Дисертації з теми "Nuit – 19e siècle"
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Delattre, Simone. "Les douze heures noires : la nuit à Paris (1815-1870)." Paris 1, 1999. http://www.theses.fr/1999PA010567.
Повний текст джерелаTaking an interest in the nocturnal side of the activity of Paris in the XIXth century leads us to question ourselves about the impact of urban modernity. Are the lights of entertainment and imperial prosperity sufficient to abolish the social shadow which was said to sweep through paris before 1848 ? to what extent does the city of secrets, maze and subterranean passages vanish behind that of dazzling and purified ostentation ? a specific rhythm of life, whose characteristic is a permanent "night life", distinguishes the capital town from the provinces from the early XIXth century. The proliferation of a literary prose on the contrasts - pleasures of life vs disappointments, fashionable life vs dregs of society - of the parisian nights during the first part of the XIXth century, reveals the keener attention paid to the setting and actors of late hours, the shifting of the public life / private life division. At the same time, the generalisation of public gas lighting eases the continuity of urban functions between day and night, as well as their rationalisation. Hierarchically classified social uses of time and city territory are revealed in the elegant or bohemian "off-beat time" of night birds. As the police control over the centre of paris becomes more acute, the expansion of these new wanderings relegate into a suspicious obscurity those of individuals whose identities and resources are undefined and whose late presence in the streets sets them apart as the members of so-called "dangerous classes" of society. In short, the night sequence lets us catch a glimpse of the reordering of the norms concerning time and space which govern life in paris in the last century and of the combined transformation of social imagination and collective disciplines peculiar to big cities
Valance, Hélène. "Au filtre de la nuit : le nocturne dans l'art américain, 1890-1917." Paris 7, 2012. http://www.theses.fr/2012PA070069.
Повний текст джерелаWhile most of the literature about nocturnes has stressed their melancholy qualities, my project is to explain the attraction fin-de-siècle Americans felt for them by looking at their historical context, notably that of the development of electric lighting. Beyond the immediate context of electricity, however, I want to show that night acted as a powerful metaphor in the culture of the time. From the dark continent of imperialism to that of the unconscious, the metaphorical uses of night were pervasive. My dissertation relies on a wide range of examples of nocturne imagery, from popular visual culture to the fine arts, and explores the visual dimension of this metaphor. It examines how night served to address the threatening but also thrilling aspects of the new environment Americans were discovering at the turn of the 20th century
Berkery, Charlotte. "Imaginaire et poésie nocturnes de Paris : la nuit parisienne dans les productions culturelles de la monarchie de juillet." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7085.
Повний текст джерелаThe nineteenth-century Paris night is summed up in a repertoire of « scenes » inscribed in novels, panoramic literature and newspaper images. The nocturnal mindset associated with the period of the July Monarchy in particular is revealed in these canonical texts, as well as little- consulted documents, penned by relatively obscure authors. Engravers and caricaturists, novelists and commentators all served as witnesses of, as well as participants in, the nocturnal capital. This thesis examines the imaginary and the poetics surrounding the nocturnal city, from depictions of the crowds thronging the boulevards to the evocations of the solitary noctambule on a voyage of self- discovery. Also scrutinised are the social types of the chiffonnier, the prostitute and the criminal. The poetics of this urban and nocturnal imaginary is located in between a Romanticism of nocturnal impressionism and fantasmagoria, and conversely a realism that highlights the social structures of the night
Ménétrier, Jean-Alexandre. "La création "Du Songe d'une nuit d'été" à Potsdam le 14 octobre 1843 : contribution à l'histoire du théâtre en Allemagne à l'époque romantique." Paris 4, 1985. http://www.theses.fr/1985PA040063.
Повний текст джерелаCourant, Elsa. "Poésie et cosmologie dans la deuxième moitié du XIXème siècle : nouvelle mythologie de la nuit à l'ère du positivisme." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEE042.
Повний текст джерелаSince Antiquity, there has been a close relationship between poetry and cosmology. We can perceive the coevolution of these two disciplines in a wide range of different poetic forms: mythological tales, versified didactic treatises, or versified cosmological hypotheses on the structure of worldly existence. Nineteenth-century France witnesses particularly intense debates about the nature of both poetry and cosmology, however, and the functions of these two disciplines increasingly merge, especially after Romanticism. The cosmos assumes a new relevance as both the subject of scientific investigation and poetic creation. In this period of history, crucial scientific discoveries change our perception of the skies and give rise to the modern science of cosmology, based on the principles of mathematics and astrophysics. The legitimacy of both poetry and cosmology is tested by positivist discourse, as the definition of scientific methods change and the hierarchy between science and literature is inverted. This study shows the importance of this historical context in the dialogue between poetry and cosmology. Focusing on this crucial historical turning point, this thesis sheds a new light on various major issues that French poets faced in the second half of the twentieth century: the poetic quest for a totalizing form, the difficulties posed by the didactic genre, the value of domains of knowledge and literature, the question of the religious mission of poetry, and the renewal of mythology at the time
Chaumont, Bérangère. ""Noire et blanche" : la fête de nuit dans la littérature romantique (1821-1856)." Thesis, Normandie, 2017. http://www.theses.fr/2017NORMR036.
Повний текст джерелаAs a writing pattern, night feasts haunt French Romanticism since Nodier’s Smarra ou les Démons de la nuit (1821). The motif appears in poetic, dramatic and narrative works, in major as well as in minor productions. This thesis answers the following question : why is the night the place to write feasts in French Romanticism, between 1821 and 1856 ? In this way, this dissertation reopens the analysis of the Romantic night and shows that this theme provides not once but various poetics, some of them announcing modernity. Certainly, night feasts are part of a Romantic “classical” nocturnal imagination, inherited from ancient traditions. But fantastic, dreamlike and lyrical hues are not the only colors of the Romantic nights. In fact, thanks to the invention of night life in the early 19th century, Romantic works reflect restless Parisian nights, during a period which discovers night leisure activities, forecasting the myth of City of Light and the entertainment’s industry blooming during the Second Empire area. The images of the night feast, which circulate between “panoramic literature” and Romantic literature, reveal the century’s burning passion for sight. These nocturnal festivities transform everyday life into a show. Furthermore, fictions are brimming with archetypal characters inhabiting the Parisian festive nights, themselves often suggestive of the Romantic figure of the author, usually depicted as a melancholic loner. Based on contrasts, between light and darkness, life and death, the night feast is also an existential and creative pattern for Romantic authors who are using the night life and their lights as a way to rise up against the dark night
Wanlin, Nicolas. "Du pittoresque au pictural : valeurs et usages des arts dans la poésie française de 1830 à 1872 : Aloysius Bertrand (Gaspard de la Nuit), Théophile Gautier (Poésies complètes), Paul Verlaine (Poèmes saturniens et Fêtes galantes)." Paris 4, 2006. http://www.theses.fr/2006PA040104.
Повний текст джерелаNineteenth-century French poets have used the arts as a major reference in their poetry. This work deals with Aloysius Bertrand’s Gaspard de la Nuit, Théophile Gautier’s poetry, and Paul Verlaine’s Poèmes saturniens and Fêtes galantes. It brings to light which artistic values are handled by the poems and for what purpose. As it is not possible to give account of the historical and social grounding of poetic practices by transsemiotic approaches, our method will be pragmatic, sociological and historical. We will reassess the notion of transposition d’art, and highlight the differences between works of art and poems. Referring to the arts in a poem means drawing the works out of a context into another, twisting and reinterpreting them by force. Works, artists, techniques, genres and trends are referred to by poetry because of the values they are likely to promote. To Bertrand, art reveals the value of humbleness, and he grounds a poetics of popular History on it. Gautier first passes from a poetics of the picturesque to a secular spirituality. To him, art is a means to express the dialectic of desire and frustration, beyond the split of neo-Platonism and materialism. His references to the world of arts imply a social strategy of positioning, while they also reflect an aesthetic creed. Verlaine concludes a course : he takes for granted that poetry defines itself through artistic analogy and thus defines its own originality. Further, he finds in painting the values of superficiality and fake. The plastic paradigm comes to an end and is replaced by other, less systematic, relationships to the arts
Vincent-Munnia, Nathalie. "Les premiers poèmes en prose : généalogie d'un genre dans la première moitié du dix-neuvième siècle français." Lyon 2, 1994. http://www.theses.fr/1994LYO20006.
Повний текст джерелаThe expression "prose poem" does not appear in the nineteenth century : throughout the eighteenth century, it is used to distinguish a prose which can pretend to a poetical status, in the same way as verse (that from then on neither systemat ically nor exclusively determines the existence of poetry). But, during the first decades of the nineteenth century, after the more definitive recognition of this prose poetry, the prose can be elaborated more specifically as a poem (in the modern use of the term, and no longer in the classical and analogical sense of "work in poetic style" or "prose epic"). It creates then a new type of poeticity, abandoning the predefined norms and thus benefiting from non predetermined poetic effects which make any systematic and modelising definition of the genre impossible. This kind of original poetic owes its actualization uniquely to the recognition activity of its reader. The prose poem is consequently dependent on its receipt - problematical at the beginning of the nineteenth century. Furthermore, the authors of these first prose poems (ludovic de cailleux, alphonse rabbe, aloysius bertrand, xavier forneret, maurice de guerin and jules lefevre-deumier) not only make this new poetics instrument the object but also the means of a new order poetical quest. The prose poem thus acquires an exploratory and experimental value. Initiator of new types of poeticity, it also elaborates some processes of poetical reflection (by itself and upon itsel), which will determine the subsequent evolutions of poetry. Open and uncertain, the genre therefore also appears as eminently virtual and paradoxical : its generic identity being built upon its capacity to inaugurate new modes of poeticity and genericity, it is doomed to see this generic specificity dissolve at the very moment that it accedes to an entire recognition
Léon-Sironval, Margaret. "Metamorphose d'un conte aladin francais et anglais (xviiie et xixe siecles). Contribution a l'etude des mille et une nuits." Paris 3, 1998. http://www.theses.fr/1998PA030162.
Повний текст джерелаThe story of aladdin or the wonderful lamp is part of the "thousand and one nights" which were orally transmitted before being transcribed into arabic. A critical review of the alleged arabic sources and a study of the transmission of the story and its metamorphoses, have made it possible to retrace the historical and geographical itinerary of the text and the avatars of its entry in the international folklore the study of the tale focuses on the comparative analysis of the illustrations through 73 french editions and 76 english editions and of the different eighteenth and nineteenth century rewritings, in france and in england. This important volume of collected documents required the creation of both a data bank and an image bank. The large number of images (661) illustrating the story, made it necessary to choose a limited number of illustrated passages. Consequently, this is why the analysis of the relations between text and images, takes into account only the illustrations in the preliminary and final pages of the narration. The fame of the tale raises questions as to the reasons of its lasting impact in the collective memory. One would be inclined to identify aladdin as a social archetype and understand how such an archetype was related through the different illustrations and rewritings of the tale. Indeed, the rewritings of the text for various purposes such as children's books, popular publications, the theatre, the cinema, and the fact that the tale was a source of inspiration for some writers, also raises the question of the relation of aladdin to a myth. The suggested mythical model, that of a man who started from scratch and became immensely rich and powerful, highlights the dimension of magic and wonder in the tale
Rebai, Makki. "Le nocturne dans la poésie de Baudelaire." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20009.
Повний текст джерелаReculin, Sophie. ""Le règne de la nuit désormais va finir". L'invention et la diffusion de l'éclairage public dans le royaume de France (1697-1789)." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30034/document.
Повний текст джерелаThe thesis proposes to understand the beginnings of street lighting before the invention of gas and electricity, as an object of total urban history. It analyses the process of introducing, spreading and appropriating street lighting throughout the Kingdom of France between 1697 - when public lanterns were imposed by the monarchy in the main cities of the Kingdom of France - and the revolutionary period. Although the measure was first contested by the municipalities and some of the inhabitants, from the 1770s onwards it became a mark of urbanity and an instrument of control. Based on the abundant documentation from municipal, departmental and national archives, the thesis studies the transition from "illumination" to "public lighting". The aim is to understand the decision-making process between central, provincial and local authorities, as well as the circulation of knowledge and experience in the field of lighting. The growing interest of urban populations in this new technical object led to its improvement and then to the adoption of the « réverbère » that replaced the candlelight lantern at the beginning of the Revolution. The thesis also analyses the economic, financial and social conditions of lighting development, through the figure of the entrepreneur, the street lighter and the expert. The influence of the Tourtille Sangrain company played a decisive role in the spread of urban lighting during the last third of the 18th century. Finally, it is a question of questioning the reception of innovation by city dwellers and the "cultural revolution" (D. Roche) induced in the city's night-time uses
Glaumaud-Carbonnier, Marion. "Quereller l'azur. Lignes et figures du divorce dans le récit français (1870-1905)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA150.
Повний текст джерелаDivorce as an object of literary study, the proposal may surprise. The distinctiveness of fields and areas of research requires that a choice be made to study the question from a historical, political, legal, social or moral point of view. Literature, however, is never even considered. In 1884, the rehabilitation of divorce in French legislation was the result of an unusual combination of politics and literature. From the editorials and columns of the newspapers, in essays and in books, the narration of matrimonial misfortunes of men and women caught strangled by the law, wrestling against a civil inevitability that constrains their private and conjugal life, clamors for un-marriage. While the ties between literature and the claims for legal disunion are secular, linked in the works of George Sand, the battle of pens fighting against the indissolubility of marriage will significantly change the thinking of engaged literature and encourage a reasoning on the role of the writer, his relation to the law, and to demonstrate the power of literature on morals and the drafting of legislation.As a valuable analytical tool to understand the intellectual, literary and narrative aspects of the beginnings of the Third Republic, the un-marriage topic can be used to study the representation of conjugality in the French narrative of the end of the 19th century. Henceforth legal, divorce in fact transforms the imagination of literature on private morals and inaugurates new narrative situations: the encounter with the former husband, the jealousy of the new husband, the second wedding night, and the sexual past of the woman, all soon become common practice in the literary genre. The promulgation of divorce nevertheless rudely tests French narrative customs: by offering a solution to stories of adultery, divorce breaks a secular narrative model, and obliges literature to rethink its fatalities and its forms
Faba, Zuleta Paulina. "Entre le continent et l'île : dimension de la patrimonialisation de Rapa Nui (île de Pâques), Chili." Paris 1, 2012. http://www.theses.fr/2012PA010527.
Повний текст джерелаOchi, Slah. "Entre fin'amor et romantisme : l'écriture de la passion amoureuse dans la première moitié du XIXe siècle." Thesis, Toulouse 2, 2014. http://www.theses.fr/2014TOU20046/document.
Повний текст джерелаIt is question in this work of studying the subject of love-passion in the first half of the 19th century by being interested in the relation man-woman and these characteristics. This work aims mainly thus at accentuating the various aspects and the various forms which marked the writing of love passion of this period by leaving of a well determined corpus: "Le Rouge et le noir" (Stendhal), "Le Lys dans la vallée" (H. de Balzac), "On ne badine pas avec l’amour" (A. de Musset) and "Les Nuits" (A. de Musset). It is a question of demonstrating besides how the writing of the love passion in the first half of the 19th century countered dependent on the socio-historic context of time (period) but also in the medieval cultural inheritance by frequent return in the Middle Age and the reference to the fin’amor or the courtly love
Vizcarra, Yinsu. "L'économie de la perte : rebut et récupération dans "Les nuits de Paris" de Rétif de La Bretonne et le "Tableau de Paris" de Louis Sébastien Mercier." Paris 3, 2000. http://www.theses.fr/2000PA030009.
Повний текст джерелаAl-Mahyawi, Hussein. "Mise en scène de la déambulation et écriture de la ville dans un corpus d'oeuvres du XVIIIe siècle." Thesis, Tours, 2012. http://www.theses.fr/2012TOUR2005/document.
Повний текст джерелаIn the first half of the eighteenth century, the presence of Paris in the literary works remains underlying or is merely suggested by a single and generally distant glance. This is notably the case in Lesage’s novel The Lame Devil where the wandering in the city remains subordinate to visual priorities (from an overlooking place, the devil shows his learner different aspects of the city). It is with Rousseau that a new problem on ambulation emerges. In his autobiographical writings (Confessions, Reveries of a Solitary Walker), the narrator portrays this ambulation in his very career: walks or promenades inspiring daydreaming, conductive to meditation and recalling memories. With Rétif de la Bretonne (Parisian Nights) and Louis-Sébastien Mercier (Panorama of Paris), Paris seems to be the ideal place for a fertile wandering. The French capital ceases to be in the background and becomes a subject of writing in its own right