Literatura académica sobre el tema "1843-1916"

The Afrotropical species of the sphecid genus Sphex are revised. Forty-six taxa are recognized, of which fifteen are newly described: Sphex abbotti nivarius subsp. nov., S. comorensis sp. nov., S. hades sp. nov., S. nefrens sp. nov., S. occidentalis sp. nov., S. pseudopraedator sp. nov., S. pseudosatanas sp. nov., S. pulawskii sp. nov., S. rufoclypeatus sp. nov., S. satanas memnon subsp. nov., S. schmideggeri sp. nov., S. schoutedeni malawicus subsp. nov., S. socotrensis sp. nov., S. stadelmanni rufus subsp. nov. and S. victoria sp. nov. A new subgenus, Menkeella subgen. nov., is proposed for S. paulinierii Guérin Méneville, 1843. Four former synonyms are resurrected: Sphex pruinosus var. haemorrhoidalis Magretti, 1898, for which the replacement name of S. feijeni nom. nov. is proposed, S. camerunicus Strand, 1916, S. cinerascens Dahlbom, 1843 and S. abbotti W. Fox, 1891. Nine of the previously valid names are shown to be junior synonyms: Sphex haemorrhoidalis basuto (Arnold, 1947) and S. haemorrhoidalis kobrowi (Arnold, 1928) = S. umtalicus Strand, 1916; S. incomptus anonymus Leclercq, 1955 = S. nigrohirtus Kohl, 1895; S. neavei (Arnold, 1928) = S. abbotti W. Fox, 1891; S. observabilis (R. Turner, 1918) = S. ahasverus Kohl, 1890; S. rufiscutis (R. Turner, 1918) and S. mochii Giordani Soika, 1942 = S. jansei Cameron, 1910; S. rufiscutis laevigatus Arnold, 1951 = S. gaullei Berland, 1927; and S. stadelmanni integer (Arnold, 1928) = S. stadelmanni Kohl, 1895. Three previously synonymized species are transferred as new synonyms to different species: Sphex conradti Berland, 1927 = S. camerunicus Strand, 1916; S. kilimandjaroensis Cameron, 1908 = S. abbotti W. Fox, 1891; and S. nigripes var. pachyderma Strand, 1916 = S. umtalicus Strand, 1916. For three species, the actual type localities are on different continents than their labels indicate: Sphex ahasverus Kohl, 1890, S. castaneipes Dahlbom, 1843 and S. optimus F. Smith, 1856, with the first occuring in Africa instead of Australia and the other two presumably occuring in South America instead of Africa. The occurrence of the argentatus group in Sub-Saharan Africa is confirmed, and seven additional species groups are established, with all but one of them based on apomorphic morphological traits. A hypothesis on the phylogenetic relationships among the subgenera and species groups of Sphex is presented, and an identification key for both sexes as well as a placoid-based identification table for males are presented. Using Bayesian inference and maximum likelihood analysis on mitochondrial and nuclear sequence data generated from thirty-one of the recognized taxa, the monophyly of the proposed species groups is corroborated.

For the first time, Protaphis dudichi (Börner, 1940), Protaphis picridicola Holman, 1966 and Uroleucon (Lambersius) erigeronense (Thomas, 1878) are recorded from Russia and Stomaphis quercus (Linnaeus, 1758), Anoecia (Paranoecia) pskovika Mordvilko, 1916, Euceraphis betulae (Koch, 1855), Aphis euphorbiae Kaltenbach, 1843, Aphis molluginis (Börner, 1950), Aphidura picta Hille Ris Lambers, 1956, Myzus (Galiobium) langei (Börner, 1933) and Sitobion (Metobion) graminearum (Mordvilko, 1919), from Western Siberia.

AbstractThe Nearctic species of the subgenus Anomophagus Reitter of the genus Rhizophagus Herbst are revised. Four taxa are recognized: R. brunneus brunneus Horn 1879, R. brunneus fenyesi Méquignon 1913a, R. pseudobrunneus sp.nov., and R. galbus sp.nov.For the other Nearctic species of the genus, a diagnosis, a type material section, and distributional notes are provided. Two new taxa are described, R. minutus rotundicollis and R. pusillus. Seven specific names are treated as new junior synonyms, namely (with the valid name in parentheses): R. longiceps Casey 1916 and R. rectus Casey 1916 (= R. cylindricus LeConte 1866); R. minutus quadriguttatus Méquignon 1913b (= R. minutus minutus Mmnerheim 1853); R. remotus luteus Méquignon 1913b (= R. remotus LeConte 1866); R. sculpturatus horni Méquignon 1913b (= R. sculpturatus Mannerheim 1852); R. dimidiatus testaceus Méquignon 1913b and R. dimidiatus assimilis Méquignon 1913b (= R. dimidiatus Mannerheim 1843). The subgenera name Syringobidia Casey 1916 (type species: R. cylindricus LeConte 1866) is treated as a new junior subjective synonym of Rhizophagus s.str. A key to all Nearctic species of Rhizophagus is provided with distribution maps of the species.

A list of Curculionoidea (Nemonychidae, Anthribidae, Rhynchitidae, Attelabidae, Brentidae, Apionidae, Nanophyidae, Brachyceridae, Curculionidae, Erirhinidae, Raymondionymidae, Dryoph-thoridae, Scolytidae, Platypodidae) thus far known from Italy is drawn up, updating that by Abbazzi et al. published in 1995. Distributional data of each species are given for broad regions such as northern, central, southern Italy, Sicily and Sardinia. New synonymies are: Acentrotypus laevigatus (Kirby, 1808) (= A. brunnipes (Boheman, 1839), syn.nov.), Ceutorhynchus talickyi Korotyaev, 1980 (= C. strejceki Dieckmann, 1981, syn. nov.), Ceutorhynchus pallipes Crotch,1866 (= Curculio minutus Reich, 1797 not Drury, [1773], syn. nov.; = Curculio contractus Marsham, 1802 not Fourcroy, 1785, syn. nov.), Dodecastichus consentaneus (Boheman, 1843) (= D. c. latialis (Solari & Solari, 1915), syn. nov.; = D. c. dimorphus (Solari & Solari, 1915), syn. nov.; = D. c. pentricus Di Marco & Osella, 2001, syn. nov.), Dodecastichus dalmatinus (Gyllenhal, 1843) (= D. d. lauri (Stierlin, 1861), syn. nov.), Dodecastichus mastix (Olivier, 1807) (= D. m. perlongus (Solari & Solari, 1915), syn. nov.; = D. m. scabrior (Reitter, 1913), syn. nov.), Dorytomus Germar, 1817 (= D. subgen. Chaetodorytomus Iablokov-Khnzorian, 1970, syn. nov.; = D. subgen. Euolamus Reitter, 1916, syn. nov.; = D. subgen. Olamus Reitter, 1916, syn. nov.), Exapion Bedel, 1887 (= Ulapion Ehret, 1997, syn. nov.), Larinus ursus (Fabricius, 1792) (= L. carinirostris Gyllenhal, 1837, syn. nov.; = L. genei Boheman, 1843, syn. nov.), Lixini Schönherr, 1823 (= Rhinocyllini Lacordaire, 1863, syn. nov.), Metacinops rhinomacer Kraatz, 1862 (= M. calabrus Stierlin, 1892, syn. nov.), Microplontus nigrovittatus (Schultze,1901) (= Ceutorhynchus subfasciatus Chevrolat, 1860 not Schönherr, 1826, syn. nov.), Otiorhynchus amicalis cenomanus Colonnelli & Magnano, nom. nov. (= O. a. lessinicus (Osella, 1983) not O. lessinicus Franz, 1938, syn. nov.), Otiorhynchus anophthalmoides omeros nom. nov. (= O. a. istriensis (F. Solari, 1955) not Germar, 1824, syn. nov.), Otiorhynchus anthracinus (Scopoli, 1763) (= O. calabrus Stierlin, 1880, syn. nov.), Otiorhynchus armadillo (Rossi, 1792) (= O. halbherri Stierlin, 1890, syn. nov.), Otiorhynchus clibbianus Colonnelli & Magnano, nom. nov. (= O. judicariensis (Osella, 1983) not Reitter, 1913, syn. nov.), Otiorhynchus cornicinus Stierlin, 1861 (= Curculio laevigatus Fabricius, 1792 not Paykull, 1792, syn. nov.), Otiorhynchus fortis Rosenhauer, 1847 (= O. fortis valarsae Reitter, 1913, syn. nov.), Otiorhynchus nodosus (O. F. Müller, 1764) (= O. nodosus comosellus Boheman, 1843, syn. nov.; = O. nodosus gobanzi Gredler, 1868, syn. nov.), Otiorhynchus pupillatus Gyllenhal, 1834 (= O. p. angustipennis Stierlin, 1883, syn. nov.; = O. venetus F. Solari, 1947, syn. nov.), Otiorhynchus serradae Colonnelli & Magnano, nom. nov. (= O. carinatus (Osella 1983) not (Paykull, 1792), syn. nov.), Otiorhynchus strigirostris Boheman, 1843 (= O. aterrimus : Di Marco & Osella, 2002 not Boheman, 1843, syn. nov.; = O. calvus Fiori, 1899, syn. nov.), O. sulcatus (Fabricius, 1775) (= O. linearis Stierlin, 1861, syn. nov.), Otiorhynchus tenebricosus (Herbst, 1784) (= O. olivieri Abbazzi & Osella, 1992, syn. nov.), Phrydiuchus augusti Colonnelli, nom. nov. (= Ceuthorrhynchus speiseri Schultze, 1897 not C. speiseri Frivaldszkyi, 1894, syn. nov.), Phyllobius maculicornis Germar, 1824 (= P. m. lucanus Solari & Solari, 1903, syn. nov.), Phyllobius pyri (Linné, 1758) (= P. vespertinus (Fabricius, 1792), syn. nov.), Polydrusus subgen. Chaerodrys Jacquelin du Val, [1854] (= P. subgen. Metadrosus Schilsky, 1910, syn. nov.), Polydrusus subgen. Eudipnus C. G. Thomson, 1859 (= P. subgen. Chrysoyphis Gozis, 1882, syn. nov.; P. subgen. Thomsoneonymus Desbrochers, 1902, syn. nov.), Polydrusus subgen. Eurodrusus Korotyaev & Meleshko, 1997 (= P. subgen. Neoeustolus Alonso-Zarazaga & Lyal, 1999, syn. nov.), Polydrusus armipes Brullé, 1832 (= P. a. faillae Desbrochers, 1859, syn. nov.), Pseudomyllocerus invreae invreae (F. Solari, 1948) (= Curculio cinerascens Fabricius, 1792 not [Gmelin], 1790], syn. nov. ), Zacladus Reitter, 1916 (= Z. subgen. Amurocladus Korotyaev, 1997, syn. nov.; = Z. subgen. Angarocladus Korotyaev, 1997, syn. nov.; = Z. subgen. Gobicladus Korotyaev, 1997, syn. nov.; = Z. subgen. Scythocladus Korotyaev, 1997, syn. nov.). New placements are: Amalini Wagner, 1936 as a tribe from synonymy under Ceutorhynchini; Acentrotypus Alonso-Zarazaga, 1990, Aizobius Alonso-Zarazaga, 1990, Aspidapion Schilsky, 1901, Catapion Schilsky, 1906, Ceratapion Schilsky, 1901, Cistapion Wagner, 1924,Cyanapion Bokor, 1923, Diplapion Reitter, 1916, Eutrichapion Reitter, 1916, Exapion Bedel, 1887, Helianthemapion Wagner, 1930, Hemitrichapion Voss, 1959, Holotrichapion Györffy, 1956, Ischnopterapion Bokor, 1923, Ixapion Roudier & Tempère,1973, Kalcapion Schilsky, 1906, Lepidapion Schilsky, 1906, Melanapion Wagner, 1930, Mesotrichapion Györffy, 1956, Metapion Schilsky, 1906, Omphalapion Schilsky, 1901, Onychapion Schilsky, 1901, Oryxolaemus AlonsoZarazaga, 1990, Osellaeus Alonso-Zarazaga, 1990, Perapion Wagner, 1907, Phrissotrichum Schilsky, 1901, Pirapion Reitter, 1916, Protapion Schilsky, 1908, Pseudapion Schilsky, Pseudoperapion Wagner, 1930, Pseudoprotapion Ehret, 1990, Pseudostenapion Wagner, 1930, Rhodapion AlonsoZarazaga, 1990, Squamapion Bokor, 1923, Stenopterapion Bokor, 1923, Synapion Schilsky, 1902, Taeniapion Schilsky, 1906, Trichopterapion Wagner, 1930, all as genera from subgenera of Apion Herbst, 1797; Aspidapion subgen. Koestlinia Alonso-Zarazaga, 1990 and Phryssotrichum subgen. Schilskyapion Alonso-Zarazaga, 1990 from synonymy with Apion Herbst, 1797; Phyllobius italicus Solari & Solari, 1903 and Phyllobius reicheidius Desbrochers, 1873, both from subspecies of P. pyri (Linné, 1758); Mogulones aubei (Boheman, 1845) as a valid species from synonymy with M. talbum (Gyllenhal, 1837); Styphlidius italicus Osella, 1981 as species from subspecies of S. corcyreus (Reitter, 1884). Otiorhynchus subgen. Presolanus Pesarini, 2001 is here selected over O. subgen. Pesolanus Pesarini, 2001, alternative original spelling, here rejected. The incorrect original spelling Otiorhynchus nocturnus peetzi Franz, 1938 is emended in O. n. peezi. New combination are: Eremiarhinus (Depresseremiarhinus) dilatatus (Fabricius, 1801), comb. nov.; Eremiarinus (Pseudorhinus) impressicollis (Boheman, 1834) jarrigei (Roudier, 1959); E. (Pseudorhinus) impressicollis luciae (Ragusa, 1883), comb. nov.; E. (Pseudorhinus) impressicollis peninsularis (F. Solari, 1940), comb. nov.; E. (Pseudorhinus) laesirostris (Fairmaire, 1859), comb. nov., all resulting from the new placement of Depresseremiarhinus Pic, 1914 and of Pseudorhinus Melichar, 1923 as subgenera of Eremiarhinus Fairmaire, 1876. The subfamilial name Phytonominae Gistel, 1848 is used as valid over Hyperinae Marseul, 1863. Nomenclatural changes published from 1992 to date, and affecting Italian weevils are also listed.

Abstract Elisabeth of Neuwied (1843-1916) was the first Queen of Romania and the wife of Charles I Hollenzolern-Sigmaringen. As a writer she is known under the name of Carmen Sylva. The Queen was a very active and gifted personality but one of her main interests was literature. This article focuses on Carmen Sylva’s literary position as a writer who rejected narrow nationalism although her public position obliged her to impersonate Romanian values while integrating them into an Occident all too eager to spread all over the place. Carmen Sylva is an interesting case of a European trans-national literary identity.

Résumé Tapinos (Georges).- Paul Leroy-Beaulieu et la question de la population. L'impératif démographique, limite du libéralisme économique On se propose, dans cet article, de retracer l'évolution de la pensée d'un économiste malthusien et libéral, Paul Leroy-Beaulieu (1843-1916), confronté au ralentissement de l'accroissement de la population française ; de s'interroger sur la nature et la portée de la critique de Malthus, affirmation d'une loi de population post-malthusienne pour les pays avancés ou remise en cause fondamentale de la vision malthusienne ; de montrer le caractère ambigu et illusoire de la tentative de réconciliation d'une vision libérale du système économique et de l'impératif politique de régénération démographique.

This thesis examines the structures guiding and informing reading intrinsic to James's "late" style. It seeks to explore James's analogy between reading as an ethical activity and his own and his characters' acts of storytelling. It looks first at the necessities of reading as they are presented through the character of Isabel Archer in The Portrait of a Lady, to find that reading for James is itself a form of storytelling. James's concept of "revision," which replaces the concept of "re-writing," unites the activities of reading and storytelling because both activities, to be free, must be guided by the contingencies of experience. James's emphasis on the determinations of experience, which yields changing apprehensions of the same material, at once makes reading a test of the reader's resources in dealing with unexpected and complex situations, and storytelling an act of improvisation if it is to be faithful to the demands of its subject. The second half of the thesis examines Maggie Verver's command of storytelling in The Golden Bowl. It finds that ethical storytellers must have the same faith in their subject matter as ethical readers must have in the texts they engage. Finally, the thesis unites the study of reading with storytelling by examining the ways in which stories are exemplary performances whose the most significant subject is the audience. It is the forms of judgement that a work of art elicits which are essential to establishing alternative conceptions of the good and new modes of valuation in a community.

Cette étude porte sur les aspects du visuel et du textuel dans les trois derniers romans de Henry James : The Ambassadors, The Wings of the Dove et The Golden Bowl. I The Ambassadors. Définition du processus de vision (du voir au savoir) ; étude de la technique descriptive et du point de vue : conclusion sur l'aventure visuelle de Strether en termes d'anamorphose. II The Wings of the Dove. Etude des descriptions comparées à celles de Balzac ; travail sur les métaphores (définitions et classement) ; métamorphose métaphorique de Milly en colombe ; la séduction comme thème et technique. III The Golden Bowl. Etude des descriptions comparées à celles des romans précédents : déréalisation du monde fictionnel ; images du jeu, des constructions, du théâtre ; de la duplicité à la dualité : travail sur la scission symbolique et le problème de l'interprétation
This study is based on the visual and textual aspects of Henry James's last three novels : The Ambassadors, The Wings of the Dove and The Golden Bowl. I The Ambassadors Definition of the process of vision (from seeing to knowing); study of the descriptive technique and of point of view: conclusion on Strether's visual adventure in terms of anamorphosis. II The Wings of the Dove. Study of descriptions compared to Balzac's; definition of metaphor and classification; Milly's metaphoric metamorphosis as a dove; seduction as a theme and a technique. III The Golden Bowl. Study of description compared to the first two novels: derealisation of the fictional world; game, building and theatre images; from duplicity to duality: symbolic split/schism linked to the problem of interpretation

Après l'échec de Guy Domville en 1895, James reprit sa plume de romancier avec la ferme intention d'écrire six oeuvres toutes issues du métissage parfait de la quintessence de l'oeuvre dramatique et de l'essence du roman. Nous nous proposons ici d'analyser la nature exacte de l'experimentation littéraire marquant les oeuvres majeures de la période ("the Spoils of Poynton", "What Maisie Knew", "In the Cage","The Turn of the Screw", "The Awkward Age,et the Sacred Fount"),en nous appuyant principalement sur des analyses textuelles approfondies et comparatives, sur les théories littéraires développées par l'auteur, sur des préceptes narratologiques du 20e siècle et sur les recherches effectuées par un siècle de critiques jamesiens, La période expérimentale est le théâtre du réflecteur innocent" ; les nouveaux soucis d'ordre formel de James engendrent d'importantes modifications quant à la mise en scène narrative, aux rôles assignés aux personnages focaux et à sa propre vision de ron rôle en tant qu'auteur. Notre étude commence par une analyse de ce nouvel espace théâtro romanesque, de l'emploi des techniques et procédés du théâtre dans les romans et nouvelles de la période et de l'importance de Guy Domville en tant que modèle. Puis nous ecplorons les particularités de l'innocence jamesienne et l'importance de cette notion en tant que trait caractéristique dominant chez la plupart des personnages focaux, jeunes réflecteurs à la fois ingénus et perspicaces, tout en exposant les fonctions que remplissent ces incarnations de l'innocence visionnaire au sein des oeuvres hybrides de la période. Nous discutons également du choix de la "jeune nature féminine" réflecteur innocent idéal selon James. Enfin, nous étudions l'évolution au cours de la période du rapport auctorial-figural et de la prise de pouvoir de la jeune femme-réflecteur innocente aux dépens de "l'autorité" de la présence auctoriale jamesienne.

Thesis (MDram)--Stellenbosch University, 2002.
ENGLISH ABSTRACT: This study aims to reconstruct the history of the Capetonian theatrical venue of the second half of the 19th century. It explores the many different venues used for theatrical activities. Venues discussed include amateur theatres such as the Hope Street Theatre, Roeland Street Theatre, Haupt's Theatre and the Drury Lane Theatre. Due to the extensive research already done on the African Theatre on Riebeeck Square and the Garrison Theatre they are only briefly mentioned as part of the background to the social dynamics of Victorian Cape Town. Quite often venues such as banqueting halls, drawing-rooms and wine stores doubled as theatrical venues. Halls discussed include the Oddfellows Hall, the Mutual Hall and the Drill Hall. Although the main objective of the study was the theatrical venue, it is impossible not to mention the different drama companies that occupied these venues. Therefore, the activities of the drama companies were also discussed to a certain extent, because of the strong interrelationship between company and theatre house. These include, among others, the companies of Sefton Parry and Disney Roebuck. For the purpose of this study the theatrical venue has been defined as an indoors space, which is divided into two clearly demarcated areas, namely the stage and the auditorium. Because of this definition the early African theatrical activities are not included in this study and it deals rather with the Western theatre tradition, namely that of the early Dutch and English artists. The study deals primarily with the dominant English theatre post-1850 and the shift from amateur to professional theatricals. Professional theatres include the Theatre Royals of Harrington Street and Burg Street, the Exhibition Theatre and the Good Hope Theatre. At the end of the thesis parallels are drawn between the 19th and 20th century theatre houses such as the Opera House and the Tivoli Theatre. Another issue addressed by the study is the quest for a permanent theatrical venue or building in the early Cape theatre tradition.
AFRIKAANSE OPSOMMING: Die studie poog om die geskiedenis van die Kaapse teaters te herstruktureer. Dit ondersoek die verskillende plekke en geboue wat vir teater aktiwiteite gebruik is gedurende die tweede helfte van die 19de eeu. Amateur teaters wat bespreek word is onder andere, die Hoopstraat Teater, die Roelandstraat Teater, Haupt se Teater en die Drury Lane Teater. Die Afrika Teater op Riebeeck Plein en die Garnisoen Teater vorm nie deel van hierdie studie nie, aangesien daar alreeds heelwat oor hierdie twee teaters geskryf is. Daar word slegs kortliks in die Inleiding na hulle verwys in die agtergrond tot Kaapstad gedurende die Victoriaanse tydperk. Dramas is nie net in formele teaters aangebied nie, maar ook in verskeie informele plekke soos banketsale en dies meer. Sale wat gebruik is vir sulke doeleindes was onder meer die Oddfellows Saal en die Mutual Saal. Alhoewel die hoof oogmerk van die studie die vermaaklikheidsplek (theatrical venue) is, sou dit onvoldoende wees om nie die verskillende drama geselskappe te noem wat in hierdie plekke opgetree het nie. Daarom is die aktiwiteite van die geselskappe ook bespreek na gelang van hul betrokkenheid by spesifieke teaters, onder andere die van Sefton Parry, James Lycett en Disney Roebuck. Die vermaaklikheidsplek word vir die doeleindes van hierdie studie gedefinieer as 'n binnehuise spasie wat verdeel word in twee duidelik afgebakende areas, naamlik die speelarea en die ouditorium. Die definisie hou egter sekere beperkinge in: Dit sluit die vroee inheemse Afrika teater aktiwiteite uit. Gevolglik word die vroee Westerse teater tradisie van die Hollanders en die Engelse bespreek. Die studie fokus hoofsaaklik op die meer dominante Engelse teater gedurende die tweede helfte van die 19de eeu, en die oorskakeling van amateur na professionele drama. Professionele teaters wat bespreek word is die Theatre Royals (Harrington Straat en Burg Straat), die Exhibition Teater en die Goeie Hoop Teater. Aan die einde van die tesis word daar 'n vergelyking getref tussen die 19de en 20ste eeuse teaters, soos byvoorbeeld die Operahuis (1893) en die Tivoli Teater (1903). Nog 'n aspek wat aangespreek word is die soeke na 'n permanente teatergebou binne die vroee Kaapse teater tradisie.

Articulant histoire et critique des traductions, cette these s'attache, a partir de plusieurs nouvelles et deux romans de l'ecrivain americain henry james et des traductions qui en ont ete donnees en langue francaise, a une analyse de la physionomie que revetent ces traductions et des raisons qui les ont produites comme elles sont. La question qui soustend l'ensemble du travail peut se resumer ainsi qu'est-ce qui, dans le paysage litteraire francais de telle ou telle epoque, determine les conditions de possibilite et d'existence d'une traduction? le chapitre premier est consacre a une etude de l'ecriture de henry james, dont la complexite est celebre (de par la structure des phrases, procedant volontiers selon le principe de l'enchassement, la mise en oeuvre de l'enigme et, d'une maniere generale, le foisonnement de plus en plus grand, a mesure que l'oeuvre progresse, de l'intangibilite). Le deuxieme chapitre s'attache a definir les lignes de force de la reflexion sur la traduction et precise la methodologie selon laquelle les traductions vont etre abordees a partir du chapitre suivant. Viennent ensuite, selon l'ordre dans lequel l'histoire les a disposees, les analyses de traductions a proprement parler: pour le xixe siecle, au chapitre trois, la traduction de la nouvelle the last of the valerii (1874), parue dans la revue des deux mondes sous le titre le dernier des valerius (15 novembre 1875). Pour le premier tiers du xxe siecle, aux chapitres quatre et cinq, la traduction, par auguste monod en 1912, de the siege of london et, en 1929, de the beast in the jungle par marc chadourne. Le chapitre six est consacre au cas particulier d'une traduction effectuee par un ecrivain: what maisie knew, roman auquel marguerite yourcenar a donne une voix francaise en 1947. Enfin, le chapitre sept analyse l'entreprise singuliere, a partir des annees 1980, de jean pavans, que semble animer la volonte de traduire l'ensemble de l'oeuvre jamesienne.

The following study of power in three novels of Henry James reflects not only the continuing fascination of James with this facet of experience but his meceaflng concern with its manifestation and controlled implementation in the relationships between people which constitute an integral part of life. Compatible with the progressively complex treatment of the issue of power in the novels in question, is the gradual shift in emphasis, from The Portrait of a Lady to The fielden Bewi, from power as a locatable entity to power as a process; and consistent with this is the increasingly self-conscious (conscious of itself) style of James himself where his style of writing parallels his concern for a process of writing (and reading) that is an end in itself rather than just a means to an end. Although I do not deal specifically with the question of James' style, the differences between The Portrait of a Lady and The Wings of the Dove and The Golden Bowl in terms of content are reflected in terms of style - both James' and my own - so that the relatively simplistic approach in The Portrait of a Lady is superseded, in The Wings of the Dove and The Golden Bowl by one of increasing complexity and subtlety.

Epistolier prolifique, Henry James écrit durant sa vie plus de quinze mille lettres, dont dix milles environ ont été préservées mais seulement un peu plus de trois milles ont pu voir le jour. À travers l'étude des lettres publiées, je me propose de mettre en évidence l'ambivalence et les ambiguïtés d'un écrivain dont toute relation sociale est subordonnée au désir d'accomplir son œuvre. Afin d'atteindre son but et d'acquérir la paix désirée, il revêt des masques, se dissimulant derrière un style recherché, déconcertant, et brouillant souvent la compréhension de son message. De même, désireux de fuir le dévoilement ainsi que de toute image limitée, simplificatrice, James s'obstine à s'effacer dans le texte, à se cacher derrière l'écriture. Cette étude s'attache à repérer l'enfilade des stratégies déployées par la correspondance jamesienne afin de rendre irréductible son Premier travail approfondi sur la correspondance de James, ce travail de recherche porte sur un corpus précis de textes ou de « situations » épistolaires, notamment sur ce qu'il y a d'inédit, ce qui se dérobe aux contraintes du genre et ne prête attention à ses constantes que lorsque leur expression sort de l'ordinaire. Une véritable polyphonie est à lire dans la correspondance. Décelable dans les différentes manières de James de s'adresser aux destinataires (que j'ai nommé «voix de l'écriture »), elle correspond à une diversité de discours présente à l'intérieur de l'œuvre épistolaire. L 'analyse de l'architecture de ces voix dévoile l'ambition de l'écrivain de captiver et d'émerveiller ses correspondants, mais aussi de les manipuler, en arrêtant et en reprenant à sa guise l'échange épistolaire
A prolific letter writer, Henry James composed more than fifteen thousand letters during his life, of which around ten thousand have survived but only a little over three thousand have been brought to light. Through this study of his published letters, I intend to demonstrate the ambivalence and the ambiguities of a man whose entire social relationships were subordinated to his wish to complete his work. In order to reach his goal and acquire the peace he desires, he puts on masks, disguising himself behind a contrived and disconcerting style that often confuses the meaning of his message. In addition, wishing to escape being unmasked as well as avoiding any kind of limited or simplistic image, James persists in erasing himself in the text, hiding himself behind his writing. This study attempts to folio w the series of such strategies deployed in his letters. A first detailed study of James' correspondence, this pièce of research focuses on a specific body of texts, particularly those presenting something out of the ordinary, which depart from the normal constraints of the genre, and not giving attention to regular themes unless the expressions used are unusual. There is a real polyphony to be discovered in this correspondence. This is discernible in the various ways that James addresses his recipients (something I’ve called "the voice of the writing"); it represents a diversity of speech at the heart of his letter writing. An analysis of the architecture of these "voices" unveils the writer's ambition to captivate and amaze his correspondents, but also to manipulate them by stopping and then starting the exchange of letters at his own volition

James's belief that "it is art that makes life" is essential to his own literary technique and to the reading experience within and in relation to his novels. The thesis seeks to posit the notion of reading as a fundamental concern in Henry James's fiction. Drawing largely on the phenomenological and anthropological approaches to the reading process of Wolfgang Iser, this thesis examines the Jamesian text as a performative event involving author, reader and character in creative and interpretative narrational struggles. Iser uses "play" as an integral term to describe the dynamic between author-reader-text which produces a literary work of art. In James's fiction the doubling of the author/reader and reader/character role within the text crucially structures a narrative form which is itself an inquiry into the human use of fiction. The Iserian conception of the act of reading as an engagement with the "gaps" within the play-space of the literary text can elucidate James's structural and thematic use of such sites of indeterminacy to foreground the enlivening necessity of an indeterminate "felt life" within human narrative structures. What Maisie Knew highlights the most important rule in the game -- the necessity for the reader to create meaning from the indeterminate aspects of the text. The shared exercise for author-reader-character is the attempt to access the child's unformulated inner reality to ascertain what Maisie knows. In the section on The Portrait of a Lady Iser's notion of reading as an ideational activity aids an inquiry into the human use of mental fictive picturing to compose reality. The Ambassadors demonstrates the "anthropological" need for the particular mode of consciousness brought about by the literary text when we engage in a world as real as but different to our own. Strether is the reader's ambassador in this world and his interpretative activity mirrors the reader's quest. In The Golden Bowl the bewildering multiplicity of readings made possible by the indeterminate aspects of the literary text instigates a contest for narrative forms in which the chosen fictions of the readers/characters must be actively willed into existence.

Les nouvelles fantastiques de henry james, en tant qu'elles obeissent a la definition du fantastique comme rupture de l'ordre etabli et qu'elles ont pour arriere-plan obsessionnel la conscience d'une inevitable se manifestant par la cloture d'un texte pourtant sans cesse repris et reprise pour eviter cette fin promise, constituent une << amusette >> linguistique destinee a combler un manque ou l'ecriture se revele tout juste capable de retranscrire, a travers des procedes d'ecartement et d'encadrement qui rappellent les enseignements de la psychanalyse et de l'histoire de l'art, ses propres manquements. Entre platon et derrida, l'ecriture jamesienne oscille entre presence et absence en passant par l'iconoclasme, nous introduisant ainsi a l'ecriture et a la pensee de notre siecle
Henry james's ghost stories - inasmuch as they obey the definition of the fantastic as a rupture of established order and as they rely on the obsessive consciousness of inevitable death expressing itself in the closure of a text which remains, however, forever resumed and mended in the hope of avoiding this promised end (ing) - form a linguistic << amusette >>, whose aim is to fill in a gap where fiction writing is hardly capable of retranscribing its own failures through devices of spacing and framing such as those psychoanalysis and art history have now made us used to. Between plato and derrida, jamesian writing wavers between presence and absence, thus introducing us to the writing and thought of our century