Tesis sobre el tema "Dramaturges dans la littérature"
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Toubiana, Dany. "Dramaturgies d'expression française : des théâtres de la subversion". Paris 3, 2002. http://www.theses.fr/2002PA030058.
Texto completoFrench is spoken by more 200 millions people throughout the world. Since the sixties, many french speaking theatres arose with their own specificities. They squeeze out subversion in ancient colonized countries like Subsaharian Africa, Maghreb but also Quebec and some overseas french departments like french West Indies and La Réunion. Subversion is the link between all these french speaking theatres. How do the plays respond to one another in these different countries? Every theatre is a place for subversion but through politics and History, french speaking theatres are proposing an other view of it. Women, lunatics and ghosts who are common characters in many plays crush this subversion in a new way. Last part of this survey will study how french speaking theatres transform space and time but also theatrical patterns like tragedy and language, playing with this subversive posture
Goma, Valérie. "Dramaturgies de l'espace carceral : de Genet à Bond". Paris 3, 2005. http://www.theses.fr/2005PA030064.
Texto completoApart from Calderon with La vie est un songe, the western catalogue hasn't known any representation of the prison space before the writing of Haute surveillance by Jean Genet, whose first known version dates back to 1942. The following study delves into the occurence of the prison theme in dramatic art through a thematic corpus of eight emblematic plays : Haute surveillance ; Moi, Ulrike, je crie (Dario Fo) ; La passion du jardinier (Jean-Pierre Sarrazac) ; Roberto Zucco (Bernard-Marie Koltès) ; Maison d'Arrêt (Edward Bond) ; Sas (Michel Azama) ; Appelez-moi chef (Alphonse Boudard) ; The island (Athol Fugard, John Kani, Winston Ntshona). Put under the light of the real in dramatic art for their critical reference to penitentiary verisimilitude settled into contemporary times, they outsketch shutting-up spaces which span well beyond the sole prison perimeter. Thus this corroborates Michel Foucault's vision of a general partitioning of society. In that perspective, action as in the Aristotelian logic, has disappeared from the fable in most cases and even when it is represented it remains inoperative – all it does is protract a prior situation of seclusion
Py, Maéna. "Littérature scène et musique dans les œuvres scéniques de Benjamin Britten". Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2020.
Texto completoBenjamin Britten’s operas are witness to their author's commitment to a renewal of the stage and dramaturgy in the 20th century. Through working with the theatrical avant-garde (stage music, radio dramas, music for documentary films), Britten knew how to take advantage of the outstanding innovations of the beginning of the century, becoming a wonderful conduit of the theories and dramatic aesthetics of that period. While he put this apprenticeship into practice in his lyric works, these works also suggest and experiment with new scenic dramatic arts. Britten's dramaturgy did not leave the public indifferent; keenly appreciated by the great European theatre directors, it jostled the French out of their habits and their prejudices against English music
Liazidi, Hamid. "Les oeuvres de Zakes MDA : Idéologie, dramaturgie et théâtralité". Nice, 1997. http://www.theses.fr/1997NICE2018.
Texto completoThe objective of this work is to determine the ideological and esthetic qualities as well as the distinctive features of mda's works by comparison to those by the other black south african writers. We have provided an ecclectic and comparative approach in order to demonstrate mda's innovation and distinction. The first part is devoted to the relation between mda's mode of writing and commitment. It shows on the one hand mda's moderate and liberal thought in his analysis of the theme of oppression-liberation and on the other hand his use of various techniques in order to mediate dramatic discourse and situations. The predominance of the ideological properties on the esthetic ones in the panafricanist works stands in contrast to the constant balance mda maintains. The second part focuses on the structural and technical components of mda's works. It demonstrates his avant-gardiste thought, his innovation and contribution to the evolution of the south african writing. MDA has adapted the techniques borrowed from the modernist tradition to the socio-political context in south africa. His implementation of elements from the traditional culture is intended to create a diversity of themes and situations rather than to construct an indigenuous dramatic theory
Roche, Virginie. "L'unité perdue : poétique du mythe dans l'œuvre du dramaturge irlandais Brian Friel". Paris 4, 2003. http://www.theses.fr/2002PA040183.
Texto completoThe purpose of this study is to present the mythic nature of Brian Friel's theatre so as to show how the playwright succeeds by exploring a theatre rooted in specific Irish problematics, in showing human nature. Friel's poetics, structurally and thematically based on the myth builds up around the idea of a unity, which is geographically, mentally and linguistically lost. This loss of unity is analysed through a study of the myths of Dionysos, Apollo, Thanatos and Eros. We then show how Friel looks for an answer to his metaphysical quest in silence, absence, darkness and in the image of the Doppelgänger. And Finally, we show how Friel tries to transcend the religious, political and cultural divisions by denouncing sectarianism, colonial oppression and national extremism. The theatre of Brian Friel revitalizes a theatre of words, where myth offers itself as an alternative solution to the metaphysical cry of man when faced with the unreasonable silence of the world
Dobby-Poirson, Florence. "Le pathétique dans l'œuvre de Robert Garnier". Paris 10, 1995. http://www.theses.fr/1995PA100176.
Texto completoPathos is the main feature of the theatre of Garnier. Influenced by eloquence and Aristotle’s poetics, it represents grieves provoked but great misfortunes, in order to instruct and delight. A national disaster constitutes the terrible and pitiable subject of the play. The dramatic techniques Garnier builds up are likely to produce pathos. Many deadly events, following on an earlier disaster, occur in a very short time, but in a place where different points of view can easily be exposed by opposite characters. The scenery sets up an atmosphere of fear. The structure of the play emphasizes the predicament daused by emergency, lack of communication and defeat. But the heroes can overcome their fate when they conquer their inner liberty. The show and the dialogue constantly interact. Themes, style and prosody emphasize the physical signs of passion. As the chorus and most of the characters bewail their lot, lamentation spreads to the whole text. Pathos helps also to instruct : the public is requested to take part to the universal grief of man, liable to passion and to unsteady fortune, and who tries to guess the aims of transcendence
Cicekoglu, Oya. "Le conflit des générations dans la dramaturgie de Jean Anouilh". Université Nancy 2, 1986. http://www.theses.fr/1986NAN21027.
Texto completoCouderc, Christophe. "Le systeme des personnages de la "comedia" espagnole (1594-1630) : contribution a l'etude d'une dramaturgie". Paris 10, 1997. http://www.theses.fr/1997PA100148.
Texto completoThe first part of this study is a descriptive one, that tries to propose a classification of the texts, and examine examples of recurrent changes realized by french dramatists that adapted the spanish golden age comedy on the french stage of the xviith century. The second part present some modulations of the relationships between the characters of the spanish comedia : the simple formula of these relationships, the more complex constructions, and the significative variations of the socio-dramatic status. In the third part, an assessment is made of this functionnalistic analysis of the spanish comedy : it is possible to define a few archetypical figures for male and female characters, and to explain their relationships thanks to the notion of sequence. The study concludes with a hypothesis of historical and formal evolution
Bérard, Stéphanie. "Au carrefour du théâtre antillais : littérature, tradition orale et rituels dans les dramaturgies contemporaines de Guadeloupe et de Martinique". Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10107.
Texto completoHodant, Jean-Philippe. "Rhétorique et dramaturgie musicales dans l'oeuvre de Jean Guillou". Paris 4, 1993. http://www.theses.fr/1993PA040120.
Texto completoThrough the prism of three of the works of Jean Guillou, La chapelle des abimes, Judith-symphonie, Hyperion ou la rhétorique du feu, these experimental pieces attempt to demonstrate and bring out the aesthetic light of the composer. Each one of the works retained presents a different problem which is related to the literary text, a latent text, a text which is present in the musical tissue, a text absent or virtually issue of the musical discourse. These three examples bring to light a musical rhetoric which is comparable with a literary discourse which contains dramatic stylized gestures
Giuliani, Pierre. "Un sang tragique : Racine, Phèdre et le sang : mise en perspective dramatique". Lyon 3, 2007. https://scd-resnum.univ-lyon3.fr/out/theses/2007_out_giuliani_p.pdf.
Texto completoImbued with the qualities that Antiquity and the Renaissance granted them, blood and the imaginary associated with it enjoy great prestige in the seventeenth century. In their respective domains, medicine, cultural anthropology, rhetoric, and belles-lettres bear witness to this status, even if recent discoveries have gradually modified the value judgments made about the ruby-red humor. In the same period of time, French tragedy was undergoing an evolution that is particularly notable in the theater of Jean Racine. Consequently, the analysis of his masterpiece Phèdre, a work that has frequent recourse to the term "blood", offers the opporhmity to rethink questions linked to the dramatic representation of violence and to the use of the passions for moral purposes : it becomes clear that studying the theme of "fatal blood" also has the advantage of being a contribution to the understanding of the classical body in the throes of passion
Ailloud-Nicolas, Catherine. "Le dénouement dans les pièces en un acte de Marivaux : structure dramaturgique". Lyon 2, 2003. http://theses.univ-lyon2.fr/documents/lyon2/2003/ailloud.
Texto completoRozon, Brigitte. "Se mettre à mort, se mettre au monde, le meurtre dans trois pièces de la dramaturgie gaie québécoise". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22391.pdf.
Texto completoMetais-Chastanier, Barbara. "L’Enquête à l’œuvre : la représentation inquiétée dans les dramaturgies contemporaines". Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0863.
Texto completoThrough the analysis of about fifty plays, texts, and performances from the contemporary European repertoire, this study will consider dramatic representation as an anthropological fact involving practices of signs and interpretation, through the prism of the investigation – understood as a creation process, a structuring form but also a way of relating to the world and the spectator. A path of hypotheses and a laboratory of the cognitive and heuristic functions of representation, it appears that the investigation refers to this confusion through which theatre is thought to represent something. This dissertation therefore inscribes contemporary dramaturgies within the clue paradigm, coined by C. Ginzburg, in relation to novelistic forms of the investigation (naturalistic and detective novels). Thus it intends to repair the theoretical deficit plaguing this “master fiction” (D. Kalifa), opening a reflection on the meanings of reusing a modern approach, tied to the search for meaning and legibility in a time marked by postmodernism and characterized by an attitude of relativism and hermeneutic suspense. The use of scenes of trial, reconstitution, and questioning, studied in the second part, uncovers critical and reflexive operations in which the devices of truth production are questioned as politics and poetics of the sign. As for documentary writing – the focus of the third part, it appears crossed by three distinct orientations – assertive, constatative and interrogative – which will be identified according to their relations to the investigation
Latifses, Adja. "Dramaturgie de la ruse dans les tragédies d’Euripide : action, discours, spectacle". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0045.
Texto completoAs a narrative feature inherited from tin Homeric epic, tricks have been from Aeschylus onwards one of the favorite components of the Attic tragedy. But incontestably, it is the youngest of the three great tragic poets of the fifth-century. Athens, Euripides, who put the greatest emphasis on the exploitation of this dramaturgical device, turning it into an emblematic element of his poetics. Embracing all the complete tragedies of the poet, this dissertation presents a dramaturgical study of the euripidean tricks, which are successively considered at different levels of the drama's construction. The first part thus investigates the euripidean trick-vocabulary, the characters that embody it and bring it into play, and its insertion into the plot. The second part, on the other hand, focuses on the analysis of the discursive and spectacular working of the three typical scenes that compose the trick-pattern : planning-scenes, deceit-scenes, and conclusive scenes, which are about both the results and the unveiling of the deception. This study aims to show that through the representation of tricks. Euripides deeply renews the inherited tragic forms, and at the same time, achieves a systematical exploration of the ambiguities of both language and appearances. By dramatizing his cunning heroes' plots, the poet thus takes part in the intellectual debate that fascinates Athens at the time of the sophists. But he just as well reinterprets the traditional tragic anthropology, presenting the ingenious deceiver and the blind dupe as the two sides of the same humanity
Marot, Patrick. "Dramaturgie de la connaissance dans trois œuvres de Julien Gracq : au château d'Argol, un beau ténébreux, le rivage des Syrtes". Paris 10, 1988. http://www.theses.fr/1988PA100089.
Texto completoIn Julien Gracq's first three novels, cognition partakes of an initiatory quest which does not refer to any particular object or message, but demands from the characters a staging of their very existence. This is carried out by a decyphering of desirable signs that prescribe the requirements of reading; the energizing circulation of theses signs determines the dynamics of elements and the organizing of space - the latter being directed to the emergence of a staging of revelation. The temporal dimension of these novels leads to revelation along two undissociable axes: first, a signs-involving anagogical continuity; then, a discontinuity leading to the irruption of the present - this being simultaneously an opening-up and a closing-down process which reveals a tragic dimension. The action is irreversible, yet the emergence of a stage for Parousia can never be certain, in so far as it is dependent on a "present de la presence" which necessarily remains exterior to any novel-like representation. The tragic dimension redoubles the various ways the characters achieve a coherent reading of signs, either in a lyric or an epic mode; it also turns the narration processes (stage, myth, and story) into a space for reading to assert itself in. This imparts a radically cryptic undertone to the quest, in the expression of its object and in its major figures (sacrifice) as well as in the definition of its subjects
Diassinous, Nicolas. "Crise de scène : dramaturgies poétiques du romantisme au symbolisme". Electronic Thesis or Diss., Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0398.
Texto completoThis reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited
Gbouablé, Edwige. "Des écritures de la violence dans les dramaturgies contemporaines d’Afrique noire francophone (1930-2005)". Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00199210/fr/.
Texto completoViolence comes across black african French-speaking theatrical production since its origins. It is prone to thematic and aesthetic changes which makes it evolve from one period to another. We have thus passed from confined theatres of assimilated violence where the form was a constraint to an outburst of writings dealing with violence in contemporary works. Violence appears in the plays of William Ponty (1930) under the form of cultural conflict drawn from African customs. Turned into political violence, it embarks the dramaturgic categories during the Seventies in the confrontation of the colonizer against the colonised. With the theatre of the 1980’s, violence, still political, takes however another form marked by an attempt to disrupt with classical theatrical canons. Associating the burlesque with tragedy, bypassing the French language, establishing a dialogue between tradition and modernity through an endogenous writing are as many realities characterizing the expression of conflicts about disillusionnement. In most of the plays following the1990’s, on the other hand, the conflicts take on a plural image which convenes the world through distinctive modes of expression. It results in a hybrid writing in which violence is voiced out through the dislocation of the dramatic categories and of the meaning that emerges out of it. From this scriptural dynamics of violence arises a displacement of the theatrical stakes in so far as African dramas today get rid of the nationalist inclinations to endorse the world’s realities. Thus the opening of contemporary theatres to the world creates a variety of forms whose complexity calls into question the concept of Africanity
Häcker, Andreas Franz Ernst. "Dramaturgie de l'estomac : l'obsession du manger dans le théâtre de George Tabori". Lyon 2, 2008. http://theses.univ-lyon2.fr/documents/lyon2/2008/h_cker_afe.
Texto completoEating is an existential act. Food is a particular feature of George Tabori's theatre. His autobiographical and comic plays and performances are aimed at upsetting the actors and spectators' guts in an untamed, sensual, intimate, multilayered way. Inspired by Bertolt Brecht, Lee Strasberg and the Gestalt-therapy, Tabori works with his actors on sensual and emotional memory introducing real food during rehearsals. He focuses on hunger and melancholy in The Cannibals (1968) dedicated to his father who died in Auschwitz. This disturbing Holocaust memory play shows starvation in the death camps and the culinary obsessions of the deportees trying to find comfort in "stomach masturbation". Tabori juxtaposes the accounts given by Holocaust survivors. Primo Levi's testimony is his main source as are biblical texts, Shakespearian scenes (King Lear and Titus Andronicus) and kitchen recipes. Refusing food is one of the main themes in Hunger Artists (1977), a short story by Kafka, staged by the Bremer Theaterlabor. During the preparation of this play, Tabor's group invokes an acrimonious esthetical and political discussion. The actors had started fasting in order to understand Kafka's Hunger Artist, who refuses to eat, but were forbidden by the deputy-mayor in charge of culture to continue this collective experiment. In his last play Gesegnete Mahlzeit (2007), Tabori "heats up" three texts which portray insatiable characters in search of happiness. The play is made of three scenes depicting meals: Franz Kafka's last breakfast with his lover Milena, a business lunch and Don Juan's Last Supper with a constipated prostitute
Paul, Salomé. "Avatars contemporains du tragique grec : le Mythe dans la dramaturgie de Sartre, Anouilh, Camus, Paulin, Kennelly et Heaney". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL029.
Texto completoThis research intends to underline the paradigmatic change that has occurred reguarding the approach to the tragic phenomenon and the genre of tragedy in the contemporary period. Tragedy, such as dramatized by the Greeks in the 5th century B.-C., was built on the concept of dikè, meaning justice. However, in the twentieth century, the idea of tragic is apprehended through the perspective of human freedom. This transformation of the philosophical and dramatic approaches to the tragic phenomemon arises from the social and political events occuring in the Western world, and more specifically in Eu-rope, during that period. Thus, our research relies on the comparison of several Greek tragedies — Aeschylus’s The Persians, The Oresteia, and Prometheus Bound; Sophocles’s Antigone and Philocte-tes; Euripides’s Medea and The Trojan Women — with some contemporary transpositions that have been produced in France and in Ireland to adress events threatening individual freedom of, at least, a part of the population living in France or in Ireland. Therefore, our research considers three plays creat-ed during or shortly after the Nazi Occupation of France: Sartre’s The Flies (1943), Anouilh’s Antigone (1944), Camus’s Caligula (1945); one play performed during the decolonial period of 1960: Sartre’s The Trojan Women (1965); three plays produced during the period of the Troubles (1968-1998): Paulin’s The Riot Act (1984) and Seize the Fire (1989), and Heaney’s The Cure at Troy (1990) ; and three plays performed to deal with the issue of women’s rights in the Republic of Ireland: Kennelly’s Antigone (1986), Medea (1989), and The Trojan Women (1993)
Loubière, Philippe. "Le mythe de Don Juan dans l'œuvre du dramaturge roumain Teodor Mazilu (1930-1980). De la démythisation sociale et politique à la démythisation de soi". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030207.
Texto completoRésumé en anglais non fourni par l'auteur
Boudaa, Louiza. "L'évolution de la conception de la famille dans l'œuvre camusienne". Electronic Thesis or Diss., Paris 8, 2015. http://www.theses.fr/2015PA080086.
Texto completoThe notion of family is highly central to Camus’s work. The axial nature of this concept is an impetus to begin this thesis which aims at examining the expanse of this concept on Camus’s thinking. This major theme is supported by other ones as brotherhood, solidarity and above all humanity. We have chosen to divide it on four parts of analysis:The first part deals with natural descent. It is more about the impact of family characters on Camus’s work than on the autobiographical side; dealt throughout the three adopted cycles Absurdism, revolt, and at last love and reconciliation. The evolution of the son character towards the cycle of revolt in the mid of inevitable ups and downs took part in the emergence of fraternity desire, and this is the major theme in the second part. The study of this trend towards brotherhood has allowed us to uncover a necessary measure in the relationships. This measure recalled in “the eloquent silence” enhance the importance of “la pensée solaire” inherent in the ancestral Mediterranean Sea, and this makes it an object of study in the third part. The paradigms linked to this ancestral Sea are not exclusively specific to one community without another. Their adoption in Camus’s work allowed it to strive towards a larger parenthood; the parenthood of humanity dealt with in the last part. We have concluded by asserting the necessity of imagining the “first man” happy. The incompletion of Le Premier homme should not blur the evolution of the family conception to a human relationship, highlighted in the myth of autochthony
Baconnet, de Saint-Aubert Hélène. "L'Histoire de Tobie et de Sara (Paul Claudel) : pour une dramaturgie de la gloire". Paris 4, 2002. http://www.theses.fr/2002PA040122.
Texto completoSanchez, Joana. "Un imaginaire du lien : famille et société dans le théâtre indépendant argentin (1975-2015)". Thesis, Strasbourg, 2019. https://publication-theses.unistra.fr/restreint/theses_doctorat/2019/Sanchez_Joana_2019_ED520.pdf.
Texto completoFrom a transdisciplinary approach at the crossroads of sociology, anthropology, history and philosophy, this research, in a first instance, considers how the family, everyday playground of a dialectic mesh between the same and the other, can be the privileged substrate of an “imaginary of the bond”. In the light of this hypothesis, and through the social criticism, this thesis interrogates the intersections between family bond (exhibited on stage), social bond (projected on it) and theatrical bond (which structures the dramaturgy and defines a specific theatricalness), during two timeframes particularly intricate on a socio-political standpoint: the last military dictatorship and the post-dictatorship. On the crossroads of theatrical studies and social sciences, this research explores political and social issues while bringing to the forefront the dramaturgical analysis of the corpus
¿Por qué el teatro, y en particular en Argentina, parece tan obsesionado con el tema de la familia ? Rechazando la retórica de la «familia disfuncional», esta tesis analiza las ficciones familiares en su relación con lo social. Desde una perspectiva pluridisciplinar (con herramientas de sociología, antropología, historia y filosofía), se trata primero de pensar cómo la familia, espacio cotidiano de una dialéctica entre lo mismo y lo otro, puede ser el soporte de un «imaginario del vínculo». A partir de esta hipótesis, y con las herramientas de la teatrología y la sociocrítica, la tesis interroga los cruces entre vínculo familiar, vínculo social y vínculo teatral (el que estructura la dramaturgia y la teatralidad), durante dos períodos complejos a nivel sociopolítico: la última dictadura militar y la posdictadura. Respecto al teatro producido durante la dictadura, se matiza la idea de una intención sistemáticamente metafórica (al asumir que un teatro concebido como mero código sería un vínculo teatral profundamente vertical que no corresponde con gran parte de las obras), y se analizan «manchas temáticas» recurrentes, que plasman en las ficciones familiares un «vínculo tiránico», a la par de la política de terror de la Junta militar.En la posdictadura, se sigue profundizando una dinámica de fragmentación social, que también se puede vislumbrar en la producción teatral. Mientras que las condiciones de producción del teatro independiente (en espacios cada vez más íntimos) favorecen la multiplicación de dramas familiares, las nuevas dramaturgias, a pesar de reivindicar su autonomía, también están atravesadas por el contexto social e histórico (mediante motivos temáticos recurrentes y formas dramáticas fragmentadas). Entre los estudios teatrales y las ciencias sociales, este trabajo de investigación explora la dimensión política y social del tema familiar, con el análisis dramatúrgico del corpus en el primer plano de la reflexión
Aubin, Maxime. "Créer et se créer : La figure de l'homosexuel créateur dans la dramaturgie québécoise depuis 1980". Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26193/26193.pdf.
Texto completoJobard-Wagner, Catherine. "La représentation de la défaite dans le théâtre du dix-septième siècle 1634-1663". Thesis, Besançon, 2013. http://www.theses.fr/2013BESA1014/document.
Texto completoThis thesis is the outcome of eight working years wich concerned the representation of the defeat in the theater of the seventeenth century. Our corpus includes 75 plays, 60 tragedies, 14 tragicomedies and a heroic comedy played between 1634 and 1663 and putting forward the theme of the defeat, such as defined in the dictionaries of this time, that is the loss of a battle after an armed intervention which can go external or internal, internaltional, civil or religious years 1634-1643, in the military or private plots dominate in the tragedies of the first studied period, or which will be rather the priviledge of the plays of the last period, or the years 1653-1663
Hausbei, Kerstin. "Thomas Bernhard et Anton Tchekhov : aspects d'une rencontre dramaturgique et intertextuelle". Paris 3, 2001. http://www.theses.fr/2001PA030139.
Texto completoAfter an experimental period in the fifties, Thomas Bernhard bases his full-length plays, written between 19867 and 1988, among other things on an important intertextuality with the plays of Anton Tchekhov, a phenomenon which is clearly observable in the plays since 1974 (The hunting party), Bernhard discovers in Chekhov's esthetic the possibility of mixing the dominants of his earlier esthetic-metaphoric and symbol-with a mimetic component based on situation and character. Bernhard then proceeds, as Chekhov does, by the detour of the fiction in order to assign to the reader/spectator a more active role which consists in transcending the mimetic sign in direction of a symbol. Bernhard integrates Chekhov's texts in his plays in two different ways : on the one hand an intense work on dramaturgic structures (imitating hypertextuality pattern) and on the other hand the writing of several plays on the basis of precise plays of Chekhov, Bernhard taking over and transforming their principal structures and themes (transforming hypertextuality pattern). .
Galtier, Fabrice. "Tacite, historien et dramaturge : étude des schèmes et de la thématique tragiques dans les "Opera Maiora" de Tacite". Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20024.
Texto completoMirkovic, Radovan. "Tacitisme et dramaturgie. Le principat de Tibère dans les tragédies anglaises et françaises du XVIIe siècle (1605-1694)". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040129.
Texto completoThe studies of tacitism in the 16th and 17th centuries were limited so far to political theory and historiography. Our thesis extends the scope of research to theatre, in that it explores in a comparative perspective the rewritings of the principate of Tiberius in English and French 17th century tragedy: Sejanus His Fall by Ben Jonson, Claudius Tiberius Nero by an anonymous English dramatist, La Mort de Germanic Caesar by Bénigne Griguette, Seianus by Jean Magnon, La Victime d’Estat by Jean Le Royer, La Mort d’Agrippine by Cyrano de Bergerac, Germanicus by Dominique de Colonia and Germanicus by Edme Boursault. The arrangement of topics discussed follows a dramatic movement from the sequences of dissimulation and agonistic confrontation towards dramatic turns of events covered by legal procedure. The sequences of dissimulation are analysed in terms of non-interaction (observation, silence, asides), interaction (symmetrical and asymmetrical dissimulation) and the distancing effect (in regard to internal receivers and the audience). The study of agonistic sequences focuses on dramatic functions of proofs, witnesses and arbitrators. Finally, the dramatic turns of events are considered first from the point of view of their juridical origins and specific references to the legal procedure, and then with regard to the aesthetics of violence. The closure of the thesis broadens the perspective by analysing construction of exemplarity and dramatic interpretations of the principate as an institution. The appendices offer a standard language transcription of rarely studied French pieces of our collection, accompanied by a philological, literary and historical commentary
Vanhaesebrouck, Karel. "Le mythe de l’authenticité : lectures, interprétations, dramaturgies de Britannicus de Jean Racine en France (1669-2004)". Paris 10, 2007. http://www.theses.fr/2007PA100160.
Texto completoThis study focuses on the myth of authenticity, which as a necessary ideal model or frame of reference fundamentally determines the staging history of classicism in France in general and of Britannicus in particular. At the basis of this idea lies the hypothesis that this myth of authenticity takes the form of a discursive formation (‘formation discursive’) or a regime of historicity (‘regime d’historicité’), which determines what interpretation and, especially, what mode of representation is conceivable and, therefore, communicable on a stage. Every performance necessarily relates to a particular ideal model, which is of structural importance for French theatrical practice, even if this relation is ex negativo. The question this dissertation deals with is double: (1) what different forms does this myth of authenticity take on through history, in theatrical practice, but also in various theoretical writings and (2) what reorientations does the myth of authenticity go through in the course of history? The threefold division construction, reconstruction and deconstruction leads to the development of an interpretation scheme that permits to describe the relation between the actual performance and that mythological model. This relation makes it possible to differentiate various theatrical trends (the French historian Braudel used in this context the heuristic category of ‘conjoncture’), which can be distinguished because of their specific relation to that ideal model. On the one hand a coherent theoretical framework was developed, on the other hand the double research question was applied to the analysis of eight actual interpretations of Britannicus, from the very first performance in 1669 to the production of Brigitte Jaques-Wajeman for the Comédie-Française in 2004
Lhostis, Nathalie. "Dramaturgie et morale dans les comédies de Ménandre et de Plaute. La question de l'axiologie". Thesis, Lyon, École normale supérieure, 2013. http://www.theses.fr/2013ENSL0860.
Texto completoThis study, entitled “dramaturgy and morals”, looks at the dramatization of moral values in the comedies of Menander and Plautus. I employ an approach that identifies which values are evoked and looks at how they are conveyed and structured in relation to one another. The aim is to analyse how they are treated and the place that is accorded to them. Are they subjected to reflection, affirmed, or critiqued? Thus what is at stake is less about finding the “morals” in the plays or their supposed moral message, but rather delineating the architectonics of values in these comedies. This study will focus more specifically on axiology, that is to say the form that moral evaluation takes in the comedies of Menander and Plautus. According to which criteria is this evaluation carried out? What is at stake in this evaluation?The concept of value, as it appears in the comedies of Menander and Plautus, entails essentially three domains: the material, the symbolic, and the ethical. The issue at hand is understanding how they are conceived of and related to one another in the comedies of Menander and Plautus. Such a perspective intersects with the question of the relationship between personal interest and the interests of others, a key concern in Ancient philosophy which seeks to discover to what extent an ethical agent is obliged to take into consideration others in order to achieve happiness. The first section is concerned with the concepts of moral values and trade. It looks at two types of trade: commercial trade, which outlines the primacy of utilitarian morals, and communal trade, which is based on co-operative values. The second section deals with the idea of contravention. It examines the procedures used to judge a particular action. The third section looks at comedy as ethical experimentation
Athanasopoulou, Dimitra. "Théâtre et psychanalyse : la femme sous le regard "masculin" de la dramaturgie". Paris 7, 2013. http://www.theses.fr/2013PA070095.
Texto completoThe connection between psychoanalysis and theater dates from Oedipus or, rather, from the Greek tragedy. Therefore, the Freudian myth that has nourished the psychoanalytic theory in a universal level is a "Greek scenario. If we see theater as the literary form that talks about psychoanalysis more than all the other literary forms, and respectively psychoanalysis as the theory of dramatic art, we might as well consider that the greatest European dramatists of the 20th century -Strindberg, Ibsen and Lorca- have created theater characters whose decoding has something to say about the experience of the unconscious. Therefore we are wondering whether psychoanalysis would be possible without theater, without the knowledge that theater has transmitted us on the subject and its passions, if we could think about Freud without thinking about the great dramatists. So how are we going to apply psychoanalysis in a theater play? What is the text's resistance to the analytical interpretation? Our goal is not only to question the literary creation in connection to the symptom, but to study as well the female characters in Ibsen, Strindberg, Lorca in order to support our hypothesis: The woman made hysterical and blamed by the male dramatist with no regard to her structure, her sexuality, her nationality. We wish to open a dialogue with the authors. The Strindberg, Ibsen, Lorca trilogy aims to show an image of the woman "transformed or not" by the psychical structure of the male dramatist. Therefore the theatrical trilogy meets the Freudian trilogy (neurosis — psychosis and perversion)
Boudier, Marion. "La représentation du monde sans jugement : Réalisme et neutralité dans la dramaturgie moderne et contemporaine". Thesis, Lyon, École normale supérieure, 2012. http://www.theses.fr/2012ENSL0796.
Texto completoPrejudice-free depictions of the world are the aim both of reality and of any neutral approach. They bring together works of art that show the world without inducing any commentary while exposing our opinions in all representations. We will hypothesise the concept of “neutral realism” to analyse the strategies used by dramatic arts to produce suspension of meaning. We question the existence of a tradition of dramatic authors – ranging from Tchekhov’s “clinical theater” to Brecht’s “critical theater” – that lead spectators to what Barthes termed the “astonishment upon discovering a trial-free world”. We will weigh such prejudice-free representations of the world against documentary drama and against Brecht’s critical realism. Such a comparison will evidence a paradigm shift where an explicit, committed type of modelling seems to give way to a more open interpretative experience. From Horváth to daily-life authors and to Fleisser, Adamov, Kroetz and other contemporary re-inventors of “quasi- documentary-style” drama, the question can be thus articulated: how do such illustrative aesthetics succeed in circumventing both merely superficial symptomatology of the world and the misunderstandings that might arise from the decision of leaving the viewer to judge the work on their own? The answer to the question guides our analysis of the dramatic arts’ decentering of realism, through which another vision of the responsibility of the dramatic author emerges, as well as a new take on the political nature of a neutral approach. The works and reflections of M.Vinaver, O. Hirata, J. Pommerat and L. Norén evidence four aspects of this “neutral realism”, ranging from the cancellation of meaning to multifaceted meaning and to troubled, disconnected or awed spectators
Diassinous, Nicolas. "Crise de scène : dramaturgies poétiques du romantisme au symbolisme". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0398.
Texto completoThis reflection deals with the influence of lyrical poetry over theatrical works from romanticism to symbolism. By confronting the corpuses of the romantic drama and the symbolist theater, but also by exhuming the Parnassiens’ theater, it envisions encountering constants and highlighting a crisis of Aristotelian theater whose effects extend up until the most contemporary dramaturgies. But considering the existence of a theater by poets, one that integrates the characteristics of lyrical poetry into the dramatic forms, raises several paradoxes. This theater by poets is before all one that reduces more and more the importance of the action, in favour of the lyrical expression. The drama and the actantial model it implies get converted in one unique and static situation, where all the intersubjective conflicts have been erased. Because of its subjectivity, lyrical poetry internalizes the drama: and thus all the dramatic components have to be searched for inside the subject. Its interest for interiority leads the theater by poets to abandon the mimetic representation system, because of its favouring of the abstraction of ideas over the objective and material reality. This subjectivity imported by poetry into the dramatic form explains why the dramatists break the absolute taboo of Aristotelian theater: the poet’s presence inside his play. The lyricisation of theater entails the poet’s manifestation in a form where it is prohibited
Tchamitchian, Raphaëlle. "Dramaturgie / jazz. Le théâtre de Suzan-Lori Parks ˸ poétique et expérience créatrice". Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030038.
Texto completoThis dissertation in Theatre Studies aims to theorize the tension between “drama / jazz” through the works of African American playwright Suzan-Lori Parks. Born in 1963, Suzan- Lori Parks is as famous in the United States as she is little known in France. Informed by the memory of slavery and the African slave trade, her theatre dis(re)members History to reverse the dominant discourse, make a new story and provide reparation to the living and the dead. By approaching her writing through jazz, we take into account the “double consciousness” that is constitutive of her poetics, and the anthropological, historical and political issues it raises. In her theatre, jazz is not only a form of music, but also a way of looking at the world, a cluster of poetic conduits and an organic presence that sets the writing in motion from within. From this paradoxical presence/absence what emerges is not a model but instead a group of converging lines of flight. Liquidity and fugitivity appear to be key jazz-shaped elements of a poetics of mutability. This poetics is linked to the creative experience of the playwright, which in turn gives birth to a creative experience for the spectator during performance. In short, the task is to understand the ways jazz affects theatre to the point of producing a new kind of theatre
Michel, Carole. "La dramaturgie d'Egon Wolff : itinéraire dramatique pour une unité entre individu et société". Besançon, 2002. http://www.theses.fr/2002BESA1018.
Texto completoLamy, Mathilde. "Cléopâtre dans les tragédies françaises de 1553 à 1682 : Une dramaturgie de l’éloge". Thesis, Avignon, 2012. http://www.theses.fr/2012AVIG1114/document.
Texto completoCleopatra, the last queen of Egypt, is the first heroine of tragedy in France. Depicted by Latinauthors as a debauched and ambitious monster, she became a lofty and dignified figure onstage: thus was born humanist dramaturgy under the sign of eulogy. The interlacing ofthemes and topics, the composition of the plays together with the stylistic and rhetorical workof the playwrights set up a court where is conducted the trial of Cleopatra, the foreigner, thefemme fatale who had seduced Caesar and who, responsible for the defeat of Actium,hastened Mark Antony’s death. But the suicide of the queen is enhanced by the use of theextended outcome, a dramatic instrument serving a logic of heroizing. Thus cleared of hermisdeeds in the humanist and "classic" theatre, the figure of Cleopatra marvelouslyillustrates the definition of the tragic hero
Boudrika, Mohammed Amin. "Jan Fabre : dialogue du corps et de la mort. Ecriture, scénographie et mise en scène". Thesis, Normandie, 2018. http://www.theses.fr/2018NORMR154/document.
Texto completoJan Fabre's dialogue of body and death is based on a body of theatrical texts. Regarding to the approach of my work, it was mainly focused on three main aspects, first the inheritances and the artistic and cultural inspirations, then the ritual and the sacrifice in its historical philosophical and artistic dimension, and finally the production of the performance: from genesis to scenic representation. The goal of my thesis is to demonstrate the artist's desire to overcome the limits, to violate the codes of society and to create an authentic artistic language inspired by all possible materials to touch the vulnerability of contemporary man. To do this Jan Fabre has developed a method of work that rediscover a body raw and instinctive, a body generating a vital energy and resulting in strong sensations. In this work process I noticed that for Fabre the notion of research has a primordial place based on a conceptual, philosophical and historical evolution. Jan Fabre builds his performances so that all the components of the performance interweave. A singular textual and visual writing constructs a sort of post-mortem state in the sense that logic is ceded to intuition, a writing that offers a scenic universe rich in images and allegories. A scenic composition where space, time and rhythm are based mainly on tension and the development of a ritual atmosphere. After all, the body and death in his universe are united and he manifests a recurring work between the appearance and the disappearance
Rahbari, Morvarid. "Le féminin dans l’œuvre dramatique de Samuel Beckett". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA148/document.
Texto completoIn Samuel Beckett’s works the female characters are seen to be absent at the beginning, but throughout the story their presence becomes more significant, and represents the different images of the female characters.The female characters in his work expand and grow constantly.To understand the female characters, we need to analyze the languages that have been used by each character. The languages provide a different image which highlights the identity of each character. They also cover many areas such as body, gestural, scenic, and pictorial. This research paper helps us to better understand how Samuel Beckett deals with feminine in his works, and highlights the major features of the female characters
Jori, Constance. "La dramaturgie dialectale à Naples dans la première moitié du XVIIIème, de la comédie en prose à la commedeja pe mmuseca : parcours linguistiques, figures de l'ambigui͏̈té". Paris 3, 2001. http://www.theses.fr/2001PA030052.
Texto completoPicco, Frédéric. "Les Maîtres de l'illusion dans l'oeuvre de Sophocle : étude sur l'influence de la sophistique dans "Ajax", "Les Trachiniennes", "Electre" et "Philoctète"". Paris 10, 1997. http://www.theses.fr/1997PA100206.
Texto completoThe aim of this work is to show how an influence of sophistry upon the theatre of sophocles can be felt. Too often critics have thought that euripides alone was inspired by the reflexions of the sophists. But if one studies the problem of truth, falsehood and deceit in sophocles, then one notes that his tragedies set the problem of likelihood and illusion. Besides, it is clear that sophocles always shows the consequences of deceit, a point that distinguishes him from euripides. Our analysis is based upon four tragedies: ajax, the trachiniae, electra, and philoctetes
Wesseler, Fedora. "Dramaturgies du Sublime entre théâtre et opéra (1890 – 1939) : présence et métamorphose d’un concept dans l’écriture théâtrale de Romain Rolland, Richard Beer-Hofmann, William Butler Yeats et Hugo von Hofmannsthal". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040194.
Texto completoEuropean drama at the beginning of the 20th century was in search of new forms of artistic expression. In this context which coincides with the rejection of materialism, the Sublime as consciousness of human dignity gained in importance. A bulwark against the perpetual and inevitable succession of human life, the Sublime as defined by Schiller more than a century earlier attained equality with the awareness of History, lending to humankind an element of eternity. The efforts of W.B. Yeats to restore a sense of Irish community at the Abbey Theatre, those of Max Reinhardt and Hugo von Hofmannsthal who created the Salzburg Festival, but also Romain Rolland’s project of a « People’s Theatre » as well as Richard Beer-Hofmann’s plays which integrated the memory of the past, all reveal the reconciliatory function newly conferred on drama. These four authors found an answer to the destructive forces of their time by creating a drama of human dignity in which sublime heroism shifts through compassion. Its source, imagination, plays an essential role in the dramaturgy of the Sublime. The examination of the Sublime as a philosophical and dramatic principle elucidates its relationship to both opera and melodrama. The overlapping of genres can already be noticed in Schiller’s plays and proves the intention of raising the audience above the daily round, thanks to a visionary dramaturgy, based on the longing for a higher reality
Balkowski, Tatiana. "Daniel Danis : une dramaturgie du retrait". Paris, EHESS, 2014. http://www.theses.fr/2014EHES0075.
Texto completoThis essay provides a thematic, structural and stylistic analysis of Daniel Danis' dramatic writings, with the main goal of defining the concept of withdrawal (retrait). A fundamental pattern and a foundation of the author's writing, the figure of withdrawal appears as an essential one, on the one hand because it lies at the basis of Daniel Danis' dramaturgie system, and on the other hand because it is related to the author's "fundamental concern" with the "Being". Seeing that withdrawal is the place and the form of the "Being", the phenomenology of withdrawal in Danis' work enables us to answerthe ontological question: "What is the Being?" Moreover, ontology being inseparable from the ontic, the figure of the withdrawal enables the author to consider the question of representation and, in doing so, to reflect on theater, which is the art of representing the absence. In relation with the different characteristics of the withdrawal in our body of texts, we will establish four types of withdrawal: withdrawal as a mark of absence; "with-drawal" as an attempt to demarcate, to draw a dividing line; withdrawal (retrait) as a repetition of the absence (in reference to the meaning of the prefix "re-" in French, as the mark of the repetition); withdrawal as a presence of the absence, or as a denoted and noted absence. Such a categorization will enable us to highlight all that is withdraw in Daniel Denis’ work (words, images, ideas, figures) and, more generally, to evidence the unfailing link between ontology and dramaturgy, between speech on the Being and speech of the being
Afkir, Fatima. "L'image de l’Égypte dans l’oeuvre de Tawfīq al-Ḥakīm". Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30059/document.
Texto completoIf we contemplate the playwright's rich production, we realise to what extent Egypt plays a prominent part in his work and life. It is the crowning achievement of his literary work which highlights all the aspects of this country, social, historical, cultural and political However, in this study, we will try to limit our subject of The image of Egypt in T.al-Hakim's work to two particular eras, the revolutions of 1919 and 1952. His writings clearly relate those major events. The way he thinks, writes, criticizes and analyses before and after the 1919 revolution is no longer the same after the 1952 revolution. He started being a dreamy idealistic writer, and turned into another one, more realistic and committed in his literary work. Our global problematics will hinge on the following issues: what representation of Egypt does Tawfiq al-Hakim's work give? Can we regard his return to ancient myths as a continuity between modern Egypt and ancient Egypt? In a first part, we deal with the two revolutions which have had repercussions on his writings and political vision. The second part will tackle the society of his novel, in which he describes a country seen through a native Egyptian, and the strong ties which link the Egyptian people to their nation. The third part will focus on women and on the fallah, which greatly inspired the writer. The fourth part will be dedicated to the Pharaonic Egypt. We will see how far he has been influenced by ancient Egypt to descibe the modern one. We have relied on a few works of different writers so as to find an authentic link between what he writes and thinks reality and imagination in his works. We will analyse the way he sees, observes and criticizes his own country
Ding, Ruoting. "La Légitimité visible. L’usurpation du pouvoir dans le théâtre français du XVIIe siècle (1636-1696)". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040075.
Texto completoThis piece of work studies the mobilization of concepts relating to legitimacy and usurpation in classical French theater. The corpus includes all plays (tragedies, tragi-comedies and heroic comedies) representing state-level disruptions linked to usurpation from 1630 to the end of the seventeenth century. If the representation of extraordinary political disorders makes the subject of a play more elevated, it also implies a referential dimension that could give rise to a complication, especially in a France where absolutism was taking shape. Yet it is precisely this problem that warrants the value of the theme of usurpation. Once dramaturgically mobilized, the ideological and moral reference constitutes a structural element that creates the dramatic effect, which ensures the circle of the action and echoes a poetic vision. At the same time, through these dramaturgical features, the plays construct their meaning, which besides reflecting absolutist ideology can sometimes deviate from contemporary political thought. This study hinges on three concepts – the right to rule, the duty to rule and the will to rule. The analysis of the concrete means of their implementation is followed by a reflection on the evolution of the treatment of the theme throughout the century as well as on the complex relationship between ideology and dramaturgy
Ngo, Bilong Ate Elise Flore. "Etude de l'action dans la dramaturgie de Montherlant". Phd thesis, Université Paris-Est, 2010. http://tel.archives-ouvertes.fr/tel-00647136.
Texto completoVennemann, Aline. "Architectures et architectures de la mémoire : le théâtre d’Elfriede Jelinek et de Peter Wagner (1991-2011)". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20039/document.
Texto completoElfriede Jelinek and Peter Wagner's plays are part of the quest for—or conquest of—an identity shaken by the traumas of Austro-German history, and by the contradictory relationship between the Germanic peoples and their fascist past. The 1990s saw the deaths of many of the last Holocaust witnesses, and an increase in official commemorations to which the texts, as well as their staging and their vocal performance, respond through sites of memory and real environments of memory. The analysis of textual and scenic strategies, in particular the forms, structures and implications of memory, shedslight on a special theatrical aesthetic belonging to what may be called an art of « rememberment»
Das Theater von Elfriede Jelinek und Peter Wagner trägt zur Wieder(an)erkennung und Wiederfindung einer Identitätbei, die durch die sukzessiven Traumata der österreichischdeutschen Geschichte sowie durch das widersprüchlicheVerhältnis Deutschstämmiger zu ihrer faschistischen Vergangenheit beeinträchtigt wurde. Den offiziellen Gedenkfeiernseit Anfang der 1990er Jahre, die mit dem allmählichen Verschwinden der letzten Holocaust-Zeitzeugen einhergehen,setzen die von ihnen hervorgerufenen Texte, Inszenierungen und stimmlichen Performances ein Theater derGedächtnisorte und -räume entgegen. Die Analyse der textuellen und szenischen Strategien unter dem Blickwinkelder Formen, Strukturen und Funktionen von Erinnerung und Gedächtnis bringteine spezielle Theaterästhetikdessen an den Tag, was alseine Kunst «erinnernderWieder-Holung» bezeichnetwerden kann
Postert, Kirsten. "Tragédie historique ou Histoire en Tragédie ? : les sujets d’histoire moderne dans la tragédie française (1550-1715)". Thesis, Paris 4, 2008. http://www.theses.fr/2008PA040235.
Texto completoFrom its apparition in 1550, French tragedy tends to draw most of its subjects from history. Though most dramatic authors, according to the taste of the times, tend to favour classical or mythological plots, subjects drawn from modern or contemporary history are nevertheless very present in the works produced between 1550 and 1715. The present work seeks to explain the links between history and tragedy. It compares not only the dramatic works with real historical events but also seeks to illuminate the relationship between historiography and dramatic writing in the 16th and 17th centuries
Issiaka, Diafar. "Scénographies du crime dans quelques nouvelles de Guy de Maupassant". Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL009.
Texto completoThe purpose of this study is to analyze the scenographies of crime in Guy de Maupassant's short stories. The crime being at the heart of Maupassant's short stories, the scenography concept allows a broad analysis in its staging. The ethos makes it possible to identify the criminal in his profile but also in his actions, in his speeches within the text. The study of the scenography of the crime which is articulated around the staging of the crime will allow us to question the enunciative processes and the narrative by interesting us in the polyphony, the monologue and dialogue in order to understand the language of the crime and Maupassantian criminals. The analysis of the news item made it possible to understand the writing of the crime but also showed us the closeness of the link which united the press and literature in the 19th century. The corpus of this study is composed of a brunch of short stories by Guy de Maupassant. All these short stories have in common the staging of the crime. The choice of these short stories lies in this plural staging linked to the main character. This is what made it possible to identify the aesthetic questions and the poetics of crime at the end of the 19th century with Guy de Maupassant
Al, Iftaihat Mareim. "Le comique problématique dans l'œuvre d'Eugène Ionesco". Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20058.
Texto completoEugene Ionesco is a "new classic" which is both dramatic break with the traditional drama and progress on it, the ionesco's dramatic is so labyrinthine. The components of this dramatic are labyrinthine: the dramatic structure, personages, language, time and space. This total maze leads to the utter nonsense of indecision and imbalance. To consider this absurdity, the ionescien man uses the revolt, indifference and dreams, but he still faces his tragic condition of a rootless wanderer or goals. He is left while laughing, hence the birth of a comic in search of his identity. This is the comic problematic of Eugene Ionesco. The problematic of this comic appearance is due to the following points: first, his birth in a labyrinthine environment creates the absurd makes uncertain even the humanity of man. Second, this new comic inspired by the classic Molière comic, but its essence is not to instruct, correct or pleasing but to reflect. Thirdly, the comic reveals the tragic condition of man by scenes that increase anxiety rather than dissipate. Therefore, this problematic is a comic or tragic compared to or relative to laughter becomes, in turn, an effect of tragedy. It is for this reason that this comic remains open to many assumptions even of its nonexistence