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Ménissier, Patricia. "Les amies de Voltaire dans la correspondance : 1749-1778 /." Paris : H. Champion, 2007. http://catalogue.bnf.fr/ark:/12148/cb41187900m.
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Fabian, Rosmarie. "Voltaire et le bonheur du poète épicurien : poésie, poétique, « poétologie » chez Voltaire." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040287.
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Cette thèse porte sur la conception du bonheur de Voltaire telle qu’elle se dégage de ses œuvres en vers. Bien qu’elle soit la moins étudiée dans la recherche, la partie poétique de l’œuvre voltairienne est de grande valeur pour la compréhension de l’esthétique voltairienne, parce que c’est là sans doute que le grand écrivain français a le plus directement livré ses idées et ses sentiments.L’analyse des relations avec les poésies des modèles épicuriens latins met en évidence une pratique philosophique de la création littéraire que Voltaire a apprise chez eux. C’est notamment Horace qui joue un rôle principal dans l’inspiration et la pratique voltairiennes et dont Voltaire appréhende entre autre la notion du poeta doctus et de la création poétique qui est étroitement liée au sentiment de bonheur.Les principes critiques sur lesquels repose l’ensemble de cette thèse est la distinction entre la poétique et la « poétologie » de Voltaire (la dernière étant un concept tout à fait courant dans d’autres langues que j’ai adapté pour analyser l’attitude poétique de Voltaire). Cette distinction permet de mettre en évidence la nature exacte de la filiation entre les anciens poètes épicuriens (notamment Horace) et Voltaire et explique le lien étroit et complexe entre poésie, bonheur et les topiques épicuriennes que j’évoque dans cette thèse : les notions du paysage, de l’âge, de l’amitié et de la mythologie traitées dans les poésies du grand poète des LumièresThe present doctoral thesis addresses the concept of happiness in Voltaire’s lyric poems. To date, Voltaire’s poetry has not been the subject of significant research, despite the fact that it is of great significance in terms of gaining an understanding of the aesthetic of the French author, as he expresses his thoughts and feelings directly in his poetry.Research into the topics, which Voltaire associated with the Latin Epicurean poets, shows how he adopted their philosophical and literary practice. A particular inspiration for Voltaire was Horace, from whom he took on, among other things, the idea of the poeta doctus and the nature of poetic creativity, which are very closely associated with a feeling of happiness.In this thesis, a distinction is made between ‘poetics’ and ‘poetology’ which does not exist in French. This distinction enables us to shed some light on the legacy of the ancient Epicurean poets (particularly Horace), and highlights the close and complex relationship between poetry, happiness and the Epicurean topics which are reflected in Voltaire’s poetry and which this thesis addresses: the themes of landscape, age, friendship and mythology
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Grebe, Inga. "Liebe und Aufklärung bei Voltaire /." Berlin : Dissertation.de Verl, 2006. http://catalogue.bnf.fr/ark:/12148/cb411214654.
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Finke, Susanne. "Voltaire - ein Klassizist ? : Die tragödientheoretische Position des Aufklärers /." Hamburg : Dr. Kovač, 2002. http://catalogue.bnf.fr/ark:/12148/cb389957361.
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Song, Shun-Ching. "Voltaire et la Chine." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37610001x.
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Meng, Hua. "Voltaire et la Chine." Lille 3 : ANRT, 1990. http://catalogue.bnf.fr/ark:/12148/cb37616293d.
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Ferreira, Edimar Gonçalves. "Voltaire e a tolerância." Pontifícia Universidade Católica de São Paulo, 2011. https://tede2.pucsp.br/handle/handle/11570.
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Previous issue date: 2011-07-04This study discusses the idea of tolerance from the perspective of the eighteenth century French writer and philosopher Voltaire. In that century, tolerance and its philosophical grounds were developed by Voltaire in order to combat errors at the beginning of the modern era specifically, fanaticism and religious intolerance. Philosophers and theoreticians before Voltaire, such as Bayle and Locke, equally invested in tolerance for the good of the nation. But as regards this short period, which represents the century of lights, we realize that it was he who made the greatest effort to eradicate religious fanaticism. A Treatise on Tolerance is just one more work of Voltaire s literary productions that deals with the fight against religious fanaticism. The Calas family history, a subject dealt with in the second chapter of this dissertation, tells of violence against alterity; the other in question is French Protestant Jean Calas, the perfect target for bigoted Catholics. First of all, for tolerance to be induced and experienced by people, it was necessary to use reason in a mature way, which would be the only way to change the insane customs of people living under the spell of superstitions. In the third chapter of this study, reason is seen as an assurance in the advancing fight against religious fanaticism. We realize, however, that it is not religion itself that is the manifestation that must be combatted. According to Voltaire, religion serves as an excellent moral brake for humans who are not able to control their own lives without religion. However, the supreme good of the nation was the most important thing to attain. The laws were to be respected and the church needed to submit to the state in order to enable social tolerance. Voltaire, however, claims that new morals should guide society; morals that were enlightened not by religion, but by reason. Above all, it is these morals that should take the human spirit toward the preservation of the physical and moral well-being of society
Este estudo procurou dissertar sobre a ideia de tolerância na ótica de Voltaire, pensador e escritor francês do século XVIII. No referido século, a tolerância e seu projeto filosófico foram arquitetados por Voltaire com a pretensão de combater os erros do inicio da modernidade que eram o fanatismo e a intolerância religiosa. Antes de Voltaire outros pensadores e teóricos investiram igualmente ao bem da nação, no que diz respeito à tolerância, como Bayle e Locke, porém em se tratando desse curto período que representa o século da luzes, percebe-se que foi ele quem mais dedicou esforços para eliminar o fanatismo religioso. O Tratado Sobre a Tolerância é apenas uma obra a mais na produção literária de Voltaire quando se trata desse combate contra o fanatismo religioso. A história sobre a família Calas assunto tratado no Capitulo segundo dessa dissertação, nos informa sobre a violência contra a alteridade; o outro em questão, Jean Calas, protestante,é o alvo perfeito dos católicos intolerantes. A tolerância para que fosse estabelecida e vivida pelas pessoas era necessário em primeiro lugar o uso amadurecido da razão; somente essa seria capaz de reformar os costumes insanos de um povo vivendo a deriva das superstições. No terceiro capitulo desse estudo a razão é expressa como um penhor desse combate que avança contra o fanatismo religioso. Cabe ,portanto, perceber que não era a religião em si mesma, o mostro funesto a ser combatido. Essa como dizia Voltaire é um excelente freio moral aos homens que não eram capazes de, sem a religião, terem a autonomia em suas vidas. O que, porém precisava ser obtido acima de tudo era o bem supremo da nação. As leis deviam ser respeitadas, a igreja precisava submeter-se ao poder do Estado a fim de que uma tolerância social pudesse existir. Voltaire, no entanto compreende que uma nova moral devia conduzir a sociedade; uma moral que fosse iluminada não pela religião, mas pela razão. É ,essa, acima de tudo que devia produzir no espírito dos homens a preservação do bem físico e moral da sociedade
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Baiao, Filho Luiz Gonzaga. "A história segundo Voltaire." Universidade Federal da Paraíba, 2008. http://tede.biblioteca.ufpb.br:8080/handle/tede/5624.
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Previous issue date: 2008-05-07Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
La présente dissertation a comme objectif réaliser une compréhension de la conception de l'histoire dans la pensée de Voltaire, à partir de l'importance de penser elle selon l'approche de trois aspects ou significations, qui entrelacés définissent comme histoire critique sur la liberté humaine. L'attitude critique dans Voltaire occupe un aspect de notre réflexion dans la conduction de la connaissance historique, conformément à la dialectique parmi savoir et pouvoir et leurs dédoublages dans la constitution des moeurs, arts, lois, sciences, tant dans le contexte public, que dans le domaine privé des valeurs et événements de la vie de l'homme comme être sociable. Donc, si observe que dans le mouvement de le Lumières émane la préoccupation de enquêter les phénomènes humains dans société et, malgré de ne comprendre pas de le Lumières comme un mouvement philosophique d'idées homogènes, la culminância de la préoccupation s'illustrait dans la défense du procès d'émancipation de la raison humaine. Donc, l'autre aspect du problème tourne autour de la distinction parmi histoire et fable. Mais, intercalée au problème perpassa la relation que la ligue avec la vision de Voltaire sur la liberté humaine, surtout parce que l'histoire est pensée conformément à laquelle fait l'homme un être libre, depuis, la recherche de la liberté de pensée par l'homme est exprimée par Voltaire à travers le progrès de l'esprit humain.
A presente dissertação tem como objetivo realizar uma compreensão da concepção de história no pensamento de Voltaire, a partir da importância de pensá-la segundo o enfoque de três aspectos ou significados, que entrelaçados, a definem como relato crítico sobre a liberdade humana. A atitude crítica em Voltaire ocupa um aspecto da nossa reflexão na condução do conhecimento histórico, de acordo com a dialética entre saber e poder e seus desdobramentos na constituição de costumes, artes, leis, ciências, tanto no âmbito público, como no domínio privado dos valores e acontecimentos da vida do homem como ser sociável. Por isso, observamos que no movimento do Iluminismo emanou a preocupação de investigar os fenômenos humanos em sociedade e, apesar de não entender o Iluminismo enquanto um movimento filosófico de idéias homogêneas, a culminância da preocupação se ilustrava na defesa do processo de emancipação da razão humana. Portanto, outro aspecto do problema gira em torno da distinção entre história e fábula, mas, intercalada ao problema perpassa a relação que o liga com a visão de Voltaire sobre a liberdade humana, sobretudo porque a história é pensada em conformidade com o que faz o homem um ser livre, já que, a busca da liberdade de pensamento pelo homem é expressa por Voltaire através do progresso do espírito humano.
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Karoui, Abdeljelil. "La dramaturgie de Voltaire." Clermont-Ferrand 2, 1989. http://www.theses.fr/1989CLF20024.
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La premiere partie de ce travail a eu pour objet l'etude de la technique dramaturgique de voltaire par rapport au 17e siecle. La deuxieme a permis d'illustrer ses usages par le choix de trois pieces representatives. Enfin dans la troisieme l'on s'est interesse a sa dramaturgie telle qu'elle est determinee par l'homme dans ce qu'il a de plus intime et de plus ou moins conscient, et par le philosophe dans sa volonte de precher ses verites et dans ses menees contre "l'infame". Il ressort de cette etude que la volonte de reforme du theatre classique reste timide chez voltaire. Mais il s'est impose a son epoque comme le premier poete tragique du 18e siecle. L'image du dramaturge souffre aujourd'hui d'opinions reductrices indefiniment reprises et propagees sans nuances. Il serait juste qu'elle soit reviseeThe first part of this work aimed at studying the dramatic technique of voltaire in relation to the 17th century. The second part illustrates his techniques through three representative plays. In the third part we have concentrated on his dramatic technique as it is related to the most intimate and more or less conscious part in him, and on the philosopher's will to preach his "thruths" and his determined struggle against "infamy". Thes study shows that voltaire's will to reform the classical theatre was not very strong. However, in his time, he was considered as the first dramatist of the 18th century. Nowadays unsatisfactory opinions on voltaire as a dramatist, endlessly repeated and curtly spread, still remain. This unfair judgement should be revised
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Choukroun, Yvette. "Le Tragique chez Voltaire." Aix-Marseille 1, 1985. http://www.theses.fr/1985AIX1A014.
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McVickar, Bruce. "Voltaire, aubergiste de l'Europe." Paris 4, 1996. http://www.theses.fr/1996PA040167.
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Nous étudions la vie de Voltaire en tant qu'hôte de ses châteaux à Genève (aux Délices) et à Ferney. L'homme le plus célèbre de son temps y attire des visiteurs de toute l’Europe. Une chronologie détaillée (de 1755 à 1778) de ces voyageurs avec quelques commentaires sur leurs visites est suivie d'une typologie des pèlerins (car la plupart se déplacent pour lui rendre hommage) pour mieux expliquer ce qu'ils attendent de Voltaire et ce qu'il attend d'eux. Aristocrates, artistes, auteurs et jeunes visiteurs sont examinés. Ensuite nous abordons l'accueil au château, commençant par une description de Ferney et des différentes étapes de la réception. Les usages de l'époque et l'originalité de Voltaire ne sont pas négligés, pour mieux saisir son personnage. Nous faisons référence à son œuvre également, source féconde pour comprendre son idéal d'hôte aristocratique à la campagne. Enfin, la table du château révèle davantage le gout du XVIIIème siècle et encourage la conversation, une des activités qui permettent à Voltaire de mieux séduire le visiteur et de faire de la vie un art qui soutient et prolonge son œuvreIn this dissertation we study the life of Voltaire as host in his two luxurious residences in Geneva, "les Délices", and at Ferney. The most celebrated man of his time, he attracts visitors from all over Europe. A detailed chronology (from 1755 to 1778) of these travellers with a brief commentary on their visits is followed by a typology of the pilgrims (as most of them travel to pay homage to the great man) to better explain what they expect of Voltaire and what he expects of them. Aristocrats, artists and young visitors are studied. Then we consider the reception at the chateau, beginning with a description of Ferney and the different stages of the reception. The customs of the time and the originality of Voltaire are not neglected, in order to better understand his character. We also refer to his work, a fecund field for understanding his ideal of the aristocratic country host. Finally, Voltaire’s table gives us a picture of eighteenth country taste and encourages conversation, one of the principal activities that allows him to better seduce the visitor and to make life an art, which sustains and extends his work
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Cattoor, Muriel. "Les corps de Voltaire." Littoral, 2006. http://www.theses.fr/2006DUNK0162.
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L'histoire du corps de Voltaire n'a fait l'objet que d'études partielles et non systématiques. Le premier propos de cette thèse est de rassembler les éléments épars qui demeurent concernant ce corps particulier : tantôt squelette des Délices, tantôt vieux malade de Ferney, ou même "Lazare sortant de son tombeau". Une telle histoire n'aurait qu'un intérêt anecdotique, si les lettres, et les discours aussi tenu alentours, ne rendaient compte parfois à des années de distance d'une série de cohérences. Si Voltaire n'a de cesse en effet de parler de son "pauvre corps" ou de ses "maladies chroniques", c'est en se livrant à mille variantes, usant, abusant de tous les registres, réexploitant même certains discours du temps ayant trait à l'ordre corporel, médical et philosophique. Ce faisant l'auteur donne à voir les déclinaisons d'un corps progressivement rendu multiple, multiforme, polyphonique. Voltaire soumet ainsi sa "machine chancelante" à ses correspondants, ses interlocuteurs, dans le cadre de stratégies discursives précises dont la thèse entreprend d'analyser les termes et les enjeux pour en rendre manifeste le sensThe history of Voltaire's body has only been the subject of partial studies but not systemic ones. The first aim of this thesis consists in gatering the remaining scattered elements wich relate to this particular body : now skeleton of the Delights now old man in Ferney or even "Lazare getting out of his tomb". Such a history would only have an anecdotic interest if the letters and speeches delivered in the surroundings didn't account for a series of coherences sometimes a few years apart. If indeed Voltaire continuously speaks about his "poor body" or "his chronic illnesses", he actually studies thousands of alternatives, being over fond of the numerous registers, even re-exploiting some discourses of the time connected with the physocal, medical and philosophical associations. In so doing, the author makes us read, look at the declination of a body progressively transformed into a multiple, a multiform and polyphonic one. Thus Voltaire submits his "unsteady machine" to his correspondents, to his interlocutors within precise discursiv strategies whom this thesis understakes to analyse the ins and outs to finally make their meaning obvious
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Song, Shunqin. "Voltaire et la Chine." Aix-Marseille 1, 1987. http://www.theses.fr/1987AIX10017.
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La these comprend deux parties. La premiere traite de la presence de la chine dans l'oeuvre de voltaire avec pour themes : l'histoire et l'antiquite, la societe, la politique, la religion, la philosophie, les sciences, les arts et les belles lettres chinois ; et nous avons tente de justifier la distance entre la chine reelle et l'image voltairienne de la chine. La deuxieme partie : "recherches et interpretation" porte sur une etude chronologique des ecrits de voltaire sur la chine, suivie d'une enquete sur les sources de l'auteur a propos de ses ecrits sur l'empire du milieu, et en dernier lieu, sur l'interet philosophique et materiel de la chine pour voltaire. Cette etude historique, philosophique, bibliographique, biographique, chronologique et psychologique basee sur les oeuvres completes et la correspondance de voltaire nous amene a mieux comprendre le mythe de la chine exploite au siecle des lumieres par notre auteurThe thesis is carried out in two parts. In the first part, we have examined in voltaire's works the presence of china within various fields : history and antiquity, society, politics, religion, philosophy, science, arts and literature ; hence, we have tried to justify the gap between factual china and voltaire's image of china. The second part entitled : " research and comment " contains a chronological study of voltaire's works on china, an investigation about his sources concerning the middle kingdom, and lastly, an attempt at understanding the author's interest in china, namely its philosophical importance and the material benefits to be derived through commercial ties. This historical, philosophical, bibliographic, biographical, chronological and psychological study based on voltaire's complete works and correspondence enables us to understand better the use made of the chinese myth during the age of enlightenment by our author
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Meng, Hua. "Voltaire et la Chine." Paris 4, 1988. http://www.theses.fr/1988PA040068.
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La Chine antique dont l'histoire et la civilisation remontent à une très haute antiquité, provoqua dans l’Europe du XVIIIe siècle, une admiration générale qui influença considérablement un certain nombre d'écrivains des lumières, parmi lesquels Voltaire. Trois grandes périodes ont marqué l'évolution dans l'attitude de Voltaire à l'égard de la Chine: -avant 1740, Voltaire, indiffèrent à la Chine spirituelle, ne fit que suivre la mode chinoise en vogue pour son exotisme précieux; -ce n'est qu'après sa première retraite à Cirey que Mme du Châtelet, en réaction contre l'Histoire universelle de Bossuet, secouera l'esprit de Voltaire, qui commencera son initiation par une étude sérieuse de l'histoire de la Chine et créera par suite une image assez objective de la Chine dans ses œuvres d'alors. Toutes ses "idées-fixes" sur la Chine ont été formulées pendant cette période; -toutefois, c'est à Ferney qu'il utilisera la Chine comme arme dans sa croisade "contre l'infâme", et pour que cette arme soit tranchante, il ne manquera pas de purger la première image relativement impartiale. C'est ainsi qu'on trouve dans ses œuvres d'après 1755, une Chine idéalisée. Voltaire dépasse les autres "philosophes" de son temps par son érudition d'historien et par sa haute assimilation de l'essentiel du confucianisme: l'humanisme. Elles nourrissaient constamment l'enthousiasme de Voltaire envers la Chine, à sa mort, il nous a laissé une grande quantité d'œuvres et de lettres concernant entièrement ou partiellement la Chine. Voltaire mérite d'être rangé parmi les prédécesseurs et créateurs. .The history and civilization of ancient China can be traced back to remote antiquity. In the eighteen century, there arose general admiration of the Chinese civilization in Europe, which considerably influenced a certain number of writers in the age of enlightenment among whom there was Voltaire. The evolution of Voltaire’s attitude toward China can be divided into three principal period: - before 1740, Voltaire, indifferent to spiritual China, simply followed the then fashionable enthusiasm for China for its exotic treasure; - not until his first retirement to Cirey, influenced by Mme Chatelet's opposition to "The History of the world" by Bossuet, did he begin a serious study of the Chinese history and form quite an objective image of China in his works. All his views on China were formulated in this period; - however, it was at Ferney that he used China as a weapon in his fight against the intolerance and fanatism of Christianity. In order to sharpen this weapon, he even made an effort to purify his relatively impartial image of China. Thus in his words after 1755, one can find an ideal China. Voltaire surpassed the other philosophers of his time because of his erudition as a historian and his thorough assimilation of the essentials of Confucianism: the humanism. These two points constantly enriched his enthusiasm for China so that he more or less mentioned China in a large quantity of his works that he left to us. .
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Hanrahan, James C. "Voltaire and the Parlements." Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/24673.
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The parlements of France appear regularly in the background of studies on Voltaire, whether as a conservative censoring authority, a self-interested opponent of a reforming monarchy, or, intolerant dispensers of inadequate justice. They appear constantly as enemies of Enlightenment. This study aims to bring Voltaire’s relationship with the courts to the foreground, examining his reaction to them during the reign of Louis XV and showing that this reaction is continually evolving, as opposed to the fixed image mentioned above. Part I explains Voltaire’s youthful admiration for the parlements and shows that, before the 1750s, his reaction to them was not particularly hostile (Chapter 1). His attitude wavers between disinterest and mild frustration before the attack of Damiens on the king in 1757, which awakened him to the dangerous influence of certain magistrates’ religious zeal (Chapter 2). Part II examines the effect of certain miscarriages of justice perpetrated by the parlements of Paris and Toulouse on Voltaire’s view of the courts and how this changing view influenced his decision to write a history of the principal parlement in the capital (Chapter 3). This is followed by a close examination of Voltaire’s anti-parlementaire rhetoric in the Histoire du parlement de Paris (Chapter 4). Part III questions the established interpretation of Voltaire’s political thought through a comparison of the Histoire du parlement de Paris and the Précis du siècle de Louis XV (Chapter 5) and supports this analysis with an examination of Voltaire’s support for the suppression of the parlements by chancellor Maupeou in 1771, showing an alternative understanding of Volaire’s aims in supporting royal authority (Chapter 6).
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Grebe, Inga. "Liebe und Aufklärung bei Voltaire." Berlin dissertation.de, 2005. http://deposit.d-nb.de/cgi-bin/dokserv?id=2869399&prov=M&dok_var=1&dok_ext=htm.
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Villevieille, Yves. "L'idée de raison chez Voltaire." Paris 1, 1989. http://www.theses.fr/1989PA010524.
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La thèse intitulée L'idée de raison chez Voltaire tente de suivre d'abord l'évolution du terme raison et l'utilisation qu'en fait l'écrivain ; elle essaye dans une œuvre ou les définitions précises du mot sont presque inexistantes de saisir les significations que Voltaire attache tour à tour à ce terme et les connotations dont il le charge. Des recherches semblables ont été entreprises pour les mots folie, fou, absurdité, absurde, démence, fanatisme, fanatique, et aussi lumières. Tout au long du développement historique de l'œuvre, on a voulu classer les significations de ces termes en citant les occurrences les plus intéressantes et les plus éclairantes. La conclusion fait ressortir une évolution et elle montre la constitution d'une raison de plus en plus agressive contre les préjugés religieux si néfastes. La raison dont l'action s'inscrit dans l'histoire doit finalement triompher malgré les attaques de ses adversaires. C'est là un optimisme modéré et un appel à la lutte contre tout ce qui opprime la raisonThis thesis aims at following the evolution of the term "reason" in Voltaire's works. In the same way it's an attempt to follow the evolution of the words "madness" "mad" "absurdity" "absurd" "lunacy" "fanaticism" "fanatic" as well as "enlightenment". The meaning of the above-mentioned words are classified and the most significant of the concerned entries are quoted. In conclusion such a research sets out an evolution : it emphasizes the building up of a specific reason which attacks the so nefarious religious prejudices. Reason must overcome its opponents. Here lies a moderate optimism and a call to fighting against anything that fetters reason
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Boucher, Gwenaelle. "La poésie philosophique de Voltaire." Brest, 2000. http://www.theses.fr/2000BRES1014.
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Au sein du XVIIIe siècle, siècle de mutations redéfinissant les statuts du poète et du philosophe puisqu'il voit la naissance de l'Esthétique et du concept moderne de Littérature, Voltaire est ce poète philosophe célébré en son temps dont la poésie apparaît tout aussi problématique que la philosophie : il n'est plus aujourd'hui considéré comme un poète ni comme un philosophe. Pourtant, à partir d'un corpus nouveau regroupant des textes traditionnellement dissociés, l'analyse des mécanismes internes reliant la poésie et la philosophie chez Voltaire fait émerger des notions inédites comme celle de la philosophie fugitive par exemple. La poésie constitue aussi moins pour Voltaire un pur ornement qu'un réel enjeu philosophique : le vers possède des vertus heuristiques relayant la raison lorsque celle-ci achoppe sur une difficulté. En une sorte de dialectique poétique, la pensée est nourrie par la forme même du poème qui peut mener plus loin la réflexion de Voltaire, l'amenant à défendre en vers des idées qu'il s'est pourtant toujours refusé à formuler en prose. Issue d'une sorte de raison ardente qui préside à un affolement des formes, cette philosophie portative se met au service de la bienfaisance, quitte à sacrifier le Beau au Bien en ressassant des maximes devenues clichés rhétoriques et lieux communs de la pensée. Mais le vers voltairien est autant actif que réactif, empreint des émotions du poète devant tous les scandales. Accédant à la poésie lorsque ses idées échouent à trouver des certitudes philosophiques devant les incohérences du monde, Voltaire serait alors, contre toute attente, un poète de l'irrationnel. S'il veut conjurer les désordres du monde grâce à la mécanique du vers, ce respect de l'ordre formel peut avoir valeur philosophique justement : il s'agirait de faire accepter les idées nouvelles en les inscrivant dans une tradition formelle, de discréditer les valeurs du passé en retournant contre elles le même instrument qui les avaient instaurées.
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Leigh, John Duncan. "Voltaire : between history and frivolity." Thesis, University of Cambridge, 1998. https://www.repository.cam.ac.uk/handle/1810/251647.
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Mattei, Silvia <1975>. "Voltaire e i viaggi della ragione." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2007. http://amsdottorato.unibo.it/171/.
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Chabarek, Nahed. "Mahomet et l'Islam vus par Voltaire." Paris 3, 1992. http://www.theses.fr/1993PA030012.
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Nous avons ete amenee a voir les sources et les informations de lutist state. R ood industry. H italy. . . Voltaire sur l'islam tout d'abord a travers ses predecesseurs et lutist state. R ood industry. H italy. . . Les voyageurs de son temps, et egalement l7image de mahomet en lutist state. R ood industry. H italy. . . France et dans le theatre francais, dans l'encyclopedie et chez les encyclopedistes. R ood industry. H italy. . . Cette etude nous a conduite aussi a etudier les lopedie et chez les encyclopedistes. R ood industry. H italy. . . Influences familiales sur le comportement antifanatique d'arouet et clopedistes. R ood industry. H italy. . . A voir de pres son temperament changeant et son caractere fluctuant, clopedistes. R ood industry. H italy. . . Avant d'etudier l'islam dans les oeuvres de voltaire a la lumiere t, clopedistes. R ood industry. H italy. . . De sa correspondance explicative, dans son theatre et dans ses t, clopedistes. R ood industry. H italy. . . Diverses oeuvres. Nous avons adopte l'ordre chronologique pour t, clopedistes. R ood industry. H italy. . . Eviter les repetitions comme c'etait le cas chez l'auteur. Enfin, t, clopedistes. R ood industry. H italy. . . Le rapport de voltaire avec mahomet n'etait pas sans ambiguite cart, clopedistes. R ood industry. H italy. . . Il en resulte une ambivalence : le rapport avec mahomet l'homme t, clopedistes. R ood industry. H italy. . . Qui se distingue pour l'auteur de mahomet le prophete. Ensuite, t, clopedistes. R ood industry. H italy. . . On voit voltaire s'eriger en prophete tout en essayant de sete, t, clopedistes. R ood industry. H italy. . . Rapprocher des grands politiques de son temps pour devenir prophete clopedistes. R ood industry. H italy. . . Des temps nouveaux. Litiques de son temps pour devenir prophete clopedistes. R ood industry. H italy. .We were led to examine the sources and the inquiries of rophete clopedistes. R ood industry. H italy. . . Voltaire about islam in the first place through his predecessors e clopedistes. R ood industry. H italy. . . And the travellers of his time and further the image of mohammed e clopedistes. R ood industry. H italy. . . In france and in the french theatre, in the "encyclopedie" and in e clopedistes. R ood industry. H italy. . . The encyclopaedists. This study also led us to study the family e clopedistes. R ood industry. H italy. . . Influences on the antifanatic behaviour of arouet and to examine e clopedistes. R ood industry. H italy. . . His changing temper and his fluctuating character. We made that e clopedistes. R ood industry. H italy. . . Before studying islam in the works of voltaire in the light of hise clopedistes. R ood industry. H italy. . . Explanatory correspondence, in his theatre and in his various e clopedistes. R ood industry. H italy. . . Works. We adopted the chronological order so as to avoid s e clopedistes. R ood industry. H italy. . . Repetitions as it was the case with the author. Finally, we must e clopedistes. R ood industry. H italy. . . Acknowledge that the relation of voltaire with mohammed was not e clopedistes. R ood industry. H italy. . . Without ambiguity because an ambivalence results from this : his e clopedistes. R ood industry. H italy. . . Judgements on mohammed the man and the prophet are rather different. Clopedistes. R ood industry. H italy. . . Further, we see voltaire posing as a prophet while her different. Clopedistes. R ood industry. H italy. . . Trying to draw nearer to the great politicians of his time to t. Clopedistes. R ood industry. H italy. . . Become a prophet of the new times. Oliticians of his time to t. Clopedistes. R ood industry. H italy. .
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Mattei, Silvia. "Voltaire e i viaggi della ragione." Paris 10, 2007. http://www.theses.fr/2007PA100040.
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La thèse porte sur la figure du voyage dans l’œuvre de Voltaire. Plus précisément, elle compte de déterminer la portée de la notion de voyage chez Voltaire, en repérant les différentes manières par lesquelles elle se constitue en discours philosophique, ou en est simplement l’expression. La démarche proposée est thématique et chronologique à la fois : en partant des Lettres philosophiques (1733) jusqu’au Philosophe ignorant (1767), en passant par les Romans et contes philosophiques (1739 – 1774), lesquels constituent le matériel le plus copieux de la recherche, elle analyse cinq variantes des voyages voltairiens : 1) Le Voyage en Angleterre ; 2) Les Voyages cosmiques ; 3) Les Voyages philosophiques ; 4) Les Voyages culturels ; 5) Le Voyage dans l’histoire de la pensée philosophiqueThe thesis focuses on the figure of travel in Voltaire’s works and means determine notion and dimension of travel, finding the different ways it translate and express philosophical discourse of the author. Processes are thematic and chronologic at the same time: from Lettres philosophiques (1733) to Le Philosophe ignorant (1767), across the Romans et contes philosophiques (1739 – 1774), the research analyses five variants of Voltaire’s travels : 1) Travel to England; 2) Cosmic travels; 3) Philosophical travels; 4) Cultural travels; 5) Travel trough the history of philosophical thought
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Fontaine, Marie-Odile. "Voltaire à la lumière de Lucien." Rouen, 2016. http://www.theses.fr/2016ROUEL017.
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Quel lien unit Voltaire à Lucien de Samosate, Syrien de langue grecque du IIe siècle, souvent surnommé « le Voltaire de l’Antiquité » ? L’influence de l’Ancien sur le Moderne semblait évidente à des lecteurs du XVIIIe siècle, puis cette idée a été relativisée, voire totalement rejetée. Pourtant Voltaire possédait une traduction des œuvres de Lucien, et prétendit l’avoir imité dans un texte de 1751. En 1765, il le met en scène dans sa Conversation de Lucien, Érasme et Rabelais dans les Champs-Élysées. Ailleurs, il le mentionne comme autorité. D’où vient ce renversement d’opinion ? En quoi le jugement du XVIIIe siècle était-il sensé ? Pour le comprendre, il faut se rappeler que Lucien était lu sous l’Ancien Régime comme auteur mis à l’Index, certainement incrédule, peut-être épicurien, ayant osé rire de sujets aussi « vénérables » que les pratiques et fables d’historiens, de philosophes, de prêtres imposteurs et de leurs adulateurs : autant de raisons pour Voltaire de s’intéresser à lui. Cet intérêt a été fécond : comme nombre d’auteurs depuis la Renaissance, Voltaire a imité et adapté la manière de récits ou saynètes fantaisistes et philosophiques du Syrien, dont on retrouve le spoudogeloion dans maints dialogues ou contes « typiquement » voltairiens. Mais si les œuvres de l’Ancien ayant le plus inspiré Voltaire se ressemblent par la forme, elles rappellent aussi les paroles ironiques de Socrate, « silènes d’Alcibiade » qui, sous leur air bouffon, interrogeaient les discours d’autorité pour dénicher les fausses vérités ; les « silènes » de Voltaire et de Lucien, à tendance probabiliste, assagissent de même ceux qu’ils délivrent de préjugés et de certitudes mal fondéesWhat is the link between Voltaire and Lucian of Samosata, a Greek-speaking Syrian, often called "the Voltaire of antiquity"? The influence of the Ancient on the Modern seemed obvious to readers from the 18th century before this idea was tempered, even outright rejected. Yet Voltaire owned a translation of Lucian’s works, and claimed to have imitated him in a text from 1751. In 1765, Voltaire stages him in Conversation between Lucian, Erasmus and Rabelais, in the Elysian Fields. Elsewhere, he mentions him as a figure of authority. To what is owed this reversal of opinion? In what way is the 18th century assessment sound? To understand this, it is important to remember that Lucian was read under the Ancien Régime as a blacklisted author, certainly unbelieving, maybe epicurean, having dared to mock such "venerable" subjects as the practices and fables of historians, philosophers, phony priests and their worshippers: all reasons for Voltaire to be interested in him. This interest has been fertile: as numerous authors since the Renaissance had done, Voltaire imitated and adapted the style of whimsical and philosophical stories or playlets from the Syrian, whose spoudogeloion can be found in many "typical" Voltairian dialogues or tales. However, while the Ancient’s works that inspired Voltaire are most similar in form, they are also reminiscent of the ironic speeches of Socrates, the "silenes of Alcibiades" that, behind their farcical appearance, questioned the rhetoric of authority in order to expose its sophistry. Lucian and Voltaire’s "silenes", rather probabilistic, also make wiser those they free from prejudices and ill-founded certainties
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CAPPELLETTI, CRISTINA. "L’ANTI-VOLTAIRE. PASSIONI E DISSIDI MANZONIANI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2017. http://hdl.handle.net/10280/35781.
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Manzoni in giovane età fu un grande ammiratore di Voltaire, che poi abbandonò o distrusse. La prima fase del lavoro analizza le prime biografie manzoniane, attraverso le quali si è cercato di capire quando si è diffusa la notizia, infondata, ma che ancora oggi trova credito, della distruzione da parte di Manzoni di tutti i volumi l’edizione del 1785 di tutte le opere di Voltaire.
Si è poi provveduto ad analizzare la bibliografia critica manzoniana, per definire al meglio lo status quaestionis degli studi. In particolare si è messo in luce il ruolo fondamentale della lezione crociana, riferimento obbligato per tutti coloro che si sono interessati ai debiti di Manzoni nei confronti delle opere di Voltaire.
Sono state poi analizzate le citazioni dirette di Voltaire nelle opere di Manzoni. Questa analisi ha permesso di isolare i singoli passi in cui Voltaire viene citato direttamente, l’ipotesi di partenze era quella che potesse esistere una “funzione Voltaire” nell’opera manzoniana; in molti casi, però, il rimando all’autore francese è in negativo: Manzoni sente infatti la necessità di correggere ed emendare quanto affermato
dall’illuminista.Manzoni was a great admirer of Voltaire, who then abandoned or destroyed. The first phase of this work analyzes the old Manzoni’s biographies, through which it was tried to understand when born the unfounded news on Manzoni's destruction of all volumes of all the works of Voltaire. Then we analyzed the Manzoni’s critical bibliography, to better define the status quaestionis of the studies. Then this work analyzes Voltaire's direct quotes in Manzoni's works.
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Miranda, Luiz Francisco Albuquerque de. "Voltaire e a historia do estado civilizador." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280105.
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Orientador: Roberto Romano da SilvaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: O presente trabalho trata do papel do Estado nas obras filosóficas e historiográficas de Voltaire. O texto discute as relações que ele estabelece entre a legitimidade do poder político e a noção de processo civilizador. A partir do estudo dos textos do filósofo sobre a organização do império chinês e a história da monarquia francesa, analisa-se a maneira como- ele- apresenta a centralização estatal como forma eficaz de controle das paixões e resposta aos conflitos políticos, econômicos e religiosos que ameaçam a ordem pública. Nessa perspectiva, o Estado, quando consolida sua autoridade e limita o arbítrio dos governantes, é pensado como agente civilizador
Abstract: This present work discourses on the role of the state in the philosophical and historiographical writings of Voltaire. It discusses the links he establishes between the legitimacy of the political power and the concept of civilizing process. Being rooted in Voltaire's writings upon the organization of the Chinese empire and the French monarchy, this work analyzes how the philosopher presents the state's centralization as an effective form of controlling the passions and responding to the political, economic and religious conflicts that threatens the public order. From this perspective, the state, when it consolidates its authority and restricts- the- tyranny of the rulers, is thought of as a civilizing agent
Doutorado
Doutor em Filosofia
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Mota, Vladimir de Oliva. "Acerca da noção de filosofia em Voltaire." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-13122012-094430/.
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Este trabalho pretende demonstrar a existência de um pensamento consistente e coerente na obra de Voltaire. Para tal, num primeiro momento, recorre à finalidade atribuída por esse autor à filosofia, a saber: o combate pelo aperfeiçoamento moral dos homens. Esse caráter bélico de seus textos é o laço a unir sua multifacetária obra, dando-lhe coerência. Num segundo momento, identifica que esse combate pressupõe uma fundamentação das ideias, ou seja, a finalidade da filosofia voltairiana exige um pensamento consistente que lhe serve de alicerce; por fim, expõe quais os pressupostos da realização do combate filosófico, em uma palavra, objetiva compreender como esse combate se efetiva.This work intends to show the existence of a consistent and coherent thinking in Voltaires work. In order to reach that goal, at first, it is analysed the final usage given to Philosophy by him, in other words: the struggle to mankind moral improvement. This fighting aspect of his texts is the lace that binds his multifacated work together, giving coherence to it. Then, this research identifies that struggle takes for granted based ideas, in other words, the objective of Voltaires Philosophy demands a consistent thinking that serves as its foundation; finally, it exposes the assumptions in which this philosophical struggle happens, in one word , how this struggle takes place.
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Haroche-Bouzinac, Geneviève. "La foramtion de Voltaire épistolier : 1711-1733." Paris 4, 1990. http://www.theses.fr/1989PA040117.
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La premiere partie de l'etude presente un tableau du gout epistolaire a la charniere du xvii eme et du xviii eme siecle. Cette description rassemble les elements d'une theorie definissant les qualites necessaires a la lettre (prudence, brievete, adaptation) et a son style (moyen, neglige, naturel). A partir des ouvrages theoriques et des recueils les plus repandus au tournant du siecle, elle evoque les modeles les plus frequement proposes (ciceron, seneque, balzac, voiture, bussy), et les alea de leur faveur. Ces exemples offrent les elements de la topique epistolaire a la fin du siecle. L'analyse se consacre ensuite a definir le role determinant des professeurs du college "louis le grand" dans l'apprentissage epistolaire du jeune homme, elle evalue la possible influence des lectures (horace, chapelle, la fontaine) et des premiers correspondants (chaulieu. . . ). Elle determine la relation de la lettre voltairienne par rapport au protocole precedemment defini (composition, formules de conclusion), puis s'attache a eclairer les particularites de son style (art de l'ellipse, gout des oppositions, ironie intermittente, esprit de la maxime). Enfin, elle presente l'essentiel d'une thematique epistolaire en. .The first part of this study provides an overview of epistolary usage and esthetics at the end of the seventeenth century and the beginning of the eighteenth century. The author distinguishes the different elements that composed epistolary protocol during the period, both for the content of the letter (appropriateness, concision) and for the stylistic level chosen (normal usage, informality, apparent spontaneity). The analysis draws upon epistolary manuals in order to describe the models most frequently proposed (cicero, seneca, balzac, voiture, bussy. . . ), and the varying degrees of their popularity. After having defined the caracteristics of epistolary usage during the period, the author situates voltaire in relation to this established protocol. Early influences upon the young writer are evaluated: his training in the art of composition at the college "louis le grand", his readings (horace, chapelle, la fontaine) and his interactions with correspondants like chaulieu. Traits which are specific to the style of the young voltaire are analysed: his use of ellipsis, his tendancy to. .
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Dauphin, Thibaut. "Le comparatisme politique dans l'oeuvre de Voltaire." Thesis, Bordeaux, 2020. http://www.theses.fr/2020BORD0290.
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Ni la science politique, ni l’histoire du comparatisme ne se sont jamais véritablement saisies de l’œuvre politique de Voltaire. Or l’examen des textes, attentif au contexte du siècle où ils sont produits, peut permettre de dégager une nouvelle perspective sur sa dimension politique et comparative. Égrenées dans de très nombreux ouvrages, souvent dans des opuscules qui ont cessé de nous être familiers, les théories de l’auteur de l’Essai sur les mœurs et l’esprit des nations rivalisent et discutent avec celles de l’Esprit des lois et du Contrat social, mais sont aujourd’hui négligées. L’esprit de l’œuvre voltairienne est animé par une philosophie de l’action qui nourrit un examen rigoureux, quoiqu’obscurci par la lancinante question religieuse, des principaux faits politiques de l’histoire. Ce comparatisme historique, à peu près inédit par son ambition et ses dimensions, participe à l’édification d’une philosophie de l’histoire – la première du genre – qui constitue la grille de lecture voltairienne du politique. Sous les auspices de la comparaison, le corps de l’œuvre dessine alors les contours d’un « bon gouvernement » éclairé par la raison et la religion naturelle d’une part, et réglé par les droits naturels et la suprématie de la loi d’autre part. Inspiré des États de l’Europe et de l’Asie et mêlant les trois formes classiques de régime, ce modèle mixte matérialise le système politique de VoltaireNeither political science nor the history of comparatism has ever really grasped Voltaire's political work. However, an examination of the texts, attentive to the context of the century in which they were produced, can bring a new perspective on its political and comparative dimension. The theories of the author of the Essai sur les moeurs et l'esprit des nations, found in numerous works, often in pamphlets that have ceased to be familiar to us, compete and discuss with those of De l’esprit des lois and Du Contrat social, but are today neglected. The spirit of the Voltairian work is driven by a Philosophy of action, which conveys a rigorous examination, of the main political facts of history, albeit obscured by the haunting theme of religion. This historical comparatism, almost unprecedented by its ambition and dimensions, leads to the construction of a Philosophy of history - the first of its kind - which constitutes the Voltairian reading grid of politics. Through comparison, the body of the work then outlines a "good government" enlightened by Reason and natural religion on the one hand, regulated by natural rights and the supremacy of the law on the other. Inspired by European and Asian countries, blending the three classical forms of regime, this mixed model materialises Voltaire's political system
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Pierse, Siofra. "Voltaire and Clio : from history to story." Thesis, University of Oxford, 1999. https://ora.ox.ac.uk/objects/uuid:e3377231-c4bd-4b39-8dfd-3a6e5011680b.
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This thesis proposes to examine Voltaire as 'literary' historian and to compare the theory and practice of his histories with those of contemporary historiographers and historians. The works selected for focus are Voltaire's Histoire de Charles XII (1730) and Le Siècle de Louis XIV (1751). Section I, 'History Voices', centres on the enunciated theory and the actual practice of contemporary history. The prefatory writing of a selection of historians (from among Voltaire's sources) is analysed to identify a prefatory programme. This is subsequently compared to the contemporary practice of writing history and it reveals an intriguing degree of divergence concerning attitudes towards authority, objectivity and truth. Similar analysis is applied to Voltaire's theoretical writing on historiography, revealing a 'historian's voice'. While Voltaire and his contemporaries all discuss questions of the historical author, subject, style, truth, aims and reader, actual contemporary history (excluding Voltaire) discloses a monotonal texture, uniquely concerned with the chosen subject of history. Section II, 'Story Voices', focuses on Voltaire's use of different textual levels in his composition of the story of his histories, that is, the telling, evaluation and presentation of historical and non-historical material within history. Analysis is made of structure, style, use of anecdotes, voices and echoes to investigate the development of a polytonal history which is simultaneously historical and contemporary, analytical and polemical, general and personal. In comparing Voltaire's histories to contemporary histories and to his own enunciated theories of historiography, textual analysis also reveals ambiguities in fact and fiction, in the historical and the storical, in historiography and narrative. A salient feature of the literariness of Voltaire's histories is the presence of duality, ironic tone and polytonal voices, all of which are audible beneath and within the official history. This literariness underlies and comprises the very vitality of Voltaire's history.
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Chōtiwisit, ʿUbonwan. "Recherche sur la veine satirique de Voltaire dans ses écrits satiriques contre Jean-Jacques Rousseau." Rouen, 1990. http://www.theses.fr/1990ROUEL121.
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Les écrits satiriques, y compris les facéties de Voltaire contre Jean-Jacques Rousseau, tant décriés, confirment plus que jamais que Voltaire est le maître du génie satirique avec quelque chose qui lui est propre: son penchant ludique. Tout lui donne l'occasion de jouer, de s'amuser: les figures de style traditionnelles, les tactiques satiriques et l'art du pamphlétaire facétieux. Il s'abandonne à sa verve, sa gaîté, son rire, son esprit, son espièglerie et sa fantaisie sans contrainte; son rire est contagieux; ses lecteurs deviennent ses complices. C'est là que se trouve la force de ses satiresVoltaire's anti-Rousseau satirical writings including the "Facéties", so much denigrated, confirm more than ever his position as one of the masters of satirical genius with something peculiar to him alone: his penchant for playing games. Everything gives him a chance to play, to enjoy himself: traditional imagery, satirical tactics and the art of the jesting pamphleteer. He gives himself up completely to his verve, his gaiety, his laughter, wit, mischief and imagination. His laughter is infectious. He passes it on to his readers who become his accomplices. That is where the power of his satires lies
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Shibuya, Naoki. "Tradition et modernité : étude des tragédies de Voltaire." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2014. http://tel.archives-ouvertes.fr/tel-00968766.
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Voltaire a-t-il été rénovateur ou défenseur du classicisme ? Bien qu'il l'appréciât, il s'opposait à l'introduction de la galanterie qui était la tradition classique. Car, pour lui, la puissance de la tragédie, c'était d'inspirer la crainte et la pitié afin d'instruire les hommes. À ses yeux, la galanterie ne pouvait qu'affaiblir le rôle éducatif de la tragédie. Ainsi, il a tenté d'instruire dans le théâtre français des scènes qui inspirent la terreur, tout en respectant la bienséance du classicisme. Pour ce qui est de la pitié, il a mis en avant l'importance des liens familiaux ; les liens du sang font entendre la voix de la nature. Cela nous amène à la question de la nature humaine. En réalité, Voltaire avait confiance en la nature de l'homme, tout en soutenant l'empirisme. De là, une contradiction apparaît. Si l'homme est façonné par son environnement, il y a des cas où il se dénature et commet un crime. Voltaire pensait plutôt que l'homme était originellement l'être faible qui commit la faute. Alors, le crime s'unit à la nature humaine. Cependant, il croyait malgré tout à la bonté de l'homme car ce dernier possède la capacité de se régénérer. C'est là qu'intervient la force du remords. Pour Voltaire, ce sentiment est une des composantes de la vertu gravée dans la nature humaine. Même si un mortel commet un crime, il peut se régénérer grâce au remords. L'être humain, selon lui, résulte de sa nature bonne et l'empirisme. Voltaire a tenté jusqu'à sa mort d'être à la fois dramaturge et philosophe afin de mettre en lumière le rapport de la vertu et de la régénération. Pensant toujours à éduquer l'homme, tantôt il défend la tradition classique, tantôt il introduit de la modernité dans le classicisme. Toutefois, pour lui, moderniser la tradition classique était un moyen de la conserver, non pas de la détruire. En effet, il pensait que la tragédie classique était la plus efficace manière d'éduquer les hommes. La tragédie voltairienne, c'est donc l'intégration de la modernité à la tradition du classicisme.
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Dias, Elizabeth de Assis. "Alguns aspectos do conceito de razão em Voltaire." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280920.
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Orientador: Roberto Romano da SilvaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Abstract: Not informed.
Doutorado
Doutor em Filosofia
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Magri, Dirceu. "Aspectos da presença de Voltaire nas crônicas machadianas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-05022010-153541/.
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Este trabalho tem como tema principal o estudo da presença de Voltaire nas crônicas machadianas através do intertexto como aporte teórico. Na obra jornalística de Machado de Assis verificou-se que era grande a recorrência a Voltaire, merecendo, portanto, um estudo mais aprofundado. Foram feitas análises críticas de 23 crônicas, nas quais se verificou que, em algumas delas, os elementos intertextuais - a citação, a referência ou alusão, acomodam-se ao novo texto, em benefício da ironia que o cronista procurava imprimir à situação. Em outras, no entanto, atuam completando, alterando ou ainda modificando inteiramente o novo texto, em processo que, se por um lado demonstra a extensão das leituras do cronista, por outro, redireciona o leitor, descortinando-lhe um novo horizonte intelectual e cultural ao tomar conhecimento da obra citada ou referenciada, ou, para aquele leitor com ela familiarizado, reescrevendo-a.The main topic of this paper is the study of Voltaires influence in Machado de Assis chronicles by means of intertextuality as the theoretical framework. This influence can also be seen in Machados journalistic work, and we believe that deserved to be dealt with in more detail. Twenty three chronicles were analyzed and it was noticed that in some of them, intertextual elements like quotations, references or allusions molded the new text favoring the irony the writer meant to imply. In others, however, these elements alter or even entirely modify the new text in a process that shows, on the one hand, the extension of Machados reading, and on the other, the way he leads the reader to a new intellectual and cultural horizon the very moment he gets in touch with the works mentioned or referred to. For the reader who was already familiar with Voltaires work, there was the possibility of a new understanding of it.
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DIAS, Elizabeth de Assis. "Alguns aspectos do conceito de razão em Voltaire." Universidade Estadual de Campinas, 2000. http://repositorio.unicamp.br/handle/REPOSIP/280920.
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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
O nosso trabalho, pressupondo que existe um conceito de razão consolidado pelo movimento iluminista que fez com que o século XVIII se auto-denominasse "século da razão", "século da filosofia", etc., pretende investigá-lo. Nossa análise vincula-se à vertente francesa considerada a mais representativa do período, e elegemos Voltaire, por ser ele um dos mais acerbas defensores do uso esclarecido e livre da razão. A definição do caráter dessa racionalidade é quase sempre escamoteada, não chegando nem mesmo a ser tratada pela maioria dos estudiosos da época. O que freqüentemente eles procuram ressaltar a respeito desse século é que ele é impregnado por uma fé na razão, na capacidade intelectiva do homem que, somente através dela pode conseguir sua auto-libertação. Aceitando esta caracterização da filosofia das luzes, preocupamo-nos com um problema premente: de que razão se trata? Pois estamos conscientes de que a palavra "razão" há muito tempo deixou de ser um conceito simples e univoco. Basta percorrer a História da filosofia para constatar as mudanças de sentido que o termo "razão" sofreu no transcurso de sua existência. Se o século XVIII reivindica para si a adjetivação de "século da razão", "século das luzes," cabe-nos indagar: Qual a procedência desta racionalidade? Onde podemos encontrar o traço característico e distintivo desta designação? Como entender o sentido desta iluminação? Ao discutir essas questões, pretendemos sustentar que a razão, tal como foi concebida por Voltaire, era um pensamento de base empírico-experimental cujas origens não se encontram sobremodo no cartesianismo, mas na Física newtoniana e na Filosofia de Locke. Para elucidarmos o caráter da razão em Voltaire, analisamos criteriosamente sua obra fragmentária e procedemos como quem monta um quebra-cabeça, encaixando peça por peça, de modo a encontrar um fio condutor ou elementos que indicassem uma certa coesão de idéias. Não pretendemos, nos limites estreitos deste trabalho, esgotar todas as nuanças que a razão assumiu no seu pensamento, mas apenas indicar alguns de seus traços, orientações e apresentar alguns temas imbricados neste conceito. Como Voltaire é complexo e sua obra, imensa, tivemos que eleger algumas de suas obras que consideramos mais relevantes para o nosso estudo, como: o Tratado de metafísica., O filósofo ignorante, as Cartas filosóficas, o Dicionário filosófico, os Elementos da filosofia de Newton, o Tratado sobre a Tolerância e outras obras menores cujas referências serão registradas em notas de pé de página. Não nos esquecemos de consultar seus romances e contos, como Cândido, Micrômegas, e poemas de natureza mais filosófica, como Sobre o desastre de Lisboa, Sobre a lei natural, Discurso em verso sobre o homem. Mas o estudo de sua correspondência foi fundamental para elucidarmos certos aspectos de seu pensamento que não estavam muito bem delineados em suas obras. Gostaríamos de fazer uma última observação sobre as citações transcritas de obras que foram escritas nas línguas francesa ou inglesa. No corpo do trabalho, procuramos apresentar uma tradução própria ou de algum tradutor abalizado, que será identificado nas referências bibliográficas.
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Ziobrowska, Joanna. "La poétique du mal dans l'oeuvre de Voltaire." Paris 4, 2006. http://www.theses.fr/2006PA040174.
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La Poétique du mal dans l'œuvre de Voltaire est une étude de l'imagination de Voltaire à travers les images du mal que l'auteur révèle dans le monde. L'exploration des scènes des malheurs, des méchants et du mauvais est une réflexion sur comment Voltaire perçoit la laideur, le malade, la barbarie, la guerre, l'inquisition. Dans ces images apparaît l'angoisse voltairienne et la hantise devant le désordre dans le monde et dans l'homme. Voltaire s'insurge contre la souffrance de l'innocent, contre le côté animal des « héros » de la bataille et contre la superstition. Ses scènes du mal expriment sa surprise - eirôneia devant l'univers et devant l'homme laid que Voltaire caricature davantage. Son bouleversement est une composante de son tempérament, de son éducation, des idées qui règnent à son époque, enfin, de son inconscient. La réflexion sur le mal imaginé par Voltaire est accompagnée des hypothèses philosophiques, psychologiques et stylistiques qui se posent devant la question du malThe poetics of evil in Voltaire’s work is a study of Voltaire’s imagination through the images of evil that the author reveals into the world. The exploration of the scenes of misfortunes, of evil, and of the wicked is a reflection on how Voltaire perceives ugliness, the sick, barbarity, war, and inquisition. His pictures depict the Voltairian anxiety and haunting in front of the world’s and man’s disorder. Voltaire rebels against the sufferance of the innocent, the bestial side of the battle’s “heroes”, the intolerance of the churchmen, and superstition. His scenes of evil reveal his surprise – eirôneia in front of the universe and the loathsome man whom Voltaire caricatures even more. His deep distress is a component of his temperament, of his education, of the ideas that prevailed in the world in his époque, and of his unconscious. The reflection on the evil as imagined by Voltaire is accompanied with philosophical, psychological, and stylistic hypotheses that come to one’s mind when confronted with the issue of evil
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Azerhad, Annick. "Le dialogue philosophique dans les contes de Voltaire." Paris 4, 2007. http://www.theses.fr/2007PA040238.
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Ce travail se propose d’étudier le dialogue philosophique chez Voltaire non pas en tant que genre autonome et codifié mais en tant que procédé présent dans les contes. L’analyse de ces oeuvres constituerait un cas représentatif susceptible d’ouvrir une perspective nouvelle de recherche sur l’utilisation du dialogue philosophique dans le genre narratif. Elle permet en l’occurrence de dégager des constantes sur le plan philosophique et esthétique : méfiance par rapport au langage et à la parole, nécessité de redéfinir une parole concise, juste et efficace dans le cadre des relations sociales, dans le traitement des problèmes moraux liés à la vie pratique et dans le domaine de la recherche scientifique, disqualification des questions métaphysiques quand bien même elles restent obsessionnelles, réflexion sur l’attitude d’ouverture et d’honnêteté intellectuelle des interlocuteurs. L’esthétique des dialogues rend compte de ces conceptions : parti pris de la brièveté, dialogue ayant la forme de parabole ou d’apologue, ayant valeur de prophétie ou de révélation pour exprimer des intuitions qui ne sauraient être démontrées, traitement original du topos de la conversation. L’interaction entrele dialogue philosophique et la forme du conte s’avère extrêmement fructueuse : les aventures des personnages donnent une épaisseur supplémentaire aux propos échangés, les confrontent aux faits, confirment leur validité ou soulignent leur absence de pertinence. Les personnages sont placés dans des conditions qui leur font vivre une expérience de nature économique, scientifique ou philosophique. Ils mûrissent leurs nouvelles acquisitions intellectuelles ou persistent dans leur naïveté voire leur bêtise. La souplesse du genre du conte favorise l’émergence de la satire au sens étymologique du terme et dans son acception plus moderne. Le dialogue acquiert une spécificité qui consiste en la parodie de son principe ou qui donne naissance, entre autres, à une écriture narrativo-théâtrale dont l’originalité est à soulignerThis essay attempts to study the philosophical dialogue in Voltaire’s writings, not as the codified genre in itself, but as a device present in the tales. The analysis of these works could make up an example likely to open a new research perspective on the use of philosophical dialogue in the narrative genre. To be specific, it enables to bring out recurring features on the philosophical and aesthetic levels : distrust of language and speech, implying a necessity to redefine a concise, precise and efficient peech to be used in the field of social relationships, in the dealing with moral problems met in everyday life, as well as in scientific research ; rejection of metaphysical questions even if they remain obsessive, and reflection on the openmindedness and candour of the speakers. The aesthetics of the dialogues reflect these conceptions : preference for brevity, dialogues written as parables or as apologues, taken as prophecies or revelations to express intuitions which couldn’t be demonstrated, and original approach of the topic of the conversation. The interaction between the philosophical dialogue and the pattern of the tale turns out to be extremely fruitful : the characters’ adventures add to the depth of the talks, confront them with the facts and confirm their truth or lack of relevance. The characters are conditioned to live an economic, scientific or philosophical experience. They nurture their new knowledge or persist in their naivety or even their stupidity. The flexibility of the tale as a genre favours the emergence of satire in the etymological as well as modern meaning of the word. Dialogues acquire a specificity that leads to the parody of its principle or gives birth to, among other things, a dramatic narrative writing the originality of which must be emphasized
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Manoliaki, Magdalini. "Voltaire burlesque : le voyage dans "La pucelle d'Orléans"." Paris 4, 2008. http://www.theses.fr/2008PA040014.
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La longue genèse discontinue de la Pucelle trouve son unité dans le thème du voyage, qui s'exprime dans le poème héroï-comique en un mouvement rapide des personnages, qui a pour effet de souligner de façon burlesque leur comportement. Voltaire exhibe dans son poème sa fantaisie créatrice sur les moyens de transport et utilise l'espace par la réduction à des lieux symboliques. La mobilité étant un gage de variété, les péripéties, les effets de rythme et les digressions évitent la monotonie du poème, qui est présenté comme un genre hybride, où des détails hétéroclites signalent un échec esthétique et servent de paravent à un message philosophique. Le thème du voyage dans La Pucelle permet à Voltaire de s'abandonner à son génie burlesqueThe long and discontinuous history of La Pucelle finds its unity in the theme of the voyage. The trip is expressed in this hero-comic poem, through the timely movements of the characters, which has a burlesque effect on their behavior. In his poem, Voltaire shows his creative imagination through transport as well as his use of space through the reduction of symbolic places. Mobility guarantees variety. The events effects of rhythm, and digressions avoid the monotony of the poem, which is presented as a hybrid genre, where mixed details signal a failure in aesthetics and serve as a screen to a philosophical message. The theme of the voyage, in La Pucelle, allows Voltaire to abandon himself to his burlesque genius
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Naman, Ghada. "La correspondance de Voltaire avec Étienne–Noël Damilaville." Thesis, Paris Est, 2009. http://www.theses.fr/2009PEST0027.
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La présente thèse porte sur la correspondance de Voltaire avec Étienne- Noël Damilaville qui dure huit ans (1760- 1768). Le corpus est composé des lettres qui nous sont parvenues ; il compte cinq cent cinquante neuf lettres. Parmi elles, il y a cinq cent quarante lettres de Voltaire à Damilaville. Cette étude est divisée en trois parties ; elle vise à expliquer la nature des relations qui lient les deux hommes et la façon dont l’échange épistolaire s’est développée. Les lettres sont remplies de demandes, demandes de livres, d’informations, de remises de lettres ou de paquets et de services de tout genre. Elles révèlent la grande confiance que Voltaire fait à son correspondant. On perçoit facilement la loyauté de Damilaville qui n’hésite pas à exaucer toutes ces demandes. Plusieurs côtés de la vie de Voltaire à Ferney sont présentés, aussi bien que ses relations avec Paris par la médiation de Damilaville qui travaille au bureau du Vingtième, une place qui l’aide tant pour les services postaux que pour éviter la censure imposée sur la poste et sur les livres qui entrent en France au XVIIIème siècle. La correspondance est riche par la variation des sujets et des domaines abordés, elle reflète la vie de Voltaire comme homme et comme auteur, surtout comme auteur engagé dans la lutte contre le fanatisme, dit « l'Infâme ». On essaye de montrer son rôle et celui du groupe de « frères » dans ce combat, sans négliger l’importance du rôle de Damilaville comme intermédiaire avec les « frères » et avec les autres relations. On présente la stratégie de la lutte dans les affaires Calas, Sirven et La Barre ; le rôle de Voltaire comme chef de propagande est clair, il lui appartient de donner les ordres et les recommandations, de demander des contacts, de présenter des requêtes ou des lettres. Il ne ménage pas ses efforts pour acquérir la victoire, il consacre à la lutte des œuvres importantes. Cette recherche analyse certaines d’entre elles pour comprendre la méthode utilisée afin de soutenir la notion de tolérance et vaincre le fanatisme. Enfin, le style épistolaire utilisé est étudié à travers la présentation de la structure commune de la lettre, celle de son unité et l’application de la norme classique adoptée dans le genre épistolaire. On voit que les lettres appartiennent à un genre souple qui change selon l’usage entre une lettre missive, une épître, un billet et une lettre ostensible. L’étude aborde l’image de Voltaire présentée par lui-même dans ses lettres, il y a certaines lettres qui se transforment en lettre portrait qui dessine les traits de sa personne et présente sa biographie, elle devient un lieu d’épanchement dans lequel il se livre pour révéler l’intimité du « moi » de l’auteur. L’image de ses œuvres et de ses pièces de théâtre a sa place dans les lettres. On étudie la manière de les présenter et l’image que Voltaire désire en donner à son correspondantThis thesis talks about the correspondence of Voltaire with Étienne-Noël Damilaville which lasts eight years (1760 to 1768). The corpus consists of the letters we received, it has five hundred fifty-nine letters. Among them there are five hundred forty letters from Voltaire to Damilaville. This study is divided into three parts, it aims to explain the nature of relationships that link the two men and how the epistolary exchange was developed. The letters are full of requests, requests for books, information, discounts of letters or packages and services of all kinds. They letters reveal the great confidence that Voltaire to his correspondent. One easily sees loyalty Damilaville who does not hesitate to fulfill these requests. Several aspects of life in Ferney Voltaire are presented, as well as its relations with Paris by mediation of Damilaville who works in the office of the Twentieth. Its function using both postal services and to avoid the censorship imposed on the post and on the books that come in France in the eighteenth century. The correspondence is rich variation in subjects and areas covered, it reflects the life of Voltaire as a man and author, particularly as the author engaged in the fight against bigotry, says the "Infâme". It tries to show its role and that the group of "brothers" in this fight, without neglecting the importance of Damilaville as his intermediary with the "brothers" and with other relationships. We present the strategy in the fight business Calas, Sirven and La Barre; Voltaire's role as head of propaganda is clear, he is giving orders and recommendations, to seek contacts, make requests or letters. He spares no efforts to gain the victory he dedicated to the struggle of important works. This research examines some of them to understand the method used to support the notion of tolerance and overcome fanaticism. Finally, the epistolary style used is examined through the presentation of the common structure of the letter, that of his unit and applying the standard adopted in the conventional epistolary genre. We see that the letters belong to a genre that changes with flexible usage between a registered letter, an epistle, a letter and a letter ostensibly. The study addresses the image of Voltaire by himself in his letters, there are some letters that turn into letter portrait that draws the lines of his person and presents his biography, it becomes a place where he effusion book is to reveal the intimacy of the ego of the author. The image of his works and his plays has its place in literature. It examines how present and the image that Voltaire wants to give his correspondent
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Birgersson, Regina. "Rousseau och Voltaire : Två helt (o)lika filosofers filosofier." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-7372.
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Hilker, Annette. "Karnevalisierung als Medium der Aufklärung Fontenelle, Fénelon, Voltaire, Diderot." Hannover-Laatzen Wehrhahn, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2686765&prov=M&dok_var=1&dok_ext=htm.
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Gottmann, Felicia E. "The eighteenth-century luxury debate : the case of Voltaire." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:f5cdc51e-0ac1-4e01-8f7f-3d47ab07e233.
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Voltaire's role in the luxury debate, the controversy about civilisation, capitalism, and progress which accompanied the birth of modern consumer society in the eighteenth century, is generally limited to his Mondain and its Défense, and reduced to a hedonist apology for luxury. The thesis sets out to re-examine and refute this. It analyses Voltaire's discovery of commercial societies in Holland and England, and, focussing on the latter, it finds that the apology for commerce became a centralising theme in the Lettres philosophiques, explaining its purpose and coherence. The thesis then turns to Voltaire's apology for luxury in the 1730s, analysing how du Châtelet and Voltaire, having recourse to classic Epicureanism and deist voluntarism, transformed Mandeville's Fable of the Bees into a justification of commercial societies. Close readings of the Mondain and its companion pieces provide further proof that Voltaire's position on luxury was more nuanced than previously assumed. The Siècle de Louis XIV and the Essai sur les moeurs demonstrate the importance of luxury in Voltaire's view of civilisation, which in turn serves to explain the shift in Voltaire's appreciation of Montesquieu. The thesis opposes the claim that in later life Voltaire adopted a Rousseauian view of luxury. Examining Voltaire's later poetry on luxury in light of the analyses offered in the previous chapters, it concludes that his position remained consistent and showed no Rousseauian influence. Concluding with Voltaire's last defence of luxury, his entries 'Luxe' in the Dictionnaire philosophique and the Questions sur l'Encyclopédie, the thesis explains, with the help of the Fragments sur l'Inde, why and how his attitude to luxury seemed ambiguous in the latter work. The thesis thus proves that Voltaire's contribution to the debate was not only sustained, independent, and carefully nuanced, but that the debate itself played a crucial rule in Voltaire's thought and writing.
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Miranda, Luiz Francisco Albuquerque de. "Processo historico e noção de vida civilizada em Voltaire." [s.n.], 1998. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279318.
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Orientador: Roberto Romano da SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Ménissier, Patricia. "Les amies de Voltaire dans la correspondance (1749-1778)." Nancy 2, 2004. http://www.theses.fr/2004NAN21021.
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Ce travail tente de définir le réseau des amies de Voltaire après la mort de Mme du Châtelet. En caractérisant ses relations dans les cours européennes, les salons parisiens et le milieu suisse, on tente de percevoir les sphères d'influence qu'il privilégie et les moyens auxquels il recourt pour les atteindre et les inciter à se déterminer en sa faveur. La correspondance avec les amies est donc envisagée comme un témoignage sur les milieux qu'il vise, comme un espace où se construit l'image de ces amitiés, et comme un objet stratégique où s'exerce une rhétorique de l'amitié. Les lettres et les écrits des amies montrent que leur amitié est empreinte de l'admiration due à l'écrivain et de réticences liées à leur sensibilité ou à leur appartenance à un milieu. Si les amies sont appelées à devenir les hérauts des idées et du goût de l'écrivain, leurs convictions littéraires et philosophiques, et leur écriture témoignent de l'indépendance avec laquelle elles s'acquittent de leur rôleThis work attempts to reconstitute the network of Voltaire's ladies friends after Madame de Chatelet's death. By studying his relations in European courts, the Parisian Salons and the Swiss society, one begins to see the spheres of influences that he favors and how he uses them to act in his behalf. Hence, the correspondence with those women is seen as a picture on the said milieus, as a space where those friendships are elaborated and as a strategic object where a rhetoric of friendship is applied. The letters and writings of those women show that their friendship reflects the admiration due to the writer as well as their reticences resulting from their sensitivity or their belonging to a particular milieu. If his ladies friends are expected to become the writer heralds of his ideas and his tastes, their literary and philosophical convictions as well as their writings show the independence with which they fulfill their mission
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Ben, Khamsa Yassin Karim. "Figures du fanatisme dans l'œuvre de Voltaire (1761-1765)." Paris 8, 2006. http://www.theses.fr/2006PA082673.
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Cette thèse apporte un regard sur la question de la lutte de Voltaire contre le fanatisme. Elle est une tentative de proposer une analyse de l’engagement et de l’action de Voltaire. Elle repose sur une réflexion en profondeur sur le fanatisme. Elle est précise aussi dans la mesure où elle est centrée sur quatre années de l’activité de Voltaire particulièrement intenses (1761-1765). Cette étude de rhétorique portera donc essentiellement sur le Traité sur la tolérance, le Dictionnaire philosophique, ainsi que sur la Correspondance. Dans la première partie qui s’intitulera Les métaphores du fanatisme, il s’agira d’étudier le fanatisme qui est un des ennemis personnels de Voltaire, une vieille connaissance dont il repousse l’image détestée mais qui l’obsède. Cette image affreuse, génératrice d’angoisse, que Voltaire véhicule dans ses textes où il parle de fanatisme et de fanatique est très récurrente dans son œuvre. Il faudra donc saisir dans les occurrences du texte voltairien les connotations particulières à l’écrivain en tentant de déterminer l’évolution dans le temps de l’emploi de ce mot. Il est de même nécessaire de voir l’attitude de Voltaire durant sa carrière d’écrivain face à la notion de fanatisme et le jugement qu’il porte sur les fanatiques ainsi que ses réactions devant leur présence dans l’histoire humaine ou autour de lui. Dans la deuxième partie que nous allons intituler L’érudition voltairienne, nous allons montrer que l’œuvre de Voltaire témoigne de sa grande culture biblique, de ses recherches, de ses lectures éclectiques et abondantes, de sa curiosité constamment en éveil. La Bible est tout entière dans les lettres et les œuvres de Voltaire. Par un audacieux retournement, les formules bibliques ponctuent les appels à la lutte contre l’Infâme. Dans la troisième et dernière partie intitulée La rhétorique de l’ironie, il sera question d’étudier l’ironie qui est l’arme préférée de Voltaire. Il ne fait aucun doute que son arme la plus efficace contre le fanatisme est l’ironie, qu’il manie de main de maître. L’ironie est un des procédés les plus courants employés par Voltaire pour lutter contre le fanatisme, c’est-à-dire contre tout ce qui le fait souffrir et contre tout ce qui nuit à l’HommeThis thesis provide a certain look on the Voltaire struggle against the fanaticism. It’s an attempt to analyse the Voltaire’s commitment and action. It’s a deep thougt on the fanaticism. This research is precise in so far as it’s condensed on four years of the Voltaire’s intense activity. This rhetoric research is about the Traité de la tolérance, The Dictionnaire philosophique and also over the Correspondance. On the first part, entitled The fanaticism metaphors, it’s a study of the fanaticism as one of the personal enemis of Voltaire, an old aquaintance that he push away and that is hauting him. This dreadful and anguished image that voltaire convey througt his texts is redundant on his work. So we have to grasp on the different senses of the Voltaire’s texts, the connotations of the term fanaticism, it evolution and it use througt the time. It’s necessary to look at the Voltaire attitude over his writer career behind the term fanaticism and the judgment he keep on the fanatics and his reactions to their presence on his time and througt the human history. On the second part entitled The Volairian erudition we have to demonstrate that the Voltaire’s work testify to his biblic culture, his researchs his eclectic and plentful reading his curiosity constantly awakening. The whole bible is present on the letters and the Voltaire’s work. By a daring turn, the biblic expressions, punctuate the calls for the struggle against L’Infâme. On the third and last part entitled The rhetoric of the irony, we have to study the irony as the prefered arm of Voltaire. There’s no doubt that his effective arm against the fanaticism is the irony. The irony is one of the most common method used by voltaire to fight the fanaticism against who’s making him suffering and making suffering the human being
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Crenn, Maryvonne. "Perception, conception, représentation de l'espace dans l'oeuvre de Voltaire." Nancy 2, 1996. http://www.theses.fr/1996NAN21011.
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La conception de l'espace est totalement modifiée au XVIIème siècle par les découvertes de Newton. Voltaire tient à s'inscrire dans ce grand mouvement de renouveau de la vision de l'univers. Cette évolution scientifique ne va pas sans lui poser des problèmes métaphysiques, comme celui de la place de Dieu dans un espace vide, et épistémologiques, comme celui des limites de la perception sensorielle dans l'appréhension de l'espace. Toutefois, le modèle de l'astronomie s'impose à lui et vaut pour tous les domaines de la connaissance. Il sert de référence pour élaborer le mythe de pays touchés par les lumières et intégrés au système d'un monde de la raison triomphante. Il permet aussi de justifier, par l'intermédiaire de la gravitation, la nécessaire centralisation du pouvoir. Les découvertes géographiques ont également passionné Voltaire. Il évalue l'intérêt de celles-ci selon des critères parfois archaïques mais il laisse son oeuvre ouverte à toute nouvelle conquête. L'extension de l'écoumène constitue pour lui une manifestation de l'avancée de la philosophie. Dans son oeuvre, Voltaire a voulu représenter l'univers connu de son temps et de tous les temps. En dehors des oeuvres historiques, il n'a retenu souvent que les coordonnées spatiales pour matérialiser le déroulement de l'histoire. Suivant les genres, les époques, les humeurs, l'image de tel ou tel pays a pu connaitre des variations plus ou moins importantes. Malgré les garanties d'objectivité qui sont données, elle résulte toujours plus de rêves ou de fantasmes personnels que de la vérité. La spatialisation des personnages renseigne sur l'euphorie ou la déception que provoque la traversée d'un espace soumis aux aléas de l'histoire. La fréquence des métaphores spatiales dans l'oeuvre de Voltaire prouve, en tout cas, la prédominance de cette dimension, emblème de l'avoir, face au temps, symbole de l'êtreThe concept of space totally changed in the 17th century with newton's discoveries. Voltaire insisted on fitting into this wide movement which renewed the vision of the universe. As a consequence of his scientific evolution he was beset with metaphysical questions, such as god's position in an empty space and epistemological questions, such as the limits to sensorial percept in apprehension of space. However astronomy provided him the appropriate model which suited all fields of knowledge. It helped to work out the myth of countries hit by the enlightnement, believing in a world in which reason is triumphant. It also allowed to justify through gravitation the necessary centralization of power. The geographic discoveries also enthalled Voltaire. He considered their importance according to criteria which were sometimes archaic but he left his work open to all new discoveries. The extension of man's living space (ecumenia) was for him the sign that philosophy was making progress. In his work, Voltaire's aim has been to represent the universe of his time and of all the ages. Apart from his historical writings, he has often only dwelled on the notion of space in order to make the developpement of history more concrete. Depending on the litterary genres, the times, the moods, the vision of one country or the other has been submitted to more or else important variations
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Casares, Nathalie. "La correspondance entre Voltaire et D’Alembert : une amitié épistolaire." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040059.
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L’amitié au dix-huitième siècle possède un spectre définitoire plus étendu et celui-ci s’étend encore lorsque l’on étudie ce sentiment dans les lettres de Voltaire et D’Alembert. Leur relation, longue de plus de trente ans, reste indéfectible ; malgré une génération de différence entre eux, ils ont su dépasser les dissemblances qui les séparaient, les différends, de multiples manières avec plus ou moins de bonheur cependant. Mais c’est justement à travers les écueils relationnels rencontrés qu’il y a mise à l’épreuve de l’amitié et donc révélation de sa valeur, de son rayonnement, voire de sa définition particulière. Notre démarche a consisté à rendre le plus possible les leviers relationnels et -à travers la suspension du lien- le rattachement amical. Ces suspensions sont de plusieurs ordres car si la censure tient une grande place, les diverses querelles littéraires et dissensions philosophiques voire politico-religieuses occupent nos épistoliers. Les ruses pour supplanter les ennemis communs ont su distraire nos correspondants de leurs tensions et conquérir leur public. Et une rivalité d’influence a fait évoluer leur rapport l’un à l’autre ainsi que leur sentiment mutuel. Finalement, l’objet polémique, symbolisé par la lettre et le livre au sens large, les circonstances ou le jeu des sociétés ont mû leur sentiment amicalIn the eighteenth century, friendship possesses a vaster defining spectrum and this is extended when we study this feeling in Voltaire’s and D’Alembert letters. Their long lasting relationship of more than thirty years remains indestructible despite the difference of generation between them. They knew how to overtake the disparities that separated them, the disputes, and the multiple manners with somewhat and nevertheless, happiness. But it is precisely through the relational pitfalls and obstacles that the friendship had been tested, its value is revealed, its particular brilliance too. Our approach consisted in returning as much as possible to the relational levers and –through the suspension of the link- the friendship attachment. These suspensions have several characteristics and consequently if censorship holds a big part, the diverse literary quarrels and the philosophical dissensions as well as politically-religious take over our correspondence. Their guiles to supplant the common enemies were able to distract them from their tensions and conquer their public. A rivalry of influence developed their relationship one to another and their mutual feelings. Finally, it is the polemical object symbolized by the letter and the book in a broad sense, the circumstances or the role of companies that moved their friendship feelings
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Nelson, Philip A. "Irony's Devices: Modes of Irony from Voltaire to Camus." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275318943.
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Santana, Christine Ardnt de. "Educação e Literatura: Voltaire e a função educadora dos textos literários." Universidade Federal de Sergipe, 2008. https://ri.ufs.br/handle/riufs/4675.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorWhat we have in mind in this thesis is to understand and identify the literature educational role in French Illustration, known as the intellectual movement of XVIII century. The specific goals of this research are: understand some literary expressions - the pamphlet, the short story, for example - as instruments in service of education, considering that they are effective when transmitting moral values and, at last, showing how the educational function of literature in Voltaire is achieved, through the analysis of his short stories. To succeed in researching these goals, the text was divided in three chapters. The first, called "Illustration, Education and Literature", exposes the context of the historical period studied, presenting some of its main characteristics, through Voltaire's writings and, after, through modern and illustrative movement commentators; after this exposure, it discussed, in short words, the transformation that happened with pedagogy in that time. The second chapter, "Voltaire - Illustration and militant work", started pointing, yet, some changes that happened in Modern era to, after, present Voltaire and his epoch, focusing in the influence of this author and the revolution that this influence generated; Voltaire's works analyzed in this moment of the thesis, in order to observe the revolution and influence of the philosopher, are: Memórias, Dicionário Filosófico, Cartas Filosóficas, Tratado sobre a Tolerância, Tratado de Metafísica and O Filósofo Ignorante. Finally, the third chapter, named "Voltaire and the 'moral in action'", the main part of the thesis, and brings, in its lines, the literary theory that based the theme of this investigation, to know, the educational function of literary texts; in that sense, it was very important to the understanding of the proposed problem, the analysis of Voltaire's short story, called Jeannot e Colin, to illustrate how the literary pedagogical function is processed.
O que aqui se tem em vista é compreender e identificar a tarefa educadora da literatura na Ilustração francesa, isto é, no movimento intelectual do século XVIII. Os objetivos específicos deste trabalho são: entender algumas expressões literárias o panfleto, o conto, por exemplo como instrumentos a serviço da educação, uma vez que estes são eficazes veículos transmissores dos valores morais e, por fim, mostrar como se dá a função educadora da literatura em Voltaire, por meio da análise de um de seus contos. Tendo em vista alcançar tais objetivos, o trabalho foi dividido em três capítulos. O primeiro, intitulado Ilustração, Educação e Literatura , expôs o contexto do período histórico estudado, apresentando algumas de suas principais características, via a pena voltairiana e, posteriormente, comentadores da modernidade e do movimento ilustrado; após essa exposição, tratou, sucintamente, da transformação ocorrida na pedagogia da época. O segundo capítulo, Voltaire ilustração e obra militante , iniciou apontando, ainda, algumas das mudanças ocasionadas na Era Moderna para, em seguida, apresentar Voltaire e sua época, enfocando a influência deste autor e a revolução gerada nos espíritos a partir dessa influência; as obras voltairianas analisadas nesse momento do trabalho, para que se pudesse enxergar o alcance da revolução e influência do filósofo em tela, são: Memórias, Dicionário Filosófico, Cartas Filosóficas, Tratado sobre a Tolerância, Tratado de Metafísica e O Filósofo Ignorante. Finalmente, o terceiro capítulo, nomeado Voltaire e a moral em exercício , é o ponto nevrálgico do trabalho e traz, em suas linhas, a Teoria Literária que fundamentou o tema desta investigação, a saber, a função educadora dos textos literários; nesse sentido, foi imprescindível, para a compreensão do problema proposto, a análise de um conto de Voltaire, chamado Jeannot e Colin, para, dessa maneira, ilustrar como se processa a função pedagógica da literatura.
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Skander, Ibtissem. "Le dialogue polémique dans l'oeuvre philosophique de Voltaire : étude stylistique." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0673/document.
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Nous avons entrepris, dans ce travail doctoral, une analyse stylistique du dialogue polémique, appliquée à un corpus littéraire à tendance philosophique : celui de l’œuvre philosophique de Voltaire. Nous avons accordé une attention particulière au style du polémiste aux dépens de ses idées philosophiques, maintes fois étudiées dans d’autres travaux. Le dialogue polémique dans l’œuvre philosophique de Voltaire n’est pas un simple procédé littéraire ; il constitue l’essence même de l’œuvre. La thèse comprend trois parties :L’analyse que nous avons effectuée dans la première partie de notre travail doctoral met avant tout l’accent sur la spécificité formelle du dialogue polémique et surtout sur sa nature conflictuelle, tout en examinant la manière dont il s’articule avec des genres littéraires divers et les différentes formes du discours qu’il revêt. La polémique s’engage quand les interlocuteurs admettent des thèses opposées et que chacun suppose que le discours adverse est mal déduit et fondé sur des faux raisonnements : distanciation et défense sont donc interdépendantes. C’est pour cette raison que nous avons entrepris, dans la deuxième partie de notre travail doctoral, une étude sur le fonctionnement de l’argumentation dans le dialogue polémique voltairien. Le détournement est une spécificité stylistique chez notre polémiste, qui dévoile sa présence constante dans ses écritures philosophiques. Dans ce sens, il nous a paru nécessaire d’étudier, dans la troisième partie de notre travail doctoral, le style détourné dans les œuvres philosophique de Voltaire tout en soulignant l'ambiguïté énonciative qui s’attache à ses différentes figuresIn this doctoral work, we have undertaken a stylistic analysis of polemical dialogue, applied to a literary corpus with a philosophical tendency: that of Voltaire's philosophical work. We have paid particular attention to the style of the polemicist at the expense of his philosophical ideas, often studied in other works. The polemical dialogue in Voltaire's philosophical work is not merely a literary process; It is the very essence of the work. The thesis consists of three parts:The analysis that we carried out in the first part of our doctoral work focuses above all on the formal specificity of polemical dialogue and especially on its conflictual nature, while examining the way it articulates with various literary genres And the different forms of discourse it assumes.Polemicism begins when the interlocutors admit opposing theses and each assumes that the opposing discourse is wrongly deduced and based on false reasoning: distancing and defense are therefore interdependent. For this reason, in the second part of our doctoral work, we undertook a study on the functioning of the argument in the Voltairian polemical dialogue.The diversion is a stylistic specificity in our polemicist, who reveals its constant presence in its philosophical writings. In this sense, it seemed necessary to study in the third part of our doctoral work the diverted style in Voltaire's philosophical works, while underlining the enunciative ambiguity attached to its various figures
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Bedê, Ana Luiza Reis. "Estratégia de uma mise-en-scène: \'Correspondência (1762-1765)\' e \'Traité sur la tolérance (1763)\' de Voltaire." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8146/tde-06112007-101712/.
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Em 10 de março de 1762, o protestante Jean Calas, suposto assassino de seu filho, sofre o suplício da roda após um julgamento espúrio do Parlamento de Toulouse. Voltaire assume as rédeas do caso. Para ele tratava-se de um crime motivado pelo fanatismo religioso, algo impensável em pleno século das Luzes. Por meio do estudo de um conjunto de cartas redigidas em defesa da reabilitação de Jean Calas, interessa discutir como Voltaire conduziu a \"guerra\" pelo advento da Razão. Descobre-se, à medida que se avança, desde as manobras nos bastidores à eloqüência do advogado em suas denúncias, o que ele denominou de \"crime contra o gênero humano\". Pretende-se mostrar, igualmente, as astúcias do texto voltairiano para atrair leitores de diferentes esferas sociais. Nesta tese, trata-se de questionar como o Autor prepara o terreno para a divulgação de seu livro Traité sur la tolérance (1763), arma decisiva contra os autodenominados seguidores de Cristo. Nessa obra compósita, analisam-se as variadas formas discursivas utilizadas por Voltaire para convencer o leitor de que os dogmas e as superstições não passam de criações humanas. Perguntamo-nos quais características, no conjunto desses textos, o autor privilegia a fim de conferir brilho à batalha contra o obscurantismo, além de nos debruçarmos sobre as fontes nas quais Voltaire se inspirou para sua argumentação. Percebe-se como a preocupação de instruir os cidadãos ia de par com a vontade de proporcionar prazer, peça-chave da estética desse poeta-filósofo que, para dizer com Roland Barthes, dava ao combate pela Razão \"o aspecto de uma festa\".On March 10th 1762, the Prostestant Jean Calas, charged with the alleged murder of this own son, was submitted to the torture of the wheel, after a spurious trial at the Toulouse Parliament. Voltaire takes over the affair. For him, it was a matter of a crime due to a religious fanaticism, something unacceptable in the century of Enlightenment. The observation of a bunch of letters written to assert Jean Calas´s rehabilitation allowns the debate about how Voltaire waged the \"war\" to prevail Reason. Il also allows us to observe from the backstage ploys to the lawyer´s eloquence, in his denounces to what he denominated \"a crime against the humanity\". It is also possible to see the acuity of Voltaire´s text to appeal to the readers of different social levels. The thesis is supposed to question how the author prepares the ground to the issue of his book Traité sur la tolérance (1763) an incisive weapon against the so-called Christ´s followers. In this composite work several discursive ways are analyzed to convince the reader that the dogmas and the superstitions aren´t but human creations. The main question is: what characteristics the author pick and choose among his writings in order to highlight the battle against obscurantism and what were the sources that inspired his argumentation. One may notice how the concern about informing the citizens has gone along with his will to provide pleasure, a touchstone of this philosopher-poet´s aesthetics, whom, to mention Roland Barthes, rendered \"a configuration of a party\" to the struggle for Reason.