Дисертації з теми "Écrivains – Dans la littérature – Grande-Bretagne"
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Gheeraert-Graffeuille, Claire. "La cuisine et le forum : images et paroles de femmes pendant la Révolution anglaise (1640-1660)." Paris 3, 2000. http://www.theses.fr/2000PA030124.
Wiart, Stéphanie. "L'écrivain-personnage dans la littérature grand public de l'entre-deux-guerres (Royaume-Uni, Irlande)." Electronic Thesis or Diss., Université de Lille (2022-....), 2024. http://www.theses.fr/2024ULILH013.
The PhD thesis examines the way the fictitious writer is represented in interwar popular (middlebrow) literature (United Kingdom, Ireland). The analysis first tackles the characterisation of the fictitious writer, particularly the way the public image of highbrow and middlebrow writers is depicted in the middlebrow novel ; additionally to this, it studies the way the fictitious writer himself characterises the other characters he encounters, turning them into types. It traces how the indiscreet behaviour of fictitious writers within the plot turns out to be a professional quirk, in the sense that they still behave like writers while they are part of a domestic-related plot focusing on abidance by the rules of propriety. It is one of the aspects taken by the recurring phenomenon, within the primary corpus, according to which the domestic-related plot actually relies upon a metafictional subtext. Finally, the thesis aims at highlighting the recurring dramatisation, within the middlebrow novel, of the authorship of non-writing secondary characters ; it consists in showing that some of the secondary characters met by the fictitious writers are implicitly equated to professional writers, because what seems to be their trivial activities, belonging to the domestic realm, turn out to be metaphors of writing. The uncovering of this phenomenon relies on a detailed analysis of the texts, in an attempt to move beyond the subject of the plot in order to focus on the metafictional metaphorical meshing of the middlebrow novel
Miramon, Denyse. "Les auteurs français du XXe siècle devant la grande ville américaine." Bordeaux 3, 1990. http://www.theses.fr/1990BOR30024.
This dissertation studies the various perception and analytical modes of the larger cities in the writings of twentieth secular century french writers. Part. One : looks at the forms of discourse that bring out the various writers'attitudes towards their discovery of the city. . The character of their vision is then studied in its manifest aspect for cach of them. Finally the elaboration of the writing from the moment of discovery is discussed, which bring us to differentiali between various periods from 1900 to 1945 writers are clearly admirative ; from 1945 to 1960, poetry and lyricism are the dominant modes. Over the last twenty years, fiction seems to become the essential approach to travel literature, leaving room for a thoroughly new approach to the larger american city, linked to the developments of contemporary thought
Williams-Wanquet, Eileen. "Les romans d'Anita Brookner de 1981 à 1992 : l'écriture de la subversion." Montpellier 3, 1996. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/H/99_wanquet.pdf.
Anita Brookner's novels have been called "mills & boon for bluestockings" and are usually set in the tradition of the conventional realistic novel by critics, who qualify them as "pre-modern" and "decidedly non-experimental”. The novels do present the outward signs of classic realist texts by their use of conventional methods to represent reality. However, beneath this deceptive appearance, another text can be discerned, as suggested by the various forms of intertextual ity used. Brookner's novels pose as traditional realism, using the latter's conventions to undermine its philosophical principles from inside. The premises of realism are pushed far enough to remorselessly lay bare the illusions it conveys. This subversive text is "modern" by way of its pessimistic, ironical vision of the world. Brookner's modern parodies denounce the ideology behind traditional realism, showing that christian virtue does not win out in the amoral twentieth century, in which neither god nor reason can be relied upon. But, not content with dismantling the traditional novel's message of comfort, the author lays bare the sterility of a purely ironical vision, which, in its turn, gives way to a metaphorical text, the manifestation of an abstract circular structure which re-introduces a mythical poetic world-view of the unending circularity of life. The novels are postmodern by their metafictionality, by their questioning of the very nature and existence of reality, by their self-reflexivity, which is a direct consequence of their autobiographical aspect. The writer, at one with her narrator focaliser heroine, uses literature itself to explain how her life has been "ruined by literature”. But, even if writing allows her to re-edit her life and to survive, it cannot cure her melancholy and she seems condemned to keep on writing the same novel
Ndiaye, El Hadji Malick. "Éthiques et poétiques auctoriales : le dire de l’auteur francophone face aux idéologies de l’appartenance : Bretagne, Québec, « Afriques »." Rennes 2, 2008. http://tel.archives-ouvertes.fr/tel-00269043/fr/.
After having revisited the concept of authorship and analyzed the highly polyphonic and multicultural vocation of the francophone discourse, this work, focusing on three geographical areas (Brittany, Québec, Sub-Saharian Africa) and three authors (Pierre-Jakez Hélias, Félix Leclerc and Cheikh Hamidou Kane), examines the tension between the moral duty of belonging to a minority culture and the universality of the literary project. First, a study of Pierre-Jakez Hélias shows the underexamined biculturalism of some French populations and the uneasy identity of the author in a “French Francophone” context. Then, through Felix Leclerc 's writings, I question the Quebecois author's wor k, whose troubling ambiguity is not entirely accounted for by the myth of a bipolar opposition between English and French. Finally, with the study of potential identities in Kane’s novels, I discuss the evidence of a homogeneous black African identity, in order to better assess the relevance of a manifold reading of African cultures in literature. Ultimately, this work demonstrates that Francophone authors are ethically free to overcome biological constraints so their work can bear the hallmark of an assumed “alterculturality”
Loarer, Tristan. "Broadelouriezh en IIIde Emsav : évolution de la notion de nationalisme dans la littérature écrite en langue bretonne de 1954 à 1970." Thesis, Rennes 2, 2022. http://www.theses.fr/2022REN20010.
The decade following the end of World War II failed to rebuild, in Brittany, the popular emulation that certain “nationalist” militants could have wished for around the question of the specific Breton identity. However, between 1954 and the turn of the year 1970, a real transformation took place in the perception that the Bretons themselves had of their own identity. This perception is questioned, redefined, it is structured and induces the design of tools which uses will later mark out the political, social and cultural demands that will result in the important post-1970 cultural and social revival. This national discourse, from a nucleus of Breton activists, will gradually spread to a large part of the Breton population, Breton speaking people or not. The relevance of the notion of nation to Brittany has long been supported, argued as well as criticized and fought in the context of a “one and indivisible’’ French Republic. The object of this research work is to shed light on the evolution of this notion, with regards to the analysis of an exhaustive corpus which only includes literary works in the Breton language written during the chosen period, whatever the places or the periods of writing and publishing. It will therefore be a question of defining the criteria of what makes literature a regional, national or international subject. This dissertation proposes to analyse these writings on what sometimes appears to be a simple attachment to the territory, sometimes to be the reflection of more emancipatory political approaches, akin to the wave of decolonisation that is overwhelming the world in this second half of the twentieth century
Quénu, Benjamin. "Culture et politique dans l’Ouzbékistan soviétique de la Grande Terreur au Dégel (1937-1956) : l’Union des Écrivains de la RSS d’Ouzbékistan, une expérience de cogestion du pouvoir et de construction des imaginaires politiques." Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100034.
The present dissertation explores the interactions between culture and politics by focusing on the history of the Soviet Writer’s Union of the Uzbek SSR and the fate of the writers who ruled this institution during the second Stalinism. Analysing these relationships as a form of co-ruling, the study sheds light on the conditions of production of the literature, on the changing ratio of power between the institutions, and on the public role of the writer after the Great Terror of 38-39, which leads to the decimation of the cultural elites, ans especially of the Muslim reformists. Surviving writers have to use new strategies to re-stablish a continuity in literature, like using propaganda productions to rehabilitate literary genres. During the world war two, the evacuation of industries and intellectuals reinforce the power of the Soviet Writer’s Union, as Tashkent is becoming a prime cultural centre. The writers nationalise and give a new meaning to the political imaginary of the Soviet Union, giving birth to an hybrid culture, which go far beyond the Stalinist project of “national in form, proletarian in content”. Finally, the study analyses the late Stalinism at the light of the local reinterpretations of the repressive Soviet literary politics from 1945 to 1953. Shedding light on the conflicts between institutions and factions, the study shows the singular character of this period, as the nationalisation of imaginaries and language is reinforced whilst the centre aims to regain power on this territory and wants to establish the primacy of Russian culture. The study ends with the resolution of this tension in a new episode of terror. The nationalisation of the culture is then suspended until the Thaw
Garcia, Moratinos Pilar, and de Salas José Pellicer. "Un florilège courtisan dans l'Espagne baroque : étude et édition de l'Anfiteatro de Felipe el Grande de José Pellicer (1631)." Paris 4, 1999. http://www.theses.fr/1999PA040142.
Gouthe, Glenn. "Xavier de Langlais et la langue bretonne : création, sauvegarde, transmission : étude de la place du breton dans la vie d’une personnalité bretonne du XXe siècle." Thesis, Rennes 2, 2021. http://www.theses.fr/2021REN20051.
How did Xavier de Langlais participate in the life and survival of the Breton language during the 20th century? Breton personality, member of the Seiz Breur, he is a direct witness of the upheavals then affecting the Breton language and gradually leading to its decline. His artistic activity, such as his paintings, engravings, illustrations and even his frescoes have made him famous in Brittany and beyond. His work in the Breton language and in favour of it is less well known. This study attempts to understand the link he had with the Breton language and his activism in favour of it. He took it upon himself to learn the Breton language in a non-breton-speaking family background. He composed poems, novels, short stories, plays. He actively participated in the main literary journals of the time such as Gwalarn or Dihunamb. He took interest in the language of his environment in Vannes country by collecting songs, tales, phrases, proverbs in the field, in the region of Surzur. He fully embarked on a spelling reform which had become essential in his eyes so that the language could be taught in the school system and thus allow a transmission to future generations
Aumercier-Vial, Claire. "Fêtes et littérature en Grande-Bretagne aux XIVe et XVe siècles." Paris 4, 1999. http://www.theses.fr/1998PA040282.
Arru, Francesco. "La Vita Nova de Dante chez les écrivains de la deuxième moitié du XIXe siècle, en France, Italie, Grande-Bretagne." Paris 4, 2002. http://www.theses.fr/2002PA040201.
Soubrenie, Elisabeth. "La poésie de la solitude en Grande-Bretagne au XVIIIe siècle : 1725-1785." Paris 3, 1993. http://www.theses.fr/1994PA030135.
In prosperous 18th-century britain the right for the individual to leave society for solitude was much debated. Through cross-currents of philanthropy and misanthropy, the response of poetry from 1725 to 1785 was manifold. Not only did the enjoyement of intellectually fruitful solitude develop on physico-theological lines (thomson), but also a growing awareness of the pleasures of melancholy (t. & j. Warton). Searching the limits of solitude through gentle or sublime nature (excursion poets, thomson, cowper), man was soon faced with the infinite (young, hervey), before collapsing beyond a point of no return. Disarray was stressed by religious questioning : was solitude an ordeal toward reunion with fod, or a token of man's alienation from god's grace ? despite the fear of madness and the appeal of suicide, the fall into the abyss of isolation was counterbalanced by a somewhat recevered sense of the self as a reliable centre, beyond loomng nothingness (graveyard school), landscape gardens also sheltered the quest for a decent aurea mediocritas (gray) within the great chain of being the poet could laugh off his fear into; poetry-writing (green), but poetry could also be the work of madness (smart), unless it remained framed by neoclassical poetic diction, turning solitude into a paradoxical tutelary presence
Monacelli-Faraut, Martine. "La tentation primitiviste dans le roman utopique anglais de 1872 à 1962." Nice, 1987. http://www.theses.fr/1987NICE2021.
An enduring tradition of thought holds that man is naturally good and that he was meant to live in harmony and symbiosis with nature of which he is part and parcel. In the century when science opens prospects of infinite progress to man he still longs for a remote past and convinces himself that he should revert to a simpler way of life in order to achieve happiness. Many utopists wish the advent of a regenerated man, living in a purified environment transformed by the revival of handcraft and agriculture, capable of living in society without any political institutions. One will find that various legends and myths as well as the theories of influential thinkers have played a great part in the elaboration of the utopian projects. The anti-utopian novels display a similar fascination for this philosophy of history which leads us to think that the primitivistic temptation goes beyond the cult of nature and the past to answer a metaphysical quest which puzzles over man's place in the universe, his essence and his destiny
Wagner, Hans-Peter. "Erotisme et litterature en grande-bretagne et en amerique a l'epoque des lumieres (1700-1800)." Paris 3, 1986. http://www.theses.fr/1986PA030145.
After a discussion of the meanings and definitions of several central terms, such as eros, erotica, obscene, and pornographic, this thesis provides an impression of the large field of erotica which circulated in eighteenth-century england and america. Its approach had to be interdisciplinary because the erotic writings from the age of enlightenment include not only literature, but also scientific treatises, para-medical works, political satire, and erotic art. The various chapters of this study deal with the erotic works produced in the areas of medicine, quackery, and sexology (i); anti-religious works of an erotic or obscene character (ii); satirical texts attacking aristocrats (iii); reports of trials for adultery as a form of the "chronique scandaleuse" (iv); marriage and the war of the sexes (v); erotic and pornographic prose and poetry (vi and vii); graphic erotica (viii); and the erotic writings imported and produced in early america (ix). The results of the research suggest that the idea of the enlightenment, despite a growing and remarkable interest in the discourse on sex, made rather little progress at the level of popular erotica. There was even a sort of osmosis of sexual cliches between eighteenth-century erotica and high literature. This osmosis provided the basis for the development of what could be termed a "mentalite sexuelle. " the detailed and extensive bibliography, with several sections listing classical, german, french, and anglo-american sources, as well as the illustrations of this study (volume ii) make it a fundamental work that will facilitate future research in the area of eighteenth-century erotica
Leishman, David. "Nouvelles figures de l'identité écossaise : représentations de la scotticité dans les œuvres de fiction, 1979-1999." Grenoble 3, 2005. http://www.theses.fr/2005GRE39022.
Between 1979 and 1999, Scotland experienced a period of political, economic and social upheaval which gave rise to intense debate about the nature of Scottish identity within the British state. At the same time, Scottish literature enjoyed a period of creativity and dynamism which led numerous commentators to talk of a second Scottish literary renaissance. This literature, by favouring urban settings and the contemporary era, and by openly displaying its politicisation, is a key locus for these questions of identity. The main objective of this thesis is therefore to study how literature contributes to the construction, criticism and reinvention of a Scottish national identity. Informed by works which consider the nation as products of discourse shaped by culture, and thus by literature, we seek to analyse the ideological nature of the literary text. Its textual dimension, however, remains vital since the social meaning of the work of fiction will only reveal itself through the study of its lexical, semantic and narrative choices. For example, it is through the representation of madness, dependence and exile that Scottish literature contests the dominant neo-liberal discourse or the British sociolinguistic hierarchy. Despite their often militant nature, these works can in no way be reduced to mere political pamphlets, as they remain marked by tensions, contradictions and ceaseless questionings. By confronting identities that are ahistorical and essentialist, many authors stress the validity of Scottish identity while, at the same time, stressing its conventionality, plurality and ambiguity
Herbaut-Archer, Dany. "Représentation et écriture de la judéité dans la fiction du dix-neuvième siècle, en France et en Grande-Bretagne." Lille 3, 2011. http://www.theses.fr/2011LIL30042.
This representation and the writing of Jewishness in XIXth century fiction in France and in great Britain display the imagology of the Jew through known texts and pave the way for additional research susceptible to draw attention, to novels forgotten today. The works of the corpus reveal the interest shared by various authors, wether anti-semitic or not, in a representation of Jewishness to which they want to testify. The works sometimes bear a documentary value when the story is inspired by reality and by the contemporary press, but all of the novels keep the status of fiction whic allows the reader, wether Jewish or not, to recognize himsel in characters as diverse as possible and which symbolize exactly the variety of mankind. The writers used literary devices to denounce or condone the superiority of a religion or a community. Some authors strengthened the depreciative and stereotypical image of the Israelite when others writers maintained a thread connecting the past, steeped in tradition, with modernity, the objective being to act on the reality of their time and to defend and to keep the memory of peoples. The representation of woman in general and the Jewess in particular, her emancipation, or subjection, highlights the paradoxical difference between the depreciative image of the Jewish identity, on the role played by the Ashkenazi and Sephardic communities and on the language used by the characters (vernacular language, Hebrew, Yiddish. . . )
Belan, Sophie. "Les identités galloises dans le roman et le théâtre gallois en langue anglaise dans la seconde moitié du vingtième siècle." Rennes 2, 2005. http://www.theses.fr/2005REN20001.
The growing anglicization of the Welsh since the end of the 18th century led to the emergence at the beginning of the 20th century of a Welsh literature in the English-language. This study shows that Welsh writing in English has contributed to the definition and assertion of Welsh identities in the second half of the twentieth century. The existence of an "Anglo-Welsh" literature different from other literatures in the English-language has long been debated. However, the novels and plays studied share common characteristics which give them a specific dimension. It is expressed through a strong sense of place, a deep interest in the life and culture of Welsh communities and a particular concern for the issues of individual and collective identity. By their writing, the authors manage to reconcile the two cultures of Wales and to provide the readers with new representations of the changing faces of Welsh identities
Moisan, Jean-François. "Contribution à l'étude de matériaux littéraires pro et antisémites en Grande-Bretagne (1870-1983) : le mythe du complot juif. Les protocoles des sages de Sion, le cas d'Israëli." Paris 13, 1987. http://www.theses.fr/1987PA131015.
In a difficult social, economic and political context, the jewish community of great britain, from 1970 onwards, was often accused of jeopardizing the stability of the country. In 1920, the publication of the protocols of the elders of zion bore out, for some antisemites this accusation. Widely commented upon in the press, that antisemitic forgery cooked up by the russian secret service to bring discredit upon the jews and to be used for internal political manoeuvring was supposed to expose the scheme drawn up by the jews to dominate the world. Although it was proved in 1921 that the protocols were a forgery, up to now 87 editions have been published in great britain. Based on the most hackneyed stereotypes and on a skilful point of view technique, that book was exploited in many writings that aimed at proving the actuality of the jewish plot. Along with the exploitation of the protocols, these writings claim to give further evidence of the plot by gleaning examples here and there in occult history, in the bible, and in contemporary world affairs. In spite of an apparent logic, the method used by the antisemites can easily be exposed : a hotch-potch of historical facts, a constant use of anachronisms, garbled and falsified quotations. The distortion of part of disraeli's work further illustrates this method. Disraeli, a philosemite, whose racial ideas are quite debatable, is set up as a " prophet " of the jewish world plot by some antisemites
Drouet, Pascale. ""Counterfeiting" : le vagabond et sa mise en scène dans l'Angleterre élisabéthaine et jacobéenne." Paris 4, 2001. http://www.theses.fr/2001PA040108.
In the reign of Elisabeth I, the laws against vagabonds grow in number and advocate harsher punishment such as public whipping and infamy, red hot branding. . . : an extensive punitive system is being implemented to castigate vagrants in a conspicuous way before excluding them from society. .
Briand, Maxime. "L’appel du Nord dans le romantisme britannique : étude d’une dynamique géoculturelle en littérature." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV015/document.
The idea of the North appears in diverse forms expressive of a real geo-cultural magnetism that gave birth to many myths and ideologies. The second half of the 18th century in Great Britain was the theatre of a battle for cultural primacy between Celticism and Gothicism, which ended up coexisting in virtue of a certain northern congeniality. Beyond the conventional romantic formula, the call of the North was a crucial dynamic in the emergence of a British Romantic literature. What’s more, this marked interest for the northern space, symptomatic for many of a rejection of the South epitomized by revolutionary France and the emperor Napoleon, tends to reinforce our conviction as to the reality of the call of the North in British Romanticism. However, the scope of such a phenomenon was hardly restricted within the British isles and extended to the Nordic and Arctic regions. Let us finally remind that the aim of this latitudinal study has never been to provide a narrow definition of Romanticism, but more of a geo-cultural reading of the movement, directed by the idea of the North as featured in the national identity-making process of Great Britain
Renaud, Jean. "Les archipels écossais dans la littérature norroise." Paris 4, 1986. http://www.theses.fr/1986PA040012.
Stepping stones of the viking expansion towards west, the scottish isles (shetland, orknney, hebrides) occupy a good place in old norse literature (sagas, scaldic poems). Among the numerous sources, there are especially orkneyinga saga (for orkney) and hakonar saga (for the hebrides). Besides, some poems were composed in the isles. The history of the scottish isles is presented as seen through the norse texts, often compared to scottish and irish sources, and like wise the different elements of civilisation (society, institutions). The scottish isles were at a cross-roads of the scandinavian world, but they also were a meeting-point of two cultures : nordic and celtic
Birgy, Philippe. "Les modernistes anglais : du texte litteraire au fait de societe. les mecanismes sacrificiels et les desirs mimetiques dans la societe de l'entre-deux-guerres et leur expression dans la litterature de l'epoque." Toulouse 2, 1995. http://www.theses.fr/1995TOU20072.
Even more than the turn of the century, the inter-war period has been perceived as a difficult transition from an old world to a new order, when most convictions came under attack of an ambient skepticism. The type of litterature that has been termed "modernist", owing to its often arresting originalty, helps us to account for certain characteristics of the english society over the period. There, we can find the expressions of mimetic conducts (fastly developing at that time), as well as a resistance to their corruptive effects (in the form of a desire to come back to a traditional and strongly hierarchized order partly founded on sacrificial rituals). The study is informed by rene girard's theses. The list of works under study includes thomas sterne eliot ("the waste land", "four quartets", the family reunion), aldous huxley ("the defeat of youth", eyeless in gaza, those barren leaves), james joyce ("couterparts", ulysses), david herbert lawrence (mr noon, lady chatterley, women in love, "the ladybird", the plumed serpent), katherine mansfield ("the garden party" and other short stories), ezra pound (the cantos and some of his early poetry), virginia woolf (orlando a biography, the waves), and william butler yeats
Doussot, Audrey. "A la croisée des genres : masculin et féminin dans la littérature et l'iconographie féériques victoriennes et édouardiennes." Thesis, Dijon, 2011. http://www.theses.fr/2011DIJOL028.
Under the reign of Victoria, the fairy genre, after many years of banishment, is back on the literary scene and introduced as a major source of inspiration for the visual arts. Artists and authors create texts and pictures that turn the depiction of a fantasy world disregarding current cultural and social norms into an opportunity for the exploration of the ideals, anxieties and contradictions of the time. Original texts written for the adult and juvenile readerships keep the age-old tradition of the fairy tale alive, renewing its themes and representations in accordance with the current British tastes. Simultaneously, paintings and illustrations, at a time when pictures take an increasingly prominent place in everyday life and culture, provide the fairy genre with a specific iconography. At the crossroads of text and picture, illustrated literature goes through an unprecedented phase of popularity marked by two periods of golden age, in the 1860s and the 1890s. With its hybrid form, its inspiration derived from the social context and its privileged association with the feminine, the nineteenth-century and early twentieth century illustrated fairy literature is a cultural form most appropriate for the analysis of text/image relationships as well as the gender notions of the feminine and the masculine. Sexuality – the greatest taboo of the period – and gender matters are indeed key-topics at that time and they are all the more relevant in the fairy genre since, not only does it inspire both male and female creators, but, being a minor genre, it is traditionally and symbolically considered to be feminine. And so is illustration, for the same reason. In many respects, Victorian and Edwardian fairy creation is then at the crossroads of a number of notions, both complementary and antagonistic : masculine/feminine, text/image, painting/illustration, art/craftsmanship, high culture/low culture, adulthood/childhood, conformism/subversion, tradition/innovation…. Structured around the idea of an ‘in-between’ status, the present study shall therefore examine the field of literary and pictorial fairy creation as a space in which all these ideas meet through the analysis of fairy paintings, texts and illustrated books. Gender and fairy genre shall be considered jointly as an attempt to define and explore their relationships during the Victorian and Edwardian eras
Wang, Yan. "Les représentations de la Chine en France et en Grande Bretagne au XVIIIe siècle." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30069.
Through the representations of China in the writings of French and English authors during the eighteenth century, this thesis aims to study how that Far Eastern country participated in the intellectual movements taking place on the other hemisphere. The topic being the representations of China, our study is focused less on which is represented (China) than on those which make the representations (France and Great Britain). China is often only a pretext in the writings of that period, allowing the authors to satisfy their exotic taste, or to defend their theses. Therefore, it is not our aim to approve of or to criticize the representations made by the French and British authors. We do not seek to oppose the “true” image of China found in Chinese sources of that period to the “false” or “distorted” image in the writings of Europeans authors, but to show how French and British authors represent themselves so as to build and rebuild their identity, which characterizes the intellectual trend of the Enlightenment. Having no intention to confront the “China in the representations” with the “real China”, we nevertheless make a comparative study of the different representations of China provided by French and British authors, which highlights the different approaches to the Enlightenment in France and Great Britain
Dupont, Jocelyn. "Intertextualité et autorité dans l'oeuvre de Patrick McGrath." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10073.
Avner, Jane. "Topographies du désir : le jardin anglais à la Renaissance et ses représentations dans les textes de l'époque." Paris 13, 1995. http://www.theses.fr/1995PA131024.
Goarzin, Hélène. "De l'ideal a l'organique : la representation de l'histoire dans les romans ecossais de walter scott." Paris 3, 1996. http://www.theses.fr/1996PA030074.
This study of eight of scott's waverley novels analyzes the representation of history and of its various movements. It replaces the works in their aesthetic and philosophical context, and shows that scott's thoughty is at the junction of classicism and romanticism. Through the numerous prefaces that frame his work, he develops a vision of "ideal" history which owes much to neoclassical aesthetic theories. But the hero's journey also shows that history is a field of experience, both for the traveller and for the author. Here scott's models derive from the scottish school of empiricist philosophy and the sciences of his time. In his novels, natural landscape acquire a new dimension. This is where associations (as analyzed by david hartley) take place and allow memories to resurface. Finally, scott gives an organic view of history, as he represents the circulation and exchanges that occur within the social body. The text itself becomes a living body where exchanges take place between the author and his "personae"
Thonneau, Marie-José. "La mélancolie dans le système de pensée médiévale anglais (treizième quatorzième siècles)." Paris 4, 1998. http://www.theses.fr/1997PA040152.
Always referred to as a feeling of great sadness, the loss of all hope, melancholia is the sickness of the heart. In the middle ages, through the attendant theory of humors, melancholy is to be thought about in two ways as a character trait and as a state of mind. As a trait, it amounts to a permanently gloomy disposition. Considered as a psychic state, it is a dysfunction or a malady brought on by a poor mixture of the body humors. The physiological humor theory finds a valid illustration in Geoffrey Chaucer’s poems which exemplify a doctrine of causes and remedies that is its physiology and its medicine. Far from being a historical curiosity, the notion of melancholy is a complex and fascinating species of behavior which is to be anatomized through medical texts, encyclopedic treatises and collections of herbals. The ancients have invested the melancholy disposition with centrality on the wheel of human character: is it relevant to make an antidote of melancholy? Indeed, in any discussion of melancholy's myriad forms, the imagination, its main faculty, is never far out of the picture. No one bothered to write texts, or to write in any detail for that matter, on the choleric or the phlegmatic, probably because they are so clearly what they are. Melancholy is but, if we may say so, a response, to the loss of a sanguine faith in the accountability of the world
Peyroux, Sarah. "Marginaux et marginalité dans la poésie anglaise, 1770-1812." Paris 3, 2005. http://www.theses.fr/2005PA030117.
Outcasts are legion in English poetry of the "pre-Romantic" age. Poor peasants dispossessed by the Agricultural Revolution, prisoners, veterans, deserted women, apprenticed orphans, black slaves capture the sentimental poet's attention, and attract the philanthropic reader's sympathy. All of them are presented as victims of oppression and injustice. On the contrary, rogues, vagabonds and idle beggars are stigmatised: either laughed at, or pictured as a threat for the rest of society. They are opposed to a bourgeois ideal of frugal, industrious, domestic happiness praised by most. However, new aesthetic categories (the sublime and the picturesque), major philosophic trends, such as primitivism, are endorsed by the poets, who borrow simple words and metres from popular culture, extol the noble savage, and conjure up barbaric times. Thus magnified, "marginal men" can become doubles for the poet, and "marginality," the norm of poetic writing. The present research investigates this multifaceted approach to outcasts and outsiders as a turning point in British social, political, cultural and literary history. It focuses on the works of George Crabbe, William Wordsworth, and Robert Burns among others
Kurkosh, Hussain. "La Grande-Bretagne et la Deuxième Guerre mondiale dans les romans et les nouvelles de H. E. Bates (1939-1959)." Paris 4, 1991. http://www.theses.fr/1991PA040129.
Marquis, Philippe. "Etude sur la représentation et l'étendue du pouvoir royal dans Piers Plowman et les trois poèmes inspirés (c. 1377-1415)." Paris 4, 2003. http://www.theses.fr/2003PA040012.
The aim of our thesis is to account of the representation of royal power in four Middle-English alliterative poems (Piers Plowman, Mum and the Sothsegger, Richard the Redeless, The Crowned King). We try and present the much intricate relations between royal power and the different estates of the contemporary English society. This study is divided into three distinct parts : the origin of the function and the nature of royal powers, the relationships between the Crown , the nobility and the national Church, and, in a last part, the government of the monarchical state. Three poems of our corpus have eventually been translated for the first time into French
Alzati, Valentina. "Les contes de Mme d’Aulnoy et leur fortune en Europe (France ; Italie ; Grande-Bretagne ; Allemagne)1752-1935." Thesis, Université Paris-Saclay (ComUE), 2018. http://www.theses.fr/2018SACLV050/document.
In this thesis, the variousaspects of the reception and the fortune of the fairy tales of the baroness of d’Aulnoy at the end of the 19th century are examined, allowing enriching the critical analyses about classical fairy tales and their perception in modern time. In first place, new editions of the tales, printed from from first years of the 19thcentury, until the first years of 20th are examined. The composition of volumes and the shape of the texts make it possible to understand how it is only at the end of the 19th century that Mrs. d'Aulnoy starts to be regarded as a classical author. She begins to be considered as a writer that proposes to the readers original marvelous tales and not a simple rewriter of folk tales. The analysis of the rewritings and the transpositions allows, on the other hand, to understand the role of the baroness and her work in the renewal of marvelous literature at the end of the century. In fact, the complete rewritings of some of its tales present some stylistics features that can be connected with the perverted marvelous, typical of the end of the century. That makes it possible to seize the interest which the authors of this time carry on the figure of the writer. She begins to be perceived as a model, on the same level as Charles Perrault, which justifies the presence of complete rewritings of its work. On the other hand, the presence of some themes and characters that can originally be found in Mrs. d’Aulnoy’s works inside new works allows to better understand the importance of the literary memory in the renewal of marvelous literary genre. In the end, the transpositions for the theater can only be found in the English culture. The tales of the baroness d’Aulnoy which take part in this phenomenon allow a deep renewal of certain genres of the classical theater and the creation of new ones, presenting, for the first time, characters and topics linked to grotesque. This work allows therefore, to stress the range and the importance of the production of a writer which, has been forgotten for a long time and to highlight in which direction its tales contributed to enrich the marvelous at the end of the century
Boraso, Marina. "Enfances victoriennes et edwardiennes : étude sur la place de l'enfant dans la littérature et l'iconographie." Toulouse 2, 1999. http://www.theses.fr/1999TOU20060.
Bigio-Nédélec, Sophie. "Le théâtre "fringe" : un théâtre engagé : expression des problèmes socio-politiques de la Grande-Bretagne : des années soixante au début des années quatre vingt dix." Rennes 2, 2001. http://www.theses.fr/2001REN20043.
We studied the interaction between society, political and economic life in Britain and Fringe theatre. This theatre tried to distinguish itself from mainstream theatre. It wanted to change society. Fringe theatre was created by young British artists and students who believed in the revolutionary spirit born from 1968 in France and who wanted to question the functioning of society and of its institutions. They were usually very commited and their political preference was clearly situated on the left. They were helped by an undergroung press which announced in advance their spectacles and by a young and dynamic public. Some pioneers like Joan Littlewood set the basis for fringe theatre : her aim was to present unknown authors or beginners, to make people from working classes come to the theatre, to write collectively and when possible to make the public participate. The themes of her plays, like many other playwrights of this theatre had to do with current events and the life of the public. The generation of students who had lived the May 68 events (D. Hare, H. Brenton, T. Griffiths, C. Churchill. . . . ) wanted to fight against the society of abundance, to commit in demonstrations like the Vietnam war or the nuclear. Groups considered as minorities (women, black people or homosexuals) made themselves heard with subjects in relation with their groups. They are felt concerned with the political life of Great Britain and would share their daily problems or their description towards government or towards the system they would dream of. The public liked their theatre so much that many of playwrights were recuperated by the established theatre. Then their aims and motivations completely changed. Events like the fall of Berlin wall or the collapse of communism in many countries challenged their commitment. Fringe theatre then lost its strengh
Brogan, Una. "Bicycles in literature : the alternative modernities of human-powered locomotion in Britain and France, 1880 – 1920." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC262/document.
The compelling links between modes of transport and literature have been widely examined from the perspective of the walker, the train traveller and the car driver. This thesis engages with the long overlooked bicycle as an object that actively shapes our interaction with text and provides a unique interface for viewing the world. I assess literary treatments of utilitarian and recreational cycling in a range of English and French fiction, as well as some travel writing and non-fiction, from the turn of the twentieth century. I show how the bicycle became a favoured literary device, allowing writers to do much more than simply make a story appear up-to-date or move a character from place to place; authors used cycle journeys as a means to structure or punctuate their narratives or depict a novel sensory and aesthetic experience. The late-Victorian era saw the emergence of the modern bicycle along with a host of other transport and communication technologies that transformed everyday life. Literature from the early period of the bicycle's adoption shows how this technology contributed in some measure to the emergence of an accelerated, subjective, commodified modernity that the critic John Urry argues defined the twentieth century. Yet this thesis reveals that from the earliest days of its use, the bicycle played a crucial counter-cultural role, proposing an alternative modernity that directly challenged bourgeois, patriarchal, capitalist society. From blurring gender and class divisions, to offering a more empowering interaction with the machine, to allowing an embodied and social experience of space, the bicycle suggested a human-powered route to progress.Mots clefs en français: Littérature anglophone, littératures comparées cultural studies, vélo, technologie, transports, modernité.Mots clefs en anglais: English literature, comparative literature, cultural studies, bicycles, technology, transport, modernity
Monnier, Nolwena. "Arthur dans les chroniques historiques de l'Espace Plantagenêt : émergence, construction et utilisation d'un personnage de légende à la cour d'Angleterre." Marne-la-Vallée, 2003. http://www.theses.fr/2003MARN0178.
Menat, Candice. "Réflexions sur la guerre motorisée dans l'espace européen à travers la presse et la littérature militaire : étude comparative France-Allemagne-Grande-Bretagne, 1919-1935." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM1003.
Through an exhaustive analysis of newspapers and the literature within the public domain produced during the pivotal years 1919-1935 in France, in Germany and in Great Britain, we will chronologically study how transmission channels function in the development of doctrines on the use of motorized forces. During the Great War, tactical deadlocks led to the invention of new weapons like aeroplane and tank, using the dynamic of the engine. We will try to understand the impact on military organizations of the annexation of tanks to a particular army corps. Contrasting with the paradigm of static front lines promoted by the victorious French, British military decide to change tactics. The Germans, longing for revenge, get the most out of this innovation within the limits of the particularly strict clauses in the Treaty of Versailles. We will study how a potentially functional interaction has developed between ground and air battlefields. We will examine the exchanges using particularly the scale of technique, questioning the ability of some officers to impose their ideas in a given social and political framework. As part of the differentiated advancement of professionalization of the army in Europe, we will monitor developments regarding the 'human-machine' relationship driven by questioning the role of the cavalry
Chambost, Christophe. "La Cruauté dans les nouvelles d'Ambroise Bierce : de l'exces à l'aporie." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10048.
Grenet, Sylvie. "Le génie du lieu dans l'aquarelle anglaise (1750-1850)." Paris 4, 2004. http://www.theses.fr/2004PA040041.
The function of the genius of [the] place, whose sacred origin dates back to antiquity, is to preside over a given place and to maintain its sacred and ancient characteristics. The expression "genius of [the] place" reappears in English literature during the 1730s, particularly when the authors describe real places. British watercolours of the Golden Age (1750-1850) also represent real places. The goal of this thesis, based on the study of these watercolours, is to demonstrate that 18th-century artists still keep the sacred alive, even when they represent real places. It also aims to show that the only way for artists to keep the place alive is to deny 18th-century rational thought, which tends to make the place disappear, and to reassert the existence of sacred thought. The study of the relationship between sacred thought and watercolours is divided into two parts. The first is devoted to an overview of 18th-century watercolours (Chapter 1) and of the texts mentioning the genius of [the] place (Chapter 2). The second deals with the analysis of nature (Chapter 3) and history (Chapter 4) in relation to the sacred
Besson, Françoise. "Le paysage pyreneen dans les oeuvres d'ecrivains et d'artistes britanniques du dix-neuvieme siecle." Toulouse 2, 1994. http://www.theses.fr/1994TOU20012.
The aim of this thesis is the study of the pyrenean landscape as seen by british artists pyrenean landscape are analysed in travel books, novels, short stories, poems as well as paintings and engravings. The first part deals with the influence of cultural references on the travellers' perception of the pyrenean landscape. In the second part, the role of the gradual identification of the vegetable and animal worlds and their function in the aesthetic representation of the pyrenees are exposed. The third part is devoted to the discovery of the pyrenean landscape through the observation of the human world. From the aesthetic and historical observation of architecture to the ethnological perception of pyrenean life, those chapters illustrate the role of the human world in the perception of the landscape. And the link between the landscape and language is analysed at the end of this part. In the fourth part of this thesis, the role of the landscape in poetry and fiction, particularly in gothic novels, is analysed. One chapter explains how some of these writers have used the pyrenean landscape in the structure of their works. Finally the last part deals with the spiritual revelation of the pyrenean landscape for those travellers. The traveller's attitude in front of the mountain, the religious perception of the landscape as well as the mountain-climber's quest are analysed in that part
Frénée-Hutchins, Samantha. "La signification culturelle et idéologique des représentations de Boudica pendant les règnes d'Elizabeth I et de James I." Electronic Thesis or Diss., Orléans, 2009. http://www.theses.fr/2009ORLE1104.
This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people. Focusing on both the literary and non-literary texts I aim to show how the frequent manipulation and circulation of Boudica's story in the early modern period contributed to the polemical expression and development of English and British national identities, imperial aspirations and gender politics which continue even today. I demonstrate how such heated debate led to the emergence of a polyvalent national icon, that of Boadicea, Celtic warrior of the British Empire, religious figurehead, mother to the nation and ardent feminist, defending the land, women, the nation and national identity. Today Boudica‘s story is that of a foundation myth which has taken its place in national memory alongside Britannia; Boudica‘s statue stands outside the Houses of Parliament in London as a testament to Britain‘s imperial aspirations under Queen Victoria whilst the maternal statue of her protecting her two young daughters claims a Welsh haven in Cardiff
Hodgson, Andrew. "« Expériences aberrantes » : une lecture de la société dans les romans expérimentaux de la Grande-Bretagne et de la France entre 1945 et 1975." Thesis, Paris Est, 2016. http://www.theses.fr/2016PESC0022.
“Aberrant experiments”: reading society in the novel experiments of Britain and France 1945-1975 contests the reduced position of the experimental novel in the post-war socio-cultural sphere. My thesis situates the experimental novel of the period in Britain and France in a space of critical connectivity that both challenges a number of prevailing critical orthodoxies, and potentially offers new avenues of critical attention within the subject. I also argue that the blind, or appropriative, eye turned to these texts has acted to disjoint them from their potential social reflections, and here try to reposition them within their native atmosphere; thus refind this ground. To such an end, I, with some exceptions, return the experimental novel to its original tenets as set out in 1880 by Émile Zola in Le Roman expérimental as a ‘white cell’ within the ‘social circulus’ that harbours the potential to ‘cure’ society of its ‘delusions’, and develop this schema further. As such, this thesis mimics the processes of experimental medicine; in which its three partitions deal each with a different stage of the experimental treatment of a social illness. In such, the first partition approaches the perception of sickness; where I observe depictions of social relation and cultural presence in the experimental novel, and the symptoms of illness there-in described as issues of history, dominant culture; and indeed the field of critique itself. Following this, the second partition brings the study into the phase of diagnosis of sickness; where the illness itself is diagnosed through a content study of the experimental novel. This then follows to the third and final partition, which attempts to view the experimental techniques employed in order to ‘break down’ these delusions; in essence attempt to indeed ‘cure society’ of the sickness described in the preceding partitions
Campos, Liliane. "Le discours scientifique dans le théâtre britannique contemporain (1988-2008)." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040163.
Over the past twenty years, the discourse of hard science has appeared increasingly frequently on the British stage: quantum mechanics, chaos mathematics, thermodynamics and the natural sciences have provided dramatic material for contemporary artists. This thesis defines the resulting aesthetic, and the new relationship between theatre and knowledge that can be found in the work of dramatists such as Tom Stoppard, Michael Frayn, Timberlake Wertenbaker or Caryl Churchill, and theatre companies such as Complicite and On Theatre. The function of this scientific discourse is both epistemological and poetic: its forms are activated in new contexts, and bring metaphors and narrative structures to a postmodern drama characterised by uncertainty and multiple truths. These discursive transfers are analysed according to the relationship they create with science, which can involve imitating it as a rational model, criticizing it an instrument of power, or importing the shapes and patterns of scientific imagination
Llasera, Margaret. "Représentations scientifiques et images poétiques en Angleterre de 1600 à 1660." Paris 3, 1995. http://www.theses.fr/1996PA030035.
This thesis examines the correlation between scientists' mental representations of natural phenomena, representations that are themselves often images, and the scientific imagery forged by poets who are inspired by the same phenomena; analogy and metaphore are used by poet and scientist alike. In english poetry of the earlier seventeenth century, a period known for its many scientific discoveries, scientific imagery is highly fashionable. The sciences studied here - magnetism, optics, astronomy, meteorology, alchemy and medicine - all deal with phenomena, frequently invisible, that are linked to motion, at a time when classical mechanics is being constituted. "metaphysical" poetry, characterized by the use of complex metaphors (or conceits), is at the centre of our analysis which gives particular importance to the poetry of john donne, henry vaughan, andrew marvell and george herbert, but also embraces the work of other writers, such as george champman, william shakespeare, ben jhonson and above all john milton, insofar as they incorporate scientific imagery into their verse
Ferron-Haghighat, Anne. "La famille victorienne à travers les œuvres de Charles Dickens : entre la réalité et la fiction." Paris 4, 1999. http://www.theses.fr/1999PA040095.
Laurent, Françoise. "Les récits hagiographiques en vers composés en Angleterre aux XIIe et XIIIe siècles : plaire et édifier." Paris 3, 1995. http://www.theses.fr/1995PA030151.
Comparaison of hagiographic stories in verse (passions and biographies) compsed by clerics in england in the xii th and xiii th centuries, with the latin texts xhich by the hagiographers had been inspired. The subject of the thesis is to study how vernacular texts had been adapted to the tastes and aspirations of a secular audience that does not know the latin authorities. The authors and to edify, but also interest and fascinate that public. The objective is to mesure the nature and the function of the modifications, and to judge a possible influence of the former religious litterature (saints'liv es of xi th), and specially of litterature (epic and romantic), as regards the performance and the composition of the texts. The coprus includes 24 textes, and the study is specially about st gilles life by guillaume de berneville
Bouvard, Luc. "Les fils de Dickens : filiation et focalisation dans cinq adaptations cinématographiques des romans de Charles Dickens." Montpellier 3, 2005. http://www.theses.fr/2005MON30062.
The young orphan boy is a central character in Charles Dickens's fictions. The Dickensian texts, as an expression of the times of the Industrial Revolution seem to reflect the protagonists' oedipal quest, which is found in other times when the paternal function is under strain. Indeed, this also seems to be the case during two specific periods of time in the twentieth century, when screen adaptations of his works were numerous: the American Great Depression and the immediate post World War II period in Britain. By comparing three periods of the production and the reception of works (the Victorian era, the New Deal in the United States, and the post World War II Labour Government in Britain), this study aims at investigating the common grounds for a particular taste in Dickens's novels. If social problems are reflected in the individual destiny of Dickens's protagonists, cinema is also included in this sense. Since the cinema is the real inheritor of the Victorian novel, there seems to be a third relationship in the film adaptations of Dickens's novels. Are the adaptations in this study true to their sources? Or have they reached some sort of autonomy? Do they reflect their own production times? Concerning inheritance or a point of view at the time of their production, there is transmission and repetition, but differences are also revealed. In which ways do the films in question adapt these specific points? This study is an attempt to find suitable answers to these questions
Quinn-Lautrefin, Róisín. "Through the "I" of a needle : needlework and female subjectivity in Victorian literature and culture, 1830-1880." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCC278.
This thesis deals with the question of needlework in Victorian literature and culture. Needlework is a constant and recurrent motif in nineteenth-century novels, and crystallises the many complex and contradictory feelings of satisfaction or resentment, creativity or censorship, elation or utter dejection that are crucial to the formation of the nineteenth-century female subject. In spite of its ubiquity, however, it has long been ignored or dismissed by critics as trivial, unimportant or revealing of the limitations imposed on Victorian women's lives. This thesis seeks to complicate previous assumptions by taking needlework on its own terms and exploring the complex and sophisticated tenets that underlie it. Relying on a large range of sources - novels, poems, magazines, craft manuals and material objects - this work examines the ways in which sewing has participated in the articulation of female subjectivity. Because it was construed as the ultimate feminine occupation and was undertaken by virtually ail women, regardless of age or social class, it was central to their identities and experience. However, needlework was fraught with contradictions: it was both amateur and professional; it enshrined the domestication of women, but it was closely allied with industrial modes of production; it was resented by many intellectually ambitious women, but was invested by others as a formidably evocative means of self-expression. Rather than a reclusive activity, then, Victorian needlework was a highly sociable practice which was fully engaged in the social, economic and cultural issues of its time
Frénée-Hutchins, Samantha. "La signification culturelle et idéologique des représentations de Boudica pendant les règnes d'Elizabeth I et de James I." Thesis, Orléans, 2009. http://www.theses.fr/2009ORLE1104/document.
This study follows the trail of Boudica from her rediscovery in Classical texts by the humanist scholars of the fifteenth century to her didactic and nationalist representations by Italian, English, Welsh and Scottish historians such as Polydore Virgil, Hector Boece, Humphrey Llwyd, Raphael Holinshed, John Stow, William Camden, John Speed and Edmund Bolton. In the literary domain her story was appropriated under Elizabeth I and James I by poets and playwrights who included James Aske, Edmund Spenser, Ben Jonson, William Shakespeare, A. Gent and John Fletcher. As a political, religious and military figure in the middle of the first century AD this Celtic and regional queen of Norfolk is placed at the beginning of British history. In a gesture of revenge and despair she had united a great number of British tribes and opposed the Roman Empire in a tragic effort to obtain liberty for her family and her people. Focusing on both the literary and non-literary texts I aim to show how the frequent manipulation and circulation of Boudica's story in the early modern period contributed to the polemical expression and development of English and British national identities, imperial aspirations and gender politics which continue even today. I demonstrate how such heated debate led to the emergence of a polyvalent national icon, that of Boadicea, Celtic warrior of the British Empire, religious figurehead, mother to the nation and ardent feminist, defending the land, women, the nation and national identity. Today Boudica‘s story is that of a foundation myth which has taken its place in national memory alongside Britannia; Boudica‘s statue stands outside the Houses of Parliament in London as a testament to Britain‘s imperial aspirations under Queen Victoria whilst the maternal statue of her protecting her two young daughters claims a Welsh haven in Cardiff
Pillet, Sophie. "Anthony Trollope : roman et société." Paris 4, 2001. http://www.theses.fr/2001PA040011.