Dissertations / Theses on the topic 'Littérature irlandaise'
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Bensaddik, Driss. "Les nouvelles de Patrick Boyle." Caen, 2000. http://www.theses.fr/2000CAEN1300.
Full textMcQuade, Joan-Margaret. "Mexique-Irlande : relations littéraires." Paris 3, 2001. http://www.theses.fr/2001PA030003.
Full textAmiot-Jouenne, Pascale. "Austin clarke : errance et poesie." Caen, 1992. http://www.theses.fr/1992CAEN1100.
Full textCoulouma, Flore. "La représentation du langage dans les romans et nouvelles de FLANN O'BRIEN." Paris 7, 2007. http://www.theses.fr/2007PA070060.
Full textThis thesis examines the representation of language in the works of the 20th century Irish author Flann O'Brien (1911-1966). Flann O'Brien's bilingualism and ambiguous relation to language inspires his satirical fiction and chronicles through series of oppositions working at multiple levels of analysis in his writing, staging the diglottic relationship of speakers to their native longue, and the illusory quest of knowledge through language. This study makes use of the methods of pragmatics and discourse analysis (of Grice, Ducrot and Recanati, among others) to understand how Flann O'Brien's satire and comic writing subvert traditional conceptions of cooperative communication, and on a broader level, question the very notion of literary tradition. Through his language games and comic writing, Flann O'Brien depicts the postcolonial condition of Irish speakers and reveals his own complex and ambiguous position as an Irish author in a newly independent Ireland, after Joyce
O'Connell, Anne-Marie. "Les figures du surnaturel dans la mythologie et le folklore irlandais." Toulouse 2, 1995. https://hal.archives-ouvertes.fr/tel-01323678.
Full textOur research is a semiotic analysis of myth and folklore, with a view to uphold Dumezil's theory of functional tripartition. We note first that all manifestations from the other world are made through a series of metamorphoses that deliver a secret knowledge to man. We will then proceed to examine the various components of that narrative program, that is, the contents (male or female) as well as the spatial and temporal frame of its occurrence in such a way that these elements are always studied in opposition to each other. We will gradually show that the opposition between what the other-world is and what it appears to be can be solved. Indeed, this two fold universe is one and the same. The "realm of the dead" is only a transition toward the eternal life, full of banquets and youth, enjoyed by gods and mortals alike
Dewulf, Elodie. "Les relations fils-père dans la littérature irlandaise du XXe siècle : parcours exploratoires : initiation et identité du personnage adolescent." Lille 3, 2003. http://www.theses.fr/2003LIL30033.
Full textWhite, Mélanie. "Entre mythe et histoire. L'héritage classique de la poésie nord-irlandaise du XXe siècle." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030155.
Full textThis thesis explores the diverse aspects of the renewal of the classics in the poetry of Louis MacNeice, Derek Mahon, Seamus Heaney, Michael Longley and Tom Paulin. From the 1930s to the beginning of the XXIst century, Northern-Irish poetry has fruitfully tackled the most prominent genres of Greek literature and thought, through for instance a fragmentation of the epic model, as well as the rewriting and modernization of Greek drama. Canonical texts such as Homer’s Odyssey, Sophocles’, Euripides’ and Aeschylus’ tragedies are the filters which allow these poets to envision their contemporary circumstances. A poetry for the present, concerned with temporality, which either exemplifies or rejects Aristotle’s rules of poetic composition, is thus enacted and revisits central notions from Greek philosophy, as for instance Aristotle’s energeia. The status of the classical heritage, from the mythical method to translation, questions the very basis of poetic creation and redefines the link between the poet and his society. On the eve of the Second World War for MacNeice and during the bloodiest years of the Troubles for the other poets, particularly violent contexts blur the frontier between poetry and history. Both interact in the poets’ interest in Greek historiography, specifically in Herodotus’ and Thucydides’ sole reliability on visual testimony, which triggers very diverse poetic incarnations
Galiné, Marine. "Les représentations de la femme et du féminin dans un corpus gothique irlandais du dix-neuvième siècle : approche générique et genrée." Thesis, Reims, 2019. http://www.theses.fr/2019REIML011.
Full textThis work aims to explore the various ways in which femininity is constructed in a corpus of texts belonging to the ‘Irish gothic mode’ and published between 1798 and 1889. The literary works under study have been selected according to specific generic criteria with a view to constitute a corpus which would challenge the canon. Those criteria have been organised alongside three axes and take their cue from both Gérard Genette’s genre theory and Richard Haslam’s rhetorical hermeneutics. First, this work will focus on the representations of female characters in terms of thematic characterisation. Next, it will analyse the various processes of feminisation and the ways they participate in the composition of the narratives and in the creation of terror and horror effects. Finally, the question of « female writing », or « écriture féminine » will be addressed, and its potential linguistic imprint in the texts will be discussed. Can we pose the feminine as a constitutive element of nineteenth-century Irish gothic fiction? Even though a genre and gender approach underlies our analytical process, this work will also rely on psychoanalytical theoretical elements and on the new historicism standpoint which most Irish gothic scholars favour in their analyses. As our study conflates both canonical and lesser known texts, Protestant and Catholic narratives, but also female and male writers, it makes a point of highlighting the specificity of the Irish gothic mode in its treatment of the feminine
Fitzpatrick, Noël. "Le sujet et les je(ux) de discours dans l'oeuvre de Brian Friel." Paris 7, 2005. http://www.theses.fr/2005PA070051.
Full text"The theatre of language" is an exploration through Pragmatic linguistics of the implicit relation between the spectator and the stage and the workings of the central role which the narrator or storyteller holds in Friel. Thanks to Pragmatic linguistic analysis of the different instances of "I", I that speaks, is spoken to and spoken about, we have the necessary tools for understanding the monologue in Friel. "Homo Fabulator : The Man of Language" shows how the presence of the storyteller is one of the characteristics of Brian Friel's theatre. Friel explores the role of the storyteller in individual stories. By examining the narrative self we can glimpse at how the self constructs itself through the stories that it wishes to tell. Langrage in Friel is something to be distrusted, one can never say exactly what one means. The "I" of the storyteller is confronted with its own linguistic abilities. "The Subject and the philosophy of language" shows how Friel does not hesitate to call on the work of such thinkers as George Steiner, Martin Heidegger, or even Ludwig Wittgenstein. On the one hand, the opaque nature of language, and on the other, the linguistic themes, raises fundamental questions with regard to language and identity. An identity of the self, constructed through a language that has become unstable and a collective identity constructed through a multiplicity of stories
Kostanyan, Ani. "De la lecture à l'écriture : N. Sarraute et les littératures russe (F. Dostoïevski), anglais (V. Woolf) et irlandaise (J. Joyce)." Lyon 3, 2009. https://scd-resnum.univ-lyon3.fr/in/theses/2009_in_kostanyan_a.pdf.
Full text“All writers, at the start of their careers, take as their starting point a reality adapted from that of earlier writers”. Nathalie Sarraute, a devoted reader of Dostoyevsky, Joyce and Woolf, succeeded in constructing a complex fictional universe which, though based on ideas, thoughts and narrative techniques originating from these three authors, did not stop the development of a secret world of inner sensations where a multitude of “I’s” are in continuous conflict. The plurality of a Sarraute character excludes self-knowledge as a finite, defined, describable individual, the inner monologue disclosing on several occasions the only bearable truth: any circumstance, any tropism, any word makes us different from what we are; any moment, any gaze reveals to us a part of ourselves which is unknown, obscure, unexplored. Nevertheless, Sarraute’s characters, contrary to widely-held views of her work, are “normal” human beings with their habits and obsessions. Most of the time, they live in Paris, walk in the streets, linger on terraces, drink coffee, travel, visit museums, call on friends…
Duflos, Anne. "L'écriture des masculinités dans la fiction nord-irlandaise contemporaine." Thesis, Lille 3, 2017. http://www.theses.fr/2017LIL30020/document.
Full textThis thesis explores the concept of masculinity in contemporary Northern-Irish fiction. My body of texts is constituted by six novels published in the decade after the Good Friday Agreement (1998): Breakfast on Pluto by Patrick McCabe (1998), No Bones by Anna Burns (2001), Fodder by Tara West (2002), The Ultras by Eoin McNamee (2004), Little Constructions by Anna Burns (2007) and The Truth Commissioner by David Park (2008). Because of the close links between masculinity, violence, national identity and the military, the issue of masculinity is of particular importance in the aftermath of the Troubles and of the peace process in Northern Ireland. In the novels, a dialectics between conformism and subversion of codes of manliness develops and reconfigures masculinity as ‘anti-virility’ in order to reveal the characteristics and functioning of the stereotype. The focus first on the supremacy of masculinity and then on the subordination of femininity in the novels leads us to notice a queer and feminist orientation in the writing strategies. This particular reshaping of masculinity and the unveiling of the gender order enable the emergence of a counter-narrative which challenges the hegemonic discourse about peace in the Northern-Irish public sphere. The aggressive incitement to make a fresh start and the pervasive optimism of this rhetoric are debunked by the lingering past residuals in the novels which ultimately display a profound malaise in the post-conflict Northern Ireland
Dufour, Michel. "L' unité d'être et le soi : une approche jungienne de l'oeuvre de William Butler Yeats." Paris 7, 2005. http://www.theses.fr/2005PA070047.
Full textThe concept of Unity of Being was defined by the Irish poet and playwright William Butler Yeats in the 1920s to refer to the highest achievement in art and civilisation. By comparing this notion with Jung's concept of the Self we offer a general analysis of the evolution of Yeats's work. We consider the "shadow" and the "anima", different stages in the individuation process which correspond in Yeats's work to the "daimon", the "mask" and the "antithetical self", contrary forces which help the "ego" to develop. We describe the dynamics driving the evolution of the symbols in Yeats's work and explain how the rosé gives way to the mask, then to the "gyre" and the dance on the path to Unity of Being, which is considered first and foremost as an aesthetic concept. We analyse the ways in which the archetypes in Yeats become integrated into a literary text, trying to| articulate archetypal criticism and stylistics. (919 caractères, espaces compris)
Khmelevskaya, Inna. "Le champ notionnel des noms de mémoire « Easter rising » et « Bloody sunday » dans la littérature irlandaise d'expression anglaise du xxème et du xxie siècle." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA180.
Full textThe study focuses on « memory names » « Easter Rising » and « Bloody Sunday » and on onomastic fields buildt around them in Anglo-Irish contemporary fiction. This researсh is conducted at the crossroads of history, linguistics and literary analysis. It aims to show the functions they can fill in Irish literary discourse through an analysis of the contexts surrounding the « memory names » and the ways they are expressed. The cultural and symbolical values that they convey, the mecanisms of development of a memory name, as well as the interrelation between an historical event, its representation and (or) the discours about the event and its actors are examined in detail. The study focuses in particular on discursive and non-verbal ideological frames conveyed by the « memory names », and on the means that a writer uses to deconstruct these frames or to move outside the framework
Lebargy, Mathias. "Ecritures de la folie dans les romans de Patrick McCabe." Caen, 2010. http://www.theses.fr/2010CAEN1595.
Full textPatrick McCabe belongs to a generation of Irish writers, like Roddy Doyle, Dermot Bolger, and Colm Toibin, who witnessed conservative Ireland transition into the very model of globalisation. In his novels, McCabe depicts various mad characters on the margins of society, and breaking with convention, he urges us to hear them speak. The purpose of this work is to analyse the writing of madness in McCabe’s novels, and to highlight the methods that he uses to guide the reader through the twists and turns of the mad psyche. The first part of this study will bring to the fore the various ways in which McCabe’s notion and representation of madness challenge the basic principles of the novel genre and its internal architecture. How does the organization of McCabe’s works illustrate madness and chaos? The answer lies in defining the fragile equilibrium that he maintains between the deconstruction naturally associated with madness and the minimal structure essential to the reading of a literary work. The second part will show the importance of meaning in the representation of madness. How are deliriums represented? How is it possible to understand them and why are they significant? In the novels under study, madness is not antinomical to sense; on the contrary, it is deeply rooted into, conditioned and caused by sense. Finally, the obvious repetitions of fundamental principles will lead to the examination of the numerous rewritings that are at the core of McCabe’s representation of madness. This new perspective will help us to better understand the various sources that have influenced McCabe's works, should they be literary, musical, or cinematic
Conan, Catherine. "Figures de l'étrange et du familier dans la littérature contemporaine de Belfast : Robert McLiam Wilson, Glenn Patterson, Eoin McNamee, Ciarant Carson." Brest, 2007. http://www.theses.fr/2007BRES1008.
Full textThis thesis examines the representation of Belfast in works of fiction published around the 1990. Its aim is to show that the historical, social and political context of that time made it possible for Belfast literature to deconstruct the nationalist and unionist ideologies, mainly through an. Exploration of the slippery thematics of the strange and the familiar. Taking the Freudian idea of the Unheimliche as its starting point, the thesis first describes spatial motifs of the uncanny as they are exemplified in Belfast literature (claustrophobia, margins, surveillance. . . ). The second part tackles the historical aspects of uncanniness, and shows that Belfast literature questions the linearity of the historical process, which is all too easily commodified by ideological discourse. Finally, the thesis claims that the uncanny is a way for literature to examine its own relationship to the real, thus baring the real of the simulacra of its sectarian representations
Muller, Elizabeth Joelle. "The influence of hellenism in the works of William Butler Yeats : from Homer to Plato." Rennes 2, 2003. http://www.theses.fr/2003REN20056.
Full textThis dissertation aims at analysing the influence of Hellenism in William Butler Yeats's work within the framework of archaic Greece and the fifth century B. C. The filiations between Yeats and the Greeks can be noticed in two different realms of study: firstly philosophy, secondly literature. Our first part shall deal with philosophy, stating the initial dilemma in Yeats's thought: that of Plato's ascendancy and the poet's possible rejection of it in his middle years. In our second part, we shall study the mythological and literary similarities between Yeats's poetry and that of the Greek world, stressing the importance of Homer in particular. Our third part shall be devoted to Attic tragedy, Yeats having clearly been inspired by the three Greek playwrights. Lastly, a fourth development shall consist in reasserting Plato's hold on Yeats's thoughts through a reassessment of the poet's own system which is set out in A Vision. We end on a note of reconciliation concerning the famous Yeatsian dichotomy between hero and saint
Feat, Anne-Marine. "De la mère à la mère-patrie : quête identitaire dans la littérature irlando-américaine féminine." Bordeaux 3, 2009. http://www.theses.fr/2009BOR30070.
Full textDessaint-Payard, Chantal. "Mémoire et écriture dans les œuvres d'Eilís Ní Dhuibhne et Nuala O'Faolain." Lille 3, 2011. http://www.theses.fr/2011LIL30014.
Full textThis thesis purposes to explore the tight links that unite memory and writing in two contemporary Irish writers : Eilís Ní Dhuibhne and Nuala O'Faolain, the former being a novelist and short story writer while the latter was a journalist who accidently entered literature through the means of an autobiography. Their different evolution enables to probe into a reflexion on the possibility for Irish women to express themselves and to remember the past in a traditionally patriarchal Ireland whose economic opening forces the female subject to reconfigure her quest for memory and identity. Beyond the themes common to the two writers, such as exile, the search for liminarity, the difficulty to become a writer, it is interesting to study how, through the use of intertextuality, of oral tradition and the transgression of literary genres, those two authors develop a poetics and writing strategies that account for the iconographic dimension and the associative mechanisms of a memory whose inscription is to be found both in the female psyche and the female body
Boichard, Léa. "La poétique du parler populaire dans l'oeuvre barrytownienne de Roddy Doyle : étude stylistique de l'oralité et de l'irlandité." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3068/document.
Full textThis study focuses on the relations between spoken and written language and on the effects created by the representation of orality and dialect in literary writing. More specifically, it proposes a theoretical framework of stylistic analysis which allows for the study of the poetics of popular language in Roddy Doyle’s Barrytown novels. This study is divided into three chapters. The first two chapters aim to define the stylistic, linguistic and literary tools that are used in the third chapter in order to carry out the corpus analysis. This study starts with a diachronic and a synchronic overview of the relationship between the oral and written media of communication. A workable framework for the stylistic analysis of the representation of orality and dialect in literature is then established. The second chapter considers this issue in an Irish context. Indeed, a strong oral tradition has always been present in Ireland and its impact is still felt in literature and culture. The linguistic situation in Ireland is studied from the point of view of grammar, lexicon and accent. Finally, the third chapter applies the framework previously presented and explores the effects created by the representation of orality and Irishness in Roddy Doyle’s Barrytown novels. It finally exposes the poetics of popular language
Kruczkowska, Joanna. "The role of contemporary northern Irish poetry in the context of the conflict in Ulster." Paris 3, 2003. http://www.theses.fr/2003PA030134.
Full textThe aim of this dissertation is to demonstrate that the situation of the Northern Irish conflict necessitates taking roles by poets, even if they claim having no 'public' role to perform in this context. The poets' approaches to the conflict and modes of description analysed in this work reflect the situation in the North and the poets' sense of identity. Those attitudes and modes serve to find a 'mirror' through which to convey emotions and events in an appropriate way and try to understand mechanisms behind the conflict. The poets discussed in detail are Michael Longley and Tom Paulin, two poets of the Ulster Protestant background. The last chapter, devoted to the links between Northern Irish and Polish contemporary poetry considers also some aspects of Seamus Heaney's work. It is based on Paulin's and Heaney's reading of Polish poetry and on the convergences between history and literature of both countries
Topia, André. "Modèles et écarts : scénarios d'écriture de Dubliners à Ulysses." Paris 8, 1995. http://www.theses.fr/1995PA080917.
Full textThis thesis analyses the writing strategies in three works by james joyce : dubliners, a portrait of the artist as a young man and ulysses, and this according to the notions of scenario, model and deviation. In a scenario, writing becomes a variable programming displaying possible deviations from a model. Dubliners offers programmatic narratives whose unfolding seems to conform to a virtual matrix. We examine successively the question of perturbed cyctes ("the sisters"), of perverted mediation ("an encounter"), of the figure of the loop ("eveline"), of emblematic mimodrama ("two gallants"), of programmatic time ("the boarding house"), of copy as subversion ("counterparts"), of writing as a warping process ("clay"), of cliche as scenario ("a painful case") and of the ego as frontier ("the dead"). The portrait shows both a liturgical model based on rites of incarnation and a dialogical model based on a dynamic exchange of words and gestures. In ulysses the gaps widen : conductivity and circulation in "calypso" ; blurring of the bodily functions by the fluidity of music in "sirens" ; montage of vocal repetition and stereotyped reproduction in "cyclops" ; contrast between gerty's trompel'oeil text and the experiments in the bloomian laboratory ; constitution in "circe" of a fantasmic texte gigogne ; subversion of catechistic questioning by scholastic clarificatio in "ithaca". We conclude that in ulysses the bloomian figure of the loop involves a dialectic of deviation
Van, Gool Winfried. "A la recherche du sens perdu : l'oeuvre de John Mcgahern." Rennes 2, 2002. http://www.theses.fr/2002REN20042.
Full text@This study proceeds from the principle that the works of Mcgahern fall within the framework of a quest and it demonstrates how the main characters try to bestow meaning upon their existence. It shows how the experimental author in his search for a coherent vision, constantly changes the angle from which he considers a theme. This leads to a variety of ideas which lend structure to the text. The study endeavours to classify Mcgahern's various works according to the degree of success achieved by their heroes in discovering the meaning of their existence. Their success is often closely linked to the possibility of happiness, which is a result of them distancing themselves from their morose and fragmented past. It is emphasised how their potential success often implies the preseence of a loved one who is able to assist the hero in dislodging the torturous paralysing forces that assert themselves through confusion, suffering, solitude, feelings of uselessness and, finally, through the absence of love and intimacy. It would therefore be unfair to condemn Mcgahern's work to its initial gloom. The study centers around the characters' emotional make-up, their family relations as well as their sexual relationships. The classification shows the development of some mental dynamism in the case of certain characters, which enables them to cast some light on the circumstances of their lives and the importance of love. Finally, it highlights the shift from a certain ossified world towards a more dynamic, ambiguous one. In order to break with outdated ideologies such as patriarchy, as well as with social and psychological fossilisation, resulting from, among other things, the alliance between politics and an oppressive Catholic Church, a 'war' has broken out, allowing a new sort of intimacy between men and women. The works of Mcgahern reveal some aspects of the transformation of Eamon de Valera's Ireland to that of Mary Robinson
Brihault, Jean. "Lady Morgan et l'Irlande." Rennes 2, 1985. http://www.theses.fr/1985REN20016.
Full textRobitaillié, Audrey. "" Away with the fairies" : le motif de l'enlévement par les fées et du changelin : de la mythologie à la diaspora irlandaises." Caen, 2015. http://www.theses.fr/2015CAEN1032.
Full textThis project aims at analysing the reuses of the motif of fairy abduction and of the changeling in contemporary literature, either Irish or from the Irish diaspora. Studying these motifs as they appear in the folk accounts allows a better understanding of their traditional characteristics, to then be able to compare them with the way the contemporary writers reinterpret them. It seems that the changeling motif has been taken up as an Irish metaphor for emigration and exile, whether it be geographical, psychological or linguistic. This thesis thus explores issues of identity and memory through the theme of the changeling which, although it is not of Irish origin since it is absent from the early mythological sources, has paradoxically become an Irish literary symbol
Stephens, Jessica. "Poétisation de l'espace et identité dans l'oeuvre poétique de Seamus Heaney jusqu'en 1987." Paris 4, 1998. http://www.theses.fr/1997PA040215.
Full textIn Seamus Heaney's poetry, as often in Irish literature, the sense of identity is linked to the sense of place. When the poet depicts Mossbawn, the family farm where he spent his childhood, or his cottage in Glanmore, his various descriptions are necessarily influenced by his imagination; he therefore poeticizes space. However, throughout his work, Seamus Heaney also broaches more theoretical conceptions of space; that is to say he also poeticizes his own personal space, or his relationships to others, thanks to spatial metaphors. His work revolves around the notion of identity which he defines in several ways; in preoccupations, he talks of the "definition of the self" (136-37), or in the government of the tongue he refers to Jung’s theory on individuation (107). Thus we have tried to study this search for identity -which, sometimes, suffers setbacks- in relation to space
Ghorbanian, Kerdabadi Mohammad Reza. "Seamus Heany et la (dé)construction du sujet." Caen, 2007. http://www.theses.fr/2007CAEN1477.
Full textTownend, Alice. "La trace dans l’oeuvre poétique de John Montague : modes d’inscription du sujet." Paris 4, 2007. http://www.theses.fr/2007PA040171.
Full textConsidering the notion of tracks in John Montague’s poetry implies the assertion of a paradox : it is true that tracks proliferate in his work in the polysemous form of footprints, scars, cuts, shards, remnants, inscriptions, memories, engravings, aura, absence and even spectres. Moreover each of these occurrences is reflected in by Montague’smeticulous attention to form through the typography and layout of his texts and the use of margins and illustrations, designating the very poem as an instance of track. Yet tracks are bound to fade and disappear because it is necessary condition of their appearence, and they consequently seem a rather inappropriate designation for a poetic work whose ai mis to perpetuate the poet’s style and signature. This contradiction is the nexus of Montague’s autobiographical project : because tracks denote a subjectifwho can only be apprehended by modern thought as elliptic, incomplete, cleaved and changing, they ultimately offer a relevant metaphor for the process of inscription of the subject as a simultaneous writing of and writing off the self
Sisk, Ann Marie. "Avant et après l'indépendance : la topographie de la "Big house" dans quatre romans : A drama in muslin (1886) ; The real Charlotte (1894) ; The big house of inver (1925) ; The last september (1929)." Reims, 2000. http://www.theses.fr/2000REIML014.
Full textJindani, Ingrid Shirin. "La poétique textile de Paul Muldoon (1951-)." Thesis, Rennes 2, 2019. http://www.theses.fr/2019REN20025.
Full textThe Textile Poetics of Paul Muldoon (1951-) Paul Muldoon’s poetry has consistently made reference to textiles. Alongside descriptions of highly specialised fabrics such as dimity, buckram and barège, his work also features numerous textile images including hand-embroidered tablecloths, soiled blankets and linen shifts. Indeed, the detail and scope of Muldoon’s textile imagery suggests that the trope is central to his poetic. By examining the various ways he incorporates textiles into his poetry, this thesis posits the argument that Muldoon’s poetic is essentially a textile one. Moreover, by considering the relationship between texts and textiles, this thesis also aims to show how Muldoon’s textile poetic draws on a tradition extending from classical Greek poetry through to Jonathan Swift, W. B. Yeats and post-War Irish poetry. In addition it will also study how the economic, political and cultural legacy of Ireland’s textile industry is threaded through Muldoon’s work
Bouton-Kelly, Ludivine. "Traduire (en) plus d'une langue : at Swim-Two-Birds de Flann O'Brien." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA121.
Full textIn this work we propose to trace a path leading from a reading of Flann O’Brien’s novel, At Swim-Two-Birds, to its translation. In so doing we carry out two intersecting trajectories crossing at the point where theory and practice meet. The difficulty of translating this bilingual work written in both English and Irish, enjoins the necessity of delving into both the linguistic and cultural singularities present in these two languages, as well as into literary reflections that blur the line between literality and creativity.The foreign presence of the Irish language in At Swim-Two-Birds calls for a reexamination of the notion of untranslatability. It likewise sets in motion a reflection on the operations of transposition that come into play when translating two languages at once. The approach presented here distinguishes itself from binary, polarized approaches to text and translation, in particular with regard to bilingual texts. Translation is thought within the scope of an expansive spectrum, « in-language ». Translating in/t(w)o languages thus opens onto new approaches in traductology
Bourgy, Daniel. "L'écriture de l'identité dans l'oeuvre poétique de Seamus Heaney." Rennes 2, 1999. http://www.theses.fr/1999REN20035.
Full textMouchel-Vallon, Alain. "La ré-écriture de l'histoire dans les romans de Dermot Bolger, Roddy Doyle et Patrick McCabe." Reims, 2005. http://www.theses.fr/2005REIML005.
Full textThe pastoral pervades irish literature, and so does most literature “about” Ireland. Taking this observation as a starting point our study, we have tried to assess how much this important theme could still influence the new irish writers and in particular three of them : Roddy Doyle, Dermot Bolger AND Patrick McCabe. The opposition between tradition and modernity is at the core of the pastoral ’s reasoning and forms the tension that feeds this reasoning. But in the writing of our three irish writers, tradition and modernity keep reminiding readers that their ambiguous relathinship also gives its ideological motivation to the writing of the island's history. Owing to this permanent dialogue between writing and pastoral, the new generation of irish writers tends to illustrate a typically irish debate in which nationalism and revisionism, the writing and re-writing of history, form key themes. So much so that literature and politics keep interwining in their novels while myth and reality get mixed up in the minds of their characters, thus affecting their own sense of identity. Conditionned by this literary and ideological framework which they themselves contribute to perpetuate, Doyle, Bolger and McCabe tend, however, to differ frome each other in such a way that their writings reflect the complexity of an irish cultural geography where revisionist nationalism and nationalist revisionsim unsurprisingly stand side by side. Considering that the writing of history or that of a simple story first supposes a principle of re-writing, these novelists bring text and context in tight connection in their own writing and depict an ireland that goes far beyond preconceived definitions
Maudet, Cécile. "L'autre, l'autrefois et l'ailleurs : poétique de la rupture dans l'oeuvre littéraire de Colum McCann." Thesis, Rennes 2, 2015. http://www.theses.fr/2015REN20037/document.
Full textColum McCann started his career as a writer in the 1990s, a period that was characterized by drastic social and economic changes in Ireland. Although he left Ireland for the United-States by the end of the 1980s, he did not lose touch with the social questions of his native country, which is emphasized in his literary texts and his numerous articles in the Irishpress. It seems that his immersion into another environment enabled him to enlarge the geographical and cultural scopes of his texts. The author’s work is neither rooted in any defined space, nor limited to any historical period, and it is not predefined by sets of literary movements or modes. McCann is guided by his curiosity instead, and always writes to fulfilhis interest in alterity. In this doctoral thesis, we highlight the modalities of rupture in his work, as well as their functions. Paradoxically, the treatment of rupture is precisely what allows the reader into the text, as well as what allows the text onto national and transnational literary and political scenes. The author’s production is constlantly redefined by his engagement as a citizen. This is particularly conveyed by the importance he grants to the marginal voices usually eclipsed by metahistorical texts
Bourdeau, Marion. "Espaces et interstices dans l'oeuvre fictionnelle de Colum McCann : éthique et esthétique de l'équilibre." Thesis, Normandie, 2019. http://www.theses.fr/2019NORMC033.
Full textThis thesis uses a hybrid theoretical approach mixing cultural geography as well as literature and stylistics in order to study the various spatialities that can be found in Colum McCann’s fictional work. It focuses on the writing of space, place and landscape, as well as on its ethical and aesthetical aspects. It analyses the way representing these spatialities forces the texts to try and find some sense of balance while the realities they describe and the world they were written in are characterised by in-betweenness and hybridity. These notions are at the core of this corpus, which is defined by an impetus that is both irrepressible and kaleidoscopic and that can be defined as a quest for balance in which ethics and aesthetics play a most essential role.The forms those spatialities can take, the bond the characters have created or create with them as well as the way they are inscribed in the contemporary world are analysed. This study also examines the writing of in-betweenness and hybridity, which can be factors of both balance and imbalance. This intermediarity encourages the development of an impulse which means creating dynamic trajectories towards the Other. This impetus interrogates relationships to Art and Otherness, as well as the (im)balance between aesthetics and ethics. It is therefore particularly relevant to scrutinize the latent contradictions between these two poles but also the creative, sometimes even democratic potential of their interactions
Pelletier, Martine. "Histoires et histoire dans l'oeuvre dramatique de Brian Friel." Rennes 2, 1994. http://www.theses.fr/1994REN20004.
Full textThis research examines the works of Brian Friel (1929-), the contemporary northern-Irish playwright who co-founded field day, the famous Derry-based theatre company which announced in 1993 that it was putting an end to its activities. Our main object has been the study of the tension between story and history, between storytelling and history-writing. The dramatist is fascinated by the ways in which the past can be manipulated and he observes with lucidity but not without compassion the erratic workings of memory and the creation of myths that operate as consoling fictions but also generate fixity and division. Myth, fiction, lies and fabulation are some of the key words in our analysis of Friel's drama. Though he never stopped focusing on the private world of the family, Friel has gradually succeeded in integrating a more political and historical reflection, largely inspired by the tragic resurgence of violence in Ulster after 1968. Without ever discarding completely the conventions of the so-called realist theatre, but he has sought varied and often innovative dramatic forms that have enabled him to show on the stage the crucial role of language in any representation of the past, whether it be filtered by an individual conscience or by the collective memory of the nation. Our study of the links between Friel and field day will, we hope, shed some light on how the playwright operated within a company that had as its avowed aim, the exploration of the often controversial and complex interaction between politics history and literature in Ireland
Hilaire, Schenker Maud. "Incidence du romantisme et de l'utopie sur les littératures nationalistes française et irlandaise (1880-1920)." Paris 3, 2005. http://www.theses.fr/2005PA030042.
Full textAt the beginning of the 20th century Irish and French nationalist writers (W. B. Yeats, J. M. Synge et M. Barrès), who create a " perfect " world which obey their own rules and aim at a totalling writing, waver between utopianism and romanticism. These idealist and rebellious authors invent a totalitarist and theandric universe between utopia and anti-utopia where otherness and individual liberties are denied, then they steal the fire, the Verb. As soon as these New Prometheus believe in their almighty, their universe fall apart : the limits of language are highlighted. Many writers look for the utopist Verb and get lost in their own labyrinth, those who avoid illegibility and the failures of their ancestors combine utopist and romanticist ideals : to open to others and develop imagination and suggestion in order to depict a perfect world which is a reflection of all
Brisset, Sandrine Michelle. "Bard of Modern Ireland : Perspectives on Voice and Mask within the Poetry of Brendan Kennelly." Paris 3, 2008. http://www.theses.fr/2008PA030151.
Full textCarpentier, Godeleine. "Charles J. Kickham, écrivain." Paris 3, 1987. http://www.theses.fr/1987PA030178.
Full textIn times of crisis, writers readily swing away from pure art to propaganda. Yet the interest raised by propagandist literature is often short-lived and these writers soon fall into oblivion. Kickham, however, has not known such a fate and he still lives on in the irish memory mainly through a handful of ballads and his famous knocknagow. Unusual circumstances have drawn attention to the work of this writer whose personal history closely follows the history of ireland and of the revolutionary movements of his times. His poetical career falls largely into three well-separated productive periods. Yet there is no clear development or maturation in his poetry which follows the popular and national literary tradition, both in form and content. Unlike his verse work, kickham's prose, regularly published from 1857 to the writer's death, follows a recognisable pattern of development. From the first tales based on fact and told mostly in the manner of the oral story-teller, to the later major works, one can find clear signs of a shift towards a more sophisticated literary tradition together with a growing concern for aesthetic effectiveness. Kickham's principal subject-matter is ireland. His description of post-famine ireland covers a wide range of aspects - geographical, eth- nological as well as sociological and political - and is all the more valuable as it deals with a time of great changes in irish society. Not only national in its themes, kickham's work, written from a poli- tical and ideological standpoint, is also intensely nationalist. In his work as in his life, kickham embodies the popular irish nationalist spirit
Roche, Virginie. "L'unité perdue : poétique du mythe dans l'œuvre du dramaturge irlandais Brian Friel." Paris 4, 2003. http://www.theses.fr/2002PA040183.
Full textThe purpose of this study is to present the mythic nature of Brian Friel's theatre so as to show how the playwright succeeds by exploring a theatre rooted in specific Irish problematics, in showing human nature. Friel's poetics, structurally and thematically based on the myth builds up around the idea of a unity, which is geographically, mentally and linguistically lost. This loss of unity is analysed through a study of the myths of Dionysos, Apollo, Thanatos and Eros. We then show how Friel looks for an answer to his metaphysical quest in silence, absence, darkness and in the image of the Doppelgänger. And Finally, we show how Friel tries to transcend the religious, political and cultural divisions by denouncing sectarianism, colonial oppression and national extremism. The theatre of Brian Friel revitalizes a theatre of words, where myth offers itself as an alternative solution to the metaphysical cry of man when faced with the unreasonable silence of the world
Lyonnet, Bernard. "Sens d'autrefois : pour une sémantique interprétative de l'archive celtique." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC004/document.
Full textWithin the general framework of a semiotic of cultures, this research has used the epistemological and methodological propositions of the interpretative semantic to renew the analysis of the medieval Irish texts. The aim was to make a contribution to a general question concerning the language sciences but also the historical sciences : How to set up the scientific relevance of a text interpretation and ancient signs that belongs to a different culture ? With this mind, it has been decided to aim at semantic facts which intervene in the transfer process of meaning that the rhetoric tradition name comparison, metaphor or symbol. The methodological approach has required the edition of an interlinear corpus giving a direct access to the data of the Electronic Dictionary of the Irish Language. The study of the lexis has compared the defining possibilities to the contextual afferences has been observed by a systematic survey of targeted isotopies.On the semantic level, the analysis of the differential processes that structures the semic molecules has enabled the possibility to observe the semes circulation that highlight the intentional analogies. On the diachronic approach, the description of the value system taken as a whole, set up the interpretation’s relevance because it’s integrating the social standards of the sign’s historical background. With regard to the Celtic studies, the analysis of correspondence between the fields of spatial orientation, the time cycle and the social functions gives a new access to the complexity of this culture’s system of thought. The described semantic patterns provide new models for comparisons. On this basis, the expressions of association tree-knowledge has been described to find a solution to etymological problems of the lexis druid- and suggest to go beyond the monographic lexical approaches by the intertextual approach
Lozes, Jean. "Joseph Sheridan Le Fanu : romancier et nouvelliste anglo-irlandais : 1814-1873." Toulouse 2, 1987. http://www.theses.fr/1987TOU20018.
Full textThe tragedy of the political and religious clash between Ireland and England is responsible for Le Fanu's work. The latter is first an historical, then a mythical vision of the conflict. The study of the confrontation soon results in an absolute hesitation, in the impossibility to find a solution. Le Fanu's art consists in conveying this hesitation and this impossibility via two literary modes used jointly. As an expression of man's moral confinement, incomprehensible predestination and inexorable fate, the fantastic genre - that most adequately translates the original fear perpetuated throughout history - gives Le Fanu an ideal means of unveiling the hideous spectra of a world in which any journey is a deceitful initiation, any desire for understanding a frightening open road to distress, nightmares, the duality of all things, and death. As an expression of man's attempt to rationalize human existence and to clarify the intricacies of earthly situations, the detective genre also provides Le Fanu with the necessary contribution of reason, thus enabling him to demonstrate the vanity of our expectations in that field
Ó, Ciosáin Éamon. "Les Irlandais en France, 1590-1685 : les réalités et leur image." Rennes 2, 2007. http://www.theses.fr/2007REN20029.
Full textNarrative, analysis and chronological framework of Irish migration to France in the 17th century, located in its European context. Beginning with medieval and 16th century Franco-Irish relations, which shape some aspects of this migration, this study proposes three distinct periods: 1590-1633, 1634-1660, 1660-1685. It charts the movement of people, the political, social and religious factors behind the migration, and the arrival and settling or further movement of Irish exiles. Using primary and secondary sources from several jurisdictions, significant characteristics of the migration and presence of the Irish in France are studied. The early period is marked by mobility and the marginal status of most Irish. Significant military and clerical migration to France in the 1634-1660 period is accompanied by a small élite presence. In a context of temporary exile, signs of stability emerge. The Restoration in England sees not a general return to Ireland but a continued Irish presence in France, in the civilian, military and clerical spheres. By this stage several Irish clerical institutions had been set up in France. In spite of its continuity, the social character of this migration meant that naturalisations and privileges for the Irish were relatively rare before 1690. However, the Irish appear to have integrated successfully, locally in Western France, in the army and church. This migration was numerically significant but its importance has been understated. The issue of memory of this migration during the subsequent Jacobite exile is discussed, and the literary representation of the Irish in early modern France is studied
Jousni, Stéphane. "James Joyce : un héritage encombrant : Flann O'Brien, John McGahern, John Banville : comment assumer la succession." Rennes 2, 2000. http://www.theses.fr/2000REN20007.
Full text@Creator of an immense work, each of whose opus constituded an artistic revolution, James Joyce (1882-1941) has left to Anglo-Irish writers a formidable legacy. Leaving behind the XIXth century novel, Joyce irrevocably altered the modern literary map. Representing that moment of transition for contemporary sensitivity known as modernity, Joyce's work undeniably was and still is a burden to generations of Irish writers. A comparative study of O'Brien, McGahern and Banville's novels and short stories can lead to a fruitful historical analysis of Joyce's influence on XXth century Irish literature. Each of those three writers has indeed benefited, consciously or inconsciously, from the literary lessons of the " master ", whose heritage, possibly a source of inhibitions, is now possible to measure. Altohgh Flann O'Brien (1911-1966) was hailed as the author of several masterpieces, the general critical reception derided the Joycean undertones of his work, and tended, not undully so, to condemn his work as inferior imitation. As a matter of fact, O'Brien remains as the first Irish metafictionalistalong with Joyce. Less than two generations later, John McGaherrn (1932-)appeared on the Irish literary scene. Undeniably marked by Joyce's early work, whose realistic and symbolical influence can be perceived in most of his short stories and some of his novels, McGahern only reluctantly admits his indebtedness to the author of Dubliners. And despite the poetic originality of his writings, he continues to write as though James Joyce had never existed. As for John Banville (1945-), who seems to have inherited Joyce's sense of experimentation as well as his capacity to recycle the work of his predecessors, he has obviously started to pave the way to new forms of literature -maybe for the first time since Ulysses. With Banville, the Irish literary community may be able to turn over the leaf Joyce wrote nearly a century ago
Guibert, Pascale. "L'ecriture du paysage chez quatre poetes irlandais contemporains : patrick kavanagh, richard murphy, brendan kennelly et seamus heaney." Paris 7, 1997. http://www.theses.fr/1997PA070046.
Full textBy the careful study of the poems of four irish poets - seamus heaney, patrick kavanagh, brendan kennelly and richard murphy - we try to specify what their landscapes express so that we can then determine what landscape, as a genre, actually represents. This is no presentation of their poetry since we focus on one of its aspects : what work is expressed through landscape. This leads us to concentrate more intently on the role of writing in the creation of landscape. Thus have we not made a list of the typically irish landscapes. We have tried to go beyond what is just depicted in order to show how and why this depiction was done. We do not so much consider either the visual aspect of the written place or its original geographic situation as what, as a particular landscape, it reveals about the idea of landscape, to which it gives a form. There are four stages to our progression towards what is seemingly expressed through a landscape. At first, the parts played by the poet in the building of society, and by man in the building of landscape are presented. These we have been able to define through the study of the way some exterior scenes were represented. In the second part, we try to determine which living conditions and human feelings are betrayed by such or such landscape. In the third part, we continue our search beyond the description of the exterior world and discover what a particular landscape reveals about man as a doer and as a creator. We then concentrate on his precise work, which we see expressed by some landscapes, and even stressed by the way they are written. We finally reach the very first moments of this work of creation, also represented by some landscapes and their writing. These landscapes can be considered as attempts at making explicit - thanks to images from the exterior world - the principle of artistic creation. So, a landscape should not be thought of as a mere description of nature but as an expression of our function as creators
Kolb, Matthieu. "Espaces dramatiques et postdramatiques dans le théâtre de célébration de Franck McGuinness." Caen, 2012. http://www.theses.fr/2012CAEN1648.
Full textChatar, Fatiha. "La dramaturgie de Sheridan : approche sémiologique." Paris 4, 1996. http://www.theses.fr/1996PA040089.
Full textIn our subject, we tried to analyze the reality and the "life" projected in Sheridan’s dramatic text. The main question will be then: "to what purpose or what use is really a semiological access to Sheridan’s dramatic works. Numerous persons notice that the semiology of the text is a means which helps the reader to discover the richeress of the structures better than a performed text could do. We studied also, Sheridan’s figures which are well defined by a set of distinguishing features. Malapropp for instance, is identified by the characteristically inflated view she has of her ourn intelligence. We didn't neither forget to study the dramatic irony and the gestures of the characters. To sum up, Sheridan’s text is still missing a real theatrical performance to determine the visual structure of his characters
Sablayrolles, François. "La biographie historique et son influence sur la fiction réaliste de l'entre-deux-guerres en Irlande : l'exemple de Sean O'Faolain." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030131.
Full textThe period after independence in Ireland saw the emergence of a new generation of writers eager to promote a literature described as ‘realist’. This realism, which can be understood as a form of anti-idealism, was inspired by literary motivations, but also by motives that were both political and identity driven. In this, it was in tune with the approach of a historiographical movement of the same period, later qualified as revisionism, which aimed at nuancing the dominant nationalist narrative of history. In parallel to their works of fiction, a number of realist writers, including Sean O’Faolain, chose to approach history from the angle of historical biography. Situated at the frontier between history and literature, these biographies were at once historiographical and literary in their intentions, thus giving authors, who were hampered by the censorship regime in place, an avenue of expression in which they could give free rein to their literary sensibilities. On the other hand, fiction, by infiltrating the biographies, and by imposing its tempo, contributed to some extent to the revising of history. Beyond their function as refuge, the biographies can be seen as a laboratory in which the biographer elaborates antidotes to the ills that afflict fictional writing of the period while at the same time perfecting key set pieces of his realist fiction. The biographical character concentrates within him the political and literary tensions of which the author is seeking to divest himself. His realist aesthetic matures as the realist landscapes become ever more steeped in history and bring more realist representations to his fiction. Biography having accommodated fiction and memory in turn permeates the realist fiction in a decisive way, to the point of redefining its themes, its functioning and its form
Guedj, Emmanuelle. "Vers une dramaturgie de l’errance : Les scènes anglaises et irlandaises du début du XXe siècle à nos jours." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040241.
Full textThematically speaking, wandering and erring are particularly noticeable in early XXth century Irish drama. Playwrights stage vagrants, tramps, and Tinkers as a means to explore the loss felt by a large part of the Irish population throughout history. These characters also express metaphysical questions which will be echoed in the second half of the century. From being rather important themes, wandering and errancy gradually invade the very structure of the plays, be they Irish or British. Wandering has remained a major way of exploring trauma-related situations, be they economical, political or ethical. As the stage keeps questioning certainties, directions and sense are played with. The thematical and structural roles of wandering onstage highlight the widespread existence of a skeptical dramaturgy debunking trust and conviction
Girard, Gaïd. "Aspects et construction du fantastique dans les nouvelles de Joseph Sheridan Le Fanu (1814-1873)." Paris 4, 1994. http://www.theses.fr/1994PA040074.
Full textThis thesis aims at defining the specificity of Le Fanu's fantastic in his short stories. .
Chartier, Cécile. "Déplacements, projections, obsessions, l'interprétation des nouvelles de Fitz-James O'Brien." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030112.
Full textBetween the 1970’s and the early years of the 21st century, Fitz-James O’Brien’s short stories have been analysed with reference to his Irish birth. This dissertation aims to examine the mechanisms of re-nationalisation at work in the interpretation of his stories: by means of semantic displacements and linguistic projections, the critic runs the risk of being haunted by Irish history. It is thus necessary to reconstruct O’Brien’s literary and journalistic career, from his early anonymous contributions to the “correspondence” column of the Irish nationalist newspaper The Nation, to the creation of the American satirical magazine Vanity Fair, and his death from a wound he recieved in a skirmish during the American Civil War. This dissertation will analyse particularly the part that literary Bohemia played in creating an artistic ideal of “borderlessness,” and the part that the press played in circulating this idea, all the while partaking in the construction of a specifically American literary field. I will then examine the reception of O’Brien’s stories and how they were adapted throughout decades in various media. Finally, I will study interpretative mechanisms which place Ireland and Irishness at the centre of text-reading and I will highlight the rhetorical effects allowing such a reading, both in the critical texts and in O’Brien’s stories themselves. Because of the highly referential nature of his magazine writing, the symbolical, sometimes satirical or even allegorical meaning of his stories eludes today’s reader, who has no choice but to embark on a laborious hermeneutic quest