Thèses sur le sujet « Passage de frontière dans la littérature »
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Juge, Carole. « De l'innocence à l'expérience : la quête initiatique du cow-boy dans The Border Trilogy de Cormac McCarthy ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040258.
Texte intégralThis dissertation undertakes the study of Cormac McCarthy's characterization of the cowboy hero,from his early state of innocence in the modern American West to his understanding of the first greatAmerican tragedy, the closing of the frontier. John Grady and Billy, the two main protagonists of thisBorder Trilogy, try to follow in the old pioneers' footsteps, attempting to achieve heroic status throughpublic display of bravery in a modern world that ignores them. Through their meditation, theirinitiatory journeys, and attempts to perform rites they define an ethics of experience making whichhelps justify the violence at the core of McCarthy's novels, a topic very popular in McCarthian studies.This dissertation hopes to shed light on the bond that ties initiation to violence and offers to discussproblems of experimentation and unfulfilled rituals, the hero's solitude and finitude, as well as thenarrative finitude of the book that always ends and the artistic finitude of the storyteller who also seeksanswers on his responsibility in the (hi)story
Hopkins, Fleur. « Aux frontières de l'invisible : culture visuelle et instruments optiques dans le récit merveilleux-scientifique au passage du siècle (1894-1930) ». Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H067.
Texte intégralIn parallel with X-rays, aura photography and attempts to communicate with the planet Mars, the writer Maurice Renard shaped, between 1909 and 1930, a movement, unrecognized today: the “merveilleux-scientifique”. Its plot is rationally designed, with the exception of a scientific law that is invented or modified, allowing human beings to perform prodigies only found in fairy tales: shrinking or mind-reading. There is ample evidence in Maurice Renard’s various manifestos his literary model was conceived as an “optical machine”. As such, based on more than 00 stories, 100 authors and illustrators and nearly 800 illustrations, our study maps the obsession for the extension of the visible (seeing inside, seeing beyond, seeing the other side). To do this, we mobilized throughout our work new resources and concepts. Visual studies, on the one hand, highlight the changes made in the scopic regimes of the time (endoscopic view, panoptic view, optogrammic eye, etc.). They reveal new visual artifacts, such as “récits sous images”, suggestive advertising or illustrations of popular novels, valid as historical evidence of the historical construction of gaze, vision and visuality. Media Archaeology, on the other hand, gathers media that are forgotten, discarded, late or too far ahead of their time. This field of research collects a significant number of “imaginary media”, highly inventive: “psychograph“, “ondogene”, “electroscope”
Chabot, Anne-Lise. « Henri Michaux : une expérience du passage ». Paris 8, 1994. http://www.theses.fr/1994PA080873.
Texte intégralThe purpose here is to study the stakes and charactarestics of the philosophical concept of "passage" (drawed by g. Deleuze) mainly through henri michaux's literary works. It first deals with three of the main sketches : the stranger process of becoming, the intensive process of becoming and the flying process of becoming. The death of michaux's young wife faces the passage to the death of the beloved. The evolution from la ralentie to l'espace aux ombres shows a link between mourning and passage. To check this hypothesis, quelque chose noir by jacques roubaud and jean-louis giovannoni's work are studied. It's obvious then that the refusal of mourning stands as an obstacle to "passage". The second meeting of death and passage is the hardship of his own death jean revezy' novel : le passage gives the clearest explanation : the acceptance of his own death shows the way, meeting death while alive. There is the same link in pierrealbert jourdan's essay between the acceptance of his own loss and passage. The search for passage through the use of drugs makes michaux face the hardship of this death. By accepting it, the being is revealed to him. Death becomes the instrument of passage and the real dimension of passage is discovered : the contemplation of the infinite being without identity nor name
Puig, Catherine. « L'oeuvre fictionnelle de Manuel Rivas : une poétique de la frontière ». Grenoble 3, 2007. http://www.theses.fr/2007GRE39022.
Texte intégralA major writer in contemporary Spanish literature, Manuel Rivas was born in Galicia. Through and inside his writing he has aimed at tightening the bonds of a diaspora that was scattered all over the world due to political and economic exile, and make his universe known to both hispanophones and non-Spanish speakers. Wandering at the borders of differents territories-short stories, novels, presse articles, photographs- he has explored one specific space: the past and present of Galicia and its traumatic history. This study aims at establishing the connections between the authors's representation of the diasporic process and his writing techniques and narrative strategies. Lndeed, the construction of fictional space and time reveals a double dialectic : the tension between scattering and seettling, between past and present appears at the very heart of the texts. Ln terms of heritage, transmission, traces, contamination and transgression, passages-from one generation or one language to another- constitute the main axis of his writing. As to borders, seen through their crossings and interférences, they seem to be part of a dual-process : rehabiliting a people and his culture, along with claiming an innovative creation space where reading rules and semiotic codes tend to dissolve, but also, where plural memories, voices and silences are found again. The poetics of the frontier, conjures up the terms: hybrid, heteogeneous and crossbreeding, which take an active part in the renovation of contemporary Spanish fiction, and lay the foundations of a man, a citizen, and a writer
Gagneret, Diane. « Explorer la frontière : folie et genre(s) dans la littérature anglophone contemporaine ». Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN056/document.
Texte intégralTraditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing
Marckert, Marie. « L'imaginaire de la frontière franco-navarraise et son évolution dans la littérature française et espagnole ». Bordeaux 3, 2009. http://www.theses.fr/2009BOR30006.
Texte intégralBy means of the research and analysis of varied texts related to the notion of movement, in a wide temporary perspective, which covers from the Middle Ages to the beginning of the XX century, the main objective of this thesis is to study the construction of the imaginary literacy of the french-navarre frontier and its evolution. From a not only deacon but also synchronic point of view, the great axes of the performance appear, according to an hypothesis which examines the perturbing intervention of the frontier in the process of the imaginary of the place. This constantly ranges indeed between its two main and inseparable components: the notions of joining and division. In this way, we are witness of the creation, the maintenance, the abandon and the renewal of stereotypes which affect not only the natural setting but also the social structures and the inhabitants. Although the character of physical and spiritual obstacle of the frontier prevails in the Middle Ages, this turns into the place where, later, the historical relations between France and Spain stage, before being the door which is opened towards exotic destinies and also the space where the ideologies are shown and the identities are strengthened. I’d like to point out too that the study of the novels highlights the capacity of movement of the frontier concept towards social, individual and metaphoric senses
Raimbault, Elodie. « Figures de l'espace et de la frontière dans la fiction de Rudyard Kipling ». Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030128.
Texte intégralRudyard Kipling was a traveller all his life and a champion of the British Empire at the time when its territorial stability was put at risk; he knew India, the U.S.A., South Africa and Sussex intimately. His direct and physical experience of the globe frames the thematic, narrative and stylistic characteristics of his novels and short story collections. Through the notion of borderline, relationships of differentiation, opposition, contact and exchange are built up thematically, in the narrative and in the style: the traveller is represented as a conqueror, an adventurer or a wanderer and global space is apprehended either politically or poetically. Imperial space is necessarily delineated and Kipling conceives of an Empire federating a mosaic of nations. Likewise, Kipling’s sentences stylistically patch up diverse languages, dialects and registers without endangering their textual unity and his narration hinges on the relation between separate elements and the whole text. The narrative authority creates converging lines between stories and networks appear between books, building up a coherent fictional world which suggests the possibility of an opening in this highly demarcated space. In their internal organisation, the books are at once composite and unified, the main narrative interacting with poems and illustrations in the short story collections and with micro narratives in the novels. Text becomes truly figurative in the annotated maps and when the typographical space is modern and significant. Kipling’s literary space dynamically confronts physical territories and a linguistic representative space, the textual organisation and the narrative world it depicts
Richard-Principalli, Patricia. « La semaine sainte d'Aragon : un roman du "passage" ». Paris 8, 1995. http://www.theses.fr/1995PA080964.
Texte intégralIn 1968, aragon elaborates a theory about parenthesis and novel. La semaine sainte is part of it as the origin of a practice which will become systematic later. In fact the parenthesizing practice illustrates aragon's move towards a different discourse and a different style. He changes his approach towards the two driving forces of life and writing according to him, till then, history and love. Thus history is characterized by the eternal recurrence and the two sides of men and events, in spite of the flickering light of a hope which tries to persist. Likewise, the amorous relationship always fails. Woman remains the stranger, basically ambivalent and elusive, all the more since man's crystalling look keeps her at a distance. Consequently all the characters in the novel are radically affected by the loss of markers since it causes their death. Death also appears in the fantasizing build-up of two murderous figures. But the act of murder remains hanging, a symbolic suspension : these figures stage the inexpressible, the only resort left against the double incertainty of history and love. Thus, la semaine sainte does not suggest a univocal vision of the world but is searching a "kaleidoscopic" reality. So the sun, of the end of the novel, has an artistic value. Writing whose question is the only resort against "human contradiction" becomes an act of doubt
Salas, Irène. « À la frontière du corps : l’imaginaire de la peau à la Renaissance ». Paris, EHESS, 2014. http://www.theses.fr/2014EHES0138.
Texte intégralDuring the Renaissance, the skin – which has often been overlooked in recent studies on the body – allowed new approaches, initiated new speculations and contributed to a new knowledge. Our purpose is to show how this singular organ became a privileged theoretical object in a time when thought was structured by conceptual couples such as surface and depth, interiority and exteriority, being and appearing, the visible and the invisible, the sensible and the intelligible, the corporeal and the spiritual. In this survey, which also takes into account vegetable and animal skins (membrane, bark, fur, leather, shell) and “second skins” such as clothing, make-up or armours, our guides were not only philosophers and physicians, but mostly writers and painters, who brought the skin into light while it seemed to disappear under the blades of anatomists. Its “epiphany” can be seen in Montaigne, Ronsard and Shakespeare, as well as in Leonardo da Vinci, Michelangelo or Titian. . . Not to mention those whose imagination was nourished by the legendary stories of the flaying of Marsyas and Saint Bartholomew – or by the myth of Epimetheus that questions the human nature. Particular attention was paid to the skin as “support-surface” of writing and painting, because it offered writers and artists the opportunity to reflect on their own practice, on the materiality of language and images, on visual and tactile qualities of representation
Rioux-Watine, Marie-Albane. « La voix dans l'oeuvre romanesque de Claude Simon : la transparence et la frontière ». Paris 4, 2004. http://www.theses.fr/2004PA040064.
Texte intégralAlthough structuralist criticism promotes it as the text's main subject, speach is constantly hindered in Claude Simon's novels. Through the systematic analysis of the noises that affect the different communicational posts, it will appear that the intersubjective boundaries coexist with a direct contact fantasy which could do without cultural or semiotic detour. This transparency is built on the pattern of the live voice. Appears then the figure of a “phonocentrist” writer, who denies the writing and presents the voice as the vehicle of a perfect communication, without the sign's bypass. The text should therefore embed the voice in itself, through the artifacts of reported speech and voices' descriptions. The systematic study of RS shows a constant oscillation between the highlighting of the heterogeneous and the inclusion of vocal alterity. The descriptions show moreover a certain fading of the voices : the link with the present and the speaker seems to vanish. The analysis of characterizing adjectives shows the aporia of the voice of the self, dissolved in an atopic rumour. The coexistence of a voice with no contour and the transparent vocal circulation resurges in the descriptions of the mouth, the organ of speech. As a heuristic organ, it reveals the other's body, but takes part at the same time in the subject's hollowing. The mouth nullyfies the langage and thus the link to the outside world. The existence of a boundary is actually what makes any contact possible. The dual nature of voice (living and faded) reflects the effect of the novels have on the reader, both a sense of presence, and one of distance
Albrecht, Florent. « Le passage à l'Ut musica poesis dans la poésie française (1857-1897) : faux paragone littéraire ». Paris 4, 2009. http://www.theses.fr/2009PA040088.
Texte intégralFrench poetry rules, for centenaries, can be summarized by the following Horatian phrase : 'Ut pictura poesis'. In the second half of the XIXth century, an aesthetic revolution stigmatizes this classic rhetoric heritage. Poetry eliminates its pictorial model to try a musical one, a changeover which is named 'Ut musica poesis'. Poets of this period, whatever school or sensibility they are defined by, are unanimously trying to get beyond their model. The scheme of this essay is to show how this artistic rivalry succeeds in defining, at the end, and after numerous and hazardous artistic experiments, modern poetry. More than a mere artistic fight, the musical model managed to test poetry’s limits : aesthetically, theoretically, semiotically, and literarily. The issue of representation never changed; on the contrary : has music, more than a rival, ever been but revealing poetry to itself ?
Stankiewicz, Waclaw Pascal. « Médiations narratives : actualisation et métamorphoses du réel et de l'écriturre dans "Sartoris" de William Faulkner : genèse et traductions ». Paris 4, 2006. http://www.theses.fr/2006PA040115.
Texte intégralIf the problem of fiction could be concentrated into only one proposition, it would certainly be the first of William Faulkner’s Sartoris : we could speak of a “hyper-deixis” and a “plupresent” (or a “past present”) for a phenomenological novel before the final stage. With reference to the already old Benveniste’s opposition “story / discourse” and to textual realities, narratology should consider nowadays that deixis is the structural chief characteristic of the fictional text, analysed in its different levels of mediation : assertive and narrative acts, semantic and referential foundations (presupposition and make believe) of the whole pragmatic framework linked to enunciation : temporality, chronology, acting hero’s “chronotope”, sequentiality, “objectivity”, showing, indexicals and deictics, anaphora without any antecedent, values of the reference’s articles in discursive usage and in the context of narrative voice and point of view. All those things remaining intra-narrationem of a text whose “conscience” does interest, made as it is of the kind of moving form provided by the very complexity of the instancial set put into narrative situations and by the different degrees of the metamorphosis in writing. On the whole, Sartoris and Faulkner’s first novels reveal narrative deixis both to itself and to western literature, - from start to nowadays, as well in the American influences as in the linguistic heritage of the twentieth century, - whose History needs also a methodical and contrastive approach of English, French and even Polish tongues
Rahali, Ali. « Références culturelles et littérature dans "Passage de Milan", "L'Emploi du temps" et "La Modification" de Michel Butor ». Nancy 2, 2002. http://docnum.univ-lorraine.fr/prive/NANCY2/doc73/2002NAN21017.pdf.
Texte intégralWorried by the correspondences between the literature, the art blows up, the history and the mythology, Michel Butor practised these cultural references as a mode of writing which are happened to him a recurring process. In author's novels, the cultural references, rich and diversified, play a role of scout and support fot the text. They are also at the origin of an awareness which is translated by the decision to write
Daguerre, Blandine. « Passage et écriture de l’entre-deux dans El Pasajero de Cristóbal Suárez de Figueroa ». Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1025/document.
Texte intégralThe purpose of this PhD thesis is to study the in-betweenness concept in Cristóbal Suárez de Figueroa's El Pasajero in all its forms and will first deal with the thorny issue raised by the generic identity of the work. The first part of this study aims to define the different influences pervading the text. Besides being Italian-inspired, the text is deeply rooted in the Hispanic folk substrate, which thus testifies to the prevalence of the in-betweenness concept in Figueroa's prose. Indeed, the concept emerges as soon as one reads the paratext, for the full title of the work, El Pasajero, advertencias utilísimas a la vida humana, has to be construed as an invitation to indulge in extensive transtextual practices, as confirmed by the words of the character who presides over interaction. The porous frontiers between reality and fiction tend to transform the text into a laboratory where literary forms are experimented on and a place of exchanges leading to new literary patterns, which are the focus of attention in the second part of the study. The treatment of space and time and characterization all contribute to underlining the key role played by the in-betweenness concept in the genesis of Figueroa's work. The latter keeps wavering between literary tradition and innovation. Finally, the last part of the study shows that beyond the colourful patchwork, in-betweenness gives consistency and homogeneity to Figueroa's text by becoming a structuring principle, like the discourse on merit inscribed in the work. In other words, in Figueroa's work, in-betweenness is the cornerstone of a writing strategy based on different slippage mechanisms that account for the profoundly hybrid nature of El Pasajero
Fiatti, Igor. « La Mitteleuropa et son processus de métamorphose dans la littérature contemporaine ». Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030003.
Texte intégralThe Mitteleuropa has been molded, deformed, exploited as much by the protagonists as by the crowd people of our history. Therefore, in its incessant metamorphosis, in its flou existential being, in its tension between center and periphery, between "major" end "minor" literature, between West and East, it's showed itself as a deep-rooted confusion: an ontological confusion. This study has found such disarray along a walk among the literary paths of central Europe, a way that, from the Habsburg myth, from the saga k.u.k of Joseph Roth, meets the Mitteleuropa of the borders, the Mitteleuropa of the frontiers
Simille, Françoise. « La notion de passage dans l'oeuvre de Philippe Jaccottet ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00720105.
Texte intégralDragon, Geneviève. « La masure et le mausolée : le roman de la frontière entre Mexique et États-Unis ». Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20015/document.
Texte intégralThis work focuses on the mythical territory of the border between Mexico and the United States, in terms of novelistic literature. As the product of a conflict history, the border area is at the heart of an actuality terrible and spectacular. The violence of the narcos, the thousands of migrants risking their lives through the desert, the innumerable and unpunished feminicides: every fact expresses violence and excess. Taking as a point of departure this observation of an extreme and spectacular reality, this study shows the complexity of a place mixing different representations. This phenomenon is called hypertopia. The fictional corpus composed of American writers (James Carlos Blake, Cormac McCarthy), Mexicans (Yuri Herrera, Eduardo Antonio Parra) and more broadly Latin American (Roberto Bolaño) serves as a critical counterpoint to this hypertopia, conceived as a romantic overflow of fiction on the real. The study of these novels reveals a paradoxical representation of a mobile border, which disappears and vanishes. The work defines the "total novel" or novel of porosity, able to contain a worried questioning about the chaos of the world, against which literature tries to confront. To approach such a place, the study proposes a method, not only comparatist (by borrowing geocritics and references to the imagology) but more broadly interdisciplinary, crossing geography, history, anthropology and plastic arts
Awad, Aziza Ibrahim Sayed. « L'immeuble parisien dans "Pot-bouille" d'Emile Zola et dans "Passage de Milan" de Michel Butor : du chronotope au mythe ». Bordeaux 3, 2008. http://www.theses.fr/2008BOR30082.
Texte intégralIn the two novels, from a simple commotion of tenants in a Paris block of flats, come to light aspects much more mysterious than those expected from a simple realist story. Zola and Butor nurture their text on a strong touch of imagination and symbolism. We started from an analysis of two stories describing first the complicated network of established links in this Paris house. So, it’s a matter of social portrait of problematical relationships between characters in each book. Psychological analysis leads us to an analysis of the places, to a space and time study and to the influence of their interaction on characters from the block of flats. After, we surpass this spatiotemporal equation to have a look purely mythical at the two stories. Analysing mythical dimension hidden in these two stories, we draw, from ambivalents pictures, indeed conflicting, an hymn song by the two authors to vital equilibrium, universal harmony and human plenitude
Fourcade, Serge. « Devenir un homme. Le parcours initiatique du héros dans trois contes de tradition orale : Le chasseur adroit (type 304), Le langage des animaux et la femme curieuse (type 670) , Les trois langages (type 671/517) ». Paris 7, 2004. http://www.theses.fr/2004PA070062.
Texte intégralThe Hunter, The Animal Languages and The Three Languages (also called, in English, The Boy who learned many things, or Vaticinium), tales of oral literature, form, when one considers ail of them in one look, a kind of triptych of male initiation. Offering us complementary points of view on the rites of passage which lead little boys to maturity, they inform us about quite a few popular practices of which they hold traces and from which they draw an important part of their significance. The present thesis looks into eighty-nine versions - some in French, some in other tongues - of these tales, borrowed from twenty-three peoples. The study, adopting a comparative and interdisciplinary approach, crosses necessarily fields outside folklore, other literary genres for example, or other forms of artistic expression that it illuminates by repercussion. It meets sometimes also the initiatory course of young girls, whose evolution towards the adulthood eventually appears inseparable from the boy's progress
Mangeard-Bloch, Nathalie. « La rentrée dans les albums de littérature de jeunesse : normes et représentations d'un rite de passage de la petite enfance ». Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCB187.
Texte intégralNumerous children's books try to lessen the stress for young children, related to the beginning of a new school year, by depicting this first day back. These publications, which are aimed at very young children and their parents, act in two ways: they provide a mirror of society, and paint a picture, as they contribute to the development and communication of the different codes and rules linked to this new step in life. They provide a priceless account of this new challenge, in which the "role of the pupil" is constantly being redefined. In this analysis of a body of 158 works and their content (documentaries and fictions) we will try to make an inventory, diachronically (from 1970 to present day) and synchronically, of the connected norms and portrayals of this key moment in childhood. The aim is to understand how these different portrayals have evolved and have been structured, which underlying social definitions of childhood can be detected, and in what way they fit into a highly ordered editorial sphere. The interviews carried out with the authors of these publications aim to question the process used to create these norms, highlighting any potential conflicts regarding normative values generated by logical ideas which cross over in the context of the production of these books
Grasset, Eloi. « Modernité et changement de langue. Le passage du castillan au catalan dans l’oeuvre de Pere Gimferrer. (Aspects critiques, théoriques et lexicométriques) ». Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040006.
Texte intégralThis thesis sets out to study the language change that occurs in the poetry of Pere Gimferrer. To achieve this,we will activate a complex route - critical, theoretical and methodological -. This issue tries to resolve a centralquestion: to elucidate whether this change of language – from Spanish to Catalan, from Catalan to Spanishnecessarilyimplies a change of style, or if the style of the poet remains stable even if he changes his writinglanguage. Although the research is oriented to find a possible answer to this question, we propose as a startingpoint, the analysis of the consequences of writing in several languages in modernity. For this reason wedevelop the theoretical concepts of "border", "extraterritoriality", "foreign language" or “mother tongue” that willbe very useful to carry out our analysis. In the last part of the thesis, and through the lexicometry, we present acomprehensive approach to the specific lexical and phrase structure of Pere Gimferrer’s work, in Spanish and Catalan. Finally, we offer a reply to the problem proposed
Rondepierre, Eric. « Marguerite Duras : une esthétique de l'indifférence : le passage de l'écrit à l'image dans un texte frontière de Marguerite Duras : les Yeux verts, n° 312-313 des Cahiers du cinéma ». Paris 1, 1988. http://www.theses.fr/1988PA010659.
Texte intégralPourkat, Francis. « Jacques Réda et la délivrance du passage : genèse du marcheur lyrique dans Amen, Récitatif et La Tourne ». Nancy 2, 2000. http://www.theses.fr/2000NAN21006.
Texte intégralWhat about lyricism today ? Is it of any avail to those who stand at the battered outposts of modernism ? In the wake of last century's experimentation, brought to a standstill on three occasions, J. Réda takes the matter up, starts afresh and updates it. In the course of his adventurous perigrinations through language, he challenges lyrical stalemate and fully commits himself to the process of breaking through and going beyond. Made into a trilogy, Amen, Récitatif, La Tourne, put, in turn, naming, voice and writing to the test of facts. Can reality be closed in on ? Does the visible, on its dark side, keep some other sight in store ? Dependent on perception, its call can only be heard through what it recalls. Do poetic perception and mere eye vision overlap to shape it ? Writing and memory do interfere with creation, but to what extend and to what purpose ? The lyric subject exists through these questions and gradually builds up as the poem puts answers forward. He risks undergoing transformation and imperils his own self. The present study investigates this quest from its start and attempts to clarify its meaning as it goes along. It proposes a running commentary that matches the difficulties with the successes of the poet's work confronted with its own limitations and potentialities. Relationship to origins, utterer's posture, balance of desires, layout of the scene, all these provide food for his thinking. Torn between indefinite negation and forgetful assertion, poetry stands in the forefront and goes forward. This work aims at shedding light on the prereflexive field where its foundations lie. Language ontology exposes the driving forces of spirit in action. The poet focuses on the being's mobility while his voice is propped by the power of rythm which, all things considered, turns out to be the most obvious evidence of lyrical commitment throughout poetic works
Mohr, Manuela. « Le fantastique à la frontière des cultures : formes populaires et élaboration des sciences de la vie psychique dans la littérature fantastique sous le Second Empire ». Thesis, Montpellier 3, 2020. http://www.theses.fr/2020MON30022.
Texte intégralThe fundamental book Introduction à la littérature fantastique by Tzvetan Todorov [1970] has declenched a considerable gain of interest in the fantastic. However, his major work had the effect of confining the field of research, and of reducing considerably the domain of interrogations. Todorov's perspective is textualist; his problematic is, above all, generic. This is why he builds a model which aims at defining the specificity of the fantastic literature in relation to genres considered as continguous: the strange and the marvellous. The recent progress in the domain of cultural history have shown the necessity of adopting a sociological and pragmatic perspective in order to define the specificity of a literary product as an act of communication. This approach is particularly fertile for the fantastic literature that takes certain subjects and forms, characteristics of the popular culture, and that reconfigures ''para-literary'' genres or genres linked to media typical of modern times. But the fantastic metamorphoses what it borrows from popular cultures in order to create legitimate texts. However, too many writers are forgotten by the researchers. During the whole nineteenth century, the fantastic literature constructs a ''fictional laboratory'' where mental sciences (psychology, psychiatry, neurology, psychoanalysis) begin to develop: these erudite cultures communicate with themes and motifs that had originated in legends or fairy-tales orally
Lalanne, Sophie. « Héros et héroïnes du roman grec ancien : étude d'une paideia aristocratique à l'époque impérial ». Paris 1, 1999. http://www.theses.fr/1999PA010675.
Texte intégralManresa, Céline. « Sculpter l'espace : les choses dans les premières œuvres de Willa Cather ». Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20085.
Texte intégralThe aim of the thesis is to show how Cather constantly resorts to the mediating power of things in order to endow the representations of space, the portraits of her characters and the substance of her discourse with a sculptural density and relief. Exploring the link between fictum and fingere and inventing new forms of kinship between words and things, Cather creates an essential homology between her writing and the art of sculpture. According to her own words: “When a writer has a strong or revelatory experience”, he “gets a depth of picture and writes, as it were, in three dimensions instead of two”. Indeed, in Cather’s early novels and short-stories, natural and artificial things act as concrete intermediaries which pave the way for a fruitful yet respectful contact between her characters and space and between her discourse and the tangible world. From the Cliff-Dwellers’ relics to the artefacts crafted by the pioneers and artists in turn-of-the-century America, material things give rise to a genuinely poetic encounter with the real. Men’s tools and Cather’s words join to bring sculptural precision and depth to the Frontier territories, the canyons and mesas, as well as the outlines of cityscapes. At the same time, the tangible or ethereal things delineating the contours of the concrete world also shape Cather’s writing. Genuinely inspired by the sculptor’s, the goldsmith’s and the alchemist’s skills, Cather’s crafted prose not only renews “the seductive power of things” (Bachelard) or “the capacity for wonder” (Tanner), but also turns words into finely sculpted things
Grandadam, Fleur. « Mythes, rites et symboles dans la littérature de Patrick White : essai de lecture anthropologique : "Voss", de la quête initiatique au rêve aborigène ». Polynésie française, 2003. http://www.theses.fr/2003POLF0002.
Texte intégralInspired by his experience of the battlefields of Greece and the Middle East during World War II and the cultural and geographical resistance of Australia to European civilization, Patrick White (1912-1990, Nobel Prize for Literature in 1973), enlarges on an abortive exploration of the biggest island in the world to build it up into a symbol of introspection, thus broaching upon the themes of human identity, country (town, bush and outback) and love. Voss (1957) unfolds the story of a man and a woman which can only fulfil itself in fantasy, blending at times with the Aboriginal Dreamtime and transcending social classes. In this epic masterpiece, White delivers the message that identity depends on land and that Judeo-Christian traditions must come to terms with Aboriginal mores. Man has to acknowledge his wilderness - Leichhardt as a land explorer, Voss as a circumnavigator - to find out where he belongs, prop up the sky in order to embrace the land, keep both of them at bay, and, tree-like, grow!
Nouaïri, Anis. « La poétique de l'errance dans l'œuvre romanesque de Pierre Jean Jouve ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040105.
Texte intégralHeir to a long tradition of “bohemian” writers, Pierre Jean Jouve is the author of a novel similar to a road dotted with scattered paths. Strictly marked by the novelist, but never fully explored by the reader, a visitor to a literary space where the peregrinations of the characters mingle with the wanderings of the writer, Jouve’s novels are read as real milestones on the road that led the author to what he calls « the unchangeable language ». This study puts emphasis on Jouvian novels’ themes namely travel (terrestrial and celestial), dreamlike, Eros and Thanatos... so many catalysts of this “novelistic wandering” at the heart of Jouve’s art, whose stated aim is to allow access to « real free Poetry »
Barbolosi, Laurence. « De la nécessité du messager à celle du confident : pour une approche dramaturgique de l'espace tragique ». Rennes 2, 2004. http://www.theses.fr/2004REN20035.
Texte intégralIn Greek tragedies or French classical tragedies, the aesthetic production of the meaning of the tragic effect is based on a method of connection : the determine role of the visible space and the invisible space. The latter creates a tragical space that coincides with the imaginary of the spectator and throws " the sign of transcendency " back to him. Thus, the spectator can go beyond his pathetic first emotion to reach the tragical conscience. This space needs to be configured, the interpreter of a dramaturgic system : " the poetical mediator ". The examination of Greek tragedies and French classical tragedies shows that this mediatory role can be taken charge by deeply unlike characters, on the one hand , the messenger , on the other hand , the confident, no without revealing the presence of a constant structure in spite of the distant sociohistorical backgrounds
Al-Hakim, Nouha. « Michel Butor romancier de la ville, à travers ses romans : Passage de Milan, L'Emploi du temps, La Modification, Degrès ». Paris 4, 1985. http://www.theses.fr/1985PA040018.
Texte intégralRannou, Isabelle. « Vers le visible : écritures de l'image dans trois romans de E.M. Forster ». Rennes 2, 2009. http://www.theses.fr/2009REN20055.
Texte intégralMany readings of E. M. Forster’s novels agree on the “visual” quality of his writing, using words borrowed from painting to describe it. However, critics have rarely concentrated on the complex nature of its appearance within the text of the novels which, as many have claimed, tend to reject painting in favour of music. Analysing the pictorial images in three key novels addressing the connection between the verbal and the visual (A Room with a View, Howards End, A Passage to India) highlights the progression of a text wavering between convention and the search for new forms. While the critical treatment of the “interpictorial” reference reveals that some images fail to achieve visibility in the text, some descriptions displaying a more allusive pictorial dimension demonstrates that the text can renew its methods and exceed the imposed frame of reference to “paint” in its own terms. Such variations echo the Forsterian concept of rhythm and allow the consideration of the image beyond the sole reference to art. This progression further discloses a questioning of representation in the texts, when the destructive effects of modernity that are displayed in the later novels challenge its very standards. The writing of E. M. Forster, which increasingly values the invisible and the unspeakable, finds new ways of producing the visible in the very modes of modern visibility offered by the photographic and the negative description, through the gaps and fissures of the text. More than the sign of a failure of the literary to write the visible, the image reveals the Forsterian novel as the testing ground for its own modernity
Fouchet, Eugénie. « Enfances handicapées : une liminarité indépassable ? Une approche ethnocritique de la littérature de jeunesse ». Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0070.
Texte intégralThis thesis is a study of the narrative and iconographic representations of physically handicapped children and teenagers in contemporary fiction for children and young adults. The corpus under study includes picture books, comic books, novels and plays. We propose an ethnocritical approach to these texts, based on both a poetics of the literary text and an anthropological approach to the symbolic. The first part of the thesis focuses on the process of initiation of the character. We show how the handicapped child or adolescent constructs his/her identity within the framework of child or adolescent cosmologies which are to some extent recreated or reshaped by the narrative (or iconographic) destiny of the character. Particular attention will be paid to the role of games, art, deep literacy, and imagination. The second part examines the cultural and symbolic representations surrounding the body of the handicapped person. From this point of view, two opposite (but sometimes complementary) attitudes appear: the first one focuses on the over-visibility (and sometimes even on the abnormality/anomaly) represented by the handicapped body and the other, inversely, on its erasure or euphemisation, and thus on its more or less sublimated liminal status. We will attempt to demonstrate how the relationship between text and image often leads to a dialogue between these two attitudes. What is at stake from an ethical and educational point of view in a literary “stylization” of physical handicaps and in the forms of symbolic return to a wild state involved in contemporary representations? And what strategies for overcoming or transcending physical handicaps are offered by activities involving play, dreaming or critical distance? Is it possible to detect a new attitude, a new art?
Hernández, Gómez María de los Ángeles. « La pensée de l'homme dans l’œuvre de Vercors ». Thesis, Université Clermont Auvergne (2017-2020), 2020. http://www.theses.fr/2020CLFAL006.
Texte intégralThe two world conflicts that opened the 20th century radically transformed the contemporary world, giving rise to major social, political, artistic and philosophical revolutions. A trend of humanist revival in search of new values for Humankind was born. Among the many formulations was that of the work and thought of the French writer Jean Bruller, also known as Vercors. Having designated Human being at the centre of his intellectual, artistic (notably literary) project, Vercors questioned himself about the existence of the human species, its nature, its place in the world, the definition of human being, based on what is specific in being human. This doctoral dissertation investigates the different theoretical, ethical and aesthetic forms that this idea of human being takes in the author’s productions, in order to analyze the distinctive features that link and differentiate it from alternative contemporary humanist thinking. The proposed corpus is built around theory-fiction dialogue, which also takes into account the artist’s first drawings. Closely linking life, work, thought and sociohistorical context makes it possible to reconstruct and comprehend the author’s project, as well as to define the concrete role of the literary text in the vercorian reflection. This system of interrelations also benefits from the multidisciplinary approaches that the writer brings to his work (history, philosophy, anthropology, biology and psychology). The thesis, as a whole, serves as a paradigm to explore the different variations existing in his fiction, where Vercors’ thought on Humankind is most compellingly developed
Vida, Marie-Thérèse. « Itinéraires humains dans l'espace urbain à partir de quatre auteurs de romans policiers : Alicia Giménez Bartlett, Antonio Lozano, Juan Madrid, Andreu Martin ». Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC040/document.
Texte intégralThe Spanish crime novel that has been written over the last three decades can be essentially defined as an urban social novel. The movements of the detectives reveal the cartography of a Spanish urban space which is in mutation, reflecting the transformations undergone by Spanish society. Based on the work of four authors, Juan Madrid, Andreu Martín, Alicia Giménez Bartlett and Antonio Lozano, this thesis proposes various possible ways of interpreting that urban space, thus enabling a better understanding of the evolution of Spanish society. First of all, we encounter a space of proximity comprising a combination of places - as defined by Marc Augé ; then a space across which visible and invisible frontiers run, hindering mobility for a part of the population ; finally a space in which mobility is widespread, so emphasizing the inequality between those who have access to it and those who are condemned to staying put. This thesis thus proposes a literary and sociological approach to the contemporary Spanish crime novel
Roger, Émilie. « Corps : Présences et Pensées du Corps dans les "Cahiers" et les oeuvres de Paul Valéry ». Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30096.
Texte intégralUnderstanding the Mind stumbles over the Body: the reflexion on the human led by Paul Valéry, beyond the strict analytical method he set for himself, cannot be severed from a thinking of corporeality. Precisely, out of the confrontation of the purity of the Mind and the finitude of the body anchored in the contingency of the World springs a writing of suffering and longing showing through the surface of the extremity of being, between the blurred limits of an inside and an outside. Our research aims to define the different scriptural structures of the body in the work of Valéry, so as to reveal a « dark stain » (or Fourth Body) in the gap that resists transcription but contains the key to the unspeakable. The Valeryan representations of the body, rich and complexe, are shared between a thinking organizing the body into four poles of perception (« Mon-Corps »,Body of appearance, Machine-Body and Fourth Body) and a poetics texturising a plural, brutalized or reified flesh whose images mold themselves around a trapped psyche. When studying the movement between step and danse, the ritornello concept imposes itself, following an outline identical to the Valeryan play on writing, to understand the multiple (de)territorializations of a body towards the world and towards its depth. Valéry attempts a mapping or « topology » of the real and imaginary body by referring to biological, mathematical (Riemann) and mythological (ouroboros) tools favourable to embodying the passage from mind to body, and especially through the ineffable bodily area. Husserl's phenomenology provides a final light on the way the flesh inscribes itself in its intimate relationship to the other
Robitaillié, Audrey. « " Away with the fairies" : le motif de l'enlévement par les fées et du changelin : de la mythologie à la diaspora irlandaises ». Caen, 2015. http://www.theses.fr/2015CAEN1032.
Texte intégralThis project aims at analysing the reuses of the motif of fairy abduction and of the changeling in contemporary literature, either Irish or from the Irish diaspora. Studying these motifs as they appear in the folk accounts allows a better understanding of their traditional characteristics, to then be able to compare them with the way the contemporary writers reinterpret them. It seems that the changeling motif has been taken up as an Irish metaphor for emigration and exile, whether it be geographical, psychological or linguistic. This thesis thus explores issues of identity and memory through the theme of the changeling which, although it is not of Irish origin since it is absent from the early mythological sources, has paradoxically become an Irish literary symbol
Fouchet, Eugénie. « Enfances handicapées : une liminarité indépassable ? Une approche ethnocritique de la littérature de jeunesse ». Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0070/document.
Texte intégralThis thesis is a study of the narrative and iconographic representations of physically handicapped children and teenagers in contemporary fiction for children and young adults. The corpus under study includes picture books, comic books, novels and plays. We propose an ethnocritical approach to these texts, based on both a poetics of the literary text and an anthropological approach to the symbolic. The first part of the thesis focuses on the process of initiation of the character. We show how the handicapped child or adolescent constructs his/her identity within the framework of child or adolescent cosmologies which are to some extent recreated or reshaped by the narrative (or iconographic) destiny of the character. Particular attention will be paid to the role of games, art, deep literacy, and imagination. The second part examines the cultural and symbolic representations surrounding the body of the handicapped person. From this point of view, two opposite (but sometimes complementary) attitudes appear: the first one focuses on the over-visibility (and sometimes even on the abnormality/anomaly) represented by the handicapped body and the other, inversely, on its erasure or euphemisation, and thus on its more or less sublimated liminal status. We will attempt to demonstrate how the relationship between text and image often leads to a dialogue between these two attitudes. What is at stake from an ethical and educational point of view in a literary “stylization” of physical handicaps and in the forms of symbolic return to a wild state involved in contemporary representations? And what strategies for overcoming or transcending physical handicaps are offered by activities involving play, dreaming or critical distance? Is it possible to detect a new attitude, a new art?
Sfar, Gandoura Ons. « La Poétique du rêve dans quelques fictions brèves des XIXe et XXe siècles : Gérard de Nerval, Théophile Gautier, Jules Supervielle et Michel Leiris ». Thesis, Université Clermont Auvergne (2017-2020), 2020. http://www.theses.fr/2020CLFAL008.
Texte intégralWhen the authentic, or fictitious dream intervenes in the literary text, the vast inconscious question imposes itself. The literary implementation of the dream testifies, not only the interest in the inconscious part of man and his imagination, but also his fruitful links with reality : like reciprocity (exchange), continuity or rupture. These links, make all the dynamic « dream story » of the 19 th/ 20 th centuries. The dream like narration is part of the broader aesthetic, which, in all respects, breaks with progressivism and the supremacy of real, by establishing poetics of the improbable. Thus, chahracters, spaces, time derogate from the usual, (normative), building a different world that does not fail to recall the mythological universe. It is above all, to reflect on the adventure of the literary dream, traversing the different literary and aesthetic movements and enbodying a mirror that reflects the thougts, reflections, poetics of Gérard de Nerval, Théophile Gautier, Jules Supervielle and Michel Leiris
Rimasson-Fertin, Natacha. « L'autre monde et ses figures dans les "Contes de l'enfance et du foyer" des frères Grimm et les "Contes populaires russes" d'A. N. Afanassiev ». Phd thesis, Grenoble 3, 2008. http://tel.archives-ouvertes.fr/tel-00370179.
Texte intégralCe thème constitue la base des principales conceptions de l'univers des peuples indo-européens et exprime le sentiment des hommes d'être entourés de puissances inexplicables. Il sera analysé dans les Contes de l'enfance et du foyer des frères Grimm (1812-1815 pour la 1ère édition), et les Contes populaires russes d'A. N. Afanassiev (1855-63). Les deux recueils, qui seront étudiés dans leur langue d'origine, partagent un même objectif : le collectage des productions de la poésie populaire, Afanassiev ayant lui-même placé son travail dans la lignée de celui des Grimm. D'autres textes viendront enrichir l'analyse, notamment les romans et visions du moyen-âge européen.
La méthode adoptée est comparatiste et relève de l'anthropologie culturelle, dans la mesure où le corpus choisi permet une mise en regard de deux aspects de la pensée et de la culture européennes du XIXème siècle : le thème de l'autre monde jouera le rôle de révélateur des mentalités populaires.
Le classement des occurrences de l'autre monde en fonction de ses localisations débouchera sur une typologie visant à dégager les grandes tendances de chaque aire culturelle ainsi que les variantes écotypiques dans la représentation de l'autre monde, non seulement sur le plan des motifs, mais aussi sur celui des techniques narratives et de l'organisation du récit. L'étude traitera donc également la question des genres auxquels se rattachent les différents textes.
Sifuentes, Rodríguez Carlos Alberto. « Ciudades colaterales : Las ciudades narradas de la frontera México-Estados Unidos en novelas urbanas recientes ». Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL039.pdf.
Texte intégralThe purpose of this study is to carry out a critical comparative study of the narrated cities of the Mexico-US border in a corpus of recent urban novels. One of the central questions is the formulation of a model based on the literary representation of events such as the implementation, assimilation, and consolidation of global imagery in border cities. The collateral city model is made up of a series of orders which we call urban panoramas. The panoramas we analyze correspond to hypermasculinities, traumatic memory and transnational allegality. The first panorama refers to the representation of the city in relation to narrative conflicts derived from the masculine and feminine, focusing on practices that correspond to the model of hegemonic masculinities. The second panorama deals with the representation of the dynamics between memory and oblivion, an element that characterizes peripheral spaces. The last panorama examines the conflicts that arise from the tensions between the legal and the illegal that are reflected throughout the urban space. To approach the model in question, the following novels are studied: Nostalgia de la sombra (2002), by Eduardo Antonio Parra; 2666 (2004), by Roberto Bolaño; Al otro lado (2008), by Heriberto Yépez; and Indio borrado (2014), by Luis Felipe Lomelí
De, Santa-Dilworth Christine. « Derrière le paysage de Mario Rigoni Stern ». Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3072.
Texte intégralAfter a theoretical and historical analysis of the notion of landscape, and from the study of both diachrony and themes in Rigoni Stern's works as well, it seems that the landscape achieves pre-eminence there, while taking on several dimensions. By turns a constituent element of the being, the place where man has left his mark, an authentic character or simply a mirror of the soul, it underlines and livens up the narrative while accompanying man all along his life. Mario Rigoni Stern's writing makes us become aware of the central part played by the landscapes in our apprehension of the world. Beyond the mere concept of nature, the landscapes then point to a social and cultural organization and constitute both a true axis mundi on which hinge both the History of Mankind and the history or histories of men, and a book the pages of which are turned over as the seasons go by, containing the signs of our civilizations and allowing us to discover our ancestors' memory. So the series of landscapes which mark the author's life do not prove any longer to be mere surroundings where man evolves, but appear to be intrinsically linked to his sensitive and existential experience. Between otherness and identity, the perception of the surrounding space from then on becomes a window open on the world, an essential key to understand both our inner landscape and the cosmos
Nareau, Michel. « Transferts culturels et sportifs continentaux : fonctions du baseball dans les littératures des Amériques ». Thèse, 2008. http://www.archipel.uqam.ca/1873/1/D1763.pdf.
Texte intégralBrabant, Josée. « Politiques du passage de l'individuel au collectif dans Les Années d'Annie Ernaux ». Thèse, 2015. http://hdl.handle.net/1866/13751.
Texte intégralThis thesis intends to present Annie Ernaux's constant concern to reach out to others throughout her work, resulting from her belief that individuals are the result of the speeches they go through and of the social world surrounding them. Influenced by Bourdieu’s sociology and by her own experience as a parvenu, Ernaux also shows a great sensitivity to power and dominance relationships, omnipresent in the society. Through her work, she seeks to turn illegitimate experiences into legitimate ones, in that way making her approach similar to Foucault’s. This includes the lifestyle and collective memory of the dominated, rarely depicted in literature or in the prevailing discourses. She also wishes to show that experiences lived as an individual are in fact largerly shared and have social and political origins. Even though each of her books intends to accomplish this passage from the individual to the collective, this thesis is particularly interested in Les Années, which combines narrative strategies employed in her previous books to a new form of narration in the third person, allowing her to deliver an even more “auto-socio-biographical” work.
Cormier, Landry Jean-Benoit. « Décliner la frontière : transit et contagion de la violence dans la fiction sacrificielle de Bernard-Marie Koltès ». Thèse, 2011. http://hdl.handle.net/1866/6305.
Texte intégralThis M.A. thesis analyzes four plays by the French author Bernard-Marie Koltès. Resolutely focused on the study of written text, it begins by analyzing several disarrangements and a culture of ambiguity in the treatment of place, time and identity. The first goal of this interrogation is the deepening of some avenues already detected by the critique (marginality of places and characters, the constant presence of violence and death, etc.) in the search for a global meaning to a set of textual practices related to the notion of limit or boundary. Operating a change of perspective, the second part of the thesis focuses on violence and on the terms and consequences of its textualisation, in a simultaneous study of the creative act and of the practice of reading. Based on the theory of the sacrifice as developed by René Girard in La violence et le sacré, and nourished by the crossing of some important texts by various thinkers (Aristotle, Nietzsche, Artaud, Foucault, Derrida, Adorno, etc.), the analysis seeks the inscription of Koltesian text’s literariness in a broader enterprise having to do with violence, its regulation and its dissemination. At the intersection of theater studies, literature and philosophy, this study is an attempt to understand Koltès’ drama (especially Roberto Zucco) as a ritual sacrifice in order to obtain a better comprehension of its relationship to reality and some of its characteristics as for the cathartic mechanism.
Morin, Fannie. « Pour une poétique du silence : transmédialité théâtrale et passage à la plateforme cinématographique dans le Québec contemporain : le cas de Bashir Lazhar ». Thèse, 2018. http://hdl.handle.net/1866/22004.
Texte intégralCharafeddine, Nadine. « La théâtralisation de l'exil dans la dramaturgie migrante au Québec (1980-2010) ». Thèse, 2018. http://hdl.handle.net/1866/21717.
Texte intégralJacques, Gabrielle. « Espace et récit : l’inscription des temps dans la ville : parcours stochastiques chez Julio Cortázar ». Thèse, 2010. http://hdl.handle.net/1866/4263.
Texte intégralFrom the shift of contemporary literature towards labyrinthine, fragmentary self expression, emerges a meaningful correspondence between the characters of a narrative and the spaces they inhabit : spaces as multiple and discontinuous figures inscribed in history and myth. This interactive construction linking place and subject renders space of primary significance and in so doing, redefines the importance of time in the act of writing. Time does not unfold only in "what is told", as Ricoeur suggests, but in the successive layers of its inscription in place: which is lived through the combining art of experimentation with attachment to place. The expression of the subject of the narrative emerges from the continual and imperfect project of the subject to locate himself in the city, in those places with which he identifies and which construct him. Through three texts by writer Julio Cortázar, time will be considered as a modality of “accumulatable” fragments, inscribed in significant places, from which a consciousness emerges through the city's porousness and its capacity for leaps and passageways. What connects the architectonic spaces and the imprint of time within them and a subject who must express himself to exist and create narratives to unify the discontinuous parts of his being, will emerge through "becoming in action", the addition of narrative and real life experience in Cortazarian figures of experimentation, play, passageway et language. Herein a dynamic specific to the city emerges in the creative act that fulfills and guides the subject: his plural singularity.