Tesi sul tema "Revenances"
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Hamel, Jean-François. "Revenances de l'histoire : poétiques de la répétition et narrativité moderne". Paris 3, 2002. http://www.theses.fr/2002PA030091.
Testo completoThe fact that many primitive mythologies were structured by cyclical temporalities is well-known, as is the will of modernity to definitely abandon these old superstitions. Although the XIXth century dreamt of its own progress through the ages, Kierkegaard's Repetition, Marx's The Eighteenth Brumaire of Louis Bonaparte, Nietzsche's The Gay Science and Thus Spoke Zarathustra, and Freud's Beyond the Pleasure Principle, these influential works developed philosophies concerned with repetition, reintegrating the eternal recurrence of things where it was banished. Parallel to this resurgence of repetition in philosophy, which also guides the work of Walter Benjamin and Gilles Deleuze, modern literature has experimented with narrative pragmatics based on repetition. The most representative of its numerous expressions are perhaps Louis-Auguste Blanqui's L'éternité par les astres, Pierre Klossowski's Le Baphomet, Hubert Aquin's Prochain épisode and Claude Simon's Les géorgiques. Questioning modern historical thought, these paradoxical temporal configurations reveal the profound mutation, initiated with the Enlightenment, in the traditional experience of time, and the concurrent transformation of the modalities of narrativity. In societies where the space of experience is dissociated from the horizon of expectation, how can one narrate the flux of time without minimizing the consciousness of the present as a space for action and initiative ? Modern poetics of repetition, concerned with the melancholy that penetrates the modern experience of time, begin emerging through mourning into a search for what Baudelaire calls a "memory of the present". Nevertheless, the issues raised by these poetics of repetition not only concern literary history, but shed new light on the theoretical consequences of the aporetics between time and narrative for the modern representation of historical time
Hamel, Jean-François. "Revenances de l'histoire poétiques de la répétition et narrativité moderne /". [Montréal] : Université de Montréal, 2002. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ80453.
Testo completoTitre addit. en anglais: Recurrences of history : poetics of repetition and modern narrativity. "NQ-80453." "Thèse de doctorat déposée en juin 2002 en vue de l'obtention du doctorat en littérature, option littérature générale et comparée de l'Université de Montréal et du Doctorat en Littérature générale et comparée de l'Université Paris III-Sorbonne nouvelle dans le cadre du programme de cotutelle de thèse France/Québec." Version électronique également disponible sur Internet.
Namessi, Solange. "Écrire l’événement : poétiques de la revenance chez Tierno Monénembo, Kossi Efoui et Abdourahman A. Waberi". Electronic Thesis or Diss., Strasbourg, 2023. http://www.theses.fr/2023STRAC026.
Testo completoThe aim of this thesis is to shed light on the writing of the event in French-language literature from sub-Saharan Africa. It is based on a corpus of eight novels: Un rêve utile (1991), Un attiékè pour Elgass (1993), Bled (2016) by Guinean author Tierno Monénembo, Solo d'un revenant (2008), L'Ombre des choses à venir (2011), Cantique de l'acacia (2017) by Togolese author Kossi Efoui, Passage des larmes (2003) and Transit (2009) by Djiboutian author Abdourahman A. Waberi. This research highlights the ways in which these authors model history through writing whose implementation bears witness to an experience of time and which academic Jean-François Hamel theorizes and calls "revenance". Monénembo, Efoui and Waberi develop their conception of historicity, which is of the order of this "revenance" as a recurrent, retrospective movement of a present that constantly returns to a past that it ruminates, as it were. They take history back. Taking it back: in the sense of darning the imaginary formed on a lived history whose reading is made up of misunderstandings; but also seizing the possibility offered by writing of a possible grip on the course of this history
Livermore, Christian. "Revenants from the Church to literature". Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/7914.
Testo completoPrébin, Elise. "Adoption internationale : les revenants de Corée". Paris 10, 2006. http://www.theses.fr/2006PA100194.
Testo completoDiscarded alter the war and left at the hands of foreign aid, foreign adoptees born in Korea got to be seen as orphans. Victime of baby traffic in the last 80s, when international adoption decupled. Objecte of national shame then, they are called today successful members of the Korean diaspora in the age of globalization. This lasting ambiguity is illustrated by the way Ach'im matang, a popular weekly family reunion television show on KBS (national charnel), valorizes young foreign adoptees' achievements while staging them with older Korean orphans and emigrants. All three groupe are marginal since they Jack fondamental blond, school and soil ties. Out of participants' memories, village maps and drawings, the hosts recreate the part, the countryside, the village, ideal time-space where conservative values of eider generations reigned. The hosts integrate the participants in a community they build by focusing on physical similarities, 'common tartes of fond and common blond. Foreign adoptees' integration to Korean society is pushed further by sommer !cultural programs organized every year since the 90s by adoption agencies, adoptees' organization or the government. On one hand, participants' school and soil ties are recreated by sommer schools certificates and honorary citizenship, which attach them to a district. On the other hand, the dramatic family reunion seems to recreate the blond tie but in fact is rather a symbol of the two Koreas unification: politicians, journaliste or scholars, ail interpret family separation as the direct consequence of the war, as a tragic event which occurred against people' will. The show evokes war but rather emphasizes "practices" of separation or children circulation: children were fostered by relatives or strangers, sent as labor force in rich houses, raised in orphanages or abandoned. Separations were often voluntary but sien temporary solutions mostly for poor, numerous or single parent familier. Today international adoption is often considered the rame way. As fathers never appear on the show reunions are fragile. Mort of family ties expressed at Ach'im matang do rot create kinship. Moreover, in spite of a high rate of divorce, South Korea shows no recomposed families. So why does a~ remarried parent who knows the tie cari be, accept to perform the reunion? Our hypothesis is that lost and abandoned children are regarded as potential inauspicious dead. Parents or the state must fend and turn them into auspicious beings through appeasing rituals, words and offerings. And reintegration rites turn out to be separation rites, which, like shamanistic rituals, aim to leave both rides in peace
Lugli, Ubaldo. "La rappresentazione dei revenants nella Roma antica". Paris, EPHE, 2006. http://www.theses.fr/2006EPHE5003.
Testo completoBaker, Jennifer Anne. "Raising revenants : spectrality, embodiment, and the monstrous (un)dead child, 1830-1914". Thesis, University of Bristol, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.720855.
Testo completoGordon, Stephen Richard. "The walking dead in medieval England : literary and archaeological perspectives". Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-walking-dead-in-medieval-england-literary-and-archaeological-perspectives(040c3846-9e2f-4616-8107-f6fef74468e1).html.
Testo completoKapitaniak, Pierre. "Spectres, fantômes et revenants : phénomène et représentation dans le théâtre de la Renaissance anglaise". Paris 4, 2001. http://www.theses.fr/2001PA040156.
Testo completoWith the rejection of Purgatory by the Reformed Church, the ghosts became a fashionable subject in demonological debates, just as the rediscovery of Seneca encouraged spirits to haunt the European stages. The study of the relations between these two fields shows some similitude but mostly underlines the differences in apprehending the phenomenon itself : for the demonologists, the Devil always lurked behind apparitions of the souls, whereas the playwrights developed a paradoxical ghost figure insisting on its authority but questioning its reality. Beyond this contradiction, drama better than any other genre reflects the ghost's essential ambivalence, both human and supernatural, but also the ambivalence of its perception as a phenomenon, oscillating between credulity and scepticism
Guidée, Raphaëlle. "Mémoires de l'oubli : revenance et crise de la tradition dans les oeuvres de William Faulkner, Joseph Roth, Claude Simon, Georges Perec et W.G. Sebald". Poitiers, 2008. http://www.theses.fr/2008POIT5018.
Testo completoArising in the wake of the major historical disasters of the XXth century, the works of William Faulkner, Joseph Roth, Claude Simon, Georges Perec and W. G. Sebald question the paradoxical inheritance of a vanishing tradition. When the ghosts of history return to haunt the present, this is because their own universe has disappeared, and with it the traditional ways of transmission which ensured the survival of the ancestral world, as well as its representation. Rather than demonstrating the living presence of the past, this haunting presence thus seems to escort the certainty of an unredeemable death, a loss which no literary or artistic monument could make up for. Whereas Romantic representations of the dead associated writing with a form of grave-digging, capable both of resurrecting the dead and making up for their loss, the memory of the departed, in these narratives, is and remains fundamentally melancholic, insofar as it constantly marks the limits of literary resurrection and the fragility of narrative attempts in themselves threatened by the destructive power of Time. However, this departure from the model of the scriptural grave by no means stifles the call for justice accompanying such spectral apparitions. By answering the call of that which is irretrievably lost, these works bear the imprint of a process of memory and oblivion which attempts to recall the memory of the departed, but most of all to keep a trace of their loss. The double ethical pursuit of works such as these, built on the full recognition of the reality of unredeemable death, is to record what can possibly be recorded, and to mark the empty place of that which is beyond recall
Dernis, Beatrice. "La voix des revenants dans l'oeuvre de Patrick Kermann : étude d'une écriture contemporaine dans son rapports à la scène". Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL027/document.
Testo completoThe study of Patrick Kermann's work makes it possible to draw up the contours of a drama in which the words of the dead endanger the mimesis and become a real wager on absence. The different voices give presence to the departed, forming the framework of the drama through very condensed, intermittent and heterogeneous sound material. The rhythmic composition opens up on a polyphony of voices which produces a desperate appeal from the dead who have found no place among the living. A first part deals with the dramatic effects of what follows, when those who disappeared come back to relate their intimate disaster and the barbarity of the world. A second part moves the analysis to the angle of sonorous dramatic art and examines the way in which the textual score causes the language to resound, privileging auditory reception, which is not without questioning the reader's position and, perhaps, even more, that of the spectator. Thus it is that these abandoned voices meet producers who greet them with offers of unexpected areas intended to be an answer to the confusion resulting from listening to absent bodies
Ernsten, Christian. "Renaissance and revenants in an emerging global city: discourses of heritage and urban design in Cape Town's District One and District Six, 2002-2014". Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25259.
Testo completoClauss, Martine. "Les croyances dans les propos de table de Martin Luther". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040170.
Testo completoBased on a choice of texts from the Table-Talk of Martin Luther, the aim of this study is to show how certain ancestral beliefs dealing with death and with life in the other world after dying are solidly anchored in the mentalities of people and of the Reformer too, in an era in which humanist thinking prevailed and in texts under the influence of the Christianity. In doing so, certain “phenomena” are portrayed such as household genies, “spirits”, “revenants” and apparitions. On another hand, we consider the “phenomena” as they relate to the behaviour of men and women taxed with witchcraft and magic, the whole instigated by the devil of course
Yanez, Séverine. "Les êtres fantastiques dans les contes et légendes de Théodor Vernaleken : étude comparative". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040207.
Testo completo“Once upon a time”… an austrian professor, Theodor Vernaleken, wanted to spread popular stories and traditional uses from the alpine areas. This “Austrian Grimm” restores them in his books Tales From the Alps for children and home and Legends from the Alps so faithfully that he writes them in dialect form. Highly skilled teacher, he writes lots of explicative notes on his stories making them understandable. A tale is a story, which takes place “a long time ago” “in a far faraway country”. Fantastic creatures appear quite naturally at the right time to allow the heroes to live happy and have lots of children or to prevent it to happen. As for it the legend aims to be believed. In these tales and legends inhabitants or a member of the village community have really seen supernatural creatures in their village. They tell us about their amazement, their fear from the confrontation with this other world populated with daemons. So dwarfs, giants, drakes and other fantastic animals and so on appear, speak and are completely transformed. Humans are also confronting demonologic protagonists such as witches, devils and ghosts. Who transgresses the interdicts cannot escape from his fate. That is the message of these exemplary and instructive stories. Up to now, no exhaustive survey or classification of this literary genre has been carried out. So, this work will analyse demonologic stories in a comparative way through the study of fantastic creatures in texts gathered by Theodor Vernaleken
Moioli, Aurélie. "Le récit de soi : poétique et politique de la dissemblance : Jean Paul, Ugo Foscolo, Stendhal, Gérard de Nerval". Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100151.
Testo completoThe thesis takes up the question of autobiography by focusing on works at the margins of the genre during the early 19th century, the period in which autobiographical writing in Europe came into its own. The works of Jean Paul, Ugo Foscolo, Stendhal and Gérard de Nerval destabilize established generic and canonic categories. They do so by pointing to the ethical and political issues at stake in the narration of the self, which are in turn linked to the experience of the subject and of time. The thesis thereby identifies and explores another autobiographical “line” emerging alongside canonical forms of the genre, a “line” which recalls Laurence Sterne through the use of arabesques and the reliance upon imagination in life narratives. These works emphasize the “line of poetry” which constitutes life and the subject. The poetics of these eccentric autobiographical works explores dissemblance in writing the self, time, and history. They question reductive understandings of identity as ‘sameness’ and conceptions of time as homogenous. The self is not ‘one’; the autobiographer is alone neither in his body, nor in his language, nor in the act of writing. Rather, he is in constant movement between places and languages, unable to establish a stable grounding for his narrative. The author’s persona is multiple and collective, inverting the myth of the romantic genius. Such transfigurations of the self are tied to transfigurations of memory, which allow for the past to be reenacted in the present and for the future. This melancholic experience is also one of haunting, for narratives of the self draw on the figure of the phantom as a sign of mourning for both personal and historical disjunctions. As witnesses of recent or contemporary revolutions, the autobiographers stress the incomplete nature of both individual and collective history, that is, the potential that such history contains. Narrating the self is therefore prospective; it is memory addressing the future
KING, ANDREA D. "La revenance dans le roman québécois au féminin après 1980". Thesis, 2011. http://hdl.handle.net/1974/6325.
Testo completoThesis (Ph.D, French) -- Queen's University, 2011-02-24 14:12:10.978
Chalupová, Helena. "Život po životě. Revenanti v českých zemích raného novověku". Master's thesis, 2015. http://www.nusl.cz/ntk/nusl-347865.
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