Thèse 3 cycle--Études islamiques--Strasbourg II, 1975. / Bibliogr. p. 247-258. Index.

Magíster en artes, mención teoría e historia del arte / La presente tesis se propone explorar una hipótesis de lectura donde sostenemos la existencia de un “desplazamiento estético” que opone, frente al discurso sobre el arte “moderno”, un paradigma estético-político. Afirmamos que dicho desplazamiento es lo que Rancière observa a través de una reconfiguración sensible de lo común. Destacaremos, por un lado, la idea de que la estética es en sí misma una forma de experiencia específica que designa, hace dos siglos, un modo de sensibilidad e inteligibilidad del arte. Pero, por otro lado, observaremos que si la estética es un modo de sensibilidad e inteligibilidad, es porque desde fines del siglo XVIII esta es vista a través de un determinado régimen de pensabilidad e identificación del arte. En este mismo orden de ideas, notaremos que cuando las condiciones de existencia del arte ya no obedecen principalmente a un discurso orgánico de los acontecimientos o a un concepto general sobre el arte, ello se debe, principalmente, a que lo propio del pensamiento artístico depende más bien de las transformaciones de lo que quiere decir arte. Dicho de otro modo, depende de un desplazamiento de nuestra percepción donde las formas de experiencia sensible ya no se encuentran regidas por categorías del pensamiento dominantes que las identifican, las clasifican y las interpretan en un tiempo y en un lugar determinado. De este modo analizaremos que la estética es en sí misma un desplazamiento de las jerarquías que organizan el discurso sobre el arte, y donde los criterios de presentación están regidos por determinadas maneras de percibir y ser afectado. Para ver en detalle estas transformaciones de lo sensible, exploraremos estos criterios de presentación a través de cuatro escenas con el fin de ver sus desplazamientos en el horizonte del “discurso estético moderno”. Será esta experiencia, finalmente, la que nos permitirá pensar de qué manera la singularidad del arte incide en la reconfiguración de tiempos y espacios que relacionan un territorio común. Por lo tanto el desplazamiento estético del que hablamos acá es un tipo de experiencia singular de transformación del pensamiento al momento que vemos un cambio de escena, una desvinculación del cuerpo y su lugar, un modo de desarticular los discursos arraigados a través de un paradigma estético-político. Esto es, en definitiva, lo que genera un desplazamiento estético, una apertura de campo del pensamiento.

The key objective of this study has been to contribute new evidence of the articulation of women's subjectivities during the Occupation in France 1940–1944, by using contemporaneous journals as traces of lived experience. A further objective was to address the omission of the extent and riches of such primary source material in both French and British historiography of the period. The methodological approach employed was to consider four such journals as primary sources to interrogate sites of Occupation historiographical enquiry: the exode, the Jewish survivor experience, attentisme and the role of the female agent de liaisonin resistance activity. The contribution and originality of the research lie in its systematic analysis of the four journals, the choice of genre (diary) and the qualitative value emerging from sources that have previously been used schematically or not at all. It is now almost impossible to recover day-to-day Occupation experience through oral testimony and it is not always identifiable in archival documentation and we are therefore left only with fragmentary traces. Qualitative studies such as this research offer the means to recover elements of that detail. The findings of the study are that women's subjectivities of the wider constraints of the Occupation are articulated in the physicalities of bodily sensations and that wider notions of loss, exile and waiting predominate. The thesis has also demonstrated the extent of the under-reporting of women's narratives during the Occupation and argues that the use of women's texts should be privileged in future work in order to redress the gender imbalance in both British and French Occupation historiography.

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Les premiers romans étaient des romans d'aventures. L'Iliade est un roman d'aventures guerrières et l'Odyssée est un roman d'aventures maritimes, peu importe s'ils soient en vers; la prose n'a commencé vraiment qu'avec l'imprimerie quand on pouvait s'adresser à un seul lecteur en particulier. Donc, le roman est aussi vieux que la littérature elle-même. Cependant, le roman, le genre littéraire qui raconte une histoire où les personnages semblent vivre, a subi des transformations complexes et inattendues à travers les siècles selon les événements et les caprices politiques, scientifiques, et religieux.

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Using a methodology informed by rhetorical and pragmatic concepts, this thesis examines Annie Ernaux's L'evenement with a view to determining how an ethos of authenticity is created in and by the text. We begin by studying how critics of her earlier work helped construct a certain image of the author and by identifying the characteristics of Ernaux writing: all these elements contribute to the creation of an ethos prealable (a prior ethos) which conditions the reading of L'evenement. In the second chapter, we analyze certain stylistic aspects of Ernaux's writing in L'evenement (verb tenses, choice of words, syntax) which indicate that she tries to be as authentic as possible while telling her story. In the third and final chapter, we examine Ernaux's comments---in the text itself---on the writing of L'evenement. These comments constitute the author's attempt to articulate directly an ethos of authenticity that the reader will find convincing.

The scholarly purpose of this thesis is to illustrate the position occupied by Mikhail Afqnasyevich Bulgakov (1891-1940) in Soviet satire particularly and in Russian literature as a whole, since the dilemma in which the author under analysis found himself, was shared by Soviet authors of diverse backgrounds and literary ideas. Early princedom Russia, the Kievan State and the entire pre-Petrine epoch with its archaic structure, enrooted convervatism and primitivism did not regard literature, grammar and education as valuable assets to the Russian citizen. Of greater importance was defence against invading hordes of nomads, the search for food for daily life and the observance of ancient orders, social customs, superstitions and firm belief in the old faith. It was Peter the Great's responsibility by means of enormous efforts and the introduction of vigorous, often drastic laws and methods, to smash through the century-old crust of ancient "ice" covering the Russian land, the Russian soul and mentality. When he began to trim the boyar’s beards, some preferred suicide to humiliation, and others death beneath the axe of the state executioner. It seems that similarly Russian literature has always led and leads a path of suffering in a difficult defense of its literary principles against oppressive odds and very likely will continue to do so in the future. Such a beginning, this virus in the body of Russian literature - the pushing of various impeding stakes in between the spokes of creativity, never was cured by the application of any effective antidotes. Thus was the fate of Russian literature decreed, so that within it may always be juxtaposed the Pushkins with the Dantes, the Lermontovs with Martynovs, Bulgakovs and Tarsis’ with the Khrushchevs, Brezhnevs and their party successors . In the works of each of Russia's literary giants -prose writers and poets alike, each paragraph, line and word fought with a Herculeon will and might its way towards life in the hearts and minds of the people. For this reason tyrants, regardless of bloodlines, fear the growth, significance and active role of literature. For this reason Russian literature, developing and refining itself always remained very caustic in tone, very heavy in theme and had many enemies everywhere - among the strong of the world, in the darkest kingdoms of egoists, bureaucrats, secret services and other organs of suspicion, censorship and enslavement. Were not all the persons sincerely connected with literature condemned as rioters, rebel-rousers and revolutionaries? And how many special rules governed and still regulate the printing presses? Where else but in Russia did the shameful employment of "zits-editors" exist, whose duty it was to sit out jail terms for their employers - editors and publishers of newspapers and journals - who were sentenced by rule of other men, not law? Finally, what mountains of literary works were censored and what number of their authors defamed? It may be deduced, that over twenty-five percent of all literary workers in Russian literature perished either physically or morally and died one of these deaths. Such "attention" paid to literature by its oppressors could not help but leave a trace on its history. It is unlikely that our evaluation of Russian literature as one baptized in storm and fire is incorrect. These very elements continue to temper it today. Why else would the characteristic genres like "laughter through tears", "notes from penal and mental institutions" (imaginary and factual) and "dreams” prevail in it? What indeed did the Russian literary figure characteristically represent? He was the object of suppression, criticism, censorship, and other extreme measures. What had the writer to be on alert for? Dangerous intrigue in the case of Pushkin, ill-fame for Bulgakov and death for Pasternak. In Soviet times, all of these "pleasures" awaited each writer and poet if he could not reconcile himself with and "thank" from the bottom of his heart his hateful overlords, the rulers of the bodies and souls of the Russian people. In completing a major thesis on M.Bulgakov, it was necessary first of all to keep in mind a great Russian literature, whose image may be likened to a Sorrowful Beauty, who presents before the peoples of the world her magnificent exterior and mature personality, while mourning for the people of her own land. I wish to call her by the ancient yet appropriate apellation - "a mourner of the Russian soul". In contrast to French literature - a coquettish being, and German literature - a home economist, Russian literature despite the presence of Krylov, Chekhov, Gorbunov and later Zoschenko - always bore the stamp of "laughter through tears". Mikhail Bulgakov in the history of Russian literature was at one and the same time a part of its heritage and an educational, scandalous embarrassment for the Soviet government. But for Russia itself, Mikhail Bulgakov was one of those rare people who give impetus and vitality to a national literature that will live forever. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

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