Dans le présent mémoire, nous tentons de démontrer que la poétique de Dostoïevski, dans sa période de l'après-bagne, s'articule essentiellement autour du concept-clé de « moment décisif ». Celui-ci renvoie notamment à l'ensemble des procédés narratifs inspirés du mélodrame auquel l'auteur a recours lors des scènes de rencontres extraordinaires et théâtrales qui foisonnent dans son œuvre et que nous qualifions de « conclaves polyphoniques ». Ces passages d'une importance cruciale rassemblent toutes les caractéristiques du moment décisif : le temps y devient élastique, les événements s'enchaînent de façon incohérente et imprévisible, et les personnages, souvent malades ou délirants, s'y trouvent livrés à des forces inconnues qui marqueront pour toujours la fracture de leur destinée en un avant et un après. Du point de vue formel, ces passages sont caractérisés par une dynamique de rupture, de fracas et d'incohérence, modalité propre au moment décisif. Ce dernier tient également lieu de complexe situationnel dont dépend tant la mise en intrigue que la caractérisation des personnages. En effet, l'intrigue dostoïevskienne se joue à coups de brisure, et les héros y passent d'une crise à une autre, ce qui mène à la redéfinition complète de leur conscience de soi. Ces accès d'extrême lucidité qui leur permettent de poser un regard nouveau non seulement sur eux-mêmes, mais sur leurs semblables et sur le monde, sont accompagnés d'une altération des sens ou sont carrément causés par la maladie. Cette dernière joue d'ailleurs un rôle d'une importance capitale dans le discours de certains des personnages les plus marquants de l'œuvre de Dostoïevski. Comme l'auteur, ils ont connu le moment décisif de la révélation par le biais de la maladie; ils ont vacillé sur le seuil entre deux mondes et, comme le condamné à mort ayant survécu à l'exécution (ce qu'a également connu l'auteur), ils ressentent le besoin d'en livrer un témoignage à leurs semblables. Le moment décisif représente ainsi beaucoup plus qu'un simple motif thématique ou encore qu'un strict procédé formel. Chez Dostoïevski, il est à la base même du discours philosophico-religieux qui sous-tend toute son œuvre de l'après-bagne. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Dostoïevski, Crime et châtiment, Le Joueur, L'Idiot, Les Démons, Les Frères Karamazov, temporalité, polyphonie

Texte remanié de : Dissertation : Sprache, Literatur, Kultur : Justus-Liebig-Universität Gießen : 2006. / Bibliogr. p. [317]-336. Notes bibliogr.

Diss. : Literatur : Freiburg Universität : 1994. / Bibliogr. p. 155-168. Index.

Color and light, consistent with most visual phenomena in Madame Bovary, are more than mere descriptive tools: they actually serve as vehicles for Flaubert's characteristic use of symbolism. When taken cumulatively throughout the novel, the meanings ascribed to certain color and lighting effects often symbolize specific situations or a character's psychology, while at the same time reflecting a particular point of view. This dissertation initially examines the questions of point of view, major themes and Emma's psychology. Though most of the novel is recounted by an omniscient third-person narrator, he frequently takes a back seat so that Emma's point of view, for one, becomes the dominant manner of presentation. By shifting from one point of view to another, the narrator presents us with much conflicting symbolism--are we witnessing a scene and its color and light through Emma's dreamy gaze or perhaps in a more objective light shed by the narrator? An additional source of conflict is to be found in Emma's psychology and the major themes of Madame Bovary, as they both center around the heroine's inability to distinguish dreams from reality, with reality eventually gaining the upper hand and crushing Emma's dream world. Color and light symbolism naturally mirror all of these conflicts, with positive symbols often overshadowed by negative ones. There are three basic types of illumination present in the novel--(1) dim light reflecting Emma's romantic nature; (2) harsh, revealing brightness which, in the present, sheds light on an all-too pervasive reality; and (3) a lack of illumination emphasizing Emma's depression and leading ultimately to the utter darkness of death. Seven individual colors are explored for their symbolic aspects: blue, white, yellow, black, red, pale, and green. Blue symbolizes Emma's dreams and aspirations, her desire to attain an always nebulous higher state of being, which of course she will never reach. White can at times be interpreted along classical lines as representing innocence, naivete, and potential, or conversely emptiness and ennui, as in the case of this same potential remaining unfulfilled. Yellow signifies reality which is always ready to engulf Emma and her dreams and is seen as yellowing the whiteness of her potential. Black takes on several symbolic connotations, usually dependent upon the point of view of the person lending it symbolic value. It can be seen as a reflection of the Church, of mystery, or, for Emma, of the perfect romantic hero who must dress in black. As the narrator is aware, however, and communicates to the reader, all meanings of black in the novel merely culminate in its traditional connotation, that of death, in this case, Emma's of course. Red is another shade which can be divided into positive and negative aspects, with the positive signifying sensuality, voluptuousness, and by extension a certain erotic vision of love. On the negative side, we find many characteristics of red that Emma herself would consider disagreeable: a peasant origin, outlook or attitude, and a lack of sophistication sometimes coupled with crudeness or insensitivity. One or more of three basic meanings can be ascribed to pale in any given context; it can represent a dull uninteresting existence, a romantic ideal--for Emma--, or merely a pallor caused by illness or indisposition. Green, the final hue treated, is a secondary color on the artist's palette combining the blue of dreams and the yellow of reality, thus crating a feeling of malediction for Emma and a fatal mixture, since one cannot survive in the face of the other. In the end, Emma is forced to recognize the reality which had been so clearly illuminated throughout the novel by the narrator and, unable to face the light, she ironically turns instead to the total darkness of death.

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L'Education sentimentale (1869) est le produit de six années de préparations, de recherches, de reconstructions et de rédaction. "Le thème conducteur, le leitmotiv générateur du roman" est "1''unique passion' du romancier." [...]

This thesis is dedicated to a in depth study of the notion of pleasure such as it appears in Charles Baudelaire's Les Fleurs du Mal. Focusing upon a very restraint core of poems, the analysis unfurls according to the methodic tools provided by Michael Riffaterre, literary theorician and critic, in his Semiotics of poetry. Basing myself on a shrewd selection of texts, number of which were almost completely left out by baudelairean studies, my goal was to highlight the semiotical span owned by the different illustrations of pleasure in our poet's work. Weaving significant threads, first between signs and then between the text and its intertextuality, I achieved a detailed and global canvas of pleasure's descriptive system as it underlies Les Fleurs du Mal. The analysis defines pleasure's expression as a dichotomic construction. First opposing itself to reality, then to illusion and then to danger and others, it eventually builds itself against the notion of grief through bipolarization, caught into an insolvable cycle overhung by its evanescence. Interpretation allows us to draw interesting perspectives concerning the poet's epistemological choices.

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Flaubert's Trois Contes have long been a literary enigma before which critics have stumbled. Unlike the major novels of Flaubert, these Contes offer a more optimistic view of the world. Though each story unfolds differently, the heroes find similar salvations through metamorphosis. In some instances this has been refered to as sanctity, while in other cases, it was not deemed a powerful enough motif to link Trois Contes together. / The study at hand will strive to show, by analysing the development of their personality, how each character self-realizes and finds salvation. As we progress through the three texts, it will become apparent that a sequence was intended for the reader to follow, and that the order in which the texts were published is capital.

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