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1
Ballard, Aude. "Genèse et rhétorique des architectures radiophoniques du XXe siècle : la ''maison ronde'' d'Henry Bernard, manifeste d'un fonctionnalisme architectural ?" Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASK001.
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L’entre-deux guerre est marquée par la genèse et l’essor d’une nouvelle architecture dédiée à la radiodiffusion. La radio ne pouvant plus s’implanter dans des bâtiments existants et disséminés, elle fut contrainte de se doter d’édifices adaptés spécialement aux techniques et aux pratiques radiophoniques qui centralisent la production sur un seul site. A travers une étude historique mondiale de la création architecturale dédiée à la radiodiffusion de 1929 à 1963 et l’analyse des œuvres architecturales pionnières dans ce domaine à Berlin et à Bruxelles et eu égard à la diversité des réponses architecturales apportées aux besoins exigeants de cette création radiophonique, il s’agit de s’interroger sur le processus de genèse de cette nouvelle architecture et sur la place de l’œuvre d’Henry Bernard au sein de cette création radiophoniqueThe period between the two Worlds Wars is marked by the genesis and the rise of a new architecture dedicated, to broadcasting. As being not able to be implanted in the existing and disseminated buildings, the radio was compelled to be endowed with an edifice specifically adapted to the radiophonic techniques and practices, that centralize the production in a single site. This world historical study of the dedicated architectural creation in broadcasting, from 1929 to 1963, analyzes the pioneering architectural works in Berlin and Brussels. In view of the diversity of architectural responses brought to the requirements of radiophonic creation, it is a question of both accurately questioning the genesis of this new architecture and the place of the work of Henry Bernard in the context of post-WW2 France
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Winnett, Prudence J. "The expressed and the inexpressible in the theatre of Jean-Jacques Bernard and Henry Rene Lenormand between 1919 and 1945." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/5102/.
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This study is concerned with the ways the Inter-War theatre of Jean-Jacques Bernard and Henry-Rene Lenormand illustrates the paradox of the relative impotence of words as instruments of communication on the one hand as compared with their potency in other respects. The first two chapters are devoted to Bernard's exploitation and demonstration of the inadequacy of words as vehicles of meaning, the complex and correspondingly confusing nature of dialogue and miscellaneous factors which generally aggravate the communication process. Chapter 4 is given over to an examination of the most important failing of verbal symbols as illustrated in Lenormand's metaphysically oriented drama, and Chapter 5 treats of the other ways in which Lenormand's theatre complements Bernard’s by highlighting the fundamental inefficiency of words as communication tools and certain factors which further undermine dialogue and personal relations. Chapters 3 and 6 review how the plays of Bernard and Lenormand also bring into relief the extraordinary and sometimes dangerous effectiveness words can have, notably as provocative triggers and psychological catalysts. A substantial Introduction puts Chapters 1-6 into a historical perspective, explains the choice of playwrights, discusses the way their work has been critically evaluated, classified and analysed in the past and accounts for this study’s particular approach to their drama between 1919 and 1945.
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Krishna, Nakul. "The morality of common sense : problems from Sidgwick." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:f2ac036e-115d-4e02-b5a8-cd6ab40f0800.
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Much modern moral philosophy has conceived of its interpretative and critical aims in relation to an entity it sometimes terms 'common-sense morality'. The term was influentially used in something like its canonical sense by Henry Sidgwick in his classic work The Methods of Ethics (1874). Sidgwick conceived of common-sense morality as a more-or-less determinate body of current moral opinion, and traced his ('doxastic') conception through Kant back to Aristotle's Nicomachean Ethics and the practice of Plato's Socrates before him. The Introduction to this thesis traces the influence of Sidgwick's conception both on subsequent (mis)understandings of Socratic practice as well as on the practice of moral philosophy in the twentieth century. The first essay offers a challenge to Sidgwick's understanding of Socratic practice. I argue that Socrates' questioning of his interlocutors, far from revealing some determinate body of pre-existing beliefs, is in fact a demonstration of the dynamic and partially indeterminate quality of common-sense morality. The value for the interlocutor of engaging in such conversation with Socrates consisted primarily in its forcing him to adopt what I term a deliberative stance with respect to his own practice and dispositions, asking himself not 'what is it that I believe?' but rather, 'what am I to believe?' This understanding of Socratic practice gives us a way of reconciling the often puzzling combination of conservative and radical elements in Plato's dialogues. The second essay is a discussion of the reception of Sidgwick's conception of ethics in twentieth-century Oxford, a hegemonic centre of Anglophone philosophy. This recent tradition consists both of figures who accepted Sidgwick's picture of moral philosophy's aims and those who rejected it. Of the critics, I am centrally concerned with Bernard Williams, whose life's work, I argue, can be fruitfully understood as the elaboration of a heterodox understanding of Socratic practice, opposed to Sidgwick's. Ethics, on this conception, is a project directed at the emancipation of our moral experience from the many distortions to which it is vulnerable. Williams's writings in moral philosophy, disparate and not entirely systematic, are unified by these emancipatory aims, aims they share with strains of psychoanalysis except in that they do not scorn philosophical argument as a tool of emancipation: in this respect among others, I claim, they are fundamentally Socratic.
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Lehmann, Henry [Verfasser], Bernhard [Akademischer Betreuer] Jung, Bernhard [Gutachter] Jung, and Gerik [Gutachter] Scheuermann. "Temporal Lossy In-Situ Compression for Computational Fluid Dynamics Simulations / Henry Lehmann ; Gutachter: Bernhard Jung, Gerik Scheuermann ; Betreuer: Bernhard Jung." Freiberg : Technische Universität Bergakademie Freiberg, 2018. http://d-nb.info/1226100805/34.
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Weinberg, Alexis. "Temps de l’écriture et poétique du point aveugle : théorie et pratique (Bernard Pingaud, Henri Thomas)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC091.
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Nous nous intéressons dans cette thèse à la relation originale et problématique qui s’est établie, dans la période qui va de l’après-guerre jusqu’à la fin des années 1970, entre, d’une part, la temporalité de l’écriture telle que vécue par l’écrivain et, d’autre part, la temporalité produite par le texte. Le schème paradoxal qui préside à cette relation pourrait se résumer ainsi : écrire pour savoir pourquoi écrire. Si la formule semble consonner avec la vulgate d’une écriture autotélique, elle nous semble plus profondément poser la question complexe du désir du scripteur, quand toute relation univoque entre le dedans et le dehors est mise en cause. Pour mener à bien cette étude, nous procédons en deux grands moments. Le premier aborde cette configuration par un bord théorique : nous suivons le fil du syntagme de « point aveugle », en ses acceptions métaphoriques et conceptuelles, dans un corpus essayistique extrait du grand moment théorique français. La seconde propose deux parcours de lecture dans les œuvres littéraires narratives fictionnelles de Bernard Pingaud et d’Henri Thomas – écrivains qui, selon des modalités distinctes, montrent deux voies d’articulation originale des registres temporels considérés. Aussi différents soient-ils, ils partagent ce principe : écrire pour savoir ce que, sans cette traversée, on ne pourrait savoir, en s’affrontant à cet irréductible point aveugle qui se donne comme condition de possibilité et d’impossibilité du sensThe focus of this thesis is the relationship - in the period between the end of World War Two and the late 1970s - between the temporality of writing as experienced by the writer, and the temporality produced by the text itself. The paradoxical structure of this relationship can be captured by the following formula: writing in order to know why one writes. Though this formula may seem to invoke the modernist received wisdom concerning autotelitic writing, this thesis takes it as the starting point in order to understand the desires of the “scriptor” (to use Roland Barthes’s term) when all unambiguous relations between the internal and the external are called into doubt. This study will proceed in two major parts. The first will apply a theoretical lens to the notion of the “blind spot” as it appears in its various metaphorical and conceptual senses in the essayistic corpus of so-called “French theory”. The second will consist of a literary analysis of the fictional narratives of Bernard Pingaud and Henri Thomas: writers who, each in their own distinct modalities, reveal an original way of articulating the forms of temporality at the center of this study. As different as they are, Pingaud and Thomas each share the aim of writing in order to understand that which, without writing, one could never understand. In pursuit of this aim, both writers come face-to-face with a blind spot that poses itself as the condition of both the possibility and the impossibility of meaning
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McCavana, N. A. "Survival Strategies of Jacques Henri Bernardin de Saint-Pierre (1760-1788)." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527845.
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Xiao, Yong [Verfasser], Henry [Gutachter] Schroeder, Bernhard [Gutachter] Rauch, and Anke [Gutachter] Fender. "Influence of ACT-209905 on glioblastoma growth in vitro / Yong Xiao ; Gutachter: Henry Schroeder, Bernhard Rauch, Anke Fender." Greifswald : Universität Greifswald, 2020. http://d-nb.info/1218686987/34.
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Mestry, Philip. "Paul et Virginie dans une perspective biblique : une allégorie de l'histoire de l'humanité." Paris 4, 1994. http://www.theses.fr/1994PA040199.
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Paul et Virginie, longtemps décrié, fait, depuis 1953, l'objet d'une tentative de réhabilitation. A cet effet, plusieurs lectures ont vu le jour, proposant des éclairages non négligeables. Cependant, à notre sens, aucune ne parvient à octroyer à ce roman sa cohérence globale, à résoudre ses dissonances. Et si la clé du texte résidait ailleurs que dans sa littéralité, c'est-à-dire dans sa structure sous-jacente, dans son symbolisme? Le structuralisme logique et le symbolisme biblique, nous ont permis d'effectuer un tel examen. Sans présomption aucune, nous pouvons désormais affirmer que Bernardin de Saint-Pierre y avait bel et bien place un fil allégorique de l'histoire de l'humanité depuis le paradis édénique initial jusqu'au paradis eschatologique avec, dans l'ordre entre les deux, l'intrusion du péché, ses conséquences désastreuses sur l'humanité, l'apprentissage du savoir et de la culture au fil des siècles, les rachats possibles culminant dans la rédemption ou christ, dont Virginie remplit les attributions dans le roman, sauve tous ceux qui adhèrent à ses principes de vertu; tout ceci, afin d'inciter ses concitoyens à suivre ce fil, cette voie du salut, à se saisir de cette belle pierre brillant d'espérances nouvelle sertie dans sa gangue d'une histoire d'amour visant à toucher les esprits. Ce fil-là rend à Paul et Virginie sa cohérencePaul and Virginia, after having been disparaged for quite a while, is, since 1953, being reinstated. In fact, since then, several different readings of the novel have come out, bringing to light some important aspects of it. However, none of them, in our opinion, has succeeded in bestowing some overall consistency on this novel or in sorting out any of its discrepancies. What if the key to this text was to be sought elsewhere than in its literality, that is to say in its underlying structure, its symbolism? Logical structuralism and biblical symbolism have made such an analysis possible. Thus, we may legitimately assert that Bernardin de Saint-Pierre definitely weaved in his text the allegorical thread of the story of mankind, from the edenic paradise to the eschatological paradise with, in good order between the two, the intrusion of sin, its disastrous consequences on mankind, the apprenticeship of culture and knowledge throughout centuries, the different possibilities for one to be redeement culminating into the redemption of Christ, whose role is being played by Virginia in the novel, granting salvation to all those who adhere to his principles of virtue; all this in order to prompt his fellow citizens into following that thread, that path to salvation, into seizing that dazzling magnificent stone, owing to the hopes it offers, mounted in its gangue of a love story aiming at hitting the senses. Such a thread restores its consistency to Paul and Virginia
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Wernet, Valérie Marie-Jeanne. "Ecriture et philosophie dans l'oeuvre de Bernardin de Saint-Pierre." Université Marc Bloch (Strasbourg) (1971-2008), 2006. http://www.theses.fr/2006STR20013.
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Considéré comme le père de l'exotisme littéraire par la grâce d'un roman au succès fulgurant Paul et Virginie (1788), l'écrivain voyageur J. -H. Bernardin de Saint-Pierre (1737-1814) a cependant inscrit cette " espèce de pastorale " dans une vaste somme totalisante, les Etudes de la nature (1784), pierre angulaire d'une nouvelle " philosophie de la nature ", qui s'épanouit dans les Harmonies de la nature (1814). Fondée sur l'idée de Providence et d'harmonie des contraires, cette conception finaliste mais aussi vitaliste de l'univers naît d'une réaction contre le paradigme newtonien des sciences triomphant dans l'épistémè rationaliste des Lumières. Au miroir de cette crise du savoir, corrélée à celle de l'image de la Nature, apparaît le point nodal de cette étude. Il s'agit de montrer ici comment l'" épistémologie du coeur " bernardinienne, héritée de Rousseau, a permis l'émergence d'une conception mystique de la Nature, qui informe et féconde une " esthétique de l'enchantement ", où le pittoresque brillant masque une symbolique tout en correspondances, enclose dans une peinture nouvelle du mondeAt the end of the French Enlightenment, Jacques-Henri Bernardin de Saint-Pierre (1737-1814), author and great traveller, especially in the Indian Ocean (Mauritius), is chiefly known for his pastoral idyll Paul et Virginie (1788), but he also was deeply versed in nature-related scientific disciplines. In two large summas, Les Etudes de la nature (1784) and Les Harmonies de la nature (1815), he developed a visionary system of interpretation of Nature, mixing knowledges as different as botany, geology or astronomy. Fighting D'Holbach's or Helvetius' materialism and the newtonian epistemology, he intended, as a Rousseau' s disciple, to renovate the representations of Nature, with the heart as a guide. Beyond his powerful sense of exoticism, his colourful descriptions of environment contain secret analogies. This essay aims to show the links between his philosophy rested on a tranfiguration of Nature into a sacred space and the emergency of an enchanted vision of univeral harmony, aesthetic and spiritual
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Bernardt, Henry [Verfasser]. "Unterschiedliche Bewertungsmöglichkeiten von Fleischsaft- und Serum-ELISA am Beispiel der Erfassung der Seroprävalenzen von Toxoplasma gondii, Yersinia enterocolitica und Salmonella in deutschen Outdoor-Schweinehaltungen / Henry Bernardt." Berlin : Freie Universität Berlin, 2017. http://d-nb.info/1132582474/34.
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Swart, Bernarda. "Proust se geheuekonsep in Dutilleux se sonate vir hobo en klavier (1947) / Bernarda Swart." Thesis, North-West University, 2006. http://hdl.handle.net/10394/920.
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The French composer Henri Dutilleux (born 1916) was largely influenced by the
French writer Marcel Proust's (1871-1922) novel A la recherche du temps perdu.
This monumental work is regarded by many critics as one of the most important
novels of all times. The narrator, a parallel figure of Proust himself, experiences
an involuntary memory of his childhood. An involuntary memory which is aroused
in the narrator runs like a thread through the novel.
This study traces how Dutilleux's style of writing was influenced by the concept of
memory. Proust's concept of involuntary memory is realised in the sonata
through "musical beacons". Dutilleux's composition techniques which relate to
the concept of memory involve the following markers:
• mirror images such as fan-like or melismatic figures
• prominence of the tritone
• focal notes or chords
• principle of circularity
• obsessional chords.
A related aspect of Proust's concept of memory is the instability and
inconsistency of the human personality as it is portrayed in his novel. In this
study it is indicated how Dutilleux's croissance progressive composition
technique may be likened to the inconsistency of personalities. It involves the
concept of thematic evolutions which usually permutate from a core cell. This
technique is characteristic of his adult work, and he applied it consciously for the
first time in his First Symphony (1951). However, he acknowledges that he had
used the technique unconsciously before. Dutilleux's Sonata for Oboe and Piano
(1947) is an early work which was written during his student years for competition
purposes. He does not regard the sonata as representative of his adult writing
style. Thematic permutations of a core cell in the first movement are indicated in
all three movements of the work. The analysis of musical thematic structure
shows that aspects of Dutilleux's adult writing style were already present in his
early work.Thesis (D.Mus.)--North-West University, Potchefstroom Campus, 2006.
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Dosoruth, Sonia. "La representation de l’enfant dans la litterature mauricienne francophone : de Jacques-Henri Bernardin de Saint-Pierre a nos jours." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040248.
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Pendant longtemps sujette aux influences littéraires empruntées, la littérature mauricienne francophone a mis du temps pour trouver ses marques. Inspirée de la littérature romantique issue de Bernardin de Saint-Pierre avec notamment Paul et Virginie, elle va graduellement se frayer un chemin dans le long parcours – aux sinuosités souvent dangereuses – de son processus de maturation. Par conséquent, l’enfant (re)découvre les potentialités qui sont en lui et fait éclater l’univers d’enfermement qui l’a jusqu’à présent emprisonné. Ne se pliant plus aux exigences des périodes littéraires qui ont marqué l’île - notamment celles coloniale, pré-indépendance et post-indépendance - l’enfant émerge moins en tant que perpétuation du jeu de mimétisme qu’en tant qu’être en devenir. La littérature contemporaine sera un creuset entre métissages et panachages linguistiques comme dans un but de s’éloigner le plus possible de l’authentification de la redite. L’enfant renaît ainsi des cendres de l’univers initial romantique pour atteindre une autonomie réelle tant dans son individualité que dans son rapport avec le monde qui l’entoureLong subjected to external literary influences, the Mauritian francophone literature took its time before leaving its own mark. It was inspired by the romantic literature of Bernardin de Saint-Pierre, namely with Paul and Virginia, and gradually made its way on the long – and often tortuous – road to maturity. Hence, the child rediscovers the potential within and destroys the shackles of the universe that had so far held him captive. No longer caving into the influences of the island’s various literary eras – namely colonial, pre-independence and post-independence – the child emerges not so much as a continuation of past influences as his own blossoming being. Contemporary literature hence becomes the crucible between linguistic mixes and interbreedings, as if to create the greatest possible gap with the authentification of repetition. Thus, the child is reborn from the ashes of the original romantic universe, and blooms to reach real autonomy in his individuality as well as his relationship with the world around him
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Célestine, Laurette. "L'image du noir dans l'oeuvre de jacques-henri bernardin de saint-pierre : essai de caracterisation des stereotypes et des images novatrices." Antilles-Guyane, 1997. http://www.theses.fr/1997AGUY0027.
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La reflexion sur l'image du noir dans l'oeuvre de jacques-henri bernardin de saint-pierre passe necessairement par l'etude des personnages noirs, a travers les oeuvres dites maitresses, dans le contexte esclavagiste. Cette reflexion s'oriente d'abord vers une analyse des stereotypes negatifs et positifs, puis vers l'etude d'images nouvelles qui offrent au noir un statut humain, voire supra-humain. Cette reflexion est le passage d'une espece a une autre, selon une gradation valorisante pour le noir. Elle constitue une +transgenisation; reussie. C'est le cheminement vers une veritable conversion, vers une reconnaissance audacieuse et originale du noirReflections on the image of the negro in the work of jacques- henri bernadin de saint-pierre will necessarily require a study of negro characters in his principal works set in the back ground of slavery. This study will first foccus on an analysis of negative and positive stereotypes, then will consider new images which confer upon the negro human and super-human status. This study traces the gradual upward transition of the negro from one species to another. This constitutes a succesfull +genetic transformation;. It is a passage towards a real conversion, towards a bold and special ack- nowlegement of the negro
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Chorlay, Renaud. "L' émergence du couple local / global dans les théories géométriques : de Bernard Riemann à la théorie des faisceaux (1851-1953)." Paris 7, 2007. http://www.theses.fr/2007PA070063.
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Si le couple local / global est d'usage constant depuis les années 1950 pour exposer de larges pans des mathématiques, les premiers exposés construits autour de ce couple datent du début du 20e siècle, et reprennent des résultats acquis depuis les années 1850. Dans la première partie, nous présentons les travaux de Riemann en Analyse complexe globale et en géométrie différentielle, leurs relectures par Neumann ou Klein, et certains travaux de Poincaré. Nous étudions, outre les résultats mathématiques, les grilles de lectures explicites chez ces auteurs et les modes pré-ensemblistes de référence au lieu. Dans la seconde partie, nous construisons deux types-idéaux, le « monde de la grandeur » et le « monde ensembliste » grâce auxquels nous proposons une périodisation du mouvement de l'Analyse au 19e siècle permettant de saisir les conditions d'émergence explicite du couple local / global. La troisième partie étudie cette émergence explicite, entre 1898 et 1913, chez trois auteurs : W. F. Osgood, Hadamard, Weyl. Trois niveaux sont distingués : niveau meta, niveau thématique, niveau structural. La quatrième partie est consacrée au passage au global en géométrie différentielle et en théorie des groupes de Lie, et procède par étude croisée des travaux de Hermann Weyl et Elie Cartan dans les années 1920. La cinquième partie est consacrée au travail de mise au point, entre 1930 et 1950, de structures permettant de formuler et de traiter les problèmes de passage du local au global. Sont successivement étudiées les structures de variété différentiable, de variété fibrée et de faisceauSince the 1950's, the distinction between "local" and "global" has been used constantly when expounding various fields of mathematics. However, the first writings to make use of the opposition of local and global notions in a systematic way already appeared in the first years of the 20th century and expounded mathematical theories which had emerged as long ago as the 1850's. In the first part of this text, we present Riemann's work in global complex Analysis and in differential geometry, discuss its reading by Neumann and Klein, and study some of Poincaré's works. Besides specific mathematical results, we focus on the descriptive framework employed by these authors and their pre-set-theoretic manner of referring to loci. In the second part, we identify and explore two distinct frameworks, the "world of quantity" and the "world of sets" ; it allows us to characterise different periods in the evolution of Analysis in the 19th century, and to describe the conditions for the explicit emergence of the distinction between local and global notions. The third part is devoted to this explicit emergence, between 1898 and 1913, in the works of W. F. Osgood, Hadamard and Weyl. We distinguish between three levels on which the distinction emerged : the meta-Ievel, thematic level and structural level. The fourth part deals with the rise of global problems in differential geometry and in the theory of Lie groups, through a study of the deeply interconnected work of Weyl and Elie Cartan in the 1920's Lastly we study the emergence and elaboration of structures designed to express and address specifically global problems : differentiable manifolds, fibre spaces and sheaves
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Kauffeldt, Henry [Verfasser], Bernhard [Akademischer Betreuer] Badura, and Thomas [Akademischer Betreuer] Gerlinger. "Sozialkapital, Work-Life-Balance und Mitarbeitergesundheit in Unternehmen: Untersuchung der Zusammenhänge der Treiber des Bielefelder Unternehmensmodells mit dem Work-to-Life Conflict und seine Auswirkungen auf die Mitarbeitergesundheit / Henry Kauffeldt ; Bernhard Badura, Thomas Gerlinger." Bielefeld : Universitätsbibliothek Bielefeld, 2017. http://d-nb.info/1132774225/34.
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Wright, Alexander Robert. "William Cave (1637-1713) and the fortunes of Historia Literaria in England." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278574.
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This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.
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Guyot, Alain. ""Une certaine manière de voir" : la description entre récit de voyage et récit de fiction chez Bernardin de Saint-Pierre, Chateaubriand et Théophile Gautier : essai de confrontation stylistique." Paris 4, 1996. http://www.theses.fr/1995PA040278.
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Bernardin de Saint-Pierre, Chateaubriand et Gautier, comme bien d'autres hommes de lettres, rapportent de leurs voyages des traces écrites que l'on retrouve souvent sous la forme de descriptions, souvent reprises d'une œuvre à l'autre. La confrontation de ces descriptions, élaborée sur la base des recherches les plus récentes, permet d'en examiner l'insertion, la construction, ainsi que les fonctions et les places qu'elles occupent au sein du récit, sans négliger les relations qu'elles entretiennent avec la réalité de référence. Elle permet également de dégager un certain nombre d'informations au sujet des pratiques stylistiques des auteurs choisis, et d'esquisser les linéaments d'une typologie pour des formes narratives aussi différentes que le récit de voyage et le récit de fiction. A partir de procédés similaires (analogies, structuration syntaxique, jeu des temps verbaux, procédures démarcatives, travail du lexique et du signifiant, hypotypose, etc. ), ces deux genres littéraires réservent un traitement diffèrent à la description, en fonction des contraintes qui leur sont propres. La fiction narrative, discours presse, manifeste une nette tendance à la rentabiliser et à la fonctionnaliser. Le récit de voyage, de structure beaucoup plus lâche, laisse au contraire à la description une plus grande autonomie, et contribue à l'émergence d'une forme nouvelle de composition que n'ignorera pas le roman moderneBernardin de Saint-Pierre, Chateaubriand et Théophile Gautier, as many other writers, bring back written trails from their travels, in the form of descriptions, often reused from one work to the other. Comparing these descriptions, on the basis of recent researches, allows going through their insertion in the narrative texture, their construction, their functions and their positions in the account, as well as their relationship with referential reality. It also allows to bring out information about stylistical practices of the authors, and to sketch a typology out for so different narrative forms as travel account and fictional account. From similar means, such as analogies, syntactical structuration, verbal tense effects, demarcating proceedings, work on vocabulary, hypotyposis, etc. ), these two literary genres treat description differently, according to their own restraints. Narrative fiction, a hurried discourse, clearly tends to make it profitable and functional. Travel account, in which narrative structure is weaker, gives more freedom in description, and helps to elaborate a new way of composing, not to be ignored modern novel
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Traoré, François Bruno. "Récit romanesque et univers religieux au temps des Lumières françaises entre 1760 et 1789, d'après "La religieuse" (1760-1796) de Diderot, "La nouvelle Héloïse" (1761) de Jean-Jacques Rousseau, "Les liaisons dangereuses" (1782) de Choderlos de Laclos et "Paul et Virginie" (1788) de Bernardin de Saint-Pierre." Clermont-Ferrand 2, 1999. http://www.theses.fr/1999CLF20009.
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Y a-t-il incompatibilité entre un genre littéraire (le roman) et une croyance religieuse (le christianisme) ou entre un usage particulier du genre romanesque au 18e (formes et contenus idéologiques) et une pratique religieuse pernicieuse et viciée ? Comme le disait J. Goldzing, même si jusqu'aux illustres françaises de R. Challe, "le roman n'est pas le lieu de l'interrogation religieuse", il n'en demeure pas moins remarquable jusqu'au siècle des lumières. Les romanciers et leurs textes entretiennent des rapports conflictuels avec la religion et la notion de croyance. Dans La religieuse, La nouvelle Héloïse, Les liaisons dangereuses, Paul et Virginie, le roman est le lieu où la religion est mise en cause, soit pour être rejetée, soit pour être approfondie. La confrontation entre le monde romanesque et l'idée de transcendance est l'expression d'un malaise de l'intelligence face à une dégradation de l'image de la religion. Certes, les romanciers ne prennenet pas partie sur l'existence de Dieu mais ils montrent que les hommes ne vivent pas Dieu. Ils racontent chacun une histoire, et en même temps, pensent prodondément le lien entre le roman comme histoire immanente et la religion comme destin transcendant de l'homme. Le roman du 18e n'est pas un roman partisan, mais un roman interrogatif qui ose prendre en charge des questions graves. Il n'est pas un art du divertissement comme il l'avait été jusqu'à "La princesse de Clèves". Dans son matérialisme profond, il est confronté à l'univers religieux pas toujours d'un point de vue spiritualiste mais aussi d'un point de vue sociologique. Il se rattache ainsi à des familles d'esprit différentes, car il est, au 18e, une manière de prolonger le combat entre matérialistes et spirituialistes. Il s'intègre à la réflexion, et dès lors qu'il n'est plus considéré comme un jeu esthétique ou une pure fiction, on dit de lui qu'il pense ; il est en effet une réflexion perplexe plus qu'un divertissement
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Beitinger, Pierre-Alois Bernard Henri [Verfasser]. "Essverhalten, Körpergewicht und Körperzusammensetzung bei Patienten mit Narkolepsie in zeitlichem Zusammenhang mit dem Erkrankungsbeginn / vorgelegt von Pierre-Alois Bernard Henri Beitinger." 2005. http://d-nb.info/975585932/34.
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"Rundbrief / Lehrstuhl für Religionsphilosophie und Vergleichende Religionswissenschaft." Technische Universität Dresden, 2011. https://tud.qucosa.de/id/qucosa%3A24735.
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