Дисертації з теми "Art oratoire dans la littérature"
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Conte, Sophie. "Action oratoire et écriture du corps de Quintilien à Louis de Cressoles." Paris 4, 2000. http://www.theses.fr/1999PA040292.
Повний текст джерелаViellard, Delphine. "Les liminaires dans les oeuvres latines des IVe et Ve siècle." Paris 4, 2004. http://www.theses.fr/2004PA040088.
Повний текст джерелаIn the introductions to their works, the 4th and 5thcenturies' authors, be they pagan or christian, reveal their faith to the traditional rhetoric and mainly to Ciceron's "De inuentione". The introductory texts called in latin "exordium", "prologus", "prooemium", "praefatio" and "praefatiuncula" take on forms as varied as the oratory "exordium", the poetical "prooeminium, the dedicatory epistle and preface, which all imitate the oratory "exordium" codified from the poetic tradition. As we have demonstrated, the choice of an introductory text depends on the genre of work because the each literary genre corresponds a specific kind of text. Besides, the presence of some elements which are external to the "exordium" testifies more to our author's will to go beyond the mere presentation of the work rather than to a rejection of the rhetoric of th "exordium". The introductory text then becomes a text open not only to the external events but also to different people: dedicatees and interlocutors. Hence the emergence of the preface increasingly used by the Christiens, who are fond of justifications and consequently develop this introductory genre following thus in the steps of Jerome
Coulon, Laurent. "Le discours en Égypte ancienne : éloquence et rhétorique à travers les textes de l'Ancien au Nouvel Empire." Paris 4, 1998. http://www.theses.fr/1998PA040060.
Повний текст джерелаThis thesis deals with the discourse in ancient Egypt and the various shapes of valorization which matter is the discourse itself as a social activity as well as a literary shape and topic. The question, thus, relates to the way in which the ancient Egyptians have been picturing to themselves the discourse and its applications, its importance, its functions and its aesthetic value. The method adopted is built upon a pragmatic approach in which the texts from the ancient kingdom to the new kingdom that mention the dimension of the discourse (autobiographies, teachings, royal inscriptions, literary or religious texts) are related to their sociological and historical context. It is then possible to draw out, for each period, the place given to eloquence: thus, in the times of united monarchic power, the existence of court eloquence is stated, which is the means of distinction above all. On the contrary, during the first intermediate period, with the local withdrawal of the provinces, an unprecedented spreading out of political eloquence appears in assemblies where the community's future is committed. The literary discourse forms also the subject of a study in so far as it builds a reflection on the part taken by the discourse. During the middle kingdom, productions such as "the eloquent peasant" or "the lamentations of khakheperreseneb" are questioning deeply the lack of social communication or the loss of reference in an official discourse which fairness is fallacious. During the new kingdom, the literature, which had become more autonomous in the sphere of the discourse, appears as an all-powerful rhetoric that trifles with the truth and the false. The study eventually opens on an endeavor to evaluate the Egyptian rhetoric in itself, especially through what links the latter to the magic discourse
Andriamasinalivao, Rajaofera Beby Alyette. "Gender and female empowerment in Malagasy folktales and oratory." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7142.
Повний текст джерелаGender relations in the Malagasy context are often conceptualised in terms of complementarity with a relative denial of the existence of overt male dominance and female oppression and a marked insistence on female superiority. Nevertheless, the diversity of the representations of gender relations in the different regions of Madagascar does not always reflect this generalised pattern, which points to the necessity of a contextual analysis of the representation of men and women and the power relations that structure their interactions. The present study focuses on the notions of masculinity and femininity as well as the power relations between men and women in a selection of Malagasy folktales that were written and published from the 19th century to the present and the contemporary performance of oratory discourses by orators from Antananarivo and Paris. Drawing on surveys and interviews with a selection of storytellers and orators, as well as the observation of storytelling and oratory performances, the study highlights the ways in which gender differences are translated into gender inequality, which tend to limit the possibilities for female empowerment. The main arguments that are presented in the research stress the prevalence of male dominance and female subordination as can be observed in the variety of the male and female characters’ experiences in the selected folktales and the current experiences of female orators in the field of oratory performance. Two possible itineraries for female empowerment are explored based on contemporary storytellers’ perceptions and representations of gender in their works and the audience’s responses to the latter
Balique, Florence. "Étude rhétorique des discours dans Les Fables de La Fontaine." Paris 4, 2002. http://www.theses.fr/2002PA040156.
Повний текст джерелаAt the crossroads of several disciplines - literature, rhetoric, philosophy,- our study of La Fontaine's Fables explains how the apologue, a minor genre with a didactic purpose, grows into a poem with a powerful style viewed as a hypothesis of meditation through fiction. The investigation goes beyond the apparent passage from "body" to "soul" to consider the fable, a cryptic speech, as a complex web with manifold polyphonic effects. The survey of rhetorical components leads us to an analysis of the oratory strategies displayed by the narrator, the discursive varietas, wich substitutes fictional speech to moral teaching, shaping a non-systematic thought. The "lecteur modèle", who falls in with feigning, enters the fiction to find there a questioning about his own outlook on the world. The omnipresent narrator enables the writer to ironically stand back, keep away from lyricism, a call to find our bearings along the puzzling paths the fable offers
Labbate, Ettore. "Horror vocis / horror vacui : formes du vide dans la langue et l'oeuvre de Giacomo Lubrano." Caen, 2009. http://www.theses.fr/2009CAEN1551.
Повний текст джерелаCosma, Olivier. "Recherches sur le grand style dans les discours de Cicéron." Lyon 3, 2001. http://www.theses.fr/2001LYO31018.
Повний текст джерелаKërtusha-Tartari, Eriona. "Lire et traduire "Émile ou de l'éducation" de Jean-Jacques Rousseau." Montpellier 3, 2008. http://www.theses.fr/2008MON30090.
Повний текст джерелаPreliminary research on preceding flow of translations, reception and their use in Albanian Literature served as a starting phase for accomplishing the translation of ‘Emile, or on Education’. It included reflection on epistemological problems which emphasize the reaction of societies to certain writing works depending on time and culture. Every translation has its own value as long as it fulfills the minimum scientific convention and competence. Our complete translation of the writing work strives not to simply represent the thoughts of Jean Jacques Rousseau but also the writing style which involve images and rhythm, his attention to explain to the French readers the methodological selections of this work. In conclusion, a critic instrument of the proposed translation will allow a systematic approach destined to comprehend the work of Jean Jacques Rousseau and modalities of its reception in 21st Century Albania
Pierre, Maxime. "La poétique du carmen : étude d'une énonciation romaine des douze tables à l'époque d'Auguste." Paris 7, 2008. http://www.theses.fr/2008PA070114.
Повний текст джерелаOur study is an analysis of how the term carmen was used in rome to refer to a specific act of speech. The first part broaches the uses of the word when related to three types of agents - birds, instruments, and cantores - showing the unity of a category which, although not an equivalent, embraces the modern notions of song and music. The carmen is thus defined as an act incorporating the properties of the uox, perceived as sonorous matter that provokes physical, emotional and semantic effects. Part 2 and 3 deal with the uses of the word in the field of religion and law: they show a semantic evolution of the word which, after having referred to "magical" speech acts competing with the law, is renewed at the beginning of the roman empire as an archaising category designating any type of speech act where words are supposed to have an intrinsic efficiency: prayers, laws, or prophecies. Flnally, part 4 and 5 outline the gradual use of carmen as a word of poetic self-reference: first referring to the performance of an actor as opposed to the poema, which is a text, the word carmen is later reconsidered by Catullus and Lucretius as a fictive act of speech. Virgil, Horace and Propertius broaden this novelty by using carmen and canere to refer to the poetic act: it becomes a global speech act category, unifying heterogeneous greek practices, designating either iambos, melos, epos or elegy. This unifying speech act allows the new roman poets to import greek poetry as a significant form qf cultural renewal, which is typical of the augustan age
Bierce, Vincent. "Le sentiment religieux dans La Comédie Humaine d'Honoré de Balzac. Foi, ironie et ironisation." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN045.
Повний текст джерелаThe present work endeavours to demonstrate in Balzac’s Comédie humaine just how the representation of faith, considered as a religious feeling, is based upon an active principle of reversal that we will call « ironisation ». Distinct from irony and inherently non-comical, « ironisation » is bound to the issue of value and seems to be, in the early 19th-century society faced with disorder and the instability of meaning, the only form able to convey the unsteadiness of the real and to manifest the rift between the order of the subject and the order of the world. As a narrative, an aesthetic and a poetic dynamic, « ironisation » consists in a displacing and unsettling force, in a new critical mode which puts the reversibility of interpretations at the heart of stories, denies every axiological hierarchy and entails a worldview where truth isn’t tied to transcendence anymore, be it the transcendence of God, of meaning or of truth. Accepting the radical aloneness to which it condemns the reader, « ironisation » troubles our standards, constantly overturns significations and refuses all attempts at systematic unity: as such, it is a true confrontation with reality and it undermines beliefs while forming a third way escaping from the fruitless dialectic between nihilism and spiritualism.If Balzac invents his very personal and original theology, which he expands and exemplifies especially in Le Livre mystique, and if he makes room in his novels for recurring scenes where characters are faced with the appearance of the sacred, he nevertheless tries to represent the religious felling within the bounds of history and to situate his ideas about the spiritual inside of a general framework based upon a materialist project and « realist » poetics. These two premises lead to « ironisation » which, by creating tension between pairs of opposites, the religious and the materialistic, doubt and spirituality, gives birth to a resolutely polyphonic unity, inviting us to rethink the representation of faith in the contemporary world in light of new categories. Since it makes meaning undecidable and forces conflicting realities to cohabit, the gesture of « ironisation » shapes a new relation to time and questions the religious phenomenon as well as the becoming of the modern individual and history
Loutsch, Claude. "L'exorde dans les discours de Cicéron." Paris 4, 1991. http://www.theses.fr/1991PA040121.
Повний текст джерелаThe thesis focuses on the persuasive function of the exordium in Cicero’s speeches. Part one surveys the ancient theories about exordia, such as we know them through the "De inventione" and the "De oratore" of Cicero himself and the "Rhetorica ad Herennium". The major part of the work is a rhetorical analysis of twenty-seven exordia belonging to speeches ranging over thirty-seven years (80-43 b. C. ) of the long oratorical career of the great roman statesman and lawyer. Each analysis demonstrates how Cicero, through an appropriate choice and arrangement of exordial themes, prepares his audience to listen sympathetically and attentively and intelligently to the subsequent argumentation. The underlying idea is that the orator aims mainly at efficiency. Part three is a general outline of the exordial topics in Cicero’s speeches. The most important conclusion of this study may be as follows: apart from senatorial speeches, where the exordium is purely informative, its function is mostly ethical and consists much less in introducing the matter under discussion than in presenting the persons involved; it enforces the reputation of the orator himself and enhances those qualities of his that under the circumstances are most likely to ensure him the confidence of his audience
Zoberman, Pierre. "Les Cérémonies de la parole l'éloquence d'apparat en France dans le dernier quart du dix-septième siècle /." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37610958c.
Повний текст джерелаMolina, Géraldine. "Les faiseurs de la ville et la littérature : lumière sur un star-system contemporain et ses discours publics : des usages de la littérature au service de l'action des grands architectes-urbanistes." Toulouse 2, 2010. https://tel.archives-ouvertes.fr/tel-00536602.
Повний текст джерелаIn the current project, we analyzed the process through which contemporary stars of architecture and urban planning legitimize their actions on the city. In particular, we investigated their different uses of literature and the different functions they play in their public speeches. Indeed, literary references and stylistics characteristics are called up to stage their productions and their personality, and therefore to highlight their work and charm the audience. This thesis helps understanding how these stars build their public image, meeting the requirements of an elite culture and referring to widely shared references. Literacy references and stylistics characteristics are used at some strategic moments during public speeches. They provide the stars of architecture and urban planning with the opportunity to emphasize on their position regarding architecture and city planning debates and with the opportunity to stage their way of thinking and acting. The examination of how the stars of architecture and urban planning use literature also helps understanding how those protagonists claim to hold a personal and sensitive approach while showing a modus operandi strongly worried by social practices. This current study sheds light on the various strategies of those urban makers. It demonstrates how those strategies are permanently fluctuating between the assertion of a personal distinction and the demonstration of compliance with the others protagonists values. Because it examines architecture and city productions through the outlook of cultural practices, the current work is at the interface of the sociology of art, professions, urban studies, and geography of literature
Okuneva, Irina. "Mirabeau : écrivain, orateur, néologue." Paris, EHESS, 2014. http://www.theses.fr/2014EHES0007.
Повний текст джерелаHonoré-Gabriel de Riquetti, count of Mirabeau, nobleman from Provence, went down in history as an eminent orator and a major protagonist of the French Révolution in its first stage. As a resuit, most studies on Mirabeau have been written by historians focusing on the political activist and thinker, while his private life was being scrutinized by biographers, starting as early as the end of the 18th century. In our research, we put forward a différent approach. Mirabeau's figure cannot be fully apprehended if confined to the two years of his political prominence in the revolutionary assemblies. It is necessary to examine his rich, prolific, life-long career as a 'man of letters' belonging to the last génération of the Enlightenment. Mirabeau's many works are diverse in nature. They include erotic novels, essays, pamphlets, translations of ancient as well as modem authors, letters, and of course, political discourses ; in addition to those published works, manuscripts or fragments of manuscripts can be found in several archives, most notably in Aix-en-Provence and in the archives of the French Foreign Office. The présent dissertation covers the whole of Mirabeau's published and unpublished works. Against the prevailing notion of an undisciplined thinker, we aim at demonstrating the cohérence of Mirabeau's vision by making apparent the logical ties between his «philosophy» (as applied to history, langage or the arts), his théories on éducation, and his political analyses. Our approach, we hope, will shed a new light on the historical figure of the revolutionnary Mirabeau ; it can also help understand the reasons for Mirabeau's deep and lasting influence
Kahn, Pierre. "L'épistémologie du stalinisme et le problème de la démarcation : la théorie de la science à l'œuvre dans le discours marxiste à travers les revues du PCF de 1945 à 1956." Paris 10, 1985. http://www.theses.fr/1985PA100026.
Повний текст джерелаKhvochevsky, Ruslan. "Manipulations illocutoires : théorie et fonctionnement dans le discours politique." Paris 4, 2008. http://www.theses.fr/2008PA040050.
Повний текст джерелаHow to describe and explain, by linguistic means, numerous speech events revolving around the term(s) "allusion / hint" ? In fact, the traditional rhetorical vision does not include the allusive acts of “everyday discourse". This study proposes to distinguish a special profile of "illocutionary manipulation" for the indirect speech acts uttered in a manner of suggesting or insinuating. The position of such utterances hesitates between accidental connotation and deliberate implication, and this uncertainty, intended by the speaker, is the sense of the "manipulation" in a speech act. The thesis also proposes a model of allusive utterance, which refers to a polemical topos (a "pretext") and expresses an illocutionary tension, especially in a manipulative manner (I0 and/or I1). A corpus-based study analyses the linguistic aspects of the illocutionary manipulations in political discourse
Démart, Martial. "Approche psychanalytique du déclin du discours du père dans les sociétés modernes : ses incidences sur le fonctionnement psychique, particulièrement dans le problématique hystérique." Paris 10, 1994. http://www.theses.fr/1994PA100040.
Повний текст джерелаThe father's discourse is a symbol referring to the strength, power, and law, limited (however subjective they are), established by a society, a group of individuals or an individual. It governs our behavior, controls our natural drives and consequently leads us to support our human condition. It brings meaning and structure to social organizations, institutions, moral rules. . . It is a representation of a world of limitations, conventions and structuring that individuals or societies exceed or respect. The father's discourse is thus endowed with two contradictions on which identity, by systematically projecting its fantasies onto it, also builds up. The hypothesis is that the father's discourse is declining in modern societies. Heavy consequences occur on psyche as well as on social processes: the ego loses a certain sense of reality; the modern individual's "thought" efficiency is reduced: rigidity in communications as well as the inauthenticity of the ego also appears. Though it is not blatant at first sight, the effects on hysteria are closely linked with the consequences above mentioned: law (the father’s law) fantasies similar to the active position fantasy which is typical of affluent societies and finally the increased scarcity of hyper-expressive symptoms
Longhi, Julien. "Les objets discursifs : doxa et évolution des topoï en corpus." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20014.
Повний текст джерелаNous définissons le concept d'objet discursif, analysé dans trois corpus (médiatique, littéraire et politique). Le corpus est défini comme un ensemble de propositions énoncées, à la fois observatoire pour l'analyse et entité dynamique. Selon la linguistique du sens commun (Sarfati), l'inscription de la doxa dans la langue est postulée relativement à l'organisation d'un système du sens commun lui-même régi par un dispositif de topoï. La relation entre le système du sens commun et l'apparition de formes linguistiques permet d'étayer l'hypothèse d'un dispositif antétieur à la prise de parole caractérisable également par le choix opéré lors de la mise en expression. La phénoménologie permet de s'intéresser aux processus de sémiotisation : au niveau linguistique, la "Théorie des sémanitques (Cadiot et Visetti), envisage la saisie d'une forme sémantique en motifs, profils, et thèmes. Nous substituons le concept de topos à celui de thème : les topoï constituent l'aboutissement des dynamiques sémantiques, et sont par conséquent linguistiquement motivés et profilés en discours. La performativité est intégrée à la dynamique (elle est décrite comme catalyseur dans la constitution d'une forme sémantique). Les phases de saisie du sens sont redistribuées selon la tripartition canon-vulgate-doxa : nous relevons les apports de la démarche discursive grâce à l'anticipation lexicale. Les motifs insérés permettent de saisir une généricité du sens propre à un corpus donné, ou à une Formation Discursive. Sur la voie des profilages, ils constituent une zone de stabilisation pré-syntaxique, qui contraint la mise en syntagme. Les profilages doxiques permettant ensuite la construction de topoï par thématisation
We define this research the concept of discursive object, analyzrd in three corpora (media, literature, and politics). Corpus is defined as a collection of "uttered propositions", considered both as an observatory for analysis, and as a dynamic entity. According to the linguistics of common sense (Sarfati), the inscription of doxa in language is postulated in connection with the organization of a system of common sense, wich is governed by a topoï-based device. The analysis of linguistic forms (ellipses, grammatical categories) makes the link between this system and the choices operated during enunciation. Phenomenology underlines the processes of semiotisation : at the linguistic level, the Theory of semantic forms (Cadiot and Visetti) studies the construction of semantic forms along three dimensions of meaning, named motives, profiles, and themes. We substitute themes for the concept of topos : topoï are linguistically motivated, and profiled in discourse. Performativity is integrated into the dynamic movement itself, and contributes to the argumentative work of the units (it is described as a catalyst in the constitution of a semantic form). We show that these phases can be evaluated according to the tripartition "canon-vulgate-doxa" : we raise the contributions of the discursive levels into the constitution of a semantic form, thanks to the phenomenon of lexical anticipation. What we call "intserted motives" reveals the genericity of specific corpora, or of Discursive Formations. In the course of "profiling", they constitute a pre-syntactic zone of stabilization. The "doxic profiles" finally permit the construction of topoï by thematisation
Mayaffre, Damon. "Le discours politique dans les années 1930 : analyse du vocabulaire de Maurice Thorez, Léon Blum, Pierre-Etienne Flandin et André Tardieu (1928-1939)." Nice, 1998. http://www.theses.fr/1998NICE2014.
Повний текст джерелаThe present doctoral thesis proposes to study the French political vocabulary and speech during the interwar period (1928-1939), for indeed those seem to have played a part significant enough in the crisis France and the republic went through in the 1930s and which led to the defeat and Vichy. The verbal civil war is first studied roughly though a left/right comparison and then more subtly throught the study of communist (Maurice Thorez), socialist (Leon bloom), orleanist (Pierre-Etienne Flandin) and bonapartist (André Tardieu) speeches. The method of analysis here used is lexicometry whose epistemological principle is clear : never put forward what is not proved or incited by the figured recording of the over- or underuse of a term by a given speaker at a determined time. Thanks to a whole range of linguistic, statistical and computer tools -particulary correspondence analysis- it has been possible to determine, by the means of a synchronic investigation of the differents speeches, the lexical, discursive and ideological identity of four French political persuasions. Then with a diachronic investigation and by isolating the lexical practices of Thorez, Blum, Flandin and Tardieu, we have been able to demonstrate how the political debate and the republican consensus ruptured with the passing years to make impregnable and overweening verbosity so baneful for the country
Auzac, de Lamartinie Véronique d'. "Universalité et esthétique : le problème du logos comme métalangage de l'art." Paris 1, 2001. http://www.theses.fr/2001PA010605.
Повний текст джерелаCissé, Ibrahim Moussa. "Approche sémiotique de deux univers fictionnels : L'aventure ambiguë (C.H. Kane) et Le nom de la rose (U. Eco)." Nice, 1998. http://www.theses.fr/1998NICE2023.
Повний текст джерелаKomur-Thilloy, Greta. "La représentation du dire dans la presse contemporaine française : étude qualitative et quantitative de quelques formes de discours rapporté." Paris 8, 2003. http://www.theses.fr/2003PA082320.
Повний текст джерелаThe thesis proposes a reflection on the metalinguistic function of language. In particular, we consulted very recent works, even though we are fully aware that metalinguistic activity has never eluded philosophers and researchers. Once the operational concepts have been ascertained, the thesis focuses on the corpus as represented by the contemporary press. We placed particular emphasis on the way in which the statement of some speaker or other is presented by the author of the article. The forms of reported speech were therefore central to the study. Examining press articles enabled us to end up with a description of the forms in language according to their interpretation in the texts, ranging from the most thought-out to the most everyday forms. We hope that this research will have shed a light on the way in which one speaker understands and conceives the thought of another, possibly gives it a new interpretation, and sometimes consciously or unconsciously deforms it
Laporte, Anne-Marie. "Les techniques de persuasion dans les discours d'Andocide sur les mystères sur son retour." Besançon, 2002. http://www.theses.fr/2002BESA1023.
Повний текст джерелаThis study is on the works of Andocide, a Greek orator of the 5th century BC. Its aim is to identify and analyse the means used by the speaker in order to have an effect on various audiences through persuasion. Only a historical study of the texts and their systematic exploration could make this examination possible. The On his Return and On Mysteries speeches make up an outstanding corpus :the same man pleads his own cause again after an interval of several years, and with the same goal : to obtain the right to live as a free citizen in his fatherland. With the first speech, the orator's attempt to persuade his listeners fails, whereas the On Mysteries is a success. Why were they given such a contrasting reception ? We applied the Aristotelian system to Andocide's first two speeches. Aristotle's system of Classification was used as a guide to help us understand how they had been composed
Montbazet, Marie-Hélène. "Lettres et signes dans le lettrisme." Paris 1, 1994. http://www.theses.fr/1994PA010565.
Повний текст джерелаCreated in 1944 in Romania by Isadore Isou and registered in Paris in 1945, letterism is an avant garde school in a global domain founded for the perpetuation of creative and innovative integration of knowledge. In the universe of letterism, poetry is no longer constituted by words, nor music by notes ; painting is no longer figurative nor abstract. The aesthetic creation, both "poetico-musical" and plastic are constituted from the latin alphabet and unlimited forms of signs acquired or invented. The first chapter will develop the specific value of letters and signs in letterism from a theoretical point of view and from a plastic point of view, by means of applications in which letters and signs form the structure of its creative base. The following chapter unfolds the interpretation of letterism in its artistic evolution describing the antecedents of the substantial foundation of this new expressionl the final part will elaborate on a comparative study of diverse letters and signs representations in the general history of art
Pla, Soline. "L'art magique dans la littérature des années 50 à 70." Toulouse 2, 1999. http://www.theses.fr/1999TOU20109.
Повний текст джерелаPark, Se-Wok. "Les FU dans les manuscrits de Dunhuang." Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4030.
Повний текст джерелаOuzounova-Maspero, Janeta. "Du signe au discours : instances du sens : Valéry et le langage dans les "Cahiers" (1894-1914)." Paris 10, 2002. http://www.theses.fr/2002PA100042.
Повний текст джерелаThis work examines Valéry's views on language through the problems raised by sign and discourse, with, as the core issue, the production of meaning. We try to place Valéry's theorical choices with regards to some of today's trends in linguistics (M Arrivé), semiotics (J. Fontanille), and phenomenological analysis of the discourse (J. C. Coquet). It turns out that Valéry's ideas on semiological systems result in a structural analysis of the linguistic sign : a two-sided unit whose stable identity is expressed through the notion of "invariant"; the priority given to the semantic side ("le sens" leads to the integration of a third element , the "reference". The formel analysis of the sign proving inadequate, faced with the complexity of meaning production, Valéry switches from a system to language in action, and tries to take into account the instance "le moi" : hence a reflection on the spatiotemporal entrenchment of discourse and deictics (pronouns, present tense, verbal function). .
Pernot, Laurent. "La rhétorique de l'éloge dans le monde grec à l'époque de la seconde sophistique (fin du 1er - fin du IIIe siècle après J-C. )." Paris 4, 1992. http://www.theses.fr/1992PA040042.
Повний текст джерелаThe first part of the thesis outlines the stages in the development of praise and its constitution as a rhetorical genre, from the earliest achievements of classical Greece until the triumph of epideictic oratory in the Roman Empire. The second part analyses the technique of the rhetorical praise, as it was laid down by rhetoricians and as it was practised by orators, with its model outline, its different types of speeches, its kinds of style, its conditions of pronunciation and publication. Lastly, the third part studies the stakes covered by this technique. It assesses the criticisms formulated against praise in antiquity, and studies the reasons for its success: what were the missions that the epideictic orators undertook, what functions their speeches fulfilled, and what messages they conveyed to the Greeks of the imperial period
Lorente, Christine. "Littérature et peinture dans "Henri Matisse", roman d'Aragon." Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10050.
Повний текст джерелаMontoro, Araque Mercedes. "Les figures mythiques dans l'oeuvre narrative de Théophile Gautier." Grenoble 3, 1997. http://www.theses.fr/1997GRE39024.
Повний текст джерелаMythical figures appear between the lines and "emerge" in the work of th. Gautier. However, in which context within that work are they normally found? do they come from the symbol, mytheme or mythical"recit"? are they the answer to a particular reading? are they organized around a particular core of ideas or philosopy typical of its time? when these figures are linked to "art", which role and aims are given to them? the analysis of the different mythical figures highlights, in the first section of this thesis, a group of mythical figures that allow us to follow the traces of the explicit mythsas well as those implicit at the textual level. On the other hand, the "symbolic hyperconstruction" deduced from the above reveals the core of my analysis : hermes and the art of the great work. The aim of the second part is to reorganize the plurality of the mythical figures which had come from the alchemic domain. The third part underlines the importance of the mythical entities within the art whereby th. Gautier "has always preferred the statue to women, the marble to flesh". The myth criticism perspective shows, nevertheless, that this work of "multiple possibilities" is organized around a determined central point. Following this th. Gautier appears as a writer who prefers unity to multiple myths, to varied figures and to different ways of expressing himself. This unity is manifested, at a formal level, through the personal myth "recit"; at the level of mythical figures, through the "androgynous"; finally the artistic unity of the writer-painter who fights for beauty and against thhe destructive power of time
Yoda, Lalbila. "Les fondements du discours politique de Kwame Nkrumah à l'heure des indépendances en Afrique anglophone." Montpellier 3, 1988. http://www.theses.fr/1988MON30022.
Повний текст джерелаNkrumah's political thought has for setting the colonial context which it exposes. It passes a negative judgement on any colonial enterprise which is seen as a mere exploitation of the colonised people. In order to achieve full development a colonised people must get rid of colonial bondage first. According to nkrumah's philisophical consciencism, which is a synthesis between the foreign values (mainly islamic and european), which influenced africa, and the african ones, is the very weapon for decolonisation. Development, he further claims, can only be envisaged through national and continental unity under the guide of scientific socialism. The first step towards scientific socialism is the supremacy of the people through "parliamentary democracy" : a system based on a constitution approved by the entire people in a national referendum. Nkrumah's theory, strongly influenced by the marxist-leninist thought does not seem to suit the african realities despite some positive elements such as social justice. If his thought is still valid today in ghana as well as in the rest of africa it is because the problems he seeked to solve are still the lot of the continent
Bonneau, Julien. "Modulation mathématiques et descriptives pour l'émergence de parcours interprétatifs dans les corpus textuels : applications au corpus Mendès France (1922-1982)." Nice, 2012. http://www.theses.fr/2012NICE2028.
Повний текст джерелаStatistical natural language processing (SNLP) are quantitative methods of text comparison. With logometry, SNLP and recent linguistic theories are combined to produce new tools for textual observations. Our logometric practice is a statistical application of François Rastier’s semantic theories on a corpus of Pierre Mendès France’s discurses. Our statistical way determine particularity by generality : words by paragraph, paragraphs by text, texts by corpus. We want to describe how situation – historical or social practice – influe on textual structure. To study the distribution high frequency words in the corpus, our works use two innovent tools : the cotextual environnement and the asymmetric cooccurrence. The former produces "smallworlds" : description of lexical semantic networks in texts ; the latter describes rythms of lexical variations. In our corpus, these rythms are associated to distinct argumentative values : persuasive-explanatory vs informative
Buffet, Laurent. "Les pratiques intinérantes dans la littérature et l'art contemporains." Paris 1, 2009. http://www.theses.fr/2009PA010597.
Повний текст джерелаBarry, Alpha Ousmane. "Pouvoirs du discours discours du pouvoir : analyse des spécificités discursives dans la parole politique de Sékou Touré." Besançon, 1999. http://www.theses.fr/1999BESA1016.
Повний текст джерелаTerrier-Hermann, Véronique. "Détournements du littéraire dans les arts plastiques : 1964-1994." Paris 1, 1998. http://www.theses.fr/1998PA010509.
Повний текст джерела"Diversion and appropriation of the literary in the visual arts, 1964-1974" is a study of the uses of literature as artistic matter. This research takes part in the prolongation of the complex history of relationships between art and words, and comes from a double artistic legacy: the use of writing in both painting and conceptual art. It is a matter of revealing, by a comparison of art works, a new direction in contemporary art, that, beyond the word targets literature itself and leads artists to divert the literary genre. By appropriation and diversion we mean the transfer and conversion (transformation) of the literary object thus diverted. These "stories of literature" in the visual arts have been studied according to four modes of appropriation or diversion elaborated by the artists, which have allowed us to treat the art works illustrate our remarks. In the 'eclipse' mode, we have analysed pieces from marcel broodthaers and allen ruppersberg, in 'fiction', those of Lean Le Gac and Patrick Corillon, in 'interpolation', those of broodthaers, Jef Geys, Barbara Bloom and Rodney Graham, and finally, in 'appropriation', others from broodthaers, Corillon, Sherrie Levine, Ruppersberg, Le Gac and Gérard Collin-Thiebaut. In conclusion, regarding the studied art works, we analysed the theories of the literature on which the artists had based their work, from the "sovereignty of the same" by Michel Foucault to the "tower of Babel" by Borges, before making a synthesis of the field of experimentation of these hybrid art works and their place in modernity
Pouilloux, Jean-Yves. "Ecrire l'expérience du visible." Paris 7, 1994. http://www.theses.fr/1994PA070131.
Повний текст джерела9 books are presented, one of them gives the title of the whole work 1 l. Le roy and aristoteles' politics (study of the translation) 2 montaigne que sais-je ? gallimard 1987 (intellectual biography) 3 rabelais rire est le propre de l'homme gallimard 1993 4 montaigne l'eveil de la pensee (awakening and thinking in montaigne's essays) 5 queneau les fleurs bleues gallimard 1991 (study of queneau's novel) 6 borges fictions gallimard 1992 (study of borges' novel) 7 writting, the experience of "visible" (essay on literature and painting) 8 f. Yates, astraea (translation, belin 1989) 9 f. Yates, shakespeare's last plays (translation, belin 1995)
Padovani, Simona. "« Un sentiment inconnu » : L'art italien dans l'Arrière-pays et dans les écrits d'art d'Yves Bonnefoy." Caen, 2014. http://www.theses.fr/2014CAEN1030.
Повний текст джерелаIn his Dialogues on Poetry, Yves Bonnefoy refers to Italy as the country where the mirage of the « arrière-pays » (« the back country ») takes place and his aesthetic haunting is elicited. This study aims to elucidate the relevance of Italian art in the poet’s critical and fictional writings. Dealing with the topic, we chose a theoretical and phenomenological approach and focused our research on the semiotics of art. Yves Bonnefoy’s critical and poetical writings engage visual semiotics in the fine arts through a complex relationship: a dialectic second act in the thought process. Yves Bonnefoy provides a background for looking at art criticism by questioning the ontological distinction between being and desire theories. Our research project investigates a cognitive paradigm inasmuch as, in the poet’s terms, « the dream of the desire for being », « the ontological desire for meaning » is unquestionably assumed to be the metaphysical concern of great Italian art
Bernadet, Arnaud. ""En sourdine, à ma manière" : pour une poétique de la voix chez Paul Verlaine : étude de Poèmes saturniens, Fêtes galantes, La Bonne chanson, Romances sans paroles et Sagesse (1866-1889)." Paris 8, 2003. http://www.theses.fr/2003PA082276.
Повний текст джерелаMermat, Djamel. "Les imaginaires du changement dans les discours communistes : le cas du PCF : 1976-2004." Lille 2, 2005. http://www.theses.fr/2005LIL20032.
Повний текст джерелаAll along French Communist Party history, its leaders had to resolve a great ideology tension. They was trapped between a way of faithfulness to communist heritage and communism history and the other way is a need of evolution in order to follow the society and the world. Our Study consists in showing how a politic party tries to find a way out between these two ways. Our Study begins about 1976, the year of the 22nd communist convention which shows an ideology breaking off : we find here the will to move away from taking East society and Party as their models. We find here the first signs of leaving Marxism mind. 1976, is still an important year because of the ideologies changes and because it's the beginning of the end for the great Left Union. French Communist Party is obliged to get politically isolated, once again , and has to face the dilemma we propose to study. . . In electoral point of view, the fight in left becomes quite new (The separation between Communist Party and Socialist Party was significantly decreasing. From that time, we study the different speeches of leaders and members because we have to keep on mind that communist culture has always been oral speeches. That's why we study the components of these speeches, images and communists' ideas and the different changes of direction of this rhetoric during the last thirty years. We're interested in the symbols which keep the communist machine with questions that have been abandoned. We put the stress on concepts of loyalty, confidence, in other words, the social psychology mechanism and conformism inside a politic party. Here we find a contribution to the study of the collective affectivity and the imaginary changes
Turner-Ducassé, Milagro. "Spectacles fashioned with such perspective art : jeux d'optique dans l'oeuvre dramatique de John Webster." Toulouse 2, 2002. http://www.theses.fr/2002TOU20068.
Повний текст джерелаDegli, Marina. "Le macabre "fin de siècle" dans la littérature et l'iconographie." Paris 1, 1996. http://www.theses.fr/1996PA010552.
Повний текст джерелаIt is difficult to define and even more to summarize the notion of the macabre. It originated in the middle ages and it is above all the embodiment of the physical, concrete and tangible aspects of death. Representations of skeletons are emblematic of it, even when their meaning is distorted, along with those of mangled bodies desecrated by man or ruined by time. Macabre texts and images complement each other. Both are means of investigating horror and fear in their most gruesome aspects. At a time when derision prevailed, they also shed light on the taste of the nineteenth century for black humour and the absurd
Bruzzo, François. "Les mangeurs d'étoiles : la fiction de la peinture dans l'invention littéraire au dix-neuvième siècle." Paris, EHESS, 1991. http://www.theses.fr/1991EHES0304.
Повний текст джерелаOne of the most striking features of the nineteenth century in france lies in the emphasis a great number of writers put on the question of painting, mostly when those writers feel much concerned in specific articulations of the literary system, and when they stand in a position of authority in the definition of the literary fiels stategies. The discourses on painting and on painters which proceed from such an attitude follows the trace of the invention of pictures and painters in fiction. They procees from the same endogenic urge distinctive to each textual field. It follows the same problematic of autoreferentiality and autorepresentation of literary discourte with its anxiety of invention
Bey, Evelyne. "La fonction des arts dans le Tableau de Paris de Louis-Sébastien Mercier." Metz, 1997. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1997/Bey.Evelyne.LMZ9721_1.pdf.
Повний текст джерелаThis study is mainly centered on the objectives attached by L. -S Mercier to the liberal arts in the "Tableau de Paris" (eloquence, poetry, music, painting, sculpture, and engraving, according to l'Encyclopédie by Diderot and D'Alembert, vol. 3, 1778, p. 481-482). The educational and moralizing function of fine Arts forced itself upon Mercier, and on a great number of thinkers and writers in the eighteenth (18th) century. We try to display prominently the originality or the conformism of the author in his way to consider the different arts and their influence on people depending on wether his opinion is connected or not with the ones of personalities who has left ther mark on this century. The first part of this thesis makes an inventory of the modernist position of Mercier who rejects the Elder's tyranny and expresses reform proposals. The second part is about the connection between art and moral in close relation with human rights. The next subjects are treated in three under sections : moral, art and moral, defence of rights
Rutily, Aline. "Tapis-jardin. Migration, mutation, transculturalité : entre Orient et Europe, arts visuels et littérature." Paris 1, 2012. http://www.theses.fr/2012PA010654.
Повний текст джерелаCavalié, Elsa. "Réécrire l’Angleterre (1900-1945) dans la littérature britannique contemporaine." Toulouse 2, 2009. http://www.theses.fr/2009TOU20113.
Повний текст джерелаThis dissertation deals with the rewritings of Edwardian & Georgian England in contemporary fiction, with a specific focus on J. L. Carr's A Month in the Country, Ian McEwan's Atonement, Julian Barnes's Arthur and George and Pat Barker's Regeneration Trilogy (Regeneration, The Eye in the Door and The Ghost Road). When choosing to go back to England's archetypal places, such as the English pastoral landscape and the “South Country”, “retro-Edwardian” novels question these territories' legitimacy and the ‘origin' of Englishness. Similarly, the English country houses are sometimes perceived as mazes in which their inhabitants get lost when trying to have one last look through their windows. Moreover, the concept of “community” is questioned, through its relationship to the Strange/Familiar dichotomy, in novels that are sometimes written “from the margins”. Gentlemanliness, its definition and ethos are then destabilized and the repression of feelings evoked. Still, regeneration is always deemed possible, whether it be thanks to the “talking cure” or artistic development. Furthermore, novels revisiting Georgian and Edwardian England are strongly metafictional, reflecting on the writing of History where fact and fiction are intermingled in order to create a dialogic relationship with the English literary tradition. Then “rewriting the past” is considered as an ethical enterprise where literature may reconcile such apparently contrasted concepts as postmodernism and humanism
Delmas, Virginie. "Le politique dans le médiatique : étude de l’intervention de Nicolas Sarkozy dans l’émission télévisée de la campagne présidentielle de 2007 J’ai une question à vous poser." Paris 5, 2010. http://www.theses.fr/2010PA05H045.
Повний текст джерелаThis study proposes an analysis of political discourse through the media genre, which brought political discourse within the general public’s reach. We focused on a particular speech: Nicolas Sarkozy’s interaction with a sample group of interlocutors, in I have a question for you, a French presidential campaign television program. We based our study on the idea that discourse analysis must take into account various levels, each level providing an insight on the construction of meaning. However, we postulate that the syntactic level can constitute the basis of discourse analysis, even if it combines with the semantic, enunciative and interactional levels. Thus, the study of the discursive means used by Nicolas Sarkozy to try to convince his interlocutors and the audience of the program, shows that he implements recurrent syntactic structures, in association with certain semantic and enunciative choices, on which he founds the meaning of his speech and his argumentation. This TV program is structured around an interactional frame; therefore the analysis of the interaction between Nicolas Sarkozy, the French people gathered to interview him and the presenter, gives us the possibility to take into account other discursive means which also contribute to the co-construction of discourse. This program displays a particular media frame (citizens interviewing a candidate); therefore, the interactional analysis triggers a reflection on the media approach of the democracy they pretend to embody. Our results show a tight interweaving of syntactic and semantic levels for the analysis of interactional discourse
Chapuis, Bérengère. "Les symboliques de l’ange dans l’art et la littérature de 1850 à 1950." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040154.
Повний текст джерелаThe angel was never as present as during the modernist era, that is at a time when thereligious figure, in its expression, its form, and even in its substance, its objects, waschallenged by the intense philosophical reflection and by the scientific and technicaldiscoveries stemming from the Enlightenment era. It is this acknowledgement basedon an omnipresence of angels, in nineteenth and twentieth art and literature alike,which led us to ask a simple question – what is the angel a sign of? What does itsymbolize? What meaning may be given its large presence?We have decided, to understand it, to get back to the sources of the angel in order toshed light onto the foundations of that which, quite obviously, establishes itself asone of the most important myths in the present-day imagination. We have alsodecided to show how the mutation from a biblical figure to a profane myth hadmanaged to happen and what were the mechanisms through which thismetamorphosis had taken place; we have also tried to know what was at stake in thisprocess.This study proposes to examine the representations of angels in art and literaturefrom 1850 to 1950 in order to discover how these traditional figures came to becomemodern myths. How can their contemporary representations testify of a newrelationship with the divine ? We'll try to answer this question by studying two majorsymbolics - the inspiring angel and the guardian angel - and by revealing the processin which the angel becomes a personal myth of the individual and especially of thecreator
Minami, Asuka. "La figure de l'artiste et la question de l'art dans la littérature du Japon moderne." Paris, INALCO, 2003. http://www.theses.fr/2003INAL0020.
Повний текст джерелаWestern art, introduced in Japan after the country opened in 1853, changed the prevailing conceptions about art in the country. New aesthetics and new visions of art and of the artist exerted a very strong influence upon literati who sought in Western art modern subjects and original ways of describing things. This study is a reappraisal of the evolutions in ways of perceiving art and in conceptions about the artist's image of the modern period of Japan. Our research is divided into five parts in which about ten representative writers are studies. The first part deals with the question of the nude in the Meiji era: the way art critics and literati accepted or rejected the nude as new art form imported from the West. The second part is about the various difficulties Japanese painters were confronted to when they had to readapt themselves to their native soil after a deep and prolonged period of assimilation of Western art. Places described in an original way acted as a device to soothe the protagonists' anguishes. In the third part, we deal with the various problems of perception engendered by Western art. Problems such as the way of translating notions and concepts inherited from the Western tradition of the plastic arts or of putting into practice such notions in literary works. In the fourth part, we focus upon new attempts among painters to create fantastic scenery. We observe the emergence of mature conceptions concerning the art and its modes of representation. This evolution towards maturity comes from images as well as from texts, both Japanese and Western. The last part is a survey of various discourses advocating a resistance to Western art in its morals and in its techniques of description. This part focuses around two Japanese writers who had an intimate knowledge of the community of Japanese painters living in Paris. This study belongs at the same time to art history (the way writers envisioned art and artists) and to studies in Japanese literature (techniques of depiction in narrative texts based on the notions inherited from the visual arts)
Zeitz, Anne. "(Contre-)observations : les relations d'observation et de surveillance dans l'art contemporain, la littérature et le cinéma." Thesis, Paris 8, 2014. http://www.theses.fr/2014PA080051.
Повний текст джерелаHe matter of surveillance has never been as present in political discourse and the international press as much as since the divulgence of the American surveillance programs by Edward Snowden in the summer of 2013. Nonetheless, more then 10 years earlier, the exhibition CTRL [SPACE] at the ZKM in Karlsruhe had widely shown how the mechanisms of surveillance and mass media and the convergence of their functioning had, for a long time, been reflected in contemporary art. Since the 1960s, Peter Weibel had already pointed to the contradictory modes of behaviour that develop in a society of surveillance in his installations and writings. From the society of surveillance to the society of control, the spectacular society, and then post-Spectacular society, to the current society of “sousveillance”, that is of cyber-Surveillance and dataveillance, the influence of these mechanisms has always been discussed with controversy. While one artistic approach focuses mainly on the manipulation, or even disappearance of the individual and their reality, another approach concentrates on the possibilities of creativity and inventiveness that present themselves to the individual in a society characterized by surveillance and mass media.The present doctoral thesis situates itself in the tension that emerges between these two positions. The point of departure is the term to observe that signifies a perceptual act as well as an act of adaptation. At the same time, every act of observation necessarily takes part in an observational “relationship”. Therefore, the potential reversibility of the relationship has to be taken into account. Effectively, contemporary art reveals tactics of counter-Surveillance and counter-Observation. The latter give insight into the way we deal with socio-Political changes – especially since the 11th of September 2001. A theory and a practice of (counter-)observation are necessary to analyze the aesthetics that have appeared in this regard
Loire, Fouache Cécile. "L' art du quotidien dans les romans de Carol Shields : 1935-2003." Rouen, 2006. http://www.theses.fr/2006ROUEL544.
Повний текст джерелаThe world of Carol Shield's novels is rooted in the North-American reality of the end of the 20th century. After analyzing its nature and its mode of representation in fiction, this study relies on the manuscripts the author gave away to the National Archives of Canada and on the ten published novels to study the process of artistic creation at work and the devices used to build up a poetics of the quotidian through which she approaches the everyday life of ordinary men and women in order to conjure up the extraordinary that lies within the ordinary and to transmute it into a work of art in fiction, thus dequotidianizing the quotidian and highlighting the strange within the familiar, all the while subverting traditional genres such as biography and autobiography. This original approach of everydayness and the everyday finds its place in the context of the largerliterary and theoretical trends such as feminism, realism, postmodernism, towards which Shields remains safely distant