Dissertations / Theses on the topic 'Amour de Swann (Proust, Marcel)'

The esteemed French author, Marcel Proust, revolutionized the way that literature fuses with visual art. Through the detail of his novella Un Amour de Swann, Proust creates a world in which the idolatry of a painting destines one man to a life void of fulfillment in love. This thesis explores the intrinsic connection of painting and literature to love through Proust’s treatment of the Botticelli fresco, Les Épreuves de Moïse, and the carefully crafted lesson that Proust teaches to integrate art into the fabric of life. Proust’s advice reaches far beyond the constraints of his own words, and through an analysis of Austrian painter Gustav Klimt’s The Kiss, Proustian guidance is brought to a universal scale. For Proust, art truly was a way of life, this thesis seeks to embody just that.

Affrontare l’analisi critica delle traduzioni italiane di Un amour de Swann di Marcel Proust implica necessariamente un attento esame dello stile esemplare di un autore, che ha modificato, in larga misura, la concezione del romanzo e della scrittura stessa; in secondo luogo significa considerare l’altrettanto complesso lavorio intellettuale rappresentato dalla traduzione, in qualità di atto critico fondamentale. Prenderemo in esame nel capitolo primo la genesi del TP, le sue specificità narratologiche e la ricezione critica francese e italiana, per comprendere appieno l’originalità di Proust rispetto al panorama letterario dell’epoca. Nella seconda parte del primo capitolo delineeremo un excursus lungo la storia di tutte le traduzioni italiane del romanzo, accordando particolare attenzione alla figura di ogni traduttore: Natalia Ginzburg (1946), Bruno Schacherl (1946), Armando Landini (1946), Oreste Del Buono (1965), Giovanni Raboni (1978), Maria Teresa Nessi Somaini (1981), Gianna Tornabuoni (1988), Eurialo De Michelis (1990) e il traduttore, rimasto anonimo, della casa editrice La Spiga Languages (1995). Nel secondo capitolo analizzeremo la peculiarità stilistica più nota dell’autore, la sintassi. I lunghi periodi complicati da un intreccio di subordinate e sciolti solo con il ricorso a vari nessi sintattici contribuiscono a rendere la sintassi proustiana una delle sfide maggiori in sede traduttiva. Nel capitolo successivo accorderemo attenzione all’eteroglossia enunciativa, espressa nei diversi idioletti del romanzo. In sede contrastiva affronteremo la questione della trasposizione dei niveaux de langue, per poter valutare le scelte intraprese dai traduttori in un ambito altamente complesso, a causa della diversità diafasica intrinseca dei due codici. All’interno del medesimo capitolo apriremo una parentesi sulla specificità di una traduzione, quella di Giacomo Debenedetti, effettuata seguendo una personale esegesi dello stile musicale e armonico di Proust. Riserveremo al capitolo quarto lo studio del linguaggio figurato, soffermandoci sull’analisi delle espressioni idiomatiche, che vengono impiegate frequentemente da alcuni personaggi. Rivolgeremo uno sguardo d’insieme alle strategie messe in atto dai traduttori, per cercare un equivalente idiomatico o per ricreare il medesimo impatto nel lettore, qualora vi siano casi di anisomorfismo. Analizzeremo nel quinto capitolo la terminologia della moda, confrontando il lessico impiegato nel TP con le soluzioni adottate nei TA, e aprendo, inevitabilmente, una parentesi sulla terminologia storica del settore. A compimento del lavoro presenteremo la nostra proposta traduttiva di un capitolo tratto dal saggio Proust et le style di Jean Milly, per mettere in luce, tramite la sua parola autorevole, la genialità e la complessità della scrittura proustiana e, conseguentemente, il compito ardimentoso e ammirevole che è stato richiesto ai traduttori italiani.

La thèse comprend huit parties : l'établissement du texte d'Un amour de Swann et Du côté de Guermantes II d'après les manuscrits, les dactylographies et des épreuves. La transcription scientifique des cahiers d'esquisses principaux qui forment les avant-textes des deux volumes. L'annotation du texte définitif et des avant-textes. L'établissement des variantes principales des avant-textes et du texte définitif. Une notice génétique et littéraire résumant l'évolution des deux volumes, et précisant leurs rapports avec le roman. Résumé du texte. Note sur le texte inventoriant les manuscrits provenant du fonds Proust de la Bibliothèque nationale qui ont servi à l'établissement du manuscrit. L’édition d'Un amour de Swann montre l'importance d'un nouveau manuscrit de 1909-1910 pour la genèse du récit. Elle propose quelques modifications du texte imprime et éclaircit les allusions littéraires, historiques et géographiques. Elle établit les rapports entre la genèse du récit et celle du roman. L’édition de Guermantes II transcrit pour la première fois les avant-textes qui représentent la version de Guermantes de 1910-1911. Elle étudie l'évolution de la thématique par rapport à la version définitive, et montre l'importance des emprunts littéraires dans l'étude de l'intelligence et du livre. L’édition précise les rapports entre Guermantes et la conclusion du roman. De nombreuses modifications du texte imprimé sont proposées
The thesis comprises eight sections. The text of Un amour de Swann and Le côté de Guermantes II is established with reference to the manuscripts, typescripts and proofs. The scientific transcription of the principal notebooks, which form the basis of the two volumes. Annotation of the text and of the manuscripts. The principal variants of the text and of the manuscripts are listed. A preface sums up the evolution of the two volumes, and comments on the literary and genetic relationship between them and the novel. A note on the text lists the manuscripts used by the author in the compilation of the final manuscript. The edition of Un amour de Swann shows the importance of a recently discovered manuscript in the evolution of the text. Certain modifications of the published text are proposed. The literary, historical and geographic allusions are clarified. The genesis of Un amour de Swann is examined in the light of that of the novel. The edition of Le côté de Guermantes II includes for the first time the transcription of the manuscripts that correspond to the version of 1910-1911. It studies the genesis of the major themes in relation to the final version and shows the importance of literary sources for the treatment of the themes of intelligence and literature. The edition establishes the relationship between Guermantes and the conclusion of the novel. Numerous modifications of the published text are proposed

1. Fiction. A young woman looses her lover as well as her best friend, and must learn to live on her own. Her brother, as well as music, nature and art, will help her through a painful mourning process.
2. Critical analysis. This study shows how a little musical phrase from Vinteuil's sonata transforms, in Marcel Proust's Un amour de Swann, into a "real" woman representing Odette de Crecy, then becomes Swann's confident and, finally, appears as "the voice of truth", which will allow Swann to develop a new vision of life.

Le travail presente se compose des parties suivantes : - la transcription integrale des cahiers 69 et 22 de marcel proust, qui repre- sentent la premiere ebauche d'un amour de swann ( les biffures et les ajouts y sont presentes selon un code transcription proche de celui de l'item ) ; une introduction ou sont decrites les influences narratives qui ont contribue a la genese du texte ; on y expose l'importance thematique que proust pour la premiere fois attribue a la musique, on y analyse le role que jouent les avant-prenoms d'odette dans la genese du personnage. - des notes sur l'etablissement du texte eclairant les problemes particuliers de dechiffrement et d'interpretation ; - des notes critiques qui s'interessent surtout a l'etude genetique comparative des differents elements de l'avant-texte : pour le cahier 69 : premiere rencontre de swann et de mme x-odette, swann amoureux et homme du monde, le clan verdurin, recherche angoissee d'odette dans la nuit, le premier baiser, la sonate de saint-saens-vinteuil, le salon verdurin, la "vraie" vie, forcheville fidele ideal, jalousie de swann, swann retourne chez odette et se trompe de fenetre, visite de swann chez odette l'apres-midi. Pour le cahier 22 : la lettre a forcheville, brouille avec les verdurin, la soiree vaudemont-saint-euverte, l'interrogatoire d'odette, la fin de l'amour le mariage de swann
The study is divided as follows : - the complete transcription of marcel proust's notebooks 69 and 22, which represent the first draft of "swann in love". - an introduction which describes the different narrative influences which have contributed to writing, underscores the importance proust gives for the first time to music, analyses the different first names proust gives odette in the various notebooks and show what impact each surname has on the making of the character. - footnotes explaining the problems of deciphering and interpreting a text in gestation. - critical endnotes which trace and compare the different versions, previous and subsequent, of each part of this first draft, including : notebook 69 : the first meeting between swann and mme x-odette, swann, lover and snob, the verdurin salon, desperately seeking odette, the first kiss, the saint- saens-vinteuil sonata, at the verdurins' and "true life", forcheville, ideally faith- ful, swann's jealousy, swann goes back to odette's one night and knocks at the wrong door, one afternoon swann unexpectedly pays a visit to odette. Notebook 22 : odette's letter to forcheville, swann excluded from the verdurin salon, an evening of music at the marquise vaudemont-saint-euverte's, the end of swann's love, swann's marriage to odette

"Vertige" de la jalousie chez proust dans Du côté de chez Swann propose une étude de la jalousie en spirale. Tout d'abord, certains signes "jaloux" de pierre, de terre, de verre nous conduisent à la jalousie de chair, jalousie de personnages, qui s'organise en noyaux, en centre double. La jalousie de "je" nous oriente vers la jalousie de l'ecriture même, sous l'impulsion de la voix, voie que constitue l'ecriture "autre" : celle de Bergotte de la petite phrase de Vinteuil. Apres l'étude de la structure du roman, de la phrase, dans une dynamique en spirale et oscillatoire, c'est l'étude du nom, pôle jaloux par excellence. Le nom commun "aubepines" nous revèle d'abord sa symbolique jalouse. Ensuite les noms propres dont "Swann", pole d'expansion et d'absorption inscrivent leur fonction jalouse que conjurent les noms communs. Dans la globalite preservée du nom commun, se continue l'éclatement du nom propre dans sa syllabe.

Notre thèse s'inscrit dans une problématique centrale du LASELDI : l'analyse automatique des corpus littéraires. Nous avons étiqueté chaque unité linguistique (mots simples et mots composés) du texte "Du côté de chez Swann" de Marcel Proust en utilisant deux outils mis à notre disposition : le système INTEX et le programme DIATAG. Nous avons conçu une chaîne de traitements afin de construire un corpus totalement étiqueté et désambigui͏̈sé, dont les étiquettes sont suffisamment riches. Nous avons associé ensuite à chaque unité linguistique, son lemme, une catégorie morpho-syntaxique, et une information flexionnelle. Les différents types d'ambigui͏̈tés lexicales sont résolus soit semi-automatiquement (par les dictionnaires prioritaires et les grammaires locales), soit manuellement pour résoudre les ambigui͏̈tés complexes. Nous détaillons ensuite toute la chaîne des traitements effectués : le pré-traitement du texte; la création des ressources lexicales nécessaires et la construction des grammaires locales de désambigui͏̈sation. Un programme interactif a servi à gérer les ambigui͏̈tés résiduelles. Ces différents traitements ont permis d'étiqueter les 170 710 mots du texte et de présenter un étiquetage de qualité (qui a été évalué). Nous avons enfin proposé une application en construisant une grammaire des groupes nominaux et en classant les phrases du corpus selon leur structure. Nous proposons enfin une analyse thématique en utilisant des méthodes de la statistique textuelle. Les analyses factorielles qui résultent de ce traitement (innovantes dans la mesure où elles s'appuient sur des occurrences désambigui͏̈sées) nous ont permis de valider certaines analyses intuitives sur le thème du temps
Our laboratory team the (LASELDI, of the University of Franche-Comté) works with automatic analysis of literary corpora. We labelled each linguistic unit (we consider 2 kinds of units: simple words and compound words) from the Proust's text "Du côté de chez Swann", by using two tools which were available to us : the Intex system and the DIATAG program. We designed a processing data sequence in order to build a corpus that is completely tagged (and disambiguated) whose labels are sufficiently rich. Then we associated to each linguistic unit its lemma, a morpho-syntactic category, and a flexional information. The different types of lexical ambiguities are solved either semi-automatically (by the main dictionaries and the local grammars) or manually to resolve complex ambiguities. Then we detailed the entire processing data sequences: pre-processing of the text, the creation of necessary lexical resources, and the construction of local grammar of disambiguation. An interactive program was used to manage residual ambiguities. These various processing data have allowed the tagging of 170 170 words of a text and presented a quality tagging (which was evaluated). We finally presented an application by creating a grammar of nouns groups and classifying the sentences of the corpora according to their structures. In the end, we propose a thematic analysis by using the methods of textual statistic. The factorial analyses which are a result of this processing data, (innovating in the sense that they are based on disambiguated occurrences) allowed us to validate certain intuitive analysis on the topic of time

Pesquisa de teoria literária sobre o romance Em busca do tempo perdido, de Marcel Proust. Tem como objetivo refletir sobre a unidade do romance Em busca do tempo perdido, por meio de uma análise da personagem de Charles Swann. Este trabalho principia pelo levantamento do projeto global do ciclo romanesco, a partir de um trecho d´A Prisioneira em que o narrador-protagonista estabelece dois tipos de unidade para a obra de arte: uma lógica e outra vital. O segundo capítulo expõe as dificuldades que esse projeto coloca: como criar uma obra artística que seja viva e aberta, ao mesmo tempo que coesa e íntegra? A resposta é encontrada nos vasos comunicantes, nas transversalidades capazes de dar ao ciclo romanesco, não uma unidade lógica, mas vital. O terceiro capítulo analisa um dos nós, um dos pontos para o qual convergem essas transversalidades: a personagem de Charles Swann. Por meio da reconstituição desta personagem, são discutidos aqui alguns temas importantes para o romance: a formação do artista, assim como a relação entre a arte e a vida. Vemos em seguida que, em contraponto a Swann, cuja trajetória é vista como uma vocação artística frustrada, a expressão do romance proustiano busca condensar as experiências de um indivíduo para se tornar escritor. Finalmente, o excerto reflete sobre o caráter realista do romance: tendo por base um ensaio de Antonio Candido, \"Realismo (via Marcel Proust)\", e levando em conta um acontecimento-chave para o escritor francês, analisamos aqui o papel desempenhado pelo caso Dreyfus na narrativa. A hipótese mais geral desta pesquisa é a de que certos temas, representados pela personagem do diletante Charles Swann e por seu engajamento no caso Dreyfus, tornam difícil o acabamento do romance e lhe dão uma forma crítica, polêmica, viva. Esta não retira sua unidade da perspectiva de um artista profissional, cujo ofício participa da divisão do trabalho e do conhecimento de nossa sociedade; mas vincula-se à percepção de um diletante, cujo ponto de vista conserva algo de maravilhoso e mágico para as criações artísticas, como se a arte oferecesse mais do que obras e fosse capaz de ensinar a ler a vida. Lembramos neste sentido que a narrativa proustiana, desde seu começo até seu final, acompanha o ponto de vista não de um artista formado, mas de um apaixonado pelo universo artístico: o protagonista que deseja criar uma obra de arte e a imagina capaz de organizar a vida à imagem de sua complexidade.
A literary theory research on Marcel Proust´s novel In Search of Lost Time. The objective is to discuss the unity of Proust´s novel through an analysis of Charles Swann´s character. The first chapter of this work is a survey of the novel\'s global project, taking a passage of The Captive as a starting point, where the novel\'s narrator identifies two kinds of unity for the work of art, a logical one and a vital one. We remind then some difficulties that this project brings along with it: how can we create a work of art which is open and live, as well as coherent and complete? The answer is found in the communicant vases, in the transversalities able to provide the novel with a vital unity, not a logical one. In the third chapter, we analyse one of the points into which these transversalities converge: Charles Swann´s character. By a reconstitution of this character, we discuss certain important motifs of Proust´s novel: the education of the artist, as well as the relationship between art and life. In comparison with Swann, who represents a frustrated artist, we recognize that Proust´s literary expression seeks to condense someone\'s experiences to become a writer in the actual society. Finally, in the last part, we study the realistic aspects of the novel, based on Candido´s essay, \"Realism (according to Proust)\", and, taking into account an important political experience for the writer, we review the role of Dreyfus\'s Affair in the narrative. The general hypothesis of this research is that some themes, represented by Charles Swann´s diletantisme and his political engagement at the Affair, make it difficult to finish the novel and also give it a critical, polemical and live form. This form does not take its unity from a professional artist´s perspective, which participates in the division of the work and knowledge of our society, but from the dilettante condition, which point of view preserves something magical and wonderful for the artistic creations, as if art could give more than artworks and teach to read life. In this sense, we remind that Proust´s novel follows the point of view of a passionate for arts rather than a professional writer: the hero who wants to create a work of art and who believes it capable to organize the world at its complexity.

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Este estudo oferece uma discussão crítica da adaptação para narrativas gráficas do primeiro volume de Em busca do tempo perdido: No caminho de Swann (2006), de Marcel Proust, feita por Stéphane Heuet. Tenciona-se estudar a relação entre o primeiro volume da Recherche e a sua versão quadrinhística para analisar como o narrador do romance proustiano foi recriado através do uso de imagens e palavras no texto de Heuet. Tendo isso em mente, a presente pesquisa utiliza as reflexões sobre adaptação de Linda Hutcheon em Uma teoria da adaptação (2011) como fundamentação teórica. Por fim, a hipótese investigada é que imagens e palavras são interdependentes na obra de Heuet
This study offers a critical discussion on the graphic novel adaptation of the first volume of Marcel Proust's In Search of Lost Time: Swann's Way, by Stéphane Heuet. It aims to look into the relationship between the first volume of the Recherche and its graphic novel version in order to analyse how the narrator from Proust's novel was recreated through the uses of images and words in Heuet's text. Bearing that in mind, the present research uses Linda Hutcheon's reflections on adaptation in A Theory of Adaptation as its theoretical background. In the end, the hypothesis investigated is that images and words are interdependent in Heuet's work

Orientador: Álvaro Luiz Hattnher
Banca: Waldomiro de Castro Santos Vergueiro
Banca: Norma Wimmer
Resumo: Este estudo oferece uma discussão crítica da adaptação para narrativas gráficas do primeiro volume de Em busca do tempo perdido: No caminho de Swann (2006), de Marcel Proust, feita por Stéphane Heuet. Tenciona-se estudar a relação entre o primeiro volume da Recherche e a sua versão quadrinhística para analisar como o narrador do romance proustiano foi recriado através do uso de imagens e palavras no texto de Heuet. Tendo isso em mente, a presente pesquisa utiliza as reflexões sobre adaptação de Linda Hutcheon em Uma teoria da adaptação (2011) como fundamentação teórica. Por fim, a hipótese investigada é que imagens e palavras são interdependentes na obra de Heuet
Abstract: This study offers a critical discussion on the graphic novel adaptation of the first volume of Marcel Proust's In Search of Lost Time: Swann's Way, by Stéphane Heuet. It aims to look into the relationship between the first volume of the Recherche and its graphic novel version in order to analyse how the narrator from Proust's novel was recreated through the uses of images and words in Heuet's text. Bearing that in mind, the present research uses Linda Hutcheon's reflections on adaptation in A Theory of Adaptation as its theoretical background. In the end, the hypothesis investigated is that images and words are interdependent in Heuet's work
Mestre

Cette thèse étudiera la passion amoureuse chez Proust, dans "A la recherche du temps perdu". Elle se consacrera surtout à l'amour du narrateur pour Gilberte, pour la duchesse de Germantes et pour Albertine. A partir de ces trois cas, elle tentera de dégager les "lois psychologiques" que Proust lui-même assigne au roman de révéler. Elle montrera à l'oeuvre les processus de cristallisation et de décristallisation. Elle mettra en évidence l'aliénation persistante du narrateur à sa mère dans ses propres amours, ainsi que la généralisation à laquelle il procède à partir de son cas singulier. Cette généralisation est d'autant plus à souligner qu'elle aboutit à affirmer que l'amour est impossible

S'appuyant sur la recopie de passages significatifs des manuscrits contre Sainte-Beuve et d'"A la recherche du temps perdu" de M. Proust, cet essai veut mettre en lumière le travail de l'écrivain ainsi que ses hésitations. Il compare les discours des pesonnages afin de définir tous les types morphologiques. Discours de parole et discours de pensée semblent souvent respecter les mêmes catégories morphologiques. Mais le "monologue interne oralise", sorte de monologue intérieur "dujardinien" que le personnage prononce à haute voix, se situe entre ces deux pôles. Quant au discours que l'on dit "rapporté", peut-il vraiment l'être quand le transmetteur -le narrateur- dit ce qu'il a envie de dire ? Existe-til un ou plusieurs discours indirects libres ? Doit-on distinguer récits de parole ou de pensée et récits à propos de la parole ou de la pensée ? Quand la frontière entre le discours et le récit est-elle atteinte en la matière ? Nous avons essayé de répondre à ces questions en tentant de dégager les fonctions de ces derniers dans la recherche. Cette thèse propose un nouveau regard sur le discours du personnage dans le roman
Based on the copy of marcel proust's contre sainte-beuve and a la recherche du temps perdu manuscripts, this thesis wants to show the writer's work and his hesitations. It compares the character's speeches to define all the morphological categories. Oral speech and interior speech often have the same morphological types. But the "internal oralised monologue", a kind of oralised dujardin's interior monologue, is between them. The speech which is told "reported speech" is not, in fact, perhaps, because the reporting instance - narrator says what he wants to say. Is there only one free indirect style? have we to distinguish narration of words or thoughts from narration about words or thoughts? ne tried to answer these questions in analysing the speeches' functions in la recherche. This thesis proposes a new approach of the character's speech in the fiction

Temps de solitude et de patience, de silence et de lenteur : la dimension de l’attente amoureuse pourrait paraître un sentiment désuet, peut-être archaïque, donc vidé de sens à l’époque de la globalisation, de l’abolition des distances et de la vitesse des communications. Ses représentations romanesques au XXe siècle nous démontrent, au contraire, comment l’attente amoureuse peut se révéler un paradigme très intéressant pour comprendre, à travers la littérature, les contradictions de l’homme moderne. Le but de la présente étude comparatiste est de définir une sorte de « modèle » des représentations romanesques de l’attente amoureuse au XXe siècle à travers une comparaison entre trois grandes œuvres narratives du siècle passé : A la Recherche du temps perdu (1913-1927) de Marcel Proust, Joseph und seine Brüder (1933-1943) de Thomas Mann et El amor en los tiempos del cólera (1985) de G. García Márquez. En se fondant sur les réflexions sur l’attente amoureuse offertes par Roland Barthes (Fragments d’un discours amoureux, 1977 et Le discours amoureux, 2007) et en ouvrant la comparaison à d’autres textes romanesques et dramatiques du siècle passé, cette recherche se propose d’étudier le rapport entre le temps impalpable et suspendu de l’attente et les problèmes de la fiction romanesques, tel qu’il se présente dans tout au long du XXe siècle
Love waiting is a time of patience and solitude, silence and slowness: it may seem like an obsolete and archaic sentiment, deprived of all meaning in the age of globalization, shortening of distance and rapidity of communications. Its representations in the 20th century novel, instead, show how the love waiting proves to be an interesting paradigm to understand the contradictions of contemporary humanity through the literature. This comparative research aims to define a sort of “model” of representations of the love waiting in the 20th century novel by the comparison between three important novels of the last century: Marcel Proust’s A la Recherche du temps perdu (1913-1927), Thomas Mann’s Joseph und seine Brüder (1933-1943) and Gabriel García Márquez’s El amor en los tiempos del cólera (1985). Drowing inspiration from Roland Barthes’ ideas about love waiting (Fragments d’un discours amoureux, 1977 and Le discours amoureux, 2007) and also widening the comparison to other narrative texts and pieces of the last century, this work aims to analyse the relation between the suspended and impalpable time of waiting on one side and the complex form of novel on the other side, as it occurs over the 20th century

Chez certains hommes, le désir de s'unir à une femme est aussi intense que la peur ou le dégoût que leur inspire cette union. La contradiction entre ce désir et cette angoisse constitue pour eux une épreuve qui les conduit à élaborer un engagement original, par lequel se donne à voir un type de masculinité tout à fait singulier. Rendre compte de cette épreuve, la raconter et l'analyser, afin de décrire cette masculinité fondée sur le non-rapport : tel est l'objectif de ce travail, qui s'appuie sur les vies et les oeuvres d'écrivains ayant vécu cet étrange engagement amoureux. Kierkegaard, Kafka, Bousquet et Pavese (tout comme le narrateur de La Prisonnière) ont tous vécu, pensé, exprimé cet engagement fondé sur le non-rapport, engagement par lequel leur vie est devenue destin. En annexe à ce travail, on trouvera une analyse de l'engagement coupable d'Othello et de Dom Juan
For some men, the wish to be married with a woman is as intense as fear or disgust that inspires this commitment The conflict between this desire and this anguish is an ordeal that leads them to develop an original commitment, by which is given to see a type of masculinity quite singular. Report on this ordeal, relate it and analyze it, to describe this masculinity : this is the aim of this work, which is based here on the lives and works of writers who have had this strange love commitment. Kierkegaard, Kafka, Bousquet and Pavese (as the narrator of La Prisonnière), ail lived, thought, expressed this commitment in which their life has become destiny. Attached to this paper, we present an analysis of the commitment guilty of Othello and Don Juan

La thèse intitulée Proust et Platon se fonde principalement sur les affinités qui unissent les deux génies. Bien qu’il y ait un écart temporel considérable entre eux, on essaie d’élaborer un rapprochement à trois temps. Une première partie est consacrée à l’étymologie et la philosophie du langage, à savoir à l’effort de Proust et de Platon afin d’établir la rectitude du nom par rapport à la chose qu’il représente. Dans un tout premier temps, on met pour lors le langage à l’épicentre de notre analyse, en s’efforçant de localiser les différentes tendances –cratylisme, hermogénisme, naturalisme, conventionnalisme– dans un dialogue capital : le Cratyle. En deuxième lieu, c’est l’étymologie qui ranime toute cette effervescence linguistique, en représentant un sujet pivotal chez Proust et chez Platon : elle questionne l’emploi des mots et des noms, ainsi que leur relevance avec la chose qu’ils représentent. L’autre grande théorie linguistique proposée est l’hermogénisme, dû à la théorie d’Hermogène chez Cratyle. Il prétend mettre en avant la thèse centrale du disciple de Socrate qui soutient que les noms sont justes en fonction d’une convention entre les interlocuteurs qui les utilisent. Dans un deuxième temps, c’est l’amour dans toutes ses manifestations qui prend le relais. Il est question de l’œuvre la plus délectable de Platon, le Banquet. On va commencer en mettant en avant le propre rôle du banquet en tant qu’institution dans l’antiquité. Là on trouve sans aucun doute le champ le plus fécond afin de parler d’éros adolescent, de l’androgyne, mais aussi d’ἀγάπη. Mais le Banquet a aussi son côté aristophanesque : en attribuant au grand comédien l’articulation de son mythe le plus célèbre, Platon a voulu peut-être mettre en lumière le côté le plus parodique de l’éros. Toutefois, ce mythe paradisiaque déclenche aussi l’examen de bien des thèmes qui concerne l’homosexualité en Grèce d’antan. La partie proustienne sur l’amour se consacre dans un premier temps à l’importance du banquet mondain, lieu d’apprentissage social, érotique et artistique pour le narrateur. Ensuite, il repose sur les différentes manifestations de l’ἒρως et de l’ἀγάπη dans la Recherche : amitié, inversion, procréation artistique. La dernière étape de la deuxième partie est vouée à la mort et l’au-delà dans l’antiquité grecque et les trois narrations de descentes à l’enfer dans le corpus platonique. On va constater que la mort constitue au même titre que l’amour le leitmotiv incontournable de la Recherche également. Pour la partie finale, on a choisi un titre sans doute déconcertant : Δεύτερος πλοῦς, seconde navigation. Par là, on voudrait souligner l’effort de Platon et de Proust d’atteindre les vérités les plus inabordables en empruntant des sentiers iconoclastes : pour Platon, il s’agirait de la réminiscence, de l’esthétique idéale et du mythe, tandis que la section proustienne est axée sur le temps et la mémoire, l’esthétique et les diverses techniques narratives de la Recherche. On espère qu’à la fin de cette recherche les reflets contigus mis en évidence dans les œuvres de Platon et de Proust se seraient convertis en éclats miroitants
The thesis entitled Proust and Plato is mainly based on the affinities between the two great figures of universal scope. Although there is a significant time gap between them, we have tried to develop an approximation in three distinct parts. The first part is devoted to etymology and philosophy of language, namely the effort of Proust and Plato to establish the correctness of the name against the thing it represents. At first, we put the language at the epicenter of our analysis, in an effort to locate the various tendencies, –cratylism, hermogenism, naturalism, conventionalism –, in a critical dialogue: the Cratylus. Secondly, it is etymology that revives the linguistic effervescence, representing a pivotal topic in both Proust and Plato: it questions the use of words and names, as well as their relevance with the thing they represent. The other great linguistic theory proposed is hermogenism, named after the theory of Hermogenes in the Cratylus, who argues that the names have been invented on the basis of an agreement between the people who use them. Secondly, it is love in all its manifestations that takes over: the focus is on the most delightful work of Plato, the Banquet. We will start by highlighting the role of the banquet as an institution in antiquity. These are without a doubt the mostappropriate surroundings to talk about pederasty, the androgyne, but also ἀγάπη. Nevertheless, the Banquet also has its Aristophanian side: by assigning to the great comedy writer the articulation of his most famous myth, Plato perhaps wanted to highlight the more satirical side of eros. However, this idyllic myth also triggers the review of many themes concerning homosexuality in ancient Greece. The Proustian part on love is dedicated initially to the importance of the aristocratic banquet, place of the social, romantic and artistic initiation of the Narrator. It is furthermore based on the different manifestations of ἒρως and ἀγάπη in the novel:friendship, homosexuality, artistic procreation. The last stage of the second part is dedicated to death and the beyond in Greek Antiquity and the three tales of nekyia in the Platonic corpus. We will underline the existence of it as a leitmotiv in the Proustian novel as well. The final section has a rather disconcerting title: Δεύτερος πλοῦς, a second navigation. Here, we would like to emphasize the effort of Plato and Proust to reach the most unfathomable truths by taking iconoclastic paths: for Plato, it would be reminiscence, Ideal aesthetics and myth, while the Proustian segment focuses on time and memory, aesthetics and the narrative techniques of the novel. We hope that at the end of this study the contiguous reflections highlighted in the works of Plato and Proust will have turned into dazzling sparkles

La thèse intitulée « Le personnage romanesque : de la tradition à la transgression » se fonde principalement sur les convergences d’À la recherche du temps perdu de Marcel Proust et du Cycle de l’Indochine de Marguerite Duras. Nous montrons comment Marcel Proust et Marguerite Duras ont dépassé les stéréotypes de la littérature tout en gardant des liens avec la description traditionnelle.La première partie se consacre à la représentation traditionnelle du portrait et du caractère des personnages chez les deux écrivains. Pour cela, nous nous intéressons aux liens intertextuels qui composent le caractère et le portrait des personnages proustiens et durassiens.La seconde partie questionne la déconstruction des stéréotypes de l’identité des personnages chez les deux écrivains. Nous verrons comment Proust et Duras s’écartent des écrivains classiques à partir d’une nouvelle représentation de l’identité des personnages. La troisième partie engage un développement du thème de l’amour comme sujet de transgression. Nous examinerons la façon dont Proust et Duras dépassent les limites de la tradition en représentant la jouissance, les rencontres érotiques et les figures du désir, des plus discrètes aux plus scandaleuses
The thesis entitled Fictional character: from tradition to transgression is based mainly on the convergences of In Search of Lost Time of Marcel Proust and the Cycle of Indochina of Marguerite Duras. We show how Marcel Proust and Marguerite Duras have surpassed the limits of stereotypes of literature while keeping links with the traditional description.The first part is devoted to the traditional representation of the portrait and character of the characters in the two writers. For this, we are interested in the intertextual links that make up the character and the portrait of the Proustian and Durassian characters.The second part questions the deconstruction of the stereotypes of the identity of the characters in the two writers. Proust and Duras choose to distance themselves from classical writers insofar as they allow us to grasp the characters in all their complexity and from completely different perspectives. We show how the themes already used by the great classical writers appear in the Proustian work and the Durassian work, rich in hidden codes.The third part engages a development of the theme of love as a subject of transgression. We show how Proust and Duras go beyond the limits of tradition by representing enjoyment, erotic encounters and figures of desire, from the most discreet to the most scandalous