Letteratura scientifica selezionata sul tema "Aubigné, Théodore Agrippa d' (1552-1630). Printemps"
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Tesi sul tema "Aubigné, Théodore Agrippa d' (1552-1630). Printemps"
Chabroux, Julie. "Le Printemps d'Agrippa d'Aubigné : le poète à l'oeuvre". Electronic Thesis or Diss., Paris 10, 2024. http://www.theses.fr/2024PA100030.
Testo completoLe Printemps d’Agrippa d’Aubigné. Le poète à l’œuvre is the first doctoral thesis dedicated to Aubigné's secular poetry. Following the publication of two critical editions of Le Printemps (V. Ferrer, 2019 and J. Goeury, 2023), the time has come to closely examine the amorous aspect of the poetry of a figure known today primarily for his Tragiques, but who was (it is often unknown) one of Marguerite de Valois's favorite poets. The fate of a collection that was not solidified by a "definitive" printed version and the duration of its composition (over half a century), make Le Printemps a work with unprecedented characteristics. There, perhaps even more so than in the grand religious poem offered by le larron Prométhée, as the collection takes shape(s), a poet is being formed. This thesis aims precisely to approach Le Printemps from the perspective of the poet's labor. What does this manuscript garden reveal about Aubigné's conception of the poetic art ? Is the lover poet merely a craftsman of verse ? A role that the author would assume ? What facets of Aubigné as a poet does this unfinished work unveil ?The first part takes as its starting point the paradoxes raised by the genetic history of a collection both alive and dead, which Agrippa d'Aubigné wants to present as juvenile and spontaneous, even though its composition spans several years of recognized courtly practice and he continues to correct it in the last years of his life. In its manuscript pages, a poet director appears who, like a conductor, moves, organizes, and forms ensembles that prevent thinking of the manuscript's order as a final image of what the book would have been. A second part aims to delve further into the poetic craftsmanship by choosing to consider a thought-out classification, for a moment – or a draft – by Agrippa d'Aubigné. The metric, rhythmic, and (where applicable) strophic peculiarities of the sonnets, stanzas, odes, and various pieces are then examined to better understand the poet's effort at formal clarification. Finally, because at each stage of this research, figures of the poet have manifested, sometimes converging towards a polished image of a court poet, but also often claimed as marginal and divergent, the question of the singularity of Aubigné's voice has emerged. The third part then intends to test the idea that at the precise moment when poetry and music have never been so closely linked, carried by the lyrical practice, a subjective lyricism is blossoming, particularly in the way the poet forges his own devices: rhymic, rhythmic, enunciative, and ethical. At the heart of the figurations of the lyrical subjects of Le Printemps, there is not only a part of self-construction as a poet, carefully composed by Aubigné, but also the advent of a unique authorial figure, whose mobility is matched only by the fervor known to him
Ertlé-Perrier, Barbara. "La "Correspondance" d'Agrippa d'Aubigné : des lettres à l'oeuvre". Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20075.
Testo completoThe "Correspondance" is one of the literary works from the time of the French religious wars that have yet to be studied. An examination of the collected letters reveals how much this final work of d'Aubigné's centres around the concept of "oeuvre". We see this at once in its organization into "livres" (books). Also, the first book of the "Correspondance" is entitled "Livre des missives et discours militaires". The subsequent books are "Lettres et mémoires d'Estat, Lettres d'affaires personnelles, Lettres familières, Lettres de piété ou poincts de theology" and lastly "Lettres touchant quelques poincts de diverses sciences". .
Fanlo, Jean-Raymond. "La mobilité de la représentation dans les "Tragiques" d'Agrippa d'Aubigné". Aix-Marseille 1, 1990. http://www.theses.fr/1990AIX10009.
Testo completoBanderier, Gilles. ""Lumière du monde". La création attribuée à Agrippa D'aubigné : contribution à l'étude de la poésie scientifique en France". Lille 3, 1995. http://www.theses.fr/1995LIL30006.
Testo completoPublished as late as 1874 in Agrippa d'Aubigné's complete works, the poem entitled creation has always been a stumbling block for albinean critics. Can we really say that d'Aubigné wrote it ? If we assign its authorship to d'Aubigné, what is the place of the poem among the writer's other works ? If we reject if, what part does it play in the general context of french scientific poetry of the XVIth centuty ? After summing up the acquired knowledge and coming to the conclusion that the poem cannot be by d'Aubigné, we will give the text a first critical edition, based on the sole manuscript (kept in geneva), and add a commentary which, drawing the parallels existing between creation and its source, du bartas's sepmaine, lays emphasis on the scientific aspect of the poem
Prat, Marie-Hélène. "Le corps dans l'imaginaire lexical des Tragiques d'Agrippa d'Aubigné". Paris 4, 1995. http://www.theses.fr/1994PA040397.
Testo completoBased on the inventory and analysis of the figurative vocabulary concerning the body,this work deals with the rhetorical,semantic and semiotic functions and values of the human body in Agrippa d'Aubigné 'Les Tragiques'. .
Ferrer, Véronique. "Petites oeuvres meslées d'Agrippa d'Aubigné : édition critique et commentée". Paris 4, 1999. http://www.theses.fr/1998PA040292.
Testo completoPedrazzini, Sabine. "Le Chant de la violence : l'Univers sonore et musical dans "Les Tragiques" d'Agrippa d'Aubigné". Université Marc Bloch (Strasbourg) (1971-2008), 2004. http://www.theses.fr/2004STR20061.
Testo completoLes Tragiques by Agrippa d'Aubigné are considered as an epopee made up of violent tableaux, wherein the colour of blood dominates. In this dissertation, the author proposes to consider blood as the starting point of an innovative poetic language, in which an original dimension, both sonorous and musical, is worked out. Reconsidering the relation poetry-music, this study is more particularly concerned with the analysis of noises, voices and musical instruments. Far from constituting mere ornaments, these elements support a conception of sound where the transition from inarticulate to articulate is at stake. By convening the figures of the poet, of David and Orpheus, the poem-like a true sacred symphony-shows the visual perception as being subordinated to hearing. At the end of powerful alliterative and echoic courses, listening is defined as a recollecting function able to oppose contempt to death while setting up the principles of a fides ex auditu
Ndong, Sangoul. "Le discours de l’enrôlement dans la poésie militante des guerres de religion. Pierre de Ronsard et Agrippa d'Aubigné". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL039.
Testo completoWith The Tragics, Aubigné demolishes the accusations of sedition and heresy conveyed on the account of the Huguenots by Ronsard. Arises between this work and the Discourses of political and religious cleavages where the poetic creation is, on behalf of the camp of each poet, the means to favor some provisions on the allocutaries. The question of reception thus occupies a central place in these two antagonistic works. It poses the problem of enlistment. This is a set of rhetorical resources whose challenge is to convince the adversary of his mistakes, to strengthen the partisans and to conquer public opinion. What are these resources that allow Ronsard and Aubigné to put their speakers in specific roles for their respective parties ?In our thesis, we are interested in the following questions : under what ethical traits do Ronsard and Aubigné speak each to subordinate his allocutaries to his convictions ? Who are these allocutaries ? With what discursive processes do the two poets act on the thoughts and behaviors of these recipients? Towards the theses of what poet is likely to lean readers ?With these questions, we have observed the roles of the enunciator's representation and his figures in the enlistment discourse, the categories of allocutaries and the oratorical styles set in motion to produce persuasion, firmness and mobilization
Soulam, Nathalie. "Vérité, responsabilité, causalité. L'écriture de l'histoire après la Saint-Barthélémy". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN002.
Testo completoThe object of the research is the writing of history after St Bartholomew's Day. Did the massacre change anything in the way history was conceived and written? From the precise study of the texts of four contemporary historians of the event, two Catholics, two Protestants, one moderate and one radical from each camp, Belleforest, de Thou, La Popelinière and Agrippa d'Aubigné, we were able to observe that several major concepts were reinvested following the event. First of all, the one of truth, which finds with it matter and opportunity for new questions: how to seek the truth of an event which, by the will of its instigators, evades knowledge? And how can it be presented to the reader without being carried away by passion? Then, the question, which becomes central, of responsibility: who decided on the massacre, and who will take responsibility for it? Through this haunting question, which holds a crucial place in the historians' accounts, we realize that it is on the actions of men and therefore on human guilt that attention is focused. So what about the conception of a providential history that has prevailed until now? Through this study of the concepts reworked by historians after Saint Bartholomew's Day, we are led to consider that it is perhaps the very notion of an event that emerged on this occasion