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Dissertations / Theses on the topic 'French poetry French poetry Poetics'
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Attwood, Catherine. "The poetic #I' in fourteenth- and fifteenth-century French lyric poetry." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260509.
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Tidwell, Christopher A. ""Mingling Incantations": Hart Crane's Neo-Symbolist Poetics." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001490.
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Whiting, George H. ""Je ne m'occupe plus de ça" [I am not concerned with that anymore] : the poetic silence of Arthur Rimbaud /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1177308010.
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Cox, J. N. "Dadaist, Cubist and Surrealist influences in settings by Francis Poulenc of contemporary French poets." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375864.
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Ryan, Natasha. "The poetics of glass in France, 1850-1900." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:ad30dccb-4017-461d-8785-810ff3312d4d.
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This thesis examines the representation of glass in French and Belgian poetry associated with the Symbolist and Decadent movements. It incorporates a number of authors, particularly focussing on Baudelaire, Mallarmé, Laforgue, Rodenbach, and Maeterlinck, but also encompassing more minor writers where appropriate, as well as some writers on the periphery of Symbolism and Decadence. The thesis investigates how the growing use of glass in architecture, technology, and visual art influenced late-nineteenth-century poets, providing these writers with a means by which to understand their social context as well as a multi-faceted metaphor through which to interrogate their own poetic mechanisms. Glass, in its various manifestations - windows, lenses, hothouses, aquariums, Exhibition halls, Art Nouveau glasswork, and stained glass - prompts meditation on such questions as: the interaction between subject and object; the relationship between fiction and reality; the infinite; poetic form; nature and artifice; and aesthetic identity. Ultimately, I combat the traditional understanding of this poetry as being solely concerned with the pure realm of dreams, the soul, and the 'Idée'. Instead, I insist on the material world as a starting point for this poetry, demonstrating that it is not immune to environmental factors, but rather that it uses its environment as a route towards the elusive 'Idée'. Glass is key to this process because its very ambiguity makes it a suitable embodiment of the tension between the material and the unknown, invisible, or ideal.
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McLaughlin, Emily. "Yves Bonnefoy : the performative and the negative." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:5fef9259-38e2-41bf-815a-33de1ef2ac64.
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This thesis examines Bonnefoy’s cultivation of the performative aspects of the poetic act in his later collections of poetry. It investigates the poet’s use of the theatrical structures of poetic performance, their temporal and spatial dynamics, to deconstruct conceptual or representative modes of thought. It examines how Bonnefoy uses apostrophes to insentient phenomena and addresses to an unidentified other in his attempts to open language up to the finitude and sharing of existence. Working within language, against language, the poet cultivates what he describes as ‘un savoir, tout négatif et instable qu’il soit, que je puis peut-être nommer la vérité de la parole’. The first chapter of this thesis investigates how the image of the ephemeral flame becomes a model for a finite poetic performance in ‘La Terre’. The second chapter scrutinises how Bonnefoy makes the signifying function of language ‘passive’ to the inappropriable excess of material presence in Début et fin de la neige. The third chapter, analysing ‘La Voix lointaine’, explores how Bonnefoy dramatises the experience of self-presence as the act of listening to a distant voice. The fourth chapter, investigating the relationship between finitude and form in ‘L’Heure présente’, analyses how the dissolution of form gives rise to a form that is always à venir, a dynamic, ‘un possible’.
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Filho, Genival Teixeira Vasconcelos. "Traduzindo os jogos no espaço de Saint-Denys Garneau. Uma poética do olhar em Regards et jeux dans l\'espace." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-31072015-104759/.
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A partir da obra poética de Saint-Denys Garneau, em seu livro Regards et jeux dans lespace, faremos uma abordagem de sua poesia com o intuito de apresentar a tradução de alguns de seus poemas mais importantes. No decorrer desse trabalho, a presente dissertação visa introduzir o poeta e sua obra, mostrando os aspectos mais relevantes de seu fazer poético, além de dar vistas a tradução de alguns de seus poemas sob a ótica da abordagem tradutória de Mário Laranjeira.Based on the poetry of Saint-Denys Garneau, in his book Regards et jeux dans l\'espace, we will approach the authors poetic specifically to present the translation of some os his most important poems. This dissertation aims to introducing the poet and his work to the reader, showing the most relevant aspects of his poetic, executing the translation of some of his poems from the perspective of Mario Laranjeiras translation theory.
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Campbell, Kate Lermitte. "Thought, perception and the creative act : a study of the work of four contemporary French poets, Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:2c3c572e-1419-4835-a0ce-ed4e721da0d0.
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In this thesis I suggest that the work of the four contemporary poets studied manifests the vital role perceptual experience plays in the creation of literary texts. I engage primarily in the analysis of particular texts in order to argue for a shift in critical focus away from the explicit manipulation or exteriorization of the physical aspects of poetry (for example versification and explicit visual presentation) in order to concentrate on the role sensory aspects of thought play within it. Emphasis is therefore put on the way these poets draw from sensory experience, and the effect this has on the way their poetry functions. A shift away from traditional critical vocabulary is considered necessary in part due to the fact that discussions of the physical aspects of poetry often carry with them a variety of preconceptions concerning the nature of language, thought and the thinking subject. The tendency to pose dividing lines between mind and body, word and image, the physical and non-physical aspects of language has characterized the history of Western thought, and neither literature nor literary criticism have been exempt from the conceptual presuppositions inherent in such binary systems. Here, I consider how the work of Pierre Alferi, Valère Novarina, Anne Portugal and Christophe Tarkos transcends such dualisms, using the analysis of specific works to develop a critical approach that reflects their exploration of the ambiguity of the boundaries that separate different sorts of experience and means of expression. The thesis is therefore structured around the development of three concepts, ‘pensée-vue’, ‘pensée-voix’ and ‘pensée-toucher’, inspired directly by the texts studied, that are intended to indicate the vital role different forms of perception play in both the creation and experience of poetic texts. It is hoped that the development of an approach that emphasizes the connection between thought, perception and creativity will suggest the fertility of a shift in critical focus in domains beyond that of contemporary French poetry.
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Kelly, Michael Gerard. "Speech and utopia : spaces of poetic work in the writings of Segalen, Daumal and Bonnefoy." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:ecd46701-c98b-4887-8cce-74613757b5f9.
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The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.
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Gosetti, Valentina. "Tradition and poetic experimentation in Gaspard de la Nuit : Aloysius Bertrand and cultural exchange in French romanticism." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:5ecd95e8-9c06-4880-9943-5fe37a10bc6f.
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In mainstream literary histories, Aloysius Bertrand (1807-1841) is still remembered as the canonical inventor of the prose poem in France. The established classification of Gaspard de la Nuit (1842) within the realm of the prose poem inevitably involves a retrospective appreciation of Bertrand’s work in light of the better-known authors that succeeded him in the history of this genre, such as Baudelaire and Mallarmé. The result is that Bertrand is often viewed as the inventor and/or the precursor of this genre; an important but, ultimately, minor contributor to its development. This hindsight brings with it a risk of critical anachronism against which Bertrand's contribution is often downplayed, especially because his thematic choices are seen to be outmoded, when compared to works by poets writing decades later. This thesis is a re-examination of Bertrand's Gaspard de la Nuit, incorporating an analysis of the cultural context that contributed to its production. The central argument is that in order to fairly assess Bertrand’s work, it is crucial to consider the poet’s contribution to, as well as his position in, the wider cultural exchange typical of his time. Using this contextual and historical approach, this thesis examines and challenges some of the main traditional considerations of Bertrand, such as his being a petit romantique, his provincialism, his unoriginality, and his role as the precursor and/or inventor of the prose poem. The overall aim is to assess fairly Bertrand’s unique synthesis of contemporary cultural and literary material with his own original work. By emphasising the crucial role of cultural exchange at the time of Gaspard de la Nuit’s production, we are thus able to begin to understand Bertrand in his own terms, rather than those of his successors, ourselves included, challenging commonly-held views and opening up new avenues for research.
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Echinard-Garin, Paul. "Le poème critique, depuis Mallarmé : formes et enjeux." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030149.
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Cette thèse tient le pari de retracer la persistance dans l’Histoire de la poésie française d’une notion forgée par Stéphane Mallarmé : dans la "Bibliographie" des Divagations, l’écrivain affirme publiquement avoir recueilli ses "poèmes critiques". Après avoir exploré quelles formes nouvelles ce terme recouvre, quelles "transpositions mentales" du poète ces textes déploient, le travail s’affronte immédiatement à la difficulté d’utiliser le même concept pour désigner toute écriture critique inspirée, ce qu’on lit chez Leger félicitant Jacques Rivière. L’influence de ce dernier sur la critique professionnelle enjoint de réserver alors le poème critique aux poètes : l’examen des inventions d’Aragon, Ponge et Du Bouchet permet de poser les questions de la valeur de ces textes marginaux, de leur reprise possible, et de la voix du poète dans le champ théorique. Ensuite, un troisième moment a pour ambition de penser conjointement des procédures qui affrontent la définition impossible du poème, pour préférer lui tourner autour, le déborder, le doubler, le réduire. On observe la génération qui gravite autour de Claude Royet-Journoud pour élaborer une poétique de ce genre indéterminé, inséparable d’une réflexion sur la relation : ce méridien tient compte de la "matière de l’interlocuteur". Dans un dernier temps, la thèse propose la lecture d’un poète contemporain, Philippe Beck. Il déduit des œuvres, en particulier de Mallarmé, de quoi continuer l’inscription de l’Histoire de la poésie dans un "poème critique neuf"This thesis takes up the challenge of recording the recurrent occurrences in the History of French Poetry of an expression, coined by Stéphane Mallarmé : in the "Bibliography", which he adds to his Divagations, he publicly asserts that he has collected his "critical poems". After having explored the new shapes this word encompasses, and the "mental transpositions" those texts result in, the development tackles right away the issue of using the same expression in order to designate any inspired critical review, which can be found in a letter from Alexis Leger congratulating Jacques Rivière. His influence on professional literary Criticism seems to suggest the critical poem should be left only to poets: analyzing Aragon’s, Ponge’s and Du Bouchet’s inventions, one can lead an inquiry into the value of these marginal texts, their rewriting and the presence of the poet’s voice in the theoretical field. Then, the ambition of a third part is to think together texts that confront the impossible definition of the poem, and finally choose periphrasis, extension, duplication or digestion. One examines the generation revolving around Claude Royet- Journoud so as to work out a poetics of this undetermined genre, which must comprise a reflexion on the relation : this meridian takes into account the "matter of the interlocutor". At last, the thesis focuses on a contemporary poet, Philippe Beck. He gives reinterpretations of literary works, especially Mallarmé’s ones, in order to carry on writing the History of Poetry in a "brand new critical poem"
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Harris, Christopher. "The function of Andrew Lang and other minor poets of the 1970's and 1880's in the appropriation of pre-classical french poetry by the English literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.499818.
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Pénot, Alexandra. "Étude et projet d'édition du recueil de l'origine de la langue et poésie française, ryme et romans de Claude Fauchet." Thesis, Lyon, 2016. http://www.theses.fr/2016LYSE3062.
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Ce projet d’édition et d’étude du Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC. de Claude Fauchet est accompagné d’un commentaire du livre I. Publié en 1581, le Recueil de Claude Fauchet se donne pour mission de retracer l’origine de la poésie, de la langue française, de la rime et du roman ; un objectif précisé dès son titre et auquel répond le livre I. C. Fauchet entreprend de retracer ces genèses multiples sous un angle nationaliste. La haute estime qu’il a vis-à-vis de son pays transparaît à de nombreuses reprises, notamment lorsqu’il développe l’exportation internationale de la culture française, l’influence des poètes français sur leurs condisciples européens, la précocité littéraire de la langue vernaculaire française, etc. Toutes ces informations sont données selon une progression diachronique : sont d’abord précisées l’origine de la parole, puis celle du langage et de la langue, vient ensuite la diversification de celle-ci en idiomes divers et enfin les causes expliquant les mutations dont ils sont l’objet. Sont également développées dans le Recueil l’émergence et l’évolution de la poésie : sa naissance est dite grecque grâce à l’excellence des productions helléniques qui ont servi de modèles aux Romains. C. Fauchet distingue ensuite deux types de poésie : celle de langue latine et celle de langue vernaculaire. Alors que la première répond à un impératif de mesure et de quantité ; la seconde nécessite quant à elle de la mesure et du son. Pour cette raison, c’est à la poésie vernaculaire que revient l’émergence de la rime. L’ensemble des réflexions qui constituent le Recueil sont par ailleurs traitées de manière scientifique : C. Fauchet prouve sans cesse ce qu’il affirme par la caution d’auteurs et de textes variés manifestant l’étendue de son érudition ; il s’oppose également à tout ce qui relève du mythe et de l’invraisemblance, préférant aux discours fabuleux des explications rationnelles. En tant qu’humaniste, C. Fauchet tient à diffuser largement ses savoirs, c’est pour cette raison qu’il traduit presque systématiquement les citations qu’il emprunte, que celles-ci soient grecques, latines ou en vieux-haut-allemand. En aucun cas, le Recueil ne se veut polémique : chacune des positions est subtilement exposée et les réprobations deC. Fauchet sont toujours exprimées avec modération. Le Recueil est donc une œuvre riche, traitant de thèmes variés, et engagée dans la défense de la langue française. C’est d’ailleurs afin d’en conserver les premiers monuments littéraires que le livre II trouve sa raison d’être : afin de les préserver, C. Fauchet a recopié de nombreux extraits de textes de trouvères antérieurs à 1300 ; c’est uniquement grâce à lui que certains ont été conservésThis project of an edition of the Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC by Claude Fauchet comes with a commentary of the first book. Published in 1581, le Recueil, is expected to trace the origin of poetry, of the French language, rhyme, and novel : an objective which is clearly set in its title and accomplished in the first book.C. Fauchet undertakes this multiple genesis under a nationalist point of view : all of his work is tinged with patriotism. The high esteem he has for his country shows on numerous occasions, especially when he explains the international export of French culture, the influence of French poets on their European peers, the literary precocity of its vernacular language, etc. All these elements are unfolded in a diachronic progression : first the origin of the word and that of language ; then comes its diversification in various idioms ; and, finally, the causes for these variations. Also developed in the Recueil, is the emergence and evolution of poetry, said to be of Greek origins thanks to the excellence of Greek productions, which have served as models to the Romans. C. Fauchet makes a distinction between two types of poetry: Latin and vernacular. While the first addresses the need for measure and quantity, the latter requires measure and sound. For this reason, rhyme blooms in vernacular poetry. Besides, the sum of reflections which make up the Recueil are treated scientifically :C. Fauchet constantly proves what he says by the authority of authors and various texts demonstrating the extent of his erudition ; he also opposes anything mythical or implausible, preferring rational explanations to fables. As a humanist, C. Fauchet wishes to widely disseminate his knowledge ; this is why he almost invariably translates his quotes from Greek, Latin or Old High German. In no case is the Recueil meant to be controversial : each position is subtly exposed and C. Fauchet’s disapproval is always expressed with moderation. Therefore, the Recueil is a rich work, covering various themes, and is committed to the defence of the French language. It is also in the preservation of the first literary monuments that the second book finds its reason for being : to preserve them, C. Fauchet has copied many extracts from texts written by trouvères prior to 1300 ; it is exclusively thanks to him that some are preserved
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Harris, Christopher. "Mediators and mimics- The function of Andrew Lang and other minor poets of the 1870s and 1880s in the appropriation of pre-classical french poetry by the English Literary canon." Thesis, University of Essex, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.511036.
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Rees, Agnès. "La poétique de la "vive représentation" et ses origines italiennes en France à la Renaissance." Thesis, Reims, 2011. http://www.theses.fr/2011REIML013/document.
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Chaque cadre doit contenir un résumé de 1000 caractères maximum, espaces compris. En casde dépassement, la coupure sera automatique.Le doctorant adressera son texte sous forme électronique (disquette, etc.)Pour les modalités pratiques, contactez votre bibliothèques.L'objet de la thèse est de mettre en évidence l'importance de la« vive représentation» dans le renouvellement poétique initié au milieu du siècle, autour de Ronsard et de Du Bellay, par un groupe de jeunes poètes qui se désignera comme « la Pléiade ». Dans un contexte d'émulation et de rivalité avec les arts picturaux, mais aussi avec les poésies néo-latine et italienne, la poétique de la « vive représentation » ou « vive description », expressions empruntées aux poètes et théoriciens des années 1550, est étroitement liée à la volonté d'« illustrer » et d'enrichir la langue française en valorisant le pouvoir d'expression de la poésie. Si elle constitue un héritage de l'enargeia des anciens, c'est par l'emploi de figures spécifiques, comme l'ekphrasis et l'hypotypose, et par le développement d'un langage orné que la vive représentation s'impose dans la poésie lyrique des années 1550, où elle introduit des motifs caractéristiques du style héroïque. Notre travail consiste donc à définir les enjeux et les procédés liés à cette poétique en étudiant son élaboration et sa mise en pratique dans les textes théoriques et poétiques français publiés entre 1547 et 1560, et en retraçant les origines de cette notion dans les arts poétiques et dans les traités d'art italiensThe purpose of this thesis is to emphasize the importance of "vivid description" in the poeticalrevival, which was started in the middle of the sixteenth century around Ronsard and Du Bellay by a group of young poets, who will name themselves "la Pléiade". The poetics of "vivid representation", or "vivid description", expressions borrowed from poets and theoreticians of the years around 1550, is, in a context of competition and rivalry not only with pictorial arts, but also with neolatin and italian poetry, closely bound to the wish to illustrate and enrich the french language by means of enhancing poetry's power of expression. Although vivid description represents a heritage of the energeia of the Ancients, it is by employing specifical figures of speach, such as ekphrasis and hypotyposis, and by developing a florid language, that it asserts itself in the lyrical poetry of the years 1550, where it introduces the typical patterns of heroic style. Our work consists in a definition of the issues and processes linked to this poetry by studying its elaboration and the way it was put into practice in poetical and theoretical french writings published between 1547 and 1560, and by retracing the origins of this notion to italian arts of poetry and treatises
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Canvat, Raphaël. "On Mad Geniuses & Dreams In the Age of Reason in French Récits Fantastiques." Miami University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=miami1343124370.
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Wang, Yu. "La réception des anthologies de poésie chinoise classique par les poètes français (1735-2008)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040041.
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Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèseThis thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry
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Galand, David. "Poétique de l'élégie moderne, de C.-H. de Millevoye à J. Reda." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA066/document.
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L’élégie connaît une vogue manifeste à l’aube de notre modernité, au sein de ce qu’il est convenu d’appeler le préromantisme et le romantisme. Mais cet engouement ne va pas sans susciter de profondes interrogations sur la dimension générique de l’élégie. En effet, depuis son acclimatation en français, l’élégie ne peut plus être définie par le seul critère formel, devenu douteux. En outre, dès l’âge classique, deux dangers minent le genre : sa variété thématique qui gêne sa définition et une évolution sclérosante qui le fige en clichés. Émerge donc le souci de rédimer un certain babélisme de l’élégie et d’en refonder le pouvoir expressif par le recours à la notion plus souple d’ « élégiaque ». La modernité de l’élégie s’adosse à cet héritage problématique et réclame une perspective d’étude résolument historique : la vitalité de l’élégie au seuil du XIXe siècle s’autorise d’une nouvelle saisie du genre, qui promeut l’élégiaque au rang de critère premier, ramenant peu à peu l’étiquette d’élégie à la portion congrue. L’œuvre de Millevoye permet de dater ce point de bascule, qui ouvre la voie à l’élégie romantique, attachée à la notion naissante de « lyrisme » et magnifiée par Lamartine sous les auspices de la méditation. Mais en refondant l’élégie sur l’expressivité élégiaque, la modernité romantique l’a soumise aux aléas des sollicitations du sujet par l’histoire, qui le déstabilisent. D’où un déplacement de l’écriture élégiaque durant la seconde moitié du XIXe siècle, dans le repliement intimiste, le dédoublement parodique et humoristique, ou encore la polyphonie, manifestations diverses d’une remise en cause de la source subjective de la plainte élégiaque. Quand revient à la surface du champ littéraire l’élégie revendiquée comme telle, à l’occasion du traumatisme de la Seconde Guerre mondiale, c’est pour cristalliser en un genre labile les doutes, les deuils et les sourires d’un lyrisme incertain de son propre chant comme de l’existence du sujet qui le hante plus qu’il ne le chanteThe elegy was fashionable at the dawn of modernity, during the periods which are known as Pre-Romanticism and Romanticism. But this infatuation with elegy was not without raising deep questioning on its generic dimension. Indeed since the French had appropriated the genre, the elegy can no longer be just defined by a formal criterion which has become disputable. Furthermore, as early as the classical period, two dangers have been subverting the genre: its wide range of themes which is an obstacle to our grasping its quintessence and an evolution at a standstill condemning it to stereotyped perceptions. And from this came the worry to amend the confusion existing around the elegy as well as the urge to revivify its expressive power around the more flexible notion of "elegiac". The modernity of the elegy relies on this problematic heritage and requires a study in historical perspective: the vitality of the elegy at the beginning of the XIXth century allowed itself to provide a new interpretation of its genre that promoted the elegiac as a decisive criterion. Millevoye’s works enables us to date this turning point which paved the way to the romantic elegy linked to the rising notion of "lyricism" and glorified by Lamartine under the auspices of meditation. But while revivifying the elegy on elegiac expressiveness, romantic modernity compelled with the subject having to respond to historical vagaries that were eventually unsettling. Hence a shifting away from elegiac writing during the second half of the XIXth century into intimist withdrawal, parodic splitting or polyphony, all of them being various utterances of a questioning of the elegiac complaint’s subjective source. When the elegy as such resurfaced the literary scene owing to the trauma of the Second World War, it featured a shifting genre to crystallize the doubts, mournings and smiles of a lyricism as uncertain of its own song as the very existence of a subject that haunted its lines more than he inhabited them
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Langdell, Sebastian James. "Religious reform, transnational poetics, and literary tradition in the work of Thomas Hoccleve." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:a2e8eb46-5d08-405d-baa9-24e0400a47d8.
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This study considers Thomas Hoccleve’s role, throughout his works, as a “religious” writer: as an individual who engages seriously with the dynamics of heresy and ecclesiastical reform, who contributes to traditions of vernacular devotional writing, and who raises the question of how Christianity manifests on personal as well as political levels – and in environments that are at once London-based, national, and international. The chapters focus, respectively, on the role of reading and moralization in the Series; the language of “vice and virtue” in the Epistle of Cupid; the moral version of Chaucer introduced in the Regiment of Princes; the construction of the Hoccleve persona in the Regiment; and the representation of the Eucharist throughout Hoccleve’s works. One main focus of the study is Hoccleve’s mediating influence in presenting a moral version of Chaucer in his Regiment. This study argues that Hoccleve’s Chaucer is not a pre-established artifact, but rather a Hocclevian invention, and it indicates the transnational literary, political, and religious contexts that align in Hoccleve’s presentation of his poetic predecessor. Rather than posit the Hoccleve-Chaucer relationship as one of Oedipal anxiety, as other critics have done, this study indicates the way in which Hoccleve’s Chaucer evolves in response to poetic anxiety not towards Chaucer himself, but rather towards an increasingly restrictive intellectual and ecclesiastical climate. This thesis contributes to the recently revitalized critical dialogue surrounding the role and function of fifteenth-century English literature, and the effect on poetry of heresy, the church’s response to heresy, and ecclesiastical reform both in England and in Europe. It also advances critical narratives regarding Hoccleve’s response to contemporary French poetry; the role of confession, sacramental discourse, and devotional images in Hoccleve’s work; and Hoccleve’s impact on literary tradition.
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Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.
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Ce travail de recherche porte sur la poésie française moderne et son influence sur la nouvelle poésie chinoise au cours de la première vague d'introduction et d'interprétation des littératures occidentales en Chine dans les années 1920-1930. Nous cherchons à montrer comment les " Trois Grâces " de la poésie française moderne : Baudelaire, Rimbaud et Lautréamont ont été introduits en Chine et quelle est leur influence sur l'élaboration de la nouvelle poésie chinoise. Ainsi, nous montrons d'abord comment expriment Baudelaire, Rimbaud et Lautréamont par leur poésie le culte du moi, le culte du Beau et le jeu de dépersonnalisation et de pluralisation du moi. Nous examinons ensuite l'influence des littératures occidentales sur la construction de la nouvelle littérature chinoise dans les années 1920 ; et l'introduction et l'interprétation de la poésie symboliste française et son influence au niveau théorique aussi bien que pratique sur la nouvelle poésie chinoise et les poètes dits symbolistes chinois : Li Jinfa, Mu Mutian, Wang Duqing, Dai Wangshu. Enfin, nous montrons le cas Lautréamont en Chine, son absence dans les années 1920-1930 et l'état de la recherche lautréamontienne en Chine dans les trois dernières décennies. Notre thèse conduit donc à montrer que les " Trois Grâces " de la Poésie nouvelle ne jouissent pas tous du même prestige auprès du monde poétique chinois dans les années 1920-1930 et que son interprétation de la poésie française moderne n'est pas une adoption de toute une attitude de création poétique de celle-ci, mais une transformation du dynamisme poétique imposé de l'extérieur en dynamisme créateur interne de la poésie chinoise. Elle correspond aux intentions claires et guidées par le système de valeurs littéraires et morales des traducteurs-interprétateurs chinois des différentes époques.
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Erken, Geneviève. "L'hétérogénéité discursive en poésie: description, narration, argumentation chez Norge, Henri Michaux, Francis Ponge." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211056.
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Le texte poétique devient, au XXe siècle, de plus en plus difficile à définir. Il a perdu plusieurs attributs qui aidaient autrefois à le caractériser (vers, rimes, parallélismes), et ne se laisse pas non plus circonscrire par le biais du lyrisme :bon nombre de poètes, en effet, ont abandonné le programme de la "poésie pure" pour renouer avec un art descriptif, narratif ou argumentatif. Dès lors, faut-il considérer que l'organisation poétique n'est qu'une structure de surface qui se surajoute à un type de texte de base, en entraînant certaines conséquences sur le plan sémantique et grammatical ?N'existe-t-il pas malgré tout des propriétés typiques de l'oeuvre poétique, qui permettent d'instaurer un rapport tout à fait particulier entre le lecteur, le langage et le monde ?Nous avons voulu nous pencher sur ces questions en explorant le phénomène de l'hétérogénéité discursive chez quelques poètes francophones du XXe siècle. Nous constaterons que ceux-ci n'hésitent pas à décrire, à raconter ou à argumenter, mais nous verrons aussi que la poésie tend à transfigurer les schémas de base auxquels elle s'allie, si bien qu'un récit en vers n'est pas du tout semblable à son homologue en prose. C'est par cet angle d'approche que nous espérons contribuer à faire mieux comprendre le mystère poétique, qui déroute terriblement les jeunes lecteurs.
Doctorat en philosophie et lettres, Orientation langue et littérature
info:eu-repo/semantics/nonPublished
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Soudani, Hind. "Sémiostylistique de l'œuvre poétique de Louis Aragon." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040079.
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Les concepts de topos, graphè, éthos et pathos contribuent activement à marquer la singularité d’une œuvre poétique, en l’occurrence, dans le cadre de notre thèse, celle de Louis Aragon (1897- 1982).Aragon fut l’inspirateur de compositeurs et d’interprètes comme « Kosma, Douai, Ferré, Ferrat, Brassens, Claveau, Montand, Trenet, Béart, Morelli, Martin, Ogeret ». Il déclare même qu’il aime qu’on lise ses poèmes mais préfère qu’on les chante. Outre l’importance de la dimension visuelle, la composante sonore et rythmique s’avère elle aussi capitale dans la perception et la réception de la poésie d’Aragon. C’est la raison pour laquelle nous avons opté dans notre thèse pour une étude analytique sémiostylistique et lexico-sémantique de l’œuvre poétique aragonienne.La sémiostylistique est « l’étude du fonctionnement sémiotique du style d’un texte ». En nous inspirant des travaux de G. Molinié, nous avons tenté d’analyser le « conglomérat lexico-syntactico-rhétorico-thématique » qui caractérise la poésie aragonienne en tentant d’ « apprécier la littérarité » des « segments occurrents, et [de] détecter leur spécificité ». Cela nous a permis de poser la question des conditions de la littérarité, de sa mesure, de sa valeur à réception et donc de l’effet de l’art à travers des procédés d’unité ou, au contraire, de subversionThe concepts topos, graph, ethos and pathos actively contribute to highlight the singularity of a poetic work, such as that of Louis Aragon (1897-1982), the object of study of the present thesis. Aragon inspired many composers and singers such as "Kosma, Douai, Shoed, Ferrat, Brassens, Archstone, Montand, Trenet, Béart, Morelli, Martin, Ogeret".He even declares that he likes that his poems to be read but prefers are sung. Apart from the importance of the visual dimension, the sound and rhythmic components are also capital in the perception and the reception of the poetry of Aragon. This is why I opted in the present thesis for a semiostylistic and lexico-semantic analytical study of Aragon’s works of poetry. Semiostylistics is "the study of the semiotic operation of the style of a given text". Inspired by the works of G. Molinié, I tried to analyse the "conglomerate of lexico-syntactic, rhetorical and thematic characteristics" of Aragon’s poetry while trying "to appreciate the literariness" of the "occurring segments, and to detect their specificity" which enabled me to explore the conditions of the literary value, its measurement, its value at reception and, thus, the effect of art through the processes of unity or, on the contrary, subversion
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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
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Longwell, Ann E. "France, man and language in French Resistance poetry." Thesis, University of St Andrews, 1989. http://hdl.handle.net/10023/13376.
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The Second World War witnessed what was recognised at the time as a poetic revival in France. The phenomenon of Resistance poetry in particular commanded literary attention throughout the war. Immediately afterwards, however, this large corpus of poetry was widely dismissed as an unfortunate aberration. Viewed as ephemeral poetry of circumstance with only a documentary value, as tendentious poésie engagée, as propaganda or as conservative patriotic verse, it was thought unworthy of consideration as poetry. Marked by the reputation it gained just after the war, Resistance poetry has been given short shrift in critical studies, and has only rarely been the focus of academic attention. This study reexpounds in detail and with a wide range of reference the debate concerning Resistance poetry, and draws attention to a number of poets who are not widely known, or who are not known as Resistance poets. It demonstrates through a thematic and formal analysis of a selection of Resistance poetry that it is in fact no different from poetry as implicitly understood by critics who have dismissed it. A description of commitment in Resistance poetry is followed by a thematic study of its three related objects, namely France, man and language. Detailed examinations of these three major concerns in the poetry challenge the received view that Resistance poetry is conservative in its patriotism, dogmatic or essentialist in its commitment, and reactionary in its use of language. This thematic study is complemented by illustrative analyses of individual poems or parts of poems, and by a concluding commentary.
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Jalabert, Romain. "Les vers latins en France au XIXème siècle." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040111.
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Les vers latins ne furent pas un pensum pour tous les collégiens du XIXe siècle. Ils eurent un rôle récréatif dans l’enseignement des humanités, au sein duquel ils favorisaient l’étude des poètes de langue française, parfois contemporains, par le biais de traductions. Ils furent une introduction aux belles-lettres pour quelques-uns, dont Sainte-Beuve, Musset, Baudelaire, Bourget et Rimbaud. Des périodiques et des recueils de poésie néo-latine, qui n’étaient pas tous scolaires, poursuivaient une tradition humaniste privilégiant l’épigramme et les jeux versifiés. Ces publications reflétaient également l’évolution des formes poétiques : essoufflement de l’épopée et de la fable, fortune de l’ode civique et des genres didactiques et descriptifs, recherche d’une synthèse entre esthétique des belles-lettres et philosophie sensualiste, succès du romantisme lamartinien. Dans cette tradition, le poème de Baudelaire « Franciscae meae laudes », dont la fortune se confondit avec celle du latin décadent dans la littérature française, constituait un cas à part. Durant la deuxième moitié du XIXe siècle, la période 1750-1830 fut considérée comme l’âge d’or des humanités. Elle fut l’apogée de l’institution Sainte-Barbe et du concours général et correspondit à une génération d’élèves et de professeurs arrivés aux responsabilités à la fin du XVIIIe siècle et revenus au pouvoir après la Révolution. La poésie de cette période eut une inspiration commune, en latin ou en françaisLatin verses were not an extra duty for all students in the nineteenth century. They had a recreational role in teaching humanities, as they favoured the study of French poets, sometimes the contemporary ones, through translations. They were in deed an introduction to the belles-lettres for some students like Sainte-Beuve, Musset, Baudelaire, Rimbaud and Bourget. Periodicals and neo-Latin publications, which were not all bound to school, followed a humanist tradition favouring epigrams and versified games. These publications also reflected the evolution of poetic forms : the slowing of epic and fable, the health of civic ode and didactic and descriptive poems, search for a synthesis between aesthetics of belles-lettres and philosophy sensualist, fame of Lamartine’s romanticism. In this tradition, Baudelaire's poem "Franciscae meae laudes", whose success was bound to that of the decadent Latin in French literature, was a special case. During the second half of the nineteenth century, the 1750-1830’s period was considered as the golden age of the humanities. It was the apogee of the Sainte-Barbe’s institution and the concours général and corresponded to a generation of students and teachers who arrived to political responsibilities in the late eighteenth century and returned to power after the Revolution. The poetry of this period had a common inspiration, in Latin or in French
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Higgins, J. A. "French poetry in England 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604037.
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My thesis explores the influence of French poetry in England during those years, taking translations into English as its focus. This provides the basis for examination of ideas, attitudes and even forms and structures that were ‘transferred’ from France into English poetry by translators from varied literary backgrounds. Alongside the exigencies of publishers and editors, the aims and ambitions of the translators influenced their choice of texts and modes of translation. Changing perceptions of the literature and culture of France influenced the choices of translators (or commissioning publishers) wishing to express an affinity with, or to appropriate aspects of the reputation of, the source text and culture. Cultural emulation becomes particularly significant in the case of, for example, the translator-poets of the 1890s, whose fascination with French poetry of the late nineteenth century was inextricably linked to their perceptions of Parisian literary café culture and its ‘decadent’ associations. The thesis has at its core close readings of translations alongside their source texts. It will also draw upon aspects of translation theory and cultural studies for its exploration of motivation, influence and hierarchy surrounding the translation process. Small literary magazines are a fundamental source material, for the translations they contain, but also the context in which they place these translations. Some appear in magazines in which the same author contributes criticism or other commentaries: these juxtapositions can reveal much about the inspiration for the translations. However, the research is not limited to translations published in magazines, nor to well-known writers or translators: It also takes into account translations by non-professional translators.
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Vilain, Robert. "The poetry of Hugo von Hofmannsthal and French symbolism /." Oxford : Clarendon press, 2000. http://catalogue.bnf.fr/ark:/12148/cb38906418n.
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McCann, Benjamin Edward. "Set design, spatial configurations and the architectonics of 1930s French poetic realist cinema." Thesis, University of Bristol, 2002. http://hdl.handle.net/1983/c99b13b0-9aca-425b-ba16-4ce97d9c643f.
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The aim of this study is to demonstrate that 1930s French poetic realist cinema is characterised by a highly readable set design. It is a decor imbued with meaning - not a silent shell, standing detached from the action but rather the amplifier of narrative concerns. The thesis develops the claim that the decor is freighted with a powerful dramaturgical and symbolic charge, whereby the figural dimensions of everyday decor fragments anthropomorphise into powerful signifying elements. Stylised studio-bound spatial configurations define the film's visual ambience, enhance its emotional dimensions and function as amplifier of the story. In order to identify the importance of decor as an interpretative matrix of poetic realism, I shall show how poetic realist decor is the confluence of orthodox architectural practice, personal temperament and an appeal to popular memory. By examining the design practices of individual set designers, the thesis will provide evidence for the capacity for architecture to act as resonator of mental impact. The study will show how the set designer emotionalises architecture, investing it with a strong spatial, visual and performative presence. Although other critical studies of poetic realism have recognised the distinctiveness of the set design, they have not fully examined the architectural specificity of the films. The thesis contends that the director-designer collaboration sought to distil a visual concept from the thematic and psychological concerns of the screenplay. This interface between story and style will be demonstrated by a move from the general to the specific, looking at depictions of the city, a rhythmic recurrence of decor fragments and the micro-dimensions of the object. Ultimately, the set design and architectonics of poetic realism are performative in the sense that they can represent a discourse of their own, producing an engaging dialogue with more traditional modes of film performance.
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Higgins, Jennifer Anne. "English responses to French poetry 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612206.
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Leitch, Paul M. "T.S. Eliot and French poetry : la plaie et le couteau'." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442354.
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Cronk, Nicholas. "The classical sublime : Boileau's Traite du sublime in the context of contemporary poetic theory 1650-1720." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.305800.
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Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.
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This thesis is a study of T.S. Eliot's poetry in the light of the different ways in which it can be considered 'musical'. Two concerns central to the thesis are: (1) Eliot's enduring interest in the musical quality of poetry; (2) the critical usefulness and viability of drawing analogies between his poetry and music. The thesis considers three important related topics: (1) Eliot's preoccupation with language, its inevitability and its inadequacy; (2) the figure of the seeker in his poetry; (3) his interest in mysticism. The thesis begins by exploring affinities between music and literature in the context of Wagner’s ideal of the 'Gesamtkunstwerk' and its influence on French Symbolist writers. It goes on to trace the development of T.S. Eliot's poetic style as influenced by the French Symbolist poets, by Dante and the mediaeval mystics, and by the music of Wagner, Stravinsky and other composers. Throughout, Eliot's poetry presents variations on the theme of detachment and involvement in relation to the figure of the seeker: consciousness is most engaged and challenged when it journeys. In the early poetry, music serves to emphasize failed relationships: the closer the physical proximity between protagonists, the greater the psychological distance. From The Waste Land on, Eliot makes use of myth and leitmotif to portray consciousness in the role of seeker urged on by the need for meaning. After his conversion to Anglo-Catholicism in 1927, Eliot's characters embark on a journey inward, where music, now "unheard", no longer signifies neurosis and despair, but becomes the only language for the ineffable.
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Ryland, C. A. "Memorialisation and metapoetics in Paul Celan's translations of French surrealist poetry." Thesis, University College London (University of London), 2008. http://discovery.ucl.ac.uk/1445830/.
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Contrary to assumptions within existing scholarship on Paul Celan's poetics, this thesis demonstrates that surrealist aesthetics were a significant discourse within Celan's poetics, in particular in die theories articulated in his Buchner Prize speech (1960). By mapping the points of convergence and divergence between specific surrealist ideas and particular elements of Celan's poetics, it demonstrates that the most significant point of contact between die two sets of aesthetics lies in the surrealist idea of a sustained tension between the unconscious and conscious realms, and between the past and die present, which elucidates Celan's well-known 'meridian' metaphor. The study thus develops new interpretations of Celan's theories, in particular in its assertion of the primacy of unconscious impulses in Celan's view of poetic language. Its conclusions thereby impact on an understanding not only of the specific status of the surrealist discourse in Celan's aesthetics, but also of the shifting relationship between poetic language and die poet's and readers' conscious and unconscious realities and of the intentional and unintentional cultural encounters that impact on linguistic and literary7 signification. The inquiry' focuses on verifiable and concrete points of contact between Celan's writings and surrealist texts, in the form of his translations of surrealist poems, his poetological notes and his correspondence. Recently published correspondence and theoretical writings by Celan reveal that he considered poetry to be composed in part as a result of unconscious impulses, which become visible during translation. Close readings of Celan's versions of surrealist poems demonstrate that these translations both illustrate and thematise this textual Unconscious, and so exhibit the metapoetic content of Celan's translations. By focusing in particular on the surrealist aspects of the original poems translated by Celan, and on Celan's transformation of these features into metapoetic figures, these readings therefore demonstrate the poetological significance of Celan's encounter with surrealism, and culminate in a new conceptualisation of his poetics of translation.
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O'Connor, Clémence. "'Pour garder l'impossible intact' : the poetry of Heather Dohollau." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/791.
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Vilain, Robert Leon. "The poetry of Hugo von Hofmannsthal and French symbolism : tradition and inhibition." Thesis, University of Oxford, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320987.
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Ruck, Elaine Heather. "An index of themes and motifs in twelfth century French Arthurian poetry." Thesis, University of Reading, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328882.
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Martinon, Philippe Martinon Philippe. "Les Strophes étude historique et critique sur les formes de la poésie lyrique en France depuis la Renaissance ; Suivi du Répertoire général de la strophe française depuis la Renaissance /." Genève : Slatkine Reprints, 1989. http://catalog.hathitrust.org/api/volumes/oclc/20808904.html.
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Thesis (doctoral)--Université de Paris Sorbonne, 1911.Reprint. Originally published: Paris : Librairie Ancienne Honoré Champion, 1911. Includes bibliographical references (p. [469]-500) and index.
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O'Brien, J. P. "'Anacreon' Redivivus : French Anacreontic translation in neo-Latin and the vernacular 1554-1556." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371718.
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Sewright, Kathleen Frances Nádas John Louis. "Poetic anthologies of fifteenth-century France and their relationship to collections of the French secular polyphonic chanson." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1827.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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Petrosky, David. "Studies in the politico-religious ideology of French poetry Middle Ages and Renaissance /." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0024731.
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Maynard, Katherine S. "Epic lessons : pedagogy and national narrative in the epic poetry of Early Modern France /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/8299.
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Arnould, Elisabeth. "L'extase de la poesie : la contestation de la litterature dans l'oeuvre de Georges Bataille /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9961756.
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Hudson, Robert James. "The Petrarchian lyrical imperative an anthropology of the sonnet in Renaissance France, 1536-1552 /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1680037321&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Belam, Judith. "La Chevalerie Ogier de Danemarche - a critical edition." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390283.
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Jenkins, Lucien Almaric. "Beroul's code : a semantic investigation of moral values in Beroul's 'Roman de Tristan'." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286502.
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Kernan, Ryan James. "Lost and found in black translation Langston Hughes's translations of French- and Spanish-language poetry, his Hispanic and Francophone translators, and the fashioning of radical Black subjectivities /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481658191&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Kim, Kil Won. "A detailed study of Reynaldo Hahn's settings of the poetry of Paul Verlaine /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1996.
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Simons, Penelope. "The theme of education in twelfth- and thirteenth- century French epic and romance." Thesis, University of Sheffield, 1990. http://etheses.whiterose.ac.uk/3055/.
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This study examines the description of characters' education in twelfth- and thirteenth-century French epic and romance with two broad aims: to establish how education is described, and to suggest reasons why it is portrayed in the particular way that it is. The discussion is divided into three parts. The first provides the contextual framework for the second two, and presents a brief overview of the history of education in the period, together with a survey of the theory and practice of education in school and at home. Critics and historians have noted the link between education and literature and we provide a model of contemporary educational background, theory and practice, against which literary descriptions may be compared and understood. In Part II we analyse these literary descriptions, hitherto not comprehensively explored. Taking a large corpus of works, we examine the content of characters' education, drawing comparisons across genre and timespan, and with the model from Part I. This, together with further examination of where poets draw their inspiration, what they choose to include and how it is presented, provides a context within which particular features, descriptions or texts may be discussed. Part III examines particularly interesting treatments of education. Five different studies of individual works or groups of texts illustrate the range of ways education may function, and help us to establish the status of the education description in Old French literature. We conclude that poets deliberately describe and exploit education in various ways. These range from delineation of character, where we see authors shaping the raw material of narrative for their own ends, to major thematic use, essential for understanding a text. Study of the theme of education reveals its contribution to and reflection of the importance of medieval education and its influence on vernacular literature.
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Lohöfer, Astrid. "Ehics and Lyric Poetry : Language as World-Disclosure in French Symbolism and Canadian Modernism." Thesis, Montpellier 3, 2013. http://www.theses.fr/2013MON30082.
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S’inscrivant dans le tournant éthique survenu il y a peu en théorie littéraire, cette étude analyse la relation entre éthique et poésie moderne, avançant que les implications éthiques de ces textes ne sont pas seulement enrichies par, mais aussiindissociables de l’emploi créatif et non-conventionnel de la langue rencontré dans ce courant. La majorité des articles consacrés à la critique éthique se concentrent sur la transmission explicite de valeurs morales par le biais de romansou de nouvelles – sans tenir compte de la complexité linguistique renfermée par l’énoncé lyrique – ou assimilent l’éthique de la littérature, de façon très généralisée, à des phénomènes purement esthétiques à l’instar de l’expérience textuelleémanant de l’altérité ou de l’indécidabilité – et contournent de ce fait les préoccupations éthiques concrètes de chacun des textes. Dans le but d’atteindre une compréhension plus nuancée de la relation entre éthique et poésie (moderne), je propose d’envisager la parole lyrique comme un lieu de révélation du monde ouvrant de nouvelles perspectives sur les questions éthiques qui restent voilées ou dissimulées dans le discours ordinaire. Cette idée a été développée par MartinHeidegger et Paul Ricoeur, qui, dans leurs écrits sur l’art et la littérature, se penchent sur la manière dont les textes poétiques rompent avec les contraintes du discours institutionnel et rendent au langage son pouvoir expressif originel. [etc.]Situated in the context of the recent ethical turn in literary theory, this study examines the relationship between ethics and modernist poetry, arguing that the ethical implications of these texts are not only enriched by, but also inseparable from, the creative, unconventional use of language typical of this genre. The majority of studies in the field of ethical criticism either focus on the explicit transmission of moral values in novels and short stories, while ignoring the linguistic complexity at the heart of lyric utterance, or equate the ethics of literature, in a very generalized way, with purely aesthetic phenomena such asthe textual experience of alterity or undecidability, thereby bypassing the concrete ethical concerns of individual texts. In order to attain a more nuanced comprehension of the relationship between ethics and (modernist) poetry, I propose to view lyric language as a site of world-disclosure opening up new perspectives on ethical issues that remain veiled or hidden in ordinary speech. This idea has been elaborated by Martin Heidegger and Paul Ricoeur, whose writings on art and literature engage with the ways in which poetic texts break the constraints of institutionalized discourse and return language to its original, expressive power. [etc.]
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Gironce-Evrard, Marie-Anne. "La symbolique des saisons dans la poésie lyrique, en Italie, en Espagne et en France, 1465-1645 un prétexte pour dire le temps /." Villeneuve d'Ascq, France : Presses Universitaires du Septentrion, 2000. http://books.google.com/books?id=Wk9ZAAAAMAAJ.
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