aware of philosophic thought in their day and took these thoughts into account whilst saying and writing what they did.
Paul was at heart a dedicated Pharisee who only later turned toward Christianity. He was well acquainted with Jewish sexual ethics; he had an absolute repulsion towards any form of desire,
which he believed led to many other sins. His writings available to us should not be seen as biographies but as letters intended to be arguments with very good rhetoric and diatribe, written
with the goal of achieving to convince the receiver or listener. He was extremely conservative in
his viewpoint on sex, if he could have had his way, no sexual contact between any person would have existed, but he realised that not everybody had the same gifts he had. This point of view was
mostly because of his eschatological worldview, for Paul when you became a
Christian you became a slave of God and you were no longer a slave of any passions, so much the more, the passions of the flesh.
Chrysostom, who lived almost four hundred years later, had a great veneration for Paul. He basically shared all Paul’s views on sexuality, although not always for the same reasons. Chrysostom was however, in his way also eschatological. His life, like that of Paul was caught up in many confrontations, which had an influence on the way he thought and the things he had opinions on. Chrysostom, like Paul preferred the ascetic lifestyle not only for himself but for everyone, he believed that marriage accompanied death–both spiritual and physical in the end. He so much clang to the ideas of Paul, that a sort of “Paulism” developed. Chrysostom, however noble his sayings might come across did not always have the purest of motive, some of the things he did or say was to achieve a certain political goal, even if it was just to gain more power for the church. This is one aspect that should be kept in mind when studying his texts.
Unfortunately, for many people, many misinterpretations, be it willingly/intentionally, many
mistranslations of key words on the Bible (like the word malakos) have been made. What so ever the intention–be it to propagate popular social sexual propaganda, or whatever–this is and was not right. Like mentioned many people has experience hurt because of this. Rhetorical text analysis is being set forward as an alternative to historical text criticism in a slight but hopeful effort to
overcome this problem and enable the churches of today to welcome many more Christians into their families.Biblical and Ancient Studies
M. Bib. (New Testament)
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Sechin, Anne. ""Partout où il n'y aura rien, lisez ..." : textualité et sexualité dans les romans de Diderot." 2005. http://hdl.handle.net/1993/20707.
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HOLÍKOVÁ, Petra. "Bram Stoker and Sheridan Le Fanu: An Anaylsis of their Irish Horror Fiction/Bram Stoker a Sheridan Le Fanu: Analýza jejich Irských hororových příběhů." Master's thesis, 2016. http://www.nusl.cz/ntk/nusl-381119.
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The diploma thesis "Bram Stoker and Sheridan LeFanu: An Analysis of their Irish Horror Fiction" deals with the analysis of the varied aspects linked with the themes of horror stories of two Irish writers. Both writers, Joseph Sheridan LeFanu and Bram Stoker, were Protestants from Dublin whose works are renowned worldwide. An emphasis is made on the study of Gothic settings and the aim of the thesis is to specifically find and to analyze characteristic elements of Gothic fiction of these authors. This thesis is concerned with Bram Stoker´s Dracula (1897) and also with the story "Dracula´s Guest". It will analyse short stories such as the novella Carmilla and also "The Familiar" by Joseph Sheridan LeFanu.
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Zamora, y. Góngora Javier Alejandro. "Jugar por amor propio ludismo y autorrealización en la novela moderna." Thèse, 2006. http://hdl.handle.net/1866/17328.
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