Дисертації з теми "Études sur le genre – 17e siècle"
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Bonnefoy, Aurélie. "Portraits et rhapsodie : les figures de femmes dans Les Historiettes de Tallemant des Réaux." Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30033.
Our thesis proposes to shed light on the composition of Tallemant des Réaux's Historiettes, between portraits and rhapsody, through the prism of the figuration of women. This is not a juxtaposition of meaning that would be fortuitous or contingent : our postulate is on the contrary that the relationship of the two modes of narrative and representation is essential and profoundly dynamic.. Tallemant des Réaux is certainly the product of a metis culture and the attendance of social salons, spaces where the empire of women is exercised, partly determines it ; women abound in the Historiettes, but in return female figures nourish and legitimize the word of an author who seeks his voice.The issue at hand is to show that female figures, as they are evoked, highlight the representations and contradictory voices that form the threads of the contexture of the text. Deeply ambiguous, the Historiettes oscillate between beautiful gallantry, the art of pleasing women, and the more masculine Gauloiserie that gladly mocks their weaknesses. Such tensions raise the question of gallantry anew and question the role of women in regime change in modes of representation. Set in the middle of the century, the Historiettes operate a gallant adaptation of the ancient tradition of lives, essentially masculine that does not go without tensions. One cannot imagine that only Gauloiserie dominates in the work and if obscenity is not absent, it is a question of looking for the invisible correspondences woven with the epic. Indeed, the use of figures of evidence and the transfiguration of a triad of women models of gallant aesthetics implies Tallemant's reconfiguration of androcentric and androcratic social cartography
Foucher, Charlotte. "Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)." Paris 1, 2012. http://www.theses.fr/2012PA010707.
Ndami, Chantal. "Agricultures familiales et dynamiques de genre au Cameroun, de la fin du XIXeme siècle aux indépendances." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC070/document.
The development of commercial crops such as cocoa and coffee exclusively for export at the end of the nineteenth century deeply transformed Cameroon's rural areas as well as the social and economic structures of the societies that adopted them. In the Bamileke and Beti societies, agriculture was based on the principle of a sexual division of labor in which women had a central role in food production. Agricultural work was one of the components of female identity and gave women a major economic role in these societies. The introduction of export crops during the colonial period led to a transformation of agrarian systems that affected the role of women. This study analyzes the evolution of gender relations, notably through the coexistence of food (female) and export (male) cultures on family farms. It explores the way in which colonial policies influenced both family systems of agricultural production and social relations (elders-cadets, men-women), especially with regard to access to productive resources. It highlights the ways Bamileke women struggled to preserve their social and economic rights at the end of the colonial period
Li, Xin. "Entre scène et hors scène : étude sur l’espace dans la tragédie française de l’âge classique." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040082.
The 17th century has witnessed the full bloom of the creation of the tragedies in France. My thesis proposes a research on a less studied component in this theatre—space. The first chapter of my study tries to draw the geography of the classical age tragedy and establish the possible links between places and themes, then I address myself to the different spaces represented by the stage and their characteristics. The second chapter quits the stage to discover the offstage topography. We shall see the function of these offstage spaces, their exchanges with the stage and the dynamisms that come from these exchanges. Conforming to a purified aesthetics, the classical tragedy relegates numerous events behind the scene. In the second part of this chapter, I try to classify these events and question why they happen offstage. The third chapter approaches the space in speech, the space as it is experienced by the characters. I analyze how the characters associate the spaces (on stage or offstage) with different human experiences and destinies. In certain plays, space itself can be at stake. The stakes implicated in space will be analyzed. The fourth chapter focuses on the characters’ body and objects on stage. Characters’ movements and theatrical objects contribute to the creation of theatrical space. The tragic scene is overall a stripped space where the heroes are primordially ‘speaking beings’. Gestures and objects, when they exist, are highly significant on the tragic scene. Lastly I conclude that space is far from being an inert set in the 17th century French tragedy. It is an element that maintains different dynamics with characters
Legrand, Amélie. "Les romancières sous la Restauration : réception, construction des identités de genre, histoire du roman." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040195.
From the end of the XVIIIth century, women had access to reading and writing on a much broader scale, and they began to take over the public scene, which was until then mainly reserved to men. Under the Restoration particularly, the number of women novelists and their works increased. However, few of these women who were very successful in their time are known nowadays. Their production is associated to a sentimental novel considered a feminine subgenre, less noteworthy than the realist novel which appeared around 1930. The present work offers to reconstruct the literary field of the Restoration era in order to question this representation. This consists first in observing how women novelists are received, at a time when the government tries to reassert a traditional division of gender roles and identities, in order to give France a new stability after the sociohistorical upheavals resulting from the French Revolution. Understanding the historical background of the literary field will then enable us to understand the determinations hanging over the ethos of women novelists and their aesthetic strategy. In the light of their theoretical positioning, the analysis of their works will finally be aimed at reevaluating to what extent they contributed to the constitution of the history of the novel, and measuring, within this history, the influence of gender relations
Kallenberg, Vera. "Entre extrême et quotidien : les Juives et les Juifs face à la juridiction pénale francfortoise (1780-1814)." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0054.
For the first time in the field, this dissertation explores,systematiccaly and praxeologically by way of qualitative: analysis, the treatment of Jews by and their agency within Christian authoritarian criminal jurisdiction at the turn of the 19th century. The study looks at the criminalization of Jews within penal and regulatory law (Policeyrecht) as well as within specific legislation pertaining to Jews and judicial praxi between 1780 und 1814. Due to a decreased body of source material after 1806 and due to the fact that shift between 1780 and 1814 are particularly visible within agent's discursive negotiation processes, I drew on microanalyses of selected cases in order to trace the ambivalent status of Jews in penal and regulatory law (Policeyrecht) within judiciary praxis. Drawing on quantitative analyses and qualitatively analyzed case studies I contextualize these cases. The project focuses on the two following areas of conflict: "Jewish maleness(es), honour, and violence" and "gender, menial relations and Jewish households", and illuminate them with the aid of microanalyses. Analyzing six case studies I elaborate on how Jewish women and men came before, or went to court, how they acted there, and along which lines lawyers and judges made their cases and assessed penalties. In so doing, I exhibit the interplay between penal law, juridical factors and their respective offender's actions and social status, particularly their being Jewish, and the impact this had on their treatment and agency in court
Ritz-Guilbert, Anne. "Autour du Bréviaire de Marie de Savoie (Chambéry, Bibliothèque municipale, ms. 4) : étude sur l'enluminure en Lombardie dans la première partie du XVe siècle." Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4054.
The breviary in the municipal library of Chambéry, Ms4, was made at the request of Marie de Savoie (1411-1469), the daughter of the Duke Amadeus VIII and the wife of Filippo Maria Visconti, Duke of Milan. Each of the 106 textual in the book is marked by an initial with a religious scene; the margins, on the other hand, are transformed into a playground for secular motifs (naturalistic animals, Putti, etc. ) lodged on spiralling tendrils. P. Toesca and later art historians have distinguished two main painters in the book, the master of the vitae imperatorum, assisted by a collaborator who imitates his style, and Belbello da Pavia who appears on four folios. Although the manuscript has long been recognized as one of the masterpieces of Lombard illumination, providing both a fine example of the style of the duke of Milan's preferred painter and a display of naturalistic animal-painting, it has never been fully studied in terms of its make-up, style or iconography. Since 1969 the manuscript, which is painted by several artists closely related in style, has been embroiled in an often nebulous debate launched by A. Stones concerning the distinction between the styles of the master of the vitae imperatorum and the Olivetan master. The system of marginalia, however, which is quite exceptional in Lombard illumination of the period, has never been studied and forms the centrepiece of this thesis. The study proposes as sources of inspiration for the marginalia a thirteenth-century north French manuscript in the duke's library as well as a model-book on animal studies, then regroups and traces the history of the relatively few manuscripts that prolong the tradition
Bastin-Hélary, Fleur. "Le Roman viril : fictions et dictions du féminin chez Zola : des Contes à Ninon à Justice." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC007.
The Zolian novel is eminently talkative. It is not easy to point out where the voice comes from ; who gives and takes the right to speak, be it the narrator or his doubles – men of the Church or of the State, men of business, letters or science. What is obvious however, is that this voice which permeates the officially objective narrative of the realistic novel is infallibly a masculine one. Informed, authorized, even authoritarian, the masculine discourse takes on the feminine one by either silencing it, or allowing it to approve of, sometimes to reiterate obediently, the elementary “truths” about itself. This is not only about chasing the stigmatizing tendencies of a discourse typical of certain characters, but also about grasping the effects of this discourse on the female readers ; the dumb, fancied listeners to the tyrannical pedagogy of a writer who was both influenced by the stereotypes of his time and stirred by an original reformist spirit
Bardelmann, Claire. "Musique et théâtre en Angleterre, c. 1580-1642 : une convergence des arts à la Renaissance." Paris 4, 2000. http://www.theses.fr/2000PA040187.
Beer, Cécile. "La rivalité amoureuse entre père et fils sur la scène française du XVIIe siècle : un schème transgénérique (1631-1685)." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040086.
This thesis questions the scheme of the amorous rivalry between father and son which was used for the first time in all genres in seventeenth century French theatre. The research is based on a representative corpus of three dramatic genres of the period – comedy, tragi-comedy and tragedy – and includes about forty plays. The objective of this study is to demonstrate that this dramatic structure is doubly subversive in the period of the seventeenth century. On the aesthetic level, this conflict overcomes the stage even though the theoretic discourses of the period aimed to separate and classify dramatic genres according to a hierarchical system. The thesis studies the strategies developed by dramatists to adapt this dramatic scheme to aesthetic rules specific to each dramatic genre. On the ideological level, this type of conflict brings out the rivalry between the two representative males of the lineage. In the particular context of the seventeenth century, defined by historians as “l’âge d’or des pères”, this leads to reconsideration of the sociopolitical and religious functioning of the so-called “Ancien Regime”. Through the triumph of the rival son, is the authority of the patriarch challenged, and consequently, the one of the king in the state? Or, on the contrary, does the highlighting of the victory of the rival father reassert the legitimacy of the well-founded system? Would the rivalry between father and son, under its gallant appearances, bring a more serious speech and reveal an evolution in society? How does the gallantry, by transcending the limits of the dramatic genres, question politics? This study is based on these two aesthetic and ideological questions
Buteyko-Bujon, Véronika. "Violence et criminalité sur les terres ukrainiennes au XVIe siècle : étude comparative (Pologne, Pays-Bas, France)." Paris 13, 2011. http://www.theses.fr/2011PA131046.
Courapied, Romain. "Le traitement esthétique de l'homosexualité dans les oeuvres décadentes face au système médical et légal : accords et désaccords sur une éthique de la sexualité." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20038/document.
By the end of the 19th century, medicine overwhelmingly took hold of the homosexual phenomenon, basing itself on new findings related to psychopathology. Not only were characters physically identified thanks to a series of so-called scientific criteria, but they were also analysed through mental mapping. Although the aim of the classification of sexual behaviours was to cure rather than punish, the practices of sexual minorities were still stigmatized. As far as the judiciary system was concerned, French laws were considered to be quite lenient in so far as homosexual relationships had no longer been regarded as offences since the 1810 penal code. Nevertheless, the distorted use of the affront to public decency enabled to control people's behaviours and, by the end of the century, an increase of the trials focusing on cases of indecent exposure could be noticed. Our work, that definitely ascribes itself within the field of Gender Studies and Queer theory, is first and foremost epistemological and seeks to analyze how a body of expertise about homosexuality emerged in the second half of the 19th century, through the medical corpus that turned out to be prevalent in the studies that were conducted then, as well as through both legal and literary texts, although they were quite overlooked then. Our analyses also pertain to the history of representations, as we offer to define the aesthetics of decadence by adding a signifier: homosexuality. Finally, we also plan on scrutinizing texts by relying on three main themes that are meant to emphasize the decadent use of a homotextuality : the symbol of flowers, the figure of the androgyne and the myth of Narcissus
Weil-Curiel, Moana. "Recherches sur Louis Hesselin (1602-1662), ses résidences et ses collections." Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4038.
Hamano, Toki. "Drame et poésie dans la tragédie racinienne : recherches sur les points de vue critiques." Paris 4, 1986. http://www.theses.fr/1986PA040218.
Our study is essentially based on the relationship between drama and poetry in Racine’s tragedy. It stems from criticism from earlier centuries, which mainly set up Racine the poet against the playwright, casting even a doubt regarding his dramatic work. In the XVIIth c. , baffled critics, who might have been perplexed by the novelty of his work, relegate the author to a minor position, giving him a second part after Corneille. In the XVIIIth c. , too much support and praise eventually endangers the dramatist's status. The romantic revolution views Racine’s dramatic work as rather out of fashion. Curiously enough, the XXth c. Reestablishes Racine in his own part. The author, after having been made more than tedious by centuries for scholastic critics, becomes according to the abbot Bremond and the poet Valéry - the originator of an exquisite and pure poetry, a dramatist poet to be played anew and up-to-date according to Xavier de Courville and the well-known Copeau. A subject which inspired the greatest writers, playwrights and critics the world over, Racine after having lost favor is now reborn and well alive. The renewal of his staging by J. -L. Barrault and R. Planchon, the late revival of Berenice at the Comédie Française which was successfully cast by the german Klaus Gruber and the creation abroad - mainly in japan - of some of his plays, everything testifies of the strength and vitality and of the success worldwide of Racine’s tragedy
Sort-Jacotot, Aurélia. "La lyre tragique : le discours pathétique sur la scène française, 1634-1648." Versailles-St Quentin en Yvelines, 2010. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=astms01.
This dissertation attempts to define the meaning of “lyricism” when assessing 17th century theatre today, and to understand the historical foundations of this label. Using the pathetic discourse as its historical entry point, this investigation first defines it according to the period’s frames of thought. Through an analysis of the lexicon of passions first, and then a reading of contemporary moral treatises, it shows how important the notion of interest, and the mechanical conception of sensibility, were for the understanding of the emotions stirred by discourse. A study of rhetorical frames then points to an evolution : the focus, in that time, increasingly shifts from impression and the pathetic effects of discourse, to expression and the rightful imitation of passions. Secondly, an analysis of dramaturgy highlights the crucial place kept by the pathetic discourse in contemporary tragedies, and the presence of a permanent dialectics between ornamentation and integration. Finally, in the light of these first two moments, the third part questions the connections between pathetic discourse and the later notion of lyricism : after closely studying lyrical monologue, which is the meeting point of pathetic discourse and lyrical verse, it contemplates various forms of genericity, in a diachronic progression. This conclusion is reached : the pathetic discourse of tragedy may have been the laboratory and model of the theoretical formation of the lyrical genre in the 18th century ; our modern generic approach would thus owe much to the 17th century rhetorical practices
Boneu, Violaine. "Fin de l’idylle ? : étude sur les formes et les significations de l’idylle dans la littérature française du dix-neuvième siècle." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040001.
This work aims to re-think the status of the idyll in the French literature during the 19th century by combining theory of literary genres, literary history and hermeneutics. Objecting to the common-sensical idea that the idyll has evolved into a frozen genre full of anachronical clichés after André Chénier, it provides some conceptual ressources to analyze the actual dynamics of the idyll, both in terms of form and signification. The notion follows three main logics : a rhetorical one, which places the idyll into the poetic of literary genres, an historical and philosophical one, which, since the 18th century, considers the idyll as a cue of a mythical origin and an image of the Ideal, and lastly, a psychological one, born with the romantic revolution, which understands the idyll in terms of illusion, fantasies or dreams. Because of its intrinsic complexity, the idyll provides a priviliged point of view to examine the most important changes of the modern times. This work gives an overview of the evolution of the genre during the 19th century and examines the explicit references to the idyll made by Nerval, Hugo, Baudelaire, Mallarmé, Balzac and Zola in some of their major poetical works and novels. In doing so, it develops a new perspective on the crisis of the subjectivity, the crisis of literary representation and the redrawing of the traditional distinction between prose and poetry
Schmit, Christophe. "Equilibre et dynamique : études sur la mécanique française aux XVIIe et XVIIIe : Malebranche , Varignon, science des machines et collisions." Nantes, 2007. http://www.theses.fr/2007NANT3019.
In this work we will present the scientific context of D’Alembert’s dynamics. We follow three axes of research. Firstly, we examine the influence of the works of N. Malebranche, especially those of which dealing with inertia of mater ; the analysis of Malebranche and some scientists about that concept can illustrate what is called the “crisis” of causality that we found around 1730’s. This example show us the articulations of a debate concerning causality, a question of great importance in D’Alembert’s thought. The second point examines the relationships between science of machines and rules of collisions ; at the end of the seventeenth century and the beginning of the eighteenth century, rules come from analogies with science of equilibrium. Thirdly, we present the influence of P. Varignon’s static. The two last points give us the first step toward the birth of the famous D’Alembert’s principle
Stahl, Pierre-Brice. "Étude sur le Vafþrúðnismál et le genre de l’énigme." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG038.
The poem Vafþrúðnismál presents the meeting of two mythological figures, Vafþrúðnir and Óðinn, who compete in a verbal duel. A close study of the text leads to the conclusion that the god is not seeking any knowledge with his questions to the giant. Therefore, the analysis of the nature of the interaction provides a new understanding of the poem and explains several aspects that have, until now, been perceived as problematic. This study shows that there is no injustice regarding the distribution of questions between the two protagonists, but that this follows a specific logic in the text. In the same way, the analysis of the final riddle reveals that it is not ‘unfair’, as it has traditionally been interpreted, but that it has a precise function in the text. Through this literary fiction, Vafþrúðnismál transmits – in a playful way – traditional knowledge, by means of a specific genre: riddling
Constant-Desportes, Barbara. "Autour de L'Angelinetum et des Carmina varia de Giovanni Marrasio : étude sur la poésie latine du premier humanisme et sur le renouvellement du genre élégiaque." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL081.
This thesis deals with the renaissance of the Latin elegy in the humanist era, at the beginning of the 15th century, in Siena, when Giovanni Marrasio composed the first collection of elegies in Renaissance Latin, Angelinetum, with love as its inspiration, in addition to numerous diverse poems, his carmina varia. This style of expression had not been in use for several centuries prior to this. The exclusive use of the elegiac distich lends unity to the wide range of themes and subjects in the poet's work. This leads one to ponder the conception of the Latin elegy as illustrated by Marrasio : if he reappropriates many themes and topics characteristic of ancient elegies, he integrates several literary legacies from various earlier periods in his poetry. All these borrowings are skillfully combined into original poetry by means of clever purposeful imitation. The methods of this imitation are analysed in full: literary influence is thus expressed by allusion, quotation and translation. The analysis of Marrasian imitation also allows the poet's new contributions to the elegiac genre to be evaluated, in particular his use of Petrarchist themes and combination of the elegy and the epigram. As a man of letters, Marrasio took part, in certain literary debates of his time, on topics such as inspiration or the value of poetry, which find novel expression in his poems, identifiable thanks to a metapoetic writing style. Marrasio turns out to be both an imitator and an innovator in the renaissance of the elegiac genre
Devieilhe, Élise. "Représentations du genre et des sexualités dans les méthodes d'éducation à la sexualité élaborées en France et en Suède." Caen, 2013. https://tel.archives-ouvertes.fr/tel-00974344.
As it indicates the socially acceptable expression of sexuality, a society's sex education reflects its choices in terms of social organization of sexuality. The purpose of this thesis consists in a sociohistorical (from the beginning of the 20th Century to our times) and sociocultural comparative analysis of sex education methods and theories in France and in Sweden, in order to identify the social conceptions of gender and sexuality that they convey. The analysis of the content of numerous sex education media in addition to interviews with resource people, will allow us to define the characteristics of both countries in this particular field. While sex education still remains everywhere widely reliant on individual will, the methods used in Sweden turns out more structured and supported than they are in France : critical problematization of gender and heteronormativity doesn’t exist in France's take on sex education, while it's slowly turning up in official texts in Sweden, under the impulse of associations and academics. Yet, in the absence of any critical reflection on gender and heteronormativity – observed in France and, in a lesser way in Sweden – the conception of sexuality spread about by sex education is biologizing (focusing on reproduction), associating sex with being in love (norm of the couple and love), negative (focusing on risks), differentialist (men and women presented as complementary) and heteronormative. Parts of the analysis will focus on alternative methods, inclusive pedagogy and norm-critical pedagogy, both developed in Sweden and implemented in the field of sex education
Darmon, Jean-Charles. "Pari passu : philosophie épicurienne et littérature au XVIIème siècle en France : études sur Gassendi, Cyrano de Bergerac, La Fontaine, Saint-Evremond." Paris 4, 1994. http://www.theses.fr/1993PA040299.
The aim of this research is to study the complex, mobile and fruitful relationship between a philosophy - epicurianism - and certain kinds of literary works in 17th century of France. In the first part, through a careful reading of p. Gassendi's still widely ignored and mostly untranslated works, we have tried to understand how and why it became a key reference for many writers, in particular as far as the very status of appearances, images and imagination is concerned. Cyrano's L'Autre monde, La Fontaine's fables, saint-Evremond's writings: in a second part, through three monographical studies, we tried to bring into focus the extreme mobility of epicurean or gassendian motives, the wide variety of levels on which they develop within each work, and to show how they "function", epistemologically and morally, in singular literary spaces where they often deviate from their original philosophical meaning
Vuilleumier, Laurens Florence. "La raison des figures symboliques à la Renaissance et à l'âge classique : études sur les fondements philosophiques, théologiques et rhétoriques de l'image." Paris 4, 1996. http://www.theses.fr/1996PA040216.
In order to point out the philological, philosophical, theological and rhetorical basis of XVIIth cent. Imagery, the author had first to write the still now missing history of the reception of Pythagoras' symbols from the beginning of the renaissance. Stressing the contribution of successive generations of humanists: Traversari, Alberti, Ficino, Poliziano, Pico, Nesi, Reuchlin, Steuco. . . The following period was marqued by the integration, around the symbola themselves, of other symbolic figures, as well ancient, such as the proverb, the enigma and the hieroglyphic, as modern, such as the emblem and the device. Erasmus, Giraldi and Caussin have thus contributed, each in his own way, to reinforce the unity of the new symbolic world. But nobody more than Claude Mignault, through the very intricate story of his Alciati's editions and evolution of his famous Syntagma de Symbolis. At the beginning of the XVIIth c. , the Pythagorean model is reinforced if not replaced by Dionysius areopagita, whose work inspires altogether the symbolic theology and the mystic theology of the Jesuit father Maximilian van der Sandt, whose pious approach legitimates a special chapter devoted to the uelum templi considered as the allegory of allegory, the last part of the book would show how the great rhetoricques of the second half of XVIIth century succeeded in analyzing and codifying the new language: Jacob Masen for the visual and graphic image, Emanuele Tesauro for the metaphora and Menestrier for the festive and funeral decorations of ephemeral baroque
Karagyozova, Tanya. "Genre et tradition : circulation, réception et appropriation de la « question féminine » dans la culture balkanique slavophone au XXème siècle." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA184.
Over the course of 20th century Balkan history, the advancement of women in the paid economy, education, and female activism had concretized itself as prominently as throughout Europe. Within the context of Balkan Slavic culture in general, and its translation within the national domain of Bulgaria in particular, the precise conditions of this evolution resulted from a compromise of the inevitable criteria of a distinct relationship to tradition. We intend to illuminate and situate this context, rarely approached in the discourse of women’s studies, and even less from a feminist perspective. This examination aims to undertake two challenges: A general analysis of “The woman question” as discourse, and further, a more critical observation on the nature of resistance against ambitions of emancipation. While not claiming to be exhaustive, the objective is to put into perspective the theoretical contributions of reflection on hierarchical representations of gender diversity, and the territorial nuances that we explore. Addressing revisions of “The woman question” is to invite the notion of renewing models of femininity, to rethink the effects of discourse, and to reflect on the role of women in the process. Finally, a second glance at the eventful history of the second half of the 20th century, executed under the prism of gender, explores the most distorted in the aesthetic of communist regimes. The purpose of this study is to shed light on the social realities of women in the socialist era in parallel with traditionalist discourse as we retrace the cross of European, Oriental, orthodox, folklore, and modern influences in Slavic literature. Thus, from this approach emerge new prospects for understanding Women’s Studies in the Slavic Balkans in general, and Bulgaria in particular
Guillerez, Émilie. "Le genre et la condition des femmes à l'épreuve du XXème siècle : un regard sur la littérature féminine chinoise (1919-2000)." Phd thesis, Université Paul Valéry - Montpellier III, 2013. http://tel.archives-ouvertes.fr/tel-00935860.
Harder, Marie-Pierre. "Hercule à la croisée des chemins ou le “héros perplexe”. (Re)configurations discursives et genrées de l’apologue de Prodicos dans les cultures européennes, de l’Antiquité aux débuts du XIXe siècle (domaines allemand, anglais, français, italien)." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL027.
This PhD thesis proposes a mythopoetic analysis of the discursive and gendered (re-)configurations of the myth of Hercules at the crossroads, as it has taken shape in the realm of European cultures, from Antiquity until the beginning of the 19th century, in German, English, French, and Italian. Adopting an approach at the intersection of cultural studies, comparative studies, gender and queer studies, the thesis begins with a critical rereading of the humanist interpretations of the myth, where the hesitating hero, torn between vice (or pleasure) and virtue, is the universal paradigm of a moral subject. Based on masculinity studies, the second part of the thesis recontextualises and historicizes Hercules choices from a gendered perspective. The core of this thesis revisits historical reconfigurations of the myth by looking at humanist pedagogy and its resurgence of epic forms in the long European tradition—including 18th century didactic plays and poems and coming-of-age novels that emerge at the turn of the 18th to 19th century. These become the primary discursive forms for narrating a hegemonic idea of masculinity. The thesis demonstrates that the Hercules myth constitutes a powerful “gender technology” (Teresa de Lauretis), that has operated as a vector for engendering, in varying contextual modalities, the figure of the liberal, masculine, white and straight subject, erected as the founding myth of European modernity (and its discriminatory implications). Departing from this argument, the last part proposes a queer reading of the myth, by exploring several rewritings that trouble the binary choice of the crossroads in order to better disorient its hero
Gianoncelli, Eve. "La pensée conquise : contribution à une histoire intellectuelle transnationale des femmes et du genre au XXe siècle." Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080078/document.
This thesis analyzes the problematic ways in which women were able to become intellectuals in the XXth century. The cases of three women, born around 1900, are here studied. The artist and writer close to the Avant-Garde in general and the Surrealist movement in particular in the 20s and the 30s Claude Cahun; the Martinican journalist of colonial Paris in those same years Paulette Nardal, an important intellectual and activist figure in Post War Martinique after 1945; and last but not least, Viola Klein, a Czech Jew, exiled in Britain, and a forgotten pioneer of feminist sociology.This study is based upon an analysis of both the itinerary and cultural production of each of these women. It aims to understand how their intellectual experience is rooted in processes of self-awareness – as subjects who have to deal with otherness, as women, but also as racialized subjects – which shape the way in which these women intellectuals come to thought and commitment. This thesis also examines the complex position, Inside/Outside, of these women in relation to the movements and disciplines they join (Surrealism for Cahun, Négritude for Nardal, Sociology of Knowledge for Klein), the contribution they make to these movements and disciplines, and the plurality of the forms of thought and commitment such a liminal position entails. The aim is to question the ways in which works and ideas are spread and received – a process in which “invisibilization”, oblivion, but also rediscovery play a major part. This last idea opens up a reflection about the conceptions (national, disciplinary, ideological) pertaining to the construction of knowledge
Moraldo, Delphine. "Les sommets de l'excellence. Sociologie de l'excellence en alpinisme, au Royaume-Uni et en France, du XIXème siècle à nos jours." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN050/document.
This thesis proposes a socio-historical approach of excellence in mountaineering, from the creation of the British Alpine Club, the first alpine club in the world, founded in 1856, up until the beginning of the 21st century. Excellence is defined by three relations: a relation to the activity of mountaineering, that is, the legitimate ways of practicing this activity, a relation to oneself, that is, the ways in which excellent mountaineers (the “great mountaineers”) see themselves and consider their biographical trajectories, and a relation to others, that is, the ways in which these mountaineers apprehend and distinguish themselves from the other users of mountains and from non-mountaineers. From the study of the discourses of the elite of British and French mountaineering, we seek to understand how a “spirit of mountaineering” (a mentality as well as an “esprit de corps”, an ethos, and a set of ethical principles at the foundation of excellence) has been created, transmitted, has travelled between countries and has been maintained over time. This “spirit” is the basis of a sense of belonging, even of a collective identity. Centered on Britain, as the cradle of mountaineering and the place where an original form of excellence, still perceived today as specific, was initially codified, this study considers French mountaineering, of later appearance, as a comparative point of reference, useful to point out a phenomenon of diffusion of the British conception of excellence. The issue of the historical genesis of a “great mountaineering” on the long-term scale doubles up with the issue of the biographical making of the “great mountaineer”, considered on the short-term scale of the biographical trajectory. By doing so, it is a work of denaturalization of excellence, seen as a historical and social construct, which is undertaken. The study of the three dimensions of excellence (as a relation to activity, to oneself, and to the others) is carried on in the first place with the help of an unusual material: a corpus of 62 autobiographies of mountaineers. Its use is backed with methodological observations regarding the conditions of its sociological validity. In order to consider these discourses within their historical and social frames of enunciation, other materials are used: 16 interviews, two databases (one of them used to carry out a prosopography), the articles and necrologies of the journals of the selective alpine clubs of the two countries
Kowalska, Aleksandra. "Les représentations de la sexualité féminine dans les romans féminins britanniques d'Aphra Behn aux sœurs Brontë." Lille 3, 2010. http://www.theses.fr/2010LIL30009.
This thesis, situated at the crossroads of literature, the history of ideas and mentalities, and women's studies, analyses representations of female sexuality – expressed individually and also influenced by social and cultural factors – un women's novels from the end of the seventeenth century (starting with Aphra Behn, considered to be the first professional female writer in England) to the mid-nineteenth century (when the works of the Brontë sisters were published). At that time, the sexual destiny of women (seduction, love, marriage, rape) was the main subject of women's novels, where two keys types of representation can be distinguished : on the one hand, the affirmation of female sexuality (emphasising its signifiance and power in the lives of women and the idea of women gaining self-fulfilment through sexual passion) and, on the other, the repression of female sexuality (the denial of its importance, the presentation of love without sexuality, the moral condemnation of women who dared to express their sexuality freely and the exaltation of the chaste and reserved heroine). Rather than taking a chronological approach, this thesis advances by theme, revealing links between, and common ideas shared by, novelists who are rarely considered to be similar (e. G. Aphra Behn and Charlotte Brontë)
Martins, Coelho Bruna. "La fabrication de la famille traditionnelle : une nécrologie de la nation brésilienne." Electronic Thesis or Diss., Paris 8, 2022. http://www.theses.fr/2022PA080069.
This thesis studies the centrality given to the institution of the family in the formation of the Brazilian Republic and its national myths. First, I intend to show the legacies of Brazilian sociological thought (1930-1960) in the social imaginary; then, I focus on the examination of the technologies used during the First Republic (1889-1930) in the diffusion of this European normative model. From a methodological point of view, to analyze the symbolic formations of the Brazilian culture, I use an anthropological and psychoanalytical referential; then, I question the mechanisms of domination and its technologies, while resorting to the frameworks proper to the political philosophy of Foucauldian matrices. First, I focus on the study of familism within the contemporary process of fascization of this society. By examining the myths of the origin and re-foundation of this mixed-race people, and how they are structured by categories of race and gender, I reflect on the coextensiveness of the expression of the national Subject in these myths and of whiteness. In the second part, I look at the systems of production of the family through the return to the First Republic. In case studies focused on social-religious movements of sertões in Bahia and Ceará, I analyze not the nuclear or patriarchal formation of this institution, but alternative ways of life. The repressive pathologization of these forms of popular religiosity constitutes one of the central axes of the Brazilian history of madness, whose legacies have been revived nowadays
Kataiftsis, Dimitris. "Les communautés grecques en URSS (1917-1956) et les questions du genre." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040228.
In order to form our hypothesis, it would be necessary to examine the scientific discourse on gender and its application to the greek case, and this is what we tried to do in our introduction. Our study was organized in five large parts. The first one approaches the formation of greek diaspora from the end of the 18th century to the revolutions of 1917 and the woman representation in pontic-greek historiography. The second one approaches the access of women in education, the ways of integration in the new soviet society. The preservation of the cultural roles leads us to develop a typology between “greek” women and “soviet” women. The third part focuses on the reformation or disappearance of the roles during political repressions that would have an impact on greek diaspora. Furthermore, we discussed on the women-victims of purges. Finally, the last part demonstrates that the exile constituted a rupture with the past, at least as it resulted from its protagonists’ oral testimonies. The women who talked about themselves and the men surveyed on gender issues give us an original image of the past, worthy of interest
Shichijo, Megumi. "Les suites instrumentales issues des opéras de Lully publiées à Amsterdam : études historique, philologique et musicale sur l’éditeur Estienne Roger (1665/66 - 1722)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040109.
The operas of Jean-Baptiste de Lully (1632-1687) enjoyed a European diffusion both during his lifetime and posthumously. Among the countries where his operas aroused a real enthusiasm, Holland enjoyed a special situation. Indeed, the operas appeared both in theaters and in music publishing. Concerning musical publishing, the city of Amsterdam occupied a primordial role, where Lully's operas were published not only in scores, but also in vocal and instrumental extracts, the last of which could be considered as the instrumental suites. These suites constitute an exceptional corpus in the diffusion of Lully's opera, as they are arranged in 4 parts instead of the 5 originally presented and played an intermediate role between the French opera and the German orchestra suite. Among the publishers contributing to this phenomenon, we must distinguish a publisher who has carried out the extensive marketing: Estienne Roger (1665/66 - 1722). In the researches about Roger, the publication of Italian instrumental music and international trade were two major issues. Yet the place of French music in his editions has not been sufficiently evaluated, although it has reached as much as a third. This thesis deals with the commercial and editorial character of this field, focusing on the suites resulting from the Lully’s operas. Three points will be examined: Roger's advantage as a Huguenot bookseller, his use of catalogs in the sale of Lully's works, musical features of the suites through the arrangement
Desgagnés, Jean-Yves. "La pauvreté au masculin : de l'autoréalisation de soi à la "Vie Nue"." Doctoral thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26878.
Barthelmebs-Raguin, Hélène. "De la construction des identités féminines : Regards sur la littérature francophone de 1950 à nos jours." Thesis, Mulhouse, 2012. http://www.theses.fr/2012MULH4472/document.
The study of different representations, whether at a social, body or linguistic level, leads us to question the very concept of identity in literature. That “portmanteau word” – “mot-valise” in the meaning set out by Jean Petitot-Cocorda – belongs to Patriarchy, which means that the notion of identity itself has been (culturally) constructed by men for men, and the very word identity belongs to the semantic and existentialist masculine world. When we try to define feminine/female identity, we are trapped by the language constructed by patriarchal culture: the notion of identity is relevant for the Masculine and cannot be autonomously applied to women, since it has not been thought out for them in the first place. Therefore we reach a deadlock, as it were, when seeking a fixed, universal identity of women. This thesis will explore the different prisms through which French-speaking female writers put women’s identities into words and set them into tension so as to rethink the very concept of identity. Such process started in the 1950s with the publication of Le Deuxième sexe (1949) by Simone de Beauvoir, which marked the beginning of anti-essentialist studies.In the panorama of the terminology used in Gender studies, our attention will focus on Women’s literature, which implies claiming the existence of specific women’s identities from a differentialist feminist viewpoint. Female writers belonging to that category tend to analyze how the Feminine is conveyed into words in the text, to embody it, through a peculiar aesthetic. Thus woman’s identity in literature is based on polysemy and plurality, leading to an “open” identity, inscribed “actively” in the text by women writers (themes, narrative structures, etc.) and “passively” (for example, through a feminine use of language, the presence of the female writer’s body in the text, etc.). We have to shift feminist perspectives in order to achieve a more comprehensive feminine definition, in which text and writer are indissociable.The female authors included in our corpus (Corinna S. Bille, Nina Bouraoui, Assia Djebar, Jacqueline Harpman, Anne Hébert, Alice Rivaz, Gabrielle Roy and Marguerite Yourcenar) strive to develop a real literary aesthetic which is at odds with a rule-complying social model. From that viewpoint, women are not reduced to their essence, that is to their biological sex. The Feminine, as it is considered by our authors, is the result of a process of reflection and self-exploration, involving traditional societal issues (as figured in the themes dealt with), as well as an innovative literary language, capable of going beyond the classical dichotomy between masculine and feminine.Therefore, the aim is no longer to take possession of the “language of the other”, but to find one’s own. Therefore, we are distant from the patriarchal archetype constructing, and pre-establishing, fixed identities for women’s existence and writing. As we will see, such identities are no longer inscribed in the tradition of the objects “women”: they try to forge a new object in their writing, and in so doing they end up redefining their genre. In order to make up for the lack of “identity landmarks”, they resort to specific feminine features (oral language, nature, sexuality, etc.) so as to reach a definition of a Whole. The aim is no longer to write like men or against men, but to write women out of the patriarchal language by introducing in their texts those feminine elements capable of building a multifaceted feminine identity
Roussel-Richard, Lucie. "Les écrivaines-journalistes sous la monarchie de Juillet : la presse au service d'une reconnaissance littéraire." Thesis, Normandie, 2018. http://www.theses.fr/2018NORMC030/document.
The present research questions the press pf the July Monarchy as a space of composition and experimentation of the position of woman writer-journalist. It undertakes to analyse the tactics of acceptability and the strategies of writing aimed at the literary recognition of women
Ribieras, Amélie. "Le discours socioculturel et les pratiques militantes des conservatrices aux États-Unis. Le cas de Phyllis Schlafly et Eagle Forum." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030048.
This thesis focuses on the sociocultural discourse as well as the militant activities championed by conservativewomen in the United States, through the specific example of Phyllis Schlafly (1924-2016) and her organization EagleForum. This conservative activist mobilized her peers by drawing from her personal experiences, especially in theRepublican Party, and from ideological principles crafted by the conservative movement. Her personal trajectory,between conformity to social norms and involvement in the political arena, is discussed in parallel with the rise ofconservatism and in the context of the 1960s-70s social protest. In the face of thriving social movements, and more particularly feminism, which advocated women’s liberation, conservative women also resorted to collective action in order to protect what they saw as the traditional family construct, characterized by a strict division of work by sex. In their vision, the man is meant to be the sole breadwinner, ensuring the economic viability of the home, while the woman is a homemaker, taking care of home and children. In 1972, conservative women opposed the Equal Rights Amendment (ERA), which aimed to secure equality between the sexesin the U.S. Constitution. Phyllis Schlafly founded STOP ERA that same year, and Eagle Forum in 1975, in order tospread the conservative message and provide conservative women, often homemakers, with an organization into whichthey could channel their activism. Phyllis Schlafly crafted a strongly antifeminist discourse that opposed the feminists’ intention to liberate women and reform the family, and she advocated for traditional sociocultural norms that she considered beneficial to women. Thanks to appropriate collective action frames, coupled with her ability to manipulate emotions, she was able to spread her ideas throughout the country, especially with the use of her newsletter The Phyllis Schlafly Report.In order to strengthen her organization and insure her legacy, Schlafly also devised collective practices such as emotionalsupport and the construction of memory, thus developing a unique militant culture. She also established herself as anabsolute leader, solely at the forefront of the conservative women’s movement
Jonke, Philipp. "La mode en série : essor de la confection et de la grande distribution vestimentaires. Le système de la mode à Berlin des années 1880 à 1914." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSEN008.
At the end of the nineteenth century, standardised serial production of clothing (Konfektion) and large retailing took off in Berlin, the capital of the new German Empire founded in 1871. Using the concept of fashion as a system, this work explores the changes ina system characterised by necessary interactions between three actors: production, retailand society.This history sheds light on fragmented sources, on the inherited traces of a mainly Jewish sector, dismantled thirty years later. Social study cases, fashion journals, Berlin directories, advertisements and the mere documents left by stores mirror how fashion changes: Konfektion produces novelties and retail attracts a diversified clientele. This context redefines the importance of social hierarchies in the fashion system. Finally, these changes transform slowly social and gender norms imposed not only on bourgeois but also on lower-middle-class women
Demerliac, Oriane. "Le locus de la mer chez les poètes augustéens : miroir et creuset des mutations poétiques, politiques et morales du début du Principat." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN066.
To show the richness of the poetic representations of the sea, the Augustan epoch is considered a key period. With the battle of Actium, the sea holds a new place in Rome and becomes a major stake, place of victories and power in the speech of Augustus and in the Roman imagination, during a political and moral city rebuilding after the civil wars. It is the way this object was established as a catalyst of all the great changes of the Augustan period that holds our attention. We study the sea as locus, that is to say as a poetic object likely to reflect or modify the real place where the human activity spreads out during the Greek and Roman history, but also the socio-cultural representations. In our first part, we undertake a comparison of the relationships with the sea for Greeks and Romans, in their history, their mentalities and their literature. It appears that from an axiological point of view, if the sea of Augustan poets receives a negative treatment as in Greek poetry, this pattern is enriched by a previously unseen element: the navigation condemnation. Linked with war and luxuria, it is inspired for the Augustan poets by a synthesis between the influences of Greek philosophy and traditional morality: it becomes the place of expression of the human passions, from greed to anger of the Prince. But the Augustan poets have also carried the Greek heritage of the epic motif of the sea Virgil, in the Aeneid, develops from the Greek models a new heroism, adapted to the Roman cultural background, where the pietas takes the central part through wanderings where sea trials are systematically undone. Ovid, in his Metamorphoses, rereads Virgil to deconstruct this sea of heroes and to build a new representation of the sea, mirror of the Pax Augusta. However, the elegy, as the most ambiguous genre, introduces the most original and complex vision of the marine locus. Elegiac poets makes it the most disturbing mirror of the political changes and moral mutations that Rome experienced at the beginning of the Principate: the elegiacre-elaboration of the epic motif of the sea is an opportunity to question and reaffirm the values of the mos maiorum, generic experiments and especially the construction of a new heroism at sea, that of Augustus to Actium
Thomas, Mansour Émilie. "Les femmes dans Beyrouth en guerre (1975-1990). Une approche géocritique des "Beirut Decentrists"." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA015.
When the Lebanese war broke out in 1975, many women scattered in Beirut started writing about their feeling of being decentered. Miriam Cooke called them the "Beirut Decentrists". Their texts about the war in Beirut experiment with a variety of literary genres and devices such as hybridity and polyphony, yet all intersect around one interrogation: urban space as a protagonist and the woman writer’s role in this ever-changing landscape. This research inspired by geocriticism explores the spaces wandered by these women during the war. What can we learn about the war-torn city? Moreover, is it possible for new Beirut(s) to emerge from a fifteen-year militia-lead organized urbicide? Our corpus covers the entire war along with texts written during the postwar years. The latter giving us precious indications of how war still influences the conflict’s aftermath. What contribution can the "Beirut Decentrists" unique perspective bring to the construction of a collective memory in a country where amnesia and an excess of memory still coexist? Urban landscape, writing and poetic experimentation intersect and blend in these traveled and transgressed territories, thus allowing us to challenge the notion of border and binary narratives of center and periphery. Through a geographical reading of the Beirut Decentrists’ texts, we wish to renew the perspective on the war, on women in war, as well as the perception of the city and the ways to deal with memory
Andrivet, Patrick. "Représentations politiques de l'ancienne Rome en France des débuts de l'âge classique à la révolution." Clermont-Ferrand 2, 1994. http://www.theses.fr/1994CLF20057.
In the france of the 17th and the 18th century some prominent writers like corneille, bossuet, montesquieu and rousseau, simple essayists like saint-evremond, and revolutionaries like marat and robespierre did not adhere to the admiration of ancient rome that had become traditional in europe since the renaissance. The author makes this point by a detailed study of the works of these writers who, in spite of texts written with certain precautions of style, denounce the excessive cult of rome of modern europeans, its aspiration to universal domination, its institutions and the corruption which takes over after several centuries of existence. These studies are accompanied by analyses which link these critical opinions of rome to the political views which are implicit or explicit in each work. Views which are implicit or explicit in each work