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Andreasson, Martina. "Le Symbolisme du Serpent dans Le Petit Prince." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-17012.
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I have examined the symbolism of the snake in the popular french book The Little Prince (Le Petit Prince), written by Antoine de Saint-Exupéry. The purpose with this study was to get a deeper understanding of the book by finding out what the snake represents. I have used a number of websites and several books to be able to cover the subject, which turned out to be immense. I started by finding out what kind of snake it corresponds to in reality, based on the images and informations given in the novel. I investigated the symbolism of the colour of the snake as well as the symbolism of snakes in different cultures, religions and civilizations. I also examined the fable genre, and the role of snakes in fables, since the novel belongs to this genre. The last part of my essay consists of an analysis of the author to find out why he chose a snake. My conclusion is that he chose the snake (a cobra) for its symbolic meaning of "renaissance" and that the colour is also important for the symbolism of this character.
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Ekerot, Cecilia. "Le Petit Prince et ses deux traductions en suédois." Thesis, Högskolan Dalarna, Franska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-23205.
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L’objectif de ce mémoire est une analyse et une évaluation de la retraduction en suédois de « Le Petit Prince » d’Antoine de Saint-Exupéry (T2), parue chez Modernista, en 2015, en relation avec le texte source en français et en relation avec la traduction classique, parue chez Rabén&Sjögren, en 1952 (T1 ; la version révisée de 2015, actuelle au moment de la retraduction). L’analyse se base sur quelques concepts de Lita Lundquist, notamment la distinction entre stratégie de traduction « imitative » et « fonctionnelle », et la cohérence entre la stratégie « globale » et les stratégies « locales ». De plus, notre analyse nous mène à la distinction entre « traduction » et « révision », comme présentée par Philippe Bouquet (2012), et à la distinction entre une définition linguistique de traduction – approche principale de ce travail – et une définition socio-culturelle selon Toury (1995). Les résultats principaux sont 1) la découverte d’un manque de stratégie globale cohérente dans la T2 – à la différence de la T1– et 2) une dépendance forte de la T1 dans la T2. Aussi, dans la retraduction, nous avons remarqué une stratégie locale remarquable de suppression totale du pronom personnel suédois de man. Ces résultats sont brièvement discutés sous la lumière des aspects socio-culturels et dans une section sur l’applicabilité de l’hypothèse de la retraduction (Tegelberg 2014).The aim of this paper is an analysis and an evaluation of the re-translation into Swedish of "Le Petit Prince" by Antoine de Saint-Exupéry (T2), published by Modernista in 2015, and its relation to the original French text as well as to the classical Swedish translation published by Rabén&Sjögren in 1952 (T1; the 2015 version, contemporary with the re-translation). The analysis is based on some concepts of Lita Lundquist (2007): the distinction between "imitative" and "functional" translation strategies, and the coherence between a "global strategy" and "local strategies". Furthermore, this analysis leads us to a distinction between "translation" and "revision" as presented by Philippe Bouquet (2012), and to a distinction between a linguistic definition of translation – the main approach of this work – and the scoiolinguistic definition by Toury (1995). The main results are 1) the discovery of a lack of a coherent global strategy in T2 – as opposed to T1 - and 2) the strong reliance of T2 on T1. Also, we found a remarkable local strategy in T2, a total removal of the Swedish personal pronoun man. These results are briefly discussed in the light of socio-cultural aspects and in a section on the applicability of the retranslation hypothesis (Tegelberg 2014).
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Yao, Jingchen. "Temporalité et causalité : le cas de "alors" dans "Le Petit Prince"." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0005.
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L’objectif de cette thèse est d’étudier les questions de « temporalité » et de « causalité » liées aux emplois de alors dans Le Petit Prince. Après avoir passé en revue les principales analyses consacrées à ce mot, nous montrons que l’approche référentielle, majoritairement adoptée par ces analyses, présente des failles quand elle cherche à rendre compte des phénomènes linguistiques traditionnellement jugés « temporels » et « causaux » qui se manifestent à travers alors. Comme solution alternative, nous prenons une perspective argumentative en choisissant comme cadre théorie la Théorie des Blocs Sémantiques (TBS) développée par Carel dans les années 90. Cette théorie ne s’intéresse pas à la question des conditions de vérités, elle propose de décrire le sens des énoncés par un enchaînement argumentatif (dont les deux segments sont reliés par des conjonctions du type donc, par conséquent, si, de ce fait, etc., ou du type même si, cependant, pourtant, bien que, etc.) et par un aspect concrétisé par cet enchaînement. Ainsi, en utilisant les outils techniques fournis par la TBS, nous identifions quatre emplois de alors : l’emploi dit « contextuel », l’emploi dit « semi-causal », l’emploi dit « détaillant » et l’emploi dit « articulateur ». De plus, nous nous interrogeons également sur l’origine des lectures de « causalité » et de « temporalité » qui ont été attachées à certains emplois de alors. D’après nous, la lecture de « causalité » que l’on attribue à certains alors a pour source l’unité entre l’enchaînement et l’aspect concrétisé par cet enchaînement. La lecture de « temporalité », quant à elle, est en rapport avec la notion de « concordance discordante » qui caractérise, selon Aristote, la composition de l’intrigue. Ces réflexions nous permettent de dépasser l’opposition causalité/temporalité qui caractérise traditionnellement l’emploi de alors, et de montrer, d’une part, que la valeur fondamentale des emplois de alors n’est pas référentielle mais argumentative, et d’autre part, que ce mot participe activement à la détermination du sens d’un énoncéThe objective of this thesis is to study the questions of “temporality” and “causality” which are related to the use of alors in The Little Prince. After having reviewed the main analyzes given to this word, we show that the referential approach, mainly adopted by these analyzes, presents flaws in order to account for the linguistic phenomena traditionally considered “temporal” and “causal” concerning the uses of alors. As an alternative solution, we take an argumentative perspective by choosing as the theoretical framework the Semantic Blocks Theory (TBS) developed by Carel in the 90s. This theory is not interested in the question of the truth-conditions, and it proposes to describe the meaning of the utterances by an argumentative sequence (of which the two segments are connected by conjunctions such as donc, par conséquent, si, de ce fait, etc., or by conjunctions such as même si, cependant, pourtant, bien que, etc.) and by an aspect concretized by this sequence. Thus, by using the technical tools provided by the TBS, we identify four uses of alors : the “contextuel” use, the “semi-causal” use, the “détaillant” use and the “articulateur” use. In addition, we also question the origin of the “causality” and “temporality” senses which have been attached to certain uses of alors. According to us, the sense of “causality” attributed to some alors is due to the unit between the concatenation and the aspect concretized by this sequence. The sense of “temporality”, for its part, is related to the notion of “discordant concordance” which characterizes, according to Aristotle, the composition of the plot. These reflections allow us to overcome the opposition causality / temporality which traditionally characterizes the employment of alors, and to show, on the one hand, that the fundamental value of the use of the alors is not referential but argumentative, and other on the other hand, this word actively participates in the determination of the meaning of a statement
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Palmqvist, Margarita. "Le Petit Prince d'Antoine de Saint-Exupéry : - Et le message caché des étoiles -." Thesis, Växjö University, School of Humanities, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5008.
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Strömberg, Åsa. "Le Petit prince d'Antoine de Saint-Exupéry : Étude de la traduction en suédois d'un livre d'enfants." Thesis, Linnaeus University, School of Language and Literature, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-5885.
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Trevisan, Rodrigo Godinho. "Tradução comentada da obra Le Petit Prince, de Antoine de Saint-Exupéry, do francês ao nheengatu." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-07082017-124328/.
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A língua geral amazônica (LGA), língua de base tupi, chamada em meados do século XIX de nheengatu (nheenga língua + katu bom, boa), foi mais falada que o português em toda a Amazônia até o término do século XIX. Após uma série de fatores que levaram ao seu enfraquecimento, hoje se concentra na região do Alto Rio Negro, onde é língua oficial do município de São Gabriel da Cachoeira AM. Por ser uma língua historicamente veiculada pela oralidade e pela ainda tímida elaboração de materiais para seu estudo e divulgação, iniciativas relacionadas à tradução ao nheengatu mostram-se como estratégias interessantes a favor da revitalização dessa língua e da contribuição para a consolidação de um registro escrito na mesma. Insere-se nesse contexto a tradução do livro Le Petit Prince, de Antoine de Saint-Exupéry, do francês ao nheengatu. O registro escrito adotado em minha proposta de tradução foi estabelecido com base nos textos em e sobre o nheengatu produzidos entre a segunda metade do século XIX e a primeira do século XX e no confronto desse período com a língua em seu estado atual. Além de aumentar o número de materiais escritos na língua, utilizados principalmente no ambiente escolar amazônico, a tradução proposta nesta dissertação vem acompanhada de uma seção em que apresento comentários a respeito das escolhas tradutológicas adotadas por mim, que se relacionam a aspectos linguísticos e culturais envolvidos no processo tradutório. Com o propósito de contribuir não apenas para o fortalecimento do nheengatu, as discussões sobre questões teóricas e modalidades de tradução também podem se somar às contribuições no campo dos Estudos da Tradução.The Amazon general language (AGL), a language based on Tupi, known as Nheengatu in the mid XIX century (nheenga language + katu good), was more broadly used than Portuguese in the Amazon area until the end of the XIX century. After a series of factors that led to its weakening, the language now is concentrated in the Alto Rio Negro area, where it is established as the official language of the São Gabriel da Cachoeira town, in the state of Amazonas. Since it is a language that has been historically used orally and the development of materials to study and disclose it is still stagnant, measures related to the translation into Nheengatu have proved to be interesting strategies favoring the revitalization of the language and the contribution for a consolidation of a written register in it. In this context we find the translation of Antoine de Saint-Exupérys book, Le Petit Prince, from French to Nheengatu. The written register adopted in my translation proposal was established based on texts in Nheengatu, and about the language, produced between the second half of the XIX century and the first half of the XX century and the confrontation in this period with the language in its current state. Besides increasing the quantity of material written in the language, used mainly in the Amazon school environment, the translation put forth in this dissertation comes with a section in which I present comments concerning of the translation choices I adopted, which relate to linguistic and cultural aspects involved in the translation process. Aiming at contributing not only to strengthen the Nheengatu language, the discussions on theoretical matters and translation modalities may also add to the contributions to the Translation Studies field.
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Twiss, Rob. "Le Petit Prince as a Graphic Novel: Images and Dual Address in Intersemiotic Translation." Thesis, Université d'Ottawa / University of Ottawa, 2016. http://hdl.handle.net/10393/34228.
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One of the most interesting aspects of Le Petit Prince by Antoine de Saint-Exupéry (1999[1946]) is its dual address. The illustrated narrative is at once a charming story for children and an allegory inviting adults to consider philosophical questions. In the graphic-novel adaptation of the book by Joann Sfar (2008), this allegory is obscured:; the abstract, philosophical ideas recede to the background while the material details of the story become more prominent. But this recession of the allegory does not mean that the adaptation turns its back on adult readers completely. The graphic novel creates a web of intertextual references, which, among other things, amplify the suggestion in the source text that the protagonist is Antoine de Saint-Exupéry himself. It thus displaces the adult interest from allegory to autobiography and the mechanism of adult address from allegory to intertextuality, restricting its adult audience. For those adult readers who remain addressed by the graphic novel, however, the text identifies itself explicitly as a translation, which has consequences for we should think about the “voice” of the translator.
Un des aspects les plus intéressants du livre Le Petit Prince d’Antoine de Saint-Exupéry (1999 [1946]) tient au fait que le récit illustré est une histoire charmante pour les enfants en même temps qu’il invite les adultes à réfléchir à des questions philosophiques. Dans l’adaptation du récit en bande dessinée par Joann Sfar (2008), les éléments abstraits du livre s’estompent derrière les détails concrets de l’histoire. Cet effacement de l’allégorie ne signifie pourtant pas que la bande dessinée tourne le dos aux adultes : elle crée un réseau intertextuel qui renforce l’impression donnée par le texte source que le véritable protagoniste est Antoine de Saint-Exupéry. Ainsi, l’intérêt pour les questions philosophiques se reporte sur l’autobiographie et, passant de l’allégorie à l’intertextualité, la bande dessinée sollicite alors moins les adultes. Cependant, pour les adultes auquelles la bande dessinée s’addresse toujours, le texte s’identifie explicitement comme une traduction, ce qui implique une réévaluation du concept de la “voix” du traducteur.
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Plante, Anne-Charlotte. "Mémoire de licence La réception du message donné dans Le Petit Prince : Une étude sur la réception et l’interprétation du message donné dans Le Petit Prince par Antoine de Saint-Exupéry chez l’adulte et l’enfant." Thesis, Högskolan Dalarna, Franska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22535.
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Le présent travail est une étude sur Le Petit Prince, d’Antoine de Saint-Exupéry. Le but principal du mémoire est d’analyser la réception du message chez le lecteur adulte et chez le lecteur enfant. Nous avons analysé comment l’enfant et l’adulte interprètent le message donné par l’oeuvre, parsemée d’images et d’allégories, des citations qui son devenues symboliques avec le temps. Ensuite, nous avons analysé les personnages dans le but d’interpréter leur sens symbolique. Pour réaliser cette recherche, nous avons regardé plusieurs interprétations allégoriques. Les résultats de notre étude nous ont permis d’affirmer que la réception du message n’est pas la même chez le lecteur adulte et le lecteur enfant. Les résultats de cette étude montrent enfin qu’il est trop difficile pour le lecteur enfant de comprendre le sens moral d’une image allégorique, tandis que le lecteur adulte est plus apte à interpréter l’image allégorique en s’appuyant sur son expérience de la lecture et de son expérience de la vie quotidienne. L’auteur utilise l’image symbolique dans la littérature pour montrer avec plus de clarté la condition humaine. En conclusion nous apprenons que Le Petit Prince nous fait réfléchir sur la vie de la façon plus profonde et philosophique.The current work consists of a study of The Little Prince, written by Antoine de Saint-Exupéry. The purpose of this study is to analyze the reception of the message given to the adult reader and the child reader. We have analyzed how the child and the adult interpret the work containing images and allegories. Then we have analyzed the fictional characters in order to interpret their symbolic meaning. To conduct this research we have looked at various allegorical interpretations. The result of our study shows that the reception of the message varies between the adult reader and the child reader. The result of this study also shows that it is too 3 difficult for the child reader to understand the moral sense of an allegorical image, while the adult reader is able to interpret the allegorical picture more easily by relying on the reading and life experiences. The author uses the symbolic image of the literature to clarify the truth about man and human society. In conclusion we learn that the work of the Little Prince makes us reflect upon life with a deeper philosophical meaning.
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Branchu, Colette. "Archéo-analyse de l'oeuvre : Le Petit Prince : l'écriture d'un secret ou la trace secrète d'une écriture hiéroglyphique." Phd thesis, Université Paul Valéry - Montpellier III, 2011. http://tel.archives-ouvertes.fr/tel-00804970.
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Le conte Le Petit Prince, commence par " Lorsque j'avais six ans ". Ces mots sont précédés d'une image montrant l'enlacement d'un serpent boa autour d'une bête fauve. Or les premiers mots d'une oeuvre ainsi que l'illustration qui les précède en indiquent le déroulement et permet de prévoir la fin. Ces deux notations signalent que ce conte est l'histoire d'un enfant de six ans qui se pose deux questions clés: que signifient ces enlacements à la fois merveilleux et inquiétants dont il reproduit l'image et en quoi leur dynamique le concerne-t-il? Il pose ainsi la question " d'où je viens ? " suivi de son corollaire naturel " suis-je concerné par de telles pulsions ?". À travers la métaphore du Petit Prince, Saint-Exupéry prend appui sur sa propre expérience. Entre sa sixième et septième année il vécut un important traumatisme qui lui permit d'accéder seul, à la connaissance du sexuel existant entre les moutons et les fleurs, entre les hommes et les femmes, permettant à l'humanité de se perpétuer. L'universalité de la question des origines permet une traduction dans toutes les langues, sans que ce conte perde une once de sa pertinence. L'oeuvre Le Petit Prince s'inscrit dès lors et en quelque sorte comme une nouvelle écriture de la Genèse, mais d'une genèse dégagée de tout contexte religieux, en somme d'une genèse laïque donc totalement universelle. Cette Genèse " universelle " est à entendre au sens métonymique du terme. Genèse qu'Antoine de Saint-Exupéry déploie au pied de la lettre dans le Cosmos, inventant une cosmogonie pour tous les Petits Princes du Monde qui osent se demander, dans une profonde solitude, ce que ça fout ensemble ces drôles d'adultes...
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Sophie, Yvert-Hamon. "Le Petit Prince på franska : En undersökning om att läsa litteratur inom moderna språk på grundskola senare år." Thesis, Högskolan Dalarna, Pedagogiskt arbete, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5058.
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Den här studiens syfte är att undersöka om, hur och varför man kan läsa litteratur inom moderna språk, franska, på grundskola senare år. För att genomföra undersökningen har aktionsforskningsmetoden används, vilket innebär att forskaren deltog i den process som undersöktes som lärare. Studien har alltså två dimensioner: - Att planera, genomföra och utvärdera en verksamhet för en nionde klass som harmoniserar de nationella målen i moderna språk och studien av en litterär bok på franska (Le Petit Prince av Antoine de Saint-Exupéry). Att fundera på lärarens förhållningssätt. - Att undersöka elevernas lärande, uppfattning, förutsättningar, reaktioner och upplevelser genom enkäter och observationer. Studien visar att det är möjligt att harmonisera en undervisning baserad på litteratur med de nationella målen för moderna språk. En sådan undervisning kan främja kommunikation både muntligt och skriftligt. Den kan också utveckla elevernas medvetenhet om hur språkinlärningen går till, bland annat genom att ge dem insikt om de olika lässtrategierna och uppmuntra dem att lära sig anpassa lässtrategin med textens natur. Att litteratur utgör en del av kulturen bör dock förstärkas hos eleverna. Boken Le Petit Prince kännetecknas av underlättande särdragen och erbjuder samtidigt en rimlig utmaning. Bokens tema var inte lika motiverande för alla elever och några elever fick svårigheter i samband med deras språknivå. Studien visar dock att elevernas arbetsvanor spelar en avgörande roll i nyttan av undervisning baserad på litteratur både vad det gäller deras förhållningssätt och hur de upplever svårigheterna. Användning av lärobokstexter i språkundervisningen främjar bottom up-läsning och installerar vanor som kan hindra en top downläsning vid långa och autentiska texter. Att utveckla nya vanor anses alltså vara nödvändigt för att utnyttja språkundervisningen baserad på litteratur optimalt. Variation visar sig vara ett nyckelbegrepp då eleverna behöver uppmuntras och utmanas genom varierande aktiviteter och uppgifter. Detta gäller både inom språkundervisningen baserad på litteratur så som språkundervisningen i övrigt. Litteratur anses alltså vara ett bra komplement till läroböcker.
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Treija, Lauma. "Les traces de mythes dans Le Petit Prince d'Antoine Saint-Exupery : Une analyse fondée sur la théorie du Carl Gustav Jung." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-55118.
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The aim of this study is to analyse the patterns of ancient myths that can be found in the novel Le Petit Prince by Antoine Saint-Exupery. In order to understand the culture and human behavior we will draw parallels to ancient myths and through the discovered myths in the novel, we will use the help of Carl Gustav Jung’s theory about the human psyche. The main questions are the following : What are the patterns of ancient myths in the novel Le Petit Prince ? Do these myths carry any messages that we, as readers, can learn from ? In the introduction, a theorical backround is given which defines the concept of myth and explains briefly Jung’s theory. Our analysis shows that although myths differ from one another they all have the same roots. By this means, all characters in myths are archetypes that, according to Jung, are the same through history and in every culture. By studying the archetypes in this novel, like the divine child, Anima/Animus, the Sages etc., we are able to understand the plot more clearly. We are also aware of patterns that seem to repeat themselves through the generations. Our conclusion is that humans adapt easily to their surroundings and eventually lose their self-awareness. Therefore Saint-Exupery sends readers the message that we have to wake ourselves up to truly live our lives. Also we discovered that numerous archetypes that are present in all of myths, give us clues to self-realization, thus myths are necessary for people of all ages.
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Bougro, Anne Isabelle. ""De l'autre côté du miroir" : essai d'interprétation de la Reine des neiges d'Andersen, des Aventures de Pinocchio de Collodi et du Petit Prince de Saint-Exupéry." Angers, 1990. http://www.theses.fr/1990ANGE0013.
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Quittant le domaine de conte folklorique, cette etude se risque dans la decouverte d'une structure matricielle commune (et signifiante|) aux trois oeuvres faisant partie de trois zones linguistiques differentes : la reine des neiges (andersen - 1844), les aventures de pinocchio (collodi - 1883) et le petit prince (saint-exupery - 1943). Derriere la structure, les figures attachantes des heros, l'ecriture des textes et la lecture imagiere offerte par les illustrations de certains oeuvres, se profilent vite le recit mythique et son ineluctable aspiration a la grandeur. La grandeur qui refuse la misere existentielle. . . : la quete de l'identite|Leaving aside the folk tales field, this study attempts the discovery of a "womb" structure common to the three works (and meaningful|) which belong to three different language areas : la reine des neiges (andersen - 1844), les aventures de pinocchio (collodi - 1883) and le petit prince (saint-exupery -1943). Beyond the structure, the attractive figures of the heroes the writing of the text and the reading through the pictures that illustrate some of these works, a mythical narration appears with its unavoidable longing for greatness. A greatness wich refuses man's wretchedness : an identity quest|
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Bégué, Anne-Lise. "Géographie de l'enfance dans Alice's Adventures in Wonderland (1865) de Lewis Carroll, Le Avventure di Pinocchio (1883) de Carlo Collodi, Peter Pan (1911) de James Matthew Barrie, et Le Petit Prince (1943) d'Antoine de Saint-Exupéry." Thesis, Le Mans, 2017. http://www.theses.fr/2017LEMA3007.
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Cette thèse intitulée « Géographies de l’'enfance dans Alice's Adventures in Wonderland [1865] de Lewis Carroll, Le Avventure di Pinocchio [1883] de Carlo Collodi, Peter Pan [1911] de James Matthew Barrie et Le Petit Prince [1943] d'Antoine de Saint-Exupéry » s'intéresse, à partir d'une étude sur le traitement spatial, aux notions d'espace, de lieu et de monde de l’'enfance. Il s’'agit en effet d'aborder ces quatre ouvrages de littérature enfantine, non pas sous l'angle du personnage, mais sur la relation entre la géographie mise en place dans la narration et leur succès visible encore aujourd’hui. Si la rêverie de l’'enfance semble être au centre de la formation de mondes, c’'est sa matérialisation spatiale impromptue et éphémère qu'il faut retenir comme créatrice de lieux mythiques. En confrontant l'illusion enfantine, la relation entre espaces fantastique et espace merveilleux, la spatialisation des désirs enfantins et la dématérialisation de territoires par le souvenir et le conte, les hypothèses formulées dans cette thèse s’inscrivent dans les études sur les littératures de l'imaginaire et placent la spatialisation d’'une rêverie vers l'enfance au centre du proposEntitled « Childhood's Geographies in Alice'sAdventures in Wonderland [1865] by Lewis Carroll, Le Avventure di Pinocchio [1883] by Carlo Collodi, Peter Pan [1911] by James Matthew Barrie and Le Petit Prince [1943] by Antoine de Saint-Exupéry », this thesis investigates the concepts of space, place, and the world of childhood, by focusing on the treatment of space. We approach these four works in children's literature, not from the perspective of the character, but rather from that of the relationship between the geography developed through the narration, and the enduring popularity of the works. Although childhood fancy seems to be at the principle of the creation of worlds, the ephemeral materialization in space can be named the force behind the elaboration of mythical places. By putting in relation such notions as the children's illusion, the space of the fantastic, the space of the marvelous, the spatialization of children's desire and the de-materialization of territory by memory and tale, the hypotheses formulated in this thesis find their place among the studies on fantasy literature, and put the spatialization of fancy at the core of the discussion
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Ji, Chang-rim. "L'enveloppe : une poétique de la beauté voilée." Rennes 2, 2006. http://www.theses.fr/2006REN20021.
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Le concept d'enveloppe est présent dans l'art occidental comme dans les cultures d'Extrême-Orient. Il organise mon projet artistique dans le passage entre les deux cultures, occidentale et coréenne : enveloppe, corps-paysage, palimpseste, beauté voilée/dévoilée – ici ; kisaeng et shijo [courtisane et poétesse coréenne], bojagi [tissu d'emballage], min hwa [peinture populaire] - là-bas ; grattage, recouvrement, lacération, corps multiples - dans mon travail pictural. A partir d'une œuvre – Le Petit Prince de Saint-Exupéry - j'interroge l'enveloppe dans une triple rencontre, où mon travail prend dans des formes culturelles autrefois éloignées et maintenant en prise les unes avec les autres, et s'y déploie en tant qu'œuvre accessible dans les deux cultures. Cette recherche se développe dans une dynamique de la beauté voilée, qui n'est ni d'ici, ni d'ailleurs, mais relève du rapport de l'humain aux émotions qui le fondent. La question du beau, de l'apparence, du visible, est ainsi poséeThe concept of envelope is at work in Western art as in the cultures of the Far East. It organizes my artistic project in a crossover between those two cultures, the western one and the Korean one : envelope, body-landscape, palimpsest, veiling/unveiling beauty - on this side ; kaesang and shijo (Korean courtesan and poetress), bogagi ( pack-cloth), minhwa(popular painting) - over there ; scraping, covering, defacing, multiple body - in my pictorial work. Proceeding from a work, Le Petit Prince by Saint-Exupéry, I therefore question the envelope in a threefold meeting, where my work roots in cultural forms formerly far from each other and now engaged in each other and simultaneously unfold there as a work approachable in both cultures. This quest grows up as a dynamics of veiled beauty, which is neither from here nor from elsewhere but regards the relation between the man and the emotions founding him. In such a way is raised the question of beauty, appearence, invisibility
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Majidi, Zahra. "Evolution de la traduction des œuvres romanesques du français en persan au XXème siècle, étude d’un cas : les traductions de Mohammad Ghâzi." Thesis, Paris, INALCO, 2014. http://www.theses.fr/2014INAL0007.
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L’objectif principal de notre travail de recherche est l’étude de l’évolution de la traduction des œuvres romanesques (de français en persan) au 20ème siècle à travers l’analyse des traductions de Mohammad Ghâzi (1913-1997), célèbre traducteur iranien. Dans le cadre conceptuel de notre thèse, nous avons mis l’accent sur trois types de théories contemporaines à savoir : linguistique, philosophique et traductologique. Dans le polysystème de la littérature persane entre les années 1940 et 2000, nous avons contextualisé l’activité de la traduction en général et celle de la littérature française en particulier. Nous avons essayé de définir la place de la traduction de la littérature française dans le polysystème iranien au cours de la période envisagée. Nous avons consacré la dernière partie de notre thèse à l’étude des traductions de Mohammad Ghâzi. Pour déterminer les procédés de traduction utilisés par Ghâzi, nous avons fait une analyse comparée de la traduction persane du Petit Prince d’Antoine de Saint-Exupéry par Ghâzi, Shâmlou et Najafi. Cette analyse vise à aborder comment se traduisent divers effets littéraires d’une langue à l’autre et à expliquer l’impact de la langue ou du discours ainsi que la part de la subjectivité du traducteur sur la méthodologie appliquée par Ghâzi dans le domaine de la traductionThe principal objective of our research work is the study of the evolution of the translation of novels (from French into Persian) in the 20th century through the analysis of the translations of Mohammad Ghâzi (1913-1997), one of the famous Iranian translators. In the conceptual framework of our thesis we have focused on three types of contemporary theories, namely: linguistic, philosophical and traductological. In the Iranian polysystem between the years 1940-2000, we have contextualized the activity of translation in general and that of French literature in particular. We have attempted to define the role of the translation of French literature in the Iranien polysystem during the period under consideration. We have dedicated the last part of our thesis to the study of the translations of Mohammad Ghâzi. To clarify the translation process used by Ghâzi, we have performed a comparative analysis of the Persian translation of Antoine de saint-Exupery’s The Little Prince by Ghâzi, Shâmlou and Najafi. This analysis aims to address how to translate various literary effects from one language to another and to explain the impact of the language or discourse as well as the role of the translator’s subjectivity on the methodology applied by Ghâzi in the field of translation
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Ribeiro, Sofia. "Le nouveau petit prince: um principezinho contemporâneo." Master's thesis, 2015. http://hdl.handle.net/10400.26/11184.
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O presente projeto teve por objetivo a criação de uma nova imagem do livro de Antoine de Saint-Exupéry, ilustrado apenas com imagens, com recurso à manipulação digital entre grandes obras de arte e ilustrações por mim criadas. A conceção do projeto gráfico centrou-se numa vertente mais contemporânea, face às ilustrações originais. Os desenhos ilustrados são um reflexo das palavras, da história escrita. Desta forma, pretendeu-se representar apenas por imagens o texto narrando, pictoricamente, o conto de Saint-Exupéry. Desde cedo, o Homem empregou a ilustração como meio de expressão gráfica, de modo a facilitar a comunicação de uma mensagem. Mais do que decorar, a ilustração ensina, civiliza e faz entender, definindo-a como atividade que vincula a expressão plástica do desenho ao texto escrito. Os desenhos convertem-se em informação não redigida, onde a arte é aplicada a uma função concreta: um meio de expressão que ultrapassa dificuldades linguísticas.
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Yen-chung, WU, and 吳晏仲. "Lecture Symbolique du Petit Prince de Saint-Exupery." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/82494286153066299072.
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YA-JU, TSAI, and 蔡雅如. "The Translation’s Language Style Study of Le Petit Prince." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/61535552869963437666.
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碩士臺北市立教育大學
中國語文學系
99
Based on the comparative literature, this paper studies the translating and transmission situation of French classic, Le Petit Prince, in Taiwan. This paper includes the research methods of different translating discussions and language styles.Additionally, it provides comparison on different Chinese translation versions. This paper focuses primarily on the first Chinese version of Le Petit Prince- Tsing-Fang Chen, where it conducts an interview with the translator in order to provide an insight to the translation work. In conclusion, this paper provides an overview of Le Petit Prince which can be a useful reference for future study and in choosing the Chinese version of Le Petit Prince. There are five chapters in this paper. Contents are as follows. Chapter 1 (Introduction): This chapter introduces research motivation and objective, discusses the literatures, the subjects, and main points of the paper and collects related theories and makes a research direction. Chapter 2 (Original and translation of Le Petit Prince): This Chapter introduces the author and original of Le Petit Prince, current situations of Le Petit Prince translation in Taiwan including Antoine de Saint and his literature characteristics, bibliographic records of Taiwanese publishes and changes of translation version. Chapter 3 (Comparisons of Le Petit Prince different translation version): By comparison of the words and styles, this Chapter analyzes the differences and similarities of two full translation versions and five changed translation versions. Also, it discusses the representations of different Chinese translation versions. Chapter 4 (The translation language style of Tsing-Fang Chen’s version): This chapter provides in depth studies of Tsing-Fang Chen’s translation version and analyzes the characteristics of its language style. Chapter 5 (Conclusion): This chapter presents the results of the research, which describes the meaning and value of literature and presents the prospects and outlooks of the further study of Le Petit Prince.
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CHANG, SHEN-RU, and 張慎如. "Analyzing to the Interpretation of Generations for Le Petit Prince." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/z67sg9.
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碩士世新大學
傳播管理學研究所(含碩專班)
107
Since the first release of the classic fairy tale of " A Little Prince" in 1943, it has not only set off a popular trend in the field of children's literature, but it is also a very popular book in the translation of the book. " A Little Prince" touched children and adults around the world. Although the words and phrases of fairy tales are simple and simple, there are philosophies in life. “A Little Prince" This is the baby boom after the war, X generation and Y generation to the present, through the quenching chain of the times, across the children's books of different generations of the old and the young. Although there are many translations of “A Little Prince”, and there are many explanations and even research papers translated in different languages (Su Ailin, 1999), this study is to explore “ A Little Prince” in different interviews with different generations. We divided the interviewees into: baby boomers, X generations, and Y generation, and analyzed the values of different generations from several aspects such as love, friendship, social phenomena, and so on. From the interviews, I found an interesting conclusion. The older the person, the more obsessed with the feelings. On the contrary, the younger the age, the more the emotional attitude is to enjoy but not willing to take too much responsibility.
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Li, Shih-Han, and 李詩涵. "《Le Petit Prince》A comparative study of French,Japanese,Chinese－Based of The first personal pronoun－." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/u95kqe.
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碩士淡江大學
日本語文學系碩士班
104
This thesis is focusing on the masterpiece of world literature" Little Prince ", and attempt to analyses first person pronouns of this book by the versions in three languages French, Japanese and Chinese. In order to make sure the studying result can be accurate and precise. We only use the Japanese and Chinese edition translated directly from French. This study is composed of five chapters. First it indicates motivation and purpose. And the beginning of the chapter one, we list relevant research studies and the definition of first person pronouns of French, Japanese and Chinese systematically. The second chapter explores construction of the textbooks. In chapter three and four we provide clear rules and analyses the sentences in the textbooks by case. The next chapter we dissect the result of the comparison of each textbooks. And finally summarize the research. According to our research, the use of singular first person pronouns in the Japanese edition is reduced to about half its original volume in French edition. On the other hand, the volume of singular first person pronouns which used in the Chinese edition is between Japanese and French edition. In addition to, we could research that in some parts of whole story, not only the Chinese edition but also Japanese edition use more first person pronouns than French edition. And especially in the Chinese edition, we could discover that it use more plural first person pronouns than Japanese and French edition. When " Little Prince " was translated by Chinese translator ,in order to draw a sympathetic response from the reader, the translator prefers to use plural first person pronouns" we " to instead of singular first person pronouns.
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Lee, Yueh-Ting, and 李玥婷. "Etude sur les éléments ludiques autour du Petit Prince d''Antoine de Satin-ExupéryStudy about play-element around The Little Prince of Antoine de Saint-Exupéry." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/57861271453959223783.
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碩士國立中央大學
法國語文學系
95
In 1943, the English version of The Little Prince – originally written in French by Saint-Exupéry, a French pilot-writer, during World War II – was published in New York in the United States. About one month later, the French version was subsequently published at the same place. The publication of this bestseller for Saint, even for French literature, was closely related to the atmosphere and circumstances of war at that time. In nowadays, the flames of War have been eliminated, but the appeal of The Little Prince has still existed. The ways of reading is changing constantly in the forms of musical plays, DVD, merchandise as well as websites. Most people regard this book as an adult fairy tale that reflects interior innocence in them; however, such “reflection” seems to become the only interpretation of this literature. His context of the War is disregarded and simplified by readers. Such cliché like interpretation of The Little Prince seems to makes it embarrassed in the advanced research of literature. Nevertheless, how does a “simple” fairy tale with a hackneyed interpretation can become popular and well-known for more than half century? Our motivation and purpose in this research are finding another way to reread The Little Prince and interpret his merchandising phenomenal. That is a sort of reading pleasure, in addition to the pleasure from diverse modes of the literature. Based on analyses of the phenomenal in the society at the time of War through the perspective of play-element by Johan Huizinga (1872-1945), a historian as well as a philosopher, we discovered not only a new direction to read the literature and his merchandising phenomenal, but also a perspective that is closely relative to the War. In the first chapter of this study, we explained the characteristics of the “play”. In addition, we also treated some critics of Huizinga about the society in the World War II and the customs in the traditional age. The characteristics of the “play”, which is a key to access to the world of The Little Prince, are mainly deduced from Homo Ludens (1938) written by Huizinga and Les jeux et les hommes (1958) written by his successor, Roger Caillois (1913-1978). In the second chapter, we explored different relations and types of the play – play without ambiance, stiff play, and harmonious play in the literature. In the third chapter, because of the ambiguous limit among the author, the characters and the readers, our study field about the play-element was extended from the text to the reception of readers. This section includes the rules of play and the dedication, the life of the author, the impacts of the truth of Saint’s death and the diversity of merchandise. We collected in France resources regarding the life of Saint-Exupéry during the Second World War because of their shortage in Taiwan. And the research about the merchandise covers the merchandise and the reports on Internet. The rich play-element that discussed in this thesis exists in the society today too. However, for The Little Prince and its author, we understood a sense close to that time —we have concluded in the thesis — what we realized is maybe the sight for the disappearance of some harmonious relations of civilization in Saint-Exupéry’s era.
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Josephy, Rebecca. "Pour une lecture de "l'enfantin" chez Cocteau, Fitzgerald, Kafka, Saint-Exupéry et Vian." Thesis, 2008. http://hdl.handle.net/1974/1044.
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In this thesis I propose a new approach to the study of the “childlike” in five works from the first half of the 20th century: Les Enfants terribles (1929) by Jean Cocteau, “Un diamant gros comme le Ritz” (1922) by F. Scott Fitzgerald, La Métamorphose (1915) by Franz Kafka, Le Petit Prince (1943) by Antoine de Saint-Exupéry and L’Arrache-coeur (1953) by Boris Vian. Distinct from both childhood narratives and narratives for children, these texts nevertheless exhibit a childlike quality that can best be described as an in-between state of ambiguity.
In the first section of the thesis, I look at the “between” identity of the children. There are children who fly and who are extraterrestrials. There are others who have adult jobs and who even marry. In fact, I call these ambiguous characters, “les enfantins”. In the second section of the thesis, I show that the language is “between”. In 1951, child psychologist Jean Piaget published “La Formation du symbole chez l’enfant”, a work in which he studies the tendency of young children to take one object for another. I show how this type of almost magical thinking that Piaget calls “symbolic thought” appears in the “récit”. In the final section of my thesis, I study areas in the story where the reader finds himself in a “between” position, unable to establish whether what he is reading is occurring or whether it belongs to the imaginary symbolic thought of the child. Here I focus on the readers’ hesitation, contrasting it with the hesitation that Tzvetan Todorov explores in the genre of the fantastic.
While this thesis is a close reading of five specific works, it incites several theoretical questions that can be applied more widely to studies concerning the “literary child”: what constitutes a child character in a work, what effect does a child character have on the language of the text, and how does a child character affect the way a text is read?Thesis (Master, French) -- Queen's University, 2008-02-14 12:16:39.799