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Rodri̇guez, Cerezales Mari̇a. "Juan Larrea y Gerardo Diego : poesi̇a en traducción". Bordeaux 3, 2011. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2011BOR30073.
Pełny tekst źródłaEn esta tesis se estudian los aspectos de la poesia de Juan Larrea (1895-1980) relacionados con la traduccion. Se presenta un corpus exhaustivo de las traducciones de Gerardo Diego (1896-1987) de poemas de Juan Larrea constituido a partir de textos publicados y textos conservados en el archivo personal de Diego. Se analizan los mecanismos de la escritura francesa de Larrea intervenidos por la doble presencia del francès y el espanol y los aspectos de la misma que representan una especial dificultad en traduccion, y se ofrece asimismo un analisis de las traducciones de Gerardo Diego y una aproximacion a los presupuestos de la teoria creacionista vinculados con la traduccion poetica. Se dedica un estudio al ultraismo con el objetivo de contextualizar los comienzos poéticos de Juan Larrea y Gerardo Diego en la poésia de vanguardia y reconocer la naturaleza renovadora de esta en el panorama poético espanol de los anos veinte. Igualemente, se ofrece un estudio sobre la experiencia universitaria de Juan Larrea en Cordoba (Argentina) como parte del analisis de su poesia
RIESTRA, RODRIGUEZ LOSADA BLANCA. "ALa genèse de l'oeuvre poétique de Juan Larrea : une matrice sonore". Dijon, 2000. http://www.theses.fr/2000DIJOL027.
Pełny tekst źródłaMartinez-Chauvin, Andrea. "L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
Pełny tekst źródłaIs it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
Benmiloud, Karim. "Vertiges du roman mexicain contemporain : Salvador Elizondo, Juan García Ponce, Sergio Pitol". Paris 3, 2000. http://www.theses.fr/2000PA030172.
Pełny tekst źródłaWalker, Carlos. "El horror como forma : Juan José Saer, Roberto Bolaño". Paris 8, 2013. http://www.theses.fr/2013PA083935.
Pełny tekst źródłaOverall, this dissertation proposes to think horror as a literary construction. To that end, the research develops an extensive reflection on the narrative works of Juan Jose Saer and Roberto Bolaño. The aim is, first, to carry out a theoretical study to formulate hypotheses about the relevance of using horror as critical notion, and secondly, to point out a problematic semantic field, whose banner is the constant allusive reference to horror as a source of meaning for the representation of historical and political disasters in literature. The importance given to the notion of form determines the perspective in which horror is conceived in this dissertation. At the same time, it indicates that horror as a form is usually presented as an unthought-of notion in the literary criticism field, particularly in the studies that have analyzed the works studied here. Within this context of analysis, two major areas on which both literatures build their variation, expansion and reflection of the literary representation of horror are identified. These refer specifically to the importance of the visual register and to the repeated episodes that narrate violent interventions on human bodies. Horror is a formal effect displayed as part of the process of dialogue and reflexivity inherent to writing. Put another way, -from the corpus selected to study the movements of horror as form- it can be asserted that it is around a concern about the visual aspect and the arrangement of bodies, that the textual trajectories confer horror the form-theme that is dear to these fictions
Thimonnier, Charlotte. "Pratiques et enjeux du détail dans les romans de Juan José Saer, Jean Echenoz et Daniele del Giudice". Paris 7, 2009. http://www.theses.fr/2009PA070076.
Pełny tekst źródłaAlthough the concept of detail is at the heart of a history of aesthetics, it generally remains elusive from a theoretical point of view. Such theoretical negligence or powerlessness is startling. Our first intuition was that the end of the XX century novel writing has inherited this great history of detail and draws its own resources from it. The novels of the Argentinean Juan Jose Saer, of the French Jean Echenoz and the Italian Daniele Del Guidice bear witness of the vitality of the uses of detail and their narrative, semiological and poetic stakes. Defined as what appears while it could or should have remained unnoticed, detail upsets, or even brings about a crisis in the order of representation and narration, as well as in the construction of meaning. Derived from an act of detailing (that we called in French détaille) on the part of the novelist, the narrator or the reader, through which they appropriate the text, it is the minimal but fondamental meeting point of attention and intention and the place where the rhythms of writing and reading take shape. We began our analysis by focusing on the perceptive act of detailing depicted through the eyes of the characters of the novel, we then turned to the textual act of detailing, le. The effort of the novelist and narrator to draw attention to such or such detail, but also to the personal involvement of the reader. We then focused on the question of meaning and insignifiance of detail by studying the indication and detail that convey a reality effect. Finally we dealt with the question of the place, measure and functions of detail in the narrative economy and, more generally, in the poetics of these three novelists
CUEVAS, MENDOZA CARLOS. "Les labyrinthes de la transgression. Genese de l'oeuvre de juan benet". Lyon 2, 1998. http://www.theses.fr/1998LYO20070.
Pełny tekst źródłaIn our work, we are essentially studying the early works published by juan benet : the short stories being part of the volume nunca llegaras a nada and of the novel volveras a region. Our work is three-plashed. The first phase is about the fragmentation of the narrative and time-markers and we ask ourselves about the status of the benetian narrator. Thus, we can notice that chronological time and the inner time of the characters intertwine constantly in an over-elaborated narrative which is itself fragmented. Secondly, we explore the maze of region, this mythical and poor territory which emerges for the first time in the short story + baalbec ; where benet's are doomed to live and takes greater importance in volveras a region we try to show that benet's experience in the mountains of leon (spain) and his reading of os sertoes by the brazilian writer euclides da cunha, have been fundamental in the constitution of this territory. We stress the fact that in is territories minutely elaborated, all markers disappear, even the must basic ones like left / right, up / down etc. In the third part, we try to find markers that guide us round this made. So carefully constructed by benet we analyse in particular a few recurring themes : debt, whether private or atavistic, women and death, the mother and the father figures we try to show that the transgressions and the repression of all natural urges go beyond the individual frame of the characters to fit into collective history and the socio-economic context of the franco era. Eventually we ask ourselves about the carnival-like aspects of benet's works and the wonder if through parody, this author doesn't try to free himself from a crushing reality
Friolet, Philippe. "La poétique de Juan Gelman : une écriture à trois visages (figures, formes poétiques et rythmes prosodiques". Paris 3, 2004. http://www.theses.fr/2004PA030060.
Pełny tekst źródłaJuan gelman's poetics is organized in connection with three fundamental poles : emotion, indispensable element for the genesis of the poem ; memory, stock of personal pictures and literary forms which are taken on or questionned ; creative " obsession ", first and necessary condition to poetic writing. Through a limited number of obsessional themes, the poet is going to construct an original universe which characterize intertextuality, linguistic and poetic creation, rhythm of verse, heteronyms, commitment, loss and exile, sorrow or enjoyment of moment, showing free and renewed aesthetics by its constant eclecticism. Inward quest and formal search will alternate in an endless tension, to become reconciled in the final exercise of writing and to bring a greater serenity to being
Gonzalez-Benevent, Silvina. "Le regard d'une génération : formes d'incomplétude chez Carlos Saura et Juan Marsé". Montpellier 3, 2008. http://www.theses.fr/2008MON30033.
Pełny tekst źródłaThe notion of generation, wich is large and sometimes still difficult to define, is a starting point to establish a connection between a famous film-maker : Carlos Saura, and an equally renowned novelist : Juan Marsé. Both were born during the Spanish civil war, yet they did not come from the same social background and they had different career paths. It is thus necessary to focus on the relevant elements of their careers and to study their works in parallel. Such fields as psychology and sociology are the basis of an analysis which deals with two emblematic works by Carlos Saura Cría cuervos and by Juan Marsé –Si te dicen que caí. Drawing a parallel between these two works clearly reveals the resonance of the context on their authors' creations. However, belonging to a generation cannot be limited to sharing historical experiences. The impregnation of actually lived history is carried on and restructures over a whole period of time. The end of the Franco regime logically disrupts the act of creation by establishing a new space for freedom. Nevertheless, this optimism remains unfulfilled when Carlos Saura and Juan Marsé's last works make unclear feelings resurface, feelings that were not satisfied during the political and social transition of the authors' country
Llored, Yannick. "Etude herméneutique du texte goytisolien : au cours de la période 1980-1993". Lyon 2, 2002. http://theses.univ-lyon2.fr/documents/lyon2/2002/llored_y.
Pełny tekst źródłaThe purpose of this study is an analysis of the writing of Juan Goytisolo (Barcelona, 1931). It centres on the critical aspect of the writer's intellectual and literary project, and therefore on the way in which the sense of his texts is constructed in close relation to the Spanish literary tradition. It also presents a reconsideration of previous approaches to this writer's work, in order to examine, from a hermeneutic perspective, the work on language and the signification procedures developed by the author in accordance with precise objectives. The concepts of interpretation, reflexivity and reworking are thus at the centre of the demonstration, the purpose of which is to propose a new reading of this literary creation based on the renewal of aesthetic forms and on poetic expression which is open to the dialogue between cultures and traditions. The signification of the continuous movement of the repetitions which articulate Juan Goytisolo's writing technique, is compared to the thinking of the author and his view of the implications of the return to collective history and to cultural heritage, in order to question ideological discourses and the representations
Grillo, Sabrina. "Juan Negrín et l'écriture de soi : analyse de pratiques textuelles et photographiques". Thesis, Artois, 2017. http://www.theses.fr/2017ARTO0005.
Pełny tekst źródłaThis thesis lies within the framework of the revival of the memory of Spanish Civil War victims, through consideration of one of the myths of contemporary history—Juan Negrín, last head of government of the Second Spanish Republic (1931-1939). This work revisits the circulation of the memory of Juan Negrín in contemporary public space by studying various materials conveying his memory—his private and official correspondence (1931-1937), his memoirs, his photographs and the film productions that have used some of these documents. This thesis is based on a diverse corpus of texts and images gathered as materials reflecting an experience of the self, thus shedding light on Juan Negrín’s viewpoint on the beginnings of the war, the conflict and its aftermath. Through Juan Negrín’s textual and photographic practices, the three parts offer a record both of his sense experience of the period and of his role as a politician and a citizen ahead of his time. This research work investigates the black legend that was built and keeps on being conveyed concerning his memory and his role in political life. Thanks to the various materials analysed, this work is an invitation to consider how the memory of a man is closely linked to collective memory and historical memory
Picard, Helène. "Ecritures du texte - espaces du texte. Temps, espace, ecriture chez juan jose saer et jean-marie gustave le clezio". Paris 3, 1992. http://www.theses.fr/1992PA030086.
Pełny tekst źródłaComparative study of two contemporary writer's works, the argentine juan jose saer and the french jean-marie gustave le clezio, as heirs of an ideologic and formal transformation of the novel expression in latin america and in france. Based on the principle that writing is not representative of sense, and thus the power of signification is not only property of the writer, but also of writings and their narrative construction, such texts offer to an "active" reading the plurality of their meanings. A "listening" practice of the text draws the attention to three chapters dedicated to productive writing within the text, to the fusion of space and time in chronotopic nucleus and to the production by the text of a meaning chain between the writing and the ambivalent principle of unnamable : inexpressible and abjection
Chevalier, Karine. "Poétique de la mémoire : trace, masque, palimpseste, chaos dans les oeuvres romanesques de Nabile Farès, Juan Rulfo, Daniel Maximin et Salman Rushdie". Grenoble 3, 2004. http://www.theses.fr/2004GRE39011.
Pełny tekst źródłaAguinaga, Zuno Luis Vicente de. "La cité dionysiaque : lecture de "Paisajes despuès de la batalla" de Juan Goytisolo". Montpellier 3, 2001. http://www.theses.fr/2001MON30023.
Pełny tekst źródłaCorrado, Omar. "Juan Carlos Paz (1897-1972) : l'oeuvre musicale". Paris 4, 1985. http://www.theses.fr/1985PA040103.
Pełny tekst źródłaVila, Juan. "Verba manent : Juan Marsé ou les voix de l'anamnèse". Grenoble 3, 1996. http://www.theses.fr/1996GRE39045.
Pełny tekst źródłaThis is a study of the novels of juan marse beginning with si te dicen que cai (1973). It is based on the observation of the confluence of three heterogeneous elements in marse's work : history, childhood and orality. The first part investigates the ways in which marse's fiction is anchored to its extra-textual universe, by focussing on the kind of reading it induces, and brings to light the particular version of history that it entails. The second part analyzes a certain number of paratextual elements, space and characters. It is shown that marsean texts are based on ambiguity and ambivalence, and that the quest for a collective past is deeply connected to the retrieval of past childhood. Character is studied from the point of view of onomastics and intertextual relations ; it is these last that bring to light the importance of a culture linked to orality in the fictional world of juan marse. The third part is concerned with the writing of memory, by means of the "aventi", a marsean narrative cell which is the vector of processes of anamnesis and the transmission of individual and collective memory. Also examined is the ethical and esthetic project of the texts based on anamnesis, a project closely linked to enunciative polyphony, orality and popular culture. In the final analysis childhood and orality appear intimitely associated in a writing which pursues an impossible quest since it takes places in the absence of what is the essence of orality, voice
Malavialle, Renaud. "L' essor de la pensée historique au siècle d'or : de Juan Luís Vives à Antonio de Herrera y Tordesillas". Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10081.
Pełny tekst źródłaMestre, Zaragozà Marina. "Les enfants de la colère : anthropologie des passions et littérature en Espagne à la renaissance". Paris 4, 2003. http://www.theses.fr/2003PA040192.
Pełny tekst źródłaThe purpose of this dissertation is to shed light on a moment of literary and anthropological thought in Renaissance Spain. It establishes how a dramatic change of perspective happens within a Christian tradition inspired by Augustinian theology in which man is but the compound of a body and a soul of antagonistic natures and passions are but a danger for reason and humanity. Thus, after the beautiful poetic answer given by Ausiàs March to man's ontological rift, Vives' assignment is to reassert the value of passions, to think out a harmonic coexistence of both of man's natures. Such a vindication of the corporal aspects of existence is the starting point of the Examen de ingenios, wherein Huarte conceives a man who is such only through his body and passions. Simultaneously, and as a direct consequence of this evolution, the conception of literature changes from required exemplarity to a language which is directly directed to the passions, as typified in Pinciano's Philosophía antigua poética. This marks the birth of our own conception of literature
Carcelén, Jean-François. "Juan José Millás ou les territoires postmodernes de l'écriture". Grenoble 3, 1994. http://www.theses.fr/1994GRE39051.
Pełny tekst źródłaThe novels of juan jose millas are subject to a double tension, referential and autoreferential. Reference is carried out by means of historical "anchors" discreetly disseminated throughout the text, so as to avoid any misunderstanding on the part of the reader. This kind of historical reference is related to the construction of a virtual referent. The conjunction of the two, together with the establishment of a rhetoric, create the conditions in which meaning emerges by a kind of exudation : world view and individual view arise out of the dialectic relation between what the text says and what it does. One can see however a change toward a kind of writing which becomes the object of its own epistemological concern. By emphasizing autorerentiality. Juan jose millas questions the referential illusion itself, without entirely obliterating it. By making the reader adopt a critical view of the elaboration of the novel, he forces him to reflect on what the novel designates. What follows later is a kind of writing that exploits confusion, the transgression of genres and codes, in this postmodern aesthetics, the fragment appears as an expression of the absence of unity, and of de-centering. Although it occupies center stage, the fiction of millas does not withdraw into itself. Millas' novels are a far cry from the kind of watered-down fiction to which some would reduce postmodernism. Far from refusing the critical function of the world of which they are a product, they affirm a referential intention. Millas is an exemplary representative of postmodern resistance, whose major bid is that of asking the most basic ontological and axiological questions
Linenberg-Fressard, Raquel. "Exil et langage dans le roman argentin contemporain : Copi, Puig, Sae". Rennes 2, 1988. http://www.theses.fr/1988REN20001.
Pełny tekst źródłaExile is studied through the fictional works of three Argentine authors that belong, having respect to their dates of birth, to the same generation (despite the fact that they all constitute specific cases): Copi (Raul Damonte Taborda) (1939-1987); Manuel Puig (born in 1932) and Juan Jose Saer (born in 1937). The incidence of exile is studied through their texts, evaluating its impact on the writer's language, but also upon the elements of narrative speech and the shaping of the fictional world by the novelist. In this work, essentially linguistic and thematic, a variety of approaches is applied to questioning the texts themselves: l'Uruguayen, la Vida est. Un tango and la Vie est un tango, la Cité des rats, le Bal des folles, by Copi. From Manuel Puig six novels are considered, excluding the last one, Sangre de amor correspondido. From Juan Jose Saer we have studied"a Medio borrar" (long story), el Entenado and Glosa (novels). Two recorded interviews, one with Copi and the second with Saer, are appended
Lecler, Daniel Marc. "Métamorphose et spiritualité dans "Sonetos espirituales" de Juan Ramon Jimenez". Paris 4, 2003. https://tel.archives-ouvertes.fr/tel-00988951.
Pełny tekst źródłaThis work is dedicated to the Sonetos espirituales (1917) by Juan Ramón Jiménez (Moguer 1881, Puerto Rico 1958). This piece of work, which is too often neglected, proves to be essential in so far as it takes up a determining position in the writer's poetical line of thought. At the turning point between his youth and the height of his art, it is the Jimenian voice that takes shape in this collection of fifty-five sonnets. Since the poet presents his work repeatedly as " una sucesión ", it is under the title of the overwhelming metamorphosis and spirituality -which applies to his whole work- that we have chosen to set this study. In our first chapter, we look through his written works and the poet's view of space and time, the dynamism created by the tension arising between his most intimate desires and his deepest fears. Then we deal with the elements (formal, rythmical, graphical, structural and syntactical) which truly compose the poetical body of Sonetos espirituales by insisting on the significance of their assembling. Eventually we see demonstrated that the metamorphosis is for the Andalusian poet a real spiritual training in poetical language that helps turn this anthology into a paper mirror in which, thanks to the " memory of forgetfulness " and consciousness, our ego is reflected and identifies an image of god
Lemartinel, Jean. "Établissement méthodique de textes espagnols". Paris 10, 1985. http://www.theses.fr/1985PA100302.
Pełny tekst źródłaLacharme-Brière, Delphine. "Trilogia de la soledad de Juan José Millas : la quête de soi dans le roman postmoderne". Saint-Etienne, 2009. http://www.theses.fr/2009STET2213.
Pełny tekst źródłaThis work is an analysis of "El desorden de tu nombre"(1988), "La soledad era esto"(1990), three major noves by the Spanish writer Jaun Jose Millas wich were together in 1996 in a book entitled "Trilogia de la soledad". This romantic cycle, centered on the topic of the search for identity marks the entry of the millasian writings into postmedernity. The universe of these metafictional works is marked by the millasian romantic narrator. At the same time, the narrator begins to figure out new narative, meaningful expressions through self-organising mechanisms in the novel. He seeks to go past the usual access to reality and meaning by emphasing the illusions of identity and of reality. Thus, a recurrent motive of the search for self underlies "Trilogia de la soledad" and is used as an Ariane's thread throughout this study, strongly inspired by the theories of the philosopher Paul Ricoeur about narrative identity. Consenquently, this analysis attempts to give an account of the density of the novels, wich can be seen as an interface between the poetical, philosophical, cognitive, psychoanalytical dimensions of the millasian writings
Mourot, Marine. "Madrid en guerre dans la littérature de la transition démocratique : Juan Iturralde et Juan Eduardo Zúñiga, témoins du conflit". Thesis, Dijon, 2015. http://www.theses.fr/2015DIJOL022.
Pełny tekst źródłaNovels or short stories published in Spanish over the last twenty years have revealed a keen interest in what can be considered as a subgenre of the historical novel, the novel for the memory. This subgenre stages the recent History of Spain, particularly the Civil War. Its authors were born in the 50s or 60s, and have no direct memory of the events. It is usual to consider that Luna de lobos (1985) and Beatus Ille (1986) are the novels showing early signs of this phenomenon, which only became widespread ten years later and peaked at the turning point of the 21st century, in particular after the publication of Soldados de Salamina by Javier Cercas in 2001. Nevertheless, between the end of the Francoism in 1975 which led to the disappearance of censorship in 1977 and 1985, several fictional narrative texts relating the war and the Francoism were written and published. Días de llamas by Juan Iturralde was edited in 1979 and Juan Eduardo Zúñiga published Largo noviembre de Madrid in 1980. The study of these two books will question the often expressed idea that the literature from the first years of the Transition period did not favor the theme of war. It will also focus on the narrative strategies that these authors, who were direct witnesses of the events, chose in order to fictionalize this period from the History of Spain. Indeed, their literary approach to the facts was inevitably different from that taken by the writers who accepted being restricted by censorship and that taken by the following generations who only indirectly experienced the war. The particular treatment which Juan Iturralde and Juan Eduardo Zúñiga reserved to the referent, in particular the setting of an illusion of reality, denotes them both as dissidents compared to the narratives about the conflict published during the same period, and as heirs of the realistic tradition which they exploited and surpassed in order to relate a plausible but limited version of the events taking place from 1936 to 1939, due to their subjective perspective. In spite of the intrigues being anchored within a precise historical context, the reality is not necessarily self-evident in these narratives. In the extreme circumstances of war, the reality becomes a motive for questioning rather than an object of unequivocal and irrevocable knowledge. A single element is never questioned: the horror of the civil conflict whose fictionalization is fully able to translate the problematic dimension of reality. By the theme addressed by these books and the way they distanced themselves from the will of collective amnesia which has perniciously settled in Spain, they both have become “commemorative sites”, leaning toward the claim for the importance of the “duty of remembrance”, the rehabilitation of marginal memories which has been silenced too long, and the resilience of various traumas through fictionalizing psychic disorders caused by the horror of this conflict
Álvarez, Izquierdo Marta. "Juan Carlos Onetti, Roman Nouveau latino-américain et le Nouveau Roman français". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030027.
Pełny tekst źródłaThe work of Juan Carlos Onetti, prolific, diverse and singular, represents the renovation of the Uruguayan and Latin-American literature. When he was assistant editor for the magazine Marcha between 1939 and 1941, he exposed in a series of articles his viewpoint about literature, which needed, as he stated, a renovation urgently. His own work illustrates those theories; and with the mythic city Santa Maria he created, he developed a new kind of urban literature more in accordance with his contemporaries and the world he lived in. In France, the Nouveau Roman, which emerged in about 1940, constitutes a rupture in French literature. This innovative movement, often called "literature of look", went beyond traditional narrative forms. The purpose of this study is to compare Juan Carlos Onetti’s work with certain books written by two representatives of the Nouveau Roman: Robbe-Grillet and Claude Simon. From three axes the study of a character in crisis, the study of different narrative voices and the study of the relationship between man, his writings and fiction, this research work questions and analyses new narrative forms which definitively changed the rules of the Past
Renaud, Maryse. "La quete de l'identite dans l'oeuvre de juan carlos onetti". Paris 3, 1988. http://www.theses.fr/1989PA030054.
Pełny tekst źródłaThe quest for identity constitutes one of the major theme of juan carlos onetti's production. In the middle of an urban universe attractive but cruel, the protagonists untiringly search, though in an oblique and sometimes secret way, for a meaning to their lives. However they never rest upon any ideological certainty: history only has disillusionment instore. The quest unfolds along intimate paths, which give imagination a prominent part. In spite of all appearances. Onetti's heroes turn out to be prompted by an irrepressible feeling of curiosity for life. To the accumulation of misfortune, human misery, the fatality of death, they oppose the atavistic vitalily of mankind, the taste for intense experiences. Then speaks the voice of transgression and excess. Witness the systematic parody of rituals, the immersion in the realm of dream, the fascination of madness (usually women's madness), the practice of drama and challenge, the adventure of fiction in which the protagonists themselves become involved. Thus the quest for identity drifts away the stable values, the illusion of permanence and closure, to open itself, under the aegis of cosmic power, to the moving and proliferating beauty of the world
Betina, Begong-Bodoli. "La mort dans l'oeuvre de Juan Rulfo : esquisse d'une lecture africaine de "El llano en llamas" et "Pedro Paramo"". Montpellier 3, 2002. http://www.theses.fr/2002MON30017.
Pełny tekst źródłaCastro, Odile. "L'espace de región dans les romans de Juan Benet". Saint-Etienne, 1997. http://www.theses.fr/1997STET2040.
Pełny tekst źródłaThe corpus of this thesis is made of seven novels belonging to the cycle of 'region' by the Spanish writer Juan Benet : Volveras a region, Una meditacion, Un viaje de invierno, Saul ante Samuel, El aire de un crimen, Herrumbrosas lanzas, En la penumbra. In accordance with a socialcritical method, we analyse the tensions building up the fiction. The references, the different aspects of the apparent spatial system, the examination of the scientific treatises show the subversive character of the discursive manipulation. The social space structure shows the instability of a degraded order, resulting from a destructive lack of balance opposed to the idealistic representation of a nationalist Spain. The mythical space aggravates the tension, dramatizes the search for unity in division, favouring rupture problematics. The diegetic space shows the 'event-enigma' which concentrates tensions, proposes a critical vision of history and a 'refiguration' of time. The conclusions lay an emphasis of the strength of imagination and try to solve the problems of 'regional' space. After the tragic outlook of the first novels, a postmodern sensitiveness appears in Herrumbrosas lanzas and En la penumbra. An agnostic humanist, Juan Benet revives the fiction genre, a distressed expression of his time's problematics
Buitrago, Ramírez Marisella. "Histoire et intertextextualité dans l’œuvre romanesque de Juan Gabriel Vásquez". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL189.
Pełny tekst źródłaThe focus of this this doctoral work is to study the intertextual relationship, in the narrative of the Colombian writer, Juan Gabriel Vásquez. In his narrative he explores and researches about the history of his country in order to inquire on the past and with it. He proposes new readings in relation to the official history, its uncertainties and the unveiling of secrets about some facts that defined the progress or regression of Colombia. Therefore, this research studies and analyzes this relationship from the transtextuality theory exposed by Gerard Genette to reflect deeply on the ideologies represented in the "official" novels of this author, and the appearance of historical memory. As well as other types of narratives in which, own and others experiences appear, bringing unexpected elements to explore new studies. Juan Gabriel Vásquez weaves his novels from a combination of ideologies as politics, violence, the official history, and the cultural legacy, and the literary history of Colombia. He recreates meaningful events about Colombian history, supporting the scenic construction of the country, fragmented and separated into several periods of its development by the application of false ideas of growth and pacification, which have not occurred.The research contributes to the literary studies of the nation as well as to the Colombian writer, who is recognized in the literary international area little by little
Durand, Carine. "Le motif de le tapis : Quatre créations romanesques latino-américaines (Grande Sertão : Veredas, Paradiso, Pedro Páramo, Rayuela)". Aix-Marseille 1, 2010. http://www.theses.fr/2010AIX10124.
Pełny tekst źródłaThis work is about latin-american novelistic. Pedro Páramo (Juan Rulfo), Rayuela (Julio Cortázar), Paradiso (José Lezama Lima) and Grande Sertão : Veredas (João Guimarães Rosa) were epoch-making publications, They created myths with four specific figures - the cacique, the exile, the "creole" and the "jagunço" - and described four characteristic cultures (Jalisco, Río de la Plata, Caribbean and Sertão). Their original esthetical ways offer a complex poetic of figure and image which transform the novel gender. Moreover, a poluphonic and sensation writing lead up to collective unconscious territories
Tennenini, Roberta. "El fulgor de la palabra : el oficio poético de Juan Gelman (1956-2014)". Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20115.
Pełny tekst źródłaIn this thesis, we analyse the complete work of the Argentinian poet Juan Gelman (1930-2014). Even though his poetry has earned great renown, the collections he published later in his life remain largely unknown. Accordingly, we wrote a study that focuses on his later works while bringing a new perspective on his previous books. The richness and originality of his riting as well as the complexity of the historical context in which he lived, led us to adopt a post-theoretical approach to his poetry. The dialectic relationship we established between literary analysis and epistemological questioning allowed us to draw a rhizomatic map of Gelman's work. In particular, we focused on what we consider to be the fundamental aspects of his poetry: the political commitment, the fictionalisation of the poetic voice, the notion of literary testimony, the work of mourning and the experience of exile. In this way, our thesis aims to complete and update the critical discourse on Gelman’s poetry and to reflect the complexity of his writing
Steinmetz, Thomas. "Fictions de la connaissance, connaissance de la fiction : aspects du Néofantastique de J.-L. Borges à David Lynch". Paris 7, 2008. http://www.theses.fr/2008PA070046.
Pełny tekst źródła. This study is about fantasy’s major transformation in the XXth century. In the course of XIXth century. A main form of fantasy fiction developped. Which aim was to give rise to fear in the lector's mind, by confronting supernatural events to a representation of reality. In the XXth century, new types of fantasy fiction appear, and since the end of the 1930s, themes and narrative techniques were largely renewed. Latin-american "neofantasy fiction is a striking example of this renewal. This transformation is characterized by the intellectualization of the genre ; the supernatural part of the story tends to be internalized, many tales relate an adventure of the mind. In this case, fantasy fiction is not about strange or impossible events: it is about aconception of realitv
Gournay, Aurélia. "Don Juan en France au XXe siècle : réécritures d'un mythe". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00975274.
Pełny tekst źródłaHirel, Sophie. "Les origines du royaume d'Aragon dans l'historiographie de l'Est péninsulaire (1369-1499)". Paris 4, 2006. http://www.theses.fr/2006PA040196.
Pełny tekst źródłaThe thesis examines the historiographical tradition of the eastern part of the Iberian Peninsula, from the emergence of a founding model in the mid-fourteenth century until it reached its apex with Vagad's work in 1499. Analyzing these unpublished and little known works, I highlight the representation of the political foundations of the Aragonese Kingdom and the formulation of an ideology that aimed at increasing the political and cultural dignity of the Aragonese Crown. First, I show in what sense the Chronicle of San Juan de la Peña should be held as a model. I dismiss traditional views on the conception and writing of the text, which stemmed from modern linguistic nationalism rather than from medieval manuscript transmission, and I identify its main sources. I also discuss the new perspectives it offers on the early history of the kingdom. Second, I trace the literary descendants of this initial narration and their ideological meanings and evolutions, with particular emphasis on the link between their adoption of a pro-pactist position (a sociopolitical phenomenon where power is shared between the king and the aristocratic and urban elites), and the kingdom's flourishing production of juridical literature. The apex of this ideology is to be found in the Chronicle of Aragon of Vagad, yet this authentic proclamation of political ideology turns what had once been a protest movement against royal power into an affirmation of Aragonese identity. A transcription of some of the manuscripts of the corpus studied is provided, with details of their sources and subsequent related works
Lavergne, Lucie. "L’écriture poétique, d’espaces et de rythmes : regards croisés sur six recueils de la poésie hispanophone contemporaine : Rubén Darío, Cantos de vida y esperanza (1905) ; Juan Ramón Jiménez, Diario de un poeta reciencasado (1916) ; Rafael Alberti, Marinero en tierra (1924) ; Vicente Aleixandre, Espadas como labios (1932) ; Pere Gimferrer, Arde el mar (1966) ; Leopoldo María Panero, Teoría (1973)". Thesis, Clermont-Ferrand 2, 2011. http://www.theses.fr/2011CLF20021/document.
Pełny tekst źródłaThrough the combined analysis of six poem books of contemporary Spanish poetry, this thesis aims to define poetic writings and its rhythm. Rhythm is considered in relation with the notion of space. Starting with the traditional association of rhythm and meter, the first part studies how the metrical space of the writing of verses, with its structures and boundaries, involves the law and its transgression. On the other hand, the second part considers space as a “substance”: poetic writing is analyzed through its development in the language and sentences. Centered on the figure of the “line”, the second conception of rhythm also implies temporality, which is included in the words themselves (the verbs) and generated by the combination of the sentences. However, in the poem books, sometimes linearity is deconstructed by different phenomenon that deal with language (the dissolution of syntaxes), verse (the enjambment, the dissemination on various lines), and the page. The last chapter is dedicated to the visibility of writing on the page. As a concretization of the writing act, the page is also a revelation of the writer of the poem. Our third and last part is centered on the subject, its different faces and representations. Rhythm appears, at last, as a mosaic of discursive and semantic spaces that imply the speaker as much as the reader
Hamy-Dupont, Adrienne. "Système encyclopédique et prédication mariales chez Juan Gil de Zamora (OFM, + c. 1306) : les sermones virginales. Édition, traduction et commentaires". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC095.
Pełny tekst źródłaJuan Gil of Zamora is one of the major hispanolatin encylopedist. Active at the end of the XIIIth century, he was linked with Alphonse the Xth’s and Sancho the IVth’s courts. Before playing an important part in his Franciscan Order he studied in Paris. This work provides with a translated and commented editio princeps of the sixteen marian sermons that could be listed. It goes with an introduction dealing with afresh biographical datas, thoughts on Gil’s encyclopedic system, marian production and homiletic discoveries
Delgado, Sergio. "La poétique de Juan L. Ortiz : langage, paysage, visage". Rennes 2, 2003. http://www.theses.fr/2003REN20058.
Pełny tekst źródłaIn this thesis we study the poetics of the Argentinian writer, Juan L. Ortiz (1896-1978), who composed only one book in his lifetime: En el aura del sauce. While using every possibility of poetic discourse, the poet searches for the form of unity in this text. We study the entire work, but also the way in which it questions the conception of entirety in poetry. The thesis is divided into two parts. In the first one, Languageʺ, we examine its organisation chronologically and explore the various elements which lead to an autonomous poetic discourse. In the second part, Landscapes, Facesʺ, we devote our attention to two themes which pervade the book: landscapes and autobiographical form. The relationship between the two, that is the quest for a face in landscapes is also one of the keys to the text’s unity. One of the two chapters in this second part is an analysis of the poem El Gualeguay, which is the starting of point and the centre of its structure
Laurent, Pénélope. "Unité, cohérence et fragmentation dans l’œuvre de Juan José Saer". Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040199.
Pełny tekst źródłaTogether, the texts written by Argentinian author Juan José Saer (1937-2005) build a unique opus, through the typically Balzacian process of recurring characters staged within a setting, « la zona », in a saga bearing some resemblance to Balzac’s « comédie humaine». But the fragmentation that pervades the body of work, not merely in its recurring motifs or structures (characters, settings, situations, time-frames), but in its very plot, its representation of reality and its aesthetics of the heterogenous and the indeterminate, rather liken it to the « Nouveau Roman ». Fragmentation, rather than a pre-established unity, gives the work its coherence as a whole. Saer’s « negative theory », which allows him to write against a number of models he perceives as « totalitarian », is coherently articulated with the essential role given to the reader, in the gaps between two fragments. The coherence of the whole relies on reader reception ; rather than with the author, the unity of the opus rests with the reader her/himself
Torres, Perdigón Andrea. "La littérature obstinée : l’idée et la forme du roman chez Juan José Saer, Ricardo Piglia et Roberto Bolaño". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040066.
Pełny tekst źródłaA particular idea of literature was born during the 18th and 19th centuries, a period that corresponds with the rise of the modern novel genre. The idea of the modern novel, which came about during this time period, constitutes a virtual field of characteristics that has left its mark on both 20th century literary theory and on textual production. This research questions the vitality of this particular idea of the modern novel and, therefore, of the notion of literature it withholds. Our aim then, is to study the idea of the novel as it is expressed in the poetics of three contemporary Latin American writers: Juan José Saer, Ricardo Piglia and Roberto Bolaño. This study considers theoretical aspects as well as formal ones, focusing on essays and interviews of the three authors, as well as on three novels: La grande, La ciudad ausente and 2666.It presents a comparative reading of these poetics according to three main concepts: indetermination, relation to experience and reflexivity, which we think to be central to the idea of the modern novel. In addition, this study analyzes the three novels in terms of their narrative, reflexive and hybrid forms
Ascobereta, Isis. "Ennui et création dans la littérature du XXe siècle". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030022.
Pełny tekst źródłaSince the 17th century, the study of the concept of boredom has known a continual evolution in the Occident, which allowed it to be separated it from other associated concepts such as melancholy, tædium vitæ and acedia. In the 20th century, the discourse on boredom in philosophy, sociology and psychoanalysis took an interest in the relationship between the individual and the world, based on the personal and collective representations of time, action and vocation. These three components of boredom help to understand how this phenomenon spread through postmodern societies and how it became a form of experience (Erfahrung) for the individual able to bring himself face to face with his own limits as an acting subject and as an ennuye. The five novels chosen for the literary corpus of the 20th century (Svevo’s As a Man Grows Older, Onetti’s The Pit, Beckett’s Malone Dies, Moravia’s The Empty Canvas and Toussaint’s Television) analyze boredom through a mise en abyme of the creation. Indeed, the five heroes face the characteristic paradox of boredom that encourages them to engage in the path of the creative action while being restrained by the contemplative inertia of their immediate environment. Boredom enables the heroes-ennuyes to understand their situation in the world, to comprehend the present moment and to go beyond their first representation of what they called their reality. Their experience of boredom is made manifest through their creation that allows them to finally reach the status of world-forming, in Heidegger terms
Burel, Erwan. "La violence dans le théâtre de Juan Mayorga". Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC038/document.
Pełny tekst źródłaIn this doctoral research, we analyse the treatment of violence in the dramatic production of Juan Mayorga and we try to show at what point violence is not only an essential aspect of his theatre but also one of the foundations of his dramaturgy. Our work is based, first, on a study of violence through the intellectual and theoretical formation of Juan Mayorga, Doctor of philosophy, specialist in the Jewish-German thinker Walter Benjamin and a great expert on post-Auschwitz philosophical thought (among whom the philosophers Hannah Arendt, Hans Jonas, Paul Ricoeur and Emmanuel Levinas can be found). Subsequently, we analyse several of his plays in order to delineate the lines of force of his theatre and study how the violence models the overall architecture of his work. Through these analyses, we manage to determine the dramaturgical procedures that make this theatre of violence a paradoxically non-violent theatre, in which fascination is replaced by reason and criticism
Bioteau, Pierre. "Ecriture et diplomatie en Espagne au XVIIe siècle : Juan Antonio de Vera y Figueroa, comte de la Roca, examen d'une ambition littéraire et édition d'une correspondance (1630-1633)". Paris 4, 2003. http://www.theses.fr/2003PA040142.
Pełny tekst źródłaJuan Antonio de Vera, previously known for publishing a theoritical treatise intitled El Enbaxador, then a biography of Charles the Fifth, and for writing one of Olivares at his request, was appointed ambassador in 1630. If writing opened the door to diplomacy for him, diplomacy in return offered him the means and numerous pretexts to write, first on behalf of his country, and sometimes in his own interest. Therefore this study develops the tight links which have bound Count de la Roca’s literary ambition and exercise of diplomacy. To do so, it dwells on several main pieces of writing by the Count, some of which were published under a pseudonym and were unrecognized (among which a tribute to Lope de Vega). It also deals with his diplomatic correspondence. This one is edited in a second volume, through which can be perceived the daily concerns of the ambassador. Thus it makes it easier to understand the genesis of his works published secretly
Sadler, Mélanie. "Juan Bautista Alberdi : un discours entre culture juridictionnelle et culture étatique". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30030/document.
Pełny tekst źródłaThis thesis points to study Alberdi’s thought and to demonstrate that it’s fundamentally a thought of the complexity of the categories founded on the hybrid character of the order which is contemporary to him. Alberdi inherited the legacy of two cultures, the traditional culture of Ancien Régime and a revolutionary culture whose language also imposed itself with the independance. The major question for Alberdi is which order to give back to the social body since it lost the legitimacy of the Ancien Régime’s transcendent order. The traditional historiography often pick up Alberdi’s figure and speeches to convert him in the eminent precursor or representative of distinct tendencies, sometimes contradictories, and especially to promote him as the « modernity »’s, the contemporary liberalism’s and the contemporary Argentinian State’s figurehead. Quite the contrary, Alberdi is still rather immerged in the traditional legal culture, and he tries to adapt the availables languages to his reality, in permanent backs and forths between reality and speeches since the first models the seconds and viceversa. Some categories like « individual », « Liberty », « administration » imposed themselves with the Revolution but the publicist gives them another significations (je ne sais pas comment traduire “resémantiser”?) according to his context considerably penetrated with traditional dynamics. The « individual », so, intersects the excluding category of the « vecino » overall. In the same way, Alberdi preferentially uses the term of « administration » in its old meaning of « justice’s administration », not in its modern acceptation. Besides, the publicist’s « modernity » is to be reconsiderated seeing as he leaves a fundamental role to the traditional legal sources and doesn’t fall into legal voluntarism but occasionally and cautiously. He actually plays on different scales : he speaks the political modernity’s language on the national scale and the traditional legal’s one on the local level (local level which remains the stability base of the social body). My thesis is that this traditional base on one hand and the categories of « trade » (understood in his polysemic acceptations) and « political economics » on the other hand will be the two fundamental instruments which enable the autor to rethink the link, to create a society based on the traditional social body. Far from considerating the order on the very national level, his approach also fits into an international perspective : the pacified exchanges between the nations would be the only way to end the atlantic revolutions’s cycle and to recover an order : this order will admittedly be immanent, but it necessarily will transcend the national frame
Brando, Oscar. "La escritura de Juan José Saer : la tercera orilla del río". Thesis, Lille 3, 2013. http://www.theses.fr/2013LIL30014/document.
Pełny tekst źródłaMy thesis is about "Juan José Saer's writing : the third shore of the river". I propose taking advantage of a regional space as a material and symbolic reality. Running my eyes over the litarary discourse of several Latin American writers of the 20th century, I analyse it as a territory in which various passages relate a psychic and imaginary space. In consequence, in Juan José Saer's (Santa Fe 1937-Paris 2005) literary work, I explored, supported by a bibliography of literary theory and criticism produced over his work, the following aspects : 1. The foundation of the "zone" and the "city", representations of territories of fiction. The hatch of a saga and development of characters and places. 2. The relationship between the construction of imaginary territories from other writers (Onetti, Faulkner) and Roberto Arlt's rabid city. 3. The "death of the author" in the most radical narrative experience of Saer's writing. The intersection of Argentine history, fiction stories and analysis of the violence in his short stories and novels. 5. The landscape of the area related, on one hand with the natural and mythical space and on the other hand with personal experience. 6. Linkages with the modern literary traditions : Borges, Joyce, the Nouveau Roman and Antonio di Benedetto
Mongelli, Marco. "Narrer une vie, dire la vérité ˸ la biofiction contemporaine". Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA026/document.
Pełny tekst źródłaThis thesis aims to analyse a contemporary and transnational literary phenomenon: biofiction. The dissertation combines a historical interest in the practice of biography, with a theoretical and analytical perspective for the way in which biographical accounts were invested by fiction, and a critical and comparative attention for specific contemporary texts. A taxonomy proposal of the many different forms of literary biographies is accompanied by the desire to describe the poetics of contemporary biofiction, its literary challenges and its extra-literary implications (historiographical, sociological, philosophical, political): the aim is to evaluate the epistemological and heuristic consistency of biofiction as an interpretative category of reality.From a methodological point of view, the analyses of the millennial evolution of the biographical is followed by the study of the birth and development of hybrid forms in the second half of the twentieth century, in the West, with the purpose of tracing a specific genealogy of the biofictional genre, taking into account the pioneering texts, those that anticipate a certain poetic or dominant aesthetic tension. Subsequently, the work proposes a comparative analysis of some contemporary texts, above all Italian and French, based on different textual criteria and through the tools of narratology. Firstly, the hybrid character, between document and invention, of biofiction (and therefore the coexistence of referential materials and fictional techniques) is evaluated; at the same time, special attention is given to the narrative voice: by questioning the place that it occupies within the story and analysing its function, it is possible to grasp the reasons for the use of biographical discourse in contemporary récits, and at the same time to verify how these kind of narratives try to say a precise and original truth about a particular man.As underlined by the title of the thesis, the specific connection that links the life narrative and the expression of a truth about that life is the heart of this research, the key to analysing biofictional works in their specificity and its ways of conceiving the reconstruction of a particular identity and of individual and collective, public and private memory
Questa tesi intende analizzare un fenomeno letterario contemporaneo e transnazionale: la biofiction. Il lavoro combina un interesse storico per la pratica della biografia, uno teorico e analitico per la maniera con cui essa è stata investita dalla fiction, e uno critico e comparativo per i testi specifici contemporanei. Uno sforzo di tassonomia delle molte e diverse forme del biografico letterario si accompagna alla volontà di descrivere le poetiche particolari della biofiction contemporanea, le sue sfide letterarie e le sue implicazioni extra-letterarie (storiografiche, sociologiche, filosofiche, politiche): il fine è di valutare la consistenza epistemologica ed euristica della biofiction in quanto categoria interpretativa del reale.Da un punto di vista metodologico il lavoro incrocia lo studio dell’evoluzione millenaria del genere biografico con quello sulla nascita e lo sviluppo delle forme ibride nella seconda metà del XX secolo, in Occidente, con l’obiettivo di rintracciare una genealogia specifica del genere biofinzionale e di identificarne i testi pionieri, quelli che anticipano una determinata poetica o tensione estetica oggi dominante. In seguito, il lavoro propone un’analisi comparativa di alcuni testi contemporanei, soprattutto italiani e francesi, sulla base di criteri testuali diversi e attraverso gli strumenti della narratologia. In primo luogo, si è valutato il carattere ibrido, tra documento e invenzione, della biofiction (e quindi la coesistenza di materiali referenziali e di tecniche finzionali); allo stesso tempo, particolare rilevanza ha assunto il concetto di narratore: interrogando il posto che occupa nel racconto e analizzando la sua funzione è infatti possibile cogliere le ragioni dell’uso del biografico nei récits contemporanei, e insieme verificare in quale maniera essi cercano di dire una verità precisa e originale su un uomo particolare. Come testimonia il titolo della tesi, il nodo specifico che lega la narrazione di una vita e l’enunciazione di una verità a proposito di quella vita rappresenta il cuore della ricerca, la chiave con la quale analizzare le opere nella loro specificità e valutarne il modo di concepire la ricostruzione di un’identità particolare e di una memoria individuale e collettiva, pubblica e privata
Ben, Ezzedine Zitouna Bedis. "Mythes fondateurs, mythes reconstructeurs : étude de Don Quichotte, Don Juan et La Célestine chez Azorín (1873-1967), Miguel de UNAMUNO (1864-1936) et Ramiro de MAEZTU (1874-1936)". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-00743958.
Pełny tekst źródłaDelgado, Héctor. "L'art de raconter : visages du narrateur dans l'oeuvre de Juan José Saer". Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040202/document.
Pełny tekst źródłaArising from a form of critical thought that approximates him to the french Nouveau Roman, the work of the Argentine writer Juan José Saer (1937-2005) demonstrates one of the most important attempts to renew the narrative form in Latin-American literature within the second half of the twentieth-century. While this renewal concerns all aspects of the story, this dissertation will closely analyze the narrative function in particular and within this, the figure of the narrator in all of his forms. The present work aims to study the ways in which intense questioning and investigation have put this body of work to the test—a practice that has resulted in highly complex texts in which the narrator is redefined as a valuable tool to explore the idea of reality that is at the heart of the author’s literary project. The work is divided into three sections: the first deals with impersonal narrators by focusing on their relationship to the conventions of omniscient narration. The second section analyzes the personal narrators by studying their experiences with travel and immobility. The third section studies some of the many cases of second-degree narrators by treating them as one of the several means used by the author to construct a self-referential reflection within the work itself
Loubière, Philippe. "Le mythe de Don Juan dans l'œuvre du dramaturge roumain Teodor Mazilu (1930-1980). De la démythisation sociale et politique à la démythisation de soi". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030207.
Pełny tekst źródłaRésumé en anglais non fourni par l'auteur
Berens, Loann. "Juan de Betanzos et la Suma y narración de los Incas : médiation, écriture de l’histoire et construction de la société coloniale (Pérou, XVIe siècle)". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL145.
Pełny tekst źródłaThe “case” of Juan de Betanzos (1519-1576), apparently simple, can be summed up in a few words: in 1551, in Cuzco, a Spaniard, married to an indigenous princess, writes a history of the Incas, commissioned by the viceroy at the time, don Antonio de Mendoza. This simplicity undoubtedly explains why this "case" did not raise more interest. Although the Suma y narración de los Incas, since the discovery of a complete version in 1987, has been considered unanimously as a fundamental source for understanding the Tahuantinsuyo, as well as required reading for any specialist of the Andean world, the context of its production, its sources, and even its author have only received very limited attention. The author has been pushed to the background of his own work and confined to a secondary role in his own society. Approached, however, as a “passeur culturel” and an "expert" of the Quechua language and Inca world, Betanzos acquires an altogether different depth: he no longer appears as a secondary character, but as an agent in the process of transition between pre-Hispanic and Hispanic worlds and in the construction of colonial Peruvian society
Spooner, Claire. "Le théâtre de Juan Mayorga : de la scène au monde à travers le prisme du langage". Doctoral thesis, Universitat Autònoma de Barcelona, 2013. http://hdl.handle.net/10803/120196.
Pełny tekst źródłaIn his plays, Juan Mayorga forcefully brings back the word in contemporary Spanish drama. This dissertation examines his works as a “world map” which mirrors and questions numerous aspects of reality through the prism of language. The study of language at play in the scenes and the dramatic language of the play appeals to the theories of pragmatic discourse. Analyses of the theatrical characteristics of the spoken word - the way words take shape and become meaningful on stage and in reality – show that, for this playwright, the image power of the spoken word is intrinsically connected to the language of the “fault”. The “fault” – which rests at the very core of Juan Mayorga’s works – underlines and prolongs the limits of language, unlocking a dialectical stage where it can be apprehended differently. Between the words, in the “faults” gical speech, the unuterrable arises, i.e. the Real in the Lacanian sense. The aporetic issue of seeing and telling unveils the decisive part of absence and want in the representation, which emanates from a theatrical, esthetic, but also ethical commitment. Choosing to study the stage as a map of the “faults” of discourse, the silence of history, and the absences of the world is a deliberate choice: analyzing the fragmentary characteristics of language is a way of thinking and questioning the world. This dissertation delves into the philosophical works which underlie Juan Mayorga's works: Walter Benjamin's thesis on history, the works of Ludwig Wittgenstein, Theodor Adorno, Giorgio Agamben, and Jean-Luc Nancy's works on the ability to utter and represent, as well as contemporaneous ontology - especially Jacques Derrida and Sören Kierkegaard´s theories, which divert the dichotomous logic that characterizes the Hegelian dialectics. Language itself weaves impassable dialectical relations which the playwright stages through tensions that can be multiplied indefinitely within aesthetics of discontinuity (keeping silent/telling; showing/hiding; showing/ telling, etc.). This dissertation draws attention to these tensions and questions their stakes. To that end, Gilles Deleuze and Felix Guattari's notions of “rhizome” and “the invisible scene” provide us with theoretical elements leading up to the same conclusion: meaning appears in interruptions. This dissertation is progressing through Juan Mayorga's plays to unveil its exits and entrances as they materialize the faults of language, so as to examine the junctions, ramifications, or entanglements where the stage crystallizes. In their rhizomatic and underground theatrical experience, Mayorga’s “specta-readers” are urged to be in-between, to become animal (Deleuze and GuattarI) and to question what is behind the scene.