Dissertations / Theses on the topic 'Littérature française – Influence chinoise'
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Wang, Xiaoxia. "L' écriture du nouveau roman, entre l'objectivité et la subjectivité : suivie d'une étude de réception et d'influence en Chine." Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10135.
Full textChe, Lin. "La rhétorique de la poésie symboliste française et ses rencontres avec la poésie chinoise." Paris 3, 2006. http://www.theses.fr/2006PA030042.
Full textThis dissertation offers a comparative study about the poetics of the French Symbolism and the Chinese poetry. The audacity and rebelliousness of a group of French poets in the second half of the 19th century revolutionized the poetic world with the creation of a new poetic language. This new poetic language was characterized by the symbolic suggestion and evocation, by a closer communication between the material and the spiritual, between the visible and the invisible. The French Symbolism started influencing China from 1915 and contributed to the development of modern Chinese poetry. In the meantime, it is interesting to discover some analogies between the Chinese poetical tradition and the French symbolist rhetoric, between the traditional form of symbolism and the modern form of symbolism. This comparative study focuses upon the encounter of French symbolist poetry and Chinese poetry, which developed independently until the early 20th century
Liao, Jun-Pei. "L' univers chinois dans la littérature française de 1895 à 1995." Paris 12, 2002. http://www.theses.fr/2002PA120018.
Full textHe, Hongmei. "La réception de Marcel Proust en Chine : de la lecture critique à la lecture créatrice." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10004.
Full textBalliot, Frédérique. ""Chinoiseries" littéraires. La Chine et la littérature d'imagination en France de 1704 à 1789." Lyon 2, 1997. http://www.theses.fr/1997LYO20015.
Full textIn this study, we would like to catch, thanks to the exemple of china, the connection between erudition and imagination en eighteenth century french literature. In the seventeenth and eighteenth centuries, the jesuits played a very important role in spread of learned treatises upon china. This country was perceived as a learning-bounded country. Our purpose is to see how this conception of china took place in imaginative literature
Tao, Hanwei. "Symbolisme et surréalisme français comme défi aux lettres chinoises : le cas de Shanghai et de Taïwan." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030016/document.
Full textSituated in the context of the Franco-Chinese cultural intercourse which happens in the Shanghai of the 20s and the 30s and in the Taiwan of the 50s and the 60s, this study aims to discuss the poetic quest — the quest of metamorphosis — to which some Chinese poets devote themselves by referring to symbolism or surrealism, a quest which takes place against a background of intellectual, ideological, and military conflits. These French literary schools are intimately linked with the fate of these poets at the mercy of the fate of their country. No matter how well they are equipped with symbolist or surrealist wings, they cannot escape from the reality of an age penetrated by politics. The historical and cultural background in question has to do with the frame of reference constituted by the six principal groups of writers reputed for their contributions to Franco-Chinese poetic intercourse : “Society of literary studies”, “Creation”, the school “New Moon”, and the school “Modern” in Shanghai during the 20s and the 30s; “Modern School” and “Genesis” in Taiwan during the 50s and the 60s. They are all involved in politics. It is within this frame of reference that we approach the subject of the reception of symbolism in Shanghai and that of the reception of surrealism in Taiwan on the basis of a textual analysis
Xiang, Zheng. "La poésie française moderne (Baudelaire, Rimbaud, Lautréamont) et son influence sur la nouvelle poésie chinoise dans les années 1920-1930." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2012. http://tel.archives-ouvertes.fr/tel-00713100.
Full textJi, Jing. "Raymond Queneau ou la quête de bonheur - À la lumière de la sagesse chinoise." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030084/document.
Full textRaymond Queneau hides his anxious and pessimistic soul under his humorous appearance. To get rid of the anxiety of human being and acquire peaceful mind - true essence of happiness in his viewpoint, he keeps keen interest to orient cultures. Through wide readings, such as the literature of Rene Guénon, many sinologists and the translations of the Taoist classics, Queneau mentions frankly in his diary that he has deeply resonance with ancient China sages.Queneau’s devotion to the orient religion and culture comes from his reflection to Western modern civilization and value. Queneau expresses his confusion of “life is but a dream” with doubts about Logos. Although his productions are filled with “binary pattern”, he emphasizes the interpenetration of opposite sides, which is exactly the same with Chinese Yin-Yang ideology. He deliberately obscures the boundary of opposite sides to combine the seeming inconsistent characteristics into the one unit, which can be regarded as his attempt to reconcile contradiction and shows the bud of relativism. From three aspects of cognition, that is, capacity limitations of cognitive subject, instability of cognitive object and fraudulence of humain language, his novels have lots of similarities with Zhuang-zi’s skepticism. Queneau regards human greed as the source of evil, and proposes the recipe of keeping simple and humble. To break the shackles of time and history, and realize true quiet and spiritual freedom, we need to overcome egoism. Queneau’s characters, like Taoist Sages, are natural and indifferent to the exterior world. They master the way of not-doing, take what comes and be contented. Going back to the original state of infant, they can reach the real inner happiness
Zhou, Hao. "De la Marche à la Fuite - lire Claudel en partant de l'Orient." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040097.
Full textThis thesis studies Art poétique of Paul Claudel and his influence in his creation with a Chinese critical perspective. To avoid excessive interpretation, I develop an intercultural approach. In the actual process of reading, I use the classical Chinese aesthetic and literary theories to summarize synthetically the aesthetic effect of the works as a whole, and proposes the two kinds of effects as “walk” and “escape”. Then I use the traditional western method of textual analysis and the method of documentary research, to link effects to text. The observation of the development and transformation of these two forces can cross the apparent complexity of the poet’s work, and reveal the direct influence and possible convergences between his thought and Eastern thought
Hu, Xun. "L’œuvre de Duras en Chine : traduction et influence sur les écritures contemporaines." Thesis, Clermont-Ferrand 2, 2014. http://www.theses.fr/2014CLF20010.
Full textYuan, Yuan. "Réception et création : les littératures féminines française et chinoise au XXe siècle." Besançon, 2010. http://www.theses.fr/2010BESA1015.
Full textThis study aims at probing, measuring and describing the relationship between the Chinese and French female literature of the twentieth century. It concentrates particularly on the most representative female writers from both countries and their works that reflect female consciousness. The Chinese female writing in the 1920s-1940s shows strong feminist thought, similar to French female writing of the period. However, there was no direct communication between these two female literatures and the influence of French literature on the first generation of contemporary Chinese female writers came from males writers. The French feminist literary theory formed during the 1970s has become the theoretical pivot and practical model for the Chinese female writing in the 1990s, yet continually influenced by Chinese female writing in the 1920s-1940s. The use of the comparative method helps to show that Chinese contemporary female literature is “the fruit” of the combination of the development of Chinese female literature herself, the influences of western feminist theories and western literature, especially French literature
Aubert-Nguyen, Hoai Huong. "Occident, Extrême-Orient : l'eau dans la poésie de Paul Claudel et celles de Li Po, Tu Fu, Wang Wei, Saigyô, Bashô et Buson." Paris 10, 2006. http://www.theses.fr/2006PA100033.
Full textBetween the West and the Far-East, water is an essential element of the poetry of Paul Claudel and of the poetry of Li Po, Tu Fu, Wang Wei, Saigyô, Bashô et Buson. It seems to be linked to the idea of desire in their work. Through the landscapes where they depict the images of springs, of rivers, of clouds or of the sea, it seems that those poets say a desire to embrace the world. Moreover, as the material dimension of the landscape is for them connected to its spiritual dimension, it seems that they express a desire of “spirit” through their thirst for a nutritive, purifying and exalting “water”, according to the words of Claudel. Water is finally associated to the poetic word by those poets, who seem to say a desire of poetry through the desire of water – the desire of a word which can be flowing, aerial and crystallized as water – a word deeply linked to the nature and to a mystery which is for them related to life
Jung, Shu-june Cléo. "Contribution à l'étude comparée des systèmes poétiques chinois et français depuis l'époque Zhou jusqu'à l'aube du XXe siècle." Metz, 1993. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1993/Shu_June_1.LMZ934.pdf.
Full textIt concernes about a poetic study, included in the humain science limite of general and comparative study, with the first ambition to outline the most importants poetic systems of the world, in order to a synthetic comprehension. This study holds essentially the difference and the deviation between chinese and french poetique systems, but it won't renounce their likeness, and try to realize the raison of their difference
Chen, Feng Fang. "Poétique du surnaturel : études comparées de la nouvelle fantastique "classique" en Chine et en France." Poitiers, 1999. http://www.theses.fr/1999POIT5013.
Full textWang, Jing. "Le théâtre français en Chine contemporaine (1978-2014)." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA125.
Full textContemporary Chinese theater has a close connection with Western theater. For one century, Chinese theater, and especially spoken theater, has analyzed and appropriated Western cultures by filtering and summing up characteristics according to its own interests and presuppositions.This appropriation is accompanied by a series of theatrical operations.In this perspective, we have presented in detail, analyzing specific and varied cases, the reception of French theater in China of the last forty years in two stages: from 1978 to 1992 and from 1993 to 2014. We have emphasized the historical characteristics of each period, which clearly influence the general environment of Chinese theater and its relation to Western theater, by highlighting the influence and the major role played by French theater in the landscape of modern Chinese culture and especially his theatrical creations. The rich exchanges with Frenchtheater allow the Chinese theater to dialogue, to question, to evolve and to rebuild its ownidentity
Hu-Sterk, Florence. "Le miroir dans la poésie française de 1540 à 1715 et dans la poésie chinoise des Tang." Paris 10, 1986. http://www.theses.fr/1986PA100086.
Full textThe symbolic richness of the image of the mirror in French poetry from fifteen hundred forty to seventeen hundred fifteen and in Chinese poetry of the tang dynasty is underlined through three aspects: the knowledge of oneself (around the narcissus theme), the knowledge of the other (around the theme of the woman and the mirror), and the spiritual knowledge. Before dealing with these aspects, the mirror is analyzed as a material object and in its historical development. The major traditional connotations of the image of the mirror are analyzed in both cultures. The variations of this image reveals not only the poetical view but also the technical, artistic, philosophical and religious quest of both cultures
Jin, Siyan. "La métamorphose des images poétiques : des symbolistes français aux symbolistes chinois." Paris 4, 1992. http://www.theses.fr/1992PA040120.
Full textThe present is a study of the literary reception of French symbolism in china. We have first treated the translation of foreign genres, works and writers into Chinese. We have then convered the interpretation of foreign literatures and the Chinese literary criticism there of finally, we have investigated the poetic adventure of Li Jinfa and the revolution in poetic musicality engendered by Chinese symbolists
Zhang, Xielin. "Réception de L’Amant et naissance de l'autofiction chinoise : un phénomène littéraire inédit." Thesis, Lyon, 2020. http://www.theses.fr/2020LYSE3003.
Full textThis thesis is dedicated to the Chinese reception of Marguerite Duras’publications, and more specifically to the following never before seen literary phenomenon : the bond between the reception of The Lover and the birth of the Chinese autofiction. Based on this phenomenon, we’ve put forward the hypothesis that The Lover has played a fundamental role in the emergence of the Chinese autofiction. Our process relies on the general reception of The Lover in China, therefore, after putting into focus the bond between the latter book and the hypothetical Chinese autofiction itself, we continue with the production of a thorough and concrete analysis on two Chinese autofictions, before proceeding to the generic establishment of the Chinese autofiction as a literary genre by basing ourselves on the criteria determining its French counterpart. At the end of our study, we address a literary fact existing both in China and in France : it is women writers who devote themselves in greater numbers to the practice of autofiction. We seek to determine the reason for this fact
Shamsi, Bidrouni Tahereh. "L'évolution de la littérature socio-politique de l'Iran sous l'influence de la langue et de la littérature françaises (1900-1935)." Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0376/document.
Full textThe topic of my dissertation talks about the literal relations between France and Persia during the era of Qâjâr kingdom. This dissertation comprises three parts. The first part studies the political relations and their historical evaluation, particularly a the time of these political relations resuming at the time of Fath Ali Châh Qâjâr and the Napoléon Bonaparte. Later on, they developed under the influence of missionary schools, sending many students to France and the establishing of schools like Dar-l Fonun (Polytechnic) and Dar-ot Tardjomeh (school of translation) by the Iranians. The second part considers the general development of Persian literature under the influence of the European book's translation into Farsi. Tending towards greater simplicity of the prose literature, sociopolitical Persian literature was born around the second half of the nineteenth century by some writers under the names of : Maragheï, Abdorrahim Najjar Tabrizi, Ali Akbar Dehkhoda, Akhond Zadeh, Seyyed Achrafaddin Qazvini (Guilani), etc. The third part is devoted to Buddhist compilation Yeki o Yeki naboud (Once upon a time), written by Djamalzadeh who, influenced by both Persian classical literature as well as two European writers (Gobineau and Morier), opened a new chapter to the Al qésséh Persian millennium. This issue gave him further room to scrutinize socio-political themes and to cover questions being asked about the society. The dissertation is a contribution to the history of Iran, the history of literal relations with that of France, as well as the creative thoughts in terms of the reception of the foreign influence on the national literature in modern times
Beji, Linda. "L'orientalisme français et la littérature tunisienne francophone : relations et influences." Paris 4, 2009. http://www.theses.fr/2009PA040100.
Full textFrench orientalism and French-speaking Tunisian literature are the expression of socio-cultural and politico-economic relations between France and Tunisia. During the XIXth century and at the beginning of XXth century, a mutual attraction links these two countries: France likes the exoticism of Tunisia and this one likes the modernity of French people. Literary and pictorial works are the evidence of this reciprocal interest. But imperialism changes this relation: the image of the other changes and the other becomes the enemy. Then we witness a proliferation of stereotypes for French people and a self-defining fall for Tunisians. After Independence, in France, the French exiles and the Tunisian immigrants know the same uneasiness : rejection because of difference. A complete integration and/or a communautarism are then consequences of this racism. In Tunisia, the westernized government disappoints the people: Tunisians are pulled between tradition and modernity, dream and reality. Literature is the oriental way to express disillusion, critics, identity. Franco-Tunisian relations are subjected to the hazards of History and Mankind; nevertheless, today, they remain friendly
Maconi, Lara. ""Je est un autre": la littérature tibétaine d'expression chinoise : entre questions identitaires, débats linguistiques et négociations culturelles." Paris, INALCO, 2008. http://www.theses.fr/2008INAL0001.
Full textThe Chinese occupation of Tibet in 1951 affected the traditional social context in a way that the Land of Snow had never experienced before. The implementation of Maoist organizational structures in Tibet had a deep influence on literary production in both form and content. These brought about a profound transformation of traditional views on literature itself. Literature left the monasteries and was henceforth dedicated to the celebration of Maoist triumphs following the principles of socialist realism and revolutionary romanticism. From a linguistic viewpoint, writing in Tibetan was not abandoned, and yet a new generation of sino-educated Tibetans began to write in Chinese. From the 1950s onwards, tibetophone literature and sinophone literature - written by Tibetans - have developed in parallel, within the same social context, thus representing continuity within tradition yet expressing, at the same time, a major cultural disjunction. How were sinophone (post-)Maoist literary structures implemented in Tibet? What exactly are these structures? Who are those sinophone Tibetan literary agents? What is their agency and their agenda? To what extent are they active - not only reactive - within the Chinese cultural establishment? What is the subject of discussion in the main debates concerning Chinese-written Tibetan literature? What new literary perspectives are emerging from the Net? This thesis questions the specificities of Sino-Tibetan literature and its transcultural dynamics in order to assess the complex and cross-border nature of such writing in the context of the PRC today
Gao, Bin. "L'oralité dans les contes populaires français et chinois : fonctions communicationnelles et représentation des fonctions alimentaires." Paris 3, 1995. http://www.theses.fr/1995PA030138.
Full textTo study folktales today is a vast and complex task, as much research has already been done in this field. Yet the subject is so rich that il will niver be exhausted, since many questions which remain unanswered. We have tried to focus on the oral aspect of the folktales, which is regarded as being a fundamental aspect in this field. The concept of the "orality" is also manifold and ambivalent. It can be looked at within the frame-work of literature (oral literature written literature), of linguistics (speechlanguage word-writing), of semantics (signifiant signifie) or of psychoanalysis (oral phase). However, all these oral dimensions stem from a common origin which is the "mouth", performing two major functions ; that of speaking and eating. Thus, we have dealt in our research with the communication functions and the representation of alimentary functions of orality together, in the french and chinese folktales collections
Na, Mingu. "Stylistique chinoise traditionnelle et emprunts étrangers : leur influence respective dans les oeuvres littéraires chinoises des années 1980." Paris, EHESS, 1996. http://www.theses.fr/1996EHES0318.
Full textThis work is a 337 page dissertation comprising four main parts (pp. 11 - 306), a general introduction (pp. 3 - 10), a conclusion (pp. 304 - 313), an index of chinese words and a fifteen-page bibliography (pp. 319 - 332). Part 1 deals with traditional chinese stylistic (tcs). It contains four chapters devoted respectively to the different chinese ways of looking at the word << stylistic >>, to the history of tcs, the means of expression used in the tcs, and to the definitions of the chinese words : xiuxi, yuti, and fengge. In part 2 (pp. 71 169) one analyses the typical means of expression in the tcs present in the novels of lu wenfu and a cheng. Part 3 (pp. 170 - 207) observes the westernisation of the grammar of modern chinese since may 4, 1919 and considers the influence of western history trends. Part 4 (pp. 208 - 306) is devoted to the writers whose style is influenced by foreign languages, especially english and french : four poets of the trend of << obscure poetry>> (bei dao, gu cheng, jiang he) in the first chapter and to wang meng, a novelist of the << trend of the consciousness >> in the second one. Analysing from a linguistic point of view the style of several well-known contemporary chinese writers, one can ubdoubtedly observe the two following contrary trends in the literature of the 1980s : the use of tcs and the use of foreign constructions in the chinese grammar
Freire-Nunes, Irène. "Le Graal ibérique et ses rapports avec la littérature française." Paris 4, 1992. http://www.theses.fr/1992PA040074.
Full textThe Demanda do santo Graal is a Portuguese translation of the postvulgate Queste del saint Graal, inscribed in the vast mobility of the translatio and re-writing that characterizes the literary activity in the 13th century. The analysis concerning the evolution of marvelous objects and characters reveals, besides the superposition of concepts they condense and the displacements they undergo, the welding of several textual elements that, here and there, let faults come into sight. A sort of duality sets itself up and is articulated through a double discourse that sends back to a duality of sources. The study of time and space of the Demanda leads to the encounter of mythic and textual substrata that it implies, and brings back to the primordial times of the revealed word, of the prophecy and of the book. Through the great spiritual quest of knowledge, the analysis of the adventures leads to the quest of itself, of the origin, of the father. Pride, luxury and incest are the hybris which will release the mechanism, and tragedy will have the last word - under the mask, the inexorable face of Oedipus
Ulağli, Serhat. "L'image de l'Orient turc dans la littérature française (de Chateaubriand à Gide)." Toulouse 2, 1998. http://www.theses.fr/1998TOU20076.
Full textIn order to better understand how the image of Turkey has been constructed in the minds of westerners, we have analyzed French literary production in the nineteenth and twentieth centuries, as it reflects in inheritance of prejudices deeply anchored in the French culture. To begin, we have chosen to define the notion of exoticism. This first approach has allowed us to note that Turkey, in the eyes of French writers, possesses a certain number of attributes as well as repulsions, which has led them to take a positive or negative stance vis-a-vis Turkish exoticism. Secondly, we have attempted to define the esthetic orientations of the writers in question, noting a use of relatively fixed writing techniques, where a witnesses event mixes with fiction, where the objectivity of descriptions mixes with the subjectivity of their authors, and where the cliché reigns, particularly when describing the geography of the country and the mode of life of its inhabitants. Finally, if esthetics is unanimous amongst the writers, their ideological slant brings them to pass more nuanced judgements concerning the political aspect of things. A presentation of historical facts and their confrontation with the affirmations of the French writers allows one to understand how manipulation has been installed and how a negative image of Turkey has been fabricated
Merveille, Alexandra. "La réception de la littérature française en Colombie : espace national et dimension étrangère." Paris 3, 1993. http://www.theses.fr/1994PA030025.
Full textLi, Jianying. "Gu Cheng, un poète chinois contemporain : un Rimbaud chinois." Paris 4, 2005. http://www.theses.fr/2004PA040257.
Full textWe have studied the life and works of Gu Cheng, a contemporary Chinese poet in this these. With a century of distance, he was born and dead nearly the same year as Rimbaud. As did Rimbaud's works for French poetry, a century earlier, we have showed that Gu Cheng's works marked an important turning- point in history of Chinese poetry. Gu Cheng himself divided his poet life in four great parts. We went through our study by following these four parts. In each of them, we examined in details his biography as well as the most significant poems, about which we made a commentary on the form and the matter. Then we pointed out which is similar between Gu Cheng and Rimbaud: they are both objectf and "voyant" poets, insatiable of Liberty and Beauty. For both of them, the suffering is terrible, in creator act as well as in their lives, since they were looking for a "total experience". They both exposed themselves to the risk of hermetism from which they won't escape. They were two immense solitude, two broken lives as if the very greatness of genius has to be paid "cash". Gu Cheng killed himself in 1993
Kim, Jung-Gon. "La reception de la littérature française en Corée : 1894-1970." Lyon 2, 1994. http://www.theses.fr/1994LYO20061.
Full textThe present study intends to show how french literature was received in korea and what its influence was on korean literature during the period 1894-1970. The first part deals with the general aspect of corean reading and examines the translations of french works as well as the various presentations and studies of french literature. The second part deals with reception and influence : first the reception of french naturalism in the years 1919-1926, the part played by kim ok in introducing the french symbolist poetry as well as the influence of symbolist poetry on the formation of modern poetry in korea ; finally we study j. P. Sartre's influence on chang yong-hak, especially that of "la nausee" on "yohan shijip". The third part is assigned to bibliographical research. We shall note articles in periodicals, university studies regarding french literature and translations of french works published in korea
Hayati, Ashtiani Karim. "Les relations littéraires entre la France et la Perse de 1829 à 1897." Lyon 2, 2004. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2004/hayati-ashtiani_k.
Full textFan, Zhe. "Les représentations de la Chine dans la littérature française de la monarchie de Juillet au tournant du siècle." Thesis, Montpellier 3, 2016. http://www.theses.fr/2016MON30065.
Full textFrom the July monarchy to the turning point of the 20th century, the representations of China experience a radical change in the French literature. They oscillate between a decadent empire and a wonderful universe. On the one hand, the Middle Kingdom is suddenly closer to French opinion by the Warrior news. China has gradually lost his political power. On the other hand, in the cultural and artistic field, the representations are like a spiral wall: from the omnipresence of its precious and luxurious objects, to the notices of the well-known places of China, to the zest for classical Chinese literature both in literary writers and in academic Sinologists. What are the reasons for such contradiction in the representations of the same country? How has the French men of letters based their views?
Zamzam, Mahmoud. "L'influence de la littérature française sur l'oeuvre de Mohammad Hussayn Haykal." Paris 3, 2002. http://www.theses.fr/2002PA030041.
Full textIn this thesis, the research has focused on the influence of the French literature and thought on the art of the novel and criticism of the Egyptian writer Mohammad Husayn Haykal. He has been to France where he spent more than three years to obtain a PHD in law. But Haykal showed complete interest in the French literature and culture. Zaynab, his first novel was obviously written under the auspices of French romanticism. It is the fruit of the reading of Rousseau, Bourget and Zola. It reflects the French romanticist and naturalist trends. Many resemblances and analogies have been thoroughly found through comparison between Zaynab and La nouvelle Héloi͏̈se of Rousseau as well as between Haykal's Waladi (my son) and Les confessions of Rousseau. Themes and elements of the French realism and naturalism are clearly identifiable in each novel, fiction and short stories of Haykal. Comparative studies are continously conducted everywhere in the research on the romanticist novel works of Haykal along with those of the French novelists who had clear impact on his art of narration and thinking : Rousseau, Flaubert, Anatole France, A. Comte, Taine and Zola. .
Yang, Zhen. "La littérature française dans les revues littéraires chinoises entre 1917 et 1937." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040078.
Full textThe period between 1917 and 1937 marks the beginning of modern Chinese literature. French literature has contributed to the construction of Chinese new literature, the modernity of which resides in the denial of traditional Chinese literary and social values, in the opening to foreign literatures, and in the call for respect of the individuality. Chinese writers with pioneering spirit contest the necessity of the society and highlight the internal life in literature. They all consider the pursuit of love and beauty as the signification of the life. However, they interpret those notions of love and beauty in different ways. This period in China is full of literary debates. Individualistic writers are opposed to backward-looking writers and left-wing writers. The confrontation between different literary conceptions is reflected in the reception of French literature in China. In Chinese literary magazines, opposed ideas are formulated on Ronsard, on Montaigne and on Malherbe. Debates concerning Molière, Rousseau and Baudelaire arose in literary circles. The difference of opinions on French literature results from the fact that Chinese critics and translators understand in different ways the relationship between mankind, the time and the society. The interpretation of French literature by Chinese writers is based on reflection on human beings and on their existential situation
Iwatsu, Ko. "Mythes, roman, imaginaire de l'eau : Fukunaga Takehiko et la littérature française." Paris 4, 2007. http://www.theses.fr/2007PA040128.
Full textTranslator of Baudelaire, Lautréamont, Mallarmé and Julien Green, admirer of Proust and Gide, Japanese novelist Fukunaga Takehiko (1918-1979) explores narrative technics which, inspired mainly by French Symbolist poetry, would express his inner world mixed up with past and present, dream and reality, love and regret. With myths of infernal river like Lethe, Charon’s boat, a Buddist riverside cemetary (sai no kawara) and Tuonela from Finnish Kalevala and the myth of “the island of (dead) mother”, from Kojiki, Fukunaga found an original expression of his guiltiness and nostalgia for the dead. Nevertheless, protagonists of Fukunaga’s fiction try to stay on the shore of the living, struggling against the temptation of suicide, and get down into the depth of memory and consciousness where the past and its possibilities come up like a dream
Yue, Yue. "Le sujet des souffrances dans la littérature tibétaine sinophone : 1952-2000." Paris, INALCO, 2006. http://www.theses.fr/2006INAL0025.
Full textFollowing the annexation of Tibet by China, Tibetan culture was made to experience radical and irreversible changes. The first generation of Tibetan writers to write in Chinese, who were faithful to Mao Zedong's regime and derived inspiration from patterns set by Chinese military literature in Tibet, carefully implemented set political goals: they described the suffering and poverty caused by the old Tibetan regime. But the literary quality and circulation of their works remained limited. From the 1980s onwards, a second-generation of Sino-Tibetan writers emerged. Split between their impassioned attraction to the Maoist ideology and their love of literature, they mainly denounced the suffering caused by colonization. The opening up of the chinese economy, the massive inflow of Western ideas, and the influence of new Chinese literary movements led to their asserting and developing their literary style. These are the different aspects highlighted in this thesis, which attempt to answer the key question: does the new generation of Tibetan writers define a new approach to suffering?
Izmit, Ayça. "Constantinople et sa représentation dans la littérature française (1830-1860)." Rennes 2, 2010. http://www.theses.fr/2010REN20040.
Full textConstantinople was a passage way for foreign travellers in the 19th century. This city which hosted different cultures, different nations over a long period of history has not only attracted the historians but also been a center of focus for literary specialists. Constantinople, being a bridge between the East and the West, has created a mystique and exotic fascination for travellers, enticing them into a fabulous dream world. Almost all of the travellers have had a unique way of expressing their feelings when visiting or imagining the tombs, the Harem, Grand Bazaar and other sites. The purpose of this study is to find out how the cosmopolitan city Constantinople and its daily life style has been portrayed by these travellers and the effects of their writings on Turkish literature
Kitamura, Miou. "La poésie française et le haïku." Dijon, 2007. http://www.theses.fr/2007DIJOL005.
Full textHaiku was introduced into France at the beginning of the 20th century, when brevity started to take on an important place in French poetry. Nowadays, the short Japanese poetical form inspires many French amateurs. This study aims to show the originality of French Haiku in comparison with the nature and tradition of Japanese Haiku, and thier respective evolutions. Japanese Haiku adheres to formal rules and does not accept excessive personal expressions. As for French Haiku, it is marked with relative liberty in form and allows for being expansive. In spite of their fundmental differences, the two Haikus are moving closer. French Haiku, especially, learnt the art of suggestivity. Yet, within that relationship, they will obviously still be clearly distinguishable, one from the other, and preserve their particularities
Inglin, Routisseau Marie-Hélène. "Influences d'Alice dans la littérature française : études des motifs de l'imaginaire carrollien." Paris 4, 2003. http://www.theses.fr/2002PA040261.
Full textThe study of the influence of Lewis Carroll's Alice on French literature explores the purely dreamlike dimension of Alice's adventures and reveals recurrent themes in Carroll's imaginative world. These themes derive from the dream condensation process which inspired French writers from the beginning of the 20th century. In France the author's imaginative crualty towards the child has developed via the metaphor of the animal seen as the incarnation of agressive urges, predominantly cannibalism. Going "through the looking-glass" is a recurring image in the poetry of Jean Cocteau and Louis Aragon. This theme is inseparable from the "roman des origines. " The mirror represents the poetic reverse side of reality which intrudes upon the real world. It is also a metaphor for disappearance and death. Alice is the precursor of other characters that are subject to the same incestuous, nightmarish dimension of the original story. These characters are variously the little girl who is a subject of sadistic fantasies, the child who is eroticized by a man's observation and the child who is freed from all constraints by poetic imagination. Alice prefigures the phenomenon of the child-woman
Guo, Yanna. "Lu Xun en France (1926-2015) : étude historique et critique des traductions françaises de l'œuvre de Lu Xun." Nantes, 2016. http://www.theses.fr/2016NANT3018.
Full textAt the dawn of the twentieth century, turning point in the intellectual and literary history to the Middle Kingdom, Lu Xun (1881-1936) is clearly the iconic Chinese writer: he is the modern author most translated outside borders, and particularly in France. Therefore it seems interesting to study, through a historical and translatological review, the almost century-old course of the work of this author in France. First, the textual and contextual research allows to open a new access road to his work and to shed a new light on the question of translation of his work. In a second step, it is to establish the panorama of French translations from 1926 to the present. Since then and still today, translations appear with the joint efforts of Chinese and French translators and, in various media publications and in a rhythm different. The reasons that these ferrymen of languages and cultures are interested in the work of Lu Xun differ greatly, mainly because of the politicization then the call for the depoliticization of the writer. Indeed, we will see that the "translators-introducers", the official interpreters, the supporters of political ideology and those who stick are far from aim the same translation purposes. Moreover, their translation projects differ from one another due to the evolution of translative thought and literary exchanges during near a century. Finally, the different trends will be highlighted through the comparative analysis of translations that update the issues and challenges of the style of Lu Xun. We ask, in this regard, to what extent and by what strategy the dynamism of textuality can be transmitted in the target text
Khanyabnejad, Adel. "Saadi et son oeuvre dans la littérature française du XVIIe siècle à nos jours." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030013/document.
Full textThe aim of this thesis is to study the literary fortune of Saadi in French literature from 17th century up to present. For the first time in 1634 Saadi was introduced in France through an incomplete translation of Gulistan by André du Ryer.This translation paved the way for Saadi to be introduced to other European countries. With the first confrontation with his works French literary scholars found Saadi’s works agreeable and attractive. Different writers according to their tastes and the atmosphere of their period either imitate him or get inspired by him. In classic time some of the writers like La Fontaine take the material of their stories from Gulistan stories. In the Enlightenment period the number of writers who have been inspired by Saadi increased. The writers of this period are mostly inspired by Saadis political or moral aspects of his works and they consider him as the critic of rituals and traditions. The philosophers and authors of encyclopaedia think of Saadi as one of them and introduce him as their political anti-church speaker. They use Saadi’s name as a weapon in their satiric writing. It was in 19th century that the first translation of Boustan and one of the most outstanding translation of Gulistan enabled the French to taste Saadi’s poetry. The Romantics were attracted by the aesthetics and the sentimental aspects of his works. They found the new themes such as love, nature, and time. The 20 century writers continue to enjoy the concept of love as manifested in the images of ‘nightingale and flower’ and are fascinated by the mystic features of Boustan
Croiset, Sophie. "Ecrivains chinois d'expression française: typologie d'un champ littéraire transculturel." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209699.
Full text/ In the 20th century, French literary scene has been enriched by authors coming from China. Crossing languages, borders and cultures, they erected, through their productions, singular bridges that illustrate the challenges of globalization. Focused on novels, poetry, passing by theater, the purpose of this research is to advance a typology of this emerging literary field. Encompassing the twenty-four authors composing it, including François Cheng, Gao Xingjian, Dai Sijie, or Ying Chen, the study is based on a referent-concept: the authors’ transidentity. For a better understanding of complexity and diversity of productions, transdisciplinarity – sociological, literary, and linguistic approaches – is instructive. By the prism of cultural identity, the internal study of works is divided into two components: intercultural representations and transcultural (of cross-cultural) poetic. With a constant comparison between works of each author, and between the authors, we figure out recurring characteristics and operate classifications. This allows to question the status of the field in the so-called "Francophone" literature and to raise the issue of the label. Thus through Chinese authors, it is any peripheral writer theoretical status in the francophone space that we are trying to explore and enlighten.
Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
Lagarde, Jérôme. "L' influence de la littérature française d'Oïl sur l'oeuvre de Boccace : contribution à l'intertextualité médiévale." Université Marc Bloch (Strasbourg) (1971-2008), 2007. https://publication-theses.unistra.fr/restreint/theses_doctorat/2007/LAGARDE_Jerome_2007.pdf.
Full textIn the young Boccaccio’s works, we can find among others many references to the French literature and in particular those of the North of France’s written in the language of Oil. The Italian author had thus contributed to the phenomenon of intertextuality and to its spreading during the Middle Ages. This study is based on three works of Boccaccio’s youth, each of them being compared to its main French model (Filocolo et Conte de Floire et Blancheflor-Filostrato et Roman de Troie – Amorosa Visione et Roman de la Rose). Therefore, we get three comparative studies that allow to define on what narrative and structural elements of the French literature did Boccaccio draw his inspiration the most. They also show the intention of the Italian author to grow away from his sources and the means he used to do so ; this emancipation had allowed himself to assert his creative potential and to be recognized as a writer and poet
Mohammadi, Yasmin. "Du classicisme au postmodernisme, l'évolution de la littérature persane au vingtième siècle : influence de la littérature française sur l'évolution des genres littéraires en littérature persane." Paris 12, 1996. http://www.theses.fr/1996PA120046.
Full textThe study of cultural exchanges is one of the main points of the compared litterature. We are interested in the persian litterature of twenty century because it presents a remarkable perspective as for the variety of kinds of litterature. Of the classicism to the postmodernism, and by going through the modernism, there is a real subject of consideration. Especially if this evolution happens according to an indirect but advisory influence of western kinds of litterature and mainly, here, a french one. It must be specified that this whole influence is transmitted by the translations, an important point of cultural exchanges, mainly in the domain of litterature
Vivès, Luc. "Le thème égyptien au XIXe siècle : les images de l'Egypte dans la littérature française." Paris 4, 1996. http://www.theses.fr/1996PA040175.
Full textOur research aimed at bringing to the fore the close dependence existing between, on the one hand, the literary and artistic pictures of the XIXth century's Egypt and, on the other hand, a wide part of modernism which is linked to what we have chosen to name sign imaginary. Through the naissance of Egyptology speeches and archaeological subjects, through the progressive increase of travelling relations and the numerous - generic and stylistic - changes of orientalist and exoticism pictures, we have been able to piece together the slow assertion of the linguistic themes within the different portrayal system of modern and ancient Egypt. From three main picture series - subdividing itself into as many motifs as exposition methods - we have tried to grasp, in a chronological order, the conditions of appearance of the Egyptian-like art and the various pictorial metamorphoses allowing it to be perpetuated as far as today, in order to invest or to be invested with all the linguistic signs. In this manner, we have been able to notice the contamination of the touristic and the novelistic genres, the exchanges and the breaks between the Egyptian-like literary and the Egyptian knowledges, the birth of the historical novel, the development of the linguistic sciences and the progressive supremacy of the (hieroglyphic and alphabetic) signs within the modern western thought. The French literature, that the prism of the pharaonic hieroglyph carried on fascinating, has thus taken back to it not only archaeological and linguistic pictures, but also its own methods of representation : the language cannot be written any longer, be described and, so, appropriate itself without a henceforth familiar resort to a great many Egyptian patterns
Xiao, Yingying. "Une subjectivité fluide : modernité et perception esthétique à travers les ouvrages de Gao Xingjian." Paris 7, 2014. http://www.theses.fr/2014PA070084.
Full textThis thesis explores the notion of modernity and aesthetic perception when China met the West in the twentieth century. Our analyses focus on the question of subjectivity based on Gao Xingjian's works. Our work consists of two parts. The first focuses on the concept of subjectivity-ego in Gao's works in the background of Chinese modernization in the twentieth century. However, the Chinese modernity is formai and ideological, neglects the meaning of the individual. The pursuit of subjectivity-ego for Gao is first of ail the question how to get out of the dilemmas l/We, individual/nation-country, China/West and modern/tradition - by which the Chinese intellectuals are obsessed for a longtime. The second part focuses on the notion of fluid subjectivity, in an aesthetic perspective, to see how Gao creates a style not only based on the Chinese traditional way of perceiving and thinking, but also influenced by Western speculative thought. From a cultural point of view, we look into the a-ontological subjectivity which does not focus on "who" but on "where" I am
Croiset, Sophie. "Écrivains chinois d'expression française. Typologie d'un champ littéraire transculturel." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030074.
Full textIn the 20th century, French literary scene has been enriched by authors coming from China. Crossing languages, borders and cultures, they erected, through their productions, singular bridges that illustrate the challenges of globalization. Focused on novels, poetry, passing by theater, the purpose of this research is to advance a typology of this emerging literary field. Encompassing the twenty-four authors composing it, including François Cheng, Gao Xingjian, Dai Sijie, or Ying Chen, the study is based on a referent-concept: the authors’ transidentity. For a better understanding of complexity and diversity of productions, transdisciplinarity – sociological, literary, and linguistic approaches – is instructive. By the prism of cultural identity, the internal study of works is divided into two components: intercultural representations and transcultural (of cross-cultural) poetic. With a constant comparison between works of each author, and between the authors, we figure out recurring characteristics and operate classifications. This allows to question the status of the field in the so-called "Francophone" literature and to raise the issue of the label. Thus through Chinese authors, it is any peripheral writer theoretical status in the francophone space that we are trying to explore and enlighten
Barety, Marc. "Les mots arabes et berbères dans la littérature maghrébine d'expression française : étude de quelques romans et nouvelles." Paris 13, 1985. http://www.theses.fr/1985PA131001.
Full textMete-Yuva, Esengül. "La présence française dans les débuts de la modernité littéraire turque." Paris 8, 2002. http://www.theses.fr/2002PA082138.
Full textThis thesis aims at showing the presence of a French model in the birth of a modern Turkish literature. First limited to determined contacts, then to more prolonged but only technical exchanges, the relationship between France and the Ottoman Empire extends to the cultural level with Sinasi as avant-garde. It opens in the Empire a period of questionning and doubt about the identity. For the first generation of Tanzimat the influence is thought to be only instrumental; France remains "other". French influence in literature consists in numerous and often didactic translations and adaptations from French, in the work of Ahmet Mithat, but also in introducing new forms such as the novel or theatre, as by Namik Kemal. For the next generation of New Literature, united with the magazine Servet-i Fünun, French literature becomes a source for the own creation: Halit Ziya, who intends to write realist novels (Mai ve Siyah, Ask-i memnu) and Tevfik Fikret, as a "modern" poet, totally abandon the old forms. In the novels of Halit Ziya on the one side we can feel the grammatical and syntaxical influence of French on the Turkish language; he takes novels of Flaubert or Goncourt as a model for its style. We discovered that Tevfik Fikret, in Rübab-i Sikeste, was under the influence not only of Coppée, but also of Hugo, Baudelaire, Musset, but creates an original work of art
Sissao, Alain-Joseph. "La littérature orale moaaga comme source d'inspiration de quelques romans burkinabé." Paris 12, 1995. http://www.theses.fr/1995PA120022.
Full textThis work aims at elucidating the process of creation in contemporay burkinabe written literature by some novelists. The main conjecture of this work is articulated around this assertion : the moaaga oral literature is a source of inspiration for this written literature. To this end, our investigation has led us to conclude that the latter gets is material from the cultural sub-foundations of moaaga oral literature. The exploration is done around linguistic and cultural base of the oral literature of the moose - the proverb, riddle of short tale, the war name, fable , short story - which make up the base of inspiration for the novelists. These narrative and non narrative types appear as the most dominant level of borrowxing from moaaga oral tradition. At a lower level of borrowing, the traditional narrotors, more discreet, are used as real witnesses of moaaga oral literature. The transformation of integrated speeches and their polyphony is at the centre of the question of intertextuality. For this, the examination of some key motifs drawn from oral literature and moaaga folklore univeil the subtle influence of moaaga traditional literature. The burkinabe novelists this reingject the moaaga oral traditional while adapting their creation to the new situation which is no longer thart of traditional africa, but rather that of modern africa in the midist of change
Carvigan-Cassin, Laura-Line. "Présence et influence de l'oeuvre poétique d'Aimé Césaire dans le champ littéraire francophone caribéen." Antilles-Guyane, 2008. http://www.theses.fr/2008AGUY0249.
Full textAimé Césaire is with no doubt the french caribbean poet symbolic of our time. At the crosswords ofworlds, ofcultures discoveringeach others, he never renounced bis black identity, always assumed bis past and history marked by colonization and protested againstall forms ofoppression, suffering and alienation. He is also the one who understood that it is by claiming a singular identity that theBlack man (denied ofits humanity in the past) can reach universality. He overthrows images and stereotypes ofthe Black man andproposes a new model. To the black would-be white writer, he opposes the black man who speaks and knocks down everything : language, codes, syntax and poetry. The aim of our study is to analyse the reception ofthis poetic work qualified as founding and fundamental, subversive and cannibal ;a multidimensional poetry which influenced entire generations ofthinkers, writers. This open work, both popular and scholarly callsfor endless remodelled readings and interpretations as well as explorations of its varions rewritings. The poetry of Aimé Césaire, intertextual, talks with West Indians and Caribbean writers. That is why it is interesting to focus on the ambivalent relationship, sometimes challenging and full ofrevoit and fascination, between the founding Father and its successors. This research is written in present tense because white being undertaken Aimé Césaire was still alive. With no doubt, he is, like his work and through his work, still alive
Gerard, Dubernard-Laurent Annie. "Le pré-raphaélisme en Angleterre, les arts et les lettres en France : essai d'étude comparative." Paris 4, 1996. http://www.theses.fr/1995PA040306.
Full textThe English pre-Raphaelite movement presents a variety of aspects which have features in common with French painting and poetry. The aim of this study is to bring forward and analyze some of these aspects: for example it tries to show the similarities and differences between the "realism" in the earliest pre-Raphaelite paintings and the French so-called "réalisme" as exemplified by Courbet and some of his contemporaries in their way of portraying the sacred, people at work, and social problems. It shows how avant-gardists such as Merimee, Lecoq de Boisbaudran and Charles Blanc one looked up to British reformists - who they thought were mainly pre-Raphaelites - in the teaching of the arts and the conception of museums. It then goes on to show how pre-Raphaelite works (painting and poetry) and ideas penetrated the French cultural environment through the exhibitions and the press. Burne-Jones's impact on the work of some symbolist poets and painters is also examined. The conclusion suggests a synthesis between various forms of pre-Raphaelitism (German, English and French)