Thèses sur le sujet « Mythologie chinoise – Dans la littérature »
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Li, Shaoqing. « Figures du dépassement de soi : étude comparative des mythes littéraires de Sisyphe et de Jingwei ». Electronic Thesis or Diss., Université Côte d'Azur, 2024. http://www.theses.fr/2024COAZ2005.
Texte intégralSisyphus, the exemplary figure of hybris in Greek mythology, and Jingwei, the bird symbolizing the sublime of human will in Chinese mythology, share common myths in their mythic narratives: the transgression of death, cyclical action and the vanity of effort. The aim of this thesis is to examine the convergences and divergences between the Sisyphus myth and the Jingwei myth, using a mythocritical study combined with a hermeneutical approach. The didactic reading, whether it's the teaching on measurement in the Greek and latin authors' interpretations of the myth of Sisyphys, or the lesson on the power of human will in the first rewritings of the Jingwei myth, is in fact about the same mental reality: the human disposition of excessive self-assertion, whose different treatments in the two literatures reveal the cultural specificities of each. As mythology is a reservoir of literary motifs for poets, both myths are called upon and transposed in analogous thematic expression: the construction of an imaginary world, the expression of sentiment, the allegorical use as a counter-model for human actions and the exaltation of heroism. Through an analysis of the tendency to rehabilitate the two figures in contemporary literature, we can conclude that these two myths, marked by the mytheme of cyclical action, are a metaphor for the human desire to surpass oneself, and that their rewritings over time address the different facets of this desire. The tension between the invincible impulse to go beyond the limit and the rational awareness of the vanity of this attempt, which is inherent in this metaphor, is manifested as much in the occidental authors' criticism of acts of excess as in the ambivalent attitude that accompanies the heroic reading of the Jingwei myth. The complexity of this tension in the Chinese cultural context, which is based on a different conception of how to act, leads to a skewed reading of Camus's Myth of Sisyphus. The praise for Sisyphus's capacity for habituation in the novel The Four Books is an eloquent example
Roboly, Dimitri. « Constantinople, ville palimpseste dans la mythologie romantique ». Paris 4, 1999. http://www.theses.fr/1998PA040177.
Texte intégralGuo, Lanfang. « Occidentalisme psychanalytique dans la littérature chinoise de la Nouvelle période ». Electronic Thesis or Diss., Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCC044.
Texte intégralSince the birth of psychoanalysis, close and inseparable links have been forged between this science of man and literature. While the influence of psychoanalysis on Western literature is widely recognized, its contribution to Chinese literature does not seem to be so obvious. The purpose of this thesis is to discern its contribution to Chinese literature of the New Period. In the 1980s, China, driven by a thirst for new knowledge, was again attracted by the West. With the literary debates on subjectivity and modernism, Freud has become a name that has aroused extraordinary interest. Many writers, consciously or unconsciously, have incorporated Freudian thoughts in their creation. In the 1990s, the spread of feminism in China led once again a number of women writers to discover psychoanalytic theories, especially those of feminist psychoanalysts (Hélène Cixous, Julia Kristeva, Luce Irigaray, among others). The present dissertation, based on the reading of over thirty novels by thirteen authors, attempts to underline and analyze the psychoanalytic discourse present in these works through the study of five major subjects resonating with psychoanalysis : the stream of consciousness and the representation of dreams; the writing of sexuality and body; family relationships examined from a psychoanalytic perspective; the narrative of trauma; the figures of psychologist
Soussan, Anne-Claire. « La figure d'Athamas dans la mythologie gréco-latine ». Paris 10, 2006. http://www.theses.fr/2006PA100069.
Texte intégralAthamas, 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
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.
Texte intégralThis 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.
Texte intégralMonfort, Anne. « Les jumeaux dans la littérature et les mythes allemands ». Paris 4, 2004. http://www.theses.fr/2004PA040024.
Texte intégralThe 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.
Texte intégralDimopoulou, Barbara. « La mythologie romantique du peuple ». Paris 4, 2002. http://www.theses.fr/2002PA040089.
Texte intégralThis 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
Aubert-Nguyen, Hoai Huong. « Occident, Extrême-Orient : l'eau dans la poésie de Paul Claudel et celles de Li Po, Tu Fu, Wang Wei, Saigyô, Bashô et Buson ». Paris 10, 2006. http://www.theses.fr/2006PA100033.
Texte intégralBetween the West and the Far-East, water is an essential element of the poetry of Paul Claudel and of the poetry of Li Po, Tu Fu, Wang Wei, Saigyô, Bashô et Buson. It seems to be linked to the idea of desire in their work. Through the landscapes where they depict the images of springs, of rivers, of clouds or of the sea, it seems that those poets say a desire to embrace the world. Moreover, as the material dimension of the landscape is for them connected to its spiritual dimension, it seems that they express a desire of “spirit” through their thirst for a nutritive, purifying and exalting “water”, according to the words of Claudel. Water is finally associated to the poetic word by those poets, who seem to say a desire of poetry through the desire of water – the desire of a word which can be flowing, aerial and crystallized as water – a word deeply linked to the nature and to a mystery which is for them related to life
Hu-Sterk, Florence. « Le miroir dans la poésie française de 1540 à 1715 et dans la poésie chinoise des Tang ». Paris 10, 1986. http://www.theses.fr/1986PA100086.
Texte intégralThe symbolic richness of the image of the mirror in French poetry from fifteen hundred forty to seventeen hundred fifteen and in Chinese poetry of the tang dynasty is underlined through three aspects: the knowledge of oneself (around the narcissus theme), the knowledge of the other (around the theme of the woman and the mirror), and the spiritual knowledge. Before dealing with these aspects, the mirror is analyzed as a material object and in its historical development. The major traditional connotations of the image of the mirror are analyzed in both cultures. The variations of this image reveals not only the poetical view but also the technical, artistic, philosophical and religious quest of both cultures
Smith, Lacroix Louis-Pierre. « Mythologie de Lovecraft : contexte, prétexte, texte ». Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25212/25212.pdf.
Texte intégralStefanaki, Aikaterini. « Le mythe d'Hélène et de Clytemnestre chez Jean Giraudoux, Jean Anouilh et Yannis Ritsos ». Bordeaux 3, 2006. http://www.theses.fr/2006BOR30015.
Texte intégralThis 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
Sun, Yu-der. « La révolution intérieure : la femme adultère dans les littératures chinoise (Pan Jinlian) et occidentale (Emma Bovary, Anna Karenine, Effi Briest et Edna Pontellier) ». Limoges, 1999. http://www.theses.fr/1999LIMO2011.
Texte intégralPondepeyre, Marie-Thérèse. « Le personnage de Tirésias dans la littérature française et anglaise ». Paris 4, 1991. http://www.theses.fr/1991PA040074.
Texte intégralThe 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.
Texte intégralIs 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.
Texte intégralThe 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.
Texte intégralO'Connell, Anne-Marie. « Les figures du surnaturel dans la mythologie et le folklore irlandais ». Toulouse 2, 1995. https://hal.archives-ouvertes.fr/tel-01323678.
Texte intégralOur 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
Yi-Tsang, Jung-Sun. « L'humour dans l'esthétique romanesque de Lao-She ». Paris 7, 1994. http://www.theses.fr/1994PA070023.
Texte intégralTo characterize Lao she's humor, we first perform an analysis focusing on the author's origins and the various literary traditions that may have influenced him. Then, following an account of the chinese and western theories of laughter and humor, we define and contrast those of lao she. We analyze the novelist's philosophy and his recurring themes, given that humor is always linked with a certain life perspective. We study the author's humoristic techniques, particularly the creation of characters, style and compositional structure within his novels. In conclusion, we underline the evolution of Lao She's works and compare him with his contemporaries
Chaudré, Anne-Cécile. « La mythologie du vêtement dans l'oeuvre d'Albert Cohen ». Paris 4, 2004. http://www.theses.fr/2004PA040238.
Texte intégralThis 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.
Texte intégralThe 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.
Texte intégralWith 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.
Texte intégralKarakostas, Dimitris. « La figure mythique de Méduse dans la littérature européenne ». Paris 4, 2000. http://www.theses.fr/2000PA040071.
Texte intégralAlmekdad, Kassem. « Discours du récit mytho-épique ». Paris 3, 1987. http://www.theses.fr/1987PA030078.
Texte intégralEver 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.
Texte intégralLamiot, Christophe. « Le temps dans la nouvelle de Frank O’connor ». Paris 10, 1988. http://www.theses.fr/1988PA100088.
Texte intégralFrank 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.
Texte intégralThe 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.
Texte intégralYue, Yue. « Le sujet des souffrances dans la littérature tibétaine sinophone : 1952-2000 ». Paris, INALCO, 2006. http://www.theses.fr/2006INAL0025.
Texte intégralFollowing the annexation of Tibet by China, Tibetan culture was made to experience radical and irreversible changes. The first generation of Tibetan writers to write in Chinese, who were faithful to Mao Zedong's regime and derived inspiration from patterns set by Chinese military literature in Tibet, carefully implemented set political goals: they described the suffering and poverty caused by the old Tibetan regime. But the literary quality and circulation of their works remained limited. From the 1980s onwards, a second-generation of Sino-Tibetan writers emerged. Split between their impassioned attraction to the Maoist ideology and their love of literature, they mainly denounced the suffering caused by colonization. The opening up of the chinese economy, the massive inflow of Western ideas, and the influence of new Chinese literary movements led to their asserting and developing their literary style. These are the different aspects highlighted in this thesis, which attempt to answer the key question: does the new generation of Tibetan writers define a new approach to suffering?
Presselin, Valérie. « La figure d'orphee dans l'oeuvre de pierre simon ballanche ». Paris 7, 2000. http://www.theses.fr/2000PA070023.
Texte intégralLenzi, 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.
Texte intégralThis 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.
Texte intégralElectra, 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
Lim, Pierre-Mong. « L'Excription chinoise : l'oeuvre, son sujet et sa communauté (1839-1979) ». Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE3013/document.
Texte intégralThis dissertation studies the birth of what we term the subject of Chinese writing, during the period that stretches from the first Opium War to the Third Indochina War. Our research understands “writing” in the narrow sense of literary activity but also in the wider sense that deconstruction has attached to it. Hence, excription as a philosophical concept (created by the philosopher Jean-Luc Nancy) allows us to reinterpret a number of texts whose central thought or experience is the creation of a subject and a community of such subjects. Throughout three parts we read transversally the historical hypotheses on modernity by sinologist such as Naito Konan and Takeuchi Yoshimi as well as the poetic creations of Huang Zunxian, Wifredo Lam or Zhang Guixing. One must indeed keep in mind that excription also means a movement of externalization of meaning, that, precisely, of the Chinese subject and his community
Liao, Jun-Pei. « L' univers chinois dans la littérature française de 1895 à 1995 ». Paris 12, 2002. http://www.theses.fr/2002PA120018.
Texte intégralMohamed, Hassan Youssef Hassan. « Mythes grecs et influences françaises dans le théâtre de Tawfiq Al-Hakim ». Grenoble 3, 2004. http://www.theses.fr/2004GRE39009.
Texte intégralFürstenberger, Nathalie. « Le mythe grec dans la littérature argentine contemporaine ». Paris 3, 1995. http://www.theses.fr/1996PA030020.
Texte intégralThe 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.
Texte intégralFor 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
Na, Mingu. « Stylistique chinoise traditionnelle et emprunts étrangers : leur influence respective dans les oeuvres littéraires chinoises des années 1980 ». Paris, EHESS, 1996. http://www.theses.fr/1996EHES0318.
Texte intégralThis work is a 337 page dissertation comprising four main parts (pp. 11 - 306), a general introduction (pp. 3 - 10), a conclusion (pp. 304 - 313), an index of chinese words and a fifteen-page bibliography (pp. 319 - 332). Part 1 deals with traditional chinese stylistic (tcs). It contains four chapters devoted respectively to the different chinese ways of looking at the word << stylistic >>, to the history of tcs, the means of expression used in the tcs, and to the definitions of the chinese words : xiuxi, yuti, and fengge. In part 2 (pp. 71 169) one analyses the typical means of expression in the tcs present in the novels of lu wenfu and a cheng. Part 3 (pp. 170 - 207) observes the westernisation of the grammar of modern chinese since may 4, 1919 and considers the influence of western history trends. Part 4 (pp. 208 - 306) is devoted to the writers whose style is influenced by foreign languages, especially english and french : four poets of the trend of << obscure poetry>> (bei dao, gu cheng, jiang he) in the first chapter and to wang meng, a novelist of the << trend of the consciousness >> in the second one. Analysing from a linguistic point of view the style of several well-known contemporary chinese writers, one can ubdoubtedly observe the two following contrary trends in the literature of the 1980s : the use of tcs and the use of foreign constructions in the chinese grammar
Morou, Antigone. « Sophocle et Artaud : Pour une représentation contemporaine d'"Ajax" ». Paris 3, 1990. http://www.theses.fr/1990PA030097.
Texte intégralInfluenced 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.
Texte intégralThis 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.
Texte intégralLiterature 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.
Texte intégralOur 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.
Texte intégralIn 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.
Texte intégralIn 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
Ho, Wen-Yee. « Textualité et intertextualité dans la poésie de Mao : étude sémiotique ». Rennes 2, 1987. http://www.theses.fr/1987REN20015.
Texte intégralIn this thesis which comprises five chapters (historical situation of the poems, genres and language, macrostructures and microstructures, imagery, and intertext), we propose to do a semiotic study on the texture and the intertexture of Mao’s poetry. In the chapter "historical situation of the poems", we give a global discussion of Mao’s poetry while pointing out the historical and personal situations which inspire moa to write poetry. In the chapter "genres and language", we present the genres that Mao uses in his poems, the special characteristics of the Chinese characters, and the rules of versification of Chinese poetry. We point out the importance of parallelism as an organisation principle in Chinese poetry and we verify the theories of Jacobson on the function of equivalence and of parallelism in the poetic discourse. In the chapter "macrostructures and microstructures", our aim is to study the major structures and the stylistic touches in Mao’s poetry. In the chapter "imagery", we study the imagery in Mao’s poetry, and we show that, thanks to the concept of parallelism, imagery is not only decorative and static, but also a dynamic element which generates text. Finally, in the last chapter "intertext", we discuss the practice of intertext and the relationship between poetry and politics in the Chinese poetic tradition, and we also study the operations of intertext in Mao’s poetry. In our analyses of structures, imagery, and the "working" of the intertext, we try to elucidate the dominant structural systems, the functioning of imagery and of intertexts, in order to bring out the ideology of Mao. We also provide in the appendix three letters written by Mao the subject of poetry, and a literary translation of the forty-seven poems of Mao
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.
Texte intégralThe 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
Cruveillé, Solange. « Le renard dans les textes chinois de l’époque pré-impériale à la dynastie des Qing : de la légende à la fiction, de la démonisation à l’humanisation ». Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10095.
Texte intégralGély, Véronique. « Le mythe de Psyché des origines à 1671 (Italie, France, Espagne) ». Paris 4, 1993. http://www.theses.fr/1993PA040058.
Texte intégralBetween 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