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1
Dekkers, Odin. "J. M. Robertson : rationalist and literary critic /". [Nijmegen] : [Katholieke universiteit Nijmegen], 1998. http://catalogue.bnf.fr/ark:/12148/cb40244673g.
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Allély, Annie. "M. Aemilius, le triumvir". Paris 4, 1996. http://books.openedition.org/ausonius/10145.
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M. Aemilius Lepidus (- 89 av J. -C. - 12 av J. -C. ) fut un personnage incontournable de la vie politique de la république romaine finissante. Issu d'une des plus anciennes gentes de la république, les Aemilii, il commença un cursus classique avant de devenir le magister equitum de césar. A la mort du dictateur, il ne choisit pas le parti sénatorial dirige par Cicéron, mais forma avec Antoine et Octavien le second triumvirat. Apres la guerre menée contre Sextus Pompey en 36, il fut destitue de ses pouvoirs triumviraux par Octavien. Son rôle et son œuvre politiques ont été discrédités par Cicéron et par la propagande augustéenne. Pourtant, son action fut loin d'être négligeable. Il administra Rome et l’Italie entre 46 et 44 ainsi qu'en 42. Il fit construire les saepta, le temple de la felicitas et le temple d'Isis. Enfin, comme gouverneur de province, il poursuivit activement la romanisation des provinces occidentales d’Espagne, de Narbonnaise et d’AfriqueM. Aemilius Lepidus began his cursus around 66 as triumvir monetalis. In 49, as praetor, he secured the passage of the law to elect Caesar as dictator. He was his master of the horse in 46, 45 and 44. He was responsible for the direction of extensive building activity, with the erection of the saepta and the temple to felicitas. After Caesar’s murder, Lepidus consolidated the control of his two provinces, Spain and narbonese Gaul. It was Lepidus who brought together Antony and Octavian for the negotiations which led to the formation of the second triumvirate in November 43. In 36, Lepidus promised to provide assistance to Octavian against Sextus Pompey. After their victory, Octavian surrended Lepidus 'camp and forced the legions to defect. Lepidus submitted himself to his conqueror and was stripped of triumviral power and sent into exile in Italy. He remained pontifex maximus until his death in 12 b. C. He displayed considerable administrative ability both in the city of Rome and as a provincial governor in Spain, Gaul and Africa
3
Walker, Rosanna West. "Lock-out time in the gardens of desire : absence, refusal, and silence in J. M. Barrie's Peter Pan stories /". view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3190554.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 196-202). Also available for download via the World Wide Web; free to University of Oregon users.
4
Schwartz, Gilson 1960. "J. M. Keynes : o tempo da economia politica". [s.n.], 1985. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286282.
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Orientador: Luiz Gonzaga de Mello BeluzzoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Economia
Made available in DSpace on 2018-07-13T20:09:48Z (GMT). No. of bitstreams: 1 Schwartz_Gilson_M.pdf: 6395035 bytes, checksum: 61387e131f6385e1674a59ae1103add1 (MD5) Previous issue date: 1985
Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Economia
5
Serbu, Gabriel. "Towards a “Weak Poetics”: J. M. Coetzee’s Literary Thinking". Doctoral thesis, Universitat Pompeu Fabra, 2019. http://hdl.handle.net/10803/668770.
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This study is aimed at exploring the meaning of literary thinking as revealed in J. M. Coetzee’s approach to fictional writing. Unlike other prominent figures in contemporary literature, Coetzee has constantly captured the attention of the philosophical community, mainly because of the nonconciliatory rapprochement between literature and philosophy that his fiction elicits. Coetzee’s “novelistic” engagement with philosophy suggests a mode of thinking that finds its fragile legitimacy in the tentative embedding of textuality in history within the context of a self-conscious appropriation of a hostile tradition – i.e., the western tradition in South Africa. This entails a loss of faith in any founding principle but not an abandonment of a quest for meaning, however problematic. These traits, which form the basis for the emergence of Coetzee’s literary thinking, are conceived of in terms of a “weak poetics” inspired principally by Gianni Vattimo’s philosophical hermeneutics.Este estudio tiene como objetivo explorar el significado del pensamiento literario como se revela en el acercamiento de J. M. Coetzee a la narrativa. A diferencia de otras figuras prominentes de la literatura contemporánea, Coetzee ha captado constantemente la atención de la comunidad filosófica, principalmente debido al acercamiento no conciliatorio entre literatura y filosofía que provoca su ficción. El compromiso "novelístico" de Coetzee con la filosofía sugiere un modo de pensamiento que encuentra su frágil legitimidad en la incorporación tentativa de la textualidad dentro de la historia dentro del contexto de una apropiación aprehensiva de una tradición hostil (la tradición occidental en Sudáfrica). Esto implica una pérdida de confianza en cualquier principio fundador, pero no un abandono de una búsqueda de significado, por problemático que sea. Estos rasgos, que forman la base para el surgimiento del pensamiento literario de Coetzee, se conciben en términos de una "poética débil" inspirada principalmente en la hermenéutica filosófica de Gianni Vattimo.
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Schwartz, Gilson 1960. "J. M. Keynes e a logica da politica economica". [s.n.], 1993. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286279.
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Orientador: Luiz Gonzaga de Mello BelluzoTese (doutorado) - Universidade Estadual de Campinas, Instituto de Economia
Made available in DSpace on 2018-07-18T22:27:14Z (GMT). No. of bitstreams: 1 Schwartz_Gilson_D.pdf: 8907869 bytes, checksum: b226aaf78742aeac36754172d52e7d39 (MD5) Previous issue date: 1993
Resumo: Não informado
Abstract: Not informed.
Doutorado
Doutor em Economia
7
Janari, Barbara. "From race to grace : the other J M Coetzee". Master's thesis, University of Cape Town, 2005. http://hdl.handle.net/11427/8020.
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One of the notable features of JM Coetzee's work is the portrayal in his novels, particularly in his 1999 Booker Prize-winning novel, Disgrace, of worlds that often seem bleak and bereft of redemption. In this dissertation I will argue that there is a resonance in Coetzee's writing that goes beyond the political and historical and that adds another dimension to his work. The focus of my dissertation will be an attempt to account for this other 'dimension' within the broader socio-political-historical nexus that informs much of his work. I will argue that this other dimension represents an ongoing conccrn with the questions of redemption and salvation, particularly as they are manifested in his latcr works, Disgrace and Elizabeth Costello. These concerns, however, are not just a consequence of Coetzee's evolving thought. As I will show, they are present in his earlier texts as well. To this end, I will consider the ways in which the themes of redemption and salvation, in the specifically religious and Christian sense of these words, also resonate in In the Heart of the Country (1977) and Life and Times of Michael K (1983).
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Ben, Rhai͏̈em Henda. "L'étrangère dans l'oeuvre de J. M. G. Le Clézio". Paris 3, 1999. http://www.theses.fr/1999PA030070.
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L'ecriture de j. M. G. Le clezio est passee d'une violence plutot controlee a une serenite violente. Les etrangeres lecleziennes, loin d'etre un support a une ecriture exotique, sont en verite fondatrices de ce changement dans l'ecriture impose depuis 1980. Tour a tour marginale, contrebandiere de la memoire et representante de populations declassees et humiliees l'etrangere participe a ce qu'il est desormais convenu de nommer << mise en texte d'une difference >>, susceptible de lui donner autre chose qu'une silhouette exotique et d'insuffler aux recits lecleziens un air d'extraneite qui vaut d'originalite. Etre etranger n'est plus une question d'origine, mais d'attitude et celle-ci ne necessite pas toujours un deplacement spatial. Il n'est, en effet, plus possible de cerner le personnage del'etranger par rapport a une tradition qui exige que l'autre soit clairement defini par ses insignes, pour etre reconnu ou exclu mais toujours distingue. En cela, l'etrangere leclezienne se demarque des personnages feminins exotiques du siecle dernier tout en entretenant un rapport etroit avec les personnages des romans maghrebins de langue francaise sans pour cela y correspondre totalement. Definitivement inclassable, l'etrangere reste a la limite d'une quelconque classification, redefinissant de la sorte le discours sur l'alterite en opposition au monde occidental dont il faut se defaireThe writing of jean-marie gustave le clezio rather passed of a violence controlled to a violent serenity. The foreign leclezienneses, far to be a support to an exotic writing, are in founding truth of this change in the writing imposed since 1980. By turns marginal, smuggler of the memory and representative of relegated populations and humiliated, she participates in what it is agreed henceforth to name "mise in text of a difference ", susceptible to give her something else that an exotic silhouette and to inspire to narrations leclezienses a breath of extraneous that is worth originality. Foreign being is not anymore a question of origin, but of attitude, and this one doesn't require still a spatial displacement. It is not, indeed, more possible to surround the stranger's character in relation to a tradition that requires than the other is defined clearly by his badges, to be recognized excluded either but still distinguished. In it, the stranger's personage leclezienneses plagiarizes herself of the feminine characters exotic of the last century while maintaining a narrow report with french-speaking from the maghreb novel characters without for it there to correspond completely. Definitely unclassifiable, the stranger remains to the limit of an any classification, redefining of the way the speech on the extraneous in opposition to the western world of which it is necessary to come apart
9
Evanno-Labbe, Michelle. "J. M. G. Le Clezio : le roman en question". Paris 10, 1993. http://www.theses.fr/1993PA100151.
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Quelles relations, J. M. G. Le Clézio, engage dans une quête spirituelle, entretient-il avec le genre romanesque? Le roman est en question dans son œuvre sur plusieurs plans. Il rejette la linéarité du temps et le déterminisme social, psychologique, attribues au roman du XIXe siècle, dans une sorte de violence identificatoire. Pour rompre avec l'occident, il préconise un renoncement aux valeurs établies qui passe par l'ascèse. L'écriture se redéfinit comme recherche d'un langage affectif et de rythmes, proche de la poésie, rejoignant le silence. Dans ses romans, il utilise personnage, temps et récit mais en les déformant. Le personnage, indéterminé, se rattache au mythe et permet d'établir un pacte narratif ou se confondent protagoniste, auteur et lecteur dans une communauté des faiblesses et aspirations. Le temps perd sa linéarité causale pour se présenter dans la diversité d'expériences liées aux genres : conte, mythe, prophétie. Le récit refuse la mise en intrigue, se fracture sans cesse, surtout dans les premiers romans, et instaure une circularité, symbole de transcendance. Virtualité, évanescence et ambiguïté deviennent signes de l'être et fondent l'esthétique. Le roman parait contraire à l'exigence de vérité que suppose la quête. Cependant, par sa valeur d'image, il s'avère forme privilégiée pour éviter la clôture du sens, faire surgir l'ineffable, assurer la communication avec le lecteur. La réception des premières œuvres est problématique en raison d'une incessante redéfinition du code de lecture ; les derniers romans, plus cohérents, encourent un autre risque : celui de dissimuler la quête sous la dominante de la fiction. L'originalité de le Clézio résiderait dans la définition d'une poétique du silence et d'unWhat are, in le Clezio's work, the interrelations between his quest to achieve essentiality and fictional form? The novel is put into question, in many ways. He refuses language as an instrument of domination, rejects linear time and both social and psychological determinism, regarded as characteristic of nineteenth-century novel. He wants to give up the inherited and established values of the west by renouncing the world as well as literature. The act of writing is defined as a search for an affective, rhythmic language, close to poetry, tending towards silence. In his novels, he uses characters, time and narrative but distorts them. The character, in his indeterminacy, is linked to myth and allows hero, writer and reader to meet and merge in a community of failures and aspirations. Time loses its causality to give rise to a diversity of experiences connected with literary genres: fairy tale, myth, prophecy. . . The narrative which rejects plot, is continually fragmented, especially in the first works. Beyond the breaking of the story, circularity appears as a symbol of transcendence. Virtuality, ambiguity and evanescence emerge as signs of being and the basis of aesthetics. The novel seems primarily opposed to the inescapable need to find truth. Nevertheless, with its value as an image, it emerges as a privileged form to keep meaning open, to give rise to the ineffable and ensure communication with the reader. The reader's reception of the first works is problematic owing to constant alterations in the reading code, while the last novels
10
Adiouani, Hicham. "J. M. Coetzee : vers une poétique de la complexité". Paris 8, 2007. http://www.theses.fr/2007PA082758.
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L’œuvre du romancier sud-africain J. M. Coetzee met en scène plusieurs aspects qui caractérisent la condition post-coloniale. Coetzee complexifie les catégories du centre et de périphérie, d’identité et de différence en proposant une lecture radicalement différente de l’altérité. Sa critique du discours identitaire, sa remise en question du concept de représentation, l’indétermination générique qui caractérise certains de ses romans, le décentrement de la subjectivité et de l’écriture sont autant de tentatives pour proposer une lecture originale et singulière de l’altérité. Une lecture qui ne fait pas violence à l’autre, mais qui se fait violence pour accueillir et faire advenir une altérité radicale. Cette thèse démontre comment le choix d’une poétique de la complexité chez Coetzee vise à proposer une écriture et une lecture éthique de l’altéritéJ. M. Coetzee’s œuvre stages many aspects of the post-colonial condition. Coetzee renders complex the categories of centre and periphery, identity and difference by proposing a radically different reading of alterity. His critique of identitarian discourse, his questioning of the concepts of representation, the decentered writing and subjectivity and the generic indeterminacy that characterise many of his novels are all means of proposing an original and inimitable reading of alterity. A reading that does justice instead of doing violence to the other. This thesis demonstrates how Coetzee’s choice of a poetics of complexity aims at proposing an ethical writing and reading of alterity
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Fritz, Thomas. "Kreative Organisationsgestaltung und berufliche Bildung in Freiheit Ausbildung als "Bildung" /". [S.l. : s.n.], 2005. http://deposit.ddb.de/cgi-bin/dokserv?idn=975569333.
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Letsie, Maserame Maria. "A narratological analysis of the Setswana short story 'Khutsana' by J.M. Ntsime / Maserame Maria Letsie". Thesis, Potchefstroom University for Christian Higher Education, 1996. http://hdl.handle.net/10394/1451.
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Busch, Preston. "Unresolved tensions? the life and thought of Henri Nouwen from 1932-1981 /". Theological Research Exchange Network (TREN), 2001. http://www.tren.com.
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Kok, Marina Susan. "An investigation of masculinity in J. M. Coetzee's disgrace (1999)". Thesis, Nelson Mandela Metropolitan University, 2008. http://hdl.handle.net/10948/783.
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The study of Masculinity is a fairly new phenomenon which developed as a refinement of gender studies. The theoretical frameworks on masculinity are still under development and are often severely contested. This study proposes to examine the dynamics of masculinity studies, critiquing the notion of ‘masculinity in crisis’. The premise of the masculinity in crisis debate is that men are experiencing an increasing sense of powerlessness. This dissertation aims to examine the masculine identities represented in Disgrace and to test whether they are better understood through the lens of masculine theory. The disgraceful situation of David Lurie is arguably not merely a result of hapless circumstance, but rather illustrates significant parallels with the crisis debate. The basic premise of this debate is that the behaviour previously condoned and applauded as healthy 'manliness' is now being labelled as anti-social and destructive. It is not just masculine roles that are under threat. Other forces behind the crisis are “the loss of masculine rights and changes in the pattern of employment” (Beynon 2002:75). One view held by theorists of masculinity studies is that for real change to occur, a fluid definition of masculine identity is needed. In J.M. Coetzee’s Disgrace (1999), the main protagonist is David Lurie. He may arguably be said to typify a masculinity that is in a state of crisis because of his stoic refusal throughout the novel to change or reform: “I was offered a compromise, which I would not accept”, he says, and: “Re-education. Reformation of the character. The code word was counselling” (1999:66). His aversion to such counselling and refusal to compromise mark his resistance to change.
15
Amaral, João Pedro Wizniewsky. "A escrita de si em Boyhood, de J. M. Coetzee". Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/12077.
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Boyhood (1997) is the first volume of Scenes from Provincial Life trilogy, written by the South-African J. M. Coetzee. Boyhood’s narrative has peculiar characteristics for an autobiographical novel, as the third person narrator and the use of Present Simple. This research’s hypothesis is that the protagonist, the boy John Coetzee, discovers himself and discovers himself within the apartheid regime; and this self-discovery is not done through the form of teaching or reporting from a conscious and rational narrative. The process of discovering himself within this regime occurs through its infantile conscience, puerile observations and the construction of the general protagonist’s perception. From this hypothesis, we discuss in this dissertation selfwritting narratives and traditional confessional narratives in literature, based on Coetzee’s theoretical studies, to later analyze some of the main features of the narrative in this novel to verify how non-religious confession techniques are present in Boyhood. Coetzee manipulates these confessional techniques avoiding the typical confessional narrative, present in authors like Augustine, J. J. Rousseau and Dostoevsky. In this study, we also observe that the narrative episodes are based on confession, a self-investigating method that highlights painful contents to be confessed. Among these contents, we noticed the feelings of guilt and shame are recurrent in most the protagonist’s experiences. Confessional narrative is a method that Coetzee uses to debug knowledge and to select themes presented in Boyhood, differently from traditional confessional narratives.Boyhood (1997) é o primeiro volume da trilogia autobiográfica Scenes from Provincial Life, do escritor sul-africano J. M. Coetzee. A narrativa de Boyhood tem características peculiares para um romance autobiográfico, como o narrador em terceira pessoa e o uso do tempo presente. A hipótese de pesquisa é que o protagonista, o menino John Coetzee, descobre-se e descobre-se no regime do apartheid, e essa autodescoberta não se dá pela forma de ensinamento ou de relato a partir de uma narrativa consciente e racional. O processo de descobrir-se dentro desse regime dá-se através de sua consciência infantil, de observações pueris e da construção da percepção geral do protagonista. A partir dessa hipótese, discutimos nessa dissertação narrativas da escrita do eu e narrativas confessionais tradicionais na literatura, baseada em estudos teóricos de Coetzee, para, posteriormente, analisamos algumas das principais características da narrativa nessa obra para verificar como a técnicas de confissão não-religiosas estão presentes em Boyhood. Coetzee manipula essas técnicas evitando a típica narrativa confessional presente em autores como Agostinho, J. J. Rousseau e Dostoievski. Neste estudo, observamos também que os episódios da narrativa dão-se a partir da confissão, um método autoinvestigativo que traz à tona conteúdos dolorosos a serem confessados. Dentre esses conteúdos, também notamos que os sentimentos de culpa e de vergonha são recorrentes em boa parte dessas experiências do protagonista. A narrativa confessional é um método que Coetzee utiliza para depurar o conhecimento e selecionar os temas apresentados em Boyhood, diferente de narrativas confessionais tradicionais.
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Tegla, Emanuela. "J. M. Coetzee: writing, morality and the wound of history". Thesis, University of Ulster, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.588492.
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The subject of the present PhD thesis consists in an analysis of the fictional treatment of moral concepts and realities in some novels by the contemporary South African writer J. M. Coetzee. The thesis as a whole may be regarded as grounded on the idea that literature bears significant relevance to the contemporary ethical discourse in general, and to an understanding of the postcolonial one in particular. The following analysis will therefore address the moral concepts as context-embedded and it will seek to discuss Coetzee's treatment of them in relation to a broad range of philosophical considerations. Within the framework of Coetzee scholarship, the question of morality has been rarely addressed in a consistent, detailed manner; the present study explores the distinctiveness of Coetzee's depiction of moral issues through a rigorous scrutiny of the individual consciousness of the main characters. Within each chapter, the twofold aim is to address the particularities of the narrative techniques used by the author (through theoretical discussions applied to the text and through close reading of relevant elements and aspects) and to understand the moral concepts depicted in each of the novels discussed: guilt and evil in Waiting for the Barbarians; love and shame in Age of Iron; humility in Life and Times of Michael K; and self-deception, disgrace, humiliation in Disgrace. Contrary to the frequent view that regards Coetzee as politically passive, evasive, uninvolved, the present thesis attempts to show that the specific ways in which Coetzee engages with history and with the social realities of his time and place betray a complexly nuanced perception of his historical context and an intense awareness of moral realities. The novels analysed below can be described as unsettling for the reader, due to their exploration of such themes as (the impossibility of) personal redemption, freedom, and social change. By a careful analysis of the interconnectedness between stylistic and thematic particularities, the thesis aims at disclosing the effectiveness of Coetzee's narrative strategies in engaging the reader morally and in inviting self-questioning and radical revisions of personal and social moral assumptions.
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Mikolajek, Morten [Verfasser], i M. J. [Akademischer Betreuer] Hoffmann. "Tintenstrahldruck organisch/anorganischer Komposite / Morten Mikolajek ; Betreuer: M. J. Hoffmann". Karlsruhe : KIT-Bibliothek, 2018. http://d-nb.info/1170230555/34.
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Alsahoui, Maan. "La question de l'autre chez J. M. G. Le Clézio". Paris 10, 2010. http://www.theses.fr/2010PA100014.
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Cette thèse engage une réflexion sur le mythe personnel de J. M. G. Le Clézio qui se construit à partir des rapports qu'entretiennent l'autobiographie de l'auteur avec la généalogie de l'Autre. Notre objectif est de mettre en évidence les façons dont se présentent les figures de l'Autre dans l'œuvre, ainsi que dans les relations complexes et constituvent de l'écrivain avec ses ancêtres. Pour ce faire, nous avons interrogé la quête qu'effectuent les personnages à la recherche d'une nouvelle forme de sacré, mettant en cause leur identité et transformant leur personnalité. La rencontre avec l'Autre devient aussi une aventure fondatrice pour l'écrivain qui revient à ses origines réelles et imaginaires afin d'échapper à un modèle européen qu'il conteste. Dans ce mouvement de projection sur l'Autre non occidental, nous étudions la relation conflictuelle qu'entretiennent l'écrivain et ses personnages avec leur milieu d'origine et examiné comment s'opposent deux modes de vies incompatibles. Nous arrivons ainsi à ce qui soutient comme un clé de voûte l'argumentation du texte leclézien : l'opposition entre le primitivisme et la modernité occidentale. Cette distinction entre sacré et profane, qui marque la thématique de l'œuvre et la divise en deux périodes, trouve un écho dans le rapport du sujet avec l'Autre féminin. Notre propos sur ce point s'organise autour du thème du passaga alchimique de l'autre côté, qui s'opère à travers la figure féminine. L'analyse des représentations de la femme dans l'ensemble de l'œuvre de Le Clézio nous permettra de mettre en évidence l'importance accrue de la figure féminine dans l'apaisement qui marque l'écriture des œuvres de la deuxième périodeThis thesis engage the reflection on the personal myth of JMG Le Clézio, built on the relations between the autobiography of the author and the genealogy of the Other. Our goal is to highlight how vome the figures of the Other in the novel, and the complx relationships of the writer with his ancestors. To do this, wa engaged a research on the search done by the characters in order to find a new form of religiosity, questioning their identity and transforming their personalities. In this movement of projection on the Other non-Western, we study the conflict between writer and his characters with their original environment. This is a cornestone argument in Le Clézio's novel : the opposition between primitive and Western modernity. This distinction between sacred and profane, wich marks the theme of the work and divided it into two perdiods, is echoed in the report of the subject with the other femal. Our remarks on this point revolves around the theme of the passage on the other side, which takes place through the indigenous femal figure. The analysis of representations of women throughout the work of Le Clézio, will highlight the increasing importance of the female figure in the healing that marks the writing of the novels of the second period
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Pardo, Segura Martha. "La réflexion de J. -M. G. Le Clézio sur l'écriture". Paris 3, 1996. http://www.theses.fr/1996PA030215.
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La reflexion de jean-marie gustave le clezio sur l'ecriture est fondee sur la philosophie de la perception. Elle implique le sujet qui ecrit et l'objet de travail, le langage. Celui-ci devient son "corps reel" qui exteriorise l'emotion et la nature contradictoire et imparfaite de l'ecrivain. Mais il ne s'affirme en tant qu'ecrivain qu'en assimilant les formes possibles et les tendances nouvelles qui dominent au moment ou il commence a produire pour les depasser et s'opposer a elles. L'originalite de la pensee esthetique le clezienne s'exprime dans la maniere d'utiliser le paradoxe, la contradiction et la comparaison pour trouver le sens de la litterature contemporaineThe reflection of j. -m. G. Le clezio about writing is based on the philosophy of perception. It implies the subject who writes and an object, language. The latter becomes" his real body" which exteriorizes the emotion and the contradictory and imperfect nature of the writer. But he asserts himself as a writer only in assimilating all possible forms and new tendencies in order to go beyond and oppose them. The originality of aesthetic thought of le clezio is expressed in his use of paradox, contradiction and comparison to find the meaning of contemporary litterature
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Fayet, Odile. "L'écriture de J. M. G. Le Clézio : une écriture magique". Paris 10, 1988. http://www.theses.fr/1988PA100041.
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Eblouie par l'être, en quête de l'identité anthropologique hors du réductionnisme occidental, l'écriture de le clezic est une magie expérimentant les grandes aventures humaines depuis l'origine: primitive, indienne, islamique, judéo-chrétienne. L'homme apparait tridimensionnel: en relation avec l'autre, sujet ontologique; avec la communauté, sujet politique; avec l'autre, sujet éthique. La relation triple une triple temporalité: un "présent" oriente la "métamorphose incessante" du vivant vers "l'éternité". Parallèlement s'expérimente l'écriture qui est acte et lieu de l'être. Les gestes opèrent une magie: inscrire incarne la chose, tisser relie mots et choses et celles-ci ensemble font surgir le corps du monde. Mimer les forces cosmiques, les choses, parvient par identification - "extase matérielle" - a une nouvelle connaissance qui est métamorphose de leur réalité brute en leur essence d'être: l'écriture est salvatrice. Se joint une parole incantatoire qui transmute les choses en une pure présence. . . Un silence. Par la coïncidence de deux langages, écriture horizontale, océanique, parole de haute tension, ascendante, essentia et ousia, la magie tente de pénétrer l'enceinte du sacre, l'un. C'est pourquoi elle est "oblique" et "parabolique", gardienne du secret. Récemment avec le chercheur d'or, reconnaissant la fracture entre les mots et les choses, l'écriture devient séparation et alliance et le symbole se glisse dans les mots simples et nus. Reliant l'art et la vie, la magie est initiatique, elle est un faire être et s'avance vers le réel, de l'ordre du désir et de la volonté, en une écriture concrète, "matérielle", habitée par le silence, ou la présence advient par le dialogue des genres narratif, discursif, lyrique. Le magicien est le passeur d'un lecteur réveillé, révélé, acteur de la cité d’aujourd’huiDazzled by the essence of being, in search of man's identity beyond the reducing rationalism of western culture, Le Clézios's writing is a magic which experiments man's odysseys from the origins: primitive, Indian, Islamic and Judeo-Christian human adventures. Man appears as tridimensional: an ontological subject related to the other, a political subject to the community and a moral subject to the others. The relation weaves a triangular temporality: a "present" directs the "perpetual metamorphosis" of the living towards "eternity". At the same time is experimented a writing in which the essence of being is found acting. Gestures work a magic where tracing embodies the object and weaving links words and things; they, all together, give life to the body of the world. Miming cosmic forces, things - by means y identification, "material extasis" - lead to a new knowledge which metamorphoses their raw existence into the essence of being: writing is salvation. Then comes an incantatory speech which transmutes things into a real pre- sence. . . Silence. Two languages are used conjointly, a sea of words and a highly-rising speech, essentia and ousia. Writing attempts to break into the chamber of the sacred, the one. That is why it is "oblique", indirect, and "parbolic", mythic, guardian of the secret. Recently, in le chercheur d'or, Le Clézio's writing acknowledges the rupture between words and things, it becomes separated and allied, and symbols slip in among bare and simple words. A link between art and life, the magic is initiatory, it becomes a living essence, and it walks towards reality into a concrete material writing inhabited by silence. Presence comes through the dialogue of the narrative, discursive and lyrical genres. The magician ferries the reader across now enlightened and an actor in today’s city
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Cavallero, Claude. "J. M. G. Le Clézio ou Les marges du roman". Rennes 2, 1992. http://www.theses.fr/1992REN20003.
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J. M. G. Le Clézio ou les marges du roman, l'oeuvre de J. M. G. Le Clézio se distingue des tendances multiples de la création romanesque d'aujourd'hui : rebelle à la définition, elle ne se rattache à aucun mouvement, n'épouse aucun courant formel. Ce constat érige l'idée de marginalité en un concept descriptif, lequel permet, par l'analyse des constituants fondamentaux du récit, la mise à jour d'un monde fictionnel ou les lisières, les bords extrêmes, les franges de toute nature, assument l'essentielle signification. Tel est le ressort symbolique des marges que face aux excès dénoncés de la modernité, l'exil se mue pour le sujet en quête primordiale d'un rapport à l'univers plus authentique. Le procès narratif participe étroitement de cette valorisation des marges. L'éclatement des structures, le recours motivé à des procédés atypiques, établissent la marge en instance créatrice générant un inter discours, un dire d'entre les mots, d'entre les lignes, d'entre les types textuels. Ainsi s'éclaire l'originalité d'une oeuvre singulière, à la fois proche du mythe et de la prophétie, de l'histoire et de l'ethnographie, du poème et de la fable éthique. Ces marges génériques sont comme autant "d'énormes espaces vierges à prospecter", et qui font reculer, livre après livre, les frontières du romanJ. M. G. Le Clézio 's works distinguish themselves from the multiple tendencies in the novelistic creation of today: as a rebel to definitions, they are part of no movement nor do they espouse any formal current. This observation establishes the idea of marginality as a descriptive concept which permits, through analysis of the fundamental constituents of the narrative, the appearance of a fictional world where the extreme edges, where all nature of fringe elements assume the essential meaning. Such is the symbolic scope of the margins that, faced with the denounced excesses of modernity, exile is transformed into the subject in the primordial search for a more authentic relationship to the universe. The narrative process is implicated in this valorisation of the margins. The breaking up of structures and the motivated recourse to atypical processes establish the margin as a creative force generating an inter-discourse, an insinuation from between the words, from between the lines, from between the textual categories. Thus the originality of a remarkable literary work, close to both myth and to prophecy, to both history and to ethnography, to the poem and to the ethical tale. These margins of genre are as so many "enormous virgin spaces to prospect" and which push back, book after book, the frontiers of the novel
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Pien, Nicolas. "L'écriture autobiographique de l'œuvre de J. M. G. Le Clézio". Caen, 2002. http://www.theses.fr/2002CAEN1362.
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Cette thèse propose d'étudier la problématique de l'évolution des rapports entre le Moi et le monde dans l'œuvre de Le Clézio, en montrant l'investissement autobiographique dont ils sont l'objet. En effet, l'écriture est, pour l'auteur, plus qu'une tentative de représentation du monde : elle est un instrument d'intégration au monde vivant, au temps, une façon de combattre l'idée de la mort. Nous avons considéré que l'œuvre suit les trois étapes du cérémonial de guérison mentionné dans Hai͏̈ (1971) : Tahu Sa, l'initiation, Beka, la fête chantée et Kakwahai͏̈, l'exorcisme, et qu'elle répond au but recherché par cette science magique, l'harmonie du Moi avec le monde. De 1963 à 1973, Le Clézio s'emploie à décrire un mal, une impossibilité de la reconnaissance de l'individu dans le monde moderne. Depuis 1973, après avoir séjourné chez les indiens Embreras, il trouve les conditions d'un renversement de ce mal, conduisant à une féminisation de l'écriture désormais confrontée à la matière. L'écriture peut alors se retourner sur son parcours comme sur celui de l'homme qui l'a pratiquée et, ce faisant, inscrire l'être dans un temps mythique (selon l'acception indienne), un cycle qui défie le temps linéaire et qui permet de retrouver un sentiment d'enfance ressenti en 1948, en Afrique, perdu et recherché depuis. Ce sentiment devient alors un pays : celui de la langue.
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Kastberg-Sjöblom, Margareta. "L'écriture de J. M. G. Le Clézio : une approche lexicométrique". Nice, 2002. http://www.theses.fr/2002NICE2008.
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Ce travail a pour objet d'étudier l'oeuvre de Jean-Marie Le Clézio, en utilisant et en comparant les méthodes de la linguistique quantitative et les logiciels qui mettent en oeuvre les analyses lexicométriques. La structure du vocabulaire sera caractérisée par l'étude des fréquences. De la recherche et la diversité du vocabulaire ainsi que de l'accroissement lexical. L'étude du rythme repose sur l'analyse de la longueur des mots. Des phrases et des segments intérieurs. Les parties du discours et la syntaxe seront étudiées à travers une analyse "grammatico-métrique" qu'a rendu possible la lemmatisation du corpus. L'analyse du contenu s'intéresse à la distance lexicale ainsi qu'à l'étude des spécificités lexicales. Le recensement des isotopies récurrentes ouvre la voie à une étude thématique. Avec les mêmes techniques on tente également une analyse de l'intertectualité et une étude comparative avec d'autres auteurs.
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Bocquet, Antoine. "Esprit et société (la philosophie sociale de J. -M. Gérando)". Paris, EHESS, 2012. http://www.theses.fr/2012EHES0105.
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Y a-t-il une politique de l'individualisme ? - L'œuvre du philosophe spiritualiste et philanthrope Joseph-Marie de Gérando (1772-1842) apparaît comme un bon point de vue sur cette question, quoique l'idée même d'un spiritualisme sociologique puisse sembler paradoxale. Cette étude se donne dès lors pour tâche de suivre le destin de la méthode comparative à travers les divers aspects de la philosophie de cet auteur mal connu quoique crucial à plusieurs égards. Ses contributions à l'Idéologie et à la psychologie, à l'anthropologie, à la grammaire, à la littérature comparée, à la philanthropie et à l'administration, son œuvre pour l'éducation des sourds-muets y sont considérés dans cette perspective. Le principal résultat de ce tavail peut se résumer simplement sous le nom de paradoxe spiritualiste. Le spiritualisme, dont Gérando serait un des premiers représentants, à mesure qu'il gagne vers l'intériorité, s'ouvre ici aux pratiques concrètes et à une forme originale de comparatisme, comme si sa pente naturellement introspective le consuisait à un point de rebroussement propre à mettre en défaut le dispositif du sujet. Sous un autre aspect, on établit la façon dont s'est opéré le passage de l'Idéologie au sens que ce terme a chez les Idéologues, phiosophes sensualistes du Directoire, à l'idéologie au sens de l'anthropologie culturelle (les idées sociales). De ce point de vue, la contribution propre du spiritualisme aurait été de constituer l'esprit comme domaine d'élaboration pour la notion de socialIs there a politics of individualism ? - The work of spiritualist philosopher and philanthropist Joseph-Marie de Gérando (1772-1842) appears as a good point of view on this issue, although the idea of a sociological spiritualism may seem paradoxical. This study follows therefore what happens to comparative method through the various aspects of the philosophy of this little known although crucial author. His contributions to the Ideology and psychology, anthropology, grammar, comparative literature, philanthropy and administration, his work for the education of deaf-mutes are considered in this perspective. The main result of this work can be summarized simply as the spiritual paradox. Spiritualism, which Gérando is one of the first representatives, as it gets into interiority, opens to concrete practices and to an original form of comparative approachs, as if its introspective tendency naturally led him to a turnaround point able to show the weakness of subject "dispositif". In another aspect, we establish how took place the transition from "ideology", in the sense that this term has for Ideologues, sensualist philosophers of the Directoire, to the "ideology" in the sense of cultural anthropology (the social ideas). From this point of view, the specific contribution of spiritualism would have been to constitute the mind as an area of elaboration for the concept of "social"
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Paulo, Fernando de Lima. "Imaginando o inimaginável: linguagem e religião em J. M. Coetzee". Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7DSFD6.
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O escopo do presente trabalho relaciona-se à percepção do registro religioso na obra do autor sul-africano J. M. Coetzee, tomando por base os seus três primeiros romances. A função desse registro no âmbito da ficção do escritor tem a ver com a idéia de religião como relego, a palavra latina para cuidado, que acho pode traduzir um exame cuidadoso acerca das possibilidades da linguagem em face da crise de representação no chamado momento pós-moderno, bem como uma procura por alternativas aos impasses advindos dessa crise. Coetzee utiliza-se da ficção como um modo de pensar e, assim, efetua inicialmente uma investigação do próprio meio lingüístico através de uma atitude auto-reflexiva na escrita, chamando atenção para os discursos hegemônicos e das relações de poder deles advindas. Este prática é perceptível nos romances em Dusklands e In the Heart of the Country, que se mostram reflexões não somente sobre textos ideologicamente motivados, mas também sobre as subjetividades que se formam no âmbito desses discursos. Nessa dinâmica, a linguagem volta-se sobre si mesma, gerando o perigo de infinitute e tem de se confrontar com o vazio da significação sempre deferida. Como resultado, o escritor elabora estratégias (a paródia, por exemplo) que tentam driblar essa possibilidade ao imaginar maneiras de expressar o desejo de reciprocidade em relação à alteridade, ou seja, ao elemento obliterado, emudecido, marginalizado dos discursos do poder. Desta forma, já se esboça um apelo ao registro religioso, quer seja através da alusão ao mito, quer seja através de narradores ensandecidos ou em auto-engano. Com isso, as opções discursivas nos livros apontam para um imperativo: imaginar uma maneira em que a escrita possa efetuar um jogo (play) de rearranjo de regras e convenções e, por esse meio, abordar o 'inimaginável', ou seja, o sofrimento, a justiça e a solidariedade - o intraduzível na linguagem. A consolidação desse processo provoca em Waiting for Barbarians, o terceiro romance de Coetzee, uma opção por um realismo 'reconstituído', longe dos arroubos metaficcionais dos livros anteriores e que se contrapõe à infinitude da auto-reflexão quando faz uso da alegoria e, por meio dela, tornar possível o processo kenótico de esvaziamento dos discursos do poder e a construção de algum tipo de relacionamento com o outro; esse relacionamento denomino caritas.
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Paredes, Quiroga Manuel. "Experiencia de intervención musicoterapéutica en oncología : el caso M : Hospital Clínico Universidad de Chile J. J. Aguirre". Tesis, Universidad de Chile, 2013. http://www.repositorio.uchile.cl/handle/2250/117609.
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Postítulo en terapias de arte, mención musicoterapiaEl presente trabajo tiene como objeto describir, y analizar una experiencia de atención clínica individual en musicoterapia oncológica realizada en el marco de la práctica profesional desarrollada el año 2012 en la Unidad de Hematología Oncológica del Hospital Clínico de la Universidad de Chile, J. J. Aguirre. El proceso musicoterapéutico se lleva cabo con la paciente M, edad 63 años, afectada de leucemia linfoblastica, tratamiento desarrollado en tres etapas, diagnóstico, desarrollo y cierre durante 12 sesiones en un período de cinco meses, donde la principal herramienta es la música y expresiones íntimamente relacionadas con ésta, como la poesía y expresiones del cuerpo como la danza. Durante el proceso M logró afrontar momentos de profunda tristeza, se atenuaron síntomas y dolores producidos por la enfermedad, mejoró sus posibilidades de descanso, sueño, relajación, recreación y diversión, como también favoreció el mejoramiento de vínculos, el desarrollo gradual de su capacidad de expresión emocional y creativa, alcanzar mayor conciencia de sí misma y reflexionar en torno a temas trascendentes como la muerte y el sentido de la vida.
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Chow, Shuk-han. "Opposition and reconciliation in the works of J.M. Coetzee and Nadine Gordimer". Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B31577441.
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Dutton, Jacqueline Louise. "Le Chercheur d'or et d'ailleurs : Le Clézio sur le chemin de l'utopie = The representation of Utopia in the work of Jean-Marie Gustave Le Clézio (1963-1998) /". Title page, table of contents and summary only, 1999. http://web4.library.adelaide.edu.au/theses/09PH/09phd981.pdf.
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Martin, Christoph [Verfasser], M. [Akademischer Betreuer] Bucher, M. [Akademischer Betreuer] Kornhuber i J. [Akademischer Betreuer] Engel. "Inzidenz des Harnverhaltes nach Spinalanästhesie : Vergleich zweier Techniken / Christoph Martin. Betreuer: M. Bucher ; M. Kornhuber ; J. Engel". Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2014. http://d-nb.info/104918937X/34.
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Meuser, Anneliese. "J. M. R. Lenz: 'Catharina von Siena'. A study (German text)". Thesis, University of Auckland, 1998. http://wwwlib.umi.com/dissertations/fullcit/9923551.
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This study contains a detailed interpretation of the fragmentary play Catharina von Siena by the Sturm-und-Drang (Storm and Stress) poet Jakob Michael Reinhold Lenz (1751-1792). Although we have only drafts of this play, the topic, the structure, and the relatively long time Lenz spent on the drama indicate that it was nevertheless an important work. Over three chapters this study approaches the Catharina fragments in various ways, the main focus being on improving our understanding of the text. Before starting on the actual interpretation a few basic questions need to be examined, these relating to the conditions in which the play was created and developed, the choice of subject and themes, the manuscripts and their history, as well as the six editions of Catharina von Siena . For this reason the central interpretative chapter is prefaced by a chapter on the genesis of the play, as well as another chapter on the manuscripts and texts. Since it was not possible to work with original manuscripts, a microfilm and reader print copies of the manuscripts were used. The textual examination was based on the readily available edition by Damm. Where necessary the reading by Titel/Haug and the older text editions by Weinhold, Lewy, Blei and Freye were used to supplement these, and also for the purpose of comparison. A pluralistic methodological approach was applied. A more exact period of time for the creation of Catharina von Siena was defined, information about the way Lenz worked and about his intentions with regard to construction and effect was obtained as well. Through this detailed study of the fragments, correspondence and biographical data, we can establish reasons for the fragmentary character of the play, and are able to ascertain the special nature of the drama.Subscription resource available via Digital Dissertations only.
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Chung, Ook. "Le discours prophetique dans l'oeuvre de J. M. G. Le Clezio". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/NQ44385.pdf.
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Kleinehakenkamp, Katharina [Verfasser], i M. J. [Akademischer Betreuer] Hoffmann. "Erschließung neuer Funktionalitäten nanokristalliner Oxidkeramiken / Katharina Kleinehakenkamp. Betreuer: M. J. Hoffmann". Karlsruhe : KIT-Bibliothek, 2012. http://d-nb.info/1031709185/34.
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Otten, Simon J. [Verfasser], i M. [Akademischer Betreuer] Noe. "Characterisation of REBCO Roebel cables / Simon J. Otten ; Betreuer: M. Noe". Karlsruhe : KIT-Bibliothek, 2019. http://d-nb.info/1178528081/34.
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Naude, Stephanus Jacobus. "Die uitbeelding van kreatiwiteit in die werk van J. M. Coetzee". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71919.
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Thesis (MA)--Stellenbosch University, 2012.AFRIKAANSE OPSOMMING: J. M. Coetzee se werke ondersoek dikwels op intense en ongewone wyse wat kreatiwiteit is en hoe dit werk, wat die bronne en oorspronge daarvan is, en verwonder sig aan die onvoorspelbaarheid van die voorwaardes en katalisators vir, en die aard en uitkomste van, die kreatiewe proses. Hierdie essay ondersoek eerstens die teoretisering van literêre kreatiwiteit deur veral Derek Attridge, wat hy hoofsaaklik baseer op Coetzee se werk. Tweedens word die komplekse uitbeeldings – of performance – van kreatiwiteit en die kreatiewe proses in Coetzee se oeuvre, spesifiek aan die hand van The Master of Petersburg en die post-Disgrace werke, ontleed. Daar word gefokus op skeppende karakters en alter ego’s, veral skrywers, wat toenemend hul verskyning in Coetzee se prosa maak. Kwessies van skrywerlike mag, die etiek van skryf, die konflik tussen werklikheidsvlakke binne fiksie asook tussen werklikheid en fiksie, soos dit uitspeel in die hibriede en eksperimentele laat werke, kom aan bod. Die essay maak dikwels van stipleestegnieke gebruik in die lees van die betrokke werke. Ander strategieë word egter ook ingespan, veral by die lees van die laat werke. Die siening van kreatiewe impuls wat aldus blyk, is ‘n radikale een. Kreatiwiteit is blind vir moraliteit en dalk selfs etiek. Dit word onder andere gelykgestel aan die epileptiese val. Dit gaan oor die oopstelling vir – en die eksklusiewe verantwoordelikheid teenoor – die onverwagse, die Beckettiaanse/Derridiaanse proses van ‘n produktiewe/onproduktiewe gewag. Dit word vergestalt deur ‘n gebeurtenis wat beslag vind in die onverminderbare eiesoortigheid van die literêre werk.
ENGLISH ABSTRACT: J. M. Coetzee’s work often investigates in an intense and unusual manner the nature of creativity and how it works, what the sources and origins of creativity are, and marvels at the unpredictability of the preconditions and catalysts for, and the nature and outcomes of, the creative process. This essay investigates, in the first place, the theorisation of literary creativity by especially Derek Attridge, which he mainly bases on Coetzee’s work. In the second instance, the complex portrayals – or performances – of creativity and the creative process in Coetzee’s oeuvre are analysed, particularly with reference to The Master of Petersburg and the post-Disgrace works. The focus is on creative characters, particularly authors, who are increasingly making an appearance in Coetzee’s prose. Questions of authorial power, the ethics of writing, the conflict of reality levels within fiction as well as between reality and fiction, as it plays out in the hybird and experimental late works, are presented. The essay often uses close reading in the reading of the mentioned works. Other strategies are also used, particularly in the reading of the late works. The view of the creative impulse thus crystallising, is a radical one. Creativity is blind to morality, and perhaps also ethics. It is equated, inter alia, to the epileptic fit. It is about the opening up – and the exclusive responsibility – to the unexpected, to the Beckettian/Derridian process of a productive/unproductive waiting. It is represented by a happening which precipitates in the irreducible singularity of the literary work.
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Hasse, Benjamin [Verfasser], i Bastian J. M. [Akademischer Betreuer] Etzold. "Karbidabgeleiteter Kohlenstoff als Katalysatorträger / Benjamin Hasse. Gutachter: Bastian J. M. Etzold". Erlangen : Friedrich-Alexander-Universität Erlangen-Nürnberg (FAU), 2015. http://d-nb.info/1075480612/34.
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Cruz, Talita Mochiute. "A ficção australiana de J. M. Coetzee: o romance autorreflexivo contemporâneo". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-10092015-160114/.
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Esta dissertação propõe uma leitura da chamada ficção australiana de J. M. Coetzee composta por Elizabeth Costello (2003), Homem lento (2005) e Diário de um ano ruim (2007). Esses romances da fase madura do autor compartilham um núcleo de questões estéticas e éticas, configurando um conjunto significativo marcado pela inflexão autorreflexiva. O trabalho acompanha a constituição e a trajetória dos escritores-personagens Elizabeth Costello e Señor C, discutindo como a inserção do recurso do duplo do escritor desestabiliza as noções de autor, personagem e narrador, além de borrar os limites entre ficção e não ficção. A dramatização do processo criativo no centro das obras é outro foco da análise, com o objetivo de entender a encenação da impossibilidade do romance nos moldes do realismo formal. O estudo ainda tenta sugerir a resposta de Coetzee sobre a validade do romance no mundo contemporâneo.This dissertation presents a reading of J. M. Coetzees so-called Australian fiction comprising the works Elizabeth Costello (2003), Slow Man (2005), and Diary of a Bad Year (2007). These novels, belonging to the authors late prose, share core aesthetic and ethical issues. They are meaningful works characterized by self-reflexive inflection. This study follows Elizabeth Costello and Señor C in their writer-characters constitution and journey to discuss how the presence of the writers double, as literary device, destabilizes the notions of author, character, and narrator, as well as it blurs the boundaries between fiction and non-fiction. The dramatization of the creative process in the center of Coetzees works is another focus of analysis aiming to understand the impossibility of staging the novel in formal realism patterns. This work also attempts to suggest Coetzees response on the validity of the novel in the contemporary world.
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Jollin-Bertocchi, Sophie. "Érotisme et littérarité dans l'oeuvre de J. M. G. Le Clézio". Paris 4, 1995. http://www.theses.fr/1994PA040353.
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La thematique erotique chez le clezio se manifeste principalement sous la forme anecdotique. La diversite problematique des facettes semantiques de l'evenement sexuel ou sensuel temoigne une representativite culturelle construite selon la vision de l'ecrivain, avec une evolution chronologique vers l'harmonie comme dominante. Sa frequence reguliere apparente l'evenement erotique a un rite tant humain que narratif, les sequences fonctionnant comme propositions narratives de rang variable. La macrostructure met ainsi en place un horizon d'attente excitant, et l'ensemble des determinations expressives jouant sur l'implicite, la connotation et le mimetisme syntaxique, qui fondent la plupart des segments erotiques, est a l'origine du possible ressentiment erotique a la lecture. L'erotisaion du texte repose donc sur une mise en texte particuliere du referent, ou le vecu de l'evenement est l'objet meme du discours. La litterarite de la representation est garantie par cette reflexivite et par la notion d'acte textuel au sens d'effet en general et de contre-marquage en particulier. Le meme marquage stytematique preside a la mise en texte de referents non erotiques, par quoi l'erotisation irradie au niveau de la litterarite singuliere : la notion d'erotisme s'elargit a la participation sensorielle au monde. La textualite descriptive participe de l'erotisation de la litterarite generique en vertu de ses structurations propres, ainsi que d'une tendance a la narrativisation qui opere une osmose entre les types de textes. Les stylemes erotisants trouvent enfin un echo au plan de la litterarite generale a travers les reprises intra- et intertextuelles. Les faits de recriture ressortissent a l'esthetique complexe de la caresse, de la vague, de la fusion et de l'intimite qui cree la valeur erotique du texte le clezien aussi bien que de la litterarite en general. L'erotisation ne tient pas tant au referent represente qu'aux modalites de la representation d'un referent quelconque.
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Rose, Arthur James. "The poetics of reciprocity in selected fictions by J. M. Coetzee". Master's thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/8098.
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Includes bibliographical references (leaves 93-96).David Attwell, in the interview that prefaces "The Poetics of Reciprocity" section of Doubling the Point, identifies a recurrent concern with the function of reciprocity in the work of J. M Coetzee. 1 "The I-You relation ... connects with larger things in the whole of [Coetzee's] work, what I would like to call broadly the poetics of reciprocity." (Attwell 1992: 58) This dissertation seeks to examine the poetics of reciprocity as an aesthetic-ethical concern of Coetzee' s fiction. By establishing Coetzee's works as an extended critique of reciprocity in their thematic and structural elements, this dissertation presents a notion of reciprocity that acknowledges both an ethical imperative to engage with others and the aesthetic problems of depicting that ethical engagement in art. The aim of the dissertation is therefore to show the use of a poetics of reciprocity in raising and examining particular ethical and aesthetic issues in Coetzee' s work.
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Nicklasson, Margaretha. "Susan and Friday : Rationality and Othernes in J M Coetzee's Foe". Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-32240.
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ABSTRACT This essay aims to study rationality and otherness in J.M. Coetzee’s Foe. Susan Barton, the female protagonist in the book, is rational and struggles for power and independence in the society of the Enlightenment where the story is set. She is seen as non-rational, less valuable and as Other of the white, European male due to her gender. Friday is male, but non-white and he is perceived as Other as well because of the colour of his skin. Although Friday is mute he tries to communicate, but his ways of communication are often ignored by others. Through the representation of these characters Coetzee subverts the conventional idea that rationality is linked to the white European male.
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Štainerová, Kateřina. "Symfonický orchestr hl. m. Prahy FOK a j eho žesťová skupina". Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202864.
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This magister thesis Prague Symphony Orchestra FOK and its brass section is divided into four chapters. The first chapter deals with the development of the orchestra since its foundation up to the present. The chapters from the second to the fourth focus on the brass section including the detailed artistic curriculum vitas of the current musicians. The second chapter is concentrated
on the members of the trombone section (including also two members that play tube). The third chapter deals with the trumpet section while the fourth chapter deals with the section playing French horn.
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Walther, André. "M. Fulvius Nobilior : Kultur und Politik zur Zeit der Mittleren Republik". Paris, EPHE, 2012. http://www.theses.fr/2012EPHE4027.
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L'objet de cette étude est M. Fulvius Nobilior. En tant que leader politique et militaire, il a considérablement influencé le sort de la res publica Romana pendant les premières décennies du 2ème siècle avant J-C. , mais sans prendre position au premier plan parmi d'autres contemporains plus célèbres. La postérité se souvient particulièrement bien de Nobilior comme patron du poète Ennius, ainsi que pour de nombreuses autres activités culturelles qu’il a initiées et promues. Prenant Nobilior à titre d'exemple, cette étude se penche sur la façon dont les domaines de la politique et les arts se sont conditionnés et influencés les uns des autres à l’époque medio-républicaine. La première partie de l'étude examine en détail le personnage historique de M. Fulvius Nobilior et son res gestae comme magistrat et membre de la classe dirigeante Romaine. La deuxième partie est consacrée à l'activité culturelle que Nobilior a affichée et qui est analysée, avec une attention particulière quant à ses actions politiquesThe focus of this study is on M. Fulvius Nobilior. As a politician and military leader, he substantially influenced the fate of the res publica Romana during the first decades of the 2nd century BC. However, he did so without reaching such a prominent position as other, more famous, contemporaries of his. Posterity remembers Nobilior particularly well as a patron for the poet Ennius, as well as for numerous other cultural activities which he initiated and promoted. Taking Nobilior as an example, this study looks into how the realms of politics and the arts conditioned and influenced each other at the time of the Middle Republic. The first part of the study examines in detail the historic persona of M. Fulvius Nobilior and his res gestae as magistrate and member of the Roman aristocracy. The second part is devoted to the extensive cultural activity which Nobilior displayed and which is analyzed with particular regard to his political actions
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Graham, Lucy Valerie. "The use of the female voice in three novels by J.M. Coetzee". Thesis, Rhodes University, 1997. http://hdl.handle.net/10962/d1002267.
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This study investigates J.M. Coetzee's use of the female voice in In the Heart of the Country, Foe and Age of Iron, and is based on the premise that Coetzee's position as a male author using a female voice is important for readings of these novels. Although the implications of Coetzee's strategy are examined against the theoretical background of feminist or gender-related discourses, this study does not attempt to claim Coetzee for feminism, nor to prove him a misogynist. Instead, it focuses on the specific positional and narrative possibilities afforded by Coetzee's use of a female voice. Chapter One comments on the fact that Coetzee's strategy of "textual cross-dressing" has not been given much critical attention in the past, observing that research on South African literature has largely been limited to studies of racial and colonial problematics. This introductory chapter mentions that the different female narrators in Coetzee's novels articulate aspects of a discourse in crisis, resulting in profound ambivalence in their representation. Chapter Two observes that the female voices in Coetzee's novels invoke the textual illusion of a speaking/writing female body, and explains that this is useful in expressing aspects of what Coetzee refers to as the suffering body. Although Coetzee appropriates a female narrative position and employs certain subversive textual elements associated with "the feminine", attempts made by certain critics to label Coetzee's writing as ecriture feminine are rejected as highly problematic. Instead, the study contends that the femaleness of the narrators relative to "masculine" discursive power enables Coetzee to perform a critique of power "from a position of weakness". Furthermore, the presence of certain "feminine" elements within these narrators suggests Coetzee's affiliation with characteristics derided within phallocratic discourses, and becomes a strategic means of fictive self-positioning, of figuring his own position as a dissident. Chapter Three is a study of In the Heart of the Country, and proposes that Magda is represented as a typical nineteenth century hysteric. Her hystericized narrative is linked to certain avant-garde narratives, such as the nouveau roman and "New Wave" cinematography, both cited by Coetzee as influences on the novel. Furthermore, the novel provides insight into the ambiguous role of the hysteric and dramatises the position of the dissident: on a discursive level Magda's narrative is subversive, and yet in terms of social "reality" her revolt is ineffectual. Chapter Four addresses the issue of author-ity in Foe, and draws on Coetzee's affiliation with Susan Barton, the struggling authoress, whose narrative reveals the levels of power and authority operating within, novelistic discourse when she asks "Who ,is speaking me?". The study observes that Foe also performs a critique of the power-seeking project of liberal feminism, as the novel sets Susan's quest for authorship against the background of a more radical "otherness", that of Friday. Chapter Five asserts that Age of Iron exploits the ethical possibilities of a maternal discourse. Tracing parallels between images of motherhood in psychoanalytic feminism and in Age of Iron, this chapter argues that Kristeva's theory of abjection is relevant for a reading of Elizabeth Curren's position as a mother who has cancer. The childbirth metaphor as it appears in Age- of Iron becomes an alternative and profoundly ethical way of figuring the process of novel writing.
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Agostini, René. "Le Théâtre de J.-M. Synge, 1871-1909 recherches pour une esthétique du récit dramatique". Lille 3 : ANRT, 1986. http://catalogue.bnf.fr/ark:/12148/cb37595338s.
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Kern, Susanne. "Das Unsagbare erzählen: J. M. Coetzees ästhetische Strategien zur Darstellung von Gewalt". Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/100246661X/04.
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Garbe, Jakob [Verfasser], K. M. [Akademischer Betreuer] Taube, J. [Akademischer Betreuer] Hafner i J. [Akademischer Betreuer] Dissemond. "Ulcus cruris : lässt die Klinik auf die Ätiologie schließen? / Jakob Garbe. Betreuer: K.-M. Taube ; J. Hafner ; J. Dissemond". Halle, Saale : Universitäts- und Landesbibliothek Sachsen-Anhalt, 2016. http://d-nb.info/1090786654/34.
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Forchert, Thomas M. Verfasser], i Jivka [Akademischer Betreuer] [Ovtcharova. "Prüfplanung - Ein neues Prozessmanagement für Fahrzeugprüfungen / Thomas M. Forchert. Betreuer: J. Ovtcharova". Karlsruhe : KIT-Bibliothek, 2009. http://d-nb.info/1014099242/34.
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Forchert, Thomas M. [Verfasser], i J. [Akademischer Betreuer] Ovtcharova. "Prüfplanung : ein neues Prozessmanagement für Fahrzeugprüfungen / Thomas M. Forchert ; Betreuer: J. Ovtcharova". Karlsruhe : KIT Scientific Publishing, 2009. http://d-nb.info/1185397787/34.
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Haydon, Daniel T. [Verfasser], i Diederik [Akademischer Betreuer] Kruijssen. "Visualising the Synthetic Universe / Daniel Thomas Haydon ; Betreuer: J. M. Diederik Kruijssen". Heidelberg : Universitätsbibliothek Heidelberg, 2020. http://nbn-resolving.de/urn:nbn:de:bsz:16-heidok-275801.
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Sobral, Pedro Aurélio Tenório. "A vida dos animais, de J. M. Coetzee, na Casa de Espelhos". Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8290.
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The purpose of this text is to analyze the novel The lives of animals, by South-African professor and novelist, J. M. Coetzee, having metafiction as a focus. The lives of animals is constructed upon two striking reports resulting from lectures delivered by J. M. Coetzee at Princeton University, in the United States, in 1997; eventually, Coetzee transformed that material into a novel, giving voice to the writer – his seminal character and alter ego – Elizabeth Costello. These are two lectures in which the writer defends the basic rights of non-human animals. Besides this, J. M. Coetzee’s work calls our attention to the metaficcional devices employed in the narratives. For the discussion of metafiction, we use Hutcheon (1980; 1991) and Waugh (1984). We employ metaficcional principles in the analysis of Coetzee’s text, not merely as an illustration, but to verify how important and lasting this arrangement is in contemporary literature. Since The lives of animals is a novel in which both the life and rights of non-human animals are in the foreground, we articulate metareference with theories about power relations, so as to corroborate the cruelty inflicted on non-human animals. The results presented reveal both the relevance and adequacy of metafiction in the relationship between ethics and aesthetics.
Este texto objetiva analisar o livro A Vida dos Animais (2009), do professor universitário e romancista sul-africano J. M. Coetzee, à luz da teoria da metaficção. A Vida dos Animais traz-nos relatos contundentes de duas palestras que J. M. Coetzee proferiu na Universidade de Princeton, nos Estados Unidos, em 1997; posteriormente, Coetzee transformou aquele material em romance, cedendo a voz à escritora – sua personagem seminal e alter ego – Elizabeth Costello. São duas palestras que a romancista apresentou nas quais defende direitos básicos dos animais não-humanos. Além disso, a obra de J. M. Coetzee nos chama a atenção para os recursos metaficcionais empregados nas narrativas. Na leitura desse construto, recorreremos aos teóricos da metarreferência como Hutcheon (1980; 1991) e Waugh (1984). Empregamos os postulados da metaficção na análise do texto coetzeeano não só como ilustração, mas para verificar a importância e perenidade desse arranjo na literatura contemporânea. Por tratar-se de um romance em que a vida e o direito dos animais ganham destaque, aliamos os princípios metarreferentes a teorias que abordam relações de poder, de modo a referendar a crueldade a que os animais não-humanos são submetidos. Os resultados da análise apresentada ratificam a relevância e adequação da metaficção no que diz respeito à articulação entre ética e estética.
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Chantot, Anne. "Colonisation et décolonisation des espaces dans les romans de J. M. Coetzee". Dijon, 2004. http://www.theses.fr/2004DIJOL002.
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Parce que la colonisation au sens historique du terme est impensable sans " espaces " à coloniser, la critique postcoloniale ne peut faire l'économie d'une réflexion sur la représentation littéraire de l'espace colonial, à partir notamment des discours coloniaux qui ont précédé et justifié la colonisation des terres. Dans l'œuvre de l'écrivain sud-africain J. M. Coetzee, cette critique passe par la démythification du discours cartographique - qui, tout en étant au service du pouvoir, a longtemps été conçu comme une représentation neutre et objective de l'espace - et la subversion parodique de codes spatiaux attachés à des genres comme le roman pastoral, le roman " libéral " ou le roman d'aventures. Cependant, consciente de la complicité paradoxale qu'elle entretient avec ce qu'elle critique, elle se reconnaît comme fondamentalement ambigue͏̈, décolonisant d'un côté pour mieux recoloniser de l'autre, ou plutôt, (dé)colonisant dans le même geste. Par conséquent, l'ébauche, dans les romans de Coetzee, d'un espace dé-colonisé, " nomade " - espace non strié par des murs et des clôtures, échappant à la structure dichotomique et manichéenne de l'espace colonial - ne pouvait d'avance être qu'un échec, sauf à considérer que ce n'est pas l'espace autre, mais l'espace textuel, qui est le principal enjeu des romans de Coetzee. La représentation y est le support de stratégies qui en préviennent la colonisation par l'entreprise critique, et notamment par le " critique colonial ", motivé par le désir de coloniser les espaces vides du texte et/ou de réduire l'autre (littéraire) au même, oublieux de l'ambigui͏̈té constitutive de l'espace textuel. En ce sens, la critique postcoloniale à l'œuvre dans les romans de Coetzee ne vise pas tant à inventer de nouvelles représentations de l'espace qu'à changer notre conception de l'écriture et nos démarches interprétatives en tant que lecteursSince foreign countries would not have been colonized in the past, had there been no "space" to colonize, the postcolonial critique cannot avoid an analysis of the representation of colonial space in literature, nor its links to the colonial discourse that preceded and legitimized the colonization of land overseas. The postcolonial critique of colonial space in the novels of the South-African writer Coetzee takes mainly two shapes : first of all, it demystifies the discourse of cartography (which has long been thought to be neutral and objective) ; secondly, it subverts through parody spatial codes attached to specific genres. Nevertheless, because of the awareness that any kind of critique is complicit in what it criticizes, postcolonial critique acknowledges its ambivalence, that at best it (de)colonizes representations of space, that is to say decolonizes and recolonizes them at the very same time. As a consequence, Coetzee's attempt to portray a de-colonized landscape that goes beyond the Manichean binary structure of colonial space is doomed to failure, unless we realize that what is at stake is less represented space than textual space. Representation in his novels mainly aims at elaborating strategies that prevent its colonization by what we may call "colonial critics" - critics that are anxious to colonize the empty or indeterminate spaces of the text and/or to reduce the (literary) other to the same, neglectful of the ambiguous quality of literary texts. As a result, the postcolonial critique in Coetzee's novels intends not so much to invent new representations of space as to change our conception of literature and our way of interpreting texts