Дисертації з теми "Fin de Siècle Literature"
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Spoiden, Stéphane. "Malade et maladie : dégradation physique et écriture fin-de-siècle /." The Ohio State University, 1996. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487935125880514.
Повний текст джерелаCope, Eleanor Elizabeth. "Remedial discourses : men, madness and mental management in fin-de-siècle literature." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:12293.
Повний текст джерелаGrimm, Gunter E. "Orientalismus in der Literatur des fin de siècle." Gerhard-Mercator-Universitaet Duisburg, 2002. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-09082002-153911/.
Повний текст джерелаSimmons, Alexander. "Erik Satie's Trois Gnossiennes in the French fin de siècle." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4344/.
Повний текст джерелаMuto, Hiroshi. "The 'disembodied voice' in fin-de-siècle British literature : its genealogy and significances." Thesis, University of Warwick, 2001. http://wrap.warwick.ac.uk/3938/.
Повний текст джерелаMachado, Laura Cielavin 1984. "Cartas da Malásia, de Paul Adam = uma utopia fin-de-siècle." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269934.
Повний текст джерелаDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Este trabalho apresenta a tradução e estudo de Lettres de Malaisie, obra publicada em 1896, por Paul Adam, e reimpressa em 1908 com o novo título La cité prochaine. Pode-se afirmar que esta obra, considerada um ensaio à sua época, insere-se no quadro do gênero literário utópico, pois reúne elementos que o caracterizam: depois de uma viagem pelos mares, um viajante desembarca em um local insular e nos descreve uma outra forma de vida em uma comunidade com diferentes política, religião, educação. Esta comunidade busca a igualdade entre seus habitantes, a extinção da fome, a inexistência de propriedade privada, a eliminação de relacionamentos que possam fomentar sentimentos de posse. Ela é a criação de um homem que, descontente com sua realidade histórica, deseja organizá-la de outra maneira. No entanto, a obra não se propõe a ser ideal. Ela expõe ao leitor o desejável e o temível ao mesmo tempo, desenvolvendo uma possibilidade potencializada pelo curso da história da França do fim do século XIX. Para compreender as particularidades que o autor imprimiu em sua utopia, primeiramente desenvolvi uma reflexão sobre a escolha do autor por este gênero em específico. Em seguida, passei à análise do contexto histórico em que a obra foi escrita, buscando analisar de que maneira o autor adaptou o gênero às influências literárias de seu tempo, e à influência da metafísica que lhe chegou por meio da Cabala
Abstract: This work presents a commented translation study of Lettres de Malaisie by Paul Adam, first published in 1896 and reprinted in 1908 bearing the title La cité prochaine. Considered a literary essay in its time, we can infer that this opus belongs to the utopian literary genre due to some features: after a journey through the sea, a voyager lands in an island and presents a different life style in its political, religious and educational way. The community presented in the story seeks for equality among its inhabitants, the extinction of starvation, the inexistent private property and the abolition of social relationship that might affect the feeling of ownership. It is an art piece of a man who, unhappy with his own historical reality, wishes to start a new society. However, Adam's work does not intend to be an ideal community. He exposes to the reader the suitable and the fearful at the same time, developing its possibilities in parallel to the French historical course of the XIX century. To understand the peculiarities that the author convey in his utopia, it was developed a study about the choice of this specific literary genre. Following this, it was made an analysis of the historical context in which the work was placed and written, searching the manner that the author adapted the utopian features to its literary influences of his own time, such as the metaphysical influence of Cabala's principles
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
Krausz, Luis Sergio. "Exílio entre o Shtetl e o crepúsculo: Joseph Roth e o judaísmo no fin-de-siècle austríaco." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8152/tde-09112007-154121/.
Повний текст джерелаThis thesis discusses the oeuvre of the Jewish Austrian writer Joseph Roth, and aims at an understanding of his critique of modernity, which is seen as a result of a unique point of view, determined by the encounter between two worlds: the traditional world of Eastern European Jewry on one hand and the world of the final years of the Habsburg Monarchy on the other. I try to show that Roth takes a skeptical look at modernity and at post-World War I Europe using the paradigms of these two lost worlds.At the same time I aim at demonstrating how the concept of exile is deeply rooted in his critique of modernity. However he is dealing with an exile in time here, as opposed to a purely geographical exile - an exile that is far more tragic, since it is irreversible. Exile is also a core theme in traditional Jewish mystical and philosophical thought and I try to point to coincidences in the treatment of this topic in Roth and in traditional Jewish doctrines.The concept of exile has the idea of Heimat or homeland as its opposite, and in Roth Heimat becomes an abstract category, pertaining to the universe of metaphysics and memory, in the light of which he interprets European civilization of the 1920´s and 1930´s.I conclude by showing how this fictive Heimat turns into one of his literary obsessions, around which he will build an oeuvre, which is, more then anything else, an attempt at restoring a vanished human landscape, anchored in the Middle Ages and buried by time and by wars.
Dupras, Elyse. "Rôle des diables dans les mystères hagiographiques français (de la fin du XIVe siècle au début du XVIe siècle)." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82861.
Повний текст джерелаAn urban, popular art, mediaeval French theatre addressed a broad public that it was considered useful to both edify---particularly in the case of the mysteres---and divert. The mysteres represented and interpreted the world. In this theatre, the devil figures embody Evil and adversity, but also alterity. Placed in opposition to the saints and the sublime inhabitants of Heaven, they appear grotesque, crude and carnivalesque. Often the mainspring of the action, they are essential to the plot of the saint's play; noisy and garrulous, they are a no less necessary element of the mysteres' discourse on the world (tangible or intangible, earthly or celestial). The devil, ever ill-intentioned, concocts evil plots and engages in infernal dialogues---which the mystere presents in order to further its edifying goals and propagate its unifying and didactic message.
This dissertation examines some of the most important aspects, in terms of the mystere's reception, of the devil figure. The first part, which deals with diabolical masks, discusses their external features (scenery, costumes, gestures, disguises) and certain of their linguistic characteristics. The second part studies the actions of the devils themselves. Their principal activities are identified and defined, and divided into three broad categories, according to whether the devils attempt to draw human beings and their activities into their sphere of influence, or commit evil deeds, or fail in their baleful plans and end up serving God despite themselves. The third part of the thesis studies diabolical discourse. More specifically, it analyses the relationship between the speech of devils (traditionally perceived as deceitful) and truth. Using the concepts of place and authority, we can read certain instances of this speech as illegitimate, while an examination of the workings of the discourse of diabolical seduction reveals the twisted nature which the mysteres attributed to devils.
A study of the devil figure thus provides an opportunity to understand in some measure the role the mysteres hagiographiques played in relation to the mediaeval public, whose perception of the other (as well as of the same) the saint's plays represented even as they helped construct it.
Tanner, Jessica Leigh. "Mapping Prostitution: Sex, Space, Taxonomy in the Fin-de-Siècle French Novel." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11008.
Повний текст джерелаRomance Languages and Literatures
Ramday, Morna B. "Man up : a study of gendered expectations of masculinity at the 'fin de siècle'." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5551.
Повний текст джерелаReiff, Marija. "The syncretic stage: religion and popular drama during the fin de siècle." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6254.
Повний текст джерелаPelletier, Sophie. "Le roman du bijou fin-de-siècle : esthétique et société." Thèse, Paris 8, 2011. http://hdl.handle.net/1866/6199.
Повний текст джерелаThis thesis investigates the function and representation of jewels in French narratives from the last three decades of the nineteenth century. Not only is this prose rich in gems and precious metals; its plot, vocabulary, and aesthetic are endowed with these luxurious substances and with their properties. In addition jewels represent objects of strong connotations, and thus they charge the narratives with their own aesthetic, social, economical or political meanings. Above all, the analyses of texts presented here reveal that through jewels, interrogations that are central in the social discourse of the time are raised, problematized, intertwined or transfigured. In accordance with a sociocriticism that takes into consideration socio-historical issues in its approach to literary text this study of the jewel in the fin-de-siècle novel shows that, being strong and complex signs, jewels condense the literary, aesthetic and social implications of the text, and constitute privileged objects prone to mediate authors with their society. More precisely, jewels in fin-de-siècle literature summarize tensions of the time: emblems of the secular aristocratic lineages of long ago, in a newly bourgeois world they are more accessible, common objects which can be sold and copied; albeit signs of the submission of the feminine body to a masculine authority they can also become a terrible weapon for freed and conquering female heroes; they embody a substance cherished by dreamers and craftsmen through which the fin-de-siècle text positions itself with regards to Zola’s hegemony and to other artistic practices of the time. Each of the three sections of the thesis (l’objet, le corps, la matière) explores one of these power struggles and is divided into two chapters presenting successively completing or competing points of view. This thesis ultimately leads to the identification of various aspects (rarity, duality nature / culture, etc.) by which gems become a favourite metaphor for authors of the end of the nineteenth century. Among these attributes, precious stones’ resistance – always in tension with the inexorable work of duration – leads to a better comprehension of the fin-de-siècle aesthetic and its equivocal, conflicting relations with the world and with time as it flies by.
Puškarić, Jelena. "Lumières françaises et culture croate à la fin du XVIIIe siècle." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLEP016.
Повний текст джерелаIn 1767 Jean-François Marmontel (1723-1799) published a “novel” which he intitled Bélisaire. Much more a socio-philosophical treaty well anchored in its century’s philosophy than an adventure novel, Marmontel’s Bélisaire was an immediate success in his time and inspired many a literary follower in decades to come. Summing up the key ideas of its time, namely freedom of thought in religious matters, civil toleration (the novel’s strongest point, the most criticized by its opponents as well as the most fiercely defended by its author), extension of the royal authority, a most wished for reform of the tax system and, on a larger scale, of various social institutions…, Marmontel’s work quickly gained popularity, which was largely due to his author’s triumph over the Sorbonne theological party. The leitmotiv of Justinian’s old general, whose conduct was synonym of nothing but impeccable righteousness, was not unknown to the European literary pre-Enlightenment production, though back then the traditional plot lacked the novelty elements with which Marmontel endowed his Bélisaire. In this lineage we can place a play intitled « Belisarius or Elpidia » by the Ragusan poet Antun Gledjević. But it was primarily the ideological filament of Marmontel's novel that inspired the Croatian priest Michael Horvath (1733-1810) to publish a Latin version of Marmontel's text (most probably in 1772). A second Latin version of the text (published by a Vienna typographer Aloysius Doll) appeared in 1806
Alder, Emily. "William Hope Hodgson's borderlands : monstrosity, other worlds, and the future at the fin de siècle." Thesis, Edinburgh Napier University, 2009. http://researchrepository.napier.ac.uk/Output/3597.
Повний текст джерелаFrauenstein, Antje. "Die Darstellung der emanzipierten Frau in der deutschen Literatur zwischen Vormärz und Fin de Siècle." Thesis, Stockholms universitet, Institutionen för slaviska och baltiska språk, finska, nederländska och tyska, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-169467.
Повний текст джерелаCarstens, Johannes Petrus (Delphi). "Uncovering the apocalypse : narratives of collapse and transformation in the 21st century Fin de Siècle." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85700.
Повний текст джерелаENGLISH ABSTRACT: This dissertation examines the idea of apocalypse through the lens of science fiction (sf) written during the current fin de siècle period. I have dated this epoch, known as the information era, as starting in 1980 with the advent of personal computing and ending in approximately 2020 when the functional limits of silicon-based digital manufacturing and production are expected to be reached. By surveying the field of contemporary sf, I identify certain trends and subgenres that relate to particular aspects of apocalyptic thought, namely, conceptions of the ‘terror of history,’ the sublimity of accelerated techno-scientific advance, the ‘affective turn’ in media-culture and posthuman philosophy. My principal method of inquiry into how the apocalypse is imagined or ‘figured’ in sf is the concept of hyperstition – a neologism (combining the words ‘hyper’ and ‘superstition’) coined by the Cybernetic Culture Research Unit (CCRU). Hyperstition describes an aesthetic response whereby cultural fictions – principally, ideas relating to apocalypse – are imagined as transmuting into material realities. I begin by scrutinizing two posthumanist works of theory-fiction (theory written in the mode of sf) by the CCRU and 0rphan Drift which anticipate immanent human extinction and imagine the inception of a new evolutionary cycle of machine-augmented evolution This sensibility is premised on the sociallydestabilising cycles of exponential growth that characterise information-era technological developments, particularly in the digital industries, as well as the accelerated human impact on the natural environment. Central to my argument is the romantic materialist philosophy of Deleuze and Guattari and their concepts of accelerationism, schizoanalysis and Bodies without Organs (BwO’s). Their ontology is constructed around the idea that exponential rates of development necessitate a new aesthetic paradigm that ventures beyond philosophies of human access. The narrative of apocalypse, approached from this perspective, can be interpreted in catastrophic or anastrophic terms; either as a permanent ending or as the beginning of something radically new. Using hyperstition, I also investigate the sf of Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley to see not only how these authors interpret the concept of cultural acceleration, but also to identify common threads. Countering the catastrophic ‘death of affect’ postulated by theorists such as Jean Baudrillard and Paul Virilio with the anastrophic rejoinder of cyberdelic information-era countercultures, I conclude by investigating the new ‘affective turn’ in contemporary media theory. The works of theoretical fiction and sf that I investigate are informed, as I demonstrate, by the Situationist techniques of psychogeography, dérive and detournement, as well as by the literary tropes of 18th and 19th century fin de siècle Gothic and dark Romantic fiction.
AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die idee van apokalips deur die oogpunt van wetenskap fiksie (wf) soos geskryf gedurende die huidige ‘fin de siècle’ tydperk. Ek dateer hierdie epog, bekend as die inligtings-era, as die tydperk wat in 1980 begin met die koms van persoonlike rekenaars en nagenoeg eindig in 2020, wanneer die funksionele limiete van silikon gebaseerde digitale vervaardiging en produksie na verwagting bereik sal word. Deur die veld van kontemporêre wf in oënskou te neem, identifiseer ek sekere neigings en sub-genres wat vergelyk met sekere kenmerke van apokaliptiese denke, naamlik: begrippe soos die ‘verskrikking van geskiedenis’, die verhewendheid van versnelde tegno-wetenskaplike vooruitgang, die ‘emosionele omkeer’ in media-kultuur en post-humanistiese filosofie. My primêre metode van ondersoek van hoe die apokalips voorgestel of ‘beskryf’ kan word in wf, is die begrip van hiper-bygelowigheid - ‘n neologisme (samevoeging van die woorde ‘hiper’ en ‘bygeloof’) soos geskep deur die Kubernetiese Kultuur Navorsings-Eenheid (KKNE) en Nick Land, medestigter van die KKNE. Hiper-bygelowigheid beskryf die proses waarvolgens kulturele versinsels - hoofsaaklik opvattings met betrekking tot apokalips – in materiële realiteite omgeskakel kan word. Ek ondersoek ek twee post-humanistiese werke van teorie-fiksie (teorie geskryf volgens die wf metode) deur KKNE en 0rphan Drift, wat inherente menslike uitwissing verwag en die ontstaan van ‘n nuwe evolusionêre siklus van masjien-toename voorstel. Hierdie proses is gebaseer op die sosiaal-destabiliserende siklus van eksponensiële groei wat kenmerkend is van die inligtings-era se tegnologiese ontwikkelinge, veral in die digitale industrie, sowel as versnelde menslike impak op die natuurlike omgewing. Die kern van my beredenering is die goties-materialisties-teoriese standpunt soos deur Land ingeneem, sowel as die romanties-materialistiese filosofie van Deleuze en Guattari. Hierdie gevalle van neo-materialistiese (of objek-georiënteerde) filosofië word toegelig deur ‘n apokalipties-teoretiese basis bekend as akseleerasionisme. Hierdie uitgangspunt is ontwikkel rondom die idee dat die eksponensiële tempo van ontwikkeling ‘n klimaks sal bereik in ‘n evolusionêre ‘wipplank punt’ en dat ‘n nuwe estetiese paradigma nodig is wat dit bokant die filosofie van menslike vermoë kan waag sodat daar oor hierdie waarskynlikheid geteoretiseer kan word. Die beskrywing van apokalips, soos vanuit hierdie oogpunt beskou, kan vertolk word in beide katastrofiese of anastrofiese terme of as ‘n permanente einde of as die begin van iets wat radikaal nuut sal wees. Deur gebruik te maak van die hiperbygelowigheidsteorie, wat ‘n onderafdeling is van akseleerasionisme, ondersoek ek WF van Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley ten einde vas te stel hoe hierdie skrywers die konsep van kulturele akseleerasie interpreteer, maar ook om gemeenskaplike leidrade te identifiseer. Met teenargumentering ten opsigte van die katastrofiese ‘dood van affek’ gepostuleer deur teoretici soos Jean Baudrillard en Paul Virillio met die anastrofiese samevoeging van kuberdeliese inligtings-era-kontra-kulture, ondersoek ek die nuwe ‘gemoedsomkeer’ in kontemporêre mediateorie. Die werke van teoretiese fiksie, sowel as baie van die ander gevalle van wf wat ek ondersoek en soos deur my gedemonstreer, word toegelig deur Situasienistiese tegnieke van psigo-geografie, dérive en detournement, sowel as deur die literêre menigtes van die 19de eeu ‘fin de siècle’ donker Romantiese en Gotiese fiksie.
Hurst, Jordan Dwayne. "Arthur Schnitzler's Outsider-Insiders in Fin de Siècle Vienna." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1372092281.
Повний текст джерелаRobbins, Catherine Ruth. "Decadence and sexual politics in three fin-de-siècle writers : Oscar Wilde, Arthur Symons and Vernon Lee." Thesis, University of Warwick, 1996. http://wrap.warwick.ac.uk/36344/.
Повний текст джерелаAlbistur, Eztitxu. "L'évolution du didactisme dans la littérature de jeunesse basque de la fin du XIXème siècle au XXIème siècle." Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1028/document.
Повний текст джерелаThe first writings devoted to children and adolescents emerged in Europe in the 18th century and continued to develop throughout the whole of the 19th century. It was in the 19th century that the term “children’s literature” (or “juvenile literature”) came into being. Literature written for children and adolescents is therefore relatively recent. The main aim of this type of literature is largely to educate children and adolescents by means of the works of which it is composed and by carrying messages of varying types: encyclopedic knowledge, existential advice as well as moral prescriptions. These messages are deliberately transmitted through works which one can therefore qualify as being didactic. This characteristic indoctrination of children’s literature (juvenile literature) has evolved over the centuries. Having focalized our research on Basque children’s (juvenile) literature and having compiled a corpus of works pertaining to this evolution we have analysed, in this thesis, the ways in which the various morals and different messages were handed down to juvenile readers throughout the ages. This transmission has taken place sometimes by means of explicit didactism and sometimes, or even simultaneously, by the use of implied didactism. Having proceeded to analyse and compare each opuscule of the corpus we thus propose a historic outline concerning the evolution of didactism in Basque children’s (juvenile) literature as from the 19th century to the beginning of the 21st century. To conclude we have proposed an analytical table of children’s (juvenile) literature destined to aid teachers and professors who may wish to study the messages contained in the works of their pupils
Barra, Lagunas Manuel. "La enfermedad en las literaturas hispánicas de Fin de siècle: De sobremesa y Diario de un enfermo." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/400945.
Повний текст джерелаThe disease becomes the predominant aesthetic value in the Fin de siècle, singular moment in the shaping European modernity, whose referent is the city of Paris. This new aesthetic is generalized through a speech, which will become dominant and where medical science is interwoven with the theory of Morel’s degeneration, released thanks to the works of Cesare Lombroso and Max Nordau; and Decadent literature emerged from Baudelaire, Verlaine and Huysmans in others. The literature in Spanish from Spain and Latin America, periphery of that modernity, is marked by the same disease concept as European literature. The reception of the pathological modern aesthetics in Spanish literature is made from three types of works: the ones about history and literary criticism, in which the disease as aesthetic appreciation is used; the ones about sociological analysis of the literature, in which disease is used as a topic or reason to subvert the social order; and the ones about reconstruction of literary theory, in which the sick genius idea is developed. In this last kind, works are usually novels from artists or Künstlerroman often in the form of a diary. We have two clear examples of this kind of novels in De sobremesa by José Asunción Silva and Diario de un enfermo by José Martínez Ruiz, texts where the pathological thing is developed as the most modern aesthetic.
Leroux, Julie. ""Shocking his readers out of their complacence": gothic and fantasy tropes in H.G. Wells' «fin-de siècle» science fiction novels." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97160.
Повний текст джерелаCe mémoire vise à identifier les tropes gothiques et fantaisistes dans quatre romans de la fin-de-siècle par H.G. Wells – The War of the Worlds, The Invisible Man, The First Men in the Moon et The Food of the Gods – et d'examiner leur effet dans ces romans de science fiction au niveau rhétorique. Plus précisément, ce projet fut inspiré par l'analyse qu'a faite Kelly Hurley des ressemblances thématiques entre la science fiction et le gothique au tournant du vingtième siècle, et par l'argument de Darko Suvin selon lequel la science fiction et le gothique seraient antithétiques au niveau rhétorique. À travers une analyse de l'interaction entre ces deux genres compatibles au niveau thématique, mais théoriquement incompatibles au niveau rhétorique, j'évalue les réponses potentielles que l'on peut attendre des lecteurs de ces romans, et je compare ces réponses théoriquement possibles aux la réception contemporaine réelle de ces œuvres. Ma recherche repose sur l'idée que Wells tentait de promouvoir dans ses romans une réflexion sociale basée sur les théories darwiniennes et sur le socialisme, et qu'il utilisait la combinaison de la science fiction et du gothique afin de mener ses lecteurs vers des conclusions intellectuelles par le biais d'un éveil brusque causé par le choc et la terreur. Cette étude tente de déterminer si l'utilisation du gothique faite par l'auteur mène vraiment ses lecteurs à porter davantage attention aux thèmes contenus dans les romans, ou si, au contraire, ces tropes ne font qu'engendrer une réponse émotive chez le lecteur.
Zussa, Gaëlle. "Merlin, rémanences contemporaines d’un personnage littéraire médiéval dans la production culturelle francophone (fin 20e siècle et début 21e siècle) : origines et pouvoirs." Thesis, Paris Est, 2008. http://www.theses.fr/2008PEST0051/document.
Повний текст джерелаThe character Merlin, was born a long time ago from Welsh chronicles. Its literary origins go back to texts from the 12th century, first in Latin, then in French, in which he becomes Arthur’s famous adviser and acquires a great reputation among readers. Today, nine centuries later, the traditional Merlin is reborn, after Romanticism has forgotten him. The hero is still making us dream. He has become the main character of many works of the current francophone cultural production. This work analyses the contemporary persistence of the literary figure of medieval Merlin through two main themes: the origins and the powers. As a first step, a table of the medieval hero’s portrait is made according to the study of a novel’s corpus showing Merlin in the Middle Ages. Then, based on this table, whose structure builds the study plan, the hero’s contemporary persistence is analysed in detail through a corpus composed of elements from literature, cinema, theatre, comic books and Internet. The study of the origins (which includes the themes of the conception and the Woodwose or wildman’s tradition) shows mostly a modification of Merlin’s creator status, the devil, which is rationalized, paganised or deleted. This change is made to give importance to the Woodwose’s tradition, which already existed in the Middle Ages, but has become dominant in contemporary corpus. A detailed analysis of the Christian depreciation explains these narratological changes, which also affects the theme of powers (which includes the vision, the control over time and the control over space). In addition to their de-Christianization, the powers are considerably modernized thanks to the techniques of the various media. Consequently, they are demystified, which allows a finer identification with the reader-viewer. Thus, Merlin has become reachable, he does not scare any more like in the Middle Ages where his diabolical origin made him doubtful. He appears as a spokesman of a return to nature, as he had already been in the early medieval texts before his message was lost under the weight of the Christian domination. But today more than ever, the world needs examples, models to respect and love nature, whose future seems threatened. Merlin is the ideal messenger of a " naturist " conception of life and world. The contemporary writers understand this. Through his connection to the medieval world and his revisited portrait by the contemporary cultural production, Merlin attracts us, he makes us dream while reminding us of our own being through identification with this extraordinary character
Die Figur Merlin wurde vor langer Zeit aus walisischen Chroniken geboren. Seine literarischen Ursprünge stammen aus Texten des 12. Jahrhunderts die zuerst auf Lateinisch und danach auf Französisch waren. In diesen Texten ist der grossartige Berater von Arthur und erreicht dadurch Berühmtheit unter den Lesern. Neun Jahrhunderte später ist der traditionelle Merlin Wiedergeboren, nachdem er in der Romantik in Vergessenheit geriet. Der Held macht immer noch träumen und ist die Hauptfigur in etlichen Werken der zeitgenossischen frankophonen kulturellen Produktion. Diese Arbeit analysiert die zeitgenössischen Überbleibsel der mittelalterlichen Figur Merlin aus zwei Gesichtspunkten: der Herkunft und der Zauberkraft. Als erstes wurde eine Tabelle erstellt in der das Porträt des mittelalterlichen Helden, aufgrund von verschiedenen Werken, wo die mittelalterliche Figur Merlin erscheint, gezeigt wird. Diese Tabelle und seine Struktur sind die Grundlage unsere Studie. Die zeitgenössischen Remanenzen der literarischen mittelalterlichen Charakteristiken des Helden sind danach in der frankophonen kulturellen Produktion (Literatur, Film, Theater, Comics oder Internet) analysiert. Die Studie der Ursprünge (welche die Themen der Konzeption und der Tradition des wilden Mannes umfasst) zeigt hauptsächlich eine Änderung des Status des mittelalterlichen Vaters von Merlin (der Teufel), welcher rationalisiert, paganisiert und teilweise sogar gestrichen wird. Diese Änderung erfolgt zugunsten einer hervorgehobenen Darstellung der Tradition des wilden Mannes. Diese Tradition, die während des Mittelalters bereits erschien, steht im Vordergrund der zeitgenössischen Korpus. Eine detaillierte Analyse der Abwertung des Christentums erklärt die narratologischen Umbrüche, die auch den Bereich der Zauberkräfte betreffen (umfasst die Klarsicht, die Kontrolle über Zeit und Raum). Ausserdem wurden die Zauberkräfte dank den neuen Medien beträchtlich modernisiert und demystifiziert, was eine effiziente Identifizierung mit dem Leser-Zuschauer erlaubt Durch diese Entwicklung wird Merlin erreichbarer, macht keine Angst mehr im Gegensatz zum Mittelalter, wo ihn seine teuflischen Züge zweifelhaft machten. Er erscheint als Sprecher für eine Rückkehr zur Natur, wie das bereits in den ersten mittelalterlichen Texten der Fall war, bevor seine Botschaft unter der christlichen Herrschaft verloren ging. Heute, mehr denn je, braucht die Welt Beispiele, Modelle hinsichtlich Respekt und Liebe zur Natur deren Zukunft bedroht zu sein scheint. Merlin ist daher der ideale Kurier einer "naturistischen" Konzeption des Lebens und der Welt, was die zeitgenössischen Autoren deutlich verstanden haben. Durch seine Verbindung zur mittelalterlichen Welt sowie seiner Wiederauferstehung durch die zeitgenössischen kulturellen Produktionen, zieht er uns an und lässt uns träumen indem er uns an uns selber erinnert durch die Identifizierung mit dieser aussergewöhnlichen Persönlichkeit
Wanggren, Lena Elisabet. "New women, new technologies : the interrelation between gender and technology at the Victorian fin de siècle." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7912.
Повний текст джерелаDumitru, Mihaela. "Margareta Miller-Verghy ou un destin de femme-écrivain à la fin du XIXe siècle et dans la première moitié du XXe siècle." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL025/document.
Повний текст джерелаIn the second half of the nineteenth century, women who dare to write and publish are still very few. Faced with a society that rejects them or treats them as blue bottoms, they are looking for solutions and those they find are either to hide under the appearance of men and publish under pseudonym, to be against, deepen the feminine and write a literature of the self: journal, autobiography, novel letter writer. Margareta Miller-Verghy (1865-1953), a writer ignored by literary histories, who is among the first French-speaking Romanian writers, begins her literary career publishing under pseudonym. Her novels, including the last one, "Blandina", appear posthumous and in Romanian translation testify to this literature with a strong autobiographical dimension. Her destiny goes back two centuries and can be considered representative for the path that the female writers travel from the time of contempt and mistrust of the nineteenth century to the full acceptance in the twentieth century.Margareta Miller-Verghy was born in Jassy, Romania, but spent her childhood and later her youth in Geneva, not only in a French environment, but also in a multilingual one. This explains her penchant for foreign languages and her talent as a translator, which she makes use of when translating into French the work of Mihail Eminescu, the greatest Romanian poet. After a bachelor's degree in Social Sciences, while still in Geneva, she became director of the Elena Doamna Asylum in Bucharest and in this quality she published books with didactic content, including a method of learning French, which is among the premieres of this kind. Her writing career began in 1883 with a short story published under the pseudonym Marmil and continued with three novels, the first, Theano, published in Romania and France in 1919 and respectively in 1921, the second "Cealaltă lumină" ("The Other Light"), in 1944, a testimony of the accident in which she lost her eyesight, and the last "Blandina" (1980), which is actually the first of this autobiographical cycle. Apart from this activity in the field of literature, she advocates for women's literature, publishing an anthology entitled "Evoluția scrisului feminin în România" ("Evolution of the female writing in Romania"). She is interested in arts, directs for twenty years an institution that organizes cultural projects, The House of Art, and has a significant charitable activity, especially during the First World War.In order for her work, which is so diverse and so complex, to be known and appreciated by future generations, the very laborious research we have carried out in the archives must be expanded by editing and re-editing. To continue this study with a monography, with a new edition of the novel "Blandine", with an edition of gathered works seems to us a duty for the years to come
Casamento, Tumeo Antonio. "La foule dans la littérature italienne de la fin du XIXème siècle." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00741783.
Повний текст джерелаZussa, Gaëlle. "Merlin, rémanences contemporaines d'un personnage littéraire médiéval dans la production culturelle francophone (fin 20e siècle et début 21e siècle) : origines et pouvoirs." Phd thesis, Université Paris-Est, 2008. http://tel.archives-ouvertes.fr/tel-00462016.
Повний текст джерелаPricop, Lucian. "L'identité de la littérature roumaine: écrivains, éditeurs et lecteurs à la fin du XIXe siècle et au début du XXe siècle." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209502.
Повний текст джерелаLes lectures croisées de documents (plans éditoriaux, correspondance, presse, journaux intimes et professionnels, etc.) et de sources secondaires (histoires littéraires, travaux de critique, manuels, etc.) nous ont permis de suivre l’évolution des intentions, des objectifs, des réalités et des conséquences sur ce qu’on considère l’histoire officielle de la littérature. Les différences entre les étapes démontrent, d’une manière assez exacte, les degrés de pouvoir des forces impliquées dans la production du canon littéraire ;elles illustrent aussi l’emprise croissante de l’idéologie sur le champ culturel à partir de la fin du XIXe siècle. L’analyse diachronique des parutions éditoriales à travers les 34 années étudiées reflète les changements des politiques culturelles de l’Etat. L’analyse appliquée à la politique éducationnelle de la discipline littérature roumaine nous a permis d’envisager une modification de la stratégie de l’Etat dans ce domaine et de questionner ses effets sur la création du patrimoine national.
Le littéraire, acteur central de notre recherche, nous a donné la possibilité d’instrumentaliser plusieurs notions appartenant à l’histoire du livre et de l’édition. De cette manière, les tensions présentes à l’intérieur de l’analyse historique de la littérature ont été transformées en sujet de réflexion, voire de rétablissement de certaines positions de domination. Le concept d’identité bibliographique est convoqué pour réaliser une lecture diachronique d’une époque. Nous avons identifié et analysé toute une série de problématiques passionnantes, telles les relations entre les instances impliquées dans la production, la circulation et la réception des livres littéraires durant la période 1880-1914.
The PhD thesis entitled The Romanian Literary Identity. Writers, Publishers and Readers in the Late Nineteenth and Early Twentieth Centuries examines a communication phenomenon, constituting a scientific enterprise that aims to clarify some aspects relating to the modernization of Romanian society during the Belle Époque: we have in mind the transformation of the “publishing house” from a business dealing with handmade items into a “proto-industrial culture” and the creation of a public sphere in a world constantly seeking to define itself. The relationship between the increasing number of cultural goods produced by publishers and the growing interest in reading among the people represents a main focus of this research. In other words, we tried to assess the social function of Romanian literature and the role of books on the market for cultural and informational products. By choosing a fairly long period of time (1880-1914), we were able to confront the data pertaining to literary production in a diachronic manner, analyzing the economic and political strategies of the “actors”, as well as the conflicts arising from the power relations between those actors. The analysis of the circumstances surrounding the transformations undergone by the Romanian cultural area enabled us to determine more clearly the social roles of the participants, the interactions and confrontations between actors and audiences. We could identify a crisis of the original Romanian literature, a crisis that fostered the “internationalization” of the literary production. The competition between cultural goods “imported” from the West in the form of translations or adaptations was one of the factors enhancing local literary production.
The cross-reading of documents (editorial plans, correspondence, press, personal and professional diaries etc.) allowed us to evaluate the evolution of the intentions, goals, realities and consequences of the official history of Romanian literature (which has its origins in this period). The differences between these stages revealed the power statuses of the forces involved in producing the literary canon; they also showed the growing influence of ideology on the cultural field since the end of the nineteenth century. The diachronic analysis of the titles published in the 34 years under scrutiny reflects the changes ocurring in the cultural policies of the state. The educational strategies concerning Romanian literature as a field of study revealed the state’s attitude change towards this area, which enabled us to assess the effects on the development of the “national literary heritage”.
The literary field, the central actor of our research, opened the possibility to operationalize several concepts pertaining to the history of book publishing. Thus, the tensions existing within the historical analysis of literature were transformed into a subject of reflection, even re-establishing some positions of dominance. The notion of bibliographical identity was employed in order to do a diachronic reading of the era.
The research conducted for this dissertation gave us the opportunity to identify and analyze a range of exciting issues, such as the relationship between the participants involved in the production, dissemination and reception of literary works between 1880 and 1914.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Lopez, Pedroza Claudia Cecilia. "Les chroniques urbaines d'Angel de Campo dans " El Imparcial " : Mexico à la fin du XIXème siècle." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00947640.
Повний текст джерелаMcKeown, Claire. ""L’implacable lumière du Nord" : l’impressionnisme littéraire chez les auteurs scandinaves et britanniques à la fin du XIXe siècle." Thesis, Mulhouse, 2018. http://www.theses.fr/2018MULH8892.
Повний текст джерелаLiterary impressionism is the subject of a large number of critical writings, and yet it remains a vague, catch-all notion which has even been disputed by some critics. This study postulates that despite its multiple definitions, literary impressionism is a key factor in the development of Northern European (British and Scandinavian) modernism at the end of the 19th Century. Through careful study of writers who themselves linked impressionism with literary aesthetics, including Henry James, Herman Bang, Stella Kleve and Thomas Hardy, I have identified the major characteristics of this multifaceted stylistic technique, and gone on to demonstrate their value in the development of a new literary aesthetics based on shared subjectivity, preparing the “inward turn” of modernism, as analysed by Erich Kahler. This thesis places two literary histories in parallel: that of a term which allowed for a conscious theorization of nascent modernism, and that of the literary impression in Northern European prose, which pre-dates the artistic movement which would give it a name. Finally, by taking into account the authors’ aesthetic preoccupations and varying degrees of social engagement, I suggest that aesthetic empathy plays an important role in impressionist thought, in its literary, artistic and social manifestations
Lawrie, Alexandra Patricia Duff. "Pedagogy, prejudice, and pleasure : extramural instruction in English literature, 1885-1910." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7727.
Повний текст джерелаJohansson, Niclas [Verfasser]. "The Narcissus Theme from «Fin de Siècle» to Psychoanalysis : Crisis of the Modern Self / Niclas Johansson." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/112954513X/34.
Повний текст джерелаShaw, Michael. "The fin-de-siècle Scots Renascence : the roles of decadence in the development of Scottish cultural nationalism, c.1880-1914." Thesis, University of Glasgow, 2015. http://theses.gla.ac.uk/6395/.
Повний текст джерелаStephens, Anna [Verfasser]. "The Functions of Literature: A Diachronic Perspective on the British Novel on Terrorism from the Victorian Fin de Siècle to the Present / Anna Stephens." Bonn : Universitäts- und Landesbibliothek Bonn, 2020. http://d-nb.info/1208937820/34.
Повний текст джерелаZaccaria, Flaviana. "La fragmentation de Mio et le problème de la dis-identité dans la Littérature italienne et Américaine de la fin du Siècle." Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL002/document.
Повний текст джерелаThe aim of this study is to prepare an analysis of the critic that certain literature, typical of the end of last century, brought forward toward capitalistic society and it’s consequences not only on the life style of the individuals, but also on their psychology and social behaviour. Social changes and the increase of the influence of the market brought forward an inner and profound change in the society, creating what Bauman called a liquid society: ready to change and to adequate itself to the must and necessity of the market, the new real power. This global change invested and influenced society all over the globe, finding proper echo in different artist around the world, from Europe to Africa to Australia. Focusing only on Italian and American literature, through the work of writers as Bret Easton Ellis, Chuck Palaniuk and Don DeLillo – for American literature -, and Tondelli and the Young Cannibals in Italy, could be possible to analyse how those artists, with pulp images and strong language, show to the world the dark side of capitalism and the new order society, which aim at the killing of the inner self, creating what has been called a dis-identity: transforming the individuals in the perfect market good, ready to change and without an inner wish or personality, ready to serve and to follow the dictate of the market. Through mostly television and advertising propaganda, the market society has created a false reality, what Baudrillard called the hyper-reality, which engulfed the world deleting any real possibility of escape. Only chance of survival has become then the complete submittal of the self, giving away any independent form of the Self in change of a “fit-in” life. CBoth the choice to fit in or be casted out are portrayed in those books, showing how dees not matter which is the choice, the result would be the same: alienation and profound loss of the Self. Those consequences lead, in a way or another, to different form of self-destruction, different ways to achieve the same goal: forget yourself and the disquiet caused by living in a world in constant change, where the standard is always moved forward, where goals are impossible to meet, and reality is impossible to live
Ruhose, Yvonne [Verfasser]. "Konstruktionen weiblicher Libertinage im Fin de Siècle anhand ausgewählter Prosawerke Arthur Schnitzlers und Franziska zu Reventlows / Yvonne Ruhose." Paderborn : Universitätsbibliothek, 2021. http://d-nb.info/1237748402/34.
Повний текст джерелаBouget, Hélène. "Enquerre et deviner : poétique de l'énigme dans les romans arthuriens français (fin du XIIe-premier tiers du XIIIe siècle." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00204437.
Повний текст джерелаBrambilla, Alberto. "Edmondo De Amicis et la France (1870-1883) : contacts et échanges entre littérature italienne et littérature française à la fin du XIXe siècle." Phd thesis, Université de Franche-Comté, 2011. http://tel.archives-ouvertes.fr/tel-00951573.
Повний текст джерелаDesclaux, Jessica. "Les voyages de Maurice Barrès." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040156.
Повний текст джерелаThe aim of this thesis is to challenge the prevailing image of Maurice Barrès in literary history as a patriotic native of Lorraine, deeply rooted in his homeland: Barrès is considered a defender of local roots, as opposed to Gide, seen as a traveller. From 1887 to 1923, Maurice Barrès made around forty journeys abroad. In revisiting the chapter which Albert Thibaudet dedicated to the traveller in La Vie de Maurice Barrès (The Life of Maurice Barrès), we question the hypothesis that Barrès shaped himself an aesthetic and intellectual path, drawing from his travels. Against the diachronic duality of the writer, whose mind-set evolved between publication of the Culte du Moi (The Cult of the Self) and the Roman de l'énergie nationale (Novel of National Energy), there emerges a four step path: he looked to and was influenced by different schools of thought from Italy, Spain, the Orient and, during the period in which his sense of nationalism was formed, he examined the Greek lesson in particular. As well as considering travel as something which educated both the aesthete and the writer, we analyse the knowledge acquired by the politician on his travels abroad. To that end, focus is placed upon manuscripts from the Barrès fonds of the BnF and the emphasis is on a genetic approach. Through Barrès, we follow the rebirth of the writer's journey, influenced by the model of the English aesthetes, in the context of artistic rediscoveries and a rise in international tensions
Combe, Vincent. "Histoires tragiques et " canards sanglants " : Genre et structure du récit bref épouvantable en France à la fin du XVIe et au début du XVIIe siècle." Phd thesis, Université de Nice Sophia-Antipolis, 2011. http://tel.archives-ouvertes.fr/tel-00643307.
Повний текст джерелаServoise-Vicherat, Sylvie. "L'engagement du roman à l'épreuve de l'histoire en France et en Italie au milieu et à la fin du vingtième siècle." Phd thesis, Université Rennes 2, 2007. http://tel.archives-ouvertes.fr/tel-00204418.
Повний текст джерелаJouhaud, Etienne. "Ego viator : Ecrire le Levant à la fin de la Renaissance." Thesis, Limoges, 2017. http://www.theses.fr/2017LIMO0078.
Повний текст джерелаAt the end of the Renaissance, the Ottoman Empire is by the European public well known. All the XVIth century long, travel writings, captives’ stories, customs books, cosmographies draw a certain image of the « Turc » and of the world’s part he rules over. Object of fascination and of deep concern, sultans’ Empire interests christian Europe while this area is in the grip of internecine conflicts. The travelers who choose to travel or who begin to write their story do so with, in their mind, the works of those who went to the Orient before them. They have to do with the image of the Other that was mainly accepted in these period. The library exerces a pressure who encourages the writers to search other ways of telling their proper experience. They search new modes of expression. Doing so they renew the dialectic of experience and books resources. Among these travelers-writers we noted that a group differs from others in his practice of writing. This class of travelers, which we identify as the aristocracy, find new grounds to affirm herself on the road of the Orient, in a period during which diplomatic and trade exchanges between Europe and the Levant grew significantly. While trying not to present themselves as scholars, they want to highlight their class membership. To do so, they put forward their own experience of travel, their personnality. They assert themselves in the text, and their presence seems to be more significant than in former texts concerning the Levant. The traveler’s ego, in the early modern period, is not egotist. The growth of evocation of the personal experience in the text seems however to mark a significant evolution in travel writing. Moreover, it invites us to think that it goes with progressiv changes in the relations between the Occident and the Orient
Leal, Cesar A. "RE-THINKING PARIS AT THE FIN-DE-SIÈCLE: A NEW VISION OF PARISIAN MUSICAL CULTURE FROM THE PERSPECTIVE OF GABRIEL ASTRUC (1854-1938)." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/30.
Повний текст джерелаCrepiat, Caroline. "Le sujet lyrique dans la poésie du Chat Noir (1882-1897)." Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20008.
Повний текст джерелаThe end of the 19th Century is a key period for the « little » literary and artistic journals, produced by avant-garde and bohemian groups. One of them, Le Chat Noir (1882-1897), created by Rodolphe Salis and Émile Goudeau to promote the famous and eponymous cabaret. Tales, humoristic texts, illustrations or poetry appear in its columns. The present thesis aims for a closer study of these poems, in the light of the crisis which troubles the literary production. It is more precisely to analyse how the notion of the lyric subject, which is considered as the « structural principle » (Käte Hamburger) of lyricism, is treated. Indeed, saying « I » seems to lose sense for these poets, not only because of a tradition that is to subvert for the « fumiste » spirit’s sake which they claim, but also because of the collective context in which they find a space of expression. However, those provocations against the lyrical « I » is also for these artists a way to question and dissect it, and even to reappropriate it, for the collective as much as the individual distinction. A mixed reflexion, based on poetic, esthetic and « sociopoétique » analysis, will lead us to define the logics, stakes and strategies of such a position
Hernández, Barbosa Sonsoles. "La pensée synesthésique dans le Paris fin-de-siècle : la musique et ses rapports avec la littérature et les arts plastiques." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040124.
Повний текст джерелаThe reflection on the correspondences among the arts made a remarkable impact on the cultural scene of late nineteenth-century Paris. This gave rise to a whole discursive framework linked to synaesthesia around which several lines of thought converged. Some had remote origins, such as the occultist approach; others were gradually incorporated during the nineteenth century, as in the case of the principles derived from the Naturphilosophie, the theoretical symbolist assumptions linked to the idealistic tradition, the inheritance of Wagnerian’s postulates or the scientific and physiological discoveries regarding the phenomenon of synaesthesia. Based on the work of both theoreticians –such as Wyzewa, Favre, Mauclair- and artists -the poets Verlaine and Mallarmé, the musicians Chausson and Debussy and the painters Redon and Denis– linked to synaesthesia, and following an interdisciplinary approach, this Ph.D. research analyses the mechanisms that gave rise to the synaesthesic discourse, taking into account its aesthetical, ideological, sociological and scientific aspects
La reflexión en torno a las correspondencias entre las artes tiñó los diversos ámbitos del panorama cultural del París de finales del siglo XIX. Ello generó un entramado discursivo ligado a la sinestesia en el que se dieron cita diversas corrientes de pensamiento, algunas con orígenes remotos, como las propuestas ocultistas, y otras que se habían ido incorporando progresivamente a lo largo del siglo XIX, como los discursos herederos de la Naturphilosophie, los supuestos teóricos simbolistas ligados al legado idealista, la herencia de los postulados wagnerianos o los descubrimientos científicos y fisiológicos en relación con el fenómeno de la sinestesia. A través del estudio de diferentes teóricos –Wyzewa, Favre, Mauclair– y creadores –Verlaine y Mallarmé desde la poesía; Chausson y Debussy desde la música; Redon y Denis desde la plástica– ligados a la sinestesia y mediante un enfoque interdisciplinar, se han estudiado los mecanismos que posibilitaron este discurso sinestésico, en los que entran en juego aspectos de tipo estético, teórico, ideológico, sociológico y científico
Wijkmark, Sofia. "Hemsökelser : Gotiken i sex berättelser av Selma Lagerlöf." Doctoral thesis, Karlstads universitet, Avdelningen för humaniora och genusvetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3787.
Повний текст джерелаJehl, Florian. "« – À la fin jaillira l’homme de pure lumière. » Pour une anthropologie d’André Frénaud." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040097.
Повний текст джерелаAndré Frénaud’s anthropology is profoundly impregnated with the upheavals of modern history, from the rise of totalitarian régimes throughout Europe to WWII and the discovery of death camps, all of which seem to question the remote possiblity of giving any meaning to History and human action. The anthropological thought expressed in his poems defends man’s ability to identify what is good and act accordingly, without ever overlooking any of his bad drives or his failure to truly be. His poems display an original conception of the self, inspired by Heidegger’s philosophy, mysticism, and above all by psychoanalysis with André Green and the reading of Dostoyevsky. Indeed, the depths of the self are teeming with antagonistic drives. After Kojeve, Frénaud places mankind and History under the sign of negativity. Frénaud’s ethics support both the awareness of « our fatal inability » and the need to act. Frénaud’s life proves the same dedication, and the tone of his committed poems – which caused heated debates with Aragon and Guillevic – can thus be explained, as well as his public presence, a mix of commitment and reserve, e.g. at the Comité national des Écrivains (CNE) or at Comunità Europea degli scrittori (COMES) with Sartre, Ponge, and Tardieu. Finally, his poems question the limits and unity of the human condition, while a pervasive anthropomorphism and an original streak, both epic and mythical, hold the questioning together. The human condition, however, is not as coherent as the concept. It becomes available to the reader’s meditation in the form of a multitude of characters which lead one to a spiritual exercise
Teuber-Terrones, Natalia. "Une lecture croisée de l'oeuvre poétique de Georg Trakl : constellation dialectique et dépassement." Thesis, Strasbourg, 2019. http://www.theses.fr/2019STRAC032.
Повний текст джерелаThis thesis aspires to present a renewed reading of Georg Trakl’s poetry. Our reasoning is based on traditional methodology approaches commonly used in German studies. These comprise, among other things : interpreting the work on the basis of biographical facts, exploring social, historical and intellectual context and intertextuality. We have made the choice to improve this traditional approach by enhancing interdisciplinarity, using the lecture keys and results of philosophy, history of religion, psychoanalysis and psychology. Indeed, these disciplines will permit us to enhance the results of many serious studies by introducing a new point of view about his poetry. Our work aims to question reading in a different way, interpreting GeorgTrakl’s poetry on the basis of different disciplines associated with the humanities in order to show not only the formal complexity of these poems, but above all their philosophical depth, topicality and ethical goals
Spanodimos, Philippos. "L’image des bourgeois dans les œuvres de I. Kondylakis, G. Xénopoulos et C. Théotokis entre la fin du XIXe et le début du XXe siècle : élaboration pédagogique de ce matériau littéraire." Thesis, Paris 4, 2009. http://www.theses.fr/2009PA040248.
Повний текст джерелаPersuaded of the pedagogical interest of literature in the acquisition of the basics by Greek pupils and with the aim of making this subject compulsory, I have examined three authors from the late 19th and early 20th centuries, I. Kondylakis, G. Xenopoulos and C. Theotokis and their representations of members of the middle classes. Ways of life, both in professional and family spheres as well as the behaviour of the elites of Athens, Corfu and Zante whose adventures they recite, reveal the varied nature of this class, its prerogatives and its values. It is thus possible to see that the middle classes of this period paid attention to their appearance as a way of demonstrating their opulence and their power and that marriage, which was often arranged and motivated by self-interest ensured social recognition. Nevertheless, both upper and lower middle classes paid attention to birth control to protect their assets and to prepare the future of their children during a period that was both politically and economically unstable. Despite some distortions and borrowings from French authors, the attachment of these writers to their country and their wish to prick the consciousness by criticising the evils that damage it are noticeable. While offering a new light on this period, their works invite us to reconsider the place of cultural literature in school curricula. Some extracts, grouped together based on themes, commented and accompanied by various exercises show that these texts are accessible to young pupils and are very enriching on condition that the teacher is familiar with and understands the body of work and adapts it to his or her class
Christianson, Elizabeth Watson. "The Unsuccessful Harvesting of Figs from Thistles and Other Failures of Idealized Masculinity in Ella D'Arcy's The Bishop's Dilemma." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3043.
Повний текст джерелаCanani, M. "VERNON LEE AND THE ITALIAN RENAISSANCE. PLASTICITY, GENDER, GENRE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/264137.
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