Tesis sobre el tema "Bernard 1941-"
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Piantoni, Antoine. "Les Poètes fantaisistes, un renouveau de la poésie française au début du XXe siècle ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040217.
Texto completoAmong the answers given to the language crisis triggered by Mallarmé, what consideration can we show to the one promoted by the fantaisist poets of early 20th century? This thesis proposes a new reflection on the aesthetical input from a group nothing short of heterogeneous in its composition amid the emergence of literary avant-gardes. First of all, we will recount the steps of the constitution of a short-lived collective entity, as the group’s trajectory is much alike a comet lost in the cataclysm of the Great War. A sociological approach based on seldom browsed archives informs us both about the prolegomena of a collective experience and the ramifications of nostalgic memories long after the group had ceased to exist in its primitive form. We shall then examine the notional content of fantaisie as the primary element of polymorphous poetics which combine respect for the French literary tradition with the rejection of any dogmatism or theory. We observe that fantaisie works as a vacant slate set to welcome speculations from critics who try and compensate the lack of definition claimed by the group, whose production is branded by the hesitation between elegiac melancholy and humoristic dissonance. Do fantaisist poets offer propose a rebuttal to the threat of obsolescence surrounding the very notion of fantaisie or are they only the echo of a centuries-old phenomenon whose last incarnation melts with the appetence for pastiche and forgery?
Jamet, Stéphanie. "Catalogue raisonné de l'oeuvre sculpté de Bernard Pagès (1966-1984) : entre assemblage et fragmentation". Paris 4, 2001. http://www.theses.fr/2001PA040212.
Texto completoThis study is a monograph with a catalog raisonné of Bernard Pagès' sculpture created between 1966 and 1984. It bases on the author's personal interviews with the artist and people who followed and supported Pagès during this period. .
Dhouib, Morabito Hounaïda. "La reconstruction en Tunisie de 1943 à 1947". Paris 1, 2009. http://www.theses.fr/2010PA010525.
Texto completoWeishard, Hélène. "Thomas bernhard et l'Autriche : analyse d'une relation problematique". Metz, 1997. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1997/Weishard.Helene.LMZ9707_1.pdf.
Texto completoFor over two decades austrian writer thomas bernhard (1931-1989) relentlessly showed a mostly bleak picture of his country, lampooning its heavy reliance on generally agreed opinion along with all fields of public life there. My purpose here is to analyse the network of recurring images and cliches that permeate bernhard's discourse on austria, in the light of imagology (i. E. The interpretative theory based on writer's imagery and imagination). First and foremost, this study will be aimed at delineating the broad historical context of bernhard's critical writings and the landmarks of his life that are likely to have fostered his outlook on austria. Then insight will be given into bernhard's discourse on austria and specifically his manifold rhetoric devices. The third part of this study will focus on bernhard's quest of the self through the complex and paradoxical austrianness that emerges from his works. That will lead me to both refer to the various scandals that seared his career and broach the stands taken on him by public opinion, political classes and his fellow writers. In the fourth and last part, i will attempt to define the general background against which bernhard's critical texts on austria must be seen. I will therefore set myself the task of showing how his country turned out to be a springboard for general criticism of the contemporary world, which embraces society, art, mankind and bernhard himself
WEISHARD, HELENE Grunewald Michel. "THOMAS BERNHARD ET L'AUTRICHE. ANALYSE D'UNE RELATION PROBLEMATIQUE /". [S.l.] : [s.n.], 1997. ftp://ftp.scd.univ-metz.fr/pub/Theses/1997/Weishard.Helene.LMZ9707_1.pdf.
Texto completoWehner, Dieter Tino. "Bernard Hoetger : das Bildwerk 1905 bis 1914 und das Gesamtkunstwerk Platanenhain /". Zürich, 1993. http://catalogue.bnf.fr/ark:/12148/cb39127631t.
Texto completoPochelu, Joana. "Etude d'un dossier génétique fragmentaire : Réécriture. Ecriture. Désécriture dans "Le fils de l'accordéoniste de Bernado [i.e. Bernardo]Atxaga". Bordeaux 3, 2010. http://www.theses.fr/2010BOR30069.
Texto completoBernard, Florence. "Bernard-Marie Koltès : la poétique des contraires". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10098.
Texto completoAyres, Didier. "De l'étrangèreté dans le théâtre de B. -M. Koltès". Paris 8, 2003. http://www.theses.fr/2003PA082381.
Texto completoOhana, Yolande. "Initiation et narration dans l'oeuvre romanesque de Bernard Malamud". Paris 7, 1992. http://www.theses.fr/1992PA070013.
Texto completoThe purpose of this thesis is to show that certain of malamud's novels and short stories can be read as initiation pieces composed of three phases: fall, expiation and reintegration. Bernard malamud exploited the initiative structure in order to denounce the downfall of the great myths which founded the american nation; for example the myth of the west, the myth of the hero, the myth of the virgin america and of the decadent europe; and finally the myth of the american dream, omnipresent in all of his works. In the fixer, malamud reactivates the myth of the persecuted jew. He shows the absurdity of certain beliefs concerning the ritual crimes. He shows the absurdity of certain beliefs concerning the ritual crimes. The author reinterprets the cosmogonic myth of the jewish history, the one of exodus. In the malamudian novel, the woman is the ideal initiator for the young inexperimented hero. Raisi, helen, isabella are the mediators who reveal to the man his nature. The woman becomes the priviledged way of self-discovery. The beloved is the only adviser, the guide who permits one to find one's real identity. In his last book, god's grace, malamud shows concerns about the future of humanity. All his work underlines the absolute necessity of morals and ethics
Verger, Mathias. "La haine de la langue maternelle : une lecture de James Joyce, Jean Genet, Thomas Bernhard". Paris 8, 2013. http://www.theses.fr/2013PA083897.
Texto completoThe syntagm “mother tongue” does not refer to a linguistic concept. Rather, it operates as a common set expression which superimposes different linguistic imaginaries. This thesis aims to deconstruct this expression through an analysis of XXth century novelistic poetics, focusing in particular on excessively distorted writing. The novels of James Joyce, Jean Genet and Thomas Bernhard use narrative and stylistic orchestrations to undermine the idea of a shared language allowing communication, the political dimension of national languages, the literal understanding of the “mother tongue” as the language of/from the mother, and the labeling of a first language as “native”. More generally, distorted writings contribute to the political anxiety the novels express concerning the fixation and fossilization of everyday language, the dominance of the nation-state apparatus and that of genealogical orders. Such a political engagement in writing allows these novelists to reject established monolingualisms and forge new relations with the Other and with foreign languages. Joyce, Genet and Bernhard abandon the ideology of normative grammar and develop singular idioms which draw on translation processes. The three writers break with traditional socio-political forms of belonging while creating “monolingualisms of the other” or idioms which don’t belong exclusively to any language. As both a so-called “native” speaker and a social subject, the author’s hatred of his own mother tongue resists the power of norms. Joyce, Genet and Bernhard attack the family romance and overarching national narratives through a poetics of hatred which sets texts and languages in motion, and in which metaphoric bile stands for the malleability of identities, categories and names. Their stylistics of dissent calls for a reading “in translation” that is mindful of the memory of languages
Groβe, Kracht Klaus. "Zwischen Berlin und Paris : Bernhard Groethuysen (1880-1946) und die intellektuelle kultur seiner zeit". Paris, EHESS, 2000. http://www.theses.fr/2000EHES0141.
Texto completoBern(h)ard Groethuysen (1880-1946), philosopher, historian and literary critic is one of the important "unknown" european intellectuals of the 20th century. The thesis seeks to reconstruct his intellectual biography by focussing on three main points : firstly, Groethuysen's role in the German-French cultural transfer is portrayed. In this respect, his contributions to French literary journals such as the N. R. F. , his work as translator and his involvelent at the famous Decades de Pontigny are analyzed in detail. Secondly, the thesis discusses Groethuysen's historical writings, above all his "Origines de l'esprit bourgeois en France" (1927), and circumscribes their intellectual context, i. E. The German tradition of Geistesgeschichte. Thirdly, Groethuysen's position on the "intellectual fields" in Germany and France during the first half of the century is outlined by comparing his political and intellectual commitment to the two nations with those of other intellectuals of his generation
Maïsetti, Arnaud. "Bernard-Marie Koltes : écritures du récit". Paris 7, 2012. http://www.theses.fr/2012PA070108.
Texto completoSo far, Bernard-Marie Koltès' work has mostly been studied in its dramaturgical dimension. What previous re¬search has neglected are, first, a transgeneric approach, even though Koltès' non-theatrical texts are as numerous as they are ignored ; and second, a reflection on what appears to be the unifying characteristic of this work, i. E. A constant working on the narrative. This study proposes to take all of the author's texts into account, including early plays, correspondance and interviews, in an effort to set out Koltès' conception of the narrative and to discuss it, to examine what it is based on/where it contes from, what structures it, what it unfurls. After establishing the biogra-phy of the work, following the writing of the texts year after year, this study will look into the poetics of the narra-tive and see how Koltès' writing has an ability to create a singular poetics for almost each particular text. To this end, it will not confront Koltès' works to a preconstructed theory of the narrative but try to uncover his own con-ception. These various narrative forms only make sense in the light of a relation to the world that dictate them : of Koltès' political stand, marked by the ideological fractures of the late 20th century, and of this ethical stand, when it cornes to the author's place in the world and the role he assigns to writing. This ethic of writing is the'raison d'être both of this study and of Koltès' work : find places in the world to write about, narrate territories one belongs to, invent oneself other
Sforzin, Martine. "Les strategies de l'irritation dans les romans de thomas bernhard". Paris 12, 1999. http://www.theses.fr/1999PA120006.
Texto completoOn first reading thomas bernhard's works appear to be a black monochrome, a reflection of a baroque-inspired pessimism, reinforced by a typically modern strain of nihilism. However from his first novel, frost, to his last, ausloschung, one can discern an evolution in which extremes of pain and laughter culminate in the affirmation of a literature of'erasure'. An analysis of irritation and its strategies will throw light on what is at stake in this writing as well as the direction in which it evolves. Experienced by his characters at odds with the world around them, irritation is symptomatic of an id which despairs of the lies on which the world is built, and of finding a truth which philosophy is incapable of grasping, an authentic existence revealed as an unattainable utopia. From frost to korrektur, irritation imposes itself as a way of existing in the world which takes his characters on a suicidal spiral and closes them in the trap created by their own demanding nature. Nevertheless, the work does not seem to reduce itself to the visible tautologies and aporias or in a system. After korrektur, failure is seen through the prism of a reflection on art which corrects the mortal need of absolutes and perfection. The representation of a unique absolute truth is replaced by that of a possible truth. Irritation itself becomes a possible attitude and it is necessary above all to turn it against the world, not to present an alternative model of truth but to reveal its faults. This literature of 'erasure", while carrying the stigmatas of nihilism, shows the way to a resistance to this nihilism and a possible affirmation of self. Its foundation is no longer the nostalgic but utopian attachment to a dream of perfect harmony between it and the world but the desire to cure oneself and to build on these shifting sands a truth which escapes perpetually. Irritation as t. Bernhard presents it becomes a new genre which can be read as a project for post-modern emancipation
Chard-Hutchinson, Martine. "Aspects de la quete de l'identite dans l'oeuvre de bernard malamud". Toulouse 2, 1987. http://www.theses.fr/1987TOU20036.
Texto completoThis thesis seeks to prove the theme unifying the works of bernard malamud, an american jewish writer, is the quest of identity. Considered as the only way for man to get free from his alienated condition, which his relationship with society, history and self condemns him to. Discarding the hypothesis of despair as well as that of escapism, the writer chooses to replace the notion of reality by that of human experience and to invent a style that bears witness to its various metamorphoses and underlines its paradoxical nature. Thanks to the use of tragi-comedy and the setting-up of mock-heroic situations, he makes it possible for some form of symbiotic exchange between reality and surreality to exist. The interpenetration of these two modes highly rests on rich symbolic and metaphoric clusters. The metaphor is conceived of as the necessary link between real-life occurrences and the mythic experience which is brought forth as the aptest device in the quest of identity. First the writer undertakes to demythologize the traditional components of american selfconsciousness. Then he contrives a counter-myth which is meant to facilitate a dynamic re-discovery of what jewishness is in a universal ethical perspective. While he reshapes some elements borrowed from yiddish literature, he dramatizes the jew as doppelganger to the american, thus testifying that americans can have a way out and contemplate reconciliation, which implies a radical change in attitudes and requires that man should renounce his pretensions to skill as an artist, his self-complacency as a father and his desire to overthrow god. Humility is the overriding moral principle that should guide man; at least this is the lesson one can draw from the works of a man totally dedicated to humanism
Desmoulins, Christine. "Bernard Zehrfuss, un architecte français (1911-1996) : une figure des Trente Glorieuses". Versailles-St Quentin en Yvelines, 2008. http://www.theses.fr/2008VERS012S.
Texto completoThis study features a monographical approach of the French architect Bernard Zehrfuss, a main figure of the French architecture of the second half of the 20th century, who signed or co-signed some of the most important buildings of the post-War Period. After graduating as a Grand Prix de Rome' in 1939, he went to Tunisia and directed the Re-construction Plan of the country. He early got involved in modernity, using innovating ways of production and collaborated with the most important builders and engineers of his time. This thesis is divided in three sections : in the first part, the chronological axis sets the architect's life and career in its context - whether historical, cultural, political, technical or architectural. The second part tells about Bernard Zehrfuss's action at Head of the Tunisian Architecture and Town-planning Department under the French Protectorat between 1943 and 1947, and within the more general frame of the towns to rebuild « laboratory » of North Africa. This experience gave the architect a basis for his work as well as a way of proceeding. This is why this part includes a chapter on Bernard Zehrfuss's office, created in Paris as soon as he returned to France. The third part introduces major works, testifying of his original way of thinking, eight buildings and a non-achieved project (The National Cemetery of Gammarth,the Mame Printing Factory in Tours, the Renault Factory in Flins, the Unesco Headquarters and extensions in Paris, the Cnit Building in La Défense, in Paris, A Skyscraper study for La Défense in Paris, the Mont-d'Arbois Hotel in Megève, the Sandoz Headquarters in Rueil-Malmaison, the Gallo-roman Civilisation Museum in Lyon
Moon, Kyung-Hoon. "Rhétorique et argumentation chez Bernard-Marie Koltès : une dramaturgie de la confrontation". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA165/document.
Texto completoThe methodological focus of this study is determining the course of research: the analysis of the argumentation in verbal sparring and of figures of speech, defined as sense-forms, in Bernard-Marie Koltès’ five theatrical plays. These two main approaches make it possible to highlight the theatricality and the dramaticity of words of struggle that establish scenes of agon in contemporary theatre. These reflections, which also take into account the intrascenic and extrascenic perspectives inherent in theatrical double enunciation, aim to deepen the understanding of the works of Koltès in their particular relation with the spectator. All language efforts made by characters in confrontations, as well as various argumentative and figurative strategies, prove to be in vain and always lead to a final non-communication, creating a mixture of the tragic and the comic throughout the plays. This is what is at stake in our work: to define Koltèsian dramaturgy as a confrontation and a cohabitation of agonal words
Poujardieu, François. "L' espace mythique de la rencontre dans l'oeuvre de Bernard-Marie Koltès : genèse d'une écriture dramatique". Bordeaux 3, 2002. http://www.theses.fr/2002BOR30021.
Texto completoTaugis, Michaël. "La représentation du temps dans l'oeuvre de Bernard Malamud". Paris 7, 1996. http://www.theses.fr/1996PA070003.
Texto completoThe introduction of this thesis shows why and how this study must be carried out. The representation of time has in fact been overlooked by most critics, although it is closely linked to major themes in malamud's fiction, such as love and suffering. The recurrent and persisting presence of loss and death (together with the role of absence) in malamud's fiction also indicate that time cannot be reduced to a linear or cyclical representation, or to a progression towards a glorious future or a redemptive rebirth. In order to analyze this complex representation of time, a detailed study of many short stories and a few novels illustrating the different aspects of the representation of time in malamud's fiction is necessary : in each story, it is not only essential to examine how the characters perceive time, but also the relationships between the time (or "speed") of narration and the pace of the story, and, more generally, the links between structure and temporality. The first part of this thesis is a study of repetition in the natural
Desclés, Cyrille. "Le langage dramatique de Bernard-Marie Koltès". Paris 4, 2007. http://www.theses.fr/2007PA040178.
Texto completoBernard-Marie Koltès' dramatic language is based on on a tension between litterarity and dramaticity. This study tries to look into the writting for theater through the hypothesis of a dramatization by language where the action is only produced in the back of the speaking. In Koltès' work, the writting of the speech intended to be uttered on the stage is really for to be be only a display of "textuality", as some people think, but it sets out a power of holding back. This thesis pays special attention to Koltès' poetic operation. Seen from a genetic point of view, the monologue holds a particular part in his method of creation, but the addition of dialogism (in the meaning given by Bakhtine) turns it into soliloquy, first stage before a reinvention of dialogue in the last plays. In the interlocution, pragmatics of uttering alows to show the strategic dimension taken by the dialogue : with a real part, the speech is not anymore conceived as a pure surface but works in depth with a dynamism which rests in an implicit play of forces
Lecerf, Christine. "Une autobiographie simplement compliquée : ouvertures sur une ecthétique de la limite chez Thomas Bernhard". Rouen, 1992. http://www.theses.fr/1992ROUEL142.
Texto completoTo read or to analyse Thomas Bernhard's work is to go through a process of active disconcertion characteristic of the contemporary forms of knowledge. This thesis follows a progression in three stages: 1) it shows that to try to make an interview of thomas bernhard, to write his biography, or to reconstruct the unity of his work, is to come to a dead-end. 2) it discovers a passage at the heart of the interaction between his life and his work: his autobiography, five volumes which disclose twenty years of his life. 3) it points out the modernity of the work and eventually leads to the exploration of the autobiographical mode. It reveals a crisis and at the same time brings out two fields of innovation: childhood and twentieth century Austrian literature. Bernhard's work conflicts with a mental process that separates, shuts away and totalizes. It questions an aesthetic order. This, however, cannot be separated from an insurbodination of the body and the mind which finds its expression in political, the social and the moral fields. This thin line between negation and creation reveals the fundamental role of the idea of the limit in Bernhard's aesthetics
Rodrigues, Katia Sousa. "Era uma vez em São Bernardo : (o discurso sindical dos metalurgicos-1971/1982)". [s.n.], 1995. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280331.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Weinmann, Ute. "La réception de l'écrivain autrichien Thomas Bernhard dans la presse française : 1968-1991 : histoire et tribulations d'un succès "littéraire" ?" Paris 3, 1997. http://www.theses.fr/1998PA030018.
Texto completoThomas bernhard, along with peter handke is, in france, one of the best known contemporary austrian writers. His enormous media presence at the end of the 1980's coincided with the french enthusiasm for vienna's fin-de siecle culture and the transformation of austria's socio-political image from positive to negative. The thesis of a connection between the reception of thomas bernhard and austria'simage in france has lead us to describe the french journalistic reception of bernhard's work, to show its progression and to analyse it through french expectations and preoccupations in the 70's and 80's. An aesthetic and literary reading during the first period (1968-1981) and a psychological interpretations of his autobiographical period (1981-1985), are followed by the ideological readings of the last period (1985-1996), in which thomas bernhard is seen mostly as a public figure, highly critical of austria. The conflictual relationship between this austrian writer and his country underlies this journalistic reception : the socio-political environment permeates the reviews of his work. This highly political perspective is due to the reversal of austria's image, but also due to domestic french preoccupations. Considered as one of the greatest western writers, thomas bernhard is held by french journalistic culture to be the guilty conscience of an antsemite, nazi austria. The relative lull in the french media "war" against austria, after bernhard's death in 1989, his "art of exaggeration" (ubertreibungskunst) is once again considered as much from a literary angle as from an ideological one. The appeal of his work and of his personality is based upon ambivalence, ambiguity and paradox at the beginning of the 90's. Moving from the scandalous austria of waldheim to the myths of vienna and the mitteleuropa, austria is increasingly present in the french media and the french are beginning to perceive its contradictory complexity. Thomas bernhard is both a representative of this austria and one of his country's exemplary critics
Mercier, Eric. "Jeune peinture et réaction figurative (1948-1959)". Nancy 2, 2005. http://www.theses.fr/2005NAN21015.
Texto completoCurrent thinking about the artistic debat that took place in France during the 1950s is most often encapsulated as being the struggle between triumphant and axhausted figurativism. If this is, indeed, the essential question, one must recognize that nothing has at yet been definitively setteled for the two camps. The present thesis examines the new figurative generation which was active immediately after the Second World War. These young artists transposed into their paintings their existential questions, reflecting the anguish and uncertainty of manking which had just become aware of the concentration camps and the incertainties of the cold war. Success soon came for these youngs painters : the critics encouraged them and insisted that their works be shown in Parisian salons, and that their receive numerous prizes. Then, they were brutally dropped by the cultural establishment. The present thesis explains the reasons for this ostracism which still exists
Gothova-Jobert, Daniela. "Le théâtre de Bernard-Marie Koltès : le dialogue dramatique réinventé". Paris 8, 2001. http://www.theses.fr/2001PA082014.
Texto completoPommier, Juliette. "Vers une architecture urbaine : la trajectoire de Bernard Huet". Paris 8, 2010. http://www.theses.fr/2010PA083239.
Texto completoFrom the 1950s to the end of the twentieth century, French architecture evolves from after-war Reconstruction to urban crisis, and from the acknowledgement of the failure of « modern » urbanism to the rediscovery of the question of the city, of the history, and the foundations of the architectural discipline. This mutation which is experienced and fostered by a generation of intellectual architects trained in the 1960s in the Beaux-arts School is analysed in the thesis thanks to the interpretation of an emblematic trajectory: that of Bernard Huet. As the main actor of the intellectual renewal of the discipline, this architect held, at various periods, every major position in the field – teaching, researching, editing journals and practicing. Thanks to his open-mindedness, his culture and his didactic skill, he contributed to the progressive transformation of the architectural thought of his time. The goal of the thesis is to bring out, on one hand through the writings, the practices and the designs of Bernard Huet and his contemporaries, the changes of perspective, representations and aspirations of the French architects, and, on the other hand, the new processes through which the discipline was thought over. Oscillating, depending on the author and the period, between theory, doctrine, system of concepts, paradigm, or architectural concept, the architectural discourse has been restructured in order to enter the scholarly world of recognized academic disciplines. The thesis aims at highlighting the implications of these conceptual models both on architectural theory and on architectural practice
Naruk, Adrianna. "Comment se dispute-t-on ? La gestion des disputes dans le théâtre de Bernard-Marie Koltès". Thesis, Metz, 2011. http://www.theses.fr/2011METZ015L/document.
Texto completoApplying the tools of conversation analysis and pragmatic linguistics to Koltès’s works, this thesis aims at deciphering the functioning of discursive conflicts. In scenes where protagonists argue, Koltès creates his own drama style, which allows him to transfer into writing a type of speech which appears, at first glance, to be purely oral. The playwright thus conveys his vision of the world and of human relationships, built as they are on misunderstanding, exclusion and constant conflicts. The dialogues in Koltès’s drama are filled with arguments that reveal various tactics to reach the symbolical knock-out of the adversary. The argument, a multi-facetted and complex discourse, implies diverse linguistic and non-linguistic acts. Within Koltesian speech, argument become real war weapons, at the service of a verbal fight whose objective is the annihilation of the Other
Jacquet, Virginie. "L'acquiescement à la vie ou à la morale dans l'oeuvre de Thomas Bernhard". Nancy 2, 1997. http://www.theses.fr/1997NAN21016.
Texto completoThe thematic study of Thomas Bernhard’s works aims at declaiming against the too widely-held idea that he is a pessimistic writer. The analysis of Thomas Bernhard’s morale takes into account the philosophical and psychological dimensions but still includes a large part to his search for happiness, in the relations with others, as well as in the approach to nature and the relation of the individual with himself. The influence of Johannes Freumbichler, both a writer and the author's grandfather, is also analyzed in order to bring to the fore both the basis of the bernhardian morale and the personal evolution of the author in his apprehension of existential values. Moreover the study deals with the meaning that Thomas Bernhard endows life with, paying a particular attention to the numerous forms of expressing passion and its various effects but without neglecting the historical context in which the works lie and which undeniably constitutes a source of provocation for the author. Lastly the meaning of death, both omnipresent and prelude to freedom, allows to show the incredible existential strength which sustains the author
Kouassi, Kouamé Germain. "Les écrivains ivoiriens et la langue française: heurs et malheurs d'un mariage contre nature : l'exemple de l'oeuvre romanesque de Dadié, Kourouma et Adiaffi". Paris 4, 2005. http://www.theses.fr/2005PA040245.
Texto completoThe present thesis entitled: Ivorian writers and french language: fortunes and misfortunes of a marriage against nature. An example of Dadié, Kourouma and Adiaffi's romance work, it takes a formal study and some detailed stylistic procedures put to work by the three principle writers of Côte d'Ivoire ( Dadie, Kourouma, and Adiaffi) to try and overcome the major obstacles that constitutes, obviously, french language in free expression of their tradition and of their cultural personalities. Also, it clearly looks like these writers have cunningly used in their romantic speech some terms, some constructions and particular forms of expression directly extracted from languages of their motherland by the help of a diversity of gathering and putting together into interlinguistics. Having in that one reference the imaginary african, they have in general foreseen obstacles, succeeded in showing that in the centre of a large language of international communication like french, it is possible to find a place for a plural expression, and, by the same way, for exchange between different languages and cultures
Rigeade, Anne-Laure. "Études sur la plasticité littéraire : manifestations du corps dans le roman moderne : Virginia Woolf, Samuel Beckett, Nathalie Sarraute, Louis-René des Forêts, Thomas Bernhard". Paris 8, 2008. http://www.theses.fr/2008PA083010.
Texto completoBody is not a theme : it changes the way we are used to think by breaking the frontiers between the elements of dualism, between the fields of knowledge, and between theory and practice. We tried to discover how it manifests itself in the works of Woolf, Beckett, Sarraute, des Forêts and Bernhard. We observe that the "continuism" (vs dualism) the body introduces affects literature in three ways : first, each work produces an image that encloses it and reflects its esthetical program ; then, continuism makes esthetical forms fall into chaos (pain, animal, "scene") ; finally, literary theory that describes how literature lives ("intertextualité", translation, adaptation) is invaded by the analysis of its example so that they combine themselves. These three manifestations respectively describe the body's action on literary analysis, the body's action on our reception of the works, the body's action on theory. It is what we studied in our three latest chapters, after defining the word "body" and summarizing its use in the literary theory (first chapter)
Fargas, Guillaume. "Les mouvements du neutre dans le théâtre de Bernard-Marie Koltès". Electronic Thesis or Diss., Amiens, 2022. http://www.theses.fr/2022AMIE0008.
Texto completoMy research on The Movements of the Neutral in Bernard-Marie Koltès' theater works aims to explore the pertinence of the concept of "neutral" in Koltès' dramaturgical approach and his mise en scène. Koltès' theater finds its origin in desire and is repeated in a suspended physical presence. According to the author, the actor should be constantly looking to leave the stage, always in motion, in tension towards something else, completely driven by desire. Given the above, it was necessary to go back to another source. The performances of Dans la solitude des champs de coton directed by Patrice Chéreau, and feel the difference between the first and last version in order to identify the material emergence of a desire embodied by the two actors within a lit empty space. For me, this is "neutral", because it does not, by its very nature, allow any definition or classification. It is according to the conception of Barthes, what overcomes the paradigm, and allows the "suspension", "épochè". It gives us the much-needed break from the overabundance of signs, the necessity to take a stand, and the limitations of the "vouloir-saisir". With Barthes, Blanchot offers a more literary approach as it is closely linked to writing. This approach will guide me because it is extremely present in Koltès' universe, in the night, in the shadows, in the void, nor in the light nor in the dark, and always at the limit between the being, the abyss and the writing. Based on these two approaches, the first part examines the conceptual field of the neutral in the following dimensions: paradigm, space, character, language and gender. For each of these elements, there is an inability to define the conflict in Koltès' rooms which always remains in suspension, to define a physical and unique space, to establish an understanding of the characters, to understand the language in its meaningful reality or to act according to an established identity, sex and/or gender. The second part deals with the perception and sensitivity of the neutral, in other words the desire and the love that may be associated with it. It develops the parallels between Koltès' works, La Marche, La nuit juste avant les forêts and Dans la solitude des champs de coton and Roland Barthes' Fragments d'un discours amoureux. Each of the three plays can be found in the figures of the "discours amoureux" especially "s'abîmer", "l'épochè" and "Non-Vouloir-Saisir". The parallels between the works and the figures increase their intensity, thus facilitating their interpretation and making it possible to understand the physical and sensitive aspects of the neutral in terms of its desire for the other. This part demonstrates the inherent sensitivity of Koltès' mise en scène, the necessity of going into the night, as described by Saint John of the Cross in "La Nuit Obscure", the "good" night that escapes all the "Vouloir-Saisir" leaving the other in his freedom, in his beauty. The third part is a study of the scenography and the mise en scène of a fragment of La Solitude named La nuit obscure in order to recreate on stage these neutral dimensions. By taking Chéreau's work as a starting point for my mise en scène, i took a moment to question the nature of the text, whether it is theater or non-theater, the desire present between the two characters in their respective languages, their invisible bodies expressed through dance, martial arts and tango and last but not least the space between lights and shadows. These different parts leads us to a creation that recalls the figures of Barthes ("s'abîmer", "l'épochè" and "Non-Vouloir-Saisir") in order to interpret them on stage and to verify the material relevance of the neutral in the staging of Koltès' writing but also his openness to love as an issue of dialogue between the Dealer and the Client
Souza, Luiz Eduardo Simões de. ""Políticas públicas em Sãio Bernardo do Campo no pós-guerra: 1945-1964"". Universidade de São Paulo, 2002. http://www.teses.usp.br/teses/disponiveis/8/8137/tde-22102004-105004/.
Texto completoThis research studies the public policies in São Bernardo do Campo, in the Post-War period (1945 1964). Issues from the economic growth and urbanization of the City which is part of the metropolitan-industrial sub-region of ABC Paulista - were studied. The sum of public policies related to these issues, which is the object of this research, revealed itself as being of a traditional kind, not anticipating the real necessities of the people of the countship, besides being always optimistic about the future, incorporating the ideology of Economic Development, under the form of the so called desenvolvimentismo.
Voigt, Vanessa-Maria. "Kunsthändler und Sammler der Moderne im Nationalsozialismus : die Sammlung Sprengel 1934 bis 1945 /". Berlin : Reimer, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016088396&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
Texto completoGalliou, Patrick. "George Bernard Shaw et Augustin Hamon : les premiers temps d'une correspondance (1893-1913)". Brest, 1998. http://www.theses.fr/1998BRES1002.
Texto completoOnly a few fragments of the correspondence exchanged by George Bernard Shaw and Augustin Hamon had been published so far. The 802 letters exchanged by Shaw and Hamon between july 1893 and the end of 1913 are here transcribed, annotated and analysed. The choice of the period originates in the biographies of the two men, paralleled until the early moments of their correspondence. More stress is laid on the militant career of hamon, as the analysis of his archives brings out a fuller personality than the bare sketch commonly given by critics. Biographical similarities, political opinions held in common for a time and sympathy between Hamon and Shaw explain why, as early as 1904, Hamon was appointed sole translator of Shaw's works and entrusted with the task of having them published and performed in France. The letters exchanged during this period are given the necessary annotations and their thematic analysis throws some light on the difficulties met by Hamon as he strove to have Shaw's work published and performed. Far from being the only person to blame for the failure of these performances, he had to compromise with publishers and managers and try and convince them of the judiciousness of shaw's repeated demands. The mission entrusted to Hamon put the latter in a paradoxical position. Their letters show that a rather ambiguous relationship had developed between the two men, though the pleasures of domination did not exclude friendship and mutual respect. This provisional estimate of a fluctuating alliance opens on the contrasted portraits of two men who, though being poles apart, managed to form an enduring association and influence the theatre of their times
White, Garret. "La question de la révolte dans le théâtre de Jean Genet et de Bernard-Marie Koltès". Paris 3, 2008. http://www.theses.fr/2008PA030038.
Texto completoThis thesis proposes a study of the theatrical works of Jean Genet and Bernard-Marie Koltès based on the question of revolt. It seeks to demonstrate that for these two authors, revolt is inscribed in the very heart of their writing for the theatre, thematically as well as aesthetically, constituting a genuine philosophical question: a questioning of being in the world, of the meaning of existence, of the construction of a relationship with the other. However the comparison of the two works highlights the different orientations which each author gives to this question: while Genet directs revolt into an inexorable quest for a definitive solitude, Koltès considers it as the zero degree from which the relationship to the world, and therefore the relationship to the other, is constructed. This philosophical divergence is expressed, moreover, through two very different conceptions of the theatre: for Genet form is a constraint within which all distortions are possible but from which no escape is possible, while for Koltès the theatre is a place of openness, a principle which is largely inscribed into the form of his plays. Ultimately, the question of revolt illustrates in Genet’s work as in Koltès’s work the fundamental symbiosis of a thematic reflection and an aesthetic approach to the theatre
Driel, Cornelis Marius van. "Dienaar van twee heren : het strijbaar leven van theoloog-politicus B.D. Eerdmans, 1868-1948 /". Kampen : uitg. Kok, 2005. http://catalogue.bnf.fr/ark:/12148/cb40990230c.
Texto completoTapia, Daniel 1986. "A orquestra sinfônica do cinema norte-americano = o exemplo de Bernard Hermann = The orchestra of the north american cinema: the example of Bernard of Hermann". [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284554.
Texto completoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade demonstrar o processo pelo qual caminhou a linguagem da orquestração até sua chegada à trilha musical cinematográfica e, posteriormente, trazer à tona os processos adquiridos na música de cinema tendo a obra de Bernard Herrmann como exemplo. Ao observar a produção musical da primeira década do cinema norte americano, é possível perceber que a orquestração sinfônica do cinema é um dos frutos diretos do desenvolvimento da instrumentação e orquestração de concerto como linguagem. Para demonstrar este processo, estruturou-se uma análise cronológica das obras de compositores ligados ao contexto de produção germânico, considerado mais próximo em sua relação com a prática assumida pela música do cinema. Em um segundo momento, apresenta-se uma análise semelhante dos compositores que precedem Bernard Herrmann, considerados pilares de formação da linguagem musical no cinema. A terceira fase, por sua vez, trata da obra de Herrmann como um todo e analisa as peças compostas para Vertigo (1958) e Psycho (1960), ambas as produções dirigidas pelo cineasta Alfred Hitchcock
Abstract: This research has the aim of demonstrate the process on which the language of orchestration pervaded up to its arrival at film music composition and after, bring upon the processes acquired by film music using Bernard Herrmann's work as an example. On observing the musical production of the first decade of the north american cinema, it is possible to infer that the symphonic orchestration of cinema is one of the direct results of the concert music orchestration. To demonstrate this process, an cronological analysis of the works of the german composers was structured, considering this the closer model of cinema production. In advance, an equal analyses is made with the works of the cinema composers who preceeded Herrmann, considered references to the formation of the language. The third fase deals with Herrmann's work directly and analyses two of his works: Vertigo (1958) and Psycho (1960)
Mestrado
Fundamentos Teoricos
Mestre em Música
Rigal, Christelle Séverine. "Contribution à l'histoire de la recherche médicale : autour des travaux de Jean Bernard et de ses collaborateurs sur la leucémie aigue͏̈, 1940-1970". Paris 7, 2003. http://www.theses.fr/2003PA070048.
Texto completoThe thesis examines the emergence of biomedical research in France by focussing on the contribution of Jean Bernard and his associates to the biological understanding and treatment of acute leukaemia. These contributions are analyzed by casting them within the overall context of the transformations that affected medical research during the period 1940-1970. The thesis shows that the use of a combination of chemotherapeutic agents led to some cures, whereas other approaches led only to remissions. The thesis also analyses basic investigations concerning the cytological, virological and immunological characteristics of animal and human leukaemias. French work in this field was shaped by international trends related to the molecularization of biology and medicine, the standardization of materials and methods, collaborative work with both industrial and academic groups, as well as by the increase in public and charitable funds, that provided for the creation of new research institutions
Bessire, Adrien. "Les mises en scène du théâtre de Thomas Bernhard en Allemagne, en Autriche et en France. Comparaison et interprétation". Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR077/document.
Texto completoOur work compares the French productions of Thomas Bernhard’s plays with the German and Austrian ones, from 1970, marking the first success of the Austrian playwright, to this day. The chosen method is at the crossroads of German Studies and Theater Studies.Stage director Claus Peymann has staged most of the first productions of Thomas Bernhard’s plays. His productions are very faithful to the text. In France, the stage directors have a more original interpretation of the text. Thomas Bernhard writes his plays for specific actors. Minetti is for a tribute to the German actor Bernhard Minetti. The play, performed by French actors, is to be understood as a challenge for actors and as a reflection about dramatic art. The Austrian playwright also writes in accordance with the political context. Heldenplatz was first played 1988 at the Burgtheater in Vienna, for the 50th anniversary of the annexation of Austria. The play and its reception in Austria serves as a model for the reception in France, which can lead to a misunderstanding. The attacks against Austria do not have the same meaning any more, when they are played in France. Thomas Bernhard is often considered as a gloomy author. Theatre, in which comedy plays a bigger part than in novels, puts this reputation into perspective. However, this comic and grotesque dimension is not always perceived by the French audience. The comic dimension of Thomas Bernhard’s work is difficult to translate. The French audience therefore discovers this comic dimension of Thomas Bernhard’s plays only much later, in the 1990’s and 2000’s, when the reception scheme of Heldenplatz tends to fade away
Swart, Bernarda. "Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda Swart". Thesis, North-West University, 2006. http://hdl.handle.net/10394/920.
Texto completoThesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
Clément, Sarah. "Ecritures avides : Beckett, Des Forêts, Bernhard". Paris 7, 2013. http://www.theses.fr/2013PA070078.
Texto completoThrough a cross-reading of three soliloquies, Molloy, Le Bavard and Béton, I propose to analyse the notion of « avidity » -quintessentially linked to those of rhetorical copia, abundance and verbosity- as an essential principle in the writing of Beckett, des Forêts and Bernhard. Whether avidity appears in the forms of compulsive repetition or of chatter as a mariner of overexpression, it reveals the vacuity of the powerless subjects, it embodies the lingering mediocrity which they feel, while it also pushes them forward, beyond the self. In the grasp of tensions between the crumbling characters and their frenzied logorrhea, the avid narrative demonstrates a taste for the use of repetitions and for long and asyntactic sentences, as well as it displays a strong tendency towards abuse and aggressiveness, a fragmented prose, an abundance of personal oral structures, and intertextual practices. These diverse modes, recurrent in the copious discourse, indicate an appetite for words, as well as a will to deconstruct the traditional foundations of narratives. Their strong blast can induce the absorption of these readers, whose abnormal, excessive relation to the text relies on a mixture of somehow contradictory affects —fascination, attraction, contamination, or, conversely, disgust, nausea, hatred. The text is metabolized through a series of processes such as the inflation of metatextual play, a diffusely propagated prophylactic irony, or an aggressive inclusion and rejection of the reader. Such processes invest readers in a borderline experience, the might of which mainly relies on unsettled interpretations
Gauffre, Marie-Jeanne. "Tissages et métissages : dualité et totalité dans l'œuvre poétique et romanesque de Kojo Laing". Toulouse 2, 2003. http://www.theses.fr/2003TOU20068.
Texto completoDuality and wholeness are major driving forces in the writings of Kojo Laing, which convey the vision of a dual world characterized by the opposition between the inner and the outer. The outer is mainly the Other, i. E. The others versus the self (youth poems), communal tradition versus individual impulses directed towards change (Search Sweet Country), Europe versus Africa (Woman of the Aeroplanes and Major Gentl and the Achimota Wars). Yet, Laing's vision is not at all binary. For him, wholeness, based on the Relation with the Other, is plural, heterogeneous, complex : it is an unstable and ever changing process. Hybridity, "métissage" in French, an outstanding feature of this ideal, finds an apt emblem in kente, a traditional women cloth made of narrow bright-coloured widths sewns together. Indeed, viewed as the expansion of the self, as interchange, as a non-totalitarian utopia, hybridity transcends the opposition between the inner and the outer in a constant in-and-out shuttle-like movement which is reflected in Laing's dense, inventive and playful writing
Rousselot, Carine. "Bernard-Marie Koltès : (1977-1989) le «pacte ironique» ?" Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCC009/document.
Texto completo"We must take this in an ironic sense," said Bernard-Marie Koltès faced to the uncertainty of the reception expressed in Der Spiegel : "one never knows how far your philosophical sentences must be taken seriously." We suggest to explore the "seductive" effectiveness which seems to belong to Koltesian writing - especially from 1977 - judging by the interest it arouses very early and continues to suggest, through the tight wire of irony. The ancient and modern concept of irony offers an operative tool to reading, when it comes to following the lines of escape of Koltesian writing. The concept of irony such as developped by Kierkegaard, is based on the insurmountable tension of a « something /or else" (aut-aut). Tensions between opposites, dissonances, sabotage, disappearance, masks, secret kept by writing, mentions of the strategies of lies and appearances, paradoxes made of inextricable alliances between comic and tragic, violence and sacred, are different ways of writing ; they seem to aim the possibility of a "real" meeting, although inalienable, between the world, the author and his recipient. At the crossroads of multiple pragmatic, aesthetic, dramaturgical, philosophical matters, this literary search questions the "pact" of writing from an author towards everyone, towards the world, looking for a "true" space to be shared and whose truth would precisely be the result of its impossible affirmation. A theater that says something to whisper something else
Winkler, Jean-Marie. "Le théâtre de Thomas Bernhard : formes et structures". Paris 10, 1988. http://www.theses.fr/1988PA100067.
Texto completoThis work analyses the first fourteen plays written by Thomas Bernhard (Austrian playwright born in 1931) which were written from 1970 to 1984. The method chosen here uses notions of formalism and structuralism and tries to provide an interpretation for the observed structures. In the first part, the systematic opposition between expectation and "divertissement" in the pascalian sense determines a theatre of negativity and immobility which makes any action impossible. The second part is a study of "words", of the opposition between speech and muteness as well as of the different forms of speech. Theatrical writing becomes a musical and logical score. The third part deals with the opposition between tragedy and comedy: tragy-comedy implies a grotesque vision of man and universe which makes that theatre shift to the ridicule and derision. As a conclusion, this theatre belongs to a modern dramatically trend which discards illusion and which aims at making a puzzled spectator active. Confronted with nothingness, the author fights his own darkness by means of an obstinate search for form and for the work of art
Soulas, Hervé. "Thomas Bernhard : entre roman et autobiographie : un programme comico-philosophique". Bordeaux 3, 2001. http://www.theses.fr/2001BOR30021.
Texto completoNyikos, Julia. "Paradigme commun dans la création architecturale et littéraire : Peter Eisenman, Péter Esterházy, Rem Koolhaas, Winfried Georg Sebald, Claude Simon, Bernard Tschumi". Paris 8, 2009. http://www.theses.fr/2009PA082999.
Texto completoThe logic and internal construction of literary texts are seldom compared with those of landscape and architectural spaces. The aim of our research is to elaborate the feasibility and the conditions of such a relationship : whether it exists or it is possible to develop a common field to deal simultaneously with works belonging to very distinct forms of expression, i. E. Architecture and literature. It is not the components of a work of art that should be compared to their "counterparts" in a different system as they are incomparable specificities. Instead, the connections developing between the components of a system can display similarities which may establish a common basis for a comparative process. Our hypothesis stems from the idea that it would be important to find, beyond the boundaries of disciplines, a common paradigm in the creation and configuration of meaning of contemporary artworks. Although we study a contemporary corpus, the work of the selected authors and architects has begun in the 60s or 70s. The analyses mainly focus on more recent works for one of our main problems is to reveal whether, in a given period, structures of thinking and methods of constitution of meaning can be detected in different fields and modes of expression
Francoual, Hélène. "Le spectre de Physis : l'écriture du corps chez Thomas Bernhard (1931-1989) : entre chair souffrante et raisons de l'esprit : des figures de l'incarnation à une écriture incarnée". Rouen, 2006. http://www.theses.fr/2006ROUEL543.
Texto completoSantos, José Lucas Zaffani dos [UNESP]. "Autobiografia e Ficção: análise do narrador em Extinção - Uma Derrocada, de Thomas Bernhard". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/131900.
Texto completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta dissertação tem como objetivo empreender uma análise da obra Extinção - Uma derrocada (Auslöschung - Ein Zerfall), publicado em 1986, pelo escritor austríaco Thomas Bernhard. O romance, narrado por Franz-Josef Murau, apresenta como situação narrativa o desejo desse personagem de escrever a sua autobiografia, tão logo retorne de Wolfsegg, onde fora participar do enterro de familiares, para Roma, onde vive desde que deixou a família. Entretanto, ao final do romance, após ser anunciada a morte do narrador, esse mesmo texto pode ser lido como a concretização de seu projeto autobiográfico. Desse modo, a presente análise parte da constituição do narrador-protagonista para refletir acerca de sua intenção ao escrever seu relato, o qual tem como tema abordar sua terra natal, Wolfsegg, na Áustria. Este trabalho visa mostrar também o papel da escrita como forma de elaboração do passado traumático vivido pelo narrador ao lado de sua família em Wolfsegg. Uma vez que esse espaço reina absoluto no discurso do narrador, sendo, portanto, o núcleo temático de sua escrita, ele também será analisado para que assim se possa melhor delinear o sujeito que conta a sua história. Devido ao fato de o romance ser dominado pelo campo de visão de um narrador em primeira pessoa, torna-se necessário abordar o modo como esse indivíduo seleciona e ordena os eventos que se põe a narrar, os quais visam a potencializar a imagem que o protagonista quer criar de si mesmo. Nesse romance, as instâncias do narrador e do espaço parecem ser um só e a escrita concebida por Murau deve apresentar a extinção de ambos
The present dissertation aims to analyze the book Extinction - a collapse, of the Austrian writer Thomas Bernhard, published in 1986. The novel, related by Franz-Josef Murau, presents as a narrative situation the wish of this character to write his autobiography, as soon as he returns from Wolfsegg - where he attended his relatives' funeral - to Rome, where he lives since he left his family. However, in the end, after being announced the narrator's death, the same text can be read as the embodiment of his autobiographical project. Thus, this analysis starts from the constitution of the narrator-protagonist to reflect about his intention in writing his account, which has as the theme to deal with his homeland, Wolfsegg, in Austria. This research also aims to show the role of writing as a way of elaborating the traumatic past lived by the narrator beside his family, in Wolfsegg. This place reigns in the narrator's speech as absolute and, being the thematic core of his writing, it will also be analyzed to delineate the person who tells his story. It's necessary to discuss how this narrator selects and sorts the events which he describes because the novel is dominated by his view - in first person. These events intend to enhance the image that the protagonist wants to create of himself. In this novel, narrator and space categories seem to be only one and the writing designed by Murau must present the extinction of both
Fernandes, Fernanda Vieira. "Um estudo de Roberto Zucco, peça teatral de Bernard-Marie Koltès". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/17655.
Texto completoO objeto de estudo desta dissertação de mestrado é Roberto Zucco (1988), peça teatral de Bernard-Marie Koltès (1948-1989), dramaturgo francês contemporâneo. A estrutura do trabalho divide-se em quatro capítulos. No primeiro, um olhar sobre o percurso do dramaturgo na vida e no teatro. O segundo capítulo propõe uma aproximação entre o personagem Roberto Zucco e o criminoso italiano Roberto Succo, dividindo-se em três partes: a gênese da peça em estudo, a trajetória de Succo e uma proposta de aproximação/distanciamento entre os fatos verídicos e os ficcionais. No terceiro capítulo, a análise dramatológica de Roberto Zucco a partir de três pontos: intriga e organização da ação; tempo/espaço; e personagens. O quarto capítulo debruçase sobre algumas questões de interpretação para a peça, através da leitura crítica de duas obras, Théâtre aujourd'hui, nº 5, intitulado "Koltès, combats avec la scène", de autores diversos, e Bernard-Marie Koltès, de Anne Ubersfeld. À guisa de conclusão da dissertação, uma reflexão sobre alguns dos caminhos de interpretação propostos para Roberto Zucco e breves considerações sobre a peça e o teatro koltesiano como um todo. O trabalho compreende também um anexo, no qual é traçado um panorama histórico do teatro francês do final do século XIX até o Nouveau théâtre. Segue-se a este as referências bibliográficas.
Nishitani, Eduardo Yoshikazu. "Filmes de ficção científica como um meio de sensibilização para a ética planetária: estudo de caso numa escola pública de ensino médio em São Bernardo do Campo (2006-2007)". Universidade Presbiteriana Mackenzie, 2007. http://tede.mackenzie.br/jspui/handle/tede/1944.
Texto completoIn this work, it is discoursed on the urgency of a directed ethical formation for those who inherit a planet which is more and more globalized. The principle is if the globalization shows us an opportune time for seeing ourselves as a unique human family that lives in a small blue spot in the vastness of the Universe, it also presents the hazards conducted by the selfishness and the lack of conscience towards the environmental sustainability. These elements will bring serious consequences for the sociosphere, the technosphere and the biosphere, not only locally speaking but also in a world-wide scope. Besides this perspective, it is also discoursed on the serious reality evidenced in the microcosm of the classrooms in public high-schools: non motivated pupils, discouraged teachers and the lack of structure that devastates some high-schools; consequences of the society that faces, amongst many factors, deep economic and social uneven nesses. In these sceneries, the aim was to verify if the science fiction under the filmic form can be used as a didactic resource in the classrooms. The proposal is to accomplish the demand for an interdisciplinary and contextualized education, to favor quarrels on planetary ethics, as a way of rescuing the emotion and the imagination in the Science of the Nature lessons so that it can be playful and pleasant not only for the teachers but also for the pupils. After showing two cinematographic units of science fiction called Contact and Silent Running, for the pupils of a public high-school in São Bernardo do Campo, it was verified that, by means of reading the answers of the applied questionnaire, good films of the sort can be useful instruments in the hands of teachers who worry about the demands mentioned above.
Neste trabalho, discorre-se sobre a urgência de uma formação ética dirigida aos que herdam um planeta cada vez mais globalizado. Parte-se do princípio de que, se a globalização faz vislumbrar uma época oportuna de nos vermos como uma única família humana que habita um pequeno ponto azul na vastidão do Universo, ela também apresenta os perigos regidos pela mesquinhez e falta de consciência relacionada com a sustentabilidade ambiental. Daí surgirão graves conseqüências para a sociosfera, a tecnosfera e a biosfera, em nível local e em âmbito mundial. Além dessa perspectiva, discorre-se sobre a grave realidade constatada no microcosmo das salas de aula do Ensino Médio da escola pública: alunos desmotivados, professores desanimados e falta de estrutura que assola algumas escolas, reflexos da sociedade que enfrenta, dentre vários fatores, profundos desníveis econômicos e sociais. Nestes cenários, buscou-se verificar se a ficção científica sob a forma fílmica pode ser um recurso didático nas salas de aula. A proposta é atender a demanda de um ensino interdisciplinar e contextualizado, favorecer discussões sobre ética planetária, resgatar a emoção e a imaginação mesmo nas aulas de Ciências da Natureza e também ser lúdico, agradável e prazeroso tanto para professores quanto para os alunos. Com a exibição de dois filmes de ficção científica, Contato e Corrida Silenciosa, aos alunos de uma escola pública de Ensino Médio em São Bernardo do Campo, verificou-se que, por meio da leitura das respostas do questionário aplicado, bons filmes do gênero podem ser instrumentos úteis nas mãos de professores que se preocupam com as demandas acima mencionadas.