Tesis sobre el tema "Poétique – 19e siècle"
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Vallas, Jean-Louis. "L'œuvre poétique d'Auguste Angellier". Paris 10, 1986. http://www.theses.fr/1986PA100079.
Texto completoDionne, Ugo. "La voie aux chapitres : poétique de la disposition romanesque, 1650-1870". Paris 3, 2002. http://www.theses.fr/2002PA030020.
Texto completoThe subject of this dissertation is the disposition, the physical and material organization of the novel. Our main focus is on seventeenth- and eighteenth-century prose fiction, but we occasionnally overstep these boundaries, by discussing works of the Middle Ages, the Renaissance or the (early) nineteenth century. What we hope to establish is a historical poetics of novelistic division, where the formalist tendencies of traditional structural poetics are counterbalanced by an unremitting stress on " real " texts and novels, considered in all their historical specificity. The domain of the disposition include four different phenomena. There is the dispositif, the way a novel is divided into parts, books and chapters ; but there is also the archidispositif, where the single work (the opus) is federated in a larger ensemble (like the cycle or the sequence) ; the paradispositif, which appears when a novel is published in serial form ; and the quasidispositif, which occupies the same space as the dispositif (the volume), and appears in three main kinds : the collection, the anthological novel, and mimetic fiction. .
Terrier, Agnès. "L'opéra français et la modernité poétique au tournant du XXe siècle". Paris 12, 2002. http://www.theses.fr/2002PA120047.
Texto completoAt the end of the 19th century, the cultural context in France provides new challenges for the lyric art. The fascination for Wagner is linked to a nationalist feeling of rivalry. As musicians become closer to poets, thanks to the developement of melody, some of them look for a model for French lyric art in poetry and revisite the traditional opera libretto. The "Parnassians" Mendès and Saint-Sae͏̈ns want to promote poetry in the lyric theater. Independent musicians (Holmès, d'Indy, Chausson, Magnard, Charpentier) become authors of their own librettos. The librettist Gallet modernizes his style for Massenet. Bruneau, Debussy and Dukas look for the symbolist suggestion and a means of orchestral freedom in the rhythmed prose of Zola and Maeterlinck. .
Letourneux, Matthieu. "Poétique du roman d'aventures entre civilisation et sauvagerie : 1860-1920". Paris 4, 2001. http://www.theses.fr/2001PA040180.
Texto completoThe romance of adventure was a major popular genre during the XIXth and XXth centuries in western countries where, despite national specificities, some common properties clearly appeared, belonging to the romance tradition : violent events organized according to the structure of misadventures and Adventure, which provides its shape and themes, and exotism. .
Juneau, Véronique. "Poétique et fictionnalisation du reportage de guerre sous le Second Empire". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28645/28645.pdf.
Texto completoScepi, Henri. "Sujet et langage : contribution à la poétique de Jules laforgue (1860-1887)". Clermont-Ferrand 2, 1996. http://www.theses.fr/1996CLF20097.
Texto completoEntirely placed under the sign of the never-ending quest for originality, and subordinated to the principles of a philosophically and scientifically jointed aesthetics, jules laforgue's poetic work is first and foremost remarkable for its capacity to place the creative subject in the position of a critic in front of the issue of language and henceforth that of expression. Indeed, denying one after the other all the thesis which dogmatically promote clarity of expression and good taste as well as the timeless beautiful, laforgue ventures the hypothesis of an aesthetics in the making which focusses on the absolute need to develop an idiosyncratic speech. Of course, such a position merges with the imperative of modernity launched by the "decadent" generation; but it also comes across the field of the linguistic theory of the 19 th century, which tends to problematise, according to two different axes, the position of the speaking subject within language. Thus laforgue's poetic stance reflects two apparently contradictory positions: on the one hand, the right to total subjectivity and poetic autonomy is claimed, as principles ordering discourse; on the other hand, a large part is devoted to the doctrines, inherited from darwin and prolonged by hartmann, which subordinate the subject to the hegemony of an evolution which transcends him. But those two perspectives merge in the achievement of a poetics which purports to include the accidents of enpiricism as well as the unceasing movement of life. Thereof, individual discourse circumscrites the locus of a rupture and ascribes to speech a radical function which both deconstructs the cliches and conventions of poetic medium and the lifeless structures of language
Diong, Maneume. "Aventures et avatars de la modernité poétique : de Baudelaire , Rimbaud, Mallarmé, Breton et Bonnefoy". Tours, 2004. http://www.theses.fr/2004TOUR2001.
Texto completoKarpouzou, Panagiota K. "La poétique de l'ironie dans la nouvelle du XIXe siècle". Paris 3, 2001. http://www.theses.fr/2001PA030089.
Texto completoThe aim of the present thesis is the elaboration of a poetics of ironic discourse in short stories and short story collections of the 19th c. , a poetics also applicable to any literary text in general. Our research is based on a corpus of classic short stories from Anglophone (T. Hardy, H. Melville, E. A. Poe), french (G. De Maupassant, P. Merimée, A. De Villiers de l'Isle Adam) and Greek (A. Papadiamantis, G. Vizyenos) literature
Bacard, Haloul. "Poétique de la langue française chez Remy de Gourmont". Paris 8, 2011. http://octaviana.fr/document/160871034#?c=0&m=0&s=0&cv=0.
Texto completoPoetics questions a practice of the speech as a manner of language. From this point of view, we wonder how Remy de Gourmont's new critical and poetic language becomes a value in the french literature and culture. Remy de Gourmont, as an original critic, never loses sight of its double French and Symbolist condition, which is never a partisan or a nationalist attitude of criticism. Defending art as disinterestedness, exhibiting the immediate or later discussion of the ideas, Remy de Gourmont creates its dissociating method to put criticism, french and its literature forward. This critical principle has main purpose to discover or restore the value of the literary effort by seeking to reject the "lieux communs" and the "clichés" which cover it up. This new criticism of the ideas, which is always an invention of the discourse, is indissociable, in its poetic practice even, of an attention to the symbolism, and, each time, to the language. Hence, an original "vers libre" (symbolism free verse) having the capacity to make see and hear what the poet made with the ordinary language, that is to say with the usually words. Thus, the poem becomes an observation post of a historicity of the language. It shows in particular a feeling of the french language, which is this poetic-even, and which Remy de Gourmont initially created, then worked to make personal and individual, as much as the free art Symbolist which includes it in the mass of discursive individualities
Arden, Charles. "Vers une critique musicale créatrice : une redéfinition du concept de critique comme rapport entre le discours sur l’œuvre et la poétique musicale". Paris 8, 2013. http://www.theses.fr/2013PA083939.
Texto completoThis research starts from an historical adequacy in the nineteenth century between the development of the press as a medium of expression including music, the advent of a method with the disciplines related to art discourse, and a particular artistic production: programmatic music and the symphonic poem that reveal a new link between the sound and the verb. Our choice of music criticism as subject is therefore oriented towards a place of revelation of all these issues. The critical text is in fact based on a method of judgement that respects its own object classes and provides an awareness of the context of his speech: critical discourse then becomes meta-discourse, enhancing the analysis and understanding of the work by all that can be said, all that is offered as a way of working with linguistic expression of a feeling. In order to enable this work to better understand the music that finds its inspiration and explanation of literary criticism to inspire the pen, we start from the knowledge acquired of a musical work and observe how this knowledge evolves progressively with the concepts that we present in out historical course of the discipline. Hermeneutics, heuristics, epistemology, structuralism, formalism, linguistic tools are used to focus on musicology and demonstrate that, leaving the musical, we come back after the text's critical study with more evidences, details, strengths. This, according to the same logic based on which critique reinforces musicology by multidisciplinary scopes. Our contribution is intended as a review and prospective ways that have been found in the speech to understand the musical: giving the listener the tools to build a language that reinforces his artistic experience, giving the creator a material discursive aesthetic that it can compare his work with to deepen its aesthetic, amend its production, continue to produce; giving the mediator a list of criteria which will enhance his speech tools corresponding to the identity of the work and those it links
Beneteau, Olivier. "L’Ascension suprême : poétique de l’épopée mystique de Jean-Baptiste Cousin de Grainville à Victor Hugo (1805-1891) »". Electronic Thesis or Diss., Angers, 2024. http://www.theses.fr/2024ANGE0003.
Texto completoFrom the perspective of poetics, the science of the principles of literary forms, the main goal of our study is to enhance the epic sphere in 19th century by studying the structural and thematic development of the heroic genre through the mystical theology. Working from some twenty rare pieces in an abundant corpus (most of them, unfairly forgotten by posterity, are the result of minores), we intend to prove that the epic of the 19thcentury, far from being confined to the classical tradition of the great totemic models from Antiquity, undergoes, after the Revolution, what we consider as a change of paradigm. Moving from a “heroic” epic, referring to Henry Corbin, to a so-called “mystical” epic, influenced by the revaluation of Dante, Milton and Klopstock’s works, the new romantic triad, the epic of the 19th century, supposed to organize society from a founding event, become exclusively prophetic by shifting its perspective from earth to heaven, from politics to metaphysics.Here is to be encountered the keystone of our dissertation, regarding the “critical relation” between literature and mysticism, which demonstrates the evolution of a genre henceforth dedicated to eschatological revelation and reintegration of the fallen soul. Beyond german idealism, we wish to emphasise that the authors of our corpus, educated in the purest catechetical tradition and affected by the new occult and illuminist currents, make the epic no longer a work of war, focused on the historical memory of national battles, but a mystagogic form that draws on mystical concepts to clarify its own running. Related to the revival of mystical studies in Europe since the late 20th century, our subject highlights the dialectic between mysticism, traditionally individual and intimate, and the epic, by global and universal definition, exploring the transformation and limits of the poetic form through the three ways defined by Neo-Platonic theology – purgative, illuminative and unitive– until the ultimate apocatastasis
Benitez, Roca Sylvie. "Aben-Humeya et les morisques dans deux oeuvres de la littérature espagnole du XIXe siècle : (dimension poétique et idéologie)". Montpellier 3, 2001. http://www.theses.fr/2001MON30037.
Texto completoSintichakis-Placas, Marie. "L'image poétique dans la poésie symboliste du XIXe siècle : Paul Verlaine". Paris 4, 1998. http://www.theses.fr/1998PA040242.
Texto completoThe works of Verlaine have constituted the object of numerous literary studies. The aim of this project is to study Verlaine’s imagery from a stylistic viewpoint, in order to demonstrate the originality of the poet's aesthetic concept. The use of figurative diction allows for expressive evaluations based on dominant forms of verlainian imagery. The thematic classification reveals the major poles of the poet's universe. The study of imagery is centered around the way figures are produced and their function, as well as on the evoked values of connotation. At the same time, an effort is made to manifest the evolution of the aesthetic dimension of images across Verlaine’s poetic collections and their variants in each of the collections individually. The parallel confrontation with the imagery created by other poets belonging to the same group as Verlaine is aimed towards a demonstration of the particularity of the poet's language within the constellation of symbolism. Its self-proposed target is to bring to light the common affinities and nuances uniting all symbolists in their desire to create corresponding links between the "sensible" universe and the human soul. After a theoretical approach of the "poetic image", the figures are categorized into different domains, according to their "sensible" aspect, concrete or abstract. First are studied the "sensible" elements of the terrestrial, aerial, cosmic, liquid or luminous domains, then the human forms and finally the abstract realities
Le, Calvez Eric. "Génétique et poétique de la description : "l'éducation sentimentale de Flaubert"". Paris 3, 1990. http://www.theses.fr/1990PA030056.
Texto completoWithin the framework of poetics of description (stumbling block of narratology), genetic analysis of topographic descriptions in "l'education sentimentale" by Flaubert, is abondant with new teachings which are both unsystematic and essential to an understanting of the rules of literary creation. How, and according to what principles, does an initial fragmentary description appear and take shape in tue manuscripts; how is it transformed, amplified, then reduced, after many drafts that will become a "final text"; how is it functionnally integrated into diegetic universe and its plot. As far as they interfere, poetics and genetics can help to solve such theoretical problems and bring into sharper focus this still current question; "what is a description?"
Crochu, Mariette. "L’Atelier du lied romantique : poétique de la ballade de la Goethezeit". Thesis, Rennes 2, 2020. http://www.theses.fr/2020REN20022.
Texto completoWhen we look at the poems called ballads, which have been furiously popular in the Germanic world since the Sturm und Drang, we encounter a general lack of agreement on their specificity. The Romantic Lied was partly forged in this multifaceted poetic-musical space. Franz Schubert (1797-1828) spent his early composing years setting long ballads to music, and was to return to do so until the end of his life; Carl Loewe (1796-1869) became a master of this art. The ductility of the genre and its resistance to all attempts at defining it in the two fields of literature and music (Sulzer 1771-1774, Koch 1802, Hegel 1818-1830, Häuser 1833…) jeopardize its own durability, but also make it an extraordinary experimental field for the vibrant musical lyricism. It is in tune with many of the issues at stake in 19th-century music, including the vocal practice of performers, reciters and singers, the issue of musical narration, and the connections between salon music and lyric stage performance, between the vocal and instrumental realms. This dissertation attempts to shed light on the becoming of Kunstlied through the prism of one of its key development settings. The ballad, a strange hybrid of storytelling without an identifiable storyteller, of music and stageless drama, broadens the dimensions of the traditional German Lied until the emergence of Kunstlied; better still, it shatters the emotional unity of the latter from the outset. Our research retraces this unpredictable process and the questions it raises, in order to better understand not the accomplished object that would be “the romantic Lied”, but rather the exciting work of artistic creation, the progressive modelling of a musical object, between the genres, in its multiple expressions over time
Girard, Alain. "Une poétique d'"Anecdotes ou Poe͏̈mes" de Stéphane Mallarmé". Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10089.
Texto completoShin, Ok-Keun. "Poétique de l'aube chez Rimbaud". Paris 4, 2007. http://www.theses.fr/2006PA040176.
Texto completoThis study presents the analysis of the poems of Rimbaud which follow particularly the attempt of the ‘voyant’, Ce qu’on dit au poète à propos de fleurs, Fêtes de la patience in 1872, Une saison en enfer, and the Illuminations, while calling in question the myth of the silence so often connected with the poet. Silence and failure caused with regard to Rimbaud the mystified image of a genius who gave up poetry in disgust for the literature and who closed himself in silence. This study contests the myth of silence. The series of Fêtes de la patience make a research for Rimbaud’s dawn, which is prolonged in Une saison en enfer and the Illuminations. However the auto-condemnation of the poems of Alchimie du verbe is not plausible, which is why all these poems are at some length analyzed. Rimbaud’s dawn is dissimilated as the back-ground of poetry; it does not mean the hope but a strange death. This study puts emphasis on the fraternal and critical voice of Ce qu’on dit au poète à propos de fleurs. The call of ‘all men’, in short ‘one’, and the meaning of dawn constitute the fundamental question of this work. The question is the poetry of silence not the silence of poetry
Montalbetti, Christine. "Le voyage et le livre : poétique du récit de voyage d'écrivain au XIXè siécle". Paris 8, 1993. http://www.theses.fr/1993PA080722.
Texto completoThe nineteenth century author of traval narrative, hesitating between two contradictory ambitions, which he tries to reconcile, to be literal or to be literary, alternatively writes about the world and rewrites the library. Superimposed on the ideal of a direct narrative which is based on the model of the daguerreotype, the engraving or the copy of a painting, and which imitates the movement of the referential journey, immediately furnishing an order to the text, is the knowledge gained form secondary sources. Contrary to the explorer, the writer is faced with a space already stacked out by literature ; the narrator uses preexisting texts as models or as foils, unless he considers litterature as an economic system were nothing must be saind twice, which produces either a lacuna, a bibliographical reference or a quote. Fictional texts, because they construct homonymous setting, lead to phenomena of spatial confusion. The assimilation of true and fictional space and the reappropriation of fictional structures resolve the problem uncessantly posed by the narrator of the insufficiency of the actual voyage to constitute a literary object, but on the other hand the referential work is jeopradized. The voyage, an object paradoxical, ideal and impossible to narrate at the same time, invites the writer to rehink the traditional balance of the narrative and disrupts the hierarchy between description and narration, the structural assumptions and the relationship to quotation
Frighetto, Aurélie. "Penser le "mot poétique" au XIXe siècle : entre discours lexicographique et pratique littéraire". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL117.
Texto completoAt the crossroads of the history of language, lexicography, stylistics and literature, this doctoral dissertation aims to recount the path taken by the complex notion of the "poetic word" which is transfigured like no other in the 19th century. From the beginnings of Romanticism to the death of Mallarmé, the poetic lexicon is subjected to major disruptions, as it is torn between post-classical heritage and the denial of that heritage, between an attachment to modernity and end-of-the-century experimentations. To get a better grasp of the features of this evolution, we decided to put lexicographical discourse and literary texts in conversation with each other and contrast their conception of the poetic word. The first part offers an overview of the poetic as revealed by dictionaries (from the first Dictionnaire de l’Académie of 1694 to La Grande Encyclopédie of 1885-1902) and identifies a lexical corpus based on the terms defined as poetic by Pierre Larousse in his Grand Dictionnaire universel du dix-neuvième siècle (1863-1876). The second part analyses the uses of this lexicon in literary texts, showing how traditional poetic words manage to retain their aura. The third part focuses, on the one hand, on the misuses and limits of this lexicon that trivializes it and makes it cliché. On the other hand, it tackles all the new ways of poetizing the word as well as the renewal of thoughts on the poetic which, on the eve of the 20th century, borders on reverie
Charrin, Pochtar Anne. "L'image poétique de la Sibérie asiatique dans la littérature russe au XIXe siècle (1819-1859)". Paris 3, 1991. http://www.theses.fr/1991PA030046.
Texto completoAfter examining the causes which may have prompted the appearance of a oetic image of siberia in nineteenth-century russian literature, the research focuses on this image's various motifs and works out their meanings. The study of the russian texts allows a coherent whole to come into view, revealing the sensibilities and vision of that specific world of the romantic revolution. The landscape theme makes use of the entire range of its possibilities: "the landscape of the soul", "picturesque" description, the philosophy of nature narrating the history of "half-awakened" creation. A "half-thawed out" human race goes hand in hand with this primeval nature, where, however, the universal idea of man has been preserved. A still somewhat mythical individual begins to stand out of the collective entity of "barbarians", in the various "transformations" made of siberian folklore; then a real "individuation" occurs thanks to a "beautiful native" whose exotic appeal makes communication possible. Regardless of whether men or women, these asians merely seem part of the past and mainly just help in the creation of a mythical shamanist world. The disappearance of the comparative principle alone will show relativity in the understanding of civilizations. The image therefore becomes blurry and an ethnographical survey can begin. Our imagined image of siberia, the exploration of an elsewhere of time, space and lifestyles, appears as the face of the past of what we could call siberitude
Conrad, Thomas. "Poétique des cycles romanesques : de Balzac à Volodine". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-00788953.
Texto completoAnger, Violaine. "Musique et langage : contribution à une poétique du mot chanté en français de Rousseau à Mallarmé". Paris 8, 1998. http://www.theses.fr/1998PA081465.
Texto completoIn the xixth century, music and language have a cross history : rousseau and mallarme, meyerbeer and debussy can be considered as departure and terminus, theoretically as well as in the artistic realizations
Brieu-Galaup, Florence. "Le refuge Vénitien : espace mythique, poétique de l'espace (1830-1848)". Toulouse 2, 2006. http://www.theses.fr/2006TOU20093.
Texto completoFrom 1830 to 1848, a lot of pieces of wrinting celebrate Venice which seems to be a romantic refuge. The town compensates the political disappointments and the spriritual doubts of this period
Tholoniat, Yann. ""Tongue's imperial fiat" : les polyphonies dans l'oeuvre poétique de Robert Browning". Paris 3, 2003. http://www.theses.fr/2003PA030060.
Texto completoThis thesis explores the polyphonic dimensions of the poetical work of Robert Browning from Pauline (1833) to The Ring and the Book (1868-9). From his first poems onwards (Pauline, Paracelsus, Sordello, Pippa Passes), Robert Browning systematically experimented in modes of expression combining lyric and dramatic elements. The ten years he dedicated to stage-writing (1837-1846) paved the way for a poetics of orality. This poetics is predominant in the so-called "dramatic monologues" of the famous Dramatic Lyrics, Dramatic Romances and Lyrics, Men and Women and Dramatis Personae. In these works, the vocal polyphony draws on the poet's capacity to pitch a voice thanks to the paratext and the dramatic element which is directly integrated into the monologist's process of self-revelation. Dialogism, in its carnivalesque and intertextual dimensions, develops the echoing effects among the various speakers' voices. Particular figures of speech, called acroamatic tropes, function as vocal matrices. Typography and punctuation combine with form, metre and rhyme to create a rhythm indicative of each speaker's vocal identity. The polyphony climaxes in the fugue-like composition of The Ring and the Book. In this poem, intertextual and metaphorical networks enhance the phenomena of repetitions with variations. The auctorial voice is muffled but can still be heard on an ironic mode amidst the polyphony of the speakers' voices
Delattre, Alexandra. "A contretemps : le roman catholique français du second XIXe siècle : histoire et poétique". Electronic Thesis or Diss., Nice, 2016. http://ezproxy.normandie-univ.fr/login?url=https://www.classiques-garnier.com/numerique-bases/garnier?filename=AmlMS01.
Texto completoThis dissertation explores the constitution of the Catholic novel as a genre in the second half of the 19th century. It aims to show how Jules Barbey d’Aurevilly, Joris-Karl Huysmans and Léon Bloy were misread, partly because of the success of the genre during the 20th century. The popularity of the 20th-century Catholic novelists such as Claude Mauriac or Georges Bernanos has indeed swept away the difficulties encountered by Catholic writers over the course of this anti-clerical period. This work invetigates the reception of the Catholic novel at that time. It is based on historical researches, especially the study of Christian "bibliographies", Catholic press and edition. This provides a better understanding of Barbey d’Aurevilly, Huysmans and Bloy’s conception of Catholic novel as an original theory of art
Manca, Tania. "Voyages européens en Afrique Subsaharienne (XVIIIe et XIXe siècles) : poétique d'un genre, variantes et évolutions d'un discours : François Le Vaillant, Carlo Piaggia et Mary Kingsley". Paris 4, 2005. http://www.theses.fr/2005PA040116.
Texto completoThis research is aimed by the project of defining the poetic of the literary genre of travel account, between the end of eighteenth century and the end of nineteenth century. This work stands at the crossing between literature, anthropology and history of ideas. It shows the existence of travel discourses on Subsaharian Africa, which inscribes against the stream in relation to the majority of the other discourses produced and diffused in Europe during the analysed period. This thesis is focused on the different phases of writing, publication and reception of François Le Vaillant, Carlo Piaggia and Mary Kingsley's works. Coming from different European countries, according to their pluridisciplinary formation, these tree travellers' works represent a subject of research which proves extremely pertinent in a interdisciplinary analysis, and which underlines a new approach of a kind of discourse often neglected
Aretaki, Marina. "Aspects de la poétique des romans de A. Papadiamantis (1879-1884) : genèse et fin d'un univers romanesque". Paris 4, 2001. http://www.theses.fr/2000PA040089.
Texto completoErrachidi, Amina. "La poétique du silence dans l'oeuvre de Villiers de l'Isle-Adam". Nantes, 1998. http://www.theses.fr/1998NANT3005.
Texto completoAIn the works of villiers de l'isle-adam, we regard silence as the key word. The processes of this silence which are not artificial are ambiguity, imperfection and indetermination associated to language. Metaphysical uncertainness exists throughout his works. Villiers de l'isle-adam never stopped calling it silence, whether it be the silence of god, the mystery of any strange phenomenon, the enigma of death, or even more unbearable, the enigma of language. This is what opens the path to creation for villiers. Silence is the cornerstone of the works, the condition of its aesthetics, the expression and completion of its poetics
Delattre, Alexandra. "A contretemps : le roman catholique français du second XIXe siècle : histoire et poétique". Thesis, Nice, 2016. http://www.theses.fr/2016NICE2014.
Texto completoThis dissertation explores the constitution of the Catholic novel as a genre in the second half of the 19th century. It aims to show how Jules Barbey d’Aurevilly, Joris-Karl Huysmans and Léon Bloy were misread, partly because of the success of the genre during the 20th century. The popularity of the 20th-century Catholic novelists such as Claude Mauriac or Georges Bernanos has indeed swept away the difficulties encountered by Catholic writers over the course of this anti-clerical period. This work invetigates the reception of the Catholic novel at that time. It is based on historical researches, especially the study of Christian "bibliographies", Catholic press and edition. This provides a better understanding of Barbey d’Aurevilly, Huysmans and Bloy’s conception of Catholic novel as an original theory of art
Bercegol, Fabienne. "La poétique de Chateaubriand : le portrait dans les "Mémoires d'outre-tombe"". Paris 4, 1995. http://www.theses.fr/1995PA040069.
Texto completoThis work intends to give again to the portraits their proper place in the judgment of chateaubriand's work and poetics, as well as in the theoretical reflection on the art of description. Il deals with the elaboration of a definition of the portrait based on its formal characteristics ; it then considers its evolution in chateaubriand's work, its descriptives techniques, its subjects and its components. The study of the physical description touches on the question of the unity of arts, which is essential to the theory of literary portrait ; it reveals chateaubriand's gifts for caricature, his taste for the grotesque, as well as his choice of an aesthetics of the grace in his portraits of women. The study of the moral description reveals his political and literary thought, his cleverness at writing panegytics, and most of all, satires and polemics. Yet, the aim of his portraits remains to seize, through the structures of the myth and of the epic, the symbolic power of the characters, and espacially of napoleon, whose portrait becomes the best embodiment of the romantic hero, and shows at best chateaubriand's historiographic principles
Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique". Electronic Thesis or Diss., Toulon, 2018. http://bu.univ-tln.fr/userfiles/file/intranet/travuniv/theses/lettres/2018/These_Ngone.pdf.
Texto completoZola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
Song, Hongjin. "Spécularité et réflexivité poétique : esthétique et poétique du miroir baudelairien". Thesis, Paris 10, 2020. http://www.theses.fr/2020PA100033.
Texto completoCan we imagine a “dictionary of mirror” by Baudelaire? This thesis aims to build an imaginary dictionary by revisiting and fully exploiting the mirror themes in the Baudelairian world. This dissertation consists of four parts: the first part explores the infatuation with the mirror in French literature and in the real life of the 19th century. Starting with questioning the traditional themes of the specular metaphors among French writers, the initial part investigates Baudelaire’s attitude to the proliferation of optical instruments which profoundly influenced the artistic creations during the Second French Empire. The second part delves into “the supernatural powers of matters” in Baudelaire’s works. This is the dreamlike experience of mirror, especially in Artificial Paradises, where the almost supernatural specular visions and scintillating images are prevalent. The image of mirrors-eyes that intersperses throughout The Flowers of Evil constitutes one of the particularities in Baudelairian aesthetics. He dedicated himself to give concrete material forms to his dreams. The third part relates the inner struggle of the dandy who has a reflective consciousness in front of his mirror. After demonstrating the dandy's anxiety through the image of the double, a major theme of the time, this part follows the journey of the Beau du dandy in the concepts of love and prostitution while considering the aesthetic dimension of the mirror as "hypersign". Ultimately, the fourth part examines if Baudelaire's way of thinking coordinates with his way of working, i.e. conceiving and writing mirror poems. The final part shows how Baudelaire structured his poems, and how his specularity and poetic reflexivity extend to poetic forms and versification in his poems
Sitayeb, Stéphane. "Liturgie et Esthétique dans la prose poétique fin-de-siècle d’Arthur Machen". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040148.
Texto completoThe present study sustains an analogy between the fin-de-siècle texts of Arthur Machen and the aesthetics of Decadence and Symbolism, first, and a principle of consistency regulating the tensions that underlie his minor works – id est, the customs originating from the sapiential corpus of the Bible and the intertestamental narratives being blended with the therianthropic rites of primitive totemism. The syncretism between Christian and Pagan rites and the oscillation between Apollonian ascesis and Dionysiac aestheticism mirror the resilience as well as the pathologies of the artist in his Protean Künstlerromane and self-portraits. Inspired by the numerous artistic currents of the Victorian age, Machen’s turn-of-the-century texts are quite complex to classify and account for the too frequent association made between his style and that of Gothic or Fantastic authors. This generic indetermination, notably triggered by the anthologization of Machen’s texts, requires a work of investigation in diverse domains such as archaeology, anthropology and ethnology. Episodic novels, short stories, tales, and prose poems, in particular, become experimental diaries foreshadowing the Surrealists’ automatic writing. Deemed to be either the emblem of hereditary contagion or the herald of a decadent civilization, the artist wears several masks which are further distorted by the author’s misleading autobiographical hints. After showing that Machen is not only a poet but also a theologian and an essayist and a theorician on aesthetics, it will be possible to understand the discrepancy between the fiction and the life of a fervent High-Branch Anglican, a faithful husband who nevertheless cultivated, in his texts, paraphilic fantasies, dreams of a new Orient and an Ancient Greece, or quite the contrary, extreme penitential itineraries grounded in a Medieval Welsh tradition requiring self-flagellation and anorexic fasting. Far from representing a “chalice empty of wine”, liturgy becomes a sacred power as the correlation between physical losses and spiritual gains in The Hill of Dreams shows. By championing the beauty of a minor Welsh culture, Machen partook in the “Celtic Revival” and wrote the chronicles of uprooted Welsh subjects exiled in the hostile environment of fin-de-siècle London and striving to reterritorialize its spatial and temporal constitution
Moncelet, Christian. "L'univers poétique de René Guy Cadou". Clermont-Ferrand 2, 1988. http://www.theses.fr/1988CLF20014.
Texto completo"poetry as the whole of life" life as a dream" are two phrases of cadou that invite us to explore his poetical universe taking into account his biography, the slant of his soul and his aesthetics. The birth and maturity of a poet who died when young, the destiny of a man who chose to be a provincial, a life injured by trials ans bereavements, love radiating all along on that journey, are as many themes chronologically dealt with in rene guy cadou's life and passion, published by bof in 1975. In the bonds in this world (champ vallon, 1982), the connection of what is written with the spatio-temporal referent is analysed under the notion of "realyricism" and is integrated in the general problematics of interdependence. It is important for cadou to abolish the borders, to live through words the multiple relations between the animal, vegetable and mineral kingdoms, between the beings, the ego and the others, even between lyricism and humour. The virtue of communication and the fertility of exchange asserts itself as a fundamental value through a set of themas which can be as well spatial (doors, windows) as verbal (the functions of language, the fulfilled dynamics of questions ans answers). An anti-narcissus, cadou incarnates a generous orphism, softy "panic" (cf. Pan) in which the whoman, children and privileged animals are active figures. As a supreme value love demands a quasi mystical transparency. An ever-faithful man, the poet grew up out of his geographical, social and verbal fertilizing soil. He was born of the ordinary people and never stopped testifying to that belonging. The unpublished story poetry and the people shows that cadou was an exemplary conciliator. If he enjoyed populism (in novels or poetry) he also showed he was fond of popular, literary or paraliterary, culture. A member of the rochefort school or by himself, he committed himself in his own way by addressing everybody
Girard, Christelle. "La Comédie humaine : une poétique en fictions". Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCC293.
Texto completoThe idea of mise-en-abyme in an artistic work - whether formulated by the first German Romantics or, in a different way, by the French Romantics - gained momentum at the end of the eighteenth century and during the nineteenth century. However, paradoxically, its metatextuality did not weaken when Realist aesthetics were imposed later in the nineteenth century. The metadiscourse does not interrupt the fictional immersion, as it does in parodic novels and their avatars, but it remains, albeit in new forms that are incorporated into the fiction. Balzac embodies this trend. In this sense, we support the idea that Balzac was one of the first to transpose into a Realist contract what parodic and eccentric novelists did before him or during his time. Moreover, he assigns a reflexive purpose to the category of the novel, making a specific pact with the reader. The prologue to my thesis notes the inadequacies of the prefatory discourse on the subject of the novel. But an intentional Balzacian reflexivity is palpable through an exhaustive study of the poetic lexicon, in the first part of the thesis. The years 1839 to 1844 appear as the culmination of a meditation on the novel and as a moment when metacritical vocabulary from prefatory discourse moves towards fictional intrigues. The analysis of fictionalizations, which is the subject of the second part, supposes, then, an enrichment of the debate on the novel. The third part observes a crucial shift : Balzac no longer narratizes both the novel's hold over the reader and its reflexive power. The novel thus emancipates the reader, bringing him or her into the metatextual pact
Yasukawa, Takashi. "Poétique du support et captation romanesque : la « fabrique » de son lecteur par le roman de la victime de 1874 à 1914". Limoges, 2013. http://aurore.unilim.fr/theses/nxfile/default/15b8c6aa-4701-4945-8cfd-9fff4d0d6bb5/blobholder:0/2013LIMO2017.pdf.
Texto completoWhen France moved firmly into written culture at the end of the Nineteenth century, the sentimentalist novel was very widely spread largely thanks to cultural industrialisation. These Romanesque texts that are later known as "Victim's novels" by the generic phrase are part of a literary trend amongst newly educated and alphabetised female readers. This is a study of how these works were received and read. The analysis covers three axis : the empirical context in which the "Victim's novels" were spread, used and perceived ; the authorial and textual strategies of reading guidance ; and last the editorial work surrounding reading. This is the multi-scalar means by which we may attempt to rebuild the history of reading the victim's novel. It is difficult to do so regarding how few written accounts of such exist therefore denying access to first hand knowledge
Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique". Thesis, Toulon, 2018. http://www.theses.fr/2018TOUL3003/document.
Texto completoZola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
Ducos, Pascale Laurence. "Poétique de la chronique dramatique de Catulle Mendès (1895-1897)". Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28945/28945.pdf.
Texto completoGordeeva, Anna. "L’écriture poétique de Tristan Corbière : l'étrange étranger". Paris 4, 2009. http://www.theses.fr/2009PA040052.
Texto completoTristan Corbière is the author of the only collection of poems named "Les Amours Jaunes" written in 1873. The breton poet speaks with cynisme about his children’s broken dreams, failed love, the difficulty to become outstanding and even ton exist. He feels misundersood, unloved, rejected. His pain is translated by the "tortured" and antipoetic style. His verses is chopped off ; what shows the stammered language and his feelings. The emptyness and the hollow are expressed in his poems. "Les amours jaunes" représents actually the pursuit, the plea and the refusal of love, his humiliations. His sarcasm, agressions, perpetual insatisfaction, his numerous contradiction show his deep sufferings and distress. Devoid of roots, name, glory, he feels out of society, he wanders out of the human world, he stays a stranger to the universe and to himself
Froudière, Julie. "Littérature et aliénisme : poétique romanesque de l'Asile (1870-1914)". Thesis, Nancy 2, 2010. http://www.theses.fr/2010NAN21011/document.
Texto completoIn the XIXth century, the perception of madness goes through significant evolutions : therapeutic methods are determined, an architectural plan is settled, specialists of madness are appointed, a law is promulgated. The asylum, place of madness, inevitably undergoes these evolutions, and becomes culture free scenes : people visit it, the novelists invest it. At the crossroad of collective imagination and the works of the alienists, the explorations of the literature in the asylum multiply. Through a varied corpus, this thesis deals with the question of novelists developing a poetical representation of the asylum between 1870 and 1914. It will expound how this poetics takes shape in the common sense and in the literary work, from a cultural and scientific substratum which personal requirements and work of scriptural construction will modify as novels come out. Thus, the aesthetics of the asylum?s landscape is drawing out of the descriptions of the place, the symbols attached to it, and the representation of those who live in it, but also of those who work there. A typology of the Asylum shows itself then, defined by a series of paradigms, as well as a taxonomy of the madman and the alienist, and their respective speeches. A writing of the asylum appears through the stylistic and rhetoric study of these elements, and the poetics arise from the tension between clichés and the singularity of the writing. The ?asylum? will thus be ?Asylum? in the novels
Amela, Amelavi Edo. "L'Afrique comme thème poétique dans la littérature française au XIXe siècle : V. Hugo, Nerval, Baudelaire, Rimbaud". Paris 12, 1987. http://www.theses.fr/1987PA120002.
Texto completoSince shakespeare, daniel defoe and aphra behn the african continent and blacks people appear in european literature : africa is the subject of a great number of poetry and fiction's books. This thesis studies the subject of africa in 19th century's french poetry, particularly with v. Hugo, nerval, beaudelaire and rimbaud. Four aspects are analysed : ethic, esoteric, erotic and metaphysical. In conclusion, it seems that racism doesn't appear in 19e century's french poetry
Majeune-Girodias, Christine. "Théophile Gautier : poète, poésie, poétique". Clermont-Ferrand 2, 2001. http://www.theses.fr/2001CLF20002.
Texto completoBorie, Charlotte. "La poétique de l'intériorité chez Charlotte et Emily Brontë". Toulouse 2, 2009. http://www.theses.fr/2009TOU20041.
Texto completoThe development of identity and the process of self-possession is at the heart of Charlotte and Emily Brontë's writing. In Jane Eyre, Villette, Wuthering Heights and Emily Brontë's poetry, the reader follows the characters and personae (who are essentially female) through the life-voyage which brings them to get to know themselves, find their place in the world, inscribe themselves in it and transmit a vision of their interiority. The process of interiorisation consists in four phases. The first phase is about perception. The subjects discover the world and learn from this contact the necessity of searching for, and even recreating, the sense of belonging in order to gain happiness. Disappointed in the world, they withdraw into themselves, and the phase of feeling starts. The subjects shift from perception to intellection, shape their mental patterns, and try to recreate within themselves, virtually, the conditions of happiness. Imagination plays a major part in this process, but eventually, the inner shelter becomes a prison through the pathological expansion of interiority and the lack of reality. The third phase then begins, revolving around the idea of expression. The subjects, through speech, writing or painting, find ways to let out as much as frame their interiority. The result of their exteriorisation brings about the fourth phase, that of reception, during which intimate and competent readers carry on the process of the construction of identity
Nizard, Lucie. "Poétique du désir féminin dans le roman de moeurs français du second XIXe siècle (1857-1914)". Electronic Thesis or Diss., Paris 3, 2021. http://www.theses.fr/2021PA030078.
Texto completoThe representation of female sexual desire in the novel of manners of the second half of the 19th century raises critical issues – it highlights the paradoxes at play in the second half of the 19th century, torn between contradictory representations of women, as either sexually haunted creatures or virgin mothers ; it informs us about the construction of masculine and feminine gender roles ; it makes us reflect on the scandals, past and present, caused by the desiring female body and the gaze cast upon it ; it interrogates the poetics of this literary genre as well as its claims to objectivity. The ambition of the novels analysed here is a comprehensive account of reality, with a claim to scientific rationality. And yet, when they deal with female desire, they indulge in a form of stylistic veiling that requires the reader to unpack the meaning. The purpose of this thesis was to analyse this veil of words covering female bodies, in order to lay bare the mechanisms behind the mendacity. The socio-critical method makes it possible to show the interactions between the novels and the various social discourses of their time – medical, religious, legal or even pedagogical – and thus to reveal a complex and coherent social imagery of female desire, whose stereotypes the novel both upholds and thwarts. In literary texts, scientific theories morph into poetic material, and double entendre becomes an art. These oblique erotic representations turn the descriptions of female desire into a minefield of innuendo, mostly developed by and for men. Some novels, however, already make room for a female voice and gaze of desire, sometimes even beyond gender
Cho, Jae-Ryong. "Les enjeux théoriques du poème en prose : filiation historique (d'Alphonse Rabbe, Aloysius Bertrand à Charles Baudelaire) et théorique (Aloysius Bertrand, Charles Baudelaire et Stéphane Mallarmé)". Paris 8, 2002. http://www.theses.fr/2002PA082061.
Texto completoGaland, David. "Poétique de l'élégie moderne, de C.-H. de Millevoye à J. Reda". Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA066/document.
Texto completoThe elegy was fashionable at the dawn of modernity, during the periods which are known as Pre-Romanticism and Romanticism. But this infatuation with elegy was not without raising deep questioning on its generic dimension. Indeed since the French had appropriated the genre, the elegy can no longer be just defined by a formal criterion which has become disputable. Furthermore, as early as the classical period, two dangers have been subverting the genre: its wide range of themes which is an obstacle to our grasping its quintessence and an evolution at a standstill condemning it to stereotyped perceptions. And from this came the worry to amend the confusion existing around the elegy as well as the urge to revivify its expressive power around the more flexible notion of "elegiac". The modernity of the elegy relies on this problematic heritage and requires a study in historical perspective: the vitality of the elegy at the beginning of the XIXth century allowed itself to provide a new interpretation of its genre that promoted the elegiac as a decisive criterion. Millevoye’s works enables us to date this turning point which paved the way to the romantic elegy linked to the rising notion of "lyricism" and glorified by Lamartine under the auspices of meditation. But while revivifying the elegy on elegiac expressiveness, romantic modernity compelled with the subject having to respond to historical vagaries that were eventually unsettling. Hence a shifting away from elegiac writing during the second half of the XIXth century into intimist withdrawal, parodic splitting or polyphony, all of them being various utterances of a questioning of the elegiac complaint’s subjective source. When the elegy as such resurfaced the literary scene owing to the trauma of the Second World War, it featured a shifting genre to crystallize the doubts, mournings and smiles of a lyricism as uncertain of its own song as the very existence of a subject that haunted its lines more than he inhabited them
Fantini, Stéphane. "Loups-garous, goules et vampires : poétique de l'espace et des éléments chez trois croque-mitaines de la littérature fantastique du dix-neuvième siècle". Grenoble 3, 2003. http://www.theses.fr/2003GRE39049.
Texto completoBarrucand, Michel. "Sidney Lanier (1842-1881) : un poète musicien". Nice, 1995. http://www.theses.fr/1995NICE2021.
Texto completoSidney Lanier's poetry is characterized by the principles that composers use in musical composition but adapted to the poetic creation. The aim of this book is twofold : first, to re-introduce into literary criticism a poetical work which has been neglected for over fifty years in the United States as well as in France ; and second, thanks to a musical analysis, to describe the poems which are based on an original writing technique. Two introductory chapters deal with the biographical and psychological aspects of Lanier, the man and the poet. Then, the reader is given an in-depth and rigorous analysis of Lanier's poetical treatise, entitled the science of english verse. The next chapters are about the explanation of Lanier's poetical works themselves, the methodology used resting on the principles of musical analysis applied to musical scores. Consequently, the questions deal with the combination of the phonemic sounds within the line and verses, the rhythms, the harmony, the melodies, the juxtaposition of the themes into fugues and the use of the counter-point. Thus Lanier's works are described in their purely musical dimensions, the poem becoming a scorepoem
Dupas, Pierrard Solenn. "L'art du déconcertement dans l’œuvre poétique du second Verlaine (1880-1896)". Rennes 2, 2009. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=sdsMS01.
Texto completoGenerally considered to be the result of poetic decline, or even creative renunciation, the later poetry of Verlaine tends to be forgotten by publishers and critics. This corpus, albeit heterogeneous, offers a constant reflection on literary expression and reception. From the publication of Sagesse in 1880, the poet emphasizes the art of disconcerting the reader created in his earlier poems. He writes outside of his time, against the standards and conventions of public opinion, but also uses explicit and implicit self-contradictions. This thesis proposes to show how Verlaine elaborated unstable, contradictory and polyphonic poetry, to surprise readers and confront them with their freedom and their responsibility with regard to the interpretation of texts
Blondeau, Isabelle. "La sculpture dans La Comédie humaine de Balzac : poétique, politique et esthétique". Thesis, Reims, 2013. http://www.theses.fr/2013REIML012.
Texto completoIf painting in Balzac's work has interested many critics, sculpture less. This is why this is the theme of this thesis. Indeed, it is a question of demonstrating that sculpture's representation in La Comédie humaine stands at the heart of Balzac's creation. In resonance (sometimes in resistance) with the speeches of that period, sculpture's representation in Balzac's novels implies particular thought on political representation, and represents the end of the sacred foundation of power, linked to Terror, in the first part of the nineteenth century. Articulating political representation and poetics of representation, the novelist highlights a crisis of mimèsis, too often mentioned regarding his work. In mourning of the sacred foundation and the reality of the Idea, Balzac considers sculpture as the place of the link between Idea and Image, and puts it at the heart of his energetic and his aesthetics. Coming from death, sculpture becomes for Balzac the first art, able to redefine the foundations of reality and fiction. At the crossroads of politics, poetics and aesthetics, this thought on sculpture in La Comédie humaine aims to combine history of representations and history of the representation