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Статті в журналах з теми "Narration – Subjectivité – Dans la littérature"
Walty, Ivete. "La Parole écrite: entre la loi et la marginalité." Interfaces Brasil/Canadá 17, no. 1 (May 1, 2017): 79. http://dx.doi.org/10.15210/interfaces.v17i1.10114.
Повний текст джерелаSimard-Houde, Mélodie. "Les avatars du « Je ». Roman et reportage dans l’entre-deux-guerres." Études françaises 52, no. 2 (July 4, 2016): 161–80. http://dx.doi.org/10.7202/1036930ar.
Повний текст джерелаViselli, Antonio. "Fuir la complétude ou Le métarécit intermédial des Faux-monnayeurs." Voix Plurielles 11, no. 2 (December 3, 2014): 53–63. http://dx.doi.org/10.26522/vp.v11i2.1100.
Повний текст джерелаKornatzki, Luciana, and Maria Isabel Seixas da Cunha Chagas. "Histórias e narrativas digitais na educação sexual da infância: possibilidades e limitações." Perspectiva 33, no. 3 (April 1, 2016): 1041–68. http://dx.doi.org/10.5007/2175-795x.2015v33n3p1041.
Повний текст джерелаŽakelj, Špela. "La subjectivité littéraire dans _La cité des dames_." Voix Plurielles 8, no. 2 (November 26, 2011): 160–71. http://dx.doi.org/10.26522/vp.v8i2.451.
Повний текст джерелаMessaoudi, Samir. "Esthétique de la subjectivité dans « Je t’offrirai une gazelle » de Malek Haddad." Recherches Francophones: Revue de l'Association internationale d'étude des littératures et des cultures de l'espace francophone (AIELCEF) 1 (December 17, 2021): 100–111. http://dx.doi.org/10.26443/rcfr.v1i1.339.
Повний текст джерелаGuetta, Alessandro. "Temps et narration dans la littérature israélienne." Yod, no. 14 (October 1, 2009): 49–65. http://dx.doi.org/10.4000/yod.336.
Повний текст джерелаLintvelt, Jaap. "Narration, temps et espace dans les romans de Louise Dupré." Dossier 34, no. 2 (March 18, 2009): 59–71. http://dx.doi.org/10.7202/029466ar.
Повний текст джерелаCôté, Jean-François. "Littérature des frontières et frontières de la littérature : de quelques dépassements qui sont aussi des retours." Recherche 44, no. 3 (May 4, 2004): 499–523. http://dx.doi.org/10.7202/008204ar.
Повний текст джерелаMorin, Lise. "Quelques rouages de la machine fantastique dans « Les messagers de l’ascenseur »." Études 19, no. 1 (August 30, 2006): 132–50. http://dx.doi.org/10.7202/201073ar.
Повний текст джерелаДисертації з теми "Narration – Subjectivité – Dans la littérature"
Kimoliatis, Evdokia. "Description et subjectivité dans l'œuvre romanesque d'Alain Robbe-Grillet : Instantanés, Dans le labyrinthe, Projet pour une révolution à New York, Djinn." Caen, 2002. http://www.theses.fr/2002CAEN1361.
Повний текст джерелаGalisson, Olivia. "Le sujet poétique au coeur de la narration dans les poemetti de Pascoli : les voix dans le discours poétique." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030127.
Повний текст джерелаThis thesis aims to study poetic enunciation in Giovanni Pascoli’s Poemetti. Within the framework of a narrative poetry that gives ample space to reported speech, thus multiplying enunciatory subjects, the constitution of the poetic subject occurs via a polyphony which, far from being the prerogative of the novel, interrogates both traditional narrative forms and the monological lyrical model. The title of G. Contini’s foundational essay, « Il linguaggio di Pascoli », indicates that the voices that are heard in Pascoli’s most studied collections, Myricae and Canti di Castelvecchio, participate to the development of a metalinguistic process ; however, the voices that occur in the Poemetti draw attention to poetry’s metadiscursive function. It is its inscription within a shared, collective discourse that enables the biographical and allegorical subject to constitute itself and to overcome the feelings of bewilderment and solitude that define it. The subject then searches for an answer to the feeling of exclusion that haunts him in the collectiveness of family or community voices, either local or national, and especially in the autarkic and ideal family community of the “georgic novel”. It might seem paradoxical to emphasize polyphony and a form of dialogism in the context of an epos, or of lyrical poetry. The epos should indeed presuppose a world-view that is common to the characters, the author and the reader. Lyricism, on the other hand, should be founded upon the expression of an individual and intimate subjectivity. But we should not discount Pascoli’s will to fuse the singular and the collective in his poetic voice. Even his autobiographical poetry is indeed addressed to all. The polyphony, which expresses the individual subject’s relation to the collectivity, defines the subject as being initially and irrevocably plural. Thus the poemetto appears to be an innovative genre that combines the narration of a common story, characteristic of the epos, with the questioning of subjectivy that is specific to lyricism
Celis, Estupiñan Carlos German. "Subjectivité et po-éthique du mal comme fondement de l'identité narrative dans l'oeuvre romanesque de Mario Mendoza (1992-2011)." Thesis, Aix-Marseille, 2019. http://www.theses.fr/2019AIXM0496.
Повний текст джерелаThis thesis offers a critical study of the novels of the Colombian writer Mario Mendoza, in particular of his period known as “The Descent into Hell (1992-2011)”, composed of eight novels. The methodology is based on a thematic analysis and a transdisciplinary interweaving of literature, psychoanalysis, and philosophy. Starting from the notion of subjectivity, understood from the perspective of psychoanalysis and the construction of a po-ethics of evil, it is proposed to make operational the concept of the subjective detective as a device of analysis in order to demonstrate how subjectivity and the po-ethics of evil are a basis for the narrative identity deployed in the author's work. This research is developed in three parts: “Mario Mendoza or the duty to inscribe degraded realism”, “Subjectivity and crimes in Mario Mendoza's novels”, and finally “Remembering through fiction, or the work of making fiction in spite of memory”. Finally, this work undertakes research about the political repercussions of Mendoza’s novels as a po-ethical practice encouraging a particular mode of resistance against the imperatives of the time that configure its conditions of emergence
Piedade, Nicolas. "Fictions ventriloques : mise en abyme et narrations subjectives dans le roman moderniste européen." Electronic Thesis or Diss., Limoges, 2023. https://aurore.unilim.fr/theses/nxfile/default/3c706b9e-ca59-4015-b434-c8bcc5f50dde/blobholder:0/2023LIMO0014.pdf.
Повний текст джерелаThis work of comparative literature explores the profusion of novelistic forms based on the representation of embedded writer characters during the modernist period. This structure of fictionalized literary enunciation is employed on a large scale by authors of the late nineteenth and early twentieth century in Western Europe. We recognise these occurrences as “ventriloquial fictions”, following Max Saunders’s work. Our hypothesis considers this specific kind of narration as a particularly active paradigm of the modernist formal revival. It allows the writers to deconstruct narrative mediation devices, and to set up reflexive matrices for a renewal of the representation of subjectivity. Our comparative study of the subject is set through a novelistic corpus from five different linguistic areas (France, England, Spain, Portugal and Italy), gathered around the period which is described as “Early Modernism” by the English-language critical tradition. This body of texts is composed of Luigi Pirandello’s Il fu Mattia Pascal (1904), Alfred Jarry’s Gestes et opinions du docteur Faustroll, pataphysicien (1911), Mário de Sá-Carneiro’s A confissão de Lúcio (1914), Miguel de Unamuno’s Niebla (1914) and Ford Madox Ford’s The Good Soldier (1915). The first stage of our study is diachronic. It makes use of literary history in order to draw the ways of sedimentation of fictional biographical writing within European literature. We then apply a narratological approach for enlightening the issue. It allows to define, in a synchronic way, the mechanisms used for the constitution of the modernist ventriloquial reflexivity. The third and last part of this work offers to outline concrete elements of novelistic poetics through three scales of analysis, articulated around the possible worlds theories. The ventriloquial fictions thus appear as an exemplary modality of the modernist renegotiation of the hermeneutic categories at the beginning of the twentieth century
Lucas, Aude. "L'expression subjective dans les récits oniriques de la littérature de fiction des Qing." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC201/document.
Повний текст джерелаThis doctoral thesis studies Chinese fictional dream accounts during the 17th-18th centuries. It discusses four works : Liaozhai zhiyi 聊齋誌異 by Pu Songling 蒲松齡 [1640-1715], Zibuyu 子不語 by Yuan Mei 袁枚 [1716-1797], Yuewei caotang biji 閱微草堂筆記 by Ji Yun 紀昀 [1724-1805], Honglou meng 紅樓夢 by Cao Xueqin曹雪芹 [1715?/1724?-1763?/1764?] and Gao E 高鶚 [1738? - 1815?]. The objective is to analyze various forms of subjective expression in the context of the evolution of that period. Subjectivity is expressed by language and desire, which are thus the two main pillars – linguistic and thematic – of this study. This study draws on both thematic, and textual and philological aspects. It also makes comparisons between common reinvented motifs and narratives that evolved over the centuries.Firstly, this thesis explores the main characteristics of the Chinese dream culture, in particular the notions of “souls” (hun 魂 and po魄), spirit travelling (shenyou 神遊), as well as the imagination of the invisible world – multiple levels of hell and the irruption of the other world into the daily space. Then, the thesis examines dream accounts of Taoist and Buddhist origins, the subject of which is the realization of the emptiness of human life. Comparisons are drawn with ancient texts so as to explain why specific motifs still appeared in Qing literature, and underline how these motifs were reinvented or rewritten in the 17th-18th centuries. Textual forms are studied by analyzing semantic, narrative, and linguistic tools with which the accounts are constructed. This thesis analyzes the vocabulary and narrative techniques regularly used to reveal the oneiric nature of the tale only after the dream. It also consists of intralingual comparisons that highlight the differences between several versions of a same story, particularly that between classical Chinese and vernacular versions. This demonstrates that the language chosen by the author may imply a subjective stance reflective of the dreamer’s inner self.Thirdly, this thesis focuses on the hidden intention behind dream accounts. Ancient Chinese dream accounts imply that the dream is necessarily linked to an interpretation that is given retrospectively. But Qing authors increasingly tended to subvert this traditional objective, and sometimes even produced dream accounts that had no purpose other than their own originality or a esthetic research – in other words, these were “dreams for dream’s sake”.The last part of this dissertation puts the dream accounts to the test of Lacanian theories of desire, since over the course of the 17th-18th centuries, the expression of desire became an essential component of oneiric accounts. Through elements evocative of characteristic mechanisms of desire as psychoanalysis would describe in the 20th century, some of the Qing oneiric accounts appear to be particularly relevant with respect to how authors constructed subjective fictional characters. This theoretical approach highlights the underlying coherence in the production of dream accounts and its significance in the early modern Chinese era
Keresztes-Kila, Noemi. "Dynamismes et structures de la perception dans l'œuvre de Charles Ferdinand Ramuz." Thesis, Artois, 2013. http://www.theses.fr/2013ARTO0001/document.
Повний текст джерелаThe aim of the present thesis is to resituate the work of the Swiss writer Charles Ferdinand Ramuz in the French context in which it was frequently badly received, namely in the contemporary age of its creation. In order to situate the questions and hypotheses, the thesis will provide a panorama of the different aspects of the work’s reception in question (misunderstandings, linguistic, aesthetic and narratological interpretations). This study aims to follow in the lines of the Critical Renewal which appeared in the sixties. It will study the strategies of expression and the narrative techniques that would allow a «language-image» and an aesthetics of the phenomenological-cinematographic perception. It will focus especially on Ramuz’ usage of “on” (we) as well as on the realization of the cinematographic effects. The detailed analysis of these constants in Ramuz’ writing make it possible not only to redefine the challenges of a detached and objective view and to rediscover the perceptive focus as if it was provided with conscience and cognition but also to raise a seemingly upsetting question: may it be possible that the writing of this Vaud writer already accomplishes what the Romanesque creation in association with the movement of the New Novel (Nouveau Roman) defines and theorises thirty years later ?
Jiménez, Iván. "Subjectivité et fiction historique dans l'oeuvre de Andrés Rivera." Paris 8, 2010. http://octaviana.fr/document/156213966#?c=0&m=0&s=0&cv=0.
Повний текст джерелаThis dissertation concerns the relationship between fiction and history in the work of Argentinian writerAndrés Rivera (1928‐ ). En esta dulce tierra, La revolución es un sueño eterno, El amigo de Baudelaire, La sierva, El farmer and Ese manco Paz can be regarded as « acts of imaginative creation » relating to somecircumstances, processes and events of Argentina’s national past, mainly of 19th century. Our aim is to demonstrate that, in these novels, there is a poetics of the subjectivity which yields some specifically fictional ways of « thinking about History ». Our concept of subjectivity doesn’t relate only to biased views about the past ; it also refers to the experiences and the movements of the inner world which are simulated by the characters, and also to the fictional transpositions of the author’s self. All these elements converge in Rivera’s litterary imagination about the past and they come from the earliest tensions of his writing : the dilemmas of the Latin‐American revolutionnary intellectuals, the conflict between making litterature more modern or more political ; this is the reason why we start our study with a panoramic view of Rivera’s short stories and novels published between the 50’s and the 70’s. Secondly, we describe the features (poetic maturations, formal aspects) of what we could call the historical imaginative style of Rivera ; finally, we consider the ways of « reading » Argentina’s national past and the ways of understanding History related to those stylistic features ; in this context, we take into account several themes specific to Rivera’s litterary universe which relate to the subjectivity: power, sexuality, authoritarianism and revolution
Roche, Myriam. "José Maria Guelbenzu : contours et détours de la subjectivité romanesque." Grenoble 3, 2007. http://www.theses.fr/2007GRE39018.
Повний текст джерелаJosé María Guelbenzu (Madrid, 1944) definitely places the individual as a thinking subject in the heart of his work. In recurrent thematic configurations, his tortured characters cultivate their taste for introspection and their demand of lucidity ; their existential quest enables the author to explore some ways to the selfconsciousness or identity : the body/mind dialectics ; the practice of selfderision and irony ; the experience of misfortune and failure. Subjectivity is emphasized as a way of apprehending the world, in the field of interpersonal relationship, where sexuality and affectivity have an essential place, as well as in the connection with the close environment or with an historical context stamped by franquism. It's a personal conception of the literature that implies important narrative and enunciative choices : the impersonal story is strewn with subjectivity ; the character often speaks through dialogue or interior discourse. The complex enunciative processes create ambiguity, which poses the problem of the status of the narrative instance or of the character carrying out this function ; thus, Guelbenzu uses the fragility of the frontiers of discourse to let subjectivity penetrate his text
Hoët, Sébastien. "La critique de la subjectivité dans l’œuvre de Roger Munier." Paris 8, 2006. http://octaviana.fr/document/11908113X#?c=0&m=0&s=0&cv=0.
Повний текст джерелаAs the first monograph dedicated to Roger Munier and his writings, this work intends to think poetry and philosophy at the same time through the process of loss of the subject. It appears as a twofold acknowledgement : the world exists without me, the world is nothing but itself. The artist reflects on a world which can only be reached or even lived in through the erasing of any form of mastery - be it of the subject, or of the world (which is and expresses itself in the negation of nothingness). As any critique of subjectivity also summons the common conception of inspiration, as any critique of the subject and the thinking of nothingness and/or anythingness are the very foundations of the being, we will be led to analyze the way man is inhabiting the world and his possible relationships with God and art ( cinema, literature and more precisely poetry)
Bonnin-Ponnier, Joëlle. "Le restaurant dans le roman naturaliste : narration et évaluation." Paris 3, 1998. http://www.theses.fr/1998PA030129.
Повний текст джерелаThis work considers the subject of the restaurant in the naturalist corpus as a novelistic topos, a prescriptive focal point establishing a certain way to look at body and nature, a social representation and culturally significant table manners whose analysis can contribute to what phillipe hamon calls a "poetics of the evaluative". Commited to schemes, both evaluating and evaluated, a fictional population shows a "know-how to behave" and also a "know-how to enjoy", made up of a "know-how to see" and technical and socio-ethical "know-how to do " together with a " know-how to say". Taking into account all these aspects, allows to show the "ideology-effect" of the naturalist works, which in the text is conveyed by the idea which the character have of their projects and purpose and from the narrative point of view is to be perceived through the specific way the narrator deals with the theme, the narrator being indeed non devoid of aesthetic and philosophical presuppositions, as, together with his capacity of making up endless narrative variations around the restrictive pattern of the narration of life given as banal and ritualized and around the even more codified theme of "the restaurant scene" (first narratologic part), and also when expressing the elaborate judgements of his characters (second part centred on evaluation), he translates their experiences in spite of the special links the establishment is supposed to have with pleasure and festivity, with a critical "artist" vision, full of nostalgia for the aristocratic ideals of the past and of a pessimistic outlook of life. This double bias is highlighted by continuous confrontation with the novellistic intertext and above all the non fictional intertext (gastronomic and touristic guides, treatives on good manners) which often reveals, trough the praising of the pleasures of eating, a deep love of our condition
Книги з теми "Narration – Subjectivité – Dans la littérature"
Ideologies of identity in adolescent fiction: The dialogic construction of subjectivity. New York: Garland Pub., 1999.
Знайти повний текст джерелаHentsch, Thierry. Le temps aboli: L'Occident et ses grands récits. Rosny-sous-Bois: Bréal, 2005.
Знайти повний текст джерелаShakespeare's storytellers: Dramatic narration. London: Peter Owen, 1996.
Знайти повний текст джерелаBrunet, Julie. Histoires de grands-mères: Exil, filiation et narration dans l'écriture des femmes migrantes du Québec. Montréal, Qué: Institut de recherches et d'études féministes, 2005.
Знайти повний текст джерелаRaconter et mourir: Aux sources narratives de l'imaginaire occidental. Montréal, Qué: Presses de l'Université de Montréal, 2002.
Знайти повний текст джерелаTauveron, Catherine. Le personnage: Une clef pour la didactique du récit à l'école élémentaire. Neuchâtel: Delachaux et Niestlé, 1995.
Знайти повний текст джерелаNarrateur et points de vue dans la littérature française médiévale: Une approche linguistique. Bern: P. Lang, 1998.
Знайти повний текст джерелаRitual passages and narrative structures. New York: P. Lang, 1991.
Знайти повний текст джерелаNikolic, Misa. Subjectivity and globalisation: A philosophical examination of science fiction. [Edmonton]: Funbook, 2008.
Знайти повний текст джерелаReprésentations spatiales et narration dans les contes et nouvelles de Guy de Maupassant: Une rhétorique de l'espace géographique. Paris: H. Champion, 2005.
Знайти повний текст джерелаЧастини книг з теми "Narration – Subjectivité – Dans la littérature"
Saquer-Sabin, Françoise. "Chapitre II. Le temps de la narration." In Le personnage arabe palestinien dans la littérature hébraïque du XXe siècle, 183–85. CNRS Éditions, 2002. http://dx.doi.org/10.4000/books.editionscnrs.43147.
Повний текст джерелаBaicoianu, Anca. "La mémoire de l’histoire : narration et identité dans la littérature postcommuniste." In Mémoire et histoire en Europe centrale et orientale, 321–25. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.104807.
Повний текст джерелаKlimis, Sophie. "La subjectivité tragique en question : la dialectique des figures du soi et de l’autre dans l’Ajax et l’Œdipe à Colone de Sophocle." In Littérature et savoir(s), 105–26. Presses de l’Université Saint-Louis, 2002. http://dx.doi.org/10.4000/books.pusl.20328.
Повний текст джерелаSaquer-Sabin, Françoise. "Chapitre III. La polyphonie narrative ou narration à deux voix." In Le personnage arabe palestinien dans la littérature hébraïque du XXe siècle, 133–37. CNRS Éditions, 2002. http://dx.doi.org/10.4000/books.editionscnrs.43082.
Повний текст джерелаGUEDALLA, Oumar. "La narration sahélo-peule du Cameroun." In Sous le signe du signe ou l’art d’être sémioticien, 89–102. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4803.
Повний текст джерелаBonfil, Carlos. "Les seuils du mélodrame." In D'un seuil à l'autre, 175–87. Editions des archives contemporaines, 2017. http://dx.doi.org/10.17184/eac.770.
Повний текст джерелаТези доповідей конференцій з теми "Narration – Subjectivité – Dans la littérature"
Bricco, Elisa. "La contre-narration dans le livre contemporain : Quignard, Vassiliou, Yvert." In Pratiques contre-narratives à l’ère du storytelling. Littérature, audiovisuel, performances. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6114.
Повний текст джерелаBernard Vouilloux, sans prénom. "Trouble dans la narration :Jerk de Dennis Cooper et Gisèle Vienne." In Pratiques contre-narratives à l’ère du storytelling. Littérature, audiovisuel, performances. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6068.
Повний текст джерела