Dissertations / Theses on the topic 'La vision du monde de l’auteur'
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Abbas, Bochra Vieillard-Baron Jean-Louis. "La vision esthétique du monde chez Frédéric Schiller." [Poitiers] : [I-médias], 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Abbas-Bochra/2008-Abbas-Bochra-These.pdf.
Full textAbbas, Bochra. "La vision esthétique du monde chez Frédéric Schiller." Poitiers, 2008. http://theses.edel.univ-poitiers.fr/theses/2008/Abbas-Bochra/2008-Abbas-Bochra-These.pdf.
Full textFor Schiller, the lesson of events gave in spirit of the age an orientation which threatens to move it away always more idealistic art. This last has to have to break loose from reality and to rise up with proper one boldness above the need ; because art is threads of freedom and he wants his rule to be prescribed to him by inherent necessity in minds, not by needs of material. And now it is the need which reigns in master and that bows the humanity striped under its tyrannical yoke. Letters on the aesthetic education of the man of Schiller attract a reconstruction of civilization, with the aid of the liberating force of aesthetic function ; this one then envisaged as to be containing the possibility of a new principle of reality. Beauty prepares morals therefore by allowing will to become apparent in its self-government. The man does not have more than to want to act with the aim of reasonable aims, to decide in which measure there wants to be what he must be, that is to say a man. And Schiller to offer in our efforts a long aesthetic education, from which he expects for important consequences for the life of societies. It persuaded himself in effect that political freedom can be prerogative only of citizens who, because they ennobled by beauty, became able of moral freedom. Nice soul is the purest product of aesthetic and moral education. It is simply about agreement between reason and feeling
Gocel, Véronique. ""Histoire" de Claude Simon : écriture et vision du monde /." Louvain ; Paris : Peeters, 1996. http://catalogue.bnf.fr/ark:/12148/cb36172238j.
Full textGaudillière, Vincent. "Positionnement visuel dans un monde d'objets." Electronic Thesis or Diss., Université de Lorraine, 2020. http://www.theses.fr/2020LORR0063.
Full textAugmented Reality can be defined as the superimposition of reality and elements (sounds, 2D and 3D images, videos, etc.) calculated in real time by a computer system. In practice, this term refers to the addition of visual elements, either in the field of view of an observer through specific glasses (e.g. Microsoft Hololens, Magic Leap One), or on a screen through which the observer sees reality (usually a smartphone or tablet). During this research work, we were interested in the deployment of Augmented Reality in an industrial context, and more particularly in the challenges that large industrial environments (factories, plants, ships) represent in terms of image analysis and processing. In particular, we investigated the use of objects of interest present in the scene to recognize the place of the observer and then calculate his precise position with respect to the environment. Applications include manufacturing assistance, maintenance assistance, documentation and training. After proposing a functional definition of the concept of place in an industrial environment, as a zone of interaction around an object of interest, we approached place recognition as an image retrieval task in which the similarity between the unknown image and the reference images is measured in two steps. The validity of the images with the greatest similarity to the unknown image is then assessed by epipolar geometry estimation between the unknown image and each of the retrieved images. The similarity measurement and geometry estimation are guided by the calculation of object-level correspondences between regions of interest of the two images. To calculate the camera pose, we then took advantage of the objects of interest present in the scene, using a modeling of the latter in the form of ellipsoids, the projections of the objects in the image being modeled as ellipses. Our contributions to the problem of estimating camera pose from ellipse - ellipsoid correspondences are both theoretical and practical. In particular, we have shown that there is a parametrization of the solutions to the one-ellipsoid problem, and, moreover, that the camera pose estimation problem can be reduced to an orientation estimation problem only. We have also proposed a robust way to handle the multiple possible matches between the objects detected in the image and the objects present in the 3D scene model
Tenenbaum, Yvonne. "Vision du monde et corporéité : ou danse et corps dansant." Paris 1, 1996. http://www.theses.fr/1996PA010585.
Full text"Dance", that ancient human dream, exists through the different styles signifying it in each culture. But they can do it only because sometimes in this framework, however symbolic, can appear a pure, singular and impersonal presence characterizing only true dances, not even beautiful or well danced ones. We call it "dancing body" : "body" because the dancer's body becomes so real that all meanings vanish ; "dancing" because such a human being's metamorphosis results from this act. But : 1. How can the "dancing body" be built on a stage, within western theatre structure, although it is contradictory to its essence ? 2. How can a human being become pure presence, a kind of dasein outside of the sphere of meaning ? Analysis of Carlotta Ikeda's solos (Buto) teaches the way : the fading of the "I" submitting to the desire of dancing. For it is a fundamental human desire : by withdrawing from words, man seeks to overcome the splitting of his being to which language condemns him, to solve the riddle his mortal body, that other in himself, creates for him. Such a presence is made possible by the continuity produced by dancing and by the process of abstraction achieved by the structure itself (including at least a special place, a technic and an audience physically present). But this structure's settings, always particular, also express the attitude of authorities towards this dangerous desire, which threatens their control over individuals. So "dance" will always be the field of a continuous battle between institutions on one hand, which must allow the desire of dancing to take shape while controlling it and, on the other hand, dancing body's recurring revival - as proved by dance history in XXth century
Bury, Mariane. "Écriture et vision du monde dans l'oeuvre de Guy de Maupassant." Paris 4, 1991. http://www.theses.fr/1991PA040030.
Full textThe criticism is not interested in Maupassant’s legibility; she is born of aesthetic project, which links writing and view about the world. The search of distinction between "conte" and "nouvelle" had too long stopped the Maupassant’s criticism. In fact, the short story defies all systematization and arises from Maupassant’s pessimism. This philosophy of art leads to "illusionist realisms", which is studied here in theoretical texts as in practice of sensual and visual writing. The senses play a key role in the relations between narrative and suggestion. Maupassant creates an impression of reality starting from his own view without cultural superimposition. Nothing is less objective than this so named naturalist work. Finally, this conception of realistic writing implies the elaboration of a "rhétorique du réel". Which bases the text's efficiency on analogical system: the rhetoric of transparency. The metaphors and comparisons are used to create the effect of reality; but the analogy acts in two parallel fields: the realistic and the artistic
Kerhali, Wafa. "Joyce Mansour, une vision du monde ou le surréalisme au féminin." Paris 3, 2007. http://www.theses.fr/2007PA030099.
Full textMy purpose is to shed some new light on the links between surrealist poet Joyce Mansours world and other writers of her generarion in terms of content and form. It’s also to pick out sketches and itinireraies in the way the writing takes form, to find out similar principles and different expressions resulting from each writer’s singularity. These processes are referend to surrealism as esthetic and ethic movement, a dialectic thinking that rejects the separation between the real from the imagimary, and poetry from politics. Two perspectives help to clarify the field and make all kinds of questionnig fly out. The writing, first, how defines a critical and esthetic attitude from the litterary theory, in terms of silence,“ indicidble” and cry. Secondly, a feminine approch that takes into count the specifity of creative womens experience. Here the surrealism offers both a specific and paradoxal field, where it’s structures appear in the most varied forms. We are there fore going to raise questions about some referents and see the ways they are outwitted by that writer
Reea, Goenda. "Le comique dans la tradition orale et la littérature contemporaine tahitiennes - vision du rire, vision du monde." Thesis, Polynésie française, 2016. http://www.theses.fr/2016POLF0005.
Full textIn Tahiti, no research has been done about “comic words” in Tahitian language, demonstrating a way to consider the world. The relevance of this study is to reveal a reality in an internal point of view as well as unconscious processes which govern the laughter of and in the Tahitian society. The purpose of the present Thesis is to define the characteristics of Comic in the Tahitian oral tradition and contemporary literature, through the 'ūtē 'ārearea (traditional funny songs), in the context of July’s cultural celebrations in Tahiti, from 1986 to 2014, and through two plays, "Te pe'ape'a hau 'ore o Pāpā Pēnū 'e o Māmā Rōrō" by Maco Tevane (1972, played again in 2011) and “E'ita ïa” by John Mairai (1989). Placing this analysis into a conceptual and methodological as well as a semiolinguistical and psychocritical frameworks, makes us suppose that it is possible to abstract, by the superposition of the texts from the corpus of research, a substratum made of invariables, which contribute to the meaning of words
Mairey, Aude. "La vision du monde dans la poésie allitérative anglaise du quatorzième siècle anglais." Phd thesis, Université Panthéon-Sorbonne - Paris I, 2002. http://tel.archives-ouvertes.fr/tel-00426683.
Full textCharbonneau, Lucie. "Enseignement au primaire : vision de la masculinité dans un monde féminin : étude exploratoire." Thesis, Université Laval, 2009. http://www.theses.ulaval.ca/2009/26861/26861.pdf.
Full textAlthough gender equality and diversity have made great progress in recent decades in Quebec, some workplaces are still predomiently male or female. This is the case for elementary education. Indeed, women take a great place in this domain, representing approximately 85% of teachers. This situation is not new, but it is increasingly questioned by the government and the media. The purpose of this research is to present the situation of men in elementary education. We did this by exploring the various point of view of teachers, both males and females. We met ten male teachers and ten female teachers in Quebec. Our results show that male elementary teachers have a different career path than their female colleagues. According to teachers interviewed, working conditions are not conducive to male participation in education. Some of them perceive the profession more as a vocation where the child is placed at the center of motivations. Moreover, it seems that teachers perceive some differences in the class management of men versus that of women. Finally, a greater presence of men in primary education seems to be desired by teachers, men and women, particularly to ensure a mixed image of the profession for students and allow them to have contact with a greater number of male role models.
Yazdani, Zenouz Khosrow. "La vision tragique du monde chez les Grecs : (Homère, les tragiques et Platon)." Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010529/document.
Full textThis work proposes to examine the tragic vision of the Greeks, going back to its origins, i.e. Homer, in order to see how it is maintained, intensifies, and even finds itself abandoned (in Aeschyluses work or in Sophocleses one). Then we'II see how this vision was completely defeated by Plato's soteriological theology. The tragic vision is a religious vision, structured by the hierarchy of the Fates -Those of the gods, heroes, living men, and the inhabitants of Hades. Between the race of gods and that of humans there is an abyss: the gods are not mortal and humans are not immortal. The constant meddling of the gods in the affairs of humans most often results in suffering, unhappiness, and death. The world after death is a place where souls reside, that of shadows, unconscious of their own existence and the existence of others. At the heart of this vision, man is not fee and does not choose; he is not responsible for his acts and does not deserve what he undergoes. If one suppresses one of these four fundamental beliefs, or if one assists in a decision 111ade by a good, fair, or compassionate god, one cannot speak of tragic vision. Therefore, this work focuses essentially on the texts where it is expressed in all of its purity: Homer (The Iliad), Aeschylus (The Persians), and Sophocles (The Trachiniae, Ajax, Antigone, and Oedipus the King). Particular attention is given to the words that translate it. But a different vision opposes from the Odyssey and Oresteia, an anti-tragic vision which finds its form completed in the religion of Plato. The last part of this work strives to bring out the principal points. Plato assesses that there exists in man an element of divine and immortal nature, hence the substitution of a theology of deliverance and the assimilation to the divine with a theology of separation. The sage replaces the hero, it is no longer the glorious death that is a “beautiful death" and which must be chanted, it is that of Socrates, the servant of Apollo. According to this philosophico-religious thought, man is fee, he makes choices, and he is responsible, and thus deserves from this time forward the punishments and rewards that are in store for him. Furthermore, Platonic theology is fundamentally a theodicy: the gods can only be good, the origin of evil resides in the two souls of the World: the good and the bad. The message of tragic theology is the resignation to the mystery. Plato takes on as a divine mission moving the soul towards salvation, and with this anti-tragic, he creates a different link between the gods, the sages, men, destiny, the afterlife and the psyche
Wasiak, Ingrid. "La vision du monde dans l'oeuvre de l'écrivain hollandais Marcellus Emants (1848-1923)." Paris 4, 2004. http://www.theses.fr/2004PA040200.
Full textOur thesis focuses on the vision of the world in the work of the Duch writer Marcellus Emants (1848-1923). The first part of our thesis introduces him to the french audience, because only one of his novels is already translated in French. The reading of his essays indeed constitues the best introduction to the second part of our search, dedicated to the caracter problem, because in one of his essays Marcellus Emants applies throughout the analysis of Ivan Tourgueniev's Work the following principle: it is only the study of the main characters and their own of life that allow to discover the easy way what is the novelist's own vision of life
Chokeepermal, Kendy. "Mallarmé : littérature et philosophie au XXème siècle : évanouissement du sujet, évanescence du monde et éventail des concepts." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3098/document.
Full textThis work’s aim is to draw attention not only to the philosophical reception of Mallarmé’s writings during 1950’s, 1960’s and 1970’s, but also to the factor which acts as an engine of theoretical production in them. Mallarmé’s poetics is a production movement of new possibilities, which we call representational potentials, which are fictional inventions of the poetic language, opening on new linguistic layouts and on new representational possibilities. Mallarmé’s poetics is twice inventive : in the language itself, and in the theoretical reception, as an engine of production. To give account of the highly productive factor of Mallarmé’s poetics, we introduce the concept of virtuality in our study, which expresses itself in an elusive dynamic, where no unique and specific sense can establish itself. Thus, the representational potentials are multiple and irreducible to some specific atomic unity. Any reduction attempt stretching to break the movement of the potentials compromises Mallarmé’s poetics. We show, in that direction, that if the poetic language gives way to a theoretical production through the philosophical readings, it does not get surrounded, nor determined by these readings, but maintains a dynamic continuity of the potentials
Basse, Jean-Bernard. "La vision du monde dans l'oeuvre de Richard Brautigan (temps, fragmentation, épiphanies et humour)." Paris 10, 1998. http://www.theses.fr/1998PA100005.
Full textSong, Tae-Hyeon. "La critique littéraire chez Gilbert Durand : nouvelle vision du monde et renouvellement de la critique." Université Stendhal (Grenoble ; 1970-2015), 1995. http://www.theses.fr/1995GRE39006.
Full textOur study is focused on the notion of criticism and purports to provide elementary grounds for the understanding of g. Durand's theories. Our contention is that the core of his theories, and his conception of literary criticism especially, are deeply linked with the radical changes occurring in our century in epistemologies and even in theworld view. The first part draws the general outlines of the epistemological revolution. Starting from that basis, we shall shed light on the deep attachment of classical criticism to the classical world view, then on the links appearing between epistemological revolution and the french nouvelle critique, finally on durand's conception of criticism. The second part is devoted to 'bachelard and durand'. After having considered the problems of dualism and unity in bachelard's theories, we shall carry on a concret study of the new literary spirit in his works. We mean to show how durand has moved beyond bachelard's system and to demonstrate the great change occurred after bachelard. The two chapters in the third part focus on durand's methodology of criticism. We shall first study the nature of myth and its relationship with literature according to durand. Then we shall deal with the methodological concepts of his criticism. The last chapter is devoted critical viewpoints on durand's system
Jun, Gwang-Ho. "De l'espace vécu à l'espace imaginaire : la vision théâtrale du monde dans la prose nervalienne." Aix-Marseille 1, 1997. http://www.theses.fr/1997AIX10079.
Full textGagnon, Marc. "Écriture / ré-écriture : la vision du monde en production de texte au collégial : applications didactiques." Master's thesis, Université Laval, 1987. http://hdl.handle.net/20.500.11794/29246.
Full textMombo, Mvunzi Louis. "Le théâtre comme vision du monde : essai d'interprétation de l'oeuvre dramatique de Norbert Mobyem Mikanza." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30019/document.
Full textThis thesis is a study of the way the author Nobert Mobyem Mikanza considers the world surrounding him and how he conceives the art of theatre. This study falls into three parts. The first one is a historical and panoramic view of the congolese theatre. Its importance consists mainly in situating the part played by the play wright Norbert Mobyem Mikanza and in pointing out the originality of his theatrical work. The second part deals with the study of the form, that is how the plays are set and organized, these elements being the fable, the characters, the actions, the time, and space, the language, all that helps converging theis meaning to the audience. The third part entitled « deeper structures » is an analysis of the dramatic works of Norbert Mobyem Mikanza. His works port rays no thing but a fight, an unegual one, in which social and moral issues come in conflict with antisocial and immoral issues, not anly in the Congolese society but also further in the African society as a whole
Anderson, Jean-Christophe. "Dilthey et le problème de la métaphysique." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40063.
Full textReynoso-Rábago, Alfonso. "La vision du monde dans la mythologie maseuale (nahua) de la Sierra Norte de Puebla (Mexique) /." [Montréal] : Université de Montréal, 2003. http://wwwlib.umi.com/cr/umontreal/fullcit?pNQ92769.
Full text"Thèse présentée à la Faculté des études supérieures en vue de l'obtention du grade de Philosophiae Doctor (Ph.D.) en anthropologie" Version électronique également disponible sur Internet.
Gélard, Marie-Luce. "Honneur et stratégies sociales au Maroc : L'exemple de Midelt et de Merzouga. Une certaine vision du monde." Paris, EHESS, 2000. http://www.theses.fr/2000EHESA090.
Full textHouver, Julie. "Vision de l'Europe et jeu avec les cultures du monde dans l'oeuvre narrative d'Alfred Döblin (1912-1938)." Strasbourg, 2009. http://www.theses.fr/2009STRA1034.
Full textTestimony of his life and commitment, Alfred Döblin's work (1878-1957) is coupled with a cultural reflexion on Europe and its foundations. As a humanist writer, the history and evolution of his action and commitment as well as three emblematic books (« Die drei Sprünge des Wan-Lun » (1912), « Babylonische Wandrung oder Hochmut kommt vor dem Fall » (1934), « Amazonas » (1935-1937)) are to be studied to the light of what he called the « Ars Militans ». From World War I to the fall of the Weimar republic and the hardship of exile, Döblin will manage to get over the Nazi ideological onslaughts, thanks to his own creative depth. It is a matter of searching for the multiple ways the writer followed to reconsider the missed meeting between the world cultures and then how he decided to explore many different strange thoughts to confront the western culture to other representations of humanity. This work will try to link those alterities to Döblin's own identity, as a man and as a writer
Khalil, Isis. "Littérature égyptienne francophone : vision du monde d'Andrée Chedid à travers les structures mythiques de son oeuvre romanesque." Thesis, University of Ottawa (Canada), 1995. http://hdl.handle.net/10393/9533.
Full textBouzid, Marie-Claire. "Entre décadence et modernité, écriture et vision du monde protéiformes de Henri de Régnier de 1885 à 1905." Limoges, 2005. http://www.theses.fr/2005LIMO2017.
Full textDubourg, Christine. "Les expressions du naturalisme dans les arts graphiques du Paléolithique supérieur : une vision du monde des chasseurs préhistoriques." Bordeaux 1, 1997. http://www.theses.fr/1997BOR10635.
Full textGouz, Simon. "Biographie d'une vision du monde : les relations entre science, philosophie et politique dans la conception marxiste de J.B.S. Haldane." Phd thesis, Université Claude Bernard - Lyon I, 2010. http://tel.archives-ouvertes.fr/tel-00530696.
Full textMarthon, Philippe. "Contribution à la modélisation et à la résolution du problème de la vision passive tridimensionnelle par ordinateur : analyse d'un monde d'objets polyédrique." Toulouse, INPT, 1987. http://www.theses.fr/1987INPT100H.
Full textLoslier, Michelle. "Un discours environnementaliste de langue française dans le Canada de la fin du XXe siècle une vision apocalyptique du monde." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0010/MQ35695.pdf.
Full textLoslier, Michelle. "Un discours environnementaliste de langue française dans le Canada de la fin du XXe siècle : une vision apocalyptique du monde." Sherbrooke : Université de Sherbrooke, 1998.
Find full textMarthon, Philippe. "Contribution à la modélisation et à la résolution du problème de la vision passive tridimentionnelle par ordinateur analyse d'un monde d'objets polyédriques /." Grenoble 2 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37607781t.
Full textAlves, Maria do Céu. "La vision du monde sexuée chez Agustina Bessa Luis : l'exemple de Os Super Homens, A Sibila, Vale Abraao, Um cao que sunha." Toulouse 2, 2008. http://www.theses.fr/2008TOU20044.
Full textThis work entitled “The sexed world view in Agustina Bessa-Luís : the example of Os Super-Homens, A Sibila, Vale Abraão and Um cão que sonha” attempt to demonstrate the existence of a sexed view in these novels of the Portuguese woman writer, that is to say a point of view which is marked by “sexuation”. This world view is the feminine domination. It presents under a form of a thematic structure and it stands on a social and referential system: the power of women and their superior nature. She reproduces in part the sexed and contextual categorization and the sexed relations and she deconstruct them as well from the maximum of consciousness mobilized by the novelist at some specific moment of her career. Therefore, she is an anti-establishment and reflexive stands which evolutes as a result of the condensation of the deconstruction work led by the novelist. This world view translates a desire of totality and intends to participate at the social construction of the reality, by shaking up the social representations of readers form a process of awareness
Gnally, Tiepe Raphae͏̈l. "La conception de l'homme dans la vision du monde Bhété de Côte d'Ivoire, à travers les "kuwezelet'" (= noms de qualification) et les"tigblet'" (= noms tambourinés)." Paris 5, 1991. http://www.theses.fr/1991PA05H057.
Full textIn bhete thought, man will be defined through his own activity. For man's actions express his self. So that they characterize and describe him and become his praise names and drum names. The latter single out an individual, since they identity him by stressing a fact, an action or a quality that distinguish him from other group members. Through praise and drum names, man and society acknowiedge one another. Such names point at man's both past and present, that is what he was and is according to society. The individual and society depend on one another. The bhete have a saying for this :"the ax was made for the handle and the handle for the ax. " man is the agent of his growth and fate. To be human therefore means to be self-reliant, autonomous and responsible for one's future according to one's means. On this another bhete proverb says :"a sheep puts its black patches where it wants to. "
Motta, Caroline. "Villes nouvelles métropolitaines du XXe siècle dans le monde : observation, représentations et identité des paysages urbains." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040130.
Full textThe proliferation of new towns as an alternative development near the metropolis in the 20th Century in the world, a priori suggests the reproduction of an urban archetype, the “garden city”, a posteriori a change towards a specific 21st Century prototype might be expected. These assumptions encourage a deepening of the existing form and of its reflected image: what type of townscape built and yet to be built. The present doctoral thesis enables us to take advantage of the binomial “new town/townscape”.From observation to qualification, the analysis is based on the precursors of townscape's traditional practices: picturesque survey, serial vision, skyline, urban inventory and morphological reading. The methodology operates mainly through still images (photographs) and moving images (video) collected through fieldwork in France, China, the Netherlands, Finland, the USA and England.The major components of the “metropolitan new towns” development are presented along four themes: multipolarity or town-center(s), mineral fabric or mobility weft, natural fabric and “vertical fabric” or “architectural membrane”. Considering the lack of renewal in the graphic interpretation of townscapes, a representation such as an “Identity Map”, which expresses a more sensitive experience, is proposed.This multidisciplinary, achronic and international research confirms the facial identity of the “metropolitan new town” of the 20th Century, downplaying the notion of an urban model. It recognizes in the townscape both non-transferable qualities and a leveraging potential for territorial development. It emphasizes the role of urban aesthetics in contributing to the pleasure of new town residents
Rosenfeld, Pierre-Louis. "Les tragi-comédies de Georges de Scudéry, un théâtre donné à voir : l’œil entre le monde, le spectacle et la peinture." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030067.
Full textOne of the components of the theater is what Aristotle calls opsis in Poetics : the spectacle, the donné à voir. In the first seventeenth century, a genre and an author illustrate this component. Under the reign of Louis XIII and the government of Richelieu, tragi-comedy is fashionable and characterized by its spectacular size. Among the authors who practice this genre and defend its specificity, Georges de Scudéry is one of the most prolific and more closely interested in painting, the art of vision par excellence. Our study focuses on the construction of the spectatorial gaze in the tragi-comédies of Georges de Scudéry. Four aspects are examined : the relationship between tragi-comedies and current affairs through a common imaginary, the driving forces of the spectacular as stated by the theoreticians and dramatic authors of the 1630s, the way Scudéry gives his plays to see and finally three traits of his dramaturgy (visual suspense, circulation of looks, reference to painting). The prologue examines a founding scene of the reign of Louis XIII, the "coup de majesté" of April 1617 that brought effectively the king to power. This scene was first rehearsed, then danced before the court, finally performed for real with the death of the Concini couple. But it was not over, the theater took it and continued to play it. The first part deals with the emblematic events of the reign of Louis XIII and the government of Richelieu, and analyzes the reflections that he could have left in the dramatic production of the time, especially in tragi-comedies. The second part establishes an inventory of the various forms of entertainment that were current during this period and the comments they generated. The third part analyzes the spectacular dimension of Scudery's tragi-comedies, first from the didascalies, then according to four criteria (the subject of the play and its reference to the world, the visual apparatus put in place, the visual initiatives that emanate from the show, the experience of the risk to which the show is sensitive), finally through the frontispieces of the editions. The fourth part examines in the donné à voir what is no longer related to surprise, but to the deepening of the vision in three aspects : the visual mechanics of suspense, the circulation of the gaze and its functions (admiration, power exercising, knowing), references to the world of painting and to the use of pictorial techniques (portrait, landscape). Keywords
Yilmaz, Deniz Ayca. "Émergence du « sujet col blanc » dans la société turque : expériences vécues, raisons d'agir et visions du monde." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCB066.
Full textThis thesis focuses on "white-collars", a new phenomenon, emerging in Turkey in the 2000s: a small group of salaried, non-salaried and unemployed workers who call themselves "white-collars" and who initiated a social mobilization through the various platforms called Plaza Action Platform, Run Away and Come to Us, Workers on White Collar. By mobilizing the theoretical and methodological tools of Critical Theory and Phenomenology, and by comparing the Turkish "white-collars" with Charles Wright Mills' analysis of American white-collars, the thesis analyzes their visions of the world, their reasons to act and the finalities of their mobilizations.The objectives of "white-collars" in Turkey are to initiate a debate about their experiences at work as well as to problematize the socio-political issues of the society for the past decade. To understand "white-collars", we first focused on their experiences at work: experiences of seriality, the opposite of their initial expectations of finding at work opportunities to develop their freedom of expression and their individual autonomy. Based on these experiences, "white-collars" try to (re)construct themselves as subjects through their public mobilizations. It is a process of subjectivation and a quest for meaning. The "white-collars", especially through their education, have the necessary intellectual and professional skills not only to analyze themselves but also to analyze the social situation in Turkey. They also develop a real willingness to overcome this situation by constructing an alternative individual life to their current situation as well as in their search for another form of living together
Mbaye, Mame Couna. "Entre universalité et spécificité : étude de quelques énoncés culturels espagnols : approche croisée en français et wolof de repères d'accès au sens pour les apprenants." Thesis, Artois, 2011. http://www.theses.fr/2011ARTO0003.
Full textThe first aim of this study was to analyze and to show the inner link between language and culture which can be found in cultural statements (sayings, proverbs, etc.). However this first purpose was doubled by a second one which intends to show that culture statements are helpful didactic instruments in the teaching/learning process of Spanish as a foreign language. And then, we thought about a paradoxical issue connected to the universality and to the specificity of these cultural statements. Such a study helped us to see that while some cultural statements keep their universal features, at the same time they display what can be termed as their cultural and linguistic specificities. To deal with all these topics, we first outlined theoretical and methodological bases. Theoretically, to grasp the limits of this field, we focused our analysis on Lucien Goldmann’s genetic structuralism going hand in hand with notions such as cultural invention, universality, specificity, ideology and word view. As far as the analytical dimension of the study is concerned, we followed a sociolinguistic step examined in details in the second and the third part of the two corpuses. The first corpus was chosen through genetic structuralism and among the two universal parameters "Time" and "Speech". To show the universality and the specificity linked to the E.C, we have also backed on the wolof language by adopting equivalences of E.C between spanish and wolof. And for each class of cultural statements of the corpus, the analysis is in keeping with morphosyntactic, semantic and pragmatic data as well as with ideological views. As regards the second corpus, in our analysis we laid an emphasis not only on the novel, La familia de Pascual Duarte of Camilo José Cela, but we also looked at the different roles of these statements in speech and at their translations, mainly at the french version of this novel. The choice of the two corpuses can be justified by the last not the least aim of this study which is about the didactic use of cultural statements. Thus, we showed the existing ways to deal with this research-topic in language (teaching/learning) classes. Even if the main focus was on our very first corpus, we did not forget to explain that other types of corpuses such as songs or computerized corpus seem to be of a great importance and to mention the interest of cultural statements in teaching/learning classes of a foreign language, like Spanish
Hébert, Joseph. "Religion et développement étude de cas sur le mouvement indien Swadhyay Parivar." Mémoire, Université de Sherbrooke, 2009. http://savoirs.usherbrooke.ca/handle/11143/2622.
Full textSabra, Hussein. "Contribution à l'étude du travail documentaire des enseignants de mathématiques : les incidents comme révélateurs des rapports entre documentations individuelle et communautaire." Phd thesis, Université Claude Bernard - Lyon I, 2011. http://tel.archives-ouvertes.fr/tel-00768508.
Full textCovu, Diégo. "Les formes du réalisme scientifique : l’empirisme de Locke et le naturalisme contemporain." Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3078.
Full textThe very fact of being engaged in an explicative program, canonically called philosophical, calls us to this presupposition of an affinity between world and words. We propose in the introduction a coherentist approach to philosophical systems, defined as worldviews where ontology and epistemology are in charge of mutual support. In Locke’s empiricism, the epistemological line defined by his empiricism is coupled to a corpuscularist conception of reality. We’ll show that the lines of tension existing between those two positions are consolidated by a deeply realistic doxastic attitude, bringing to the famous thesis of the likeness between real and perceived first qualities. The science of that time is thus promoted by a rationalist line of a deep affinity between the categories that make our environment intelligible and the very reality. Today’s naturalism leans entirely on the intelligibility that we have of reality through scientific activities, so founding the reappearance of ontology as this ideal of rational access to reality, by means of largely a priori procedures, that our sciences flush. If the pretentions of the metaphysicians to meet those objectives have to be deceived, it seems more judicious to value the mathematical a priori which, pace Quine’s model of the seamless web of belief, seems empirically incorrigible. It’s unreasonable effectiveness in the heuristics of our fundamental sciences places effectively it in the very first line in the constitution of the different strata of objectivation of our environnement
Fagniez, Guillaume. "L'histoire au coeur de la subjectivité: la confrontation de Heidegger avec Dilthey." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209323.
Full textThe Dissertation investigates the historicity of existence, its meaning and impact, from Wilhelm Dilthey’s Works and Heidegger’s reading of it: What does being historical mean, and what are the consequences of this historicity on philosophical thought? Dilthey’s approach to this problem is based on a “concrete psychology” which, by developing the implications of the facticity of life, leads to an historical anthropology. Heidegger radicalizes this psychological and historical Diltheyan questioning by reconsidering the problem of historicity from the point of view of the “being” of existence, which also involves a renewed conception of temporality. The latter leads to the threshold of a conception of life as “eventiality” which means both a break with Dilthey and the possibility of taking over an improved version of Dilthey’s major issues. The research examines in particular the transition from a philosophical hermeneutics to a hermeneutic philosophy based on the acknowledgment of the radical historicity of life. Heidegger’s appropriation of Diltheyan themes and concepts in the context of this transition is analyzed in a detailed manner. Finally, the question is raised how philosophy has to deal with its historicity. Dilthey’s response to the historical undermining of the very possibility of metaphysics consists in the development of a doctrine of worldviews. Heidegger carries out a transcendental radicalization of the concept of history – the latter however being soon anew reversed for the benefit of the “event”.
Doctorat en Philosophie
info:eu-repo/semantics/nonPublished
Колмогорова, Олеся Дмитрівна. "Авторська картина світу Стефана Малларме у транслатологічному аспекті." Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/4325.
Full textUA : Дипломна робота – 71 стор., 62 джерела. Об’єкт дослідження : вербалізована засобами французької мови авторська картина світу Стефана Малларме, репрезентована в віршах Парнаського періоду (тобто раннього до 1884 року) в збірці «Poésies» С. Малларме. Мета роботи: дослідження комплексу перекладацьких рішень, до яких запобігають перекладачі творів Стефана Малларме для відтворення його авторської картини світу, через виокремлення використаних перекладацьких трансформацій . Теоретико-методологічні засади: теоретичні засади дослідження проблем відображення картини світу , засоби її вербалізації в тексті твору (І. С. Алексеєва, Н. Д. Арутюнова, В. А. Маслова, Й. А. Стернін), проблеми художнього перекладу (В. Н. Комісаров, В. С. Виноградов та ін.). Отримані результати: В віршах авторська картина світу відображає сприйняття оточуючої дійсності Стефаном Малларме та вебралізується різними засобами: використання лексики певних тематичних груп із різною частотністю, підбором певних елементів змісту, унікальними авторськими мовними засобами та використанням тропів і фігур. Нами був здійснений аналіз віршів поетичної збірки Стефана Малларме «Poésies» 1887, завядки якому ми виявили головні особливості авторської картини світу та класифікували складові авторської картини світу на три групи: флорообрази, просторові образи, образи стихій. Також ми проаналізували переклади віршів і виявили наскільки адекватно вони відтворюють картину світу автора. Перекладачі використовували цілий комплекс перекладацьких трансформацій , проте були випадки, коли їм не вдавалося віднайти відповідник , який би повністю відображав семантичну ємність образу , створеного Стефаном Малларме.
FR : L’objet d’étude de notre travail de master est la vision du monde de l’écrivain français Stéphane Mallarmé, verbalisée dans son collection de poésie «Poésies» 1887 . Le sujet d’étude est le système d’images de la nature créé par Stéphane Mallarmé dans son collection de poésie «Poésies» 1887. Les images de la nature constituent la base de la vision du monde de l'auteur Stéphane Mallarmé, donc elles doivent être rétablies correctement dans la traduction. L’objectif de notre travail est d’examiner l’unité de résolutions de la traduction vers une autre langue . La vison du monde de l'auteur est le résultat de sa perception, de sa pensée, de son imagination. Dans le collection de poésie «Poésies» 1887 de Stéphane Mallarmé nous avons analysé le contenu et des moyens linguistiques et stylistiques. Les moyens linguistiques et stylistiques comprennent les groupes thématiques et la fréquence d’emploi des unités lexicales, l’utilisation des tropes et des figures rhétoriques. La représentation de la vision du monde de Stéphane Mallarmé pose un problème de traduction en raison de sa nature métaphorique . Les traducteurs ont utilisé différentes transformations, par exemple, déplacements , adjonctions et omissions, modulation , concrétisation, généralisation, division et union de phrases, remplacements lexicaux et grammaticaux, etc.
Bérubé, Annabel. "Vision, montage et trame sonore dans «Tous les matins du monde», de Pascal Quignard." Thèse, 2009. http://hdl.handle.net/1866/4092.
Full textThe study of « Tous les matins du monde », of Pascal Quignard, and punctually, of « Terrasse à Rome », will allow us to examine the relationship between cinema and literature from a poetic, esthetical point of view and a deepen literature’s intermediary approach. Using Umberto Eco’s reading theory, we will observe how the reader’s film encyclopaedia may make him receptive to cinema-effect literature. We will study the implicit clues which, together, create the film esthetic. Vision, editing and sounding can be studied through three chapters. We hope that this perspective will allow the reading of « Tous les matins du monde » from a new critical perspective, while deepening the intermediality researches.
Reynoso-Rábago, Alfonso. "La vision du monde dans la mythologie maseuale (nahua) de la Sierra Norte de Puebla (Mexique)." Thèse, 2003. http://hdl.handle.net/1866/14234.
Full textHabibi-Shandiz, Massoumeh. "L'idée de paradis et les jardins safavides de la fin du XVIe siècle et début du XVIIe siècle." Thèse, 2007. http://hdl.handle.net/1866/18088.
Full textПередєла, Микита Сергійович. "Формальні, семантичні та комунікативні характеристики евфемізмів та дисфемізмів у сучасному французькому медіадискурсі." Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/4264.
Full textUA : Дипломна робота – 64 стор. , 63 джерела. Об’єкт дослідження: дисфемізми та евфмізми у сучасному політичному дискурсі французької мови . Мета роботи : полягає у вивченні функціонування дисфемізмів та евфемізмів сучасної французької мови та їх місця в засобах масової інформації у процесі організації впливу на читача. Разом с цим ми зупинимося на характеристиці сучасного стану досліджуваного об’єкта. Виявлення і аналіз основних семантичних чинників впливу дисфемізмів та евфемізмів політичної спрямованості, що представляє особливий інтерес для сучасного суспільства и може сприяти кращому розумінню мовного потенціалу. Теоретико - методологічні засади : наукові роботи як вітчизняних , так і зарубіжних вчених. Зокрема : Denis Jamet , Manuel Jobert , Jolanta Dyoniziak , Montserrat López Díaz , Jean-François Sablayrolles , Boris Lefilliâtre та ін . Отримані результати : аналіз евфемізмів та дисфемізмів , як один із засобів матеріалізації колективних світоглядних установок суспільства дозволили констатувати, що в даний час має місце перебудова базових концептів, що складають духовно - ціннісну основу людини . Оскільки людина прагне відповідати нормам закріпленим в узусі політично коректних висловлювань , що виключають дискримінацію за віком , статтю , дискримінацію , пов'язану з фізичними або розумовими вадами, майнову дискримінацію , дискримінацію за ознакою осілості , номінації , які зачіпають гідність людини , порушують його права , дискредитують його по будь - якою ознакою , доцільно буде говорити про зміну соціальних установок у суспільному світосприйнятті.
FR : Le sujet de notre recherche sont les dysphémismes et euphmismes dans le discours politique contemporain de la langue française . L’objet d’étude est défini par les stratégies communicatives de persuasion avec l’ensemble tactico - stratégique des moyens linguistiques à l’effet persuasif spécifiques pour le discours politique français contemporain . L’objectif est d'étudier le fonctionnement des dysphémismes et euphémismes de la langue française contemporaine et de leur place dans les médias dans le processus d'organisation de l'impact sur le lecteur. Avec cela, nous nous concentrerons sur la caractérisation de l'état actuel de l'objet étudié. Identifier et analyser les principaux facteurs sémantiques d'influence des dysphémismes et des euphémismes d'orientation politique qui présentent un intérêt particulier pour la société moderne et peuvent contribuer à une meilleure compréhen sion du potentiel linguistique . L'analyse des euphémismes et des dysphémismes, comme l'un des moyens de matérialiser les attitudes collectives de la société , a permis de constater qu'il existe actuellement une restructuration des concepts de base constituant la base spirituelle et de valeur de l'homme. Parce que l'homme s'efforce de se conformer aux normes énoncées dans les discours politiquement correctes, les déclarations d'éliminer la discrimination fondée sur l'âge, le sexe, la discrimination liée à une déficience physique ou mentale patrimoniale de la discrimination , la discrimination fondée sur la résidence , la nomination, qui offensent la dignité de l'homme, violation de son droit , discréditent par des motifs , il est conseillé de parler de modificatio n des attitudes sociales dans les transports vision du monde.
Michaud-Mastoras, Danaé. "Voces femeninas de la América decimonónica: Juana Manuela Gorriti, Soledad Acosta de Samper y Joséphine Marchand-Dandurand en sus diarios íntimos y publicaciones periódicas." Thesis, 2017. http://hdl.handle.net/1866/19288.
Full textLe XIXe siècle représente une période prépondérante de l'histoire des femmes en Occident, celle de la naissance d’une conscience féminine de nature publique, des premiers balbutiements du féminisme. Dans ce contexte, il est important d'étudier où se situent certaines personnalités féminines dans leur société. À cette époque, deux pratiques d'écriture connaissent leur apogée, la presse et le journal intime, qui permettent aux femmes de prendre la parole et d’intervenir dans la sphère publique. Ces formes d'écriture peuvent être considérées comme des espaces discursifs nés de conflits et de tensions sociales; elles sont le produit d’une même personne qui commente l’actualité de façon quotidienne, hebdomadaire ou mensuelle. La femme de lettres reconstitue les événements et faits du passé, transmet ses observations et opinions personnelles sur divers sujets; elle remet aussi en question le discours normatif institutionnel à partir de ses propres expériences et connaissances. Les écritures intime et journalistique témoignent de la vision plurielle du monde des intellectuelles et de leur participation au devenir historique, d'où l'intérêt de les étudier en parallèle dans ce travail. À travers l'étude d’écrits intimes et journalistiques, l'objectif principal de cette thèse est de faire entendre trois voix féminines de l’Amérique face à la culture patriarcale: celles de l'Argentine Juana Manuela Gorriti, de la Colombienne Soledad Acosta de Samper et de la Québécoise Joséphine Marchand-Dandurand. Nous nous demandons dans quelle mesure leur écriture s’inscrit dans un projet collectif lié à l’avancement des femmes et de la nation. L’hypothèse qui guide notre travail est que les auteures développent et partagent une écriture de dénonciation et de revendication liée à la situation des femmes et de la nation. Nous partons du contexte universel d'invisibilité des femmes, de leur manque de reconnaissance comme sujets de la société du XIXe siècle ; nous suivons la ligne foucaultienne de la généalogie, en y ajoutant la variable de genre, dans le but de récupérer les traces d’une contre-mémoire manifeste dans les textes choisis et de mettre l’accent sur la contribution des auteures. L’analyse explore le dialogue entre le discours des écrivaines et l’hégémonie masculine. Elle reconstitue le contenu social de nature idéologique, indique les fonctions des textes analysés, examine attentivement leur contexte de création ainsi que l’expérience biographique des auteures et leur apport intellectuel. Alors que Gorriti, Acosta de Samper et Marchand-Dandurand proviennent de cultures et d’époques différentes, l'objectif est de préciser les éléments homologues sur les plans thématique et stratégique, tant dans leur écriture personnelle que dans leurs publications périodiques. Cet exercice permet de vérifier si, tant au niveau privé qu’au niveau public, les intellectuelles expriment les mêmes idées avec les mêmes stratégies énonciatives ; s’il existe une continuité ou, au contraire, une rupture entre les écrits autobiographiques et les essais publics qui rendent légitime leur vision du monde. Par la même occasion, nous examinons si le « je » des écrits intimes correspond à celui des publications périodiques de chacune des auteures à l’étude.
The nineteenth century is a key period in the history of Western women. This is when a public female consciousness emerges for the first time and an incipient feminism can be observed. In this context, it is important to study how certain female public figures positioned themselves in their respective societies. During this period two genres of writing, journalism and the personal diary, were at their height, and allowed women to take the floor and enter the public sphere. These forms of writing can be regarded as discursive spaces arising from social conflicts and tensions, but they are also the product of an individual who comments daily, weekly or monthly on current events. The woman writer reconstructs events and facts from the past, and reveals her personal observations and opinions on various subjects. She also uses her own experiences and knowledge to cast doubt on normative institutional discourses. Journalistic and personal writing bear witness to the pluralistic worldview of these female intellectuals and to their participation in contemporary historical developments; hence the interest in studying them comparatively in this investigation. The main objective of this dissertation is to analyse, through the study of their journalism and diaries, the work of three female writers from the Americas—the Argentinian Juana Manuela Gorriti, the Colombian Soledad Acosta de Samper, and the Quebecer Joséphine Marchand-Dandurand—whose voices have been silenced by patriarchal culture. Fundamentally, this thesis asks to what extent their writing is inscribed in a collective project related to the advancement of women and the nation. This investigation’s hypothesis is that the authors develop and share a critique of both the situation of women and the nation, as well as calling for women's recognition. Starting from the basis that women's invisibility is universal, and that women were not recognised as subjects in nineteenth-century society, the study deploys the Foucault’s theory of genealogy, adding the gender variable, in order to rescue the traces of a counter-memory in the texts selected and to value the contributions of the authors. The analysis explores the dialogue between the discourse of women writers and male hegemony, restoring the social content of an ideological nature, pointing out the functions provided by the texts analyzed and carefully examining the contexts of their production, as well as the biographical experiences of the writers and their intellectual contributions. Even though Gorriti, Acosta de Samper and Marchand-Dandurand come from different cultures and epochs, the objective is to define the similarities in their personal and journalistic writing on both a thematic and strategic levels. This exercise allows us to verify if these female intellectuals expressed the same ideas in both public and private spheres with the same enunciative strategies; if there is continuity or rupture between autobiographical writings and public essays, which legitimize their worldview. At the same time, the study examines if there is any correspondence between the authorial self of the intimate writings and that of the periodical publications.
El siglo XIX es un período clave en la historia de las mujeres occidentales ya que es el momento en el que surge una conciencia femenina de naturaleza pública y en el que se observan los primeros balbuceos del feminismo. En este contexto, resulta importante estudiar el posicionamiento de ciertas individualidades femeninas frente a la sociedad de su tiempo. Tanto la prensa como el diario personal son dos prácticas escriturales que conocen su auge en esta época y que permiten a las mujeres tomar la palabra y el espacio público. Estas formas de escritura pueden ser consideradas como espacios discursivos surgidos de conflictos y tensiones de carácter social, siendo producto de una misma personalidad que comenta diaria, periódica o mensualmente la actualidad. La mujer escritora reconstituye acontecimientos y hechos del pasado, da a conocer sus observaciones y opiniones personales sobre varios temas; cuestiona también el discurso normalizado e institucionalizado a partir de su propia experiencia y en función de sus conocimientos. Las escrituras íntima y periodística constituyen testimonios de la visión plural del mundo de las intelectuales y de su participación en el devenir histórico. De ahí el interés de estudiarlas en paralelo en este trabajo. El objetivo principal de esta tesis es el de hacer oír, a través del estudio de escritos íntimos y periodísticos, tres voces femeninas americanas frente a la cultura patriarcal: las de la argentina Juana Manuela Gorriti, de la colombiana Soledad Acosta de Samper y de la quebequense Joséphine Marchand-Dandurand. Nos preguntamos en qué medida su escritura se inscribe en un proyecto colectivo relacionado con el avance de la mujer y de la nación. La hipótesis que guía nuestra investigación es la de que las autoras desarrollan y comparten una escritura de denuncia y de reivindicación relacionada con la situación de la mujer y de la nación. Partiendo del contexto universal de invisibilidad de la mujer, de su falta de homologación como sujeto en la colectividad decimonónica, seguimos la línea foucaultiana de la genealogía, agregándole la variable de género, con el fin de rescatar las huellas de una contramemoria manifiesta en los textos seleccionados y de valorar las aportaciones de las autoras. El análisis considera la interlocución entre el discurso de las escritoras con la hegemonía masculina, restituyendo el contenido social de naturaleza ideológica, señalando las funciones y apuestas que proporcionan los textos analizados y examinando cuidadosamente el contexto de su creación, así como la experiencia biográfica de las escritoras y su aporte intelectual. Si bien Gorriti, Acosta de Samper y Marchand-Dandurand proceden de culturas y épocas distintas, el objetivo es deslindar los elementos que pueden ser considerados homólogos a nivel temático y estratégico, tanto a través de su escritura personal como de sus publicaciones periódicas. Este ejercicio nos permite comprobar si, tanto en el plano privado como en el público, las intelectuales expresan las mismas ideas con las mismas estrategias enunciativas, si existe continuidad o si, por el contrario, se evidencia una ruptura entre los escritos autobiográficos y los ensayos públicos, que legitiman su visión del mundo. Al mismo tiempo, examinamos si hay una concordancia entre el yo autoral de los escritos íntimos y el de las publicaciones periódicas.