Tesis sobre el tema "Littérature comparée – Anglaise et russe"
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Chumak, Alena. "Portraits de l'Homme en animal : Formes et significations de l'image animale dans le roman et la nouvelle du 1880 à 1920 - domaines français, anglais et russe". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL034.
Texto completoFrom the second half of the 19th century onwards, animal imagery took on a new role, no longer as a means of social criticism, but as an intrinsic part of the portrayal of human characters. Writers are turning their attention to the animal side of humain being, questioning what it represents. Yet the semantic complexity of the animal image provides a large range of its interpretations. The aim of this thesis is to analyse the animal image as an element constituting the physical and psychological portrait of literary characters in European literature at the turn of the twentieth century. The question is whether animal images are represented through the same forms and whether they carry the same meaning in the three literary traditions, such as French, English and Russian literature
Barakat, Wael. "La theorie du realisme socialiste et sa pratique dans le roman europeen sovietique et francais : Etude comparative". Caen, 1992. http://www.theses.fr/1992CAEN1110.
Texto completoIn this work we are studying socialist realisme, which appeared after the russian revolution in 1917, through two european literatures, the russian literature and the french one. We shall start with its origins in the marxist ideology and in the proletarian literture on which it was based. Then we go on with the theory used by russian writers from the years 1930 up to the mid 1950. During those years socialist realisme spread in france among communist and revolutionary writers who wanted a socialist realisme based on the traditional french realisme. For deeper study we shall compare the fundamental ideas in two novels dealing with socialist realisme: a russian novel et l'acier dut trempe, by necolas ostrovski, and a french novel le premier choc, au chateau d'eau by andre stil. Those two writers endeavour to apply the rules of socialist realisme
Engélibert, Jean-Paul. "Mythe littéraire et modernité : les réécritures de Robinson Crusoé dans les littératures française et anglaise, 1954-1986". Phd thesis, Université de la Réunion, 1996. http://tel.archives-ouvertes.fr/tel-00646138.
Texto completoWulf, Catharina. "L'impératif de la narration : analyse des oeuvres romanesques et théâtrales de Samuel Beckett et Thomas Bernhard". Dijon, 1995. http://www.theses.fr/1995DIJOL023.
Texto completoThis thesis argues that Samuel Beckett's and Thomas Bernhard’s works are representative of their persisting perplexity with regard to language. More precisely, the texts of both authors are marked by a certain kind of exultation or irresistible impulse to write which is inextricably intertwined with the narrators' profound wariness of their creative activity. This apparently irreconcilable attitude toward writing manifests itself in the narrators' open-ended reflections ensuring the insistence on the writing process. The perpetuation of the narration can be explained in the light of an imperative, i. E. A simultaneously conscious and unconscious command, which forces the artist to submit himself to the creative process. The aim of my thesis is to show in what way this imperative postpones the achievement of a final silence in Beckett's and Bernhard’s texts. In an attempt to elucidate the inexplicable force of the imperative, I have placed the two writers' prose and frame within the context of Arthur Schopenhauer’s aesthetic theory and Jacques Lacan's concept of desire. Beckett's and Bernhard’s writing can be understood as an oscillation between these two concepts by Schopenhauer: the pure contemplation and the will. Inspired by the notion of eternal platonic ideas, Schopenhauer’s pure contemplation enables the individual to lose himself in his artistic activity whilst considering the work of art beyond the realm of causality or any spatial-temporal relation. Yet iot is the will which inevitably leads the individual back to these categories whenever he tries to find a last explanation for his creation
Letellier, Marion. "Traduire la réappropriation des émotions dans The World and Other Places de Jeanette Winterson". Thesis, Nantes, 2020. http://www.theses.fr/2020NANT2016.
Texto completoThis dissertation, combining literary and translation studies, analyses Jeanette Winterson’s oeuvre through a multidisciplinary approach by focusing on six short stories from the collection The World and Other Places (1998). This two-pronged perspective reveals the centrality of emotions within the corpus. How do emotions evolve through the filter of translation? Winterson uses literary strategies efficiently engaging the reader’s attention. The translation of a selection of short stories contributes to establishing the act of translation as a practice merging reading, writing and creating. Since the original text and the translator’s emotions interact, the act of translation cannot be dissociated from emotion. By analysing how emotions converge in Winterson’s work, we show how the act of translation is closely tied to Winterson’s intentions: to acknowledge one’s emotions relates Winterson’s characters with one another as well as with the translator. Emotional commitment means not only a more creative and more accurate translation, it is also an invitation to self-translation. To translate Jeanette Winterson means translating a deeply cathartic conception of art, and urges us to consider a new phenomenology of translation, in which arises the therapeutic dimension of translation
Sargsyan, Gayané. "Le Balzac des "études philosophiques" : étude comparée au miroir des cultures russe, arménienne et française". Montpellier 3, 2007. http://www.theses.fr/2007MON30065.
Texto completoThe present work is composed of 4 chapters. The first chapter presents the history of the publication of Philosophical Studies (Etudes Philosophiques) in France, in Russia and in Armenia from 1830 to our days. We are trying to explain why in Russia and in Armenia these works are less published. The second chapter concerns the problem of the translation. We found important to speak about the difficulties of the translation of the titles, of the tenses, of the expressions used by Balzac, which are the most of time neglected in translations. In the third chapter we represent the reception of the works of Balzac, especially of Philosophical Studies (Etudes Philosophiques) in the three above mentioned countries. The last chapter is devoted to the psychoanalytical study of Philosophical Studies (Etudes Philosophiques). It is not a secret that Balzac was an unloved child: this fact gave us the idea to read his works from the point of view of psychoanalysis
Husain, Suzan. "Le drame historique chez les poètes anglais et français à l'époque romantique et post-romantique : : modèles narratifs et structures imaginaires". Tours, 2001. http://www.theses.fr/2001TOUR2033.
Texto completoRolland-Nanoff, Dominique. "Zazie dans le métro et la traduction de l'humour en littérature, une analyse comparée de deux traductions en langue anglaise". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ59189.pdf.
Texto completoKostanyan, Ani. "De la lecture à l'écriture : N. Sarraute et les littératures russe (F. Dostoïevski), anglais (V. Woolf) et irlandaise (J. Joyce)". Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_kostanyan_a.pdf.
Texto completo“All writers, at the start of their careers, take as their starting point a reality adapted from that of earlier writers”. Nathalie Sarraute, a devoted reader of Dostoyevsky, Joyce and Woolf, succeeded in constructing a complex fictional universe which, though based on ideas, thoughts and narrative techniques originating from these three authors, did not stop the development of a secret world of inner sensations where a multitude of “I’s” are in continuous conflict. The plurality of a Sarraute character excludes self-knowledge as a finite, defined, describable individual, the inner monologue disclosing on several occasions the only bearable truth: any circumstance, any tropism, any word makes us different from what we are; any moment, any gaze reveals to us a part of ourselves which is unknown, obscure, unexplored. Nevertheless, Sarraute’s characters, contrary to widely-held views of her work, are “normal” human beings with their habits and obsessions. Most of the time, they live in Paris, walk in the streets, linger on terraces, drink coffee, travel, visit museums, call on friends…
Vanel, Edith. "Us et abus de la terminologie musicale à propos des œuvres de littérature : l’emploi des métaphores musicales dans la critique littéraire de langue française et anglaise entre 1890 et 1940". Paris 4, 2007. http://www.theses.fr/2007PA040298.
Texto completoThis work analyses how French and English literary critics from 1890 to 1940 borrow musical structures in order to explain literary texts. We consider how the role, the meanings and the function of musical metaphors in critical discourse evolve from the infancy of this practice to the reading of musical structures in works of Marcel Proust, Aldous Huxley, James Joyce and Virginia Woolf. In the first period considered (1890-1910), at the end of the Symbolist period, the metaphors of the symphony and leitmotiv allow the French Symbolists to define their own literary ideal, to move away from classical rhetoric towards a new relation between form and signification. Thereafter, the use of musical metaphors in literary criticism is associated with deconstruction of classical rules governing plot, continuity and unity. The critics of the second period (1910-1930), who conveyed a post-romantic conception of form, used terms such as "theme", "rhythm", and "variation" to describe formal and structural literary devices by using play-on-words, hyperbole and antonomasia. Borrowing features from the musicological analysis of the fugue, the symphony and musical variation, which they reframe as reading criteria, the critics of the 1930s help read modernist novels of the beginning of the twentieth century
Duvigneau, Julie. "Alexis Remizov et Sâdegh Hedâyat : les marges dévorantes ou l'écriture démembrée". Paris, INALCO, 2010. http://www.theses.fr/2010INAL0014.
Texto completoFollowing the footsteps of Deleuze, Guattari and Barthes, this work explores the margins of plural analysis in a comparative and intertextual perspective, highlighting how margins are not only encompassing yet also existing within text. It compares Sâdegh Hedâyat and Alexis Remizov in three movements: 1) Thresholds, or 'vestibules' of Borgès, in our respective authors' texts: spatiotemporal, stylistic, cultural thresholds manifesting in geometrical circular figures: circle, whirlpool, bubble, spiral and circumvolution. 2) Transitions, from one space to another, crossings, the movement 'beyong', towards cruelty, watching and focusing, the relationship between literature and visual arts; 3) And finally Borders, where the analysis of fragmentation unravels, metamorphosis and masks. 'Balance In Movement' are the keywords of this thesis
Tokarev, Dimitri. "Le phénomène de la littérature de l'absurde en France et en Russie au 20eme siècle : Samuel Beckett et Daniil Harms". Aix-Marseille 1, 1999. http://www.theses.fr/1998AIX10070.
Texto completoCloutier, Geneviève. "L' avant-garde russe face à la "terreur de l'histoire" : historiosophie et historiographie dans les Doski sud'by de Velimir Xlebnikov et dans l'art analytique de Pavel Filonov". Lyon 3, 2008. https://scd-resnum.univ-lyon3.fr/out/theses/2008_out_cloutier_g.pdf.
Texto completoThis dissertation deals with the problem of history in the artistic production of the “historical” avant-gardes and focuses on Russian avant-garde and on the work of two of its most prominent representatives: the poet Velimir Khlebnikov (1885-1922) and the painter Pavel Filonov (1883-1941). It pays particular attention to Khlebnikov’s Doski sud’by (the Tables of Destiny), a series of fascicles in which the poet tries to explain the mathematical “laws of time,” to Filonov’s theoretical texts on his system of “analytical art,” and to a series of his paintings that he called “formulae. ” The work of these two artists is examined from the perspective of historiosophy – that is, the philosophical discourse on the meaning and ends of history. How does it find its place in this philosophical tradition? What is Khlebnikov and Filonov’s original contribution to it, not only as artists, but also as avant-garde artists? One key problem which has always pervaded the historiosophical discourse deserves special attention here: that of the fear of history and of the rejection of historical time, which lies at the core of Mircea Eliade’s essay on the Myth of the Eternal Return
Latino, Piero. "La Rose initiatique. Des Fidèles d'Amour à la littérature européenne des XIXe et XXe siècles". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL150.
Texto completoThis thesis focuses on the relationship between literature and esoteric currents, through the study of the symbol of the rose in European literature, more specifically in French and English literature of the nineteenth and twentieth centuries. This research is based on a transversal and interdisciplinary approach, bringing together different fields of literary and historical study, as well as a variety of literatures and authors from different periods. The initiatory dimension of the rose, coupled with the topos of love, is the basis of my research, whose starting point is a forgotten work from the nineteenth century: Il Mistero dell'Amor Platonico nel Medioevo by Gabriele Rossetti, father of the Pre-Raphaelite painter and poet Dante Gabriele Rossetti. In this work, for the first time Gabriele Rossetti revealed the esoteric dimension of the work of Dante and the Fedeli d’Amore (Faithful of Love) – the Italian love poets of the Middle Ages who, through their poetic compositions, conveyed mystical and initiatory ideas, as well as religious and political ones. According to Rossetti and the critical movement he initiated, this doctrine of esoteric love was also present in the love poets in a number of European contexts, such as the French troubadours and trouvères, the English minstrels, the German Minnesänger and the Scandinavian scaldes, handed down through the centuries until the nineteenth century. This aspect is the focus of my research: transmission of this alleged esoteric knowledge, in the form of love, to later centuries. In his Mistero dell’Amor Platonico, Gabriele Rossetti pointed out that the most important symbol for understanding the esoteric doctrine of love is the rose, and this thesis is devoted to the symbolism of this flower. The study of the initiatory dimension of the rose in literature involves two themes linked to the concept of initiation: one concerns mysticism and the other, initiatory Orders. In the first case, initiation is linked to a mystical dimension involving an ontological transformation of the being, while in the second, the symbolism of the rose refers to esoteric and initiatory Orders which have more or less directly played an important part in the history of ideas. These two themes are often connected and can be found in European writers such as Gérard de Nerval and William Butler Yeats. The first part of this thesis is devoted to Dante and the poets of the Middle Ages, as well as to authors of the Renaissance. I then move on to nineteenth and twentieth century authors, such as Honoré de Balzac, Gérard de Nerval, Joséphin Péladan, Dante Gabriel Rossetti, Ezra Pound, William Butler Yeats and Umberto Eco. Most of the writers and poets featured in this thesis are directly or indirectly linked to Dante and the love poetry of the Middle Ages, to the Fedeli d’Amore, and even to Gabriele Rossetti. Thus, this research proposes a rethinking of literature – one in which esoteric culture and thought are of particular importance, as many literary works throughout history are imbued with elements and motifs referring to the esoteric tradition. The study of the esoteric and initiatory dimension of the rose symbol provides the opportunity to explore a field of research where literature is closely linked to esoteric currents, particularly in French and English literature (and more generally, in European literature) of the nineteenth and twentieth centuries: from the rose of the Fedeli d’Amore in the Middle Ages to the Secret Rose by William Butler Yeats, who affirmed that “no man or woman from the beginning of the world has ever known what love is”
Yan, Qigang. "A comparative study of contemporary Canadian and Chinese women writers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21657.pdf.
Texto completoMaufort, Jessica. "Ecological Magic Realism and Magic Realist Ecopoetics: Storying Place in Postcolonial Canadian and Australasian Novels". Doctoral thesis, Universite Libre de Bruxelles, 2018. https://dipot.ulb.ac.be/dspace/bitstream/2013/276457/5/Contrat.pdf.
Texto completoDoctorat en Langues, lettres et traductologie
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Ali, Nancy. "Violence et fiction dans le roman contemporain de langue française, arabe, et anglaise (1960-2000)". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040035.
Texto completoSummaryAs a result of the changes that have occurred in the latter half of the twentieth century, the world has witnessed a noticeable acceleration of history. This acceleration has manifested itself on many fronts – the historic, the scientific, the technological – but also on the literary front changing forever the way we represent our world and our place in it. This paper deals with the new modes of representation or mimesis in the work of art. How have the events happening outside the novel affected the very form, technique and the language of the contemporary novel? How has the violence that has been inflicted on the outside world being replicated and perhaps resolved in the literary narrative? Because narrative form is in itself a way of ordering and “bringing together” the fragmented events and incoherencies of reality, the very traditional form often violently manipulates this reality with the aim of giving meaning to an often inexplicable reality. By bringing into question the natural and given conventions of narrative, the experimental novels of the twentieth century have tried to realize original and unique forms that are able to represent different experiences. Our paper deals with primarily with these new conventions of representing reality and how, despite their fragmentation, experimentation, and violent rupture with the traditions of the past, they have nonetheless successfully produced “representations” of reality that faithfully capture our contemporary history characterized by acceleration as well as fragmentation. In order to justify this argument, we have compared narratives of fiction with the other two domains from which we derive the knowledge of our past, namely history and memory. Where is the place of fiction alongside these two often totalizing and totalitarian pillars of knowledge? Finally, what can literature do to those subjects of history who have systematically excluded from the writing of their dominant History? By taking the pen to write their side of the story, these “others” of the dominant historical document have both inscribed their particular stories on the existing palimpsest of dominant history, but have also forced the literary canons in which they belong to expand both their aesthetic and ethical boundaries
Paigneau, David. "La pythie face à l'Histoire : Mémoire, mythes et spiritualité dans l'œuvre d'Eeva-Liisa et d'Anna Akhmatova". Caen, 2013. http://www.theses.fr/2013CAEN1719.
Texto completoEeva-Liisa Manner (1921-1995) and Anna Akhmatova (1899-1966) have the common point to see their poetry like a transmission : transmission of the poet’s intimate memory, but also the collective memory, through the historical and cultural references that can be found in their poems, and finally, the transmission of a deep spiritual feeling and of the moral values that it implies. Through comparative analysis of the two poets’ works, and an observation of their respective biographies, this thesis proposes to draw a parallel between two major authors of the 20th century, by analyzing their ways to combine the intimate identity quest, the commitment into the contemporary world, and the development of their spirituality
Songoulachvili, Catherine. "Les figures de l'animal chez Marcel Aymé et Mikhaïl Boulgakov". Clermont-Ferrand 2, 2008. http://www.theses.fr/2008CLF20002.
Texto completoBrogan, Una. "Bicycles in literature : the alternative modernities of human-powered locomotion in Britain and France, 1880 – 1920". Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC262/document.
Texto completoThe compelling links between modes of transport and literature have been widely examined from the perspective of the walker, the train traveller and the car driver. This thesis engages with the long overlooked bicycle as an object that actively shapes our interaction with text and provides a unique interface for viewing the world. I assess literary treatments of utilitarian and recreational cycling in a range of English and French fiction, as well as some travel writing and non-fiction, from the turn of the twentieth century. I show how the bicycle became a favoured literary device, allowing writers to do much more than simply make a story appear up-to-date or move a character from place to place; authors used cycle journeys as a means to structure or punctuate their narratives or depict a novel sensory and aesthetic experience. The late-Victorian era saw the emergence of the modern bicycle along with a host of other transport and communication technologies that transformed everyday life. Literature from the early period of the bicycle's adoption shows how this technology contributed in some measure to the emergence of an accelerated, subjective, commodified modernity that the critic John Urry argues defined the twentieth century. Yet this thesis reveals that from the earliest days of its use, the bicycle played a crucial counter-cultural role, proposing an alternative modernity that directly challenged bourgeois, patriarchal, capitalist society. From blurring gender and class divisions, to offering a more empowering interaction with the machine, to allowing an embodied and social experience of space, the bicycle suggested a human-powered route to progress.Mots clefs en français: Littérature anglophone, littératures comparées cultural studies, vélo, technologie, transports, modernité.Mots clefs en anglais: English literature, comparative literature, cultural studies, bicycles, technology, transport, modernity
Annoussamy, Christophe. "Charles Dickens et le monde victorien dans l'oeuvre de Julien Green". Paris 4, 2004. http://www.theses.fr/2004PA040149.
Texto completoThis work attempts to define the presence of both Charles Dickens and the Victorian world in Julien Green's works as well as pointing to its eventual manifestations, specificities, and limits. The first part shows us how the Victorian world prevails in Green's readings and how in the Journal, Dickens indeed appears as a privileged character. This analysis enables us to validate the reliability of the "comparative link" that we want to establish between the works of Green and those of Dickens. It is from such a relationship that we are able to define the elements that are similar in the two works in the second part. The female portraits found in Dickens'works are actually quite similar to those found in Green's, whose humour also evokes the grotesque and theatrical aspects of Dickens' characters, witnessing opposing tonalities found in both works. In this context, the more "serious" figures turn their gaze towards the Invisible : to go back to the words of the Bleak House foreword, the novelist insists on the "romantic side of familiar things". This longing towards the "nowhere" can be found especially in Le Visionnaire and Minuit - which will be studied in the third part - at a time when Dickens appears as the model of the "visionary" novelist. There, the teenager and the child are the actors still in search of their identities, which at the same time names them as the possessors of the gift of "vision". Eventually, considering the issue of the social world representations as well as the Victorian aspect of the Pays lointains trilogy, the fourth part of the work allows us to define the boundaries and also the posterity of the connection that we suggest exists between the two novelists
Montin, Sandrine. "« Rentrer dans le monde » : parcours d’une inquiétude chez les poètes Guillaume Apollinaire, Blaise Cendrars, T.S. Eliot, Federico García Lorca et Hart Crane". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040207.
Texto completoAt the beginning of the XXth century poets were unsettled : hesitating between idealism and materialism, freedom and determinism, creation and evolution, they wandered in an ideological « waste land ». In the early works of Guillaume Apollinaire (1880-1918), Blaise Cendrars (1887-1961), T.S. Eliot (1888-1965), Federico García Lorca (1898-1936) and Hart Crane (1899-1932), distress assumed different forms: from split personality to extreme weariness. The poets’ positions bounced between nihilism, half-hearted attempts at syncretism and bitter irony. As they matured, they recognized however that their restlessness was not a personal matter but a product of the times, perhaps even the main feature, on the level of thought, of the so-called modern times : “the age of comparison”, in Nietzsche’s words. They then renounced to express the singularity of an individual, original, even bizarre vision, and chose to “go back to the world”. Breaking with the literary goals of symbolism, they aimed at becoming the “conscience of the times”, at exposing their conflicting ideologies, and at listing their contrasts. In the first third of the twentieth century, this ideological restlessness pushed poets to redefine their role in the city. It was one of the most powerful forces behind aesthetic innovation: cubism, simultaneism, dialogism and epic lyricism. In this study, we will examine the coherence and main stages of this process
Vashkevich, Nadezda. "Le sonnet contemporain en Russie et en France". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030080.
Texto completoThe present research is dedicated to the contemporary sonnet in Russia and in France. It traces the evolution of the sonnet in both countries and focuses on works of five French and five Russian poets. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut are juxtaposed to Yuri Veynert and Yakov Kharon, Joseph Brodsky, Victor Sosnora, Alexei Tsvetkov, Timur Kibirov. The period under study goes from 1940s to now. The thesis deals with structural components of the sonnet as a poetic form and a genre in order to reveal the possible levels of reading and to establish relationship between the contemporary works and the sonnet tradition. The study highlights four major themes that are love, politics, death and game
Lakraâ, Hayatte. "« Identités musulmanes » dans le roman féminin anglophone et francophone après le 11 septembre 2001". Thesis, Paris 13, 2014. http://www.theses.fr/2014PA131066.
Texto completoSoon after 9/11, G.W. Bush launched the War on Terror outside and inside the U.S.A. A new cultural and religious category became more visible: « Muslim ». Muslim women in Western societies became the representatives of this community and the target of Islamophobia. In this context Miriam Cooke invented the neologism « The Muslimwoman », an identification created by outside forces, either neo-colonialist or Islamist. This new identification offers a platform for action: Muslim women either embrace, deconstruct or subvert this identification from within and through literature. Mohja Kahf and Laila Halaby as Arab-American ; Leila Aboulela and Fadia Faqir as Arab-British ; Zahia Rahmani and Saphia Azzeddine as francophone writers question the significance of these new « Muslim identities » in Euro-american societies, in their novels. Without falling into the neo-colonialist or the Islamist discourse, « Muslim identities » emerge as plural. Islam's capacity for reformulation outside of Muslim heartlands according to conditions of modernity helps usher in a process of engagement with « Muslim identities », ranging from peaceful to more questionable responses
Juurmaa, Nora. "De Matsui Tarô (1917-2017), écrivain brésilien d’origine japonaise, à Andreï Ivanov (1971- ), écrivain d’origine russe vivant en Estonie : conception de la "mort" dans la littérature de deux communautés issues des migrations, de 1970 à 2010 pour la communauté nippo-brésilienne et de 2008 à 2016 pour la communauté russophone d’Estonie". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3027.
Texto completoThe present study proposes an analysis of the function of “death” in the literary fiction of MATSUI Tarô (1917-2017), a leading author in Brazilian Japanese-language literature. A comparison is carried out with the oeuvre of Andrei IVANOV (1971- ), a key author in Estonian Russian-language literature. This thesis is built around Michel Picard’s argument, which proposes that in the literary field, “when we speak about death, we always speak about something else”: “Firstly because the core of the matter is to circumvent the insurmountable difficulty of temporalizing [materialising] the timeless [immaterial] moment of death, but mostly because of the actual preoccupations […] that certainly only concern life. These [preoccupations] themselves have clearly revealed that they [are] no more than symptoms, metaphors of some sort; that the crux of the matter, in this topos as well as each time that “death” is concerned, is unconscious.”After examining the historical and political contexts of the communities in question – the “Japanese” community of Brazil and the Russian-language community in Estonia – this thesis questions the ways that the Japanese-language literary world has been constructed in Brazil. Other questions are then raised: why does “death” appear so frequently in Matsui Tarô’s literary fiction? What are the functions operated by these deaths in his and Andrei Ivanov’s oeuvre? If the subject matter addressed by the two authors is not death per se, what are the real preoccupations at stake? Is it the past that dies, in a way that it seems to be the case in Anton Chekhov’s The Cherry Orchard? How does Matsui Tarô relate to this past? What about Andrei Ivanov? How do they choose, be it unconsciously, to see the past and to dialogue with it? This study shows that while “death” functions, in the literatures of Matsui and Ivanov, as a privileged vehicle conveying the criticisms that the two authors address to their respective communities, it is also used as a tool to communicate a vision for the future of these communities — that is, the proposition of a complete assimilation. The element of “death” points out the reasons why these authors refuse constructed concepts such as “us” (i.e. an isolated community)
Harpin, Tina. "Inceste, race et histoire : fictions et contre-fictions de pouvoir dans les romans sud-africains et états-uniens des XXème et XXIème siècles". Thesis, Paris 13, 2013. http://www.theses.fr/2013PA131014.
Texto completoIncest, a notorious universal taboo, is an ancient protean theme in literature. According to Peter Thorslev, writers are drawn to this theme because of its powerful dramatization of the conflict between an individual's desire and that of the society. This theory is applicable to the past tradition of romanticism, but it doesn't take into account the complexity of incest fictions written in Twentieth-century novels. The «proliferation of discourses on sex within the context of power itself » described by Foucault, along with the development of the politics of race and eugenics, explain how the incest theme is intertwined with another controversial concept : « race ». Novels no longer depict an individual fighting against society when they portray incest, but they think of human groups trying to define themselves, often by way of race. Confronting incestuous characters is not a means of drawing an obscure symbolic line between the civilized and the savages, but among citizens and non-citizens. In South Africa and the United States of America, where political fictions had defined the nation as a perfect family to justify the exclusion of non-white people from the community of citizens, « counter-fictions of incest » examine in provocative ways how citizenship and rights are articulated. I question the incest theme – forbidden desire or sexual violation– in novels from 1929 to 2005, by American writers such as W. Faulkner, T. Morrison, R. Ellison, G. Jones, Sapphire and by South African authors like D. Lessing, B. Head, A. Dangor, M. van Niekerk, and L. Rampolokeng. I outline the aesthetic and political evolution of the incest theme in novels written in those societies where community, nation and « race » were particularly interconnected, while simultaneously reflecting on the omnipresent reality of the crime of incest in all societies
Walfard, Adrien. "Tragédie, morale et politique dans l’Europe moderne : le cas César". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040110.
Texto completoThis dissertation investigates the functions of moral and political thought in modern tragedy (16th-18th centuries), focusing on a group of Neo-Latin, French, Italian and English plays which represent the death of the Roman dictator Julius Caesar, as well as on Corneille’s Cinna. In order to provoke the tragic emotions, a fable must represent a character or a group of characters whose fall from happiness into mishap is a consequence of a morally or politically ambiguous “flaw”. This sequence is particularly tragic when the “flaw” is at least partially unintentional and results from a kind of necessity : tragedy thus manifests the importance of “moral luck”. The ambiguity of the tragic “flaw” may arise from different circumstances ; in the plays representing the death of Caesar it consists on the one hand in the antinomies which the characters must face, on the other hand in the fact that their motivations appear in some ways contrary to the arguments they use in order to justify themselves. Modern tragedy is profoundly extraneous to contemporary casuistry (as developed in the rhetorical theory of invention, in moral and political philosophy and in historical writing), in that it leaves moral and political “cases” unsolved. However, Cinna, the first happy-ending tragedy in the French theatre, shows how reconciliation and a morally and politically satisfying ending are possible despite the tragic antinomies
Demoux, Anna. "Des sources ibériques du théâtre élisabéthain et jacobéen : réseaux d'influence, circulation des textes, dramaturgie et théâtralité". Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL008.
Texto completoThis dissertation proposes to reassess the status of Iberian sources within a corpus of English plays staged between the last years of the reign of Elizabeth I and the beginning of the Jacobean era, a period marked by deep socio-cultural changes. It does not focus on the well-known and often studied tension between Hispanophilia and Hispanophobia which characterises the representation of Anglo-Iberian relations at the time, but considers this relationship from a textual, cultural and aesthetic perspective including the go-betweens that, at a European scale, enabled these texts to circulate while they were altering them. This work thus deals with the networks of influence of Iberian texts belonging to 15th-and-16th-century court culture and the impact they had on early modern English drama. In particular, it tackles the sentimental romance Tractado de amores de Arnalte y Lucenda by Diego de San Pedro, court poetry by Juan Boscán and Garcilaso de la Vega with the long poem Leandro and sonnet XXIX « Pasando el mar Leandro el animoso », the pastoral romance Los siete libros de La Diana by Jorge de Montemayor and the anonymously published picaresque tale La vida de Lazarillo de Tormes, y de sus fortunas y adversidades. These works are set in conversation with didactic and philosophical texts such as El libro aureo de Marco Aurelio by Antonio de Guevara, The Courtier by Baldassare Castiglione translated by Boscán and El Examen de Ingenios by Juan Huarte de San Juan: they all deal with the figure of the courtier and the notion of « service ». As to the corpus of English dramatic texts chosen for this study, it is mainly composed of plays by Shakespeare, notably The Two Gentlemen of Verona, Love’s Labour’s Lost, The Merry Wives of Windsor, Twelfth Night et The Winter’s Tale. These works are related to other contemporary writings: Hero and Leander by Christopher Marlowe, Blurt Master Constable by Thomas Dekker, along with texts by John Lyly and Ben Jonson. By supplementing and redirecting the studies addressing plots and characters in the English dramatic literature, the traditional field of investigation of Source Studies, this dissertation discusses these elements from a perspective which takes into account the societal and theatrical dimensions inherent to the literature born out of the Iberian court society : this innovative literature reflects, shapes and questions especially the theatricality of an environment where individuals never cease to stage themselves. Alternately authors, dedicatees and key-characters and figures of these fictions they enjoy thoroughly, the members of the Iberian court society thus provide early modern English writers with a playground conducive to dramaturgical innovation and experimentation
Vuong, Thomas. "Usages du sonnet européen (Allemagne, France, Grande-Bretagne, Italie) durant la Seconde Guerre-Mondiale (1939-1945)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD089.
Texto completoThis study consists in a wide, comprehensive overview of the usages of the poetic form of the sonnet during the Second World War in France, Germany, Great Britain and Italy. Such a process aims at gathering close readings of sonnets, in order to highlight the mechanisms of a blooming form in the midst of a dürftiger Zeit. Many poets resort indeed to the sonnet in order to give a frame to a singular or collective experience of the chaos unleashed throughout Europe.The way these recourses to the sonnet interact with the role of poetry in a time of wide reception and collective crisis will be scrutinized in the light of political commitment, religious or ideological biases and the questioning of the former foundations of Western European culture, all of which can interfere in poetry’s proper motives.This work’s proposal is that the sonnet can be used as an ordered form, either to set a demiurgic stand in front of the chaotic situation of the continent, or so as to accept it. Neither poetic stances do necessarily lead to a disordering of the form itself ; however, both conservative and rejuvenating usages of the sonnet have in common the ability to deeply question poetry’s relation to the world
Desblache, Lucile. "Les animaux dans le roman d'aujourd'hui : analyse d'une présence contrastée en littératures anglophone et francophone". Clermont-Ferrand 2, 2005. http://www.theses.fr/2005CLF20020.
Texto completoMartinez, Louis-Antony. "La voix, le regard et le style dans les Trois contes de Gustave Flaubert ainsi que dans les Tales of unrest de Joseph Conrad". Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20020/document.
Texto completoThis doctoral thesis has not aimed at establishing “the” meaning of the text. On the contrary, it has sought to conceive the plurality of the text through Lacan’s concept of objet petit a (object small a). The latter can be grasped only through its effects. As part-objects, voice, gaze, and style are metonymic figurations of objet petit a.Admittedly, it is patently obvious that the object a has constituted the logical framework of our literary analyses, but these analyses have been anything but pure ones. Of course, we have frequently referred to psychoanalytic concepts, however, we have often permitted ourselves to orient our investigation towards other approaches (philosophical, generic, ideological, structural, rhythmical, stylistic etc.).The study of two collection of tales by two different authors – Trois Contes by Gustave Flaubert and Joseph Conrad’s Tales of Unrest – has been the occasion to bring to light the existence of two forces: on the one hand, the force which concerns speech, eye, and style as the object of the desire of the writer as a craftsman, and, on the other, the force which pertains to voice, gaze, and style as a signifying production (signifiance), i.e. as “radical work (which leaves nothing intact) through which the subject explores how language works him and undoes him as soon as he stops observing it and enters it”
Figuiere, Natalia. "Les causes sociales de la difficulté d’être dans "Une vie", "Pierre et Jean", "Mont-Oriol", "Fort comme la mort" de Guy de Maupassant et dans "Crime et châtiment", "L’idiot" de Fédor Dostoïevski". Thesis, Lyon 2, 2009. http://www.theses.fr/2009LYO20016.
Texto completoOr a French reader, familiar with? Writing Maupassant, who studied of? works of Dostoevsky, a finding? requires: similarities among two writers are difficult to perceive and specify the first reading, but by comparing in detail the two writers, their correspondence becoming increasingly important. It should be noted that little? Writers heroes presented as complex and strange than Dostoyevsky. N those of Maupassant? Have no relief from these figures dostoïevskiennes, not can be no question to measure each other. We will only our attention to the affinities that? they may have. A comparative study from Fyodor Dostoevsky and Guy de Maupassant is possible to a whole new level: an atmosphere "feverish," a life of? intensity leaving l? usually prevail in the world that? they created. C? Is this world that has attracted our attention to this analysis. We could find matches caused by "trends" General century but their also l? atmosphere in which they lived. L? Author and slave? Writer French close in their lives full of suffering, by beliefs that? they stood among their contemporaries, and by tragic difficulties in which they struggled tirelessly. A another point of "encounter" our two authors: both are distinguished writers who are their contemporaries, and realistic naturalists. Dostoyevsky and Maupassant does? Not attach to the ugliness of the life, but they prefer to enter into its depths and inform its mysteries. They are psychologists and studies that? They left us n? Have not only aesthetic, but also a value of? human observation. The theme of "The social machine," in A Life, Mont-Oriol, Pierre et Jean, Fort like death and Crime and Punishment, L? Idiot, as in most major themes of literature, do is not new. But l? Time of our two authors, the problem of "the social machine which crushes l? individual by his" infernal power, experiencing a rapid expansion. At that time, it takes a unprecedented way. If earlier, suffering from? Man was linked to causes intérieures now in Guy de Maupassant and Fyodor Dostoevsky, it depends on external causes. The development of psychological? Individual d appears to be related? an irretrievable to the social environment. The appearances of sense of? anxiety and the difficulty? be considered are as dependent on social causes. In the novels, chosen for our corpus, The "social machine" s? Grants the right to transgress all laws, human laws and the same natural laws. Maupassant and Dostoevsky are many characters, more opportunities for the measure? developments their inexorable decline, l? heinous ravage their lives by society. Not wanting to restore? Person's full rights, society condemned to? isolation. In both authors, there is realism "Amazing" in the solitude of men loneliness that seems to be pushed its climax. Confrontation with social reality is created in? Soul the heroes, hitherto unsuspected feelings and those of? anguish, mixed with terror. The reality of the social causes fear preventing uncontrolled d hero? act negating their will. Maupassant and Dostoevsky, lifesaving, the suffering, the souls of their characters, minds which have experienced because of the social machine, "the torments of? hell and tribulations of purgatory. Both authors offer a possibility of leakage