Дисертації з теми "Brea (famille) – Critique et interprétation"
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Perottino, Serge. "Transcendance et subjectivité : les problèmes de la création : Brea, Van Gogh, Chagall." Nice, 1989. http://www.theses.fr/1989NICE2009.
Turc, Sylvie. "La famille et les relations familiales dans l'oeuvre narrative de Leopoldo Alas, "Clarín"." Paris 4, 1993. http://www.theses.fr/1993PA040049.
The research on the family and the familial relationship in the narrative work of Leopoldo Alas,'Clarin',is turned towards a presentation of the different types of families and their factors of development. .
Lee, Kwang Jin. "Famille impossible, identité possible chez Patrick Modiano." Paris 8, 2009. http://www.theses.fr/2009PA083055.
The Modiano protagonist is seeking to have both an ideal (perfect) and virtual (fantasy) family. Every scene not only represents the unconscious fantasies of the protagonist but also the major story for Modiano. We can see, on the path from research to mystification of the family, a typical dramatization. However, for the Modiano protagonist, the only family is the one of the novel. The family is impossible, but the novel is possible. Similarly, there is no new family, but only the New Family Novel : there is not only the novel but also the theatre (or circus). In reality, life is a circus both comical and grotesque at the same time. The family is lost, but for Modiano, it is impossible to find the thing that one once lost. It is better to re-create something new : instead of finding the family back, the protagonist writes something. In all the Modiano books, the question of identity begins and ends with that of writing. Our study aims to know how he establishes the link between identity and writing, how the process develops itself. The book is the golden key to enter the world of Modiano and the keyword to translate the mystery of life : literary creation is the only (re)solution for Modiano. The book is the free space that allows one to accomplish his mission which seems impossible : to live and re-live his life
Cojez, Anne-Marie. "Topographie du réel et espace romanesque dans En famille et autres romans d'Hector Malot." Artois, 2007. http://www.theses.fr/2007ARTO0005.
H Malot’s career as a writer started in the late 1850’s at a time when the battle for Realism was going on. A young progressionist amenable to leftist views, he sided with the Moderns. His early novels bear witness to this commitment. Towards the end of his career he still proclaimed his support for the movement. Yet, as a proponent of the narrative tradition, he was convinced that any reality could not serve as the subject matter for an artwork, so he went his own way. Following Balzac’s example he supported character study that emphasized the moral man. E Zola rejected him as an idealist because of the small emphasis he gave to determinism and physiology. Malot’s writings, widely distributed through the press and cheap series made him a popular novelist. He relied on these medium in order for his novels to echo the moral, social and political issues that prevailed over the century. In a literary column that he wrote at the beginning of his career, he expressed his admiration for Dickens who, in Malot's own words, managed to coax his readers into seeing the shortcomings of Victorian society without shocking them and prodded them into redressing those failings. For Malot, this is where realism lies : in a literature that is in touch with the issues of the day, and with the potential to generate a reaction to them. The study of En Famille confirms the stance taken by H MALOT. If the book was not written until documentation had been gathered and research carried out in line with the procedure required for a realist novel it was devised out of a move in which imagination and narrative play a leading part. In a way that is even more overt than in other realist novels, genuine places open up onto a dreamlike world which serves as a backdrop to the story. The novel is nonetheless linked to the events that were foremost on French people’s minds in the 1890’s : poverty among workers and the risks of social unrest that were looming. Malot paints a picture of the situation and in order to confront it urges readers to display humanity in a paternalistic way
Hochner, Herman Henri. "Les Métaphores de la relation Dieu-Israël dans la littérature prophétique : aperçus historiques et littéraires des métaphores de la vigne (agriculture) et de l'épouse (famille)." Université Marc Bloch (Strasbourg) (1971-2008), 2008. https://publication-theses.unistra.fr/public/theses_doctorat/2008/HOCHNER_Herman_Henri_2008.pdf.
The study of metaphor in the literature of the biblical prophets is an important chapter in the history of exegesis. Biblical metaphors use the linguistic, rhetorical and poetic effects of the Hebrew language in order to give greater immediacy and intelligibility to the significance of the messages to be transmitted. The extent to which a metaphor is undertood depends on the social and cultural milieu to which it is addressed. The present study is devoted to a close analysis of the metaphors borrowed from the agricultural milieu and from that of the family, in particular the vine and its products, conjugal and filial love and the way they are developed. The vine is an integral part of the landscape of ancient Israel and is certainly the image most widely used to designate Israel as a people. The image of the couple as representative of the relationship between Israel and its God appears for the first time in Hosea (1:31) and is later taken up by other prophets such as Isaiah, Jeremiah and Ezekiel. The period during which these messages were transmitted has been submitted to extensive analysis and adds an historical dimension that stretches across a long history right through to the destruction of the first Temple. The sources and documents used are the Hebrew text of the Bible, rabbinical readings and the historico-critical approach
Inoguchi, Yoshihiko. "Le mythe de la famille dans l'oeuvre de Georges Bernanos : autour de la paternité." Nancy 2, 1995. http://www.theses.fr/1995NAN21013.
The aim of this thesis is to pinpoint the complex ideas related to the family throughout Bernanos’ works and from such analysis to deduce the existence of a certain number of archetypes which structure and organize this mixture of the imaginary. In particular, the accent has been placed upon notions of paternity in comparison with correlative notions such as maternity and fraternity. The method of analysis is based on two concepts: "le mythe personnel" (personal myth) elaborated by Charles Mauron and "le roman familial" (the family novel), theory invented by Sigmund Freud. Based on these two concepts, we have examined the evolution of paternal figures from one story to another
Milongo, Léonard. "Jésus et les siens : (contribution à la recherche de Jésus de l'histoire)." Strasbourg 2, 2006. https://publication-theses.unistra.fr/public/theses_doctorat/2006/MILONGO_Leonard_2006.pdf.
Jesus and one’s family. During his public ministry, Jesus was in disagreement with different groups between other his own family. This last is the subject of our investigation. The conflict between Jesus and his family has often been interpreted variously. Someone estimate that it doesn't go back up to Jesus of Nazareth, others have contrary opinion. Strength is to note that this opposition has his roots in Jesus' life. The survey is about a very large choice of texts of Marc, Luc, Jean, Acts of the apostles, Paul's letters. Our objective is to understand the manner of which every evangelist presents the relations of Jesus of Nazareth with his family's members. Considering, the place that James the brother of the Lord occupied in the community of Jerusalem, he appeared necessary to us to study his statute. This survey reviews with the fine-toothed comb the different relative theories to the brothers of Jesus and their attitude to his. This study puts in light in the texts the elements supposed to go back up to the tradition and their significances. The historic plausibility of the data is demonstrated by means of the criterias of authenticities. It illuminate finally the question décisive : What was Jesus' attitude towards his family ? Jesus is the prophet eschatologic in presence the relations between people take another dimension. In fact, brother among the brothers and sisters, Jesus is the one that gathers in family all those that make God's will
Asciano, Jean-Luc André d'. "La famille, l'amour, la mort dans l'oeuvre de Jean Genet." Paris 7, 1998. http://www.theses.fr/1998PA070120.
Because Genet was an orphan and had no family of his own. It seems interesting to study the way family works in his books. Using psychoanalysis and anthropology we can try to make apparent the structures of these families. We soon realised that they concern the law the perversion of law and especially death. In Genet's work the family is about the struggle with death - family can be mortifying or rather a possibility to survive death. The family is linked to the name of the father, and the signature of the author. Therefore, through the name and signature, we must deal with the problem of language and the other. That is to say language in addressing the other the reason or the consequences of this address in relation to love and forgiveness. The objective of this thesis is then to define the relationship between family, love and death in Genet's work
Dal, Molin Paolo. "Introduction à la famille d'œuvres…Explosante-Fixe… de Pierre Boulez : Etude philologique." Nice, 2007. http://www.theses.fr/2007NICE2019.
The …explosante-fixe… family is a group of works in progress that are connected through the same initial material, conceived by Pierre Boulez in the early 1970s. The dissertation first presents the family genealogy reconstructed from the extant sources (musical manuscripts, editions, recordings, correspondence, and other documents). Three of the works are then studied in detail: „…explosante-fixe. . . " (1971) – the founder –, explosante-fixe for chamber ensemble and live-electronics (1972-1974), and rituel. In memoriam Bruno Maderna for orchestra in eight groups and percussion ([1972]-1975). The study advances two approaches which are considered to be interdependent : critical investigation of sources and theory-based analysis
Gonzalez-Benevent, Silvina. "Le regard d'une génération : formes d'incomplétude chez Carlos Saura et Juan Marsé." Montpellier 3, 2008. http://www.theses.fr/2008MON30033.
The notion of generation, wich is large and sometimes still difficult to define, is a starting point to establish a connection between a famous film-maker : Carlos Saura, and an equally renowned novelist : Juan Marsé. Both were born during the Spanish civil war, yet they did not come from the same social background and they had different career paths. It is thus necessary to focus on the relevant elements of their careers and to study their works in parallel. Such fields as psychology and sociology are the basis of an analysis which deals with two emblematic works by Carlos Saura Cría cuervos and by Juan Marsé –Si te dicen que caí. Drawing a parallel between these two works clearly reveals the resonance of the context on their authors' creations. However, belonging to a generation cannot be limited to sharing historical experiences. The impregnation of actually lived history is carried on and restructures over a whole period of time. The end of the Franco regime logically disrupts the act of creation by establishing a new space for freedom. Nevertheless, this optimism remains unfulfilled when Carlos Saura and Juan Marsé's last works make unclear feelings resurface, feelings that were not satisfied during the political and social transition of the authors' country
Pasteur, Sébastien. "L'image conjugale : une lecture du lien social dans la philosophie de Pierre-Joseph Proudhon." Besançon, 2010. http://www.theses.fr/2010BESA1019.
Having borrowed his methodology from Charles Fourier, Proudhon looks for order and balance in a reshaped economic order founded on individual decisions made by all free individuals. While his philosophy is essentially reformist, anarchist, and revolutionary, he has conservative, retrograde views on women and the family. Moreover, fraternity, which the 1848 Revolution has incorporated as part of the nation's motto, is rejected by the Franche-Comté philosopher, who is dismissive of all social links based on feelings. Yet what are the consequences on social cohesion? Is it to be reduced to purely functional relations within a labor-based framework? In fact, Proudhon's “ideo-realist” conception admits other cohesive factors: these include the family, seen as a “judicial organ”; a theory of art based on Courbet's works; and views derived from his own sense of his membership in the Masonic brotherhood – three themes that have hitherto received scant attention
Helmer, Étienne. "Économie et politique chez Platon." Paris 1, 2004. http://www.theses.fr/2004PA010625.
Koering, Jérémie. "Décors et lieu de pouvoir : l'exemple du palais ducal de Mantoue (1519-1587)." Paris 1, 2005. http://www.theses.fr/2005PA010631.
Gendre, Christine. "L'imaginaire familial dans l'oeuvre romanesque d'Hervé Bazin." Bordeaux 3, 1995. http://www.theses.fr/1995BOR30029.
From 1948 to 1990, herve bazin wrote fourteen novels related to family. The whole is a storiy of the evolution of that social unit, in france, in the second half of the twentieth century. The author's literary development has made it possible to bring out four major themes related to family : genesisfamily, received family, created family and wished family. Thus, the author's novels change from authoritarian family of the early twentieth century to democratic family of the la te nineties'. The effect of this alteration finds its expression in the triptych concept : "families i hate you, families i've got you, families i love you". Thanks to heroes with strong personalities, herve bazin asserts first-rank family imagination by following simultaneously the ways of autobiography of novels and of sociology
Cadieux, Daniel. "La débilité selon Lacan : à la lumière d'un cas exemplaire." Rennes 2, 2002. http://www.theses.fr/2002REN20016.
Debility according to Lacan, under the light of an exemplary case. We introduce debility through a discrimination between invalidating debility and the creative one, from the evolution of the concept in Lacan's teaching, and that will lead us to question debility in relation to the symetrical-mind-in-reverse of the unconscious ; to which the operator is the imaginary function. After exposing a clinical example of invalidating debility in psychoanalytical cure, Wolfgang Amadé Mozart will be our exemplary case thanks to his remarkable precocity. The quality of the father-and-son encounter was essential here. The defective genius : "high -spirited, light-headed and pleased at work" exists, but only for a body-debility unburdened on l'Autre. Mozart is his music, and we'll demonstrate that it is consubstantial with language, through an intertwining of the signifier and the music ; it's both a "pure writing" worth the structural "real", and "applied writing" for sonority and the music ; it's both a "pure writing" worth the debility to the symptom ; and, through its imaginary bipolarity and the function of modulation it carrie, it gets at givng its other name, the preconscious
Kuchyts, Tatsiana. "S'ils étaient de retour, ces étranges familiers. . . : la passion-répulsion de la famille dans l'oeuvre d'Arthur Adamov : lecture psychanalytique de Si l'été revenait." Grenoble 3, 2009. http://www.theses.fr/2009GRE39036.
This thesis proposes a psychoanalytical reading of Arthur Adamov's Si l'été revenait, a French writer of Russian extraction. The last perfect play of Adamov "commited" and at the same time regained by the tragic symbolism of Strindberg which inspires Adamov's first "metaphysical" theatre, Si l'été revenait condenses three "manners" of the dramatic writing of this author. Rightly or wrongly discerned by the critics of Adamovss plays, these "manners" believed to be Adamov seem nevertheless to have in common a theme which crosses them all : a constant ambivalence of the subject's feelings towards aIl family figures. The subject we mean is first at all Adamov's creative ego, a neurotic ego tom between affection and aversion to Family. In Si l'été revenait, the author's conscience is projected onto four dreamers. Their dreams express conflicting desires wich their dreaming ego feels towards family / familiar Other. These desires work in a close alliance like an imperishable couple Eros / Thanatos which exists inside each human psyche. The last Adamov's play constitutes the theatre of struggle and symbiosis of the dreaming / creative ego's drives, an imaginary and a tangible space where the never-ending couple of Family's torturer and victim working inside Adamov's inconscious personnality is projected onto. Play that summarizes, in a way, Adamov's real life and Adamov's psychical reality, constructed like an inconscious drama in four acts, Si l'été revenait seems to be ordered by the phantasm of passion / repulsion of Family submitted to the principle of a temporal continuity. So, four dreams that compose Adamov's last play look like four different phases of the evolution of this phantasm. The object of this thesis consists in expliciting of these phases by casting a psychoanalytical glance over them. This approach is inspired by Freud's and his followers discoveries. It's also feeded by other Adamov's writings, from poetry to theatrical critic, by analysis of Adamov's influences and ideas, by evolution of his theatre and by analysis of two spheres of Adamov's existence (material and interiour), and particularly by Adamov's reflections about his own neurotic malaise so braverly transcribed in each of his works
Rodovalho, Beatriz. "Amateur d’amateurs : enjeux esthétiques et historiques du remontage de films de famille à travers l’œuvre de Péter Forgács." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA057.
Through the work of Hungarian artist and filmmaker Péter Forgács, the thesis addresses the question of the reuse (remontage) of amateur films in contemporary documentary and examines the aesthetic, historical and political implications of the appropriation of home movies. The concepts of deterritorialization and reterritorialization developed by Gilles Deleuze and Félix Guattari allow us to question how the “archeological” practice of reassembly exposes home movies to multiple significations. How can they traverse aesthetic, geographical, institutional and political territories as well as territories of memory, history and thought? How are the stories contained in these rolls of substandard film traversed by History? How can these films subvert the official construction of history and memory and renegotiate the perception of historical time? What metahistory do they establish?The analysis of deterritorialization and reterritorialization of home movies allows us to question how the practice of reassembly creates a new cinematographic territory, in which memory and history of the past, as of the future, can be mined in and by the image. Thus remontage implicates poet(h)ical and political issues
Garcia, Mireille. "La famille dans l'oeuvre de Milton Hatoum : un avatar de l'altérité entre grégarisme et fragmentation identitaire." Thesis, Rennes 2, 2014. http://www.theses.fr/2014REN20027.
The current research studies the question of identity –in its collective and individual dimension– through theanalysis of the representation of family in the three first novels written by Milton Hatoum: Tale of a certain Orient (1989), The Brothers (2000) and Ashes of the Amazon (2005). Through these works, we discover the intimacy of memory and the family novel by exploring the identity relationships and the processes of construction and deconstruction of identity. Their central theme is composed by several representative criteria of identity such as language, religion, symbolic space and even the recovery of past through memory. Furthermore, topics such as revenge, incest, love, jealousy or passion are intertwined in the quest for identity and reconstructed through the memory of the narrators. The aim of this study is to examine the identity processes and to determine their mostsignificant topics. This study seeks to prove that the family relationships depicted by the author can serve as a basefor examining identity paradigms and can also reveal the interrelations between the individual (family) and society. Thus, the origins and the destiny of Brazil can be examined from a point of view anchored in the cultural and historical specificities of the Amazon region, which this study intends to explore
Martins, Fayad Marilda. "L'idiot de la famille et ses leçons : Sartre, un penseur pour aujourd'hui." Thesis, Besançon, 2016. http://www.theses.fr/2016BESA1007/document.
The Fool of the family is complement to the book of philosophy Questions of Method. Sartre asks in Questions of Method a change of language. It will be in this thesis to decipher Sartre writing in its nuances, details and colors. In other words, it is designed to study books from Sartre in order to find a meaning that makes sense for us, where his words are full of statements and their contrary at the same time. Our task of re-reading in The Fool of the family is to clarify the central axis of the existential psychoanalysis and point the most hidden of the philosophy of life. Insofar as Sartre will show that we must decide on the kind of life we want to have, this study aims to illuminate why Sartre is an indispensable thinker for the man of today. Thus, it will be necessary to treatThe Fool of the family as a work for learning. In this sense, the meaning and significance of our research are not closed and still opened to new readings. Our main objective is to clarify what has been the main theme of Sartreto write The Fool of the family and to check if the essence of the writer can be defined by his writings. In other words, do the writings show us who is the author as a man, or else can we rather see his double, one who speaks at his place and then become written word?
Lepidi, Noguerol Élisabeth. "Pline le Jeune : la Persona, ses masques ou l'envers du décor : thèse." Nice, 2003. http://www.theses.fr/2003NICE2011.
Beneath the mask of a benefactor who speaks well of his duties, and behind the appearance of serenity, are hidden the passions and conflicts of a private gentleman who must overcome his elders in order to achieve the status of a man and a writer. The Letters of Pliny the Younger thus become a remarkably constructed piece of theatre, where the scene-setter goes first and then gives his protagonists their cues. To penetrate the secret of the structure of the Letters it is necessary to look at more than one interpretation of the letter-writer, including some psychoanalytical aspects
Latiri, Inès. "Le Poétique et l’Idéologique dans la poésie contemporaine américaine d’origine arabe : étude de « 19 Varieties of Gazelle » de Naomi Shihab Nye, « In the Country of My Dreams » de Elmaz Abinader, « The Captal of solitude » de Gregory Orfalea et « Before our eyes » de Lawrence Joseph." Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030001.
Willing to introduce the poetry of 19 Varieties of Gazelle by Naomi Shihab Nye, In the Country of My Dreams by Elmaz Abinader, The Capital of Solitude by Gregory Orfalea et Before Our Eyes by Lawrence Joseph to shed light on the ideological approaches, this thesis emphasizes several directions to synthesize the vision of those American poets, children of Arab immigrants. The very anthologies prefigure those directions. Thus, we suggest to tackle the impact of the father on those who write, the impact of the Arab identity on the relation to the other, whether American or Arab, and on their political and religious ideology
Yang, Yingying. "Marguerite Duras et Eileen Chang. L'enfance, le roman familial, l'écriture féminine." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030058/document.
Marguerite Duras (1914-1996) and Eileen Chang (1920-1995), two women writers of the 20th century show specific sources for their inspiration : Duras – was from Indochina, and Chang – was from Shanghai; childhood and family experiences offer the background of most of their works. The worlds they describe are consequently defined by pain and suffering – either individual or collective. The family theme prevails in the works of both writers. It allows to offer a psychoanalytic reading of many of their novels of each writer, and to comment them by reference to the family romance which characterizes Duras and Chang. But childhood, family secrets, importance of the mother image, etc., are not the only background of Duras and Chang’s works. Both writers were fully aware of the political and social conditions which prevailed, and of the women’s situation. Consequently, the psychoanalytic reading of both writers should not neglect these conditions and the lucidity of both writers. This reading should account for the connection between the family history of both writers and their ability to address broader issues
Pestaña, Jañez Angélique. "Famille et valeurs dans trois romans d' Almudena Grandes : Malena es un nombre de tango, Los aires difíciles et El corazón helado." Thesis, Bourgogne Franche-Comté, 2017. http://www.theses.fr/2017UBFCH018/document.
Family has always inspired great novels which often highlight the relationship between the different generations. The subject of family is indeed constantly reinvested by authors regardless of their nationality or the period they depict. Almudena Grandes belongs to such category of writers and gives a paramount role to the family unit. Although a recurring topic in her literary trajectory, it has never been thoroughly studied by critics who yet analyzed many aspects of her work. Because such topic seemed crucial to us in Grandes’s writing, we focused on the family unit in three of her novels, Malena es un nombre de tango, Los aires difíciles and El corazón helado. In our corpus, family is, first and foremost, a group transmitting values which does not appear as a mere reflection of the social microcosm – such comparison being, we believe, a very common one in the field of literary theory. The families under study do not only convey a system of ideological values, but they also belong to a hierarchy of characters which creates a second system of values in turns in agreement with or in opposition to the first one. We thus intend to show the strategies used by Almudena Grandes to impose her own narrative system to the reader.In order to describe Almudena Grandes’s intentions, we decided to approach family through several prisms. Family models and alternative models show the rise of an antagonistic system based on contradictory values – patriarchal and conservative on the one hand, and republican on the other hand. But this chapter also highlights how some characters try to recreate a family outside blood ties or marriage bond, when their actual family is completely perverted or nonexistent. The different family figures – mother, father and siblings – build up an apparently unidirectional hierarchy of characters treated with deference or hostility by the narrative instance. Finally, the chapter related to family secrets unveils the moral ambiguity of some characters – torn apart between being and appearing – who, in two thirds of the cases, are eventually exposed. The discovery of the secret, if any – one character only manages to keep his secret and never confesses who he truly is – forces the characters to redefine themselves and gives them a chance to go through a liberating resilience process
Mailhol, Jean-Claude. "La tragédie domestique élisabéthaine : contexte éthique et perspectives esthétiques." Montpellier 3, 2003. http://www.theses.fr/2003MON30073.
Elizabethan domestic tragedy stages the middle-class citizen's married life. Should we see there the image of the Edenic happiness promised by Puritan conduct books, or a foretaste of hell ? Behind that question lies the image of woman. Does she still conform to the idealized Lucrece or Griselda stereotypes of old ? The plays offer an ambivalent type of heroin. That theatre had an edifying role. Its authors apparently respect the imposed convention, presenting the spectator with an unchanging homiletic pattern. But the impertinent art of the dramatists upsets the order and certainties of the moral discourse. A range of images and metaphors make for an aesthetic blurring effect of confusion. Domestic tragedy depicts a gloomy universe, where the image of the fall into nothingness is substituted for the comforting vision of a sublimated elevation
Pettinotto, Jean-Philippe. "Raconter une crise : La mémoire et la vie familiale dans les œuvres de Natalia Ginzburg et de Marguerite Duras." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20024/document.
The theme of family relationships is recurrent in the works of Natalia Ginzburg and Marguerite Duras because it offers them a framework to question at least two elements of narrative construction: the structure of the work and the narrative syntax.However, the peculiarity of their literary works lies less in the description of family lives than in "the talking image" that they provide of these lives. Indeed, the two novelists look at the family as a means to question language. Through the misunderstandings and pains of family life, they emphasize in fact a phenomenon that goes beyond the narrow limits of the family: the falsity of everyday language.Firstly, in this study, we observe how Natalia Ginzburg and Marguerite Duras refuse the traditional narrative order when they need to represent the chaos of family life. Secondly, we show how they perform a reconstruction of the world proceeding through the creation of cause-effect links between the events, and through the breakdown of language. Thirdly, we see how the search for family unity led both authors to subvert the norms of literary language to rediscover, go beyond and even destroy the lost past.This research work was carried out in the framework of a joint PhD program of the University Lumière Lyon 2 and the Università degli studi di Torino ; in addition to the academic interest that it might generate, this thesis aims at making Natalia Ginzburg's works a little better known in France and those of Marguerite Duras a little better known in Italy
Derbac, Gheorghe. "Mémoire et filiation : scénarisation familiale des conflits historiques dans l’oeuvre de George Sand." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL017.
In the nineteenth century, passing on memory in the family is complicated by a problematic relationship to history: ideological heritage or rupture isolate the individual, confronted with changes in the regime as well as with the social palinodes of his own and of his time. It is precisely this interrelation between subject, family and History in the nineteenth century fiction, which frequently stages (and dramatizes) this conflict – both personal and collective – that this thesis aims to explore. The chosen corpus comprises a selection of novels by George Sand, irrespective of their chronological order. A complex family device emerges from this writing based on a use of memory not devoid of effects of fictionalization. The generation game, which revolves around the Old Regime / New Regime cleavage, finds its model in Story of My Life and other autobiographical texts. This device will serve as a paradigm for us to explore all the recurrences and variations to which it gives rise in novels and short stories that allow such an approach. We will observe the different representations of family or of its avatars, how the notion of “filiation” is defined and how the subject is established and built in this context. The concept of “memory” is at stake in this reflection, which can take more unexpected paths, such as that of art. Family, memory, identity can thus undergo a certain number of mutations that will be analyzed, always in relation with the socio-historical and legal framework or with an ideological perspective
Lecoq, Anne. "Une fille du Parti : approche ethnologique du XXème siècle chinois à travers la biographie d’une femme pionnière." Thesis, Paris 10, 2015. http://www.theses.fr/2015PA100043/document.
This work deals with the life of an exceptional Chinese woman, Yuding, who was born in 1928 in China. It questions the way she has taken up totally paradoxical ways of life, kinship, and union, while living through incredibly uneven times - the beginning of the Republican era, the Second Sino-Japanese war, the civil war, the revolutionary era, the socialist society, and the current globalization. Yuding, presently 87, has kept faith in the venture proposed by the Maoist China, despite underlying wounds left by this violent period. Born in a leading family broken in to Confucian orthopraxy (rituality, morality, worship of the ancestors), Yuding then undergoes the influence of another “formatting” this of Maoism and its revolutionary doctrine. Very quickly, the traditional ideology of “filial devotion” passed on by her parents makes way for complete devotion to the Communist Party. Passionate activist from the Liberation, she leads an active life within the Women's Federation. French interpreter, she is brought round to traveling as much in Europe as in Africa, at a period during which very few persons were going out China. Yet, being an intellectual, she is sent to a labour camp “School of the Seventh of May” in 1968, but she doesn't lose her unquestioning adherence to the Party ideology. There soon won't be anybody from her generation, who was pioneer in the building of the People's Republic of China, to give accounts of this era. Her biography is a testimony of this exceptional experience
Grouzis-Demory, Christelle. "Les femmes, la famille, la vie affective en Espagne au XVIIe siècle : représentations littéraires et réalités sociales dans les nouvelles d' Alonso de Castillo Solórzano." Thesis, Montpellier 3, 2011. http://www.theses.fr/2011MON30033.
This thesis focuses on the representation of women in the short stories of Alonso de Castillo Solórzano. Mirroring the evolution of a genre popular in XVIIth century Spain, the short stories here under scrutiny are characterized by the extreme diversity and complexity of the female image. This study proposes to reveal the different faces of women and their new roles through an analytical approach to the text.Through the feminine perspective, we show that the author constantly favours variety, invention and admiratio. His aim is above all to entertain and charm his readers. The study of collective and individual representations of the female existence serves to underscore how much the author loves this transgressive feminine image, and to highlight the area of autonomy and expression granted to heroines, by means of a peculiar writing.Through his pen, the traditional framework governing the relations of domination and power between men and women is seen to be profoundly altered. Far from championing the feminine cause or questioning the established order, Castillo Solórzano's stories demonstrate, nevertheless, the decline in moral values and the upheaval which characterized the so-called « decadent » Spanish society of Philip IV
Lesme, Anne. "L'enfant dans la photographie sociale américaine de 1888 a 1941 (Jacob A. Riis, Lewis W. Hine et des photographes dela Farm Security Administration) : enjeux sociaux et esthétiques." Thesis, Aix-Marseille, 2012. http://www.theses.fr/2012AIXM3122.
Social photography was born in the United States at the end of the 19th century at a time when children were beginning to occupy a new place in the family. There is a stark contrast between the rich children, who tend to be sanctified and whose innocence is praised through art, and the poor children, who are often exploited and depicted in a picturesque way. While putting poor children at the heart of their concerns, the reformers used photography as a means to promote social progress, in such a way that text and image prove to be indissociable. Such is the case with Jacob A. Riis, a journalist and photographer who worked in New York at the end of the 19th century, and Lewis W. Hine, through his commitment to the struggle against child labor with the National Child Labor Committee (at a time marked by high immigration, rapid industrialization, and chaotic urbanization), as well as the photographers who worked for the Farm Security Administration at the end of the 1930s within the New Deal. Children are at the heart of a rhetorical system that exploits the vivid and truthful dimensions of photography and its power to move us. They contribute to the emergence of a new genre of photography, social documentary photography, which evolved according to the various ways in which it was disseminated (the press, conferences, exhibitions, and museums). While the cause of children is most often defended and while they maintain their status as subjects in these photographs, the ways in which they are depicted through different means of communication and dissemination sometimes turn them into mere objects
Splendorini, Ilaria. "Menzogna e sortilegio (1948) de Elsa Morante : une écriture des origines." Paris 4, 2004. http://www.theses.fr/2004PA040174.
For fifteen years the authoress of Menzogna e sortilegio has been a prey to ceaseless dreams, whose heroes are just her ancestors enobled by her imagination. She hopes she can get rid of her narrating delirium, that she ascribes to the so-called “hereditary disease”, by replacing her old family legends with the family news dictated by her beloved dead. But, while running along that piece of news, it doesn't take a long time to get aware of the mystifications of Elisa's mediumistic and therapeutic writing : as a matter of fact, it is an abuse to which the narrator resorts in order to keep escaping from reality and improving her tendency to menzogna in a different shape and under a covering therapy. So her ancestors become just like doubles on which the narrator projects her phantoms, her wishes, her neurosis and her family romance. The very writing becomes a sort of revenge on life and on her family for this “cloistered nun” (as she defines herself). But, after all, this new attempt of doing away with the reality leads up to the discovery of a real literary vocation
Fontane, Wacker Nathalie. "L'étrangeté du quotidien dans l'oeuvre de Marie NDiaye." Clermont-Ferrand 2, 2007. http://www.theses.fr/2007CLF20024.
Terashima, Miyuki. "Le discours de 'l'intime' dans les 'Rougon-Macquart' : Etude d'une trilogie romanesque : la Joie de vivre, L’OEuvre, Le Docteur Pascal." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030064/document.
This study focuses on the two themes which the word “ intimacy ” refers to : firstly private life in a family, and secondly internal conscience of each individual. Due to the dual meaning of this word, two mainstream themes in the 19th century literature were formed : presentation of familial life and autobiography. In considering “ intimacy ” in naturalism, which have not been taken up until now, the autobiographic nature of Zola’s novels will be brought to light, as compared to autobiography in romanticism. This study examines and analyses three particularly autobiographical novels from total twenty volumes of the Rougon-Macquart series : La Joie de vivre (1884), L’OEuvre (1886) and Le Docteur Pascal (1893), considering those novels as a trilogy. Those three pieces clearly reflect the duality of “ intimacy ”, in depicting family life of the protagonist and, at the same time, the interior mind of Zola who appears as his alter ego. In La Joie de vivre, Zola, as a pessimist suffering neurosis, is depicted through Lazare. In L’OEuvre, Zola, based upon his experience as an art critic, demonstrates his artistic vision through the painter Claude. In Le Docteur Pascal, Zola’s confession full of optimism, contrary to the past after having concluded his works in the Rougon-Macquart series, is reflected in Pascal who is a philosophical scientist. This study analyses how Zola, who has been deemed as a naturalist in sharp contrast to an autobiographical writer, has taken the theme of “ intimacy ” into his novels through his own experience in private life, and how he produced the trilogy novels which are fiction and, at the same time, autobiographical pieces
Chareyron, Hélène. "Echos d'enfance : les territoires de l'enfance dans l'oeuvre de Sylvie Germain." Phd thesis, Université de Bourgogne, 2013. http://tel.archives-ouvertes.fr/tel-00871058.
Konaré, Alhousseyni. "Mystique et prophétie chez Léopold Sédar Senghor et Aimé Césaire." Paris 4, 1986. http://www.theses.fr/1986PA040286.
Boussedra, Saliha. "La question de la prostitution à la lumière du Lumpenproletariat et des rapports entre les sexes chez Marx." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAC024.
This dissertation studies, in the framework of an exegesis of the texts of Marx between 1844 and 1867, the way in which the former conceived of prostitution and of the relations between the sexes. Prostitution is presented in two ways: it is associated with marriage and private family property and it designates a social activity, as such. To shed light on Marx's report to these questions, it is necessary to review his conception of the proletariat and social classes. An analysis of Marx's texts shows that this begins in 1845, when Marx conceived of his own conception of social class. He proposed, on the one hand, the concept of Lumpenproletariat and, on the other hand, the concept of private family property. The social activity of prostitution is thus definitely included in the Lumpenproletariat; further, the association between marriage and prostitution is only valid for the bourgeoisie, as the working class family had been dissolved. Marx's theoretical evolution led him to reintroduce the concept of the family for the working class, a concept that would enable him in Book I of Capital to envisage relations between the sexes in a contradictory manner within the working class. The relationship between the sexes, first considered from both a generic point of view and from the point of view of private family ownership, will lead Marx to highlight the process of individualization of the "members" of the working class family after the entry of women and children into the social world of work. This work is part of the history of philosophy, so the ambition of this dissertation is to read internally the work of Marx that highlights its position on prostitution and gender relations; it also aims to to open a dialogue between the currents of Marxism and gender studies in an interdisciplinary perspective
Pierre, Marie-Liesse. "Un atelier jurassien au temps des Lumières, les Rosset : sculpteurs, ivoiriers et peintres comtois à Saint-Claude dans le Jura au XVIII siècle." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAG026/document.
The subject treats originality of the workshop of sculpture of Rosset of Saint-Claude in the Jura (France) active from the XVIth until the XIX th century. Original by its family production works of art in ivory and marble which knews an European diffusion thanks to the portraits of Voltaire. Sculptors of interior and "into small", engaged in the debate of the Enlightenment, the Rosset are also famous sculptors of Franche-Comté and local painters. The subject is centered over the XVIIIth century around the work of Joseph Rosset (1706-1786) heart of the workshop, creator of famous models, whose five sons, ail artists, will produce in séries with him, and in an independent way after his death, adapting their work to the évolution of the tastes : Jean François, alias Joseph Rosset (1734-1783) goldsmith, Jean-Joseph-Nicolas Rosset (1737-1809) priest and painter, Jacques-Joseph Rosset (1741-1826), François-Marie Rosset (1743-1824) traveller painter of Turkey in Asia and sculptor, and Claude-Antoine Rosset (1749-1818) painter and sculptor. Book I. The first section relates the history of the workshop présent in Saint-Claude since the XVIth century, analyses the contex of work and the middle class social position of Rosset's family during the XVIIIth century. The second section shows in a critical way Joseph Rosset's biography, which brings out the characteristics of his Janus headed work, the sacral and the profane, picture of his believes, his catholic faith and his libéral political ideas and offers his art to the service of the Enlightenment. And then, in a third section analyses the works of his sons, in the political continuity of their father's ideals. They take part as citizen in the enforcement of the Révolution's libéral reforms. Book II introduces the reasoned catalogue of Joseph Rosset's work (1706-1786), section 1, the sacred work, section 2, the ivory work of the Rosset's Workshop and the third section the profane marble work. Book III is a reasoned catalogue of the sculpted work of his sons : section 1, the work of Jacques Rosset (1741-1826) ; section 2, the painted and sculpted work of François Rosset (1743-1824) ; section 3, the sculpted work of Antoine Rosset (1749-1818)
Ahmed, Mahmod Mahmod. "Le rapport à l'autre dans l'oeuvre romanesque d'André Gide." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20022/document.
A dialectic, fascinating and enigmatic mind, one many came to think of an egotist, Gide is also a writer driven by the need to discover the other. He breaks away with egocentrism so as to reach out to the other. Throughout his carrier, he gradually asserts his openness to the other and a need to be other. Hence the necessity for him to create a literary alter ego allowing him to see himself through the eyes of another.Our studies aims at highlighting the role of the other and the various forms he takes on in Gidean novelistic world, and particularly the role he plays when caught between the position of protector and corruptor. How can the encounter with the other bring about happiness or doom for the Gidean character? The illusory relationships which prevails, both within and outside the family, constitutes the knot around which narration is built. Sentimental, friendly, familial and social relations are all governed by dissimulation and manipulation. Gide stages characters that are torn between themselves and the other. A fantasized partner whom most characters head for, the other is a multiform figure, with whom distorted relationships end up organizing the writing. Oral or written exchanges give way to another illusory relationship. Even as they act out a selfless alterity, characters prove incapable of a sincere openness toward the other.Manipulator or protector, the other is an indispensable and necessary presence both for Gidean being and for the author’s way of writing. Such is Gide’s paradox to be caught between the necessity and the impossibility of relating to the other. The present study highlights Gidean otherness which appears through the author’s writing, establishing the reader as the sole true partner in narration, with whom the sole true relationship can be established
إن أندريه جيد ذا العقلية الجدلية والمغرية والغامضة والمعروف من قبل الكثيرين بأنانيته متميّز أيضا بتوقه للانفتاح نحو الآخر. وقد تمكّن من التخلص من سطوة الذات من أجل التواصل مع الآخر. وقد أثبت هذا الكاتب عبر مسيرته الروائية شيئا فشيئا انفتاحه نحو هذا الآخر ورغبته في أن يكون مختلفا. ومن هنا فقد برزت الية الحاجة إلى خلق "أندريه جيد" آخر في عالمه الروائي حتى يرى نفسه بعيون ذلك الآخر. وان هذه الجدلية الخاصة بالآخر تحثّ على إعادة قراءة أعمال جيد الروائية. تهدف دراستنا إلى إظهار مكانة الآخر وأشكاله المختلفة التي يظهر بها في عالم جِيد الروائي ولا سيما صورتاه كراع وكضال. ونتطرق من هنا عن كيفية الالتقاء بالآخر وما يجلبه لبطل جيد الروائي من سعادة وألم في آن معا. وتشكّل العلاقة الوهمية داخل العائلة وخارجها العقدة التي يدور حولها السرد. وإنّ جميع هذه العلاقات العائلية والعاطفية والودّية والاجتماعية خاضعة أساسا للخداع والتحكّم الخفي. يقدم جيد شخصيات منقسمة بين التفكير بنفسها والأخر. إنّ ذلك الآخر الشريك الخيالي والذي تنجذب إليه أغلب الشخصيات إنّما هو كائن متعدد ألأشكال، وكما تتجسّد هذه العلاقات المشوّهة أيضا في طريقة السرد. بالإضافة إلى ذلك يخلق التخاطب الشفوي والكتابي حيّزا لمثل هذه العلاقات المشوّهة. وتظهر الشخصيات التي تدّعي تناسيها لنفسها وإحساسها بالآخر أنّها غير قادرة على الانفتاح الحقيقي نحو الآخر. وسواء كان صادقا أو مخادعا فإن وجود الآخر ضروري بالنسبة إلى بطل جيد الروائي وبالنسبة إلى عملية الكتابة نفسها. وذلك هو التناقض في نص جيد : التوق إلى التواصل مع الآخر واستحالة إمكانية هذا التواصل. وفي النهاية، تظهر دراستنا غيّرية أندريه جيد التي تتجلّى عن طريق النّص كما تظهر تواطؤ القارئ الذي يقيم معه النص العلاقة الوحيدة الحقيقيّة
Huang, Chunliu. "La relation au monde dans Les Thibault de Roger Martin du Gard." Thesis, Artois, 2012. http://www.theses.fr/2012ARTO0001/document.
In the eight novels Les Thibault by Roger Martin du Gard (published between 1922 to 1940), the author addresses the reader and describes the world in which the former lives. The objective of this thesis is to examine Martin du Gard’s discourse with respect to some aspects of the multilateral relationships between society, author and oeuvre. R.M.G’s novels informed society of his time and were themselves shaped by society. The author moulded by society then constructs a fictional world. The relationships in Les Thibault are autobiographical in nature whether familial, gender, social or religious and these constitute the principal means of understanding the oeuvre and the author’s own life.To evaluate the reception of Roger Martin du Gard’s work among the Chinese public, the final part of this thesis analyses the two translations of Les Thibault, published in China in the 1980s. Comparison with a Chinese trilogy, Torrent (Family – Spring – Autumn, 1932-1940), by Ba Jin (Pa Kin), although very different but which also considers family and social relationships, allows consideration of how Roger Martin du Gard’s message crosses frontiers and reflects universal concerns, those of humanity itself
Menou, Hervé. "La prise de possession de l'espace et la projection vers l'avenir dans l'oeuvre de Julien Gracq." Paris 12, 1997. http://www.theses.fr/1997PA120103.
It is now possible to have a global vision of gracq's works. As julien gracq stopped writing fiction after 1970, the features of the investment of the self and the main axes of the imaginary can be defined by taking into account the novelistic, poetic, critical, autobiographical aspects. In order to throughly understand the writing modes of the gracq self, it is necessary to study the writer's relationship towards literature and andre breton's emblematic figure. Like in traditional autobiographies, gracqian writing neither dismisses the filiations in the strict sense of the word nor the more literary ones, built and imagined. Gracqian writing proposes a somewhat classical pattern of memory, but the author never undertakes to make a complete narration of his private life; by means of a fragmentary style of writing, he offers a literary, sometimes ambiguous image of the self. This work of literary composition finds its full meaning in an intimate relation to time and space, first of all in the representations of childhood presented as true personal myths. On the other hand, gracqian autobiographical writing is extremely dependent on history. Studying the relation of the self to space reveals new data: the urban space, first of all the city of nantes, offers possibilities of imaginary projections, always present in the works, that have been easy to identify since un beau tenebreux. Strolling in life and literature, gracq grants growing importance to the representations of the self and the town, thus bringing to light the relation of privacy to the main favorite themes of his works
Adjobi, Vast-Amour Dingui. "L’espérance comme expérience ontologique chez Gabriel Marcel." Thesis, Rennes 1, 2017. http://www.theses.fr/2017REN1S057/document.
Hope appears as the experience of a future which was not still lived yet and which is given as inobjectivable. This intuition has commanded the problematic of this research, which brings to light the conditions of possibility of a true hope in a world – ours – where it does not immediately find its place. This « broken » world, as Gabriel Marcel calls it, is under the influence of technic. It's a world in which prevail the need to do things, and also where existential questions are reduced to ''problems'' which must find their ''solution'' as any other problem come under the order of the possession. In this way, there is a ''problem of hope''. A philosophy is growing which emancipate itself from faith and which illustrations are found in particular in Hume's probabilism and Bloch's materialism. But Gabriel Marcel, by the method said about ''second reflection », bet to place hope under the seal of ''mystery''. It's all about understanding that hope, thought on the plan of ''the being'' and no more of ''the having'' is an experience still on training and which opens the way that follows a person defined by its ability to act, its relations to others and its aptitude to responsibility. In this sense, we support, with Ricoeur's support, that the subject identity of hope is essentially intersubjective and opened, according to a requirement of creative fidelity. We find more exactly in the « I and you familial» as Marcel calls it, the condition of possibility of a concrete experience of hope, understood as patience of a trying present and trust in an uncertain future. Referring back to back, the essentialist and constructivist conceptions of the family, we call creative vow, what within the family, of which we propose an enlarged conception is springing forth for the new and promise of life. So we assert that hope, however unverifiable as it may be, is, but according to authentic and inauthentic forms. The challenge of this work, recognizing this difference at the very heart of hope, is to understand how it, more than as a set of means, is fundamentally a start-up that is received from a call. From one to other, and which is constitutive of all action devoted to time. The presence of this other overflows any attempt at objectification. It is the inner place where the active expectation of hope as an ontological experience is lived
Tavakoli, Aram. "L' image de la femme dans les nouvelles de Paul Morand." Paris 3, 2001. http://www.theses.fr/2001PA030022.