Teses / dissertações sobre o tema "Journaux intimes dans la littérature"
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Badiu, Izabella. "Littérature du moi : métamorphoses de l'écriture diariste dans la deuxième moitié du XXe siècle en France et en Roumanie". Artois, 2003. http://www.theses.fr/2003ARTO0001.
Texto completo da fonteIn order to understand diary writing in the 70s and 80s the following writers were chosen : Julien Green, Albert Cohen, Claude Roy Nicolae Steinhardt and Ion D. Sîrbu. The French and Romanian areas were thought compatible and relevant of the two ways of autobiography evolution The approach is, in turn, and identification of the triggering event; an interpretation of exile experiences; an analysis of the needs motivating diary keeping; a textual investigation and, finally, a reconstruction of identity evolution leading to a definition of diary as a form of self-representation. Contemporary diary writing results in a twofold existential practice: personal – a routine required by the writing experience of the self; literary – a writing that reflects in its own structure the loss of meaning and traditional values
Szafranski, Patricia. "L'archéologie d'un journal intime : Amélie Weiler (1822-1895)". Dijon, 2006. http://www.theses.fr/2006DIJOL004.
Texto completo da fonteThis monograph is dedicated to Amélie Weiler, a diarist from Strasbourg. Six of her diaries, found in 1987, were published under the title : Journal d'une jeune fille mal dans son siècle:1840-1859. They enrich the cultural heritage of young women's diaries in the XIXth , which have been studied by Philippe Lejeune in Le Moi des demoiselles. The editorial process –from the manuscript (1864 pages) to the abridged version published (442 pages) – shows two ways of seeing the “book”, the editor's and the diarist's, the latter confronting stereotypes. Then the reader explores Amélie's world, her virtual library, her imaginary museum and geography. Being bilingual, she has the knack of waxing enthusiastic about minor works. The intertextuality brings about literary games, copying, collecting and translating activities, which indicate a day to day self-invention and the forming of a woman's identity. The diary mixes different forms of writing. The third part reveals the nascent novelist trying her hand at portraits, short stories and dream tales. Her writings are the work of a “creative memory”. These unpublished works speak for a new editing form, associating both historical and literary approaches
Lefevre, Brigitte. "Le journal intime dans la littérature japonaise, autour de Nogami Yaeko". Paris 7, 2009. http://www.theses.fr/2009PA070008.
Texto completo da fonteThis thesis presents Nogami Yaeko's (1885-1985) personal diary as a privileged source of information revealing the intimate journal and its role in Japanese contemporary literature. After addressing the issues of style and methodology and then presenting the author, an overall study of the diary is proposed with a first look at the codes and rhythms. The paper then focuses on the various dimensions of the subject matter in the diary: on her relationship with the outside world through the writings on several major events, on her relationship with herself, her interiority and finally, within the person's own secret dimension. The aim is to progress towards the singular poetry of this emblematic journal and in so doing, to have a deeper understanding of the autor and a literary genre through the prism of theoretical works published in France, as a way of analysing their pertinence on a Japanese example
Sorin, Claire. "Le corps dans les journaux de femmes aux Etats-Unis : 1830-1870". Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10054.
Texto completo da fonteGougelmann, Stéphane. "L'Ecriture de l'intime dans les oeuvres et le journal de Jules Renard". Thesis, Paris 10, 2009. http://www.theses.fr/2009PA100108.
Texto completo da fonte"Everyman for myself", that is the amusing motto Catulle Mendès attributed to Jules Renard (1864-1910). Indeed, as an author of an intimate Diary and of a work which looks like his Diary, Renard pays in his written work very close attention to himself and to others. In that, he takes part in the fin-de-siècle movement, when the cult of the document in literature was partly supplanted by the culture of the ego. But, anxious as he was to assert all his singularity, he elaborated a style which strongly contrasts with all others and claimed to be independent artist. Thus, we tried to understand the logic which drove the man to write about himself and we wished to highlight the dialectic which binds intimacy with its literary reflection. To do so, it proved useful to follow the course led by Renard, from giving up realistic principles to a literature of observation; yet an openly subjective observation which embodied in an internalized image of real life. Nevertheless, self portraying is not reduces to the genre of the self-portrait. Privacy is relational and its representation necessarily includes the presence of others. However, intersubjectivity is ambivalent in Jules Renard. The other may appear as an alienating force, as an enemy to be mocked at or to charm, but also offers the opportunity to open out into friendship or love relationship admiration and even fraternization. Lastly, it seemed to us that private writing was a way for the writer to know himself but above all a way to amend morally, and to invent himself poetically in a lacunary and laconic form. The writer then approached his ideal of humour and invites his reader to become his fellow man, his brother in other words to be on intimate terms with him
Predoiu, Daniel Florin. "L'exil, l'identité et la mémoire dans les journaux intimes de trois intellectuels roumains, 1950-2000". Master's thesis, Université Laval, 2007. http://hdl.handle.net/20.500.11794/19361.
Texto completo da fontePuccianti, Tatiana. "Présences de la psychanalyse dans la littérature italienne contemporaine : Giuseppe Berto, Ottiero Ottieri". Paris 8, 1994. http://www.theses.fr/1994PA080851.
Texto completo da fonteThis critical study is about two contemporany italian writers, giuseppe berto and ottiero ottieri. Both bring out the relationship between analyst and analysand. However, the implications of freud's theories are quite different for each writer, as regards the difficultes of existenceand very project of writting. I have tried to show how radically different they are. In the firs place berto's novel il male oscuro (1964) (am. Tr. Incubus) is very much under the sign of a double filiation : one with his actual father whose death brings about neurosis (the topic of the novel), the other with his "literary father". The svevo of la coscienza di zeno (1923). Then a body of texts by ottiero ottieri (novels, poems and one essay) which seem to be centered around il campo di concentrazione (19729: "the journal of a deression written during the depression". These texts follow no litterary model and connot be read according to the oedipian logic of the family romance, inasmuch as they do away with the notions of cause and of a possible solution. Style in il male oscuro, based on free association is wholly pervaded with humour, which enables the reader to identify and to feel pleasure in spite of the gruesome experiences described there. On the contrary, ottieri's writing is shot through with a radical feeling of unreality too close to an overwhelming reality inhibiting any imaginary activity and is characterized by clusters of poetic expressions
Lupas, Maria Cristina. "L'art dans les journaux intimes de M. Eliade, E. Ionesco, M. Sebastian et N. Steinhardt, 1927-1987". Thesis, Aix-Marseille 1, 2011. http://www.theses.fr/2011AIX10067.
Texto completo da fonteReflections about the nature and powers of art pervade the diaries of Mircea Eliade, Eugène Ionesco, Mihail Sebastian, and Nicolae Steinhardt. These reflections stem from the literary debates in fashion in Greater Romania in which all four authors took part. Their practice of diary keeping also goes back to this period. It especially characterized a group of young intellectuals launched by Eliade called the ‘Young Generation.’ The diary genre lends itself well to a type of study H. R. Jauss has called ‘reception.’ The receptions of art in the four diaries illustrate three powers of art. Art has a formative power: it teaches by opening the receiver to the world proposed by the work of art. Art also has a nationalistic power: as an instrument of national-identity building for the new Romanian nation-state, art did not escape the danger of politicization characteristic of so-called ‘minor literatures,’ a term this dissertation discusses, and the Romanian state practiced nationalist policies with regards to the arts. Lastly, art has a therapeutic power: it can help in coming to terms with painful experiences like that of the Romanian nationalist catastrophe by indirect and more attractive means. The text of the four diaries is here established from fragments published in Romanian and in French publications. The diaries reveal four lives that crossed paths and that shed light on each other and especially on the difficult re-readings of the Romanian past. Ionesco’s diary in particular emerges as an example of a therapy by art and of what Paul Ricœur has called a ‘work of memory,’ about his personal history, that of his generation and of twentieth-century Europe
Moulinier, Ann-Gaël. "Journaux intimes de la folie : étude différentielle de l'écriture du sujet dans l'hystérie et la schizophrénie à partir des écrits de Mary Barnes et de Vaslav Nijinski". Phd thesis, Université Rennes 2, 2010. http://tel.archives-ouvertes.fr/tel-00506069.
Texto completo da fonteCamarade, Hélène. "Écritures de la résistance dans le journal intime sous le Troisième Reich (1933-1945)". Toulouse 2, 2003. http://www.theses.fr/2003TOU20075.
Texto completo da fonteThis study is based on diaries in German by the victims of racial politics, opponents and resisters of National Socialism, who remained in Germany between 1933 and 1945. From the analysis of the diaries of Ulrich von Hassell, Elfriede Paul, Theodor Haecker, Friedrich Reck-Malleczewen, Lisa de Boor, Victor Klemperer, Oskar Rosenfeld, Irene Hauser and Elisabeth Block, this work shows how the diarists used their dairies as a clandestine medium of free expression to assert or consolidate their individual identity and to oppose the regime. The study highlights four examples of resistance in the diaries: the preservation of the freedom of thought and the values opposed to the National Socialist ideology; the survival strategy; the willingness to oppose the falsification of history through a written testimony; and the formulation of political plans for Germany in the post-Hitler era
Li, Byung-ok. "Paul Léautaud : l'écrivain et ses autoportraits". Paris 10, 1996. http://www.theses.fr/1996PA100075.
Texto completo da fonteWhat sort of man hides behind the writer paul leautaud? what was his true personality? does it match the image he left us? these are the main questions adressed by this study, which aims to reconstitute and interpret the portraits leautaud has left us. Is leautaud a poet, novelist or autobiographer? despite lack of inspiration and absence of any real litterary gift, he lives out his true condition of writer. His ambition is to be a writer, but his gift is in "writing". Our vision of paul leautaud as a writer who is both very litterary and non litterary is the main theme of this study
Compain, Marthe. "Le journal intime de Mireille Havet : entre écriture de soi et grand œuvre". Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00921213.
Texto completo da fonteKraska, Ewa. "Le "moi" autobiographique dans l'œuvre romanesque et théâtrale de Witold Gombrowicz". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030163.
Texto completo da fonteThe Me and autobiography, the fact in putting on the first place one's personality and putting on the place of actor the Me, stands at the very headspring of the texts by Witold Gombrowicz, who speaks for himself appealing to the Other, and through the Other hides behind the non-responsability.The autobiography? The self fiction? Where the text sifts through the interplay of the truth and lie, the real and imagined and that interplay questions the Me and its personal limits, its expression, its moderations and immoderations. When the ghosts reappear, and the fantasies speak for, we don't know any more where to place that contradictory writer located between the dream and reality. And because the Other allows him to replay his own story, he calls for a multitude of characters chosen not for their uniqueness but for the capability of playing this double role.Changing scenes, elusive characters, the author-narrator complex, sometimes actor, sometimes director, sometimes acting, sometimes being trapped in his own acting, and the whole portrait arises when Witold meets Gombrowicz. Who is who? Is there any identity crisis?
Vukušić, Zorica Maja. "André Gide : les gestes d'amour-L'amour des gestes". Paris 7, 2011. http://www.theses.fr/2011PA070100.
Texto completo da fonteSince his first attempts to write the Book, that produced Les Cahiers d'André Walter, André Gide was a passionate diarist. His journals were fundamentally influenced by the figure of the Other, both absent and omnipresent, his wife Madeleine, « Em. », who appropriated the space of Cuverville. Compelled to define his own sincerity, he inaugurated his discourse on homosexuality. This discourse features a gradual transformation of the third person into the first person. Gide will dare to say « I », against the advices of Proust and Wilde. Chopin is the artist, and not the poet, who will help him carve his own esthetic ideal, both romantic and classic. The piano will raise the question of the body of the Amateur, and will lead him to endorse his personal interpretation of Chopin's music, which will be confirmed by the interpretations in the 20th century. By telling his own désir d'œuvre, love, homosexuality and music in his journals, Gide will shape both his gestes d’amour and his amour des gestes. Always multiple, Gide welcomes contradictions and change, and, promotes, in his quest for authenticity, the possibility to always « go beyond »
Amselle, Frédérique. "Virginia Woolf et les écritures du moi : le journal et l'autobiographie". Montpellier 3, 2005. http://www.theses.fr/2005MON30046.
Texto completo da fonteMoments of Being, Virginia Woolf's Diaries and Early Journals as well as Carlyle's House and Other Sketches have been mainly read as a biographical material. We want to show that these texts can be read by themselves, as works of arts per se. In this respect we analyse their position within the autobiographical genre and analyse, thanks to the study of the manuscripts, the ethical and esthetical dimension Woolf plays with. This leads us to the paradox of Woolf's writings – questioning the issue of identity and the role of the other within the text. The writing of the self goes together with the question of the impossibility of writing without taking into account time, memory and death
Dubois, Boucheraud Simon. "Écritures du moi, genèse et créativité : les mises en scène d'Anaïs Nin (1931-1942)". Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30034/document.
Texto completo da fonteTo camouflage her past, dissemble about her adulterous affairs, and conceal consensual incest with her father and a lifetime of brazen lies, the « selected pieces » that Anaïs Nin offers to readers as her Diary, as of 1966, bear only a tangential relationship to the manuscripts. Even the so-called unexpurgated diary, published posthumously and based on the typescripts that Nin made of her diaries, contains significant revisions and emendations. Among the hundred and ten-odd volumes of a protean, handwritten diary, this study brings to the fore what remains, but also what was added, leading us to question whether the resulting document can truly be called a « diary ». In attempting to capture her ever-elusive self, Nin composed her life, and even in the manuscripts, the imaginary played a great part in that process. From a vast corpus examined at UCLA and Northwestern university, this study focuses on the period from the beginning of The Diary (as distinct from The Early Diary), till Nin publishes The Winter of Artifice (1939, and 1942), a fictionalization of her life at a time when publishing the diary was impossible. This piece is also an attempt to deal with—and, Nin hoped, vanquish—the lingering conflict of the diary with time and that of the woman with her father. Comparing the drafts of this work, revised by Henry Miller, with the handwritten diaries and the anthumously and posthumously published versions enables us to fully seize the extent of Nin’s rewriting and self-censorship, as well as the scope of a creative approach which amounts to many stagings of the self that the diarist would later legitimatize by making Otto Rank’s psychoanalytical principles her own
Deseilligny, Oriane. "L'écriture de soi, continuités et mutations : du cahier aux journaux personnels sur le web (1998-2003)". Paris 10, 2006. http://www.theses.fr/2006PA100060.
Texto completo da fonteBased on the analysis of 25 websites focused on the writing of personal diaries, this work lies on the hypothesis that the intimate diary as a genre is metamorphosed when published on-line and read by external readers. What emerges is that the Web tends to strengthen the communication dimension of the diary. Such transformation takes place at different levels, such as that of the discourse, the editorial and formating process. On-line personal diaries are more generally characterised by a mixing of genres, practises and forms. The natural hybridity of the diary is thus reinforced by the appearance of a rhetoric intended for an audience which leads the external reader to be both the confident and the addressee of the diarist. Besides, whilst they first aimed at rendering the text legible when finalising the presentation of the diary, both the computer publishing tools and the increasing use of the paratext actually contribute to the creation of a scriptural distance which transforms the diary. Yet, even if there is interference between the computer and the text we can note that diaries found on the Internet are still written and read like they used to be. They are part of a text and paper culture that is handwritten and that tends to make on-line diaries part of the tradition of handwritten works
Predoiu, Daniel-Florin. "L'exil, l'identité et la mémoire dans les journaux intimes de trois intellectuels roumains, 1950-2000". Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24837/24837.pdf.
Texto completo da fonteChoi, Nag-Hyun. "La politique dans les écrits intimes et la correspondance de Stendhal". Paris 8, 1998. http://www.theses.fr/1998PA081439.
Texto completo da fonteStendhal, in turn dragoon, civil servant and diplomat, was more conscious than any man of belonging to a world contunually in motion. Curious and eager for knowledge, he recounted the main political upheavals of his day in france and italy. He was interested above all anecdotes, which he felt to be of far greater significance than elevated theoretical discourse. His style of recounting political events did not in fact differ greatly from his manner of writing novels. The key feature in both is a linear narrative style, and the contradictions evident in his judgements are reminiscent of the hesitations of the heroes in his novels. Stendhal consistently takes up the opposing position to that of his interlocutor in order to ensure that the discussion remains open rather than petering out in a dreary consensus. However, this does not cast any doubt upon his political convictions, which though complex were nevertheless profoundly felt. His relationships with napoleon and the great writers and thinkers of his day (mme de stael, chateaubriand) also seem complex and passionate. Stendhal, with his open approach to the world, was not content to merely play the spectator to the great debates of his time concerning the freedom of the press, political intrigue, elections and so on. At the same time, it is remarkable that he never abandoned his passions, which occasionally overlapped withy the world of politics. As regards politics, stendhal managed to retain a casual stance while showing great eagerness for details. His personality is reflected in his ambiguous attitude. His political thinking is first and foremost illustrative of stendhal the man
Alexandre, Françoise. "Edouard Vuillard : carnets intimes (1888-1905 et 1er janvier 1914-11 novembre 1918) : édition critique avec présentation, notes, annexes et bibliographie". Paris 8, 1998. http://www.theses.fr/1998PA081505.
Texto completo da fonteCritical edition of painter edouard vuillard's diaries kept at the library of the institut de france. Publication in full _texts and sketches_ of the diaries of his youth (18881905). Partial publication of the subsequent diaries (january 1st 1914 to november 11th 1918). The edition of the text and research that went with it, accounted for in our notes and annexes, make it possible to understand the training of the painter during his student's years, to reassess some events concerning not only vuillard himself but also members of the nabi group to which he belonged, and to try to understand the demands of a creative conscience over a significant period of time, besides allowing us to ponder the origin of, and the part played by, personal writing for the painter and reconsidering the question of the artist's commitment during world war i. After studying vuillard's intimist thought processes in relation to painters' writings in general, our presentation brings out the academic and religious origin of vuillard's intimist writing and specifies its characteristic features. Thus it seems to us the painter's diaries express the essentially tragic feeling artist has of his relation to the world, a feeling he shares with non-painters diarists, but one which is compounded by the contraints specific to contemporary painting: the metaphysical doubt presupposed by keeping a diary is, for the painter combined with aesthetic doubt, while faith in salvation through his works is contradicted by the impossibility to complete the works. Finally, the closeness between vuillard's concerns as a painter and his concerns as a diarist can be related to the ambition he has to objectivize the capturing of sensation regarded as founding all creation. Vuillard's diaries lead us to conclude there is an essentiel kinship between painting and intimist writing, dependent as they both are on the present, the fragmentary and the incomplete
Omiya, Shiho. "Stratégie de lectures comparées pour étudiants japonais en français langue étrangère : journaux intimes français et japonais contemporains". Paris 3, 2008. http://www.theses.fr/2008PA030051.
Texto completo da fonteOur study focuses on the strategy of teaching reading comprehension to undergraduate students studying Introductory French in Japanese universities. The objective of the course is to teach students how to read French texts and to introduce them to the literature and culture of France. Our study is unique in presenting lectures that will allow students to learn about French culture based on their understanding of Japanese culture. We selected journals as text, a familiar genre of literature among Japanese. First, we examined the origins and evolution of journals in both Japan and France, the general characteristics of contemporary journals, and reviews of journals in both countries. Next, we compared the texts of contemporary journals that describe aspects of everyday life in the past 20 years and have been published in the two countries after 1980. Themes of these journals include climate notations, proverbs, descriptions such as botanical observation, landscape and portraits, narratives such as conversational reports, and articles such as book reviews. After analyzing these texts, we developed the lecture plan. The method consists of comparative reading of journals of various themes in 3 steps. It is designed to promote understanding of the uniqueness of the journals of both countries and discovering of respective characteristics of the two societies, histories and literatures, and to guide the students to write an extract of their own journal in French based on a model of French journal
Mercier, Simon. "Les générations du voyage dans A. O. Barnabooth : son journal intime de Valery Larbaud, dans Sur la route de Jack Kerouac et dans L'usage du monde de Nicolas Bouvier". Paris 10, 2004. http://www.theses.fr/2004PA100031.
Texto completo da fonteFor literary history, the comparison carried out in this study finds its base in the examination of the contexts : precise circumstances which constitute as many different modernities supporting, each one, the call of elsewhere and blossoming of the novel. The opening of the road leads the writer to forge an experienced centered on the movement, between artistic sensitivity and geographical shift. From this personal experience to the book, the account deploys then a particular route, according to its own methods, according to the potentialities and laws of the fiction. Having made the choice of the departure, the traveller and character moves in time, from a place to another, investing spaces of various nature. But upstream of the voyage which rises the production of a singular literary image. More largely, to this "use of the world" also corresponds the expression of a feeling and a practice metaphysics. Finally, the voyage supposes the realization of a course which opens the individual th the universal vastness but which, simultaneously, also confronts him with the limits of his condition
Simonet-Tenant, Françoise. "L'itinéraire intellectuel et moral dans le journal de Catherine Pozzi". Orléans, 1995. http://www.theses.fr/1995ORLE1007.
Texto completo da fonteDaughter of doctor Samuel Pozzi who founded the french gynaecology, Catherine Pozzi was born in 1882 and brought up in the bosom of the parisian high society. She kept a diary throughout her childhood and teenage years - from 1893 to 1906 but then stopped writing for seven years. She resumed it in 1913 and it proved to be her most faithful companion until her death in 1934. Her diary deals with memoirs of high life and with foremost contemporaries such as Julien Benda, Ernst Robert Curtius, Daniel Halevy, Marie de Régnier, Charles du Bos, Jean Paulhan, Jacques and Raissa Maritain or Louis Massignon for instance, but it is also a love-and-hate hymn directed to Paul Valéry whom she met in 1920 and with whom she had a passionate and heartrending love affair for eight years. The pozzian notebooks can take so many shapes : they are now a diary about the illness of someone who was stricken very early in her life with tuberculosis, now a receptacle of sensations, feelings and thoughts, now a moral guide and the theatre of the difficult building of and identity in search of itself through the composition of numerous self-portraits. But they are also a workbook and the laboratory of poetic al and philosophical work, a field open on to suprasensitive visions and a dialogue with the absolute witness. The great variety of this text does not exclude an amazing coherence, and Catherine Pozzi's notebooks - in which the concrete and the abstract constantly enrich each other - clearly draw the itinerary of a brilliant "psychoscope" as Paul Valéry puts it. Our diarist made the soul her privileged subject of observation and of poetical, philosophical and scientific meditation. As she goed beyond an egotistic analysis, she strives to rebuild the world by making an ambivalent and fascinating image of the soul the key to her understanding
Dufour, Mélissa. "L'écriture de la désertion : étude des carnets d'André Major". Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24236/24236.pdf.
Texto completo da fonteHer, Mi-Hei. "Coffret double(s)-je(ux) : image-livre-théâtre". Paris 1, 2008. http://www.theses.fr/2008PA010567.
Texto completo da fonteMarchesi, Michele. "Le Diario intimo de Niccolò Tommaseo et l’écriture autobiographique". Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL019.
Texto completo da fonteRaffaele Ciampini published, in 1938, the first edition of the Diario intimo, the private memories that Niccolò Tommaseo compiled almost daily during his whole life since 1824. In this doctoral thesis we wanted to offer a new edition of those memories, enriching the comment and amending the transcription mistakes made by Ciampini. The thesis is supplemented by a copious introduction, in which we offer a synthesis of the critic literature about the autobiographical genre, its origins, and specific peculiarities of the tommasean work, mostly as concerns the other two memorial pieces of the dalmatian, Memorie poetiche and Memorie politiche
Nguyen, Thi Thuy Loan. "Pratique du journal intime en Français langue étrangère dans le cadre scolaire : étude d'un cas vietnamien". Rouen, 2004. http://www.theses.fr/2004ROUEL494.
Texto completo da fonteIn this thesis, the emphasis is put on the practice in class of the personal diary written in French as a second language. The main idea consists in wondering if the use of personal and extra-curricular writing could motivate school writing. The first part of the thesis aims to establish a inventory of the teaching-learning process in French at university level in Vietnam and to make suggestions for using a teaching-learning process of writing in French as a second language more focused on the psycho-affective dimension of the learner. In the second part, are presented first the route covered, from an empiric approach to the constitution of an object of research, then the conceptual lines and finally, the procedures to lead this research. The third part is built on written and oral data taken, to evaluate the nature of the written works created as well as the efficiency of the use of intimate and personal writing in the learning process of writing in the target language
Okubo, Miki. "Exposition de soi à l'époque mobile-liquide". Thesis, Paris 8, 2015. http://www.theses.fr/2015PA080055.
Texto completo da fonteArtistic expression has have never been easier to carry out than today. Engaging in creation has even become a mundane, commonplace undertaking. We have a vast array of mediums available to us to satisfy our desire for self-representation, including traditional and modern medias and advanced technologies. Despite this ease of access to platforms for self-expression, creators have no chance of becoming a celebrated artist. Facing this truth during our everyday interactions online and with modern media leads us to feel rather disheartened with today's media environment. However, from historical point of view, today's context of creative work and exposition is neither new nor unique. Art has always been one possible way to process or overcome personal problems. In our search for shared experiences with others, art is useful in easing life's difficulties.Today’s world, characterized by its "fluid" and “mobile” nature, is giving birth to a contemporary art that often highlights the question of intimacy. Its significance is universal, while being distant from notions of egoism and individualism.This thesis aims to consider “plural” self-representations practiced in our “fluid” and “mobile” world, in order to better understand the importance of expressive acts. Through the careful study of artistic activities such as photography, fashion, literature and other domains, I present a study on self-representation and exposition, found in both professional and amateur creative activities, to interpret how self-representation and exposition is useful and even essential, from semiological, phenomenological, archeological, anthropological and aesthetic points of view
Bertrand, Frédérick. "La représentation des souffrances et des horreurs de la Première Guerre mondiale dans les journaux de tranchées". Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/33128.
Texto completo da fonteRandrianarison, Emmanuel. "Analyse linguistique de l'énoncé ludique : cas des jeux de mots dans les titres de presse". Paris 13, 1999. http://www.theses.fr/1999PA131024.
Texto completo da fonteMeure, Chantale. "La genèse d'une écriture : jeux et enjeux de l'intertextualité dans les journaux de voyage de Robert Challe". La Réunion, 2003. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/03_09_Meure.pdf.
Texto completo da fonteBetween the manuscript diary of 1690-1691 - factually recording Robert Challe's trip to the East Indies for the benefit of his uncle and guardian Pierre Raymond - and the rewritten version published in 1721, one can trace the birth and the evolution of particular form of writing, based on intertextualit. The texts contribute to the travel adventure and reflect a vision of the world and of mankind found elsewhere in the traveller's work. Leading a voyage through minds, they find their meaning and value in the response they elicit from the reader. In the revised and extended diary of 1721, as in all his other texts, Challe reflects upon reading and writing, and protests against the dogma and morals attached to the res scriptura : a written work is made to be read, examined, refuted if necessary, but above all to establish a dialogue. This textual dialogue lies at the heart of Robert Challe's travel writing : the work is not fixed or closed, but produces instead a rich interplay of reflections and echoes. The texts are thus linked to one another in an endless movement of circulation. The reworked diary bears witness to the literary path followed by the author
Sadkaoui, Nourchen. "L’expression féminine dans les romans d’Anne Brontë". Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040100.
Texto completo da fonteAnne Brontë makes use of her talents as a novelist in view of exploring the realm of the feminine. This work proposes to study the different manifestations and usages of feminine expression in her novels. To start with, her first novel is to be read as an example of a feminine Bildungsroman describing the journey of formation, of maturity and fulfillment of the heroine who evolves from a passive, silent and shy young woman to a self-confident and eloquent wife, mother, educator and writer. The second chapter explores the metaphor of embedding in relation to the second novel, The Tenant of Wildfell Hall. The chapter examines the different levels of discourse overlapping in the narrative structure in order to illustrate the complex relationships between the sexes in the model of patriarchal society the novel presents. The third and last chapter studies the creative identity attributes of the heroine. Her ingenuity manifests itself in her writings, her paintings, her educational skills and her empathy, not only allowing her to survive and create in a hostile environment but also her close friends to benefit from her personal experience. A review of the studies on the author shows that the theme of feminine expression has not received much critical attention. This thesis, presenting new paths of research, offers a synthetic vision of the question
Cartier, Julie. "Fiction et fictionnalisation au service des idées sociopolitiques de George Sand dans les journaux de 1843 à 1848". Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28903/28903.pdf.
Texto completo da fonteGruszka, Sarah. "Voix du pouvoir, voix de l’intime. Les journaux personnels du siège de Leningrad (1941-1944)". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL170.
Texto completo da fonteA tragic but largely unknown episode for the Western public--and highly distorted on the Soviet side--the siege initiated by the Germans and their allies that Leningrad underwent for almost 900 days is a privileged observation field for studying the reaction of individuals to a context of extreme violence and pressure (the war, the blockade, Stalinism). The many personal diaries kept by the besieged --an extremely rich but still underexploited source--allow one to penetrate into their mental universe and thereby offer an invaluable insight not only on the history of the siege of Leningrad but more generally on the intimate experience of the Stalinist era in times of war. On one hand they let one see the role of diaries in infrahuman conditions (survival writing and testimonial aspect) and bring to light a singular way of narrating this experience (mass death, starvation, disorientation), joining as such the realm of disaster literature. On the other hand, they show the complex way Soviets react to a propaganda-filled ideological environment. The articulation of the three pillars of the Soviet ideology (collectivism, internationalism, heroism) by the diarists reveals a permanent tension between intimate and official discourses. It manifests itself by a wide spectrum of different stands, from total discredit to the internalizing the voice of the power. As such, the personal diaries allow us to refine our comprehension of the intimate experience of Stalinism, whose study often remains restricted to the 1930s
Giguère, Vincent. "L’image de Rome dans le journal de voyage de Benjamin Pâquet et les collections du Séminaire de Québec entre 1860 et 1900 : définir une culture visuelle par la représentation". Doctoral thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/68544.
Texto completo da fonteThroughout its history, Séminaire de Québec acquired works of art by way of purchases, donations, and legacies from the personal collections of priests who are members of the religious community of the institution. Whether these were objects of personal consultation, study collections for Université Laval — founded by the Séminaire in 1852 — or decorative artifacts in common spaces, some images stand out for the subject they represent and call for a reflection on the values that they can constitute within the institution.The strong representatives of Rome in the collection of prints imposes a questioning on the multiplication of objects on the same subject. This observation is also contemporary to the increase of the long-stay of priests in the Eternal City during the second half of the 19th century. Their travel reports allow them to state their perceptions of Rome, its monuments, its museums, its churches, its religiosity and its customs. From these stories, themselves generators of mental images, stands out the travel diary of the Archbishop of Quebec, Mgr. Joseph-Octave Plessis. Written in 1819-1820, this document allows to formulate hypotheses on the preparation of the journey of priests in Rome in the 19th century. Equally relevant, the travel diary of Abbot Benjamin Pâquet, written between 1863 and 1866 during his doctoral studies in theology at the Roman College, is a source from which concrete facts guide the definition of the visuality of Rome, understood as a urban ensemble and as an ideal and mythical place. From the descriptions of the sensory experiences that traveling priests make of places and objects, the physical images representing Rome kept at the Séminaire and at the Université acquire value and meaning. Concordance of objects and comments generates a corpus representative of a visualization of Rome and the Vatican at the Séminaire and at the Université during the targeted period. As such, graphic works of Roman monuments by Giuseppe Vasi or Giovanni Battista Piranesi, portraits of prelates of the Roman curia and of the Pope by the painter Vincenzo Pasqualoni, and albums of prints or souvenir photographs, create a set of references for the institution whose visual and cultural significance is based on facts and on a phenomenology of the sensitive experience. The fostering of diplomatic relations between the Holy See and the members of the Séminaire is a constancy that emerges from the analysis of textual sources. Around the same time of Abbot Pâquet’s journey, the Pope continued to apply strategies to consolidate his moral and symbolic authority, while his temporal authority was weakened by political upheavals in Italy. These strategies were characterized, among other things, by dogmatic decrees, the funding of archaeological sites, the restoration of monuments, artistic commissions, and reissues of prints in Rome, which influenced the development of the library and of the collections of Séminaire de Québec. To analyze these modes of correspondence which are both physical (objects), symbolic (images), spiritual and political, we have used the rules of the “common domestic world” defined by Luc Boltanski and Laurent Thévenot (1991) which are characterized by respect and recognition of authority and filiation. These make possible to understand the functioning of a life in common within a micro-society, like at the Séminaire; rules also influence its system of values. An intellectual link with the ideological, humanist and artistic values promoted by the Holy See explains the forms that the presence of the Pope and famous Vatican works can take in the imagination of the priests of the Séminaire. The visual culture of Rome and the Vatican, in the collections of the institution, is thus defined by the presence of a papal authority, guardian of the classical humanities, which is embodied through actions and aesthetics valuing Christianized ancient Roman heritage, historicism, purism and Raphael ism.
Prokop, Lukáš. ""Constructions inachevées" : le sens du fragment littéraire et de l'inachèvement, leur signification dans la construction du moi humain : Stendhal, Deml, Michaux". Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040031.
Texto completo da fonteThis work analyzes the relation of a text to one’s identity, to its understanding and to its formationthrough the written language. The relation man–world founded on the awareness of one’s visibility serves forthis analysis, which draws on a hypothesis that one’s visibility within the world is perceived as both a threatand as inauthentic. Human beings make effort to form themselves according to their own principles or tobecome someone else with literary text, to take on disguises and masks, but also to use language as a toolenabling them to uncover their authenticity. Such approach was represented by Stendhal’s work, the foundingstone of literary egotism. The reason is that he focuses exclusively on himself, which is manifested by a doublegesture: self-analysis and self-construction. These gestures, performed by the means of language, have aindirect successor in the work of Jakub Deml. In his texts self-analysis and self-construction can be recognized.By modifying his identity, mainly through the inclusion of other people within it, he attempts to create animpression of omnipresence for influencing reality. Henri Michaux establishes the exploration of his own self as the exclusive focus of his life. For him, it is crucial that the practical approach to a linguistic creation, an approach that consists in using language as a tool for either gaining self-knowledge or for hiding one’s self, be developed into one of the tools for survival. This link between self-creation, and the emphasis, put on apractical approach can capture human identity as something derived from situational circumstances. As a result, human beings perceive their own identity as fragmentary
Práce si klade za cíl postihnout vztah literárního textu k lidské identitě, k jejímu poznání ijejímu formování pomocí psaného jazyka. Výchozí myšlenka se zakládá na výkladu vztahučlověka a světa s ohledem k vědomí vlastní viditelnosti. Dále vychází z hypotézy, že lidskábytost pociťuje svou viditelnost ve světě jako ohrožení na jedné straně a nepřirozenost nastraně druhé. Snahou této bytosti je se formovat podle vlastních představ či se stávat pomocítextu někým jiným, brát na sebe převleky a maskovat se, ale také používat jazyk jako nástrojdobrání se vlastní přirozenosti. Na počátku takového přístupu spočívá Stendhalovo dílo, kteréje považováno za zakladatele literárního egotismu. Důvodem je výhradní zájem jejího autorao svou osobu, který se projevuje ve dvojím gestu: sebepoznávacím i sebekonstrukčním. Obatyto přístupy k jazyku mají své pokračovatele v mnoha literaturách, jednou z nich je literaturačeská, v níž se objevuje dílo Jakuba Demla. I v něm lze snadno vyznačit gesto sebe-poznání isebe-konstrukce. Deml se modifikací vlastní identity, především začleňováním druhých lidído ní, pokouší vytvořit dojem „věčné všudypřítomnosti“. Její navození má být základem vlivuna skutečnost. Henri Michaux stejně tak učiní průzkum sebe sama za výhradní zájem svéhoživota. I pro něj je důležité, že se praktický přístup k jazykovému výtvoru, který je přítomnýv užití řeči jako prostředku sebepoznání či sebeskrytí, rozvine v jeden z nástrojů přežití.Spojení sebetvorby a akcentování praktického použití jazykového výtvoru jako nástrojesloužícího životu pak zachytí i odvození lidské identity od situačních okolností a okamžiků,což způsobí, že lidská bytost bude prožívat svou identitu jako fragmentární a nespojitou
Ito, Fuyumi. "Mme Delphine Gay de Girardin et le journalisme : l'univers feminin dans les "courriers de paris"". Nancy 2, 1988. http://www.theses.fr/1988NAN21008.
Texto completo da fonteUnder the title "courrier de paris" ("letter from paris"), mme delphine gay de girardin published in "la presse" her column on the life of paris during the year 1836 to 1848. These reports were a description of the parisian life from the social, fashionable, literary, artistic and political points of view. The july's monarchy was described as a whole, and due to mme de girardin's sensitivity the reports were the reflection of a highly feminine world. Consequently the reports were not only a recite of valuable historical news, but the presentation of a women's world. For this reason, we have defined our subject as mme delphine gay de girardin and the journalism : the women's world in the "courriers de paris". In order to know how mme de girardin observed, judged and described the life of paris at her time, and to evaluate the marvelous role of her sensitivity influencing her observations, her judgments and her writing, which we have analysed in full and according to the categories of subjects, her "courriers de paris"
Demougin, Laure. "Identités et exotisme : représentations de soi et des autres dans la presse coloniale française au XIXe siècle (1830-1880)". Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/30584.
Texto completo da fonteIdentités et exotisme : représentations de soi et des autres dans la presse coloniale française au XIXe siècle (1830-1880) Sur les territoires colonisés par la France paraissent des journaux locaux qui suivent le développement national de la presse : entre 1830 et 1880, l’époque est médiatique et le journal est un support important des publications littéraires. Dans les colonies, les périodiques contiennent ainsi des textes adaptés à leurs territoires respectifs, mais publiés toujours selon la même structure, ce qui permet une comparaison entre les différentes stratégies conduisant à l’élaboration d’identités coloniales. Ces textes, par leur diversité et leurs évolutions, représentent une sorte de chaînon manquant entre la littérature des récits de voyage et la littérature coloniale qui se définit au tournant du XXe siècle : interrogés et étudiés sous cet angle, ils prennent valeur de corpus signifiant. Ils montrent en effet le rôle identitaire de cette littérature médiatique adaptée aux colonies : en adaptant l’exotisme aux conditions coloniale, en faisant varier le critère d’altérité et par bien d’autres moyens encore, la presse locale fonde en partie une attitude coloniale qui se retrouve, mutatis mutandis, dans l’empire colonial français. C’est également la raison pour laquelle le corpus médiatique colonial du XIXe siècle se trouve être au centre de connexions avec les textes de la littérature coloniale ainsi qu’avec les problématiques de l’écriture postcoloniale : lieu de publication, de nouveauté, de tentatives identitaires et d’essais génériques, le journal colonial a produit entre 1830 et 1880 des mécanismes d’écriture appelés à se développer par la suite.
Identities and exoticism : representations of self and others in the french colonial press in the 19th century (1830-1880) Local newspapers were published in French colonial areas following the same evolution as the national newspapers: between 1830 and 1880, media-rich times, the press represents a significant publishing-platform for literary texts. Colonial newspapers contain texts adjusted to their respective geographic areas, but keep the same structure regardless, thereby allowing the comparison between the strategies leading to the building of colonial identities. The diversity and the different evolution pathways of these texts may then be considered as the missing link between the travel narratives and the early-20th century defined colonial literature. As such, they can undoubtedly be considered as a significant corpus of colonial times. These texts reflect the identity role this colonial-area adjusted media literature had: by adapting exoticism to the colonial conditions, by varying the criterion of alterity and by many other ways, local press founds, partially, a colonial attitude that can further be found, mutatis mutandis, in the French colonial empire. This is also the reason the 19th-century colonial-media corpus is at the crossroads of both colonial literature and postcolonial writing problematics: as a place for publication, novelty, identity essays, and literary genre essays, the colonial newspaper witnessed the creation, between 1830 and 1880, of writing mechanisms that would eventually develop later on.
Rossi, Henri. "La comtesse de Boigne : recherches sur les mémoires féminins et aristocratiques de la Révolution à la monarchie de Juillet". Paris 4, 1996. http://www.theses.fr/1996PA040096.
Texto completo da fonteAfter the Revolution of 1789, French aristocrats wrote many memoirs and diaries. Never before, there were so many autobiographic works. The women especially were attracted by this peripheric genre. The most part of them wrote their 'souvenirs'. These works are influenced by the preromantic sensibility, by the novels written in the eighteenth century, but also by the aristocratic tradition of memoirs, diaries, but also novels, women expressed the nostalgia of the time before the French Revolution, the 'Ancien Régime', this time where aristocracy had power, money and privileges. They expressed too the nostalgia of the 'salons' in which they were respected, adored. They lost that after the revolution. They tried to revive the worldliness that the nobility practised since the seventeenth century. But their attempt is a check. Aristocratic memoirs will not survive and the nobility will not find again its power, its influence. The worldliness will be in future the apanage of the romantic writers, the thinkers, Stendhal, Flaubert, Baudelaire. They will be the depositaries of the authentic worldliness
Ait, Sidhoum Slimane. "Les récits de voyage en Algérie dans la presse illustrée et les revues du XIXe siècle ou l'invention d'un orient de proximité". Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30084.
Texto completo da fonteThe first part in three chapters presents a typology of travellers in Algeria (particularly officials, soldiers, scholars and writer-journalists), studies from east to west and from north to south, the preferred geographical circuit that they followed, and describes some of the dominant characteristics of narratology in their stories (temporality, series of articles, illustrations). The second part shows how theses travel narrations and accounts witness in their own manner the gradual formation of colonial Algeria. We discover how they rewrite in their own manner the contradictory accounts of territorial expansion of France: history of colonial cultivators established on the lands of expropriated natives; history of landscape and the Algerian ways of living transformed by the introduction of western techniques and civilization, its contributions, paradoxes and failures; at last, history of search for Roman empire remnants and the praises of Latinism, whose, the French colonizers, nurtured by the ancient bookish tradition, intend to be called the heir and the imitators. The last part inquires on the ethnological aspects of these viaticum stories. The writer puts an emphasis on the complexity and the ambivalence of the travel narration that, applying certain criteria of definition and ethnical hierarchies to the apprehension of the other, that are unknown to him, create oriental myths that have no relation with the society being observed
Mahjoub, Wafa. "Écriture diaristique, poétique et dramatique dans l'ɶuvre de Jean-Luc Lagarce : hybridité générique". Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2001.
Texto completo da fonteThe thesis is devoted to the diaristic, poetic and dramatic writing of Jean-Luc Lagarce and to its generic hybridity. It tries to bring an original light on the playwright various writings of the Journal and some other plays.The writer puts in evidence in his work an aesthetics of failure. He tries to bet on a poetics of desultory. Navigating between genres, the diary echoes the pieces while dramatic works draw their essence in personal and historical actuality.Writer of his time, the playwright represents characters in their daily environment driving the reader into the heart of the intimate. In a lyrical writing, he braided links between the particular and the universal, the intimate and the collective.The tragedy he infuses into his writing is linked to a tragedy of everyday life, a set of vivid injuries conveyed by a stormy past and a present made of pain and misunderstanding.The absurdity of existence determines an “action-state”, almost passive, as if the characters endured a real "passion", which slows down the dramatic action. From then on, the constant movement of speech replaces action. Voice, images, movements, the Lagarcian writing is then both poetic and dramatic, putting hybridity at the heart of aesthetics.Psychological, psychoanalytical and sociological theater of speech, it also represents tragedy and precarious poetry of everyday life.It is, ultimately, all that constitutes the individual itself: complexity, plurality and sensitivity of being-to the world
Mauffette-Vachon, Michelle. "Portrait anthropologique d'un acteur social dans une famille industrielle verviétoise (Belgique, Province de Liège) au XIXe siècle". Master's thesis, Université Laval, 1996. http://hdl.handle.net/20.500.11794/28407.
Texto completo da fonteGiai-Duganera, Sabrina. "Poétique de Joseph Joubert. Étude sur la désécriture dans les Carnets". Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30053.
Texto completo da fonteJoseph Joubert was a close friend of Chateaubriand and Pauline de Beaumont and a witness of the French Revolution, which has « chased away [his] mind from the real world », as he stated. He wrote during his whole life a set of notes in 205 notebooks and loose sheets of papers, but never published them. In 1938, André Beaunier edited most part of them under the name of Carnets. This multifaceted text, belonging to the draft poetry, is here considered through the angle of a notion coming from Yves Bonnefoy. The désécriture includes all the movements that prevent from creating a finished book : reluctance, self-censorship, hesitations, modesty, literary deconstruction and mining which impede the writing, and his achievement as a piece of work. Joubert’s poetry arises from this conflicting movements between a literary ideal characterized by the classical way (clarity, order, achievement) and Joubert’s style compromising this ideal. Nonetheless, the author finds his ethic and poetic way thanks to a fragmented and temporary style. The désécriture is in fact a positive experience : the vanishing words become an affirmative power of saying, opposite to all forms of impotence
Marie, Dit Borel Sylvie. "André Pézard dans ses archives : naissance d'un écrivain et d'un italianiste". Thesis, Normandie, 2020. http://www.theses.fr/2020NORMC034.
Texto completo da fonteAndré Pézard is well known for being one of the most important italianists of the twentieth century: he translated the Complete Works of Dante alone and played an active part in the development and reception of italianism in France. Besides his professional and academic activities, from teaching in Avignon Secondary School to the Collège de France, the archives prove that he was also a writer in his personal and daily practice. A survivor of the First World War, from 1919 to 1921, the young man kept a personal diary in which he wrote about his progressive readjustment to civil life, during his first teaching job in Avignon. Which literary record did he want to leave by writing the Journal d’Avignon? Which function did he assign to his personal diary in daily life? If the young diarist never clearly planned to publish his work, some key elements lead us to believe that, as for his whole archives, this diary became a laboratory from which he would draw material and inspiration in order to write. After publishing a first testimony of the direct experience of war, Nous autres à Vauquois, in 1919, did André Pézard intend to write a second autobiography? Did he contemplate a literary production that could aim at transmitting a personal experience or a cultural heritage? The Journal d’Avignon, which attests to the variety of Pézard’s writing, did not give away its secrets. Our research and analysis prove that André Pézard finally did not take the path of official writing and did not publish his diary and the narrative productions it contained. The activities of the italianist probably put Pézard’s wish to become a writer on a secondary level
Alavi, Farideh. "Jules Renard, écrivain d'aphorismes : étude du "Journal" (1887-1910)". Clermont-Ferrand 2, 1998. http://www.theses.fr/1998CLF20005.
Texto completo da fonteOn the threshold of the xx the century, at a time when great upheavals unleashed a violent identity crisis, jules renard was a writer who failed to satisfy his urge to express his thoughts either in fiction writing or in drama, let alone in poetry. None of these forms really matched his inspiration and changes of mood. In searching for his own inner being and meaning, jules renard adopted the everyday writing of an intimate diary in order to be able to respond to this desire to express reality in its infinitely varied and relative forms. In order to write down facts and thoughts day by day, he had a preference for a brief and discontinuous type of writing : the aphorism. For a lover of reality who always mistrusted +ill-acquired ; words and syntax, the aphoristic style, coated in silence and crystallised in meaning was the best medium for the expression of his conscience and thoughts. The aphorism reflects the structure of truth for it is the kind of writing which, as he put it, +interprets ; the least. Through his posthumous + journal; this work demonstrates how this shrewd observer, this temperamental and humorous man gradually became a creator of + silent literature ;, the embodiment of the aphoristic writer, through his promptitude, his negative dialectics, his refusal of systematic thinking, his critical and pessimistic mind, his subjective and paradoxical expression, where harshness and grace are merged and where a terse, lapidary style is made compatible with a clarity and simplicity of expression
Prévot-Bombled, Noëlle. "Feuilletons, romans-feuilletons et pouvoirs sous la Monarchie de Juillet dans "La Presse" et "Le Siècle" (1836-1848)". Paris 4, 2003. http://www.theses.fr/2003PA040067.
Texto completo da fonteThe purpose of this doctorate research is to rediscover literary works of very important French authors published as serials in La Presse and Le Siècle during the July Monarchy. La Presse and Le Siècle thus revealed to many readers, between 1836 - the year of their first publication and 1848, the extraordinary value and richness of a wide range of serial literature such as novels, short stories, articles concerning dramatic, artistic and literary criticism, poetry and plays. We have chosen to present these literary works by comparing them with the most significant 19th century literature and by analysing their intricate ties with the press universe and the governing powers in place
Liebel, Silvia. "Les Médées modernes : La cruauté féminine d'après les canards imprimés français : (1574 - 1651)". Paris 13, 2011. http://books.openedition.org/pur/116511.
Texto completo da fonteThis thesis analyses the representations of the feminine in the occasional literature of Early Modern France. The “canards”, a sort of chapbook with fantastic and bloody stories, offer narratives based on the everyday life, forming a connection with the readers’ universe. Just like the tragic stories, they focus on crime reports, where feminine actions play a central role. Linked to the fears of their time, the women are represented on these stories as infanticides, parricides, adulteresses and witches, harming the masculine order of the world. Acting at the same time as a product and a driving force of the growing moralization of the realm, especially at the dawn of the 17th century, when the Counter Reformation was in course, these texts show the dangers of unruly women. Taking this street literature as a privileged source to Cultural History, this work seeks to understand how a strong system disseminates behavioral role models to a wide public
Kubler, Corinne. "La face cachée des Rougon-Macquart d'Emile Zola". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA019/document.
Texto completo da fonteAccording to our view, the hidden of the Rougon-Macquart lies in expression of two histories : a legitimate one, which is stated, declared – the natural and social history of family under the Second Empire – and the other one, which is hidden, illegitimate and undeclared – the cultural and intellectual history under the Second Empire as well. The set up of this cultural history was made possible because it relies on the two aspects developpedby this autor :the social aspect by dividing society into five worlds and the natural or hereditary one (reproduction). Indeed, with this cultural history, wie find the same division :the world of Arts and literature, the world of sciences, the world of human sciences, the world of information and of communication and a world apart (mythology and religion). This cultural history was also considered from the angle of textual reproduction, and not fromthe angle of sexual reproduction with the setting up of an authenthic machinery able to reproduce the source texts (or inserted texts). This machinery includes an announcer or reproducer, the announce or reproduction verb in charge of defining the source text ; the reproductive or announcing substance which definies the sort of text ; the announce (or the reproduced text).The experimental novel would more streuously reside in the setting up of this other history which in an underlying way enabled Zola to ponder on the different compsition and writing methods wich this textual reproduction involves as the act of reproducing. If we have defined these five cultural worlds, we have even more studied the world ofinformation and of communication, and the journalistic world in particular. This sort of approach requieres to take it into account in order to redefine Zola’s and Naturalim’s aesthetics
Pinyol, Vidal Josep. "Iconographie et iconologie du dessin d'actualité dans la presse barcelonaise catalaniste et républicaine en langue catalane : 1870-1935". Rennes 2, 2007. http://www.bu.univ-rennes2.fr/system/files/theses/thesepinyol.pdf.
Texto completo da fonteLn the latter third of the 19th century, the expansion of both cultural and political Catalanism coincided with the-clevelopment. Ofthe Catalane;languagepressin- whichihe-articleswere reinforced -by-theuse-of--. Political cartoons. Often appearing in the form of satirical tracts or caricatures, they iIIustrated and interpreted both important events and daily life in Barcelona. We can understand these images according to their iconology and iconography. These two concepts, as defined by Erwin Panofsky, reflect the socio-cultural environment in which the image was generated, as weil as the form and attributes related to diverse themes used by the illustrators. Three generations of Barcelonian political cartoonists illustrated current events in real time during the 65 years which separated the First Republic from the tragic end of the Second Republic. Both the diversity and the stylistic evolution of their work leads us towards an aesthetic interpretation of these illustrations, which also respects the natural evolution dictated by the major orientations in fine arts during this period in Catalonia
Sobrinho, Ailton. "De la chronique journalistique au reportage de guerre : fiction et non-fiction dans le journalisme littéraire de Rubem Braga et de Joel Silveira". Electronic Thesis or Diss., Université Clermont Auvergne (2021-...), 2022. http://www.theses.fr/2022UCFAL021.
Texto completo da fonteFrom the perspective of a notion of “transfer”, this article proposes the analysis of the process of fictionalization of journalistic writing from the adoption of literary techniques. This process, which highlights the porosity of fiction and reality, is claimed by literary journalism, a hybrid modality situated between journalism and literature. Relying on factual and literariness, journalistic-literary writing is characterized, on the one hand, by its adherence to the truth and its search for reality and, on the other hand, by its vital need to narrate. In order to show how fiction and non-fiction are related within the text linked to this journalistic category, we are interested in the work of two journalist-writers who devoted their careers to the production of chronicle and reportage, representative genres of journalism literature in the context of the 20th century Brazilian press. Rubem Braga and Joel Silveira were not only the precursors of literary journalism in Brazil, they were also guarantors of this modality – especially during their work as war correspondents in the service of the newspapers Diário Carioca and Diários Associados. With their writing skills, they inscribed in the pages of these newspapers a poetics of everyday life based on a journalistic and literary approach. During the coverage of the Second World War, the chronicler Braga and the reporter Silveira showed, in their perspective, the ugliness of the war without neglecting the poetry of the facts. Practicing trench journalism, they witnessed the strength of literary journalism on the front and defended, in the writing and publication of their texts as books, the fight for perpetuity claimed by this journalistic aspect. In this research, we adopted as a corpus analysis the collections of chronicles and reports published in the books Crônicas de Guerra (Braga, 1964) and O Inverno da Guerra (Silveira, 2005), which are manifestations of the perennial writing of both authors
Sob a ôtica de uma noção de “transferências”, este trabalho propõe a análise do processo de ficcionalização da escrita jornalística a partir da adoção de técnicas literárias. Esse processo, que coloca em evidência a porosidade da ficção e da realidade, é reivindicado pelo jornalismo literário, modalidade híbrida situada entre o jornalismo e a literatura. Apoiando-se no factual e na literariedade, a escrita jornalístico-literária se caracteriza, de um lado, pela sua aderência à verdade e sua busca de realidade e, de um outro, pela sua necessidade vital de narrar. A fim de mostrar como a ficção e a não-ficção se relacionam no seio do texto ligado a essa categoria jornalística, nós nos interessamospelo trabalho de dois jornalistas-escritores que consagraram suas carreiras à produção dacrônica e da reportagem, gêneros representativos do jornalismo literário no contexto daimprensa brasileira do século XX. Rubem Braga e Joel Silveira não foram somente osprecursores do jornalismo literário no Brasil como também foram fiadores dessamodalidade — sobretudo durante a atuação como correspondentes de guerra a serviço dosjornais Diário Carioca e Diários Associados. Com suas habilidades de escrita, elesinscreveram nas páginas desses jornais uma poética do cotidiano baseada numaabordagem jornalística e literária. Durante a cobertura da Segunda Guerra mundial, ocronista Braga e o repórter Silveira mostraram, na perspectiva deles, a feiura da guerrasem negligenciar a poesia dos fatos. Praticando um jornalismo de trincheira, elestestemunharam a força do jornalismo literário no fronte e defenderam na escrita e napublicação de seus textos em formato livro o combate de perenização reivindicado poressa vertente jornalística. Nesta pesquisa, adotamos como corpus de análise as coletâneasde crônicas e reportagens publicadas nos livros Crônicas de Guerra (Braga, 1964) e oInverno da Guerra (Silveira, 2005), que constituem manifestações da escrita perene dosdois autores.Palavras-chaves : Rubem Braga, Joel Silveira, jornalismo literärio, ficcionalizaçäo,transferéncias