To see the other types of publications on this topic, follow the link: French symbolist literature.
Dissertations / Theses on the topic 'French symbolist literature'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 21 dissertations / theses for your research on the topic 'French symbolist literature.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Frendo, Maria. "T.S. Eliot and the music of poetry." Thesis, Durham University, 1999. http://etheses.dur.ac.uk/4565/.
Full textAbstract:
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.
2
Culpepper, Abigail. "Towards an Ethic of the Lyric: Taking on the Other in “La Mort de Cleopatre” by Marie Krysinska." Miami University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=miami1564684012184959.
Full text
3
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.
Full text
4
Gibbard, Paul. "Anarchism in English and French literature, 1885-1914 : Zola, the symbolists, Conrad and Chesterton." Thesis, University of Oxford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367774.
Full text
5
Howell, Evan. "‘Some Can’t Be That Simple’: Flannery O’Connor’s Debt to French Symbolism." VCU Scholars Compass, 2012. http://scholarscompass.vcu.edu/etd/2913.
Full textAbstract:
In this thesis, I trace the influence of French Symbolist poetry on the works of Flannery O’Connor. Many of O’Connor’s influences are well-known and documented, including Catholicism, the South, modern fiction, and her battle with lupus. However, I argue that Symbolism, via its influence on Modernist literature, is another major influence. In particular, I focus on several aspects of O’Connor’s writing: the recurrence of the same symbol across multiple works, the central location of symbols in several stories, the use of private symbols of the author’s invention, and use of symbol, rather than language, to convey transcendence. Aided by the scholarship of critics such as Richard Giannone, Laurence Porter, and Margaret Early Whitt, I argue that there is much in the aesthetic of Flannery O’Connor to suggest that her writing is, in part, a legacy of the French Symbolists.
6
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.
Full textAbstract:
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.
7
Talavera, Ibarra Pedro Leonardo. "The changing view on the world : from symbolism to avant-garde in Russian, French and Latin American literature /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.
Full textAbstract:
Thesis (Ph. D.)--University of Texas at Austin, 1999.Vita. Text in English, with some Russian, French and Spanish. Includes bibliographical references (leaves 222-240). Available also in a digital version from Dissertation Abstracts.
8
Robert-Nicoud, Vincent Corentin. "The world upside-down in sixteenth-century French literature and visual culture." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:1c0536cf-ffcf-4324-a626-19075e1acca8.
Full textAbstract:
To call something 'inverted' or 'topsy-turvy' in the sixteenth century is, above all, to label it as abnormal, unnatural and going against the natural order of things. The topos of the world upside-down brings to mind a world returned to its initial state of primeval chaos, in which everything is inside-out, topsy-turvy and out of bounds: fish live in trees, children rule over their parents, wives command their husband and rivers flow back to their source. This thesis undertakes a detailed account of the development of the topos of the world upside-down in sixteenth-century French literature and visual culture. By examining different uses of this topos - comic, moralising and polemical - it relates the transformations of the topos to religious, social and political conflicts of the period. To explain the shift of this topos from comic and moralising device to satirical and polemical tool, this thesis argues that troubled times produce troubled texts. In order to demonstrate this hypothesis, two kinds of evidence will be examined: Chapter 1 and Chapter 2 present diachronic evidence of the 'polemicisation' of the topos of the world upside-down in literary genres of the period (adages, paradoxes and emblems) and within François Rabelais's body of work; Chapter 3 and 4 provide synchronic evidence of the polemical use of the topos of the world upside-down during the French religious wars in Huguenot and Catholic polemic and in depictions of socio-political turmoil. Charting the variety of uses of the topos of the world upside-down throughout the sixteenth century, this thesis connects the world upside-down and its historical context; and contributes to the scholarship on religious polemic.
9
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.
Full text
10
Burgon, Haleigh Heaps. "Redemption in the Life and Work of Camille Claudel." BYU ScholarsArchive, 2012. https://scholarsarchive.byu.edu/etd/2987.
Full textAbstract:
Camille Claudel is a sculptor who has traditionally been approached in terms of her relationship to Rodin and his influence on her work. Indeed, the two shared a passionate relationship and there are certainly similarities between the two sculptors' work which provide for fascinating analyses. However, one of the acknowledged but previously unexplored speculations on Claudel's art suggests that it involves a measure of veiled spirituality sealed within its stone. It is precisely this sacred element within her sculptures that offers viewers an opportunity to experience transcendence while identifying with fundamental themes. Furthermore, Claudel created her figures as a method of interior healing and deliverance. This theme of redemption will be essential to arriving at the more profound, multifaceted interpretations of her sculptures. To highlight the connections to the various artists and movements discussed in the thesis, Claudel's piously thematic art can be compared to the nontraditional illustrations by Vincent Van Gogh, Paul Gauguin, and the religious depictions of James Tissot, as well as being seen as engaging with the idea of theosophy and the Symbolist art movement. It is true that in fin-de-siècle France, due to the advancing secularization of society, viewers did not understand religious and spiritual symbolism in art as comprehensively as they had in the past. However, it will be necessary to show that Claudel was not the only artist interested of her era who persisted in conveying spiritual themes within supposedly secular scenes. Yet, Claudel's work remains unique in that it communicates the theme of redemption through its creation as well as through its creator. Chez Claudel, the art and the artist are united and one cannot be fully understood without the other. Moreover, through her masterpieces, she did not only offer insight into the meaning of existence; through her redemptive works she found momentary salvation for herself and for others from the excruciating outward oppression present at the close of the 19th century. Unfortunately, since the moment she began to successfully achieve recognition for her work critics have been content to view each of Camille Claudel's sculptures as a deliberate response to her tumultuous relationship with Rodin. This thesis will investigate more enlightened interpretations made possible when one simultaneously considers the role of her spirituality. It will become unmistakably clear that Camille's brother Paul was right when he stated that her work is vastly different from all other artists' "because it welcomes light and radiates the inner dream that inspired it" (Ayral-Clause 157).
11
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.
Full textAbstract:
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.
12
Dessy, Clément. "Les écrivains devant le défi nabi: positions, pratiques d'écriture et influences." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209795.
Full textAbstract:
En 1888, une communauté de peintres s’associe sous l’appellation « Nabis ». Ce terme, issu de l’hébreu, signifie à la fois les « prophètes » et les « initiés ». Paul Sérusier qui vécut sa rencontre avec Paul Gauguin comme une révélation est à l’origine de la formation du groupe. Une année auparavant, le symbolisme littéraire triomphe en France et suscite l’émulation parmi une nouvelle génération d’écrivains qui se cristallise autour de /La Revue Blanche/ et le /Mercure de France/. Entre les Nabis et les symbolistes s’établit dès lors un intense réseau de collaborations. Tant dans l’élaboration des décors et programmes du Théâtre de l’œuvre de Lugné-Poe que dans l’illustration d’ouvrages d’André Gide, d’Alfred Jarry ou encore de Jules Renard, les Nabis participent activement à la vie littéraire de leur temps tout en s’incarnant volontairement comme une avant-garde picturale. Les échanges nombreux entre peintres et écrivains sont alors loin de se limiter à de simples commandes. Ils aboutissent souvent à des amitiés durables comme celles qui unirent Gide à Maurice Denis et Jarry à Pierre Bonnard. La recherche s’interroge sur la motivation de cette nouvelle génération d’écrivains qui sollicita le groupe nabi, ainsi que sur la nature des projets qui les unirent. Les revues littéraires occupent une place importante dans le rassemblement entre les écrivains et ce groupe de peintres. La volonté d'identifier une aile picturale qui fasse écho dans le champ artistique au désir d'innover dans le champ littéraire stimule les sollicitations des écrivains de la seconde génération symboliste. Les Nabis, qui se méfient toutefois d'une soumission trop grande au fait littéraire, induisent par leurs développements artistiques et leurs théories les paramètres d'une nouvelle relation entre peintres et écrivains dans laquelle ces derniers ne recherchent plus la domination stratégique de l'art littéraire sur la peinture.Outre ces considérations historiques, le rapprochement souhaité entre les deux groupes fut tel que la production littéraire ne put qu’être influencée par les théories des Nabis. La tendance "formaliste" représentée par ce groupe pictural a souvent conduit les chercheurs à prendre acte de l'autonomie tant du littéraire que du pictural dans les échanges entre Nabis et écrivains. Les influences sont cependant nombreuses de la peinture vers la littérature. Il est toutefois nécessaire de prendre en compte des écrivains oubliés par l'histoire littéraire, tels Romain Coolus, Gabriel Trarieux ou Louis Lormel, pour percevoir les effets de cette influence picturale. La reprise d'un dispositif de couleurs, exaltées ou déformées, le jeu poétique sur le thème de la ligne ou de l'arabesque fondent une recherche d'effet visuel dans l'écriture qui entend renouveler les images poétiques. Ce constat entre en résonance avec la rénovation picturale revendiquée par les Nabis. Des esthétiques communes entre peintres et écrivains, tournant autour des notions de synthèse, simplicité, de la référence à l'enfance ou à la fantaisie humoristique rassemblent Nabis et poètes qui les soutiennent dans une communauté d'initiés à l'art nouveau.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
13
Voitenok, Katerine. "The Mother, the Son, and the Creation: the Unveiling of the Image of the Mother-Christ in the Works of Albert Camus." Thesis, Boston College, 2016. http://hdl.handle.net/2345/bc-ir:106880.
Full textAbstract:
Thesis advisor: Kevin NewmarkThis dissertation constitutes a systematic literary study of the image of the mother in Camus’s works. The study is twofold: it represents 1) a reconstruction of the story of the image of the mother through the analysis of the image’s manifestations and meanings and 2) a reading of Camus’s oeuvre through the lens of this image. In this dissertation, the image of the mother is approached as a unique entity that 1) has its distinctive parameters, inner logic, language, manifestations, and levels of meaning, 2) manifests a tendency to remain central, and 3) leads an uninterrupted existence throughout the entire oeuvre. The narrative unfolding of the image of the mother repeats Camus's progression through his project and shows an intimate connection to the problematics of the self and the expression of emotion. Paralleling the twists and turns of Camusian creation, the existence of the image of the mother in the texts remains dual: embodied and hidden. Hence, the analysis of the sequence of the image’s perceptible forms – i.e., the mothers who appear in different works, in particular the mother of “Entre oui et non” (L’Envers et L’Endroit), Mme Meursault (L’Etranger), the mother of Jan (Le Malentendu), Mme Rieux (La Peste), and Catherine Cormery (Le Premier Homme) – is supplemented by an account of the image’s less perceptible forms – i.e., veiled presences, echoes, traces, and avatars. The narrative is not only cumulative, it has a specific direction. As the story of the image of the mother unfolds, moving from text to text, from one manifestation to another, the image of the mother is gradually unveiled as a living symbol, the Mother-Christ – a figure of conciliation of the living and the symbolic and a point of convergence of the vertical and the horizontal
Thesis (PhD) — Boston College, 2016
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: Romance Languages and Literatures
14
Kefalidou, Charikleia Magdalini. "Mythe, symbole et identité à l’épreuve de l’entre-deux : l’écriture de l’arménité en France et aux États-Unis du début du XXe siècle à nos jours." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL155.
Full textAbstract:
La présente thèse se penche sur la manière dont des écrivains ayant grandi au sein de leurs communautés diasporiques respectives, réinterprètent et recontextualisent leur bagage ethnique arménien, les mythes (anciens, historiques et nouveaux) et les symboles, afin d’exprimer les problématiques de l’exil, de l’immigration et du traumatisme et acquérir ainsi une place singulière dans le champ littéraire de leurs pays d’adoption. Profitant de la diversité des communautés et des expériences diasporiques nous souhaitons déceler les modalités de réinterprétation des mythes, symboles et autres éléments constituant l’identité ethnique arménienne, reterritorialisée dans un contexte social et ethnique différent du pays d’origine, avec pour objectif d’examiner l’évolution de ce bagage ethnique dans une perspective diachronique. Notre analyse comparative porte ainsi sur des écrivains d’origine arménienne d’expression anglaise et française, issus de deux grandes communautés diasporiques de l’Occident, la communauté arménienne en France et aux États-UnisThe present thesis focuses on the ways that writers from diaspora communities reinterpret and contextualize their Armenian ethnic background, myths ( ancient-historical and new) and symbols, problematizing exile, immigration and trauma in order to find their place in the literary field of their adoptive countries. Drawing on the diversity of Armenian diaspora communities and the variety of diasporic experiences, our aim is to reveal the procedures of reinterpretation of myths, symbols and other elements making up the Armenian ethnic identity, reterritorialized in different social and ethnic contexts, aiming to examine the evolution of this ethnic background though a diachronic perspective. Our comparative analysis deals with French and English-language writers of Armenian origin from two big diaspora communities of the West: the French-Armenian community and the Armenian-American community
15
Miksic, Vanda. "Des silences linguistiques à la poétique des silences: l'oeuvre de Stéphane Mallarmé." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210994.
Full textAbstract:
Le silence — ou plutôt la grande variété de ce que l’on appelle “silences” — est un phénomène complexe qui prend une part directe dans la dynamique du langage et la création du sens linguistique, mais aussi dans la production du sens symbolique et des effets poétiques. Le travail est organisé en deux parties: la première traite la question de l'acte de silence dans l'expérience linguistique du monde, tandis que la deuxième analyse l'expérience poétique des silences en appliquant les résultats précédemment obtenus au Coup de dés de Stéphane Mallarmé. Plus précisément, dans la partie linguistique, on passe en revue différentes théories pour dégager la place que le silence s’y voit reconnaître. On l’étudie successivement en tant que signe linguistique, en tant qu’acte linguistique, comme élément pertinent, comme procédé rhétorique, comme phénomène symbolique. La partie poétique se fonde sur la théorie de l'évocation pour aboutir, en passant par un chapitre consacré à la poésie moderne dans son ensemble, à l'œuvre de Stéphane Mallarmé, le premier poète qui ait créé une véritable poétique des silences, tant dans ses ouvrages poétiques (dont le Coup de dés est l'exemple le plus radical) que dans ses écrits théoriques.Doctorat en philosophie et lettres, Orientation linguistique
info:eu-repo/semantics/nonPublished
16
Bakken, Arild Michel. "La présence de Mallarmé." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040097.
Full textAbstract:
Dans sa thèse intitulée La présence de Mallarmé, Arild Michel Bakken interroge la présence de Mallarmé dans son œuvre. Contre l’idée dominante qui fait de Mallarmé le poète de l’absence, Bakken montre que la figure du poète est très présente dans le texte, et que c’est en réalité cette figure qui assure la cohérence de l’œuvre. Utilisant une méthode rhétorique centrée sur l’expérience du lecteur, la thèse montre comment Mallarmé se met en scène. La figure de l’auteur est bien ancrée dans la société de son temps, comme Français, comme petit-bourgeois, comme mari et père. Cette figure apparaît clairement comme une figure de poète, mais aussi comme « homme de lettres » et comme journaliste. La thèse montre aussi que le lecteur peut suivre la vie intérieure de la figure comme voyant et comme penseur. Même dans les textes les plus impersonnels, l’auteur n’est pas absent, mais assume la posture de la mystérieuse « Figure que Nul n’est », qui représente l’essence de la subjectivité humaine. Par la mise en scène de sa figure dans l’œuvre, Mallarmé cherche à séduire le lecteur, à obtenir une « gloire », à conférer à son œuvre une valeur. La figure de l’auteur, son ethos, est aussi un moyen efficace pour transmettre les valeurs du poète, sa vision du monde. Mais la vision du monde qui apparaît chez Mallarmé est constamment minée par l’ironie du poète, qui est le trait le plus caractéristique de sa présenceIn his doctoral thesis La présence de Mallarmé, Arild Michel Bakken investigates Mallarmé’s presence in his work. Against the common view of Mallarmé as the poet of absence, Bakken shows that the figure of the poet is very present in the text, and that this figure is in fact what gives the work its unity. Through a rhetorical method focused on the reader’s experience, Bakken shows how Mallarmé stages himself throughout the work. The figure of the author is anchored in the society of his time, as a Frenchman, as a petit-bourgeois, as a father and a husband. It is clearly a poet figure, but also an “homme de lettres” and a journalist. The thesis also shows that the reader can follow the inner life of the figure, as a seer and as a thinker. Even in the most impersonal texts, the author is not absent, but adopts the posture of the mysterious “Figure that No One is”, representing the essence of human subjectivity. Through the staging of his figure in the work, Mallarmé seeks to seduce the reader, to obtain “glory”, to give his work value. It is also an effective instrument for transmitting the poet’s values, his world view. But the world view which appears in Mallarmé’s work is constantly undermined by the poet’s irony, which is the most characteristic feature of his presence
17
"Sonority as a semiotic matrix of signification in French symbolist poetry." Thesis, 2010. http://hdl.handle.net/1911/62190.
Full textAbstract:
This document investigates a subject apparently rather traditional, perhaps even traditionalist: the exploration of the phonological, syntactical and semantical resources by means of which French symbolist poetry acts upon the reader. This project is not, however, as strange to the current theoretical conceptions as one might believe. Derrida, Foucault, Blanchot, Kristeva, and Barthes had Mallarme in the center of their reflections on language. Indeed, a metaphysics of old platonic origins serves as the foundation of the aesthetic enterprise of symbolism. The poem becomes an epiphany: it points towards an invisible world in comparison to our physical reality, proving to be no more than a pale reflection. This ambitious project---has it failed as an aesthetic adventure or as a vision of the universe? Herewith is one of the questions that this study attempts to propose answers based on the concrete analysis of poems by Baudelaire, Verlaine, Rimbaud and Mallarme. Following the goals that I have set for myself, musical analogies will play a fundamental role in this dissertation.
18
"An anti-symbolist movement in late nineteenth-century French poetry: "Le naturisme" of Saint-Georges de Bouhelier." Tulane University, 1993.
Find full textAbstract:
This dissertation is a study of Le naturisme, an anti-symbolist literary movement that emerged in late nineteenth-century France. Chapter one is a literary-historical overview of the evolution of naturisme. It describes the state of crisis in symbolist literature at the end of the nineteenth century and details the efforts of Saint-Georges de Bouhelier and Maurice Le Blond--naturisme's founders--to create a literary aesthetic in opposition to the hermeticism and elitism of symbolism. Chapter two contains analyses of Bouhelier's poetic treatises and Le Blond's theoretical essays that define the naturiste aesthetic--an aesthetic that emphasizes the heroic nature of common people and the beauty of the quotidian and that advises the writer to avoid the hermetic poetic expression typical of Mallarmean symbolism. Chapter three illustrates Emile Zola's role as mentor to the naturistes, compares and contrasts naturisme to naturalism, and portrays the naturistes' courageous support of Zola in the Dreyfus Affair. Chapter four is a study of Bouhelier's poetry, the purpose of which is to demonstrate how the naturiste aesthetic was put into practice and to determine whether or not the movement's objectives were met in other than a strictly expository context. Chapter five is a discussion of Andre Gide's break from symbolism and his subsequent retour-a-la vie mentality that spawned his novel, Les nourritures terrestres (1897). For a time, it seemed as if Gide would proclaim himself a member of naturisme, but he was ultimately greatly responsible for the movement's demise. This chapter, thus, chronicles the beginning of naturisme's downfall, as Bouhelier and Le Blond lost the support of talented young writers who resented their bitter attacks against respected symbolists and their attempt to marshall young writers into their school. Chapter six describes the legacy of naturisme, which, although it had failed, prompted others to found similar movements and allowed writers to free themselves from the restrictive tenets of symbolismacase@tulane.edu
19
Pouseiro, Ana Cristina Ferreira. "O topos da "doença" nos universos poéticos de Georges Rodenbach (1855-1898) e António Nobre (1867-1900)." Master's thesis, 2011. http://hdl.handle.net/10400.2/1985.
Full textAbstract:
Dissertação de Mestrado em Estudos Francofonos apresentada à Universidade AbertaOs universos poéticos de Georges Rodenbach e de António Nobre apresentam pontos convergentes e divergentes, tanto ao nível da forma como ao nível dos temas. Este trabalho centra-se particularmente na análise do topos da doença, tendo em conta a especificidade de cada um destes autores, a forma como a doença é representada em cada um deles, tendo em conta o meio em que vivem e no qual se movem, sobretudo o contexto finissecular em que as suas obras apareceram. Tentou-se, em suma, analisar a forma como o topos da doença se manifesta nas suas obras poéticas, em consonância com uma escrita, uma estética e um imaginário bem distintos que acabam, no final deste percurso, por associar indubitavelmente os nomes do autor belga e do autor português aqui convocados.
Les univers poétiques de Georges Rodenbach et de António Nobre présentent des points communs et des points divergents, aussi bien au niveau de la forme qu’au niveau des thèmes. Ce travail se centre surtout sur l’analyse du « topos » de la maladie, en tenant compte de la spécificité de chaque auteur, de la façon dont la maladie est représentée par chacun d’eux, étant donné le milieu où ils vivent et évoluent, surtout le contexte « fin de siècle » où leurs oeuvres sont apparues. On a essayé en somme d’analyser l’ampleur du «topos» de la maladie dans leurs oeuvres en articulation avec une écriture, une esthétique et un imaginaire bien différents, mais qui, à la fin de notre parcours, finissent par associer sans aucun doute le nom de l’auteur belge et celui de l’auteur portugais.
The poetic universe of Georges Rodenbach and António Nobre presents convergent and divergent points between them at the level of the forms and at the level of the themes as well. This work focus the analysis of the «topos» of the disease, taking into account the specificity of each author, the way each one of them represents the disease, without forgetting what in each of them is the influence of their own life, the environment where they evolve and in which they move and especially the “Finde- siècle” context where their works were published. It will be analysed the way as the “topos”of the disease is presented in their poetic work, in articulation with their poetics, their esthetical and imaginary universe, which at the end of our work will show the link we can establish between the Belgian and the Portuguese author.
20
Kučerová, Magdalena. "Mýtus o Narcisovi ve francouzské literatuře přelomu 19. a 20. století." Doctoral thesis, 2014. http://www.nusl.cz/ntk/nusl-342283.
Full textAbstract:
Mgr. Magdalena Kučerová Dissertation work: Myth of Narcissus in French literature at the turn of the 20th century ABSTRACT: This dissertation thesis based on knowledge of French myth criticism deals with the issue of myths in literature, which is a specific manifestation of human symbolic imagination. In its most general level the work studies the definition of a myth and its social function as well as the matter of opposite notions regarding to the mythos and logos, which have gradually more and more differentiated along with the development of European thinking. The myth of Narcissus has probably been one of the oldest myths in European culture. In its most renowned and most comprehensive form, the myth first appeared in the third book of Metamorphoses by Ovid, which has served as an inspiration for remakes by many later authors. The story of a young man who fell in love with his own reflection on the surface of the water contains a great variety of semantically strong structures (mainly the motifs of a mirror, narcissistic love, passively superior character of a hero, or the final metamorphoses into a flower), which are analysed in this study. The author of this study outlines the interpretational evolution of the myth of Narcissus in French literary history...
21
Simard, Josée. "Convergences/divergences : le dialogue intermédial dans Vues et visions de Claude Cahun." Thèse, 2014. http://hdl.handle.net/1866/11723.
Full textAbstract:
Ce mémoire étudie les rapports texte/image dans Vues et visions de Claude Cahun, première œuvre composite créée en collaboration avec la peintre graphiste Marcel Moore. L’objet littéraire protéiforme, appartenant au genre de l’iconotexte (Alain Montandon), instaure un dialogue intermédial entre le textuel et le visuel au point de déconstruire l’horizon d’attente du lecteur : celui-ci est incité à lire et à voir alternativement les poèmes en prose ainsi que les dessins de sorte que les frontières qui définissent l’espace du littéral et du figural apparaissent poreuses.
Subdivisé en deux chapitres, notre travail s’attachera dans un premier temps à mettre en lumière le rôle de l’écriture qui intègre certains dessins de Moore. En nous inspirant de l’iconolecture (Emmanuelle Pelard), nous tenterons d’effectuer des liens entre la plasticité et la signification littérale des signes linguistiques qu’illustrent ces images-textes tout en étudiant les correspondances thématiques et formelles qu’elles entretiennent avec les poèmes de Cahun. Le second chapitre étudiera la manière dont le figural investit le texte littéraire en adoptant une approche intermédiale. Après avoir abordé la figure du double, une partie de l’analyse sera consacrée à la figure de l’allusion, une stratégie d’écriture pour introduire le visuel au sein du textuel, ce qui nous permettra d’entrer en matière pour étudier « l’image-en-texte » (Liliane Louvel). Enfin, l’effet-tableau ainsi que l’anamorphose seront employés comme cadre d’analyse afin de penser le dialogue qui se noue entre le pictural et le texte littéraire dans Vues et visions.This dissertation studies the relationship between text and image in Claude Cahun’s Vues et visions, her first project realized in collaboration with the visual artist Marcel Moore. This heterogeneous object of art belongs to the iconotext genre (Alain Montandon) and establishes a dialogue between Cahun’s prose poems and Moore’s drawings to the point of deconstructing the reader’s horizon of expectation : he is induced to read and behold alternatively the texts and the images so that the boundary line that defines the literary’s and pictorial’s spaces appears porous. Subdivided in two chapters, our work becomes attached in the first place to bring to light the role of the written word which incorporates some graphics of Marcel Moore. Inspired by a reading method called « iconolecture » by Emmanuelle Pelard, we will try to link the plasticity and the literal signification of the linguistic signs illustrated by those hybrid drawings while studying the formal and thematic similarities they share with Cahun’s prose poems. Using an intermedial perspective, the second chapter will study how the visual arts influence the poet’s writing style. After having broached the figure of the double, we will analyze the figure of allusion as a writing strategy to introduce the pictorial register in the literary texts that will lead us to study « l’image-en-texte » (Liliane Louvel). « L’effet-tableau » and the anamorphosis will be explored as frame of reference to conceive how links are tied between visual arts and poetry in Vues et visions.