Teses / dissertações sobre o tema "Littérature française du 20e siècle"
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Vas-Deyres, Landriot Natacha. "Ces français qui ont écrit demain : société et pouvoir dans la littérature utopique française". Bordeaux 3, 2007. http://www.theses.fr/2007BOR30058.
Texto completo da fonteOver a period stretching from 1894 to 2004, French utopian literature - which in that period gradually incorporated science fiction - stands out as a medium and a creator of collective imagination and of literary representations in the social and political fields. If one goes beyond the complex hierarchical relationships that developed throughout the twentieth century between French and US or anglo-saxon science fiction, it is then possible to point out the epistemological stakes in this literature. In so doing, literature yields a new form of knowledge. Furthermore, choosing to read a corpus of French novels on the cross disciplinary theme of “society and power” with a socio-critical approach has made it possible to establish a history of literary social representations through their own creative dynamics. According to Henri Desroches, the three dynamic creative movements of the period under study are: changeover, confrontation and alternative. At the end of the nineteenth century and the beginning of the twentieth century, the aim of the changeover utopian literary movement is to change society which is perceived as obsolete by a number of pro-socialist or pro-anarchist writers. On the contrary, the confrontation movement which finds its full momentum after the first world war is a process of critical and satirical creation. However, , the 1970’s are characterized by a revival of utopian literature in its alternative dimension. Without giving up their critical vigil on post modern society, writers of utopian literature and science fiction assert their potential of invention in the void left by ideologies and the so-called ”fin de l’histoire”
Beuvain, Catherine. "L'expérience de l'absolu à travers la musique dans la littérature française". Nice, 1995. http://www.theses.fr/1995NICE2003.
Texto completo da fonteThis thesis analyses the way in which classical music has been lived and translated since romanticism in several french novelists and poets of the two last centuries. Considered in the light of others approaches of music (textual criticism, musicians' opinions, pictorial references, etc), the literary extracts reveal the quest and the experience of an absolute apprehended in and through music. As music is obiously inexpressible, its circumstances of appearence and perception are emphasized through constant interrogation and exploitation of limits : interspace and silence, personality and reactions of the musician, favoured states of consciousness, space and time thresholds. As for the hero, who lives through music in the herafter (fantastic atmospheres, travels and metamorphosises), for the writer, the mastery of the musical mystery is based on contiguity associations and similes : synaesthesias and metaphors are, like the , transfer and surpassing. So, the expresses the peculiarity of music, the sound experience, its literary translation and the moving forward the absolute. Correlatively, music invomves aesthetic and ethical values, brings intellectual and moral riches. It supposes the search of the essentials : purity, simplicity, interiority are the qualities of the , a typically romanticist notion. By this way, music leads to the sacred, to the mystic and to the absolute. The oxymorons seem to be the privilegied translation of them. They suggest the transcendance by which heroes and writers can pass beyond the limits of the ways to reach the deep truth and take advantage of the contingent to have access to the essence
Camus, Audrey. "Le pays imaginaire dans la littérature narrative française du XXe siècle". Paris 3, 2006. http://www.theses.fr/2006PA030012.
Texto completo da fonteFrom Atlantis to Balkhyrie, all the way through Liliput, we survey, in our reader's life, several countries that are not accounted for by any maps. In our memory, all those imaginary lands form a distinct territory that subsumes the diversity of their cultural and temporal idiosyncrasies, as it does for their disparate vocations and their various contextual meanings. However, the imaginary land, because it transcends generic and chronological borders, has a tendency to evade categorial acknowledgement. This work intends to understand its contemporary existence, which is as indeniable as it is problematic, by analysing the theoretic reasons of its misunderstanding as well as the mecanisms that permits its reading, and ultimately proposing that they result from its fundamental atopy
Wasmine, Abdelmajid. "Les récits de vie en littérature marocaine contemporaine : Langues française et arabe". Paris 3, 1987. http://www.theses.fr/1987PA030048.
Texto completo da fonteAt the begning of the century colonisation in the maghreb had a strident echo : the brutal contact between two different civilisations gave rise to a complete reversal of culture and local history. At the beginning of the 50's and with the appearance of liberation mouvements young their cultural and personal identity with respect to the orient, and the west which was no longer exterieur and unknown. Through their works they express the three dimensions of this identity : the past, the present and the future. Thus, this generation of early post independence writers started by writing personnal histories whose expression has tended towards a symbolic secularity as if to go against the tide of tradition towards a univers unknown even to them. Is their launching into literature by writing about their lives not also the taking of an opposite direction to western literature in which a biography is a celebration of a personal literary carrer ? the aim is perhaps to create a new cultural independence : independence from the oriental tradition and from the western autobiographical model. A young literature, young writers, a symbolic identity in the process of becoming independent and a history of literature impossible to write for the moment because of its youth : this is the general framework in which the author of this monograph will treat the subject of life histories in french and arab in contemporary moroccan literature
Mignard, Annie. "La fiction brève ou fragmentée dans la littérature française depuis les années 1980 : 1980-1995". Paris 8, 2000. http://www.theses.fr/2000PA081677.
Texto completo da fonteMacé, Marie-Anne. "Recherches narratives dans la littérature française : 1970-1979". Rennes 2, 1989. http://www.theses.fr/1989REN20001.
Texto completo da fonteThe French literature of the 1970s is both narcissistic and demanding, compelling a revision of narrative forms. Writing styles emerge from the story; narrative activity showing a preference for equality between narrator and character, focusing on complete viewpoints the words and thoughts of a hero are reproduced though the psycho-narration, according to evolutive conventions and manifesting themselves as polyphonic constructions. The setting for the narrative is created by the shifts in time, pace, and plot. The novel dissociates itself from slow transformation constraints by the expedient of break; duration is acted out between contractions and expansions; it is linked to the imagination while historical time remains discrete. Descriptive hypertrophy overturns textual frontiers; the sense of space rests on the pre-determined, founding itself on musings; the semiotics of space open on to the hermeneutics and ideological gambles. Structure is marked by discord: uncertainty, superimposition, unexpected twists in the story, repetitions, reflexion effects and intertextual references. The character loses his supremacy but remains obvious and clear-cut, oscillating between appearances and physical being; he reveals the unconscious; he is sometimes kept in a relational context, portraying the signs of a social referent. This period remains an aesthetic adventure for writers as well as readers
Dirkx, Paul. "Une douce violence : étude des pratiques discursives ayant trait aux "littératures" de Belgique dans trois hebdomadaires : »les lettres françaises », « le figaro littéraire » et « les nouvelles littéraires » (1944-1960)". Paris 8, 1996. http://www.theses.fr/1996PA081196.
Texto completo da fonteThis study concerns all the texts published in the parisian "literary" press from 1944 to 1960 and relating to belgium, focusing on french-written and dutch-written literary productions. By considering them products of discursive practices, the study aims to detect the principles of organization and classification of belgian productions in relation to french productions, which leads one to question the social use of literature in both france and belgium. The theory of fields contributes to ap- prehend in an appropriate way the practices under study. The analyzed texts are "prises de position" mediating certain principles peculiar to the literary field and to the field of "literary" press. First, the three weeklies are located in the latter. Then, each forms the subject of an analysis focusing on general texts on (an aspect of) belgium, then on (meta)texts taken from literary columns, taking into account the recognition of (national) specificities, the editorial programme and the genders. Finally, the discourses of belgian contributors are studied with respect to their trajectories and to the logics of the french fields involved. The entire corpus is marked by the dominated status of the belgian francophone "literature". The french texts are codetermined by a universalist and humanist vision on (french) culture, peculiar to french fields. Each weekly's position brings about aesthetical and political divergences. The belgian contributors deny or avoid bringing out an own identity
Delfour, Julie. "Les souterrains séjours : des rats et des hommes dans la littérautre française du 20e siècle". Toulouse 2, 2000. http://www.theses.fr/2000TOU20035.
Texto completo da fonteYuan, Yuan. "Réception et création : les littératures féminines française et chinoise au XXe siècle". Besançon, 2010. http://www.theses.fr/2010BESA1015.
Texto completo da fonteThis study aims at probing, measuring and describing the relationship between the Chinese and French female literature of the twentieth century. It concentrates particularly on the most representative female writers from both countries and their works that reflect female consciousness. The Chinese female writing in the 1920s-1940s shows strong feminist thought, similar to French female writing of the period. However, there was no direct communication between these two female literatures and the influence of French literature on the first generation of contemporary Chinese female writers came from males writers. The French feminist literary theory formed during the 1970s has become the theoretical pivot and practical model for the Chinese female writing in the 1990s, yet continually influenced by Chinese female writing in the 1920s-1940s. The use of the comparative method helps to show that Chinese contemporary female literature is “the fruit” of the combination of the development of Chinese female literature herself, the influences of western feminist theories and western literature, especially French literature
Alsahoui, Maan. "La question de l'autre chez J. M. G. Le Clézio". Paris 10, 2010. http://www.theses.fr/2010PA100014.
Texto completo da fonteThis thesis engage the reflection on the personal myth of JMG Le Clézio, built on the relations between the autobiography of the author and the genealogy of the Other. Our goal is to highlight how vome the figures of the Other in the novel, and the complx relationships of the writer with his ancestors. To do this, wa engaged a research on the search done by the characters in order to find a new form of religiosity, questioning their identity and transforming their personalities. In this movement of projection on the Other non-Western, we study the conflict between writer and his characters with their original environment. This is a cornestone argument in Le Clézio's novel : the opposition between primitive and Western modernity. This distinction between sacred and profane, wich marks the theme of the work and divided it into two perdiods, is echoed in the report of the subject with the other femal. Our remarks on this point revolves around the theme of the passage on the other side, which takes place through the indigenous femal figure. The analysis of representations of women throughout the work of Le Clézio, will highlight the increasing importance of the female figure in the healing that marks the writing of the novels of the second period
Ravindranathan, Thangam. "Dépressions de voyage : réécritures de l'Ailleurs, de Michaux à Chevillard". Paris 8, 2006. http://www.theses.fr/2006PA083617.
Texto completo da fonte"Depressions of Travel : Rewriting the Elsewhere, from Michaux to Chevillard" is a literary analysis of the “fin des voyages” (Lévi-Strauss, 1955), a phrase taken here to describe an impasse affecting travel writing. In the modern age, the genre has become increasingly aware of its incapacity to render the Elsewhere. Reading Freud and Sartre, Chapter I frames the problem in terms of a crisis of the narrative function. The second chapter declines the specular character of the exotic impasse, in writings by Sartre and Jean-Philippe Toussaint. Chapter III reflects on fictional world tours (Verne, Perec, Rolin) that expose the phantasms and paradoxes of a modern “pensée du monde”. Chapter IV rethinks translation as a constitutive and problematic modality of the travel genre, in novels by Toussaint and Vassilis Alexakis. Via Montaigne, Lévi-Strauss and Derrida, the following chapter describes the subversive function of the animal in travel narratives by Michaux and Éric Chevillard. The final chapter reflects, through works by Perec and Nicolas Bouvier, on sites of discontinuity that disrupt the spatial imaginary
Dubar, Monique. "Métamorphoses du personnage féminin sur la scène française, entre 1880 et 1914". Lille 3, 1993. http://www.theses.fr/1993LIL30012.
Texto completo da fonteThis study, within the time and space limits chosen, deals with the theatre, its history and aesthitics (-its mutations and pursuits), with the audiences, the critics, the actresses (sarah bernhardt and rejane in particular) and also with a great number of works from the point of view of the female character, analyzed as emblematic of the dramatic form in which it is found? Always in the place of honour. The female character is analyzed successively, or, more exactly, simultaneously and concurrently in three parts of equal importance entitled the prisoner, the fugitive and the missing woman. (* 5 chapters each) the prisoner of a coherent system of thought and representation, inherited from soribe and augier (i. E. The 'french play in its most representative version, the drama of - female - adultery. 2 chapters are devoted to phedre and la dame aux camelias, the prestigious models (modernized in their 1900 versions), 1 to froufrou (a specific study of meilhac and halevy's play), 2 to cinderella and francillon, specific and synthetic studies of the contemporary marriageable girl and (badly) married woman on french stage. A fugitive, who tried to fond a way out by throwing herself into the historical or the exotic (toscadora, from the word coined by g. B. Shaw to refer to sardou's productions) or the "mystical" drama (marie-madeleine, a study centred on rostand's samaritan. Augitive too in the naturalist aesthetics (renee, from zola's la curee)
Stalloni, Yves. "Des formes au sens : parcours critique de Prévost à Pérec". Nice, 1996. http://www.theses.fr/1996NICE2013.
Texto completo da fonteThis thesis is a synthesis. It epitomizes selectively some twenty years of publications and works aiming at the twofold purpose of the pedagogy of literature and the interpretation of texts. These two concerns in our eyes appropriately merge in the notion of route, which is hightlited in the very title of this work. Indeed any kind of reflexion stemming from texts implies to identifiy a form, describe, analyse, question, solicit it with a view to revealing the contents of its substance. The route follow two main lines defined thus : the didactic one, in which the different works focused on specific literary exercises such as text summaries, essays, comments, critical analyses, oral accounts are introduced; the hermeneutic one which reproduces various works aimed at revealing the very meaning of the works through a thematic and historical approach. The first part of the work (the introduction) consists in a sweeping statement in which we define or analyse : -a few key-notions of literary criticism; -the constraints any research work must undergo; -the choice and specificity of the fields of investigation; -the way to lead the students to the "full reading" of a complete work. The second part (the publications) is composed of 59 documents devided into four groups : -pedagogy (didactics-applications and studies on the form); -set of themes (study of a theme as a whole or applied to a given author or work) -xxth century works; -miscellaneous (xviiith century literature, foreign literature)
Gouin, Thierry. "Stendhal roman. Aragon, barres, zola, balzac, gracq, valery : stendhal et ses ecrivains-lecteurs". Lyon 2, 1997. http://www.theses.fr/1997LYO22026.
Texto completo da fonteAragon, barres, zola, balzac, gracq, valery. Stendhal and the writers who read. Stendhal roman could be called thus. Would it mean more then, than what is seems to mean? would it say better, that one day i learnt that stendhal was a novel and not a novelist? that i wondered where it came from and where it was going to. Would it say better that, as it became a novel, stendhal got lost for ever for me. Would it say better that, reading aragon and then reading barres, reading a stendhal and its contrary, i could verify the reality of this loss? would it say better how, in balzac, i have seen the birth of the novel of stendhal? how i have seen zola refuse with all his strength to believe in this birth? how i have seen gracq, on the contrary, accept it entirely? would it say better how i have seen the novel of stendhal jeopardize valery and, almost at the same time, save aragon? would it say better how, after all, at the end of the novel of stendhal, i have discovered that there was only me? if it would like to summarize itself to grap itself, would stendhal roman mean more?
Birman-Seytor, Jacqueline. "Les images du Mulâtre dans la littérature des Antilles de langue française". Antilles-Guyane, 2009. http://www.theses.fr/2009AGUY0310.
Texto completo da fonteSYNOPSIS OF the THESIS This thesis offers a gallery of literary portraits and analysis that relies on many discourses from both male and female authors from the Francophone West Indies whose writhings have helped lift the veil on the archetypical character of the mulato in the 19th and 20th centuries. Our project encompasses the caribbean basin, the true breeding ground of our mulato, but it also focuses on Europe, which provided writers and chronicles who spent time in the isles. We will focus more particularly on a little known Guadeloupean poet, Alexandre Privat d'ANGLEMONT, who is at the heart of this research work. The subjecl of this thesis will allow us to shed light on an unexplored area of colour prejudice, as we will highlight a multiple rather than single outlook on the character of the mulato. The specific outlook of each protagonist, successively the white, the black, and the mulato character will put us in a position to analyse a complex situation. Complexity has to do with the fact that talking about colour remains mor or less a taboo. During the colonial and the post-colonial period, the obsessive literary theme of colour prejudice became the favourite theme of many novelists, thus giving rise to a teeming fictional world inhabited by the emblematic character of the mulato. Based on a varied corpus of works published between 1803 and 1998, from the anonymus Dominican piece, La Mulâtre like many white women, to the work of the Martinican Chantal MAYGNAND CLAVERIE, Comolexe d'Ariel
Di, Méo Nicolas. "Entre décadence et mise en ordre du monde : le cosmopolitisme dans la littérature française de la première moitié du XXe siècle". Bordeaux 3, 2007. http://www.theses.fr/2007BOR30039.
Texto completo da fonteMy doctoral dissertation studies the problem of cosmopolitanism in French literature in the years 1890-1950 by relating it to the various manners of conceiving the unity and the diversity of humanity at the time. Cosmopolitanism was often linked to the notion of decadence, many authors holding it responsible for cultural uniformization and for the decline of national identities. To many writers of the period, insisting on diversity by constructing strong differences between nations was a way of criticizing modernity, which they deemed both absurd and chaotic. However, the relationship between nationalism and cosmopolitanism was far more complex and the latter often became a component of patriotic discourses. Indeed, French identity was frequently built on the theme of unity within diversity. This ideological construction was aimed at explaining France’s alleged extraordinary openness to the world, that is to say France’s unique ability to welcome and assimilate foreign influences without losing its own cultural personality. Even those who advocated internationalist or universalistic ideologies also emphasized the importance of cultural diversity. In many attempts to reorganize the world, such as Marguerite Yourcenar’s Mémoires d’Hadrien, published in 1951, cultural differences were used and exploited rather than called into question
Kim, Jung-Gon. "La reception de la littérature française en Corée : 1894-1970". Lyon 2, 1994. http://www.theses.fr/1994LYO20061.
Texto completo da fonteThe present study intends to show how french literature was received in korea and what its influence was on korean literature during the period 1894-1970. The first part deals with the general aspect of corean reading and examines the translations of french works as well as the various presentations and studies of french literature. The second part deals with reception and influence : first the reception of french naturalism in the years 1919-1926, the part played by kim ok in introducing the french symbolist poetry as well as the influence of symbolist poetry on the formation of modern poetry in korea ; finally we study j. P. Sartre's influence on chang yong-hak, especially that of "la nausee" on "yohan shijip". The third part is assigned to bibliographical research. We shall note articles in periodicals, university studies regarding french literature and translations of french works published in korea
Chvedova, Lioudmila. "Métaphores de la cathédrale médiévale dans les littératures russe et française des XIXe et XXe siècles". Paris 4, 2006. http://www.theses.fr/2006PA040118.
Texto completo da fonteThis comparative research project is devoted to the study of the system of metaphors for the Medieval cathedral in French and Russian literatures of the XIXth and XXth centuries. The classical metaphors of cathedral as book, cathedral as living being and cathedral as vegetable organism are at the core of the present work. The actual and physical cathedral progressively dematerializes and turns into a mysterious cathedral engulfed in water or into a precarious cathedral of mist. Rehabilitated and valorized by the Romantics, the Medieval building itself starts acting as a model for comparison, entailing a complete reversal of metaphors. A symbol of the holy and a place of worship, the religious building gets completely metamorphisized by the writers' pen. The amazing diversity of literary representations of the cathedral strike and touch by their sheer beauty as a real kaleideoscope of images, surprising the reader by their originality and depth
Billard, Roger. "Les romans français du spiritisme (milieu 19è siècle - début 20è siècle". Lyon 2, 1992. http://www.theses.fr/1992LYO20031.
Texto completo da fonteSpiritism, a new shift in public opinion supporting the existence of spirits and the possibility of communicating with them, penetrated france in the middle of the 19e century. At that time, it inspired novelists who varied in their positions accor-ding to their source of information. On the one hand, some writers supported the doctrine of spiritism and gave birth to novels which meant to entertain, but also to inform, teach and moralize. On the other hand, other writers merely chose to exploit psychic phenomena. They created flights of fancy which inspired the diffuse trend of fantasy fiction, breaking new grounds for science-fiction with astronomy novels. This shed new lights on history with romanced biographies. Catholic and scientific writers were the leading apparents ; they produced destructive works where burlesque and satire were interwoven. Under these three different forms, the spiritist novel, a highly polymorphic genre, reached its peak between world war 1 and 2 world war 2
Gourio, Anne. "L' imaginaire de la pierre dans la poésie française du vingtième siècle". Paris 3, 2001. http://www.theses.fr/2001PA030150.
Texto completo da fonteThis journey in 20th century poetry proposes a history of the imaginary of the stone and states the different expression from the last developments of symbolism to the margins of contemporary poetry. The evolution of this century's poetics actually finds one of its favourite reflections in the different transformations of this imaginary. If the precious stone perfectly mirrors the metaphysical and aesthetic hesitations of the "fin-de-siècle" spirit, the rough stone invades the poetical landscape of the fifties and thus, testifies to a progressive assumption of the matter and to a radical questioning of the human and of the meaning. From sparkling symbolism to crystal clear surrealism, from black surrealism to bare and succinct modernity, the metamorphosis of the stone do reveal the poetical stakes of this century. .
Martinek, Claudia. "Les identités de genre dans la littérature camerounaise et française contemporaine : Images du "Soi", images de l'"Autre"". Cergy-Pontoise, 2004. http://www.theses.fr/2004CERG0226.
Texto completo da fonteAlmost half a century after the official decolonization of the largest part of Africa, the number of representations of Africa and Africans is increasing in Europe today. Along with other forms of representation, African literature is becoming more and more popular among European readers. What are the reasons for this renewal of interest? This thesis investigates the literary images of Africans which are transmitted via contemporary African literature: How do the characters presented by African writers relate to the European “Self” as it is depicted in contemporary European literature? From a European point of view, is the “Other” really so different? Focusing on gender identities presented by Cameroonian and French novelists, our analysis shows that the images of the “Self” and of the “Other” overlap in gender-related issues. Moreover, all characters suffer from a painful discontent and engage in actual quests in order to fight it. In a progressively “globalized” world, French readers seem to recognize some of their own preoccupations in Cameroonian literature, which is a possible explanation for the increasing success of African literature in Europe today. The novels analyzed are: Philomène M. Bassek, La tache de sang (1990) ; Calixthe Beyala, Tu t'appelleras Tanga (1988), Maman a un amant (1993) ; Yodi Karone, À la recherche du cannibale amour (1988) ; Evelyne Mpoudi Ngolle, Sous la cendre le feu (1990) ; Patrice Nganang, La promesse des fleurs (1997) ; Simon Njami, African Gigolo (1989) ; Frédéric Beigbeder, Vacances dans le coma (1994) ; Marie Darrieussecq, Truismes (1996) ; Virginie Despentes, Baise-moi (1994), Les Jolies Choses (1998) ; Michel Houellebecq, Plateforme (2001)
Maurel-Indart, Hélène. "Plagiat et originalité dans le récit français du XXè siècle". Paris 13, 1996. http://www.theses.fr/1996PA131025.
Texto completo da fonteStudying plagiarism allows a better definition of the process of literary creation, since on the one hand, it puts into question the concepts of originality, author and authenticity, and on the other hand, it leads to a questioning of the role of imitation and influence. In order to understand the range and the nature of this literary undertaking, it is first necessary to examine the behaviour of writers in front of plagiarism from antiquity to the present day when new techniques in book publishing accentuate this phenomenon. Moreover, authors have expressed diverse judgements on the subject of plagiarism ranging from condemnation to praise. Some have even gone so far as to use plagiarism as a literary theme in writings which depict victims of plagiarism and plagiarists. Literary discourse on plagiarism inevitably overlaps with legal discourse on unauthorized publication. The law defines in its own terms the notion of literary property, the evolution of which marks the different stages of the constitution of copyright. More recently, two legal suits for unauthorized publication -the deforges-mitchell and the vautrin-griolet cases-resulted in judgements giving rise to a methodology of comparative analysis. The final aim consists in working out a typology of the different forms of borrowing which are authorized or not. Starting from a classification of legal inspiration, it is up to the literary analysis to complete and to refine distinctive criteria as well as the definitions of the borrowing. Once resituated in a context of intertextuality and of the diverse structures of belonging of the writer, the study of plagiarism reveals a certain conception of originality, oscillating between break and continuity in literary tradition
Kisielewicz, Jan. "Czeslaw Milosz et la culture française". Nancy 2, 1992. http://www.theses.fr/1992NAN21005.
Texto completo da fontePlu, Christine. "Georges Lemoine : illustrer la littérature au XXè siècle". Rennes 2, 2005. http://www.theses.fr/2005REN20034.
Texto completo da fonteSince the seventies, Georges Lemoine's work has become noteworthy because of the modern way in which he illustrates great literary texts (Le Clézio, Bosco, Tournier, Yourcenar, Roy, Wilde, Andersen, etc. ). The aim of this thesis is to show how these illustrations develop together with the texts and to show what graphic requirements are needed in the creation of the pictures. This thesis will therefore place the illustrator within the French publishing world, and then analyse the specific requirements for book illustration. It will also look at the various steps needed in the genesis of a picture, question Georges Lemoine's interpretation, and focus on the semantic levels on which the pictures have an influence. Finally, this thesis will point out the illustrator's thematic preferences and the peculiarities of his style, which are developed around the symbolic and allegorical levels of his chosen texts. This research is based on Georges Lemoine's whole repertoire of illustrations and on a large amount of private archives. Several questions arise: what does illustrating a literary text involve? Can the illustration become some form of literature in itself? What are the relationships between text and images?
Tari, Bita. "L'inscription de l'épistolaire dans le roman français du XXe siècle : les approches littéraire et didactique". Paris 3, 2006. http://www.theses.fr/2006PA030070.
Texto completo da fonteThe central question of this thesis revolves around the analysis of the interaction between epistolary and novelistic forms and the didactic possibilities of this interaction in the context of teaching French as a foreign language. The relationship between text and context implies the study of the enunciation in the exposition scenes. The elaboration of the theory of “scenography” enables us to deal with thoughts, ideas, points of view, ideologies, etc. When they are presented in the epistolary form within the fictional context of the novel. The approach adopted here involves two analyses: the first is an analysis of discourse, inspired by pragmatic theories, which consist in studying the epistolary form as a discursive activity within which the enunciation cannot be dissociated from a system of communication; the second analysis, which is didactic, borrows from social sciences, which deals with the conflation of three elements : the text, the enunciator and the reader/learner. The improvised nature of the epistolary form enables the learner to write freely with the aim of communicating. Through a process of identification, the learner takes the place of the letter writer to enter the fictional universe of the novel and to recognise certain moral and cultural values in the target language. The dialogical, interactive and hyper-generic frame of the letter incites the reader/learner to accept a specific worldview of the author who is positioned in the literary field constituted as “social space”. Acceptance of this “authorial world” is dependent on the expectations and cultural baggage of the learner, those having been formed by his reading habits and the approaches to reading imposed by social norms
Copin, Henri. "L'Indochine dans la littérature française des années vingt à 1954 : exotisme et altérité". Paris 4, 1994. http://www.theses.fr/1994PA040302.
Texto completo da fonteThe common history of France and Indochina during the colonial years gave birth to a rich production of literary works which today remains partly unknown. This research aims to outline and question the literary pictures through which this country is portrayed. The period covered here extends from the years following the First World War till 1954, which marks the end of the colonial yeas. The geographical area includes Vietnam, Kampuchea and Laos as they are known today. The method adopted consists of examining number of works grouped around significant themes. Initially the situation and the evolution of exoticism in its relationship to what is known as literature colonial is studied, firstly in its wider sense, and then more particularly in Indochina. The research then concentrates successively on the different crises in the nineteen thirties and their literary expression, the intimate affairs between European and Asian, the myth of the decivilized and finally to the resulting drama of half-caste integration. The last part is concerned with postwar Indochina as it is mainly portrayed through Jean Hougron's Romanesque literary works. Within the general framework of culture exchanges between Europe and Asia, and within the context of the colonial relationship. One can follow, through intertwining of representations and myths, and through the narrative techniques, the evolution of exoticism which moves towards otherness this movement goes from a passive observation to a genuine interest in the other
Macé, Marielle. "L'essai littéraire en France au XXe siècle". Paris 4, 2002. http://www.theses.fr/2002PA040199.
Texto completo da fonteArsaye, Jean-Pierre. "Du français au créole, du créole au français : éthique, problèmes et enjeux de la traduction littéraire en situation diglossique : le cas des créoles martiniquais et guadeloupéen". Antilles-Guyane, 2002. http://www.theses.fr/2002AGUY0085.
Texto completo da fonteUp to now, ther still has no recent in depth research on the problem of translation fron creole in french: neither from Creole to French nor from French to Creole. The very subject of my thesis is to analyse both sides. Its problematic is double-sided: it consists in analysing on one hand, how to translate a language (the French language for example) which has reached, for a long time, the statute of a literary language, and on the other hand, on which level of the French language a translator, dealing with a written work in creole, should have to grade his work. As a matter of fact, any translation draft suggests a confrontation with a number of difficulties to overcome, of problems to be solved. If presents a particular acuity in diglossic territories for th two languages in presence in territories like that of a French West Indies and the French Guyanese area mainly because of problems of ethics, of aesthetics and of socio-linguistic matters. It is only on the Creole language with its French lexical basis, together with its different variable items, as it is spoken in the Frenc West Indies (Martinique and Guadeloupe) that my research is focused. The novels studied are, on one hand, translations of French authors' novels (classical or modern) or, of French West Indian's authors' works written in French into Creole and, on the other hand, translations from creole works into French. Cases of self-translations have not been cast aside
Bahuet-Gachet, Delphine. "L'espace dans les nouvelles fantastiques françaises et italiennes du XXe siècle : 1940-1960". Bordeaux 3, 1996. http://www.theses.fr/1996BOR30003.
Texto completo da fonteThe space delineated by the texts of the corpus is discontinuous, heteregeneous, it is structured by the opposition between daily space and "different space" : the latter can be an "unusual space" (becoming strangely disquieting) or a fantastic space (belonging to an other universe). The protagonist can enter "different space" as the result of a physical movement (travelling, getting over boundaries) or a lapse of consciousness (sleep, fainting fits): it often happens at a guide's instigation. Coming back into the daily world is impossible or difficult. The new space unveils its difference. A particular light is necessary : the quality of the light and also the symbolic value of the moments play a part in the creation of the fantastic. "different space" causes a sense of anguish which can take two shapes. The fantastic of emptiness is linked to spaces excessively vast, hostile to man or deserted by him : space seems to be dilating. In the fantastic of confinement, on the contrary, space seems to be contracting : the part of the boundary (particularly the walls of the house) is then essential. Very often, "different space" undergoing a metamorphosis reveals a labyrinthine structure, but in fantastic the initiatic progression through the maze is conducive to dysphoria. Fantastic spaces strictly speaking presuppose the existence of a distinct universe, but the latter encroaches upon ours : these spaces can be be enclaves in our three-dimensional space but often their very localization is a supernatural phenomenon
Diong, Maneume. "Aventures et avatars de la modernité poétique : de Baudelaire , Rimbaud, Mallarmé, Breton et Bonnefoy". Tours, 2004. http://www.theses.fr/2004TOUR2001.
Texto completo da fonteMohammadi, Yasmin. "Du classicisme au postmodernisme, l'évolution de la littérature persane au vingtième siècle : influence de la littérature française sur l'évolution des genres littéraires en littérature persane". Paris 12, 1996. http://www.theses.fr/1996PA120046.
Texto completo da fonteThe study of cultural exchanges is one of the main points of the compared litterature. We are interested in the persian litterature of twenty century because it presents a remarkable perspective as for the variety of kinds of litterature. Of the classicism to the postmodernism, and by going through the modernism, there is a real subject of consideration. Especially if this evolution happens according to an indirect but advisory influence of western kinds of litterature and mainly, here, a french one. It must be specified that this whole influence is transmitted by the translations, an important point of cultural exchanges, mainly in the domain of litterature
Maleski, Estelle. "Le roman policier à l'épreuve des littératures francophones des Antilles et du Maghreb : enjeux critiques et esthétiques". Bordeaux 3, 2003. http://www.theses.fr/2003BOR30033.
Texto completo da fonteEven though the detective novel does not come under a real literary tradition in the French-speaking regions of the West Indies and the Maghreb, it nevertheless seems to have influenced various authors within theses spaces, wether directly or indirectly, over the last twenty years. Being already complex in essence and declinable in multiple variations that have been explored in different ways since its creation at the fall of the XIXth century, the detective genre, when confronted with the literary spaces of the West Indies and the Maghreb, is affected with new disruptions,which oscillate most of the time between an adaptation more or less dependant on the singularity of the new "setting" it is given and a complete divertion of some of the key principles of the generic frame, which was initially built around a clear codification. The detective novel is reactive to modernity and was very early categorized as a "minor genre. " It acts as a platform for a discourse tuned in to some particular social reality while reflecting a writing that is part of a quite remarkable literary frame. Through a corpus gathering around thirty works from the French-speaking literatures of the West Indies (Guadeloupe and Martinique) and the Maghreb (Algeria, Morocco, Tunisia), we will see how the adaptation of the detective story frame to these literatures seems to be an effective test, revealing the multiple potentialities the detective fiction offers, while focussing more particularly on the critical and aesthetic stakes engendered by such an "acclimatation" of the genre
Sermet, Joëlle de. "Michel Leiris poète surréaliste : de la lyre au miroir". Paris 7, 1994. http://www.theses.fr/1994PA070022.
Texto completo da fonteMichel Leiris, a member of the surrealist group from 1924 to 1929, is generally known for his autobiography, however, he considered himself above all a poet : poetry is at the basis of his entire body of work. The aim of this thesis is to shed light on the origins of a poetically oriented oeuvre, by means of a study of Michel Leiris's surrealist texts works which have been neglected by critics. Each of the three parts focuses on one of the poetics that Leiris experimented with, from his early lyrical essays up to the foundations for his autobiographical project in the beginning of the thirties. The first section deals with his attempts at semiautomatic depersonalisation as sketched in Simulacre, Glossaire : J'y serre mes gloses and Le forcat vertigineux. The thesis underlines the definition of a paradoxical lyricism one finds there behind the neutral voice characteristic of these texts which leave the initiative to the words themselves. On the other hand, three oneiric narrations, "le pays de mes reves", Le point cardinal and Aurora, form a triptych where the relating of dreams is a pretext for an introspective and fantasizing quest for the sources of inspiration. Poetic enunciation blurs generic limits and subverts unstable narrative frames. The third path, perceptible in Grande fuite de neige, failles and la Nereide
Destais, Alexandra. "L'Émergence de la littérature érographique féminine en France : 1954-1975". Caen, 2006. http://www.theses.fr/2006CAEN1462.
Texto completo da fonteLiao, Jun-Pei. "L' univers chinois dans la littérature française de 1895 à 1995". Paris 12, 2002. http://www.theses.fr/2002PA120018.
Texto completo da fonteHotineanu, Eleonora. "La dimension française dans la poésie roumaine de Bessarabie du XXe siècle". Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030004.
Texto completo da fonteThis comparative research suggests the essential points of French dimension of the Bessarabian poetry in the twentieth century. The explicit example of the French imaging, decisive for synchronization, indeed literary postsynchronisation of the Romanian space (including Bessarabian) with the western world, has always manifested. During this imagological migration receipt of the foreign element involves the concept of time. The historical linear time of a society is against the cyclical time of the image, if not the stereotype. The crisis of time obliges the identity crisis. In the context of local literary quest for identity is changing with the implicit aesthetic research. The borrowed motifs, in most cases of French descent, mythical or paramythical, recurring or occasional - everything is invoked to connect the marginal literature with a coveted center, whether Romanian, French, European ... The work is structured around the reiterative theme (travel, island, city ...) or singular (Cythere, Guernica ...). An important place occupies the themes poetry and painting, landscape and identity research, and the study of cultural anthropology "Myth or Paramyth“. Much of the text is given to monitoring imagological of the French presence in totalitarian regimes. Following a stereotyped mentality, the French image becomes, respectively, symptomatic. Moreover, it represents a cultural outlet. Decisive for the constitution of the Bessarabian aesthetic imagination, the phenomenon of reminiscence and intertextuality contribute to the emergence of a poetic picture varied and disparate
Rougé, Pascale. "Usages du paradoxe : étude de l'oeuvre de Jacques Réda". Littoral, 2000. http://www.theses.fr/2000DUNK0050.
Texto completo da fonteThis study is connected with hermeneutics and intends to interpret Jacques Réda's works by bringing out the paradoxes that constitute them and by trying to solve them. It is supported by methods of stylistic and thematic analysis. The first part of this study presents and analyses the figure of the writer, how he uses common places and how he converses with other literary works. The second part underlines the tensions that sustain these works : the tension between what is mesurable and what is immeasurable, what is central and what is periphereal, between the sufferings of parking and the desire for amonds, the appearances of secret and the secret of appearances. The third part, at last, finds a way of solving these contradictions in the notion of network : the network of sentences, the network of texts and of editions, the intertwinings of prose and poetry, the entanglement of places
Inglin, Routisseau Marie-Hélène. "Influences d'Alice dans la littérature française : études des motifs de l'imaginaire carrollien". Paris 4, 2003. http://www.theses.fr/2002PA040261.
Texto completo da fonteThe study of the influence of Lewis Carroll's Alice on French literature explores the purely dreamlike dimension of Alice's adventures and reveals recurrent themes in Carroll's imaginative world. These themes derive from the dream condensation process which inspired French writers from the beginning of the 20th century. In France the author's imaginative crualty towards the child has developed via the metaphor of the animal seen as the incarnation of agressive urges, predominantly cannibalism. Going "through the looking-glass" is a recurring image in the poetry of Jean Cocteau and Louis Aragon. This theme is inseparable from the "roman des origines. " The mirror represents the poetic reverse side of reality which intrudes upon the real world. It is also a metaphor for disappearance and death. Alice is the precursor of other characters that are subject to the same incestuous, nightmarish dimension of the original story. These characters are variously the little girl who is a subject of sadistic fantasies, the child who is eroticized by a man's observation and the child who is freed from all constraints by poetic imagination. Alice prefigures the phenomenon of the child-woman
Ulağli, Serhat. "L'image de l'Orient turc dans la littérature française (de Chateaubriand à Gide)". Toulouse 2, 1998. http://www.theses.fr/1998TOU20076.
Texto completo da fonteIn order to better understand how the image of Turkey has been constructed in the minds of westerners, we have analyzed French literary production in the nineteenth and twentieth centuries, as it reflects in inheritance of prejudices deeply anchored in the French culture. To begin, we have chosen to define the notion of exoticism. This first approach has allowed us to note that Turkey, in the eyes of French writers, possesses a certain number of attributes as well as repulsions, which has led them to take a positive or negative stance vis-a-vis Turkish exoticism. Secondly, we have attempted to define the esthetic orientations of the writers in question, noting a use of relatively fixed writing techniques, where a witnesses event mixes with fiction, where the objectivity of descriptions mixes with the subjectivity of their authors, and where the cliché reigns, particularly when describing the geography of the country and the mode of life of its inhabitants. Finally, if esthetics is unanimous amongst the writers, their ideological slant brings them to pass more nuanced judgements concerning the political aspect of things. A presentation of historical facts and their confrontation with the affirmations of the French writers allows one to understand how manipulation has been installed and how a negative image of Turkey has been fabricated
Barakat, Wael. "La theorie du realisme socialiste et sa pratique dans le roman europeen sovietique et francais : Etude comparative". Caen, 1992. http://www.theses.fr/1992CAEN1110.
Texto completo da fonteIn this work we are studying socialist realisme, which appeared after the russian revolution in 1917, through two european literatures, the russian literature and the french one. We shall start with its origins in the marxist ideology and in the proletarian literture on which it was based. Then we go on with the theory used by russian writers from the years 1930 up to the mid 1950. During those years socialist realisme spread in france among communist and revolutionary writers who wanted a socialist realisme based on the traditional french realisme. For deeper study we shall compare the fundamental ideas in two novels dealing with socialist realisme: a russian novel et l'acier dut trempe, by necolas ostrovski, and a french novel le premier choc, au chateau d'eau by andre stil. Those two writers endeavour to apply the rules of socialist realisme
Sanvee, Mathieu René. "Le sens du sacré dans la littérature africaine d'expression française : poésie et roman, de 1929 à 1968". Grenoble 3, 1991. http://www.theses.fr/1991GRE39112.
Texto completo da fonteHow can we explain the obsession of the "supernatural" in the works of French-speaking African writers? The exploration of western awareness, backed up with texts dating from the Graeco-Latin antiquity to the modern period, discloses the underlying psychological bases of such an obsession. By insisting on the blacks "fetishism" and their spiritual void, the Europeans have created a sentiment of frustration; the natural result for the victims of yesterday has been an attitude of self-defense and the need to restore their tarnished image. Through the "sacred of the terroir", African writers reveal a world order focussed on the unifying power of the cosmos. On the other hand, the "revealed religions", as vehicles of cultural norms from abroad, have evacuated the sacred from the cosmos and have thus neutralized and robbed the latter of its originality. Therefore, the adoption of the sacred for Africans means: - the rehabilitation of the black man and of the African "terroir". - the nostalgia for the origins
Beji, Linda. "L'orientalisme français et la littérature tunisienne francophone : relations et influences". Paris 4, 2009. http://www.theses.fr/2009PA040100.
Texto completo da fonteFrench orientalism and French-speaking Tunisian literature are the expression of socio-cultural and politico-economic relations between France and Tunisia. During the XIXth century and at the beginning of XXth century, a mutual attraction links these two countries: France likes the exoticism of Tunisia and this one likes the modernity of French people. Literary and pictorial works are the evidence of this reciprocal interest. But imperialism changes this relation: the image of the other changes and the other becomes the enemy. Then we witness a proliferation of stereotypes for French people and a self-defining fall for Tunisians. After Independence, in France, the French exiles and the Tunisian immigrants know the same uneasiness : rejection because of difference. A complete integration and/or a communautarism are then consequences of this racism. In Tunisia, the westernized government disappoints the people: Tunisians are pulled between tradition and modernity, dream and reality. Literature is the oriental way to express disillusion, critics, identity. Franco-Tunisian relations are subjected to the hazards of History and Mankind; nevertheless, today, they remain friendly
Monneyron, Frédéric. "L'imaginaire androgyne d'Honoré de Balzac à Virginia Woolf". Paris 4, 1986. http://www.theses.fr/1986PA040261.
Texto completo da fonteThe androgyne can be found in the mythologies of many cultural areas. In the western one, plate uses it as an illustration of his theories of love, then it appears as a major element in Judeo-Christian mystical and theosophical systems. If on the one hand the ethno-religious myth can be easily located and if its patterns are clear, on the other hand it takes time for the literary myth to find its way out. At the beginning of the 19th century, the neo-classical aesthetics, the progress of medical research and the increasing interest in mysticism are chances for the literary myth to develop. In France, during the romantic period, Balzac and Gautier with Seraphita and Mademoiselle de Maupin, in two different ways, found a genuine literary myth. The androgyne becomes in the works of the French and English writers at the end of the century an important character of the decadence. But no perfect symmetry is to be seen anymore and the idea takes form as two opposite characters : the effeminate young man and the boyish woman. This decay of the symbol brings along the expression of a "different" sexuality. Recollection of some of the most significant patterns of the myth is allowed from time thanks to the esoteric tradition of the androgyne which is known by some of the novelists. In the other way, the literary imaginary of the time has strong influence on the doctrin itself. Although psychoanalysis is unable to consider bisexuality but as a hypothesis, the androgyne receives at the beginning of the 20th century a psychological integration. Indeed, the will to androgyny can be read in some of the D. H. Lawrence’s works as an attempt to balance heterosexual and homosexual desires and in the feminist way of V. Woolf's Orlande as the search of the truth beyond immediate appearances. These directions, though close to the patterns of the myth, are nevertheless the witnesses of its death. But they show the strength of the archetype and give way to the rich and diverse imaginary of today
Issaiyan, Mokhtar. "Les poètes iraniens du XXe siècle devant la littérature française". Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC010.
Texto completo da fonteThis thesis examines the way Iranian poets of XXth century welcomed French literature and the role it played, first in the modernisation process of Persian poetry and secondly, in the emergence of a new poetics. In this regard, this thesis seeks to analyse and to understand the relationships that Iranian authors developed with French literary works and how its western influence pervaded their own productions. This research relates the story of a literature in search of renewal, which finally leads, through the poet Nima, to the rise of a New Poetry (Še’r-e now). This thesis offers a lecture of this poetry, in the light of the French works that influenced it, and gives keys to comprehend Nimaian poetics and its concepts
Emera, Gérard-Alix. "La diglossie dans le roman haïtien : le cas de Justin Lherisson, Jacques Roumain et Franck Etienne". Lyon 2, 1989. http://www.theses.fr/1989LYO20014.
Texto completo da fonteThe purpose of this work is, through the different choices made by the writers in the diglossia of their society, to draw attention to the great changes in the history of the haitian novel. We think three authors are representative of three points of climax of this evolution : Justin Lherisson, with La famille des Pitite-Caille (1905) and Zoune chez sa ninnaine (1906); Jacques Roumain, with Gouverneurs de la rosée (1944); and Franck Etienne, with Dezafi (1975) and Les affres d'un défi (1979). Justin Lherisson introduces in the french text many creole extracts which are often pointed out by italics, inverted commas, or used with an explanatory note. In Gouverneurs de la rosée of Roumain, we find this linguistic juxtaposition again. But the particularity of this work is that it integrates syntactic structures which are typically creole in the french wording. Four years after Dezafi, his first novel written in creole, Franck Etienne published Les affres d'un defi. Up to now, many critics regard it as a translation of the creole version. Although the contain is the same in both works, the differences are numerous. So that it would be more sensible to talk about a rewriting
Chauchix, Cheikrouhou Danièle. "L'écriture des femmes de lettres maghrébines d'expression française en comparaison avec l'écriture africaine de Doris Lessing". Rennes 2, 1985. http://www.theses.fr/1985REN20008.
Texto completo da fonteHusain, Suzan. "Le drame historique chez les poètes anglais et français à l'époque romantique et post-romantique : : modèles narratifs et structures imaginaires". Tours, 2001. http://www.theses.fr/2001TOUR2033.
Texto completo da fonteSimon, Agathe. "Le plaisir dans la littérature et la musique françaises au XXe siècle". Paris 4, 2005. http://www.theses.fr/2005PA040205.
Texto completo da fonteThe paradoxical nature of Pleasure is part of immanence and contingency (the sensations and consciousness of human beings) on the one hand, and of transcendence on the other, whether it be erotic or intellectual, aesthetic, memorial, mystic or hallucinatory. Pleasure is therefore boundless, transcending both time and space, and undetermined, as it also transcends meaning. But how can one solve the paradox of pleasure — which transcends space, time, and meaning simultaneously — and the arts which are simultaneously grounded in space, time and meaning? In other words, how is Pleasure expressed in literature and music in the 20th century? Cross-analysis of the two art forms shows that the ontological gap that is inherent in pleasure can be the occasion for both expressive questioning and disruption in the work concerned, and that such questioning and disruption are the very means by which creators try to take up the challenge
Riboni-Edme, Marie-Noëlle. "Ecrire la division : une lecture de la trilogie d'Agota Kristof". Nancy 2, 2004. http://docnum.univ-lorraine.fr/prive/NANCY2/doc211/2004NAN21018.pdf.
Texto completo da fonteBy using a minimal language but a very complex narrative structure, Agota Kristof's trilogy stages the mental division which is operated by the historical fracture through war and totalitarism, and all the kinds of exile the entailed. The consequences of this fracture are numerous, and deeply reach the narrator's identity as well as his relation to language and to the world. The fact that a fiction is tied up to another one - and then to a third one - creates some geology, each layer of which gives shape to one aspect of division. Through fiction writing, elements which are part of a very dark and shattered universe can be gathered and structured in their multiples dimensions, where a paradox is taking shape, and which comes from the totalitarian ideology by denying the individual and his world. Through the narrative organisation of the work, the reader actually feels this paradox and is induced to actively penetrate it
Nicolescu-Malgras, Emilia. "Virgil C. Gheorghui : les "écritures du moi"". Nancy 2, 1997. http://www.theses.fr/1997NAN21017.
Texto completo da fonteThis piece of work intends to bring the long unknown work by Virgil C. Gheorghiu to light. Among the subjects likely to appeal to the attention of the reader and the researcher, this components of "écritures du moi" - autobiography, evidence, memoirs, novel - can be useful tools for the creator who proudly intends to build and rebuild his life and personality which are threatened to be misunderstood or underestimated by his contemporaries. The limits between autobiography and related styles become vague since the author uses each of the components of "écritures du moi" to achieve his goal. The technics which induce and feed this subject are dealt with in order to show the importance of this literary style for Virgil C. Gheorghiu, this exile in quest of his roots. The subject is dealt with in the context of French and universal literature