Дисертації з теми "Littérature engagée – Espagne – 20e siècle"
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Sainz-Pardo, Gonzalez Carlos. "Écriture et engagement dans les romans d’Andrés Sorel (1963-2013)." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL026/document.
As a novelist, essayist, and former general secretary of the Asociación Colegial de Escritores de España, Andrés Sorel (Segovia, 1937) is best known for his anti-Franco activism. To this day, he has published fifteen novels and a considerable number of essays. Since the nineteen sixties, all his work has been written under the sign of commitment, which may partly explain his side-lining from the editorial market. This thesis aims at analyzing how his intellectual disagreement with the dominant ideology is built up in his novelistic production. We will attempt to define the outlines of commitment, whether through his part as an intellectual, in its most controversial aspects, or through the characteristics of his committed writing, in its textual and pre-textual dimension. We will also analyze how the markers of commitment develop in the construction of the narrator, his characters and temporality. By always paying equal attention to the ideological content and its shaping, Sorel conceives writing as an exercise of rehabilitation of the memory of the vanquished, thus becoming a part of – and in a certain way launching – the "novel of the memory" which has dominated the literary panorama of Spain for the last two decades. It is therefore a matter of analyzing the dialectical tension that is played out between a fictional narrative and a method that uses factual elements, especially experimenting. Through the plurality of literary testimonies, Sorel’s texts seek to bring out the hidden truths and give a voice to those who have been deprived of it. We will study the formal devices through which his stories establish a counter power against the dominant discourse of authoritarian, totalitarian or democratic regimes. Lastly, we will analyze the pragmatic dimension of a writing style that claims to transform reality, in order to grasp the degree of visibility of its literary discourse and its media presence, as well as the way in which his novels are perceived by literary criticism. We will finally try to outline the reader types conveyed by the story, whether to legitimize or to reject them
Jordana, Darder Marta. "Contra la España Sagrada : los mitos en el compromiso literario de Juan Goytisolo (1964-1970)." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL010.
This thesis examines the abrupt change in Juan Goytisolo's literary commitment from 1964 and his early dogmatism until 1970, when, in the novel Don Julián, he culminates the literary process of destruction and denunciation of myths, values, schemes, words and literary automatism, as well as the solid and consistent analysis of the sacred and nationalist myths of Spain that he develops in his historical and literary critical essays of that period. From the constant contrast between Goytisolo's words and his influences, we have tried to situate the writer in his cultural, political and literary context, divided between the influence of his expatriation in France, his links with Latin America and its most avant-garde and peripheral writers, and his personal, political and dramatic positions towards Spain. In the broader context of the transformations and fluctuations that both "myth" and "commitment" will undergo in the twentieth century, Goytisolo chooses to place "myth" and its multiple and ambivalent definitions at the centre of his new literary and political commitment
Coale, Robert. "Le Prix national de littérature en Espagne, 1922-1995." Paris 4, 1999. http://www.theses.fr/1998PA040333.
Roig-Sanz, Diana. "La réception de la littérature espagnole à presse de Barcelone pendant la Seconde République." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10065.
Rivalan, Guégo Christine. "La littérature (romans et nouvelles) populaire et légère en Espagne : 1894-1936." Rennes 2, 1995. http://www.theses.fr/1995REN20013.
Based on the novels and novelettes by twelve authors (in alphabetical order, J. Belda, J. M. Carretero, J. Frances, A. Hernandez Cata, A. De Hoyos y Vinent, A. Insua, R. Lopez de Haro, P. Mata, A. Retana, F Sassone, F. Trigo et E. Zamacois), this study proposes to examine the birth, rise and decline of a movement in popular literature in Spain between 1894 and 1936 in relation to the new publishing deal, French literary influences and the centres of interest of the Spanish reading public of the time. The first part includes a presentation of the authors (through their biographies) and the magazines and publishing houses that brought out their writings. This panorama of Spain’s publishing world is supplemented with a survey of the circulation of these works abroad - essentially in France as well as the cinema adaptation of some of them. There follows a chapter entitled ' the book as an object ', which deals with the elements directly peripheral to the text - titles, covers, jacket flaps, back covers, illustrations, advertisement etc. Secondly, the analysis bears upon the contents of these works through a study of themes and characters, bringing to the fore the recurrent and permanent features in the writing of those pages together with their French literary inspiration. Their close links with the concerns of contemporary readers - among which the questioning about sexuality and the position of women in society hold a dominating place - is also examined
Vuillemin, Alain. "La figure du dictateur ou de dieu truqué dans les romans français et anglais de 1918 à 1984." Paris 4, 1986. http://www.theses.fr/1986PA040041.
The dictator's figure has an exceptional plasticity in contemporary literature. The fragmentation of its historical, linguistic and mythical expressions reveals an uncommon power of fascination upon authors, even when they denounce dictators as deceivers, false gods, "sham gods". Are we facing an "archetypal" figure, original and primordial, of sovereignty, more religious than political, and of which the absolute equivocal nature would explain the extraordinary ambiguousness of its literary manifestations? Nevertheless, a vast although very diffuse imaginary "testament" describes the continuously beginning again cycle in the writing works of an imposture which seems inherent in hall dictatorial or totalitarian enterprises, whatever their appearances are in these novels, for the writers studied. Beginnings are insidious, proceedings tortuous, triumphs terrifying, declining misleading and recommencements unceasing. That "archetype" would be eternal. Novelists would do nothing but find a millennial intuition and condemnation again
Le, Bigot Claude. "La poésie politique dans l'Espagne républicaine (1931-1939) : essai sur les formes d'une rupture idéologique." Rennes 2, 1990. http://www.theses.fr/1990REN20004.
Is there a language pertaining to political poetry? If one relies on a sociocritical analysis, one notices that the beginning of the Spanish republic occurred along with an ideological break in Spanish literature which is essentially prevailing in poetry. The commitment of writers as militant intellectuals led them to alter their artistic practice. If, at the beginning, political poetry tends to become propaganda, as the war goes on, its persuasive role hides behind the archetype that constitute the backbone of epic romancero. The linguistic analysis which tries to entrance a rhetoric of persuasion in accordance with the obvious of the message, equally helps to demonstrate that the notion of political poetry isn't a homogeneous whole ; nor is it a literary genre, since it fuses into already existing literary genres. Political poetry is grounded on using speech strategies and can be traced thanks to its didactic and polemical functions. When its persuasive function faces away, its poetical function takes its place again. Without giving up any of their ideological choices, the most advanced authors among them have created a "wartime lyricism" which enables them to combine their political speech with literary speech
Jimenez, Lidia. "L'adolescente dans la littérature espagnole de la "Posguerra"." Toulouse 2, 1996. http://www.theses.fr/1996TOU20076.
In spanish fiction and particularly in the kind of written fiction by women-novelists after the civil war, teenagers are often drawn. We feel we are confronted with real, genuine portraits while, before readers had to be content with mere tentative sketches ; indeed in the fiction published, at that time, the very young girls and also the young ladies they often had grown into,take up stances which are surprisingly new. Infact their creators thus achieve a kind of perfection in that respect, insisting, as they do, on the adolescent period of their fictitions feminine characters. Spanish women-writers often insists on the particular period of time of adolescence for their heroins, often imparted their own most intimate hidden, convictions, and are naturally nourished with foreign models but it was also fraught with their own knowledge of death, and love, acquired during the various wars they had gone through. The consequence is the portraying of adolescent characters as drawn by spanish fiction writers ans the reader feels that many personal memories break through the bedrock of the tales that are told. For instance, rosa chacel during all that period does draw such a character in teresa and memorias de leticia valle. In nada and la isla y los demonios carmen laforet renews the genre making conveying to them the shock it was for most people. Ana maria matute writes short stories and in luciernagas tells the memories of a teenager of that time. Carmen martin gaite writes short stories about meregirls and young ladies while reflecting
Daudin, Claire. "De la situation faite à l'écrivain dans le monde moderne : Charles Péguy - Georges Bernanos." Paris 10, 1995. http://www.theses.fr/1995PA100136.
Pervading Peguy's and Bernanos texts, the theme of the modern world appears to be the sign of a global vision of literature. It testifies indeed of its ability to tell something about history. The first part of the thesis deals with the way each writer considered the modern world through a review of their ideas about this matter. Yet none of them judge this world from outside. They live, write and act in it. They fight against it as well by their attitudes and by the way they regard the writer's social part and the mission of literature as by their books. How did they think about this question? This is the main problem dealt with in the second part. If literature is the writer's favorite weapon against the modern world, it is also his fighting field. We can find in Peguy’s and Bernanos works the criticism of a certain literary modernity, through their relations with polemic standards, literary genres and fiction. So is the contents of the third part
Mancini, Bruno. "Ignazio Silone, romancier militant : étude thématique et esthétique." Nancy 2, 2006. http://docnum.univ-lorraine.fr/prive/NANCY2/doc371/2006NAN21023_1.pdf.
Around 1930, while having been expelled from the Italian Communist Party (of which he was a co-founder) and suffering from consumption, Ignazio Silone decides to write his first novel : Fontamara. Exiled in Switzerland as an Antifascist, he tells of the cafoni's misadventures, presenting like direct testimonies the stories of these humiliated and oppressed peasants, victims of triumphant Fascism. Our work aims to show that the first novel by this author from the Abruzzi is only the continuation of his fight, no more through political articles, too incomprehensible to people who can hardly read, but through an account that skillfully mixes genres, while being written in a simple and clear style. Fontamara is, to us, an example of a truly commited novel. Our study is based on an analysis set of themes and stylistics and in comparison with other contemporary commited novels, which have known a true literary success
Benslimane, Smari Hasha. "Samira Azzam et la littérature palestinienne contemporaine." Paris 4, 1986. http://www.theses.fr/1986PA040131.
Serra, Georges. "Le mythe littéraire de Barcelone." Toulon, 2000. http://www.theses.fr/2000TOUL3001.
This thesis intends to analyse the picture of Barcelona as it was drawn by foreign writers and artists, but also by Spanish and Catalan ones (photographers, plastic-artists) between 1909 and 1992; those two dates refer to two major historic events in Catalonia : the rebellion of the so called "Tragic week" and the Olympic Games. This work is in keeping with that of such specialists in comparative literature as Daniel-Henri Pageaux who showed how the image can reveal the "witnessing" culture. That approach enables one to use a variety of criticism tools : Sociological Approach of Literature (Lukacs), Symbolism of space (Bachelard), mythological criticism (Pierre Brunei). In book 1, our purpose is to show how the myth of Barcelona is linked with the topography (both an old underground city with its labyrinths and a modern one designed to be a Garden-City) and how writers, mainly foreign ones, pursued their search of Orient, according the XTXth century tradition, on a truly epic journey. By referring to the worst parts of the city (Barrio chino) and thence putting them forward, writers turned Barcelona into a damned city like Babylon or Ninive. In book II, we underline how Barcelona became the original city for narrators and protagonists and in the meantime the city of decay in the tradition of both Huysmans and Lorrain : the city of full freedom. The status of the hero is indeed that of a runaway in search of a shelter in a fancied « somewhere else». In that book we also understand how Catalan writers and artists approach that world. Eventually, in book IIT, we can study the impact of history on the city. Barcelona seen as a libertarian city by foreign writers (first third of the XXth century) or as a city that was deprived of its own memory by Barcefonian writers after the Civil War; it is also perceived as a post-modern, uniform city (during the 80's) deprived of its myths by detective novels as the Olympic Games approached, but it keeps its identity, its way of being Catalan
Touton, Isabelle. "L'image du Siècle d'or dans le roman historique espagnol du dernier quart du XXe siècle." Toulouse 2, 2004. http://www.theses.fr/2004TOU20037.
Spanish fascist propaganda has relied on historical myths in order to legitimate the National-Catholic ideology of the regime. What have these myths become after Franco's death ? This thesis investigates the image of the Golden Age offered in Spanish historical novels written after 1975. Considering that the relationship between a literay text and ideology can only be grasped through a process of recontextualization, we offer an overview of several interpretations of the Golden Age itself, as those that can be found in the history of ideas, in the Spanish historical novel prior to 1975 and we also try to sketch a general picture of the social-historical context of postmodernity and postfranquism. We then examine in a sociological approach the vision transmitted by the paratext of sixty novels as well as by the interviews we conducted with about fifteen authors. Finally, we offer an analysis of six novels representative of the last quarter of the Twentieth Century
Turbiau, Aurore. "Pensées et pratiques féministes de l'engagement littéraire (France, Québec, 1969-1985)." Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL078.pdf.
This thesis aims to examine, in the light of the notion of literary engagement, the political thoughts and practices of literature put into play by writers of the women's liberation movement in France and Quebec between 1969 and 1985. It focuses on a vast corpus of women writers, including Nicole Brossard, France Théoret, Louky Bersianik, and Madeleine Gagnon in Quebec, and Monique Wittig, Hélène Cixous, Françoise d'Eaubonne and Christiane Rochefort in France. As heirs to the existentialist theories that preceded and accompanied them, these writers reenvision the primarily ethical and critical dimension of literary engagement, opposing the authoritarian principle of “roman à thèse” writing. In various ways, they renew the notion of “situation”, central to the thought of Jean-Paul Sartre as much as Simone de Beauvoir, and forge several concepts at the crossroads of the political, the epistemological, and the poetic - in particular by re-problematizing the notions of subject, action and recognition, and history, key concepts in canonical literary engagement. Questioning the identity of “woman” that describes their position in the social and literary space, these writers also create and elaborate on the concept of “gender” from their specific point of view. They deploy and reorient the oppositions articulated at the time between literary engagement and the avant-garde, often disqualifying them and thinking of them in terms of utopian imaginaries that are half-pragmatic, half-idealistic; they question the place that violence and insolence can occupy in new literary politics, whose aesthetics of rupture are also largely projects of foundation and bonding between women - in so doing, they also scrutinise the dimension of their work that is sometimes said to be “unreadable” and challenge this reproach, turning it into a pledge of dialogue with the literary history of modernity
Berguerand, Raphaëlle. "Littérature et engagement au Mexique : Carlos Monsiváis, polygraphe et homme de parole." Grenoble 3, 2007. http://www.theses.fr/2007GRE39044.
By reading Monsivàis's polygraphiq and proteiform work, one questions the clichés and discovers a new concept of the problem of engagement. Monsivàis's work inbetween a critic intention and a call to other ways of behaviour. The writer is in the middle of the way between the writing of the singular memory of a period and the reflection about the current society's problems in order to participate to its transformation. He proposes a new construction of the different cultural phenomena. Monsivàis's work and action is organized around two big poles: the advent of a new culture and the writing of another history. Monsivian rewriting on culture and history invites to think differently about the presence in the world of a literary Mexican man, that is, his engagement. The act of engagement determines writing choices and forces ways of reading. The invocation of other aesthetics and literary codes transforms the act of reading in an experience of liberty. Monsivàis offers a prose that questions the certainties and every notion of a constituted knowledge. He incites the reader to build one or many senses, and to engage himself in such an act. Writing the past is entering oneself in the future of the reading; it is exceeding one's own purpose and justifying one's existence as a member of a wider reality. The work of the memory is an existential necessity and the knowledge of the events participate on the Mexican identity. In the case of Monsivàis, literature is defined according to the work requested. The literarity of a text depends on the quality of the experience aroused. Finally, Monsivàis renews the concept of engaged literature. He does not incite the reader to direct action but to a personal and interior evolution, throw the language
Gobbé-Mévellec, Euriell. ""Habiter l'image" : jeux et enjeux du visuel dans l'album de jeunesse illustré et le théâtre jeune public contemporains en Espagne." Toulouse 2, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2937-8.
Children's literature nowadays asserts the predominance of an iconic logic and clears away the former conception of the illustration subjected to the text. Today the whole book presents itself as a visual object and requires to be analyzed as such. This is no episodic characteristic, but rather a phenomenon to be linked with the evolution of media practices in the post-modern videosphere, and an echo of certain questionings in modern art. What are the direct consequences within the book of the several moving, multimedia and interactive images society targets at children? In becoming more and more aware of the psychological specificities of its readers, children's literature explores the ways to get an even more direct, immediate and attractive contact with children, re-using the modes of representation of other artistic fields, notably theater's apparatus. Picture books thus turn out to be a perfectly apt base to adjust to such alien apparatus and adapt it to their own codes, always highlighting the importance of communication. Their pages show the world to the children while mirroring their personal experience and emotions, and invite them to explore and people the image. The image thus becomes a mental landscape, a protective frame screening the relationship between the self and the world, and adapting its shape to the children. Paradoxically, the image is most visually powerful when its visibility is slightly altered and its own disappearance carefully staged. It thus gives birth to new forms of writing such as traces and clues, requiring great attention from the young investigator-reader
Bakcan, Ahmed. "Camus et Sartre : deux intellectuels en politique." Paris 7, 1997. http://www.theses.fr/1997PA070097.
The term commitment, which knows a remarkable success in intellectual circle, comes into effect in the days following the Second World War. Since then, men of letters and scientists have been reveling with delight in being members of a privileged circle of intellectuals. During the whole length of crossing sinuous ways which lead to the intellectual commitment lasts, each clerk exposes his strategy and his manner to deal with the problem. There are numerous ways to tackle the issue, our study is consequently focused on two types: Camus and Sartre's commitment. Within the different flux of after war, Camus and Sartre, at the same time writers, journalists, essayists, men of theatre and action, acting in the political world, arouse a justifiable curiosity. The political itinerary of each of the two clerks, their strength and also their weakness help us to better locate the status, the role and the intellectual's duty in a society where politics has on important place. During his whole life, Camus has fought as a convinced man of the left for the reign of justice and freedom, the only values for which deserve, in his eyes, one can fight and die. Soon after Second World War Sartre becomes after his arrest and his internment, << the figurehead of the intellectual commitment >> in France and the exemplary militant of the commited literature. In spite of differences and a controversy which has made a great noise, Camus and Sartre remain << the main and the complementary witnesses >> in their time. These two enemy brothers have left an indelible mark each in his own way. A long time after their death, it would seem that it was the artistic circle which took up the torch; actors, singers and film makers, whose awareness on the whole looked heightened of current crucial problems such as the fight against racism, cancer, aids and famine in the world, act as the new spokesmen for the nation and the heralds of peace and social harmony. They try each in their turn to cure the pains of a << society of spectacle >> their own way, which has become according to Guy Debord's expression, the society of <>
Payre, Karine. "Représentations et fonctions de l’exil espagnol en France et de l’émigration économique vers l’Allemagne au XXe siècle dans la littérature espagnole du XXIe siècle." Besançon, 2010. http://www.theses.fr/2010BESA1037.
This work means to study the representations that are illustrated in novels about the exile from Spain to France and about economic emigration (1960-1970) to France and especially to Germany. Those themes have been mostly dealt with in Spanish literature since the Javier Cercas’ best seller publication, Soldados de Salamina. Javier Cercas greatly influenced the narratives about exile and emigration thanks to such use as investigation method for example. Those works afford an essential additional information with regard to historians research on exile and emigration. Finally, these narrative representations, sometimes in harmony and other times in discrepancy concerning those found in previous literature, aim at the same purpose: understanding the present immigration to Spain, and therefore, understanding the Other and their own identity
HERVIOU, NGUYEN MARTINE. "L'espagne dans l'oeuvre romanesque des ecrivains espagnols d'expression francaise : jose luis de vilallonga michel del castillo, agustin gomez arcos." Paris 3, 1998. http://www.theses.fr/1998PA030039.
OUR research WORK IS BASED ON TWO ASPECTS : A VISION OF SPAIN, WRITTEN BY SPANISH NOVELISTS, JOSE LUIS DE VILALLONGA, MICHEL DEL CASTILLO AND AGUSTIN GOMEZ ARCOS, BUT THESE AUTHORS HAVE DECIDED TO EXPRESS THEMSELVES IN FRENCH. JOSE LUIS DE VILALLONGA, MICHEL DEL CASTILLO AND AGUSTIN GOMEZ ARCOS CHOSE TO LIVE IN FRANCE, IN EXILE FOR POLITICAL REASONS, AFTER THE SPANISH CIVIL WAR FROM 1936 UNTIL 1939 AND THE FRANQUISM ERA WHICH FOLLOWED. HOWEVER, THEIR EXILE IS A CULTURAL EXILE TOO, BECAUSE IT CONTAINS A REJECTION OF THE SPANISH LANGUAGE. OUR STUDY IS BOTH THEMATIC AND LITERARY. WE ANALYSE THE VISION OF SPAIN IN THEIR NOVELS AND THE CHARACTERISTICS OF THEIR STYLE. OUR THEMATIC ANALYSIS IS COMPARATIVE AND THE THESIS IS DIVIDED IN FOUR CHAPTERS. THE FIRST CHAPTER "LE DRAME DE L'HISTOIRE" EVOCATES THE VISION OF THE CIVIL WAR AND THE STAKES OF WRITING ABOUT THESE EVENTS. THE SECOND CHAPTER, "DES GUERRES FAMILIALES" CONCERNS THE SPANISH FAMILY. THE THIRD CHAPTER, "AU-DELA DES MAUX" IS AN INVESTIGATIONS OR THEIR STYLE. WAR IS PRESENT IN EACH CHAPTER OF THE NOVELS OF THE STUDIED AUTHORS BUT FINALLY THE SPANISH THEMATIC IS EXCEEDED IN THEIR LAST NOVELS WHILE THEY CONTRIBUTE TO ENRICH THE FRENCH NOVEL WITH INNER VISIONS OF SPAIN
Patricio, Mulero Maria. "La ciudad literaria, Representación urbana y creación literaria en Barcelona (1970 – 2015)." Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080074.
Barcelona owns a heritage and a solid and relevant literary production to be fully considered a literary city. This condition is associated with a literary identity proper of Barcelona, which is reflected in the Barcelona literature and has been built intensely throughout the XXth century. The writers' relationship with the city, as well as the interactions of the different literary actors and the local, regional or national literary policies, influence the process of creation of the literary works. Based on an analysis of literary works selected in a Barcelona corpus covering publications between 1970 and 2015, together with qualitative interviews with writers and literary actors operating in Barcelona, this thesis tries to approach the subject of the city in literature: starting from the characteristics of the city that inspire the writers, and observing the cultural policies that disseminate this literary imaginary and its authors, we define the process of creation of the literary works of Barcelona and the way in which writers portray their spaces and their society. In the first part, we study the Barcelona literary world to analyze how the regional and municipal institutions, together with the publishing sector, bookstores and libraries, disseminate the literary heritage of the city. From this perspective, the project for the candidacy of Barcelona as UNESCO City of Literature illustrates this coordinated efforts. In the second part, we present the results of the interviews on the writing process of the works of Barcelona and the interaction of writers with space. To conclude, we analyze the social themes and spaces present in the Barcelona literary imaginary according to the corpus of works studied
Barcelona cuenta con un patrimonio y una producción literaria sólida y relevante para ser considerada plenamente una ciudad literaria. Esta condición está asociada con una identidad literaria característica de Barcelona, que se ve plasmada en la literatura barcelonesa y que se ha ido construyendo intensamente a lo largo del siglo XX. En el proceso de creación de las obras influye la relación de los escritores con la ciudad, así como las interacciones de los diferentes actores literarios y las políticas literarias locales, regionales o nacionales. A partir de un análisis de las obras literarias seleccionadas en un corpus barcelonés que abarca publicaciones entre 1970 y 2015, junto a las entrevistas cualitativas realizadas a los escritores, por un lado, y a los actores literarios que operan en Barcelona, esta tesis intenta aproximarse al fenómeno de la ciudad en la literatura: partiendo de las características de ésta que inspiran a los escritores, y observando las políticas culturales que difunden ese imaginario literario y sus autores, definimos el proceso de creación de las obras literarias barcelonesas y la forma en qué los escritores retratan sus espacios y su sociedad. En una primera parte estudiamos el mundo literario barcelonés para analizar cómo las instituciones regionales y municipales, junto al sector editorial, las librerías y las bibliotecas difunden el patrimonio literario de la ciudad. Desde esta óptica se analiza paralelamente el proyecto de candidatura de Barcelona como Ciudad UNESCO de la literatura. A continuación presentamos los resultados de las entrevistas sobre el proceso de escritura de las obras barcelonesas y la interacción de los escritores con el espacio. Para concluir, analizamos los temas sociales y los espacios presentes en el imaginario literario barcelonés según el corpus de obras estudiadas
Gonzalez-Benevent, Silvina. "Le regard d'une génération : formes d'incomplétude chez Carlos Saura et Juan Marsé." Montpellier 3, 2008. http://www.theses.fr/2008MON30033.
The notion of generation, wich is large and sometimes still difficult to define, is a starting point to establish a connection between a famous film-maker : Carlos Saura, and an equally renowned novelist : Juan Marsé. Both were born during the Spanish civil war, yet they did not come from the same social background and they had different career paths. It is thus necessary to focus on the relevant elements of their careers and to study their works in parallel. Such fields as psychology and sociology are the basis of an analysis which deals with two emblematic works by Carlos Saura Cría cuervos and by Juan Marsé –Si te dicen que caí. Drawing a parallel between these two works clearly reveals the resonance of the context on their authors' creations. However, belonging to a generation cannot be limited to sharing historical experiences. The impregnation of actually lived history is carried on and restructures over a whole period of time. The end of the Franco regime logically disrupts the act of creation by establishing a new space for freedom. Nevertheless, this optimism remains unfulfilled when Carlos Saura and Juan Marsé's last works make unclear feelings resurface, feelings that were not satisfied during the political and social transition of the authors' country
Guibbert, Sylvie. "Les representations d'isabelle la catholique dans l'espagne du xxeme siecle." Montpellier 3, 1991. http://www.theses.fr/1991MON30029.
Isabel the catholic is one of the most famous characters of the spanish history. In the xxth century, her representations are numerous in the mass media which have an effect on the largest audience : school and cinema. When studying school books a great steadiness can be noticed in her representations although writers use various formes to depict the queen's life. However, this smooth and sometimes unaffected portrait is not deprived of moral and political inducement. The cinema shows such a perfect picture of the queen, but the temporal variations are much more perceptible. These representations face each other or complete each other. From this harmonious or incompatible union - some pictures conveyed by songs or popular tales act a catalyst - the characters of the national mythology are born in the popular imagination. The investigation in the particular case of isabel the catholic is very revealing. Her character is of an extraordinary plasticy and richness. Her faith, her nationalism, her intransigence, her freedom and her emancipation have been many a time put forward, so that she has been a symbol for the feminists in the beginning of the century as well as during the government of general franco
Giustiniani, Eve. "Une biographie intellectuelle de José Ortega y Gasset pendant l'exil (1936-1946) : silence politique ou collaboration passive ?" Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10094.
Vuong, Thomas. "Usages du sonnet européen (Allemagne, France, Grande-Bretagne, Italie) durant la Seconde Guerre-Mondiale (1939-1945)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD089.
This study consists in a wide, comprehensive overview of the usages of the poetic form of the sonnet during the Second World War in France, Germany, Great Britain and Italy. Such a process aims at gathering close readings of sonnets, in order to highlight the mechanisms of a blooming form in the midst of a dürftiger Zeit. Many poets resort indeed to the sonnet in order to give a frame to a singular or collective experience of the chaos unleashed throughout Europe.The way these recourses to the sonnet interact with the role of poetry in a time of wide reception and collective crisis will be scrutinized in the light of political commitment, religious or ideological biases and the questioning of the former foundations of Western European culture, all of which can interfere in poetry’s proper motives.This work’s proposal is that the sonnet can be used as an ordered form, either to set a demiurgic stand in front of the chaotic situation of the continent, or so as to accept it. Neither poetic stances do necessarily lead to a disordering of the form itself ; however, both conservative and rejuvenating usages of the sonnet have in common the ability to deeply question poetry’s relation to the world
Boulay, Charlette. "Paul morand et l'espagne." Toulouse 2, 1992. http://www.theses.fr/1992TOU20048.
Paul morand is mainly known for his short stories and his books telling about travels which allow to know society of the begining of the century, and all the social, tecnical and artistics changes, created and generated by the contemporary artists. This thesis explains that an important part of writer's works, his poetry, his main novels, had their origins in the approach of the spanish civilisation. In fact, spain knew how to reserve till the fifties' period, tragic and dark attachment to pain and honour, inherited from both her flemish and arab origins. Morand, on his side, regretted, since the end of the first world war, europe's decline, that europe which lighted up the world, like charles the fifth, king of spain, who dominated his whole immense empire. Morand, from his personnal experiences, discovered that he was similar to these people who are no proud but still victims. The european history and morand's, both a diplomat and a traveller, are closely linked
Marín, Lacarta Maialen. "Mediación, recepción y marginalidad : las traducciones de literatura china moderna y contemporánea en España." Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/96261.
This dissertation aims to study the translations and the reception of twentieth-century Chinese literature in Spain. Two main interrelated hypotheses are presented: the marginality of Chinese modern and contemporary literature in the Spanish reception and the mediation of the Anglophone and Francophone literary systems in this reception. These hypotheses are tested through the analysis of the history of translations and a case study scrutinising the reception of Mo Yan’s (莫言) work and the indirect translation from the English into Spanish of his novel Tiantang suantai zhi ge (天堂蒜薹之歌). The marginality of this literature in the Spanish context exhibits numerous symptoms: the profusion of indirect translations, the recourse to editing, the preference for the documentary value of the novels, the emphasis on the radical otherness, etc. Moreover, indirect translation provides the main evidence of the mediation of the Anglophone and Francophone literary systems in this process. One hundred translations are presented, the examination of which enables us to study the evolution of the types of translations, the mediating languages, the channels for choosing the works to be translated, the homogenisation and temporal proximity of translations in English, French and Spanish, the typology of the translated texts, etc. Special attention has been paid to paratexts and reviews in the study of the reception of these texts. Furthermore, the dissertation examines the role played by the mediation of the Anglophone and Francophone literary systems in the incomplete assessment of this literature. The analysis of the reception of Mo Yan’s work and of the translation of one of his most prominent novels offers concrete examples that support this thesis.
Patricio, Mulero Maria. "La ciudad literaria, Representación urbana y creación literaria en Barcelona (1970 – 2015)." Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080074.
Barcelona owns a heritage and a solid and relevant literary production to be fully considered a literary city. This condition is associated with a literary identity proper of Barcelona, which is reflected in the Barcelona literature and has been built intensely throughout the XXth century. The writers' relationship with the city, as well as the interactions of the different literary actors and the local, regional or national literary policies, influence the process of creation of the literary works. Based on an analysis of literary works selected in a Barcelona corpus covering publications between 1970 and 2015, together with qualitative interviews with writers and literary actors operating in Barcelona, this thesis tries to approach the subject of the city in literature: starting from the characteristics of the city that inspire the writers, and observing the cultural policies that disseminate this literary imaginary and its authors, we define the process of creation of the literary works of Barcelona and the way in which writers portray their spaces and their society. In the first part, we study the Barcelona literary world to analyze how the regional and municipal institutions, together with the publishing sector, bookstores and libraries, disseminate the literary heritage of the city. From this perspective, the project for the candidacy of Barcelona as UNESCO City of Literature illustrates this coordinated efforts. In the second part, we present the results of the interviews on the writing process of the works of Barcelona and the interaction of writers with space. To conclude, we analyze the social themes and spaces present in the Barcelona literary imaginary according to the corpus of works studied
Barcelona cuenta con un patrimonio y una producción literaria sólida y relevante para ser considerada plenamente una ciudad literaria. Esta condición está asociada con una identidad literaria característica de Barcelona, que se ve plasmada en la literatura barcelonesa y que se ha ido construyendo intensamente a lo largo del siglo XX. En el proceso de creación de las obras influye la relación de los escritores con la ciudad, así como las interacciones de los diferentes actores literarios y las políticas literarias locales, regionales o nacionales. A partir de un análisis de las obras literarias seleccionadas en un corpus barcelonés que abarca publicaciones entre 1970 y 2015, junto a las entrevistas cualitativas realizadas a los escritores, por un lado, y a los actores literarios que operan en Barcelona, esta tesis intenta aproximarse al fenómeno de la ciudad en la literatura: partiendo de las características de ésta que inspiran a los escritores, y observando las políticas culturales que difunden ese imaginario literario y sus autores, definimos el proceso de creación de las obras literarias barcelonesas y la forma en qué los escritores retratan sus espacios y su sociedad. En una primera parte estudiamos el mundo literario barcelonés para analizar cómo las instituciones regionales y municipales, junto al sector editorial, las librerías y las bibliotecas difunden el patrimonio literario de la ciudad. Desde esta óptica se analiza paralelamente el proyecto de candidatura de Barcelona como Ciudad UNESCO de la literatura. A continuación presentamos los resultados de las entrevistas sobre el proceso de escritura de las obras barcelonesas y la interacción de los escritores con el espacio. Para concluir, analizamos los temas sociales y los espacios presentes en el imaginario literario barcelonés según el corpus de obras estudiadas
Arnaud, Simon. "La transition vers un autre théâtre jeune public : écrire, éditer et mettre en scène en Espagne de 1960 à 1978." Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20039/document.
After the progress seen in spanish children’s theatre between 1920 and 1936, the arrival of the Franco dictatorship resulted in cultural activity being taken into state control. Children’s theatre became an educational tool to serve the interests of the regime, and during the 1960’s was the object of particular attention from the Ministry of Tourism and Information, which at the time was responsible of cultural affairs, and from the Sección Femenina (troupe Los Títeres , 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Within the general context set by these political policies and cultural practices, this work aims to demonstrate the role played by certain dramatists, whose origins were in social realism, the Teatro Independiente and the Nuevo Teatro, in promoting a new kind of theatre for young audience. Although they did not work together in any organised way, at the similar time they all sporadically turned their attention towards a young audience. They gave witness to the element of risk inherent in any attempt to transgress aesthetic and cultural norms, and also to desire to create a new kind of theatre writing which aimed to combine awareness raising with an element of play. This thesis is written from an interdisciplinary perspective (theatre studies, literature, sociology of entertainment, cultural history, anthropology…). It brings together literary analysis and the study of historic and cultural records in order to give an account of the aesthetic, ethical an practical issues which influenced the dramatic work
Mitaine, Benoit. "Suso de Toro : de l'altérité galicienne à l'identité narrative." Grenoble 3, 2004. http://www.theses.fr/2004GRE39019.
Kayo, Patrice. "La poésie camerounaise de langue française : évolution de l'écriture des origines à nos jours : essai d'analyse stylistique." Paris 4, 1995. http://www.theses.fr/1995PA040015.
Far from being static and monotonous, Cameroonian poetry has profoundly changed in the course of the years. From 1920 to 1950, the poets were largely influenced by French classical and romantic authors. They used regular rhythms and rime schemes, wrote alexandrine lines and sonnets, etc. Their favourite topics were love, dream, nature, solitude etc. But the following generation (1950-1960) reacted strongly against that writing style. They adopted a new style, that of the negritude movement : free verse, no regular rhythms, no rime schemes, etc. But their ultimate goal was the liberation of the country as a whole. That is why the content of their works was mainly the fight against colonialism. After independence, the poets notice that both at the social and political levels, nothing has really changed. Misery and oppression are more cruel than ever. Consequently most authors change their target. They forget about colonisation and start shooting at the new political masters, their own brothers. That subversive writing style leads to a fundamental renewal of the poetic language. About the future prospects of that poetry, we can say that subversion will continue to inspire the authors, as long as the government rules the country on the basis of oppression, dictatorship, the violation of liberties and other human rights, which creates or worsens social misery
Diouf, Abdourahmane. "Esthétique, politique et éthique : la création littéraire dans l’œuvre romanesque de John Steinbeck." Thesis, Le Mans, 2020. http://www.theses.fr/2020LEMA3008.
John Steinbeck’s works cannot be reduced to a strict aesthetic or ideological categorization. They are often studied at the crossroads of colourful styles that intermingle and clash, in order to grasp the substratum of the work behind its varieties. The challenge of this thesis is to study the link between aesthetics, politics and ethics, starting not from the writer's political positions but from the works themselves, in order to analyze the ways in which these notions can be dynamically and progressively highlighted as the work unfolds over four decades. Moving from the lyrical and picaresque novel to the social novel (particularly Tortilla Flat and the Dust Bowl Novels trilogy: In Dubious Battle, Of Mice and Men and The Grapes of Wrath), John Steinbeck makes it possible for a political critique to be constructed in his work based on a questioning of the linearity of narrative discourse. Like the form of the discourse, the narrative “content” conveys and develops a political vision that substitutes for the American Dream and its utopian “Melting Pot” a more realistic sociopolitical structure in which one perceives “two opposing classes”, by virtue of the system of capitalist domination. Steinbeck reworked the novel genre to develop a providential, humanist and anti-capitalist vision. By testing the notions of plot, protagonist (or “hero”) and temporality, he placed this political critique at the very heart of the writing process, inviting readers to take a fresh look at his more “political” works of the 1930s and 1950s, and at the links between modernism, political engagement and ecology. Although some of his works are radically contested, he has made constant use of the myth of origins. This recourse to the mythical thoughts of the founding American texts acts as a hyphen allowing him to deconstruct literarily the dominant political discourses of his society
Servoise-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.
Courthieu, Christian. "Les fictions policières de Manuel Vázquez Montalbán : vingt-cinq ans de chronique sociale et de création littéraire, 1972-1997." Toulouse 2, 2001. http://www.theses.fr/2001TOU20050.
This work which questions the whole of detective stories from the Carvalho series, seen from the angles of the social chronicle and the literary creation, emphasizes the transfiguration of reality through writing. The first part (History of writing) focuses on the reasons of the emergnece of that unexpected genre, the « thriller » genre, as the dictatorship is drawing to a close. There are considered, from the literary evolution of the writer, the passage from a « subnormal » writing to the detective story writing via the American Black novel, and then its surpassing, as well as the choice of narrative mode : poetical realism as an aesthetics of unveiling. The study of Lo literario, second part of Montalban's plan after the chronicle, reveals reading paths, the aesthetics of entertainment being then doubled by a network of significations thrown in more particularly through the relationships that intertextuality establishes between the cinema and literature. Intertextual character if any, mainspring of the representations, both focused upon and focusing, the detective Pepe Carvalho is considered from the point of view of his literary birth, of his problematic identity of the symbolical scope of his biblioclasty and of his role in the series. The second part (From objective reality. . . ) deals with the authenticatable reality which roots the chronicle : places, Barcelona, its geography, its history and its metamorphoses ; the time, the Spain of late Francoism (1972) when the right wing was coming back into power (1996), marked by the cultural, social, economic and political disruptions and by the evolution of the mentalities caused by the passage to democracy. The last but not least part (. . . To imagined reality) shows how reality, used and manipulated, weaves three patterns that are intricately linked – Francoism as a base of the spanish society, the failure of the left wing in its desire to change the world, the urban world as an alienating system – in fictions that try to explain History
Golvet, Sylvie. "Louis Guilloux, l'ambition du romancier : de La Maison du peuple au Sang noir." Rennes 2, 2008. http://www.theses.fr/2008REN20053.
Louis Guilloux is a significant writer of the 20th century. He is, however, little-known and little-studied. The aim of this doctorial thesis is to help us to understand how this son of a poor provincial cobbler, without any school-leaving diplomas, became the author of Le Sang noir, a novel seen as exceptional since its publication in 1935. This study predominantly uses unpublished documents from the writer’s archives which have recently been made available to scholars. This extremely rich documentation allows us to analyse the difficulties of a writer’s job: editorial demands, indispensable participation in networks of friends, progressive assimilation of writing techniques, necessity to express himself in contemporary debates, and the danger of being seen solely as a proletarian writer. Louis Guilloux explores paths of original creation and offers a stimulating reflection on human psychology, the relationships between the individual and society, and culture. The reading of his work is enlightened by the dual knowledge of the constraints of the job and the literary and ideological stakes of the inter-war years
Nadim, Roxana. "Regards croisés sur Barcelone, ville mythique dans les littératures d'expression française, castillane et catalane : du franquisme aux années 2000." Paris 3, 2008. http://www.theses.fr/2008PA030072.
This research examines Barcelona’s image in three different languages and cultures, and seeks to highlight the process in which a literary myth was created and expressed in writing. Indeed, Barcelona is a palimpsest city ; a support for a series of created myths. Beginning in the 19th century – the era of major realist and naturalist works – Barcelona became a city impossible to avoid in Spanish and Catalan literature. However, fiction at the time did not project Barcelona’s image beyond Spain’s borders. The capital of Catalonia only gained international literary recognition after World War I, when the topoi associated with it were also renewed. French writers played a key role in creating and spreading Barcelona’s new image as a cultural and cosmopolitan capital. They shaped an urban image which was subsequently taken up and up-dated by Spanish and Catalan writers. The corpus here is trilingual and covers in particular the works of Jean Genet, André Pieyre de Mandiargues, Georges Bataille, or Claude Simon, and fiction written in Castilian by Juan Marsé, Juan Goytisolo, Eduardo Mendoza, Manuel Vázquez Montalbán, Carmen Laforet, etc. , as well as works in Catalan such as the novels by Mercè Rodoreda, Victor Mora and Montserrat Roig. From a methodological point of view, the imagological content of the subject draws on human sciences – the history of mentalities and cultural anthropology – and raises problems linked to notions of interculturality and intertextuality
Mathios, Bénédicte. "Le sonnet espagnol à l'époque franquiste : fixité, transtextualité, métatextualité." Paris 4, 1998. http://www.theses.fr/1998PA040264.
This study deals with the Spanish sonnet at the time of the pro-Franco dictatorship. In the first part, chapter 1 refers to the collective space-time of an autarkical Spain, confined in the fixed codified form of the sonnet, whose poets use much in the first 40's. The national space is represented by symbols such as the stone or the bull. Chapter 2 depicts fusion phenomena existing -during the same period or later on and according to the evolution of each poet- between the individual speaker and his intimate space-times, which are often Spanish geographic places. Among certain poets, the return to the space-time of infancy or of adolescence in also a return to the structuring form of the sonnet. Similarly, some mystical aspirations materializing in religions buildings the architecture of the sonnet. Chapter 3 tackles the notion of the formal transgression of the sonnet, which is the embodiment of the certain speakers' commitment of protest. This practice concerns the 50's and the 60's. The second part consists in the study of a corpus of love sonnets at the same period. One has attempted to give a definition of the speaker in the sonnet after giving prominence to the intertextual dependence of this form and to its capacity of evolution. In the third part, the metapoetic essence of the sonnet is revealed through a specific corpus dating back to the Italian 16th century- whose structure derives from the dialectics of repetition and of differentiation suggested before. The sonnet gains the double function, both contradictory and crucial, of "container" confining its own form in itself and of "diffuser" of poeticity
Jankovic, Lisa. "La comédie de magie espagnole (1840-1930) : Le spectaculaire flamboyant." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030118.
La pata de cabra (1829) by Grimaldi was a turning point in the history of Spanish Magical Theater. My dissertation is enquiry into 19th and 20th-Century Post- Grimaldian enchanting comedies. I use a cultural historical approach to shed light on this genre’s specific search for a “spectacular dimension” and to examine it from an aesthetic and artistic point of view, as well as a technical and budgetary one. This Magical Theatre was very prolific and successful at the time (despite harsh critics), but it has largely been forgotten since. Although Magical Comedy seems to be a minor genre, it is nonetheless part of a long “neo-ritualistic” Spanish and European tradition and, because of its extensive optimization of on-stage possibilities, it has undoubtedly influenced more renowned genres. I discuss the performance aspect of this cultural object and I argue that it is a workshop for Spanish Avant-Garde theatre. I show how Magical Comedy fostered theatrical creativity among artists and I discuss to which extent this singular cultural phenomenon shaped specific representative techniques (scenery, costumes, machinery and other devices) in Spanish theatre
Renaud, Aurélie. "L' Espagne dans la pensée de Georges Bataille, Jean Genet et Claude Simon : reprise et remaniements des stéréotypes." Paris 7, 2011. http://www.theses.fr/2011PA070113.
Spain noticeably figures prominently in the works of Georges Bataille, Jean Genet and Claude Simon. It is first and foremost the object of a private experience that is both brief and intense. However, the registering of such an experience - the attempt at turning it into thought -then encounters and intersects the images through which the country has customarily been perceived for centuries. They notably turn to two traditions: the heroic mythology of the Civil War, on the one hand, the exotic and picturesque imagination that has characterised the romantic generation, on the other hand. They have patiently and carefully deconstructed such an inheritance. Yet, these stereotypes are not cast away altogether as deceitful conceptions. They are much rather exhibited, taken up, displaced. Hence, in the works of the three authors that are of concern here and despite everything that might distinguish them otherwise, the elaboration of a new Spain, at once recognizable and unrecognizable. A strong alterity springs forth from a conventional alterity, and myth emerges from stereotypes. Indeed Spain eventually opens onto the truth which matters to them and which stands at the core of their respective thought: an anthropological truth in the cases of Simon and Bataille, an intimate truth in the case of Genet. Che aut
Alric, Pierre. "L'écriture poétique de José Cruset." Clermont-Ferrand 2, 2000. http://www.theses.fr/2000CLF20009.
Marti, Laurent. "Le théâtre de Gonzalo Torrente Ballester : des avant-gardes à Aristore." Thesis, Dijon, 2010. http://www.theses.fr/2010DIJOL012.
Gonzalo Torrente Ballester (1910-1999), one of the main figures of the Spanish literature of the 20th century, is best known for his narrative. However, theatre is his greatest passion – and also the very first one – since he devoted the first twenty years of his literary career to theatre. The theatrical activity of the Galician author during the 1930s and the 1940s, hectic and steady, gives us an outstanding account of the Spanish stage during the Second Republic: the coexistence of a commercial and bourgeois theatre appreciated by the public since the end of the 19th century, and a minor avant-garde theatre aspiring to reform the theatrical stage with extensive innovations in the form. The two first plays of Torrente Ballester are in the line of this latest approach but a historical event, the war of Spain, leads to a major thematic and aesthetic change. The playwright meets up with a group of intellectuals of the Spanish Phalanx, the Grupo de Escorial, where literature mingles with politics, a mixture which determines the plays – but also the essays and articles – of our author at the very beginning of the 1940s. The dream of an ideal society educated by theatre ends up in 1943 and Torrente turns away from the dogmatism characteristic of the 1937-1942 period. The Galician author recovers then a creative freedom which allows him to compose his best plays just when, in the absence of staging, he decides to give up dramatic writing to dedicate himself exclusively to narrative. The theatrical adventure of Torrente stops at the end of the 1940s but the literary, political and human experience collected during this stage turns out to be essential to his later brilliant career as a novelist
Pinyol, Vidal Josep. "Iconographie et iconologie du dessin d'actualité dans la presse barcelonaise catalaniste et républicaine en langue catalane : 1870-1935." Rennes 2, 2007. http://www.bu.univ-rennes2.fr/system/files/theses/thesepinyol.pdf.
Ln the latter third of the 19th century, the expansion of both cultural and political Catalanism coincided with the-clevelopment. Ofthe Catalane;languagepressin- whichihe-articleswere reinforced -by-theuse-of--. Political cartoons. Often appearing in the form of satirical tracts or caricatures, they iIIustrated and interpreted both important events and daily life in Barcelona. We can understand these images according to their iconology and iconography. These two concepts, as defined by Erwin Panofsky, reflect the socio-cultural environment in which the image was generated, as weil as the form and attributes related to diverse themes used by the illustrators. Three generations of Barcelonian political cartoonists illustrated current events in real time during the 65 years which separated the First Republic from the tragic end of the Second Republic. Both the diversity and the stylistic evolution of their work leads us towards an aesthetic interpretation of these illustrations, which also respects the natural evolution dictated by the major orientations in fine arts during this period in Catalonia
Peyroles, Aurore. "Roman et engagement : le laboratoire des années 1930 en Allemagne, aux États-Unis et en France. Autour de November 1918 de Döblin, de USA de Dos Passos et du Monde réel d’Aragon." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040256.
By inscribing the notion of literary commitment in the context of the 1930’s, which saw its apparition and its practice, we intend to restore the efficiency of an expression which is too often considered as the difficult conciliation between two areas supposedly antagonistic: politics and literature. Approached through novels which preceded Sartre’s theorization – Aragon’s The Real World, Dos Passos’ USA and Döblin’s November 1918 – the notion of literary commitment accounts for a literary writing and a political ambition which are only conceived in relation with one and another. Written as an answer in action to a situation considered as unbearable, the committed novel of the 1930’s appears as the place where multiple reconfigurations take place: reconfiguration of the perception of the real world, which scandal is revealed by the fictional representation; reconfiguration of the national language and of the narrative process, which are redefined by opposition to the misuses and the manipulations of the opponents; reconfiguration of a political space inherently democratic, experimented in the process of reading itself
Saldana, Esther. "Concha Espina, du journalisme au roman engagé (1880-1955)." Thesis, Pau, 2019. http://www.theses.fr/2019PAUU1066.
Concha Espina’s literary production has too often been neglected because of her particular background and controversial beliefs. The aim of this piece of research is to highlight the work of a writer who passionately defended her socio-political convictions during the first half of the 20th century. Her writing, which first appeared in the press at the very end of the twentieth century, was influenced by the numerous literary currents of her time. Concha Espina made those currents her own.This thesis proposes a different outlook on the social engagement of her work, which is fully in keeping with en era of deep societal change.The first publications in the regional press formed the foundations of her novels, mainly centered on the observation of the landscape and the resulting social claims as in La Esfinge maragata (1914), El metal de los muertos (1920) and El cáliz rojo (1923).Concha Espina’s political beliefs, her support of the fascist ideals in the 1930s and of the Franco regime, result from her background. They are also at the origin of the silence around the name of a woman who wrote relentlessly in order to lead a life free from any personal or professional dependence.This research work aims at improving the image of an author unjustly relegated to the background of the Spanish literary scene
Martinez-Chauvin, Andrea. "L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)." Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
Is it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
Yemsi-Paillissé, Anne-Claire. "Le personnage maternel dans le théâtre espagnol contemporain (1980-2008)." Thesis, Toulouse 2, 2011. http://www.theses.fr/2011TOU20132.
The drama character of the mother is on one hand connected to its surrounding characters in the dramas, – mostly family members –; and is on the other hand linked to many archaic traditions and motherhood stereotypes. Therefore, the concept of “inter-character” (“interpersonnage”) might be a powerful tool for the multidisciplinary study of our selected sample of forty-five mothers in contemporary drama.Some of the mothers we studied do not fit in the Mother stereotypes and rather appear as more complex characters, sitting at the threshold between two classical drama figures: the Mother and the Woman.Studying the interactions between the mother “inter-characters” and their family “web” will shed some light on several phenomena: the decay of the father figure, the rejection of grandparents; and the thinning of the links with neighbors. However, the “mother-child” duo seems to remain unaltered; although often loaded with violence and neurosis.Eventually, the study of the most atypical mothers – adoptive, surrogate, father-like and ghostly –, leads us to take into account their symbolic dimensions. They belong to an ancestral tradition – profane or mystical –, and seem to remain haunted by the urge to connect to mankind.The dramatic representation of the traditional Mother as a dedicated housewife, seemingly a timeless feature, is now losing ground to other representations of mothers and relations. In contemporary Spain, shattered by the rapid political, social and scientific changes of the previously unchallenged “Mother institution”, the mothers are now making History; this evolution is witnessed in Drama
Napoli, Gabrielle. "La représentation de l'écrivain face à l'Histoire dans les récits d'Antonio Tabucchi et d'Imre Kertész : une littérature responsable." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00873490.
Beau, Cécile. "Représentations de la nature en Espagne : de l’exode rural à l'émergence d’un discours écologique (1950-2020)." Electronic Thesis or Diss., Paris 3, 2022. http://www.theses.fr/2022PA030031.
Spanish society, essentially agricultural until the 1950s, underwent an accelerated industrialization, promoted by Franco's government, which led to a rapid and irreversible decline of rural areas. These territories became depopulated spaces that the state allowed to decline in favor of the central core (Madrid), some peripheral regions (such as the Basque Country and Catalonia) and new coastal tourist centers. Through the analysis of the discourse on nature and the agrarian world from 1950 to the present time, this research work focuses on the role of the rural exodus in the socio-economic evolution of Spain and attempts to shed light on the way ecology has spread in this country as deruralization has progressed. The consequences of the disappearance of the peasant societies that once occupied the spaces that today are known as España vacía (empty Spain) have been relatively little studied. However, several writers of the second half of the twentieth century have studied the history of this "silent revolution": Miguel Delibes, Julio Llamazares Rafael Chirbes, among others, lament in their novels the fate of these regions and their inhabitants and highlight the contradictory relationship that Spaniards have with their rural past. Also, the former agricultural territories, neglected and marginalized by the public authorities, seem to be regaining the importance they once had in the eyes of the Spaniards. For rural Spain becomes a political issue from the moment we look at it, both in the past, questioning how to overcome the wounds caused by the civil war and the dictatorship, of which it still bears the scars, and in the future, through the question of how to respond to the environmental crisis, preserving nature and farmland
Fravalo, Loïc. "Alvaro Cunqueiro ici et ailleurs : parcours littéraire et idéologique d'un auteur galicien." Rennes 2, 2000. http://www.theses.fr/2000REN20037.
The main part of the thesis is a study about the first works by the galician poet and writer, Alvaro Cunqueiro, (1911-1981), from the early thirties till the fifties. Poetry, newspaper works, and his first novel are examined in the historical context of the Second Republic, the coup of July 1936, and the victory of Franco's army, in regard of the different ideological choices of the writer. The point consists in examining Alvaro Cunqueiro's position in the literary and political panorama of that period : the lyric avant-garde and the heritage of the Rexurdimento, the cultural and political evolution of the galician movement, the rise of the Falangist party's ideas, according to his own involvement. The contact between the galician and the castillan languages, and the theoretic bases of the galician movement represent a major part of the thesis
Chorfa, Amina. "La lutte contre l’oubli dans la littérature syrienne de résistance : étude des romans Ṭiflat al-samāʾ, Ṣalṣāl et Lahā marāyā de Samar Yazbek (Perspective sociocritique)". Thesis, Université de Lorraine, 2020. http://docnum.univ-lorraine.fr/ulprive/DDOC_T_2020_0016_CHORFA.pdf.
The literary commitment resonates as the ideological guideline in Samar Yazbek’s novel. It appears through the study of her three novels: Ṭiflat al-samāʾ (Girl of heaven, 2002), Ṣalṣāl (Clay, 2005) and Lahā marāyā (In her mirrors, 2010), that one of the author’s essential issue deals with the question of the consequences of cultural, religious and socio-political traditions on society and individuals. Her work raises the question: what extent the will to preserve traditions or free from all the rules can compromise the social system and, beyond that, whether any liberation necessarily imply a cultural and religious breaking? This is why, in our thesis, we will examine this corpus to determine the Yazbekian position on the process of social and political emancipation of Syrians as well as their perception of the notion of cultural, religious and political heritage. In order to do this, we will study Samar Yazbek’s novels through a sociocritical perspective - revisited throughout the complex thought of Edgar Morin - supported by the transtextuality, the narratology and the semiotic method. Thus, our goal will be to shed light on the processes of perpetuation or rupture of tradition among the Syrians of the “contemporary extreme”, articulating our double interrogation around the notions of freedom, modernity, political struggle and resistance to social oppression
Pestaña, Jañez Angélique. "Famille et valeurs dans trois romans d' Almudena Grandes : Malena es un nombre de tango, Los aires difíciles et El corazón helado." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH018/document.
Family has always inspired great novels which often highlight the relationship between the different generations. The subject of family is indeed constantly reinvested by authors regardless of their nationality or the period they depict. Almudena Grandes belongs to such category of writers and gives a paramount role to the family unit. Although a recurring topic in her literary trajectory, it has never been thoroughly studied by critics who yet analyzed many aspects of her work. Because such topic seemed crucial to us in Grandes’s writing, we focused on the family unit in three of her novels, Malena es un nombre de tango, Los aires difíciles and El corazón helado. In our corpus, family is, first and foremost, a group transmitting values which does not appear as a mere reflection of the social microcosm – such comparison being, we believe, a very common one in the field of literary theory. The families under study do not only convey a system of ideological values, but they also belong to a hierarchy of characters which creates a second system of values in turns in agreement with or in opposition to the first one. We thus intend to show the strategies used by Almudena Grandes to impose her own narrative system to the reader.In order to describe Almudena Grandes’s intentions, we decided to approach family through several prisms. Family models and alternative models show the rise of an antagonistic system based on contradictory values – patriarchal and conservative on the one hand, and republican on the other hand. But this chapter also highlights how some characters try to recreate a family outside blood ties or marriage bond, when their actual family is completely perverted or nonexistent. The different family figures – mother, father and siblings – build up an apparently unidirectional hierarchy of characters treated with deference or hostility by the narrative instance. Finally, the chapter related to family secrets unveils the moral ambiguity of some characters – torn apart between being and appearing – who, in two thirds of the cases, are eventually exposed. The discovery of the secret, if any – one character only manages to keep his secret and never confesses who he truly is – forces the characters to redefine themselves and gives them a chance to go through a liberating resilience process