Tesis sobre el tema "Mythologie nordique dans la littérature"
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Samson, Vincent. ""De furore Berserkico" : les guerriers-fauves dans la Scandinavie ancienne : de l'âge de Vendel aux Vikings : VIème-XIème siècle". Lille 3, 2008. http://www.theses.fr/2008LIL30007.
Texto completoThe aim of this study is to establish that the tradition of "wild warriors" (French "guerriers-fauves") belonged to the historical reality of old Scandinavian society from the VIth to the XIth century. The term "guerrier-fauve" has been used some seventy years ago by Georges Dumézil to tranlate the old Norske berserkr (plural berserkir). In the medieval literature, this word describes a warrior endowed with an uncommon strength, especially feared for its irrepressible outburste of battle rage (berserksgangr). According to Snorri Sturluson, the behaviour of the berserkir must be related to the mythical powers attributed to the god Okin. The examination of old Norse sources, joined to the evidence of the archaeological materials, leads to link these warlike tradition with the religious beliefs of the ancient Nordic aristocracy. This thesis is dealing with etymological interpretation before investigating carefully the whole spectrum of old Norse sources (skaldic and eddic poetry, sagas, laws). A particular attention has been given to the critical review of Haraldskvœđi ("Song for Harald"), which must be seen as a primary source. These analysis results in an interpretation which differs to some extents from the stereotypical pattern displayed by the Icelandic literature (where berserkir are frequently depicted as outlaws) : even the oldest sagas have been written a long time after the events they are referring to. The early medieval Germanic iconography and the runic inscriptions are both providing a strong support to this conclusion : the tradition of the berserkir is intimately connected with the sacral kingship and the institution of warlord's retinue
Adjil, Bachir. "Espace, imaginaire et écriture dans la trilogie nordique de Mohammed Dib". Paris 8, 1992. http://www.theses.fr/1992PA080756.
Texto completoIs there an esoteric sense in the "Trilogie nordique", of Mohammed Dib? From the hermeneutic analysis of his three novels, it clearly appear that the author uses a Gnostic writing. Langage is questioned through a silent talk ( unareasable mark of his proper lack to the expressivity, a representation directly considered as a negativity etc. . . The unspeakable seems to be embodied himself within the things to replace the names, wich create a referential lack by their absence. Then the imperceptible reign over the text to allow transcendency, the writing turns into a mystical interrogation
Roboly, Dimitri. "Constantinople, ville palimpseste dans la mythologie romantique". Paris 4, 1999. http://www.theses.fr/1998PA040177.
Texto completoSoussan, Anne-Claire. "La figure d'Athamas dans la mythologie gréco-latine". Paris 10, 2006. http://www.theses.fr/2006PA100069.
Texto completoAthamas, a king who murdered his children, was well-known inancient times (20 tragedies deal with his story), but his myth has never been thoroughlyresearched. This may be due to the poor state of preservation of sources or to its two-foldlegend, split as it is between the sacrifice of Phrixus and Helle, ie the first act in the quest ofthe Golden Fleece, and the murder of Learchus and Melicertes, as part of the taie ofDionysus' childhood. These two taies of infanticide have parallel narratives yet differ in theirhistories, themes and structures. The first contrasta several sacrificial rituals, which help torestore the natural and religious orders unsettled by Athamas' sacrilege ; it throws light on theargonautic legend. The second is an entanglement of different kinds of stories includingstepmother taies, ritual expulsion of female murderers, the misfortunes of the house ofCadmos, drowned heroines, and syro-phoenician influences. In both cases, Athamas is sentout to wander beyond the borders of the city. He gave his narre to the Athamanes, a tribe ofnomadic shepherds : his myths reaffirm this identity. Such tropes as infanticide or destructiewomen, common to both myths, play in each a different part but give to both renewedcoherence
Stahl, Pierre-Brice. "Étude sur le Vafþrúðnismál et le genre de l’énigme". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG038.
Texto completoThe poem Vafþrúðnismál presents the meeting of two mythological figures, Vafþrúðnir and Óðinn, who compete in a verbal duel. A close study of the text leads to the conclusion that the god is not seeking any knowledge with his questions to the giant. Therefore, the analysis of the nature of the interaction provides a new understanding of the poem and explains several aspects that have, until now, been perceived as problematic. This study shows that there is no injustice regarding the distribution of questions between the two protagonists, but that this follows a specific logic in the text. In the same way, the analysis of the final riddle reveals that it is not ‘unfair’, as it has traditionally been interpreted, but that it has a precise function in the text. Through this literary fiction, Vafþrúðnismál transmits – in a playful way – traditional knowledge, by means of a specific genre: riddling
Vargas-Solar, Genoveva. "La femme serpent : étude d'un mythe fondateur dans le Moyen âge occidental et précolombien". Grenoble 3, 2005. http://www.theses.fr/2005GRE39015.
Texto completoThis dissertation presents a study of the myth of the female snake as a myth of origins. The occidental and pre-Columbian middle ages produced several male and female snakes. In these cultures the female snake appears as a universal symbol and its scope corresponds to mythological spaces. This figure is present in folklore and by literary texts (legends and novels) that talk about the origin of a new social order where power is legitimated by a supernatural being. These texts might hide one of the lessons of a myth of origins where the female snake is a kind of cosmic mother of humanity. Based on the idea of the universality of the female snake, we compare diachronic figures that are part of a collective imaginary which is part of different cultures in precise historic moments. These moments, even if apparently diachronic, converge in the space and time of the universal imaginary. Melusine (middle age fairy) and Tonantzin (pre-Columbian goddess) are the start point of our study The study also includes female serpents stemming from oriental, Indian and Jude civilisations in order to define the permanence of an archetype along the time and identify the way it is modified according to different cultures and socio-historic moments
Couchaux, Brigitte. "Le mythe de Lilith dans la littérature". Paris 4, 1991. http://www.theses.fr/1991PA040133.
Texto completoMonfort, Anne. "Les jumeaux dans la littérature et les mythes allemands". Paris 4, 2004. http://www.theses.fr/2004PA040024.
Texto completoThe object of this study is to identify the mythological patterns linked to the image ot the twins in literature and Middle Age German belief. The research is based on Middle Age novels, popular belief and historical sources. Through very different schemes of twins (same gender or opposite sex) an axis of common interpretation and recurrent patterns - such as the triad or associated animals - clearly appears. Concerning the Middle Age, a mythological analysis shows a local implantation in German-language countries of an Indo-European twins mythology. The emergence of a specific German myth of the twins, which is a literary and political phenomenon, arises much later with Wagner and his reinterpretation of the Völsungasaga in the Valkyrie. Other researches show various survival myths, such as the novels of Thomas Mann inspired by Wagner, or a certain type of comedies using the principle of substitution and also the issue of the enemy brothers of the Sturm und Drang
ABDEL, BAKY MEDHA. "Histoire et mythologie dans l'epopee des punicia de silius italicus". Paris 3, 2000. http://www.theses.fr/2000PA030134.
Texto completoDimopoulou, Barbara. "La mythologie romantique du peuple". Paris 4, 2002. http://www.theses.fr/2002PA040089.
Texto completoThis thesis puts forward a reading, in 4 parts, of the theme of the people from Nodier to Sand. The works of Stendhal, Hugo, Merimee, Nerval, Balzac, Barbey and Michelet are also considered from a mythological viewpoint, taking account of the early popular approaches to the republican notion of nationality. In the first part the pre-romantic idea of the people (philosophical, political and social) is discussed as it appears at the limits of literature. Only those themes which point to the 19th century are chosen from the 18th. Romanticism heir to the enlightenment and the revolution though criticizing them opposes bourgeois domination and marks the apogee of the myth of the people. We distinguish 3 mythemes, each analyzed to the following parts: medievalism (or the reconstructed past), energy (or revolt in the present) and national unity (or the prophesized future). These aspects of the people - child and poet, worker and criminal or creator of the ideal city describe its heroic͏̈c march
Toudoire-Surlapierre, Frédérique. "Étude des représentations de l'âme scandinave dans la littérature nordique du tournant du siècle (1870-1920)". Paris 4, 2000. http://www.theses.fr/2000PA040095.
Texto completoSmith, Lacroix Louis-Pierre. "Mythologie de Lovecraft : contexte, prétexte, texte". Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25212/25212.pdf.
Texto completoStefanaki, Aikaterini. "Le mythe d'Hélène et de Clytemnestre chez Jean Giraudoux, Jean Anouilh et Yannis Ritsos". Bordeaux 3, 2006. http://www.theses.fr/2006BOR30015.
Texto completoThis comparative study bears on the plays written by jean giraudoux, la guerre de troie n'aura pas lieu (1935) and electre (1937), jean anouilh, tu etais si gentil quand tu etais petit ! (1969) as well as the dramatic monologues in yannis ritsos' poetic work, la quatrieme dimension (1975). The playwrights and poet increase the symbolic value of the classical myths of helen and clytemnestra through their innovating dynamic variants. The ambivalent figures of the twins are represented in the least familiar dimensions of their myths, offering each phase and age of female life and defending the values of the matriarchal religion which prevailed in pre-hellenic civilizations. As manifestations of a neolithic, almighty great goddess, those queens stand out in the literary imagination, bringing the legacy of their ancient religion : they abide by the laws of this supreme feminine deity whose main function of creation they fill. Helen's and clytemnestra's femininity is first analysed, whether it be sacralised or on the contrary demonized, leading to an interpretation of their love adventures. The second step of the study covers the manifestations of maternity, be it real or imaginary, even in its cosmic dimension. Lastly, the alliance established between the twins and the creatures in the universe is examined, as well as their wisdom and their privileged links with the supernatural. Those epicurean women elude any notion of morality, and illustrate both the benevolence and monstruosity of a sacred femininity
Pondepeyre, Marie-Thérèse. "Le personnage de Tirésias dans la littérature française et anglaise". Paris 4, 1991. http://www.theses.fr/1991PA040074.
Texto completoThe literary lives of Tiresias multiplicity have shaped the complexity of the figure from homer's odyssey and Sophocles' Oedipus Rex. Maintaining the sacred order he comes as the wisest who declares a fearful truth, the self-knowledge. By his wisefull blindness, he shows to heroes their inordinate pride mirror and their self-blinding. All the mysterious primordial beginning symbolical schedule is engraved in his mythological androgynous dream. Even he instructs to Ulysses through infernal darkness his return to Ithaca, even he suggests his identity to Oedipus, he comes from the tragic conflictual dispute as a winner, in despite of his obscureness of oracle, of his divine gifts vanity. Incommunicableness gives the tragical paradox from his original nature. Only poetical mythic writing regards him as an omniscient voice, a creative consciousness and a collective memory. His dramatical character importance and his self-narrative allowed the permanence of the greek seer-philosopher since homer to sferis
Farhoud, Myriam. "Mythe et contestation : incompatibilité ou complémentarité dans ses ouvrages littéraires interculturels (Afrique du Sud, Afrique subsaharienne, Maghreb arabe, Proche Orient, France)". Nice, 1995. http://www.theses.fr/1995NICE2008.
Texto completoIs the literature the domain of the imaginary or well that of the protest ? In order to treat this problem we will first-consider some intercultural, literary works (Africa, Middle-East, France). Among the works analyzed some give everything to the imaginary. Our study is carried out in the following order : the first part is consuated the study ot the protest ; whois protesting ? About what are the works protesting ? How is the protest expressed ? This writing which derives from simple social testimony includes a mythological frane. This rises an important question, wich elivens the second part: "nowdoes the imaginary nuture the texture of the story? And how does it crente its madiance? "tranks to the usc of symbois and myths the chosen literature intoduces us to a world different from the one it protests against. Suddenly this literature seems paradpxial. This ambivalenbt aspect is studied in the third part, where emphasis is put on the incompability and the complementarity residing in this double perspective, myth aned portest, which unite and dsisparate the very different works is our corpus
Peyré, Yves. "La mythologie dans la tragédie élisabéthaine". Paris 4, 1992. http://www.theses.fr/1993PA040013.
Texto completoThe analysis of mythological expression in Elizabethan tragedy rests on a study of the functions and conceptions of mythology in the culture of the English Renaissance. A diversity of mythographic approaches led to multiple, simultaneous readings of each myth, while inviting reflection on the problems of interpretation. At the same time, mythology contributed to literary and religious controversies. The emergence of a fashion for mythical elaboration centred on the sovereign paralleled that of scientific scepticism. Tragedy, which explores the magnifying and belittling potentialities of mythological rhetoric, and sets in play symbolic structures that progress from allegory to irony, raises questions about the nature and role of signs. Mythology, a language of stimulating syntheses also expressive of deep fractures, is used to create dramatic tension or ironic effects of anamorphosis in which it may be possible to apprehend what the Elizabethan mind viewed as tragic, that is to say, whatever undermined the combined ideals of renovatio and integratio. Finally, in exploring the expressive potentialities of mythology, the Elizabethans may have arrived at an intuitive inkling of what would become the concept of myth, as related to tragedy
Le, Naour Sandrine. "Ulysse dans la littérature et les arts en France de la Renaissance à 1730". Rouen, 1995. http://www.theses.fr/1994ROUEL199.
Texto completoO'Connell, Anne-Marie. "Les figures du surnaturel dans la mythologie et le folklore irlandais". Toulouse 2, 1995. https://hal.archives-ouvertes.fr/tel-01323678.
Texto completoOur research is a semiotic analysis of myth and folklore, with a view to uphold Dumezil's theory of functional tripartition. We note first that all manifestations from the other world are made through a series of metamorphoses that deliver a secret knowledge to man. We will then proceed to examine the various components of that narrative program, that is, the contents (male or female) as well as the spatial and temporal frame of its occurrence in such a way that these elements are always studied in opposition to each other. We will gradually show that the opposition between what the other-world is and what it appears to be can be solved. Indeed, this two fold universe is one and the same. The "realm of the dead" is only a transition toward the eternal life, full of banquets and youth, enjoyed by gods and mortals alike
Chaudré, Anne-Cécile. "La mythologie du vêtement dans l'oeuvre d'Albert Cohen". Paris 4, 2004. http://www.theses.fr/2004PA040238.
Texto completoThis thesis will examine the representation of clothing and the way it is worn in the four novels of Albert Cohen. Solal, Mangeclous, Belle du Seigneur and Les Valeureux make up a complete cycle united by the symbolism of dress. The author has the passion of a great couturier for clothes, and it is as they are dressed that the reader recalls the principal characters in these works. It is thus that the reader feels that he knows them, because the characters and their clothing leave him with an impression of intimacy. Ariane and her sail-like dress flapping in the wind, Solal and his sumptuous dressing gowns, Saltiel and his stockings of dusty rose. In these works, the outfit makes the character, and finally one discovers a garment which is the stuff of heroes. The objective of this thesis is to show that Cohen's entire fictional wardrobe is governed by the principles of symmetry, contrast and hierarchy which amount to a system of mythology. This thesis will study dress in its relationship with words, with language and with literary creation, then as an essential component in the tangled threads which gradually become the fictional community and, finally, for its different symbolic meanings and sentimental destiny. In discovering the rules and original structure, one must demonstrate finally that clothing is one of the fundamental sources for the Cohen dream-world. In the labyrinthine collection which constitutes these four novels, Ariane, a character indisputably passionate about dress, invites one, even by her name, to seize the thread and follow the trail through these works
EL, HAOUD MOHAMED. "L'exploitation du mythe dans la poesie arabe contemporaine". Paris 3, 1998. http://www.theses.fr/1998PA030139.
Texto completoThe phenomenon of mythological treatment in contemporary arabic poety has been in terms of specialized studies and researd as voell literary information. Consequently, the arab reader is at a loss concerning the conceptualization of the role of mythology in the contemporary arabic poetry. The aim of this study is to contribute to fill in the gap and correct some prevailing concepts. The first chapter provides a definition of contemporary arabic poetry and of mythology. Then it identifies the main reasons for the rise of mythological treatment and its functions. The second chapter detects the sigm of imitation and genuiness in this treatment and attemps to determine the rality about the ambiguity which marks some of the poems using myths. The third chapter is a reflection on the way in which contemporary poets treated myths and a categorization of its creative and non-creative levels. The fowth chapter comprises a study of the treatment of the death-resurrection myths in contemporary arabic poetry using as cases in point badr chakir al-sayyab and khalil hawi
Amiri, Bassir. "Chaos dans l'imaginaire antique de Varron à l'époque augustinienne : étude sémantique et herméneutique". Nancy 2, 2002. http://www.theses.fr/2002NAN21011.
Texto completoWith a set of texts belonging to Latin literature from Varron to Augustine's generation, this work aims to show how the word chaos and the concept of chaos are understood by the writers through the ages. This work is based on a lexical and semantic survey with a care of genres and periods in which chaos appears. Both factors are able to underline the way the word is used and its specificity compared to the Greek legacy, while the definition of the themes and their interaction around chaos prove the semantic coherence of the word. Belonging to mythical and poetical thoughts, chaos influences the question of the origins as for creation and matter and that of the becoming of the universe ; it determines a specific representation of pagan and Christian hell, in its relation with the world of alive by the means of the magic and the sacred. Chaos thus defines an eschatologic vision linked with moral standards, which are embodied by the notions of pietas, humilitas, uirtus and fides
Lafeuillade, Filâtre Annick. "Les animaux qui parlent : essai sur l'anthropomorphisation progressive du règne animal dans l'antiquité". Nantes, 2009. http://www.theses.fr/2009NANT3047.
Texto completoKarakostas, Dimitris. "La figure mythique de Méduse dans la littérature européenne". Paris 4, 2000. http://www.theses.fr/2000PA040071.
Texto completoAlmekdad, Kassem. "Discours du récit mytho-épique". Paris 3, 1987. http://www.theses.fr/1987PA030078.
Texto completoEver since the woork of the russian formalist, particulary that of propp on russian folk-tales and the efforts towords arriving at a clearer understanding of these efforts in this new analitical field have redobled. Thes approches both exploration and creative have put the subject of the analysis of litterary ahead of several methods witch vary according these personal view-point of evry researcher or theori cien based larglly on their evaluations of language-system (langue) language-use (parole); on the subject language in generaly (le langage en general). Briefly put, narrative analysis finds its essential basis in linguistics drawing from its directions and its schools. A work of litterature is in the first place a collection of written (thought sometimes oral) sings combined in such away as to have one or several several meanings or significations witch the author is not of necessity obliged to explain at the time of writing (production). The meaning or significance becomes apparent folwing decoding techniques of the text in a different way from that of its authors, thus the variety of analytical approches each tring to explain the text. In some of these approches the stress is placed on the workings of the text, on its strucruting and its closure others attempt to examine its functions or its inscrip tion in the interaction. In reading the epic of gilgamesh i have tried to avoid basing basing my approche on any speciyfic one of these various systems since they all have nearly the same aim, namely to explore the complex world the story in order to reveal the workings whitch at a given period throught in into being
Léonce, Thierry. "Le fantastique dans l'oeuvre romanesque de Marcel Brion". Phd thesis, Université Jean Monnet - Saint-Etienne, 2011. http://tel.archives-ouvertes.fr/tel-00699768.
Texto completoLamiot, Christophe. "Le temps dans la nouvelle de Frank O’connor". Paris 10, 1988. http://www.theses.fr/1988PA100088.
Texto completoFrank O’Connor’s short story illustrates Paul Ricoeur's assertion according to which "the thought processes at work in any narrative configuration shape themselves into the refiguration of a temporal experience". Such a refiguration is traceable on a grammatical level (verbal, syntactical and stylistic). Frank O’Connor’s use of Greek and Celtic mythologies confirms it. The development of a "same" story through all its different successive versions suggests that frank O’Connor’s own experience of time is being presented. The characters voice the author's concerns. When they become aware of their loneliness (they have fallen outside of "time's pocket"), they dream of a time outside time, which increases their self-knowledge. Finally, even spatial notations can be subsumed to the refiguration by which time becomes the true --though abstract-- hero of the short story
Hadeh, Maya. "La mythologie dans l'oeuvre poétique de Charles Baudelaire". Thesis, Clermont-Ferrand 2, 2012. http://www.theses.fr/2012CLF20018.
Texto completoThe aim of this work is to explain the mythological plan which structures Charles Baudelaire's poetic work. Considering the various texts that refer to the Greco-Roman tradition, as well as the biblical one, will enable us to release a mythological corpus which confers to Baudelaire's poetry a symbolic and irrefutable dimension. Our purpose is to analyse this corpus in his poetic work where a biblical imaging and ancient myths mix and complement each other within an interesting syncretism. This mythocritical analysis will enable us to reveal some major archetypes underlying the style and to observe the ambiguity of a convoluted language which is at the same time structured around this archtypal plan. Does this mythological corpus respond to a specific requirement of the poet? Does it acquire a particular status in a 19th century which is also rich in mythical efflorescences? Therefore, we should observe the way this corpus works within Baudelaire's text and how the poet rewrites it in order to elaborate its own mythology. Thus acquiring a form and a sense within a poetic style of which it highlights the essential stakes
Nam, Suki Hee. "Le thème de Phèdre dans le théâtre". Rouen, 2000. http://www.theses.fr/2000ROUEL343.
Texto completoPresselin, Valérie. "La figure d'orphee dans l'oeuvre de pierre simon ballanche". Paris 7, 2000. http://www.theses.fr/2000PA070023.
Texto completoLenzi, Federico. "Désamorcer le mythe : expérimentations littéraires et tradition classique dans le théâtre français de l’Entre-deux guerres". Paris 4, 2009. http://www.theses.fr/2009PA040058.
Texto completoThis thesis focuses on the persistence of classic models in French theatre in the period between the wars, especially on the re-elaborations of the Greek myth. The research has been structured in three parts. The first one traces the history of various plays inspired by the myth, that flourished in France between 1919 and 1944. The second part analyses texts concerning legendary characters, such as Electra, Oedipus, Medea, Antigone, Orpheus. It also tries to understand to what extent the authors in question (Sartre, Anouilh, Giraudoux, Cocteau, Gide, De Bouhélier, Fabre, Lenormand) re-appropriated the classical subject, and to measure the distance between their works and the original Greek models. Finally the third part brings together the findings of this work: the emergence of common traits between different attempts to recover Greek classic elements
Turrettes, Cécile. "Survivance et métamorphose des descendants d'Agamemnon dans le théatre français du XXe siècle". Toulouse 2, 1998. http://www.theses.fr/1998TOU20004.
Texto completoElectra, Orestes and Iphigenia have gone through the ages and inspired a good many writers of the twentieth century. Therefore the first object of this thesis will be to try and understand why contemporary playwrights keep studying the myths of Electra and Iphigenia and how those legends are made perennial. Secondly it will deal with the way creators depict those protagonists descended from ancient times. And ultimately it will consider the distinctive features of the tragedy born of those characters - which are at the same time faithful to their Greek models and different from their predecessors. It is a tragedy that modern authors have "acclimatized" by enhancing the part of pathos and nonsense, two tonalities that give their plays an original resonance and counterbalance the tragic elements
Mohamed, Hassan Youssef Hassan. "Mythes grecs et influences françaises dans le théâtre de Tawfiq Al-Hakim". Grenoble 3, 2004. http://www.theses.fr/2004GRE39009.
Texto completoFürstenberger, Nathalie. "Le mythe grec dans la littérature argentine contemporaine". Paris 3, 1995. http://www.theses.fr/1996PA030020.
Texto completoThe study of greek mythology and of its usage in contemporary argentinian literature has showed us that the mythe do not only get their strengh from an aesthetic writing. At the beginning of the 20th century, intertextual practice conveyed the collectif and individual worries of writers. The various aspects of argentinian literature testify to the plasticity and flexibility of its mythology and reveal its permeability to past and present times
Bessard-Halphen, Véronique. "Mythologie du feminin dans l'oeuvre poetique d'aime cesaire contribution a l'etude de l'imaginaire cesairien". Antilles-Guyane, 1999. http://www.theses.fr/1999AGUY0042.
Texto completoFor many readers, aime cesaire conjures up the image of a manly and committed poet, a black activist standing for negritude. We have focused on the representation of women in his imaginative process and in particular on the imagery related to the 'anima'. The mythocritical analysis allows us to track down the underlying archetypes through the study of the great myths and to understand how the poet bends and twists them to create his own mythology. Our study hinges on three axes : first, the cosmogonic myths bringing to the fore the androgynous feature as a synonym for unity and wholeness ; second, the conflicting myths stressing the fall, the exodus and the apocalypse where harmony is shattered by the flow of history and time and lastly the myth of redemption allowing for the recovery of a lost unity. The images of women are as a rule almost always positive. They take on a negative connotation when stemming from the colonial history, the slave trade and slavery. From our selected point of view, the works rely mainly on judeochristian myths and to a far lesser extent on caribbean myths. African myths are dealt with as mere ideological and literary references. Our main concern has been to show that the spring and trigger of cesaire's creative power is the androgynous feature
Morou, Antigone. "Sophocle et Artaud : Pour une représentation contemporaine d'"Ajax"". Paris 3, 1990. http://www.theses.fr/1990PA030097.
Texto completoInfluenced by the premier magico-religious greek thought (vi century:orphism, "greek shamanism"), sophocleu's universe is founded on the vision of the "the total man":the antithesis of the original principles, the ethic the tragic hero defends (cult of dead) and the tragic language affirm the presence of the myth in sophocleus. In ajax, the trajic hero becomes divine and he, as the orphic god dionysus, passes through passion from death to the restoration of the dionysiac body. Artaud's theatrical vision springs from the mythic sources: his actor, incarnation of the mythic hero, mediator of the conflicts, from a ritual space by his acting. Artaud evokes the greek thoght as well as sophocleus, especially in his ideas bout the body (orphic conceptions) and the culture (heraclitu's influence). His search follows the sophoclean mind in recreating the divine united body. So ajax could constitute a model of the theatre of cruelty : the trajic language and the acting from a ritual space, as artaud wanted to realise in his theater. Our project of direction proposes a space conbining the structures of the ancient greek theater and artaud's theater (the spectators are encircled by the action): the chorus could transform the space (according to his acting). The acting (voice and movement of the actors), the light and the sound would create a ritual space, exercing a "physical" role, as in artaud's theater
Soliman, Aziza. "Le mythe d'oedipe dans l'antiquite mediterraneenne ( egypte - grece ) et quelques-uns de ses prolongements litteraires francais et egyptiens : rapport entre la litterature et le social". Paris 3, 1988. http://www.theses.fr/1989PA030117.
Texto completoThis thesis proposes to treat the oedipus myth in his relations, first, with ancient egypt. It isolates, to achieve this purpose, the motives that, all along its travels in time and space, seemed to constitute his constant aspect. Secondly, it proposes to interrogate the greek antiquity, that evolutes, by some of its aspects, in the same orbit as the egyptian one, to bring at light the contribution linked to the athenian democraty ( of the fifth century ), of this social form, in the modification of this myth on both levels of form and contents. From myth to tragedy, a long way has been made that we tempt to analyse the socio-historical causes, linking ideology to unconscious. A study of myth survivals in his essentially egyptian form, despite the diverse confessional substitutions, is done then in the epic popular tradition and the marvellous stories of some ethnic groups that belong, in our point of view, to the same ideological univers ( bible, coran, the golden legend, the african short stories, the legend of antarah, the peasant egyptian folklore. On the other hand, some contemporary treatments of the myth in the theatre ( tragic and comic ) : the french one with ( vercors, gide, cocteau ) and the egyptian one with ( el-hakim, bakathir, ali salem, kamel salib, el-maghrabi, etc. ) will be finally analysed in the light of the relations mentioned before between literature and society, in the light also of the continuity-rupture, between the past, that is nearly exclusively greek this time, and the present
Ladjali, Cécile. "Androgynie et hermaphrodite dans le texte décadent". Paris 4, 2002. http://www.theses.fr/2002PA040083.
Texto completoLiterature has long preferred Ovid's hermaphrodite to PLato's androgyne ; but this tendency seems to change at the end of the nineteenth century. Analysing such evidence, the present thesis tries to understand the meaning of the emergence of a symbol in literature, which comes to supersede another one. .
Aurenty, Ivan. "Cyclope, Cyclopie, postérité littéraire cyclopéenne". Perpignan, 2009. http://www.theses.fr/2009PERP0898.
Texto completoOur present research is to approach the imaginary of Kyklopes as seen in ancient myths and french literature, so as to take into account the fundamental ambiguity and complexity of these literary figures. Beyond the constitution of a corous mythorum Cyclopum in ancient literature, which cannot be exhaustive anyway, we tend to confirm a traditional distinction - firmly established by ancient mythographs - between different kinds of Kyklopes considered in accordance with their particular functions : sheperds, blacksmiths and wall-builders. In this work we try to prent another typology, which is not meant to replace the one below but rather to fulfill it. Our classification indeed is based upon the literary treatment and reception of the myths related to the Kyklopes in ancient and modern literatures. Three great groups of narratives which have known a vast fortune in post-ancient literatures and arts seem then to emerge : the story of Polyphemus and Ulysses, the tales of the masters of technè concerning blacksmiths and wall-builders Kyklopes, and the "love story" between Polyphemus and Galateia. Our work, which leads us from Homer to literary representations belonging to the twentieth century, tries to take into account the evolution of these rich and various narratives. Our objective is to find out the permanence or changes of these figures and to observe their possible interpretations and the constant plurality of their significations. At least, we have to emphasize the fundamental and fascinating faculty of adaptation of these complex mythological figures
Bourgeois, Chrystel. "Le tissage de la mythologie dans la Fantasy anglo-saxonne". Paris 13, 2010. http://www.theses.fr/2010PA131004.
Texto completoIn this thesis, we tackle the problem of the writing of a world as a metaphorical weaving, taking an interest in the works of three authors of anglo-saxon’s Fantasy. J. R. R. Tolkien (The Lord of the Rings, The Hobbit, The Silmarillion), C. S. Lewis (The Chronicles of Narnia) and J. K. Rowling (Harry Potter). Our analysis deals with the way the authors weave the world of subcreation, borrowing from mythology elements that they reinsert into their own mythology, mythological threads whom intertwining gives weight to the universe of Fantasy. The process of creation construction of a world, appears to be a complex activity which is not limited to the narrative aspect of a story, but rests upon various parameters, the superposition of multiple “lays of material” that has an incidence on the solidity of the finalized work. In our thesis, we evoke three aspects of this “several-scales” weaving : the mythological backdrop woven by the authors to give a setting to the fiction, the patterns of evil woven on this canvass, then the weaver figures, being represented within the text or being materialized under the form of the author himself
Gouriou, Catherine. "Du Fatum au divin : le mythe dans l'oeuvre d'Alfred Döblin (1935-1957)". Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20063.
Texto completoIn the Twenties and Thirties, many German intellectuals including Döblin turned to myth against the “disenchantment of the world”. By appropriating it as the pillar of his aesthetics, the writer aspires to give his reader access to a Homeric and sacred reality. The present work deals with four novels, Babylonische Wandrung (1934), Amazonas (1937/38), November 1918 (1939; 1948/50) and Hamlet (1956), and two short-stories, Der Oberst und der Dichter (1946) and Die Pilgerin Aetheria (1978) from Döblin's work, marked by exile, war and his conversion to Catholicism. What emerges from the analysis of his development is Döblin’s evolution from confidence in the force of myth to exorcise History, to disillusion with the failure of the instrumentalisation of a discourse, confiscated by Nazism, ending in its rehabilitation, beyond a radical demythification. It is in this way that Döblin goes beyond the image of a cyclical fate, to eventually reinterpret the myth as a bridge to the Divine
Neaimi, El-Sadek. "La Superstition raisonnable, représentation de la mythologie égyptienne dans la littérature française du XVIIIe siècle". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040057.
Texto completoThe reasonable superstition, representation of the Egyptian mythology in French literature of eighteen century, The title of this thesis appear contrast but it gave us a good idea about Pharaoh representation in enlightenment century. This thesis studies how is about the civilization and the culture of the ancient Egypt in the philosophy writing and the literature : novels, dramas and poetry in eighteen century. The philosophers and the writers of eighteen century thinks that the ancient Egypt was the origin of the science and the art, but this country was also the origin of superstition like in the writing of Boulanger L'Antiquité devoilée pas elle-elle même. But the writers and the philosophers don't satisfy to study this question of originin the Egyptian myth, but in the same time they find some inspirations in the mythology of Isis and Osiris in some novels like Le Taureau blanc and Semeramis of Voltaire. Some dramatists inspire also in this mythology like Tanis et Zelide and les lois de Minos of Voltaire, also in his poem Sesostris and in the creation of another writers Banier, Boulanger, Charles de Brosses, Caylus dramatist and poets Bitaubé, Rocher. Also this thesis is an interdisplinary study because this subject have a multiple approachs
Gély, Véronique. "Le mythe de Psyché des origines à 1671 (Italie, France, Espagne)". Paris 4, 1993. http://www.theses.fr/1993PA040058.
Texto completoBetween life and death, between masculine and feminine, Psyche appears like a metamorphosis of Pandora. From fairy-tale to heroic narrative, to pastoral drama or pastoral narrative, to auto sacramental, she was interpreted as an allegory of sensuality, curiosity or feminine courage. The myth of psyche reflects literary and artistic fiction
Léontaridou, Théodora. "Le mythe troyen dans la littérature française". Paris 3, 2008. http://www.theses.fr/2008PA030013.
Texto completoFrom the 16th Century until the 20th, le troyan myth emerges in a variety of forms in French literature with famous or less known works but of equal significance as they convey the climate and the spirit of an era. The reason why all of these writers go into mythology could be partly explained by the imitation of ancients applied to the French letters of the 16th and 17th centuries. How this material is transformed, what the writers are expressing through the legends and the myths, which is the relationship of the transformed materiel with the initial, are some of the questions that this research is requested to explore. During the period of the Absolutism in which the freedom of expression is limited, the myth is proved to be a secure means which offers the security of the distance, the suitable frame and the flexibility of the mythological material which are processed by the creators. It becomes the vehicle of doubt and criticism of various grades against authority. The end of this political period removes from the myth this function. But it doesn’t stop its use in literature and the theater. This is because the myth is capable of putting again questions for the vital causes which deal with the human race, such as the woman, the war, the xenophobia
Chauvel, Virginie. "Les résurgences du mythe de Médée dans la litterature française et étrangère : 1975-2005". Angers, 2006. http://www.theses.fr/2006ANGE0009.
Texto completoThis thesis analyses the myth of Medea and its most famous episode, the killing of children, in contemporary literature. The research examines the influence of the controversial motherly character, Medea, on collective imaginary. It is based on the review of both implicit and explicit rewritings of the myth in the world literature between 1975 et 2005. I start by comparing the modern Medea to Euripides' model and to other antique figures (Niobe, Ino, Agave, among others). I then show to what extent Medea has influenced the creation of muderous mother figures in literature. The recent "Medea complex" will be used to demonstrate that the line between fiction and reality is blurred. The Medea myth suggests that the feminine and monstrous character can suddenly shift from bliss to horror. This frightening statement explains the fascination that the Colchis princess exerts and the strange artistic success of the mytheme linked to her : infanticide
Eissen, Ariane. "La figure d'Hercule dans les littératures anglaise et française à la fin du dix-neuvième siècle et au début du vingtième siècle". Paris 4, 1997. http://www.theses.fr/1997PA040265.
Texto completoThis thesis investigates the different ways in which a mythological character, Hercules, was understood in English and French literature at the end of the nineteenth and the beginning of the twentieth century. Even though there are many classical texts about Hercules, none of them tells his whole life, nor is considered as the chief reference of the literary myth which is peculiar to Hercules. Therefore the idea people at the turn of the century had about Hercules depended upon classical literature, but also on a common representation, different in each country, which built up the full story of his life ; it also tended to merge with the image conjured up by the expressions of the everyday language. The first chapter presents the classical texts about Hercules, and shows that they are interrelated and are themselves organized into a system. In the second chapter, an inquiry using different databases, sets out the accepted ideas about Hercules, which acknowledge him as a hero, or not (third chapter). The last two chapters research the average representation of Hercules in France and Great-Britain in dictionaries, encyclopedias and handbooks of mythology, found most frequently. Then is presented an analysis of the moral and religious aspects of the myth of Hercules, very frequent in Great Britain, and the political and social ones, crucial in France. Then one may conclude that the Hercules theme is less inherited from classical literature than endowed with meaning by the standards of each period and country
Fabre-Serris, Jacqueline. "Mythe et poésie dans les Métamorphoses d'Ovide : fonctions et significations de la mythologie dans la Rome augustéenne". Paris 4, 1992. http://www.theses.fr/1991PA040194.
Texto completoThe way Ovid treats mythology in his "Metamorphosis" constitute an outstanding testimony on the functions and siginifications of myth in Augustean Rome. .
Koraki, Anastasia. "Mythe et fiction dans Salammbô de Gustave Flaubert". Marne-la-Vallée, 2006. http://www.theses.fr/2006MARN0299.
Texto completoTo write his novel on Carthage, Flaubert uses a lot of myths taken from various sources. The taste of Antiquity and history in the author’s youth has played an important role in Salammbô’s conception. How does Flaubert get into contact with myths and mythology? What’s his relation to the antique and contemporary comparative sciences of myth and religion? The writer has followed the debates on human history, religion and Orient. Finally, the presence of myths and symbols in the action proves the author’s interest in his century which, since German Romantics, focused its research on symbol and its relation to myth. How is the myth integrated into the plot? How does it structure the story? The manuscripts help us to understand the author’s method. They also invite us to confrontations which prove his ironic treatment of history, time, and any symbolic or mythic object. The text illustrates the presence of the sacred, degrading it at the same time. Related to the contemporary debates on mental alienation and hysteria, myth acquires a medical aspect, becomes language of madness. But the fiction uses the mythic and transcendental language to desecrate science and to reject every positive explanation. Against all scientific knowledge, the flaubertian text maintains its own literary value and intelligibility
Mogenet, Rémi. "Romantisme et mythologie dans la littérature savoisienne. De Xavier de Maistre à Maurice Dantand (1794-1914)". Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL037/document.
Texto completoThe Sardinian restoration, in 1815, aroused a literature that was first devoted to the Savoyan dynasty and which tried to restore its sacredness. As a matter of fact, this situation moved towards the emergence of a mythology whose nature may be questioned. Was this mythology a pure convention or was it based on deeper soul foundations ?The objective conditions of the Savoyan cultural life at the time are known to have shown a constant research for identity in the feudal past. In Savoy, contrary to what happened in France, at first the legacy of the French Revolution was rejected in order to return to the old state of mind. The Academy of Savoy was created in this impetus of cultural restoration, opening widely to a poetry, which would also revive the marvelous medieval. Education, on the other hand, was rendered entirely to the bishops who were anxious to instruct the people in a religious sense. However, despite the romantic personality of Charles Albert, this trend finally collapsed under the pressure of social evolution. Nevertheless, Savoy remained a deeply Catholic region in a remarkable way until the beginning of the 1900s, taking advantage of the arrangements of the Annexation Treaty to preserve its own prerogatives. As its taste for the marvelous focused on local traditions, for a long time Savoy succeeded in keeping ts specificity and rich, shimmering imaginations.In this field, it obtained its inspiration on a literary tradition which was already rich before 1792 and dominated by the work of Francis de Sales. It was also marked by dynastic chronicles and court, or even patriotic, poetry, which appeared in the Renaissance period. Mixing baroque art with the worship of princes and local saints, it brought out the outline of a new mythology from the sixteenth to seventeenth century. Furthermore, Rousseau influenced those who felt nostalgia for an idealized Savoy, perceived as closer to deity than the great cities of the French plains.The landscape was transfigured by a bourgeoning romantic poetry and individuals saw themselves as a summary of the religious history of humanity. As a consequence, the hero became closer to humanity, without losing his links with the deity. The supernatural creatures of the marvelous, pagan or Christian, popular or learned, were also provided with life, connecting themselves with mountains, lakes, princes, people and with all other ordinary realities experienced by the authors. Instead of remaining in abstract and conventional worlds , these creatures inregrated the local life, becoming the expression of a national genius conceived as a secret soul of the Savoyan land, which could even have a thought by itself. Hereafter natural phenomena were regarded as inhabited by divine wisdom, and considered in their overall harmony allowing the existence of an intermediate world situated between the physical world and the divine world and where Providence could communicate and act by itself. A sort of romantic science, similar to the German one, started to develop trying ti test the aims of divinity in the present not only for humanity, as a group, in Europe, but also for the individual, whose own enigmas were touched. This is how a real mythology, alive and moving, emerged in Savoy.Faced with the richness of this inspiration, we may wonder why today these works are disregarded by critics. Among the answers that could explain the situation we may point out the inadequacy of the Savoyan tradition, marked by Italy and Germany, to the standards of French University
Ruatta, Stéphanie. "Présence du monstrueux et du prodigieux dans la littérature grecque d'époques archaïque et classique : étude sémantique du mot téras". Nantes, 2013. http://www.theses.fr/2013NANT3039.
Texto completoKaptan, Belkora Miyna. "Le thème de l'androgyne en littérature et en peinture de 1875 à 1900". Paris 1, 1986. http://www.theses.fr/1986PA010683.
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