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Дисертації з теми "Littérature bretonne – Étude et enseignement – 20e siècle":
Gouthe, Glenn. "Xavier de Langlais et la langue bretonne : création, sauvegarde, transmission : étude de la place du breton dans la vie d’une personnalité bretonne du XXe siècle." Thesis, Rennes 2, 2021. http://www.theses.fr/2021REN20051.
How did Xavier de Langlais participate in the life and survival of the Breton language during the 20th century? Breton personality, member of the Seiz Breur, he is a direct witness of the upheavals then affecting the Breton language and gradually leading to its decline. His artistic activity, such as his paintings, engravings, illustrations and even his frescoes have made him famous in Brittany and beyond. His work in the Breton language and in favour of it is less well known. This study attempts to understand the link he had with the Breton language and his activism in favour of it. He took it upon himself to learn the Breton language in a non-breton-speaking family background. He composed poems, novels, short stories, plays. He actively participated in the main literary journals of the time such as Gwalarn or Dihunamb. He took interest in the language of his environment in Vannes country by collecting songs, tales, phrases, proverbs in the field, in the region of Surzur. He fully embarked on a spelling reform which had become essential in his eyes so that the language could be taught in the school system and thus allow a transmission to future generations
Jey, Martine. "La littérature dans l'enseignement secondaire (second cycle) en France de 1880 à 1925." Paris 3, 1996. http://www.theses.fr/1996PA030180.
The teaching of french which evolved into an actual discipline by the turn of the last century was a teaching of literature. From the study of official school regulations, hand-books and baccalaureat exam topics, it appears that this new type of teaching, despite the obvious will to enlarge the scope of studies, mainly dealt with a corpus of authors and texts that had been priorily selected. The analysis of the exercises, which were spread as school exercises, in so far as they took up older exercises meant for a body of specialists, shows the issues met by the invention of the new discipline. The debates on pedagogy, which went with the elaboration of official regulations and with the different reforms, point to the aims and values at stake in the teaching of french, whose recognition was painstakingly legitimed and whose reference patterns evinced contradictory features. Concerning innovation or conservative factors in process, the debates within the high board of public instruction are more particularly telling and reveal the part played by the different actors of the institution
Tari, Bita. "L'inscription de l'épistolaire dans le roman français du XXe siècle : les approches littéraire et didactique." Paris 3, 2006. http://www.theses.fr/2006PA030070.
The central question of this thesis revolves around the analysis of the interaction between epistolary and novelistic forms and the didactic possibilities of this interaction in the context of teaching French as a foreign language. The relationship between text and context implies the study of the enunciation in the exposition scenes. The elaboration of the theory of “scenography” enables us to deal with thoughts, ideas, points of view, ideologies, etc. When they are presented in the epistolary form within the fictional context of the novel. The approach adopted here involves two analyses: the first is an analysis of discourse, inspired by pragmatic theories, which consist in studying the epistolary form as a discursive activity within which the enunciation cannot be dissociated from a system of communication; the second analysis, which is didactic, borrows from social sciences, which deals with the conflation of three elements : the text, the enunciator and the reader/learner. The improvised nature of the epistolary form enables the learner to write freely with the aim of communicating. Through a process of identification, the learner takes the place of the letter writer to enter the fictional universe of the novel and to recognise certain moral and cultural values in the target language. The dialogical, interactive and hyper-generic frame of the letter incites the reader/learner to accept a specific worldview of the author who is positioned in the literary field constituted as “social space”. Acceptance of this “authorial world” is dependent on the expectations and cultural baggage of the learner, those having been formed by his reading habits and the approaches to reading imposed by social norms
Martah, Mohamed. "La réception critique de Lautréamont et de son oeuvre." Paris 12, 1994. http://www.theses.fr/1994PA120032.
A challenge. This is how the reading of ducasse's work could be qualified. The hermetisme of his poetical works seems to discourage even the hermetically experienced readers, but which, in reality, invites them to taste <> whitch are les chants. . . And poesies. From challenge to risk, from risk to interpretation, from interpretation to the history readings, such is the progress of the critical reception of lautreamont and his works. From an aesthetic experience to anather, lautreamont proves more and more accessible and more and more readable. Thanks to critical works of leon bloy, andre breton, salvador dali, gaston bachelard, maurice blanchot, philippe sollers, and many others, the reading of ducasse's poetical works materializes in a production of critical texts. They attest to the reception of lautreamont, to his eminent place in the process of reading
Houdart-Merot, Violaine. "La culture littéraire au lycée depuis 1880 : devoirs d'élèves et discours officiels." Paris 8, 1997. http://www.theses.fr/1997PA081219.
Verny, Marie-Jeanne. "Enrasigament o nomadism (Enracinement ou nomadisme), trajectoire d'un écrivain occitan de la fin du XXè siècle, Roland Pécout." Montpellier 3, 2002. http://www.theses.fr/2002MON30052.
Roland Pécout was born in 1949 in Châteaurenard (Bouches-du-Rhône), in the Rhône river Provence and has written - both in Occitan and in French - an abundant work, the majority of which is still unpublished or dispersed. Reading these texts reveals a universe made of continuity and passages in which contraries, far from opposing each other, agree and complete themselves. Neither confinement in enrasigament , nor escape into nomadisme in this work but a fecund tension between here and there, the past and future of man, French and Occitan, orality and written culture. This study aims to demonstrate the formal and thematic coherence of this writer's written works beyond the first impression of diversity and crumbling. After a description of the totality of his written texts -including numerous unpublished materials- from the middle of the 1960's to the most recent present time, it more particularly focuses on the four groups of poetry and poetic prose which comprise Avèm decidit d'aver rason (1969), Poèmas per tutejar (1978), Portulan (1978 et 1981) and Mastrabelè (1999)
Golzad, Mithra. "Littérature et canons littéraires dans les quatre revues universitaires (1965-1984) : Le Français aujourd'hui, L’Information littéraire, Littérature, Poétique." Paris 4, 1996. http://www.theses.fr/1996PA040043.
This discourse on the four university literary reviews, le Francis aujourd'hui, L'Information littéraire, Littérature, Poétique, analyses the fundamental concept of literature based on the choice and the definition of the subject under study, based on an overall view of the articles from each review. This concept is viewed from the basis of the statistics of the works and the periods from 1965 to 1984. Supported by the analysis of a large number of contributions to these reviews, we have defined the model presented by each review. It is possible to situate the relationship of these reviews to schools and universities through the exploration of these canons, and to clarify the ideological foundation of the debates on the choice of subject under study. Through an analysis of the texts concerning the literary works, we can discern the center of interest of researchers which is geared towards stories and narratives, as well as the predilection of university researchers towards fictional prose, hence the priority given to storytelling. Contesting the hierarchy of types of literature does not prevent the reviews from discovering literature, not due to social requirements but due to the requirements of the reaching profession. The literature presented in our collection is the result of a joint project by university researchers who are also members of the teaching profession. Consensus here consists of training students to take pleasure in reading within a field of production, a "collection" of institutional literary knowledge. The aesthetics of interpretation do not dissolve literary canons, they are chosen and read for university. Moreover, once the period of crisis has passed, the image of the author always remains behind these literary canons
Connan-Pintado, Christiane. "Les contes de Perrault à l'épreuve du détournement dans la littérature de jeunesse de 1970 à nos jours : de la production à la réception." Rennes 2, 2006. http://www.theses.fr/2006REN20039.
Pillars of the patrimony, rooted in the collective unconscious, the tales to which Perrault gave a written form three centuries ago have swarmed into all possible forms of expression, and found a privileged space in contemporary children's literature – at times complete, usually altered, diverted and distorted. In order to define and assess its causes, its scope and effects, this phenomenon must be approached from three successive angles. First, one must revert to the original work to question the reasons of its fortune. Then, according to the word of Umberto Eco, examine the " migration " of the characters and patterns of the tales to the sphere where they multiply, to suggest a classification of the re-issues, the adaptations and the hypertextual variations. Last, one has to pay particular attention to the school-child to whom they are directed. Indeed we postulate that tales, when distorted, are particularly suited to literary reading, and very early in the child's life, thanks to a close relationship with the original tales, allowing an identification of their source, and a comparison between primary and secondary text, on the axiological plan as well as on structural one. In short, from Perrault to the present time, from the original tale to the deviated tale, from its production to its reception, it is a question of following the course of a major literary work, of spanning all its transformations in contemporary books for the young, and studying how, in these first years of this new century, children read them
Bonnemaison, Marie. "De l'enseignement du français au lycée : des attentes institutionnelles aux pratiques des élèves." Paris 8, 2001. http://www.theses.fr/2001PA081977.
Aguettaz, François. "Le lecteur et ses figures : le lecteur de poésie et son imaginaire de la lecture." Chambéry, 1995. http://www.theses.fr/1995CHAML001.
For the reader of poetry, the effectiveness of his reading largely depends on his own imagination of reading, that is to say, his perception of himself as a reader. This perception - this representation - is in fact a source of energy likely to produce various dynamics in the process of reading. In this respect, it can either inhibit the reader if it is a negative perception, or stimulate him if it reflects a positive image of himself. This representation which is extremely habitual in fact, has frequently lost its power of stimulation because it has been reduced to cliches or commonplaces. But many readers know how to draw a vivid stimulus which revitalizes their reading. The description of this representation (for example, reading as a picking, hunting, travelling), on one hand allows to explore a few fundamental dynamics (dynamics of opening, preying on, travelling over, or initiatory quest) and, on the other hand to emphasize, in its various aspects, the specific creativity of the reader : production of new perceptions of the world, production of order or destruction of fossilized structures, development of instruments, regeneration of vital energy and finally creation of a representation. The process of reading, such as it is experienced by the real reader, is then enlightened in all its dimensions of profound experience, and, for from being limited to a mere intellectual operation, it becomes the way to achieve poetical knowledge