Dissertations / Theses on the topic 'Théorie romanesque'
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Grotowska, Eva. "Discours romanesque, théorie litteraire et théorie du monde dans l’œuvre d’Édouard Glissant et d’Ernesto Sábato." Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0742/document.
Édouard Glissant and Ernesto Sábato are both well-known for their work as writers and philosophers. Their theoretical reflection, which analyses questions pertaining to language, history and identity, nourishes their novelistic production. In fact their novels mark the crossroads of theory and fiction. The latter are a forum for thought where the theoretical bases of their reflection are applied to reality. This perception of the novel as strictly related to their essay work leads us to consider the use of metafiction, a technique that encompasses both types of creation. The search for different metafiction strategies will allow us to analyze the construction of “guiding fictions”. At the same time, it will lead us to consider the role of a writer in the process of constructing a “national conscience” through literature
Parisot, Fabrice. "Les épigraphes dans l'oeuvre romanesque d'Alejo Carpentier : théorie et analyse." Aix-Marseille 1, 1994. http://www.theses.fr/1995AIX10032.
Jouini, Asma. "Théorie et pratique du naturalisme dans l'ɶuvre romanesque de Joris-Karl Huysmans (1874-1883)." Thesis, Nice, 2013. http://www.theses.fr/2013NICE2049.
This thesis deals with the work of Huysmans ranging from his first writings until the eve of his disagreement with Zola; À Rebours being the point of disjunction between an initial period of setting up and a series of multiple literary experiences where the naturalistic method is the guarantor of unity. For if naturalistic writing was, at some point in the life of Huysmans, a form of initiation, it has not ceased to be a way of thinking and the author claims this naturalist part even in his most mystical novels. Huysmans therefore wants to write a book while avoiding idealizing the world, that is to say, a non-fiction book. Through this, he takes part in the naturalist movement. For, to banish the intrusions of the author, in the name of experimental objectivity, is one of the foundations of the naturalist current. But paradoxically, by pushing the theoretical discourse of the experimental novel to the end of its logic, Huysmans' writing will lead to a sort of break-up of the traditional structure of the novel, as evidenced some years later the writing of À Rebours. Indeed, Huysmans draws in his own way Zola's naturalist theory. He quickly realized that this theory will lead to a dead end and that we must go to the edge of this experience in order to be able to pass on to others. But this stage of its formation definitely marked it, especially as a method of documentation. The literary experience of Huysmans during this decade is symptomatic of a more general state and makes it clear that the novel rests on a moving field
Zhu, Hong Adèle. "Le Chiendent ou le mécanisme de la fiction romanesque." Paris 8, 2000. http://www.theses.fr/2000PA081761.
Leyicka, Bissanga Gisèle. "Michel Butor : du roman à l'effet romanesque." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30010/document.
Michel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices
Watier, Louis. "La traduction fictive : motifs d’un topos romanesque (1496-1617)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040165.
A fictitious translation (or pseudo-translation) is a text written in a peculiar language but introduced as a real or imaginary translation in a foreign language. While such fictitious translations did not go through frequent studies until the end of the twentieth century, they are quite common and regularly illustrated by many famous works, among which Don Quijote, Le Manuscrit trouvé à Saragosse and The Castle of Otranto to name a few. For long translation as fiction has only been considered as literary device to entertain. Hence, this attitude towards the fictitious translation may partially explain why such literary phenomenon was never perceived within its historical context, notwithstanding it was explicitly used as a literary convention by many authors. Therefore, we should devote ourselves to discern the motivations that drove the emergence of pseudo-translation in the novel ’genre. Besides, it is also important to highlight the course it took to finally become known as topos. From this perspective, this research, which is a genealogical one as defined by Nietzsche, explores the role of translation from the first medieval novels to their last echo in Cervantes’s work; in an attempt to reinject a historical dynamic in a common place long unchanged
Moran, Patrick. "Lectures cycliques : le réseau inter-romanesque dans les cycles du Graal du XIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040020.
The thirteenth-century Arthurian prose cycles (mainly Robert de Boron’s trilogy and the Vulgate or Lancelot-Grail Cycle) are groupings of a peculiar nature. Defined both by the autonomy and the interconnection of their constituent romances, they differ from the individualised verse romances which precede them as well as from the massive yet more homogenous prose narratives which follow. These formal characteristics go hand-in-hand with a coherent world-building project, which aims to formulate a definitive Arthurian canon. The brevity of the production period (ca. 1200-1240) is counterbalanced by the lasting success of these texts throughout the Middle Ages; cyclicity is an experimental form which creates a new take on the matter of Britain, and most of all, gives birth to new modes of reading. Defined by centrifugal as well as centripetal tendencies, cyclical romances generate a network which the reader may explore at will, either partially or completely, in an orderly or disorderly manner. By linking romances which may have different aims yet accept their basic connectivity, cycles allow their readers to navigate them in constantly renewed ways, while at the same time preserving their coherence in spite of localised contradictions. This cross-romance network is the subject of the present study: cyclical romances, far from existing in isolation, thrive in an interconnected narrative environment; in conjunction with the reader’s own structuring powers, they interact to build multifarious narrative worlds
Lovito, Giuseppe. "La dialectique interprétative entre texte et lecteur dans l'oeuvre théorique et romanesque d'Umberto Eco : la (més)interprétation de la réalité par la fiction." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0378/document.
Our doctoral thesis intends to show, from a historical and analytical perspective, that all the theoretical and novelistic works by Umberto Eco can be read, in an originally organic and problematic way, through the theme of the interpretative dialectic between the text and the reader. The theme is present in all his different books. It leads us to establish a rich, critical, intertextual and intratextual dialogue and allows us to argue that it is possible, even significant, to consider the various aspects of his work in a coherent and complementary manner. In fact, our conviction is that, even though Eco’s semiotic books mainly focus on the fundamental rules and modalities of a fruitful interpretative cooperation between the reader and the text – in order to define a shared meaning of the latter –, his novels, far from being understood as a simple didactic illustration of his theoretical conceptualizations, should rather be regarded as forms of their successive enrichment. Indeed, through the allegorical representation of the dramatic consequences of hermeneutic practises pushed to the extreme – related to the interpretative relationship between the text and the reader –, Eco precisely uses narrative fiction to criticize the use of semiotics for the purposes of intellectual abstraction and to anchor it, on the contrary, in the concrete realm of history, thus highlighting its critical, social and cultural role
Léonard, Cécile. "Salman Rushdie et la création romanesque : Jeux, autorités, théories." Paris 7, 2006. http://www.theses.fr/2006PA070022.
This dissertation explores salman rushdie's novelistic creation by reading his texts written from 1981 to 2005 (novels, short stories, but also essays and a selection of articles and interviews). The "passage" characterizes the poetics 0f rushdie, who, in turns, theorizes it. At once a storyteller, a historian and a satirist, the novelist creates a protean novel in order to question representations (especially history, arts and sacred texts). This poetics builds itself around a tension between the novelistic work and rushdie's status as an intellectual in the contemporary world. A cross-reading between novels and essays shows how the "poetics of the passage" renews itself in the studied time period. Internally, the multiplicity of authoritarian figures (political, familial and religious) in the fiction reveals two different modes (playful and satiric) according to which authority is at once admired, hated, subverted and replaced. Externally, rushdie's texts can be read according to the principles of affiliation and consecration, to which the author contributes when he reviews, edits an anthology or consecrates other writers in order to influence the course of literary history
St-Onge, Simon. "La fille d'en face : création romanesque et réflexion théorique." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6269.
Masamichi, Suzuki. "La violence dans les œuvres romanesques de J. - P. Sartre : théories et fantasmes." Paris 10, 1996. http://www.theses.fr/1996PA100120.
What is most striking in the violence of the characters in sartre's novels is their explosive emotion. In the works he wrote in his mature age, the function of the violence is to emphasize the ideazs he develops in his philosophical works. In the works of his young age, the violence has the effect of showing his strong affects concerning his grandfather, his mother or his own future image. Behind the violent characters or the victims of violence, we see the figures of the archaic mother, of the imaginary father or of the symbolic father. Though it is less remarkable, we can see the violence which shows the contrary tendency : the characters suppress their emotion ; they knock down their enemy with minimal movements or words. In spite of the author's negative ideological position, this type of violence looks fascinating. The image of pointed steel which symbolizes this "implosive" violence shows the narcissistic figure aspiring after the almighty. While the explosive or implosive violence refuses the other, in the sartre's novels, we find the violence that gets together the beings. Its mechanism seems to echo with that presented in criticism of the dialectical reason. But some scenes in the novels seem to suggest the fraternity without violence, which sartre will speak of just before his death
Lagacé, Michel Francis. "Dialogue entre narrateur et narrataires, facétie romanesque intitulée La gaie planète et essai théorique afférent." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq26384.pdf.
Lagacé, Michel-Francis. "Dialogue entre narrateur et narrataires facétie romanesque intitulée La gaie planète et essai théorique afférent." Thèse, Université de Sherbrooke, 1997. http://savoirs.usherbrooke.ca/handle/11143/2689.
Esmein-Sarrazin, Camille. "L'avènement d'une poétique romanesque au XVIIe siècle : discours théorique et constitution d'un genre littéraire (1641-1683)." Paris 4, 2004. http://www.theses.fr/2004PA040232.
Many changes were made to the prose narrative in the 1660s: the structure was simplified and the subject matter was drawn closer to the readers' interests. Shorter forms called "petits romans", "histoires", "nouvelles" replaced long heroic novels. Around the same period, there were numerous attempts at codifying what a novel was. Highlighting the distinctions between long and short novels, these writings noted the changes and construed them as a shift in the genre. The 1660s can be heralded as a turning point in the theorisation of the genre. This interpretation induces an exhaustive study of the texts dealing with the novel form in the 17th c. In order to compare the poetics and the writing of novels. In the first middle of the century, the theory was apologetic in tone, since the aim was to define the novel against its opponents. A notable characteristic of these writings was that they were either in favour or against it. However the French fiction, progressively seen both as a legitimate literary type and, in the eyes of readers, as a genre, triggered a thorough study of the status and the aim of a prose narrative. The years 1660s witnessed the birth of the poetics of the novel, which went well beyond codification to focus on the impact of a narrative. For the first time the novel was considered as a literary genre. As a consequence the change in the novel had more in common with rhetorics and ethics than aesthetics. The "art de l'éloignement", which reigned as the predominant narrative rule in the first period, was superseded by the art of verisimilitude. This deeply modified the status of both the author and reader and transformed the ideological impressions it made
Beyeme, Nze Alexis. "Esthétique et théorie de l'errance : regard littéraire et perspective de lecture sur les oeuvres romanesques d'Edouard Glissant, de John Maxwell Coetzee et de Haruki Murakami." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030078/document.
The wandering this being phenomenon which is moved and travel (browse) the diégèse of a transgressive literary production. This revolution of the textual language, the first purpose of which is to put to death the tradition of literature. Here still the representative kind (genre) of letters, novel, is pushed aside (knocked down) up to its last cutting off, so much the transformation (processing) is obvious and perceptible in the modern, postmodern thought and postcolonial. The hybridization summons (convenes) so that, the reader is alienated, dumbfounded one more time by a scriptural meshing which pushes him (it) to the transcendence of the basic (basal) analysis. The author so sets up himself as herald who kills the former (old) and subverts the mask with a total freedom. Then, literary genres, characters, temporality and space re-configure indefatigably by the motive for the wandering becomes a singular and central agent which livens up (leads) the current events in a general way of the world of the art and in particular the literature. This united thesis the voice of three writers: Glissant, Coetzee and Murakami, the later respectively accentuate a sought identity, an anomie which affects (allocates) logos, the pathos and ethos and character so singular as hybrid
Romano, Francine Reinhardt. "La représentation humaine dans les théories de dispositifs et scène romanesque : de la matérialité du corps à la superposition symbolique dans "Le diable au corps"." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102621.
Este trabalho propõe a anàlise composicional do romance Le Diable au corps, escrito e publicado por Raymond Radiguet em 1923. Seremos impelidos à apurar os elementos diegéticos da narrativa através dos métodos narratológicos tradicionais, para em seguida podermos realizar um segundo tipo de análise desenvolvida por Sthéphane Lojkine e seu grupo de pesquisa na França. Demonstraremos, então, os passos evolutivos do gênero romance e sua estética sob a luz das teorias de cena romanesca e dispositivos de representação. Este método concebe a cena de romance como um mecanismo vital para a assimilação da história e tenta precisar com minúcia seus processos internos colocados em funcionamento na construção de sentido da obra. O estilo de escrita de Radiguet, principalmente seu romance comme um produto excepcional comparado às publicações que seguiam as correntes estética s da época, se nos ofertou como um excelente material para a aplicação das téorias dos dispositivos tal como nos dispusemos à verificar aqui.
Agsous, Sadia. "Langues et identités : l’écriture romanesque en hébreu des palestiniens d'Israël (1966 – 2013)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015INAL0002/document.
This research focuses on the analysis of the issues of language and identity in novels written in Hebrew by members of the Palestinian minority in Israel ("hybrid texts" according to Yassir Suleiman). It combines two components, one diachronic and one analytical. First, it examines the history of the Palestinian novel in Hebrew and the different fields where Hebrew and Arabic, Palestinian and Israeli Jew as well as minority and majority meet. Second, the analytical, comparative approach of the works of Atallah Mansour (1935), Anton Shammas (1950) and Sayed Kashua (1975) is examined from their dual, Israeli and Palestinian, affiliation. It sets these works in the context of Minor Literature, post-colonial hybrid identity and Mahmoud Darwich’s third space. The aim is to outline the Palestinian narrative initiated by minority writers as a process of deconstruction, reconfiguration and correction of the representation of the Palestinian character in Hebrew literature
Prest, Céline. "Le spectre du document : supports, signes et sens dans l’œuvre romanesque de Charles Dickens." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA117.
From his birth in 1812 until his death in 1870, Charles Dickens was part of the industrial development era of the 19th century which brought about the consumer society and new forms of reading that transformed the use of documents. Dickens comments on these different forms and uses throughout his work, both in his novels and in his essays, in which he demonstrates a persistent uncertainty concerning the power of the author. This dissertation aims at reflecting on the role of the reader and the act of reading as they are presented in Dickens’s novels. Dickens’s characters are presented as concrete readers who imperfectly interpret the various texts they are presented with. The reception of written texts is subject on the one hand to the character’s subjectivity and on the other hand the materiality of the document which comes between the reader and the text. Thus whatever sense is construed by a Dickensien reader can differ from the original intent of the text’s author. Contrary to an orally delivered message, a written text is part of a differed communication into which subjectivity and matter irrupt. Considering these two parameters within the process of written communication, this work adopts the perspectives of the Anglo-Saxon critical study called Book History. The analysis of the textual object which is the document is connected with the theoretical reflections on objects as considered in Thing Theory. Together with these theories, this work is interested in “the material imagination” in Dickens’s work which thinks and dreams about the materiality of the document. We set out to understand why and how Dickens paradoxically attempts to deconstruct inert materials such as paper, signboards, stones as media for writing to then examine his dream of living texts which find its answer in man, beyond matter
Martel, Jean-Philippe. "Les mauvais genres de la droite pessimisme historique, hybridité générique et surenchère négative chez Paul Morand et Louis-Ferdinand Céline." Thèse, Université de Sherbrooke, 2009. http://savoirs.usherbrooke.ca/handle/11143/2811.
Rouxel, Hubac Marianne. "Emmanuel Carrère ou le romancier contemporain en eaux troubles." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030010.
Emmanuel Carrère published his first novel in 1983, during a period of renewal for novel writing and self-narratives. Enriched by the author’s cinematic knowledge and practical experience in this field, his work was initially characterized by an unbridled type of fiction, before shifting its focus to real life events. From the influence of the horror genre to the inner workings of a civil court, the choice of ambiguous characters and the use of uncompromising personal anecdotes, the influence of Bovarysm and the origins of Christianity, the attraction to performative writing and the fascination for Russia, his books are strikingly heterogenous, in terms of both topic and genre. However, the cohesiveness of this literary monument soon becomes obvious to the attentive reader. The succession and intertwining of his narratives also unveil the ontological dimension of the writing process : like a prodigal son, Carrère tests the delineation of an “unclosed” existence, in particular through the confrontation with others. This thesis aims to sketch a portrait of a contemporary novelist plunged in “muddy waters” and to show how the dynamic at work in his writing can exemplify key features of French literature at the turn of the 21st century
Hummel, Clément. "Modernités du roman scientifique chez J.-H. Rosny aîné." Electronic Thesis or Diss., Normandie, 2023. http://www.theses.fr/2023NORMC033.
J.-H. Rosny aîné (1856-1940) is the author of a large literary work, including novels, short stories, articles published in the press and in scientific journals. Literary history remembers his involvement in the dispute against Émile Zola's naturalism, his role in the Goncourt Academy, of which he was a founding member and President, the maturity he brought to prehistoric narratives through his seminal novel La Guerre du feu and numerous texts that now position him as one of the pioneers of science fiction in France. The interest of that author lies not so much in what he foreshadowed but rather in the literary modernity he both theorized and practiced at a time when the art of the novel was in crisis in France, and scientific storytelling struggled to move beyond the model set by Jules Verne's Voyages Extraordinaires. This work particularly analyzes the multifaceted connections that this versatile author maintained with the sciences, which held a “poetic passion” for him and to which he declared himself a reformer. While he produced various essays on scientific philosophy and presented some of his reflections to the Academy of Sciences, it’s through the medium of the novel that he invents both modern science and literature
Pagalos, Michael. "Philosophie de la littérature et de l'action : recherches sur le syllogisme pratique et poétique." Paris, EHESS, 2003. http://www.theses.fr/2003EHES0104.
The dialogue between phenomenologists, causalists and intentionalists attempted here has obeyed a practical finality : to illiminate the structure of human action by eclucidating its intention, its ends, its narration. We have seen that this is not possible but through an holistic analysis. This conclusion has permitted us to enter into the domain of literary theories armed with the anthropologist's/sociologist's instruments for adressing the question, how may we end the permanent alienation of the human person in history (?) how can we escape the tragedy of History (?), as the constitutive question of novel's cosmology. The analyses applied to war and nazism, beginning with R. Musil and Th; Mann, have willed an orientation into this horizon : literary work, far from representing the emergency of "private" or solipsistic experiences, constitues our most penetrating intellectual instrument for analyzing society and history. Facing triumphant "History", with her vicissitudes and blood-stained apocalypses, yhe novelist can appear as the sole thinker of the human
Raymond, Sabrina. "La création d'un effet d'intimité grâce au dialogue romanesque dans Monsieur Malaussène de Daniel Pennac." Mémoire, 2012. http://www.archipel.uqam.ca/5184/1/M12654.pdf.
Lussier, Anne Marie. "Les ressorts fictionnels au service du vrai : théorie et écriture romanesques dans l’oeuvre de Denis Diderot." Thèse, 2019. http://hdl.handle.net/1866/23803.
This thesis, which deals with the interweaving of philosophy and literature in the work of French Enlightenment thinkers, seeks to shed light on Denis Diderot’s unique contributions to philosophical reflection on the novel, as well as to the exploration of the literary resources that make it possible to delve into philosophical issues through the novel. Beginning with an examination of Diderot’s explicit theories about writing narrative fiction, it argues that the outgrowth of his materialism and the disenchantment following his attempts at theatre reform upended the aesthetic and moral basis for the initial normative framework underpinning his analysis of how fiction is ideally written and received. It goes on to examine how Diderot, as a novelist, undertook an innovative and fruitful exploration of the unsuspected philosophical resources that narrative fiction offers. The final sections are devoted to a close reading of Jacques the Fatalist and His Master, beginning with an attempt to identify the main resources it deploys to train more lucid and critical readers of fiction. The thesis then seeks to show how this knowledge base, if successfully transmitted, ultimately leads the reader to engage in a genuine dialogue with the work, both in terms of the metaphysical and ontological issues raised by Jacques’ “fatalism” and the moral issues that ensue.