Teses / dissertações sobre o tema "Écriture de la danse"
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Garaudet, Marie-Françoise. "Images de la danse : écriture des corps, chorégraphie, vidéographie". Paris 8, 1986. http://www.theses.fr/1987PA080061.
Texto completo da fonteBeyond the approach of choreography, as a following of steps and videography as a following of images, is a compelling relation, in both cases, to a written form. The written form of dance, which took a long time to liberate itself from that of music is progressively asserting itself as a writing of the bodies into the space. Videography contributes to maintain and restitute the movements of the dancing body, but the electronic image, operating as a sign, signal and symbol - a measure of time and of space - is in itself a writing of and in the space, organized in a "tempo". The relation of videography to choreography thus can't be objective (as a simple transcription) but subjective, an actual confrontation of the two writings, unless they both proceed from the same production, that of the moving body, written in a same space whom one of the shapes is yet a sham image of the other. We shall then, in that study, inverse the perceptions : we shall see in dancing not the human body but the writing of which it is the instrument and the place ; we shall perceive in dancing, its substance created from the symbolism of the figures, the setting out and the steps ; find out its rhetoric, starting from anlysis of rem- nants of popular and aristocratic dances of the past centuries and contemporary choreographic works. This will remove the ambiguous meaning of the word "choreography" and will lead to its actual usual acceptance ; it will allow thus to consider choreography as an art of writing systems of dances and ballets (transcriptions and nota- tions) from the xvi th century till now ; we shall then study it in its contemporary dimension of composition and creation of ballets. Once we have established that any transcription of an art creates another art : the writing system as an art, we shall apply this principle to a new writing and a new art : videography, and experiment it in video-choreographic works
Karampagia, Valentina. "Écriture et danse contemporaines. Une lecture de Gherasim Luca et de Dimitris Dimitriadis à l'épreuve du performatif". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030065.
Texto completo da fonteThis thesis proposes a path throughout the poetry of Gherasim Luca and the dramatic writing of Dimitris Dimitriadis based on the philosophical and the aesthetic questions of performativity. This notion circulating between the philosophy of language and of art is decisive so as to understand the great relation of both authors’ writing to the body and the act of reading. Contemporary dance is a basic reference into this path : it is, indeed, profoundly performative as it’s creations are similar to demonstration and it’s temporality vacillates between the moment of improvising and the composition’s repetition. Demonstration is, equally, a performative aspect of language : words define things, and thus, they inscribe them in an motion. Therefore, language is the scene where the performance of being restarts endlessly. Furthermore, performativity of language is determined by the vacillation between the present and repetition itself : meaning is grasped by a mouvement of undermining of the present by a past improbable to limitate and all communication takes place in the background of something that espaces from it. Instead of clarifying an object, language’s fuction is to broaden it infinitely. Contemporary danse is an island in this vast space of thought on performativity and offers precious tools so as to navigate in the hybrid literary work of Luca and Dimitriadis. Danse indeed converses with these texts, which unfold the plasticity of language. It finally gives answers in regard to the texts’ tendancy to render the past of writing and the present of reading, as well as the boundaries between poetry and theater, permeable
Fritz, Vivian. "Danse et nouvelles technologies vers d'inédites écritures chorégraphiques". Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC001/document.
Texto completo da fonteTechnological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab
Rocchi, Jean-Paul. "James Baldwin : écriture et identité". Paris 4, 2001. http://www.theses.fr/2000PA040212.
Texto completo da fonteColomb, Chantal. "Lautréamont : une écriture thanatique". Paris 4, 1985. http://www.theses.fr/1985PA040004.
Texto completo da fonteJih, Jon-Hyun. "Jean Cocteau : le corps-écriture". Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/jih_jh.
Texto completo da fontePoetic universe of Jean Cocteau is fascinating when he talks about the human body, that of the author of course, but also our own. What other approach could involve so instinctively, emotionally, as it were, so directly a reader in the depth of the writings. Each Cocteau’s word designating a symbolic part of his body, incite us to go in search of the intimate, real and complex connection of the human being with his vital, carnal tabernacle. In this thesis, we want, first of all, to expound and to have a view of this unknown figure of Cocteau’s writings. On this way, we’re also requested to detect an obsessive presence of a second body, vaporous, invisible and almost a phantom. In fact, it represents a poet’s whole mind structure, his psychic organ dreamed, sublimated and specially meaningful. Through this ideal mind body, Cocteau tries to transmit us his unparalleled message : the poetry does be. All things considered, the writings of Cocteau show a body-writings composed by words, human body and undying poetic essence
Lecoutre, Catherine. "Palestine et écriture". Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100079/document.
Texto completo da fonteFive authors provide give us a vision of plurilateral Israeli-Palestinian conflict. Our work also focuses on the comparative study of texts of Mahmoud Darwish, Edward Saïd, David Grossman, Jean Genet, and Philip Roth. For each of them, we chose a text that reflects their relationship to this conflict, and beyond their relationship with a territory and a people. This link is in question: is the writing reflects some authors, family ties, ancestral origin that binds the writer to his community. Either writing extends its margins to other knotting to find "connections" outside the same. Between the two attitudes are two conceptions of politics, two different meanings of "demos" of democracy and acceptance or not of strangeness. It then also two different approaches to literature, it did not necessarily perpetuate our "representations" but question them in order to open another relative to each other and ourselves that is no longer conditioned by them. Against the cult of the full and full of fantasy players raging on both sides of the Israeli-Palestinian conflict, the literary text and the political will revise each other, so we can perhaps due recognition of otherness
Javourez, Franck. "Henri de Régnier : écriture et Libertinage". Paris, EHESS, 2015. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-406-10598-5.
Texto completo da fonteApproaching Regnier's work from the perspective of libertinism is a means to highlight his favorite themes: dream, sensuality, temporality. Regnier is an avid reader of memoirs and novels of the 18th century. In his works, he creates fictional libertine character, but also recreates real ones, such as Don Juan and Casanova. Many of his libertine characters are musicians: music appears to be a key element of seduction. Regnier uses fruits to create his own erotic symbolism. From the mythological Nymphs and Sirens to the women of his time, the naked female body is the center of Regnier's eroticism. Regnier explained his poetics of dream in the 1894's Bosquet de Psyche, where Psyche illuminates the work of the writer. Regnier uses the notion of figure to build his fictional characters, and develops an extensive onomastic universe. His conception of the novel goes beyond the traditional ways of poetry and prose. His refined style gathers manner and pastiche. Finally, Regnier creates an authentic poetry of time, focusing on the "living past", which emphasizes present, presence and eternity
Ateşöz-Dorge, Bengi. "L'écriture chorégraphique de Dominique Bagouet". Mulhouse, 2012. http://www.theses.fr/2012MULH5073.
Texto completo da fonteDominique Bagouet, french choregrapher, died in 1992 at the age of 41. Following on this premature death, the dancers of the Company Bagouet took the decision to continue dancing his choreographies and so to pass them on to following generations. To this end they founded the Association “les Carnets Bagouet” (The Bagouet Notebooks). Within this context of exchanges between the past and present, this work seeks to define the specificities of Dominique Bagouet’s choreographic writing. What is clearly shown is that his writing is to be analyzed on 3 levels: a choreographic universe, a choreographic gesture and transmission of the dance. Based on the experience of the “Carnets Bagouet”, this present work seeks to reveal the existence of the idea of transmission at the heart of Dominique Bagouet’s writing, this becoming an essential characteristic of his writing. Finally, what also appears is that the intimate being of the choreographer is the source of a writing whose purpose is to liberate those who dance it. Fundamentally, the matter of all writing is concerned with transmission and thus with the question of relationship. Ultimately we arrived at the theorization of choreographic writing whose point of departure is the self which strives to renew and recreate the links from which this self is formed
Debiais, Vincent. "Écriture monumentale, écriture publique et écriture personnelle : perceptions, lectures et utilisations des inscriptions dans la communication médiévale (Ouest de la France, XIIIe-XIVe siècle)". Poitiers, 2004. http://www.theses.fr/2004POIT5016.
Texto completo da fonteAs a mean of communication, medieval inscriptions take seat in a whole of human relations, defining the conditions of the transmission of information (transmitter, public, reader). Through a corpus of more than 1200 texts, the research, which is presented in this thesis, directs the reader towards new tracks to question the inscription thanks to a semiotic step, making epigraph a complex system of signs of different nature. Reconsidering the conditions of perception and reading, one approaches thereafter the problems of the reading and its epigraphic specificities, for finally concentrating on the various uses of the inscription in the medieval communication. Those are centered around three important notions of the medieval culture : memory, monument and order. This thesis proposes an original step to detect the fundamental importance of the epigraph in the advertising communication
Park, Dae-jin. "Écriture et interaction des contraires chez Flaubert". Paris 4, 1993. http://www.theses.fr/1993PA040121.
Texto completo da fonteThe bringing into play of the opposites is an essential aspect of flaubert's works and his poetics. It is through the interaction of the opposites that his writing express best its double tendency to go towards the whole and the void. The present study tries to show how the literary exploitation of the opposites contributes, on the one hand, to the construction of the work, to the richness and the profundity of the text and, on the other hand, to the creation of a double register on which writing is put down both as affirmation and negation. The first party of the study is given to the examination of the general structure based on the dynamic tension between the opposites. The second party approches the construction of the work on the level of its own components which are generally created by association of the opposites. Finally in the last party, it is a question of the other fundamental process of flaubert's writting, of a destructive work founded on the destructive force of the opposites. The original intimacy of these tendencies comes in evidence through the conclusions of flaucher's works: they express the profound aspiration of his writing for a return to the original indistinction
Dago, Kouame Honoré. "Folie et écriture chez Sony Labou Tansi". Paris 12, 2007. http://www.theses.fr/2007PA120086.
Texto completo da fonteIf the madness refers overall to mental malfunction, its interpretation changes according to the periods and the cultures. Thus, some colonialistics prejudices associated Africa with this phenomenom to justify its under-development. But this worse appreciation of the black continent that took back for a long time in its literature is today disproved by Sony Labou Tansi. Through his novel imaginary, the Congolese writer represents madness as philosophy of the real revolution, rather efficient and unavoidable for the Africa's future. Proceeding by a psychocritic analyse, this statement demonstrates that the extreme recurrence, better, the omnipresence of the theme of madness in the novels of Sony Labou Tansi is mainly tied to the influence of his personal myth, that is copied exactly on the figure of liberating hero. Underlying every occurrence of the madness in his imaginary, this figure is presented by the author as the perfect solution for Africa to insure his own identity and his development. No doubt that is meaning introduces a new step in the comprehension of the madness
Taguchi, Keiko. "Identité et écriture dans l'œuvre de Supervielle". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030113.
Texto completo da fonteThis research aims to study the correlation between identity and writing in Supervielle's works. We will explain how, the poet feeling divided between America and Europe, death and life, mind and body; he attempts to integrate them in acts of writing. An analysis of his novels, at the thematic and linguistic levels, allows us to identify his reflection on identity, personal and social identity, and the language used to express it. This analysis reveals Supervielle's exploration of how to present characters that greatly reflect his own life. The study of Supervielle's poetry, thematically and linguistically, strengthens our hypothesis of an identity crisis. Such a crisis manifests itself through various changes of position in enunciation, and therefore a lyric subject that proves to be both anonymous and incarnate. The particular identity and characteristics of writing become clearer in the narrative through the use of one or another subject. Finally, it appears to us that Supervielle establishes and maintains his identity according to the figure of the narrator and the lyrical subject. Exploring narrative structures common to both kinds could provide Supervielle with his profound identity: a French poet
Cousineau, Geneviève. "L'espacetemps dans "Nikolski": Une écriture de l'identité". Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27512.
Texto completo da fonteMendy, Lice John. "L' écriture poétique dans l'espace ouest-africain". Limoges, 2011. http://aurore.unilim.fr/theses/nxfile/default/591ffee2-ab92-49d8-b28a-fac858716a34/blobholder:0/2011LIMO2003.pdf.
Texto completo da fonteIn this thesis, we intend to study the following topic: The poetic writing in West Africa. This involves a comparative analysis of the works of Tijan M. Sallah, a Gambian writer who writes in English and Amadou Lamine Sall, a Senegalese writer who writes in French. Our objective is particularly to study their works, extract their main features by linking them to their sociocultural environment through a comparative angle. To talk about writing is another way of merging two complementary elements which are content and form. Language is therefore that element of literature. Style is form, expression and content. Images, debit side, lexicon which are part of the body and the past of the writer gradually become the automatism of his art. Literature in general, and especially poetry, cannot merely be read as documents or simple messages. The transposition of referential elements in a writer’s work and the irruption of imagination make the work singular. This thesis also takes into consideration the role of the poet, that is to say the writer in general who is a witness to matters affecting humanity. Tijan M. Sallah and Amadou Lamine Sall, through their works, restore hope for a new world, a world where Justice, Freedom, Peace and Love will prevail forever. The powerful weapon to wage this revolution is Love
Haberl, Hildegard. "Écriture encyclopédique - écriture romanesque : représentations et critique du savoir dans le roman allemand et français de Goethe à Flaubert". Paris, EHESS, 2010. http://www.theses.fr/2010EHES0046.
Texto completo da fonteBased on an analysis of two experimental novels of the 19th Century -The Elective Affinities ( 1809) by Johann Wolfgang Goethe and Bouvard et Pécuchet (1880/81) by Gustave Flaubert, this dissertation aims at making a contribution to both existing research on fiction al encyclopaedias and, more largely, to the study of the complex relationships between literature, science and knowledge. The first chapter introduces current theoretical debates on the relationships between literary theory and the history of science. It discusses existing theoretical approaches to encyclopaedic literature at hand as well as their attempts at giving a definition of an encyclopaedic novel. The second chapter traces the social and intellectual history of encyclopaedia from its roots in the baroque era to the late 19th Century. It offers a detailed analyses of a specific discourse that reflected the human strive to collect, order and systematize knowledge. Analysing in detail the reception of Goethe by Flaubert shows that Goethean universalism and his objective writing have strongly influenced the reception of the German writer in the late nineteenth century France. Focusing on the figures of the knowing subject, encyclopaedic spaces, themes and motifs, my analyses of both texts reveals how both authors take similar formal decisions when addressing encyclopaedic issues in the novel. Among the various fields of knowledge that are embraced in both novels, I focus on three areas of knowledge chemistry, education and botany, that embodied the new scientific spirit of the 19th Century, as well as three different forms of reflection on and criticism of the encyclopaedic project
Le, Gall Claire. "Fictions du posthumain : temporalité, hybridité, écriture(s)". Thesis, Brest, 2019. http://www.theses.fr/2019BRES0064.
Texto completo da fontePosthuman figures are plentiful in contemporary fictional works. Robots, artificial intelligence, genetically modified or augmented beings, and clones: all find their origins in science fiction, and now abound in mainstream culture. These entities embody humanity’s possible evolutions and trigger both enthusiasm and fear. On the one hand, they offer an optimistic perspective on how current human limits could be overcome (such as old age and death, or more generally biological constraints). On the other hand, they also point out the troubling possibility of humanity’s eradication, to be replaced by radically different “posthuman” beings.This dissertation focuses on the fictional representations of the posthuman in contemporary Anglo-Saxon literature in the following novels: the MaddAddam trilogy (published between 2003 and2013) by Margaret Atwood, Never Let Me Go (2005) by Kazuo Ishiguro, Cloud Atlas (2004) by David Mitchell, Accelerando (2005) and Glasshouse (2006) by Charles Stross, and The Stone Gods (2007) by Jeanette Winterson.While they are sometimes characterized by a break in temporal linearity (in postapocalyptic stories), the fictions of the posthuman are also marked by a form of cyclicity (past, present and future converge).Like the cyborg, the figures of the posthuman are hybrid and combine cybernetic or mechanical machines and biological organisms. They exist in a liminal space, and are able to go beyond the dualisms which permeate our way of thinking (male/female, same/other, natural/artificial).Writing the posthuman means considering its multiplicity, and is based on erasure, repetition and rewriting, following the model of the palimpsest
Chatagnon-Weiler, Pauline. "Claude Pujade-Renaud ou le corps en ses métamorphoses". Thesis, Pau, 2016. http://www.theses.fr/2016PAUU1014.
Texto completo da fonteFrom dancing to writing, Claude Pujade-Renaud’s personal trajectory is characterized by heterogeneous sporting, artistic, academic and literary activities. With a heavy emphasis laid on the tight links between real-life stories and narrative plots, this Phd thesis stresses the permanent interactions between bodies and texts.The idea that a literary work is shaped well before its publication will be developed thanks to the analysis of a body of reference works made up of thirteen novels, five collections of short stories, a literary correspondence and a dual autobiography.A literary work is enriched by the initial attempts to put it down into words, using a written or an oral language. Hence, it establishes a particular relation to people, places and time.As an element that is often only sensed, the process of writing seeks to transcribe an untold story. This Phd thesis will show to what extent Claude Pujade-Renaud questions literary genres – a novel, a shot-story, a dual autobiography, a correspondence – to recapture characterization and the necessity of writing. Also, this thesis focuses on bodily metamorphoses throughout time and the writer’s evolution in her choice of words. Through the successive steps of foetal life, early childhood, adolescence, adulthood and old age, we are not just led to consider an analysis on time passing by, but rather, a meditation on the creative potential of words, when they are written but also when they not uttered. As words re-examine the various ages of life, they guide use during an intimate quest for a particular identity
Pierre, Bretelle Marie-Gladys. "Poétique de l'espace chez Jacques Roumain : imaginaire et écriture". Paris 3, 1998. http://www.theses.fr/1998PA030198.
Texto completo da fonteJacques roumain's imageries are examined through the analysis of his polymorphous writings and social circles. His travels in america and in europe, his numerous occupations, his fictions about haiti have made him famous. The new generations find in jacques roumain's works images of the time (1907-1944) and even of a further past. Jacques roumain's poems contain various themes. His political and social ideas are in his essays and in his articles. His novels gouverneurs de la rosee and la montagne ensorcelee show the haitian country side, while the town and people of roumain's generation are in la proie et l'ombre and les fantoches. Relying on historical and cultural references, the author's fictional descriptions reflect many symbols, myths and images. Additionally, the combination of haitian creole and french is evidence of a unique coexistence of poetry and realism
Delvaux, Martine. "Écriture et aliénation dans Dévadé de Réjean Ducharme". Thesis, University of Ottawa (Canada), 1992. http://hdl.handle.net/10393/7496.
Texto completo da fonteCovarrubias, Acosta Sabina. "Pour une écriture multimédia dans la composition musicale". Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080116/document.
Texto completo da fonteThe main goal of this work is to solve some of the difficulties that composers encounter when notating music. Firstly, we describe how the Western musical notation (WMN) is limited when attempting to write specific musical elements. Secondly, we show the possible advantages that multimedia writing (MW) could offer on the notation of such elements. To address these issues, we used MW in six “experiments/composition projects” that were conceived to answer specific notation questions. The results obtained thereof allowed us to demonstrate the efficacy of MW for overcoming current limitations in music notation. More specifically, MW constitutes a group of procedures that allows to simultaneously represent information in different ways. This information could be either text, sounds, still or moving images, among others. Such procedures can be used to note down a message to further save it and transfer it from the composer to the performer. In the context of our experimental paradigms, MW has proven to be efficient for: the notation of timber, the integration of musicians from oral tradition in mixed music works, the incorporation of instrumental techniques drawn from oral tradition music into written music, the integration of a tonal language in a music score, the notation of new instrumental and vocal techniques, the guidance at using new software, and the incorporation of expressiveness associated to music styles of oral tradition into written works. We consider that two types of notation that proved to be efficient in this research could be added to the body of already existing MW, namely auditive notation and the notation of a know-how by the means of video
Lévesque, Geneviève. "Une écriture à l'oeuvre dans Malicroix d'Henri Bosco". Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27043/27043.pdf.
Texto completo da fonteThis thesis schematizes, in Malicroix by Henri Bosco, the process that presides to the writing of the novel itself. Using a poietic approach, we consider the text as a writer’s poetic that takes a fictional form. A phenomenological perspective allows us to study the novel from the point of view of perception, and mythocritique enables us to reflect on the perception of the world – especially the world of the text – through the angle of the sacred and its symbols. Reconstructing the horizontal and vertical structures of the novel, we reflect on diverse aspects of the text and of the scriptural process. The reading horizon constitutes the first chapter of our thesis and offers a triple view on the novel: the story and the characters, the spatiotemporal context and the mythical point of view. In the second chapter are elaborated two central notions, the figures and the chronotopes. Two groups of figures emerge, one associated with the writer as creator of the text and the other, with the process of expression. The figures play distinct roles in the conception and expression and are represented in Malicroix by way of the characters. The chronotopes study divides the novel in eleven times-spaces that constitute the basis of the figures’ progression through the text. The third chapter details how the figures cross the chronotopes’ series, drawing the scriptural route inscribed in eleven successive situations in the text. The last chapter contains two parts. The first examines the writer’s poetic that Bosco published under the title « L’exaltation et l’amplitude ». The second, which constitutes the final objective of our study, integrates the elements of this writer’s poetic in the eleven successive situations, producing a description of the stages of the scriptural process followed by Bosco while writing Malicroix.
Rokukawa, Yuko. "Écriture de la pureté dans l'œuvre d'Anatole France". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00921453.
Texto completo da fonteDahan, Jacques-Rémi. "Culture et écriture dans l'oeuvre de Charles Nodier". Paris 4, 2003. http://www.theses.fr/2003PA040147.
Texto completo da fonteThe thesis file takes up and scrutinizes elements spread over twenty-five years of research on Charles Nodier. It comprises the documents detailed below. Three typed volumes, numbered from I to III: I -Synthesis note, [2]-56 p. Definition of the method and progression of the research, and general presentation of the elements of the thesis file. II - Articles, [2]-272 p. Consisting of a collection of eleven articles or communications (biography, bibliography, literary history, history of the book, etc), published between 1981 and 2002, followed by a long unpublished study on the issue of education as seen by Nodier. III - Charles Nodier and the sixteenth century, [1]-98-[1]-160 p. Long unpublished study on the place held by sixteenth-century literature in the thought of Nodier, followed by the critical edition of his writings on the subject. Three printed documents: Victor Hugo - Charles Nodier, Correspondance croisée. Bassac, Plein Chant, 1987, 198 p. Critical edition of forty-nine letters exchanged between 1823 and 1835 by these two giants of French romanticism. The volume is supplemented with the articles written by Nodier about Hugo, the mutual correspondence, etc. - Charles Nodier, Correspondance de jeunesse [1793-1813]. Genève, Droz, 1995, 2 vol. First part of a general correspondence, as yet unfinished. This critical edition of three hundred and thirty letters covers the writer's youth, from his adolescence until he settled in Paris. Chronology, bibliographies, index. - Charles Nodier, Le peuple inconnu, followed by Dernières pages d'histoire naturelle. Losne, L'Homme au Sable, Thierry Bouchard & Folle-Avoine, 2003, 87 p. Last writings of natural history (1821-1834), collected around an entomological tale of 1833. Postscript and notes
Denes, Dominique. "Politique et écriture dans l'oeuvre de Marguerite Duras". Nancy 2, 1995. http://www.theses.fr/1995NAN21016.
Texto completo da fonteThe political aspect of the durassian works makes an impact through its importance, permanence and its remarkable use of ambiguity. However, despite the undeniable relationship between the texts and politics, Marguerite Duras is, on no account, a political writer. Not one of her works could strictly speaking be seen as a political programme or doctrine, not even during the period when she was a member of a political party. At some stage or another, all of the works express a rejection of organized thought and analysis. The majority of their portray screams and silences. If the works were be examined from a perspective that threads through a half of a century, then it would appear that, although they deal with important events, they are not reported at their corresponding point of history and are subject to ambiguity. They are characterized by a tendency toward withdrawal and the subversion of reality, because through her writing, Marguerite Duras works to a poetic engagement end poetic depiction of reality. Since she is opposed through writing to all power, she is also opposed to the rules of writing. Through this general emancipation, durassian thought and form progress toward indifference and indifferencied to seize the whole of the work and of the world
You, Seun-Kyong. "La double écriture dans l'oeuvre de Michel Tournier". Lyon 2, 2002. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2002/you_sk.
Texto completo da fonteThrough the works of fiction (novels), reflection (autobiographies, attempts and articles) and those said "for children" (rewrintings and tales), we study the presence and the evolution of two contradictory movements, the one mythical and the other one romantic, in Michel Tournier's writing. Our analysis distinguishes and follows successively each movement to better reveal the conflict of the writing and identify the main characteristics of each one. For the unifying movement, the combination of the subjects and the myths is studied, then, for the oblique one, the games of the miror of inversion, perversion and repetition are so studied. Our analysis finally exercices on the writing of the tale which try to reconcile both movements, testifying of the absolved and accomplished character of the tourniérienne writing. By beginning with a study of Tournier's raw materials to end with the tale, which seems to be, for Tournier, the ideal shape of writing, the purpose is to present a progressive reading of the whole Tournier's work, by putting in evidence the logic which connects the myth, the novel and the tale
Laghzaoui, Ghizlaine Asmaâ. "L'initiation dans la littérature africaine : savoir, représentation, écriture". Lille 3, 1992. http://www.theses.fr/1992LIL30014.
Texto completo da fonteThe initiation theme is modified when it iq taken in charge by the writing. We certainly can recognize the initiatory scenario in its whole in the narration. Nevertheless, it seems that the writing vocation is at variance with the initiation one. In fact the ritual order of the transition between the childhood to the adult age is modified : the inversion wich affects it, leads to an unconfessed request of the childhood and the lost heaven. That is why the writing tries to rehabilitate in a hidden way a female face repressed for too long time. The myth request and the oral speech are only a meaning to refind the request of the mother. Therefore, more than a rebirth, it is basically an "inside birth" that the initiation claims throught the african literature
Lévesque, Geneviève. "Une écriture à l'œuvre dans Malicroix d'Henri Bosco". Doctoral thesis, Université Laval, 2010. http://hdl.handle.net/20.500.11794/21574.
Texto completo da fonteThis thesis schematizes, in Malicroix by Henri Bosco, the process that presides to the writing of the novel itself. Using a poietic approach, we consider the text as a writer’s poetic that takes a fictional form. A phenomenological perspective allows us to study the novel from the point of view of perception, and mythocritique enables us to reflect on the perception of the world – especially the world of the text – through the angle of the sacred and its symbols. Reconstructing the horizontal and vertical structures of the novel, we reflect on diverse aspects of the text and of the scriptural process. The reading horizon constitutes the first chapter of our thesis and offers a triple view on the novel: the story and the characters, the spatiotemporal context and the mythical point of view. In the second chapter are elaborated two central notions, the figures and the chronotopes. Two groups of figures emerge, one associated with the writer as creator of the text and the other, with the process of expression. The figures play distinct roles in the conception and expression and are represented in Malicroix by way of the characters. The chronotopes study divides the novel in eleven times-spaces that constitute the basis of the figures’ progression through the text. The third chapter details how the figures cross the chronotopes’ series, drawing the scriptural route inscribed in eleven successive situations in the text. The last chapter contains two parts. The first examines the writer’s poetic that Bosco published under the title « L’exaltation et l’amplitude ». The second, which constitutes the final objective of our study, integrates the elements of this writer’s poetic in the eleven successive situations, producing a description of the stages of the scriptural process followed by Bosco while writing Malicroix.
Hwang, Hye-Young. "Image et écriture dans l'écriture de Nathalie Sarraute". Paris 8, 2001. https://octaviana.fr/document/181418304#?c=0&m=0&s=0&cv=0.
Texto completo da fonteBourgne, Florence. "Écriture et philosophie dans le "Troilus" de Chaucer". Paris 4, 1996. http://www.theses.fr/1996PA040227.
Texto completo da fonteChaucer's Troilus seethes with allusions to Boethius' Consolatio, translated simultaneously. Contemporaries praised Chaucer's qualities as a translator, and called him a philosopher. This must be set against the backdrop of medieval philosophy, its width and its oral teaching, which promotes figures of authorities whose works are commented upon. The glosses in the Troilus manuscripts are summary notes, dialogical marks or genealogical and mythological notations, inkeeping with school commentaries. Boece's influence on Troilus is mostly structural, yet the interpolating of boethian elements entails a new re-writing mode, to be examined in the light of the nominalist realist debates (Chaucer was friends with a former oxonian logician). This intrusion of philosophy in the realm of writing submits literature to orality, although literature is seeking its independence. The translating technique used by Chaucer in Troilus and his coining policy make him part and parcel of the Tanslatio Studii movement, which upholds vernaculary languages. Chaucer is eager to establish a canon of his works, as were Dante or Machaut. Yet, Troilus' narrator poses as a monk, and references to books are unable to counter orality's supremacy over literacy
Rokukawa, Yuko. "Écriture de la pureté dans l’œuvre d’Anatole France". Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20066/document.
Texto completo da fonteWhile Anatole France (1844–1924) is considered a skeptical, ironic writer, one of his short stories, entitled “Le Jongleur de Notre-Dame” can not easily be reduced to such a reading. Instead, it is a pious and sincere story based on a legend from the Middle Ages – a perspective contradictory to his skepticism, anticlericalism, and classicism. Rather than counting as exceptional cases texts like this that portray “purity” in a religious sense, an attempt to integrate them into the overall view of the works of A. France will enable us to discover a new side to the writer and apprehend his ideas and his works in a complexity and depth that are hidden under simple surface appearances. As a first step, we connect the medieval themes of A. France with the medievalist movement of the 19th century, seen in both historical study and literature, in order to clarify the influence of his times on his image of the Middle Ages, and the meaning of that image. As a second step, we consider the practice of rewriting. By comparing the texts of A. France with their sources, and comparing rewriting of those sources by A. France with rewriting of similar sources by his contemporaries, we identify A. France’s method of rewriting and the characteristics of the product. In addition, we find that the use of “frame story” narration is as necessary as rewriting in the texts of A. France, serving to accentuate the modesty of the author and as a result affecting a decrease in authorial authority. All these analyses reveal the importance of the “simplicity” that appears at several levels in the texts of A. France, and which can give access to the harmonious “purity”
Dalmau, Myriam. "L' écriture conflictuelle dans l'oeuvre de Rachid El-Dai͏̈f". Toulouse 2, 2002. http://www.theses.fr/2002TOU20007.
Texto completo da fonteThe work of Rachid El-Dai͏̈f, one of the major representative of the generation born during the libanese war, seems to point out the tension reflected in tragic and traumatic situations and therefore gives brand new style to arabic literature. The new style and the strength of his novels are the result of the underlying conflict existing between the will of the narrator to describe both a peaceful world and the presence of a real violence found between the lines. Beyond the fact of simply denouncing the absurdity of war, Rachid El-Dai͏̈f evokes a conflict necssarily endogenous to his work and meant to show the real side of human nature. His aim is to draw an essential picture opposed to its existantial representation: the essence of war in itself but not his appearance. Even if the way the themes are treated go further than the armed conflict, even if the autor has prevented war from being the focus of his novels, the theme of death is omnipresent in each sentence, it overwhelms the description and time, it tramforms ponctuation, it scatter the sentences in order to make the tragedy more oppressive. The charcaters, the homodiegetic narrator, the conflictual writing are confined in the obsession of those tensions and those underlying antagonims. The confinement represented by different myths produces a very particular conflictual writing identical to the Oedipal myth of Freud
Shango, Lokoho Tumba. "Roman et écriture de l'espace en Afrique (noire) francophone". Paris 3, 1995. http://www.theses.fr/1995PA030128.
Texto completo da fonteSince 1930 the space of novel or fiction has become, little by little, an aesthetic modality of representation (not only mimesis, but also imagination), an ethical problem and an ideological theme of textualization of space in french-speaking (black) africa. The stakes and concerns of african topicality have been visualized and have vehicled african history in its development. As a matter of fact, the space of fiction and narration is going to embody or to take the main place of inscription, of endorsement and focalisation of the present problems in africa the space of writing is made into a space of fiction of history. What are the logical connections, the postulates and foundations of this space-time writing, the "hic and nunc" in french-speaking africa ? we shall try to demonstrate how fiction or stody-telling aims at telling and reflecting african reality and how it also becomes a kind of awareness of the necessity of writing, deepening and recovering africa history. It's the hard task of our archaeology
Gauthier, Céline. "Une voix au chapitre : Paroles, discours et récits de gestes dans les écrits de danseurs". Electronic Thesis or Diss., Université Côte d'Azur, 2023. https://intranet-theses.unice.fr/2023COAZ2005.
Texto completo da fonteThis research focuses on the writing practices of contemporary dancers, through the study of a corpus made up of four works recently published by Dominique Dupuy (2011), Enora Rivière (2013), Myriam Lefkowitz (2015), and Noé Soulier (2016). Their publication manifests as much as it participates in a perceptual and aesthetic context, but also an institutional and editorial one which gives place to the voice of the artists. Indeed, these texts have in common to be elaborated from the words of the dancers, whether it is collected during interviews, drawn from a lecture performed or whether it is the reason by which the feeling is experienced. imaginary of a choreographic immediacy. Thus, the elaboration of these works engages for their authors a reflection on the values acquired by the verbalization as by the scription in the practices of dance. Because writing is respected as a transversal process, not judged textual, which introduced effects of gap in the relationship that the dancer maintains to the act of dance, we summon to analyze this corpus the thought of Derrida; this leads us to qualify the phenomena of embeddedness and differance affected by this corpus as relevant to “dancers' writings”. This makes it possible to question the function of these discourses, translated as speaking out against the doxa of a silence inherent in the scenic figure of the dancer: on the one hand, the writing bears witness to the experiences specific to the profession of dancer, and contributes to nourishing or even renewing the representations relating to their artistic and professional status. On the other hand, the publication of a bookish object requalifies the authorship of the dancer with regard to the choreographer as the works he interprets : this contributes to circumscribing a specific discursive regime, which we designate, following Foucault, as a “dancer-function” active in writing. Finally, our analysis considers the interactions between the enunciation of the gesture and the linguistic imagination, when the lexical and body morphology come to merge. Following three theoretical propositions (Godfroy, Louppe, Bernard) which postulate the reversibility of kinesic and semiotic experiences, we question the activity of reception of these works, when the analyzes seek to decelerate the imprint of a "gestuality to say”. Our hypothesis considers that this stems from a fictional mechanism, deployed both in the sensory process by which the dancers adopt a word about their dance and in the reading activity. This underlines the empathic functioning that supports our frequentation of textualities in dance; about the place occupied by literary and scriptural imaginaries in the elaboration of narratives of gestures, as well as in the emergence of metaphorical dynamics. These require the development of bodily logics (Bolens) that shape the corporeality of the dancer who is expressed as much as the narrative modalities by requiring it to be written. This study takes place at the crossroads of concerns carried by kinesic and linguistic analyses, according to a poietic approach which fits into numerous disciplinary, artistic and methodological interactions between dance studies and literary studies
Chebbi, Hichem. "L'œuvre de Jules Vallès : une écriture de combat". Paris 8, 2007. http://octaviana.fr/document/124492630#?c=0&m=0&s=0&cv=0.
Texto completo da fonteThis thesis, devoted to the work of Jules Vallès, has for objective the analysis of the process that drives an author to make of writing a tool of resistance, protest and even a weapon. Therefore, it will be necessary to question the work of the writer in the literary and social contexts of the era : the dialectic of “the self” and “the group”. The first part is devoted to Vallès first emergence in the world of literature and his attempts to adopt the literary norms of the era. The second part analyses the origin of the Novel through the different journalistic-writings, as well as, the rough outline of what will be his great work : the novel of the exile. The process is mainly based on Vallès correspondence with his friends : Arthur Arnould and Hector Malot, which allows probing his true novelistic motivations and his endless hesitations as for the nature of his project. The third part tries to demonstrate in Vallès a schematic constancy and questioning concerning his pre-exile literary production and journalistic literary production
Edem. "Tierno Monénembo : écriture de l'exil et architecture du moi". Cergy-Pontoise, 2005. http://biblioweb.u-cergy.fr/theses/05CERG0278.pdf.
Texto completo da fonteThe question of exile is recurrent in the Guinean writer Tierno Monénembo's works. In the fiction, it refers to precise situations: the reality of oppressive power witch put to flight characters, the quest of roots. But beyond these different situations, the author is talking about the tour of a self marked by this confrontation with the plurality of crossed worlds, the other and oneself. The aim of our work is to render the complexity of this reasoning but, above all, to question these different positions of exiled self. The most evident position would be the recovery of freedom through exile but, also, it is a matter of suggest the possibility that this position is opening up the think in opening up the writing to the variety of worlds. In theparticular case of african literatures, this exile, though it is distressing, allowing the writer to go beyond the community circle, touching inthis way his universal part
Kinge, Alexandra. "Écriture de l'inconnu, exploration et traite dans l'Ouest canadien". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ62768.pdf.
Texto completo da fonteMikala, Gyno-Noël. "Écriture et parole satiriques dans les romans d'Ahmadou Kourouma". Paris 12, 2007. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990005214500204611&vid=upec.
Texto completo da fonteThe analysis on the scope of problems which particularize and specify the writing of the word in order to understand how the writer from Ivory Coast assumes his dual cultural and linguistic membership. Satire is articulated as an intrinsic method in the romantic pentalogy of Kourouma. Our analysis allowed us to do the studying of the discursive stategies which any satirical engagement raises. The satirical communication thus wanted to be triangular between the satirist, the target and the recipient. Analysing the satirist method also consisted in seizing how Kourouma used the oral text and the African tradition in order to have a caustic glance on politics, society and religion in Africa. The satire is masked and reinforced by the tale, epic, the song and the proverb which are the best oral kinds which the writer the possibility to have a literary thought according to his satirical imagination. By using the professionals of the oral communication in Africa, Kourouma off-sets the African literature to an auditory aspect that gives birth to a dramatic dimension suitable with the proximity of listening. The writing and the word satirists thus translate, in the quinary romantic one of the Kourouma's injunction to listen and read
Balso, Sophie. "Pensée et écriture romanesque dans l'œuvre de Paul Gadenne". Paris 8, 2007. http://octaviana.fr/document/137811411#?c=0&m=0&s=0&cv=0.
Texto completo da fontePaul Gadenne is still an unrecognized writer. His work is mainly composed with novels that he began to write in the 30's, until 1956 in which he published his last novel – but he also wrote essays and poems, and he kept notebooks throughout his life. In spite of the crisis of fiction and its often announced disappearance in the 50's, Gadenne was convinced that fiction was still a possible genre. He gave to the novel the possibility to deal with philosophical issues intimately concerned by the existence. Until this day, the critics have seen his work as a Christian writer's, or even as a mainly autobiographical project. In this study, we endeavour to show that both interpretations lead to a misunderstanding. Paul Gadenne is a novelist who expects the novel to deal with philosophical issues through the encounter – of the loved person, of a work of art, of the Unknown (Gadenne calls him "the great X", and "God" sometimes). At the heart ot the encounter, here and now, there is the search for the Absolute and for eternal truths. The unity of Gadenne's work lies in his thought : a thought of existence that is written in a particular form in each novel and that reaches its greatest expression in the book "L'Avenue". The stakes of Gadenne's search are existential ; this is the work of a man in search of the Absolute in a world without God : and this quest is confided to the novelistic writing
Huet-Brichard, Marie-Catherine. "Imaginaire et écriture dans l'oeuvre de Maurice de Guérin". Chambéry, 1989. http://www.theses.fr/1990CHAML001.
Texto completo da fonteThe subject of this thesis, focused on the study of writing of the imaginary, has seized on the links between the poet and the creation; those links are revealed in a work experienced by Guerin as the scene of an experience and the quest for a word which is both different and personal. Creation is born from the desire which leads the ego to leave itself in order to go towards the other but this desire does not experience any satisfaction for there always exists an elsewhere to delimit and to covet. It is in the thrust outwards form oneself and in the will to become as one with the world that poetry blossoms. If the forces opposed to a happy understanding with oneself and with the world (therefore preventing the birth of poetry) are many, various processes come into play through and in the writing, all tending to bring about order and unity, the unity of the outside which sends one back into interior unity and the unity of creation. It is thus that poetics take shape through the work, the poetics of the suspense which resolve the anguish aroused by the separation between the poet and his creation and fulfil the desire for a work that is never closed in on itself but indefinitely
Letourneur, Marina. "L'histoire dans l'oeuvre d'Andrés Rivera : écriture, réécriture et manipulation". Thesis, Angers, 2015. http://www.theses.fr/2015ANGE0008/document.
Texto completo da fonteArgentinean writer Andrés Rivera’s refusal to consider some of his novels as being historical is the starting point of our reflection. In this work we approach the relations between history and fiction, the evolutions of historiography as well as those of the historical novel. The proliferation of historical novels in Latin America in the 1980’s and the 1990’s in particular, and the evolutions in the style and the themes of these novels have brought many critics to look into the phenomenon and to study the characteristics of what they have called the « new historical novel », « the contemporary historical novel » or more « the post-modern historical novel ». The formation of our corpus of novels or short stories by Rivera is based on Seymour Menton’s definition ; a novel is historical if the action takes place in a past that the author did not live. Thus, we chose the fictions in which the diegesis takes place between the 19th century and the beginning of the 20th century, which matches key periods of the Argentinean history : the May Revolution (« La revolución es un sueño eterno »), the civil wars and the period of Rosas (« En esta dulcetierra », « El farmer » and « Ese manco Paz »), the rise of the rural middle classes in the 1880's (« El amigo de Baudelaire » and « La sierva »), the 1920's (« Elprofundo Sur » and « Hay que matar »). Through this corpus, we intend to analyze the reading of the Argentinean history offered by Rivera, the notion of history drawn from it and the rewriting of history based on fiction he proposes
Sorel, Elise. "Écriture et identité aristocratique dans l’oeuvre de Barbey d’Aurevilly". Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040139.
Texto completo da fonteOur thesis intends to explore, through an extensive study, Barbey d’Aurevilly’s problematic and paradoxical ways of relationship to aristocracy, setting the hypothesis that this identity conscience lies at the basis of his conception and his experience of writing. After having grasped the idea that the author has developed about aristocratic identity, following evolutive dynamics, and having precisely described what constitutes for him the features of the ideal aristocrat, we mean to question more particularly the way he tries to assert this identity in his style of life and writings. How is it possible to conciliate this identity with one’s status of writer ? Attached to an aristocratic posture, dating back to the Ancient Regime, which privileges the amateurism tradition and aesthetics of negligence, Barbey d’Aurevilly legitimates nevertheless his writing art, paradoxically, by the display of aristocratic ethé, different according to the various genres involved. These ethé justify his discourses ; meanwhile their fundamentally ambivalent nature sets the writer free of his personal contradictions and enables him to invoke these prestigious models. Finally, we explore more largely the way such an aristocratic posture influences his conception of writing and literature, through a poetical and stylistic study
Heboyan, Esther. "Écriture et destination dans les nouvelles de Grace Paley". Paris 3, 1994. http://www.theses.fr/1994PA030173.
Texto completo da fonteLe, Roux Aude. "Imaginaire et écriture de la mort dans l'oeuvre de Marcel Proust". Paris 3, 2002. http://www.theses.fr/2002PA030117.
Texto completo da fonteIn the search for images, metaphors and comparisons, which, in Proust's work, aim to speak of the unspeakable, to reach the unknowable, in short, to say Death : this project, inspired by thematic criticism, covers the whole of Proust's work (letters, essays and novels, published texts and drafts). While studying first of all the relationship between Proust's way of writing and stereotypes concerning death, then trying to establish a conceptual and "dogmatic" definition of death, and finally, focusing on deathly images which are linked with vegetable, animal and mineral kingdoms, one identifies three goals : to show how Proust deals with innovation and imitation ; to evaluate the extent to which his discourse regarding death coincides with or steps back from the way he uses macabre images ; to enlighten both the death metaphor's power of liberation and the paradoxical strength of resistance against death and the forgetting which lies within them. Indeed, the yellow foliages of hair, the rotten fruits and the reddened faces dried up like berries which appear in "Le Bal de têtes" turn it into a winter garden ; the strange beast shaking the grand-mother's body, the birds which sinisterly fly above Albertine's head, the monstrous and age-hold whales and the human cocoons of the last "Matinée" transform À la recherche du temps perdu into a strange ark ; the grotesque puppets, the motionless recumbent statues, the crumbled sculptures, the dark etchings fill a novel of reification and petrifaction According to Proust, death is "eminently positive" and "fragmentary", thus "familiar" : this double conviction is brought to the fore by the succession of images which embody it. But, in doing so, and by the power of Proust's metaphor, the complex beauty of his work is brought to fruition, promising it to artistic eternity
Labouret, Guilhem. "Félicité de Lamennais : parole prophétique et écriture poétique". Paris 4, 2006. http://www.theses.fr/2006PA040117.
Texto completo da fonteAs well as being a priest, Lamennais is a man of the press. After being condemned by Rome, he uses pamphlets and versed poetry. Lamennais’ progression, from a preacher’s role to a prophet’s, and on to a poet’s, represents a model of poetic evolution. Initially highlighting the failure of preaching after the revolution, he tries to renew ecclesiastical discourse without succeeding fully; he turns to prophesying, which suits him better. Drawing on the Old Testament, he creates the image of a romantic prophet along precise biblical characteristics: isolated, misunderstood and looking to establish a new communication on earth, he initiates a new and unusual “time of the prophets”. He eventually turns to poetry to give this prophetic figure a voice. The collections published after 1832 portray a new vision of writing: the fragmented aesthetics, combined with his use of verses, break out of the older framework and display a voice liberated from the stranglehold of form. While revolutionary, Lamennais’ ideas do not fall on such fertile ground: those close to him slump into mystical poetry. However, the true innovation of his legacy resides nonetheless in his invention of an absolute artform where the rules are eternally revised
Chretin-Brison, Souvignet Emmanuelle. "L' écriture de l'espace dans l'oeuvre romanesque de Luis Goytisolo". Saint-Etienne, 2004. http://www.theses.fr/2004STET2105.
Texto completo da fonteLuis Goytisolo's novels (1958 to 2003) are based on three groups of space : the "real" space, the imaginary space and the textual space in its metafictional dimension. This classification opens the way to several paths of reflexion : how does Luis Goytisolo recreate a lived space through writing ? What is the connection between space and time ? On what symbols does the author's imaginary universe rest ? To what extent is the textual space a space of creation and exchange with the reader? We approach these questions from a personal perspective to highlight the specificities of the author's writing and their internal evolution, but also from a wider perspective so as to place Luis Goytisolo's work in the evolution of the contemporary Spanish novel. Our study is based around four main themes that aim to show how the writing of space and the emergence of the self are linked : the temporal writing of space ; the confrontation of two models of space (town and country) and the place of the individual in these ; the emergence of an imaginary space based on the ambiguity between destruction and construction ; the novel as a space of life-saving and liberating writing for the individual. The writing of space follows a specific evolution : after dealing with space objectively and realistically in Las afueras, Luis Goytisolo offers in Antagonía a more subjective approach and new writing techniques (multiplicity of points of view, metafiction). From Diario de 360° onwards, the writing becomes more fragmented and poetic, a sign of constant narrative enrichment and renewal
Abdourahman, Yacin Ahmed. "Littérature djiboutienne d'expression française : thématique et écriture". Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL001.
Texto completo da fonteAbsence de résumé en anglais
Duclot-Clément, Nathalie. "Écriture et altérités : Textes d'origine américaine, caribéenne, européenne et franco-sénégalaise : thèse". Nice, 2003. http://www.theses.fr/2003NICE2035.
Texto completo da fonteJaverzat, Marie-Claude. "De la dictée à l'adulte comme genre de l'activité scolaire : l'institution du sujet comme auteur dans des communautés discursives pour apprendre à l'école". Bordeaux 2, 2004. http://www.theses.fr/2004BOR21090.
Texto completo da fonteDictating to adult is explored as a genre of the school activity, historically built, of which roots grow also in social writing practices and more recently in the french school institution. From an inventory of professional discourses published in educational journals and books from 1960 to 2003, is described the evolution of the dictating practice as a tool of literacy teaching and learning ever since the "maternelle". Theses discourses are collated with teachers answers to a questionnaire in which they must describe and think about their own practice of dictating to adult. This study goes to describe the dictating to adult as a genre of cognitive-and language activity with a double view, didactic and formative. Dictating to adult is a school situation which the language practices, in the context of a oral to write continuum, stemming from the interactions between the teacher and a group of pupils, aims at building a written text in response to an explicit and agreed goal. This half-formal situation of learning is explored in the light of the vygotskian theses of literacy and the theory of activity with corpora from maternelle (3 to 5 years old) and in the first class of elementary school (CP, 6-7 years old). The pupils learn to talk and to think writing in literacy to learn at school. With dictating practice, the joint activity is cognitive language nature. The teacher's scaffolding and mediation appear crucial for the success of the activity. By committing the child in authoring position, who is becoming responsible of the writing, the teacher through his mediation and scaffolding and the child through his ability to move in discourse space are building a discursive community in which the cognitive and language activity may be reconfigured according to the tasks to perform and the active discursive genres
Magaud, Céline. "Romans, écriture, identité : Paul Auster, Assia Djebar, Patrick Modiano, Toni Morrison". Paris 3, 2001. http://www.theses.fr/2001PA030002.
Texto completo da fonte