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REGGIANI, Greta. "Visioni dell'Altra: fascino e terrore, bellezza e fatalità della figura femminile nei racconti fantastici di Théophile Gautier e di altri maestri del Romanticismo francese." Doctoral thesis, Università degli Studi di Verona, 2007. http://hdl.handle.net/11562/338159.
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Cucciniello, O. "MILANESI A PARIGI. LA FORTUNA CRITICA FRANCESE DEGLI ARTISTI DI FORMAZIONE LOMBARDA ALLE ESPOSIZIONI DI PARIGI NELLA SECONDA METÀ DELL'OTTOCENTO." Doctoral thesis, Università degli Studi di Milano, 2016. http://hdl.handle.net/2434/373759.
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Milanese people in Paris. The French critical reception of the artists that studied in Lombardy on the exhibitions in Paris during the second half of the 19th Century.
The topic of the dissertation is the critical reception of the Lombard art in the second half of the 19th Century in Paris, between printed and archival sources from these years, based on the Parisian universal exhibitions and the annual Salon.
As the universal exhibitions are a mirror of the society, important changes in art and politics that characterized the period, both in Italy and in France, are clearly reflected by them. From the 1855 Universal Exhibition, when Lombardy was under the Austrian domination, over the 1867 and 1878 ones that followed the progressive unification of Italy; finally the 1889 Universal Exhibition shows a radical change for the art market and for the artists. Through the critical reception of artists (such as Etienne-Jean Delécluze or Olivier Merson) and anonym or well-known critics (such as Théophile Gautier, Paul Mantz, Charles Blanc), we can understand the contemporary idea of "Italian modern art" and the regional identity of the Lombard school.
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FIACCADORI, CHIARA. "FRANCESCO SCARAMUZZA (SISSA, 1803 - PARMA, 1886)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10488.
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Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.<br>This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.
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FIACCADORI, CHIARA. "FRANCESCO SCARAMUZZA (SISSA, 1803 - PARMA, 1886)." Doctoral thesis, Università Cattolica del Sacro Cuore, 2016. http://hdl.handle.net/10280/10488.
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Il presente studio si propone di ricostruire, in una dimensione monografica, la figura di Francesco Scaramuzza, personalità artistica prolifica che ha determinato nella prima metà dell’Ottocento il nuovo corso della pittura parmense. Interprete e portatore di un Romanticismo atipico, fu debitore, a suo modo, tanto della lezione dei Nazareni quanto, più tardi, della svolta lombarda verso i temi contemporanei, senza mai trascurare l’amata impronta correggesca. L’artista attraversa tre distinti momenti di committenza, dal governo restaurato di Maria Luigia d’Asburgo, dopo la parentesi napoleonica, all’infelice intervallo borbonico, presto sfociato nell’annessione al regno Sardo di Vittorio Emanuele II. Sotto la sovrana austriaca giunge all’apice della carriera, subendo, però, una battuta d’arresto con i Borbone a causa delle sue note simpatie libertarie. Trova una conferma nel nuovo governo unitario, il quale gli affida il compito di illustrare la Divina Commedia, la sua opera più nota e più riuscita, che segnerà, dopo diciassette anni di strenuo lavoro, il punto di arrivo della sua carriera d’artista.<br>This study aims to reconstruct, in a monographic dimension, the profile of Francesco Scaramuzza, a prolific artist who determined the new course of painting in Parma in the first half of the 19th century. Interpreter and bearer of an atypical Romanticism, in his artistic development he was inspired by the lessons of the Nazarenes as much as by the Lombard interest in contemporary subjects, without neglecting the beloved imprint of Correggio’s style. Throughout his career he went through three different patronages, from the restored regime of Marie Louise of Hapsburg, after the Napoleonic period, to the unhappy Bourbon interlude, ended quickly with the annexation to the reign of Vittorio Emanuele II. Under the Austrian sovereign he reached the peak of his career, suffering, however, a setback under the Bourbon government because of his well-known libertarian sympathies. His value was recognized eventually by the establishment of the united Italy, who entrusted him to illustrate the Divine Comedy, his most famous and successful work, which will mark, after seventeen years of strenuous work, the conclusion of his career as an artist.
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Costello, Lauren Michelle. "A sociological study of the formation of the Romantic identity in France." Thesis, Boston University, 2005. https://hdl.handle.net/2144/32860.
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Thesis (B.A.)--Boston University. University Professors Program Senior theses.<br>PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.<br>2031-01-01
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Cavalcante, Cristovam Bruno Gomes [UNESP]. "O perfeito mágico das letras francesas: aproximações entre o conto fantástico e a poesia de Théophile Gautier." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/140151.
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Previous issue date: 2016-05-30<br>Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)<br>Este trabalho propõe-se a estudar as concepções poéticas do escritor francês Théophile Gautier (1811-1872), figura relevante para a arte de diversos outros poetas e de movimentos literários posteriores. Tendo em vista que ele participou tanto das tentativas de consolidação do movimento romântico na França em 1830 quanto do desenvolvimento da poética do Parnasse, busca-se compreender como se formou o seu estilo e como se firmou o seu pensamento, para, assim, partirmos ao objetivo principal do trabalho, que é o de assinalar a unidade de algumas obras em prosa de natureza fantástica e de sua obra poética, sobretudo da publicada em 1852, Émaux et Camées. Para esse fim, discorreremos, inicialmente, sobre as relações, por vezes conflituosas, entre o espírito burguês, os partidários de mudanças sociais e os artistas. Localizadas as questões que marcaram o poeta, que, particularmente, são a rejeição à demanda por utilidade social da arte e à necessidade de um posicionamento político do artista, partiremos à análise do corpus, aparentemente tão diverso, em busca de dados que comprovem a existência de uma unidade poética entre as obras escolhidas.<br>This work proposes a study from the poetic conceptions of the French writer Théophile Gautier (1811-1872), relevant name to the art of many other poets and later literary movements. Given that this poet attended both of the Romantic movement consolidation attempts in France in 1830 as the development of poetics of Parnassus, we seek to understand how his style was formed and how his thinking steadied in his composing, for thus we set the main objective of this study, which is to mark the unit inside some works in prose of fantastic nature and inside his poetic composition, especially the one published in 1852, Émaux et Camées. To that, we will discuss initially about conflictual relations between the bourgeois spirit, the supporters of social change and the artists. Once we located the issues that marked the poet, which in particular are the rejections to the social utility demand of art and to the need for a political position of the artist, we will analyze the corpus, apparently so diverse, in search of data to prove the existence of a poetic unity among the chosen works.<br>CNPq: 134128/2015-0
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Mendes, Maria Lúcia Dias. "No limiar da História e da Memória: um estudo de \'Mes Mémoires\', de Alexandre Dumas." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-01112007-143905/.
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A tese faz uma leitura da obra Mes mémoires de Alexandre Dumas a partir da visão de Georges Gusdorf sobre as escrituras do eu. A pesquisa parte da hipótese de que mesmo sendo uma obra memorialística mescla interesses e técnicas utilizadas por Dumas em outras obras. No início, as idéias de Philippe Lejeune e de Georges Gusdorf são apresentadas, e o conceito de memória esboçado. Devido à profunda ligação entre memória e História, analisou-se as mudanças ocorridas no início do século XIX na historiografia e literatura francesas, influenciadas por Walter Scott e como Dumas as assimilou em sua obra. Depois, procura discernir quais foram os recursos narrativos empregados para a construção da obra, os temas recorrentes e as técnicas vindas de outros gêneros praticados pelo autor. Discute a imagem que o autor deseja fixar para si e para a sua geração. No final, apresenta-se uma biografia de Victor Hugo que, como outras, foi inserida nessa obra multifacetada de Dumas. Conclui-se que em Mes mémoires Alexandre Dumas narra a sua trajetória harmonizando interesses e características já presentes em outras obras, movido pelo desejo de eternizar em suas memórias a memória da França de seu tempo.<br>The thesis revises the book Mes mémoires, written by Alexander Dumas, adopting Georges Gusdorf\'s vision of the writes of the self. The research assumes the initial premise that, even being a memory book, it brings together interests and techniques used by Dumas in other works. At the beginning, the ideas of Philippe Lejeune and Georges Gusdorf are presented and the concept of memory is explained. Because of the deep linking between memory and History, the changes occurred in French historiography and literature during the beginning of century XIX, influenced by Walter Scott and assimilated by Dumas, are studied. Further, it seeks to understand the narrative resources used to build the memories, the recurrent issues and the techniques that the author rescued from previous writes. It also analyses the image that Dumas desires to fix for himself and for his generation. Finally, the thesis presents a biography of Victor Hugo that, as others, was included in this multifaceted work of Dumas. The conclusion is that Mes mémoires of Alexander Dumas tells its trajectory putting together interests and characteristics already presents in his complete works, moved by the desire to eternize in his memories the Memories of France and of his time.
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Baril, Joselle. "Quatre poètes au jardin des Oliviers." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79822.
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In the course of the romantic movement, the vision of the poetic ministry has been expressed by several poets through the figure of Jesus at the Mount of Olives. While Lamartine appropriates the suffering of Christ in order to proclaim himself to be a poet-prophet, Vigny refuses the silence of God. He, thus, accomplishes his poetic mission against God. Whereas Hugo does not take into consideration the meaning of Jesus' agony in order to make the Gethsemane a place of glory, Nerval rejects the notion of a Christlike mission. Hence, by putting into words the death of God, he foretells what Hugo Friedrich will later call an "empty transcendence", which is the very sign of modern poetics. Romanticism carried within itself the signs of the end of transcendence of poetics. Therefore, we will analyse the transition of romanticism to modernity in these four poems1 through the representation of Jesus Christ at Gethsemane.<br>1"Gethsemani ou la mort de Julia" d'Alphonse de Lamartine, "Le Mont des Oliviers" d'Alfred de Vigny, un extrait (strophes VI, VII et VIII du Chapitre intitule Jesus-Christ) de La Fin de Satan de Victor Hugo et "Le Jardin des Oliviers" de Gerard de Nerval.
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Paixao, Grace Alves da. "Natureza e artificialidade nas mulheres das poesias de Victor Hugo e Charles Baudelaire." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-12112010-161229/.
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O objetivo da presente pesquisa é comparar as figuras femininas das poesias de Victor Hugo e Charles Baudelaire, tendo como eixo de análise a expressão da natureza e da artificialidade. O trabalho realiza-se especialmente a partir da leitura de poemas e consiste numa reflexão sobre as comparações entre os poetas encontradas na fortuna crítica, em uma apresentação geral de suas obras voltada para o estudo do progresso, da função do poeta e da paisagem em relação ao contexto do século XIX, e na análise de correlações e diferenças nas imagens de mulheres de suas poesias.<br>The aim of this research is to compare the female figures of poems by Victor Hugo, Charles Baudelaire considering the expression of nature and artificiality as their center. The comparison applied to these works will take place especially through reading poems. In addition to a literature review of the comparisons between them previously undertaken and an overview of their work focused on the study of progress, the role of poet and landscape in relation to the context of the nineteenth century, the work allows correlations and differences in the images of women on their poetry to be analyzed.
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Fossard, Stéphane. "Plaisirs du texte et plaisirs du sexe : l'érotisation de l'histoire dans les récits historiques de Paul Lacroix (1829-1835)." Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0004/document.
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Les années 1830 sont marquées par l'émergence d'une jeune génération romantique. Parmi ces nouveaux écrivains se trouve Paul Lacroix, jeune homme ambitieux qui désire marquer la littérature de son temps. Il connaît le succès grâce à ses romans historiques publiés sous le pseuadonyme de « Bibliophile Jacob », vieil érudit amateur de livres. Il exprime à travers son œuvre la volonté de donner à son public le goût de l'histoire, science réputée austère et exigeante. Il cherche également à se démarquer de ses illustres aînés et à devenir le « Walter Scott français ». Il joue pour cela sur l'attrait de l'érotisme et introduit ses lecteurs au cœur des secrets les plus intimes de l'histoire de France. Érotiser l'histoire est une manière pour Paul Lacroix de proposer une définition personnelle du roman historique, de s'interroger sur l'esthétique romantique et d'exprimer ses revendications idéologiques. Cette approche plurielle permettra de cerner au mieux les enjeux de son écriture et de montrer les limites de son projet<br>The 1830's are caracterized by the emergence of a young romantic generation. Among those new writers is Paul Lacroix, young ambitious man who desires to influence the litterature of his own time. He succeds to do so thanks to the historical novels he published under the pseudonym of « Bibliophile Jacob », old erudite book lover. He expresses through his work his will to give his public a taste for history, known to be an austere and demanding science. He also tries to stand out from his illustrious predecessors in becoming the « french Walter Scott ». Then, he plays on the attraction of eroticism and leads to his readers into the heart of the most intimate secrets of France history. By showing of the erotic side of history, Paul Lacroix gives his personal definition of the historical novel. That way, he brings up question about romantic aesthetic and expresses ideologicals claimings. This plural approach will enable to identify the issues of his writing and to show the limits of his project
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Suzuki, Kazuhiko. "Les Classiques et les Romantiques : une histoire des querelles littéraires (1824-1834)." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100169/document.
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Envenimée sous la Restauration, la querelle des classiques et des romantiques se joue en clair-obscur. Fils de la Révolution, le romantisme français se fait d’abord ombre du classicisme qui, sûr de sa splendeur, pourtant s’éteint. La décennie 1820 s’impose comme une période de transition au cours de laquelle l’obscure « nouvelle école » va détrôner la tradition classique pour conquérir sa part de lumière. Ce récit de l’exploit romantique, jusqu’ici, l’histoire littéraire n’en rend compte que par la seule voix des vainqueurs de la bataille. Cependant, lumière et ombre vont de pair, l’histoire du romantisme appelle une autre version pour en compléter la compréhension, version racontée par les défenseurs de la doctrine classique. Partant de cette hypothèse, la présente étude, consacrée à la période 1824-1834, se propose de revisiter ¬quelques grands moments de controverse sur le romantisme dans toutes ses problématiques. On verra ainsi Deschamps réagir à la condamnation académique d’Auger, le duel entre Hoffman et Hugo se poursuivre autour de la question poétique ou encore Janin et Nisard s’affronter sur la condition littéraire après 1830. Les tenants du romantisme ont tort de croire qu’ils l’ont inventé tout seuls ; cette nouvelle pensée esthétique, au contraire, s’est forgée à coups de conflits d’intérêts politiques et littéraires. Dans cette perspective, reconstituer l’enchevêtrement du classicisme et du romantisme permettra de mieux comprendre comment ces deux courants littéraires ont chacun pu construire l’image de soi en même temps que celle de l’autre<br>The literary controversy between Classicism and Romanticism represents itself as a drama of light and shadow. Romanticism in the beginning was a shadow of the Classicism that, although proud of its past glory, began to decline. The decade 1820-1830 can be defined as a transition period, during which the obscure “newcomer” dethrones the “old champ”. French literary history has so far recounted this glorious story of the Romantics by referring exclusively to what they told. In other words, little has been done to examine the literary controversy seen by its losers. However, light and shadow go together; so to understand the history of Romanticism as a whole, it is necessary to complete it with another version told by the defenders of classical doctrine. With this in mind, this study attempts to revisit the decade 1824-1834 and to examine some historical controversies covering a wide range of subjects related to French Romanticism: thus we will be concerned with the anti-romantic speech of the academician Louis-Simon Auger that raised objections from Romantics such as Émile Deschamps, the debate between François-Benoît Hoffman and Victor Hugo about the poetic use of “image” or that of Désiré Nisard and Jules Janin about the condition of literature after the July Revolution of 1830. Romantics are wrong to consider Romanticism as their own creation. On the contrary, this new esthetic movement has been established through various conflicts between classical and romantic schools. From this point of view, analyzing their controversies will make it possible to understand how these two literary movements have created their own image as well as that of their opponent
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Dickson, Polly Letitia. "The stakes of mimesis : tracing narrative lines in the works of E.T.A. Hoffmann and Honoré de Balzac." Thesis, University of Cambridge, 2017. https://www.repository.cam.ac.uk/handle/1810/269768.
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My project offers a set of comparative close readings of texts by E.T.A. Hoffmann and Honoré de Balzac. Balzac’s early fiction, I contend, grapples with questions relating to the representational practice of mimesis through an explicit engagement with Hoffmann’s work. Hoffmann’s fiction, in turn, proves itself repeatedly to contain the traces of a proto-realist tendency, through its playful interventions into the staging of narrative creation. The contribution of my project to scholarship is twofold. First, it offers comparative readings of texts that have not yet been drawn together, hoping to re-adjust the common ascriptions of ‘Romanticism’ and ‘Realism’ to Hoffmann and Balzac respectively, and to identify a new complication in the relationship of those generic categories. Second, it articulates a new account of mimesis. By drawing on the work of twentieth-century theorists such as Erich Auerbach, Walter Benjamin and Merleau-Ponty, it shows that ‘mimesis’ refers not merely to the imitation of an object, but rather to the reproduction of a particular sensory experience of that object. This perspective on mimesis allows me to unfold new readings of the two authors. How is life compromised in the name of fiction, of the artwork? This question recurs compulsively in Hoffmann’s tales, figured in repeated and near-repeated scenarios in which the everyday is pitted against an ideal or delusional alternative. When Balzac imitates or repeats this mimetic question in the works I consider, it is invariably figured in the image of Hoffmann, called upon as a fictional co-author or authorial double, or as a para-textual element, often in highly visual terms. The thesis thus addresses what I have come to term the ‘stakes of mimesis’. If a particular compromise, or particular stakes, are involved in the creation of fictions, for Balzac those stakes are drawn in distinctly Hoffmannesque terms. The thesis is structured according to the conviction that the relationship between the two writers is not simply a linear one of filiation or influence, but one led by a more complicated sense of imitation. To this end, I take to task the conventional figure of the narrative ‘line’ and follow it through various Romantic and modernist complications. My first chapter, ‘Chiasm’, works as a conceptual introduction to the readings, tracing a particular account of literary mimesis from Plato to Maurice Merleau-Ponty. The four subsequent chapters each read a pair of texts by Hoffmann and Balzac alongside one another. Chapter Two, ‘Line’, focuses on the arabesque lines of Der goldne Topf and La Peau de chagrin. Chapter Three, under the emblem ‘Trope’, examines the paper identities of characters in Die Abenteuer der Sylvester-Nacht and Le Colonel Chabert. Chapter Four, ‘Figure’, considers the delusional artist figures and ekphrastic narrative frameworks of Der Artushof and Le Chef-d’œuvre inconnu. Finally, Chapter Five, ‘Cross’, examines questions of inheritance between Die Elixiere des Teufels and L’Élixir de longue vie. In unfolding these emblematic figures as models of reading, I seek new ways of thinking about the relationship between these two authors, and about the act of comparative reading.
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Melo, Franco Lenon Rogerio de. "A maldição como processo = leituras de Gaspard de la Nuit." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270320.
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Previous issue date: 2010<br>Resumo: A dissertação se ocupa da recepção da obra francesa Gaspard de la Nuit: fantaisies à la manière de Rembrandt et de Callot desde sua publicação nos anos românticos até nossos dias. As leituras de Sainte-Beuve, Baudelaire, Mallarmé e André Breton, sobretudo, são revisadas à luz de exames sincrônicos e diacrônicos. Os diferentes acolhimentos do texto são oportunidade e aporte para discutirmos seus aspectos prevalentes, tais como a relação da poesia com as artes plásticas, a fundação de um novo gênero que é o poema em prosa moderno e a noção de poète maudit. Após o decantamento crítico de numerosos leitores, apresentamos então nossa exegese particular da obra - que se acrescenta a esses registros recepcionais que foram analisados<br>Abstract: Not informed<br>Mestrado<br>Literatura Geral e Comparada<br>Mestre em Teoria e História Literária
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Sousa, Cleonice Ferreira de. "Projeções do romantismo pelas asas de um condor: a presença hugoana em poemas da obra de Castro Alves." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-03042012-135318/.
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Partindo-se das relações entre o Brasil e a França no século XIX e da grande importância de Castro Alves e Victor Hugo para a literatura daquele e deste país, respectivamente, o presente trabalho procurou investigar a natureza da presença hugoana em textos selecionados da obra alvesiana. Inicialmente, examinamos minuciosamente os poemas selecionados, com o fito de evidenciar o motivo pelo qual o poeta brasileiro teria se apropriado do referente hugoano. Num segundo momento, realizou-se, quando oportuno, um cotejo entre os poemas alvesianos e os hugoanos evocados com o objetivo de desnudar a função específica desses referentes em cada texto. O cerne da nossa investigação está na seguinte indagação: Teria Castro Alves se deixado influenciar pelo mago da poesia francesa, ou o vate brasileiro teria utilizado o texto hugoano a serviço do seu discurso? Partindo disso, buscamos analisar os processos de assimilação do poeta brasileiro, mirando revelar o sentido das apropriações realizadas. A análise baseou-se na teoria da intertextualidade, o que poderá enriquecer os estudos de literatura comparada, na medida em que contribui para a ampliação do leque de informações acerca do sentido que a presença hugoana conferiu à obra de Castro Alves.<br>Considering the relationship between Brazil and France of the nineteenth century, as well as, the great importance of Castro Alves and Victor Hugo to the literature of both countries, the present work aimed to investigate the presence of Victor Hugo in the poems by Castro Alves. Firstly, we have carefully analyzed the selected poems in order to identify the reason why the Brazilian poet had used a Victor Hugo reference. Secondly, we have developed a comparison between the poems from Castro Alves and Victor Hugo so as to clarify the specific function of these references in each text. The main object of investigation relied on the following question: Was Castro Alves influenced by the wizard of the French poetry or had he used Hugos text for his own convenience? In order to find an answer for that question, we have analyzed the processes of assimilation of the Brazilian poet, revealing the meaning of Alves style. The analysis was based on the intertextuality theory and was a great contribution to the studies in compared literature, in the sense that it has widen the range of information about the meaning of Victor Hugo in the work of Castro Alves.
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Feuillebois, Victoire. "Nuits d'encre : cycles de fictions nocturnes à l'époque romantique (Allemagne, Russie, France)." Thesis, Poitiers, 2012. http://www.theses.fr/2012POIT5013.
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La thèse isole un corpus particulièrement large dans l'Europe romantique, constitué de fictions à récit-cadre oral nocturne organisées en « veillées », « nuits » ou « soirées ». Ce constat bibliographique fait apparaître un paradoxe : la littérature de l'époque romantique rêve-t-elle encore de pratiques orales alors que s'inaugurent au même moment le fonctionnement moderne de l'ordre des livres et sa régulation par des techniques commerciales ? Comment conjuguer l'idée du sacre de l'écrivain et la nostalgie apparente pour le récit de vive voix ? Le cycle de fictions nocturnes semble d'abord une survivance ou une nostalgie des formes plurimillénaires de narration orale (Le Pantchatrantra, Les Mille et une nuits) : les auteurs ressusciteraient la technique du récit encadré pour mieux profiter de la vitalité associée à l'échange direct ainsi simulé dans ces textes. Pourtant, l'étude de ce corpus montre que la relecture romantique n'a rien d'un archaïsme. D'abord, le cycle nocturne est en réalité une forme intermédiaire entre la tradition littéraire et les modifications contemporaines du champ : parfaitement adaptées à la publication journalistique, les fictions nocturnes rétablissent néanmoins une forme d'aura auctoriale en instaurant une ambivalence orale qui suggère une présence directe du conteur. Les « nuits » permettent donc de tirer parti de la mercantilisation croissante du monde des lettres, tout en continuant à bénéficier du prestige des mages romantiques et autres poètes de la nuit<br>This dissertation isolates in European romantic literature a particularly broad corpus of fictions with an oral frame organized in "watches", "nights" or "evenings". This bibliographic presence underlines a paradox: why does romantic literature still dream of oral practices whereas at the same time are inaugurated the modern textualisation of literature and its regulation by commercial techniques? How to combine the idea of the sacre of the writer and the nostalgia for direct speech ? The cycle of night fictions seems initially a survival or a sign of nostalgia of the antique forms of oral narration (Panchatrantra, Thousand and One Nights) : the authors appear to resurrect the technique of the frame narrative to benefit from the vitality associated with the direct exchange simulated in these texts. However, the study of this corpus shows that this romantic intertextual reading has nothing to do with a taste for archaism. Initially, the nocturnal cycle is actually an intermediate form between the literary tradition and the contemporary modifications of the literary context : it is perfectly adapted to publication in the press, but nevertheless makes it possible to restore a form of auctorial aura auctoriale by establishing an oral ambivalence which suggests a direct presence of the storyteller. The "nights" thus allow the author to adapt to the increasing mercantilisation of the literary world, while continuing to profit from the prestige associated to the romantic magi and other « poets of the night »
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Delvallez, Legendre Sophie. "Les influences hispano-orientales dans l’oeuvre poétique, graphique et dramatique de Victor Hugo (1820-1860)." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20011/document.
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Dans cette thèse, nous nous intéressons d’abord aux origines du cadre arabo-espagnol en montrant comment la société du XIXe siècle est tournée vers l’Orient et comment l’art est pénétré par ce nouveau monde, notamment grâce à l’orientalisme et au romantisme. Nous abordons l’iconographie orientale hugolienne par le biais de ses souvenirs personnels, des traces laissées par ses voyages, en tenant compte de sa biographie mais aussi de la peinture et de la littérature arabo-espagnoles pour étudier des figures et mouvements emblématiques de l’Orient hugolien. Ensuite nous approchons l’univers arabo-espagnol et ses motifs récurrents. Nous voyons comment la culture arabo-espagnole a influencé les écrits de Hugo. Enfin, nous plongeons dans l’âme espagnole de Hugo avec son caractère fantasmatique et ésotérique. Toutes les passions humaines sont enfermées dans ce monde arabo-espagnol et permettent à Hugo de se livrer tel qu’il est réellement<br>In this thesis, firstly we investigate the origins of the Moorish Spanish context by showing how XIXth century society is turned towards the Orient and how Art is permeated by this new world in particular due to the influences of orientalism and romanticism. We discuss Hugo’s oriental iconography through his personal memoirs, notes from his travel journals, taking into account his biography but also by studying figures and movements symbolic of Hugo’s orient as depicted in Moorish Spanish painting and literature. Secondly, we look into the Moorish Spanish world and its recurrent themes. We illustrate how Moorish Spanish culture influenced Hugo’s writings. Lastly, we delve into Hugo’s Spanish soul with all its phantasmagorical and esoteric elements. Every human passion can be found in this Moorish Spanish world which allows Hugo to reveal his true inner character
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Chaisemartin, Amélie de. "Créer des types. La caractérisation des personnages dans les romans de la seconde génération romantique en France (1830-1848)." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040157.
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Dans leurs préfaces et essais critiques, les romanciers de la seconde génération romantique expriment le désir de « créer des types ». C’est en effet selon eux le propre d’un chef-d’œuvre que de faire entrer dans le patrimoine littéraire commun de nouveaux types, comme Cervantès avec don Quichotte ou Molière avec Tartuffe. Notre thèse étudie la signification de ce terme apparu sous la monarchie de Juillet et les procédés stylistiques de caractérisation des personnages employés par les romanciers pour constituer des types. Notre corpus comprend les romans de Stendhal, Alfred de Vigny, Victor Hugo, George Sand, Honoré de Balzac, Alexandre Dumas, Eugène Sue et Théophile Gautier. Parce que le terme de type apparaît au même moment dans le vocabulaire de la caricature et de l’illustration, notre travail a également pour but de souligner les liens entre les procédés littéraires de typification et les dessins de types dans la presse satirique et la littérature panoramique. L’enjeu de notre thèse est de distinguer l’acception romantique du type d’une compréhension exclusivement sociologique tout en montrant les liens étroits entre types romanesques et types sociologiques<br>During the July Monarchy, French romantic writers used critical essays to express their desire to create new typical characters, or « types ». According to them, the ability of a novel to create new « types » is a sign of literary value. This work studies the esthetical meaning of the word « type » and the way novels written by Stendhal, Vigny, Hugo, Sand, Musset, Balzac, Dumas, Eugène Sue and Théophile Gautier make a character into a « type ». This term appears in satirical newspapers and « Physiologies » at the same time and this dissertation aims at explaining the links between visual « types » in caricature and litterary « types » in novels. This work also tries to underline the differences and similarities between romantic and sociological « types »
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Berkery, Charlotte. "Imaginaire et poésie nocturnes de Paris : la nuit parisienne dans les productions culturelles de la monarchie de juillet." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7085.
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La nuit parisienne du XIXe siècle constitue un ensemble de « scènes » parsemant les romans, la littérature panoramique, et les dessins de presse de l’époque. Dans des ouvrages canoniques, aussi bien que dans des documents peu exploités, chez des auteurs peu connus, se dégagent les mentalités noctambules ancrées dans la monarchie de Juillet. Les graveurs et caricaturistes, les romanciers et chroniqueurs ont été tout autant témoins qu’acteurs des nuits de la capitale. De la foule des boulevards au noctambule solitaire en « quête de soi », en passant par les figures types du chiffonnier, de la prostituée, du malfaiteur, c’est l’imaginaire et la poétique de la ville nocturne qui seront analysés dans cette thèse et qui s’avéreront partagés entre un romantisme qui profite du cadre nocturne pour évoquer la fantasmagorie et un réalisme qui se focalise sur la dimension sociale<br>The nineteenth-century Paris night is summed up in a repertoire of « scenes » inscribed in novels, panoramic literature and newspaper images. The nocturnal mindset associated with the period of the July Monarchy in particular is revealed in these canonical texts, as well as little- consulted documents, penned by relatively obscure authors. Engravers and caricaturists, novelists and commentators all served as witnesses of, as well as participants in, the nocturnal capital. This thesis examines the imaginary and the poetics surrounding the nocturnal city, from depictions of the crowds thronging the boulevards to the evocations of the solitary noctambule on a voyage of self- discovery. Also scrutinised are the social types of the chiffonnier, the prostitute and the criminal. The poetics of this urban and nocturnal imaginary is located in between a Romanticism of nocturnal impressionism and fantasmagoria, and conversely a realism that highlights the social structures of the night
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Soubigou, Gilles. "La littérature britannique et les milieux artistiques français ( 1789-1830). Réception, traduction, création : l'invention d'un imaginaire romantique." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H003.
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Lieu commun au sein de l’historiographie de ce courant artistique et littéraire. En déplaçant le curseur chronologique pour étudier la période comprise entre 1789 et 1830, c’est-à-dire entre la fin de l’anglomanie d’Ancien Régime et la date consacrée du triomphe romantique en France, cette thèse s’intéresse aux conditions d’apparition de centaines d’œuvres empruntant leur sujet à un corpus d’une quarantaine d’auteurs britanniques, de Macpherson et Smith – qui dévoilent Ossian à l’Europe –, à Byron,Walter Scott et Shakespeare. Nombre de ces œuvres ont pu être localisées, ou sont connues par divers témoignages, et leur étude permet de constater l’hétérogénéité des profils, des formations, des styles et des motivations des artistes français ou présents sur le sol français qui s’intéressent à ces textes. En appliquant un schéma d’analyse conçu grâce à des outils forgés par les études de réception, les théories de la traduction ou la littérature comparée, il est possible de déterminer que la réception de textes littéraires dans les arts visuels procède en quatre temps distincts : diffusion, transposition, appropriation et répercussions. En étudiant chacune de ces phases et en replaçant la production des artistes en regard des enjeux socioculturels et économiques de leur temps, il en résulte moins une image d’Épinal d’un certain romantisme « frénétique » qu’un instantané de la profonde complexité de la scène artistique du temps, qui voit naître à la fois un imaginaire romantique et un romantisme imaginaire<br>Commonplace within the historiography of this artistic and literary movement. By moving the chronological cursor towards the 1789-1830 period, that is between the end of Ancien Régime anglomania and the accepted date of the romantic triumph in France, this dissertation deals with the conditions of appearance of hundreds of artworks borrowing their subjects from within a corpus of more than forty British authors, from Macpherson and Smith - who unveiled Ossian’s poems to Europe - toLord Byron, Sir Walter Scott and William Shakespeare. Many of these works of art could have been localised, or are known through various testimonies, and their study allows us to observe the heterogeneousness of the relevant artists’ profiles, trainings and motivations. By applying an analytical pattern designed to use tools forged by reception studies, translation theory and comparative literature, it is possible to determine that the reception of literary texts in the visual arts proceeds through four phases :diffusion, adaptation, appropriation and repercussion. Placing this artistic production within the sociocultural and economical context of its time reveals a less idealized image of some «gothic» romanticism, the deep complexity of the contemporary French artistic scene which sees the birth of bothromantic imagination and imaginary romanticism
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Sahin, Can. "L'influence des écrivains français sur les doctrines littéraires des romanciers turcs de la période de la modernisation et les réalisations." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA028.
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Le roman est un don de la période de modernisation à la littérature turque. Les changements sociaux et politiques se sont sans aucun doute fait sentir sur la littérature. Le 19e siècle est un siècle riche en changements et en grandes évolutions au sein de l'Empire ottoman. La France était littéralement la fenêtre ouverte sur l'Europe à cette période. La littérature turque classique vieille de plus de mille ans a laissé sa place à une nouvelle conception de la littérature à l'image européenne. L'influence française sur la littérature turque de la période de modernisation est analysée dans cette étude. Nous nous sommes efforcés de déchiffrer les motifs de l'influence française sur la littérature turque et ses effets sur celle-ci. Romantisme, réalisme et naturalisme français qui ont été découverts pour la première fois grâce aux traductions des romans français ont servi de guide aux écrivains turcs. Nous avons mis en évidence les points sur lesquels les écrivains français ont influencé les écrivains turcs à travers notre étude basée sur la lecture des textes théoriques et romanesques<br>Novel is a gift to Turkish literature of the period of modernization. Changing social and political events undoubtedly affects on literary form. 19th century in the Ottoman Empire at dizzying speeds where there is a period of development and change. During this period, France is almost like a pop-up window of the Ottoman Empire in Europe. Place a thousand years of classical Turkish literature in the European model is replaced with a new understanding of literature. In this change French literature has been exemplary in litrature. In this study, the period of Reformation French influence in Turkish literature has been examined from a broader perspective. The causes of the French influence in Turkish literature and its reflections have tried to read through the first Turkish novel. For the first time in this process, beginning with the translation of the French novel of French romanticism, French realism and French naturalism led to the Turkish author. This academic endeavour is carried out on the texts of French writer of which direction they affect Turkish writer has been demonstrated in a detailed manner
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Laurent, Françoise. "Le Portugal et la France romantique : 1817-1848." Paris 3, 2008. http://www.theses.fr/2008PA030008.
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Cette étude tente d’évaluer la nature et l’importance des relations culturelles et littéraires que la France entretint avec le Portugal au XIXème siècle, à l’époque du Romantisme. A partir d’enquêtes menées dans la presse politique, les journaux littéraires et populaires, les ouvrages de référence, les manuels scolaires, les traductions d’œuvres portugaises, et principalement celles des Lusiades, dans les récits des voyageurs, dans les drames et les comédies jouées sur les scènes françaises, dans les ouvrages de fiction, romans, nouvelles, poésies, dans l’admiration exprimée pour la vie du poète Luís de Camões, plus que pour son oeuvre épique et lyrique, dans les jugements portés par la société française sur le Portugal et sa culture, ont été esquissées quelques caractéristiques de l’histoire des idées à cette époque<br>This study is aiming to value the nature and the importance of the cultural and literary relations between romantic France and Portugal in the XIXth century. From investigations in the political press, literary and popular publications, reference books, school textbooks, travellers’ narrations, translations of literary works, mainly the Lusiades, in the dramas and comedies played in the French theatres, in the works of fiction, novels, short stories, poems, in the admiration expressed for the life of Luís de Camões, more than its lyric works, in the French judgments about Portuguese nation, and its culture, some characteristics of the history of ideas at that time have been sketched
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Metzger, Florence. "Réception, traduction et retraduction des poèmes de S.T. Coleridge." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0415.
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Meschonnic soulignait l’importance de l’« inséparabilité entre histoire et fonctionnement, entre langage et littérature », la nécessité de « reconnaître l’historicité du traduire, et des traductions » (poétique du traduire, introduction). En s’appuyant sur l’analyse des différentes traductions françaises de l’œuvre du poète-philosophe Coleridge, traductions publiées entre 1825 et 2015, nous tenterons de mettre en perspective ces traductions plurielles et les différentes théories de la traduction. Entre théorie de la traduction et pratique du traduire, comment peut-on définir le rôle et la place du traducteur ? La poésie est souvent considérée comme « intraduisible ». Pourtant, la poésie se traduit depuis des siècles. S’agit-il de traduction ou de « transposition créatrice », comme le pensait Jakobson ? Nous analyserons les différents procédés mis en œuvre pour compenser « what gets lost in translation », selon la formule de Robert Frost. En se plaçant dans une perspective comparative, nous examinerons le rôle joué par la traduction dans l’introduction de la poésie et de la pensée de Coleridge en France, ainsi que les échanges intellectuels entre France et Angleterre au moment de la naissance du Romantisme<br>Meschonnic emphasized the importance of the "inseparability of history and modes of operating, between language and literature", the necessity of "recognizing the historicity of translating, and of translations" (Poetics of translating, introduction). By analyzing the different French translations of the work of the poet-philosopher Coleridge, published between 1837 and 2006, I will try to put these translations in the context of the different theories of translation and the different aesthetics of reception. Between the theory of translation and the practice of translating, how can the role and position of the translator be defined? Poetry is often considered as "untranslatable". Yet poetry has been translated for centuries. Is it translation or, what Jakobson calls a process of "creative transposition"? I will analyse the different processes used to make up for "what gets lost in translation" (Robert Frost). In a comparative perspective, I will discuss the role played by translation in the reception of Coleridge's poetry and thought in France and examine the intellectual exchanges between France and Great-Britain at the time of the birth of Romanticism
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Joseph, Wassili. "François Rude (1784-1855), sculpteur romantique." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040098.
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Le sculpteur François Rude (1784-1855), auteur du relief universellement connu de La Marseillaise qui orne l’un des piédroits de l’arc de triomphe de l’Étoile à Paris, est l’un des artistes majeurs de la période romantique. Pourtant, depuis 1904, aucune étude d’envergure ne lui a été consacrée. Cette thèse propose de réévaluer son œuvre par le prisme de la question stylistique. Qu’est-ce que le romantisme de Rude et comment s’inscrit-il dans le mouvement romantique en sculpture ? À partir d’un catalogue raisonné, la totalité de sa carrière est interrogée : ses années de formation à Dijon puis à Paris sous l’Empire ; son exil à Bruxelles dans les années 1820 où il développe la leçon néoclassique ; son retour à Paris où il devient une figure centrale du mouvement romantique avec le Jeune Pêcheur Napolitain au Salon de 1833 ; l’accomplissement de ce qui restera son chef-d’œuvre, Le Départ des volontaires inauguré en 1836 et qui sous le titre La Marseillaise va devenir une icône nationale ; son investissement politique au travers de ses nombreuses statues de Grands Hommes, qu’il réalise en interrogeant les codes académiques ; enfin, la part plus intime de son travail dans les autres genres majeurs de la statuaire que sont les œuvres religieuses et mythologiques. Cette étude réaffirme la place centrale de Rude dans le paysage artistique du premier XIXe siècle. Elle démontre qu’il n’a pas été l’artiste d’une seule œuvre, mais qu’il a bien réformé en profondeur la pratique statuaire, devenant ainsi un maître pour plusieurs générations de sculpteur tant classiques que d’avant-garde, comme Carpeaux, Rodin ou Bourdelle. On peut ainsi donner raison à Apollinaire qui avait vu en lui le père de la statuaire moderne<br>The sculptor François Rude (1784-1855), known for his work La Marseillaise which decorates the Arc de Triomphe in Paris, is one of the major artists of the romantic period. Yet there have been no major studies focused on his work since 1904. This thesis reevaluates Rude's oeuvre through a stylistic lens. What was romanticism for Rude, and how did he influence the Romantic Movement in sculpture? Based on a catalogue raisonné, the thesis investigates his full career—his years of training in Dijon and then in Paris under the Empire, his exile in Brussels in the 1820s where he internalized the lessons of Neo-classicism, his return to Paris where he became one of the central figures of the Romantic Movement with the exhibition of his Neapolitan fisherboy at the 1833 Salon, the completion of what remains his primary masterpiece and a national icon, La Marseillaise, unveiled in 1836 under the name Le Départ des volontaires, his sense of political engagement as demonstrated through his numerous Great Men statues, built with a constant questioning of the academic codes, and finally, the more intimate side to his work represented by his religious and mythological statues.This thesis confirms Rude’s central position in the artistic field of the first part of the 19th century. It demonstrates that, more than just the creator of a single masterpiece, Rude contributed profoundly to reforming sculptural practice, becoming a master for multiple generations of sculptors both classical and avant-garde, such as Carpeaux, Rodin or Bourdelle. In this way, the thesis validates Apollinaire, who saw in Rude the Father of Modern Sculpture
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Belhadj, Ali Manel. "La traduction des romantiques et la genèse du romantisme arabe : du transfert culturel au croisement." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL136.
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Ce travail se propose d’étudier les traductions en arabe d’œuvres littéraires romantiques françaises, de la fin du XIXe et du début du XXe siècle, pendant la Nahḍa ou Renaissance arabe, pour ainsi dire. À cette fin, nous entreprenons, dans une démarche comparative, d’analyser et d’observer comment certaines œuvres du répertoire romantique français ont été reçues en Égypte et, par extension, dans le monde arabe tout entier. Notre conviction que le Romantisme français est porteur d’une « orientalité » intrinsèque tant au texte original qu’à sa transposition, nous amène à penser qu’il y aurait là, chez les traducteurs arabes, une propension affinitaire à cette esthétique romantique. Notre étude part d’un corpus comprenant le drame hugolien, Hernani, le roman épistolaire, Sous les tilleuls d’Alphonse Karr, « Le Lac » de Lamartine et de quelques poèmes extraits des Orientales d’Hugo : « Fantômes », « Lazzara », « Attente » et « Feu du ciel ». Nous tenterons de concevoir un prisme nouveau pour le regard comparatiste, en nous plaçant, non seulement du point de vue des traducteurs arabes et de l’objet qu’ils ont lu, mais aussi dans la modalité de leur lecture propre de l’œuvre qui s’est imposée à leur intelligence et à leur sensibilité<br>This thesis analyses the Arabic translations of French romantic literary works from the late nineteenth and early twentieth century, during the Nahda or Arab Renaissance. To this end the thesis uses a comparative approach which studies and observes how some works of the French Romantic repertoire have been received in Egypt and, by extension, in the entire world. Our conviction that French Romanticism carries an "orientality" intrinsic both to the original text and its transposition, leads us to think that there would be there, among Arab translators, a tendential affinity to this romantic aesthetic. Our study starts from a corpus comprising the Hugo drama, Hernani, the epistolary novel, Under the lime trees by Alphonse Karr, Lamartine’s “The Lake” and some poems extracted from the Orientals Hugo: "Ghosts", "Lazzara", “Waiting” and “Fire from Heaven”. We will try to conceive a new prism for the comparative view, placing ourselves not only from the point of view of the Arab translators, but also in the modality of their own reading of the work that has imposed itself on their intelligence and their sensitivity
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Faure, Nelly. "Entre historicisme et modernité : les châteaux construits ou remaniés dans l'Allier, le Cantal et le Puy-de-Dôme, entre le Premier Empire et la Première Guerre mondiale." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20014/document.
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En mettant fin aux privilèges et à une société d’ordres, la Révolution aurait dû vouer le château à la ruine, ne le laissant subsister dans le paysage que comme les vestiges d’un temps révolu. Mais au contraire, le XIXe siècle devient un véritable âge d’or des châteaux, en France comme dans toute une partie de l’Europe. À travers la France, les constructions, les restaurations et les remaniements de châteaux se comptent par milliers, sous le double effet du repli de la noblesse sur ses terres et de l’essor et de l’enrichissement de la bourgeoisie. Dans l’Allier, le Cantal et le Puy-de-Dôme 464 chantiers et projets voient le jour sous l’impulsion de familles de la vieille noblesse désireuses de réparer sur leur demeure les outrages du temps et de la Révolution et de bourgeois fortunés soucieux d’avoir une résidence prestigieuse, témoin de leur ascension sociale. Au XIXe siècle, on pose un nouveau regard sur le Moyen Âge et le château des siècles passés fait rêver. L’architecture doit s’inspirer des styles historicistes, parfois d’origine lointaine, tout en offrant un intérieur adapté au mode de vie et aux aspirations au confort des châtelains. Certains architectes se spécialisent pour satisfaire ces commandes entre historicisme et modernité<br>As the French Revolution put an end to privileges and the hierarchical division of society, castles seemed meant to disappear or survive only as remains of a bygone era. But the 19th century actually turned out to be a golden age for them – both in France and in many countries in Europe. In France, countless castles were built or overhauled, as the nobility returned to their lands and the bourgeoisie grew in power and wealth. In the three French départements of Allier, Cantal and Puy-de-Dôme, no less then 464 projects or actual construction works were launched. They originated either from ancient noble families wishing to erase the damages of time and History on their properties or from wealthy bourgeois willing to own high-profile mansions that would be of testimony of their social uplift. The 19th century was also a period where the Middle Ages was re-discovered and ancient castles became attractive again. Architectural trends were influenced by historicism, sometimes exotic styles, while interior design had to suit the lifestyle and need for comfort of the landlords. Some architects specialised in such projects, both historicist and modern
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Delorme, Philippe. "La figure du paria dans la la littérature française de Bernardin de Saint Pierre à Tristan Corbière (1791-1873)." Thesis, Pau, 2022. http://www.theses.fr/2022PAUU1104.
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La figure littéraire du paria mérite mieux que l’indifférence générale. Apparue à la fin du XVIIIe siècle, elle est peut-être la figure la plus importante de la littérature romantique, marquée par l’orientalisme et l’ouverture à l’altérité. Le mot « paria » est mentionné dans un texte français dès 1673, l’année même de l’ouverture du comptoir français de Pondichéry. Mais la représentation du paria est recréée par l’Occident romantique : elle donne à voir une personne que son destin condamne à une marginalité et des souffrances extrêmes à cause de vertus exceptionnelles auxquelles elle ne renonce pas, ce qui lui confère une grandeur paradoxale. Le paria se voit ainsi attribuer les plus grandes qualités morales, c’est-à-dire chrétiennes dans le contexte de l’époque. Le romantisme réhabilite et privilégie les marges : l’hiver, la nuit, les ruines, et de même le paria. Et c’est le « mensonge romantique » (Girard) qui caractérise les auteurs qui ont le plus recours à la figure du paria. Au XIXe siècle, celle-ci incarne la lutte contre les puissances d’argent. Avec l’avènement du capitalisme, des personnes se retrouvent brutalement marginalisées. Les écrivains recourent alors à un mot nouveau pour exprimer des maux nouveaux. La figure littéraire du paria suggère en outre une périodisation du romantisme, entre la première identification de l’écrivain au paria, dans La Chaumière indienne de Bernardin de Saint-Pierre, et le poème « PARIA » de Corbière, qui acte le passage à une solitude désespérée. A la fin du XIXe siècle, l’auteur redevient paria au sens originel du terme : il perd la grandeur. Et la figure littéraire du paria reflète le psychisme de ses auteurs, souvent marqué par un complexe d’Œdipe mal résolu et une précocité intellectuelle source de souffrance et d’exclusion. Le paria ne saurait donc être réduit à un simple personnage. Il se conçoit plutôt comme une puissante figure littéraire : l’intensité des forces qui interagissent en elle prime sur l’importance de son rôle dans la narration. Cette figure déploie la forme la plus élevée du lyrisme car le paria incarne la manifestation la plus cruelle des souffrances humaines. Point ultime de « vaporisation » (Baudelaire) possible du sujet, elle entre en résonance avec tous les marqueurs du lyrisme : la rencontre de l’amour et de la mort, le sentiment du sacré, le rétrécissement de l’espace. Sur la forme, le recours appuyé à l’exclamation pour l’amplification du réel perçu, ou le débordement de la description par la suggestion sont des marqueurs modernes du lyrisme.Sur le plan moral, la figure du paria est souvent la victime exemplaire d’une éthique périmée, déontologique ou au contraire téléologique. Elle dénonce ces deux paradigmes et invite le lecteur à l’improvisation morale, à une éthique plus intérieure, inspirée par la souffrance ressentie. Le paria régénère de l’extérieur la morale de l’homme moyen et classique. En outre, le Paria avec sa majuscule marque une identité qui s’assume. Dans un contexte historique marqué par la disparition de l’altérité radicale, la figure littéraire du Paria affirme la nécessité morale de sa survie. Enfin, sur le plan métaphysique, cette figure invite au dépassement de la notion de désenchantement (Bénichou) comme marqueur principal du romantisme, à son retournement. Le P majuscule au mot « Paria », fréquent au XIXe siècle, confère en effet une grandeur inattendue à l’être le plus minuscule, méprisé par les hommes et abandonné par Dieu. Il dit la grandeur dans la déchéance, comme Les Fleurs du mal disent la beauté dans le chaos. En dernière instance, le Poète romantique reste un révélateur de la Beauté, conçue comme ultime lien possible entre Dieu et les hommes. Le poète-paria assume son propre sacrifice comme condition nécessaire à l’atteinte du Beau idéal pour lequel il souffre et s’exclut. Le romantisme, sur fond de désenchantement général, est plutôt l’école du réenchantement par la Beauté<br>The literary figure of the pariah deserves more than general indifference. It appeared at the end of the 18th century and is perhaps the most important figure in Romantic literature, marked by Orientalism and openness to otherness. The word 'pariah' is mentioned in a French text as early as 1673, the same year the French trading post in Pondicherry was opened. But the representation of the pariah is recreated by the Romantic West : it shows a person whose destiny condemns him to extreme marginality and suffering because of exceptional virtues that he does not renounce, which gives him a paradoxical grandeur. The pariah is thus attributed the greatest moral qualities, i.e. Christian in the context of the time. Romanticism rehabilitates and privileges the margins: winter, the night, the ruins, and likewise the pariah. And it is the 'romantic lie' (Girard) that characterises the authors who have the most recourse to the figure of the outcast. In the 19th century, the pariah figure embodied the struggle against the powers of money. With the advent of capitalism, people found themselves brutally marginalised. Writers then resorted to a new word to express new evils. The literary figure of the pariah also suggests a periodization of Romanticism, between the first identification of the writer with the pariah, in Bernardin de Saint-Pierre's La Chaumière indienne, and Corbière's poem "PARIA", which acts out the passage to a desperate solitude. At the end of the nineteenth century, the author becomes an outcast again in the original sense of the term : he loses his greatness. And the literary figure of the pariah reflects the psyche of its authors, often marked by a poorly resolved Œdipus complex and an intellectual precocity that is a source of suffering and exclusion. The pariah cannot therefore be reduced to a simple character. Rather, he is conceived as a powerful literary figure : the intensity of the forces that interact within him takes precedence over the importance of his role in the narrative. This figure deploys the highest form of lyricism because the outcast embodies the cruellest manifestation of human suffering. As the ultimate point of possible "vaporisation" (Baudelaire) of the subject, it resonates with all the markers of lyricism : the meeting of love and death, the feeling of the sacred, the shrinking of space. In terms of form, the use of exclamation to amplify the perceived reality, or the overflow of description by suggestion, are modern markers of lyricism. On the moral level, the figure of the pariah is often the exemplary victim of an outdated, deontological or, on the contrary, teleological ethic. It denounces these two paradigms and invites the reader to moral improvisation, to a more interior ethics, inspired by the suffering felt. The pariah regenerates the morality of the average, classical man from the outside. Moreover, the Pariah with a capital letter marks an identity that assumes itself. In a historical context marked by the disappearance of radical otherness, the literary figure of the Pariah asserts the moral necessity of its survival. Finally, on a metaphysical level, this figure invites us to go beyond the notion of disenchantment (Bénichou) as the main marker of Romanticism, to its reversal. The capital P in the word "Pariah", common in the 19th century, confers an unexpected grandeur on the most minuscule being, despised by men and abandoned by God. It speaks of greatness in decay, just as Les Fleurs du mal speak of beauty in chaos. In the final analysis, the Romantic poet remains a revealer of Beauty, conceived as the ultimate possible link between God and man. The poet-pariah assumes his own sacrifice as a necessary condition for the achievement of the ideal Beauty for which he suffers and excludes himself. Romanticism, against a background of general disenchantment, is rather the school of re-enchantment through Beauty
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Pezard, Emilie. "Le romantisme « frénétique » : histoire d’une appellation générique et d’un genre dans la critique de 1821 à 2010." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040069.
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L’appellation « genre frénétique », créée par Charles Nodier en 1821, fait aujourd’hui partie intégrante du vocabulaire des études sur le romantisme. Le genre qu’elle désigne donne cependant lieu à des définitions divergentes, tant au niveau des auteurs qui l’exemplifient qu’au niveau des caractéristiques qui le décrivent. Cette thèse retrace l’histoire du genre frénétique tel qu’il a été défini par la critique, de 1821 à 2010, à partir d’une étude des emplois de l’appellation générique dans un corpus de près de 630 textes critiques. Dans les années 1820 et 1830, la notion du frénétique revêt une visée polémique dans le cadre du débat sur le romantisme. Alors que Nodier inventait le genre frénétique pour le distinguer du romantisme, de nombreux critiques assimilent au contraire, totalement ou partiellement, les deux notions, l’appellation permettant de décrire le romantisme dans ses dimensions violente et excessive. Après plusieurs décennies où le genre disparaît des lectures du romantisme, le genre « frénétique » est à nouveau convoqué au début du XXe siècle et connaît un succès croissant, qui a pour corollaire une complexification des définitions. Manifestation d’une révolte métaphysique ou transposition littéraire d’un èthos, le « frénétique », qu’il soit jugé favorablement ou non, permet aussi généralement de rendre compte de la vogue, à l’époque romantique, d’un genre horrifique et outrancier, héritier du roman gothique anglais. Ce dernier genre, formé par les romans de Radcliffe, Lewis et Maturin, constitue cependant un corpus hétérogène déterminant deux lignées génériques qui méritent d’être distinguées, le roman noir et le frénétique<br>The name of the “Frénétique” genre was created by Charles Nodier in 1821 and is now an integral part of the vocabulary of Romanticism studies. The genre it designates, however, has experienced diverging definitions, both with regards to the authors associated with this genre and the characteristics that describe it. The present thesis traces the history of the genre known as “Frénétique” as defined by critiques from 1821 to 2010, based on a study of the uses of the genre name in a corpus of close to 630 critiques. In the 1820s and 1830s, the notion of “Frénétique” was used in debates on Romanticism with a polemical purpose. While Nodier invented the “Frénétique” genre so as to distinguish it from Romanticism, numerous critics instead assimilated the two notions in part or in whole —using the “Frénétique” appellation to describe the most violent and excessive dimensions of Romanticism. After disappearing from Romanticism readings for several decades, the “Frénétique” genre emerged again in the early 20th century, when its rising success lead to an increasing complexity of its definitions. The “Frénétique” genre can be the manifestation of a metaphysical revolt, the literary transposition of an èthos, or is generally used to describe the Romantic-era craze for a horrific and excessive genre that inherited its key characteristics from the Gothic Novel. The latter, constituted by the novels of Radcliffe, Lewis and Maturin, spurred two genres that should be distinguished: the French Gothic Novel and the “Frénétique” genre
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Brahamcha-Marin, Jordi. "La réception critique de la poésie de Victor Hugo en France (1914-1944)." Thesis, Le Mans, 2018. http://www.theses.fr/2018LEMA3006/document.
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Cette thèse étudie la réception critique de la poésie de Hugo en France entre 1914 et 1944. Elle se fonde sur une conception large et englobante de la « réception critique ». Ainsi, elle envisage la manière dont l’œuvre poétique hugolienne est reproduite et diffusée (dans des éditions savantes, des éditions populaires bon marché, des livres de luxe, des manuels scolaires, des anthologies…) ou fait l’objet d’adaptations (mises en musique, parodies et pastiches) ainsi que les discours tenus sur la poésie de Hugo, que ceux-ci émanent d’universitaires, d’écrivains et intellectuels, de journalistes, de militants, d’hommes politiques, etc. En mobilisant un corpus riche et varié, en confrontant des démarches critiques provenant de champs très différents, notre travail fait apparaître quelques problématiques récurrentes.Celles-ci sont notamment relatives au statut de Hugo comme auteur patrimonial, à la centralité de la poésie dans son œuvre (et en particulier à la centralité des trois grands recueils de l’exil, Les Châtiments, Les Contemplations, La Légende des siècles), aux lectures et aux appropriations politiques auxquelles cette poésie donne lieu, à la manière de situer Hugo dans l’histoire de la poésie française (selon les cas, aux côtés de Lamartine et Musset ou aux côtés de Baudelaire, Rimbaud et Mallarmé). Au-delà du seul cas Hugo, notre travail jette aussi quelques éclairages sur la place de la poésie dans l’imaginaire du premier XXe siècle et sur la manière dont cette période se définit par rapport à un double héritage poétique, « romantique » et « moderne »<br>This dissertation studies the critical reception of the poetry of Victor Hugo in France over the period 1914-1944. Relying on an inclusive conception of “critical reception”, it considers the way in which Hugo’s poetic work was reproduced and circulated (in scholarly editions and cheap popular editions, in luxury books and school textbooks, in poem collections...) or adapted (turned into parody or pastiche and set to music by various composers). It also looks at the many discourses that were held on Hugo’s poetry, whether by academics, professional writers and intellectuals, journalists, political men and activists, etc. Drawing on an extensive corpus and a wide range of sources, confronting methodological approaches borrowed from different study fields, our work helps to throw light on Hugo’s importance as an integral part of French cultural heritage; on the centrality of poetry (especially of the three major collections published while Hugo was in exile, Les Châtiments, Les Contemplations, La Légende des siècles) within his work; on the political readings and the political uses that were made of Hugo’s poetry; on the competing ways of categorising Hugo’s work within French poetry and among French poets, as a Romantic akin to Lamartine and Musset or as a modernist equated with Baudelaire, Rimbaud and Mallarmé. Beyond the sole case of Hugo, our dissertation also sheds light on the importance of poetry in the imagination of the early 20th century, and on the way in which the literature of the period sought to define itself in relation to a two-fold poetic legacy, that of romanticism and that of modernism
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Kafala, Maram. "Le rôle d'Amédée Pichot dans l'implantation d'idées littéraires anglaises en France de 1825 à 1850." Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100135.
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Notre travail examine le processus de l'implantation de nouvelles idées littéraires anglaises en France au XIXe siècle. La personnalité à laquelle est consacrée cette étude est Amédée Pichot. La question principale qui se pose ici est la suivante : quelle est l'importance de cet écrivain dans le développement de la littérature française dans une époque dominée par de grands écrivains comme Chateaubriand, Hugo, Lamartine, Stendhal et beaucoup d'autres ?C'est à travers l'étude de trois grands axes de sa carrière littéraire que nous allons essayer de montrer ce qu'un écrivain mineur comme Amédée Pichot a apporté à la littérature française. Son ouvrage, intitulé Voyage historique et littéraire en Angleterre et en Écosse, publié en 1825, son rôle comme journaliste et directeur de différentes revues littéraires et ses travaux dans le domaine de la traduction sont les points principaux que nous allons aborder pour montrer comment il a enrichi la littérature française en révélant aux écrivains de nouveaux aspects de la littérature anglaise<br>Our work examines the process of the establishment of new ideas of English literature in France in the XIXth century. The essential personality of this study is Amédée Pichot. The main question that arises here is the following: what is the importance of this writer in the development of French literature in an era dominated by other major writers, such as Chateaubriand, Hugo, Lamartine, Stendhal and many others?It is through the study of three parties of his literary career that we want to emphasize what a minor writer as Amédée Pichot can do to improve the French literature. His book, entitled Voyage historique et littéraire en Angleterre et en Écosse, published in 1825, his role as a journalist and director of various literary journals and his great efforts in the field of translation are the principal axes which will reveal to us up to what point it was able to participate in enriching the French literature by new aspects of English literature
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Chaumont, Bérangère. ""Noire et blanche" : la fête de nuit dans la littérature romantique (1821-1856)." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR036.
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Le romantisme français est hanté par la fête de nuit, thème obsédant qui s’incarne dans les productions poétiques, dramatiques et narratives, majeures comme mineures, dès les libations de Smarra ou les Démons de la nuit de Charles Nodier. À partir de ce constat, cette thèse déploie et analyse le choix du cadre nocturne pour écrire la fête entre 1821 et 1856. L’étude du motif permet de rouvrir l’analyse de la nuit romantique pour montrer que ce thème livre, non pas une, mais plusieurs poétiques dont certaines se révèlent ancrées dans la modernité. La fête de nuit intègre tout d’abord l’imaginaire nocturne « traditionnel » du romantisme, lui-même hérité de représentations anciennes de la nuit, noire et claire. Or, ces nuits fantastiques, oniriques et lyriques ne sont pas toutes les nuits romantiques. Alors que la première moitié du XIXe siècle invente la nuit blanche, la littérature se fait la chambre d’échos bruyante de nuits parisiennes agitées, reflets d’une époque qui annonce les mythes de la ville-lumière et de la fête impériale. Ces images, qui circulent entre « littérature panoramique » et corpus romantique, trahissent la passion du siècle pour le spectaculaire. La fête de nuit transforme le quotidien en spectacle. Les fictions esquissent en outre des types de la fête de nuit parisienne souvent proches de la figure de l’auteur romantique, habituellement présenté comme un mélancolique solitaire. Porteuse de contrastes entre lumière et nuit, vie et mort, la fête de nuit apparaît finalement comme une posture existentielle et scripturaire adoptée par l’homme romantique qui entend se révolter contre la nuit noire, avec les feux et les fantaisies de la nuit blanche<br>As a writing pattern, night feasts haunt French Romanticism since Nodier’s Smarra ou les Démons de la nuit (1821). The motif appears in poetic, dramatic and narrative works, in major as well as in minor productions. This thesis answers the following question : why is the night the place to write feasts in French Romanticism, between 1821 and 1856 ? In this way, this dissertation reopens the analysis of the Romantic night and shows that this theme provides not once but various poetics, some of them announcing modernity. Certainly, night feasts are part of a Romantic “classical” nocturnal imagination, inherited from ancient traditions. But fantastic, dreamlike and lyrical hues are not the only colors of the Romantic nights. In fact, thanks to the invention of night life in the early 19th century, Romantic works reflect restless Parisian nights, during a period which discovers night leisure activities, forecasting the myth of City of Light and the entertainment’s industry blooming during the Second Empire area. The images of the night feast, which circulate between “panoramic literature” and Romantic literature, reveal the century’s burning passion for sight. These nocturnal festivities transform everyday life into a show. Furthermore, fictions are brimming with archetypal characters inhabiting the Parisian festive nights, themselves often suggestive of the Romantic figure of the author, usually depicted as a melancholic loner. Based on contrasts, between light and darkness, life and death, the night feast is also an existential and creative pattern for Romantic authors who are using the night life and their lights as a way to rise up against the dark night
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Frigeni, Enrico Luigi. "Oltre i sensi. Forme e stili della sinestesia moderna." Doctoral thesis, Università degli studi di Bergamo, 2018. http://hdl.handle.net/10446/105290.
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Synesthesia, both as a literary figure and as a perceptual experience, is the main focus of this work which aims at identifying and analyzing the fascination for the synesthetic phenomenon across several disciplines in the last three centuries. I try to pursue an interdisciplinary approach considering the evolution of the term as a literary metaphor (popular during the Romantic and Symbolist periods) and as a medical/psychological condition (starting with the definition of the disease known as audition colorée in the 1870s) and observe how the two perspectives have been a source of mutual influence and stimulated a desire for the synesthetic experience which took various shapes in the English and French culture from the XVIIIth century up until today’s neuroscientific investigations. Achieving great popularity with Isaac Newton’s theory of the analogy between the light spectrum and the proportions of musical octaves, synesthesia became a key feature of Romanticism. In the light of the complex relationship of Romantic writers with the new scientific methods, I suggest that the synesthetic metaphor could be seen as a strategic literary device allowing them to reconfigure the scientific discoveries about perception within a traditional, religious framework. While in the second half of the XIXth century, the discovery of audition colorée generated a new (medical) interest in the synesthetic experience, the popularity of the sonnet “Voyelles” by Arthur Rimbaud pioneered a new form of literary synesthesia expressed through the symbolic qualities of the poetic language. If the Romantic metaphor is, by then, considered obsolete, the attribution of colors to vowels created an awareness of language as intrinsically synesthetic which inspired the new generations of Symbolist and Modernist writers. Sound symbolism is at the forefront of the XXth century avant-garde experimentation with writers such as Gertrude Stein or the Dadaist group openly pursuing synesthetic purposes in their poems. Their achievements in highlighting the synesthetic qualities of the signifier anticipate, as I will argue, much of the modern neuroscientific claims about the relationship between language and the synesthetic experience.
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Darie, Camelia Dana. "Victor Brauner and the surrealist interest in the occult." Thesis, University of Manchester, 2012. https://www.research.manchester.ac.uk/portal/en/theses/victor-brauner-and-the-surrealist-interest-in-the-occult(15306875-b880-456e-929a-ce86265a9a1a).html.
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My research on Victor Brauner’s work in the first two decades of his affiliation with the Surrealist group in Paris re-establishes the role played by the Romanian Jewish artist in the definition of automatic Surrealist procedures of painting and mixed-technique objects that relied upon a new and unconventional understanding of the occult. In the three chapters of this study of Victor Brauner’s work in the 1930s and early 1940s, I analyse key notions, such as the fantastic, animal magnetism, and the occult practices of art making in a Surrealist context. The fantastic is discussed in the first chapter of the thesis from a literary perspective with political connotations in Surrealism, which resulted from a debate engaged in nineteenth-century French literature on the issue of the marvellous versus the fantastic. Due to the Surrealists’ interest in the fantastic a new category emerged, the fantastic art, which is examined in this first chapter in connection with Brauner’s artworks in the 1930s. The incursion into the fantastic, with focus on the premonition of the painter’s left eye loss in his artworks of the 1930s is completed with an approach to spiritualism that had a revival at the time. The second chapter of the thesis investigates the doctrine of animal magnetism and the state of magnetic somnambulism in eighteenth-century scholarship and shows how this experimentation had influenced the development of a new branch of the science, metapsychics or psychical research at the end of the nineteenth century and the beginning of the twentieth one. I take into account and demonstrate that these outdated and modern domains of enquiry into the unknown and beyond reality were appealing to Surrealists, in particular to Brauner, due to their research into unconscious processes of the mind. I argue that through the attainment of a condition similar to the one of the somnambulist in sessions of magnetic sleep, the Surrealists aimed to generate automatic procedures of painting and object making. In the third chapter of the thesis I discuss Victor Brauner’s technique of drawing with a candle, or le cirage, as an automatic procedure of art developed in connection with the occult. This final part of the thesis makes also manifest the association of Brauner’s artworks in the early 1940s with practices of the occult in the near and centuries before past.
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Vroemen, Elisabeth. "Les réceptions européennes de Caspar David Friedrich (1774-1840) avant la Centennale de Berlin (1906)." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100004.
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C. D. Friedrich est le plus souvent présenté, dans l’historiographie traditionnelle, comme un peintre oublié durant les décennies qui ont suivi sa mort à Dresde, en 1840. Peu connu en dehors de son Allemagne natale, il n’aurait été redécouvert que grâce à cette grande rétrospective de l’art allemand que fut la Berliner Jahrhundert Ausstellung de 1906. La première biographie du XXe siècle que lui consacre l’historien norvégien Andreas Aubert, Dieu, liberté, patrie (Gott, Freiheit, Vaterland, 1915) attire l’attention sur l’orientation politique et patriotique de certaines de ses peintures. Cette thèse propose de reconsidérer divers aspects de la réception de l’œuvre du peintre, en la plaçant, non plus dans le seul contexte allemand mais dans celui, européen, du XIXe siècle. Si Friedrich a été longtemps méconnu des historiens d’art, il devint, de par sa culture poméranienne germano-scandinave, une référence aux yeux d’artistes scandinaves, qui entrèrent personnellement en contact avec lui ou par l’intermédiaire de son voisin d’atelier, le peintre norvégien J C. C. Dahl. Sujet d’intenses débats, non exempts de considérations politiques, la peinture de paysage est également devenue un enjeu patriotique en Allemagne et dans les pays scandinaves. L’objectif est de préciser la place de l’esthétique de Friedrich dans l’instauration de traditions picturales nordiques, au-delà des affinités et résonances pouvant unir les œuvres entre elles. Le suivi de cette trajectoire, passant par les pays nordiques et parvenant en France, permet également de relancer la question de la réception de Friedrich dans les milieux artistiques français, où il n’a pas exposé<br>According to traditional historiography, Caspar David Friedrich was almost forgotten during several decades following his death in Dresden in 1840. Little known outside his native Germany, it is often said that he was rediscovered through the great retrospective of German nineteenth century art, the Berliner Jahrhundertausstellung, in 1906. The first biography of the artist published in the twentieth century, God, Freedom, Fatherland (Gott, Freiheit, Vaterland, 1915) by the Norwegian art historian, Andreas Aubert, draws attention on the patriotic orientation of some of his paintings. This thesis proposes to discuss different aspects of the reception of his oeuvre, not only in the German, but in the European context of the 19th century. If the painter was not recognized by the historians, he emerged, mainly thanks to his German-scandinavian Pomeranian culture, as a model among Scandinavian artists, who came largely through personal contact with Friedrich himself or via his neighbour and friend, the Norwegian painter J. C. C. Dahl. In the heart of intense debates in Germany and Scandinavia, landscape painting became a subject of political interest. This thesis is pointing the heritage of Friedrich aesthetics in the birth of Nordic painting traditions, beyond resonances and visual affinities between works. Following this itinerary through Nordic countries, reaching France, permits to question again the reception of Friedrich in French artistic milieux, where he never was on public display
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Kunkel, Samuel. "L'Orphisme dans le roman post-romantique en France et en Grande-Bretagne, 1880-1919 : un idéalisme du salut. Édouard Schuré, Joséphin Péladan, Arthur Machen, Algernon Blackwood." Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASK006.
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Cette thèse examine l’évolution et la présence de l’orphisme dans les textes romanesques de quatre écrivains en France et en Grande-Bretagne : Édouard Schuré (1841-1929), Joséphin Péladan (1858-1918), Arthur Machen (1863-1947), et Algernon Blackwood (1869-1951). Le sujet est étudié de 1880 à 1919 – une période que nous désignons comme « post-romantique ». Le terme orphisme implique que l’individu orphique possède un savoir susceptible d’apporter un remède à une certaine condition indésirable, en l’occurrence, le climat de décadence qui pèse sur le dernier tiers du XIXe siècle, attribuable, selon ces quatre auteurs, au pessimisme et à la laïcisation qui avaient corrompu la société d’alors. Par le biais de leurs textes, ces écrivains espéraient faire prendre conscience au lecteur d’une spiritualité innée, mais oubliée, et renouer peut-être avec elle. Ce postulat soulève de nombreuses questions de forme et de contenu du récit, relevant de nombreux débats stylistiques et ontologiques touchant à la religion et au roman à la fin du XIXe siècle. De fait, les romans de ces auteurs, bien que motivés par des questions analogues, ne se ressemblent que par la présence de certains éléments structurels : un protagoniste qui est un avatar du lecteur envisagé (l’homme ordinaire moderne), un cadre représentatif de celui du lecteur, et le Divin – une représentation de Dieu héritée de l’époque romantique et caractérisée par sa nature abstraite et impersonnelle. En étudiant ces aspects, cette thèse entend éclairer la présence d’une philosophie idéaliste cruciale à la compréhension des récits romanesques de ces écrivains, et établir la place de leur œuvre et de leur pensée religieuse dans le contexte littéraire et spirituel fin-de-siècle<br>This dissertation examines the evolution as well as the presence of orphism in the novels of four writers from France and England: Édouard Schuré (1841-1929), Joséphin Péladan (1858-1918), Arthur Machen (1863-1947), and Algernon Blackwood (1869-1951), within the period from 1880 to 1919– a period which we designate as ‘post-romantic’. The term orphism implies that the orphic individual possesses a certain knowledge capable of bringing about a remedy to a given, undesirable, condition. In the case of these writers, the condition in question is an atmosphere of decadence which weighed upon the final decades of the 19th century, and which was attributable, according to these four authors, to a widespread pessimism and secularization which had corrupted the society of the day. It was therefore the hope of these writers that their texts would act as a means for the reader to regain awareness of, and perhaps reunite with, a long forgotten, yet innate, spirituality. This premise quickly raises an abundance questions pertaining to both the style and the content of the text which stem from sweeping reexaminations of both the idea of religion and the idea of the novel which occurred at the close of the 19th century. As such, the novels produced by these writers, though all responding to the same societal phenomenon, have only a few key points in common. Indeed, common to all are: a protagonist who is an avatar of the reader envisioned by the author (a ‘normal’, modern reader), a setting which is representative the world of the aforementioned reader, and the Divine – a representation of God that is inherited from the romantic era, and characterized by its abstract and impersonal nature. This dissertation aims, therefore, to illuminate the presence of an idealist philosophy which is crucial to a correct understanding of the novels of these authors, by establishing the place of their written works and their religious thought within the context of the fin de siècle literary and spiritual landscapes
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Jarrasse, Bénédicte. "Les deux corps de la danse : l'imaginaire de la danse théâtrale dans la littérature et l'iconographie européennes : 1830-1870." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC011.
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Aux alentours de 1830, le romantisme s'impose sur les scènes théâtrales. À une manière nouvelle d'envisager le ballet fait écho une manière nouvelle de le représenter. Celui-ci peine toutefois à se dire pour lui-même, et dans cette bataille du dire, c'est la danseuse, à défaut de la danse, qui devient l'objet principal des représentations. La ballerine cristallise le dualisme essentiel de l'imaginaire romantique et se retrouve au cœur d'une entreprise de mise en légende et de légitimation de l'art chorégraphique. Le dire de la danse passe désormais par une mythographie. L'enjeu ultime est dans la définition du corps romantique de la danse. Les procédures de mythification déterminent un corps proprement décent - le corps glorieux de la danse. Ce corps métaphorique n'est pourtant que l'avers d'un autre corps - le corps terrestre de la danse. Dans les envers du théâtre est ainsi dévoilé le corps de la danse au travail, corps faillible et souffrant, éternel prix à payer de la féerie<br>Around 1830, Romanticism prevails on theatre stages. The new perspective on performance as a whole leads to a new perception of ballet. However, ballet struggles to assert its specificity and in the battle of words that unfolds, the ballerina, rather than the ballet, becomes the main focus onstage. The ballerina cristallizes the duality that is key to the Romantic vision. She thus finds herself at the heart of a campaign to elevate her to the status of legend, which is also a way for ballet to gain recognition. The narrative of ballet, from this point onwards, has to rely on a mythography. What is ultimately at stake is the definition of the Romantic dancing body. The mythologizing process creates a chaste body : the glorious dancing body. However, this metaphorical body is but the antithesis of another one : the earthy dancing body. Finally, it is backstage in the theatre that the dancing body is unveiled at work, frail and in pain, forever the price to pay for enchantment
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Chiou, Tim Yi-Chang. "Romantic posthumous life writing : inter-stitching genres and forms of mourning and commemoration." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:1a316a0f-7365-4555-8bc8-9e09b47ec674.
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Contemporary scholarship has seen increasing interest in the study of elegy. The present work attempts to elevate and expand discussions of death and survival beyond the ambit of elegy to a more genre-inclusive and ethically sensitive survey of Romantic posthumous life writings. Combining an ethic of remembrance founded on mutual fulfilment and reciprocal care with the Romantic tendency to hybridise different genres of mourning and commemoration, the study re- conceives 'posthumous life' as the 'inexhaustible' product of endless collaboration between the dead, the dying and the living. This thesis looks to the philosophical meditations of Francis Bacon, John Locke and Emmanuel Levinas for an ethical framework of human protection, fulfilment and preservation. In an effort to locate the origin of posthumous life writing, the first chapter examines the philosophical context in which different genres and media of commemoration emerged in the eighteenth century. Accordingly, it will commence with a survey of Enlightenment attitudes toward posthumous sympathy and the threat of death. The second part of the chapter turns to the tangled histories of epitaph, biography, portraiture, sepulchre and elegy in the writings of Samuel Johnson, Henry Kett, Vicesimus Knox, William Godwin and William Wordsworth. The Romantic culture of mourning and commemoration inherits the intellectual and generic legacies of the Enlightenment. Hence, Chapter Two will try to uncover the complex generic and formal crossovers between epitaph, extempore, effusion, elegy and biography in Wordsworth's 'Extempore Effusion upon the Death of James Hogg' (1835-7) and his 'Epitaph' (1835-7) for Charles Lamb. However, the chapter also recognises the ethical repercussions of Wordsworth's inadequate, even mortifying, treatment of a fellow woman writer in his otherwise successful expression of ethical remembrance. To address the problem of gender in Romantic memorialisation, Chapter Three will take a close look at Letitia Elizabeth Landon' s reply to Wordsworth's incompetent defence of Felicia Hemans. Mediating the ambitions and anxieties of her subject, as well as her public image and private pain, 'Felicia Hemans' (1838) is an audacious composite of autograph, epitaph, elegy, corrective biography and visual portraiture. The two closing chapters respond to Thomas Carlyle's outspoken confidence in 'Portraits and Letters' as indispensable aids to biographies. Chapter Four identifies a tentative connection between the aesthetic of visual portraiture and the ethic of life writing. To demonstrate the convergence of both artistic and humane principles, this cross-media analysis will first evaluate Sir Joshua Reynolds's memoirs of his deceased friends. Then, it will compare Wordsworth's and Hemans's verse reflections on the commemorative power and limitation of iconography. The last chapter assesses the role of private correspondence in the continuation of familiar relation and reciprocal support. Landon's dramatic enactment of a 'feminine Robinson Crusoe' in her letters from Africa urges the unbroken offering of service and remembrance to a fallen friend through posthumous correspondence. The concluding section will consider the ethical implications for the belated memorials and services furnished by friends and colleagues in the wake of her death.
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Cousin, Guillaume. "La Revue de Paris (1829 -1834) : un "panthéon où sont admis tous les cultes"." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR104.
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Cette thèse propose la première étude de la Revue de Paris depuis sa création en avril 1829 jusqu’à sa vente en mai 1834 et a pour but de définir l’identité de ce périodique littéraire.La première partie de cette thèse tente ainsi de replacer « La Revue de Paris en son temps ». Tout d’abord, dans une approche qui appartient au domaine de la sociologie de la littérature, l’auteur recrée le tissu social constitué par les hommes qui dirigent la Revue, par ceux qui lui permettent d’exister financièrement, et enfin par ceux qui y publient. Cette première approche sociologique fait apparaître la profonde diversité des collaborateurs : dès le début, la Revue de Paris s’affirme comme un « panthéon où son admis tous les cultes ». Cette métaphore, qui donne son sous-titre à cette thèse, est tirée du texte liminaire qui annonce la création de l’Album, en novembre 1829 et donne une indication de l’éclectisme qui préside au choix des auteurs dont les articles sont publiés. La lecture de la Revue sous un angle politique, qui constitue le deuxième chapitre de cette thèse, laisse apparaître un ancrage libéral de la Revue. La Revue participe à sa façon à la chute de Charles X. La Revue de Paris se situe au centre-droit. D’abord favorable au nouveau régime, la Revue se fait de plus en plus critique envers l’orléanisme, et le choix de Pichot d’abandonner la « Revue politique » ne fait que confirmer l’éloignement grandissant entre la Revue de Paris et le régime de Juillet.Enfin, cette première approche de l’identité de la Revue analyse sa place dans le champ de la presse littéraire entre 1829 et 1834. Au moment de sa création, la Revue est considérée par son créateur comme la version française des Reviews et Magazines britanniques. Entre 1829 et 1834, et contrairement à ce qu’affirme la longue tradition critique qui fait de la Revue des deux mondes la principale revue littéraire du début des années 1830, la Revue de Paris est le véritable modèle de l’époque.À la fin de cette première partie, les approches combinées de la sociologie littéraire, de la politique et de l’histoire de la presse amène l’auteur à donner une première définition de la Revue de Paris : elle est éclectique, mondaine, libérale et se situe tout en haut de la « pyramide » de la presse littéraire. Au cours de ses cinq années d’existence, elle a été le plus grand périodique littéraire français. Il s’agit alors, après avoir replacé la Revue en son temps, d’interroger le cœur même de la Revue, c’est-à-dire les articles qu’elle publie. Faisant le choix de traiter tout d’abord la création littéraire, l’auteur analyse les textes sous l’angle générique. La création littéraire de la Revue traite les grands thèmes de la littérature de 1830, et en ce sens la Revue est le miroir de son époque. Néanmoins, s’il n’y a pas à proprement parler de « littérature Revue de Paris », la Revue doit être considérée comme un creuset des genres littéraires. Concernant la nouvelle, elle trouve dans la Revue des réalisations dont la variété repose essentiellement sur l’hybridité. Parce qu’elle offre aux auteurs une grande liberté créative, la Revue se définit comme un panthéon où l’imagination se concrétise dans des formes narratives plurielles. Au contraire, la production dramatique est dominée par le genre du proverbe. Quant à la poésie, elle apparaît comme la partie littéraire la plus faible. Cet ensemble est dominé par des auteurs majeurs et mineurs du romantisme, à tel point que l’on peut considérer la Revue de Paris comme une revue romantique. Néanmoins, la partie critique oblige à nuancer cette analyse : la critique littéraire de la Revue de Paris laisse apparaître une critique parfois violente du romantisme. La condamnation morale de la littérature se fait de plus en plus insistante au fil des mois, LA revue romantique par excellence se révèle être le « panthéon où sont admis tous les cultes », qu’ils soient romantiques ou antiromantiques. En réalité, la Revue est le miroir de son époque<br>This dissertation proposes the first study of the Revue de Paris since its creation in April 1829 until its sale in May 1834 and aims to define the identity of this literary periodical.The first part of this thesis attempts to replace "The Revue de Paris in its time". First of all, in an approach that belongs to the field of sociology of literature, the author recreates the social fabric constituted by the men who lead the Journal, by those who allow it to exist financially, and finally by those who publish there. This first sociological approach shows the deep diversity of the collaborators: from the beginning, the Revue de Paris is affirmed as a "pantheon where are admitted all the cults". This metaphor, which gives its subtitle to this thesis, is taken from the introductory text that announces the creation of the Album, in November 1829 and gives an indication of the eclecticism that governs the choice of authors whose articles are published. The reading of the Review from a political angle, which constitutes the second chapter of this dissertation, reveals the liberalism of the Review. The Review participates in its own way to the fall of Charles X. The Revue de Paris is located in the center-right. Initially favorable to the new regime, the Review is becoming increasingly critical of Orleanism, and the choice of Pichot to abandon the "Political Review" only confirms the growing distance between the Revue de Paris and the July polity. Finally, this first approach to the identity of the Review analyzes its place in the field of the literary press between 1829 and 1834. At the time of its creation, the Review is considered by its creator as the French version of British Reviews and Magazines. Between 1829 and 1834, and contrary to what affirms the long critical tradition that makes the Revue des deux mondes the main literary review of the early 1830s, the Revue de Paris is the true model of the time. The combined approaches of literary sociology, politics and the history of the press lead the author to give a first definition of the Revue de Paris: it is eclectic, mundane, liberal and is at the top of the "pyramid" of the literary press. During its five years of existence, it was the largest French literary periodical. It is then, after having replaced the Review in its time, to question the very heart of the Review, that is to say the articles it publishes.Making the choice to treat literary creation first, the author analyzes texts from the generic point of view. The literary creation of the Revue deals with the great themes of the literature of 1830, and in this sense the Review is the mirror of its time. Nevertheless, if there is not, strictly speaking, a "Revue de Paris literature", the Review must be considered as a crucible of literary genres. Concerning the short story, it find in the Review of the achievements whose variety rests essentially on the hybridity. Beyond its simple entertaining function, the short story is a success mainly based on its plasticity, which allows it to be both exotic and historical, exotic and fanciful, historical and frantic ... Because it offers authors a great creative freedom, the Revue defines itself as a pantheon where the imagination is concretized in plural narrative forms. On the contrary, dramatic production is dominated by the genre of the proverb. As for poetry, it appears as the weakest literary part. This set is dominated by major and minor authors of Romanticism, so much so that one can consider the Revue de Paris as a romantic review. Nevertheless, the critical part makes it necessary to qualify this analysis: the literary criticism of the Revue de Paris reveals a sometimes violent critique of romanticism. The moral condemnation of literature is becoming increasingly insistent over the months, THE ultimate romantic review proves to be the "pantheon where are admitted all the cults", whether romantic or anti-romantic. In fact, the Review is the mirror of its time
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Langendorff, Judith. "Le nocturne comme catégorie esthétique de l'image dans la photographie et le cinéma contemporains." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA085.
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À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration<br>Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show
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PICCIONI, MATTEO. "Intérieur. Una storia delle scene d’interno in Francia nella seconda metà dell’Ottocento." Doctoral thesis, 2015. http://hdl.handle.net/11573/1005855.
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La tesi prende in esame l’evoluzione della fortuna delle scene domestiche e intimistiche nella cultura visiva francese nel periodo compreso tra la Monarchia di luglio (1830-1848) e il 1900. Essa cerca di tracciare la storia di un genere al quale gli studi hanno finora rivolto solo uno sguardo tangenziale. Si tratta nel complesso di un’analisi della cultura visiva francese della prima età contemporanea che sceglie un punto di vista differente rispetto alle grandi narrazioni sul tema fondate sulla preminenza del paesaggio o, in alcuni casi, del ritratto nell’ambito della produzione ottocentesca. Una storia dell’arte dell’Ottocento che offre, dunque, un punto di vista particolare. Da un punto di vista metodologico, il lavoro studia due ambiti di produzione d’immagini differenti, ma complementari: da una parte vignette, illustrazioni di libri, caricature, dall’altro dipinti sia accademici, sia ufficiali, che d’avanguardia, in maniera da verificare l’attestazione trasversale del tema che corre di pari passo con i mutamenti storico-antropologici della società. Gli aspetti antropologici e sociologici della società sono stati importanti nell’impostazione della ricerca e hanno permesso il raggiungimento di alcuni risultati importanti, in termini di contestualizzazione. Del resto, punto di partenza delle riflessioni si rintracciano nel Passagenwerk, di Walter Benjamin, delle quali rappresentano anche una sorta di verifica in termini visivi.<br>The thesis focuses on the fortune of interior scenes in the 19th century French visual culture. Popular images of the July Monarchy (caricatures, vignettes, book illustration), Realist paintings, Pre-Impressionist and Post-Impressionist works are analyzed pointing on relationships with literary descriptions and theatrical mise-en-scène, also paying attention to social, anthropological and gender issues.
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Star, Allison. "Beethoven poet: Hector Berlioz's "A critical study of Beethoven's nine symphonies" at the crossroads of French Romanticism." Thesis, 2011. http://hdl.handle.net/1828/3662.
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In attempts to take a step towards illustrating Berlioz's musical aesthetic, my dissertation explores his "Critical Study" as his manifesto of the new poetic in music, which uses Beethoven's symphonies as models. First published in 1844, his "Critical Study" is a collection of individual essays on each of Beethoven's nine symphonies - the most widely known version of these essays originally published in the Revue et gazette musicale de Paris in 1837-8. This collection of essays derives from a reworking of Berlioz's earliest articles on Beethoven (1829-37), notably his reviews of a new concert series at the Societe des concerts du Conservatoire that premiered Beethoven's symphonies in Paris. Almost ten years in the making, Berlioz's "Critical Study" represents the pinnacle of his writings on Beethoven. Here he promotes Beethoven's "romantic" symphonies as models of "poetic" forms, within the context of emerging French literary Romanticism. I examined some of the key components in Beethoven's music that most occupy Berlioz as critic and, in turn, how Berlioz as composer develops these key components in his own contribution to the symphonic genre - his Romeo et Juliette (1839), composed at the peak of his Beethoven study. Ultimately, I hope to have demonstrated that the subtle mixture of the musical, the poetic, the critical pedagogical, and the cultural that intersect in Berlioz's Romeo et Juliette exemplifies the same aesthetic of the poetic that he promotes in Beethoven's symphonies.<br>Graduate
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Shannon, Ashley Elizabeth. "Romantic peripheries: the national subject and the colonial bildungsroman in Edgeworth, Scott, Child and Hogg." Thesis, 2005. http://hdl.handle.net/2152/2097.
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Grenier, Alexandra. "A Romantic Bildung : the development of coming-of-age novels in the Romantic period (1782-1817)." Thèse, 2016. http://hdl.handle.net/1866/19531.
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A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explore la naissance et le développement du roman de formation en Europe à l’époque romantique. Celle-ci est le témoin de nombreuses discussions sur les Droits de l’homme et de la montée du nationalisme en Europe. Au même moment, la littérature se transforme pour laisser plus de place à la subjectivité du personnage. Tout cela donne naissance à un nouveau genre littéraire : le Bildungsroman, ou roman de formation et d’éducation. Contrairement à la définition actuelle du genre, le Bildungsroman est transnational, c’est-à-dire qu’il ne provient pas exclusivement d’Allemagne, mais de partout en Europe. A Romantic Bildung se penche donc sur le sujet en analysant de façon thématique la trame narrative de Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), ainsi que d’Ormond, a Tale (1817) et sur leur appartenance au roman de l’époque romantique. En comparant les étapes d’éducation, d’indépendance, et de retour à la société des protagonistes, ces romans font ressortir les similitudes qui caractérisent le Bildungsroman.<br>A Romantic Bildung: The Development of Coming-of-Age Novels in the Romantic Period (1782-1817) explores the birth and development of the Bildungsroman during the Romantic period. The latter is characterized by the numerous discourses on the Rights of men as well as the rise of nationalism. At the same time, Romantic writers transform literature by increasing the protagonist’s subjectivity and in turns, create a new genre of narrative: the Bildungsroman, in which the protagonist’s development and growth is the main focus. Contrary to current definition of the genre, the Bildungsroman—or coming-of-age novel—is a transnational product: it is obviously found in Germany, but also in France, England, Ireland, and Scotland, to name a few, during the Romantic period. Through a thematic analysis of Cecilia, or Memoirs of an Heiress (1782), Emmeline, the Orphan of the Castle (1788), Mansfield Park (1814), Waverley; or, 'Tis Sixty Years Since (1814), Emma (1815), and Ormond, A Tale (1815), A Romantic Bildung traces the narrative structure of the genre and it locates its essence in the Romantic novel. By comparing the narrative’s steps of education, independence, and return to society, the characteristics of the genre are revealed.
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Jubinville, Ginette. "Représenter et construire la psychiatrie en France, 1801-1863 : l'art des premiers aliénistes." Thèse, 2014. http://hdl.handle.net/1866/11578.
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Depuis les quatre dernières décennies, des publications célèbres analysent l’histoire, l’art et l’architecture de la psychiatrie de la fin du dix-neuvième siècle afin de dénoncer les aspects négatifs de la science psychiatrique : voyeurisme sur la personne du fou, déshumanisation de l’asile, autoglorification du psychiatre, abus de pouvoir. C’est ce regard à sens unique que j’ai voulu déjouer dans cette thèse en consacrant ma recherche aux œuvres produites en amont de cette période. Leur analyse a permis de prendre conscience de l’autre versant de la science psychiatrique, celui qui est philanthropique, bienveillant et animé d’un réel espoir de guérison. Mon objectif a été de construire, par l’analyse de ce domaine iconographique inédit ou négligé, une nouvelle histoire de la naissance de la psychiatrie, celle de sa culture visuelle. Une histoire qui révèle ses idéaux du début du siècle et les écarts à ses propres aspirations par son besoin de légitimation et de professionnalisation. Ma thèse propose une enquête épistémologique de l’histoire de l’aliénisme français, par le biais du discours porté par les œuvres d’art commandées par ses fondateurs.
Le premier chapitre est consacré aux premiers asiles conçus comme le prolongement du corps du psychiatre et ils sont analysés selon les valeurs de la nouvelle science. Je me suis appliquée à y démontrer que le concept même d’asile, agissant sur nos sensations et sur notre cognition, relève autant des théories architecturales des Lumières que des besoins spécifiques de l’aliénisme.
Le deuxième chapitre identifie, pour la première fois, un ensemble de portraits de la première génération d’aliénistes et de leurs disciples. J’argumente que ce corpus voulait imposer l’image de l’aliéniste comme modèle de raison et établir sa profession. Pour ce faire, il s’éloigne des premières représentations des aliénistes, paternalistes, et philanthropiques.
Le troisième chapitre analyse les représentations des aliénés produites pour les traités fondateurs de la psychiatrie publiés en France. Le vecteur de mon analyse et le grand défi pour l’art et la science viennent de l’éthique des premiers psychiatres : comment représenter la maladie mentale sans réduire le malade à un être essentiellement autre ? Une première phase de production accorde à l’aliéné autonomie et subjectivité. Mais la nécessité d’objectiver le malade pour répondre aux besoins scientifiques de l’aliénisme a, à nouveau, relégué l’aliéné à l’altérité.
Le sujet du quatrième et dernier chapitre est le cycle décoratif de la chapelle de l’hospice de Charenton (1844-1846), principal asile parisien de l’époque. J’y interroge comment l’art religieux a pu avoir un rôle face à la psychiatrie, en empruntant à l’iconographie religieuse sa force et sa puissance pour manifester l’autorité de l’aliéniste jusque dans la chapelle de l’asile.
Le dix-neuvième siècle a été porteur d’espoirs en la reconnaissance de la liberté des êtres et de l’égalité des droits entre les personnes. Ces espoirs ont pourtant été déçus et les œuvres de l’aliénisme montrent un nouvel aspect de ces promesses non tenues envers les groupes fragilisés de la société, promesses de reconnaissance de leur subjectivité, de leur autonomie et de leur dignité.<br>Over the last four decades, famous publications have analyzed the history, art, and architecture of late nineteenth-century psychiatry to denounce the negative aspects of this science: the voyeurism directed toward the person of the insane, the dehumanization of the asylum, the self-glorification of the psychiatrist, the abuse of power. It is this one-sided view that I seek to undermine in this dissertation by focusing my analysis on artworks produced at the birth of psychiatry in the early nineteenth century. It reveals another side of the psychiatric science, one that is philanthropic, humane and motivated by a real hope of cure. By examining unpublished or neglected iconographic material, I construct a new history of the birth of psychiatry – that of its visual culture – which reveals both its ideals and the distance from its own aspirations brought about by this new science’s need for legitimation and professionalization. My dissertation proposes an epistemological investigation of the history of French alienism by studying the rhetorical discourse of the artworks commissioned by its founders.
The first chapter is dedicated to the earliest asylums. Designed as the continuation of the body of the psychiatrist, they are analyzed in relation to the values of the new science. I demonstrate that the concept of asylum, affecting our sensations and our cognition, both followed the Enlightenment theories of architecture and expressed the specific needs of psychiatry.
The second chapter identifies, for the first time, a set of portraits of the first generation of psychiatrists and their pupils. I argue that this corpus sought to impose the image of the psychiatrist as a model of reason and to establish the profession. In the process, the image of the psychiatrist gradually lost its paternalist and humanist characteristics.
The third chapter analyzes the illustrations of the insane produced for the founding treatises of psychiatry published in France. The vector of my analysis and the big challenge for art and for science come from the ethics of the first psychiatrists: how to represent mental illness without reducing the sick person to alterity? One of the first phases of production grants autonomy and subjectivity to the insane individual. But in order to objectify the patient to fulfill the scientific needs of psychiatry, the madman was once again relegated to otherness.
The fourth and last chapter focuses on the ornamental cycle in the chapel of the Hospice de Charenton (1844-1846), the main Parisian asylum at the time. It reveals how religious art played a role in psychiatry by borrowing from the force and power of religious iconography to mark the presence of the psychiatrist’s authority even in the asylum chapel.
The nineteenth century generated hopes for the recognition of the freedom of individuals and of equality between people. While these hopes were ultimately disappointed, the artworks produced for alienism show the promises that had been made to the weaker groups of society, promises of recognition of their subjectivity, of their autonomy, and of their dignity.