Дисертації з теми "Poésie russe – 20e siècle"
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Abas, Françoise. "Le zaum dans la poésie russe du XXème siècle." Paris, INALCO, 1989. http://www.theses.fr/1989INAL0008.
Повний текст джерелаVashkevich, Nadezda. "Le sonnet contemporain en Russie et en France." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030080.
Повний текст джерелаThe present research is dedicated to the contemporary sonnet in Russia and in France. It traces the evolution of the sonnet in both countries and focuses on works of five French and five Russian poets. Louis Aragon, Robert Desnos, Yves Bonnefoy, Jacques Roubaud, Laurent Fourcaut are juxtaposed to Yuri Veynert and Yakov Kharon, Joseph Brodsky, Victor Sosnora, Alexei Tsvetkov, Timur Kibirov. The period under study goes from 1940s to now. The thesis deals with structural components of the sonnet as a poetic form and a genre in order to reveal the possible levels of reading and to establish relationship between the contemporary works and the sonnet tradition. The study highlights four major themes that are love, politics, death and game
Varsimashvili-Raphael, Maïa. "« Les fleurs de Baudelaire dans le jardin de Bessiki » : le symbolisme géorgien dans ses rapports avec la France et la Russie." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100029.
Повний текст джерелаAt the beginning of the twentieth century, symbolism became international in its scope and translated the twin trends of the modern world: a ‘universalisation’ and, at the same time, an accentuation of national differences. Its numerous sources of inspiration included national traditions as well as avant-garde movements. The artistic work became marked by correspondences, synthesis, the intersection of different sensibilities. In Georgia, just as much as in Russia or France, symbolism translated a ‘climate’: an intellectual and artistic milieu, a system of social and cultural values. Georgian symbolism was not only a laboratory of artistic research; it also brought to bear its vision of the modern world and took part in the structuring of the national consciousness. The Georgian poet announced his participation in the epic story of liberty on an individual, national or universal plane. Symbolism proved itself to be an instrument both of the destruction of established values and of the creation of new values. These values are part of the systems of representation that change from one country to another. Observation of the transmission of the ‘symbolist message’ in different contexts demonstrates that there is not one single model of symbolism; instead, we must speak of ‘symbolisms’
Popova, Yulia. "Du dis-corps de la langue vers une origine à-rimer : étude psychanalytique de la recherche d’une solution chez le poète Vélimir Khlebnikov : de la versification au chiffrage du monde." Paris 7, 2014. http://www.theses.fr/2014PA070137.
Повний текст джерелаVélimir Khlebnikov (1885 - 1922) – a Russian poet, one of the key figures of Russian futurism. This dissertation follows the traces of Khlebnikov’s work through his different modes of writing, looking first at his poetic practice, then his creation and theorisation of a unique language, one that he hoped would be able to exhaust the Real in its totality, and finally his numerical research, in order to identify both the specificity of his attempts to deal with the jouissance proper to each of these processes and the unary logic characteristic of his remarkable body of work, a logic which attests to a vital need. The radical nature of Khlebnikov’s experiment also leads us to question, in light of this approach and its inventiveness, the subject’s relation to the signifier. Finally, his work gives us the opportunity to think about a singular modality of linking and unlinking a work, a name and a body, opening up a field of reflection concerning structural shifts
Paigneau, David. "La pythie face à l'Histoire : Mémoire, mythes et spiritualité dans l'œuvre d'Eeva-Liisa et d'Anna Akhmatova." Caen, 2013. http://www.theses.fr/2013CAEN1719.
Повний текст джерелаEeva-Liisa Manner (1921-1995) and Anna Akhmatova (1899-1966) have the common point to see their poetry like a transmission : transmission of the poet’s intimate memory, but also the collective memory, through the historical and cultural references that can be found in their poems, and finally, the transmission of a deep spiritual feeling and of the moral values that it implies. Through comparative analysis of the two poets’ works, and an observation of their respective biographies, this thesis proposes to draw a parallel between two major authors of the 20th century, by analyzing their ways to combine the intimate identity quest, the commitment into the contemporary world, and the development of their spirituality
Ternovsky, Eugène. "Essai sur l'histoire du poème russe de la fin du XIXe et du début du XXe siècle." Lille 3, 1985. http://www.theses.fr/1985LIL30012.
Повний текст джерелаClavier, Christine. "Rôle psychologique et social des poésies turque, kurde, et persane du XXe siècle." Paris 3, 2001. http://www.theses.fr/2001PA030155.
Повний текст джерелаTurkish, Kurdish and Persian poetry of the XXth century has a psychological and social role that is more than a literary exercise. Commonly used by mothers and families while tending to the child, it is handed like a transitional object and reused later by poets during their life as a psychological way of defense in difficult situtions. It helps them to escape psychic chaos and threatening madness in cases of great violence (prison, tortures, oppressions). Poetic writing, by its symbolizing work, enables a psychic reorganisation of various traumas previously lived during chilhood, and a progressive labouring of intimate revolt, to advance toward self-freeing of social constraints. .
Sayar, Homa. "La poésie d'avant-garde dans la littérature persane." Paris, INALCO, 1999. http://www.theses.fr/1999INAL0026.
Повний текст джерелаDaniel, Marion. "La poésie critique : écrits de poètes sur les peintres et les sculpteurs (1945-1990)." Paris 4, 2008. http://www.theses.fr/2008PA040212.
Повний текст джерелаBetween 1945 and 1990, the writings of poets on art as well as illustrated books increase, inaugurating a form of unprecedented affinity between poets and artists. In the 1950s, lyrical abstraction dominated, as well as the last equally influential elements of Surrealism. These constitute the principal currents of painting on which poets write commentaries. Through the two-fold questioning of reality and of man's place in it which they posit, these two categories of painting diverge greatly in their discourse. Starting with the works of René Char, Francis Ponge, Jean Tardieu, Henri Michaux, Michel Leiris, grouped around the criticism of the galerie Maeght and the Cahiers d’art (Notebooks of art), but also of Louis Aragon, Jean Genet, Samuel Beckett, as well as Yves Bonnefoy, André du Bouchet, Philippe Jaccottet, and Jacques Dupin, who write principally in the magazine L'Éphémère, an aesthetics of critical poetry becomes more and more defined. In face of criticism inspired by Baudelaire, founded on the principle of correspondances, according to which a poem is susceptible to produce the equivalent of a painting, critical poetry inspired by Mallarmé and his aesthetics of suggestion tries to aim at the creation of a new literary space. If the task of poetry is to respond to a "desire of images", to write about painting is to succeed in describing sensations and visions produced by works of art. These two elements are what constitute the major interest in these critical texts of poets
Mesnaoui, Nafiss. "L' évolution de la poésie libanaise après 1982." Limoges, 2012. http://www.theses.fr/2012LIMO2010.
Повний текст джерелаPoetry did not cease evolving as a decisive type in strong Lebanon by its culture. The turn of year 1982 explains by its new themes, which suddenly appeared and that become practically clean in the Lebanese poetry differentiating it of other poetrys of the Arab world as well as of the French-speaking world, such the city, banishment, light, breath, the East and Occident, Other one, nihilism, body, thought and policy. Lebanese poem becomes a different, distinguished and peculiar, particular poem. It is hired and explorer. The common interest of the poets is the resurgence of poem across an uninterrupted question setting on the modernity. To seek new possible forms of writing, to show the unknown of things work everything on the decorating of sense and sentence. Their form of expression becomes almost for them all the poem in prose which establishes itself as sovereign appalls in poetic domain
Blinova, Olga. "Le mythe de l'androgyne dans l'oeuvre poétique de Zinaida Gippius." Thesis, Strasbourg, 2012. http://www.theses.fr/2012STRAC016.
Повний текст джерелаBy systematically analysing the poetry of Zinaida Gippius, this thesis attempts to show that the myth of the androgyne underlies the poet’s work, letting it be read as the initial stage of implementation of a utopian scheme of transfigured humanity. The thesis proceeds from the points of convergence of the themes characteristic of utopian thinking (person, love and society) and the principal discursive situations found inlyric poetry. It is ordered in three parts, progressing from the androgynous as a constitutive principle of the ideal human being (examined through the lyric subject I) to the conception of androgynous love (establishing the relationship between the lyric I and the YOU addressed), and finally to the collective dimension of theandrogynous (where the WE is the reflection of an androgynous humanity-divine).Considering the use Gippius makes of antithesis, this study attempts to grasp the symbolist poet’s creative process, which appears to spring from an almost obsessive search for opposites, and to lead to universal synthesis, as translated through the semantic field of union and fusion, through the strategic positioning at theend of the text of the words and sequences that express this semantic field, and especially through the use ofthe oxymoron and the paradox, both being part of the coincidentia oppositorum of which the myth of the androgyne is one manifestation.The writing of Gippius can be likened to a veritable demiurgic act via which, thanks to the fluidity of the genders and the incarnations of the two fundamental principles – the masculine and feminine – the androgynous becomes the founding principle of the whole poetic universe
Yelengeyeva, Irina. "L’adaptation théâtrale de l'oeuvre de Dostoïevski : (Jacques Copeau, Carles Dullin, Albert Camus, Dominique Arban, Marcel Bluwal)." Limoges, 2014. https://aurore.unilim.fr/theses/nxfile/default/a66d4865-6511-41dc-8486-c0dd0e852d12/blobholder:0/2014LIMO2003.pdf.
Повний текст джерелаThe first stage of the dissertation work is devoted to the scenic and film image (seen by a spectator on the stage and on the screen). It reveals six material details: staircase, bundle of money, watch, candle, letter, icon. Their iconic and axiological meanings in Dostoyevsky’s novel are transformed on the screen and on the stage into a scenery helping an actor to render his role. The analysis of the same scene made by adaptators belonging to different movie movement reveals identical images. It appears that everything is repeated in these adaptations. The findings of analysis lead to a second party which focuses on characteristics of the Dostoevsky’s style writing such as: destruction of the direction of causality; parallel venues - places of events of equal importance; the repetition of words and gestures - the society’s presence in the novel. On the other hand, imperceptible actions and physical movements such as : race, walking, light and shadow, that are imperceptible while reading find their significance on the screen. This same gap that brings out the personality of the adaptor builds the third party, which, omitting the betrayal of the translator, focuses on the meeting between the reader and his vision, individually stereotyped by his occupation, his beliefs, his profession. Such an approach makes us believe that the adaptor seeks in novelist’s work a ready-made image to juxtapose it with his own, long matured one. Or he is looking for an idea to embody it in the same way by an image that he has already been prepared long ago
Loubradou, Véronique. "L'écriture de la modernité dans la poésie française post-apollinarienne." Paris 4, 1991. http://www.theses.fr/1991PA040216.
Повний текст джерелаWith a body of literature consisting of twenty-nine works by fourteen poets, the most striking facts of language have been identified following analyzing of free verses. From this, the four parts of this thesis have been developed: a study of the titles, the organization of the phrase, discursive characteristics, lexical and semantic considerations. Within each of these categories, using specified approaches, the identified facts of language have been analyzed ; thus, syntaxical analysis of poetry relies on phrasal location, which itself takes into account the text's typographical arrangement ; analysis of discourse is performed using seven types of enunciative sequence etc. Throughout this study, the separation of the different plans of signification, a result of the necessity of the classification scheme, is corrected by concentering on the reunifying aspect of the interpretative process, even in those works with which it is difficult to get to grips. This process of interpretation takes shape from the complex set of significant elements of the text which act interactively. Each linguistic characteric only takes a meaning by interpretation in the particular context of the poem. This is demonstrated by systematically focusing each analysis of a fact
Tuffreau, Clément. "Prose de parole : Enregistrement , écriture et amplification de la poésie orale occidentale de 1876 à 2006, de Guillaume Apollinaire à Alan Moore." Nantes, 2006. http://www.theses.fr/2006NANT3018.
Повний текст джерелаRecorded Oral Poetry is a study of the recording and amplification of oral poetry, born with the invention of the Phonograph by Thomas Edison in 1876. Recorded Oral Poetry stands for two things : on one hand, proving that oral poetry as recorded and amplified is a text, that the record is the book of oral poetry and that the spoken word is bound to the word by definition. On the other hand, proving that oral poetry takes often place beyond the world of literature itself, in the art of performance, in the voice over of certain movies, in pop music or in experimental theater. Recorded Oral Poetry is not a history of amplified and recorded oral poetry : it is a study of its movements and manifests, of its tendancies and revolutions, of its origin (the phonograh), its theories (manifests and texts), the medium in its technical constitution and the space inside which oral poetry constructs itself (its acoustic, its psychogeography)
Ben, Ataya Abderrazzak. "La poésie du trône au Maroc, 1934-1961." Aix-Marseille 1, 1991. http://www.theses.fr/1989AIX10070.
Повний текст джерелаLachaud, Christine. "Contribution à l'étude de trois marqueurs d'inférence en russe contemporain." Paris 7, 2002. http://www.theses.fr/2002PA070033.
Повний текст джерелаChe, Lin. "La rhétorique de la poésie symboliste française et ses rencontres avec la poésie chinoise." Paris 3, 2006. http://www.theses.fr/2006PA030042.
Повний текст джерелаThis dissertation offers a comparative study about the poetics of the French Symbolism and the Chinese poetry. The audacity and rebelliousness of a group of French poets in the second half of the 19th century revolutionized the poetic world with the creation of a new poetic language. This new poetic language was characterized by the symbolic suggestion and evocation, by a closer communication between the material and the spiritual, between the visible and the invisible. The French Symbolism started influencing China from 1915 and contributed to the development of modern Chinese poetry. In the meantime, it is interesting to discover some analogies between the Chinese poetical tradition and the French symbolist rhetoric, between the traditional form of symbolism and the modern form of symbolism. This comparative study focuses upon the encounter of French symbolist poetry and Chinese poetry, which developed independently until the early 20th century
Mikaelian, Irina. "La Possession en russe moderne : éléments pour la construction d'une catégorie sémantico-syntaxique." Aix-Marseille 1, 2002. http://www.theses.fr/2002AIX10035.
Повний текст джерелаCariani, Gianni. "Une france russophile ? : découverte, réception, impact : la diffusion de la culture russe en france de 1881 a 1914." Université Marc Bloch (Strasbourg) (1971-2008), 1998. http://www.theses.fr/1998STR20025.
Повний текст джерелаFrom 1881 to 1914, a considerable russophile trend emerged and made his mark in france. This russophilia combined a dual dimension, both political and cultural. The spreading of the russian culture fit into this dynamic and was met with a favourable and overall lasting reception during the identity crisis which characterised the french society of the 1880s-1890s. There is no doubt that the use of the russian culture has been political. The formation of a russian cultural pole in france - in preparation of french public opinion for the franco-russian alliance -, contributed to the overstepping of the fragmentary and deficient picture of the russian empire which had dominated almost all the 19th century. The integration of the russian culture into the french cultural sphere is considerably indebted to the european diplomatic context. The russomania raging and overcoming france from 1886 to 1897 clearly shows that beyond the discovery of the great novelists, the stake was standing at the junction of political and cultural fields. The period 1898-1914 indicates that this ambiguous situation had been overcome. The political use of the russian culture disappeared to give way to a perception in which the work of art is grasped for itself, beyond the diplomatic context. The time of discovery - from 1881 to 1897 - was replaced by the time of acknowledgement - from 1898 to 1914. The interpretation of the russian culture in the last years was no more biased nor subjugated, but shows a diversity of judgements, a plurality of discursive reasoning. The time of acknowledgement was marked by global accessibility to the russian cultural sphere, viewed beyond a militant and proselyte use; renewing, moreover, the vision of the world which had been predominant until then, as attested by the evolution of the quarrel on nationalism and cosmopolitanism
Filler, André. "Anatomie d'un mythe national : la notion de la sobornost' dans la pensée russe (1850-1950)." Paris, EHESS, 2004. http://www.theses.fr/2004EHES0089.
Повний текст джерелаThe thesis examines the history of the construction of a national russian myth. Sobornost' remains a key-notion of the russian thought. Since it's invention by the Slavophile movement it has occupied an important position in forming russian national identity. The term first appeared in the theological discourse and was gradually incorporated in the philosophical and social field. This study follows two directions : elaboration of a historical genealogy of the conept and demonstration of the mythological principles determining it's usage by the main figures of russian history of ideas (Khomiakov, S. Troubetskoï, Berdiaev, Boulgakov, Frank)
Vivès, Daniel. "Poésie et antipoésie conversationnelles en Amérique hispanique au XXe siècle." Paris 3, 1998. http://www.theses.fr/1998PA030106.
Повний текст джерелаThis work about the hispano-americans conversationals poetry and antipoetry in the 20th century opens with an introduction to discuss notions within a not specifically hispano-american context, at the same time poetic and aesthetic, synchronic and diachronic, theoretical and historical: norm, stylistic deviation, conversation, common speech, autonomy, heteronomy. The idea of antipoetry, the reservations aroused, are debated - impact, validity, historicity. The part 2 examines the discourse of the hispano-american criticism about the issues of antipoetry and conversational, "exteriorist". . . , poetry. The following sections are made up of studies about the nicaraguans poets Ruben Dario and Ernesto Cardenal and the chilean antipoet Nicanor Parra. The first study is an attempt to object to the parnassian reception of Dario's work, petrified in the modernist chiselling of the aesthetic form. The essay emphasizes the many-sided voices of a writing that prefigures, from the Juvenilia, the end of reserved languages, the recovery of social realm and everyday conversation. The study stresses the specific dario's orality, the dialectic between metrics and movement of speech through the writing. The part about the exteriorist cardenal's work underlines his contextuals, intertextuals and "ideographicals" dimensions. The chapters regarding El estrecho dudoso et Homenaje a los indios americanos analyze a traduction-interpretation, an anachronic-updated reading, an empathic-detached transcription of the primitives representations and the historical destiny of indigenous peoples of the american continent. Canto cosmico - cosmic-scientific epic - is also regarded from this standpoint. The part 5 focus attention on the debated parra's antipoetry, on the critical representation of the poetic subject - traditional, avant- garde,. . . - and, by and large, on the anthropological venture with a language that joins a declarative immediacy and an unceasing reversibility
Allioux, Yves Marie. "La poésie française au Japon : 1920-1940." Paris 7, 2002. http://www.theses.fr/2002PA070056.
Повний текст джерелаThis essay is an analysis of the successful reception of French poetry from widely-defined symbolism to varied "avant-garde" movements like Dadaism and Surrealism in Japan between the two world wars. To prove that this success was not simply a superficial imitation of the West dominated by a feeling of cultural inferiority or by snobbishness, it has been felt necessary to place the various poetic preoccupations of early 20th century Japan in the perspective of Japanese poetic tradition. So the first three chapters describe the situation met by French poetry in Japan (the "Ertwartungshorizont" of Hans Robert JAUSS), and include an attempt to make a synthesis of Japanese poetry at the beginning of the modern era while accentuating a few important characteristics: the presence of modern subjectivity and the search for an invisible metaphysics. Chapter IV retraces the political and ideological changes in Japan which explains how in the early decades of the 20th century the Japanese creators moved from an interest in English romanticism towards French symbolism. Chapter V deals with the authors or with the French poetical movements which where influential in Japan between 1920 and 1940 before the rise of militarism closed Japan to foreign influence. From then on more then the "New spirit", it was the "Nouvelle Revue Française" which was found attractive through its double ethic of political neutrality and high artistic quality. However a new universalism and a sort of poetic unanimism was becoming apparent in the work of a poet specialised in French and the translator of Rimbaud, called NAKAHARA Chuya (1907-1937) who was managing a "fusion of horizons" which guaranteed him the large audience which he has continued to enjoy in Japan since the end of the war
Leforestier, Claire. "Poétique de l'amour dans la poésie du vingtième siècle." Paris 3, 1997. http://www.theses.fr/1997PA030144.
Повний текст джерелаCovering the field of xxth century french poetry, we investigate, mainly in a descriptive frame, the occurences and modalities of the expression of the sentiment of love (referred as poetics of love). Amongst the large number of texts that can intuitively be assigned as "poems of love", and in order to precise and characterize this intuition, we search for characteristics of a "poetic expression of love", emerging as recursive processes and forms. On account of the extend, variety and heterogeneity of the field, only a few key issues are addressed here. Rather than on the expression of the lover's feelings and emotions or lovelorns, we stress on the love ties and the celebration of the loved one. In a first part, we consider the distribution and disposition of the occurences of the name of the loved one. We analyze the related images, the possessive appellations and the anatomic blasons. The second part is devoted to communication and dynamical aspects, considering the address. We follow the occurrences of i and you, and consider their proximity, relative spheres of influence, meetings. . . We identify and propose an interpretation of the forms, figures and configurations of the relational utterance
Grigorian, Lilith. "La postérité de Baudelaire dans la poésie symboliste russe ou le mal de l'idéal." Paris 4, 2005. http://www.theses.fr/2005PA040082.
Повний текст джерелаThe present thesis is concerned with the discovery of the poetry of Charles Baudelaire (1821 – 1867) by the Russian poets around the 20-th century. Who are the followers of Baudleaire in the Russian symbolist movement, and what transformations have they brought about? Baudlaire's works are compared, to various extents, to the readings of three poets. The thesis consists four parts. The first one touches on with the aesthetic criteria according to Baudelaire and their comparison with those of V. Soloviov (1853 – 1900), philosopher and poet, who has also given a new sense to the poetic art. P. Yakoubovich (1861-1911), an ardent translator of Baudelaire, though opposed to symbolism, is presented with all his contradictions. The second part is devoted to the quest of the time of the Russian symbolists through the personality of V. Brioussov (1873-1924), founder of that movement in Russia. Our comparison sets up a constant development between his translations and his own creations. The third part considers the baudlairean space through the criticism, the translations and the poetry of I. Annenski (1855-1909). The analysis of the poems and their translations, included in the present work, show the difficulties of the accurate transposition of one language to another; nevertheless, the intentional distortions practised by the poets, lead on to new creations substituting for the original. In last part, the study reveals the immense contribution of Baudelaire to the Russian poetry. However, in spite of the external influence, the modern Russian poetry, lack of ideal, is built up through the symbolist movement, preserving at the same time its authenticity
Badau, Daniela. "Poésie visuelle et écriture picturale : littérature, peinture et mode dans la deuxième moitié du XXe siècle." Perpignan, 2014. http://www.theses.fr/2014PERP1218.
Повний текст джерелаContemporary creations that combine text and image are nowadays part of daily life. Present as much as in the artistic creation, as in the street, on the consuming products or on the clothes, these manifestations have brought up the question of the contemporary understanding of writing. At the time of its invention, the writing revealed features as graphics qualities (figurative or abstract) and a strong magical dimension that has been lost by the alphabetic writings. Taking in consideration that writing is conceived as an activity that requires time, the author Lessing established the distinction between the time art and the space art, assigning the writing to poetry and the image to painting. However, contemporary creation, both literary and plastic, rise questions concerning this delimitation. The analysis mirroring the visual poetry and the visual art shows that the delimitation of Lessing becomes obsolete. This is verifiable as well in the « minor arts», such as the mode, were the text and images becomes part of the clothes design. The contemporary creation appeals to the characteristics of the original writing, giving birth to a series of occurrences were the text and the image work together. This mutation appears to be the symptom of a change in the understanding and the use of the writing
Vafaï, Tarane. "Influence de la poésie du XIXe siècle français sur la poésie de Nimâ Youshij." Paris, INALCO, 2003. http://www.theses.fr/2003INAL0015.
Повний текст джерелаBeside attempts by the Iranian Imperial Court in promoting the French language in Iran, other factors helped in the spreading of French language and culture in Iran. Theses factors, including publication of French or bilingual magazines and newspapers, French works, particularly translation of literary works, establishment of European style French schools both by Iranian and French nationals, all helped in familiarizing Iranians with French language, literature and culture. Neema Yushij graduated from one of these high schools (Saint Louis), where he developed interest in French language. In fact, this was where Neema started to be influenced by French poets. Neema endeavoured to let go of the classic form of Persian poetry through intellectual innovation, and composed his poems in a free form and fresh context. He later succeeded to change context and form at the same time in one poem. It must be said that Neema was influenced by many poets, but we shall concentrate on the influence of 19th century French poets on his work. It is worth mentioning that, despite this influence, Neema preserved the independence, autonomy and his vision of the world, and conferred an idiolectal system upon his poems. Hence, this influence could be demonstrated through analysis and comparison of Neema's texts with those of French poets. If the discussion is based upon keeping Neema the person distant from Neema the enunciator, that is Neema the man and Neema the poet, it enables us to make an intertextual comparison between the two different systems of semiolinguistics through a semiotic approach, in order to investigate the operation of enunciation and process textual of the issue of how their texts come into mutual contact
Chvedova, Lioudmila. "Métaphores de la cathédrale médiévale dans les littératures russe et française des XIXe et XXe siècles." Paris 4, 2006. http://www.theses.fr/2006PA040118.
Повний текст джерелаThis comparative research project is devoted to the study of the system of metaphors for the Medieval cathedral in French and Russian literatures of the XIXth and XXth centuries. The classical metaphors of cathedral as book, cathedral as living being and cathedral as vegetable organism are at the core of the present work. The actual and physical cathedral progressively dematerializes and turns into a mysterious cathedral engulfed in water or into a precarious cathedral of mist. Rehabilitated and valorized by the Romantics, the Medieval building itself starts acting as a model for comparison, entailing a complete reversal of metaphors. A symbol of the holy and a place of worship, the religious building gets completely metamorphisized by the writers' pen. The amazing diversity of literary representations of the cathedral strike and touch by their sheer beauty as a real kaleideoscope of images, surprising the reader by their originality and depth
Leroux, Alain. "Chan et poésie chez un auteur contemporain : Zhou Mengdie." Paris, INALCO, 1993. http://www.theses.fr/1993INAL0006.
Повний текст джерелаZhou Mengdie (born in 1921 on the Chinese mainland, now living in Taiwan) is considered as a chan poet. The thesis is a translation, followed by a commentary, of his collection of poems "Huanhuncao" (Grass of returning soul). In its first part, the thesis deals with the influence on Zhou's poetry both of modern poetry in Taiwan and Chinese literary and philosophical tradition (mostly Taoism and Buddhism. It analyzes the main themes and figures of its poems, showing a progress - or at least a longing - of the poet towards awakening, which the goal of chan
Talviste, Katre. "Baudelaire et la poésie estonienne." Université Paris-Est Créteil Val de Marne (UPEC), 2007. http://www.theses.fr/2007PA120012.
Повний текст джерелаThe first publication of Baudelaire’s poems in Estonian coincides with the beginnings of modern Estonian literature. His works were discovered by authors who in 1905 initiated a movement of linguistic and literary modernization in Estonia and who have deeply influenced the development of the Estonian culture in the 20th century. Their numerous fruitful initiatives include the translation and interpretation of Baudelaire’s works, which has become a permanent interest for Estonian poets while the reception of Baudelaire follows the principal movements of the 20th-century Estonian literature. That parallel development is visible both historically and poetically: preferences for certain texts (especially poems from the Fleurs du mal), translation strategies and critical positions underline the predominance of the romantic concept of literature in Estonia. In the same time, Baudelaire’s works serve as a means of poetic self-examination and of broadening the familiar horizons. The implicit dialogue between translators that takes place through the versions of Baudelaire’s texts, and the open debates about his works, about translation and about the nature of poetics in which Baudelaire has been implicated have contributed to the modification of concepts inherited from the Romanticism. In the original work of the Estonian poets who have translated Baudelaire these concepts are still quite viable. In several respects, their poetic universe differs from that of Baudelaire, which contains some fundamentally foreign elements. However, they constantly return to Baudelaire in order to explore his poetics and his imagination, finding both an experience of cultural otherness and a test of empathy
Baudelaire’i luuletuste esmailmumine Eestis langeb kokku modernse eesti kirjanduse algusega. Tema loomingu avastasid kirjanikud, kes 1905. Aastal algatasid Eestis keele- ja kirjandusuuendusliku liikumise ning avaldasid sellega suurt mõju tervele 20. Sajandi eesti kirjandusele. Nende arvukate viljakate algatuste sekka kuulub väga olulisena ka Baudelaire’i tõlkimine ja tõlgendamine, mis on eesti luuletajaid püsivalt köitnud, nõnda et Baudelaire’i retseptsioon teeb koos eesti kirjandusega läbi kogu selle keskse arengutee 20. Sajandil. See paralleelsus on nähtav nii ajaloolisel kui ka poeetilisel tasandil: kindlate tekstide (iseäranis kogusse «Les Fleurs du mal» kuuluvate tekstide) eelistamine, tõlkestrateegiad ja kriitilised seisukohad annavad märku romantilise kirjanduskontseptsiooni valdavusest Eestis. Samas on Baudelaire’i looming poeetilise enesevaatluse ning senituntud horisontide avardamise vahendiks. Tõlkijate implitsiitne dialoog, mis kujuneb Baudelaire’i tekstide versioonidest, ning Baudelaire’ile toetunud eksplitsiitsed arutelud tema enese loomingu ning tõlkimise ja poeetika põhimõtete üle on kaasa aidanud romantismist päritud kontseptsioonide ümberkujunemisele. Baudelaire’i tõlkinud eesti luuletajate algupärases loomingus on need kontseptsioonid aga alles tugevasti juurdunud. Nende poeetiline maailm erineb Baudelaire’i omast arvukate omaduste poolest ning nii mõnigi viimases leiduv element jääb neile põhimõtteliselt võõraks. Ometi pöörduvad nad aina uuesti Baudelaire’i juurde tagasi, et õppida tundma tema poeetikat ja kujutluslaadi, mis pakuvad ühtaegu kultuurilise teissuse kogemust ning empaatiavõime proovilepanekut
Patrucco, Francesco. "Une oeuvre en dialogue. Emprunts et références à la littérature européenne chez Maurizio Cucchi." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAL027.
Повний текст джерелаThis thesis deals with Maurizio Cucchi’s poetry, studied from a comparative and intertextual perspective. Its aim is to understand how the European literature influenced Cucchi’s poetical work and how the intertextual criticism has been received by the Italian poet for his own writing.As a result, the thesis underlines the existence of three types of literary references: direct or meta quotations and shared atmospheres with some authors who have been considered essential for Cucchi’s literary formation. These references make Cucchi’s work open to European and universal literature as well as to contemporaneity
Théorêt, Émilie. "La poésie des femmes au Québec (1903-1968) : formes et sociologie de la discontinuité." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29332/29332.pdf.
Повний текст джерелаSilva, Alexandra Moreira da. "La question du poème dramatique dans le théâtre contemporain." Paris 3, 2007. http://www.theses.fr/2007PA030138.
Повний текст джерелаApplying the concept of “dramatic poem” to contemporary theatre may be considered irrelevant and even anachronistic. However, there is a growing number of authors who call themselves “dramatic poets” or simply “poets”. The fact that these authors regard their texts as dramatic poems does not mean that they are seeking to categorize their works within a specific genre, but rather that they are questioning and permanently reinventing forms and languages which are at the very basis of the scenic transformations and changes in the relation between author and audience. Our proposal for an analysis of the dramatic poem presupposes a reflection on the many changes introduced, especially since the 1980s, in the relation between author, theatre director and audience, as well as on the experimental character of theatrical texts, which show an increasing tendency to “overflow”, i. E. , to transcend the canon of drama. Thus, contemporary dramatic poem is the ideal form of a new genre, which Jean-Pierre Sarrazac terms “infradramatic”. We can therefore say that contemporary dramatic poem constitutes a positive reaction against the announced death of drama, showing the power of drama to reinvent and revive itself
Marchal, Hugues. "Corpoèmes, l'inscription textuelle du corps dans la poésie en France au vingtième siècle." Paris 3, 2002. http://www.theses.fr/2002PA030073.
Повний текст джерелаApparently anachronistic and yet always pressing, the quest for a literary work at once corporal and poetic has haunted the XXth century. Whether as an effort at textual incorporation or in the pursuit of an adequate verb, " writing the body " should be understood less as a theme than as a process of formal and critical renewal, which has inscribed the body within theory. Contested and yet at issue, the very stakes of this quest have fueled a debate confronting various writers and divergent understandings of the body. From Valéry and Claudel to Noe͏̈l or Prigent, this study explores both the project itself and the discursive community formed around the desire to write, or uncover in the text, an Other of the text. To this end, we have inventoried the arguments of a topic in which the body is represented as being "excribed" (J. -L. Nancy), i. E. Beyond the reach of all utterances, and yet also inscribed within every poem. And we have excavated the sites either assigned or refused to the "corpoème" (J. Sénac) in the models provided for the conceptualization of the work. Discussing the desire to mix the poem and the body leads to question the limits assigned to literary theory and history, and to connect different disciplines and temporalities. The quest also elicits the idea of a "global text", understood in terms of symbol, icon and index-- three levels articulated according to complex competing and compensatory strategies. Here, "writing the body" cannot be reduced to a struggle against language. It has generated an assortment of fruitful new poetics, which capitalize on the organic structure of the text or consider it as a trace allowing for the reproduction of a gesture. .
Barrientos, Tecún Dante. "Amérique centrale : l'horreur et l'espoir : analyse de la poésie contemporaine." Perpignan, 1994. http://www.theses.fr/1994PERP0264.
Повний текст джерелаThe purpose of this thesis is to study the relation between the poetic and social-historical process in central america. The study is organised in four parts. The first three parts are focused on three historical events and their repercution at social-political and ideological levels. These events are essential to understanding of central american poetry. The events are : the guatemalan revolution of 1944, the cuban revolution (1959) and the regional industrialisation programme of the 1960's ; finally, the sandinist revolution (nicaragua, 1979) and the salvador and guatemala's revolutionary struggles during the 1980's. Each part is divided into five chapters, they demonstrate the particularities of the relation between the history and the poetry in each of these countries (guatemala, salvador, honduras, nicaragua, costa rica). The fourth and last part is dedicated to the analysis of poetic texts of five central american poets : roberto obregon (guatemala, 1940-1970), jose roberto cea (el salvador, 1939), rigoberto paredes (honduras, 1948), gioconda belli (nicaragua, 1948) and alfonso chase (costa rica, 1945)
Chalikia, Martha. "Corps, art et société : l'identité féminine dans l'art contemporain russe avant et après la chute du mur de Berlin et ses répercussions dans les autres pays orthodoxes de l'Europe de l'Est." Paris 1, 2004. http://www.theses.fr/2004PA010704.
Повний текст джерелаBreysse, Laurence. "L'écriture itinérante de Manuel Altolaguirre : poésie et poétique." Paris 4, 1992. http://www.theses.fr/1992PA040179.
Повний текст джерелаThis study deals with the complete poetical works of Manuel Altolaguirre. This critical approach is intentionally plural in order to apprehend the evolution and the constants of his style during thirty-three years, from Islas invitadas y otros poelas (1926) to Ultimos poelmas (1955-1959), when the author died. The part of Malaga, his birthplace, in his vision, his own part in the generation of 1927, and the question of the reception of his works at his time and afterwards, are examined first. Then we lay emphasis on the main elements of his imagination, according to G. Bachelard's readings and we show that his poetry is the direct descendant of that of San Juan de la Cruz and of G. A. Becquer. The major features of his word - as briefness or the importance of typography, of the a vocabulary suited to point out traces and signs, the alternation between polymetry and isometry or the value attached to silence -, are the matter of the third part, in which, at last, we try to perceive how Mexican space determined the exiled poet's creation
Le, Bigot Claude. "La poésie politique dans l'Espagne républicaine (1931-1939) : essai sur les formes d'une rupture idéologique." Rennes 2, 1990. http://www.theses.fr/1990REN20004.
Повний текст джерелаIs there a language pertaining to political poetry? If one relies on a sociocritical analysis, one notices that the beginning of the Spanish republic occurred along with an ideological break in Spanish literature which is essentially prevailing in poetry. The commitment of writers as militant intellectuals led them to alter their artistic practice. If, at the beginning, political poetry tends to become propaganda, as the war goes on, its persuasive role hides behind the archetype that constitute the backbone of epic romancero. The linguistic analysis which tries to entrance a rhetoric of persuasion in accordance with the obvious of the message, equally helps to demonstrate that the notion of political poetry isn't a homogeneous whole ; nor is it a literary genre, since it fuses into already existing literary genres. Political poetry is grounded on using speech strategies and can be traced thanks to its didactic and polemical functions. When its persuasive function faces away, its poetical function takes its place again. Without giving up any of their ideological choices, the most advanced authors among them have created a "wartime lyricism" which enables them to combine their political speech with literary speech
Lecanu, Anne. "L'image du Christ dans la peinture russe au XIXe siècle et dans la première moitié du XXe siècle." Paris 4, 2002. http://www.theses.fr/2002PA040047.
Повний текст джерелаThe figure of the Christ in the russian painting of the XIXth painting and the first half of the XXth centuries becomes clear in the limits of the historian painting. Besides, iconographic bases ought to be changed into relation with the theoretic and formal changes which appeared during this period. The pictures of the Christ had to embody antagonist ideological stakes, which opposed autocratic power and members of the russian intelligentsia, confering metaphorical nature and divergent interpretations to pictures dedicated to the Christ
Kitamura, Miou. "La poésie française et le haïku." Dijon, 2007. http://www.theses.fr/2007DIJOL005.
Повний текст джерелаHaiku was introduced into France at the beginning of the 20th century, when brevity started to take on an important place in French poetry. Nowadays, the short Japanese poetical form inspires many French amateurs. This study aims to show the originality of French Haiku in comparison with the nature and tradition of Japanese Haiku, and thier respective evolutions. Japanese Haiku adheres to formal rules and does not accept excessive personal expressions. As for French Haiku, it is marked with relative liberty in form and allows for being expansive. In spite of their fundmental differences, the two Haikus are moving closer. French Haiku, especially, learnt the art of suggestivity. Yet, within that relationship, they will obviously still be clearly distinguishable, one from the other, and preserve their particularities
Constantin, Ilie. "La complicité fertile : poètes roumains, 1950-1973." Paris, INALCO, 1991. http://www.theses.fr/1991INAL0014.
Повний текст джерелаDiong, Maneume. "Aventures et avatars de la modernité poétique : de Baudelaire , Rimbaud, Mallarmé, Breton et Bonnefoy." Tours, 2004. http://www.theses.fr/2004TOUR2001.
Повний текст джерелаPey, Serge. "La langue arrachee ou la poesie orale d'action. Essai d'analyse et d'histoire de l'oralite dans le poeme a la fin du xxe siecle." Toulouse 2, 1995. http://www.theses.fr/1995TOU20086.
Повний текст джерелаSerge pey, the torn-out tongue or oral action poetry, a contribution to the history and the analysis of orality and of the poem at the end of the xxth century. Referring to the myth of philomela, the author analyses the complex relation between orality and writing. Philomela, "she who loves melody", witnesses the division of a poem, between the writing and the voice. Is the page a torn-out tongue? all writing bears its orality and all orality its writing. Based on the original experience of its author, this thesis analyses the oral exercise of poetry upto the contemporary limits of performance within which it evolves. Under the heading of "the buried tongue", the first part emphasizes the phonostylistic aspects of poetry and thus, forms its critical examination. In the search for his lost orality, the poet, like philomela, seeks his tongue in the rythm and the corporal aspects of reciting, forgotten by the western world, in the ritual act of the poem, in silence or in a transe. The explosion of dadaism and the extremist movements, which were paradoxically against the poem, has allowed the liberation of the mouth reciting the poem
Le, Dimna Christian. "Expérience poétique et expérience mystique : une approche de la poésie contemporaine." Nantes, 2009. http://www.theses.fr/2009NANT3018.
Повний текст джерелаOur research intends to find the essential points existing between contemporary poetry and mysticism. We look at mysticism, free from its religious context, as an experimental knowledge of the being, based on a direct contact and union with a non-individual consciousness. The poetry is examined as an attempt to express this experience of unity and a way to approach it or to orient the reader towards “the real. ” Choice is based upon its convergences with mystical texts not directly claiming an affiliation with tradition, affirming links to “wild mysticism” or the atheistic (even if the poets did not specifically affirm or even deny it). Established on the ground of experience, we intend to understand the poetic experience using the knowledge of mysticism, considering various concerns which contemporary poetry engages: poetic subject, lyricism, inspiration, rhythm, etc. We seek to demonstrate that mysticism can reveal unseen dimensions to a poetry and make it even more meaningfull
Druet, Sarah. "La Poésie faite par tous : Partage poétique et poétique du partage dans le surréalisme européen de l'entre-deux-guerres." Tours, 2003. http://www.theses.fr/2003TOUR2024.
Повний текст джерелаSimon-Oikawa, Marianne. "Poésie et écriture (alphabet et idéogramme dans quelques exemples de poésie visuelle en France et au Japon)." Paris 7, 1999. http://www.theses.fr/1999PA070107.
Повний текст джерелаMasi, Jacopo <1978>. "Déclinaisons de la nostalgie dans la poésie européenne de la deuxième moitié du 20e siècle." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2779/1/Masi_Jacopo_TESI.pdf.
Повний текст джерелаMasi, Jacopo <1978>. "Déclinaisons de la nostalgie dans la poésie européenne de la deuxième moitié du 20e siècle." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2010. http://amsdottorato.unibo.it/2779/.
Повний текст джерелаHotineanu, Eleonora. "La dimension française dans la poésie roumaine de Bessarabie du XXe siècle." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030004.
Повний текст джерелаThis comparative research suggests the essential points of French dimension of the Bessarabian poetry in the twentieth century. The explicit example of the French imaging, decisive for synchronization, indeed literary postsynchronisation of the Romanian space (including Bessarabian) with the western world, has always manifested. During this imagological migration receipt of the foreign element involves the concept of time. The historical linear time of a society is against the cyclical time of the image, if not the stereotype. The crisis of time obliges the identity crisis. In the context of local literary quest for identity is changing with the implicit aesthetic research. The borrowed motifs, in most cases of French descent, mythical or paramythical, recurring or occasional - everything is invoked to connect the marginal literature with a coveted center, whether Romanian, French, European ... The work is structured around the reiterative theme (travel, island, city ...) or singular (Cythere, Guernica ...). An important place occupies the themes poetry and painting, landscape and identity research, and the study of cultural anthropology "Myth or Paramyth“. Much of the text is given to monitoring imagological of the French presence in totalitarian regimes. Following a stereotyped mentality, the French image becomes, respectively, symptomatic. Moreover, it represents a cultural outlet. Decisive for the constitution of the Bessarabian aesthetic imagination, the phenomenon of reminiscence and intertextuality contribute to the emergence of a poetic picture varied and disparate
Zecchini, Laetitia. "Poétique de la relation et de la dissidence dans la poésie indienne contemporaine en anglais et en hindi." Paris 4, 2007. http://www.theses.fr/2007PA040204.
Повний текст джерелаThis research endeavours to make up for the lack of visibility and of academic attention given to contemporary Indian poetry in France. It is a comparative study between Indian poetry in English, focusing on the works of Arun Kolatkar (1932-2004) and Keki Daruwalla (born in 1937) and Indian poetry in Hindi, focusing on the works of Gagajan Madhav Muktibodh (1917-1964) and Kedarnath Singh (born in 1934). Their works illustrate the evolution of Indian poetry from a transitive protestpoetry, to a more indirect dissidence, which keeps away from ideology and from the pressure of outside events. These four poets respond to the dislocation and the fragmentation of the Indian cultural, political and social field in the middle of the twentieth century by giving shape to a « poetics of relation », to borrow a term from Edouard Glissant, which expresses the idea that without the other there is no language for the self. They claim a hybrid heritage, that of the immediate impact of modernity, but also that of a plural and often heterodox « non-literate sub-continent ». They challenge the purity and the closure of the monolithic text, by asserting overlapping, reflexive, dialogic identities and by creating an intertextual, multilingual fabric for their poetry. These plural belongings and plural identities subvert any kind of exclusive understanding of language, of meaning, of the sacred, of the past or of identity. The emphasis is on the conversion of the act of seeing, on revealing rather than on loudly demonstrating, and this poetic conversion is fundamentally political
Bako, Burada Alina Ioana. "Dinamica imaginarului poetic : grupul oniric românesc." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30057.
Повний текст джерелаA purely theoretical presentation has been written which helped us fins the instruments to get to know the group of Romanian writers studied in this thesis. The introductory chapters have explained the notion of dream image in report to the image in general, and then to the dream and day-dreaming. The dream imaginary has been explained starting from the classical definitions in order tu put the concept in a larger context. This imaginary is conceived by the poets who wrote between 1964-1974, and who called themselves „The Dream Group”. It is a literary movement which appeared despite the socialist realism which had imposed itself in the Romanian literature of the epoch. This new movement is born from the French sur-realism (especially the sur-realist painting), but also from romanticism, trying to find a personal vision for itself. For the writers who belong to this period, being „dreamy” means being different from the other verse writers. It must be also said that this movement has manifested not only in poetry, but also in prose. However, it is only the poetry that has been analysed and the articles published by the dream poets have served as a scheme for analysis. The most important part of the thesis was the hermeneutical analysis of the dream poetry from the mentioned period in the works of the following poets: Leonid Dimov, Emil Brumaru, Daniel Turcea, Vintilă Ivănceanu, Virgil Mazileascu. In a distinctive chapter it was analysed the report between dream poetry and the sur-realist painting as well as the hybrid volumes published by Leonid Dimov together with the sketches draw by Florin Pucă and Ioan Donca. In conclusion, the thesis re-contextualised a period of the Romanian poetry in report to the European literature