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Dissertations / Theses on the topic 'French literature Literature, Comparative Literature, Medieval'
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Ailes, Marianne J. "A comparative study of the medieval French and Middle English verse texts of the Fierabras Legend." Thesis, University of Reading, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386185.
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Worth, Brenda Itzel Liliana. "'Exile-and-return' in medieval vernacular texts of England and Spain 1170-1250." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:a736407a-4f69-46f2-98bb-992b1fb669eb.
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The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.
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Puello, Alfonso Sarah L. "Poetics of the urban, poetics of the self : a comparative study of selected works by Jorge Luis Borges and Jacques Réda." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4316585d-51c1-4b79-ae46-f5cdaf4c55d5.
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This thesis explores the poetic representation of Buenos Aires and Paris in selected works by Jorge Luis Borges and Jacques Réda respectively. Its primary aim is to analyse the relational phenomenon between the construction of these poets' personal maps of the city and the concomitant formation of the poetic self. The principal point of departure is Jacques Réda's Ferveur de Borges (1987), a collection of essays and poems published individually between 1957 and 1986, where the author expresses his admiration for Borges, shows his broad and critical knowledge of Borges's works and establishes the similarities between their poetics of the urban and poetics of the self. Another important aim of this thesis is therefore to ascertain the extent of Borges's influential role in Réda's poetics, but also how reading Borges through Réda enhances our understanding of Borges's urban poetry. This comparison reveals that Borges and Réda gravitate towards places within the city, but mostly its periphery, characterised by their unpretentious, soulful and heterotopic qualities — places where the poets feel a sense of belonging. Their objective is to restore, through the prism of their minds and their physical investment in space, the provincial spirit of Buenos Aires and Paris, hidden behind the dynamism of the modern metropolises they have become. As a consequence of this communion between self and place they explore the possibility of being on the brink of a revelatory experience that speaks to the enigma of life. The wider scope of the thesis addresses the historical and cultural relationship between Buenos Aires and Paris, Borges's and Réda's redefinition of the centre/periphery dichotomy, the evening as a temporal locale and the distinction between poetic destiny and aesthetic experience.
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Justel, Vicente Pablo. "La épica medieval francesa e hispánica : estudio comparativo de motivos y fórmulas : (L'épique médiévale française et hispanique : étude comparative de motifs et formules)." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1031.
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Dans cette thèse de doctorat, nous analysons les rapports et l’influence possible que l’épique médiévale française a pu exercer sur l’hispanique au niveau des motifs et des formules. L’étude se compose de deux grandes parties, précédées d’une introduction et suivies d'un deuxième volume d’annexes. Dans la section introductive, nous présentons certains aspects essentiels : nous définissons le corpus, nous reprenons certains points sur lesquels l’influence des chansons de geste sur le Cantar de mio Cid a été proposée ou rejetée, nous définissons les concepts fondamentaux employés et nous justifions la structure de notre étude. La thèse se compose de deux grandes parties complémentaires, dans lesquelles nous analysons d’un point de vue comparatiste les motifs et le formulisme, respectivement. Dans la première, nous étudions six motifs qui méritent une attention spéciale : la description générale de la bataille, l’attaque à la lance, le coup d’épée, la prière du plus grand péril, l’apparition de l’ange et l’itinéraire épique. L’analyse est fondée sur deux niveaux : l’un externe, où nous explorons la relation du motif et des personnages qu’il met en jeu au sein de l’œuvre dans laquelle il s’insère ; et l’autre interne, où nous nous intéressons à la composition du motif et à l’actualisation formulaire des phases qui le composent. La deuxième grande partie s’ouvre avec l’examen du rapport entre l’oralisme et le formulisme. Ensuite, à partir des exemples du Cantar de mio Cid, nous analysons en détail les différentes espèces d’expressions formulaires en tenant compte du type de variation qu’elles expérimentent. De même, nous analysons les procédés de création de formules, ainsi que les différents fonctions et effets de l’emploi de ces unités. La thèse se poursuit avec un examen quantitatif des formules du Cantar. Cette deuxième grande partie se clôt avec un chapitre dédié au système formulaire de l’épique hispanique à la lumière des chansons de geste françaises. Les annexes incluent les vers et les formules des six motifs analysés dans la première partie, toujours à partir des exemples du corpus ; les différents types de locutions formulaires du Cantar ; le registre de la totalité des formules et des phrases formulaires du poème castillan ; et un index des vers cités, provenant tant de l’épique française que de l’hispanique<br>In this doctoral dissertation we analyze the relations and the possible influence that the Medieval French Epic could have exerted on the Hispanic one on the motifs and formulas levels. The study consists of two parts, preceded by an introduction and followed by a second volume of appendix. In the introductory section, some essential aspects are presented: the corpus, the status quaestionis of the French epic influence on the Cantar de mio Cid, the fundamental concepts employed and the structure of the study. In these two parts, we analyze from a comparative perspective two complementary aspects: the motifs and the formulism. In the first one, we study six motifs which deserve a particular attention: the general description of the battle, the lance attack, the blow with the sword, the narrative prayer, the appearance of the angel and the epic itinerary. These examinations are founded on two levels: the external one, in which the relation of the motif and the characters is explored; and the internal one, that deals with the motif composition and the formulaic way in which it is expressed. The second part opens with the relation between oralism and formulism. Thereafter, drawn from the examples of the Cantar de mio Cid, we analyze in detail the different kinds of formulaic expressions, taking into consideration the type of variation. In addition, we study the methods of generation of the formulas, and we also examine the diverse functions and effects of these units. The thesis continues with a quantitative exam of the formulas of the Cantar. This second part closes with a chapter devoted to the study of the Hispanic formulaic system in light of French epic. The annexes contain the verses and formulas of the six analyzed motifs, taken from the examples of the corpus; the different types of formulaic expressions of the Cantar de mio Cid; the register of all formulas and formulaic expressions of this Castilian poem; and a final index with the verses quoted both from the French and the Hispanic epic<br>En esta tesis de doctorado, analizamos las relaciones y la posible influencia que la épica medieval francesa pudo ejercer en la hispánica en el nivel de los motivos y las fórmulas. El estudio se compone de dos grandes bloques, precedidos de una introducción y seguidos de un segundo volumen de anexos. En el apartado introductorio, presentamos algunos aspectos esenciales: definimos el corpus, retomamos algunos puntos sobre los que se ha propuesto o desechado la influencia de las chansons de geste en el Cantar de mio Cid, definimos los conceptos fundamentales empleados y justificamos la estructura del estudio. La tesis está formada por dos grandes partes complementarias, en las que analizamos desde una perspectiva comparatista los motivos y el formulismo, respectivamente. En la primera, estudiamos seis motivos que merecen una atención especial: la descripción general de la batalla, el ataque con la lanza, el golpe con la espada, la oración narrativa, la aparición del ángel y el itinerario épico. El análisis está fundado en dos niveles: uno externo, donde exploramos la relación del motivo y de los personajes que en él participan; y otro interno, donde nos interesamos por la composición del motivo y por la actualización formular de las fases que lo componen. La segunda gran parte de la obra se abre con el examen de la relación entre el oralismo y el formulismo. A continuación, a partir de los ejemplos del Cantar de mio Cid, analizamos en detalle los diferentes tipos de expresiones formulares, teniendo en cuenta las clases de variaciones que experimentan. De igual modo, estudiamos los procedimientos de creación de fórmulas, así como las diferentes funciones y efectos del empleo de estas unidades. La tesis prosigue con un examen cuantitativo de las fórmulas del Cantar. Esta segunda gran parte se cierra con un capítulo dedicado al sistema formular de la épica hispánica a la luz de las chansons de geste francesas. Los anexos incluyen los versos y las fórmulas de los seis motivos analizados en la primera parte, siempre a partir de los ejemplos del corpus; los diferentes tipos de locuciones formulares del Cantar; el registro de la totalidad de las fórmulas y frases formulares del poema castellano; y un índice de versos citados, procedentes tanto de la épica francesa como de la hispánica
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Trotter, D. A. "Medieval French literature and the crusades : 1100-1300 /." Genève : [Paris] : Droz ; diff. Champion-Slatkine, 1988. http://catalogue.bnf.fr/ark:/12148/cb34929503g.
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Stoll, Jessica. "Imagining Troy : fictions of translation in medieval French literature." Thesis, King's College London (University of London), 2014. https://kclpure.kcl.ac.uk/portal/en/theses/imagining-troy(85cde57d-20ef-452b-b079-7dce54c90ae8).html.
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Stories of the Trojan War and its aftermath are the oldest – apart from those in the Bible – to be retold in medieval literature. Between 1165-1450, they catch the imagination of French-language writers, who create histories in and for that burgeoning vernacular. These writers make Troy a place of origins for peoples and places across Europe. One way in which writers locate origins at Troy is through the device of translation. Geoffrey of Monmouth, Benoît de Sainte-Maure and the writers of the prose Troie, the Histoire Ancienne and the Roman de Perceforest all claim to have translated old texts; for Benoît and the prose Troie writers, this text is a Latin copy of an eyewitness account of the Trojan War. The writers thus connect their locations with Troy retroactively, in both space and time. Within this set of highly successful stories, writers’ presentations of translation therefore have important consequences for understanding what is at stake in medieval French textual production. Taking Derrida’s Monolinguisme de l’Autre as my theoretical starting point, this thesis sheds new light on medieval writers’ concepts of translation, creation and origins by asking two questions: • To what extent is translation considered integral to creation and textual production in medieval French texts? • Why does the conceit of translation from a lost source seem to shape narratives even when this source is a fiction? All these writers produce texts in French, or translate from that language, but these texts were written in geographically distinct areas: the Roman de Troie comes from Northern France, the prose Troy traditions are copied mainly in Italy, John Gower wrote in London, Christine de Pizan was at court in Paris and the extant Perceforest manuscripts were produced in Burgundy. The Trojan material therefore inspires writers throughout this period all over Western Europe.
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Mertz-Weigel, Dorothee. "Figuring melancholy: from Jean de Meun to Moliere, via Montaigne, Descartes, Rotrou and Corneille." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1117647343.
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Goyette, Stefanie Anne. "Indiscriminate Bodies: The Old French Fabliaux in Relation to Thirteenth-Century Medical and Religious Cultures." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10646.
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This dissertation examines representations of the body in the Old French fabliaux in order to elucidate these stories’ philosophy (or philosophies) of language and their relationship to religious, medical, and dietetic cultures. An exploration of contemporary discourses referenced in the fabliaux – moral discourses around sex and food, medical and dietetic theories concerning food and animals, and rituals and rites surrounding the living and dying body – demonstrates how these elements shape narrative structure, characters, key objects, and décor. The fabliaux exhibit bodies founded by and coextensive with language, which, particularly in the form of speech, is simultaneously a function of the body. This dissertation shows the fabliaux to be profoundly anchored in the material world, but also aware that the physical and material are affected by language, and subject to transformation by the greater context of twelfth-, thirteenth-, and early fourteenth-century literature in its vernacular and Latin, secular and religious forms. The first chapter provides a critical history of the major questions in fabliaux scholarship through the 1980s, when the field began to undergo a number of important changes. The first part of Chapter 2 pursues the physical body in the fabliaux through pleasures, particularly the sexual and alimentary, while arguing that the stories respond to outside discourses about physical behavior, and that sensual or carnal pleasures and those of language coexist. The second section traces the relationship of spaces – social and domestic, permitted and forbidden – to morality. Analysis of the localization of the body in space indicates that space is essential to the construction of bodies, and may even determine (the perception of) guilt or innocence. The third chapter demonstrates that the humor of many fabliaux depends on anxieties concerning the spatial incursions of death, which mirror the visitations of outside texts. Miracles and superstitions constitute the focus of the fourth chapter, which examines the exploitation of supernatural events by the fabliaux’ human actors. The final chapter shows the importance of dysphemism and polysemy, of audience interpretation, and of the potential dangers of misinterpretation when texts become bodies and bodies become texts.<br>Romance Languages and Literatures
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Foxton, Cynthia Jane. "The devil and the diableries in the medieval French passion plays." Thesis, University of Edinburgh, 1985. http://hdl.handle.net/1842/23901.
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Bardzell, Shaowen. "Hospitality and gift exchange reciprocity and its roles in two medieval romance narratives /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162224.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2004.<br>Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0170. Chair: Rosemarie McGerr. Title from dissertation home page (viewed Oct. 11, 2006).
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Hess, Erika E. "Cross-dressers, werewolves, serpent-women, and wild men : physical and narrative indeterminacy in French narrative, medieval and modern /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Thesis (Ph. D.)--University of Oregon, 2000.<br>Typescript. Includes vita and abstract. Includes bibliographical references (leaves 245-255). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9963445.
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Ramirez-Nieves, Emmanuel. "Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467380.
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Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality.<br>Comparative Literature
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Williams, Alison Jane. "Tricksters and pranksters in medieval and Renaissance French and German literature." Thesis, University of Bristol, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389342.
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Kaplin, David. "The best policy : lying and national identity in Victorian and French novels /." [Bloomington, Ind.] : Indiana University, 2005. http://wwwlib.umi.com/dissertations/fullcit/3202897.
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Cronin, Susan Joan. "Digital text and physical experience : French digital literatures between work and text." Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/289127.
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This thesis takes into consideration the presence of computers and electronic equipment in French literary and multimedia discussions, beginning in the first chapter with the foundation of the Oulipo group in 1960 and taking as a starting point the group's conceptions of the computer in relation to literature. It proceeds in the second chapter to explore the materialities and physical factors that have informed the evolution of ideas related to the composition and reading of digital texts, so as to illuminate some of the differences that may be purported to exist between e-literatures and traditional print works. Drawing on Roland Barthes' 'Between Work and Text,' the chapters gradually progress into an exploration of spatiality in digital and interactive literatures, taking into account the role of exhibitions in accommodating and diffusing these forms in France, notably the 1985 exhibition 'Les Immatériaux,' to whose writing installations the third chapter is dedicated. The first three chapters thus focus on computer assisted reading and writing prior to 1985. The chapters that form the second half of the thesis deal with more recent years, exploring online and mobile application works, reading these as engendering their own distinct physical spaces that extend beyond the 'site' of the work - both the website or display and the tactile materials on which the work is operated - creating in relation to the reading what Roberto Simanowski terms a 'semiotic body'. The fourth chapter takes into consideration the role of the reader's body in Annie Abrahams' 'Séparation' and Xavier Malbreil's 'Livre des Morts'. The fifth chapter explores gesture as a mode of reading and reinscription in the online, interactive works of Serge Bouchardon. Finally, the sixth chapter looks at mobile application narratives, spampoetry and email art, offering ways of reading the new spatialities these forms generate. The work as a whole aims to offer some perspectives for considering digital literatures as capable of creating complex spatial experiences between work and text.
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Cooper, Charlotte. "A re-assessment of text-image relationships in Christine de Pizan's didactic works." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:af782645-9647-4d02-ae89-5a7a1d28e302.
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Although the works of Christine de Pizan have been of interest to scholars for some time, technological advances and initiatives to make digital copies of manuscripts available online have only recently enabled close comparisons between the visual programmes of her works to be made. This thesis demonstrates that detail usually considered secondary or 'paratextual' in Christine's manuscripts actually formed a carefully-constructed part of the work itself that Christine explicitly asks her audience to read. Through 'reading' the text and image simultaneously, the visual programme proves to comprise additional layers of meaning that were woven into her didactic works. These meanings can serve to supplement the educational and moral aims of the works, or, conversely, can be inconsistent with the message conveyed in the text, leading the reader-viewer to contemplate further on the matters presented and form their own opinions on them. Sometimes, meaning is created by intervisual connections with pre-existing iconography, such that viewers may be creating associations between the miniatures seen in Christine's manuscripts and other imagery, leading them to make certain associations - this is notably the case in author-portraits of Christine. As manuscripts prepared under the author's supervision came to be copied, changes were made to the iconographic programmes, testifying to and enabling different types of readings to take place. The findings of this thesis have implications for editorial practices of medieval works in general, as these tend to circulate in editions without the visual programme, providing modern readers with only a partial view of the complete work.
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Chuffe, Eliud. "Teatro breve - carcajada grande: Un estudio del "Entremes de Melisendra"." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280596.
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This dissertation presents a critical edition of the Entremes de Melisendra. This entremes has been attributed to two talented writers of the Golden Age theater: Lope de Vega Carpio and Miguel de Cervantes Saavedra. The first part of this work is an introduction to the important role that the entremes , as a sub-genre, played during the period. The work then provides a structural analysis of the Entremes in detail, including versification and vocabulary. Bakhtin's fundamental work on carnaval, complemented by that of other critics, provides the framework for the analysis of the bawdy, at times grotesque, humor of the play. Chapter III explores the influence of the Romance de don Gaiferos , whose plot derives from the Emperor Charlemagne's era. Through a detailed comparison, it becomes clear that the Romance de don Gaiferos strongly influenced the creation of the Entremes de Melisendra. Moreover, examples of parody abound. Instead of calling the play Entremes de don Gaiferos, the author parodies the title and changes it to Entremes de Melisendra, indicative of the carnavalesque inversion found throughout the text. Chapter IV then analyses the complex intertextuality between the Entremes de Melisendra and Cervantes's "Retablo de maese Pedro." The theoretical background employed for the consideration of this extensive parody draws from Linda Hutcheon's work A Theory of Parody as well as that of others theorists. The edition that comprises the fifth chapter has been modernized using the rules suggested for editing comedias by Frank P. Casa and Michael D. McGaha in Editing the Comedia. It has been annotated to help readers understand some of the more complex passages. The brief conclusion then underscores the significance of this piece for understanding the artistic evolution of a Medieval romance. The transformations in plot and presentation from romance, to entremes and then to a prose recreation of a theatrical "retablo" reflect the ever-changing relationships between art and society. A series of appendices offers additional information that supports the analysis presented.
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Emery, Meaghan Elizabeth. "Writing the fine line : rearticulating French National Identity in the divides. A cultural study of contemporary French narrative by Jewish, Beur, and Antillean authors /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1382548822.
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Gilbert, Jane. "Comparing like with like : identity, identicalness and difference in selected medieval French and English narratives." Thesis, University of Cambridge, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.308152.
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Bouchard, Valérie. "Femme-sujet ou femme-objet Le corps féminin chez Marie-Sissi Labrèche, Nelly Arcan et Clara Ness." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27504.
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Dans plusieurs romans québécois récents, nous observons une tendance chez les auteurs féminins à exploiter le corps de la femme dans des écrits, souvent à connotation érotique. Ce corps devient un outil de séduction et sert au personnage féminin dans une quête quelconque (attention, affection, admiration, etc.) Cette approche surprend si nous considérons la démarche entreprise par les féministes des années 1970-80 pour libérer la femme de l'emprise qu'exercaient les hommes sur son corps et pour la faire passer d'objet à sujet, entre autres au sein d'une littérature féministe. Nous abordons donc, dans cette analyse d'oeuvres de nouvelles écrivaines, la conception du personnage féminin ainsi que son rôle, pour savoir si ce dernier renvoie à une fonction de sujet où s'il exerce plutôt un retour à la fonction d'objet, idéologie véhiculée par les valeurs patriarcales. À l'aide de romans contemporains, Borderline de Marie-Sissi Labrèche, Putain de Nelly Arcan et Ainsi font-elles toutes de Clara Ness, nous constatons que les personnages féminins donnent l'impression d'être sujets par la façon dont ils usent de leur corps pour se forger une identité et une personnalité forte. Par contre, les romancières récupèrent des idées misogynes entourant la femme, la ramenant à sa condition de femme-objet dont le corps sert au plaisir des hommes. Des études sur l'érotisme et la pornographie permettent de déterminer les limites et les différences entre ce qui est conçu pour le regard masculin et ce qui renvoie aux intérêts féminins. De plus, les théories sur l'agentivité qui étudient le pouvoir et le contrôle qu'exercent les personnages féminins sur leur propre vie nous permettent de mieux délimiter les frontières entre femme-objet, femme-objet "volontaire" et "assumée" et femme-sujet.
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Wallace, Joy E. "A study of adventure, the fantastic and the marvellous in some medieval French and English romances." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385784.
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Soares, Costa Maria do Carmo. "Gaston Miron et Manuel Bandeira: Une pragmatique de l'engagement." Thesis, University of Ottawa (Canada), 2003. http://hdl.handle.net/10393/28966.
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L'importance de l'oeuvre de Gaston Miron dans la littérature québecoise et celle de Manuel Bandeira dans la littérature brésilienne n'est plus a démontrer. Cependant, l'orientation qu'ont reçue ces oeuvres a été principalement de nature sémiotique et thématique. La présente étude vise a démontrer que par l'approche pragmatique---qui met en évidence les marques discursives pertinentes---la poésie se révèle porteuse d'un type d'engagement de nature socio-culturelle, comme chez le poète brésilien, ou politique, chez le poète québecois. Ainsi, la matérialité du discours, dont relèvent les ressources stylistico-rhétoriques (les déictiques, les pronoms personnels, les temps verbaux), ainsi que les éléments de l'oralite (la parataxe, l'ellipse et la repetition), manifestent une subjectivité sur le plan de l'énonciation discursive. En outre, ce plan est tissé par différents niveaux, que ce soit phonique, syntaxique, lexical, sémantique et rythmique; par la façon dont ils sont agencés, communique une plethore d'émotions, résultant en un éthos qui essaie de rejoindre le destinataire, de façon a susciter chez celui-ci une réaction et, par conséquent, une transformation culturelle et sociale.
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Carter, Elizabeth Lee. "Taming the Gypsy: How French Romantics Recaptured a Past." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064929.
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In this dissertation, I examine the evolution of the Gypsy trope in Romantic French literature at a time when nostalgia became a powerful aesthetic and political tool used by varying sides of an ideological war. Long considered a transient outsider who did not view time or privilege the past in the same way Europeans did, the Gypsy, I argue, became a useful way for France's writers to contain and tame the transience they felt interrupted nostalgia's attempt to recapture a lost past.
My work specifically looks at the development of this trope within a thirty-year period that begins in 1823, just before Charles X became France's last Bourbon king, and ends just after Louis-Napoleon declared himself Emperor of France in 1852. Beginning with Quentin Durward (1823), Walter Scott's first historical novel about France, and the French novel that looked to it for inspiration, Victor Hugo's Notre-Dame de Paris (1831), I show how the Gypsy became a character that communicated a fear that France was recklessly forgetting and destroying the monuments and narratives that had long preserved its pre-revolutionary past. While these novels became models in how nostalgia could be deployed to seduce France back into a relationship with a particular past, I also look at how the Gypsy trope is transformed some fifteen years later when nostalgia for Napoleon nearly leads France into two international conflicts and eventually traps the French into what George Sand called a dangerous "bail avec le passé." In new readings of Prosper Mérimée's Carmen (1845) and George Sand's La Filleule (1853), I argue that both authors personify the dangers of recapturing the past, albeit in two very different ways. While Mérimée makes nostalgia and the Gypsy accomplices, George Sand gives France an admirable Gypsy heroine, a young woman who offers readers a way out of nostalgia's viscous circle. I conclude by arguing that nostalgia and this Romantic trope found their way back into France at the dawn of a new millennium, and the Gypsy has once again been typecast in art and politics as deviant for refusing to dwell in or on the past.<br>Romance Languages and Literatures
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Leggette, Amy. "Scenes, Seasons, and Spaces: Textual Modes of Address in Modern French, American, and Russian Literature." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19274.
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This dissertation examines how literary form adapts to emergent print environments by identifying common strategies for incorporating the act of reading into the situation of the text. In my analysis of original textual forms, I investigate the material specificity of constitutively modern practices of reading and subjectivity, focusing on how innovative publications structure these practices by involving the reader in the process of production. This project assembles six pioneering writers across literary traditions, genres, and periods, from the 1830s to the 1910s, in three chapter pairings: novelistic episodes of Honoré de Balzac’s Comédie humaine and prose poems of Charles Baudelaire’s Spleen de Paris in nineteenth-century Parisian periodicals; the prose poetry books, Une saison en enfer by Arthur Rimbaud and Spring and All by William Carlos Williams; and genre-bending texts from the œuvres of Stéphane Mallarmé and Vladimir Mayakovsky, including the typographically irregular page spreads of Un coup de dés jamais n’abolira le hasard and Vladimir Mayakovsky: A Tragedy (Vladimir Maiakovskii: Tragediia). My discussion locates reflexive conceptions of modern literature in constructions of the reading subject, while extending the performative framework of textual modes of address to new media and digital technologies—social interfaces that mediate subjectivity by structuring practices of reading.
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Scrivner, Olga B. "A Probabilistic Approach in Historical Linguistics Word Order Change in Infinitival Clauses| from Latin to Old French." Thesis, Indiana University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3714098.
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<p> This thesis investigates word order change in infinitival clauses from Object-Verb (OV) to Verb-Object (VO) in the history of Latin and Old French. By applying a variationist approach, I examine a synchronic word order variation in each stage of language change, from which I infer the character, periodization and constraints of diachronic variation. I also show that in discourse-configurational languages, such as Latin and Early Old French, it is possible to identify pragmatically neutral contexts by using information structure annotation. I further argue that by mapping pragmatic categories into a syntactic structure, we can detect how word order change unfolds. For this investigation, the data are extracted from annotated corpora spanning several centuries of Latin and Old French and from additional resources created by using computational linguistic methods. The data are then further codified for various pragmatic, semantic, syntactic and sociolinguistic factors. This study also evaluates previous factors proposed to account for word order alternation and change. I show how information structure and syntactic constraints change over time and propose a method that allows researchers to differentiate a stable word order alternation from alternation indicating a change. Finally, I present a three-stage probabilistic model of word order change, which also conforms to traditional language change patterns.</p>
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Wilkins, James D. "The evolution of prayer in French medieval literature : a medium of character development and projection in the Mystéres de la Passion /." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487693923197776.
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Sauble-Otto, Lorie Gwen. "Writing in subversive space: Language and the body in feminist science fiction in French and English." Diss., The University of Arizona, 2001. http://hdl.handle.net/10150/279786.
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This dissertation examines the themes of subversive language and representations of the body in an eclectic selection of feminist science fiction texts in French and English from a French materialist feminist point of view. The goal of this project is to bring together the theories of French materialist feminism and the theories and fictions of feminist science fiction. Chapter One of this dissertation seeks to clarify the main concepts that form the ideological core of French materialist feminism. Theoretical writings by Monique Wittig, Christine Delphy, Colette Guillaumin, Nicole-Claude Mathieu provide the methodological base for an analysis of the oppression of women. Works by American author Suzy McKee Charnas and Quebecois author Elisabeth Vonarburg provide fictional representations of what Wittig calls "the category of sex". Imagery that destabilizes our notions about sex is studied in Angela Carter's The Passion of New Eve. French materialist feminism maintains that the oppression of women consists of an economical exploitation and a physical appropriation. The second chapter of this dissertation looks at images of women working and images of (re)production in science fiction by Quebecois authors Esher Rochon, Louky Bersianik, Elisabeth Vonarburg, and American authors Ursula Le Guin, Joanna Russ, Marge Piercy, James Tiptree, Jr., Suzy McKee Charnas and Octavia Butler. The third chapter examines the theme of justified anger, as expressed in feminist science fiction, when women become aware of their own oppression. In addition to authors already mentioned above, I take examples from works in English by Kit Reed & Suzette Haden Elgin, and in French, by Marie Darrieussecq, Joelle Wintrebert and Jacqueline Harpman. Chapter Four seeks to show the importance of the act of writing and producing a text as a recurring theme in feminist science fiction. Highlighted examples from works by many authors including Elisabeth Vonarburg and Suzette Haden Elgin are representational of what Wittig calls "the mark of gender", the use of pronouns, marked speech and linguistic experimentation and invention.
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Hug, Christine. "Discourse and translation, comparative descriptive analysis of William Goldman's The Princess Bride and its French translation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ58463.pdf.
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Turner, Victoria C. "Representing the Saracen : identity, race and religious difference in medieval French and Occitan literature." Thesis, University of Warwick, 2013. http://wrap.warwick.ac.uk/57976/.
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This thesis focuses upon literary representations of a familiar yet imprecise figure: the medieval Saracen. Through close analysis of a broad corpus of texts ranging from roughly 1150 to 1350, including epic, romance and miracle tales and treating both Old French and Occitan materials, it highlights the impossibility of generalising about the Saracen and his role. It argues instead that the malleability of Saracen identity was often acknowledged and even exploited in literature. A study of the ways in which such a figure may be defined is used to bring race into dialogue with other aspects of identity such as gender, and to explore in particular the relationship between religion and race. Drawing upon theories of performativity and cross-dressing, Lacanian logical time, communitas in religious experience, and lastly of speech acts, it argues that medieval racial identity – as seen through the body, belief and speech of the Saracen – was far from universally understood and could be constructed by narrative processes and stylistic technique as well as social conventions.
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Clancy, Brian Thomas. "From Time to Totality| The Aesthetic Temporality of Objecthood." Thesis, University of California, Berkeley, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10687332.
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<p> This dissertation constructs a philosophy of perception that creates what I call a “perceptive ontology of objects.” This ontology emphasizes, not the subjective perspectivalism of human identity, but the dynamic emergence of objects into objecthood through impersonal modalities of space, time, light, and sound. Objecthood is an attempt to render perceptive experience as something neither wholly subjective nor wholly objective. Here objects are connected with subjectivity and yet still external. I argue that modernist authors present changeable, novelistic surfaces, which submit the novel’s material objects to epistemological doubt. This creates radically interruptive moments of heightened perception, rupturing immediate experience from the more conventionally mimetic, referential, and social surfaces of the novel found within literary realism. These perceptive experiences create representational effects which I call “the mimesis of sensation.” This creates a sensory surface in the story world through which the reader aligns with the perceptive experiences of characters. This form of readerly connection is distinct from either Aristotelian empathy on the one hand, or Brechtian estrangement, on the other. “The moment,” a temporality distinct from the present, the modernist works of authors like Mallarmé, Woolf, Joyce, and Kafka foreground perception itself, altering visions of time to construct discrete and static temporalities. These discontinuous moments create forms of abstract continuity. They thus create a dialectical relationship with narrative. </p><p> These event-like ruptures, occurring through encounters with the surface of objects, offer two distinct notions of time that could serve as alternatives to the post-structuralist critique of the materiality of the signifier as seen in theorists like Derrida and Barthes. First, the surface of the text becomes an expansive medium of perception: a collection of perpetual gestures, interruptions, reflections, and possibilities which arises, not through linguistic play, but through a composite surface of language and perception. A totality emerges through perceptive processes in relation to this medium, not through the infinite deferral of the signified, but through the ongoing logical recession of the object through epistemological immanence. Here I also take an important departure from the work of other theorists of modernity—Baudelaire, Bergson, Benjamin, and Deleuze, and others—who suggest an imagistic immediacy to the experience of non-chronological time. My notion of the modernist literary object is distinctively not a ready-to-point-to image. I critique the centrality of images in 20<sup>th</sup>-century theories of temporality, arguing that modernism constructs moments of readerly critical alignment not through the satisfaction of visual desire, but by foregrounding processes of apprehension, perception, and inquiry: attempting to decipher an object which is never quite fully known. </p><p> Even as the modernist techniques I study draw attention to the artifice of representation and the difficulties of constructing knowledge, they also frame objects of perception, constructing scenes of aesthetic totality—available to the spectator so long as she acknowledges the mediated lens through which she looks. I see totality as the possibility that perception could be made whole, the possibility that there is a form of subjectless experience in which perceptive inquiry creates order (as forms of abstract continuity). These totalities, perceivable not in chronologies of external perceptible phenomena, but within impersonal faculties of apprehension, as they coincide with these forms of deeper time, also invoke pathos (through the acknowledgment of dimensions of fate). In four chapters, each devoted to a respective modernist author, the project shows how the works of Mallarmé, Woolf, Joyce, and Kafka reveal relationships between what I call modernism’s “moments” and the receding totality of the object. </p><p> Chapter 1 of the dissertation argues that a relationship exists between Mallarmé’s reception of impressionism and the poet’s linguistic theory. Here I examine Mallarmé’s writings on the impressionist <i> plein air</i> technique in his essay, “The Impressionists and Édouard Manet” (1876). <i>Plein air</i> means more for Mallarmé than just painting outdoors. Air, in Mallarmé’s eyes, is a full presence. Atmosphere is the key to a deep and abstract form of naturalism in his work. Other subjects in this chapter include atmospheric modalities like breath or respiration, speech and the sounds of words, or aspects of nature like weather. In Chapter 2, the novelistic objects of perceptive ontology in Woolfian impressionism create a temporal rupture from realism’s more conventional referential representation. I argue that Woolf creates <i> another type of realism</i> through her experiments with time. Importantly, I break from the work of 20<sup>th</sup>-century continental theorists of radical time influenced by Bergson (like Deleuze) in which the image plays a central, functional role. Woolf’s moments challenge the idea of a Bergsonian image-form not subject to doubt in order to open the imaginative field of literature to what I call “the mimesis of sensation.” (Abstract shortened by ProQuest.) </p><p>
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Giraud, Thérèse Lise Anita. "La fable comme dixième 'forme simple' : une étude comparative du "Crépuscule des loups" de Jean Dutourd avec les "Fables" correspondantes de Jean de La Fontaine." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/18417.
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The famous fables of La Fontaine date back to the 17th century and have been studied in French schools in many countries throughout the world. They are also the literary source for the "Crepuscule des 10 ups", a collection of satires by Jean Dutourd. I analyzed 12 of these satires, along with the 12 corresponding fables, to establish the procedure for the transformation of the "Fables" and to examine the fmal result. I based myself on Jolles' theory of Simple Forms tackled in Part I. These are ancient literary forms which had not been previously explored. Part 2 examined the socio-political milieu of Jean Dutourd (with Jean de La Fontaine's curriculum vitae relegated to the Appendices section).In the following chapters I aimed to reveal the factors which influenced their work the most. Jolles explains that the history of the form is important for the study of certain forms, especially with regards to the social milieu. The first problem which this thesis explores is, what has happened to the form of the fable. - Could the fable survive the 20th century?- If so, with what transformations? These are the type of questions which Jolles would have posed, because, the Simple Forms date back to antiquity and stem from the anthropological needs of man, fulfilling certain functions. In Part Three, I analyzed the evolved forms of the first degree (the fables of La Fontaine) with respect to the evolved forms of the second degree (each of the 12 corresponding satires). I considered the human aspects, similarities and additions, as well as Dutourd's reversal of situations, where he questions the morals contained in the fables. I also make a comparison between Louis XIV's socio political world, (the milieu of La Fontaine), to that of the De Gaulle era. The role of the associative memory notably that of the various events in their time-span, is of prime importance. It is via the association and the memories of the past that we can reconstruct the sociopolitical milieu which constitute the base of the fables. To conclude, the main aim of the satires is to paint the good, old fables in the hues of the 20th century, rather like one would renovate the fayade of some decrepit construction. Let it suffice to quote the following line taken from the outside back cover of "Le crepuscule des loups": "The fabulist of to-day can perhaps perceive some details which were invisible during the time of Louis XIV"I . The thesis then finally comments on the spirit of 20th century man- has he changed all that much since the 17th century?
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Balombin, Clare Ruth. "Saints in the Roman de Renart." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1374062333.
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Young-Studer, Noémie. "La chanson d'Yde et Olive: A Parable of a Medieval Self-Made Man." PDXScholar, 2003. https://pdxscholar.library.pdx.edu/open_access_etds/4668.
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La chanson d'Yde et Olive, an early fourteenth-century epic poem from the Picard region, exemplifies the medieval custom of text renewal that seeks to adapt pagan materials to fit Christian doctrine. Largely based on the plot of the Ovidian fable Iphis and Ianthe from The Metamorphoses, its main character Yde undergoes a metaphorical transformation from a woman into a man. Moreover, much like the Ovide moralisé, a Christianized adaptation of the Latin original, Yde et Olive's message can be understood as a Christian parable for the purging of the sinful soul. To set up the poem's didactic message, the poet carefully infuses the story with contemporary social concerns, such as the theme of incest and gender disruption, both potentially offensive forces to the medieval social structure. In the backdrop of these threats to society, the heroine's overcoming of her struggles becomes all the more meaningful, leading to a clear moral message to the reader. While being a hybrid in genre and structure, the poem shows many borrowings from Christian hagiography, especially from the later, more romance-influenced versions of the Vitae of female transvestite saints. In these narratives, the heroine's spiritual development is typically portrayed in terms of "becoming male," which can also be understood as an erasure of sexual difference to approach God in a Neoplatonic sense. Moreover, the development of Yde's own hybrid state leading to the climax of revealing her new sex exemplifies medieval literary criticism, elaborating on the central theme of uncovering truth by exposing the hidden gem beneath the rough surface.
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Dicks, Joseph. "A comparative study of the acquisition of French verb tense and aspect in early, middle, and late French immersion." Thesis, University of Ottawa (Canada), 1994. http://hdl.handle.net/10393/6736.
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In the present thesis, the interlanguage development of second language acquisition (SLA) was examined as it relates to students' French verb tense use in three program variants of French immersion: early French immersion (EFI), middle French immersion (MFI) and late French immersion (LFI). Verb tense is a crucial element of the French language and an area of considerable difficulty for students in French immersion (FI). The age at which the learners were first exposed to intensive amounts of French varied in each of these programs--5 years of age (Kindergarten) in the earliest starting program, EFI, 9 years (grade 4) in MFI, and 11 years (grade 6) in the latest starting program, LFI. Fourteen separate FI classes were studied: eight at grade 6 and six at grade 8. There were two classes per program at each grade level with the exception of grade 6 MFI where all four classes were involved. A major goal of this thesis was to study the issue of 'starting age' in SLA as it applies to intensive exposure to the second language (L2) in a school setting. Those who favour an early start argue that the larger number of cumulative hours of exposure to the L2 coupled with a 'natural process' of language acquisition produce better results. Those who prefer a later start claim that a 'natural process' of SLA need not be limited to younger learners, and that the older learner's advanced cognitive ability and first language literacy skills result in more rapid and efficient language learning. In general, the results of this research indicated that, regarding students use of basic French verb tenses, all three French immersion (FI) programs were working effectively as reflected in the superior performance by grade 8 students in all three programs on both tests. On the more analytic, written task two groups of later-starting students appeared to make fairly quick progress in some casesby the end of grade 6), and performed at a level which was closer to their earlier starting peers. Learner factors such as starting age (i.e., cognitive maturity and first language literacy), and second language fluency seem to interact with different pedagogical techniques to produce results which advantage late starting learners on more analytic tasks. Finally, the interlanguage analyses provided evidence that the passe compose and imparfait aspects of the written French past tense are extremely difficult for students in French immersion. (Abstract shortened by UMI.)
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Milanovic, Eva. "Reflections translating Camille Deslauriers into English and Angie Abdou into French." Mémoire, Université de Sherbrooke, 2012. http://hdl.handle.net/11143/5708.
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This thesis project involves the translation of a selection of short stories by Camille Deslauriers, a Québécois writer, from French into English, as well as the translation of a selection of short stories by Angie Abdou, a Western English-Canadian writer, from English into French. The thesis is divided into four chapters into which the translations have been inserted. The chapters provide an introduction and commentary to the translations. I begin by giving a brief overview of the importance of literary translation in Canada as well as a short description of Québécois and English-Canadian short fiction.This section introduces the two authors that have been chosen for this thesis, Camille Deslauriers and Angie Abdou, as well as their collections of short stories, Femme-Boa and Anything Boys Can Do respectively. I discuss various approaches to translation, literary translation, linguistic issues, the translation process, and the issue of mother tongue and directionality. Following the two introductory chapters are the translations. I have translated nine of Camille Deslauriers' short stories from Femme-Boa from French into English, and three of Angie Abdou's short stories from Anything Boys Can Do from English into French. In both cases, these are the first translations to be done of these authors' works. I then go on to describe certain challenges posed by the translations, giving examples of strategies adopted to resolve the problems. In the final chapter, I reflect upon the translation process as a whole, in light of the revisions done by both of my thesis advisors, in terms of vocabulary, syntax, bilingualism, and biculturalism.This reflection enables me to synthesize the knowledge that I acquired through the whole translation experience.
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Alnwick, Marie. "Translating the Buffyverse: Examining French fan response to "Buffy contre les vampires"." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27568.
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Fictional texts represent a particular challenge for translators due to their use of expressive language. The translation of audiovisual texts in particular is complicated by various institutional and technical constraints. As such, assessing the quality of translated televisual fiction is a complex undertaking that requires an approach more flexible than that prescribed by proponents of textual-linguistic models.
This thesis looks at translation quality from another angle, that of audience reception. As a case study, this thesis investigates the reception of the French dubbed translation of Buffy the Vampire Slayer, a popular American television show characterized by its frequent use of illocutionary elements, including wordplay, neologisms and cultural references. One interpretive community's response to the French dubbed translation is examined through the document analysis of a French chat room thread dedicated to the dubbed version of the show.
In order to check the legitimacy of fans' claims, a translated episode of Buff the Vampire Slayer is assessed, with posters' comments informing the evaluation criteria. In particular, the target text is evaluated according to its treatment of illocutionary strategies. The results of the document analysis and the translation evaluation are compared to give a multidimensional perspective on the quality of the target text. The evaluation highlights the prevailing tendency of the target text to omit illocutionary elements in favour of neutral paraphrase, and the document analysis suggests that this tendency may in part account for the chat viewers' largely negative response to Buffy the Vampire Slayer's French dubbed translation.
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Borilot, Vanessa. "Feminine strategies of resistance comparative study of two XIXth century French literary pieces and two XXth century French Caribbean writings /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 111 p, 2009. http://proquest.umi.com/pqdweb?did=1885467531&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Courvoisier-Skulska, Sophie. "De l'exiguïté spatiale à une ouverture temporelle chez Daniel Poliquin. Une étude comparative de «L'Obomsawin», «L'homme de paille» et «La kermesse»." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95159.
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Daniel Poliquin, author of various novels, short stories and essays, is a key reference for one who studies Franco-Ontarian literature. In this thesis, we will argue that there is an evolution in the treatment of space and time in three of Poliquin's novels: L'Obomsawin (Obomsawin of Sioux Junction) (1987), L'homme de paille (The Straw Man) (1998) and La kermesse (A Secret Between Us) (2006). From the first novel to the last, the author lessens the importance of spatial questions and gives more attention to questions related to time. This evolution goes along with a gradual depoliticization and individualization of space and time in the novel. Therefore, if L'Obomsawin is a strongly politicized novel written for the Franco-Ontarian cause, La kermesse, on the other hand, puts the spotlight on the individual, independent from its location and capable of living a time that is complete past, present and future.<br>Le romancier, nouvelliste et essayiste Daniel Poliquin est une référence incontournable pour qui s'intéresse à la littérature franco-ontarienne. Dans ce mémoire, nous soutiendrons qu'il y a une évolution des questions spatio-temporelles dans trois romans de Poliquin : L'Obomsawin (1987), L'homme de paille (1998) et La kermesse (2006). On constate que, d'un roman à l'autre, l'auteur se détache des questions spatiales et se penche davantage sur la question du temps. Cette évolution s'accompagne d'une dépolitisation de même qu'une individualisation graduelle des enjeux spatio-temporels. Ainsi, si L'Obomsawin est un roman engagé pour la cause collective franco-ontarienne, La kermesse place l'individu au cur du récit un individu indépendant de son espace et en possession d'un temps qui est désormais entier passé, présent et futur.
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O'Shea, Regina L. "Queening: Chess and Women in Medieval and Renaissance France." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2416.
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This work explores the correlation between the game of chess and social conditions for women in both medieval and Renaissance France. Beginning with an introduction to the importance and symbolism of the game in European society and the teaching of the game to European nobility, this study theorizes how chess relates to gender politics in early modern France and how the game's evolution reflects the changing role of women. I propose that modifications to increase the directional and quantitative abilities of the Queen piece made at the close of the fifteenth century reflect changing attitudes towards women of the period, especially women in power. In correlation with this, I also assert that the action of queening, or promotion of a Pawn to a Queen, demonstrates evolving conceptions of women as well. This work seeks to add to the growing body of work devoted to the exploration of connections between chess and political and social circumstances during the periods under consideration. As the question of the interconnectedness between the game and gender relations is in its beginning stages of exploration, this thesis is offered as a further analysis of the gender anxieties and conceptions present in the game's theory and history.
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Masera, Cerutti Maria Ana Beatriz. "Symbolism and some other aspects of traditional Hispanic lyrics : a comparative study of late medieval lyric and modern popular song." Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321657.
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Bridges, Venetia Rachel Lucy. "Writing the past : a comparative study of 'the Classical Tradition' in the works of Walter of Châtillon and contemporary literature, 1160-1200." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610518.
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Davies, Michael Howard. "'Fierabras' in Ireland : the transmission and cultural setting of a French epic in the medieval Irish literary tradition." Thesis, University of Edinburgh, 1995. http://hdl.handle.net/1842/8164.
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Thirteenth-century France saw the construction of the Sainte-Chapelle in Paris to house the Crown of Thorns and other Relics of the Passion which had been purchased by King Louis IX. As a result, a fictitious history that explained how Charlemagne had rescued these Relics from the Saracens and brought them to Paris gained widespread popularity in later medieval France. This history was in the form of an epic poem entitled the Chanson de Fierabras, of which English translations were also made. The history was, in addition, taken to Ireland, where the Irish translation, Sdair Fortibrais developed a wide circulation. However, the Irish text had as its source a Latin translation of the French epic poem. This Latin text is preserved only partially in a unique Irish manuscript of the fifteenth century. It is assumed to be the work of an Irish cleric due to the non-appearance of this version of the story outside Ireland. Hitherto unedited, the principal aim of this project is to provide an edition of the Latin text that lies between the French epic and the Irish text, and then to discuss the position of the story in the Irish literary tradition. The first part of this thesis is entitled 'The Irish Fierabras- the Historical and Literary Framework', divided into five chapters. The first chapter asks why a certain selection of literary texts were translated into Irish during the later Middle Ages, and how they were representing the literary tastes of contemporary France. A comparison is then made with the translation literature of English, Welsh and Old Norse, leading to the conclusion that the history of the Relics of the Passion was the major reason for the interest in the Fierabras story in Ireland as in England. The second chapter outlines the spread of the Fierabras story in France, England and Ireland from the thirteenth to the fifteenth century, noting any political reasons as to why the story may have been popular at any one time. The third chapter considers how the subjects of the Fierabras story were used elsewhere in the Irish tradition in order to see if any political interpretations may be applied. The results are inconclusive. The fourth chapter demonstrates that the Irish text is a close translation of the Latin, which is itself an economical translation of the French poem. The final chapter notes how the Latin text can be considered a scholastic text of the early fourteenth century, and asks if it was the work of one particular author, by comparison with another datable text. The second part, 'Manuscript, Text and Translation', is centred upon the edition of the Latin text. The edition presents the text as it is written in the manuscript, with appropriate emendations - an 'editio princeps'. The title of the text in the manuscript, Gesta Karoli Magni, is preserved. The edition is prefaced by a description of the manuscript, along with the editorial principles. It is noted how the text is preserved on one quire that would probably have been followed by a similar quire, now lost. The edition is followed by a textual apparatus, in which the editorial corrections are explained, and some further notes. A reasonably literal translation lies at the end, in which the difficulties in the Latin text are clarified as far as possible.
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O'Brien, Catherine Mary. "Women's fictional responses to the First World War: a comparative study of selected works by French and German writers." Thesis, University of Hull, 1993. http://hydra.hull.ac.uk/resources/hull:3120.
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Luteran, Paula. "Healing leaves." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/7071.
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Master of Arts<br>Department of Modern Languages<br>Robert L. Clark<br>Medieval French literature provides the modern researcher with references to the healing arts in many passages that are incorporated into prose or poetic works. Because there was no clear separation of the genres into modern classifications, references to treatment of sicknesses of body, mind or spirit are woven into many literary works, providing us with a kind of snapshot of the state of the art healing practices of the day. Texts make reference to herbs and plants used to cure the ailments of the body, gardens and flowers that refresh the spirit, miraculous unguents, cures through the intercession of the saints and the Virgin Mary and surgical procedures. Texts examined here include Le Roman de la Rose, Erec et Enide, Aucassin et Nicolette, Les Lais of Marie de France, Le conte du Graal, Le chevalier de la charrette, La Condamnation de Banquet, Yvain, Cligès, La Chanson de Roland and Treize Miracles de Notre-Dame. The picture they provide of the medicine of the time has a certain charm and quaintness that many moderns seek in holistic treatments of today which hearken back to this more rustic medicine.
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Melvin, Catherine Eda. "Cross-cultural representations: The construction of "America" after September 11th in English Canadian, Quebec and French print media." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26982.
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The cultural turn in Translation Studies is the name given to the shift from an inter-lingual approach to the study of translation to an inter-cultural one. Since the cultural turn, meaning is no longer considered to be reducible to the level of word, sentence or even text within a specific situation of utterance. Instead, culture as a whole is considered to be the prime locus of meaning. Translators, then, are not expected to be simply bilingual, but to be bi-cultural.
This thesis is a comparative discourse analysis that explores how pre-existing discourses in English Canada, Quebec and France affect the representation of the United States in print media coverage following terrorist attacks in New York and Washington on September 11th, 2001. More specifically, the impact of the discourse of counter-Americanism in English Canada is analyzed in a corpus of newspaper articles selected from five major Canadian dailies. Similarly, articles from Le Devoir and La Presse are analyzed in relation to the discourse of americanite in Quebec and articles from Le Monde are analyzed in relation to the discourse of anti-Americanism in France. In each case, the construction of an American identity can be traced to the specific geographical, historical, political and economic relationships of each country to the U.S. This means that representations of an American Other serve primarily to support representations of self, thus revealing the relative and constructed nature of national identity.
Drawing on scholars in both Cultural Studies and Communications, this study outlines how discourse constructs national identity. In addition, it illustrates how identity discourses affect the construction and interpretation of meaning, thus meriting attention in the field of Translation Studies. (Abstract shortened by UMI.)
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Morgan, Erin Liana. "'A Mirror for Princes?' A Textual Study of Instructions for Rulers and Consorts in Three Old French Genres." Thesis, University of Canterbury. Languages, Cultures and Linguistics, 2008. http://hdl.handle.net/10092/2228.
Full textAbstract:
This study focuses on the literary subgenre of Mirrors for Princes. A
number of twelfth-century works from three genres of Old French literature
are examined in order to ascertain what forms any didacticism takes, and
whether the texts can be read as Mirrors for Princes. The three genres studied are epic, romance and pseudo-historical chronicle. From epic, I discuss La Chanson de Roland, Le Voyage de Charlemagne, La Chançun de Willame and Le Couronnement de Louis. Chrétien de Troyes forms the study of Mirrors for
Princes in romance, and for pseudo-historical chronicle I examine Wace’s
Roman de Brut.
The didacticism present in the studied texts assumes two forms. The first is direct didacticism, in which the narrator or a character portrays an
instruction or moral lesson through “speech”. This gives extra emphasis to the message, whether addressed directly to the audience or to another character
within the narrative. The second form is indirect didacticism, which is more
common in these texts. It consists of exemplary characters, their actions,
behaviour and reputations. The Mirrors for Princes aspects of these texts
provide not only examples of successful kings, but also of excellent vassals
and queens. The mirrors for the women involve virtuous characteristics, where
they fulfil their wifely and noble duties. They are addressed to regents and queens consort more so than to queens regnant, who were uncommon figures in the twelfth century.
As well as providing examples and lessons on what is optimal behaviour for the ruling class, there are characters who supply examples of
behaviour that is to be avoided. With these ignoble characters, common
methods of transmitting the didactic messages are through their lasting
reputation, the consequences of their actions, or the nature of their deaths.
The study concludes that the examined texts can be read as Mirrors for
Princes, despite most of them not being originally conceived as belonging to
this subgenre. Lessons for vassals, noblemen and noblewomen, queens and
kings are present to varying extents throughout these works using both forms
of didacticism outlined above.
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Fahey, Sophie. "Voice and Agency in William Shakespeare's The Tempest and Aimé Césaire's Une Tempête." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/scripps_theses/906.
Full textAbstract:
This thesis explores how Prospero’s power is conveyed through voice in The Tempest, as well as how Shakespeare frames the relationship between Prospero, Ariel, and Caliban, primarily in Act 1, Scene 2 of the play. Then, it examines how in Une Tempête Césaire gives a more active role to Ariel and Caliban in and how giving these characters more space to speak gives them more agency and power.
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Gutt, Blake Ajax. "Rhizomes, parasites, folds and trees : systems of thought in medieval French and Catalan literary texts." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278413.
Full textAbstract:
This thesis investigates conceptual networks —systems of organising, understanding and explaining thought and knowledge— and the ways in which they underlie both text and its mise en page across a range of thirteenth- and fourteenth-century French and Catalan literary texts and their manuscript witnesses. Each of the three chapters explores a separate corpus of texts, using two of four interrelated network theories: Michel Serres’ notion of parasites and hosts as the basic interconnecting units that combine to constitute all relational networks; the ubiquitous organizational tree; Gilles Deleuze’s concept of the fold as the primary factor in producing differentiation and identity; and Gilles Deleuze and Félix Guattari’s unruly, anti-hierarchical and anti-arborescent rhizomatic systems. The first chapter engages primarily with parasites and trees; the second with trees and folds; and the third with folds and rhizomes. However, resonances with the other network theories are discussed as they occur, in order to demonstrate the fundamentally interconnected and often interchangeable nature of these systems. Each chapter includes close analysis of manuscript witnesses of the texts under discussion. The first chapter, ‘Saints Denis and Fanuel: Parasitism and Arborescence on the Manuscript Page’, examines parasitic and arboreal networks in two hagiographic texts: late thirteenth- and early fourteenth-century prose redactions of the Vie de Saint Denis, and the thirteenth‐century hagiographic romance Li Romanz de Saint Fanuel. The second chapter, ‘Ramon Llull’s Folding Forests: The World, the Tree and the Book’, addresses arborescent and folding structures in Llull’s encyclopaedic Arbre de ciència [Tree of Science], composed between 1295 and 1296. The third chapter, ‘Transgender Genealogy: Turning, Folding and Crossing Gender’, considers three characters in medieval French texts who can be read as transgender: Saint Fanuel; the King of Torelore in Aucassin et Nicolette; and Blanchandin/e in Tristan de Nanteuil. The chapter explores the ways in which these characters’ queer trajectories can be understood through conceptions of directionality which relate to the fold and the rhizome.
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Hilliker, Robert. "Customary practice : the colonial transformation of European concepts of collective identity, 1580-1724." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318328.
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Rajsic, Jaclyn. "Britain and Albion in the mythical histories of medieval England." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:bc55a2b2-6156-4401-958b-0a6f454f9c6d.
Full textAbstract:
This dissertation examines the ideological role and adaptation of the mythical British past (derived from Geoffrey of Monmouth’s Historia regum Britanniae) in chronicles of England written in Anglo-Norman, Latin, and English from the twelfth to the fifteenth century, in terms of the shaping of English history during this time. I argue that the past is an important lens through which we can read the imagined geographies (Albion, Britain and England) and ‘imagined communities’ (the British and English), to use Benedict Anderson’s term, constructed by historical texts. I consider how British history was carefully re-shaped and combined with chronologically conflicting accounts of early English history (derived from Bede) to create a continuous view of the English past, one in which the British kings are made English or ‘of England’. Specifically, I examine the connections between geography and genealogy, which I argue become inextricably linked in relation to mythical British history from the thirteenth century onwards. From that point on, British kings are increasingly shown to be the founders and builders of England, rather than Britain, and are integrated into genealogies of England’s contemporary kings. I argue that short chronicles written in Latin and Anglo-Norman during the thirteenth century evidence a confidence that the ancient Britons were perceived as English, and equally a strong sense of Englishness. These texts, I contend, anticipate the combination of British and English histories that scholars find in the lengthier and better-known Brut histories written in the early fourteenth century. For the fourteenth and fifteenth centuries, my study takes account of the Albina myth, the story of the mothers of Albion’s giants (their arrival in Albion before Brutus’s legendary conquest of the land). There has been a surge of scholarship about the Albina myth in recent years. My analysis of hitherto unknown accounts of the tale, which appear in some fifteenth-century genealogical rolls, leads me to challenge current interpretations of the story as a myth of foundation and as apparently problematic for British and English history. My discussion culminates with an analysis of some copies of the prose Brut chronicle (c. 1300) – the most popular secular, vernacular text in later medieval England, but it is seldom studied – and of some fifteenth-century genealogies of England’s kings. In both cases, I am concerned with presentations of the passage of dominion from British to English rulership in the texts and manuscripts in question. My preliminary investigation of the genealogies aims to draw attention to this very under-explored genre. In all, my study shows that the mythical British past was a site of adaptation and change in historical and genealogical texts written in England throughout the high and later Middle Ages. It also reveals short chronicles, prose Brut texts and manuscripts, and royal genealogies to have great potential future research.