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The death penalty occupies an essential place in Victor Hugo's work, notably in his narrative work where he emphasizes the rhetoric resources in attempts to convince his reader of the necessity of abolishing this practice which he considers "barbaric". This memoir suggests a reading of this rhetoric, concentrating on various specific Hugolian arguments and suggesting a global vision of his reasoning. The first chapter demonstrates that the opposition between law and his application lies at the root of the judicial criticism according to Hugo, from which also stems the question of death penalty to begin with. We then study the genesis and the functioning of multiple arguments depicting the consistency and persistency of Hugo's reasoning, these arguments being interpreted from novel to novel. Finally, in the third chapter, we analyze history's role as a meta-argument of the abolishment; the historical development often structuring the opposition of Hugo's theory regarding the excessive use of capital punishment.

Ceux qui s'intéressent à la littérature savent que la période la plus fructueuse de la carrière de Victor Hugo est celle des dix-huit années qu'il passa en exil aux îles de Jersey et Guernesey. Pendant ce temps son génie littéraire est en pleine floraison: il donne La Légende des Siècles, Les Contemplations, et Les Misérables. [...]

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In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.