Дисертації з теми "Littérature amoureuse"
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Beck-Chauvard, Laurence. "La déréliction : l'esthétique de la lamentation amoureuse de la latinité profane à la modernité chrétienne." Paris 4, 1999. http://www.theses.fr/1999PA040041.
Повний текст джерелаSchneider, Alain. "La dialectique amoureuse dans le Roman de la rose de Jean de Meun." Université Nancy 2, 1986. http://www.theses.fr/1986NAN21029.
Повний текст джерелаAlbert-Galtier, Alexandre. "Casuistique amoureuse et rhétorique du désir dans l'oeuvre romanesque de Madame de Lafayette." Lyon 2, 1988. http://www.theses.fr/1988LYO20042.
Повний текст джерелаThis study, in essay rather than thesis form, suggests an approach to the love casuistry and rhetoric of desire in the novels of madame de lafayette. It deals principally with the first important novel, zaide, written before la princesse de cleves. What do questions about love stemming from preciosity signify? did they form, during this period, a linguistique response concerning passions of the heart? this question is first adressed in four short chapters dealing with literary sensibility, then by a double hypothesis focussing on the generic of love and the genesis of narrative, followed by an analysis of the concept of casuis try along with "case studies", and, finally, by a study of mme de lafayette's own discourse of love, a discourse which forms a veritable rhetoric of desire. These issues are, in conclusion, put into a moral perspective. Individual destiny and the universe of the novel assume their place in the history of sensibilities
Fourré, Tristan. "Corpo-réalité et marqueurs identitaires dans la littérature amoureuse (XIVe-XVe siècles) : figures de soi, parures du texte." Electronic Thesis or Diss., Nantes Université, 2024. http://www.theses.fr/2024NANU2006.
Повний текст джерелаThis work aims to propose a reinterpretation of the great fictional narratives of love literature from the late Middle Ages, between the 14th and 15th centuries, from the perspective of visual and material cultures. By studying how literature appropriates increasingly sophisticated semiotic systems, we will see how it repositions itself in relation to the courtly ideals weakened during this period. It will therefore be a matter of understanding how love and desire can be experienced and written even as the studied texts, while inheriting courtly ideals, distance themselves from them to reconsider their relevance. "In order to understand the fluctuation of courteous postures and tropes, the study will vary the scales - intradiegetic, meta-textual - and approaches - narratological, anthropological, and meta-poetic - and will elucidate the self and textuel fashioning. As the "fashionable body" emerges and emblematics provide tools for individuation - even individualization - of the self, the goal is to determine how the lover, as well as the author, construct and display their respective identities. By examining how love literature endows the visual and material with a capacity for presence and agency, we will see that it is the very modalities of creation that are reconfigured in this process of embodiment which runs through a literature in "crisis". Thus, we will be led to go beyond the study of the body in the work to question the body of the work, and the body at work
Tobie, Geneviève. "Petits poètes à la cour de France entre 1390-1430 : quelques représentations du poète, de l'amant et de la dame dans les récits autour des cours amoureuses." Paris 10, 2000. http://www.theses.fr/2000PA100169.
Повний текст джерелаParent, Catherine. "Ondées suivi de La mélancolie amoureuse du sujet épistolaire contemporain dans Folle, de Nelly Arcan." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/33351.
Повний текст джерелаLalo, Dominique-Joëlle. "Psychanalyse de la passion amoureuse : la correspondance entre Julie de Lespinasse et le comte de Guibert." Paris 8, 2001. http://www.theses.fr/2001PA081936.
Повний текст джерелаHartmann, Pierre. "Le contrat et la seduction : essai sur l'intersubjectivite amoureuse dans le roman des lumieres." Paris 4, 1989. http://www.theses.fr/1989PA040037.
Повний текст джерелаThis study deals with amorous subjectivity defined by seduction and contractual connection, which are the basic categories of intersubjective relationship. The introduction presents a synopsis which extends from medieval courtesy to the 17th century. The study focuses on the 18th century novel, with seven chapters on marivaux, crebillon, richardson, rousseau, laclos, sade and retif. The conclusion deals with the licentious novel and the german sentimental novel : goethe and holderlin. The thesis is the following : the intellectual revolution which caracterizes the age of enlightenment brought at the same time a revolution in subjectivity, in particular amorous subjectivity. The novel, a free genre, is the appropriate place where this liberation of amorous consciousness can express itself. The categories of contract and seduction can also explain the specific relationship between each novelist and the reader on the one hand, and the position of the novelist in the philosophical competition on the other hand. From medieval courtesy to the 18th century, amorous relationship belongs to the process of civilisation. The representation of love specific to each of these authors is peculiar to their vision of the world and their social and political views. For all these writers, amorous relationship plays an important part in human dealings, and is even an essential point in the building-up of a genuine human community
Martin, Xavier. "Pascal Quignard : l'écriture, la souffrance, la différence sexuelle et la fusion amoureuse." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080005.
Повний текст джерелаIn our thesis we suggest a journey inside the works of Pascal Quignard. We bring to the fore the difficulties, for an academic critic, to build a reading that is not a simple paraphrase of what Quignard writes. The writer actually comments what he writes and give himself angles to everything he publishes. Our reading of Quignard is not an erudite approch of his works, it is willing to show some effects produced by the texts. In the first part, we take an interest in the articulation between writing and suffering. To write is presented as a survival gesture that allows a metamorphosis of the writer’s life. We show how moments lived by the author are constantly take up again in his texts and how they structure the construction of the works. In the second part, we try to grasp the cosmogony that Quignard creates, he describes the laws of life that conditions our relationship to life and sexuality. Sexual difference is presented as an absolute that cuts humanity in two. Men and women are fundamentally different according to Quignard, he devotes many pages to explain the nature of this difference. Finally, we try to understand the status of love in the works of Quignard, love appears to be a fusion that allows individuals to exceed their own limits. Love is a way to feel again antenatal sensations; the mother, loved and hated, is a key figure in the works of Pascal Quignard
Carnel, Marc. "Le Sang embaumé des roses : Sang et passion dans la poésie amoureuse de Pierre de Ronsard." Paris 4, 2003. http://www.theses.fr/2003PA040043.
Повний текст джерелаThe Pléiade group's love poetry reflects the neo-platonic philosophy which sees passion as a disease of the blood. After presenting the system of humours accepted by Renaissance medicine, this study will explore a series of commonly accepted beliefs about blood and blood disorders in Ronsard's love poems. His works, in fact, retrace a ritual : in springtime the patient is infected by a fatal attack of love. The poet carries an incurable wound in his heart, which compels him to write. The poison, which spreads through his body, shares the age-old dread caused by women's cursed blood and obsessive images fill his spirit. The lover is threatened by Cassandre's bile, by Marie's phlegm and by melancholy. The 1578 editions of his poems, and in particular his Sonets pour Helene, seek to exorcise this evil by restoring the luminous blood of the past. At the same time, the poet dreams of changing his blood and his heart. He yearns to be a living sacrifice while desiring the intimate blood of virginal roses
Lebourg, Magali. "Recherche sur les représentations du "je" dans la poésie amoureuse de Francisco de Quevedo : formes et fonctions." Paris 10, 2009. http://www.theses.fr/2009PA100099.
Повний текст джерелаThe purpose of this research has been to identify and analyse the discursive ways of representing the speaker in the love poetry of Quevedo. The obvious recurrence, on the one hand and, on the other, the role ascribed to the speaker in the structure of the poems have led me to consider these strategies as the backbone of the compact, vivid and conceptual style of the poet. I have therefore endeavoured to establish the part played by this "I" character which repeatedly puts itself forward and makes its voice heard. The lyrical element, traditionally turned towards the celebration of the Beloved, abandons the traditional images of love in order to become the instrument of a narcissistic process turned inwards to its own language. After a first theoretical part explaining the terms and concepts used in the thesis, I have concentrated on three characteristic ways of representing Quevedo's poetic "I": first, the types of identification of the speaker with different images - water and fire in particular, both subject to a peculiar metaphorical expression. Second, the relationship "I"-"you" in order to point out the discursive means by which the speaker uses the receiver to his own purposes. Finally, on the basis of the oneiric representations of the subject or the expression of the frustrations inherent in the love pattern imposed during the Golden Age, I have pointed out the paradoxical forms taken by this kind of verbal narcissism which could be considered as a possible definition of Quevedo's style
Martin, Xavier. "Pascal Quignard : l'écriture, la souffrance, la différence sexuelle et la fusion amoureuse." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080005.
Повний текст джерелаIn our thesis we suggest a journey inside the works of Pascal Quignard. We bring to the fore the difficulties, for an academic critic, to build a reading that is not a simple paraphrase of what Quignard writes. The writer actually comments what he writes and give himself angles to everything he publishes. Our reading of Quignard is not an erudite approch of his works, it is willing to show some effects produced by the texts. In the first part, we take an interest in the articulation between writing and suffering. To write is presented as a survival gesture that allows a metamorphosis of the writer’s life. We show how moments lived by the author are constantly take up again in his texts and how they structure the construction of the works. In the second part, we try to grasp the cosmogony that Quignard creates, he describes the laws of life that conditions our relationship to life and sexuality. Sexual difference is presented as an absolute that cuts humanity in two. Men and women are fundamentally different according to Quignard, he devotes many pages to explain the nature of this difference. Finally, we try to understand the status of love in the works of Quignard, love appears to be a fusion that allows individuals to exceed their own limits. Love is a way to feel again antenatal sensations; the mother, loved and hated, is a key figure in the works of Pascal Quignard
Cossette, Marylène. "La quête mystique et la quête amoureuse comme traitement de la jouissance dans le récit initiatique chez Nerval, Milosz et Hesse." Thesis, Université Laval, 2007. http://www.theses.ulaval.ca/2007/24313/24313.pdf.
Повний текст джерелаFerreira, Maria do Céu Mendes. "Le thème de l'absence dans la lyrique amoureuse profane galicienne-portugaise : contribution à l'étude de l'unité et de la diversité des littératures romanes médiévales." Toulouse 2, 1999. http://www.theses.fr/1999TOU20099.
Повний текст джерелаOchi, Slah. "Entre fin'amor et romantisme : l'écriture de la passion amoureuse dans la première moitié du XIXe siècle." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20046/document.
Повний текст джерелаIt is question in this work of studying the subject of love-passion in the first half of the 19th century by being interested in the relation man-woman and these characteristics. This work aims mainly thus at accentuating the various aspects and the various forms which marked the writing of love passion of this period by leaving of a well determined corpus: "Le Rouge et le noir" (Stendhal), "Le Lys dans la vallée" (H. de Balzac), "On ne badine pas avec l’amour" (A. de Musset) and "Les Nuits" (A. de Musset). It is a question of demonstrating besides how the writing of the love passion in the first half of the 19th century countered dependent on the socio-historic context of time (period) but also in the medieval cultural inheritance by frequent return in the Middle Age and the reference to the fin’amor or the courtly love
Germain, Emmanuelle. "Représentation de soi et matérialité des lettres dans la correspondance amoureuse entre Pauline Julien et Gérald Godin (1962-1993)." Master's thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/32864.
Повний текст джерелаBeer, 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.
Повний текст джерелаThis 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
Rolland, Jean-Brice. "Roman, néoplatonisme et pastorale dans l'Astrée d'H. D'Urfé et ses sources espagnoles (La Diane de J. De Montemayor, La Diane amoureuse de G. Gil Polo, La Galatée de M. De Cervantès)." Paris 4, 2007. http://www.theses.fr/2007PA040271.
Повний текст джерелаL’Astrée is considered to be the novel that put amorous politeness in the literature and customs of the Seventeenth Century. H. D’Urfé gave the aristocracy an approach to Neoplatonic love previously reserved for a few intellectuals : his fiction was a rhetorical contrivance that served a definite theory. His work, however, received an ambiguous reception. Was this a result of the way it was read or was it intentional ? The fact that the roman was unfinished, either accidentally or deliberately, does not provide a definite answer. Questioning the Neoplatonic basis of d’Urfé’s novel, this thesis focuses on a textual interpretation and relies on Spanish precedents to show how philosophical discourse is embedded in the novelistic genre and the pastoral esthetic
Aubé, Alain Bobby. "L'ossature de l'existence : suivi de «La rupture identitaire chez Richler et MacLennan : étude sur la relation amoureuse dans The Apprenticeship of Duddy Kravitz et Two Solitudes»." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28338.
Повний текст джерелаRollin, Sophie. "Vincent Voiture et la préciosité : enquête sur un style : thèse." Nice, 2002. http://www.theses.fr/2002NICE2019.
Повний текст джерелаRusso, Valeria. "Archéologie du discours amoureux : prototypes et régimes de l’amour littéraire dans les traditions galloromanes médiévales." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL040.pdf.
Повний текст джерелаThe aim of this thesis is the elaboration of hermeneutic explanations and a methodological model which allow the clarification and the broadening of traditional perspectives which have formed around the concept of “courtly love”. In order to counteract the univocity of existing theories and to cast fresh light on the canon associated with this notion, this work offers a broader scope of analysis: that of Gallo-romance amatory discourse. The object as it is defined here embraces all its expressions and erotic secular representations. The heterogeneous nature of amatory discourse, which it is essential to consider as an ideological, cultural and literary entity, is subjected to an analysis based on an interpretative framework which is both general and particular. In order to re-evaluate the very foundations of this object, our investigation makes use of various critical approaches and chronological aspects: the exegetical phase of this study, founded on the philological analysis of the texts, is completed by a stylistic and rhetorical analysis. The structure of the work is as follows: the identification of the underlying motifs and themes (noyaux de fond) is followed by the construction of an inventory of prototypes of amatory discourse and by the study of their chronological and spatial diffusion. This procedure is legitimized by the identification of three distinct phases which saw the elaboration and consolidation of the expressive code: this occurred first in southern France, then in the north, and, finally, in the northern urban centres and through the neo-courtly reception which characterized the third quarter of the 13th century
Dupas, Matthieu. "Corneille galant. Comédie cornélienne et histoire de la sexualité." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA005.
Повний текст джерелаAs opposed to an irenic conception of gallantry that also relies on an essentialist definition of gender, this study addresses gallantry in terms of the history of sexuality, so as to emphasize the deployment of a gallant micropolitics the early 17th century France. It focuses on the success of Pierre Corneille’s comedies in the context of the blooming of a new amorous culture, soon to be called gallantry. The first part problematizes the discourse of gallantry produced by the sphere of the belle-Letters, which can always turn to mere courtesy, but nevertheless becomes pervasive to regulate men/women interactions in the Ancien Régime France. The Cornelian comedy functions as a gallant technology that produces and diffuses the discourse of gallantry, which organizes amorous relationships so as to legitimize love marriage. The second part addresses the conflict around which turns the whole plot of Corneille’s gallant comedies in terms of social constructionism, so as to account for the erotic subjectivities construed by gallantry. As an “heterotopic” apparatus, gallantry implies processes of subjectivation such that heterosexual love now prevails over homosocial friendship, thereby naturalizing the link between sex and emotional investment – a complex soon to be called “sexuality”. Thus, gallantry is part of the genealogy of the heterosexual matrix. The third part focuses on Pierre Corneille’s poetics of tragedy, and shows that the genre of the 17th century French tragedy replied to the tendency for the discourse of gallantry to function as a form of politeness rather than an authentic form of love by inventing an amorous discourse more suitable to modern individualism, and which no longer depicts love as a “passion of the soul” but simply as, in French, la passion
Heusch, Carlos. "La philosophie de l'amour dans l'Espagne du XVe siècle." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 1993. http://tel.archives-ouvertes.fr/tel-00734876.
Повний текст джерелаVeret, Elsa. "L’énigme de l’automne de la Renaissance à la Régence : pratiques et poétique d’un genre ingénieux." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL165.
Повний текст джерелаThe purpose of this work is to present the characteristics of an ingenious poetic genre, the enigma, which is nowadays considered obsolete and has long been underestimated by critics on account of its recreational dimension. However, the early modern times have made an extensive use of it, as many manuscripts and print series show. We tackle this form, linked to the riddle genre, which study has long been the field of anthropology, from the perspective of the history of literature and of the history of literary form. We highlight the numerous literary sources of the French enigma, as well as the practical questions at stake in the framework of high society salons that adapted it according to the rules of conversation and politeness. The poetical and rhetorical analysis shows that, far from being an arcane form, the enigma uses obscurity in order to create an ingenious brightness. Despite being strictly rule-bound and serial, the genre makes space for a huge diversity of poetical creation and provides facetious and gallant inventions. Studying the collections of enigmas published between 1570 and 1720 shows that, beyond the repetitive themes and forms, it is still possible to think up genuine “ingenious mysteries”. It also reveals the fundamental part played by allusion in the invention of a literary discourse in the early modern times
Reibaud, Laetitia. "L’élégie en Europe au XXe siècle : persistance et métamorphoses d’un genre littéraire antique dans les poésies européennes de langue française, allemande, anglaise, italienne, espagnole et grecque." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040239.
Повний текст джерелаElegy is generally believed to have disappeared from European poetry in the XXth century, after a period of apogee during the Romanticism and after the hard criticism that the “modern” poets, who rejected the “excessive” romantic lyricism, leveled at the elegiac poets. Elegy was considered by the former as the emblem of a romantic out-of-date lyricism. Lyricism and the poetry expressed in the first person remained also the target of the attacks and mockery from a part of the XXth century poets and literary critic. Yet a real revival of the genre happens since the very beginning of the XXth century, hesitant and gradual during the first half of the century, then more abundant and obvious in the second part of the period. The names of major European poets of this century are linked with the genre of elegy, and the titles of their works show it: Juan Ramon Jiménez’s Elegías (1908), Rilke’s Duineser Elegien (1923), Karyotákis’ Elegies and satires (1927), Brecht’s Hollywoodelegien (1942) and Buckower Elegien (1953), Pierre Emmanuel’s and Jean Grosjean’s Élégies (respectively 1940 and 1967), Elýtis’s Oxopetra Elegies (1991), or the three posthumous works of Nelly Sachs, Schwedische Elegien (1940), Die Elegien von den Spuren im Sande (1943) et Elegien auf den Tod meiner Mutter (1950). Born in the VIIth century B.C., the genre of elegy is well alive in the XXth. Such a longevity brings us to three questions which organize our research: which are the shapes of the elegy of the XXth century and on which definition(s) of the genre is it based? Which are the connections and balance between traditions and modernity? How does the genre of elegy outlive the attacks against lyricism and what are the characteristics of the new lyricisms which it gives birth to?
Ricci, Sylvie. "Le sentiment amoureux dans les traités du "Primo cinquecento"." Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10105.
Повний текст джерелаOh, Young-Ju. "Flaubert, critique du sentimentalisme social et amoureux." Paris 7, 2001. http://www.theses.fr/2001PA070012.
Повний текст джерелаIf impersonality, and therefore the refusal of sentimental literature, is one of the fundamental aspects of Flaubert's writing, the critic of social and love sentimentalism is in the center of his discourse on his time. The first part of this study exposes what Flaubert says regarding social sentimentalism in his correspondence, analyzes his simultaneous opposition to the two big ideological currents of his time : Catholicism and Socialism, and shows the unity of his thought regarding these two subjects. The second part follows Flaubert's reflection on love, proposing a new reading of his comments which were for a long time considered as misogynous, while revealing presuppositions, implications and coherence of his interpretation of the Dogma of the Immaculate Conception considered by himself as a résumé of sentimental life of the 19th century. On this basis "Madame Bovary", "Salammbô" and "L'Education Sentimentale" are read as novels critical of love sentimentalism, which, in its romantic ideality as well as in its bourgeois reality, reveals itself to be only the "Bluish" clothing of virginity, narcissism and sadism
Ginestet, Gaëlle. "L'écriture mythologique dans les sonnets amoureux élisabéthains." Montpellier 3, 2005. http://www.theses.fr/2005MON30055.
Повний текст джерелаThe Elizabethan sonnet sequences, which are little studied in France, nevertheless form a vast and rich corpus. The numerous mythological references and allusions are mostly drawn from Ovid's works. This dissertation seeks to analyse the manner in which classical mythology is integrated in the sequences. In the first place, mythology is inscribed in them by reference or allusion. Owing to the shortness of the sonnet form, the myth cannot appear integrally in a poem. Hence, Elizabethan poets must select the themes or motifs they deem to be in keeping with the rhetoric of love. This selection prescribes a certain number of modulations on the original narrative : obliteration, alteration, adjunction, fusion. In the second place, mythology inscribes itself in the structure of the sequence, and fashions the thematics and the relations between the characters. Firstly, mythological loves represent the impossible love ideal. Secondly, as this ideal is difficult to attain, being in love initiates endless oppositions and reversals, which can however lead to a harmony symbolised by the union of Mars and Venus. Thirdly, oppositions conduct us to consider love on the transitory mode : the Poet's and the Lady's metamorphoses. Finally, love breeds art. The ideal beauty of the loved one and the Lover's moods are transmuted into a poetic work, immortalising both their names
Dumas, Alice. "Les mots en question dans La Vie de Marianne et Le Paysan parvenu de Marivaux : approche sémantique." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3015.
Повний текст джерелаWords are a focal point in the whole work of Marivaux. This theme could be important in any literature production but it seems to be particularly significant in the one for which « marivaudage » was created for. Marivaux enhances the doubt about word meaning, he exhibits the polysemous nature of each term in order to reveal an unknown level of semantic. In his complex work, words are suspected to be abused, distorded, misunderstood, manipulated. This scepticism that we can find in the novels themselves is a proof that Marivaux thinks about words as an author and as a philosopher. My work tries to investigate on why words are questioned so often and how Marivaux can handle it : first, examining context, the early XVIIIth century offered a fertile ground to that type of reflexion, then looking at the repetition in the texts, to finish with words associated with other worlds, in a sentence, in a text, in a speech to see how these interactions can influence its meaning
Boisvert, Marie-Pier. "Partenariats pluriels : le polyamour dans trois romans québécois, suivi de Au 5e, roman d'amours." Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/7609.
Повний текст джерелаVillegas, Claire. "Le héros amoureux dans les oeuvres de Madame de La Fayette." Aix-Marseille 1, 1996. http://www.theses.fr/1996AIX10106.
Повний текст джерелаEl, Omari Basma. "Figures de la Palestine dans l'œuvre de Jean Genet : Un captif amoureux et autres textes." Paris 7, 1999. http://www.theses.fr/1999PA070028.
Повний текст джерелаIn L'ennemi declare (a collection of articles) and Un captif amoureux, Jean Genet bears witness to several events which took place between 1968 and 1982. These works are usually approached from a perspective which studies the relationship between poetics and politics. In its majority, this thesis analyzes how Genet uses Palestinian history in his writing beyond the citation of mere political events. This work is based on the serach for the enigmatic fragment which founds both the historical event and the narrative. How does Genet, a writer who rejects all ties, all bonds with the motherland, weave a narrative at the core of which lies the essence of the land itself ? How does the vocabulary of the anarchist, the vagabond, dissolve away into the song of this land : the song of love and death ? These are the main questions which guide the research of "the faces of Palestine. " rhetorical figures or figures like the shapes, sketches, lines and outlines of a body or a face: they are the faces of a land once made invisible, which now no longer appears on maps. Palestine, in Genet's last work, is not a physical place with its own reality, history and geography; it is rather a land which has disappeared, been erased, despite the fact that its name can be read between the letters of the name of an entire people: the Palestinians. And because Genet - during his travels in the Middle East - came to know the people, not the land, his writing unscrambles those letters and discloses the name. The question of the land opens several perspectives for the reader of Genet's works: the relationship between the poem and the land, between art and life, history and fiction, the poetics of revolution and those of writing. Which bring us to the fundamental question: to what extent is a work of art made up of happenings that precede it (historical - or other - events)? While following the movement of meaning in the writing, this thesis examines the "evolution" of the notion of land in Genet's last work. While ostensibly observing a political and historical conflict over a land also called "mythical", Genet weaves another land belonging only to the realm of poetry. But which poetry? A writer's poetry or the poetry of reality?
Paillet-Guth, Anne-Marie. "Le discours amoureux dans le roman français moderne et contemporain : lyrisme et dérision." Paris 4, 1993. http://www.theses.fr/1993PA040031.
Повний текст джерелаWritings on love, revealing both the inadequacy of the common place and its mythical power, constantly interplay between the two extremes of lyricism and derision. From Crebillon fils or Laclos to Proust and Cohen, the writer of belle du seigneur, through Balzac, Stendhal and the author of madame Bovary, the poetry of the greatest works is founded on this tension. The stereotypes of the discourse of love are an appropriate place for a polyphonic style which can be defined in several ways. Indeed, within any ironical statement the chance of a serious enunciation can always be found. Far from existing solely as a contradiction, lyricism and derision can coexist as a paradox. The derision of love lyricism is simply the obverse of its serious expression and indirectly may be essential to its reinforcement. Its dynamic to invest in the novel structure, the assembling or merging of opposites as in parody, the paradox confuses the categories of logic, poetry and rhetoric resulting in an ontology which merges the sacred and profane, the sublime and ridiculous
Campion, Blandine. "La faille et le repli, pour une poétique du récit amoureux chez Gilles Archambault." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/nq26653.pdf.
Повний текст джерелаMaes, Jean-Claude. "Sémiotique du lien amoureux à travers l'oeuvre de Shakespeare." Doctoral thesis, Universite Libre de Bruxelles, 2017. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/257005.
Повний текст джерелаDoctorat en Information et communication
info:eu-repo/semantics/nonPublished
Brezinski, Christine. "Variations sur les conduites amoureuses de la séduction à l'amour (Séduction, Amour, Mariage, Adultère) dans le roman français et américain contemporain." Paris 3, 1997. http://www.theses.fr/1998PA030032.
Повний текст джерелаThe main subject of this study is seduction and it's counterpart love. Seduction is the starting point of the thematic study of each chapter. Through the study of various contemporary french and american novels, we have to draw the map of the new loving landscape and to point out the literary variations of the loving behaviour. This study is not only based on the thematic of the novels but also on their resemblances and their differences. However, it is not only built on the comparison between the literature of the two countries. It is also based on the opposition, in each country, between two forms of seduction and love. The two forms can be summarized as follows : a destructive and dangerous form, and an idyllic one. These two forms are different in each country but we can find resemblances. In french literature, the theme of seduction is simultaneously represented in an evil and a perverse way and in a romantic form, which provides the apology of hapiness and happy couple. In the american literature, seduction is presented in two differents forms. Firstly, there is a cruel seduction, because it happens essentially in extra-marital love affairs. Secondly, there is an ideal seduction. This seduction appearsin a particuliar type of novels. It can be found in sentimental novels, which can be called harlequin romances, and, thus, in love stories written by danielle steel. Hence, we can define two literary worlds privileging the description of love through seduction. The novels studied are novels of society which are the image of a form of throught and of a way of life. But, before beginnning the study of the corpus, we have to look back upon the sources in order to give some definitions but also to remind who were the great tempters in literature
Lazzarini, Nicole. "L'espace de l'initiation dans "Le Médianoche amoureux" de Michel Tournier." Metz, 1990. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1990/Lazzarini.Nicole.LMZ907.pdf.
Повний текст джерела"Le Médianoche amoureux" is a collection of short stories and tales narrated during a night meal by Yves and Nadege, a married couple willing ton announce to their guests that they intended to separate. At the end of the night, after listening to their own tales, the two lovers have experienced a true initiation and cancel their plan. Those who are familiar with Michel Tournier's imaginary world have here another example of this theme in his work, though this initiation is here considered in its etymological and most profound sense. Space in Michel Tournier's work assumes a highly symbolical dimension and the text itself appears as a space designed for initiation. This dual concept of space can be examined in the light of recent research by psychologists and sociologists. The second part of the short stories and tales reports about initiations at the age of puberty and initiations to the world of knowledge and the sacred, set in a topologically and symbolical space. Yves' and Nadege's experience in "Les amants taciturnes" refers to these two types of initiation and is enriched in a space which has both topological and literary dimension. The midnight meal at sea is an opportunity for all guests to partake in the eating and the listening. Their guests offer various objects to the couple for them to reconstruct a space for communication that takes roots in the congenial space of the meal, the literary space of tales, and the topological space of the sea
Boulmant-Pierre, Hélène. "Délits et délices : poétique du langage amoureux ou esthéthique du cella : un amour de fôte !" Metz, 2000. http://docnum.univ-lorraine.fr/prive/UPVM_T_2000_Boulmant_Pierre_Helene_LMZ0007.pdf.
Повний текст джерелаHouadec, Virginie. "Le genre et les modèles amoureux dans la littérature de jeunesse : eléments de compréhension de l'éducation sentimentale des jeunes en France." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-01017356.
Повний текст джерелаAyachi, Nefla Manel. "Le tour du monde romanesque dans Aline et Valcour de Sade, La Nouvelle Héloïse de Rousseau et Cleveland de Prévost." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL102.
Повний текст джерелаDriven by love and in search of lost happiness, the travelers of Sade, Prévost and Rousseau embark body and soul on labyrinthine world tours incessantly marked by pain and despair. Their various adventures allow them to observe the true nature of men, but also to observe themselves and to forge their personalities. The aim of this work is to carry out a comparative study between the different tours of the world in the three novels, first through the analysis of the different paths that combine fiction and reality and the link between the discovery of the world and the passion for love, which goes beyond the simple narrative pretext to become one of the pillars of learning of the character. We are then interested in the way travelers look at the Other and their reflections to finally develop their profiles and analyze their spiritual and psychological evolution
Pisacane, Badini Confalonieri Chiara. "Pétrarquisme au féminin : l'itinéraire poétique de Vittoria Colonna du lyrisme amoureux à l'écriture spirituelle." Chambéry, 2000. http://www.theses.fr/2000CHAML001.
Повний текст джерелаNicou, Pascaline. "La Transmission du merveilleux dans le Roland amoureux de Boiardo : une poétique de l'émerveillement." Tours, 2004. http://www.theses.fr/2004TOUR2014.
Повний текст джерелаThe "Orlando innamorato" is a "chevaleresque" poem written over the course of thirty years by Count Matteo Maria Boiardo, in the reviving Renaissance Ferrara of the dukes of Este. Critically castiged on account of its dialectical and hybrid style of writing, which mixed colloquial with elevated tones and idioms, we show that it is regulated by the principle of wonderment produced by constant oscillation between, on the one hand, repetitiveness and triviality, and on the other hand the playful distancing and disorientation created by something decidedly new. Inspired by modest style of the "chevaleresque" poems, it is enhanced from a stylistic standpoint by more arranged elements from the classical (Homer, Virgil, Ovid, Stace) and the Florentine (Dante, Boccacio, Petrarch) traditions. Boiardo transposes marvelous previously existing material in a double movement of comic belittling and high-minded development ; this imbues the informed reader with a peculiar effect of astonished surprise
Bourkhis, Rimel. "La scène de première rencontre de Baudelaire à Breton : du choc à l'échec amoureux." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2013. http://tel.archives-ouvertes.fr/tel-00979351.
Повний текст джерелаDaniel-Muller, Bénédicte. "Passion et Esthétique : le pathétique amoureux dans la poésie hellénistique." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040177.
Повний текст джерелаHellenistic poetry attributed an importance to love never encountered in poetry before. This literary break with the past has only ever received scant attention. This study sets out to examine the specifics of how love was represented and to show how it essentially emerges from the pathetic register. From a diachronic perspective, the study aims to focus on the particular characteristics of the representation of love in the poetry of the classical and archaic periods, and above all demonstrate the secondary role the theme was accorded. After an analysis of the complex, but always eminently negative, characteristics, attributed to love by Hellenistic poets, which, to them, is essentially reduced to ἔρως, the study examines the precise modalities of its expression through pathos, an important innovation through which the theme of love became recognised as a genuine feeling in literature. This study ultimately enables us to show that the pathetic representation of love is one of the keys to understanding several characteristics and fundamental issues of Hellenistic poetry, through a genuine poetics of love. Romantic pathos can indeed be interpreted here as a meta-poetic paradigm which does not only reflect the new aesthetic values of the Hellenistic age but also the new conditions of creation and reception of literary works, in particular in their close and ambiguous relationships with royal courts and tradition
Goldblum, Sonia Myriam Augusta. "Dialogue amoureux et dialogue religieux : pensée et pratique du lien dans la correspondance de Franz Rosenzweig avec Margrit et Eugen Rosenstock (1917-1929)." Strasbourg, 2011. https://publication-theses.unistra.fr/restreint/theses_doctorat/2011/GOLDBLUM_Sonia_Myriam_Augusta_2011.pdf.
Повний текст джерелаThe aim of this doctoral research is to analyse the characteristics of dialogue within Franz Rosenzweig’s correspondence with Eugen and Margrit Rosenstock, the so-called “Gritli”- Letters. Using different methods derived from literature, philosophy, linguistics and cultural studies, this interdisciplinary project focuses on the practice of dialogue by Franz Rosenzweig through an analysis of his philosophical writings, in order to compare the content of the letters and of other forms of texts. The letters showcase Rosenzweig’s understanding of dialogue, as developed in his main work, The Star of Redemption and in other essays such as “The new thinking. ” The main themes of this research are the extramarital relationship between Franz Rosenzweig and Margrit Rosenstock and the interreligious dialogue which constitutes the frame of this correspondence and one of the main issues for the correspondents. The link between these two forms of dialogue lies in Rosenzweig’s particular understanding of dialogue, because he doesn’t draw any boundaries between love in its amorous meaning and love in its religious meaning. This principle allows us to analyze Rosenzweig’s multifaceted conception of Jewishness and of interreligious dialogue. Another aspect of this research concerns the limits of dialogue in Rosenzweig’s correspondence and the way he refers to them, leading to an analysis of time, death and silence, which are important topics in Rosenzweig’s thinking
Marciniak, Valérie. "Le discours amoureux dans la poésie persane du Xème au XVème s. Et de quelques coutumes antiques, ou le vin, la bien-aimée et le jardin." Paris 1, 1993. http://www.theses.fr/1993PA010633.
Повний текст джерелаBy means of a "promenade" ranging from the 10th to the 15th centuries a. D. , we propose to shed light on the notion of love in persian poetry and literature. What kind of love is it? Poets such as Khayyam, Rumi and Hafiz will help to answer, creating a highly complex poetic trope playing on the idealized image of the beloved and the idea of intoxication resulting from the sentiment of love. Thus, wine will become the source of this poetic trope, image of drunkenness of love but also of reality. Through this poetry which we will encounter some precursors such as firdousi and rudaki, we see the construction of a real philosophical and mystical thought form, based on the notion of love. Attar and saadi will help to understand this notion, basis of the "sufi" philosophy. By means of often highly complex webs, we perceive a lyric poetry attached to description of beauty: source of admiration because it is a divine gift. Two important elements are a prerequisite: the beloved and nature, especially the garden in spring time, the connexion of the two, thus creating the thread of rhetoric specific to persian poetry, that we can see in the persian miniatures. This research will be pursued through the study of three "love" novels by gorgali, nizami and djami who in the different manner, reinforce this highly complex poetic trope and help to understand this often highly ambiguous notion of love
Selmi, Nejib. "Les obstacles à la constitution du couple amoureux dans les littératures orientale et française médiévales : Essais sur Floire et Blanchefleur et son modèle arabo-persan." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2047/document.
Повний текст джерелаThis study examines the hypothesis according to which “for there to be a “story”, a novel, there needs to be an obstacle hindering the realization of [love]” (Pierre Gallais). The obstacles of the lovers’ union reoccur in love stories from medieval times, as much in the Orient as in the Occident. These obstacles merit being brought to attention. To examine them is to recall that the reading of anonymous French idyll invites us, at times, to compare it to two amorous plots: one being Persian (Varqe and Gulšāh), the other Arabic ('Urwa and 'Afrā’). The thematic affinities between these related texts do not extinguish in any circumstance the originality of each novel. It should be noted that stories are not created from fortunate love and that to love often drives one to expose himself to others, parental opposition and to society. It shows love is only intensified with separation and suffering. It attempts to emphasize the paradox upon which these novels are based: the obstacle, which at first glance appears to worry the aspiring couples and condemn their idyll, decisively proves an indispensable element of the romantic plot which serves only to celebrate the intrepidity of young lovers. It is demonstrated in these texts that none of the obstacles encountered succeed in separating the lovers. Finally, it shows how individual and collective conversions finish by conferring a civilizing dimension to the texts, “an orientalizing tendency”, indeed “a Romanesque ‘Orientalism’”
Neutres, Jérôme. "Genet sur les routes du sud le corps de la politique." Paris 7, 2000. http://www.theses.fr/2000PA070024.
Повний текст джерелаGiraud, Claire. "Le masculin et le féminin dans l'oeuvre de Guy de Maupassant." Paris 4, 1986. http://www.theses.fr/1986PA040097.
Повний текст джерелаMaliha, Fayad Leila. "L'expression du sentiment amoureux et l'image de la femme de Christine de Pisan à Martin Le Franc." Lyon 3, 1986. http://www.theses.fr/1986LYO31009.
Повний текст джерелаThis work deals with the expression of passion and the image of woman from christine de pisan to martin le franc. The rehabilitation of woman was christine's major preoccupation. In her works, she devoted herself to defending the woman and she tried to restore the image to which she has a right. After an interval of almost half a century, martin le franc, provost in lausanne, mobilized all his verve and his enthusiasm to plead the cause of woman. He dedicated himself to a difficult task since he had to face the churches' centuries-old animosity towards woman. As for charles d'orleans, he revelled in taking refuge in courtly tradition, and gave a free rein to everything that his heart was teeming with. In his works, woman has been put back up on a pedestal to receive homage and honour. In his "testament", far form courtesy and its dogmas, villon relates his experience as a repudiated lover of women amongst whom he could nevertheless take refuge. Snuggled up to his mother, villon implored "the lady of heavens". Woman as a mother, woman as a source of protection, these are the two honorable images that arose from villon's works. Thus we can say that the works of these four poets marked this first part of the fifteenth century. Most of the works which followed also insisted on the positive image of the woman