Дисертації з теми "Chair (philosophie) – Dans la littérature"
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Himy, Olivier. "La poésie de Jacques Dupin : l'espace et la chair." Paris 8, 1996. http://www.theses.fr/1996PA081114.
Повний текст джерелаMokrane, Hakim. "René Char ou la métamorphose d'une poétique." Chambéry, 2002. http://www.theses.fr/2002CHAML014.
Повний текст джерелаHadji, Khalid. "Sémiotique et imaginaire de René Char." Limoges, 1989. http://www.theses.fr/1989LIMOA001.
Повний текст джерелаPiaton, Serge. "Ordre et désordre dans l'oeuvre poétique de René Char." Paris 4, 1995. http://www.theses.fr/1994PA040176.
Повний текст джерелаThe poetical creation of René Char is characterized by a certain form of disorder. Creation,for the poet,often means drawing out fragments of ancient texts,suggesting the hazardous succession of enigmatic phrases or leading to the poem by making all sorts of heterogeneous elements coexist. .
Fontaine, Philippe. "Chair et corps dans la philosophie de Maurice Merleau-Ponty." Rouen, 1991. http://www.theses.fr/1991ROUEL130.
Повний текст джерелаThe present study intends to show the originality and the thematic evolution of Maurice Merleau-Ponty's philosophy of body through a systematic comparison with Husserl's views on the topic. Indeed Merleau-Ponty's early writings revealed the influence of the reflexive ideal of Husserl's phenomenology, but he later tended more and more towards an ontology of the flesh. This study argues that this move effected a revolution in phenomenology as a whole : no longer designating the body in the narrow sense of the term, the flesh is outside the subject-object dualism and comes to mean en "element" of being, which extends the notion of flesh to the entire perceptible world. This new conception leads to a new analysis of phenomenality, as well as of meaning and ideality in general
Pinelli, Luca. "Reading Virginia Woolf with Simone de Beauvoir's Philosophy : theoretical Resonances, Intercorporeality, Fiction." Electronic Thesis or Diss., Paris 3, 2024. http://www.theses.fr/2024PA030025.
Повний текст джерелаThis thesis investigates Virginia Woolf’s literary production through the lens of Simone de Beauvoir’s philosophy. After situating the two authors within their own original contexts, their transnational trajectories and theoretical resonances will be examined in the light of subsequent critics’ renegotiations of their works. In particular, this thesis focuses on the phenomenological notion of intercorporeality, namely on the theory that subjects are embodied and relational, entangled in a process of constant material and ideological becoming. This notion is adapted to a study of Woolf’s fiction through a phenomenological and ecological approach to character. This feminist and philosophical lens sheds new light on Woolf’s essays, autobiographical sketches, and fiction, thereby showing the productivity of pluralistic perspectives in literary studies
Questa tesi indaga la produzione letteraria di Virginia Woolf attraverso la filosofia di Simone de Beauvoir. Dopo aver collocato le due autrici all'interno dei loro contesti originari, le loro traiettorie transnazionali e le loro risonanze teoriche saranno esaminate alla luce delle rinegoziazioni delle loro opere da parte della critica successiva. In particolare, questa tesi si concentra sulla nozione fenomenologica di intercorporeità, ovvero sulla teoria secondo cui i soggetti sono incarnati e relazionali, invischiati in un processo di costante divenire materiale e ideologico. Questa nozione viene adattata allo studio della narrativa di Woolf attraverso un approccio fenomenologico ed ecologico al personaggio. Questa lente femminista e filosofica getta nuova luce sui saggi, gli schizzi autobiografici e la narrativa di Woolf, mostrando così la produttività delle prospettive pluralistiche negli studi letterari
Artous-Bouvet, Guillaume. "Statut de la littérature dans le discours philosophique français après 1950." Paris 8, 2007. http://octaviana.fr/document/133291286#?c=0&m=0&s=0&cv=0.
Повний текст джерелаThis academic thesis concerns French philosophical discourses of the second half of the twentieth century. Among the essential features of these discourses is the constant concern with literature. Such a concern had two main consequences: in the first place, redefining the philosophical concept of literature; in the second place, affecting in return the style of these philosophical discourses. Such a redefinition of the mere concept of literature is drastic: literature is no more to be thought as expression or representation. It is, above all, language: the autonomous power of a play upon meanings, strictly remote from all others discourses. This redefinition put literature at a certain limit of knowledge: literature appears from now on as an outside object, according to the traditional criteria of philosophical knowledge. Dealing with this specific object, the philosophical discourses begin to wonder about their intercourse with the very act of writing. It is the birth of a French philosophical style, coined by authors of notable formal invention abilities - namely Jacques Derrida or Jean-François Lyotard. Philosophy is no more the simple commentary of literature; it has turned into inscription, imitation, and creation. Thereby, philosophy becomes a literary philosophy. With literature, knowledge is transcended - but literature still carries a truth, although it is not the philosophical truth. It is the truth which philosophy can not deliver: the truth about life
Pei, Cheng. "Le problème du corps propre et de la chair dans la philosophie de Merleau-Ponty." Paris 4, 1987. http://www.theses.fr/1987PA040386.
Повний текст джерелаMetaphysical analysis that Merleau-Ponty has made on the gestalttheorical psychology has provided him with a structural and circular way to understand the body as a "functional entity" into its primordial behavior. The perception phenomenological research has showed the only body notion which manifests a subject incarnation in perceived world and in the time. From the point of view about the phenomenology of the only body, painting constitutes a comes back to the perceived world of the vision, and language is considered as logos incarnate. The flesh ontological problematic is necessary a continuation of the one of the only body phenomenology. It is from the flesh notion that Merleau-Ponty tries to reconsider the idea of intentionality he has taken like purchase
Pei, Cheng. "Le Problème du corps propre et de la chair dans la philosophie de Merleau-Ponty." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37608777t.
Повний текст джерелаPuccini-Delbey, Géraldine. "Amour et désir dans les Métamorphoses d'Apulée : réalités, poétique, philosophie." Paris 4, 1995. http://www.theses.fr/1995PA040231.
Повний текст джерелаLove, as the subject of the most of the inserted tales, may be a key to understand the global sense of the roman. Apuleius provides a moral reflexion on the human love, essentially based on insatiable desire and condemned to failure and seems at the same time to propose a solution that conciliates platonism with isiac syncretism
Diop, Alioune. "L'imaginaire animalier dans la littérature arabe." Paris 4, 1999. http://www.theses.fr/1999PA040180.
Повний текст джерелаAbdeljaouad, Firyel. "Les figures de l'autre dans l'oeuvre de romain gary et emile ajar ou comment le vif saisit le mort." Paris 3, 2000. http://www.theses.fr/2000PA030034.
Повний текст джерелаChabat, Guillaume. "La chair ou le verbe : Doubrovsky et la dialectique de l'autofiction." Thesis, Nantes, 2018. http://www.theses.fr/2018NANT2028.
Повний текст джерелаThe Monster, published by Grasset in September 2014, has, with its 2599 pages, opened up a vast new field of research into Doubrovskian literary work, and, by extension, into self-writing and life-writing in the era of autofiction. This is the field we have thus undertaken to explore, with a thesis supported right from the very first chapter ("The Dialectic of the Anti-Hero") as a starting point : the life and works of Serge Doubrovsky are borne along by one movement, one hidden dynamic, or, as Sar-tre would say, one “existential project" that can be totally identified with Lacan's "vel of alienation". A vel from which nothing escapes : no feeling, no action, no thought, no desire that is not inwardly op-posed to its most intense, most profound contradiction; not even one word, as writing is also caught up between antidote and poison, life and death. Henceforth, all questions pertaining to autobiograph-ical studies are dealt with differently : that of putting one’s own name in a novel ("being or name-being") ; of inventing one’s mother tongue ("She or me") ; of controlling the meaning of one’s story ("psychoanalysis or writing") ; of writing about “reality” ("autobiography or autofiction") ; of one’s writ-ing about oneself ("flesh or word") ; and finally of reading others (writing or reading). From these dis-similar dualities – according to our (hypo)thesis, at least – stems an existential and scriptural tragedy, ever-present throughout the work, of a desire to be oneself which cannot be fulfilled, causing endless vacillation which we shall endeavor to describe, along with its inevitable phases, its attempts to change course, its pitfalls and, ultimately, its immense immobility
Palermo, Chiara. "Peindre la chair : le mouvement de l'image dans l'oeuvre de Chaïm Soutine." Thesis, Dijon, 2013. http://www.theses.fr/2013DIJOL020.
Повний текст джерелаThe work of painters who lived in Paris at the beginning of the 20th century mainly consisted in a negation of representation which was not unrelated to the negation of the object-painting itself: Chaïm Soutine brings a deep radical change to this artistic approach. The purpose of our study, according to Soutine’s work, is not its painting, but the action of painting, of "painting the flesh," in order to redefine thereby painting as praxis, and, in turn, philosophy as a practice which must create its own making. Indeed, the denial of the paradigm of representation in painting led us to extend our work to the expressive dynamic reflection of contemporary art and especially to the foundations of philosophical practice considered in the essence of his expressive movement. In this regard, the theme of ‘Flesh’ is a perfect illustration, within painting and philosophy, of a dualism. Our work ambition is to go beyond this dualism. A critical dualism which polarises itself around the opposition between the image as a print-copy/ reproduction and the image as a self –referential. The ontological approach to the 'image' and the 'sensible', drawn by Merleau-Ponty's thought, defines the flesh as pregnancy, that is to say as a Being differentiating of itself which we can only apprehend by renewing our thought following the same differentiation of itself. Our analysis of Chaïm Soutine’s painting lead us to rethink the phenomenon of aesthetics, and, beyond that, to rethink the Being of every phenomena and every appearance without making reference to oppositional forms and ways of thinking from the idealist legacy of philosophy and aesthetics
Bourgne, Florence. "Écriture et philosophie dans le "Troilus" de Chaucer." Paris 4, 1996. http://www.theses.fr/1996PA040227.
Повний текст джерелаChaucer's Troilus seethes with allusions to Boethius' Consolatio, translated simultaneously. Contemporaries praised Chaucer's qualities as a translator, and called him a philosopher. This must be set against the backdrop of medieval philosophy, its width and its oral teaching, which promotes figures of authorities whose works are commented upon. The glosses in the Troilus manuscripts are summary notes, dialogical marks or genealogical and mythological notations, inkeeping with school commentaries. Boece's influence on Troilus is mostly structural, yet the interpolating of boethian elements entails a new re-writing mode, to be examined in the light of the nominalist realist debates (Chaucer was friends with a former oxonian logician). This intrusion of philosophy in the realm of writing submits literature to orality, although literature is seeking its independence. The translating technique used by Chaucer in Troilus and his coining policy make him part and parcel of the Tanslatio Studii movement, which upholds vernaculary languages. Chaucer is eager to establish a canon of his works, as were Dante or Machaut. Yet, Troilus' narrator poses as a monk, and references to books are unable to counter orality's supremacy over literacy
Masseran, Anne. "Sciences, femmes, littérature : étude de la dissociation de la science et de la littérature dans les écrits de Diderot, Rousseau et Goethe." Université Louis Pasteur (Strasbourg) (1971-2008), 1997. http://www.theses.fr/1997STR13167.
Повний текст джерелаThis study aims at a refined understanding of the process of dissociation of science and literature in the second half of the eighteenth century. This period seems revealing with regard to the establishment of new principles ordering the available knowledge. These changes finally led to our modern conception of links or disruptions between science and literature. However, it is also the moment for another major change closely interconnected with the first one the woman copy of the man or radically different, human being conceived as similar to the man while being simultaneously represented as the complete opposite was attracting the researcher's attention. Yet, with the act of scientific construction (fiction) the multifaceted aspects of women's lives (which had before been integral part of their representation) gradually vanished from the scientific sphere. The historic, heroic and symbolic aspects of her life will be more and more confined to the literature. Thus, the line separating science from literature finds it manifestation precisely in the different discourses dealing with the boundary-object "woman". In order to shed light on the dissociation process of science and literature with regard to the representation of women we chose to use the work of three authors: diderot, rousseau and goethe. Departing from their writings we also investigated closely the ideas put forward by scientists working at that period on similar issues such as buffon, maupertuis, bordeu, bergmann and others. The scientific, philosophical and ideological background for our study was constituted by l'encyclopedie edited by diderot et d'alembert (1751/1765) and l'encyclopedie methodique (1782/1832)
Pounia, Colette. "Chair noire et peau-lychrome : un marqueur ethnique à l'origine d'un univers coloré." Paris 1, 1994. http://www.theses.fr/1994PA010527.
Повний текст джерелаThe aim of this thesis is to point out the author's black skin as the background with which the paintings are constructed. It is made with an album of photographs and three books. The first book, "of black and art", is about the relation between the author, a black creole from the island, and what she tries to do in art. The second book, "of colour and its metaphors", shows how colours, the first significans of painting, are used as an adornment. The third book, "of structure", revealed the other function of the colours, which is to structure the skin's blackness. Thes the picture skin are different metaphors of the authors's black skin. And the new birth of the multiple black skin is pregnant with the island space, bordered and polycultural. "L'ile aux signes" is shown as a proposed model where a small scale labyrinth paintings are set as actors in a play. The author does an homage to the far away island from which she was parted and to a coloured universe which ambiguous epople vainly try to inhabit
Souchard, Flora. "La dynamique animale dans les œuvres poétiques de Supervielle, Saint-John Perse et Char. Présence, surgissement, échappée." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN025.
Повний текст джерелаThis thesis analyses the works of Supervielle, Saint-John Perse and Char through the prism of animal dynamics. It reads these twentieth-century texts in light of recent criticism, which, in the vein of "zoopoetics" developed by Anne Simon, considers the physical, organic, moving dimensions of literary animals as well as their symbolic significance. Beyond their metaphorical meanings, animals energize the texts with a creative force that stems from their quality as living beings. From insects to large mammals, the range of relationships that animals have to the world and to humans opens up multiple semantic and stylistic problems examined in the first part of this thesis, which analyses the influence of animal existence on poetic writing and poetic rhythm. Based on anthropological approaches, the second part argues that fauna serve as a vehicle for a broader thinking about the environment. This reading illuminates a particular treatment of nature and landscape that uses animals as tools for modelling space as well as thought : through the constant emergence of their desired or disruptive otherness, literary animals confront poets with the blurred boundaries of their own individuality. In the last part, concrete animality is studied alongside poetry’s power to question its own era and its language, which extends to the animalistic modes of communication. The tracking of a beast and the apprehension of a poetic thought emerge from similar hermeneutics, encompassing watchfulness, wonder, and distance, and sometimes leaving the rationality of language to explore the margins of madness in a dynamic of obliquity This kinship between poetry and animality is revealed in the persistence of gaps, and of the pleasures of escape
Muckensturm-Poulle, Claire. "Les gymnosophistes dans la littérature grecque de l'époque impériale." Paris 10, 1998. http://www.theses.fr/1998PA100156.
Повний текст джерелаYamazaki, Atsushi. "Bouvard et Pécuchet, le roman philosophique : classification, magnétisme, philosophie." Thesis, Paris 8, 2019. http://www.theses.fr/2019PA080050.
Повний текст джерелаThe purpose of this study is to investigate the unfinished work of Gustave Flaubert, Bouvard and Pécuchet, focusing on its own triple dimensions : encyclopedic, critical and comic, in order to reveal the philosophical meaning of this novel.The first part of this paper highlights the method how Bouvard and Pécuchet approach knowledge, and analyzes two models of their learning : the usage of signs and the classification. How to classify plants, animals, men ? This is the question to annoy them all the time during their encyclopedic journey. The question remains even in the Copy.The second part of the paper is devoted to the analysis of the episode of animal magnetism in chapter VIII of the novel. The general structure of the episode is based on the immense corpus of magnetism (Mesmer, Puységur). The theories and practices of the two magnetizers are full of epistemological implications, as long as each of their theories and practices refers to a certain moment of the history of magnetism. In order to clarify those implications, the “Mysticism-Magnetism” file must be explored. In other words, the purpose of the second part is to make this novel restore an epistemological scheme.The third part of the paper firstly discusses the epistemological scenario that closely links two episodes of chapter VIII, and secondly explores the “Philosophy” file. To the philosophical library in this novel, various philosophers such as Descartes, Cousin, Hegel, Spinoza and Montaigne are summoned. How did the novelist generate a narrative fiction from metaphysical questions such as final causes, free will and criterion of truth ? This is the main question studied in the third part
Rouan, Michel. "Le langage et son dehors dans la littérature contemporaine." Toulouse 2, 1992. http://www.theses.fr/1992TOU20066.
Повний текст джерелаFirst part. Starting from the werks of jean paulhan, we study the impossiblility to isolate the two terms of the linguistic sign, the singifier and the signified, we reject the idea that there could be a stratun or a rhetoric avant in language, and theorefore a stratum of the proper. Language is not divisible in identities. Second part. In the works of blanchot, we dispute the possibility that language could be outside or separated from the world. This time we refuse the idea that the reference is sufficient to account for the connection between language and the world, and therefore the possibility that thore could be, through this language which is supposed without any refrence, a language that would out of totality, third part. It is not necessary to suppose, as derrida does, that language is a pure form, inaudible and invisible, and so as to show its aporia we study the double position of nothingness, which is at the core of the logic of hegel. La conclusion, if language is paradoxically inaudible and invisible, it is so for reasons different form those given by derrida: it is exactly like any event, neither more, nor different
Tabet, Pascale. "Amour et donation dans la phénoménologie de Jean-Luc Marion." Caen, 2015. http://www.theses.fr/2015CAEN1017.
Повний текст джерелаTo Jean-Luc Marion’s phenomenology belongs the largest possible horizon: his intuitive and prereflexive philosophy widens the field of phenomenology. The author of this book plans to explain how the erotic phenomenon as a phenomenon of saturation. A fondamental affective tonality of existence which is at the same time a border phenomenon, an excess of sense exceeding any representation of an intentionnal and reflexive consciousness, for it carries the phenomenological weight of the origin. Love demands a reduction, which cannot be understood but by a radical phenomenology of excessive donation. It is in this sense that the datum “reduced” by phenomenology must be understood – which datum is neither a being nor an object, but the sole donation which constitues the absolute immanent essence of manifestation. This research shows that the phenomenological reduction according to j. -l. Marion implies the reversal and the radicalisation of the classical phenomenology of prior thinkers such as Husserl and Heidegger. Indeed, they only focus on the essence of being, and their phenomenology remains a captive of metaphysics, inasmuch as its only horizon is still the horizon of being. The phenomenological method of Jean-Luc Marion is therefore interpreted here as a counter-method which is given to me as a counter-experience before any attempt to give it a meaning: it overcomes me with a flood of intuitions far above the concept, because it gives itself so generously. This phenomenological paradox, which Jean-Luc Marion calls “saturated phenomenon”, drives phenomenology away from transcendental ego and the intentional object, to replace them by a given ego, which receives itself from all it receives. This paradox happens with love, the ultimate condition for the possibility of the self, away from all ontic and transcendental requirement, in the sole horizon of a radical excessive donation
Vincent, Manon. "Les animaux dans la littérature hellénistique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040225.
Повний текст джерелаOur study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective
Daney, de Marcillac Marie. "Le nom Ulysse dans les textes philosophiques occidentaux depuis la Seconde Guerre mondiale." Paris 8, 2011. http://www.theses.fr/2011PA083391.
Повний текст джерелаThis dissertation is a cartography of the name Ulysses in various philosophical texts of Western post-1945 tradition, built around a common reference to Ulysses. It offers an alternative reading of philosophical texts, which is not set on a philosophical hermeneutics, but focuses rather upon a hermeneutics that tries to determine the textual variants of Ulysses and their interpretations. This hermeneutics highlights the existence of a unique moment in the memory of Ulysses as corpus, which is demonstrated as a new version of the myth of Ulysses. The present interest in the figure of Ulysses proceeds from its capacity to trouble the border between various disciplines, especially that which divides philosophical and literary traditions. A study of the areas of textual interbreeding between philosophical texts and literary intertexts of Ulysses, the Odyssey and the literary tradition of its rewritings, the revelation of the character of Ulysses' intelligence in the philosophical texts as well as its figural dimension, demonstrate that Ulysses is in fact the alibi of philosophy. As non-disciplinary figure, his role serves to establish an opening towards that which lies beyond the philosophical texts in which he appears
Passavanti, Sandro. "Délire et pathologie de la perception dans l’Antiquité classique : Littérature, philosophie, médecine." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEP067.
Повний текст джерела«The Greeks and Romans did not analyze the trouble of mind deeply enough to give a common denomination to a kind of its symptoms, as relevant as they may be. They surely observed and knew hallucinations, of which we are talking about. But they did not recollect them under a general definition». This was the opinion of the French physician L.-F. Lélut (L’amulette de Pascal, 1846), a statement which clearly reflects the opinion of scientists of his time about ancient analysis of psychopathological sensory alterations. Exception made for a positivistic interest, aiming at recognizing psychiatric categories in some pathological phenomena depicted in classical literature, no general study has ever been devoted to the relationship between cognitive alterations and pathological disorders of perception. This research intends to address such shortcoming through a long-term investigation of classical texts, by taking into account this cluster of pathological experiences, from Pre-Socratic physiology to the medical treatises of Late Antiquity. This work is structured in three sections: first, a methodological introduction and an analysis of the current state of art leads to an inquiry on Hippocratic texts about cognitive and sensory alterations (5th- 4th centuries BC). A comparison between medical literature and theatrical episodes of visionary madness reveals the chronological and speculative priority of Euripidean representations of morbid visions as deceptive phenomena, in opposition to the archaic image of the visionary as ‘master of truth’. The second part of the thesis focuses on the history of philosophical thought about troubles of perception, from Alcmæon to Epictetus, through the twofold lens of physiology of perception and epistemology. By refusing the Pre-Socratic materialistic model, Plato and Aristotle openly formulated the problem of distorted perceptions of madness in terms of truth and falsehood and physiological explicability, in order to push back sophistic and relativistic arguments. The development of Hellenistic Stoic/Academic debates originated from an analogous opposition between dogmatic conceptions – resting upon a ‘pre-established harmony’ between men and their objects of knowledge – and, on the other side, skeptical objections about the supposed indiscernibility of sane and mad perceptions. The core of this debate, which lasted until the end of the Platonic Academy in the 1st century BC, was perpetuated by the Middle Stoicism and then received by the subsequent medical tradition: in the third section, particular attention is devoted to the treatises written by Celsus, Aretæaus of Cappadocia, Asclepiades, Galen, Cælius Aurelianus, in which the Hellenistic philosophical heritage grafted on to the earlier clinical and pharmacological traditions. This turning point represents the very foundation of every medical consideration about sensory disorders until the end of Classical Antiquity
Teodoro, Noe͏̈l. "Le réalisme dans les littératures d'Indonésie et des Philippines : comparaison entre Pramoedya Ananta Toer et Amado Hernandez." Paris, EHESS, 1989. http://www.theses.fr/1989EHES0320.
Повний текст джерелаThe social histories of the literary traditions of the malay world, studied and analyzed from the comparative point of view, has yet to be undertaken. The present doctoral dissertation takes up a limited but an extremely important aspect of this area of research: the realist tradition in indonesian and philippine literatures with particular emphasis on the literary works of two contemporary and committed writers of the region: pramoedya ananta toer (1925 - ) of indonesian nationality and amado hernandez (1903-1970) of filipino nationality, with the end in view of bringing out the numerous intersting parallels or comparisons between the historical settings, the social contexts they describe and analyze. The goal or the raison d'etre of this comparative study is to present a number of significant "documentary sources" relating to the intellectual and social histories of island southeast asia
Le, Baut Hervé. "Du corps à la chair : ou le statut du corps dans la philosophie de M. Merleau-Ponty, genèse, structure et réception." Poitiers, 2007. http://www.theses.fr/2007POIT5034.
Повний текст джерелаThe object of this thesis is to restore the essence of Maurice Merleau-Ponty's philosophy. He was an inexhaustible reader able to apprehend and make a personal adaptation of the concept of the body drawing from both traditional philosophy and the non philosophical works of writers, poets, artists, anthropologists, psycho-pathologists, linguists, historians, theologians. . . All interprets of our modern times. His first 'Phénoménologie du corps' was published in 1945. . . Then he came to hands with world events (W. W. II, the occupation, the resistance, the liberation of Paris), and his role as editor in chief of "Les Temps Modernes". He later became involved in politics, wrote numerous essays, gave many lectures and thaught philosophy in high schools and at the Universities of Lyon and the Sorbonne. In 1952, at the early age of 44, he had the privilege of being elected to the 'Collège de France' following in the footsteps of Bergson and Lavelle. In only eight years he resumed the cogito of Descartes and the 'impensé de l'union de l'âme et du corps', and went on to other major works of M. De Biran, Hegel, Husserl, or Heidegger and also of Freud. Thus he remodelled "le métaphysique dans l'homme" and laid down the fundations of an Ontology of the flesh. This materialized in his wonderful booklet "L'Oeil et l'esprit" and in his most extraordinary work "Le visible et l'invisible" that was published after his death. His "Philosophes célèbres", a major work that he conceived and directed, should also not be forgotten. Today, fifty years later, M. Merleau-Ponty, mainly by his 'vision of the body' and his 'broadened reason', has become a 'classic' in the study of philosophy. This is what we will endeavour to demonstrate via the 'reception' of his works by his peers in France and by his philosopher or psychoalanyst interpreters
Ouriachi, Katia. "Si la philosophie m’était contée : figures de philosophes dans les fictions narratives contemporaines." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL168.
Повний текст джерелаThis thesis analyzes the renegotiation of the relationship between literature and philosophy in narrative fiction at the turn of the 20th and 19th centuries, through the representation of philosophical figures. These figures, which the author sees as objects of value, reveal a claim to the cognitive scope of fiction and the proximity of novelistic thought to philosophical discourse. In the 20th century, the philosopher was the foil of the artist, the thought of the novel took shape against him, manifesting itself in fictional essays. Today, while philosophy is increasingly staged and valorized within fiction, theoretical developments in fiction are rarer. Fiction thus asserts that its own regime of veracity lies in its capacity to imagine. Staging philosophers allows to articulate living and thinking. By emphasizing the story of the philosopher's life and actions, fictional narrative brings philosophical thought down into the realm of sensible experience, and puts it to the test. Literature is often presented as the place where discourses of knowledge come undone. But contemporary texts are part of a form of thought that is enriched by its proximity to philosophy. A dynamic relationship between philosophical discourse and the thinking of the novel is emerging. Where the novel of the previous century thought against philosophy, today's novel thinks with philosophy. Renewing the dialogue with philosophy, the narrative renews its own aesthetic. Contemporary authors are forging original narrative forms to tell the story of philosophy, rather than to expound it
Courtinat, Nicolas. "Philosophie, histoire et imaginaire dans le Voyage en Orient" de Lamartine." Clermont-Ferrand 2, 1999. http://www.theses.fr/1999CLF20012.
Повний текст джерелаPrunet, Anne Gwenn Marie. "Victor Segalen, Alain Daniélou, Michel Leiris, Nicolas Bouvier : poétiques du voyage au XXeme siècle." Paris 8, 2007. http://www.theses.fr/2007PA083326.
Повний текст джерелаHow to describe traveling on the 20th century? The genre of travel story implies a fundamental paradox: it lies between the expression of a necessary subjectivity and a reference anchoring, which highlights during the century which witnesses the questioning of the definition of the subject. Consequently, a travel work emerges and expresses the need to instill beyond the criteria which have been defining the genre of traveling until now. These four authors contribute to this questioning as well as a remodeling of the constants of the genre of traveling, while expressing in a dialectical way: between native land and the target countries; between oneself and the other. They also propose some patterns consistent with the poetics of traveling: archaism, closed spaces, incompleteness, death – reexamining the concepts of time and space, which influence the structure of the works as well as the language in use
Smadja, Isabelle. "Images et usages de la folie dans le théâtre contemporain." Paris 10, 1998. http://www.theses.fr/1998PA100071.
Повний текст джерелаPeigney, Jocelyne. "L'idée du neuf dans la pensée grecque d'Homère à Platon." Rennes 2, 2001. http://www.theses.fr/2001REN20017.
Повний текст джерелаThe introduction distinguishes between our question of progress; the subject of this work is what makes the new possible according to the Greeks and how it is understood in the ancient thought. The study of neos and the other words of the family in context leads to the analysis of a complex idea of time. The movements that can be observed in the sky and the rythm of life provided a basis for the vision of a segmented time, which was also seen as the succession of the different configurations of the things ; the ancient conception of change is dictated by both aspects. Thus, neos means "fresh", "young" and "new" in the varying combinations of the things, indicating the arising of what was not visible, individual differences, the first stage of an expected development or the end of what was established. With the study of kainos and family we come to spatial images. The sources of what is strange, unknown, upsetting, in every sense of the word, or surprising could be found in the juxtaposed spaces of the compartmentalized world. All these conceptions, with sometimes very different ways of expression, still prevailed in Greece in the first part of the 4th century B. C; the authors' claims to make or to say something new, the discussions which developed at the ebnd of the 5th century, the constructions of history must be interpreted as linked to them. Lastly, the gap between the ancients'thought and ours is clear in the conception of the heurema, "successful action" or "institution", establishing and delimiting variation, and in the meaning of heurisko, " to get ", " to produce ". Even if the traditional presentation of the heurema is altered in the chronological catalogues, at the end of the 5th century,, as that of the heuretes, " invention " is still perceived by the Greeks as an individual initiative, as an answer to a particular problem, as human action facing circumstances
Moitsinga, Norbert. "La critique sociale dans la littérature congolaise d'après 1960." Université Paris-Est Créteil Val de Marne (UPEC), 1989. http://www.theses.fr/1989PA120006.
Повний текст джерелаRodrigues, Thiago [UNIFESP]. "Phénoménologie critique, littérature et philosophie: une incursion dans les premiers textes de Sartre." Universidade Federal de São Paulo (UNIFESP), 2012. http://repositorio.unifesp.br/handle/11600/9935.
Повний текст джерелаO escopo desta dissertação consiste em apresentar e analisar a maneira pela qual se estabelece a relação entre literatura e filosofia na obra de Jean-Paul Sartre. Para tanto, tomar-se-á como principal referência alguns textos do jovem Sartre, em especial, o ensaio a Transcendência do Ego e o romance A Náusea. O método heterodoxo de buscar apoio tanto na obra teórica como na obra ficcional do autor justifica-se diante da necessária relação de interdependência que estes dois registros adquirem na obra do autor. Em decorrência, é imperativo analisar também algo do necessário desdobramento ético que esta concepção acarreta. Posto isto, cabe frisar que o percurso a ser percorrido vai da análise do texto filosófico acima mencionado, passando pela relação entre criação ficcional e reflexão filosófica e culminando com a retomada de toda a problemática desenvolvida durante o trabalho, porém, sob perspectiva literária e ética.
TEDE
Chalard-Fillaudeau, Anne. "Rembrandt dans l'histoire de l'art, la littérature et la philosophie européennes depuis 1669." Paris, EPHE, 2002. http://www.theses.fr/2002EPHE4032.
Повний текст джерелаThe existence of a Rembrandt-mythology and the importance of the meanings related to the name and work of the Netherlandish artist arouse a certain number of questions about his belonging to the European cultural landscape, and more specifically about his representations. Thus, studying the way Rembrandt is referred to in European art history, literature and philosophy enables us to understand why Rembrandt is a cultural symbol; but it also reveals the extent to which the phenomenon of the symbolical -valorization of the artists and works is determined by the different cultural fields and by the different cultural areas; and, last but not least, it enables us to grasp the acknowledgment and representation of genius through Rembrandt, a major concept as it expresses a European specificity, a universe of cultural representations that revolves around the ideas of creation, freedom, being and universality
Journolleau, Elisabeth. "Le voyage dans l'imaginaire à travers les oeuvres de : Selma Lagerlöf, "Le merveilleux voyage de Nils Holgerssson à travers la Suède", [de] Franz Hellens, "Mélusine" [et de] Michael Ende, "L'histoire sans fin"." Bordeaux 3, 1996. http://www.theses.fr/1996BOR30051.
Повний текст джерелаSTUBBS, FACCENDINI MARCELLE. "Figures mythiques féminines dans l'oeuvre romanesque de Georges Bernanos." Amiens, 1999. http://www.theses.fr/1999AMIE0011.
Повний текст джерелаAlvarez-Estrada, Georgina. "L'imaginaire de la pierre dans les contes et légendes bretons et galiciens." Grenoble 3, 1995. http://www.theses.fr/1995GRE39009.
Повний текст джерелаThis study about the images of stones appearing in numerous tales and legends from brittany (france) and calice (spain) proves to be an archetypological contribution. From that point of view, a hundred "texts" are analysed in which stones don't only embody the similarities and the close links between two peoples apparently distant as far as their histories and cultures are concerned. Through ages, stones also keep alive the memory of the balance between dream and reality, violence and order, which is essential for individual and social human life. Then images of stones appear as stables, "written" words, which dynamise the human being inciting him to try and get the harmony, the highest wisdom they materialise. Stones are images of the totality and of the beconing springing up again and again. Man takes part in it by an individual experience of intimate and deep thinking. Each contact of the man with the stones can be a renewing instant. During the everlasting quest to unify his being, first of all man must assume the several forms of otherness represented by the images of stones, and then overcome them. To wonder, to spot, to fight against challenges and learn how to accept the idea of inperfection and instalibity in the aim og conquering the perfect balance between his double reality : that is also the tendency of the post-modern man. Works of writers such as le clezio or c. Fuentes give us several examples which show the actuality of the stones images
Brooks, Carlo. "La préemption de l'image dans les romans de Don Delillo." Pau, 1999. http://www.theses.fr/1999PAUU1009.
Повний текст джерелаThe obvious preeminence of the image in the work of don delillo is related here to the notion of preemption of the image considered according to the definition martin heidegger gives to the image: the "image" is not a copy of what is but the way in which the latter is made calculable by the preemption of all that does not fit into a coherent pattern. Weltbild (the world image) is not an image of the world but the world seized as an image. Likewise, in delillo's novels, america is seized as an image: his characters search a coherence in the image while regretting the faults, incidents and dangers of the "full picture". The preemption of the image is next examined with respect to language, notably the way in which the signifier pre-empts the signified and comes to view as an image free from meaning and reference. Lastly, the preemption of the image is analyzed in its relationship to nature. Delillo's characters seem to want to discover a nature undetermined by man. However, our ability to discern the natural is vitiated by a self-referring element which seeps into events and the self. There is also a "natural" preemption of the image in delillo's work, i. E. The heideggerian readiness-at-hand (zuhandenheit). Delillo's characters want to pierce through the preemption of readiness-at-hand, seize that which lies before them as a "natural" object. Yet this longing for a superhuman perspective is nothing more than the wish to pre-empt whatever is in the heideggerian sense of the image
Kadar, Ali Diraneh. "Regards croisés entre Français et Djiboutiens dans la littérature de 1836 à nos jours." Limoges, 2005. http://www.theses.fr/2005LIMO2003.
Повний текст джерелаSabot, Philippe. "Pratiques d'écriture, pratiques de pensée : le statut philosophique de l'expérience littéraire du suréalisme à nos jours." Lille 3, 1999. http://www.theses.fr/1999LIL30002.
Повний текст джерелаTabuteau, Nicolas. "Crises et persistance du lyrisme dans la poésie de langue française (1960-1990)." Paris 10, 2008. http://www.theses.fr/2008PA100057.
Повний текст джерелаIn an unpropitious historical, literary context, french language poetry into 1960 and 1990 – thanks to, for one or among others authors like Philippe Jaccottet, Jacques Réda, Lorand Gaspar, Guy Goffette, Lionel Ray, Jean-Michel Maulpoix, James Sacré, André Velter, Andrée Chedid, Anne Perrier, François Cheng – could maintain strong links with a lyrical tradition, with the orphic Way/Voice. Interrogating on new basis, the relation between the subject and the world, his “figures” sometimes diffracted to the extreme, lyricals poets have tray to traduct the expression of lack, failing of being, unrealibility of words, in a singing-phrasing frequently a minima. In this way, they have had the possibility of, beyond the thickest darkness, find again “breaks” , remains, sparing “brightnesss”, “fragments” (?) of a “Sublime” close to intimacy, nay to nothing, to Wide. The methodologicals basis – stylistic, literary criticism, phenomenology, linguistic and psychoanalysis – of the present work permit to study how lyricals of this period could elaborate original texts where integrate elements from genesis of the poem as well as the reality, “recreated”, lyric because abounding in his multiple concordances/discordances. “In the interstice”, “Between” singings and “misinsgings”, inside-outside, from miseries to marvels, from “summits” to “abysses”, from “width”, “open sea” to “shore”, on the “alchemy of live and died”…, the lyricism, “critical”(on both meaning) could, during this “time”, in spite of those crises, mercy to them, amongst the whirl of contraries, find a way to express how much each fall contain the very beginnings of a revival
Kislov, Valéry. "Jeu et contraintes dans la création contemporaine." Paris 8, 2005. http://www.theses.fr/2005PA082677.
Повний текст джерелаThe dissertation is devoted to 'writing under restrictions' in fiction in general and in the French literature of the 20th century in particular. This mode of writing dates back several centuries and is defined as a number of specific formal rules, or restrictions, that an author adds to the existing linguistic and cultural norms, and deliberately and systematically follows in his/her writing of a work of fiction. These restrictions are analysed in a number of aspects – from specific rhetorical devices to global artistic concepts, – and within the context of various disciplines and cultures, which allows to treat these limitations as a formalist aesthetics in its own right. The dissertation studies various approaches to interpretation of restricted writing, defining the status of the text, the author and the reader, as well as the place and the role that is given to this kind of literature in the contemporary creation. Restricted writing, as it appears, is both a source of inspiration and a word game, moreover, it also turns out to be an instrument of dissent and subversion, a tool for liberation and a way of spiritual quest
Sabathier, Audrey. "Le sujet en perdition ou le devenir entropique dans le roman moderniste britannique." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10137.
Повний текст джерелаAinseba, Tayeb. "Entre littérature et philosophie : l'Homme est-il un animal politique : physique de la misanthropie." Perpignan, 2013. http://www.theses.fr/2013PERP1219.
Повний текст джерелаHow can one grasp, starting from the study of he theme of misanthropy -, what ceates truncation and / or continuity in the relations between literature and philosophy ? Where does one situate the threshold between these two disciplines ? When do both become one ? The interest of this research is to free misanthropy from the theatrical sphere in which it has somehow been immured, for the past years, by the tradition of the "Agrégation" in French Language and Literature. By concentrating on novels rather than on plays, one notices that misanthropy of the Cnémons, the Alcestes, etc. , is somewhat dangerous for the Polis given how these misanthropists dream of living out of the social game ; the active misanthropists of Huxley and Orwell are more active, diferently, since their political project consists of bringing Man back to the stage of baboon. Isn't true misanthropy that which annihilates, as a misologist, collective culture to prevent the development of all personal culture ?
Nakhutsrishvili, Luka. "L' écriture du corps entre philosophie et littérature : une lecture de Corpus de Jean-Luc Nancy." Perpignan, 2013. http://www.theses.fr/2013PERP1137.
Повний текст джерелаThe subject of the thesis is the project of the writing of the body as outlined in Jean-Luc Nancy’s book Corpus. Nancy affirms the necessity of resistance against the tendencies inscribed within the Occidental culture to interiorize and, hence, to erase the exteriority of the body, i. E. The very materiality and fragmentarity of existence as well as the impossibility of its subjection to a totalizing existential meaning. Since Nancy identifies the mentioned tendency both in the philosophical discourses and the literary narratives of the Occident, reproaching them with the systematic transformation of bodies into signs or incarnations of some spiritual principles, he envisages a writing of the body that would go beyond both modes of articulation by fragmenting them and depriving them of all linearity and unity. Now, Corpus sees itself uniquely as a project of a new writing jet to be realized. Therefore, the present thesis discusses not only the philosophical implications of this work (especially the influences of Derrida, Barthes, Heidegger), but also its (anti)literary potential as it can be thought in light of the project that is the realized book called Corpus
Fée, Armelle. "Canon littéraire et identité indienne : l'écriture métisse." Paris 3, 2000. http://www.theses.fr/2000PA030049.
Повний текст джерелаNoetinger, Elise. "L'imaginaire de la blessure : étude comparée de Le renégat ou un esprit confus d'Albert Camus, de Voyage au bout de la nuit de L.-F. Céline, de Light in August de William Faulkner, et de The snows of Kilimanjaro de Ernest Hemingway." Grenoble 3, 1996. http://www.theses.fr/1996GRE39050.
Повний текст джерелаThe coherence of what can appear as an incongruous collection is based on a recurrent image constituting the object of the thesis : the wounded body. It allows to explore, in the first stage of the research, the "phenomenology of the wound", based on the theories of gaston bachelard and gilbert durand. This first stage enables an investigation into the relationships between the body and the environment as a powerful means of symbolization in the texts. The second stage involves a deeper exploration into the relatioships between the characters of the four texts, and the structuring forces of the imaginary of the wounded body, on an individual, interindividual, and collective basis. It leads to an interrogation about a new form of initiation for the characters involved in the wounding process. Findings from the above leads to a third stage of research, namely the study of the "writing of the wound", investigating its technical tenats as well as its metaphorical, that is "cognitive" potentialities, as paul ricoeur would put it
Gardini, Michela. "L'imaginaire urbain dans la littérature française fin de siècle." Grenoble 3, 2003. http://www.theses.fr/2003GRE39048.
Повний текст джерелаVallespir, Mathilde. "L'exorcisme produit par des oeuvres poétiques et musicales de la guerre et du direct après-guerre : 1939-1945." Paris 4, 2003. http://www.theses.fr/2003PA040211.
Повний текст джерелаThe objective of this work is to circumscribe an "agencement" (arrangement) of specific art: the exorcism produced on a receiver by musical or poetical works from the Second World War and the immediate after-war period by R. Char, H. Michaux, O. Messiaen et A. Jolivet. When encountering these works, the receiver exorcises the war-related violence by confronting the negation of the other characterising Auschwitz with the advent of another entity rising from the perception conditioned by these works. Such a perceptive "alterisation" rests on a contradictory functioning of perception, which de-constructs itself whilst happening, and which blurs perception. In a first part, we set the theoretical basis for our approach, by encircling the specificity of music and language based on a criticism of association usually made between both of them. We then analyse the mere "agencement" of exorcism by describing its fundamental manifestation - the process of "brouillage" (confusion) - in a second part. We define the semiotic sources for this process which are specific to language and music, as well as its manifestation more distinctively perceptive in both systems, through its power of de-construction and des-involvement. That way, we manage to define the "brouillage" as a monstrous "agencement". The last part of this work is dedicated to the reinsertion of this "agencement" into the more general "agencement" of exorcism. We show how the "brouillage" can change to "alterisation", with the reading of metaphor itself changing into the creation of a hetero-universe of belief, and the paradox into "hetero-dox", when listening operates along benchmarks which are marginal compared to expectations. To conclude, we propose a general modelling of the "agencement" of exorcism as a way of substituting to the other, as a challenge to the violence of History