WorldCat Identities

Ecole doctorale de littératures françaises et comparées (Paris)

Overview
Works: 226 works in 233 publications in 2 languages and 238 library holdings
Genres: History 
Classifications: Q127.F8, 500
Publication Timeline
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Publications about Ecole doctorale de littératures françaises et comparées (Paris) Publications about Ecole doctorale de littératures françaises et comparées (Paris)
Publications by Ecole doctorale de littératures françaises et comparées (Paris) Publications by Ecole doctorale de littératures françaises et comparées (Paris)
Most widely held works by Ecole doctorale de littératures françaises et comparées (Paris)
Les pièces rivales des répertoires de l'Hôtel de Bourgogne, du Théâtre du Marais et de l'Illustre Théâtre deux décennies de concurrence théâtrale parisienne (1629-1647) by Sandrine Blondet ( )
2 editions published in 2009 in French and held by 2 WorldCat member libraries worldwide
In the year 1629, two Parisian theatre companies settled down at the same time: the company of the Théâtre du Marais, led by Charles Le Noir, and the Troupe Royale, resident of the renowned Hôtel de Bourgogne. These two companies - which were sometimes joined by the Illustre Théâtre de Molière et des Béjart in 1644-1647 - were engaged in a fierce competition, mostly revealed by the common practice of twin plays : two plays, written by two different playwrights, but dealing with the same subject, were presented, at an interval of a few weeks or of a few months in two different Parisian theatres.Over the first two decades of this theatre War, forty-one dramatic twin plays were performed. The study first consists in explaining the context of their creation: with the combination of the theatrical themes of the time and the theatrical rivalry, the twin plays adopted the trends of the repertoire, and enriched them at the same time, through these main themes : the fabulous world of piracy, brotherly rivalry, the recurrent theme of persecuted Innocence, the figure of the Illustrious heroin, either a paragon of virtue or an odious shrew, and theatre itself, a subject chosen by the rivals for the plays which presented its great figures (le Capitan), its surroundings (Paris in 1640), or its greatest achievements (Le Cid, mainly). This historical part of the study simultaneously reveals the similarities between the twin plays and also their link with the other plays of the time : the rivals are not always the ones you would expect.What follows in the study deals with how this competition took place. Primarily, deliberate advertising was a key notion because it gave the prestige it needed to reach its goal and the plays it supported benefited from it. Then, the study focuses on the stakes in the dramatic and scenographic arts in rival plays. Dramaturgy was the business of playwrights only. Their relation to the Story or Fable was also influenced by their relationship with their rival. Finally, scenography was meant to choose the aspect of the show each company would focus on, whose aim always was theatrical enjoyment, short-lived as it may be
Le dialogue scientifique au XVIIIème siècle postérité de Fontenelle et vulgarisation des sciences by Fabrice Chassot ( )
2 editions published in 2008 in French and held by 2 WorldCat member libraries worldwide
During the first eighteenth century, in France, scientific dialogue was the best way to popularize science. Fontenelle's On the plurality of worlds was mostly imitated, but the dialogue became more and more didactic. As Pluche's "Spectacle de la nature" shows, dialogue proved to be very useful for imposing an pious vision of the world. At the other side, Diderot's "Rêve de d'Alambert" puts forward a materialist vision of the world. In fact, dialogue has less an educational value tha a propagandist one. Beyond differences between dialogue writers, it has mostly contributed to spread the Enlightenment
Théâtre et philosophie chez Gilles Deleuze. La notion de dramatisation by Ismaël Jude ( )
2 editions published between 2011 and 2012 in French and held by 2 WorldCat member libraries worldwide
La notion de "dramatisation" a été formulée par Gilles Deleuze en 1967 dans Différence et répétition pour être délaissée ensuite. Cette recherche tâche de clarifier le sens de ce concept en distinguant une acception "dramatique" d'une acception "scénique". Deleuze n'ayant cependant pas énoncé explicitement de théorie de la scène, une partie de l'entreprise vise à déduire, des textes de Deleuze et des auteurs qui lui servent de référence, l'hypothèse de cette définition. La formulation de cette hypothèse s'inscrit dans un environnement problématique déterminé par les ouvrages de Denis Guénoun et Esa Kirkkopelto. La notion prend son sens dans le cadre d'une critique de "la représentation", dont seraient captifs Platon, Aristote, Kant et Hegel, et d'une élaboration du concept de répétition à partir de Kierkegaard et Nietzsche. Une interprétation de la méthode de division platonicienne, de la méthode transcendantale kantienne et de l'éternel retour nietzschéen contribue ainsi à énoncer l'agencement conceptuel du drame, de la scène et de la répétition
Paul Valéry et le rapport entre écrivains et public en France entre 1918 et 1945 by Sylvia Jane Blévins ( )
2 editions published in 2008 in French and held by 2 WorldCat member libraries worldwide
This study examines one aspect of the relationship between writers and thiers public in twentieth century France : the growing concern among French writers that a mass public and increased democratization in society were lowering the standards of literature. Our study begins by tracing the roots of this concern to the nineteenth century and to the writings of one of the first writers to address the issue in his poetics, Edgar Allan Poe. Poe believed that a mass public was a good thing for literature, but french writer interpreted Poe's poetics as warning against the potential danger of a large and diverse public influencing writers. This perception of Poe Set the stage for symbolist poets to argue that writers should no cater to a large public and should remain as far removed as possible from the masses. Paul Valéry is one of the greatest spokesmen for this approach and we chronicle his writings on literature and culture approach. Our study suggests that writers like Valéry were in fact very successful and literature itself quite popular and influential in society during this period because of the crucial role that literary critics played as mediators between inaccessible and difficult writers like Valéry and a mass public. This popularity allowed writers like Valery to develop political notions that were widely sirulated such as his definition of Europe and proposals about cultural exchange. Our study concludes by examining literary prorams on the radio in the 1930s and 1940s, which were largely created and maintained, not by writers but by literary critics. Their efforts, along with writings (like those of Valery) promoting "difficult" literature and refined civilization, helped writers to maintain their influence and popularity in France until after World War II
Identité et monstruosité dans l'œuvre littéraire d'Ananda Devi by Marie-Caroline Meur ( Book )
1 edition published in 2009 in French and held by 2 WorldCat member libraries worldwide
Monstrousness in Devi's university and literary work denounces the illusion of the Primordial Link on which the Mauritian communities rely. This link is based on a repeating fixity, defends a so-called purity of descent and deeply fears any kind of change and merging. Devi criticises the Mauritian society which considers mixing as a social pollution and monstrousness. This violent society, having reached a point of no-return, must shift from a pattern promoting an isolated, identical self to a model of creolisation. Devi replaces the obsolete paradigm of a pure and endogamic identity by another kind of Primordial Link that unites every living being. Devi's urge to write stems from the duty to warn against the on-coming wrench of humanness, to weave a linking work that can repair, at least on an imaginary level, our torn relationships. The Primordial Link is thus redefined, both theoretically and aesthetically. Devi refuses a morbid social system and a dangerous ideology; she rejects the sterile image of the double to pursue a dynamic hybridity. The fertile life-dust she imagines reveals the Commonness that binds all living creatures. Identity can no longer be understood as an identical, static concept, as a chain that imprisons an individual in an immutable group and in the myth of an idealised past. Identity is described by Devi as an exchange, a mixing stream that seems to define her very own literary creation. This new poetics tries to achieve dissemination and hybridisation. As a writer engaged in the society, Devi praises the quest for a diffusion and a new layout of the particles, a new configuration of the human body, in a quest for a tolerant, inventive identity
La première traduction française du style indirect libre dans le roman intitulé Persuasion de Jane Austen by Adam Russell ( Book )
2 editions published in 2010 in French and English and held by 2 WorldCat member libraries worldwide
In Persuasion, Jane Austen uses this technique to present Anne Elliot's consciousness. Persuasion, Austen's posthumously published "late" novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l'ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu's use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen's fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine's mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine's point of view (PDV), demonstrating that the narration achieves this focus on the heroine's consciousness through syntactically unmarked fragments of FID thought report
La revue Souffles (1966-1973), espoirs de révolution culturelle au Maroc by Kenza Sefrioui ( )
1 edition published in 2010 in French and held by 2 WorldCat member libraries worldwide
The review Souffles (Breaths), created in 1966 by young poets and artists-painters, was the forum of the literary and cultural avant-garde in Morocco, and had an influence throughout the Maghreb and the Third World. It advocated decolonization of culture in a time when the Moroccan independence was considered unfinished and threatened by neocolonialism. Produced by left-wing intellectuals, it was also a forum of indirect opposition which, by means of culture and symbolic values, constituted a reaction to the traditionalist dictatorship imposed by monarchy. Influenced by the ideologies of its time (Third-World tendency and Marxism-Leninism), it became more and more openly political. Souffles, and especially its version in Arabic, Anfâs, was the review of both organizations of the Moroccan Marxist-Leninist movement : Ilal Amam (Forward) and 23 March. After the arrest of its most active editors in 1972, new series were published by the militants in Paris until 1973. Souffles remained in the collective memory as an important date in the literary and political history of Morocco
Un jésuite à la croisée de deux cultures le rôle du père Joseph-Marie Amiot (1718-1793) comme intermédiaire culturel entre la Chine et la France by Yun Long ( )
2 editions published in 2010 in French and held by 2 WorldCat member libraries worldwide
The aim of this dissertation is to determine the role played by Joseph-Marie Amiot (1718-1793), a representative 18th century Jesuit in China, in cultural relations between China and the West. Its methodological basis is translation studies and imagology. It examines the historical context, Amiot's translations and his correspondence with Western scholars. It examines Amiot's complicated cultural identity, in order to understand the influence of the Jesuit tradition on his thinking and the transformation of his cultural identity through constant contact with another tradition and to trace the impact of his complex cultural identity on his work, and thus to draw out the meaning of the picture he painted of China
Fénélon et le rhétorique de la direction spirituelle au XVII ème siècle by Pauline Chaduc ( Book )
1 edition published in 2009 in French and held by 2 WorldCat member libraries worldwide
Fénelon was one of the most famous spiritual guides of his time. A large part of his work, letters and discussions, are dedicated to this ministry. For him spiritual guidance is an art of government, which means rhetoric based on adaptation and pedagogy of order. It is also an art of dialogue where ethics and spiritual principles articulate with pragmatic imperatives. This rhetoric aims to lead men to a clear vision of themselves in order to unite with God
Entre migrance, "résiliance" et reliance la littérature de jeunesse migrante issue de l'immigration algérienne : un champ exploratoire de l'enfance au profit du contemporain by Anne Schneider ( Book )
1 edition published in 2008 in French and held by 2 WorldCat member libraries worldwide
Our study aimes to reveal the existence of a corpus of migrant children's fiction, from the 70' to 2007, of wich most of the texts comme from Algerian immigration. This corpus of 116 titles is composed of fiction and documentaries, comic strips, novels, Cdbooks, theatrical plays. Part One examines this corpus, its authors, and its mains themes, especially those about travel and exile. The concept of migrance stems frome its ties with resilience and alliance. Part two aimes to the question the state of childhood, both from a historical and poetical point of view, and evend down to its innovative illustrations. Part three considers the academic and institutionnal appropriation of this litterature its implication and didactic possibilities
L'archive du "Coup de dés" etude critique de la réception de "Un coup de Dés jamais n'abolira le Hasard" de Stéphane Mallarmé (1897-2007) by Thierry Roger ( )
2 editions published in 2008 in French and held by 2 WorldCat member libraries worldwide
This work, which intends to break with a fairly intuitive vision "effect of Un Coup de dés" in the twentieth century, seeks to establish his "archive", according to a dual perspective : that of "archivistic" on the one hand, which leeds us to identify positive references to the poem, between 1897 and 2007, mainly in french, that of the "archaeology" on the other hand, which involves the interpretations' interpretations. After an overview of the immediate reception, we describe the gradual process of text institutionalization, through the various "speech" that have been held (first part). Then, to illustrate the multifaceted dimension of this reception, this work deals with differents transpositions of the poem outside the realm of poetry : image, stage, music, theory, and philosophy. We describe then "practices", which have shed light on the particularity of the poem, while being informed by him. Before concluding, we outline the proper literary legacy of Un Coup de dés - the formal rewrites - by addressing the query of genre (second part). The research concludes with a critical assessment highlighting the major interpretation's conflicts, while showing the double dimension of the text, both aporetical and epiphanic
Fin de l'idylle ? étude sur les formes et les significations de l'idylle dans la littérature française du dix-neuvième siècle by Violaine Boneu ( )
1 edition published in 2010 in French and held by 2 WorldCat member libraries worldwide
This work aims to re-think the status of the idyll in the French literature during the 19th century by combining theory of literary genres, literary history and hermeneutics. Objecting to the common-sensical idea that the idyll has evolved into a frozen genre full of anachronical clichés after André Chénier, it provides some conceptual ressources to analyze the actual dynamics of the idyll, both in terms of form and signification. The notion follows three main logics : a rhetorical one, which places the idyll into the poetic of literary genres, an historical and philosophical one, which, since the 18th century, considers the idyll as a cue of a mythical origin and an image of the Ideal, and lastly, a psychological one, born with the romantic revolution, which understands the idyll in terms of illusion, fantasies or dreams. Because of its intrinsic complexity, the idyll provides a priviliged point of view to examine the most important changes of the modern times. This work gives an overview of the evolution of the genre during the 19th century and examines the explicit references to the idyll made by Nerval, Hugo, Baudelaire, Mallarmé, Balzac and Zola in some of their major poetical works and novels. In doing so, it develops a new perspective on the crisis of the subjectivity, the crisis of literary representation and the redrawing of the traditional distinction between prose and poetry
En quête de Perceval : étude sur un mythe littéraire by Christophe Imperiali ( Book )
1 edition published in 2008 in French and held by 1 WorldCat member library worldwide
After having outlined a functional definition of the "literary myth", and having proposed a new way of approaching this object under the label "myrhoreadings", the present work is divided into two main parts. The first one is diachronic. Its aim is to analyse the historical construction of the myth of Percival, from Chrétien of Troyes until now. The main purpose of this inquiry is to examine how the myth's value and meaning were gradually elaborated through its rewritings, and how each period, each author have met the myth as a "mirror" reflecting his personal concerns and allowing him to configure his experience of the world. The main figures along this journey are (among about eighty authors) Richard Wagner and Julien Gracq. The second part proposes two thematic approaches to the myth of Percival: the first one focuses on the family issues and the relational stuctures central to most of the rewritings of the myth (where Oedipus, this "anti-percival", is rarely far away). The second theme examines the frequent use of this myth as a model for the two poles of the literary activity: reading (quest of meaning) and writing (poetic quest). A few "percivalian poetic arts" thus conclude this study, from Wagner to Proust, Handke or Perec
Des secrets à l'œuvre formes et enjeux romanesques du secret dans À la recherche du temps perdu de Marcel Proust by Maya Lavault ( )
1 edition published in 2009 in French and held by 1 WorldCat member library worldwide
Cette "enquête" sur le secret dans À la recherche du temps perdu s'attache à montrer que le secret, parce qu'il fonctionne comme une thématique romanesque engageant la structure même du récit, permet de saisir la tension, au sein de l'œuvre proustienne, entre une conception positiviste de la narration et du sens largement tributaire des modèles épistémologiques du XIXe siècle et sa mise en question, qui caractérise la production romanesque du XXe siècle. L'analyse des figures et des motifs récurrents du secret, en relation avec la fortune de la notion dans l'histoire des idées et des formes romanesques au tournant des XIXe et XXe siècles, montre que se développe dans la Recherche un imaginaire empreint à la fois d'une mythologie personnelle et de thématiques héritées du roman policier et du roman d'aventures. L'analyse des techniques narratives fournissant au roman sa structure énigmatique permet ensuite de dégager le "parcours herméneutique" proposé au lecteur sur les traces du héros-narrateur : sa dynamique, qui témoigne de l'émergence d'un paradigme indiciaire accompagnant le renouvellement des sciences humaines, est progressivement minée par l'émergence d'une autre logique, fondée sur l'indétermination du sens et la multiplicité des points de vue. Enfin, l'analyse de "l'entre-deux" générique et interprétatif montre que l'œuvre proustienne propose une expérience de lecture qui ouvre la voie à une conception de l'interprétation fondée sur la prise en compte des possibles mis en jeu par l'écriture fictionnelle
Approche comparée de la nuit (et du jour) dans le texte de Maurice Blanchot et Leopold Sedar Senghor by Claver Bibang Bi-Nguema ( )
1 edition published in 2010 in French and held by 1 WorldCat member library worldwide
"Comparison is not reason." Pamphlet made famous by Rene Etiemble in 1963, which today, has aplace in all attempts of poetry comparison. This thesis tries to go beyond the theoretical limitation without losing sight of the relevance and pertinence that it is supposed by.Maurice Blanchot and Léopold Sédar Senghor. Two authors that differ in every respect. The first, influenced by European culture in order to produce a piece of work marked by heuristic difference, infinite boredom, and an endless discretion of a topic that will eventually disappear. The Second, an African academic that wrote collections of poems and essays on Socialism and the Negro-African Aesthetics. Nothing boded any meeting between these two writers. They have in common the poetics of the Night, a thematic expression that structures this work. Blanchot and Senghor are far from the traditional modes of reason. One wrote fragments of fiction and narratives marked by sayings and iconoclastic critical texts. The other had cast suspicion on radical discursive reason and geometric thinking. Night is the place of these hermeneutic reversals . From an open approach, the thesis is re-evaluating the standard tools of readable literary texts, trying to answer three cardinal questions: Why and how do Blanchot and Senghor use night in their work ? What are the discontinuities that lie in this strange and dark region? Moreover, How to overcome the absence of effective exchanges, in order to approach the missing debates within in the works of these two authors? These are the main aspects that govern this research. To take the risk, a poetry section is called : the litery psychoanalysis, to capture the initial frustrations that are transformed in the day and melt the text in the night. The Mythocritique and its triangular form of analysis is used in order to observe the relationship between the mythical hero, the fictional (or poetic character) and the writer. Finally, Deconstruction is used, to monitor the theoretic receptacle which serves as the point of condensation of these asymmetries. Night appears as an operation to dismantle the institutions of knowledge, whilst stretching the literary language until the radical abolition of differences: inaccessibility of Otherness in Blanchot, intuitive rhythm heterogeneity, the other of reason in Senghor
Expérience et sens du déracinement dans l'œuvre romanesque de Dostoïevski et de Bernanos by Anne Pinot ( )
1 edition published in 2011 in French and held by 1 WorldCat member library worldwide
Les romans de Dostoïevski et de Bernanos se rencontrent sur la frontière fragile de la littérature et de la métaphysique ; l'incarnation des personnages dans des espaces et des lieux que leurs cœurs troublés contaminent donne au texte son symbolisme essentiel, qui n'est ni le " paysage choisi " romantique, ni l'espace surdéterminé des réalistes. L'incarnation ne contredit pas les règles de la création romanesque, puissamment remodelées par les deux auteurs, mais les refondent dans des histoires familiales archétypales où la maison paternelle peut être le lieu d'un meurtre moral initial. Derrière les discours de personnages bavards, avides de philosophie et de psychologie (ce qui a longtemps retenu surtout l'attention de la critique), se cache la question du langage et de l'esthétique face à la vérité. Beaucoup sont des menteurs, qui ont oublié le sens du langage enraciné auquel croyait Bernanos, et les soliloqueurs de Dostoïevski se perdent dans les méandres de leurs souterrains verbaux. La question de l'esthétique est tributaire des vicissitudes d'une époque (les années 1880-1930) qui est celle du déracinement des intellectuels ; quelle est cette beauté qui " sauvera le monde " dans un univers qui n'est plus théocentré, et quelle est la légitimité du romancier à en proposer la quête, surtout si elle est spirituelle ? Malgré la présence de figures du salut qui, dans la douleur de confrontations violentes, proposent l'acceptation de l'altérité, les déracinés persistent souvent dans la voie du mensonge et préfèrent le masque démoniaque du double ou le néant de l'"à quoi bon ? "
Le théâtre de l'accord - Le spectateur d'une scène a-dialectique, partenaire d'un acteur de la mise en question by Frédérique Aufort ( )
1 edition published in 2012 in French and held by 1 WorldCat member library worldwide
Basée sur l'hypothèse que le théâtre est susceptible d'intervenir sur le « vivre-ensemble » des hommes, cette étude prend la mesure du bouleversement à l'œuvre sur les scènes théâtrales françaises contemporaines pour définir théoriquement ses potentialités. À cette fin, elle construit des correspondances entre deux objets : le rapport acteurs-spectateurs à l'œuvre dans quinze spectacles contemporains (2005-2008) et certains textes philosophiques de Georges Bataille et Michel Foucault. De l'« archéologie du présent » de Naissance de la biopolitique au geste de la « dépense » de La Part maudite, les deux philosophies, qui se complètent l'une l'autre, s'inscrivent en réaction à un « vivre-ensemble » fondé sur l'utilité et le jeu des intérêts particuliers. L'étude analyse de façon répétée un élément constitutif d'un ou de plusieurs spectacles pour ensuite le corréler à un point spécifique des deux pensées a-dialectiques. La réflexion s'élabore en trois étapes : la scène, le spectateur, l'acteur. Au fur et à mesure, un théâtre prend forme, fondé sur la co-existence des contraires et dévolu à la communication, qui, un temps, rompt l'isolement des êtres séparés. En conclusion, l'étude dégage les effets de fragilisation auxquels ce théâtre soumettrait notre mode d'organisation politique. La thèse comprend en annexe dix-neuf entretiens avec les artistes des spectacles du corpus
Plaute et Térence en France aux XVIe et XVIIe siècles by Keiko Enomoto ( )
1 edition published in 2011 in French and held by 1 WorldCat member library worldwide
In the 16th and 17th centuries, Plautus and Terence were regarded as the masters of the Latin language, and above all as the masters of comedy. They were, however, judged and rated according to a very specific concept, not always consistent with their own comedies. The two authors enjoyed a preconceived and undisputed status which, however, maintained them inside a vague image. In order to cast light on their status in the 17th century, this thesis examines their place in curriculums and theatre practice in schools, within different teaching contexts. Their presence in the art of translation is reviewed, as the French versions of Plautus and Terence that punctuate the 16th and 17th centuries contributed not only to the emergence of a theory of translation, but also to a reflection on dramatic art and to the birth of the "comédie française". The thesis then looks at what those two playwrights represent and what it might have meant to be considered their worthy successor. Finally, an investigation of how Molière managed, in the eyes of his peers and successors, to combine and surpass the qualities of Plautus and Terence to even take their place as a standard is undertaken. With the thesis, it is intended to make a new contribution to the 17th century, through this analysis of the multiple issues related to the two Latin playwrights
L'Encadrement théâtral une étude de la pratique et de la fonction herméneutique du parathéâtre en France au XVIIe siècle by Arni Lukas Arnason ( )
1 edition published in 2009 in French and held by 1 WorldCat member library worldwide
Les études littéraires du théâtre ont tendance à considérer la pièce comme si elle constituait à elle seule la totalité de la représentation. Or les pièces de théâtre du XVIIe siècle étaient presque toujours "encadrées" par divers ornements parathéâtraux : prologues, épilogues, chœurs et intermèdes. La représentation était constituée de la pièce, encadrée par ces ornements. Le dessein de cette thèse est double. Nous étudierons, dans un premier temps, la façon dont chaque forme d'encadrement était intégrée à la représentation et quelle fonction pratique les professionnels du spectacle de l'époque lui attribuaient. Nous analyserons, dans un deuxième temps, la façon dont les encadrements influencent l'interprétation de la pièce principale. L'objectif de cette étude est d'illustrer l'utilité herméneutique des encadrements et de démontrer qu'ils sont de véritables clés d'interprétation de l'œuvre, laissées par les auteurs et acteurs du Grand Siècle, qui nous permettent d'appréhender le sens de la pièce tel qu'il était conçu au XVIIe siècle
Le Frein et l'aiguillon éloquence musicale et nombre oratoire. Allemagne et Italie, 1600-1750 by Agathe Sueur ( )
1 edition published in 2011 in French and held by 1 WorldCat member library worldwide
Cette thèse, motivée par les recherches récentes sur la "rhétorique musicale", étudie le nombre éloquent, notion aux nombreuses ramifications dans les domaines oratoire et poétique, encore peu examinée dans le champ musical. L'approche est philologique, comparatiste et historique, et vise à déterminer dans quelle mesure, entre 1600 et 1750, les modes d'approche et de perception du nombre en poésie et dans l'art oratoire ont eu leur équivalent en musique, en Italie (jésuite essentiellement) et en Allemagne. Après une mise en perspective de la culture des spécialistes de musique, partagée entre rhétorique scolaire et éloquence adulte, l'examen du découpage conceptuel opéré par les Anciens entre oratio vincta et soluta permet d'identifier des modes de composition, d'écoute et de prononciation du discours musical vocal et instrumental. La perception de la stricte récurrence propre à la musique métrique (vincta) contraste avec celle de la bigarrure variée de la musique "en prose" (soluta), et les approches érudites et néophytes diffèrent. Au plan micro-structurel, les périodes musicales sont abordées à l'instar des périodes oratoires. Selon qu'elles sont "arrondies" ou "articulées", elles mettent en œuvre le nombre grâce aux rythmes, à la conduite harmonieuse et à un travail de structuration par amplification. L'écriture périodique apparaît comme un principe fondamental de composition. La réflexion sur l'éloquence du nombre en musique s'inscrit finalement dans le débat touchant le meilleur style. Tenants de la brièveté musicale et partisans de l'abondance s'opposent, appliquant au domaine musical les réflexions sur le laconisme, l'atticisme et l'enflure
 
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Alternative Names
Université de Paris 4 (Paris). Ecole doctorale 19
Université de Paris IV (Paris). Ecole doctorale 19
Université de Paris-Sorbonne (Paris). Ecole doctorale 19
Université de Paris-Sorbonne (Paris). Ecole doctorale de littératures françaises et comparées
Université de Paris-Sorbonne (Paris). ED 19
Languages
French (26)
English (1)