Teses / dissertações sobre o tema "Critique de la culture"
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Mulholland, Mary-Lee. "Sensuous politics, salsa as culture critique". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ36839.pdf.
Texto completo da fonteAnsell, James D'Olier. "The trouble with culture : Plato's critique of poetry". Thesis, Rhodes University, 2007. http://hdl.handle.net/10962/d1004460.
Texto completo da fonteKMBT_363
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Zhang, Xianguang Peter. "Entrepreneurial culture in transition-period China a rhetorical critique /". [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3337556.
Texto completo da fonteTitle from PDF t.p. (viewed on Jul 24, 2009). Source: Dissertation Abstracts International, Volume: 69-11, Section: A, page: 4187. Adviser: Robert L. Ivie.
Murphree, Hyon Joo Yoo. "Toward an "accented" critique of culture theorizing postcolonial East Asia /". Related electronic resource:, 2007. http://proquest.umi.com/pqdweb?did=1342729001&sid=1&Fmt=2&clientId=3739&RQT=309&VName=PQD.
Texto completo da fonteHill, Mark. "Neil Gaiman's American Gods: An Outsider's Critique of American Culture". ScholarWorks@UNO, 2005. http://scholarworks.uno.edu/td/282.
Texto completo da fonteBouffartigue, Jean. "Erastès logon : culture et image de la culture dans l'oeuvre de l'empereur Julien". Paris 4, 1988. http://www.theses.fr/1988PA040007.
Texto completo da fonteJulian's culture is a product of a school-system as well as of intellectual and ideological trends. The prince ran along the whole succession of school cycles. His work settles a scale of literary values in accordance with the school-pattern, but also lays down an ideologically-founded dichotomy between good and bad books. In fact, Julian's work is extensively built upon texts ignored by the claimed scale or condemned on ideological grounds. The major texts often come down to it by indirect ways as short excerpts. Besides, it displays an amount of learning on different matters. Some of these (rhetoric, philosophy) precisely reflect the school curriculum, while others (history, geography, astronomy) are marked with preoccupations which are typical of the age. Furthermore, Julian's work reveals, concerning culture or culture-linked matters, such opinions and feelings as to express, behind praised values, a real devaluation of the ancient literary heritage, of the functions of culture, of learning, even of hellenism
Boric, Ivan. "Baudelaire et la culture classique". Toulouse 2, 1990. http://www.theses.fr/1990TOU20001.
Texto completo da fonteIn the work of charles baudelaire, classical culture (as it manifests itself in french literature between 1549 and 1715) plays a very important part. The component elements of this culture are thought again, taken up and often recast by the poet; in baudelaire's view, modernity is inseparable from tradition. Baudelaire reaches the limits of the classical culture but remains below the breaking point where modernity comes in
Zahorski, Alexandra. "Willa Cather : mouvement et culture". Bordeaux 3, 2004. http://www.theses.fr/2004BOR30068.
Texto completo da fonteEleven out of the twelve novels that Willa Cather wrote, that is all but the last one, depict the movement in search of culture, self-fulfillment and a place away from the small town life of the Midwest. In spite of the beauty of the landscape the only solution is escape to the big cities of the eastern seaboard and often further east to Europe. The characters' attraction to the east is bound up with the author's love of France. The numerous references to this country throughout the canon (the 'Frenchness') attest to the belief in the supremacy of French culture which comes to its head in Death Comes for the Archbishop and Shadows on the Rock. The journey of quest is often undertaken by characters whose childhood has been influenced by the presence of European immigrants. The basis of the movement from west to east, occasionally with a return to the west, is the transcription of Cather's own experience as an immigrant in Nebraska. This original displacement and the new surroundings marked her life and her writing. The desire for something else, and the longing and restlessness the protagonists experience create the current of nostalgia tangible throughout all the novels. Even when they succeed professionally they cannot help wondering if their movement has been worth the sacrifice. While expounding the need for the possibility to give vent to one's creative nature, in the end Cather questions whether departure is a prerequisite to one's fulfillment. In Lucy Gayheart she suggests the answer
Martire, Giulio. "Le Moniage Guillaume long. Édition critique. Modèles narratifs, modèles de culture". Thesis, Université Paris sciences et lettres, 2020. http://www.theses.fr/2020UPSLP018.
Texto completo da fonteThis work aims at presenting a muliperspectival view on Le Moniage Guillaume long, chanson de geste composed in the last quarter of XIIth century and transmitted by seven manuscripts. My work is divided in three main sections: 1) Philological study; 2) Critical edition, annex and glossary; 3) Study of the narrative models and of the cultural models, which emerges in the two main branches of the poem (Moniage ‘proprement dit’ and branche d’Ysoré). The first section is divided in three chapters: In the first chapter, some of the issues related to the connection between Moniage Guillaume long (MGl) and Moniage Guillaume bref (MGb) are studied. The study proceeds with a description of the manuscripts through which the MGl is transimitted, then with a presentation of the recensio, followed by the proposal of a new stemma codicum, rather different from the one provided by the first editor of the chanson (W. Cloetta, 1906-1911). A study of the versification of the poem concludes this chapter. In the second chapter, the critical edition is introduced. I start from the critical discussion of the two previous editions of the MGl (Cloetta 1906-1911, Andrieux-Reix 2004), both methodologically outdated. The principles of my new edition are therefore outlined: I propose a reconstruction of the ‘subarchetype/adaptation’ A. Subsequently, the transcription criteria are exposed as well as the critical apparatus. This apparatus is highly innovative: it is organized in three sections. In the first of them, the corrective interventions on A4 (my manuscript de référence) are pointed out. The second section is divided in a left and a right field: the first one contains the varia lectio of the whole tradition; the second one shows the ‘macro-variants’ (verses belonging to the others subarchetypes, omissions of A and of the others subarchetypes, inversions etc.). Further, the right field is linked to the critical text with a réclames system; in this way the reader will be more easily oriented, in a sort of ‘triangulation’ between text, right field and left field of the apparatus. The exposition of the ratio of the reconstructive interventions concludes the chapter. The third chapter consists in a study of the ms. A4 and it is composed of a codicological paragraph, a study of the enluminures, and a linguistic study. The second section of my work consists in the critical edition of MGl , followed by an annex and a little glossary. The third section consists in the study of the narrative models of the poem’s first and last branches (the two undoubtedly ‘originals’). The analysis relies on a morphological basis: the adhesion of the récits to the meta-plot enucleated by V. Propp in his Morphology of the fairy-tale is certified. I used the Propp’s scheme as a guide for my narrative analysis: whenever I found out a narrative function, I substantiated the study with anthropological dossiers, pointing out the interlink between the historical and historico-literary dimension. Among Propp’s works, my ideal reference of The Historical Roots of the Wonder Tale. In the concluding part, the interweaving of ‘carnival models’ and ‘ritual models’ emerging in the first branche is studied, along with ‘familiarizing’ (Bachtin) indicators in the first and in the last branche. In particular, the main focus is the double-edged role of the representation of food: ‘familiarizing’ element and objectual relais of ideological struggle at the same time. In this regard, certain episodes have been privileged: the analysis of the conventual bagarre, which concludes the first branche, will set the pace of the research. The study is then extended to the meeting between Guillaume and the robbers and to the first experiences of the hero within the abbey (laisses VII-XVII); some class dialectics proper to the Central Middle-Ages (relationship between great aristocracy, monks and sergents) are underlined in this part
Blüm, B. "'Ach, was sind das Finst're Zeiten!' : Eckhard Henscheid's critique of modern culture". Thesis, Swansea University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.636113.
Texto completo da fonteKuo, Chien-hua. "A post-colonial critique of the representation of Taiwanese culture in children's picturebooks". Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1124153596.
Texto completo da fonteTitle from first page of PDF file. Document formatted into pages; contains xvi, 312 p.; also includes graphics (some col.). Includes bibliographical references (p. 305-312). Available online via OhioLINK's ETD Center
Maicher, Sascha G. B. "Culture and autonomy, a critique of will kymlicka's defense of group-differentiated rights". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22359.pdf.
Texto completo da fonteBonnarp, Lovisa. "Popular Culture as Resistance : The Dual Critique of Suzanne Collins's The Hunger Games". Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-24099.
Texto completo da fonteSloan, Jacquelyn Le Gall. "Oppositional structure and design in D.H. Lawrence's culture critique : a feminist re-reading /". Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/9465.
Texto completo da fonteRosny, Antoine de. "La culture classique d'André Suarès". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040084.
Texto completo da fonteThis thesis explores the presence of Antiquity in the work of André Suarès and questions the meaning of a literary creation which was profoundly marked by the Graeco-Roman legacy. Suarès’s poetry and drama were dominated by the great figures of history and by Greek myths. In the first part of his career, he took them up compulsively, but he soon faced the deadlock of literary superactivity which is an enemy of literary creation. With maturity, he came to master antique inspiration and to invent forms which were more open to modernity. Suarès’s classical culture also bloomed in his critical texts. In his portraits, Suarès celebrated the great figures of the past ; in his chronicles and essays, and in his books of fragmentary thoughts, he questioned his identity through mythological doubles, meditated on love and woman, and on the complex relationships between Antiquity and Modernity ; in his combat texts, he expressed his antigermanism through the concepts of Latinity and Romanity. Classical culture is omnipresent, many-sided and it can’t be ignored. It did inspire and feed the whole work of the author. Driven on by the desire to be the universal genius of Modernity, Suarès sought the formula of the classical creator in the conciliation of the Ancient and Christian heritage. He understood that imitating the Ancients only led to the creation of dead works : life would only spring thanks to the personal and original appropriation of a heritage enriched by the Christian genius. Though he did not really manage to embody the poetical and drama greatness he dreamt of for himself, Suarès has won fame in his tireless commentary of universal creation
Drules, Pierre-Alain. "Culture et création dans l'oeuvre de Dion de Pruse". Montpellier 3, 1996. http://www.theses.fr/1996MON30066.
Texto completo da fonteThe aim of this work is to show how dio's attitude as a writer has been influenced by his point of view on the greek culture and the way the latter has to be used in ancient oratory. It led him to look for elaborate stategies in literature. Dio's thoughts about the problem of education and culture in the greek world, during the 1rst century a. D. , are being analysed here : he sets himself to assess and change if necessary contemporary facts, from the point of view of a moralist. His references are the classical literature. The purpose of the second part is to explain how dio used the elements offered by the greek paideia in oral communication. The uses with great liberty a type of speech very near to the sophistic lalia, and therefore, sets himself apart from the other speakers. For his main purpose in the oratory activity is the moral edification. According to his definition of philosophical eloquence wich seeks a upheaval of the soul, literary devices must be very close to that commonly used in the attractive speeches of the sophists. Meticulous pictures, narratives and dialogues are profusely used by dio. They allow a clear representation of mankind's moral attitudes and upper feelings. However, dio seems to prefer the narration, myth, tale or anecdote. With the narration, he can also express his ideas and feelings in a better way. Then literary memories and genres are mixed, and they contribute to relating some experiences in which the search of cultural and personal truth integrate the novelist's te
Tang, Sheung-wo, e 鄧雙和. "The poet as cultural critic: an investigationof aspects of T.S. Eliot's critique of modern culture in his poetryand prose". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B31951740.
Texto completo da fonteEssbai, Abdenasser. "Critique de la psychologie interculturelle et propositions pour l’aire arabo-musulmane". Nancy 2, 1992. http://www.theses.fr/1992NAN21015.
Texto completo da fonteYasouf, Ahmad. "ʿAbd Allāh al-Ġaḏḏāmī de la critique linguistique (littéraire) à la critique culturelle". Thesis, Lyon, 2017. http://www.theses.fr/2017LYSE2029.
Texto completo da fonteIn this doctoral thesis, we analyze, and then, expose the critical thinking of ʿAbd Allāh al-Ġaḏḏāmī. To our knowledge, to date, there has been no prior research work done on such a topic within the French context despite its significant importance in the field of critique studies of Arabic literature.We particularly focus on the recent endeavour of his critique project. Upon studying exiting scholars work investigating ʿAbd Allāh al-Ġaḏḏāmī’s critique project, our findings indicate two main hypotheses. The first hypothesis reflects that ʿAbd Allāh al-Ġaḏḏāmī’s critique project is of two components. While the first is focused on linguistic criticism, the second is focused on cultural criticism. The second hypothesis indicate that ʿAbd Allāh al-Ġaḏḏāmī has focused on cultural criticism since the early stages of his scholarly work. These two hypotheses appear to be in contradiction. Our work aims to resolve this contradiction.In this research study, we propose that ʿAbd Allāh al-Ġaḏḏāmī has a critique project with complementary factettes. These are the linguistic criticism and cultural criticism. In addition, what further distinguishes the ʿAbd Allāh al-Ġaḏḏāmī ’s critique project is that it is evolutionary in nature. Said differently, ʿAbd Allāh al-Ġaḏḏāmī did not make shift, or change a position, from one critique type into another. Rather, he integrated both- the linguistic and cultural critique- through an evolutionary process. In his recent project, he expanded his critique view to include not only literary texts but also all other types of discourses.Based on above assumptions, we reassess, analyze, and then, present the critique project of ʿAbd Allāh al-Ġaḏḏāmī. During this process, we aim to answer the following questions. First, how does ʿAbd Allāh al-Ġaḏḏāmī define cultural critique? The second question, what does a cultural system means from his point of view? The third question, will he abandon all linguistic critique school of thoughts and invent his new school on thought on the same? Lastly, upon studying a literal text, what changes will be applied in case the text is analyzed using a cultural event lens rather than an esthetically literal one? To achieve our objective, we adopt a three-premises evolutionally framework while deploying presentative, thematic, and comparative methods
Truong, Thi-Lièu. "Vo Phiên : culture nationale, lectures occidentales". Paris 3, 2001. http://www.theses.fr/2001PA030075.
Texto completo da fonteDéziel, Stéphanie. "Formation de l'esprit critique et société de consommation". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27820/27820.pdf.
Texto completo da fonteMcGregor, Daniel. "The religious syncretism in The Matrix a dialogue and critique with logos theology /". Theological Research Exchange Network (TREN), 2005. http://www.tren.com/search.cfm?p023-0198.
Texto completo da fonteFilippini, Fantoni Silvia. "Approche critique des stratégies de personnalisation dans les musées : théorie et pratique". Paris 1, 2009. http://www.theses.fr/2009PA010548.
Texto completo da fonteDeVries, Brian A. "The covenant and missions a critique of Van Engen's theory of contextualization /". Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.
Texto completo da fonteProulx, Craig Fransis. "Interrogating justice, a cultural critique". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0017/MQ28642.pdf.
Texto completo da fonteBaudry, Julien. "La bande dessinée entre dessin de presse et culture enfantine : relecture de l'oeuvre d'Alain Saint-Ogan (1895-1974)". Paris 7, 2014. http://www.theses.fr/2014PA070039.
Texto completo da fonteAlain Saint-Ogan (1895-1974) is a cartoonist mainly known for his children comic strips. However his works appear more interesting if we look at them not only as examples of the french comic art, but as evidences of the changes that occur in the fields of press cartoon and childhood culture during the first half of the 20th century. Actually, Saint-Ogan's work in litterature, comic strip, but also radio broadcasting and publicity plays an important part in the early diversifications of media in childhood culture. Above all, studying his works allows us to understand french comic's evolutions when the legacy of 19th century press cartoon meets the needs of children's culture industry
Bories, Eric. "État, culture et liberté chez Hegel". Paris 1, 2005. http://www.theses.fr/2005PA010618.
Texto completo da fonteTang, Sheung-wo. "The poet as cultural critic : an investigation of aspects of T.S. Eliot's critique of modern culture in his poetry and prose /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19537384.
Texto completo da fonteSung, Yoo Kyung. "A Post-Colonial Critique of the (Mis)Representation of Korean-Americans in Children's Picture Books". Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194907.
Texto completo da fonteTill, Ugo Valentin. "Oncopol - Vers le développement critique de vecteurs polymères pour l'oncologie". Thesis, Toulouse, INPT, 2016. http://www.theses.fr/2016INPT0065/document.
Texto completo da fonteThe objective of this study was to critically analyze different polymer self-assemblies used for photodynamic therapy (PDT) and to link this analysis to their therapeutic efficiency. To do that, a thorough characterization of the vectors has been performed by classical techniques such as Dynamic Light Scattering or electron Microscopy, but also using flow fractionation, which has been seldomly used so far for polymeric self-assemblies. In a second step, these have been used as vectors of a photosensitizer, namely Phéophorbide a, and the therapeutic efficiency assessed on both 2D and 3D cell cultures of HCT 116 (colon cancer) and FaDu (head and neck cancer) cells. Different simple polymer vectors have first been evaluated, namely micelles and polymersomes based on diblock amphiphilic copolymers such as poly(ethylene-oxide-b--caprolactone), poly(ethylene-oxide-b-lactide) or poly(ethylene-oxide-b-styrene). This enabled obtaining vectors exhibiting various sizes and morphologies. Results in PDT showed different behaviours and a better efficiency in 3D for PEO-PDLLA. The Asymmetric Flow Field Flow Fractionation was particularly used for these systems to demonstrate their purity. The acquired expertise on this part enabled us to also characterize vectors made of known mixtures of micelles and polymersomes. These revealed antagonism and synergy effects in PDT, demonstrating the presence of complex processes for the cell response. Other self-assemblies consisting of crosslinked systems have also been developed and characterized. These were observed to be particularly efficient for PDT on 3D cell cultures. The comparison of these results with those for the 2D cell culture enabled to highlight the difference between those two biological systems. Finally, self-assemblies based on Polyion Complexes were also formed and characterized. Field Flow Fractionation was once again used as a powerful technique for this, although this implied the use of a special injection device called Frit Inlet. Their PDT efficiency however proved to be low
Dziri, Rachid. "Culture et spiritualité chez Léopold Sédar Senghor". Paris 4, 1996. http://www.theses.fr/1996PA040063.
Texto completo da fonteThe philosophy of leopold sedar senghor is doubly impregnated. On the one hand, by the traditionally black african culture and on the other hand by the european one. In his writings, culture an spirituality are intimately related. They translate senghor's verry favorite themes, such as love, fraternity and the humanism issued from the authentic tradition of african philosophy. Hence, his conception is seen as defending man, truth and the verry diverse human values. Out of senghorian negritude, we have tried to evaluate his conception on different angles that we have judged crucial to the comprehension of his different ideas on man, culture, civilization tec. . . In fact, culture and spirituality translate in his works this corelative relation wich exists between different forms of every day life in black africa. The two concepts cannot be dissociated because they are complementary. There is a certain interdependance between. We discover throughout his poetic discourse a kind of african mysticism and a faithfulness of his authentic culture. By way of an ecclectic analysis of his various works, we notice the impact of the language he uses and the images he offers and display his throught as a man full of hope, ambition and conviction for the advent of a "new eve" for mankind. Our stady is meant to be a optimistic outlook on leopold sedar senghor's philosophy
Loeng, David Paul. "Church, culture, and the Kingdom a critique of dispensational ecclesiology in consideration of missional church theology /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Texto completo da fonteSeyler, Frédéric. "Barbarie ou culture : l'éthique de l'affectivité dans la phénoménologie de Michel Henry". Thesis, Metz, 2008. http://www.theses.fr/2008METZ010L.
Texto completo da fonteDoes Michel Henry’s Phenomenology of life contain specific ethics and, in that case, what is their nature? The aim of this research is to bring an answer to this question. Although M. Henry has written only a small number of texts referring specifically to ethics, it nonetheless appears that his distinction between barbarism and culture provides a critique that cannot be considered axiologically neutral. Analyzing the continuity of that distinction throughout the body of Phenomenology of life clears the path to an understanding of the meaning that an “ethics of culture” could have. This meaning is directly linked to an understanding of life as immanent and transcendental affectivity. M. Henry’s ethics can thereby be characterized as the ethics of affectivity, the central stake of which lies in the recognition of life. However, the question is to what extent an ethical discourse can be held on a reality that, being immanent, is principally inaccessible for intentionality and how such discourse can have practical effectiveness with regard to that reality. Ethical discursivity may then be understood as articulating theoria and praxis, especially through the concepts of quasi-performativity and translation. Finally, the whole text of the Phenomenology of life appears in its ethical dimension, a dimension which can equally be put in perspective with the field of politics
Milléquant-Delage, Elisabeth. "Culture & société dans la littérature policière : les romancières anglophones à la fin du XXe siècle". Pau, 2003. http://www.theses.fr/2003PAUU1004.
Texto completo da fonteEngland, a country urbanised for two centuries, has been playing a part in the creation and the developing of the detective literature. Since 1960, a new generation of woman novelists has given a new spirit to this literary genre. Academics with a large and solid culture in Arts and classics, they introduce original perspectives in the reading of those novels based on a detailed observation of a society and a time. By means of the paintings of the most famous artists, the depth of the field plunges into our western history to meet the myths which compose its foundation. Our work tries to show that, at the end of the millennium, these woman novelists see the wearing effects of the time in our great basic principles, and the disintegration of the primeval thoughts, a thinning down that leads mankind to fall into the abyss
Leach, Bill. "PROSPECTS FOR CHANGE: CREATING A BLENDED LEARNING PROGRAM THROUGH A CULTURE OF SUPPORT". Doctoral diss., University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4259.
Texto completo da fontePh.D.
Department of English
Arts and Humanities
Texts and Technology PhD
Ullern-Weité, Isabelle. "L'exégèse ou l'ambiguité de l'anthropologie. Questions contemporaines et pensées anciennes : la question socioculturelle entre sciences religieuses, histoire et critique littéraire". Paris, EPHE, 2000. http://www.theses.fr/2000EPHEA011.
Texto completo da fonteCamus, Jérémy. "Henri Barbusse et la culture religieuse". Thesis, Nantes, 2016. http://www.theses.fr/2016NANT2017/document.
Texto completo da fonteSince his childhood, Henri Barbusse (1873-1935) feels deep inside him the necessity of the spirituality. This feeling leads him to pursue, through his work, the quest for an alternative to a missing God. At the end of the XIXth century, the author expresses his refusal of any transcendence by claiming the sacredness of his heart, which represents to him the source of the infinite. His first writings indicate his willingness to forge an immanent religion, a religion of the heart. Then his life as a soldier during the First World War leads him to a political realisation, no less spiritual because it awakens in him a new faith. Through this realisation, he exceeds its pre-war individualism to guide its reflection toward the collective. So the First World War does not break with his previous literary work, but rather represents a change in perspective, even an achievement. His adherence to the French Communist Party in 1923 reflects the religious fervour he felts with regard to the Russian revolution, and enables us to understand that the Marxist doctrine embodies the completion of his quest for an alternative to God. From there, our work aims to study how Barbusse considers the religious culture, in order to show that this particular aspect of his intellectual progression reveals the profound continuity that characterizes his literary work. Both actor and witness of a time marked by contradictions of modernity, Barbusse never stopped to affirm his willingness to express the spiritual aspirations of his generation
Chi, Alexander I. "A presuppositional critique of Wang Yang-Ming's philosophy of liang-chi". Theological Research Exchange Network (TREN), 1997. http://www.tren.com.
Texto completo da fonteSpahiu, Alketa. "De l'épopée au roman: culture et création dans l'oeuvre d'Ismail Kadaré". Paris 4, 2004. http://www.theses.fr/2004PA040190.
Texto completo da fonteInfluenced by the epic , the Kadarian universe goes beyond the space/time frame of the novel in order to take on the fabric of the Greek tragedies. In Albania the worlds of oral tradition and that of writing still overlap, even in our modern world. The storyteller becomes writer, and the writer becomes storyteller. Following the example of those bards and storytellers whose work is anchored in the epic tradition, Kadaré gives us, through his constantly shifting writing, an oral litterature with an inspiration born of the epic tradition. In his fiction, story mixes with legend, and dreams with reality so as to capture all the better the essence of this epic world, a world whose roots are not only Greek, but also Albanian and Balkan. This study goes in search of the epic in a Kadarian universe built of stone and rain ; a timeless Kadarian universe which is spoken, listened to and looked at observed from all angles ; a Kadarian universe which is written down so that the epic inspiration can be protected
Nascimento, José Leonardo do. "Culture et politique : positivisme et darwinisme social : généalogie d'une sensibilité brésilienne, 1870-1930". Paris 10, 1989. http://www.theses.fr/1989PA100070.
Texto completo da fonteThe aim of this thesis is to specify the genealogy of Brazilian thought an sensibility at the end of the xix century through comparison to two writers : Euclides da Cunha and Machado de Assis. The period to be treated therefore is from 1870 to 1930. The work considers the presuppositions of positive philosophy and social Darwinism in their opposition to XVII century philosophy (Rousseau, Diderot and Montesquieu) and wants finally to define the position of Brazilian culture with respect to this European debate
Villena, Vega Nataly. "Mario Vargas Llosa : de la réalité péruvienne vers une culture cosmopolite". Paris 3, 2007. http://www.theses.fr/2007PA030012.
Texto completo da fonteVargas Llosa did not begin his career by means of cosmopolitism. While he was aware of the problems besetting literature in Peru, Vargas Llosa’s early work reveals his attachment to a national literary tradition. His cosmopolitism stems from a meticulous effort of detachment from various constraints, whether geographical, cultural, social or political. There is a shift from a certain literary nationalism - which he consciously deplores, yet which serves as a point of departure, by its validation or its negation - towards a Weltliteratur, a universal literature. This shift manifests itself differently according to whether literary creation or critique are at hand. In addition, his literary success is accompanied by his participation in discussion surrounding problems in society, particularly within the Latin American context. An experienced intellectual, Vargas Llosa embraces a certain view of the world and shares it with his readers around the globe. This paper seeks to demonstrate that Vargas Llosa’s passing from a local to a cosmopolitan reality reaches beyond the literary realm and manifests itself in all aspects of his intellectual practice. Its progression is cumulative and does not at any point imply the disregard of previous domains. It develops according to a model of concentric circles in which Peru remains at the centre. The first section is devoted to the relationship between Vargas Llosa and Peru; the second examines the author’s continental scope; the third section explores the influence of European Culture upon his upbringing, his romanesque work and his world concept; the final section confronts him with globalization and with the demands of today’s world
Fishman, Talya. "Shaking the pillars of exile : "Voice of a fool", an early modern Jewish critique of rabbinic culture /". Stanford (Calif.) : Stanford university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb38840833v.
Texto completo da fonteContient la traduction anglaise de "Kol Sakhal" = "Voice of a fool" / Léon de Modène (sous le pseudonyme de Amitai bar Yedaiah ibn Raz). Bibliogr. p. 297-326. Index. Glossaire.
Cormier, Christophe. "Contribution de la contre-culture au cinéma nord-américain : le cas de Denis Hopper". Paris 3, 2007. http://www.theses.fr/2007PA030017.
Texto completo da fonteThe purpose of this survey is to assess the counterculture’s contribution to the American cinema through the films directed by Dennis Hopper, chosen for his sympathy for the Movement. His filmography is explored in the light of Theodore Roszak’s 1969 essay. Famous as an actor, Hopper has demonstrated an interest in visual arts, expressed in a continuous creativity in the fields of painting and photography, which shapes his film work. It is legitimate to draw parallels between his artistic choices and various art movements of the 20th century. While Hopper’s aesthetic options originate in the national heritage, his thematic concerns pertain to the counterculture’s claims. The oppositional nature of the Movement is rendered by the dual structure of patterns, both in form and in theme, and by the representation of deviant behaviour. These serve a strategy for the reenchantment of a world threatened by the growing grip of technocracy. Borne by the Movement’s set of values, Hopper is also driven by his own vision. The survey of his characters reveals a difficulty in breaking away from older models, imposed by classic Hollywood, which inspired him, and by his background. Thus the modes of protest that have become most relevant today are precisely not those that he has most thoroughly explored. The comparison with other careers attempts to prove the existence of a collective venture, to describe its evolution over the 69-94 period, and to trace its potential heritage
Agard, Olivier. "La critique de la modernité dans les écrits de Siegfried Kracauer". Paris 4, 2000. http://www.theses.fr/1999PA040284.
Texto completo da fonteNittel, Gisela. ""Es ist ein unglaublicher Betrug" Ingeborg Bachmann's literary critique of the journalistic media /". Connect to full text, 2008. http://hdl.handle.net/2123/5471.
Texto completo da fonteTitle from title screen (viewed October 28, 2009) Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Germanic Studies, Faculty of Arts. Degree awarded 2009; thesis submitted 2008. Includes bibliographical references. Also available in print form.
Donné, Boris. "La Fontaine et la culture allégorique". Paris 4, 1998. http://www.theses.fr/1998PA040304.
Texto completo da fonteThis study aims to point out how much the art of la Fontaine, in its development, owes to allegorical culture - i. E. Symbolic and emblematic reading and writing, as well as the vast literature it commands. The thesis opens with a general view on this field in 17th century France: in its extent, social uses and specific forms; in its inner coherence (as a culture of speaking and meaningful pictures leading to meditation); in its creative movement. The author tries first to establish the familiarity la Fontaine had with this culture during the time of his intellectual growth; he then studies his works chronologically in order to see how the poet gradually appropriates allegorical devices. The selection of texts analyzed encompasses the major works of the 1658-69 decade but the contes: Adonis, a tiny epic that can be read as a love-psychomachia; Le songe de Vaux, an encomtun-allegory which takes the form of a symbolic dream, based on an enigmatic plot, full of personifications fighting in an aesthetic paragon; the 1668 fables, halfway between satirical allegory (a cryptic plea for Fouquet) and moral allegory - according to the general/peculiar dialectic bound to emblematic forms, to which fable was related. All these trends mingle in psyche - at the same time a figurative aesthetic reflexion, an oblique political lesson, a variation on a classical myth, as well as an allegorical progress and a meditation upon passions. With this work, la Fontaine reaches an acme in its exploration of the allegorical field. These analyses show that the poet used allegorical writing in a very light and subtle way - by no mean as a rigid code, nor as a didactic medium, rather as an expressive device related to the eloquence of the passions, which enabled him to engage a reflexion upon his art, and to study the various ways to convey a meaning to his readers. As such, allegorical culture played a decisive role in the elaboration of his highly implicit, ironic and meditative poetry
Meneses, Sandra. "Cultural Critique in a Patriarchal World : Revolutionary Suicide in Sylvia Plath's "Lady Lazarus", "Daddy" and The Bell Jar". Thesis, Södertörn University College, School of Culture and Communication, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-3196.
Texto completo da fonteThis work studies three texts by Sylvia Plath: “Lady Lazarus”, “Daddy” and The Bell Jar from a feminist, gender and cultural perspective. I investigate how the texts take a stand regarding the motive and meaning of the representations of suicide in these works through the theoretical framework of African-American activist Huey Newton. The Black Panther party cofounder Newton redefines the concept of suicide. First and foremost he views suicide as a reaction to social conditions, coining the terms Reactionary Suicide and Revolutionary Suicide. Revolutionary Suicide is fueled by hope, when refusing to take part in any game of slave and master in society; instead of the normative view that suicide may be fueled by powerlessness and despair, as in the case of Reactionary Suicide. A feminist and gendered perspective on representations of suicide deconstructs traditional preconceptions of femininity and masculinity in the case of suicide and a normative reading: an embodiment by women and men of madness and rationality; viewing them as objects and subjects respectively. This study proposes that the representations of suicide in the texts from a cultural reading show the refusal of women to partake in a life defined by patriarchy, limiting and oppressing women’s everyday life. Suicide is seen through this unusual approach as an emptying out, a repositioning of the self through these performative suicides. Furthermore, through Revolutionary Suicide agency is claimed, with a hope for a better reality for the oppressed, in the intersection of the dichotomies of reality and utopia, literature and history, oppression and freedom. From a feminist perspective suicide is the catalyst to express social, political and cultural critique.
Walbrou, Sonny. "Pour une histoire critique au prisme des rapports du corps à la machine, entre le cinéma, jeu vidéo et culture spectaculaire fin-de-siècle : continuité critique, innervation, attraction". Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H037.
Texto completo da fonteBetween past and present, between the turn-of-the-century spectacular culture, cinema and video games, our thesis explores the critical aspects of body-machine relationships understandings regarding Walter Benjamin’s concept of innervation. From a historiographical concept formulated within this work, i. e. “critical continuity” which consists in crafting permanencies though history, our purpose is to delineate an operating critic of the new media. From the concepts of innervation and critical continuity, we explore two defining “state of body” to draw resonances between past and present. One takes place at the turn of the century while the other takes place during the 1980’s. The former concerns the becoming-attraction of the machines circa 1900. Extending Tom Gunning’s concept, we understand such an attraction as a corporeal relationship between the spectator’s body and the machine. Through 1900’s visual and spectacular culture, we examine a recurring topos: the immobile voyage. We find and explore the critical topicality of such a topos up to present day as something that has never changed despite technical innovations. The latter state explores the transformations regarding the body-screen relationships in video game practice. We study a collection of representations appearing between the early 1980’s up to the middle of the 1990’s featuring another recurring topos: the screen crossed whether by the game’s universe whether by the player. These two topoi help us to conceive a critic of the new media on the very basis of novelty
Flashing, Sarah J. "H. Tristram Engelhardt on Christian participation in the public square a Vantilian philosophical critique /". Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
Texto completo da fonteMunajjed, Maher al. "Aragon et la culture arabo-andalouse : "Le Fou d'Elsa", des sources aux métamorphoses". Paris 4, 2005. http://www.theses.fr/2005PA040004.
Texto completo da fonteThis thesis is a comparative study of a work related to several different cultural fields. It studies " Le Fou d'Elsa " [Elsa's Madman] through its multiple and complex links with the Arab-Andalusian culture. On one level, the thesis explores the content of the sources used in both the original Arabic version and in the French translation used by Aragon. Our aim is to understand which elements played a role in the intellectual laboratory of the poet while he was writing the work. In addition, the thesis also studies how Aragon assimilated, used, and metamorphosed these elements. The links between " Le Fou d'Elsa " and the Arab-Andalusian culture are manifested and studied across five cultural fields: literature, history, philosophy, religion and mysticism. The Arab-Andalusian culture inspired Aragon with many themes, and this thesis highlights the evolutions and the metamorphoses of these themes throughout " Le Fou d'Elsa ". The major themes of this thesis are: the history of " Le Fou d'Elsa " in the eyes of researchers, the fall of Granada seen through literature, Granada's history in " Le Fou d'Elsa ", the comparative analysis of poetry which studies the elements of Arab literature exploited by Aragon (the two madmen: the aragonian one and the Arab one, the literary genres, the poetic forms and the comparative prosody), the Arab-Andalusian philosophy in the work represented by Avicenna, Averroes and Ibn Hazm, the religious and political doctrines represented by the text, the mysticism shown through the complicated links between Aragon, Ibn al-'Arabi and Al-Hallaj, links which reveal the conception of love in " Le Fou d'Elsa ". These themes analyze particularly how Aragon has exploited this foreign culture, the role played by this culture in the construction of " Le Fou d'Elsa ", and how the elements of this culture have been metamorphosed and transfigured throughout the work