Дисертації з теми "Narration – Subjectivité – Dans la littérature"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся з топ-50 дисертацій для дослідження на тему "Narration – Subjectivité – Dans la littérature".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Переглядайте дисертації для різних дисциплін та оформлюйте правильно вашу бібліографію.
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
Gürses, Selin. "L’émergence du sujet dans le récit autobiographique : une étude sémiotique des œuvres autobiographiques de Simone de Beauvoir." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20011/document.
Повний текст джерелаThis work aims to analyze the process of emergence of the subject in the autobiographical discourse. Our corpus is composed of three books of Simone de Beauvoir, a French writer and intellectual of the 20th century. We propose to apply the methods that defined by the scientific approaches called semiotics of the enunciation and literary semiotics. According to the approach of enunciation, the subject emerges in two levels: the level of main enunciation and the level of utterance. On the level of main enunciation, the subject of enunciation is defined as enunciator. The analysis that we will make on this level is based on the relations between enunciator and enunciated and on the relations between enunciator and the subject of utterance also called as the actor. On the level of utterance, by the light of literary semiotics, we will study within the framework of some themes, the figural roles that assumed by the actor. Theses analysis leaded by the semiotic approach of enunciation and the literary semiotics will allow us to define the narrative levels’ structure of autobiographical discourse and the roles and functions of the subjects who emerges on those levels
Nantois-Kobayashi, Sachi. ""Mathesis singularis" : lecture et subjectivité dans l'oeuvre de Roland Barthes." Paris 4, 2006. http://www.theses.fr/2006PA040197.
Повний текст джерелаThe intellectual evolution of Barthes is frequently haunted by the apparently contradictory assertion of the duality : theorist Barthes or nonchalant amateur Barthes ? This study as a starting point takes this contradiction repeated by the same author. In the first time, the elaboration of the semiotic system appears founded on the subjectivity, certainly not impressionist, but rooted in the experience and the practice, on the contrary to the commonplace proper to the science. In the second time, the subject comes back in the sign of the break. The searching of the « absolute subjectivity » which starts from “my” subjective reactions by taking the affects for reference points, is placed in a certain form of the knowledge by virtue of the quest for the essence of the photography and the new form of writing called “Roman” : the one is “mathesis singularis” et the other is the “science of fantasy”
Cazalé-Bérard, Claude. "Modes et structures de la narration dans la littérature italienne des origines au XXe siècle : [thèse d'état sur travaux]." Paris 10, 1990. http://www.theses.fr/1990PA100029.
Повний текст джерелаAll the works included under the title "forms and structures of narration in italian litterature from origins to twentieth century" deal with theoritical principles, methods of analysis, and examples of interpretation applied to narration from medieval latin litterature (exempla) and medieval italian litterature (avventuroso ciciliano, filocolo, decameron) and to l. Pirandello short stories (novelle per un anno). Based upon intratextual and intertextual analysis carried out, functions, motives, models and characters listed, computer processing was used and a data base of forms and narrative sources was established
Bagros, Cyril. "La représentation de l'espace dans la prose narrative surréaliste." Paris 3, 2000. http://www.theses.fr/2000PA030132.
Повний текст джерелаEyrolles, Stéphanie. "Explorer la faille : Identité et narration dans l'œuvre de William Faulkner." Thesis, Université Paris-Saclay (ComUE), 2016. http://www.theses.fr/2016SACLV079/document.
Повний текст джерелаThis dissertation studies the issue of identity in several of William Faulkner’s novels (The Sound and the Fury, As I Lay Dying, Light in August, Absalom, Absalom! and Requiem for a Nun) and how characters attempt to retrieve a sense of self through narration. The characters’ belonging to the American South exacerbates their inner gap, which they then try to fill thanks to their story-telling. This study examines, through the prism of Ricoeur’s theory of mimesis, how these characters configure their world of action and project themselves mimetically into their narratives so as to achieve self-understanding through a hermeneutical process. However, the narrators under study are overwhelmed with a deconstructive impetus which sheds light on the indecisiveness of the language thanks to which they are trying to create a substitute identity. They thus become aware that language disseminates itself and that the presence they are attempting to create gives way as soon as it appears
Tritter, Valérie. "Le statut du narrateur dans les littératures fantastiques française et anglo-saxonne d'E.A Poe à R.B. Matheson." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040236.
Повний текст джерелаThe purpose of this analysis is to depict one century of “littérature fantastique” through thestatus of the narrator which implicates also the status of its alter ego, the narratee. The mainidea rests on the theory of an evolution from Edgar Allan Poe’s narrators to Richard Matheson’svia French and Anglo-Saxon authors like Charles Nodier, Jules Verne, Guy de Maupassant, RobertLouis Stevenson, Bram Stoker, Henry James, Howard Phillips Lovecraft.The history of “littérature fantastique” is divided into three important periods, each of thempermitting it successively to be born (by generic criticism), to triumph (by the criticism of narrationitself) and to survive (by the criticism of language).“Littérature fantastique” follows the generalevolution of literature, but its narrator is a realcase to examine in its interactions withsupernatural events he tells, with the narrativeitself, with its proper character and with its“éthos”. This unreliable narrator is, fornarratology, like a myth
Macé, Marie-Anne. "Recherches narratives dans la littérature française : 1970-1979." Rennes 2, 1989. http://www.theses.fr/1989REN20001.
Повний текст джерелаThe French literature of the 1970s is both narcissistic and demanding, compelling a revision of narrative forms. Writing styles emerge from the story; narrative activity showing a preference for equality between narrator and character, focusing on complete viewpoints the words and thoughts of a hero are reproduced though the psycho-narration, according to evolutive conventions and manifesting themselves as polyphonic constructions. The setting for the narrative is created by the shifts in time, pace, and plot. The novel dissociates itself from slow transformation constraints by the expedient of break; duration is acted out between contractions and expansions; it is linked to the imagination while historical time remains discrete. Descriptive hypertrophy overturns textual frontiers; the sense of space rests on the pre-determined, founding itself on musings; the semiotics of space open on to the hermeneutics and ideological gambles. Structure is marked by discord: uncertainty, superimposition, unexpected twists in the story, repetitions, reflexion effects and intertextual references. The character loses his supremacy but remains obvious and clear-cut, oscillating between appearances and physical being; he reveals the unconscious; he is sometimes kept in a relational context, portraying the signs of a social referent. This period remains an aesthetic adventure for writers as well as readers
Noirot, Caroline. "Les esthétiques de la laideur : contribution à une histoire de la subjectivité." Paris 4, 2005. http://www.theses.fr/2005PA040234.
Повний текст джерелаThis work attempts to explore the evolutionary definition of two concepts: ugliness and subjectivity, in order to release a clear idea of the modern identity by observing the evolution of our images of the ugly. It exposes first the various problems that poses with aesthetics the debate on the contemporary art considered as autonomous and social fact, for then recalling a logic of the philosophical aesthetics which engages, since the Enlightenment and under the influence of Leibniz the specificity of this figure of subjectivity, namely the individuality, which saw under the aegis of a nonbeautiful art the aesthetic relation, for finally questioning this question of the recognition of negative in art through current communications theories. It will appear as well as philosophical aesthetics, in its various expressions, merges with a vast work of renewal of the subject to the individual, work in addition devoted to the recognition of the negative values: as the recognition of negative values such as the ugly one was posed like a requirement with the thought, philosophy answered there by the theoretical construction of a possible of subjectivity, individuality
Astier, Colette. "Etude de méthodologie thématique et structurale : rôle et signification du meurtre dans la narration romanesque." Paris 10, 1985. http://www.theses.fr/1985PA100177.
Повний текст джерелаHusson, Didier. "Logique des possibles narratifs." Paris 7, 1994. http://www.theses.fr/1994PA070105.
Повний текст джерелаThis thesis studies the logical relations and the major or minor compatibilities which link together the different variables of fiction. The first part aims to select these variables, supported by the concepts implemented by the studies on fiction. It then tries to appraise the coherence of the possible narrative choices through the relations existing between the status of the narrator, the point of view, the moment of the narration and the existence of fiction recipients. Thus are underlined, and illustrated by examples, the natural aspect of some associations, the possibilities of infringements of logic and the consequences which can be expected from these
Tricoche-Rauline, Laurence. "Le Moi libertin : Modalités d'expression de la subjectivité à l'âge classique." Saint-Etienne, 2006. http://www.theses.fr/2006STET2102.
Повний текст джерелаDimitrakakis, Ioannis. "Aspects de la subjectivité dans l'œuvre romanesque de N. G. Pentzikis." Paris 4, 2001. http://www.theses.fr/2000PA040101.
Повний текст джерелаTerrile, Cristina. "La crise de la volonté et les apories de la narration : un parcours dans la littérature européenne des années vingt." Chambéry, 1993. http://www.theses.fr/1993CHAML001.
Повний текст джерелаIn the twenties, the novel is going through a revolution whose main symptoms are the crisis of the character and the experiment of new narrative forms. The present work at the same time studies the general trend of the upheaval and the particular way according to which a little number of novels is facing the period. The will, seen as a mediation between consciousness and objects, supplies us an assumption to understand at once the crisis shown in the character and the crisis expressed by the writing. The narrator becomes weak and unable toplay his part as an architect of the forms. The character does not know what he wants and does not recognize anymore what suits him. This deconstruction of content and form is progressively obtained through a vast number of writing experiments. In Rube, Giuseppe Antonio Borgese gives us the exemple of a narrative that a strong will is still controlling. But the character of Rube has already a weak will. With Le Voyageur sur la terre by Julien Green, Uno, nessuno e centomila by Luigi Pirandello, and Der Marques de Bolibar by Leo Perutz, a narration in the first person is achieved that present both aspects of the crisis, since the principal character is also a narrator. Lazstly, Kafka's novels are actualising a narrative type without any narrator and any character. There, the will is just a sheer movement without any origin and any end
Krings, Marcel. "La fin de l'égologie ? : recherches sur Valéry, Rilke, Celan et Beckett." Paris 3, 2002. http://www.theses.fr/2002PA030084.
Повний текст джерелаToday's crisis of subjectivity results from a growing loss of being which transformed the once identical consciousness into a psychological epiphenomenon (Nietzsche) then entirely liquidated by postmodernism. Still, Kant's and Fichte's concept of egology, meaning unity of conscience and being, was an impulse to those poets that felt offended by the overweight of objective difference. Thus, by trying to restaure identity, they meant no less than to encourage consciousness to reaffirm reality and to guarantee perception. The present analysis aims at retracing the obstacles which four important concepts of subjectivity cannot remove: In Valéry's Monsieur Teste physical pain, in Rilke's Aufzeichnungen des Malte Laurids Brigge atrocities of the world, in Celan's Gespräch im Gebirg mortality of the living word, and in Beckett's L'Innommable undemonstrability of the Self form the limits of difference that consciousness cannot cross. Because of the fact that being and thinking are no longer congruent, the texts underline that subjectivity eludes absolute expression in either language or theory. So, poetic insight contradicts philosophers merely trying, like Manfred Frank, to establish the subject on prereflexive identity or, like Jacques Derrida, to liquidate any subjectivity. For in fact, Becketts̀ protagonists show that man is nothing but an unworthy clown, and even in view of mortal difference, Celan doesn't abandon his hope of a word of identity. Thus, the egological method is maintained even when texts do not refer to it explicitely. Modern subjectivity urges consciousness to return to the point at which, in former days, the being of an identical Self could be made plausible. Even as empty potentiality, the subject defends its existence
Alsina, Jean. "Parcours intersubjectifs, stratégies intratextuelles : les enjeux du récit dans l'Espagne d'après-guerre : éléments d'analyse." Montpellier 3, 1992. http://www.theses.fr/1992MON30036.
Повний текст джерелаDoctorate based on collected works. Research on the methodology of didactically aimed literary analysis in contemporary texts written in spanish. Thirty one studies testing the textual and narratological analysis approach, using the concepts of enunciation and narrative voice. The main chapter deals with the narrative practice of the 1950s in spain and the relationship between intratextual phenomena and the various strategies of reading inscription, mainly in texts by r. Sanchez ferlosio, j. Fernandez santos, r. Snachez mazas, c. Martin gaite, s. Dali. The experimented methodologies use the analysis of narrative organisation, of its spatial component, of its structuration into lexico-semantic fields and of character-building. In a complementary way, a contrastive research is led on theatrical, poetic and advertising texts, on paratext and on the practice of autobiography. The postword traces the evolution of the research conducted by the "seminaire d'etudes litteraires" (toulouse, 1975-1992), discusses the notions of narrator, narratee and reader, from the narratee's aporia to the promotion of the "lectant", from genette to picard. Applied to the spanish novels of the 1950's, this approach eventually leads to the reactivation of the analysis of the surrounding francoist discourse and to that of the signifier in the texts
Courtieu, Marc. "L'Evénement dans le roman occidental du XXe siècle : continuités et ruptures." Lyon 2, 2007. http://theses.univ-lyon2.fr/documents/lyon2/2007/courtieu_m.
Повний текст джерелаThe initial hypothesis is that a change of episteme, related to the one of the Darwinian biology (a smooth continuity facing Cuvier’s catastrophism) has modified the place of the event in the Occidental novel, from Flaubert and Melville on in particular, read as initiators. Rupture in the course of the world, the event was the beginning element of the fiction, which developed by neutralizing it through the codes of the novelistic ritualization of the XIXth century, realistic in particular. After the naturalism (the position of which on this point is very ambiguous), some authors of the XXth century have attempted to seize the event in a much more original way : as a mystical moment (Joyce’s epiphany, V. Woolf’s moment of being, Broch’s instant of unicity, an instant when the unessential life is escaped (Musil), an instant which abolishes Proust’s time), an event which loses all reason (Kafka), an event founder of the very writing (Sarraute, Beckett). All these paths meet in the particular case of the concentration literature : the saying of the catastrophic moment which is its essence can be only achieved in a radical present of the writing. It is true that a certain number of persistences can be noted, observed here in the adventure novel (London, Stevenson, Conrad, Malraux, confronted to Celine, Moravia, Perec), or of nostalgies, read here in the American novel linked to the myth of the Frontier (Boyle opposed to the Mexican Fuentes, Hawkes, Auster, DeLillo, Pynchon, up to the so specific case of Faulkner). In spite of these resistances, we can conclude that certain fictions of the XXth century have led to see in the event a major element of the rhythmics of the writing
Blouin-Bradette, Jessye, and Jessye Blouin-Bradette. "7 nuits : Hétéro ou homo : entre les deux la diégèse balance : étude du rapport au personnage à travers la narration." Master's thesis, Université Laval, 2013. http://hdl.handle.net/20.500.11794/23990.
Повний текст джерелаDespierres, Claire. "Interrogation, modes de subjectivité et d'intersubjectivité dans la correspondance entre Valmont et la présidente de Tourvel : "Les liaisons dangereuses"." Dijon, 2000. http://www.theses.fr/2000DIJOL024.
Повний текст джерелаLartillot, Françoise. "L'expression subjective dans l'oeuvre poétologique et poétique d'Ernst Meister (1911-1979) : une question d'identité." Paris 4, 1994. http://www.theses.fr/1994PA040198.
Повний текст джерелаStarting from historical hermeneutical presuppositions and therefore a redefinition of poetical modernity,we demonstrate that the works of Ernst Meister (1911-1979) follow the poetical lineage defined by its problematic,subjective and discursive identity constitution,the conceptual and structural frameworks of which are respectively those of F. Schiller and F. Hölderlin. .
GILLET, DE CHALONGE FLORENCE. "L'espace du récit : le cycle indien de Marguerite Duras." Paris 8, 1997. http://www.theses.fr/1997PA081175.
Повний текст джерелаThe narrative space, in le ravisement de lol v. Stein (1964) le vice-consul (1966), l'amour (1971), is analysed as a diegetic space, linked with the story and the narrative voice. It is seen as a setting (objects, places, landscapes, toponyms) and it is explored with its re relationships with representation and within a topological organization. Space is articulated with perception mostlmy vision ; scenes an narra ion narra ive enunciation, arrangement of actions)
Banhakeia, Hassan. "Confrontation narrateur-espace ou le règne de l'écriture dans l'oeuvre de Michel Butor." Paris 8, 1994. http://www.theses.fr/1994PA080900.
Повний текст джерелаThe aim of this thesis is to study the different relationships between narration and writing in butor's work. It researches principally the nature, the functions and the occurences of theses relationships throughout the writer's texts. First of all, we study the relationships between space and narrative voice. They often cofnront each other. The narrator tries continually (but often without success) to structure the space. This dialectic is obvious in the levels of the production, the narration and the reception. It contains perfectly the movement of the work as well. Then, we see tha these conflictive links coincide with some precise textual elements. Thus, we are called to analyse som e canons of the very singular butor's writing. At last, behind such writing experiences hides a certain ideology of the writer who pretends not o act in his texts, jus t upon the language. .
Schöch, Christof. "L’écriture descriptive dans le roman français de la seconde moitié du dix-huitième siècle." Paris 4, 2008. http://ezproxy.normandie-univ.fr/login?url=http://www.classiques-garnier.com/numerique-bases/garnier?filename=CshMS01.
Повний текст джерелаThe present study’s object is the descriptive writing in the French novel of the second half of the eighteenth century, more precisely between 1760 and 1800. Its aim is to give visibility to an episode of the history of description in the novel which is important although it is rarely studied. The way descriptive writing works is analyzed by taking into consideration three major issues: the very notion of description, the status of description in the novel and the modalities of its integration into the narrative context, as well as the relations which description entertains with painting. The study is based on the analysis of a corpus of thirty-two novels
Koeniguer, Alexandra. "Autour du roman-photo : de la littérature dans la photographie. Les objets de Marie-Françoise Plissart et Benoît Peeters." Phd thesis, Université Jean Monnet - Saint-Etienne, 2013. http://tel.archives-ouvertes.fr/tel-00980585.
Повний текст джерелаHamel, Jean-François. "Revenances de l'histoire : poétiques de la répétition et narrativité moderne." Paris 3, 2002. http://www.theses.fr/2002PA030091.
Повний текст джерелаThe fact that many primitive mythologies were structured by cyclical temporalities is well-known, as is the will of modernity to definitely abandon these old superstitions. Although the XIXth century dreamt of its own progress through the ages, Kierkegaard's Repetition, Marx's The Eighteenth Brumaire of Louis Bonaparte, Nietzsche's The Gay Science and Thus Spoke Zarathustra, and Freud's Beyond the Pleasure Principle, these influential works developed philosophies concerned with repetition, reintegrating the eternal recurrence of things where it was banished. Parallel to this resurgence of repetition in philosophy, which also guides the work of Walter Benjamin and Gilles Deleuze, modern literature has experimented with narrative pragmatics based on repetition. The most representative of its numerous expressions are perhaps Louis-Auguste Blanqui's L'éternité par les astres, Pierre Klossowski's Le Baphomet, Hubert Aquin's Prochain épisode and Claude Simon's Les géorgiques. Questioning modern historical thought, these paradoxical temporal configurations reveal the profound mutation, initiated with the Enlightenment, in the traditional experience of time, and the concurrent transformation of the modalities of narrativity. In societies where the space of experience is dissociated from the horizon of expectation, how can one narrate the flux of time without minimizing the consciousness of the present as a space for action and initiative ? Modern poetics of repetition, concerned with the melancholy that penetrates the modern experience of time, begin emerging through mourning into a search for what Baudelaire calls a "memory of the present". Nevertheless, the issues raised by these poetics of repetition not only concern literary history, but shed new light on the theoretical consequences of the aporetics between time and narrative for the modern representation of historical time
Landry, Jean-Michel. "Les ingénieurs de l'âme : pouvoir et subjectivation sous Staline." Thesis, Université Laval, 2008. http://www.theses.ulaval.ca/2008/25060/25060.pdf.
Повний текст джерелаSecher, Fang-hwey. "Temps et mémoire dans l’oeuvre de CHU T’ien-hsin, une quête de la subjectivité insulaire dans le roman taïwanais après 1987." Thesis, Lyon 3, 2012. http://www.theses.fr/2012LYO30065/document.
Повний текст джерелаThe dissertation focuses on the relation between time and memory in Taiwanese literature in the aftermath of the lifting of the martial law in 1987. It further examines how literature reconfigures its epoch into a specific space-time. The concern for memory and history is deeply rooted in the novel, a chameleon-like genre with few codes which has made a big impact in Taiwan in the first decade after 1987. The work of female novelist Chu T'ien-hsin, in which memory is the central theme, is representative of the creative expansion of the novel in Taiwan after 1987. Taking on an analysis of her novels, the dissertation interrogates on the one hand what the desire, or even the obsession, to relate the past points to, and on the other hand, how in turn, this literature reinvents its own memory. In an attempt to enlighten questions related to memory and identity which haunt a society in mutation, the dissertation is articulated around the many aspects of memory, time and their related forms. Through this articulation, the analysis presents the forms of politicisation, as well as the forms of depoliticisation and a-politicisation, which have emerged on the contemporary scene of literature in Taiwan. The analysis further presents how these forms are mostly associated with the torments and mutations of history. With the aim of accommodating the analysis of the social conditions of literary production with the study of the elementary forms of writing, the research is based on a double approach associating linguistic and cultural translation. It is then possible to consider within this framework a strategy of the border which allows to swing over between two different cultures, offering to shed a light of Taiwanese literature within the French intellectual context
Allen, Jeremy Peter. "La narration casse-tête: construction de récits complexes au cinéma et au théâtre au moyen de multiples variantes d'une même réalité." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28038.
Повний текст джерелаSidaoui, Sihem. "Figures du sujet dans la narration des années 1990-2000 : une approche socio-poétique de la narration discordante." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2010. http://tel.archives-ouvertes.fr/tel-00875682.
Повний текст джерелаAzzouz, Esma Lamia. "Mémoire, voix resurgies, étude de la narration dans des textes représentatifs de la littérature féminine algérienne (1970-1997)." Nice, 1998. http://www.theses.fr/1998NICE2013.
Повний текст джерелаThis study analyzes the function of narrative in algerian women's writting published between 1970 and 1997. The internment of women is not a literary theme, but the ferment of all women's voices. Any algerian's woman's voice giving expression to this sequestered existence, will of necessity be a revolutionary and violent voice, seeking to provoke social norms. Nadia Ghalem and Nina Bouraoui represent a writing at the edge of madness, where spatial confinement and temporel stagnation push the text to seek refuge in psychoanalytic narration. The writer Hawa Djabali also uses hallucinations as means of transforming a real abhorrence; but what is of interest with this particular author is that she chooses to use a masculine first person narrator, who suffers a schizophrenic crisis. This transsexual vantage point is compared with that of the male algerian writer Rachid Boudjedra, who employs a feminine first person narration, to explore an algerian woman's nights of insomnia. For Assia Djebar, unwinding the thread of women's stories, will be the priviliged means of receving those voices witch have been the sole transmitters of the history and memories of women, in the absence of a written language
Alsheibani, Jamal. "Réécrire l'histoire au féminin : les enjeux idéologiques et poétiques de la narration dans Loin de Médine." Cergy-Pontoise, 2009. http://biblioweb.u-cergy.fr/theses/09CERG0412.pdf.
Повний текст джерелаOur work consists in studying Loin de Médine, a historical novel by Assia Djebar, in its relationship with History. The author is based on, and at the same time criticizes the works of Ibn Saad, Ibn Hicham and Tabari and, by selecting excerpts and resorting to fiction, aims at demonstrating that their vision of facts can be questioned. It is thus opposed to History made by men and for men. Shaking certitudes is a first step towards expressing her own version, which does not rest on the opposition between right and wrong, but between fiction and plausibility. Consequently the events related in the novel become significant in the organization of the text. History is recreated and gains meaning. The author, who situates her novel in the early period of Islam, re-reads and re-writes this period by replacing women at the heart of her story. Turning History into fiction enables her to show the women who have been close to the Prophet as heroines who paved the way for Muslim women today. Loin de Médine is thus rooted into the current events of the 80's and 90's, and also appears both as a warning to Algerians and an answer to the rise of radical Islam. In her writings AD takes a stand, since she does not shrink from dealing with topical subjects such as wearing the veil, male supremacy or women's speech
Lamiot, Christophe. "Le temps dans la nouvelle de Frank O’connor." Paris 10, 1988. http://www.theses.fr/1988PA100088.
Повний текст джерелаFrank O’Connor’s short story illustrates Paul Ricoeur's assertion according to which "the thought processes at work in any narrative configuration shape themselves into the refiguration of a temporal experience". Such a refiguration is traceable on a grammatical level (verbal, syntactical and stylistic). Frank O’Connor’s use of Greek and Celtic mythologies confirms it. The development of a "same" story through all its different successive versions suggests that frank O’Connor’s own experience of time is being presented. The characters voice the author's concerns. When they become aware of their loneliness (they have fallen outside of "time's pocket"), they dream of a time outside time, which increases their self-knowledge. Finally, even spatial notations can be subsumed to the refiguration by which time becomes the true --though abstract-- hero of the short story
Takeuchi, Junko. "Marguerite Duras : l'écriture des relations mère-fille/." Paris 8, 1993. http://www.theses.fr/1993PA080799.
Повний текст джерелаIn the works of marguerite duras, the mother-daughter relationship indicates not only one of her central themes but il also determines the meaning of writing itself. Il order to make the act of writing possible, the daughter has to deprive herself of the mother. To achieve the separation, there in no other way but the act of writing. The difficulty involved in the process makes her work more than a simple description of the mother-daugter relationship. The act of writing transforms and recreatres this relationship. The act of writing transforms and substitute to each other. This reciprocal reference also affects the rapport between the writing and the mothe-daugter relationship. The writing and this relationship give birth to each other and transform each other, of which process problematizes the dichotomous framework created between the copy and the originel, the fusion and the separation, or the one and the other
Maurel-Indart, Hélène. "Plagiat et originalité dans le récit français du XXè siècle." Paris 13, 1996. http://www.theses.fr/1996PA131025.
Повний текст джерелаStudying plagiarism allows a better definition of the process of literary creation, since on the one hand, it puts into question the concepts of originality, author and authenticity, and on the other hand, it leads to a questioning of the role of imitation and influence. In order to understand the range and the nature of this literary undertaking, it is first necessary to examine the behaviour of writers in front of plagiarism from antiquity to the present day when new techniques in book publishing accentuate this phenomenon. Moreover, authors have expressed diverse judgements on the subject of plagiarism ranging from condemnation to praise. Some have even gone so far as to use plagiarism as a literary theme in writings which depict victims of plagiarism and plagiarists. Literary discourse on plagiarism inevitably overlaps with legal discourse on unauthorized publication. The law defines in its own terms the notion of literary property, the evolution of which marks the different stages of the constitution of copyright. More recently, two legal suits for unauthorized publication -the deforges-mitchell and the vautrin-griolet cases-resulted in judgements giving rise to a methodology of comparative analysis. The final aim consists in working out a typology of the different forms of borrowing which are authorized or not. Starting from a classification of legal inspiration, it is up to the literary analysis to complete and to refine distinctive criteria as well as the definitions of the borrowing. Once resituated in a context of intertextuality and of the diverse structures of belonging of the writer, the study of plagiarism reveals a certain conception of originality, oscillating between break and continuity in literary tradition
Giro, Alessandra. "Les personnages migrants dans le roman italien du XXIe siècle : narration homodiégétique et métafiction." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30074/document.
Повний текст джерелаSince homodiegetic narration and metafiction are often used when there are migrant narrators in Italian contemporary novels, my PhD project focuses on migrant narrators characters in the Italian novels published between 2001 and 2014 and proposes a comparative study of technics, symboles and historical connections connected to metafiction. The aim is to compare the various narrative metafictional technics and their themes in order to find common ways in which these novels use stylistic elements and develop themes connected to metafiction to confirm a coherent use of metafiction in these novels
Tremblay, Ariane. "Narration du sensible et représentation du littéraire dans Le vieux chagrin, La tournée d'automne et Les yeux bleus de Mistassini, romans de Jacques Poulin." Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/28947/28947.pdf.
Повний текст джерелаSusani, Jean-Paul. "La question du double dans la psychanalyse et dans les contes : « Ombres et lumières du double »." Thesis, Sorbonne Paris Cité, 2017. http://scbd-sto.uni-paris13.fr/secure/ederasme_th_2017_susani.pdf.
Повний текст джерелаAn unusual movement of a retlective reciprocity, impels the relationships between The Double and the fields of thought and narration. Even before the development of philosophy and psychoanalysis, ,mages of the Twins and the Double appeared in the major constituent symbols of cultural organization, and were already clearly conveyed in tales. The Double is both at the heart 9f, as well as, the border of thought. It is also at work in our relationships to mirrors, gazes, in the search for our own faces. For some, The Double joins psychological modalities expressed by the languages of being, and the diversity of these figurations are seen in both classic and modern tales, in multiple and prolific ways. These literary theories and their 1 typologies, should therefore be examined in relation to the traditional meanings of the Double, in orde to fully ml-'Jerstari.d the journey and find the axes that bring coherence to a diffracted enseri1ble. Duality, and the faces of the double will also be the object of a typological proposai combining these two aspects to define the trajectories of the double. Starting in a position of recognizing the convergence and the interdependence of thought and narration, and after integrating the diverse contributions of psychoanalytical and literary theories, this thesis will study the creative and curative contributions of the genre to pursue a new psychoanalytical perspective The conclusions of this journey, illustrated through various children clinical studies and their relationship to the Double, imaginary companions and to tales, will allow a more global view of this problem
Navarrete, Carolina. "La construction de la subjectivité dans les chroniques de Pedro Lemebel." Thesis, Lyon 2, 2015. http://www.theses.fr/2015LYO20038/document.
Повний текст джерелаThe objective of this study is to analyze the construction of various subjects in the chronicles of the Chilean writer Pedro Lemebel. The dictatorship of Augusto Pinochet and the implementation of neoliberalism have profoundly transformed Chilean society. The author retrieves these transformations from the subjects who participate in this reality, and who have no real place in the institutional, literary and artistic discourse. We meet cross-dressers, prostitutes, homosexuals, street children, vagabonds, mentally disturbed individuals, and women from the slums. We want to demonstrate how these invisible subjects represent the discursive strategies invoked to highlight the processes of subjection imposed by the economic, political and social system. Furthermore, how do these strategies emphasize corporeality as a means of resistance discourse or even possibly a political force? The research is based on three lines of thought. We discuss the questions of whether the author is the textual space most conducive to explore the individual subjects. We then address the mode of subjection and constitution by subjects (subjectivity) at the fringes of society. These groups have made desire and memory their fundamental principles. Finally, we study the various text strategies related to the concept of “nomadic theory” and “resistant body”. Thus, we analyze the notion of being nomadic as part of one’s identity, bodily metamorphosis, the dominance of the flesh and the transformation of the imaginary order issued from the corporeality. Theoretically, we take as reference the work of Michel Foucault, Gilles Deleuze, Felix Guattari and Rosi Braidotti
Rakocevic, Robert. "Un espace dynamique ? Tensions de la spatialité dans la narration littéraire française, serbe et anglais/anglophone des années 1980 à 2000." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030115.
Повний текст джерелаIn various fields, including literature, much work has been done on the question of space over the last few years and decades. Some refer to a “spatial turn” in humanities and social sciences. However, in spite of a considerable general interest in this topic, the notion of space remains equivocal. The term is commonly used to denote basic facts in geography, urbanism and astronomy, but the concept is also often said to be rather complex. Husserl claimed that space was both a “content” and a “form”, while Einstein believed that its genuine nature was at the same time “obscure” and “undeniably objective”. In this thesis, we take into account the complexity of the space itself and challenge the notion of spatiality in literature. The corpus consists of novels and narratives written by V.S. Naipaul, Martin Amis, Jean Echenoz, François Bon, Radoslav Petković and David Albahari. Spatiality, such as defined here, brings us to examine both content- and form-related issues, including urban and non-urban space, spatial “polarization” (“centers” and “peripheries”, “local” and “global”, “known” and “unknown” places), border, toponymy and topography. The use of some terms specifying spatial location (such as deictics) is also analyzed, as well as the iconographic representations of space referred to in the texts and, finally, different forms of self-reflexive discourse inherent in the writing of space. The analysis reveals that every level of spatiality has an essentially dynamic, non-static quality, as the elements that it is composed of are in constant opposition and interaction
Vadnais, Christiane, and Christiane Vadnais. "Mécanique de la nuit suivi de Narration et imagination environnementale dans"Les larmes de saint Laurent" de Dominique Fortier." Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/37624.
Повний текст джерелаTableau d'honneur de la FÉSP
Ce mémoire de recherche-création se divise en deux parties. La première, Mécanique de la nuit, est un recueil de nouvelles oniriques qui aborde la confrontation entre l’humain et la nature en mettant en scène des catastrophes naturelles, des animaux sauvages, des parasites, etc. Les textes se structurent par des échos entre les personnages et les lieux. Ils sont portés par une voix narrative qui raconte les histoires à la troisième personne et disserte sur la notion de rêve dans une perspective scientifique. La seconde partie s’intitule Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. Elle analyse la place de la narration dans la poétique de cette oeuvre éclatée pour ensuite en étudier la portée d’un point de vue écocritique. De cette façon, elle vise à dégager la contribution potentielle d’une narration atypique au renouvellement de l’imaginaire environnemental contemporain.
Ce mémoire de recherche-création se divise en deux parties. La première, Mécanique de la nuit, est un recueil de nouvelles oniriques qui aborde la confrontation entre l’humain et la nature en mettant en scène des catastrophes naturelles, des animaux sauvages, des parasites, etc. Les textes se structurent par des échos entre les personnages et les lieux. Ils sont portés par une voix narrative qui raconte les histoires à la troisième personne et disserte sur la notion de rêve dans une perspective scientifique. La seconde partie s’intitule Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. Elle analyse la place de la narration dans la poétique de cette oeuvre éclatée pour ensuite en étudier la portée d’un point de vue écocritique. De cette façon, elle vise à dégager la contribution potentielle d’une narration atypique au renouvellement de l’imaginaire environnemental contemporain.
This master thesis in creative writing is divided in two parts. The first one, Mécanique de la nuit, gathers dreamlike short stories about the conflict between human and nature. It stages natural catastrophes, wild animals, parasites, etc. The short stories are structured by echos between characters and places. They are told by an omniscient narrator who also talks about dreams in a scientific perspective. The title of the second part is Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. It talks about the role of narration in the novel poetic, and then analyses its scope with an ecocritic perspective. It aims to determine the potential contribution of an unusual narrative voice to the renewal of contemporary environmental imagination.
This master thesis in creative writing is divided in two parts. The first one, Mécanique de la nuit, gathers dreamlike short stories about the conflict between human and nature. It stages natural catastrophes, wild animals, parasites, etc. The short stories are structured by echos between characters and places. They are told by an omniscient narrator who also talks about dreams in a scientific perspective. The title of the second part is Narration et imagination environnementale dans Les larmes de saint Laurent de Dominique Fortier. It talks about the role of narration in the novel poetic, and then analyses its scope with an ecocritic perspective. It aims to determine the potential contribution of an unusual narrative voice to the renewal of contemporary environmental imagination.
Louÿs, Gilles. "Des romans inachevés : étude historique et structurale." Paris 8, 1998. http://www.theses.fr/1998PA081400.
Повний текст джерелаThis is a historical, descriptive and typological study of unfinished french novels from the middle ages to the twentieth century, through a corpus of examples and an analysis limited to the unfinished or incomplete narratives of stendhal and giono (566 indexed titles in all). Noting the absence of a unambiguous concept of'unfinishdness', various criteria are adressed by which unfinished novels might be identified within the broader class of incomplete narratives, which are particularly numerous in the 17th and 18 centuries, inviting a study of how authors dealt with the problem of arbitrary nature of endings. The study goes on to analyse forms of unfinishedness, and their impact, in the work of stendhal and giono, and concludes in appraising such infinished and incomplete works in the light of the expectations set up by the narrative tradition. Research into different types of incompleteness suggests a distinction between (a) unfinished novels in the primary sense ; (b) fragmentary works ; (c) inconclusive cycles and romances ; (d) closed infinitely-expanding works ; (e) traces of the creative act (sketches, notes, outlines of planned works). Historically, the process leads to normalisation : with the inconclusive novels of the 17th and 18th centuries, and the open-ended narratives of the 20th, the lack of an ending ceases to be an exceptional feature, although their frequency does not challenge the paradigm of the concordant ending as a characteristic of the narrative tradition according to kermode and ricoeur. Morever, a study of the fate of unfinished works (posthumous continuations, reconstructive editions, critical readings offering explanations for the unfinished state of the work) shows that the ideal of completeness and coherence continues to shape contemporary expectations of fiction, even though the teleological conception of narrative in no way exhausts the variety of realisations of the novel as a genre