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Baciu, Virginia. "Albert Camus in Rumänien." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2951/.
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Kouchkine, Eugène. "Camus im Land der Sowjets." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2954/.
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Cielens, Isabelle. "Die Rezeption Albert Camus’ in Lettland." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2952/.
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Machowska, Aleksandra. "Sein und Nichtsein Camus‘ in Polen." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2955/.
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Baciu, Virginia, Isabelle Cielens, Andor Horváth, Eugène Kouchkine, Aleksandra Machowska, Jana Patočková, Brigitte Sändig, and Lada V. Syrovatko. "Camus im Osten : Zeugnisse der Wirkung Camus' zu Zeiten der Teilung Europas. - 2. Auflage." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2950/.
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Albert Camus' 40. Todestag ist Anlaß, die literarische, kulturelle und politisch-soziale Bedeutung des Autors für die ehemals sozialistischen Länder zu dokumentieren.
Camus' Interesse für diese Länder und die Unbestechlichkeit seines Urteils konnten von den oppositionellen Kräften als wirksame Unterstützung wahrgenommen werden; das belegen die Beiträge von acht LiteraturwissenschaftlerInnen, ÜbersetzerInnen und Kulturschaffenden, die an der Rezeption Camus' maßgeblich beteiligt waren und sind.
Dabei wird deutlich, daß sich in der Auseinandersetzung mit Camus' Werk eine politische Haltung kundtat, die nicht selten eine Lebenshaltung und -entscheidung war.
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Horváth, Andor. "“Gott sich selbst zurückgeben” : ungarische Lesarten Camus‘." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2953/.
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Syrovatko, Lada V. "Gibt es eine Camus-Rezeption in Rußland?" Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2958/.
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Patocková, Jana. "Albert Camus auf den tschechischen Bühnen der sechziger Jahre." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2956/.
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Sändig, Brigitte. "L’Homme révolté in Wendezeiten : eine Camus-Tagung 1991 in Berlin." Universität Potsdam, 2009. http://opus.kobv.de/ubp/volltexte/2009/2957/.
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Nazri, Doust Mas'oud. "Linguistique textuelle et traduction : L'Etranger d'Albert Camus et ses deux traductions persanes." Grenoble 3, 2000. http://www.theses.fr/2000GRE3A002.
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Davis, Judy Ann. "In Search of Roots: A Study of Camus' Autobiographical Le Premier Homme." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/4885.
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Albert Camus' posthumously published novel, Le Premier Homme, shows a new facet of this great twentieth-century writer's art. Intensely personal, the novel speaks of the coming of age of a "pied-noir" (French Algerian) boy and his search for roots as an adult. Simultaneously, Camus endeavors to tell the story of his ancestors, the French Algerians. The purpose of this thesis is to examine protagonist Jacques Cormery's search for roots by: 1) discussing the formative elements of his identity uncovered in the nostalgic voyage in time through an anecdotal construction of his childhood and the history of his ancestors, 2) linking recurring themes to selected works which will include: L'Envers et l'endroit, L'Etranger, La Peste, and L'Exil et le Royaume, emphasizing the prevalent intertextual allusions, and 3) drawing parallels between the text and Camus' biography, and his artistic and philosophical vision. First, I demonstrate how themes common to Le Premier Homme and Camus' previous work are interwoven. Throughout the body of his work one finds images of poverty as well as the themes of silence, "strangers/outsiders", the mother/son relationship and communion with nature. I identify and analyze the primary influences in the formation of Camus' "first" (or original) man. These include: the father (as forgotten and enigmatic), the surrogate fathers whom Jacques finds in the uncle and the teacher, and the grandmother. Additonally, I establish the autobiographical underpinnings of Camus' thinly veiled protagonist, Jacques Cormery, by comparing the story in the novel with Camus' biography. A discussion of style deals with influences and the writer's narrative technique. Examples of his use of ambiguity, paradox, and irony are cited in addition to some of the unique imagery. Finally, I demonstrate that this vivid resuscitation of Jacques Cormery's childhood world as autobiography reflects some of the sources of Albert Camus' vision. The novel underscores the lessons of poverty, Camus' admiration for the poor working class "pied-noirs" who live in the present, Sisyphean models, and the notion of ambiguity.
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Lessan-Pezechki, Homa. "Système verbal et deixis en persan et en français : d'après les traductions persanes de "La peste", "La chute" et "Caligula" d'Albert Camus /." Paris ; Budapest ; Torino : l'Harmattan, 2002. http://catalogue.bnf.fr/ark:/12148/cb38904338h.
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Baroncini, Gian Marco. "analisi dei principali campi del deep learning e delle loro reti neurali." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23368/.
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La tesi tratta una panoramica del campo innovativo del Deep Learning, analizzandone i principali campi di applicazione (Computer Vision e Natural Language Processing) per poi approfondirne nei dettagli più tecnici le reti neurali utilizzate.
Si inizia la trattazione di questi modelli con le reti convoluzionali e le LSTM per poi descrivere strutture più elaborate e recenti che sono identificate come stato dell'arte di alcuni task fondamentali dell'intelligenza artificiale.
Si è cercato di fornire in questo modo una visione più ampia delle tipologie di reti esistenti, evidenziando un’analisi contrapposta di reti feed-forward e reti ricorrenti, ponendo al lettore uno spunto di riflessione scaturito dalla dualità di queste due branche dell’apprendimento automatico, diverse nell’approccio, ma con il medesimo successo in ambito scientifico per la risoluzione di problemi che agevolano le nostre vite.
Viene conclusa l’argomentazione con un piccolo sguardo al futuro che ci aspetta e che prepotentemente influirà sul modo di approcciarci e vivere il mondo come lo conosciamo oggi.
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Lameirinha, Cristianne Aparecida de Brito. "Língua, Exílio e Memória: uma leitura comparativa de Le Premier Homme, de Albert Camus e La disparition de la langue française, de Assia Djebar." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-08012014-153130/.
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Este estudo propõe uma análise comparativa entre Le Premier Homme, de Albert Camus, e La disparition de la langue française, de Assia Djebar, tendo como contexto os impasses que cercaram a colonização francesa da Argélia, bem como o período posterior à sua independência, a partir da reflexão sobre as inter-relações língua, exílio e memória. Albert Camus é um escritor de origem francesa, nascido na Argélia. Assia Djebar é uma argelina de origem árabe, que escreve em francês. Nos romances em questão, parte-se da perspectiva da vida privada dos protagonistas para alcançar o espaço da memória coletiva tanto de franceses pobres quanto de árabes. Jacques Cormery e Berkane constituem-se como porta-vozes de seus antepassados, restituindo-lhes o direito a uma memória esfacelada e vista como desimportante pelo poder colonial. A fim de estabelecer essa leitura comparativa, procura-se compreender a relevância da literatura magrebina de língua francesa, com destaque para a produção da Argélia, em paralelo aos princípios ético-culturais da École dAlger, movimento ao qual se associava Albert Camus. A seguir, refletimos sobre as relações entre os conceitos de literatura e história, ficção e autobiografia, fundamentais à análise propriamente dita de ambos os romances.The aim of this study is to develop a comparative analysis of Albert Camus Le Premier Homme and La disparition de la langue française, by Algerian writer Assia Djebar, having as backdrop the context of French colonization deadlocks in Algeria, as well as in the period after independence. Our starting point is based around reflection on the relations between language, exile and memory. Albert Camus, of French origin, was born in Algeria, while Assia Djebar, of Arab descent, writes in French. The analysis of both novels begins from the perspective of the private lives of the main characters, to establish a space of collective memory of both poor people of French origin and people of Arab descent. Jacques Cormery and Berkane became spokesmen of their ancestors, thus restoring to them the right to a shattered memory, seen as unimportant by the colonial power. To achieve this comparative reading, it is necessary to understand the relevance of Maghrebian literature in French, with emphasis on the production of Algeria, in parallel to the ethical-cultural École dAlger, movement to which Albert Camus was associated. Next, we reflect upon the relationship between the concepts of literature and history, fiction and autobiography, fundamental to the analysis of both novels.
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McCabe, Alexander. "Dostoevsky's French reception : from Vogüé, Gide, Shestov and Berdyaev to Marcel, Camus and Sartre (1880-1959)." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4337/.
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This history of Dostoevsky’s reception in France draws from critical responses, translation analysis, and the comparative analysis of adaptations as well as intertextual dialogues between fictional, critical and philosophical texts. It begins from the earliest translations and critical accounts of the 1880s and 1890s, such as Eugène-Melchior de Vogüé’s seminal moralist reading. It then traces modernist responses and adaptations from the turn of the century to the twenties. Existential readings and re-translations dating from the arrival of émigré critics and religious philosophers in the wake of the Russian Revolution are examined, assessing the contribution of these émigré readings to emerging existential readings and movements in France. Finally, French existentialist fiction is analysed in terms of its intertextual dialogue with Dostoevsky’s work and with speculative and critical writings of French existentialist thinkers on and around the philosophical reflections expressed in Dostoevsky’s fiction. By following specifically the existential and existentialist branches of Dostoevsky’s French reception, an overlooked aspect of the history of French, Russian and European existentialisms comes to the fore, reframed within a pivotal period in the history of European intercultural exchange, and of transmodal literary and philosophical discourse.
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Lundström, Petra. "„In die Ferne sehe ich ausgezeichnet“ : Eine Motivstudie zu Augen in Marlen Haushofers Roman Die Wand." Thesis, Stockholms universitet, Tyska, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-162213.
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In Haushofers Roman Die Wand werden die Augen auffällig betont und der Sehvorgang ausführlich geschildert. Diese Arbeit beschäftigt sich mit den Fragen: Wie und wo wird das Augenmotiv im Roman betont? Welche Funktionen haben die vielen Schilderungen von Augen und Schauen? Und welche Themen können dadurch behandelt werden? Dies wird durch ausgewählte Szenen und Textabschnitte diskutiert. Meine kurze Präsentation von dem Motiv Augen und Schauen in der Literaturgeschichte dient in diesem Aufsatz als ein theoretischer Grund.
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Wilcox, Eliot J. "The Absurd in the Briar Patch: Ellison's Invisible Man and Existentialism." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2305.
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This article claims that Ralph Ellison's use and then revision of French existential themes is essential to understanding his overriding message of Invisible Man: Ellison's hope for a more polyglot American democracy that transcends the white democracy of mid twentieth century America. Specifically, I argue that Ellison, after demonstrating his ability to understand and engage in the traditional ideology of European existentialism, deviates from its individualistic conclusions demanding that the larger community, not just the solitary individual, must become ethically responsible if the classic existential tenet of authenticity is to be achieved. In order to establish this claim, I identify key passages in Invisible Man that indicate Ellison's desire to engage the existential movement. Writings from Camus and Sartre provide the foundation for comparison between Ellison's work and the French based philosophy. This background provides the groundwork to explore Ellison's deviations from the existential forms of his day. These departures have significant implications for Ellison's view of a socially productive individual, and therefore of his message in Invisible Man. In order to document the prevalence of existentialism in Ellison's literary consciousness, I then discuss its rise and decline in postwar New York. I also outline what is known about Ellison's relationship to the movement. Lastly, I conclude with a discussion of the philosophical tradition of existential philosophy and the difference between the philosophy of existence, seen in the Western canon through philosophers like Kierkegaard, and existentialism, one of its popular manifestations that peaked in the 1940s. Separating the two existential movements allows me to explore the tangential way most Ellison critics have associated him with existentialism and advocate for a more inclusive critical discussion of Ellison's relationship to existentialism.
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Kakouch, Sabira. "Assignations et catégorisations des Roms : une analyse sociolinguistique des pratiques langagières dans les campi nomadi (Italie)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCF028.
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Cette thèse, menée auprès de deux campi nomadi de Rome (Italie), se situe dans une approche sociolinguistique qui souhaite rendre compte de la pluralité et de l’hétérogénéité des pratiques langagières observées auprès des habitants roms. Pour en saisir la complexité et la diversité, il s’agit d’abord de comprendre l’espace social où ces pratiques ont été observées. Le campo, en tant que lieu de vie anthropologique et terrain d’enquête sera donc compris en tenant compte des relations humaines qui s’y tissent et des places que l’on désigne à l’Autre ou que l’on s’octroie. L’objectif est de procéder par « fragmentation » (Lorcerie, 2009), de s’intéresser aux représentations et aux discours individuels pour rendre compte de l’hétérogénéité des pratiques. Il s’agira également de passer par un travail de déconstruction et de compréhension des mécanismes d’ethnicisation et d’assignation identitaire, sociales et linguistique qui participent à l’élaboration de catégorisations autour des groupes roms. Cette recherche part donc d’un espace social spécifique, d’un « specialismo » italien (Tosi, 2007) pour fournir une analyse des pratiques socio-langagières fragmentées de ses habitants et rendre compte de leur « expérience plurielle de la parole » (Canut, 2007)This doctoral research, carried out in two campi nomadi (Rome, Italy) is underpinned by a sociolinguistic approach that aims to analyse the plurality and heterogeneity of language practices observed among Roma inhabitants. Grasping the complexity and diversity of these practices requires an undertanding of the social space where they take place. The campo, as an anthropological living place and fieldwork will therefore be understood taking into account the human relations that emerge and the places that the Other is assigned or those one grants oneself. The objective is to proceed by "fragmentation" (Lorcerie, 2009), focusing on representations and individual discourses to account for the heterogeneity of practices. This also involves a process of deconstruction and comprehension of the mechanisms of ethnicization and identity, and of social and linguistic assignment that contribute to the development of categorizations of Roma groups. This research therefore starts from a specific social space, from an Italian "specialismo" (Tosi, 2007) so as to provide an analysis of the fragmented sociolinguistic practices of its inhabitants and to expound the "plural experience of their speech" (Canut, 2007)
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Lessan-Pezechki, Homa. "Système verbal et deixis en persan et en français : approche contrastive à partir d'un corpus littéraire constitué de trois oeuvres d'Albert Camus et de leurs traductions persanes." Grenoble 3, 1997. http://www.theses.fr/1997GRE39005.
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Notre these comporte deux grandes parties. Dans le premier chapitre de la premiere partie, nous avons decrit le systeme verbal persan dans ses grandes lignes, puis nous avons expose les particularites des tiroirs separement. Dans le deuxieme chapitre, nous avons fait une approche contrastive en partant du francais pour aboutir au persan. Apres l'examen du systeme verbal, qui a des liens evidents avec la deixis, nous avons aborde le noyau dur de la deixis en examinant successivement la deixis spatiale, la deixis temporelle et la deixis personnelle dans le premier chapitre de la deuxieme partie, et dans le deuxieme chapitre, nous avons fait un examen approfondi des deictiques francais et de leurs traductions persanesMy thesis comprises two main sections. In the first chapter of the first section, i describe the outlines of persian verb system, and set out the particularities of each tense form separately. In the second chapter, i adopt a contrastive approach, staring from french and comparing with the situation in persian. After examining the verb system, which has obvious links with the notion of dexis, i examine the concept of deixis more closely. Dealing successively with spatial, temporal and finally personal deixis in the first chapter of the second section. In the second chapter, i make a detailed study of french deictics and of their translation into persian
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Almeida, Maria Elisete. "Approche contrastive de la Deixis en portugais et en français à travers la traduction des oeuvres d'Albert Camus : suivie d'un essai de validation des conclusions sur le terrain de l'oral à partir d'un corpus enregistré à Madère." Université Stendhal (Grenoble ; 1970-2015), 1993. http://www.theses.fr/1993GRE39042.
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L'objectif de cette these est d'etudier les differents systemes deictiques qui gouvernent la langue francaise et la langue portugaise. Ces systemes sont analyses d'un point de vue comparatif, et l'approche s'appuie sur les principes de la linguistique contrastive, tels qu'ils ont ete exposes par h. Adamczewski et c. Delmas, dans leur grammaire de l'anglais. L'analyse est fondee principalement sur un corpus compose de 3 oeuvres de camus : deux romans ( "la peste", "la chute" ) et un drame ( "caligula" ). La these debute sur une introduction historique a la notion de deixis. La premiere partie est une etude contrastive des deictiques de base - a savoir spatiaux, temporels, personnels - en francais et en portugais. La seconde partie est une approche des deictiques secondaires qui fonctionnent implicitement, tels les temps verbaux et les prepositions privees de leur tete nominale. La visee de la troisieme partie est de valider les resultats des parties precedentes en les testant sur les donnees d'un corpus oral, et d'attirer l'attention sur les principales difficultes de traduction, soulevees par les discordances qui existent entre les deux systemes deictiquesThe aim of this thesis is the study of the different deictic systems that govern french and portuguese languages. These systems are analysed from a comparative point of view, and the approach is based on the principles of contrastive linguistics, as they were exposed by h. Adamczewski and c. Delmas in their english grammar. The analysis is chiefly based on a written corpus composed of 3 of camus'works : 2 novels ( "the pest" , "the fall" ) and a drama ( "caligula" ). The thesis begins with a historical introduction to the notion of deixis. The first part is a contrastive study of basic deictics - i. E. Spatial, temporal, personal ones - in french and portuguese. The second part is an approach of secondary deictics which work implicitely, such as verbal tenses and prepositions deprived of their nominal head. The aim of the third part is to valid the results of the preceeding parts by testing them on the tokens of an oral corpus, and to point out the chief translation difficulties raised by the discrepancies that exist between the two deictic systems
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Matisson, Vivien. "Une génération tardive : la monstruosité du langage dans les récits après 1945 : samuel Beckett, Maurice Blanchot, Albert Camus et Louis-René des Forêts." Thesis, Toulouse 2, 2020. http://www.theses.fr/2020TOU20039.
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Notre étude porte sur l'imaginaire et la pratique de la langue dans les récits après la Seconde Guerre mondiale, à travers la notion de monstruosité. Cette notion interroge depuis toujours le rapport qu’entretiennent les hommes avec la nature comme puissance d’engendrement du vivant et comme principe régulateur et normatif. Rapportée au langage, la monstruosité suggère, après le traumatisme de la guerre et du génocide des Juifs, une angoisse collective quant à la rationalisation des phénomènes « naturels » ou « culturels ». Le risque est que le signe, quel qu’il soit, devienne un fétiche, le prétexte à un spectacle où l’artifice règne sans bornes. Le signe-monstre, au lieu de désigner un référent du monde extérieur sans s’y substituer, prend corps dans le réel en n’indiquant plus que sa propre surface, sa propre image ; il devient un artefact, une construction artificielle autonome et inquiétante. Une génération d'écrivains (Samuel Beckett, Maurice Blanchot, Albert Camus, Louis-René des Forêts) conçoit ainsi son rapport au langage par rapport aux atrocités de la Seconde Guerre mondiale. Pouvoir, manipulation et propagande apparaissent comme des termes clés pour les écrivains après 1945 qui ne cessent de dramatiser la prise de parole, perçue comme une menace et une violence qu'il faut nécessairement déjouer. Les récits d’après-guerre ont pour trait commun de chercher à appréhender le fonctionnement rhétorique et formel des systèmes signifiants : leur forme même intègre une inquiétude qui les conduit à mimer le phénomène de contagion redouté ou à « épuiser » leur capacité à produire du sens. Cette sensibilité aux dérives idéologiques et à la logique des discours incite aussi ces auteurs à surmarquer les manques, les insuffisances de leurs récits, et les limites du langage qu’ils déploient. Nous traçons la voie pour une redéfinition de l'écriture de fiction après la guerre, ni formaliste, ni engagée, au sens de Sartre, mais consciente des enjeux d'une époque où tout est à reconstruire. Afin d’apprivoiser la propension du langage à la « contre-nature », l’écrivain tardif adopte une posture d’équilibriste : conscient que son langage n’est pas épargné par la charge de violence qui traverse l’époque, il en éprouve les dangers et les limites, à l’intérieur de formes nouvelles et restreintesThe project tries to conceive the language's imagination and practice in fiction's narratives after World War II through the notion of monstrosity. This notion has always questioned the relationship between man and nature as the generating power of the living and as a regulating and normative principle. Related to language, monstrosity suggests, after the trauma of the war and genocide of the Jews, a collective anguish about the rationalization of «natural» or «cultural» phenomena. The risk is that the sign, whatever it is, becomes a fetish, the pretext for a show where artifice reigns without limits. The monster-sign, instead of designating a referent of the outer world without substituting itself, takes shape in the real by indicating only its own surface, its own image; it becomes an artifact, an autonomous and disturbing artificial construction. A generation of writers (Samuel Beckett, Maurice Blanchot, Albert Camus, Louis-René des Forêts) conceived his relationship to language in relation to the atrocities of the Second World War. Power, manipulation and propaganda appear as key terms for writers after 1945 who continue to dramatize speech, seen as a threat and violence that must necessarily be thwarted. The common feature of post-war narratives is that they seek to understand the rhetorical and formal functioning of meaningful systems: their very form incorporates an anxiety that leads them to mimic the phenomenon of dreaded contagion or to “exhaust” their ability to produce meaning. This sensitivity to ideological drifts and the logic of discourse also encourages these authors to overstate the shortcomings, the inadequacies of their narratives, and the limits of the language they deploy. We pave the way for a redefinition of fiction writing after the war, neither formalistic nor committed, in the sense of Sartre, but conscious of the stakes of an era where everything is to be rebuilt. In order to tame the propensity of language to the «counter-nature», the late writer adopts a balancing posture: aware that his language is not spared by the load of violence that crosses the epoch, he experiences the dangers and limits of it
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Andrianatos, Kristien. "An analysis of vocabulary instructional methods relevant for grade 4 learners / Kristien Andrianatos." Thesis, North-West University, 2009. http://hdl.handle.net/10394/4305.
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Oubah, Narimane. "L'enseignement du français dans le Sud de l'Algérie. Du jeu théâtral à la production écrite dans une classe de 2e année de lycée à partir de Caligula d'Albert Camus." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA035.
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Notre thèse envisage la production écrite en classe de français comme une pratique scolaire novatrice lorsqu’elle est accomplie au sein d’un espace-atelier et réalisée par l’entremise du jeu, de la mise en scène et du montage d’un spectacle. Pour ce faire, nous avons mis en œuvre une pièce de théâtre, Caligula d’Albert Camus, comme moyen d’enseignement-apprentissage, en l’accompagnant d’une gamme d’outils –dispositif ou unité didactique, vidéo de la pièce, carnet de bord, etc., – favorisant en parallèle une recherche-action sur terrain. Notre travail questionne en outre la possibilité d’une telle expérience menée dans un lieu peu commun, le Sud de l’Algérie, dans l’oasis de Bou-Saâda, et auprès d’un groupe d’apprenants d’une classe de 2e année Langues Étrangères au lycée. Nos objectifs sont de cultiver la compétence écrite chez l’apprenant oasien via l’écriture théâtrale, de lui donner goût à l’apprentissage de la langue et de conférer une certaine dynamique à cet apprentissage en lui permettant de créer et de voir représenté ce qu’il écrit sur le plateau. Au-delà d’une simple acquisition de compétences rédactionnelles, nous avons pu constater des mutations dans les représentations scolaires et sociales de la langue française chez le groupe-apprenant, issu d’une société sudiste conservatrice, chez qui la langue-cible a un statut différent de celui dont elle bénéficie au Nord, ce qui renvoie, par là même, à l’histoire, à la géographie et au plurilinguisme du paysOur thesis considers the written production, in a French class, as an innovative school practice when it is accomplished in a workshop space, and realized through the play, staging, and editing of a show. In order to do this, we have implemented a play, Caligula by Albert Camus, as a way of teaching and learning, accompanied by a range of tools - a teaching device or unit, a video of the play, Logbook, etc., - promoting, at the same time, an action research on the ground. Our work also questions the possibility of such an experiment conducted in an unusual place, the South of Algeria, in the oasis of Bou-Saâda, and with a group of learners 2nd Year, Foreign Languages in high school. Our aims are to improve the written skills of the oasis learner through theatrical scripture, to give him a taste to learn the language; and to give a certain dynamic to this learning by allowing him to create and see represented what 'He writes on the set’. Beyond a simple acquisition of editorial skills, we have seen changes in the academic and social representations of the French language in the learner group, from a conservative Southern society, in which the target language has a different status has the respect to the North, evoking the history, geography and multi-linguals of the country
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Courrèges, Yann. "La ville méditerranéenne dans le roman de langue française au XXe siècle : types et imaginaire, de Marseille et Nice à Alger et Oran." Montpellier 3, 2005. http://www.theses.fr/2005MON30014.
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Le roman de langue française évoque souvent la ville méditerranéenne, mais c'est moins à titre de décor pittoresque que comme lieu singulier où une époque peut se lire en creux, et révéler des parcours humains étranges et déroutants, en contradiction avec ce qu'on pourrait en attendre. Marseille et Alger, dans une moindre mesure Nice et Oran, ont été ou sont les cadres privilégiés de cette singularité. Des premiers romanciers du XIXème siècle à Blaise Cendrars, Jean Giono, Albert Cohen, Jean-Marie Le Clézio, pour Marseille ou Nice, d'Albert Camus à Boualem Sansal ou Yasmina Khadra, pour Alger voire Oran, c'est la même fascination pour des villes qui semblent échapper au sens commun. Dans le roman, cette permanence s'exprime par des narrations aux thèmes stupéfiants avec des personnages qui sont aux antipodes des héros classiques : dégradation, déréliction, haine de soi sont la règle, la ville méditerranéenne paraissant y pousserThe french language novel often evokes the mediterranean town but it is less as a picturesque decor than as particuliar place where an area can be revealed and shows strange and bizarre human way, as oppose to what can be expected. Marseilles and Algiers, to some extend Nice and Oran, were or are privileged places of that peculiarity. From the first XIXth century novelists to Blaise Cendrars, Jean Giono, Albert Cohen, Jean-Marie Le Clézio - for Marseilles and Nice -, from Albert Camus to Boualem Sansal or Yasmina Khadra - for Algiers and Oran -, it is the same fascination for towns which seem to be uncommon. In the novel, that permanence expresses by narrations with stupefying topics with characters who are very far from classical heroes : degradation, dereliction, self hate are the rule, the mediterranean town seeming to lead to them
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Orr, David J. "The existential quest for exemplary autonomy in three major novels." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2332.
Full textAbstract:
Presenting and applying an ideal developmental model for the classical existential hero, or main character, provides a functional paradigm for discrimination between essentialist and existential texts. In particular it allows for degrees of fine existential differentiation amongst the hero's acts of any literary work. The paradigm does so by making it possible clearly to discern and describe the "recuperation" that a reader must do to render an "impaired" text intelligible.
The paradigm covers four phases of transformational activity by the hero, more or less successfully negotiated, depending on the given work under analysis; vacillation/bad faith; crisis/arrest; abrogation/nothingness; and nihilation/project choice. Only one of the three novels so analyzed, Camus' The Stranger, contains a hero, Meursault, who is able to engage this paradigm successfully. The other two novels, not generally associated with existentialism, Heller's Something Happened and Chopin's The Awakening, reveal important and explicable variations of the model, but neither finally gives an exemplary authentic hero. The value of this paradigm is the way it functions as a dynamic heuristics, as a template, to isolate and render meaningful the dimensions of the career of each main character of these works as an "existential murderer." After an introduction of the paradigm, the thesis analyzes the tragic suicide of Mrs. Edna Pontellier, the comic infanticide of Bob Slocum, and the tragicomic homicide of Meursault.
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Martah, Mohamed. "La réception critique de Lautréamont et de son oeuvre." Paris 12, 1994. http://www.theses.fr/1994PA120032.
Full textAbstract:
Un défi. C'est ainsi que se présente la lecture de l'oeuvre Ducassienne, une oeuvre dont l'hermétisme semble décourager les lecteurs les plus expérimentés herméneutiquement, mais qui, en réalité, les invite à goûter "ce fruit amer et sans danger" que sont "Les Chants". . . Et "Les poésies". Du défi au risque, du risque à l'interprétation et de l'interprétation à l'histoire des lectures, tel est le cheminement de la réception critique de Lautéamont et de son oeuvre. D'une expérience esthétique à l'autre, Lautréamont s'avère de plus en plus accessible et de plus en plus lisible. Grâce à l'oeuvre critique de L. Bloy, d'A. Breton, de S. Dali, de G. Bachelard, de M. Blanchot, de Ph. Sollers et de bien d'autres, la lecture de l'oeuvre ducassienne se concrétise dans une production de textes critiques. Ils sont la preuve de la réception de Lautréamont, de sa place éminente dansd le processus de lectureA challenge. This is how the reading of ducasse's work could be qualified. The hermetisme of his poetical works seems to discourage even the hermetically experienced readers, but which, in reality, invites them to taste <> whitch are les chants. . . And poesies. From challenge to risk, from risk to interpretation, from interpretation to the history readings, such is the progress of the critical reception of lautreamont and his works. From an aesthetic experience to anather, lautreamont proves more and more accessible and more and more readable. Thanks to critical works of leon bloy, andre breton, salvador dali, gaston bachelard, maurice blanchot, philippe sollers, and many others, the reading of ducasse's poetical works materializes in a production of critical texts. They attest to the reception of lautreamont, to his eminent place in the process of reading
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Ngwenya, A. V. (Alfred Vivi) 1957. "The static and dynamic elements of Tsotsitaal with special reference to Zulu : a sociolinguistic research." Diss., 1995. http://hdl.handle.net/10500/17575.
Full textAbstract:
The aim of this dissertation is to prove that tsotsitaal is
widely spoken in the black townships and interferes with the
correct usage of standard Zulu.
Secondly, the intention is to prove that the influence of Zulu
on tsotsitaal is greater than that of any other African language.
In chapter 2 the standard language, colloquial variety and
tsotsitaal are compared and parallels are drawn between the last
two speech varieties.
Chapter 3 concentrates on the static and dynamic elements of
tsotsitaal as far as morphology is concerned.
In chapter 4, the focus is on the meaning of tsotsi words in
their social context. Words and phrases which appear and sound
like Zulu words spoken by the tsotsis, have a different meaning.
Chapter 5 is the concluding chapter. It provides reasons why
tsotsitaal is dynamic. It hints at the usefulness of tsotsitaal
and its detrimental effects are also pointed outAfrican Languages
M.A. (African languages)
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Durand-Plourde, Camille. "Le monologue aphasique chez Samuel Beckett, Albert Camus, Leslie Kaplan et Bernard Noël : la langue et la politique de l'idiotie." Thèse, 2016. http://depot-e.uqtr.ca/7908/1/031385032.pdf.
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