Dissertations / Theses on the topic 'Comédie française – 18e siècle – Histoire et critique'
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Baby-Litot, Hélène. "L'esthétique de la tragi-comédie en France de 1628 à 1643." Paris 3, 1993. http://www.theses.fr/1993PA030139.
Full textThe french tragi-comedy is a dramatic form which is always compared with tragedy or with comedy, and described as a middle between the medieval drama and the classic plays. But the characteristics of the tragi-comedy appear in the synchrony of its golden age. The theoric study emphasizes the real problems : the link between the greek and roman stage and the dramatic production in the seventeenth century, the necessity of pleasure in the dramatic art. This study reveals that the tragi-comedy is concerned more largely with an internal verisimilitude than with imitation. The dramatic study completes the two types of tragi-comedy, the road tragi-comedy and the palace tragi-comedy ; this chapter emphasizes the contingency in the action and the proliferation of the different plots. The last chapter describes the main meanings of the tragi-comic production : the extra-scenic study is concerned with social, moral, political and philosophical meanings ; and the scenic study reveals that the tragi-comedy is a reflexive form
Jaubert-Michel, Elsa. "De la scène au salon : la réception du modèle français dans la comédie allemande des Lumières (1741-1766)." Paris 4, 2005. http://www.theses.fr/2005PA040199.
Full textThe German Enlightenment comedy has often been labeled as theatre " a la francaise ", or Frenchlike; the present work aims at studying these comedies under the perspective of cultural transfers, in order to measure the extent of the French influence over the German production. First it evaluates the actual presence of French comedy in Germany, from a theoretical and practical point of view. The second part is devoted to originality and comparative analysis of drama. We then turn to satirical themes, so as to underline their links to the French tradition of comedy as well as their specificity. Last, since France at that time was also a role-model in civility, and comedy a " school of good manners ", we concentrate on this aspect, which is so central to German national identity. These analyses qualify the reception of the French model, which is revealing of the complexity of Franco-German relationships
Candiard, Céline. "Les Maîtres du jeu. Le seruus ludificator dans la comédie romaine antique et le valet vedette dans la comédie en France aux XVIIe et XVIIIe siècles." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030150.
Full textBy proposing a comparative study of the ludificator slave in Ancient Roman comedy and of the star-servant in comedies performed in early-modern France, this thesis intends to account for the specifically spectacular value of the ancient theatrical convention of the leading servant. The idea of play, understood both as the servant’s tricks and as theatrical activity itself, is placed in relation to the idea of mastery, regarded both from the fictional point of view of the servant and from the extra-fictional point of view of the actor. The first part of the thesis endeavours to point out the specific structure of Roman comedy roles in spectacular sequences and identifies the leading or ludificator slave as a combination of some particular sequences. It then proposes an interpretation of the comic convention of the seruus ludificator as a promotional representation of theatrical activity and the ritual event of the Ludi. It finally examines the diverse variations of the convention in the twenty-six comedies of the Roman corpus. The second part of this work, although showing the importance of the Roman model in the elaboration of the comic genre in France from the Renaissance, also brings to light the decisive influence of the context of professional theatre, in particular the Parisian “star-system”, in the appearance and strong development of the star-servant phenomenon in seventeenth-century French comedy. Finally, it will account for the transformation of the role into a fixed, institutional part from the 1680s, resulting in a standardisation and progressive disappearance of the convention
Guevara, Quiel Francisco. "Edition critique du théâtre et des nouvelles à l’espagnole de l’Abbé Boisrobert." Paris 4, 2009. http://www.theses.fr/2009PA040044.
Full textThis work is a critical Edition of the Spanish style theater and the novels by François Le Métel de Boisrobert. The purpose is to juxtapose two micocosms that have merged to sumbiotically create a true literay fusion and an entity with its own distinctive traits. We also want to contribute, in literary historians through time, about notions of alterity in Boisrobert’s play and novels. We have found, across several comparative studies about the crossover of Hispanic themes and motifs to the French literary seventeenth century scene in the last decaces, allusions to Bois Robert. Thesee, however, lack depth, and the discussions they generate are rather shallow and tend to evince lack of mastery of his works, misinformation, and misjudgement… since Tallemant des Réaux. This is an limitation that owes to the fact that Boisrobert’s works are especially hard to find for resarchers and simple readers. That is the reason to propose them and and indispensable critical work such as this one
Garnier, Sylvain. "Érato et Melpomène ou les sœurs ennemies : langage poétique et poétique dramatique dans le théâtre français de Jodelle à Scarron (1553-1653)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040148.
Full textPoetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible
Perret, Maxime. "Balzac et le XVIIe siècle : mémoire, création littéraire et discours moraliste dans La Comédie humaine." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030050.
Full textThe present study addresses the multifaceted relationships between Balzac and the French literary 17th century. It consists of three parts: first, an analysis of Balzac’s own memorial selection of 17th-century political and literary events, followed by a detailed exploration of the variety of modes of attendance, practices and functions assumed by the “Grand Siècle” in La Comédie humaine, and finally of an evaluation of the range and consequences of the development of moralist-type thinking within prose narrative fiction. First, this research work allows for a renewed questioning of some foundations of Balzacian poetics. Secondly, the different methods of reception of the 17th century in the novel cycle built by Balzac between 1829 and 1850 highlight new reading circulations of La Comédie humaine by means of specific network-type textual devices. And finally, this study shows the permanence of problems linked with the development of the genre of the novel from the 17th to the 19th century. Hence, it invites to a revision of some deep-rooted prejudice of literary history, as much about Balzac than against the “classical Grand Siècle”
Nestola, Barbara. "L'air italien sur la scène des théâtres parisiens (1687-1715)." Thesis, Tours, 2015. http://www.theses.fr/2015TOUR2026.
Full textThe study concerns the reception of Italian airs in Paris between 1687 and 1715. It consists of two parts: the first one is devoted to the analysis of French volumes containing Italian airs, manuscript and printed, circulating in Paris among the two centuries; the second one concerns the performance of the repertoire of Italian airs in Parisian theatres (Comédie Italienne, Comédie Française and Opera) between the death of Lully (1687) and the death of Louis XIV (1715). As a complementary part of this work, a catalogue of the sources has also been constituted. The documentary corpus consists of Italian airs of the last quarter of the l7th century as the core of the reception of the Italian repertoire and of its impact on the Parisian theatrical world. The identification of the sources, mainly anonymous at the beginning, shows that the airs are Italian opera excerpts. As far as the geographical area concerned. the axis Versailles-Paris appeared as the most appropriate for following the circulation of this repertoire: firstly known by the élite (aristocracy. collectors), it subsequently reached Paris as the consequence of the artistic decentralization from the court to the city at the end of the reign of Louis XIV. The analysis of the Italian airs sung at the Comédie Italienne, the Comédie Française and the Opera show how performers, poets and composers seized this repertoire, closing the ideal cercle of the path of the Italian opera excerpt from its originary stage to the French stage. The continuity of this practice in Parisian theatres during several decades shows the growing interest of the public for this repertoire, anticipating the Goûts réunis and the inclination towards Italian music of the Regency
Rosenfeld, Pierre-Louis. "Les tragi-comédies de Georges de Scudéry, un théâtre donné à voir : l’œil entre le monde, le spectacle et la peinture." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030067.
Full textOne of the components of the theater is what Aristotle calls opsis in Poetics : the spectacle, the donné à voir. In the first seventeenth century, a genre and an author illustrate this component. Under the reign of Louis XIII and the government of Richelieu, tragi-comedy is fashionable and characterized by its spectacular size. Among the authors who practice this genre and defend its specificity, Georges de Scudéry is one of the most prolific and more closely interested in painting, the art of vision par excellence. Our study focuses on the construction of the spectatorial gaze in the tragi-comédies of Georges de Scudéry. Four aspects are examined : the relationship between tragi-comedies and current affairs through a common imaginary, the driving forces of the spectacular as stated by the theoreticians and dramatic authors of the 1630s, the way Scudéry gives his plays to see and finally three traits of his dramaturgy (visual suspense, circulation of looks, reference to painting). The prologue examines a founding scene of the reign of Louis XIII, the "coup de majesté" of April 1617 that brought effectively the king to power. This scene was first rehearsed, then danced before the court, finally performed for real with the death of the Concini couple. But it was not over, the theater took it and continued to play it. The first part deals with the emblematic events of the reign of Louis XIII and the government of Richelieu, and analyzes the reflections that he could have left in the dramatic production of the time, especially in tragi-comedies. The second part establishes an inventory of the various forms of entertainment that were current during this period and the comments they generated. The third part analyzes the spectacular dimension of Scudery's tragi-comedies, first from the didascalies, then according to four criteria (the subject of the play and its reference to the world, the visual apparatus put in place, the visual initiatives that emanate from the show, the experience of the risk to which the show is sensitive), finally through the frontispieces of the editions. The fourth part examines in the donné à voir what is no longer related to surprise, but to the deepening of the vision in three aspects : the visual mechanics of suspense, the circulation of the gaze and its functions (admiration, power exercising, knowing), references to the world of painting and to the use of pictorial techniques (portrait, landscape). Keywords
Burtin, Tatiana. "Figures de l’avarice et de l’usure dans les comédies : The Merchant of Venice de Shakespeare, Volpone de Jonson et L’Avare de Molière." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100136/document.
Full textThe emergence of a capitalist ‘spirit’ (Weber) in England and France at the turn of the sixteenth and seventeenth centuries played a leading role in reconfiguring the relation between avaritia and cupiditas which determine the whole semantic field of usury and interest. This thesis postulates that this evolution is perceptible in French and British comedy at that time, in particular for some of the playwrights who staged miserly characters imprinted in our collective imagination. Starting from a comic type as common in Greek and Roman drama as it was in the well-established religious canon in the Christian West, a new understanding of money as object and as sign leads to the construction of a truly modern figure of avarice.Shylock, Volpone (Mosca) and Harpagon, hang on to a almost divine idea of gold and the more or less known world of money, medium they think they control through their treasure, and which is about to become the universal equivalent of any good. Those characters fit perfectly into this modern dynamic of economic, cultural and social exchanges, but they also contribute, with their strictly usurious speech, to its depreciation. Their entourage tries to tame this « lability » of values (Simmel) generated by the economy of the usurer-miser to a new order – a cosmic, ethical or political order. Conflicts are resolved by a court of law, external discriminatory authority and pretext for the mise-en-abyme of social judgment. The analysis of these denouements allows one to understand the work of each author in the comic form and function, through the text, the genres, or an aesthetic of space. It shows how much each author strived to value the contribution of his art to the public, in a time of socio-economic crisis
Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
Full textThe meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
Sano, Tsuyoshi. "Métaphysique du sujet et théorie sociale dans "la Comédie humaine" de Balzac." Montpellier 3, 2002. http://www.theses.fr/2002MON30042.
Full textPerchellet, Jean-Pierre. "L'héritage classique : la tragédie entre 1680 et 1814." Paris 3, 1998. http://www.theses.fr/1998PA030080.
Full textThe first part clearly shows that parisians never stopped enjoying tragedy. From noble to workers, everybody goes to the theatre, and do agree to applaude as much the great classical masterpieces, as the new tragedies, which does not exclude a few particuliarities. Third part includes the results of the analysis of the theater box-office books. Second part tries to describe the structural evolution of the style, to understand how the authors have used the racinian pattern. Quite obviously, xviiith century tragedy is not really racinian anymore, although it is still classical. More and more it stresses show, movement, rythms (both of the different characters and of the play itself), to the prejudice of the text and more or less of the unities. Third part studies the themes mainly used by the authors. Love is one of the most, although theoricians tend to desagree, terror comes back as soon as 1680, and will stay a favourite until the end of the old regime. Ancient themes remain, but more recent history and the new fashion for exotism also open new ways. Anyway, whatever the subject, theoretical discussions, political or not, remain quite important in the tragedy. Therefore, post-racinian authors wrote quite + original ; pieces, and parisians loved them. Following the classical pattern and spirit, they were able to create, to discover their own style, to please their own audience
Visse, Bernard. "Nicolas Joseph Florent Gilbert (1750-1780) : l'oeuvre satirique : édition critique avec les jugements du XXVIIIe siècle." Nancy 2, 1986. http://www.theses.fr/1986NAN21006.
Full textDeniau, Sophie. "Le récit bref à la veille de la Révolution : formes narratives et pratiques culturelles." Tours, 2005. http://www.theses.fr/2005TOUR2001.
Full textZoh, Hye-young. "Les comédies de Jean Rotrou." Paris 4, 1994. http://www.theses.fr/1994PA040113.
Full textThe comedy of jean rotrou play an important part in the history of french comedy. Because, in the beginning of seventeenth century, the french comedy was established as one of the genres of litterature. In that point of view, we tried to understand the conception of comic and the comedy of jean rotrou. Also, we tried to clarify the role played by rotrou in the history of french comedy. Our study is constituted by five parts : the adaptation and the influence, the structure, the themes, the characters and the dramatic language
Steinegger, Catherine. "La musique à la comédie-Française de 1921 à 1964 : Aspects de l'évolution d'un genre." Paris 4, 2003. http://www.theses.fr/2003PA040095.
Full textA study on stage music as a musical genre based on a corpus of non indexed scores, most of them hand-written, discovered in the Comédie-Française museum library archives. The first part is devoted to the study of sources so as to draw out the specific use of music in theatre. The second part then deals with the historical context in which those scores were written. The works of composers belonging to different aesthetic movements of the 20th century seen through the prism of the stage music performed at "La Comédie-Française" ; the "Ecole d'Arcueil", giving prominence to Roger Désormière and Henri Sauguet ; the "Groupe des Six", with Germaine Tailleferre, Arthur Honegger, Darius Milhaud; the "Groupe Jeune France" with André Jolivet ; the "Indépendants", with Jacques Ibert, Roland Manuel, Henri Dutilleux et Marcel Landowski
Bernard, Marie-Monique. "Le voyage : réalité et fiction dans la première moitié du VXIIIème siècle." Paris 4, 1999. http://www.theses.fr/1998PA040281.
Full textSieuzac, Laurence. "La vocation de la femme dans la littérature française du dix-huitième siècle." Paris 4, 2003. http://www.theses.fr/2003PA040053.
Full textThey are Ideas born out of fascination and awe. They are Images, crystallizing archetypes and topoi claimed by the authors. They are Vocations, indeed declinable but socially and culturally determined; They are Disquietude resulting from their awareness of the limitation on their destinies, being fenced in by the anthropology and the mythology generated by the discourse of mesmerized males. They are this Vibrato endowed with a cathartic and propitiatory function in this century which is a feminine golden age. They : plural representing the diversity in their feminine vocations in search of their identities
Jiménez, Salcedo Juan Ramón. "Représentations des incertitudes sexuelles dans la littérature française de la fin de l'Ancien régime." Tours, 2006. http://www.theses.fr/2006TOUR2019.
Full textDion, Nicholas. "Entre les larmes et l'effroi : inflexions élégiaques et horrifiques dans le théâtre tragique, de l'âge classique aux Lumières (1677-1726)." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27328/27328.pdf.
Full textLepore, Ilaria. "Le théâtre polémique ou comment faire l'histoire sur la scène : la concurrence entre Comédie Française, Comédie Italienne et Théâtres de la Foire et ses effets sur la vie théâtrale pendant la première moitié du XVIIIe siècle." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040219.
Full textThe term «polemical theatre» indicates the dramaturgical production which developed during the first part of the 18th Century, within the specific political-economic competitive framework that involved the three most active theatres in Paris at that time: the «Comédie Française», the «Comédie Italienne» and the «Théâtres de la Foire». The «polemical text» relies on an «allegorical device», which is based on the dynamical interaction between the fictionalisation and the relation to the referent. It belongs to the domain of the «littérature de circonstance» or «littérature d’actualité», and it can be considered a «trans-textual practice». The polemical author speaks or writes in reaction to an unfortunate event (interdiction, censorship, etc.), and to oppose a rival writer. This event, occurring outside of the text, becomes the subject of a theatrical fiction through which the author tries to modify the history path, to reverse the force relationships and to act on the audience in order to gain its consent. The role that the audience plays in the polemical comparison, makes the plot evolving from an anecdotal (and thus marginal) story to a public interesting one. So we could say that, far from «historicizing theatre», the polemical theatre does «dramatize History». In conclusion, my work aims at looking on polemical dialectics as one cause of the weakening of a system based on privileges, whose esthetical corollary is the precept of hierarchization and separation of the theatre genres
Con il termine «teatro polemico» si designa la produzione drammaturgica che si sviluppa nella prima metà del XVIII secolo all’interno di uno specifico contesto politico-economico di concorrenza tra i tre teatri operanti a Parigi, la Comédie Française, la Comédie Italienne e i Teatri de la Foire. Il testo polemico si caratterizza per la messa in atto di un dispositivo allegorico, basato sulla tensione dinamica tra elementi finzionali e elementi referenziali. Esso appartiene, inoltre, alla categoria della letteratura di circostanza, o di attualità, e s’inscrive all’ambito delle “pratiche transtestuali”. L’autore polemico reagisce in reazione a un avvenimento sfavorevole (un’interdizione, una censura etc.), e contro un avversario; tale avvenimento, che si situa in una dimensione extra-testuale, costituisce la materia della finzione teatrale attraverso la quale l’autore cerca di modificare il corso della storia, di invertire il rapporto di forza, di agire infine sullo spettatore per guadagnare il suo consenso. Il ruolo che lo spettatore occupa nel confronto polemico determina il passaggio da una storia in forma aneddotica, et dunque marginale, a una storia di “interesse pubblico”, in cui si mobilitano strategie persuasive, attraverso l’individuazione dei portavoce legittimati a reclamare et gestire la controversia. Si può dire, infine, che invece che “storicizzare il teatro”, il teatro polemico, “teatralizza la storia”. L’obiettivo del nostro studio è di individuare nella dialettica polemica una delle cause dell’indebolimento del sistema dei privilegi e del suo corollario estetico, quello del principio di gerarchizzazione e differenziazione dei generi teatrali
Delvare, Anne. "Thomas-Louis Bourgeois (1676-1750/51) : contribution à l'histoire de la musique française dans la première moitié du XVIIIe siècle." Poitiers, 2007. http://www.theses.fr/2007POIT5022.
Full textThis thesis proposes as complete a biography as possible of the musician Thomas-Louis Bourgeois (1676-1750). The many facets of his career are explored (he was notably a “maître de chapelle”, singer, composer, “maître de musique”, professor and theatre director); his works are presented and analysed at once, so as to place them in the context of their creation (place, offices held by the musician, literary environment, patrons etc. ). The second volume consists in a reasoned catalogue of Bourgeois’ works, sorted following first musical genre, then chronological order. Preserved works as well as lost ones are included, printed editions as well as manuscripts. Each work, collection or fragment of work has been analysed according to the same criteria, among which the bibliographical description of the sources, the musical forces, some dating elements and the places where the copies can be found. We have added the edition of the grand motet Beatus vir
Smoliarova, Tatiana. "L'inspiration pindarique dans l'ode aux XVIIe-XVIIIe siècles en France et en Russie." Paris 4, 2000. http://www.theses.fr/2000PA040109.
Full textBottgen, Jérôme. "La morale de sentiment dans la littérature et la pensée française du XVIII ème siècle." Nice, 2011. http://www.theses.fr/2011NICE2036.
Full textThe Age of the Enlightenment is characterized by the search for new foundations - purely laic - to build a universal morality. Next to the reason, very numerous authors laud the authority of the feeling to distinguish justice from injustice, good from evil. Rousseau is the most illustrious supporter of this new morality, which claims to lean on the nature and not on the revelation. In “La Profession de foi du Vicaire Savoyard”, he makes of consciousness the supreme moral authority, a divine spark placed in the man to judge all his actions in a immediate and infallible way. But in addition to Rousseau, very numerous thinkers of the eighteenth century , each in his own manner, the feeling in the center of their philosophical thought, as we can see in the works of Diderot, Voltaire, Prévost, madame d’Epinay, but also, to reverse its down postulates, of Sade. But the influence of the morality of feeling does not limit itself to the philosophical sphere: to prove its innocence and restore the truth, Rousseau, in “Les Confessions”, reveals his intimate being, and to expose his internal movements. The autobiography so established draws thus directly its roots from the morality of feeling, and the successors of Rousseau in this way of the writing of oneself - it is for example the case of Restif de la Bretonne, Stendhal and many others - will articulate the same dialectic between self-knowledge and prospecting of the human nature. The morality of feeling, through its very varied expressions, reflects and exceeds quite at the same time the Age of the Enlightenment: its testifies of the pursuit of a profound revival in the moral domain, and carries the germs of a new status of the "me" in literature
Boch, Julie. "La fable dans la pensée française de Huet à Voltaire (1680-1760)." Paris 4, 1999. http://www.theses.fr/1999PA040132.
Full textMarie, Dominique. "Jean-Jacques Rousseau : autobiographie et politique." Besançon, 1991. http://www.theses.fr/1991BESA1018.
Full textSabbagh-Soëte, Nadia. "La représentation de la femme orientale dans les récits de voyage au Levant publiés en langue française (1661-1735)." Caen, 2012. http://www.theses.fr/2012CAEN1666.
Full textRepresenting the oriental woman in the Levant in the books of travel published in French between 1661 and 1735 made the Oriental woman seen under points of view that the later Literature could not have an inkling, in the texts inspired from these travel books. About these oriental women, the travelers knew how to pick up a very huge documentary matter in the Levant. They also gave a direct witness to what they saw : so it’s necessary to study their accounts for themselves, instead of reading them as the matter of literary and fictive books. The way of the travelers minded women also suggests an esthetic reading. Telling about oriental women has an influence on discursive forms and also made the travelers alive to the oriental Poetics. This thesis would like to demonstrate that having observed oriental women gave an impetus to the way of thinking the political and moral Orient as a possible mirror for the Occident
Wagner, Jacques. "Lecture et société dans le journal encyclopédique de Pierre Rousseau (1756-1785)." Clermont-Ferrand 2, 1987. http://www.theses.fr/1987CLF20005.
Full textReputed to be indifferent to the literary demands of truth, good, and the beautiful, and doomed to a short-lived existence, the periodicals of the ancien regime served as passive mediums for documentary researches or statistical inquests until the "rhetorics of reading" unveiled various forms of enunciation and active cultural functions. Influenced by such trends this study aims mainly at throwing light on the working modes of a "reading machine". As a means of diffusion the periodical was also an instrument of conscious selection of catalogued books. The statistical inventory of its "library" reveals that the universe of extracts fashioned a picture of a culture including both current and traditional ideas as if the writers sought to placate the intellectual spheres by allying the search for novelty and the assertion of established truth. This hypothesis is examined in the course of an exhaustive analysis of the religious library of the j. E. The extracts gave the readers a picture of books which evolved between 1756 and 1785 from tormented insolence to the ease of conciliation. Such distorting work is quite noticeable in the three modes of reading that I have distinghished, namely, attenuation, deviation, and censorship, all three intended to facilitate the integration of contemporary works into an enlightened culture. The work of adjustment achieved by the j. E. Writers implied a model, that of a welcoming and pacified society in which the religious question would be settled, and learnt on a juridico-political discourse tinged with "richerism", humanitarianism, and tolerance. The standard extracts stands half way between the alienated word and pure thought. As a strategic mode of writing bearing the hallmark of the ethics of the lightened "honnête homme", and troubled by the rifts affecting the French nation, the j. E. Endeavoured to tighten the social web by promoting the communication between the opposite poles of the individual and the community, those of subjectivity and the norm, those of history and memory
Chevron-Villette, Michel de. "Analyse de quelques romans-mémoires (1782-1798) : le moi et la refondation de l'imagination familiale." Tours, 2005. http://www.theses.fr/2005TOUR2029.
Full textTo each of the narrators in this corpus, devoloping their character according to how faithful they are to their desires and beliefs, is what is at stake in the story of their life. Being conscious of an original experience is partly what the memory process is based on, both in "Confessions" and "Monsieur Nicolas". The sincerity of their writer guarantees the truth of his relation. Therefore, the story of the subject's life becomes the cornerstone of his identity. Doppet, Lanteires, Lemaire, Lesuire, Loaisel, Pigault-Lebrun and Rosny, the main novelists who published their works after Rousseau's Memoirs and before Restif de La Bretonne's, tell about the promotion of an individuality in search of autonomy ; in the background is the imaginary world of a family being renewed : elated conjugal love, emancipation of the nuclear family towards kinship. By insisting on the normative nature of the protagonists'self, the authenticity of their feelings and their behavior becomes the foundation of their originality, which is then recognized as positive, since it is shown in a vertuous way. Originality as a source of creation being enhanced, the individual begins to free himself from tradition
Maricourt, Denis. "Les figures de l'éclectisme dans la seconde moitié du XVIIIe siècle." Paris 4, 2000. http://www.theses.fr/2000PA040100.
Full textChu, Hui Ming. "Tableau de la Chine au XVIIIe siècle dans les "Lettres édifiantes et curieuses"." Grenoble 3, 1997. http://www.theses.fr/1997GRE39033.
Full textThe letters and documents sent from china by french jesuits between 1699 and 1820 (lettres edifiantes et curieuses, published under the direction of m. L. Aime-martin, paris, 1843, t. Iii, and t. Iv), provide useful information on the chinese empire in the 18th century. These letters, which come from beijing as well as provincial capitals or other minor cities, reveal the attitude of missionaries as regards imperiam power. Not only are they indispensable for the awareness of christianism in these regions through the establishment of the catholic church, its development, the persecutions it underwent, but they also provide a unique contribution concerning various features of chinese history : 1) the emperer and his court, the central administration and the army, the local and provincial administration; 2) chinese religions traditions other religions existing in china (islam, judaism); 3) justice, courts and punishment; 4) education and schooling; 5) handcrafts, country life and economic crises; 6) aspects of social life, the organisation and role of the family. One notes particularly precise information on the scientific contribution in the fields of medicine, geography, astronomy and mathematics by jesuits sent from paris by the academie des sciences
Luo, Tian. "La Chine théâtrale en France au XVIIIe siècle." Paris 4, 2004. http://www.theses.fr/2004PA040011.
Full textFrom the end of the seventeenth century to the French Revolution, the “chinoiserie” and the passion for drama were developing in coexistence. Did these two social phenomena, lasting for almost one century, unite each other? Did they really influence the social life of France? We are naturally curious about such questions. It can be a quite good way to follow the relevant trails in the history of French theatre in order to trace out how China was apprehended by the French society. The interest about the others often reflects the inner preoccupation of the observer himself. When the French playwrights criticize or compliment China, they think rather of their own country. Therefore, the interpretation of China in the French theatre is the product not only of the information conveyed by the missionaries, the sailors and the merchants but also of the intense meditation about the French society, about its system and its rules. .
Parisot, Richard. "Le récit de voyage de Johann Georg Fisch : un élève-prédicant suisse dans le midi à la veille de la Révolution française." Besançon, 1997. http://www.theses.fr/1997BESA1018.
Full textThis study is devoted to the travel journal of the german-speaking swiss, Johann Georg Fisch, briefe uber die sudlichen provinzen von frankreich, published in 1790, following a stay in the languedoc and in provence which lasted from 1786 to 1788, on the eve of the french revolution. The study attempts to fill a gap - since this work, which has never been translated into french, has not been the subject of any specific detailed research - and to show that fisch is very much within the tradition of foreign travellers, bringing to france all the preconceived ideas of a swiss preacher and man of the enlightenment. While preferring swiss freedom to french despotism, he nevertheless does sometimes come under the charm of the country and its inhabitants, and although he indulges in fierce criticism of the institutions and excessive displays of catholic piety and certain customs, he depicts with interest, and great attention to detail, the countryside, the people, farm work and the factories. His originality lies m the way he presents the cevennes, which at that time had been little explored by foreigners, in his description of the industrial enclaves and in the ideal portrait which he paints of protestants as zealous and industrious at all levels of society. Some obscure parts of the journal seem to point to the fact that Fisch's travels were perhaps financed by a swiss economic society and that the work might be a report on the state of france. The author does, however, introduce some personal touches: whereas the section on provence corresponds to the obligatory itineraries of the travellers, his vision of the Languedoc, still very much under the influence of baroque or classicism, manages to break free from this yoke, when fisch, unable to refer to the accounts of previous travellers, gives way to almost pre-romantic sentiment, musing on the passage of time while amongst the ruins or, from a mountain top in the cevennes, pondering the mystery of infinite spaces
Genand, Stéphanie. "Le modèle libertin et la fin de l'Ancien Régime, 1782-1802." Paris 4, 2002. https://acces.bibliotheque-diderot.fr/login?url=https://www.liverpooluniversitypress.co.uk/doi/book/10.3828/9780729408677.
Full textThe object of this thesis is to highlight the existence of a connection between the libertine aesthetics, as it appears under the Regency, and the abolition of principles inherited from the Ancien Régime. Indeed libertinage cannot be dissociated from the existence of aristocracy, as it appears in mondain circles in the 1730s, and among idle nobles who practice the art of seduction. It is worth examining the evolution of the libertine aesthetics at the turn of the century, in a context where the French Revolution, and before that stronger values of the bourgeoisie, both tend to question all aspects of the aristocracy's prerogatives. .
Boulay, Helga. "Gottlob Benedict Von Schirach avant la révolution française : un écrivain, historien et publisciste dans le processus de l'Aufklärung." Besançon, 1995. http://www.theses.fr/1995BESA1032.
Full textDeneys-Tunney, Anne. "L'écriture du corps au XVIIIe siècle." Paris 7, 1989. http://www.theses.fr/1989PA070028.
Full textThe object of this thesis is to interrogate different representations and interpretations of the body and the rapport between sexes, in contrast with the cartesian metaphisics of the body, in four major french novels of the eignteenth century, la vie de marianne by marivaux; la religieuse, by diderot; les liaisons dangereuses, by laclos; la nouvelle heloise, by rousseau. Far from realizing a liberation of the body, the body enters within the system of representation of the eighteenth century novels only at the cost of new forms of exclusions. That is the body functions within these novels either as a metaphor for the writing itself or as the sacrificial element from which the writing emerges
Fustier, Paul. "La vielle à roue dans la musique baroque française : instrument de musique, objet mythique, objet fantasmé ?" Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/fustier_p.
Full textThese pages have been written to explain a quaint aspect of French musical life under the reign of Louis XV. The hurdy-gurdy (Vielle à roue), which so far had been customarily an instrument used by beggars playing on streets corners (lira mendicorum), unexpectedly became the object of a sudden and powerful enthusiasm. From 1725 to 1765, with more than two hundred published pieces of music, it invaded the world of aristocracy and even conquered the royal family. In this study we are making an attempt to understand the reasons for that sudden and ephemeral passion. Our thesis is that the hurdy-gurdy became an instrument destined to serve the myth of Arcadia, commonly believed in during that period of time, by representing the image of the idealized countryman , a central character of the eighteenth century. In order to remove and purify it from any memory of its association with beggars and to make it become the Lyre of Apollo, the manufacture, the playing, the repertory of the hurdy-gurdy had to be completely transformed. The challenge was also to promote an idealized country life so as to make the hurdy-gurdy an instrument worthy to enter the Pantheon of the noble instruments of the aristocrats. . . As to the repertory, is it possible to say that the hurdy-gurdy is suitable for any high level music score? Or rather should we say that it can serve only the country repertory, which is then to be defined as music of a rustic and popular style, even though completely transformed by the influence of the Baroque
Danon, Rachel. "Voix de marronnage dans la littérature française au XVIIIé siècle." Thesis, Grenoble, 2012. http://www.theses.fr/2012GRENL044.
Full textThis dissertation, entitled Maroons’ Voices in 18th-Century French Literature, attempts to understand the various modes of resistance and escape which African slaves have constantly opposed to the colonial system of slavery. In the absence of slave narratives in French, our goal was to hear their lost voices through a close analysis of their echoes within texts written by a number of French authors who staged them, with many diffractions and deformations. Emphasis is put on the agency expressed in these countless forms of resistance, by populations who are too often misrepresented as passive victims.This study being literary in nature, it focuses on the structures and forms of enunciations encountered in these apparently derivative works written between 1730 and 1792, in order to frame the refracted presence of maroons’ voices through their transmission, translation, and deformations. What types of resistance to colonial oppression filter through these indirect and often ambivalent forms of literary testimony? How can a literary sensitivity help us grasp their historical, political and cultural stakes? Such questions are discussed through a series of close readings of selected narratives of escape, denunciations, struggles, rebellion and vengeance, taken from a variety of literary genres, all written in the colonizers’ language. In conclusion, these texts written 300 years ago are revisited in the light of recent developments in Caribbean writings
Lafrance, Geneviève. "Bienfaisance et révolution : l'imaginaire du don chez Isabelle de Charrière, Gabriel Sénac de Meilhan, Joseph Fiévée et Germaine de Staël." Thèse, Paris 4, 2007. http://hdl.handle.net/1866/18239.
Full textGirault-Fruet, Arlette. "La topique de l'île dans les récits de voyages anciens sur la route française des Indes, notamment aux Mascareignes, aux XVIIème et XVIIIème siècles." La Réunion, 2009. http://elgebar.univ-reunion.fr/login?url=http://thesesenligne.univ.run/09_07_fruet.pdf.
Full textEarly modern travel narratives endlessly put to the fore recurring narrative or descriptive configurations. The “Topic of the island” - that is, the whole system of commonplaces or topoï consistently and predictably present in these texts - neither determines perceptive or cognitive uniformity, nor prompts the reader's boredom, despite the lasting prejudice that it does so. In truth, a commonplace is a joint treasure, which each traveller appropriates by modifying any of its constitutive topical elements. The island thus described is “never quite the same, nor someone else”. This study of the “Topic of the island” demonstrates that insular representations partly relate to utopia, that referential reality is progressively invested with cultural meanings through the successive and various uses of topoï, and that these commonplaces are flexible material – they sometimes degrade into legendary, but they rarely disappear
Marty, Michel. "Voyager en Pologne durant la seconde moitié du XVIIIe siècle : le domaine français de la littérature des voyages." Paris 4, 1999. http://www.theses.fr/1999PA040238.
Full textLee, Hyo-sook. "Les récits pédagogique de Mme de Genlis." Paris 4, 1998. http://www.theses.fr/1998PA040213.
Full textThe abundance of literary output of Mme de Genlis can be explained by several motives of her writing: a liking for romantic imagination, an echo of the literary vogue, the desire to talk about her personal or social experiences, a token of her anxiety in the respect of a world in the course of change. Her narratives, on which all this converge, show however a consistency: they attempt to give moral examples. All is organized in order to make their messages intelligible, to such an extent that the literature appears as an educational means. The method of narrative, the representation of characters and spaces, the emplottment, all this process is realized in order to bring out didactic examples. Mme de Genlis thought that the example was more persuasive than the sermon on the pedagogical level. However, the insistence on realism clash with the resolute didactic. In these conditions, Mme de Genlis sometimes comes to terms with conventions, sometimes allows herself to be lead astray by a romantic imagination. But she refuses to compromise her educational vocation, in such a way that the textual point of view is constant and transparent. Besides, the motivation and the realization of her narratives reflect some of the cultural tendencies of her times, insofar as the problem of education was one of the concerns of thinkers of the age of enlightenment and her narratives are referential as far as the poetics is concerned
Ida, Hisashi. "Genèse d'une morale matérialiste : les passions et le contröle de soi chez Diderot." Paris 8, 1999. http://www.theses.fr/1999PA081646.
Full textMele, Flora. "L'atelier dramatique de Charles-Simon Favart d'après ses manuscrits." Paris 4, 2008. http://www.theses.fr/2008PA040070.
Full textCharles-Simon Favart was a representative of the history of Parisian theaters in the eighteenth century and in particular of the Foire and the Comédie-Italienne. At the end of his "premier essai de jeunesse", he noted these words: "bon à jeter au feu". This statement was repeated several times in other manuscripts; was it symptomatic of the little importance that the author attached to the written text or, did it hide something else? That is the question we ourselves asked at the beginning of our research and in the examination of the handwritten archives of the Favart family. Our research has revealed that Favart considered theatrical writing as a work of “recycling” and reshuffle of his repertoire. It does not cast his manuscripts to the fire, on the contrary, he kept for reuse and they formed the raw material for his work as a "bon magasin de choses faites". For the author, the play was like a weaving permanent whose base was cleverly retained. It was a technique that is close pastiche, in its imitation of a voluntary, leading to the change of theme. Favart manuscripts remain an essential tool in understanding the artistic inspiration of the author and the evolution of French drama in the eighteenth century, as well as a source of information on Foires, Comédie-Italienne and théâtres de société
Mirlo, Audrey. "Narcisse philosophe : une figure de la fiction française du premier dix-huitième siècle." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030117.
Full textIn the early 18th century, first-person novels would abound in French literature. Philosophers would become a prominent figure among the various kinds of narrators that specify their personal way of life. From 1721 to 1731, readers discovered Usbek, the spectateur français, the indigent philosophe, and Cleveland, four fictional characters who are letter writers, journalists or memorialists. As authors, they were inspired by their personal life experience and wrote to share their thoughts. The purpose of this work is to analyse at the time of Marivaux, Montesquieu and Prévost how the first-person literature makes philosophers face up their own image. Therefore, the philosopher becomes a new Narcissus supposed to reflect the meaning of existence. While integrated into the narrative, the philosopher (or the moralist) is no longer an objective observer who could hide behind a speech: he is himself a figure facing the judgment of readers. Moreover, they point out the ambiguities of this paradoxical figure that does not always manage to deal with sensitivity and reason. The works of the corpus are questioning the conditions for the deployment of thought in the human mind and the world of concrete things. The implications of the representation of the philosopher in fiction are the object of this study, whether on the literary or philosophical fields, but also on the poetic, aesthetic, moral or cognitive fields
Onandia, Beatriz. "Transfert culturels, traductions et adaptations féminines en France et en Espagne au siècle des Lumières." Thesis, Université de Lorraine, 2016. http://www.theses.fr/2016LORR0096/document.
Full textThe favourable reception in Spain of works by Madame de Genlis, Madame de Beaumont, Madame d’Épinay and Madame de Lambert constitutes an important chapter in the literary fortune that these authors came to achieve outside of France and particularly, in Spain during the period of Enlightenment. The pedagogical obsession of the Spanish Enlightenment scholars, women’s interest in reading and the development of publishing provoked a veritable avalanche of texts aimed at the education and schooling of women throughout the XVIII century, especially in the middle of the century at a time when a strong interest in translating foreign literary works was surfacing. Concurrent with this pedagogical interest taking place during the Enlightenment, the subject of education had become a beacon in the editorial production of the time. Consequently, the educational debates which had been taking place in France also began to become the subjects in Spanish educational circles a result of the various translations of French literary works. The pedagogic lens in the literary production of Marie Leprince de Beaumont, Stéphanie Félicité de Genlis, Louise d’Épinay and Madame de Lambert seduced a large number of Spanish Enlightenment intellectuals. The sensitivity of these French pedagogues on moral and religious matters translated perfectly to Spanish literary creations; it was a literature which respected traditional spiritual values at the same time as remaining open to the new concept of “sensitive virtue” This resurgence in female influence would go on to became apparent in the translations of French pedagogic literary works as a good number of these writings passed through the hands of women. Ana Muñoz, María Jacoba Castilla, María Romero Masegosa, Antonia de Río y Arnedo, Cayetana de la Cerda and so many others alternated between being translators and Spanish writers who gave a feminine perspective to the movement to emancipate and educate Spanish women. Notably, these women were responsible for the first Spanish versions of works by Madame de Lambert, Madame d’Épinay and Madame de Genlis. This research will analyse the transformation of these French pedagogical works: their first translations in Spain and how they influenced Spanish pedagogical literature, especially when produced by women. In doing so it will outline a number of specific traits which characterise hispanic female literary production
Inoue, Sakurako. "La valeur philosophique de la rêverie chez Jean-Jacques Rousseau." Paris 4, 2005. http://www.theses.fr/2005PA040251.
Full textThis work reexamines Jean-Jacques Rousseau's conception of the reverie, by placing it in the evolution of the descriptive poesy. The first part tries to reveal the sources of Rousseau's reverie and the characteristics of the literary creation in the 1760s and 1770s, by the genetic study of The Seasons of Saint-Lambert : a work doesn't come from the solitary meditations of only one author, but from the rivalries and the exchanges of ideas between diverse philosophers and writers ; and the theme of the sentiment of existence, that was popular among the philosophers around 1750, insinuates into the poetical milieu thanks to Saint-Lambert who had amicable relations with the sensualists. Paying attention to the philosophical quarrels between the Encyclopedists and Rousseau concerning to the delight and the morality, the second part examines the influence of these quarrels on their literary creation. This approach enables us to determine the philosophical sense that Rousseau gives to the reverie. Examining the passages on the reverie in The Months of Roucher, the third part tries to define the contribution of the reverie of Rousseau to the evolution of the lyricism in the end of 18th century. In this way, this work attempts to demonstrate that the philosophical mind, which characterizes the Age of the Enlightenment, isn't opposed to the poetical mind, but it brought an important contribution to the renaissance of the lyricism in the end of the 18th century
@This work reexamines Jean-Jacques Rousseau's conception of the reverie, by placing it in the evolution of the descriptive poesy. The first part tries to reveal the sources of Rousseau's reverie and the characteristics of the literary creation in the 1760s and 1770s, by the genetic study of The Seasons of Saint-Lambert : a work doesn't come from the solitary meditations of only one author, but from the rivalries and the exchanges of ideas between diverse philosophers and writers ; and the theme of the sentiment of existence, that was popular among the philosophers around 1750, insinuates into the poetical milieu thanks to Saint-Lambert who had amicable relations with the sensualists. Paying attention to the philosophical quarrels between the Encyclopedists and Rousseau concerning to the delight and the morality, the second part examines the influence of these quarrels on their literary creation. This approach enables us to determine the philosophical sense that Rousseau gives to the reverie. Examining the passages on the reverie in The Months of Roucher, the third part tries to define the contribution of the reverie of Rousseau to the evolution of the lyricism in the end of 18th century. In this way, this work attempts to demonstrate that the philosophical mind, which characterizes the Age of the Enlightenment, isn't opposed to the poetical mind, but it brought an important contribution to the renaissance of the lyricism in the end of the 18th century
Caron, Mélinda. "Les pratiques d’écritures et de sociabilité de Louise d’Epinay à la lumière de ses contributions à la correspondance littéraire et de ses lettres à Ferdinando Galiani (1755-1783)." Paris 4, 2009. http://www.theses.fr/2009PA040142.
Full textLouise d’Epinay’s contributions to Grimm and Meister's Correspondance littéraire (1755-1783) and her correspondence with Ferdinando Galiani (1769-1783) constitute two complementary corpora which allow us to understand this author's practices of sociability and to reveal their interaction with her writing. Her society writings, her critical works, her fictional dialogues and her letters contribute to the co-opting of a social elite, via its circulation in the margins of good society and its extension of court society's mechanisms of distinction. The analysis of self-representations and group-representations allows us to better understand the structures and social mises en scène throughout the texts. In conjunction with the analysis of the social imaginary, this analysis explains the restricted, anonymous and clandestine circulation of Louise d'Épinay's texts in the Correspondance littéraire and among members of her Parisian circle, whose contours and dynamics may be observed via her exchange of letters with Galiani. This study of little known texts is based on a sociological approach. It proposes a change of perspective from current critical works, favoring the study of relationships and social representations over ideolory. As well as proposing a renewal of Louise d'Épinay's studies, this theoretical grounding enables a new approach to the writings of women whom historiography has closely associated with Enlightenment salons and the men of letters they frequented
Raissi, Lobna. "Pédagogie dans les oeuvres de Madame d'Epinay." Nice, 2011. http://www.theses.fr/2011NICE2009.
Full textMoerman, Ellen Ruth. "L'abbé Prévost traducteur, ou la tyrannie du bon goût : L'époque du "Pour et Contre" (1733-1740)." Montpellier 3, 1998. http://www.theses.fr/1998MON30011.
Full textTranslation is one way of reading a text and as such is a source of valuable information on both the history and fortunes of a foreign text abroad, and the translator. In becoming part of the recipient culture, the translated text challenges the accepted norms and deserves to be studied more closely. Where the translation is contemporary to its original, it may also be a source of valuable information on the creation of the original. The abbe prevost (1697- 1763) was a journalist, novelist and translator. His work in the latter capacity enables him to introduce english thinking into france from 1733 onwards. The texts that appear his periodical, the pour et contre (1733-1740) , show an editor with an eclectic taste, unafraid of introducing new, foreign ideas. His reader is made to think about the hierarchy in the arts, greater variety on the stage and the means of achieving this, english humour, slavery, parliamentary democracy and the freedom of expression. Nine texts from the pc by swift, lillo, caleb d'anvers, hamilton etc. Are reproduced in bi-lingual format together with their iconography, thus showing the deliberately informative approach this translator adopts, contrary to current practice. He is a master of the polite, well-informed and elegant challenge and paves the way to domestic tragedy, richardson and hume whilst also practising new forms of writing which he incorporates in his own work