Academic literature on the topic 'Hugo, Victor (1802-1885) – Appréciation'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Hugo, Victor (1802-1885) – Appréciation.'
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.
Journal articles on the topic "Hugo, Victor (1802-1885) – Appréciation"
1
Pires, Márcia Eliza. "O DOMÍNIO DO POÉTICO EM VICTOR HUGO E CECÍLIA MEIRELES – A ESFERA DOS CEMITÉRIOS." Miscelânea: Revista de Literatura e Vida Social 23 (September 12, 2018): 153–71. http://dx.doi.org/10.5016/msc.v23i0.1164.
Full textAbstract:
Os cemitérios sempre foram domínio instigante e motivador para o olhar imaginativo do poeta moderno. Nessa esfera, o clássico diálogo entre o efêmero e o eterno franqueia com irresistível intensidade os obstáculos erigidos pela ordem submissa às conceituações estritamente práticas. Longe de acatar as solicitações higienistas advindas com o crescimento da urbanização na segunda metade do século XIX, tais como a urgência de extirpar a confluência natural entre vida e morte, os sujeitos poéticos de Victor Hugo (1802-1885) e de Cecília Meireles (1901-1964) têm em comum a busca por restaurar a unidade entre o que se destrói e aquilo que se transfigura. Para tanto, o exercício da contemplação dá-se na ocasião do flanar solitário por entre lápides, plantas e animais — interlocutores de uma conversação tácita conduzida pelo investigativo eu lírico desses dois poetas.
2
Silva-Reis, Dennys. "NOTRE-DAME DE PARIS, UM ROMANCE GÓTICO ?" Organon 35, no. 69 (March 3, 2021): 1–17. http://dx.doi.org/10.22456/2238-8915.108011.
Full textAbstract:
Este texto tem por objetivo argumentar que o romance Notre-Dame de Paris (1831) do escritor francês Victor Hugo (1802-1885) pode ser considerado um romance gótico. Com esta finalidade, faz-se uma explicação do que é a arte gótica; em seguida, mostram-se os postulados de tentativa de definição da tipologia romanesca gótica; por fim, analisam-se alguns aspectos do romance hugoano pelo prisma do goticismo literário. Almeja-se, assim, oportunizar uma visão outra do romance oitocentista, para além do prisma do romantismo literário e oferecer mais uma análise desse romance canônico para a fortuna crítica dos Estudos Góticos e dos Estudos Hugoanos atuais.
3
Schüppen, Franz. "Auf dem Weg in die bessere Zukunft: Victor Hugo (1802–1885) und die „Vereinigten Staaten von Europa“." Neohelicon 40, no. 2 (January 31, 2013): 581–623. http://dx.doi.org/10.1007/s11059-012-0150-0.
Full text
4
Santos, Luis Miguel Dos. "Nord’s Documentary Versus Instrumental Translation: The Case of Hugo’s Demain, dès L’aube." English Language and Literature Studies 6, no. 3 (August 29, 2016): 76. http://dx.doi.org/10.5539/ells.v6n3p76.
Full textAbstract:
<p>Documentary and instrumental strategies were widely employed in translation works. The paper examined the application of documentary and instrumental strategies to the French poem <em>Demain, dès L'aube</em> by Victor Hugo (1802-1885). The author compared numbers of translation works from the academic and public field for the usage of the strategies by Nord (2005). The result indicated that while documentary translation was depicted as an overt version or report of a text in another language. On the other hands, instrumental translation was depicted as a form of communication that was autonomous from the source text (ST) and which might be appraised on how effectively it passed across an author’s message (Chersterman, 2000). These distinctions were useful in the translation of the case text since they both indicated the understanding and consciousness of both cultural and linguistic accommodation during translation in order to pass across the original message intended by the author of the source text (Greenberg, 2003).</p>
5
Melo, Samuel Carlos, and José Batista de Sales. "O POEMA NARRATIVO DE BERNARDO GUIMARÃES: A AMBIVALÊNCIA DO RISO EM “A ORIGEM DO MÊNSTRUO”." Via Atlântica, no. 32 (December 21, 2017): 204. http://dx.doi.org/10.11606/va.v0i32.125739.
Full textAbstract:
Este trabalho investiga os processos de elaboração estrutural do poemas narrativo “A Origem do Mênstruo”, de Bernardo Guimarães. Além de Escrava Isaura (1875), o escritor mineiro teve relevante atuação como poeta, ignorada pela crítica. Nesse sentido, inicia-se pela exposição de sua situação controvérsia nos manuais de história da literatura, em que sua notabilidade está creditada, quase que exclusivamente, à atuação como romancista, passando pela exposição de aspectos gerais sobre sua produção em poesia, a situação em relação à poesia romântica de seus coetâneos, assim como a sua atuação como introdutor da poesia pantagruélica, produzida e figurada clandestinamente entre os estudantes da faculdade de direito do Largo São Francisco em São Paulo, entre as décadas de 1840 e 1850. Segue-se expondo os pressupostos teóricos para a análise, partindo da imersão dos poemas na longa tradição do poema narrativo, até a exposição de questões relativas ao tipo grotesco, especificamente as concepções de Victor Hugo (1802-1885) e Mikhail Bakhtin (1895-1975), para, por fim, efetuar análise do poema em questão.
6
Meira, Alex Tiburtino, Gustavo Leite Franklin, Maria Luísa Pacífico Brandão Meira, Isabella Araújo Mota, Egberto Reis Barbosa, and Hélio Afonso Ghizoni Teive. "Enjolras Vampré and the character of Les Misérables." Arquivos de Neuro-Psiquiatria, September 6, 2021. http://dx.doi.org/10.1590/0004-282x-anp-2021-0066.
Full textAbstract:
ABSTRACT Enjolras Vampré (1885-1938) was one of the pioneering neurologists in Brazil whose name is a tribute to one of the characters of the book Les Misérables (1862), written by Victor Hugo (1802-1885). In this article, the authors point out evidence that the coincident names were not just a matter of homage, and even more so, the life of Dr. Enjolras had many similarities with the interesting character.
7
Ribeiro, Rosária Cristina Costa. "O ESPAÇO REVOLUCIONÁRIO EM QUATREVINGT - TREIZE DE VICTOR HUGO." Revista Intertexto 1, no. 02 (January 18, 2011). http://dx.doi.org/10.18554/ri.v1i02.83.
Full textAbstract:
A Revolução Francesa redefiniu vários campos, até mesmo os semânticos, econtribuiu para a formação do mundo contemporâneo de maneira extremamenteampla. Em Quatrevingt-treize (1874) de Victor Hugo (1802-1885), tem-se, por meio deuma visão finissecular e romântica, a composição literária de espaços rebeldes emonárquicos. A referida obra trata-se de um romance histórico tradicional, segundoGeorges Lukàcs (1936). Em relação à totalidade da obra hugoana, mostra-se como oúltimo romance produzido pelo autor, embora possua muitas características emcomum com a obra Notre-Dame de Paris (1831). Durante a leitura da obra, é-seassaltado pela surpresa de uma narração da resistência ao progresso revolucionárioem 1793: ‘a pequena guerra da Vendéia’, um espaço eminentemente monarquista efeudal, oposto àquele da revolucionária Paris. Logo, Victor Hugo, ao colocar comotema de sua obra a Revolução Francesa, dialoga com o Romantismo, ora por meio datemática tipicamente nacionalista ora pelos aspectos constitutivos do texto(caracterização das personagens, abundante adjetivação, etc.). Neste trabalho,apresentam-se os resultados obtidos na caracterização dos espaços revolucionários.Tais resultados são fruto da dissertação de mestrado intitulada O papel daespacialidade em Quatrevingt-treize de Victor Hugo: um romance a espreita dosespaços monárquicos e revolucionários.PALAVRAS-CHAVE: romantismo francês; romance histórico tradicional;espacialidade.
Dissertations / Theses on the topic "Hugo, Victor (1802-1885) – Appréciation"
1
Provata, Despina. "Victor Hugo en Grèce (1840-1902)." Paris 4, 1995. http://www.theses.fr/1994PA040332.
Full textAbstract:
Le but de cette these est de definir l'image que la grece se faisait de hugo et la place que son oeuvre occupait dans la vie culturelle et intellectuelle du pays au xixeme siecle. Dans la premiere partie est examine l'accueil que lui reserva la presse hellenique. Le point de depart est une multitude de textes varies : des articles bioraphiques et ou critiques sur hugo et son oeuvre, des traductions de ses oeuvres en grec presentees en feuilleton, et un grand nombre d'entrefilets communiquant des nouvelles diverses. La fortune des oeuvres de hugo en grece est traitee dans la deuxieme partie. Il s'agit d'etudier les traductions integrales ou partielles, la place de son oeuvre dans les manuels scolaires grecs ainsi que la presence de ses drames sur les scenes grecques. Enfin, dans la troisieme partie est signalee l'influence de son oeuvre et de sa pensee sur la litterature neohellenique du xixem siecle qui se manifeste par des poemes qui lui sont dedies, des similitudes dans la maniere d'envisager les questions politiques et intellectuelles et par des analogies, voire des imitations.
2
Raffin, Sandrine. "Le centenaire de Victor Hugo en 1985. La commémoration, l'œuvre et l'écrivain." Paris 7, 2004. http://www.theses.fr/2004PA070076.
Full textAbstract:
Le centenaire de la mort de Victor Hugo constitue une date dans l'histoire littéraire et dans l'histoire culturelle, par son ampleur, son succès et ses conséquences scientifiques. Dans ce travail, fondé sur les archives du comité national et la totalité de la presse française consacrée au centenaire, on a analysé l'organisation de la commémoration, évalué la réception de l'œuvre, enfin étudié les représentations de l'auteur. La commémoration nationale, déléguée par l'état au public, se transforme. La figure traditionnelle de Hugo, devenue " plurilocale " et individuelle, est également rajeunie par celle de Gavroche, comme le révèle l'analyse du discours de presse et des images. La perception de l'œuvre est renouvelée par les éditions, les mises en scène et les expositions. Avec le centenaire, la modernité de Hugo est reconnue : l'écrivain - romancier, dramaturge et dessinateur - apparait comme un artiste total et l'exilé incarne l'intellectuel contemporainThe extent, success and impact on scientific research of the celebration of the centenary of the death of Victor Hugo marked an important moment in both literary and cultural history. The study of the archives of the national committee and of national press covering of the centenary gave ground to this analysis of the organisation of the commemoration which focuses on the reception of victor Hugo's work and looks into the different representations of the author himself. The commemoration, delegated by the state to the public, changed Hugo's traditional image and made of the author a "plurilocal" and individual figure, largely rejuvenated by the image of Gavroche. As a result and with the help of new editions, productions and exhibitions, the image of victor Hugo's work has been profoundly renewed and the modernity of the novelist, artist and play writer demonstrated. The figure of the exilé emerged from the commemoration as the perfect illustration of the contemporary intellectual
3
Wu, Tianchu. "La réception de Victor Hugo en Chine." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030014.
Full textAbstract:
L’objectif de cette thèse est d’étudier de façon complète, systématique et approfondie la réception de Victor Hugo en Chine, le pays récepteur qui présente pendant plus de cent ans des traductions et des recherches aussi abondantes que diverses de l’écrivain français. Elle s’inscrit dans la perspective de la littérature mondiale et recourt principalement à la théorie du transfert culturel initiée par Michel Espagne. L’idée est de mettre en évidence, à côté de l’importance du contexte d’accueil chinois, la complexité géopolitique qui caractérise la reconnaissance de l’auteur des Misérables en Chine. La première partie qui se divise en quatre chapitres consiste à cartographier la circulation et la traduction des œuvres hugoliennes de France en Chine, en passant par d’autres aires culturelles qui y participent, à savoir le Japon et la Russie. La deuxième partie, composée de deux chapitres, se charge d’analyser chronologiquement l’interprétation et la métamorphose des œuvres véhiculées et traduites en Chine d’une façon plus détaillée, en empruntant l’approche imagologique. Deux portraits représentatifs de l’écrivain y sont respectivement esquissés : le romantique et l’humaniste. Cette recherche démontre enfin que la réception de Hugo en Chine, que ce soit sur le plan de la circulation, de la traduction ou de l’interprétation, n’engage pas seulement la France et la Chine, mais résulte de la coopération de plusieurs aires culturelles différentes qui dessinent ensemble une « carte » complexe du transfert culturel. Sur cette carte, les aires culturelles concernées se déplacent en fonction du contexte d’accueil et concourent à la variation des images hugoliennes au fil du tempsThis thesis aims to study in a complete, systematic and thorough way the reception of Victor Hugo in Chin, a receiving country which presents for over a hundred years translations and research as abundant as various of the French writer. It fits into the perspective of world literature and uses mainly the theory of cultural transfer (transfert culturel) initiated by Michel Espagne. The idea is to highlight, alongside the importance of the Chinese host context, the geopolitical complexity that characterizes the recognition of the author of Les Misérables in China. The first part, which is divided into four chapters, maps the circulation and translation of Hugo’s works from France to China, by browsing other cultural areas, namely Japan and Russia. The second part, composed of two chapters, deals with the chronological analysis of the interpretation and the metamorphosis of the works conveyed and translated in China in a more detailed way, borrowing the imagological approach. Two representative portraits of the writer are sketched respectively: the romantic and the humanist. This research shows finally that Hugo’s reception in China, whether in terms of circulation, translation or interpretation, not only engages France and China, but results from the cooperation of several different cultural areas that draw together a complex “map” of cultural transfer. On this map, the cultural areas concerned move according to the host context and contribute to the variation of Hugo’s images over time
4
Degout, Bernard. "L'impossible souveraineté : Victor Hugo et la condamnation royaliste du romantisme, 1819-1824." Paris 12, 1996. http://www.theses.fr/1996PA120003.
Full textAbstract:
Cette etude apprehende l'oeuvre de victor hugo (jusqu'en 1824 strictement) dans la perspective de la condamnation du romantisme par la societe royale des bonnes-lettres et par les quatre academies, fin 1823 et debut 1824. Elle entreprend d'etablir que l'oeuvre de hugo se trouva au foyer meme de cette condamnation, laquelle n'etait aucunement motivee par l'identification d'un liberalisme latent, mais par le refus d'un inflechissement particulier du royalisme (developpe a partir d'une reecriture de chateaubriand) qui deniait a la restauration d'etre advenue reellement : tendu vers l'avenir, soutenu par l'assurance que la revolution marquait une epoque nouvelle - mais que celle-ci etait intimement menacee par le mal qui avait fait irruption dans l'histoire -, ce royalisme visait a la fondation poetique d'une souverainete de droit divin, organique et vertueuse - au moment meme ou le poete, dont la legitimite residait precisement dans l'assomption, par sa vertu, de sa destination divine, devait reconnaitre que dieu lui demeurait cacheThis thesis considers its subject (victor hugo until 1824, strictly) in its relation to the condamnation of romanticism by the societe royale des bonneslettres and the quatre academies, end of 1823 and beginning of 1824. The purpose is to make clear that victor hugo's work has been concerned in the first place by this condamnation, but by no means because of a concealed liberalism. Has been condamned a particular inflection of royalism (built through a rewriting of chateaubriand) that refused to the restauration the fact of being a real restauration. The strong tense of victor hugo's work to the future, the strength found in the certitude that the french revolution was opening a new era, were fought by the also strong certitude that the future was intimately threatened by the bad that had just made a formidable irruption in history ; his royalism tried to base poetically an organical sovereignety of divine law, and in the same time, the poet, whose legitimacy lay in the assomption of his divine destination, was obliged to confess that god stayed hidden to him
5
Brahamcha-Marin, Jordi. "La réception critique de la poésie de Victor Hugo en France (1914-1944)." Thesis, Le Mans, 2018. http://www.theses.fr/2018LEMA3006/document.
Full textAbstract:
Cette thèse étudie la réception critique de la poésie de Hugo en France entre 1914 et 1944. Elle se fonde sur une conception large et englobante de la « réception critique ». Ainsi, elle envisage la manière dont l’œuvre poétique hugolienne est reproduite et diffusée (dans des éditions savantes, des éditions populaires bon marché, des livres de luxe, des manuels scolaires, des anthologies…) ou fait l’objet d’adaptations (mises en musique, parodies et pastiches) ainsi que les discours tenus sur la poésie de Hugo, que ceux-ci émanent d’universitaires, d’écrivains et intellectuels, de journalistes, de militants, d’hommes politiques, etc. En mobilisant un corpus riche et varié, en confrontant des démarches critiques provenant de champs très différents, notre travail fait apparaître quelques problématiques récurrentes.Celles-ci sont notamment relatives au statut de Hugo comme auteur patrimonial, à la centralité de la poésie dans son œuvre (et en particulier à la centralité des trois grands recueils de l’exil, Les Châtiments, Les Contemplations, La Légende des siècles), aux lectures et aux appropriations politiques auxquelles cette poésie donne lieu, à la manière de situer Hugo dans l’histoire de la poésie française (selon les cas, aux côtés de Lamartine et Musset ou aux côtés de Baudelaire, Rimbaud et Mallarmé). Au-delà du seul cas Hugo, notre travail jette aussi quelques éclairages sur la place de la poésie dans l’imaginaire du premier XXe siècle et sur la manière dont cette période se définit par rapport à un double héritage poétique, « romantique » et « moderne »This dissertation studies the critical reception of the poetry of Victor Hugo in France over the period 1914-1944. Relying on an inclusive conception of “critical reception”, it considers the way in which Hugo’s poetic work was reproduced and circulated (in scholarly editions and cheap popular editions, in luxury books and school textbooks, in poem collections...) or adapted (turned into parody or pastiche and set to music by various composers). It also looks at the many discourses that were held on Hugo’s poetry, whether by academics, professional writers and intellectuals, journalists, political men and activists, etc. Drawing on an extensive corpus and a wide range of sources, confronting methodological approaches borrowed from different study fields, our work helps to throw light on Hugo’s importance as an integral part of French cultural heritage; on the centrality of poetry (especially of the three major collections published while Hugo was in exile, Les Châtiments, Les Contemplations, La Légende des siècles) within his work; on the political readings and the political uses that were made of Hugo’s poetry; on the competing ways of categorising Hugo’s work within French poetry and among French poets, as a Romantic akin to Lamartine and Musset or as a modernist equated with Baudelaire, Rimbaud and Mallarmé. Beyond the sole case of Hugo, our dissertation also sheds light on the importance of poetry in the imagination of the early 20th century, and on the way in which the literature of the period sought to define itself in relation to a two-fold poetic legacy, that of romanticism and that of modernism
6
Truel, Myriam. "L'œuvre de Victor Hugo en Russie et en URSS." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30004/document.
Full textAbstract:
Victor Hugo fait partie des écrivains étrangers les plus publiés et les plus lus en URSS. Ce travail revient sur la diffusion et la réception de ses œuvres en Russie, en URSS et en Russie postsoviétique, et notamment sur l’entrée de l’écrivain dans le panthéon littéraire russe puis soviétique des écrivains étrangers, qui permet une large diffusion de ses œuvres.La méthodologie s’inspire de celle adoptée dans l’étude des transferts culturels (M. Espagne) et place au centre de l’attention les processus d’appropriation par la culture d’accueil. On s’intéresse à la création, à travers les traductions, de ce qu’on peut décrire comme l’« œuvre russe » de Victor Hugo ainsi qu’à la formation d’une figure de l’auteur. Alors que les travaux soviétiques affirment que les œuvres de Victor Hugo sont poursuivies par la censure avant la révolution de 1917 malgré l’intérêt des grands écrivains et penseurs russes, puis mises en avant à la période soviétique, on s’aperçoit que Victor Hugo entre dans le panthéon littéraire russe dès le tournant des XIXe et XXe siècle et ne fait que consolider sa place après la Révolution. La réinterprétation de l’œuvre et de la figure de l’auteur à la période soviétique est bien plus superficielle qu’il n’y paraît au premier abordVictor Hugo was one of the most published and well-known foreign writers in USSR. We will analyse the dissimination and the reception of his works in Russia, USSR and post-soviet Russia. We will pay a special attention to the way Victor Hugo joined the Russian (and then the Soviet) literary pantheon of foreign writers, which made it possible for his works to be widely published.Our methodology is based on the one proposed in the cultural transfers studies (M. Espagne). Thus, we will focus on the process of inclusion of Victor Hugo in the Russian/Soviet culture. The translations, especially the most published ones, came to form what can be described as Victor Hugo’s “Russians works”. The Russian image of Victor Hugo created by translations and critical works also differs from the French one.Soviet works on Victor Hugo in Russia state that Hugo’s works were censored until the Revolution in 1917, although Russian writers showed interest for them, and that they began to be widely published only after 1917. However, Victor Hugo joined the Russian literary pantheon as early as the turn of the 20th century, consolidating his place after the Revolution. In Soviet times Victor Hugo and his works underwent a process of reinterpretation that might seem cardinal at first sight, but occurs to be quite superficial indeed
7
Picard, Sophie. "Fêter les classiques : permanence et polyfonctionnalité des figures de Beethoven, Goethe et Hugo (1927-1970)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL193.
Full textAbstract:
Par l’analyse et la comparaison des actualisations de Beethoven, Goethe et Hugo à l’occasion des commémorations de l’entre-deux-guerres (1927, 1932, 1935) et de l’après 1945 (1949, 1952, 1970), la thèse étudie les conditions de la permanence de ces « classiques » tout au long du XXe siècle. Elle montre comment les acteurs politiques et culturels ont cherché lors de ces célébrations à stabiliser le sens attribué à ces figures et à leurs œuvres et à encadrer les usages qui en sont faits. La prise en compte des dynamiques d’appropriation interculturelles ainsi que des formes de réception généralement ignorées des études littéraires, notamment dans les médias de masse, permet néanmoins de faire émerger des sens et des usages alternatifs qui s’inscrivent souvent en faux par rapport aux modèles dominants et qui tendent à les relativiser, voire à les contrecarrer. Ainsi, en adoptant résolument le point de vue de la réception, la thèse propose une réponse possible au problème de la permanence des classiques : le fait que Beethoven, Goethe et Hugo soient fonctionnalisés simultanément et / ou successivement dans des contextes discursifs et culturels divergents explique leur exceptionnelle longévité. C’est parce qu’ils font l’objet d’usages hétérogènes et souvent contradictoires, qu’ils sont donc polyfonctionnels, que certaines figures d’auteurs ou certaines œuvres survivent à toutes les évolutions culturelles, idéologiques et médiatiques que connaît le XXe siècleBy analyzing and comparing the actualizations of Beethoven, Goethe and Hugo during jubilees in their honor dating from the interwar period (1927, 1932, 1935) and the post-1945 period (1949, 1952, 1970), the thesis examines the conditions of permanence of these “classics” throughout the twentieth century. It shows how political and cultural actors engaged in these celebrations sought both to stabilize the figures’ and their works’ meanings as well as to frame the ways in which they were used. Simultaneously, by taking account of the dynamics of intercultural appropriation and of receptions in domains which remain understudied by literary studies such as mass media, it is possible to bring out alternative meanings and uses which do not fit dominant models and which tend to relativize or even to contradict them. So, by focusing resolutely on the reception of these figures, the thesis proposes a possible answer to the problem of the permanence of classics: The fact that Beethoven, Goethe and Hugo are functionalised simultaneously and / or successively in divergent discursive and cultural contexts explains their exceptional longevity. It is because they are the subject of heterogeneous and often contradictory uses – in other words: because they are polyfunctional – that certain figures and works survive the many cultural, ideological and media evolutions of the twentieth century
8
Charles-Wurtz, Ludmila. "Les interlocuteurs de la poésie lyrique de Victor Hugo." Paris 7, 1994. http://www.theses.fr/1994PA070079.
Full textAbstract:
La poesie lyrique de victor hugo est dialogique. L'enonciateur majeur qu'est le poete s'adresse au lecteur et aux dedicataires mais delegue aussi la parole a des personnages fictifs notre hypotese de travail est que cette poesie doit etre lue a deux niveaux. Le lecteur actualise le je lyrique comme enonciateur reel : entre ce dernier et le lecteur se noue un dialogue. Mais le discours lyrique ne s'adresse pas pour autant au lecteur : les dialogues fictif mis en scene dans les poemes auxquels le poete participe cette fois en tant que personnage constituent en ce sens une mise en abyme de la situation d'interlocution reelle dans laquelle le lecteur est implique. Aussi la poesie lyrique cherche-telle autant a dire qu'a engendrer une reflexion sur le dire. Elle figure dans l'espace fictif. La communication deterioree en vigueur dans la societe, ou la parole est instrument de pouvoir sur autrui. Pour lui opposer la representation d'une communaute de communication ideale, ou des "moi" libres et egaux cherchent a parvenir, par la discussion, a un enonce de verite susceptible de susciter l'accord des consciences. Une veritable ethique de la communication s'elabore ainsi dans les neuf recueil etudies echelonnes de 1829 a 1877. En definitive, la fiction met en abyme la transformation du lecteur qu'opere le texte : la poesie hugolienne institue la foule de ses lecteurs en peuple, invitant chaque lecteur particulier a se deposseder de son identite sociale pour n'etre plus qu'un "moi" universel et a-personnel. Seul susceptible de participer au dialogue proprement democratique qui aux yeux de hugo, est fondement de la republique universelle. C'est ainsi que la poesie de hugo qui, parle d'abord du peuple, puis au peuple parvient finalement a parler avec le peupleThe lyrical poetry of victor hugo is dialogic. The principal enunciator, the poet, addresses himself to the reader and to those to whom the poem is dedicated, but also delagates the poetic voice to fictional characters our working hypothesis holds that this poetry must be read on two levels the reader actualises the lyrical i as a real enunciator : a dialogue constituted between the latter and the reader. But this does not mean that the lyrical discourse is addressed to the reader : the fictional dialogues enacted in the poems in which the poet participates as a character, in this sense represent a mise en abyme" of the situation of real interlocution in which the reader is involved. This the lyrical poetry seeks at the same time to say and to encourage reflection on the act of saying. It presents in the fictional space the deteriorated communication used in society, where the word is an instrument of power, setting against this form of communication the representation of a community of ideal communication, where a series of free and equal i s seek, through discussion, to achieve an enunciation of truth capable of obtaining the approval of the various consciousnesses. A true ethic of communication is this elaborated in the nime collections studied dating from 1829 to 1877. In summary, the fiction enacts the mise en abyme of the transformation of the reader which the text poerates : hugo's poetry transforms the crowd of its readers into a people inviting cach individual reader to relieve himself of this social identity reducing himself to an universal and a personal me alone able to participate in the tryly democratic dialogue which, in the eyes of hugo, is the basis of the universal republic. In this way hugo's poetry. Which first speaks of the people, then t the people, filanny manages to speack with the people
9
Hilberer, Thomas. "Victor Hugo, Struktur und Sinn /." Bonn : Romanistischer Verl, 1987. http://catalogue.bnf.fr/ark:/12148/cb353485283.
Full text
10
Blythe, Deborah Mae. "Victor Hugo, visionnaire : le mythe du progrès dans "Les misérables"." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25349.
Full textAbstract:
Victor Hugo is well known as a poet, a playwright and a novelist, but until recently he has not been recognized as a philosopher; for many years critics have admired the literary output of the man, but criticized the apparent contradictions and inconsistencies of his thought. Further studies have, however, revealed the true nature of Hugo's philosophy, and shown it to comprise a well thought out and coherent system.
One of the most important themes in Hugo's work is that of human progress. In Les Misérables, Hugo's great novelistic masterpiece, he develops this theme and explores various of its aspects, treating at the same time many vital components of his philosophy. In examining the theme of progress in Les Misérables we have therefore sought to explore Hugo's ideology, as expressed in the novel, and to relate it to general nineteenth century currents of thought. This first necessitated a study of Hugo's religious beliefs, including his experiments with spiritualism and his belief in reincarnation and the hierarchy of beings. We then established the close relationship which exists between the poet's religious beliefs and his faith in the doctrine of progress
Armed with an understanding of these basic principles, we then undertook a close textual analysis of the novel, examining Hugo's belief in the perfectibility of man and the perfectibility of society.
Having laid the groundwork in Chapter I, we were therefore ready, in Chapter II, to study Hugo's belief in the progress of the individual : after looking at his portrayal of each level of the hierarchy of beings, we then looked at the various elements involved in the "progress" of the human soul, as illustrated by the characters in the novel. Then, in the third chapter, we approached the broader question of the progress of society and of Hugo's view of historical, political, social, economic and scientific progress.
This in-depth study of one aspect of Victor Hugo's great novel thus led us to an understanding of the author's world-view, and of his conception of the relationship between man, God and the universe. It is a deeply religious, unique, and fundamentally optimistic philosophy, presented in a highly poetic manner. Although we may not accept all of Hugo's arguments, it is hard not to be stirred nonetheless by this thought-provoking work.Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
Books on the topic "Hugo, Victor (1802-1885) – Appréciation"
7
Rendlová, Jana. Victor Hugo 1802-1885: Medailón o životě a díle. Praha: Městská knihovna v Praze, 1985.
Find full text
9
Béatrice, Mandopoulos, ed. Victor Hugo, un écrivain dans son siècle. Toulouse, France: Éditions Milan, 2002.
Find full text
10
Lilly Library (Indiana University, Bloomington). The century was two years old: Victor Hugo, 1802-1885 : an exhibition. Bloomington [Ind.]: Lilly Library, Indiana University, 2002.
Find full textBook chapters on the topic "Hugo, Victor (1802-1885) – Appréciation"
1
"Victor Hugo (1802–1885; French)." In Romanticism: 100 Poems, 129–32. Cambridge University Press, 2021. http://dx.doi.org/10.1017/9781108867337.039.
Full text