Dissertations / Theses on the topic 'Scott, Walter, 1771-1832 Influence'
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Goarzin, Hélène. "De l'ideal a l'organique : la representation de l'histoire dans les romans ecossais de walter scott." Paris 3, 1996. http://www.theses.fr/1996PA030074.
Full textThis study of eight of scott's waverley novels analyzes the representation of history and of its various movements. It replaces the works in their aesthetic and philosophical context, and shows that scott's thoughty is at the junction of classicism and romanticism. Through the numerous prefaces that frame his work, he develops a vision of "ideal" history which owes much to neoclassical aesthetic theories. But the hero's journey also shows that history is a field of experience, both for the traveller and for the author. Here scott's models derive from the scottish school of empiricist philosophy and the sciences of his time. In his novels, natural landscape acquire a new dimension. This is where associations (as analyzed by david hartley) take place and allow memories to resurface. Finally, scott gives an organic view of history, as he represents the circulation and exchanges that occur within the social body. The text itself becomes a living body where exchanges take place between the author and his "personae"
Grader, Daniel. "The life of Sir Walter Scott, [by] John Macrone : edited with a biographical introduction by Daniel Grader." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/1979.
Full textGendrel, Bernard. "Le roman de moeurs en France (1820-1855) : du roman historique au roman réaliste." Thesis, Tours, 2010. http://www.theses.fr/2010TOUR2015.
Full textAfter having distinguished three explicative aspects of the novel (the psychological, social and plot-driven aspects) and defined three corresponding types of novels (novels of characters, manners and plot), this work focuses on the novel of manners during the Bourbon Restoration and the July Monarchy. Heir to quite an old tradition, this genre is at its peak with the Scottian historical novel and the novel of contemporary manners of the 1820’s. Balzac, first influenced by the novel of manners, develops in The Human Comedy a hybrid form (combining social and psychological aspects, novel of characters and novel of manners), which we may call the realistic novel (characterized by an overloading of verisimilitude). This definition of realism does not erase the differences between the authors; it allows, on the contrary, to appreciate the specific poetics developed by Stendhal, George Sand or Champfleury
Leroy, Maxime. "La préface de roman comme système communicationnel : autour de Walter Scott, Henry James et Joseph Conrad." Angers, 2003. http://www.theses.fr/2003ANGE0014.
Full textThis dissertation offers a reading of the prefaces of Walter Scott, Henry James, Joseph Conrad and other authors, based on a systemic approach and on various theories of communication. Chapter 1 sums up the main existing theories on prefaces and shows their relevance to the present research. Chapter 2 describes the main elements in the schemes of communication of the prefaces : title, author, reader, locus. Chapter 3 shows how those elements form organised systems, both within each preface and regarding intertextual connections. Chapter 4 explores some of the functions of communication brought about accordingly by each author : negotiation, lecture to the reader, conversation, representation of the self. Finally, chapter 5 deals with the semantic effects of the prefaces
Kandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy." Rouen, 1988. http://www.theses.fr/1988ROUEL047.
Full textAgarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture
Demirdjian, Héléna. "Les Sociétés secrètes dans le roman historique du XIXè siècle (Scott, Dumas, Raffi)." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30094.
Full textIn Europe, the development of the historical novel in the nineteenth-century is relied to the emergence of the national identities. In France, the question of the genesis of the nation over a long period, until the decisive event of the Revolution, makes it possible to think about the tensions and paradoxes of a post-revolutionary society looking for its own intelligibility. How can the idea of the national community emerge through the action of secret societies whose principle and action are often largely undemocratic? It will be necessary to understand how Scott, Dumas and Raffi solve this paradox in their own way
Chaarani-Lesourd, Elsa. "Intertextualité et récurrences dans le roman historique italien mineur, 1822-1834 : enquête sur la typologie d'un "palimpseste"." Nancy 2, 1993. http://www.theses.fr/1993NAN21025.
Full textThe minor Italian historical novel met great success during the first half of the nineteenth century. As in Walter Scott's novels, the setting of these novels is nature and architectures, seen as in the English "gothic" novels, referring to "sublime" aesthetics and sensualism. The narration is frequently divided into history and fiction ; the characters, on one hand, and the narrator, on the other, give a relative unity to the narrative, which is strongly intertextual, influenced by Manzoni, Scott and the gothic novels. The intertextuality of these texts is not, however, purely literary , it also comes from the insertion of historical erudition, which is carried out thanks to the evocation of events, people or historical customs and through various processes on the historical source ; there are a lot of inacurracies to history. On the eve of the risorgimento, the Italian historical novel brings the innovation of nationalist ideological dimension, compared to the genre created by Scott and its authors waver between enlightenment philosophy and romanticism
Sabiron, Céline. "Limites et frontières dans les romans écossais de Walter Scott." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040181.
Full textThis monograph is dedicated to the question of limits and borders in Walter Scott (1771-1832)’s Scottish novels — thus called because the stories are set in the Borders or near the Highland line mostly in the 17th and 18th centuries at the time of the Union between the two kingdoms of England and Scotland. A very detailed analysis of the texts of the novels helps us to discover a series of interactions between the two concepts of limit and border which are grounded in a particular strategy developed by the author — a fervent opponent to Manichaeism. He sets boundaries, seen as fixed and impassable limits, and then deconstructs them, i.e. has them be crossed, moved, blurred before dissolving them in order to reach a perfect in-between state where all opposites mingle harmoniously. This thesis enables us to define a Scottian middle way, which makes Scott an avant-garde writer in his own time, and still nowadays since he paves the way for many a postmodern concern
Pilote, Pauline. ""Wizards of the West" : filiations, reprises, mutations de la romance historique de Sir Walter Scott à ses contemporains américains, 1814-1840 (James Fenimore Cooper, Washington Irving et Catharine Maria Sedgwick)." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN074.
Full textThis work, belonging to the field of transatlantic studies, analyses to what extend historical romances formed a response to the ongoing wish to provide the United States with a national literature in the first half of the nineteenth century. The genre, fashioned in Great Britain by Walter Scott, was taken up and adapted by his American contemporaries, and in particular, James Fenimore Cooper, Washington Irving, and Catharine Maria Sedgwick. The first chapter tackles the reception of Walter Scott and of his Waverley Novels, and their impact on the American book market. Our analysis in particular of the newspapers and periodicals that flourished in the surge of patriotism following the War of 1812, has enabled us to show that the panegyrics for Walter Scott stood just alongside the recurrent calls in the same pages for the birth of an “American Scott.” The response given by the American authors forms the second part of our analysis. As they appropriate some of the generic traits of the Scottian historical romance in order to comply to the nation’s wish for a portrayal of American history, Cooper, Irving, and Sedgwick use the genre to showcase the American matter – a history full of events worth narrating, ancestors worth celebrating, and a national territory with its own features – that would bring the United States on a level with the European nations. As the writers thus promote a culturally distinct American nation, the genre gradually morphs into a form of national epic. Through this mythogenesis at work in the writings under study, the United States are given a timeline that dissolves into an indeterminate temporality, thereby shaping the Early Republic as an organic nation, fit for contention with its transatlantic counterparts
Bogé-Rousseau, Patricia. "Traduire et retraduire au XIXe siècle : le cas de "Quentin Durward", roman historique de Sir Walter Scott, et de ses traductions par Auguste-Jean-Baptiste Defauconpret." Thesis, Toulouse 2, 2018. http://www.theses.fr/2018TOU20082.
Full textThis dissertation aims to analyse four translations of Walter Scott’s novel Quentin Durward (1823), all translated by the same translator, Auguste-Jean-Baptiste Defauconpret. We consider determining whether the translator was the sole participant in the retranslation process, whether the three French versions that followed the first translation of 1823 are genuine retranslations or mere corrections, and whether or not the successive modifications to the first translation are oriented towards the source text. In the first part of the dissertation, some translation studies concepts are proposed, particularly the retranslation phenomenon, of which we offer an overview, before we evoke the Brownlie and the Koskinen & Paloposki theories, and the reasons why a retranslation can be envisaged. Secondly, we describe the translational, literary and publishing contexts in the beginning of the 19th century. The second part of the dissertation is dedicated to Walter Scott, Defauconpret and the novel whose translations are analysed. Their reception by the critics and the readership is discussed in particular. The analysis of the corpus follows in the last part of our work, in which we mainly study the footnotes and the scoticisms that represent characteristic features of Walter Scott literature
Besson, Cyril. "La constitution de la scotticité dans l'oeuvre de Walter Scott, James Hogg et Robert Louis Stevenson." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00673129.
Full textBolthouse, Colleen R. "Was Ist Silvia? Englanderin Oder Deutsche? Restoring the Orignial English Texts to Songs Schubert Set in Translation, a Lecture Recital, Together with Three Recitals of Selected Works of H. Purcell, G. F. Handel, W. A. Mozart, F. Schubert, J. Brahms, H. Wolf, F. Poulenc and Others." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc279276/.
Full textHousehold, Sarah C. "Negociating the nation: time, history and national identities in Scott's medieval novels." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210995.
Full textCette thèse analyse par le biais la théorie post-coloniale les relations internationales dans Ivanhoe, Quentin Durward, Anne of Geierstein et Count Robert of Paris. Les théories historiques élaborées en Écosse au XVIIIème siècle sont fondamentales dans la vision scottienne parce qu’elles forment la base de la systematisation de l’histoire, du développement sociale et, par conséquent, des relations entre les différentes communités. Ces théories influencent profondement les images qu’il utilise et la façon dont il décrit les caractères et les scènes. De plus, elles lui fournissent une gamme de stéréotypes qu’il manipule très adroitement. Sa conception de la manière dont se forment les nations vient des idées contemporaines et de sa propre expérience de l’union politique de l’Angleterre et de l’Écosse. Il considère la nation comme une communauté fondée sur l’ascendance par le sang mais aussi comme un groupe d’ethnies différentes qui vivent ensemble. Sa description de la nation emprunte à la métaphore de la famille courante au XVIIIième. Celle-ci lui permet d’inclure dans son analyse l’héridité et la mixité au moyen des couples formés par un père et sa fille. Le père représente la culture traditionelle, et la fille, le présent et le futur national. Son marriage avec un étranger signifie que les gens d’ascendance différente peuvent traverser les frontières perméables d’une nation. La religion est la frontière ultime: les nations chrétiennes ne peuvent absorber de non-chrétiens. Scott considère que la domination et la sujetion forment une partie complexe des relations humaines. Les sujets qui paraissent subordonnés possèdent en fait un pouvoir occulte, le dominant ayant besoin de leur soutien pour maintenir sa position. Bien que sa conception patriarcale de la société fasse que les caractères feminins ne manifestent pas d’agression envers les hommes, il montre que la résistance passive est très efficace. En imitant le sujet dominant, le sujet subordonné menace le pouvoir et l’identité de ce dernier. Le pouvoir ne s’exprime pas seulement dans la politique. Rebecca dans Ivanhoe revèle l’importance que revêtent le caractère et la moralité. Bien qu’elle soit au bas de la hiérarchie structurante de la société anglaise, elle domine le roman.
La conception que Scott se fait du temps est fondamentale à celle de la nation et de la culture. Au moyen du chronotope, les cultures historiques prennent des formes physiques. Les cultures qui sont subordonnées politiquement basent leur action au présent sur le “temps pédagogique”. Au contraire, le dominant rejette son passé et ne vit qu’au présent et au futur. Les relations entre le pouvoir dominant et le subordonné s’expriment aussi par la vitesse: le temps passe vite pour les puissants, mais lentement pour les faibles. En définitive, tous les éléments de la conception scottienne de la nation sont liés au temps, qu’il s’agisse de l’histoire, de perception par les caractères, ou de la vitesse.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
Gonçalves, Carmen Sofia da Orada Carujo Mendes. "Prefácios, introduções & Cª : o jogo autoral em [para] textos selecionados de Walter Xcott." Master's thesis, 2011. http://hdl.handle.net/10316/19318.
Full textLynn, Andrew. "Minstrels in the drawing room: music and novel-reading in Johann Wolfgang von Goethe, Walter Scott, and George Eliot." Thesis, 2014. https://doi.org/10.7916/D8PV6HF5.
Full textShannon, 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.
Full textMarques, J. J. Dias. "A génese do Romanceiro do Algarve de Estácio da Veiga." Doctoral thesis, 2002. http://hdl.handle.net/10400.1/5907.
Full textFoi em 1985 que, primeira vez, nos interessámos pelo Romanceiro do Algarve. Estávamos, na altura, a preparar os comentários para a série televisiva O Romanceiro, de que fomos o autor. Ao chegarmos às duas versões madeirenses de Testamento de Fernando I + Queixas de D. Urraca + Afuera, afuera, Rodrigo que surgem na série, fomos ler a versão publicada por Estácio da Veiga, a primeira atestação portuguesa daqueles temas, tentando perceber o nela haveria de verdadeiramente tradicional e de inventado pelo editor. Ainda lá estão, no exemplar do Romanceiro Geral de Teófilo Braga onde lemos a versão algarvia, os traços a lápis com que assinalámos os versos que lembravam os dos textos castelhanos antigos. E as linhas onduladas com que marcámos o que parecia pura invenção de Estácio da Veiga. Anos depois, em 1987, dedicámos algumas linhas ao problema, integradas na comunicação que lemos no congresso do Puerto de Santa María. 2 Ali, pouco pudemos concluir, uma vez que, para dar uma resposta satisfatória, teria sido necessário conhecer o manuscrito original de Veiga.