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Jacquemard-Truc, Adélaïde. ""Le spectacle du poème" : le théâtre fait poésie dans le drame symboliste de Auguste de Villiers de l’Isle-Adam, Maurice Maeterlinck, Paul Claudel et Oscar Wilde". Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0016.
Pełny tekst źródłaSymbolist theatre is often considered as an unsuccessful attempt to drama that failed in the main purpose of the genre: the encounter of text and stage. The symbolists, though, carried an important reflexion on the art of stage, in which poetry is playing a central role. Poetry is thought to allow a new foundation of an art in crisis. This postulation was considered as the theoretical ground of an “armchair theatre”, resulting in a renunciation of stage. Our reflexion discusses this assumption: we demonstrate that poetry in drama is not incompatible with the stage’s obligations. The dramatists studied in this work develop indeed a reflexion on the possibility of an “armchair theatre”. But this theory is no denial of the stage: the reading and the staging are equally pursued by their dramaturgy. In this new conception of theatre, drama can be represented in two different ways: on the stage or in the reader’s mind, because the reader’s represents himself the text he reads. An “inner stage” emerges then, that the symbolists considered of equal dramatic worth as the boards. Our study leans on stylistic, dramaturgic and scenic criterions in order to establish the connection between poetry and theatre. Those categories shall be understood according to the symbolist aesthetics. This new dramaturgy arises as a response to a dramatic crisis characterising the XIX century: dramatists through out the century question the relation between stage and text
Jou, Florence. "La constellation : vers une écologie de l'art". Thesis, Paris 1, 2017. http://www.theses.fr/2017PA01H316.
Pełny tekst źródłaThis PhD thesis focuses on the constellation. originates in a contemporary society where a spatial corner arises, whether it be in arts or in any other disciplines. is the area of a cross-disciplinary thought. open to interactions between practices and disciplines. based upon on the work of the PhD student and those of Bouchra Khalili, Bernard Heidsieck, Fabrice Hyber, Christophe Tarkos… linked to the ecological theoretical perspectives carried by Tim Ingold, Philippe Descola, J. J. Gibson… this thesis in art analyses an ecology of art of the functioning of constellation. through five notebooks. of which three main notebooks, cartographier–bâtir–chercher. areas of exploration. in order to make ecological matters about artistic practices emerge. e.g : how does the link between Fernand Deligny, Bouchra Khalili and David enable us to understand a cartographic experience on an ecological scale ? this thesis in art offers a circulation via ecological notions. – #usages, #interactions, #scale… – enabling to deterritorialise practices. to expose and to put to the test contaminations, junctions or transmissions
Duchatelez, Stéphane. "La communication poétique. Vers une approche linguistique de l'effet poétique". Electronic Thesis or Diss., Toulon, 2019. http://www.theses.fr/2019TOUL3002.
Pełny tekst źródłaThis research aims to propose a unified conception of poetic modality, whether it appears in verse or prose texts. The approach followed belongs to pragmatics. Renouncing the generic category of poetry, this study redefines poeticity by means of the notion of effects, which our investigation proposes to define. We first show limits and problems of some notions used in (post-)Jakobsonian, enunciative and evocative approaches, then we specify our hypotheses by conducting corpus analyses on Michaux and Roubaud texts. From this first step of our investigation, it appears that the poetic effects are accompanied by parallel interpretative paths of different status. To propose a linguistic formulation of these phenomena, we develop arguments justifying the choice of speech acts theory as a general descriptive framework. Re-examined into this conceptual framework, the gathered data allow us to define poetic effects as anticipated perlocutionary effects, concomitant to the main illocutionary act. Finally, through a series of corpus studies covering a wide range of language facts, we evaluate the robustness of our definition: syntactic phenomena (parallelisms), enunciative (polyphony, values of present simple) or textual (allegory) facts are thereby examined. These analyses confirm the plausibility of our explanation. In addition, our hypotheses about poeticity take into account its manifestations in contemporary poems and some kinds of novels
Aladjemova, Vessela. "Mètre et nation : les versifications française et bulgare dans leurs relations avec l'histoire et la culture". Thesis, Montpellier 3, 2014. http://www.theses.fr/2014MON30092.
Pełny tekst źródłaThis work offers a comparatist reflection upon the French poetry and the Bulgarian poetry at the turn of the nineteenth century. The view I have adopted is that the versification which is perceived, in the tradition of the metric works after 1980, not only as a result of the language specificity, but above all as a cultural and socio-politicalproduct. The period I examine is characterised, in both countries, by a calling into question of the practices of the predecessors so that, in spite of the differences between the French syllabism and the Bulgarian syllabotonicversification, the metric invention and the debates that follow point out a common reality. My comparatist analysis of the views that are held by the French and Bulgarian poets bring out the different aesthetic connotations of the two respective versifications. The socio-political meaning of the latter is clearer in the light of what the poets think about their society, the power in place, and of their potential readers. The metric view thus reveals the national biases that are inherent to the poetic forms
Jalabert, Romain. "Les vers latins en France au XIXème siècle". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040111.
Pełny tekst źródłaLatin verses were not an extra duty for all students in the nineteenth century. They had a recreational role in teaching humanities, as they favoured the study of French poets, sometimes the contemporary ones, through translations. They were in deed an introduction to the belles-lettres for some students like Sainte-Beuve, Musset, Baudelaire, Rimbaud and Bourget. Periodicals and neo-Latin publications, which were not all bound to school, followed a humanist tradition favouring epigrams and versified games. These publications also reflected the evolution of poetic forms : the slowing of epic and fable, the health of civic ode and didactic and descriptive poems, search for a synthesis between aesthetics of belles-lettres and philosophy sensualist, fame of Lamartine’s romanticism. In this tradition, Baudelaire's poem "Franciscae meae laudes", whose success was bound to that of the decadent Latin in French literature, was a special case. During the second half of the nineteenth century, the 1750-1830’s period was considered as the golden age of the humanities. It was the apogee of the Sainte-Barbe’s institution and the concours général and corresponded to a generation of students and teachers who arrived to political responsibilities in the late eighteenth century and returned to power after the Revolution. The poetry of this period had a common inspiration, in Latin or in French
Tomas, Stéphanie. "Les contes en vers au XVIIIème siècle". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040155.
Pełny tekst źródłaThis thesis means to study the 18th century verse tale, a rich and diverse work which has never been the subject of an overall analysis. A real fashion phenomenon, just like the fairy tale that preceded it, the verse tale was practiced by well-known authors (Voltaire) as well as second rate writers such as Grécourt, the most prolific. The narrative put into verse was a minor genre with no code which was disparaged by the supporters of literary orthodoxy. It falls within the province of transient poetry and comes straight from the art of conversation, which was so highly prized at the time that it imposed themes on writers and shaped the poetics of the texts. Between refined entertainment and fully-fledged literary genre, the verse tale, which underlines the crisis poetry was going through at the Age of the Enlightenment, embodies the search for a new poetic way marked by humility, lightness and simplicity and objecting to solemnity and the sublime. Our work, which is limited to printed texts, adopts three different angles: successively, the sociological, historical and generic angles. Tales, which are society poems and collective and serial works, are an indication of the taste for mockery and banter characteristic of this time. As for the diachronic approach, it aims at throwing light on the peaks of the vogue for tales from 1715 to the Revolution but also at bringing out a transhistoric continuity by establishing the origins as well as the posterity of the genre. Tales are also viewed in connection with the other genres it delights in imitating and twisting. They are libertine because of their philosophy but above all because of their allusive and subversive writing
Indede, Florence Ngesa. "Mabadiliko katika umbo la ushairi na athari zake katika ushairi wa Kiswahili". Universitätsbibliothek Leipzig, 2012. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-98322.
Pełny tekst źródłaLeyronas, Julie. "De Triumphis Christi Antiochiae gestis de Flodoard : étude d'un cycle hagiographique en vers". Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3005.
Pełny tekst źródłaFlodoard is undisputably considered as the historian of the tenth century in Francia. However, his poetic work is unknown, even though the De Triumphis Christi consists of nearly 20,000 lines and reveals the vast culture of its author. This thesis proposes an unpublished critical edition of part of this long poem : the De Triumphis Christi Antiochiae gestis, a succession of chapters of varying lengths to emphasize the Christ’s triumphs through his saints, in the city of Antioch. First, we would want to show that this poem constitutes an enclave in the historical work of Flodoard and corresponds for him to a period of political disgrace, when the city of Rheims was at the very core of dynastic disputes between Carolingians and Robertians. But, in filigree, we can find in the De Triumphis Christi Antiochiae gestis some references to its author’s situation. Furthermore, the 3,000 verses that compose it offer an interesting metric diversity between sapphic stanzas, dactylic hexameters and iambic senarii, that allows Flodoard to modulate the celebration of the Christ’s triumphs in Antioch by appealing to several literary genres. Our study in the notes following the text, which we edited based on the only surviving medieval manuscript and on a more recent manuscript, and translated manuscripts, seeks to show the different influences that allowed the author to compose this scholar work, destined to a sophisticated public
Ruiz, Rodilla Alvaro. "Vers une "poétique de l'inventaire" de José Emilio Pacheco : poésie et journalisme (1973-1983)". Thesis, Toulouse 2, 2016. http://www.theses.fr/2016TOU20056.
Pełny tekst źródłaInventario is a long-lasting press chronicle - based on a feeling of empathy with the reader and on many forms of cultural democratization - which was published in the Mexican newspaper supplement Diorama de la cultura, then in Proceso magazine. The poet José Emilio Pacheco (1939-2014) devoted himself to this creation up to the last minutes of his life. Poetry finds in these pages a privileged publication space in which criticism and factual narratives are also involved. Our compilation - from 1973 to 1983 - embraces Inventario's consolidation period and the development of a rich writing in which poetry and journalism stand along with history and literature. Circumstance poems, which are very present in Inventario together with other expressive forms, engage an innovative and intermedial reading of the Mexican poet's legacy. Such poetical form is rarely starched by recent events, but promotes on the contrary an educational method to better apprehend the past. In a complementary manner, Inventario presents itself as a poetics for what it embodies: a possibility of inhabiting the world by following the readers’/ writers’ empathy; a form of desacralization and destruction of inherent and concealed literature hierarchies; a fragmented versification of History which seeks for otherness and questions a multi-linguistic imaginary system - an imaginary “expropriator” of other languages’ natural resources; an ephemeral and ever-changing chronicle
Inventario (1973-2014) es una crónica empática, democratizante y de largo aliento, publicada en el suplemento Diorama de la cultura y luego en la revista Proceso de México y a la que el poeta José Emilio Pacheco (1939-2014) dedicó hasta los últimos minutos de su vida. La poesía halla, en estas páginas un espacio privilegiado de publicación, de crítica y de relación de los hechos. Nuestro trabajo de recopilación de 1973 a 1983 abarca la época de consolidación de Inventario así como el desarrollo de una escritura donde colindan poesía y periodismo, historia y literatura, hasta alcanzar formas devaluadas e incluso inusitadas. Nunca entorpecido por los acontecimientos sino sobrellevado como una pedagogía del pasado, el poema de circunstancia, abundante en Inventario, permite, entre otras formas expresivas, una lectura nueva e intermedial de la obra del autor mexicano. De manera complementaria, el Inventario se perfla como una posible poética: posibilidad de habitar el mundo en comunión con autores, lectores y textos, forma de desacralizar y desmoronar las jerarquías latentes en la literatura, versifcación de la Historia en fragmentos que buscan al Otro y plantean un imaginario multilingüe, « expropiador » de recursos naturales de otras lenguas, siempre efímero y cambiante
Ali, Arwa. "La poétique de la fable en vers d'après les discours des fabulistes (1719-1792)". Thesis, Toulouse 2, 2017. http://www.theses.fr/2017TOU20070/document.
Pełny tekst źródłaThis thesis proposes to present and analyze the prescriptive discourses of the eighteenth-century’s fabulists, starting with the one of Houdar de La Motte, who in his new Fables in 1719 posed as an admiring opponent of La Fontaine, matchless poet but a very questionable moralist. After presenting this founding book in the context of the general crisis of poetry in France at the time of Homer's Qurelle, we study the ideas of the daring fabulist, anxious to establish rules to make apologues in verses that are in conformity with the didactic objective which, according to La Motte, is a priority in this kind of writing. Four of the successors of La Motte, whose collections were published from 1729 (Richer) to 1792 (Florian), were retained to examine whether this first prescriptive poetic was followed or disputed by poets who necessarily referred to it as they would refer to La Fontaine, an overwhelming model that one sometimes dares to analyze in order to pierce his secret or that one merely admires to allow himself to ambition a place after him
Jeannin, Clémence. "Bribes et murmures : étude sur l'aridité et la fragmentation dans l'oeuvre en vers et en prose de Camillo Sbarbaro". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0347.
Pełny tekst źródłaCamillo Sbarbaro (1888-1967) is a ligurian poet whose work in prose and poetry is characterised by its minimalism. Through the form of the fragment and its stark style, the poetic language is stripped down to the essential. This thesis is a study about the concepts of aridity and fragmentation, halfway between Sbarbaro’s vision of the world and his peculiar style. Trying to go beyond the mere observation of a rhetorical starkness, my aim is to analyse precisely how Sbarbaro’s style could be described and defined, opting for a comparative reading of his prose and poetry, in order to show how the author breaks down the barriers between genres. Avoiding to sanctify the individuality of this style, the links between the writer and his own time are reported, since his literary career and the development of his style are influenced by traditional models and by contemporary movements, among which the Italian avant-gardes of the 20th century. Sbarbaro’s style is partially made of exogenous patterns and does not exclude diversity. The author’s variations and his translations show that his style, despite its general poverty, can sometimes tend to increase the initial literarity of the text. Plus, there is no absolute contradiction between the minimalist aridity of Sbarbaro’s style and the relief – or emphasis – of some stylistic devices, nor the fragmentation prevents the author from constructing complex sentence structures or textual sequences, as if the syntagmatic relations prevailed over the paradigmatic organisation. Sbarbaro’s style is the result of a tension between the starkness and the relief of figures, and between discontinuity and the syntagmatic structures
Dorio, Pauline. "« La plume en l'absence » : le devenir familier de l'épître en vers dans les recueils imprimés de poésie (1527-1555)". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA036/document.
Pełny tekst źródłaThis dissertation offers to uncover how, between 1527 and 1555, the establishment of the French verse epistle as a poetic genre paradoxically happened through a diminishing of its status, from the prestigious Ovidian héroïde to the “low” familiar type criticized by Du Bellay in his Deffence et Illustration de la langue Françoise (1549). It argues that the marotique-type printed collections, which are built around the assertion of a strong auctorial figure, played a great part in this transformation, as they proved to be a designated supporting medium for the “personalization” of the epistle. The first part of this thesis analyzes from a diachronic perspective the interplay between the poetic establishment of the genre and its anthologization: this led to the singling out of a first period in which poets explored the genre through the debuting medium of the recueil d’auteur (1527-1532), a second period that consecrated the printed familiar epistle (1532-1549) and a third period during which epistles’ authors redefined the genre in order to challenge Du Bellay (1549-1555). The next part investigates the way printed epistolary collections reflect a specific image of the genre, which asserts itself by highlighting its own modest status, whether this means hiding its Horatian background, emphasizing the humble social status of the poet or elaborating a decorum that revolves around marginality. Finally, a third part analyzes the dispositio of several emblematic epistolary collections, arguing that the order through which the epistles were displayed was orientating the readers’ reception of the genre as well as expressing the singularity of the epistolary poetics elaborated by our authors
Zaragoza, Gómez Verònica. ""En vers vull desafiar...": la poesia femenina a l'àmbit català (segles XVI-XVIII): edició crítica". Doctoral thesis, Universitat de Girona, 2016. http://hdl.handle.net/10803/458139.
Pełny tekst źródłaAquesta tesi ofereix una revisió de les manifestacions literàries femenines dels segles XVI-XVIII a l’àmbit lingüístic català, centrada especialment en el gènere poètic. La invisibilitat de les dones als manuals històrics o literaris, amb l’excepció d’algunes poques figures més brillants, havien portat a la creença de la inexistència de dones escriptores a l’Edat Moderna en aquest territori. El treball, dividit en dos volums, consta de quatre parts: en la primera part s’ofereix un estudi pertinent de les escriptores i dels gèneres conreats, en la seva evolució diacrònica. Per fer-ho, s’analitza l’accés de les dones a la cultura escrita al llarg dels segles del període, tenint en compte la concepció social del gènere femení imperant a l’època que limitava les actuacions de les dones als espais privats. Paral·lelament, s’estableix una primera caracterització del fenomen de l’escriptura femenina a l’univers literari català, amb un examen de les autores conegudes i documentades. La segona part de la tesi està centrada en l’examen dels textos poètics femenins exhumats, independentment de la llengua emprada: el llatí, la llengua d’alta cultura; el català, la llengua vernacla del poble i, el castellà, la llengua de la monarquia, en què escriuen la majoria de les escriptores del període. En aquest apartat, s’aprofundeix sobre els principals espais de difusió poètica femenina durant aquests segles, mai abordats seriosament per la crítica, i que, en línies generals classifiquem segons els dos espais d’enunciació dels textos: d’una banda, els espais profans, en els quals s’emmarca la poesia presentada als certàmens i acadèmies, la poesia laudatòria inclosa en els preliminars d’altres obres i algunes peces de poetes seglars poc conegudes; i, d’altra banda, els espais religiosos, dels quals prové la poesia monàstica, la més abundant, que sovint respon a les dinàmiques conventuals i a l’expressió de la devoció de les religioses. Després d’haver estudiat els mitjans de projecció poètica més importants per a les dones de l’Edat Moderna, resumits en les conclusions (tercera part), la quarta part de la tesi ofereix l’edició íntegra de la totalitat dels textos recollits i estudiats als territoris de parla catalana
Benini, Romain. "Chansons dites « populaires » imprimées à Paris entre 1848 et 1851,approche stylistique et métrique". Thesis, Lyon, École normale supérieure, 2014. http://www.theses.fr/2014ENSL0966.
Pełny tekst źródłaThe main goal of this research is to study 19th Century song through the prism of the popular. During the first half of the 19th Century, both objects (song and the popular) seem to become interdependent, with each contributing to the representation of the other. Since no fixed definition can be provided for the popular, a contextualized understanding of this notion is preferred. Its association with the genre of song, which has become almost obvious nowadays, was analysed based on a digitalized corpus of more than 600 texts selected according to historical, bibliographical and discursive criteria. After positing the importance of the text in the study of song and justifying the selection criteria for the corpus, we discuss the notion of the popular at the time period under scrutiny, we assess this denomination in relation with the corpus and we observe how songs construct a representation of their interdependence with the people. Our stylistic approach accounts for the texts’ singularities but it also assesses how valid the notion of auctoriality is for songs printed between 1848 and 1851 and discusses the situated and dynamic representation of authorship. Analyzing texts according to their authors casts light on the issues of circulations, common elements and recurrences in the corpus. In a writing context where some elements are available for all the actors, common elements can be used to mark how a textual production belongs in a specific discursive domain (that of popular song writers in our case). Metrical analysis is a decisive methodology to analyse what appears as the collective character of these forms and the semiological complexity of song writing. It allows us to identify massive recurrences in the corpus, to clarify the practice and perception of verse writing in synchrony and to account for the heterogeneity of less frequent configurations as well
Sarrafian, Chahab. "Influences de la poésie moderne française sur la poésie contemporaine persane : étude de l’oeuvre de Nâderpour, Honarmandi et Eslâmi-e Nodouchane". Thesis, Strasbourg, 2016. http://www.theses.fr/2016STRAC021.
Pełny tekst źródłaIn this thesis, we have tried to show the influence of modern French poetry on three contemporary Iranians poets: Nâder Nâderpour, Hassan Honarmandi and Mohammad Ali Eslâmai-e Nodouchane. They have studied at Sorbonne University. Since the period of Mashroutiat or constitutional monarchy the modern poets like Nimâ have written the poems in “vers libres” following the French models. The Iranians, always attached to classical forms, didn’t like this form of “vers libres”. The role of theses three poets has been to prepare the ground to make accept “le vers libre” by the Iranian readership. These poets are grouped in semi-traditional group and they use the images and the themes of the modern French poetry, they have prepared the ground so that “le vers libres” will be well accepted in Iran.They have chosen, in the most of their poems, the continual quatrains “les quatrains continus”. They have tried to use the themes and the images that come principally from the poetry of Baudelaire, Rimbaud, Verlaine, Valéry, Prévert….These poets are considered like à “bridge” by which the Iranian cross the classical poetry to arrive to modern Persian poetry.They have sometimes changed the place of the rhymes following the French models. Sometimes they have integrated the “tercets”, “quintils” and “sizains” in their poetry among their “quatrains” and this can be considered as a French influence
Oudart, Clément. "Les métamorphoses du modernisme de H.D. à Robert Duncan : vers une poétique de la relation". Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00947767.
Pełny tekst źródłaJalk, Barrios Leidy Luz. "Poétique de l'accueil et partages des savoirs à travers les récits dessinés de migrants : vers une hospitalité artistique ?" Electronic Thesis or Diss., Université de Lille (2022-....), 2023. http://www.theses.fr/2023ULILH063.
Pełny tekst źródłaThis thesis proposes to rethink the notion of hospitality in the reception of migrants through the sharing of the artistic practice of drawing. This practice, which is as creative as it is human, has a cross-disciplinary character that encourages the sharing of knowledge and the creation of narrative identities. It enables migrants to experience a welcome in the reciprocity of the encounter, and to escape from a situation of emergency. This experience mobilizes both the poetic and the political by paying attention to each person in the moment so as to invent new ways of overcoming the cultural prejudices that create borders between the people. It has given rise to specific research in artistic practice, in which interdisciplinarity has become a necessity: The role of the artist-researcher has developed from on the exploration and use of tools that combine ethnology, action-research and creative-research to achieve a dialogue, through creation, with the effects of hospitality practices on all participants (including the artist-researcher)
Vladimir, Kirda Bolhorves. "Utopija u delu Herberta Džordža Velsa i Gabrijela Kosteljnika". Phd thesis, Univerzitet u Novom Sadu, Filozofski fakultet u Novom Sadu, 2016. https://www.cris.uns.ac.rs/record.jsf?recordId=101178&source=NDLTD&language=en.
Pełny tekst źródłaThis thesis researches numerous forms of utopia in several, primarilyliterary segments from complex and comprehensive opus of H. G. Wells, aswell as in several, primarily literary segments of not so comprehensive, butalso complex opus of G. Kosteljnik.The study consists of thirteen chapters.The first chapter is introductory, where the subject matter, aim andmethodology of the research are explained, and the most frequent notionsare considered: general fantasy and science fiction, and, above all, the mainnotion, utopia. Some light is being shed on its genesis, its characteristicsand its functions.In the second chapter, the factors for its emergence, existence anddisappearance are presented, along with exhaustive typology of utopias.The tird and fourth chapter deals with formation of creativepersonalities of H. G. Wells and G. Kosteljnik.The following six chapters include the extracts through which Ithrow light on romanesque, narrative and discursive (essayistic,sociological, politicological, popular scientific and publicistic) artisticcreation of H. G. Wells, as well as poetic, narrative, dramatic anddiscursive (essayistic, theological, literary-critical, linguistic andpublicistic) artistic creation of G. Kosteljnik.The eleventh chapter is conclusion. It once again considers thenotion of utopia in general, and particularly in the works of the twoprotagonists of this thesis: H. G. Wells and G. Kosteljnik.
Milan, Johan. "Vers une grammaire du désir : dire l’union et la chair en grec préclassique (étymologie, lexicologie et sémantique)". Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL086.pdf.
Pełny tekst źródłaHow to express erotic desire and its success? From Homeric epics to Pindar’s odes, from Hesiod’s cosmogony to the harsh moral invective, and the passion of lyrics poets, this study examines all the linguistic material from the archaic period to show that process. Desire and sexuality are considered an idiom of their own, within ancient Greek, using their own words, syntax and stylistics. Their words dwell in those of the common tongue and build concepts of desire inside a specific timeline. French is often blind to such a differentiation. Desire turns into an overpowering force and a formidable magical artefact. The syntax of sexual congress and procreation – at the heart of genealogies – thrives through strong constraints, such as decency – and, although eroticism is fundamental in building characters or structuring the world, it is seen as inappropriate – and obscene excess, while fighting for morality. Eroticism is hard to express: it uses the implicit or the caricature, and follows complex conventions. Its stylistics, at last, words its embodiment: desire becomes an object one can touch, wear like an amulet or an ornament, and see, thanks to its glow and material. It is staged, especially in nature, because it reflects its inner ambivalence, between fascination and danger. Erotic and sexual metaphors call out landscapes, plants, and animals, in order to insert desiring human beings into the world. The grammar of desire forms a complex mechanism based on complicity and the questioning human nature
Chautard, Paul. ""Orion aveugle marchant vers la lumière du soleil levant " : une théopoétique des romans de Claude Simon". Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00855276.
Pełny tekst źródłaHempartian, Azita. "Traduire Shâmlu, poète iranien en français". Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3134.
Pełny tekst źródłaPersian literature is best known in the West by the excellent French translations of famous classical poets like Omar Khayyam, Rumi, Hafeez. As a major genre of Persian literature, poetry has for centuries imposed draconian rules of prosody and versification. In the 1930s, younger generation of poets, sensitive to social, political and cultural changes, discovered Western poetry and literature, and engaged in a systamtic struggle against these intangible rules. the pioneer of this movment in Nima Yshij. Her rejected the rules of classical potry, where both versification and rhyme are concerned. Ahmad Shâmlu, a disciple of Nima, goes even further by refusing prosody. Breaking constantly with traditon, Shâmlu has left his mark on modern Persian poetry, in his work, and by his ideas and attitudes. Mindful of the events of his time and of his life for his humanistic ideals. An antthology of his works translatedinto French will enable poetry-lovers to discover this great modern contemporary Persian poet
Le, Denic Catherine. "La poésie en langue d'oc. Daurel et Beton : étude de l'oeuvre et traduction". Thesis, Tours, 2019. http://www.theses.fr/2019TOUR2005.
Pełny tekst źródłaDaurel et Beton is a chanson de geste written in old provencal, and a particular poetic form from the twelfth century. What are the resources to create the epic material ? Surely the lyric language : the forms are loud-sounding, full of matter, highly musical, and the chanson. quite different from those of Northern France, returns to the primary source of epics. Moreover, in Daurel et Beton, noteworthy is the fact that the jongleur exceeds the cultural and metalinguistic functions he fulfils usually in the genre and becomes a character of primary interest in the plot. Besides, this text deserves en anthropology investigation. i.e. how the feudal suciety is showned in tbe narratives situations, and which are the interactions between individuals in the Middle Ages society depicted in South Old French epics. Thus, it is possible to tackle the status of the epic imaginary bound to the poetic form, and to observe how genre and its style evolved int the South of France
Aiello, Christine. "Vers une poïétique de soi ou les enjeux d'une nouvelle interprétation de l'être : les possibilités et les limites du renouvellement de la Métaphysique de Kant à Bachelard". Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00838056.
Pełny tekst źródłaBen, Hassen Nadia. "Vers une poétique du sacré dans la littérature tunisienne : de l'intertexte du Coran et du Hadith à la découverte de la dimension littéraire du "sacré" dans un corpus d'oeuvres d'expression arabe et française". Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20139.
Pełny tekst źródłaIn this thesis we aim to study what defines the sacredness in a comparative and interdisciplinary perspective as it manifests itself by a bilingual corpus. We had resorted to both literary and exegetical theories. Through this study of intertext of Qur’ân and Hadith in the tunisian literature which uses french and arabic-language we had emphasized the importance of three major dimensions in interextuality that contribute fully to devise the poetry in the « sacredness » : mystic, rhythmics and myth. Our thesis deconstructs preconceived ideas that keep the separation between the literature and sacredness by showing the importance of reviewing the sacred texts beyond doubt. The Authors seem to have intuitively deconstruct many myths of the « unthinkable » islamic thought. What they brought has considerable merit while Islam is becoming known more by its myths than by the essence of its texts
Jolivet, Jean-Christophe. "Allusion et fiction épistolaire dans les "Héroïdes" : recherches sur l'intertextualité ovidienne /". Rome : Paris : École française de Rome ; diff. De Boccard, 2001. http://catalogue.bnf.fr/ark:/12148/cb38807426b.
Pełny tekst źródłaFoloppe, Ganne Régine. "Baudelaire et la vérité poétique". Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30066.
Pełny tekst źródłaOur working hypothesis is as follows : under the cover of a pact of falsehood and play, Baudelaire implements the passage toward a poetry which, in order to deeply question itself henceforth with regard to its groundings, referents, metamorphoses, essence, and necessity, requires and incessantly engenders its own center-of-truth beyond any system. Thus, as distinct from his predecessors, the poet no longer aims his attention, efforts, doubts and suspicions at the readably and socially constructive import of what he writes, but at the relation between a poetic or artistic appearance that holds together (the figure, the image) and the inmost depths of humankind, that is, a certain dejection or collapse. The esthetic and moral perspective we seek thus to define in Baudelaire’s work questions the connection between the word and the person emitting it on the one hand, and those receiving it on the other: hence the calling into question of language as an actual vector as well as the anxious research that accompanies it are posed. At once born of and already distanced from Romanticism, this new focus and reflexivity free, exacerbate, and threaten the poetical: thus, by way of the motifs of hypocrisy, lying, the mask and art itself, the poet challenges this ideal in the very process of initiating it, all the while living a veritable poetic passion in which he invests and consumes himself, body and mind, not without a form of integrity. Such are the paradoxes envisioned. In what terms can one speak of poetic truth in Baudelaire’s work? Does he extract the idea of it toward an unfolding and assuredly fertile posterity or else does he stifle the upsurge with his characteristic clairvoyance ? Can such lucidity work against the authenticity of the artistic gesture? Where, when, and how does trueness come into play in a poem ? Why and with a view to what? In what manner does the work, by way of this strand, find a particularly illuminating coherence as initiator of modernity? But equally, within what limits? How, why, can and must poetic meaning escape dialectical concerns and hence deceive, likewise, all travesties and systematic adherence — and especially faithfulness to all obvious facts of solemnity? It’s about attempting to understand in what way the poetical, starting with Baudelaire, and as a result of his work, within the transfers and substitutions it presupposes, in its unprovability and its mystification, but equally in the rigor that characterizes it, may be placed in relation with the true, not according to constant external and pre-existing systems, but according to access-ways, perspectives interacting with creative speech, namely with the experience of inspiration, composition, and the reading of symbols. Since such a truth obviously cannot be posed as a theorem or axiom positively proven and applicable, it will therefore not be envisioned through a precise theoretical and philosophical prism, but rather confronted methodically with the literariness of the text, with the poem, in that it presents and initiates an intrinsic form of existence whose originality and paradoxy would be precisely not to be positive, in the sense of supported by anything pre-judged whatsoever, or tending by design toward any prescribed objective
Nuh, Ilsiona. "Le texte dans le codex : émergence poétique et images sociales (Marie dans le théâtre du Moyen Âge)". Thesis, Université Clermont Auvergne (2017-2020), 2020. http://www.theses.fr/2020CLFAL012.
Pełny tekst źródłaThe dramatis personae of Mary in La Présentation de Marie au Temple, Les Miracles de Nostre Dame par personnages and Le Mystère de la Passion d’Arnoul Gréban is at the intersection of languages, poetical genres, and places where drama is performed. Her character is inspired by the Christian faith in the Incarnation: within the Virgin was incarnated the Word of God who, in his human form, in the person of the Son, spoke to men. The fundamental affirmation of Christianity underlines the importance of the Word. Nevertheless, the New Testament is discreet about Mary, while the religious plays show the mother of Lord characterized by a self-expression, a mainly lyrical one. Inspired by texts in Latin and in vernacular, from literary and rhetorical texts, and under the influence of social realities, the character of Mary is at the confluence of these currents that she transcends and, at their interstice, models a new way of expressing faith, to which the dramatic form gives a collective dimension. Based on the material and poetical analysis of the manuscripts, this thesis aims to show the dynamics that give life to Mary in theatre and the repercussions of her character on the poetry of the dramatic text, as well as on the communities it engenders
Lavoie-Marcus, Catherine. "Vers une phénoménologie de la danse : une approche merleau-pontienne". Thèse, 2011. http://hdl.handle.net/1866/8610.
Pełny tekst źródłaIn the present essay, we intend to establish and describe fundamental parameters apt to form the basis of a phenomenology of dance. The lived experience of this art, which flourishes via complex corporeal knowledge, can be approached through the Phenomenology of Perception of Maurice Merleau-Ponty. The latter’s phenomenology, from which derive recognizable behaviors linked to the moving body, space and intersensoriality, will guide us in outlining the existential elements of the dancing body. In pursuing our study of Merleau-Ponty, we will further show that the philosopher’s system proves incapable of sustaining the requirements intrinsic to the qualitative dimensions of dance. In fact, our study shows that Merleau-Ponty’s “body consciousness” is one that ontologically fails to reach the qualia that compose the dynamics specific to the movements of dance. Conversely, we adumbrate herein a phenomenology of dance forms that embraces its poetical nature, the creative sensibility that they require, and the sensuous “work” that they unfold.
Beaudry, Jennifer. "Vers une scène commune : rapports croisés entre poésie et chanson chez Raoul Duguay (1966-1970)". Thèse, 2010. http://hdl.handle.net/1866/5063.
Pełny tekst źródłaThis thesis addresses the early works of Raoul Duguay. Our study focuses on the first two collections of poem (ruts [1966] and or le cycle du sang dure donc [1967]), while examining Duguay’s parallel production as an experimental musical artist and eventually songwriter. Hereby, our study wishes to unveil the close ties between poetry and what could be considered as its popular derivatives: songwriting. Indeed, a significant number of poets wrote songs, especially among the proponent of the counterculture. Therefore, the first chapter will present a portrayal of Quebec’s cultural history that underlies the ties between songwriters, poets and artists in general in the 1960s. Furthermore, it will lay the theoretical framework to address the song as a study object. The second chapter studies the notion of lyricism in Quebec’s early modern poetry. It will study the use of song – or singing – as a metaphor, to demonstrate how it later loses its relevancy in regard of the modern poetry, which prefers the use of speech as metaphor. This shift heralds a change of paradigm in approaching lyricism and the lyrical subject. However, it will appear that Duguay persists in using song and singing metaphors – as well as speech – as he experiences language in its vocal and oral undertone. The third chapter studies the context – Quebec’s counterculture – in which the ties between poetry and song are tighten around the question of their function. It addresses the notion of popular art and its legitimacy.
Manresa, Gonzalez Carlos. "La obediencia rebelde: Roberto Manzano, Rafael Almanza y Jesús David Curbelo, tres poetas contemporáneos ante el canon cubano". Thesis, 2015. http://hdl.handle.net/1866/20453.
Pełny tekst źródłaThe purpose of this doctoral thesis is to demonstrate the value of the poetic work of contemporary Cuban authors like Roberto Manzano Diaz (1949), Rafael Almanza Alonso (1957) and Jesus David Curbelo (1965). These three poets’ work has been poorly studied or disseminated by the professional and academic critique, both at the national and international levels. While we used poetic texts from the diverse poetry published between the nineties and the first decades of the 21st century, we focused the selection of the corpus on the poem collections Synergos (2005), by R. Manzano; HymNos (2014), by R. Almanza; and El lobo y el centauro (2001), by J. D. Curbelo. The Harold Bloom's theory of poetic influences or intra-poetic relationships was primarily used as the theoretical framework. The main concepts used were ‘anxiety of influence’, ‘poetic misreading’ or ‘creative misreading’, ‘misinterpretation’, ‘poetic misprision’, ‘defense’, ‘agon', ‘swerve’, clinamen’, ‘revisionary ratios’ and ‘revisionary comparisons’. The theory of poetic influences shows us how ‘later poets’ emulate canonical ‘precursor poets’ in order to match or exceed their aesthetic values. The possibilities to reach a place in the canon depends precisely on that emulation and not on any other factors orbiting around the poetic text. Secondly, the Bloom’s thesis was applied to his own theory, which means performing a ‘swerve’ towards formal questions not prioritized by Bloom. We then investigated whether these poets formally revise the Hispanic verse construction. The Oldřich Bělič's theory of the “verse with variable accent” was used for this purpose. Based on a thorough comparative study on the types of versification in other twelve languages, this theory inspects the different types of versification that have framed the Hispanic verse to date and proposes the verse with variable accent as a new framing type of versification. The research was completed with three appendices. The first appendix consists of a brief biography of the three studied authors; the second appendix contains an inventory of the metrical forms used by them - the inventory is open since the works are still in progress; and the third appendix consists of an anthology of their poetic texts studied within the thesis, together with other texts representatives of these three author's poetry. From a methodological standpoint, observing the elements that indicate an intra-poetic emulation like lexical selection, analogical associations and typographic arrangement, among others, has allowed us to attempt to determine the extent to which these poets have the potential to access the canon, regardless of the circumstances around the poetic text that so far have prevented them from doing it. We are thus offering to restructure the contemporary Cuban poetic canon and, consequently, to develop an evident contra-canonical proposal. On the other hand, by analyzing the formal aspect of the verse construction in these authors, we have first been able to use Bloom's revisionist theory in the formalistic approach of literary research. Furthermore, we have been able to reconsider the extent to which the use of the theoretical bases of at least three types of versification supports the analysis of the Hispanic verse construction. This research allowed us to prove that the poets of the corpus have clearly defined stylistic features. It was also proved that these poets have broad in-depth knowledge of various meters, stanzas and compositions with, at the same time, an “obedient” and transgressive intent in the use of these formal elements. Finally, these poets maintain a systematic dialog with the aesthetic values that have been recognized by the tradition of readers, whether informed or not. This continuous exchange aims at raising them to the level of achievement of the canonical poets. From a formal perspective, it was also proved that the studied poetic texts are better described from the theoretical proposal of the verse with variable accent. Hence, their poetic practices revise the fashion in which the Hispanic verse is constructed and contribute to the validation of Bělič’s theory. In conclusion, both formal and informal analysis have allowed us to ascertain the value of these authors’ poetic proposals and, therefore, the unjustifiable little or no attention given by the national and international critique. On the other hand, the study has provided the possibility to prove that these authors’ poetic works are in general finely elaborated, which supports their presence in the canon.
El objetivo de esta tesis de doctorado es demostrar el valor de las obras poéticas de los autores cubanos contemporáneos Roberto Manzano Díaz (1949), Rafael Almanza Alonso (1957) y Jesús David Curbelo (1965). Estos tres poetas han sido poco estudiados y difundidos por la crítica profesional y académica tanto nacional como internacional. Si bien utilizamos textos poéticos provenientes de diversos poemarios publicados entre los años noventa y las primeras décadas del siglo XXI por estos poetas, la selección del corpus se ha concentrado en los poemarios Synergos (2005) de R. Manzano, HymNos (2014) de R. Almanza y El lobo y el centauro (2001) de J. D. Curbelo. Como marco teórico hemos utilizado en primer lugar la teoría de las influencias poéticas o de las relaciones intra-poéticas de Harold Bloom. Nos hemos servido fundamentalmente de conceptos como “angustia o ansiedad de la influencia”, “lectura errónea”, “mala lectura”, “mala interpretación”, “equívoco poético”, “defensa”, “agon”, “desvío”, “clinamen”, “cocientes revisionistas” y “comparaciones revisoras”. La teoría de las influencias poéticas nos permite comprobar cómo los “poetas posteriores” emulan con los “poetas precursores” canónicos con el objetivo de igualar o superar sus valores estéticos. Es precisamente en esa emulación en la que residen las posibilidades de alcanzar un lugar en el canon y no en otros factores que orbitan en torno al texto poético. En segundo lugar, hemos aplicado a la teoría de Bloom su propia tesis, por lo que hemos llevado a cabo un “desvío” hacia cuestiones formales no priorizadas por Bloom. Hemos investigado por tanto si estos poetas revisan formalmente la construcción del verso español. Para ello, nos hemos valido de la teoría del “verso de acentuación variable” de Oldřich Bělič. Esta teoría pasa revista a los diferentes tipos de versificación en los que se han enmarcado el verso hispano hasta hoy y propone, a partir de un riguroso estudio comparativo con los tipos de versificación en otras doce lenguas, el verso de acentuación variable como un nuevo tipo de versificación para enmarcar el verso hispano. La investigación se complementa con tres anexos. En el primer anexo se expone una breve biografía de los tres autores estudiados; en el segundo, un inventario abierto, puesto que sus obras están aún en evolución, de formas métricas empleadas por ellos y, en el tercer anexo, una antología con sus textos poéticos estudiados en la tesis, más otros textos representativos de las poéticas de estos tres autores. Desde el punto de vista metodológico, la observación de elementos que apuntan a la emulación intra-poética como la selección del léxico, las asociaciones analógicas, la disposición tipográfica, entre otros, nos ha permitido intentar graduar hasta qué punto estos poetas cuentan con un potencial para acceder al canon, cualesquiera que sean las circunstancias en torno al texto poético que se lo han impedido hasta hoy. De ahí que nuestra proposición sea una reestructuración del canon poético cubano contemporáneo y, por consiguiente, una evidente propuesta contra-canónica. Por otra parte, el análisis del aspecto formal de la construcción del verso en estos poetas nos ha posibilitado, en primer lugar, emplear la teoría revisionista de Bloom en el sector formalista de la investigación literaria. Además, nos ha permitido volver a considerar en qué medida se justifica la utilización de las bases teóricas de al menos tres tipos de versificación en el análisis de la construcción del verso en español. Al concluir esta investigación comprobamos que los poetas del corpus tienen unos rasgos estilísticos claramente definidos. Comprobamos también que estos poetas tienen un dominio amplio y profundo de variados metros, estrofas y composiciones con una intención al mismo tiempo “obediente” y transgresora en el empleo de estos elementos formales. Finalmente, estos poetas sostienen un sistemático diálogo con los valores estéticos reconocidos por la tradición de lectores avisados o no. Este constante intercambio tiene como objetivo poder situarse a la altura de las realizaciones de los poetas canónicos. Desde la perspectiva formal, comprobamos también que los textos poéticos estudiados se describen mejor desde la propuesta teórica del verso de acentuación variable. Sus prácticas poéticas revisan así el modo en que se construye el verso español y contribuyen a la validación de la teoría de Bělič. En conclusión, tanto el análisis formal como el no formal nos han permitido comprobar el valor de las propuestas poéticas de estos autores y, por lo tanto, lo injustificado de la poca o ninguna atención por parte de la crítica nacional e internacional. Al contrario, el estudio de sus obras nos ha posibilitado comprobar que se trata de autores cuyas obras poéticas gozan de modo general de una excelente factura, lo que los avala para prevalecer en el canon.