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Academic literature on the topic 'Tragédie – Théorie littéraire'
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Journal articles on the topic "Tragédie – Théorie littéraire"
Godard, Barbara. "La traduction comme réception : les écrivaines québécoises au Canada anglais." TTR : traduction, terminologie, rédaction 15, no. 1 (July 29, 2003): 65–101. http://dx.doi.org/10.7202/006801ar.
Full textDoherty, Rachel L. "Spectres créoles, cercles magiques, queer roots et strange fruit dans Amédé de Georgette Leblanc." Quebec Studies 70, no. 1 (December 1, 2020): 105–25. http://dx.doi.org/10.3828/qs.2020.18.
Full textLeopizzi, Marcella. "Molière critique de son œuvre : La Critique de L’École des femmes et L’Impromptu de Versailles." Oeuvres et Critiques XLVIII, no. 1 (August 14, 2023): 49–63. http://dx.doi.org/10.24053/oec-2023-0004.
Full textRefini, Eugenio. "Bodily Passions: Physiognomy and Drama in Giovan Battista Della Porta." Renaissance and Reformation 40, no. 1 (July 21, 2017): 121–40. http://dx.doi.org/10.33137/rr.v40i1.28450.
Full textDissertations / Theses on the topic "Tragédie – Théorie littéraire"
Ligier-Degauque, Isabelle. "Les tragédies de Voltaire au miroir de leurs parodies dramatiques : 1719-1762." Nantes, 2001. http://www.theses.fr/2001NANT3015.
Full textCaputo, Marina. "Washing away the rust and canker of time : un'indagne sul contributo di Richard Porson alla critica del testo di Eschilo." Paris, EHESS, 2009. http://www.theses.fr/2009EHES0009.
Full textThis PhD dissertation is about Richard Porson, an English academic of the xviii/xix century, and his work on Aeschylus. This topic concerns the history of classical philology and the transmission of the text of Aeschylus and is developed in: a) history of Porson's edition on Aeschylus; b) detection Porson's conjectures on Eumenides; c) analysis of Porson's scientific methodology with a particular reference to his skills in Greek meter and language. The investigation implies a comparison with R. Bentley's and G. Hermann 's philological practice which aims to set Porson's work in its historical and epistemological context
Panter, Marie. "Le roman, poème du monde. Victor Hugo, Theodor Fontane, Thomas Hardy." Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0856.
Full textThis thesis deals with the poetics of the novel in Victor Hugo, Theodor Fontane and Thomas Hardy, with a specific focus on The Man who Laughs (1869), Trials and Tribulations (1888) and Tess of the d'Urbervilles (1891). By bringing together these three novelists who are widely acknowledged as major writers yet ignored by general theories of the novel, this study will show how a vision of the modern novel as a poetic rendition of reality, with an idealist, progressive and critical background, has maintained itself. Hugo, Fontane and Hardy, three novelists who considered themselves to be poets first and foremost, opted to turn the novel into a tragedy, a poetic rendition of reality which stands in contrast with Lukacs’ post-Hegelian theories of the modern novel as a prosaic literary genre. In the face of nihilism and the theories of the realist novel which surfaced in the second half of the XIXth century and attempted to define – in the restrictive sense of the word – the genre of the novel, they turned back to the model of the Romantic novel and reinvented it at a time when the realist novel was preeminent. Their poetics was therefore based on the “poietisation” of prose, in other words, based on the imaginary, the symbolic and the metaphoric. This enabled them to assert the specificity and possibility of a poetic, that is to say subjective, heroic and moral experience of the world, as well as the ability of the novel to generate poetical knowledge about the world and history
Ryan, Angela. "L’Héroïne absente : la tragédie comme inscription culturelle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040061.
Full textDoes the tragic heroine play the same Aristotelian role as the hero? Six plays are examined: Euripides’ Andromache, Iphigeneia in Aulis and Hippolytos, and Racine’s Andromaque, Iphigénie and Phèdre et Hippolyte.The three pairs of heroines, considered in turn, have specific limits to their capacity for direct heroic action, compared to typical heroes. At the same time, their presence and actions, even constrained, open the question of women’s condition – which the Greeks were the first to conceptualise, and which the French XVIIth c. also foregrounded, at least for educated women. The fourth chapter looks at some further examples of heroines, illustrating aspects of their representation in tragedy.Fifthly is considered the impact, of the presence and absence of the tragic heroine, on tragedy as a form of cultural inscription which has contributed to the evolution of the imaginaire. Different aspects of the Aristotelian model of tragedy such as muthos, hamartia, hubris, anagnorisis, catharsis are explored in terms of how the tragic heroine represents these functions.The conclusions reflect on the cultural transmission of the heroine from myth to epic, cult, the tragedy of antiquity and of French classicism, to contemporary forms). A recent linguistics theory, the X-bar theory is mentioned as a possible cognitive model to conceptualise this continuity in discontinuity, through societies which have so differently validated the female, but may all have been affected by the performative heroine. The author’s own theory of structure and counterstructure is a possible model for observing the evolution of men-women relations, beyond polarising or binary-oppositional cognitive frames. Finally, “heroine studies” are a possible fruitful research area for literature and cultural studies
Tavonatti, Paolo. "Francisci Porti cretensis commentaria in Aeschyli tragoedias." Doctoral thesis, Paris, EHESS, 2010. http://www.theses.fr/2010EHES0145.
Full textThe work is the critical edition of Frandscus Portus' commentaires on Aeschylus' tragedies. The edition is completed by an introduction (about author's life, historical and cultural context) and the analysis of commentaries
Hatakeyama, Kana. "La faute dans la tragédie française du XVIIe siècle." Thesis, Bordeaux 3, 2016. http://www.theses.fr/2016BOR30007.
Full textThe purpose of this doctoral thesis is to study the French tragedy in the seventeenth century researching into the notion of tragic flaw, hamartia, and to show the originality and the diversity of the French classical tragedy. This notion, commented by Aristotle in "Poetics" originally differs from either an intentional crime or an accidental one. The tragic flaw presupposes the participation of an agent without denying the presence of fortuity. Although a tragic hero is responsible for his misfortune, as it proceeded from his fault, the result exceeds his intention. And this disparity between intention and misfortune makes the audience feel compassion for the hero suffering from his misfortune. If this compassion is one of the emotions caused only by tragedies, the tragic flaw constitutes in this respect an essential element of tragedy. But is the concept of fault identical in the Christendom society of the seventeenth century? To answer this question, I deal with the tragedies of seven dramaturges, Alexandre Hardy, Pierre Du Ryer, Jean Rotrou, Tristan L’Hermite, Pierre Corneille, Jean Racine and Jean-Galbert de Campistron, to cover the seventeenth century. In the first section of this work, I examine the notion of fault in the theoretical texts. The second section consists in studying the tragic figure. The third section is about the nature of the fault, the private fault and the politic fault. The fourth section concerns the status of fault on the dramaturgical level, before examining moral questions in the final section. This work reveals the importance of Aristotle’s Poetics in the French tragedy of the seventeenth century
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.
Full textThe 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
Books on the topic "Tragédie – Théorie littéraire"
Lire la tragédie. Paris: Dunod, 1998.
Find full textMcEvoy, Sean. Tragedy: The Basics. Taylor & Francis Group, 2016.
Find full textMcEvoy, Sean. Tragedy: The Basics. Taylor & Francis Group, 2016.
Find full textTragedy: The Basics. Taylor & Francis Group, 2016.
Find full textMcEvoy, Sean. Tragedy: The Basics. Taylor & Francis Group, 2016.
Find full textRenaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2012.
Find full textGatti, Hilary. Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2014.
Find full textGatti, Hilary. Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2013.
Find full textRenaissance Drama of Knowledge: Giordano Bruno in England. Routledge, 2013.
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