Thèses sur le sujet « Féminisme dans la littérature »
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Herbert, Catherine Deming. « Féminisme et féminité dans l'œuvre de Jules Laforgue ». Montpellier 3, 2009. http://www.theses.fr/2009MON30009.
In the final decades of the nineteenth century, as Romanticism waned and was replaced by various movements such as Parnassianism, Decadence, and Symbolism, a poet emerged who was to have an influence on literature in France and abroad that far exceeds his short life. Before his death in 1887 at the age of 27, Jules Laforgue spent most of his writing career in Berlin, where he met his future wife, the Englishwoman Leah Lee, and where he wrote the majority of his poetry and prose. These same years also marked an evolution of the portrayal of women in literature, the misogyny of poets such as Baudelaire gradually being replaced by an optimistic willingness to empower women by giving them a voice and allowing them some control over their destiny. Jules Laforgue played an important role in this literary development, and his work reflects the sexist prejudices of his time, which he left behind in order to embrace a vision of women as the companion and equal of men, whether in a fraternal or romantic sense. Laforgue, sensitive to artistic and literary tendencies, took on popular subjects of his day – Salomé, Ophelia, the femme fatale, the female vampire, the Eternal Feminine – and put his own stamp on them through a mixture of parody, irony, anachronism, and feminist ideas. The silent, powerless women of the earlier poems discover, especially in the Moral Tales and the Last Verse, a voice and a determination which can lead to their death (Salomé) or the fulfillment brought by free will and true love (Andromeda). While Laforgue was never an outspoken feminist, he made a major contribution to the literary evolution of women in the years leading up to the twentieth century
Ayangma, André. « Femme, féminité, féminisme dans l'oeuvre de Jules Vallès ». Bordeaux 3, 1998. http://www.theses.fr/1998BOR30012.
Gafaiti, Abdelhafid. « Le discours sur les femmes dans le roman algérien : féminisme, écriture et idéologie ». Paris 13, 1994. http://www.theses.fr/1994PA131030.
The aim of this thesis is to analyse the evolution of women's status is both the algerian society and literature. In an attempt to transcend the thematic approches, it consists in a conciliation of the study of writing and meaning from a sociocritical and intertextual perspective in order to analyse the discourse on women. Consiering the works of benhedouga, lemsine, djebar and boudjedra in particular, written in arabic or in french, it explores the opposed discourses on women and reaches the conclusion that women are at the core of a problematics linking history and literature. The results demonstrate that the position of women moved from a sociological passivity caracterized by an objectivation in the literary field to a position as a subject producer of both history and discourse. The emergence of a new female character and a productive myth through its inscription in modernity and the taking over of the text itself by a femine perspective illustrate the fact that women have become the agents of both history and text. In this process, writing consists in a reading of history
Eychenne, Anne-Marie. « L'affirmation féminine dans les littératures française et anglo-saxonne du 15ème au 20ème siècle ». Bordeaux 3, 1991. http://www.theses.fr/1991BOR30020.
Through women writers' literary texts from the fifteenth to the twentieth century, we study the different stages of french and anglo-saxon women's intellectual emancipation and we think over the possible particular nature of women's writing. In the first part, through the general theme of unsatisfaction and the themes of education, social life and love, we analyse what we call a literature of protest, pointing out its necessity and also its limits. In the second part, we see how women writers managed to get free, how they became self-confident as they began to speak, how they used their new freedom. They found a poetic phrase which enabled them to express the " stream of their consciouness " and the beauty of their inner life; women could at last give utterance to their " ego ". Getting rid of men opinions and values, they were able to fond in themselves their own identuty. Beyond any sexual category, they wanted to participate to the universal adventure of thought and their texts proved as exemplary as any text written by a man
Chevaillier, Flore. « L'écriture du corps : une érotique du langage dans la fiction contemporaine américaine ». Orléans, 2008. http://www.theses.fr/2008ORLE1092.
This study proposes a new interpretive apparatus to examine readers'experience of sensuality in their engagement with the language of fiction. Postmodern texts explore literature's ability to signify and materialize experiences, mediating the physical conditions of everyday existence with the physical conditions of reading and writing. In this exploration, avant-garde writers disrupt traditional signifying techniques, emphasizing the materiality of the medium of their texts - print, sound, page, orthography, syntax, etc. This disruption provokes an erotic examination of language and encourages a bodily relationship with the textual medium. I investigate this mode of writing and its political consequences in Joseph McElroy's Plus (1977), Carol Maso's AVA (1993), Theresa Hak Kyung Cha's DICTEE (1982), and Steve Tomasula and Stephen Farrell's VAS (2002), as they produce examples of both thematic and structural erotics through visual experiments, metaphors, or allegorical representations of theoretical connections between pleasure and language. Informed by feminist theorists Julia Kristeva and Hélène Cixous, film critic Laura Marks, philosopher Georges Bataille, art historian Georges Didi-Huberman, and the writings on avant-garde literature by Roland Barthes, this study clarifies American experimental literature's ability to counterbalance and demystify contemporary rhetorical apparatuses that fosters political agendas. This project thus repositions postmodern texts as feminist practices that call for a political reevaluation of social systems which confine fictional examinations of the body, and their interpretations, to patriarchal paradigms
Allal, Marina. « Littérature et discours social : regards croisés sur la construction des altérités juive et féminine à Paris, Berlin et Vienne, de la fin du XIXe siècle à l’entre-deux-guerres ». Paris 3, 2007. http://www.theses.fr/2007PA030125.
This thesis examines literary translations in the light of anti-Semitic and anti-feminist representations which are analysed according to an expression of an anti-modernist cultural code. This code, which expressed a discomfort with modernism through a number of grand metaphors, underwent significant transformation throughout the period; this transformation is reflected in various degrees in literary texts, depending on their positioning in the literary field. In spite of country-specific developments, a comparative approach reveals profound similarities in this pan-European phenomenon. Whilst the connection between anti-feminism and anti-semitism can be shown to constitute a profound integral feature of these ostracist discourses, a consideration of the various dimensions of the social discourse allows us to highlight the particularities of the individual literary texts, their specific ambiguities and strategies of differentiation
Barei, Tahereh. « Evolution du sujet féminin dans les oeuvres de Erica Jong (à travers Fear of flying, Fanny, Parachute and kisses et Serenissima) ». Paris 8, 1999. http://www.theses.fr/1999PA081633.
Mbazoo, Kassa Chantal Magalie. « La femme et ses images dans le roman gabonais ». Cergy-Pontoise, 1999. http://www.theses.fr/1999CERG0061.
Rundgren, Heta. « Vers une théorie du roman postnormâle : féminisme, réalisme et conflit sexuel chez Doris Lessing, Märta Tikkanen, Stieg Larsson et Virginie Despentes ». Thesis, Paris 8, 2016. http://www.theses.fr/2016PA080145/document.
Situated at the intersection between comparative literature and gender studies, this dissertation theorizes what I term the postnormâle novel. It deploys readings of four contemporary European novels along with a corpus of literary and feminist theory. The novels include Doris Lessing’s The Golden Notebook (1962), Märta Tikkanen’s Manrape (1975), Stieg Larsson’s Millenium trilogy or The Girl with the Dragon Tattoo (2005-2007) and Virginie Despentes’s Apocalypse baby (2010). My analysis of these texts examines the way in which the postnormâle novel reclaims social discourses of sexual difference for a mass audience while subtly displacing realist conventions in order to inscribe women’s—or lesbians’—experience of sexual conflict into the text. A four step process is used to study the work. First, I anchor the novels to a “realist real”, and study the function of detail within the postnormâle aesthetic. Then I chart the sociogram ’feminism’ in the novels and their reception. Thirdly, I read the narrative of what I call “counter-rape”, and lastly the inscription of woman-desire and the figuration—the constitution even—of entr’elles, a feminist space. The perspective of my study is postmodern, which implies a suspension—but not a disbelief—of the twofold question of literary status and literary evaluation, in order to focus on texts in their contexts. In this process, I aim to rethink the link between the notions of the feminine and the queer in light of contemporary feminist and lesbian perspectives
Jimenez, Lidia. « L'adolescente dans la littérature espagnole de la "Posguerra" ». Toulouse 2, 1996. http://www.theses.fr/1996TOU20076.
In spanish fiction and particularly in the kind of written fiction by women-novelists after the civil war, teenagers are often drawn. We feel we are confronted with real, genuine portraits while, before readers had to be content with mere tentative sketches ; indeed in the fiction published, at that time, the very young girls and also the young ladies they often had grown into,take up stances which are surprisingly new. Infact their creators thus achieve a kind of perfection in that respect, insisting, as they do, on the adolescent period of their fictitions feminine characters. Spanish women-writers often insists on the particular period of time of adolescence for their heroins, often imparted their own most intimate hidden, convictions, and are naturally nourished with foreign models but it was also fraught with their own knowledge of death, and love, acquired during the various wars they had gone through. The consequence is the portraying of adolescent characters as drawn by spanish fiction writers ans the reader feels that many personal memories break through the bedrock of the tales that are told. For instance, rosa chacel during all that period does draw such a character in teresa and memorias de leticia valle. In nada and la isla y los demonios carmen laforet renews the genre making conveying to them the shock it was for most people. Ana maria matute writes short stories and in luciernagas tells the memories of a teenager of that time. Carmen martin gaite writes short stories about meregirls and young ladies while reflecting
Barrett, Caroline. « Une lecture féministe et bakhtinienne de l'oeuvre romanesque de Francine Noël, une traversée des apparences ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq38301.pdf.
Wanjala, Alex Nelungo, et Alex Nelungo Wanjala. « L'émergence et le développement de la voix féminine dans la littérature kenyane postcoloniale ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2009. http://tel.archives-ouvertes.fr/tel-00947771.
Wanjala, Alex Nelungo. « L'émergence et le développement de la voix féminine dans la littérature kenyane postcoloniale ». Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030173/document.
This study of Kenyan literature, which focuses specifically on female writers, is based on the premise that female writers, though prolific, have for a long time been neglected by literary critics, and even when focused upon, are lumped together with other so-called ‘Third world’ female writers. Thus, the idiosyncrasies in their particular works are very often overlooked. This study seeks to correct this by undertaking an in-depth study of each of the novels explored, while at the same time using each of them to undertake a study of the Kenyan society with particular attention to the situation of the woman as depicted in the texts. The novel, which is here the primary source, is examined as a cultural tool. Given the large number of novels that have been written by Kenyan women writers, this study uses a case-oriented methodology to select a few novels that are used as representative samples for Kenyan writing by women. The texts selecte! d cover a long time period; published from the mid-sixties just after Kenya’s independence, to the outset of the present millennium. The study is guided by theories that are drawn from postcolonial studies, cultural studies, and gender studies. It is our hope that this study gives a comprehensive state of the art survey on the Kenyan novel, with a specific focus on the state of the Kenyan woman, thus clearing the way for similar studies to be carried out on women writers not only in Kenya, but in the other countries in the East African region and the African continent at large
Dudek, Debra Lynn. « Creative displacement and corporeal defiance, feminist Canadian modernism in Margaret Laurence's Manawaka novels ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ63861.pdf.
Peyronnet, Marianne. « Les personnages féminins dans l'oeuvre dramatique de Sean O'Casey ». Paris 8, 1997. http://www.theses.fr/1997PA081255.
In ireland, from the beginning of the century to the sixties, men dominate their female fellow-citizens in every field. The elementary rights of the irish women are flouted : they are deprived of citizenship, are relegated to the home in spite of their resistance. Sean o'casey, in his dramatic works, during the whole period, depicts female characters fighting for their emancipation. He shows brave heroines confronted by coward companions and lovers. They are determined to free themselves from male yoke. O'casey paints images of women which cause displeasure to his contemporaries because of their realism, because they are too far from the models of submitted mothers and wives desired by the religious and nationalist groups. He creates a language to make them appear superior ; he gives them a political function. He maintains that women only will be able to construct a better, a more egalitarian world. Through his works, the evolution of his thought can be read ; a change in his way of looking at woman's place in society is revealed. If he can be considered at the beginning as a "feministe differencialiste", he becomes at the end a feministe
Bergeron, Marie-Andrée. « "Nous avons voulu parler de nous" : le discours éditorial des féministes québécoises (1972-1987) dans Québécoises deboutte!, Les têtes de pioche et La Vie en rose ». Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29982/29982.pdf.
This thesis explores the feminist’s editorial speech among three well-known feminist magazines of Quebec which are Québécoises deboutte!, Les têtes de pioche and La Vie en rose in order to understand the strategies and the posture of the feminists. Feminists adapt their rhetorics in order to define a movement that builds itself through a collective speech which is evolving as the sociopolitical context of Quebec in the seventies is. We have been able to observe three major tendencies among the texts. First of all, Québécoises deboutte! builds a speech to wrap up the different forms of activism together and to obtain the attention of potential allies who may be between the marxist and the counter-cultural poles. Secondly, Les têtes de pioche orients its speech toward a specifically feminist zone in order to distinguish itself from the other social fights. That magazine also works to explain and fight by using words the specific oppression of women. And finally, La Vie en rose presents itself as the standard bearer of the plurality of the feminist voices, showing at the same time the wins of radical feminism and the hopes of a new generation of feminists. In Quebec, the rise of the feminist magazines is an integral part of a social perspective which shows us the implication of the feminists in the fields of culture, philosophy and literature. Our research develops in two complementary parts which try to show the mechanism of the feminist speech by analyzing the content of different magazines and the evolution of this literature of ideas in an internal way (speech) and an external (field effects) one. Through twenty years of textual activism, we see that the editorial approach of the feminists forms a consistent whole. The journalistic efforts of feminism reveal an internal cohesion that consolidates itself year after year to, ultimately, become a system of ideas – and rhetorical – which is unique and into which the argumentation is mainly based on the ethos. Our thesis particularly study the literary aspects of the texts, the rise of the feminist press as a phenomenon that goes beyond the paper – because it concerns the history and the constitution of the literary field – the social and the formal problematics that are related to it.
Grué, Mélanie. « Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison ». Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
Born in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
Py, Fatima. « Le surnaturel dans le roman féminin guadeloupéen contemporain ». Thesis, Antilles, 2017. http://www.theses.fr/2017ANTI0139/document.
This thesis studies the occurrences of supernatural in Guadeloupe’s feminine novel. The writers are all women from Guadeloupe: they were born there (Lacrosil, Conde) or their parents come from Guadeloupe and they grew up there (Schwarz-Bart, Pineau). Every novel evokes a literary period of the 20th century: demain jab-herma (1960-1970), Pluie et vent sur Telumée miracle (1970-1980), moi, tituba, sorciere… (1980-1990) and la Grande drive des esprits (1990-2000).Every novel is based on supernatural: demain, jab-herma's hero is a sorcerer, such as Schwarz-Bart and Conde’s heroes. La Grande drive des esprits describes a family through the 20th century in Guadeloupe and a few characters have supernatural powers. We first made an inventory of contemporary feminine novels: it rises at the 20th century, thanks to our writers and through this supernatural theme. Then, we studied supernatural, religious magical, sacred's role in Guadeloupe: where it comes from, its place in Caribbean, its popular role. Finally, we studied fantastic imaginary's place: how it allows unpowerful slaves and slaves' children to think themselves powerful, the novel shows the social role of magical religious.We wanted to show how supernatural partly defines Guadeloupe’s novel. In conclusion, this study reveals how supernatural makes part of the weltanshauung, the way the people from Guadeloupe can see the world; the characters' whole life is made of supernatural, from birth to death; supernatural shows women's fundamental role, and appears as well in speaking, customs and public life
Carvalho, Pauline. « L'autofiction en contexte postcolonial : regards croisés sur les femmes dans un processus mouvant de reconquête identitaire ». Thesis, Besançon, 2016. http://www.theses.fr/2016BESA1008.
In the field of postcolonial literature, women autofictions deserve special attention. Indeed, the migrant woman is in a literary double margin as a migrant but also as a woman and sometimes even as a minority.Our comparative study is based on a variety of literary materials (essay, comics and novel) and tries to show how these authors from diverse background illustrate the cultural and the linguistic passage of migrant women and the important role they play concerning the legacy of female historical and collective memory.Also, this study questions the existence of a gender identity that is part of the cultural baggage of women and the response of the characters representing migrant authors in front of an agreed identity. This is, in part, though the theme of transformation that characters reveal new possibilities and definitions of “being a woman”
Boucly-Lesage, Aurore. « Les écritures du féminin dans l'oeuvre de Marguerite Duras ». Amiens, 2007. http://www.theses.fr/2007AMIE0018.
Marsaleix, Nadège. « L'inscription du genre dans l'oeuvre de fiction de Virginia Woolf ». Paris 3, 2001. http://www.theses.fr/2001PA030120.
The gender issue is addressed here from three different angles. It was only in the 1980s that gender became an analytical concept encompassing both sexes, which brought radical changes in the field of textual politics. In the first phase of this study, where gender is definde as a social and a cultural construct, the purpose is, rather than to analyse the power of one sex over the other, to consider instead the powers shared by each sex while showing how a cultural norm can subtly be turned into a so-called natural one. The second part deals with the evolution of Woolf's feminine discourse. As she engages in a linguitic quest and seeks to find another language to inscribe women's existence into her texts, she manages to create a felinine cosmogony, thus paying tribute to women'eccentric though central position. .
Boisvert, Marie-Pier. « Partenariats pluriels : le polyamour dans trois romans québécois, suivi de Au 5e, roman d'amours ». Mémoire, Université de Sherbrooke, 2015. http://hdl.handle.net/11143/7609.
Houel, Annik. « De l'amant à la mère : une quête féminine ». Paris 7, 1992. http://www.theses.fr/1992PA070094.
The study of woman adultery representation in woman litterature allows to explain her subversive function and tobring some permanent facts of female sexuality to light. The analysis of six excepts (from "guigemar" of marie de france, "la princesse de cleves" of mme de la fayette, "valen tine" of g sand, "l'ingenue libertine" of colette, "les mandarins" of s. De beauvoir and "la chambre des dames" of j. Bourin) is made with the concepts of greimas' semiotique. The mother image, hidden under the one of the lover, correpondsto the most repressed part of woman psychoanalytic history : her love for her mother, and tokes its roots in the most primary narcissism. This repression explains the way of functionning of feminine desire as it is represented : her desire is maintened secret and lays on a splitting body mind. It is linked to a seduction model which recalls the primary seduc -tion excerced by the mother during the bodycare. The present sentimental litterature obeys the same requirements, even if the adultery lover gives his place to a pre-marital lover ; despite of the emergence of love mariage, only the lover and not the husband can sustain this love figure, merged and mystical, which is based on an ideal image of mother daughter relationship
Tremblay, Audrey. « Mixité et égalité dans le champ éditorial québécois. Étude des compositions des maisons d'édition contemporaines et catalogues. (1995-2005) ». Mémoire, Université de Sherbrooke, 2014. http://hdl.handle.net/11143/5882.
Carton-Vincent, Alison. « Écriture du corps et féminismes : genre, sexualité et maternité dans l’oeuvre narrative à la première personne de Dacia Maraini ». Thesis, Aix-Marseille, 2013. http://www.theses.fr/2013AIXM3034.
With the rise of neo-feminism in Italy in the end of the 1960's, a new literary genre quickly developed: the feminist novel. The first-person narrative was frequently used to portray women who fought against an oppressing patriarchal society from which they tried to get free. From her first works, Dacia Maraini followed this narrative style. She provided its most famous examples (especially in Donna in guerra, in 1975) and she guaranteed its propagation – even after the end of activist feminism in the 1980's – through works that were not as ideologically engaged as the first ones but that still aimed at denouncing inequalities. Halfway between literary creation and political commitment, the first person feminist narrative of Dacia Maraini particularly focuses on the topic of the body, as a link between one and the others, between the personal and the political. I will study the 1962-2001 period, and I will show how the author concentrates on the territories of gender, sexuality and motherhood and how she questions them through fiction and autobiographical stories. I choose a multidisciplinary perspective that takes the tools of both literary analysis and the history of ideas, in order to analyse the use of the first person as a specific enunciative modality and as a performative instrument for the propagation of Marainian feminism in a circular relationship between arts and society, between culture and power
Tilly, Eva. « María de Zayas : une conscience féminine dans l'Espagne du Siècle d'or ». Caen, 2008. http://www.theses.fr/2008CAEN1515.
Rolland-Perrin, Myriam. « La chevelure féminine dans la littérature médiévale : contribution à l'analyse des stéréotypes ». Paris 3, 2006. http://www.theses.fr/2006PA030131.
Hair is a feminine attribute which the medieval poet likes to depict. He condemns its white decrepitude, malicious redness, its repulsive blackness or its repugnant tangles but more frequently, he praises its beauty. The luminous colour of the hair is repeatedly compared to gold, in endless and subtle variations on the same theme. The study of these linguistic stereotypes in their grammatical and literary contexts allows us to comprehend their multiple variations and their place in each author's work. In the same way, length of hair, which by the end of the Middle Ages has replaced blondness as the emblem of beauty, is evoked repeatedly in ways that suggest that hair is seen as clothing. At the larger level of the paragraph, hair constitutes a central element in various episodes: it is mistreated or pulled as a sign of affliction, cut to signify submission to a higher order, pulled as a humiliating punishment, but also given as a sign of love or languorously combed. The point here is to show how these stereotypes work in order to perceive how they are manipulated. Whole works or long fragments have such stereotypes as underpinnings, which they amplify in such a way as to make them pivotal. From Iseut's long hair, which launches Tristan's quest, to the manipulative heroine of Les Tresces, not to mention the golden thread of the Soredamor or Lancelot's adulation of a handful of Queen Guinevere's hair, rereading these texts through the prism of these stereotypes reveals an image of powerful and sometimes dangerous femininity and raises interesting questions about the process of engendering writing
Sahuc, Janine-Claude. « Kate Millett : oeuvres et mythes ». Paris 7, 1985. http://www.theses.fr/1985PA070116.
Li, Yueguang. « L'image de l'Autre dans la littérature féminine contemporaine en Chine ». Thesis, Artois, 2015. http://www.theses.fr/2015ARTO0001.
Our research on the image of the « other » try to analyze in the context of history, environment, Western influence in China, the representative or the representatives of the image of the « other » in modern society, the words and purpose of the Chinese women writers such as Can Xue 残雪 (1953-), Lin Bai 林白 (1958-), Chen Ran 陈染 (1962-), Wei Hui 卫慧 (1973-), Mian Mian 棉棉 (1970-) etc., why and how « I » is interested in the « other » and what is their relationship. We will focus mainly to the works of contemporary female stories in China, to understand what form the « other » has taken, especially what is the image of the metaphorical « other » as animals, objects, people or abstract images as evil, color, fear. We study the relationship between the « I » and the « other » through the characters in the selected works by studying images of the « mother », « father » and especially the relationship with the « I » and also why and how the knowledge of the « other » self develops in the literary world, and finally how the image of the « other » evolves
Marchais, Nathalie. « La figure maternelle dans la littérature féminine italienne des quarante dernières années ». Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100231/document.
Since feminism emerged in the seventies, women writers have occupied an increasingly important place in the Italian literary panorama. Among the most dealt with subjects, those of the mother and motherhood have been of constant interest. Far from reproducing the usual stereotype of the Italian mamma, women writers have contributed to a progressive deconstruction of the myths inherent to that central figure of the culture and society. The seventies were characterized by the refusal of motherhood as a natural vocation of women, in connection with the feminist claims to own and control their own bodies, (abortion right, development of contraception, revision of the family law). In the eighties and until the middle of the nineties, the theme of the mother-daughter relationship imposed itself as a rehabilitation of the mothers of the past. The autobiography asserted itself at that stage under other forms. Since the middle of the nineties and until today, the new generation of women writers has tended to turn the mother of the narrative into a tormented, maladapted and unstable woman, even a monstrous being who fails to play her role, and puts her children’s lives in danger. This might be the reason why some heroines actually make the choice not to become mothers. Among the women writers studied: Dacia Maraini, Carla Cerati, Giuliana Ferri, Gina Lagorio, Francesca Duranti, Francesca Sanvitale, Fausta Cialente, Elena Ferrante, Simona Vinci, Letizia Muratori, Alina Marazzi, Cristina Comencini
Rubera, Albert. « La poétique feministe postcoloniale dans la littérature africaine francophone : autour de l'écriture romanesque de Ken Bugul ». Paris 13, 2006. http://www.theses.fr/2006PA131006.
Confluence of sociological theories, political movements and moral philosophies regarding the situation of women in general, and within their social, political and economic context in particular, feminism has always embraced worldwide ambitions. In this resolute struggle for women liberation, feminism changed the face several times, and was often divided into trends and streams sometimes opposed to one another with regard to the meaning of the struggle to lead. How is the postcolonial African woman going to react to feminism which can be considered as one of the forms of Western imperialism having for a long time acted in the guise of a universalistic discourse of women liberation? This is the question that Ken Bugul has already asked herself. This study intends to situate Ken Bugul's feminist thought and position at the cross-section of feminist and postcolonial theories
Gendras, Eva. « Les femmes et la culture à travers la littérature française du XVIIème siècle ». Rouen, 1994. http://www.theses.fr/1994ROUEL193.
The aim of this thesis is to study the role of women in the seventeenth century through French literature and to analyse their involvement in social, political and artistic matters, as well as their reactions, however limited they may have been. The first part deals with their outward appearance or more precisely with the woman's body. Then their legal status and their status as married women or working women are put under scruting. The third part considers the role women played throughout the two french regencies and the fronde. The fourth part examines how they fought to have access to culture, through education and art. The last two parts are more particularly concerned with the literary aspect of the subject, dealing with female writers and the feminist quarrel among the seventeenth writers. Feminism had developed in a society dominated by men, so that it had to be "tolerated" by them. This supremacy eventually led to the confrontation of opposing forces whose clash brought about the disintegration of the culture of the seventeenth century. This was how a more complete social reality could be grasped and the figure of the female being could enverge from it
Machoud, Nivon Corinne. « Rituel de l'écriture et métamorphoses du miroir : traductions au féminin de/avec Carmen Boullosa ». Paris 8, 1996. http://www.theses.fr/1996PA081132.
By using the context of the mexican author carmen boullosa (1954), this thesis proposes a discourse without innocence, reinventing the "facts" of the mexica(no(a)) passage, creating the metamorphoses of two fields : "mexican and feminism," crossing the limits and displacing them in a baroque universe where the coherence of the discourse is substituted by "feminin" and "seduction ;" in other words, it exists a constant "trans(e)duction" of the passage between "mexica(no(a)). " the approach of this work consists in naming the translations of these "transitions, thresholds or processes," and placing them in a "constant future" or in a memory of constant reinvention, taking away the concepts of origen, history or identity. The translation, pre-text, speaks of "she" without speaking, if it does not speak of "something" displacing the spectrum of i eye, creating a discourse in constant process. This thesis explores the (im)posible translations of the sign "female" by "deconstruing" narcissus, displacing him spatially in a second movement, and bringing him to precolombian america within the shifter "nahual. " "she," the pronoun projected, the "novel," the translation, the metaphore, migrates from mirror to mirror, from mexican land to nowhere. "she," the passage from land to land in the absence of "mother-land," migrating as a ghost, begins the transoceanic journey of the translation, the "transliteration," the "transmigrations," the "trans(e)ductions. " "she," i, narcissus, nahual, the translation of the translation, without origen, the trace of the trace, as a boat leaves the port with the ritual of writing
Boireau, Marie-France. « Aragon, romancier penseur de l'Histoire ». Thesis, Université de Lorraine, 2012. http://www.theses.fr/2012LORR0115.
The purpose of the dissertation is to study the way Aragon, as a novelist, builds a vision of history. The corpus of Aragon's works under study comprises the first four novels of the Le Monde Réel series - namely, les Cloches de Bâle, Les Beaux Quartiers, Les Voyageurs de l?impériale, Aurélien. The aim is to show that the poetics of the novel as a genre will suggest a much more elaborate way of viewing history than what Aragon himself expresses when he speaks as Louis Aragon the communist activist. Aragon the novelist urges to get deeper into research when he states that "novels do not merely say what they say, they are about something else, they go beyond". The following issues have been successively considered : how historical events are viewed; how, dispensing with factual events, history is viewed; how building an approach to history aims at triggering political action; how, in the end, Aragon conceives and views the writing of history. The fundamental historical event the novelist tackles is the Great War, the causes of which he analyzes not primarily from the angle of a conflict between two forms of exacerbated nationalism but from the angle of the diverging interests of France and Germany, particularly in their respective colonial empires. Aragon uncovers what lies hidden under official history, what was at stake financially during the conflict and goes on to demystify colonial ideology. Turning away from historical events per se, he questions the so-called «social war» and the social and psychological bounds society imposes. This he does by creating novel characters whose evolutions and relations to history are thoroughly examined, thus allowing the novelist to ponder over possible though unquestionable commitments which cannot, nonetheless, ignore the fact history weighs heavily, most often in the form of tragedy, especially in the last two novels considered. This approach results in Aragon?s vision of history altering between the years 1934 and 1944. The horizon stands out gloomy however the novelist refuses to consider war is fatally inescapable. Such vision of history is closely knit with the birth of a specific way of novel-writing which fairly often resorts to analogy, playing with metalepsis and is never severed from poetry-writing. In the course of this adventure in writing, Aragon experiments on and experiences the building of his personal vision, a thinking process fraught with multiple tensions which cannot allow the reader to view his works as mere pretexts for expounding a socio-political message but as true experiments in the exploration of the «beyond» of novels
Parouty-David, Françoise. « Le récit d'émancipation féminin de 1968 à 1990 : un genre ». Limoges, 1993. http://www.theses.fr/1993LIMO0501.
The cointemporary feminine narrative of emancipation exemplifies a necessary reworking of established literary genre such as the bildungsroman : - surface structures are characterized by the narrative program of discontinuance in the feminine subject's construction. This individual transformation process enters in a wider project of social transformation towards flexibility in sexual roles. - the discourse is a stream of consciousness where ubiquity in tenses allows to test the conditions of this transormation in mirror effcts, voices confrontations and intertextuality which enrich the text in a founer exertion of memory. - traditional values are disputed to generate an open ideology to go beyond cultural dichotomies, especially in denouncing linguistic sexism and in trying to find a new language. The corpus is constituted of women's narratives in which a narrator-author tells and analyses her own emancipation, that's to say her own struggle against existing constrains in social and sexual mores, paradiglmatic narrative in women history during the seventies. She builds her identity writting in a specific field which squares with a feminine expectation. This genre is tenmporarly closed. 3
Grué, Mélanie. « Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison ». Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
Fente, Elvira. « María Xosé Queizán, la renaissance d'une Antigone : l'esprit d'Antigone dans les personnages féminins de l'œuvre de María Xosé Queizán : métaphore de la valeur et la force de la femme galicienne contre le pouvoir et la domination masculine ». Paris 8, 2012. http://www.theses.fr/2012PA083485.
This work aims to give María Xosé Queizán its rightful place as a theorist of feminism as a writer and Galician feminist. The socio-cultural construction of "being woman" is analyzed here through his speech, since the years after the Spanish Civil War, to today's society. The myth of Antigone appeared to us as the myth that comes to Queizán, the birth of feminism in Galicia long identified with Penelope. Transmission of patriarchal values through women who honor the system blindly, as opposed to the spirit of freedom of Antigone is a constant in her novels. The darkness in the formation and development of the domestic work of women is ensuring the survival of patriarchy. But in counterpoint, one can follow individual strategies of heroines around obstacles and sometimes become marginalized and lose, sometimes win and live their freedom
Majzoub, Nada. « Etude sur l'émancipation de la femme dans "L'Ame enchantée" de Romain Rolland ». Paris 3, 1985. http://www.theses.fr/1985PA03A103.
Jidouard, Sylvie. « Les modalités de la mort féminine chez Balzac ». Paris 4, 1987. http://www.theses.fr/1987PA040164.
Love and death are fighting over the fate of many balzacian heroines first, our study intends to consider the "topoi" which change feminine death into axial scenes. After considering the origins ant the youth works, we try to analyze the renewal of traditional themes when they change death into a real aesthetic poem, into a view of sublimation and angelism, in this world limited by social restraints. The essence of balzacian feminism is tragedy; it incarnes in a morbid atmosphere where the choice of fate comes through the destruction of appearances and annihilation of personality. After evocating the great characters in the "Comédie humaine" and the "Contes drôlatiques", the last part of the essay stresses on the importance of inserted tales where freedom, desire and death give rise to passionate comments. The circle of "devisants", Balzac's voices, by their narrating power and pertinent judgements, is manifesting great originality
Naudier, Delphine. « La cause littéraire des femmes : modes d'accès et modalités de consécration des femmes dans le champ littéraire (1970-1998) ». Paris, EHESS, 2000. http://www.theses.fr/2000EHES0127.
Beauvois-Dupuis, Danièlle. « La mode féminine dans les études de moeurs d'Honoré de Balzac ». Paris 4, 1988. http://www.theses.fr/1988PA040014.
This work on "the feminine fashion in the studies of manners from Balzac" is situated in the very heart of the problematic relating to Balzac’s realism. The comparative study of the documents of this period, such as periodicals, painting of manners and texts from the Human Comedy, not only allows to extract the mechanisms of the genesis of Balzac’s famous descriptions but also enhances the selective character of his realism concerning feminine elegances. This study tries to find out the reasons of this realism in the writer's aesthetic a priori, in the specificity of his testimony as an historian, and above all in the preeminence of his schemas as a novelist. The second part of this work is essentially dedicated to a semiotic study of the fashion in the studies of manners. The romantic function of the cloth is emphasized but above all Balzac’s symbolism is developed there, in this special field. A sketch of the poetic inherent to the writer of the Human Comedy, concerning women, ends this research
Blanchemain, Laure. « L'imagination féminine dans les romans de Frances Burney ». Toulouse 2, 2003. http://www.theses.fr/2003TOU20059.
In Frances Burney's novels, the limits between the outer world and the characters' imagination tend to be blurred. This confusion lends the text a dreamlike quality and seems to point out the potential danger that an overactive imagination can represent. Nevertheless, the female imagination also enables women to ignore more freely the rules imposed by society. It is linked now with the female body, now with reason, and while the traditional hierarchies are apparently reasserted, they are undermined at the same time. The role granted to imagination in the arts is also ambivalent, hovering between mere imitation and real creation. There are no clear-cut oppositions and the novels are far from univocal. Taking into account the theories of the eighteenth-century philosophers proves necessary, since it provides some essential clues, helping the Burney reader to understand her complex works more thoroughly
Le, Gall Claire. « Fictions du posthumain : temporalité, hybridité, écriture(s) ». Thesis, Brest, 2019. http://www.theses.fr/2019BRES0064.
Posthuman figures are plentiful in contemporary fictional works. Robots, artificial intelligence, genetically modified or augmented beings, and clones: all find their origins in science fiction, and now abound in mainstream culture. These entities embody humanity’s possible evolutions and trigger both enthusiasm and fear. On the one hand, they offer an optimistic perspective on how current human limits could be overcome (such as old age and death, or more generally biological constraints). On the other hand, they also point out the troubling possibility of humanity’s eradication, to be replaced by radically different “posthuman” beings.This dissertation focuses on the fictional representations of the posthuman in contemporary Anglo-Saxon literature in the following novels: the MaddAddam trilogy (published between 2003 and2013) by Margaret Atwood, Never Let Me Go (2005) by Kazuo Ishiguro, Cloud Atlas (2004) by David Mitchell, Accelerando (2005) and Glasshouse (2006) by Charles Stross, and The Stone Gods (2007) by Jeanette Winterson.While they are sometimes characterized by a break in temporal linearity (in postapocalyptic stories), the fictions of the posthuman are also marked by a form of cyclicity (past, present and future converge).Like the cyborg, the figures of the posthuman are hybrid and combine cybernetic or mechanical machines and biological organisms. They exist in a liminal space, and are able to go beyond the dualisms which permeate our way of thinking (male/female, same/other, natural/artificial).Writing the posthuman means considering its multiplicity, and is based on erasure, repetition and rewriting, following the model of the palimpsest
Guillemet, Morgane. « De la représentation au mythe : l’ambiguïté féminine dans le roman libertin du XVIIIe siècle ». Rennes 2, 2009. http://tel.archives-ouvertes.fr/tel-00447426/fr/.
Over the last few years university criticism has taken a greater interest in the libertine novel. Yet, looked at from the point of view of woman and feminine, taking into account a large set of works – from French Regency to the first years of the nineteenth century – provides a new vision of both the libertine novel and the feminine question. The purpose of this thesis is therefore to envisage these two poles of understanding of Enlightenment thought and imaginary in their so rich but too little revealed until now mutual interaction. The libertine novel provides indeed its own answer to a question that obsessed the century in which it was born and evolved: the woman. The imageries, myths and fantasies revolving around feminine and femininity are also the origin of the basic feminine ambiguity in these texts. They are actually asserting themselves in both their intentions to liberate and their temptations to normalize. A thorough analysis of mastery and its stakes that are in the heart of relations between the two sexes and therefore the opposition masculine/feminine point out that this ambiguity, always wavering between liberation and subjection, is to interpret as a dynamic likely to construct a fantastical staging of woman and feminine
Mauguière, Bénédicte. « Idéologie et formation d'une identité dans la littérature féminine au Québec : 1970-1980 ». Paris 4, 1990. http://www.theses.fr/1990PA040081.
Stobierska, Agnieszka. « Généalogie féminine et réécriture des mythes dans les littératures française et polonaise contemporaines ». Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2020.
This dissertation examines the rewriting of some myths from the female point of view in order to propose a (re)construction of women's genealogy. What are the representative figures of the mother/daughter relationship, and how are they constructed? In which movements do the rewritings of classical myths fit? Should the myths created by men be diverted in order to achieve a new female genealogy? This work is based on a double comparative approach ; first, it proposes an analysis of archetypal mother-daughter figures in a mythocritical perspective ; second, it brings together texts from French and Polish literature on cultural and linguistic levels. Thus, the biblical figures of Eve and Mary are compared with representations of pagan mythologies, such as Demeter and Persephone, Iphigenia and Clytemnestra, or finally Medea. These ancient figures of maternity return in force, revisited by contemporary French and Polish writers, to redefine the perception of the mother/daughter relationship. The works analyzed are numerous; for the French corpus, they range from Hélène Cixous to Christine Angot, and for the Polish texts, this dissertation focuses on women’s literature after 1989, when a more intimate literature emerged. These texts will be presented and analyzed so that the French reader can usefully discover them in tandem with the French texts. Considerable importance is given to the translation of extracts from these texts, in view of a complete translation later on. Despite the different socio-cultural contexts in which the two literatures have evolved, a real dialogue is established at the level of mythical paradigms. This rapprochement makes possible to imagine a universality inscribed in the ancient myths evoking the figures of motherhood. It is ultimately a common quest of women searching for a history in order to find foundations for a new genealogy
Sahmadi, Linda. « L’émergence d’un discours féministe dans la fiction courte de Nathaniel Hawthorne (1832-1844) : l’écriture du devenir-femme ». Thesis, Clermont-Ferrand 2, 2015. http://www.theses.fr/2015CLF20024/document.
Female portraits are abundant in Nathaniel Hawthorne’s fiction, short stories and novels alike. The influence of the women evolving in his private sphere may be at the origin of his ambiguous feminist vision, as his allegiance was divided between his Puritan inheritance (both the Mannings and the Hawthornes) on the one hand, and, on the other, the emerging feminist convictions of his in-laws (the Peabodys). Hawthorne’s female portraits are thus characterized by a tendency to binarism as they pit an essentialist view of women against a differentialist one. This binarist perspective reflects the narrow-mindedness of the patriarcal system which the male heroes try to defend and maintain. Deleuze and Guatarri’s concepts of “minor literature” and “becoming-woman” will help us understand how the woman-image of the Puritans is a minored woman in the realm both of the social order and the symbolic order. Hawthorne’s feminist voice is an equivocal one as his text is undergoing a subterranean process of “becoming-woman.”
Sullivan, Maryse. « Entre fiction et histoire : la construction de la figure de la sorcière dans la littérature contemporaine ». Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/39386.
Lavoie, Sophie. « La femme, auteur et personnage, dans l'oeuvre de Gioconda Belli, (Nicaragua 1948-) ». Aix-Marseille 1, 2005. http://www.theses.fr/2005AIX10036.
Araszkiewicz, Agata. « La subjectivité de la « femme auteur » sur l’exemple de Aniela Gruszecka, Irena Krzywicka, Wanda Melcer et Pola Gojawiczyńska : l'émergence d'une « écriture féminine » polonaise dans l'entre-deux guerre ». Paris 8, 2012. http://www.theses.fr/2012PA084151.
The interwar period (1918-1939) in Poland is of particular importance for the creation and development of the modern literary discourses and ideas. Notions of the women`s emancipation have their own specific place as the social transformation accompanied the political one after the country regained its independence in 1918. However, the history of Polish feminist aesthetics is almost missing and, according to prevailing knowledg, the Polish feminism was imported from the West only in the 1990s. In this context, the importance of the literary contribution of women-writers who are nowadays ignored or misunderstood, such as Maria Kuncewiczowa, Aniela Gruszecka, Irena Krzywicka, Wanda Melcer and Pola Gojawiczyńska, justifies their re-reading and reintegration into a literary canon. The women's writing examined through the prism of the philosophy of sexual difference (H. Cixous, J. Derrida, L. Irigaray) helps to reconstruct the traces of the “feminine textual subjectivity”. Their theoretical foundations were formulated exactly in the 1920s and 1930s (V. Woolf). The figure of a “woman–author” (the term of Ch. Planté), adopted from the French intellectual tradition, is implied here as an incarnation of contradictions linked to the question of relation between “woman” and the representation. The individual quests for style by women writers we are concerned with constitute the testimony of the search for artistic identity linked to philosophical and political ideas. After 1918, the young Polish literature adhered to experiment and innovation. However, the role of women in the movement of literary avant-garde remains to be discovered. Audacity of the formal structures and the contribution of those women writers to the national literary tradition merits to be properly appreciated. This leads to the reinsertion of this Polish literary tradition into the context of a mondial literature
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