| 1. |
|
|
| 2. |
|
|
| 3. |
|
|
| 4. |
- Renaud Buscall, Catherine, 1974-
(författare)
-
Les « incroyabilicieux » mondes de Ponti : Une étude du double lectorat dans l’œuvre de Claude Ponti
- 2005
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study posits that Claude Ponti’s fiction can be regarded as paradigmatic of "crosswriting": written for a dual audience of children and adults. Sections One and Two examine those elements indicative of crosswriting in Ponti’s children's stories, primarily his picturebooks. In Chapter One, the carnavalis-tic nature of Ponti's work is taken up with particular attention paid to the omnipres-ent playful baby chicks, as they attract the child reader, yet engage the adult reader with their parody of conventions. Chapter Two explores the numerous and multilay-ered word games, evoking both the word games that a growing child meets as s/he learns language and the complexity of word games an adult reader may encounter. In Chapter Three the metatextual elements of Ponti's work are taken up: particular attention is paid to the recurrent presence of the tiny characters in the pictures unmentioned in the text. Following on from this, the role of intertextuality in Ponti's children’s stories is considered in Chapter Four.The Third Section of the thesis is devoted to the common themes and the in-tratextuality found in Ponti’s fiction, including his books for adults. Chapter Five considers how some of those themes, such as the trees, clouds and water, or the recurrent artistic thematic, point to the existence of a common world in Ponti’s whole work. Finally, Chapter Six examines the themes of violence and madness, prevalent in his novels for adults, noting how they are nonetheless perceptible in his picturebooks.Ultimately, this study posits that Ponti’s work can be regarded as "crosswriting" because of a number of key textual features. In particular, Ponti's picturebooks are multilayered and seem self-consciously aware of their dual audience. Moreover, for the reader of Ponti's adult fiction, his picturebooks are likely to provide an intriguing point of reference, further illuminating his fiction.
|
|
| 5. |
- Robardey-Eppstein, Sylviane
(författare)
-
La constellation de Thespis : Présence du théâtre et dimension métathéâtrale dans l’œuvre dramatique de Victor Hugo
- 2003
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis deals with the different aspects of metatheatricality in Victor Hugo’s dramatic works. Through a textual approach, it is shown how the author’s writing is marked by the presence of theatre within and about theatre, which is organized as a constellation of occurrences. The purpose here is to investigate its different modes of expression and its significations.Spotting both the lexical field of theatre and diverse devices intended to break the play’s illusionist frame makes it possible to understand how Hugo creates a double theatrical universe, operating on both the reader and the virtual spectator. This study goes through the scenic indications, the metadramatic discourse, the addresses to the receptor audience, the metatheatrical structures and the theatre thematics, which all bring to light strategies of distanciation, play between illusion and reality, and recalls of the very concrete play’s and life’s conditions. Hugo also inserts commentaries on his own writing or on general theatrical conventions, discusses more or less explicitly the essence of theatre and its paradoxes, and makes intertextual allusions assuring the intrusion of theatrical history.The topos of theatrum mundi supports the oscillation between the depreciation of life seen as a comedy where human beings play an absurd role, and the absolute belief in the presence of God, the all-knowing author and spectator who is however also helped by Satan. Most typically, the grotesque characters express disillusion and simultaneously mediate metatheatricality. By dramatising themselves in a self-conscious process, they denounce appearances, and their vain speech at the fictional level is efficient at the external communication level. By ways of metatheatricality, Hugo can put forwards the ideological and sociological questions which are of importance to him. Metatheatricality makes it possible to reorientate denouements and to reverse the tragic onto more positive values.These strategies all work in a coherent way: they merge and complete each other. When appearances and theatre are present as a theme, the text programs the showing of the theatrical situation, and the focus is set on the stage and performance. Hugo’s theatre turns to itself, and the author’s use of metatheatricality can be seen as the expression of a structure of his imagination, which is both spectacular and specular.This thesis deals with the different aspects of metatheatricality in Victor Hugo’s dramatic works. Through a textual approach, it is shown how the author’s writing is marked by the presence of theatre within and about theatre, which is organized as a constellation of occurrences. The purpose here is to investigate its different modes of expression and its significations.Spotting both the lexical field of theatre and diverse devices intended to break the play’s illusionist frame makes it possible to understand how Hugo creates a double theatrical universe, operating on both the reader and the virtual spectator. This study goes through the scenic indications, the metadramatic discourse, the addresses to the receptor audience, the metatheatrical structures and the theatre thematics, which all bring to light strategies of distanciation, play between illusion and reality, and recalls of the very concrete play’s and life’s conditions. Hugo also inserts commentaries on his own writing or on general theatrical conventions, discusses more or less explicitly the essence of theatre and its paradoxes, and makes intertextual allusions assuring the intrusion of theatrical history.The topos of theatrum mundi supports the oscillation between the depreciation of life seen as a comedy where human beings play an absurd role, and the absolute belief in the presence of God, the all-knowing author and spectator who is however also helped by Satan. Most typically, the grotesque characters express disillusion and simultaneously mediate metatheatricality. By dramatising themselves in a self-conscious process, they denounce appearances, and their vain speech at the fictional level is efficient at the external communication level. By ways of metatheatricality, Hugo can put forwards the ideological and sociological questions which are of importance to him. Metatheatricality makes it possible to reorientate denouements and to reverse the tragic onto more positive values.These strategies all work in a coherent way: they merge and complete each other. When appearances and theatre are present as a theme, the text programs the showing of the theatrical situation, and the focus is set on the stage and performance. Hugo’s theatre turns to itself, and the author’s use of metatheatricality can be seen as the expression of a structure of his imagination, which is both spectacular and specular.
|
|
| 6. |
|
|
| 7. |
- Ullberg, Anne, 1964-
(författare)
-
Au chemin de salvation : La chanson spirituelle réformée (1533-1678)
- 2005
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis investigates the role played by spiritual songs in spreading the ideas of the Reformation in France and French-speaking Switzerland between 1533 and 1678. It brings to light a series of lesser known editions of spiritual songs written by anonymous authors. These works also entitled Spiritual Songbooks were published in at least 18 editions.Using a historical, editorial, literary and textual approach, the use and impact of these spiritual songs are explored. The historical approach places these songs in perspective with spiritual songs in general, historic chronicles, and documentation of censured works. The songs were sung in parallel with the Marot and Bèze Psalter and in public places i.e. outside churches but were censured early by the authorities because they were considered subversive. An inventory of all the editions has been made and includes extant copies, and lost and probable editions. It provides an overview of the scope of the spiritual songs and their success, and lists approximately 370 songs from all the editions in a table format.The editors’ intentions appear in the forewords to their spiritual songbooks. Early editions express goals that correspond with Luther’s goal to announce God’s work to our neighbour, whereas later editions lean more towards Calvin’s moral reform. The intentions also appear in a study of the various versions of each song. Here, the authors are concerned with modernising the text to bring it up to date while keeping it theologically accurate. The detailed analysis of the text is based on the 1555 edition. This analysis covers the theological content, the role of polemics and the kind of songbook studied. The moral reform program announced in the forewords is not strongly reflected in the texts. This thesis argues that the songs’ function can be described in terms of sermons even though songs of worship and prayer for private devotions appear as well.The first editors of spiritual songs find a new media which, while it will be used by both confessions at a later date, contributes from the start to the spread of the Reformation. To further investigate the role of spiritual songs for the later spread of the Reformation would enrich the study of this period. From a literary point of view it is an original effort to communicate theology to an unschooled audience.
|
|
