WorldCat Identities

Alduy, Cécile

Overview
Works: 23 works in 52 publications in 2 languages and 584 library holdings
Genres: Criticism, interpretation, etc  Bibliography 
Roles: Author, Author of introduction, Thesis advisor
Publication Timeline
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Most widely held works by Cécile Alduy
Politique des "amours" : poétique et genèse d'un genre français nouveau (1544-1560) by Cécile Alduy( Book )

12 editions published in 2007 in French and held by 199 WorldCat member libraries worldwide

Etude sur une trentaine de recueils poétiques amoureux écrits en France de 1544 à 1560, par Ronsard, Le Caron, Du Bellay, Tyard, Des Autels, etc., représentatifs d'un genre littéraire nouveau, les Amours. Analyse leur fonctionnement et leur structure, leurs enjeux littéraires et politiques, leur poétique, les sources italiennes et françaises de ce genre, etc
Maurice Scève by Cécile Alduy( Book )

7 editions published in 2006 in French and held by 114 WorldCat member libraries worldwide

Bibliographie analytique consacrée à M. Scève (1501?-1564?) comprenant quelque sept cents notices. Cet écrivain s'est illustré dans différents genres, du sonnet à l'épopée scientifique, de l'églogue bucolique à la poésie latine tout en s'investissant dans les débats littéraires et poétiques de son époque
Marine Le Pen prise aux mots : décryptage du nouveau discours frontiste by Cécile Alduy( Book )

5 editions published in 2015 in French and held by 87 WorldCat member libraries worldwide

A l'heure où Marine Le Pen s'impose sur la scène politico-médiatique et engrange des scores électoraux sans précédent, il est urgent de décrypter la logique de son discours et les fondements de son efficacité rhétorique. Pour la première fois une analyse lexicale, littéraire et statistique d'un corpus de près de cinq cent textes permet de mesurer l'originalité de cette nouvelle parole frontiste. Discours publics, éditoriaux et interviews des deux présidents successifs du Front National sont passés au crible d'un double traitement, informatique et rhétorique, afin de cerner au plus près continuités et différences. La bataille des mots est au coeur de la stratégie de "dédiabolisation" engagée par la nouvelle présidente du Front National depuis 2011. Pourtant, le discours de la fille est-il si différent de celui du père ? Il n'est pas sûr qu'il suffise d'adopter le lexique de la République pour en porter véritablement les valeurs. Au-delà du dépoussiérage lexical, structures profondes et roman national sous-jacent continuent de puiser aux sources d'une longue tradition littéraire et politique d'extrême droite. Cet ouvrage entreprend de démonter les ressorts du discours mariniste, mais aussi d'éclairer cette nouvelle parole tributienne qui répond à de réels besoins de sens et de valeurs dans un contexte de crise économique et identitaire profonde. --
Delie : object de plus haulte vertu by Maurice Scève( Book )

4 editions published in 2001 in French and held by 49 WorldCat member libraries worldwide

Le Front national by Cécile Alduy( Book )

4 editions published in 2016 in French and held by 39 WorldCat member libraries worldwide

Soumission de Michel Houellebecq : analyse d'œvre by Jean-Michel Cohen-Solal( )

1 edition published in 2016 in French and held by 32 WorldCat member libraries worldwide

Ce qu'ils disent vraiment : les politiques pris au mot by Cécile Alduy( Book )

2 editions published in 2017 in French and held by 29 WorldCat member libraries worldwide

Ce qu'ils disent vraiment : les politiques pris aux mots by Cécile Alduy( Book )

1 edition published in 2017 in French and held by 17 WorldCat member libraries worldwide

""Liberté", "laïcité", "sécurité", "people", "identité" ... Les hommes politiques aiment les mots qui claquent ou qui clivent. Mais quel sens précis leur donnent-ils? À l'aube d'une année électorale à hauts risques, et dans un contexte de montée du Front national et de menace terroriste accrue, il est urgent de clarifier le sens des mots du débat politique. Pour la première fois, une analyse scientifique décode la logique du discours des politiques qui se disputent l'élection présidentielle de 2017 Marine Le Pen, François Fillon, Jean-Luc Mélenchon, etc. et de ceux qu'ils ont peu à peu supplantés François Hollande, Nicolas Sarkozy, Alain Juppé. À la croisée d'un monde ancien et d'un monde nouveau, c'est la capacité des politiques à lire le monde contemporain et à le dire qui est scrutée. L'auteur passe au crible plus de 1 300 textes 2,5 millions de mots écrits ou prononcés de 2014 à 2016 pour décrypter mots-clés, mots-fétiches et mots-tabous, et cartographier les positions de chacun et la reconfiguration du paysage politique. Cette enquête sémantique, stylistique et rhétorique dévoile derrière l'écume des petites phrases la structure profonde de la vision du monde des politiques. Que disent-ils? Qui est "de gauche" et "de droite" à l'heure des concepts politiques élastiques? Les "populismes" des deux bords se ressemblent-ils vraiment? Et quels sont les angles morts de ces orateurs aguerris qui manient aussi bien silences et non-dits que slogans et mots d'ordre? Plus que jamais, la bataille des idées passera par celle des mots. Et celui qui imposera son propre sens de la "laïcité" ou de la "République"aura remporté une victoire idéologique, au-delà même des résultats électoraux."--Book cover
Bibliographie des ecrivains francais by Cécile Alduy( Book )

1 edition published in 2006 in French and held by 3 WorldCat member libraries worldwide

Le recueil littéraire : pratiques et théorie d'une forme by Irène Langlet( )

1 edition published in 2016 in French and held by 3 WorldCat member libraries worldwide

Architecte d'une œuvre plurielle, le recueil est de toutes nos lectures. Puzzle ou série, cycle ou mélange, il se feuillette, se reprend, se quadrille ou se picore. Mais qu'est-ce donc qu'un recueil?
'La gran dolor que llengua no pot dir' : ausiàs March and the poetics of private pain by Cici Malik( )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

The present dissertation explores how the poetry of Ausiàs March (1400-1459) problematizes the view of fifteenth-century Iberian literature as part of a linear transition from the medieval to the early modern period. More specifically, I examine notions of body, pain, and subjectivity that emerge in the lyric poetry of the late medieval Crown of Aragon and trace their trajectory through the 128 cants of the Valencian poet and into the literary milieu of sixteenth-century Castile. I argue that the unique way in which March draws upon so-called medieval tropes and source material, the way his poetics theorize on the essence of private pain before pain was private, paradoxically fashions what so many scholars point to as his strikingly modern, subjectively emotional "self." Focusing on the themes of language, love, community, and pleasure and pain, my first chapter excavates March's complicated relationship with his troubadour predecessors, focusing on what he takes from the Provençal tradition and what he abandons. In the second chapter, I examine the work of Giorgio Agamben, David Bakan, Ariel Glucklich, and Elaine Scarry to offer a new reading of March's verses that focuses on his treatment of bodily pain and what it implies vis-à-vis theories of the self. Chapter three is a close comparative analysis of March's original cants and their most widely disseminated sixteenth-century Castilian translation, that of the Portuguese Jorge de Montemayor (1560); in this final chapter, I pay special attention to the ways in which Montemayor transforms and even eliminates March's frequent presentation of the poetic self, the body, and pain. By situating my study within a trans-linguistic (and trans-national) framework, I am able to arrive at a more nuanced understanding of textual constructions of subjectivity and experience in fifteenth- and sixteenth-century Iberia
Literature and its rivals (1500-1660) by Frederick Lawrence Blumberg( )

1 edition published in 2011 in English and held by 1 WorldCat member library worldwide

I observe three closely related functions of speech in the early modern period, communication, persuasion, and expression; and postulate theories about each in order to understand the mechanisms of discursive suppression. Drawing on a wide range of literary and cultural texts, including the works of Shakespeare, Sidney, and Milton, I argue that there was a rivalry between literary authors and religious authority over certain valued modes of speech. In the chapter on communication, I devise a normative taxonomy of speech that reflects religious orthodoxy; then, I reconstruct models of persuasion based on several recurring figures (speech as a food, drug, child, and messenger, to name a few); and last, I look at two concepts: expression, or speech that reflects a self capable of ordering things independently, in the burgeoning essay; and suppression, or speech that wishes to promote a divine order, in the form of Le Catalógue Des Livres Censurez, the first modern index of prohibited books
The hermeneutics of conversion : fiction and apologetics in François Mauriac and Jean-Paul Sartre by Jason Andrew Lewallen( )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

This dissertation analyzes key texts from the 1930s in light of recent scholarly work on secularization. I maintain that conversion novels by Jean-Paul Sartre and François Mauriac function not only as sites for interrogating the credibility of religious forms in the modern world, but also as apologetic tools that train readers in hermeneutic strategies, preparing them for specific modes of engagement in society. For both authors, "the secular" comes to be imagined as a practice of reading guided by a hermeneutic of suspicion. Likewise, a hermeneutic of faith represents a sacred mode of reading. By giving readers hermeneutic training, these texts give credence to Pascal's claim that sustained practices can prepare an individual for conversion, or, as the case of Sartre demonstrates, to prepare an individual to resist conversion
Rereading as requirement : the cognitive demands of Mallarmé, Krysinska, and Proust by Darci Lauren Gardner( )

1 edition published in 2013 in English and held by 1 WorldCat member library worldwide

This dissertation claims that three French-language authors from the late-nineteenth century designed their works to demand rereading. Worried that the public favored goal-oriented approaches to literature that narrowed their perceptions of the texts, they solicited rereading to cultivate alternative interpretive practices. For Stéphane Mallarmé, the problem was that readers targeted semantic content--an approach that he feared would diminish his poetry's sensorial effects. In Marie Krysinska's view, the issue was that people's inclination to assimilate new concepts based on what they already knew caused them look for familiar features and discard leftover details. Marcel Proust attacked the common practice of reading for the wisdom of the author because doing so seems to make readers struggle to evaluate the reliability of the information that they are given. By causing these approaches to fail and then inciting us to reexamine the passages that we misread, all three of these writers disperse our attention to aspects of literature that we otherwise tend to neglect. Ultimately, the claim is that Mallarmé, Krysinska, and Proust designed their texts to challenge interpretive habits that arise from what are now called "cognitive biases, " or mental inclinations that can be inferred from the patterns of errors that most people when they make intuitive judgments about uncertain situations. By cultivating our awareness of these biases and by furnishing us with opportunities to practice working through them, certain literary texts seem to have the potential to restructure our interpretive habits so that we learn to recognize, anticipate, and avoid some of the irrational interpretations to which we are prone
Society theater : a laboratory for esthetic and social change (1715-1815) by Maria Teodora Comsa( )

1 edition published in 2014 in English and held by 1 WorldCat member library worldwide

In France, the 18th century was a time of great enthusiasm for the theater. Princes, aristocrats and bourgeois could not slake their passion by attending the official theaters and they staged plays in their private residences to recreate the dramatic experience. People became amateur actors with unprecedented fervor and participated in a new form of sociability known as "society or private theater." Although long dismissed by critics as minor and unimportant, society theater had a lasting impact on the development and evolution of French theater during the 18th century. In addition, because society plays were closer to contemporary life than official dramatic works, they reveal that this practice introduced, tested, and disseminated new social ideas among the participants. Using the metaphor of the laboratory, this study advances a reevaluation of society theater as medium of esthetic and social change. The first chapter traces the history of the practice from its inception to the end of the Napoleonic Empire. Esthetic innovations and main characteristics of the genre are then analyzed before presenting an account of the reception and treatment of society theater in the 18th-century official and unofficial press. The unique social functions of this practice are then revealed through discussion of laughter. An illustration of the way society theater introduced, tested, and disseminated new ideas is presented through examination of the treatment of love in society plays. Finally, the subversive side of the practice is underlined using a couple of representative case studies. Works by Charles Collé, Carmontelle, Marivaux, and Beaumarchais are analyzed
"Ecrivain-voyageur" versus "voyageur-écrivain" : la déconstruction du voyage et de ses modes d'écriture au 20e siècle : vers une reécriture du récit de voyage et de l'ailleurs by Marie Helene Lasnier( )

1 edition published in 2010 in French and held by 1 WorldCat member library worldwide

This project is the narrative of a unique voyage accomplished over the past few years in search of a certain type of literature: the literature of the outer world and the Other, and most importantly, in search of a very specific group of travel writers (also referred as "writers in travel literature") and their passionate stories. Traveling and writing, in which directions and in search of what? What are the motivations behind the various decisions to travel and ultimately to write? Traveling in order to write, writing in order to travel, or simply traveling for the unexpected of the road, the unknown and the mere delights of the trip in itself? Is it currently possible to differentiate these two steps, apparently necessary to the creation of a travel narrative, or do they remain closely connected to one another? To what extent can we individually re-discover and re-define the qualities that are specific to the writer and the traveler, by no longer identifying them as similar characteristics to both, but by emphasizing on the contrary, that they belong to two distinct categories in the domain of travel literature? The evolution of French travel literature over the centuries remains a complex and fascinating topic that has aroused a large number of questions, and it is difficult to answer each one of them with precision. Nevertheless, the emergence of a new approach towards the concept of traveling and the various ways to interact with the outside world has gradually allowed a better understanding of the literary genre as well as a new way to analyze the choices and behaviors of several travelers and writers at the beginning of the 21st century. Living in uncertain times of globalization and rapidly converging cultures, modern travelers publishing their experiences, find themselves more than ever reflecting on the diversity of the world. From the 20th century onward, the representation of the other has become one of the main purposes of traveling and writing. The evolution of the genre in the last couple of centuries demonstrates a stronger desire among certain authors in search of cultural diversity, to finally rediscover, accept and reassess the true value of the outside world by experiencing it in the present, rather than contrasting their experience with previous critical works from other authors. The abundance of travelers around the world today, as well as the increase in the numbers of travel narratives published each year make one wonder what drives these individuals, and for whom do they write? Why do so many travelers and tourists, in search of new and exotic experiences capable of disrupting the monotony of their existences, decide to leave? What are the reasons behind their decisions? Did the experience of traveling throughout the 20th century lose its meaning? What is left to contemplate despite the tour of what has already been done? Are we still capable of observing the world with a new, objective and innocent eye, or are we merely bound to discover what others have seen, invented, imitated and written before us? Lost between fiction and reality, the travel writer manages to reassess his or her own voice, and reinvent himself or herself in view of mass tourism, and it is possible that the emergence of a new desire of authenticity in terms of the way people travel, interact with the Other and chose to share their experiences through writings, may have gradually opened the way to a new type of writing and traveling at the beginning of the 20th century. By looking at the very first novels of exploration and adventure, the various travel diaries often held responsible of idealizing "exotic" territories, and by finally observing the emergence of numerous travel "blogs" invading the virtual world at the beginning of the 21st century, one cannot help but wonder what happened to real travel literature, and whether is it still possible to experience with authenticity the real nature of the world. My research project focuses on two categories of travel writers, who far from being representatives of the large majority of authors, naturally distinguish themselves from one another by their intentions, their ways of traveling, and ultimately, their very unique and individual ways of writing about the journey. It is important in this precise case, not only to emphasize the function and the particularity of what I define as "a writer in travel literature" or travel writer (un écrivain--voyageur in French) in the broad meaning of the word, but also the existence of new models in travel literature. Among the different types of writers who have published their travel narratives over the years, I find it particularly interesting to study the dichotomy between two categories of authors: the "traveling--writer" and the "writing--traveler". An analysis of these types of writing will ultimately lead to a new theory on travel literature, and provide a more modern understanding of the literary genre. Despite the fact that most critical essays on travel literature are interested in the question of the interaction with the Other throughout the journey, or its representation and place in a more modern and global society, it is interesting to adopt a different approach to the subject by re-establishing the definition of a travel writer, or a "writer in travel literature". The meaning of a "writer in travel literature", as well as a "travel narrative" has changed since the beginning of the 20th century and our current perception of this minority of writers is now restrictive, since it does not fully allow us to distinguish the specificities and the individuality of the subject, whether it is during the journey in itself, or the process of writing. A "writer in travel literature" generally bases most, or at least a major part, of his or her work on personal experience while traveling. This writer usually uses autobiography, narrative, poetry or even the essay genres to present discoveries and encounters to the reader, and therefore add a more universal and literary dimension to his or her individual experience. My goal at the beginning of this research was to determine what are, among the vast category of "writers in travel literature", the most significant differences between the experience of a traveler and that of a writer, and which literary elements allow us to point out those differences. Some writers may emphasize their difference by displaying a more objective way of perceiving and describing the world as well as a new attitude towards the concept of Otherness, while others, more interested in the action of writing, may manifest a desire to show what is really left of our world, through a more transparent way of writing, in closer accuracy to reality itself. Therefore, I demonstrate in this work that there is a clear difference between two types of travel writers through an innovative comparison of the works of two authors, Alexandra David-Néel and Nicolas Bouvier, who respectively represent the new categories of "writing--traveler" and "traveling--writer". First, I have deliberately chosen to contrast a female traveler and a male writer in order to compare them on a personal level and better understand what the act of traveling and writing means for them. I compare their initial motivations in regards to their decision to leave, as well as on following the evolution of their "self" and the intimate relationship they developed with their sense of self (or with themselves) throughout their journeys. I then analyze the relationships these two authors established with the outer world and the Other, and to what extent their gender difference played a critical role in their ways of interacting and traveling, in different geographical spaces and times. Finally, I am interested in their own perception of the act of writing, in order to understand, on an individual point of view, what function writing played in their lives, how they managed to express themselves to their readers, and what elements in their texts help us draw a parallel between them. I specifically look at the role writing played in their experiences and -- most importantly -- how it motivated the purpose of traveling for them. As a consequence, a brief summary of the evolution of travel literature over the years, the analysis of certain key concepts such as the notion of "travel writing", the difference between genders in a literary context, and the relationship to both the "self" and the Other, remain important themes in contemporary travel literature. Nevertheless, my comparison between these authors offers an innovative approach to the genre, more adequate to the conditions and the reality of contemporary travel, and capable of increasing our general understanding of what makes people initially embark. My dissertation is divided into four main chapters in which I compare the work of these authors: Nicolas Bouvier and Alexandra David-Néel. In my first chapter, I give an overview of the various travel narratives published over the last century, in order to better understand the evolution of the genre and see how these changes have impacted both the art of writing and the art of travel. I redefine a certain number of concepts often used in the domain of travel literature, such as "author", "writer", as well as "literature" and "travel narrative", which are all assigned specific meanings, but need to be redefined for the purpose of this project. This first chapter presents the specificity of my new thesis on travel literature. I show that there are unquestionably some recurring themes in any kind of travel narrative, even though the singularity of my analysis comes from the fact that neither Bouvier, nor David-Néel can clearly be associated to the general category of "writers in travel literature" (or travel writers), since they distance themselves from
Les "Amours" en France poétique et génèse d'un genre français nouveau (1544-1560) : le leurre de l'unité by Cécile Alduy( Book )

1 edition published in 2003 in French and held by 1 WorldCat member library worldwide

With the success of petrarchan sonnet sequences such as Délie by Scève (1544), L'Olive by Du Bellay (1549) or the Amours by Ronsard (1552-1560), a new genre is born between 1544 and 1560: the "Amours". These works differ from other poetic collections of the time by their strong longing for formal, lyrical, stylistic and thematic unity, achieved thanks to a minute rhetorical dispositio. From their explicit model, Petrarch, to hidden sources (Venetian anthologies, Marot), the genealogy of this genre exposes the novelty of a platform that, in spite of its Italian origins, imposes a specifically French poetics of variation. The genesis of the works is then analyzed through a comparison of their successive editions. Finally, the poetics of the sonnet sequences shows how they are structured and what they signify through the tensions of their paradoxical form, at once unified and discontinuous, exploited in favor of a collective agenda, that of "Defense and Illustration of the French Tongue."
Le Front National( )

1 edition published in 2016 in French and held by 1 WorldCat member library worldwide

Winning words : the efficacy of literary discourse in politics during the French wars of religion (1562-1598) by Gregory Paul Haake( )

1 edition published in 2015 in English and held by 1 WorldCat member library worldwide

The Renaissance was a moment of great creativity and promise in philosophy, history, and literature, but opportunity does not often come without crisis. The upheaval of the Renaissance resulted in a semiotic crisis by which traditional modes of meaning were no longer effective. Amid the optimism of the fifteenth and sixteenth centuries, this usually did not pose a problem, but in latter sixteenth century France, when divisions between Catholic and Protestant turned to violence and then to civil war, writers needed to recover meaning quickly in order to bring peace. They desired to create winning words that would convince one side or the other to lay down their arms, as well as their ideologies, to reunite a divided France. I explain how they tried to do it. For many reasons, success was elusive, but their experience tells us much about what constitutes effective discourse when literature intervenes in a political sphere where words are failing
 
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Alternative Names
Cécile Alduy Frans hooglerares

Languages
French (41)

English (7)