À partir de ses recueils les plus emblématiques (Poëmes saturniens, Fêtes galantes, Romances sans paroles), la critique a souvent fait de l’art poétique de Verlaine un art de la fadeur, du brouillage et de l’imprécision. Ce trait caractéristique de l’écriture est alors imputé à un système de perception défaillant, comme si le poète, en retrait du monde, ne percevait le réel qu’à travers le voile de la rêverie ou du souvenir. Cette thèse prend le parti opposé et propose de voir en Verlaine un être doté d’une acuité sensorielle remarquable, apte à saisir les moindres nuances du réel. L’imprécision qui émane des textes poétiques doit alors être mise au compte d’un minutieux travail de la langue. En effet les mots, suspects d’inadéquation, enclosent la singularité d’un réel infiniment riche et toujours mouvant. À charge dès lors pour le poète d’en atténuer les contours, d’en brouiller les frontières catégorielles ; l’entreprise poétique de Verlaine résulte ainsi d’un véritable travail de sape du langage commun. Du reste, cette entreprise d’atténuation se poursuit dans le corpus en prose (fictions, autobiographies, textes critiques) : Verlaine, ayant à cœur de torpiller tout ce qui pourrait ressembler à une assertion trop catégorique, multiplie les concessions, les dénégations, les hésitations. Faisant retour sur son propre dit, il donne à lire les tâtonnements d’un discours s’élaborant en suspicion du langage. / Beginning from his most emblematic collections (Poëmes saturniens, Fêtes galantes, Romances sans paroles), critics have often seen Verlaine’s poetry as a drab art, scrambled and imprecise. This characteristic is then attributed to a defective sense of perception, as if the poet, disconnected from the world, could only perceive reality through a veil of dreams or of memories. This study takes the opposite view, proposing that we see in Verlaine one who is gifted with a remarkable ability to feel and perceive, seizing upon the slightest nuances present in reality. The supposed imprecision that emanates from his poetic texts must therefore be considered through a painstaking study of language. In essence, the words, long suspected of being mismatched, hold within them the singularity of a rich and supremely moving reality. The poet’s mission is then to weaken the contours, to blur categorical boundaries, and Verlaine’s poetic enterprise thus results in a veritable undermining of everyday language. What’s more, this attempted undermining continues in his prose works (fiction, autobiographies, critical texts): invested in wrecking anything that could seem to be an overly categorical assertion, Verlaine increases the concessions, the denials, the hesitations. Returning over his own words, he demonstrates the trial-and-error of a discourse developed through a suspicion of language itself.

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Immense œuvre médiévale, le Roman de Perceforest réinvente la généalogie arthurienne en montrant la mise en place progressive d’une monarchie chrétienne. Celle-ci émerge sur une île peuplée d’enchanteurs et de fées, célèbre pour ses merveilles et ses monstres et sur laquelle règnent deux nouveaux rois, Betis et Gadiffer. Pourtant, les passages merveilleux recèlent de multiples références aux savoirs antiques et médiévaux qui permettent au lecteur averti de voir l’habile illusionniste derrière le magicien, la femme médecin derrière la fée et le phénomène naturel derrière le pouvoir fabuleux d’un animal inconnu, ce qui fait de ces savoirs l’un des principaux moteurs du mouvement de christianisation du roman. En rationalisant les épisodes merveilleux, en démasquant les impostures, les savoirs mettent au premier plan la notion de Nature et préparent non seulement l’arrivée du culte chrétien mais aussi la consolidation du pouvoir royal. A travers le roi et la noblesse, c’est en effet l’exercice d’un pouvoir naturel et chrétien qui se met en place. / Vast work of medieval literature, the Roman de Perceforest retells the arthurian genealogy and the progressive rise of a christian monarchy. This christian power emerges on an island populated with wizards and faeries, renowned for its marvels and its creatures, and upon which two kings reign, Betis and Gadiffer. Yet, supernatural events are narrated with numerous allusions to ancient and medieval sciences, which allow an educated reader to uncover the illusionist behind the wizard, the female physician behind the faerie, and the natural phenomenon behind the unfathomable power of a mysterious beast. These sciences then account among the most potent forces that drive the novel toward Christendom. Giving reasons behind supernatural events, revealing impostors, sciences put forth the concept of Nature, and set the stage not only for the advent of christianity, but also for the strengthening of the royal power. Through the king and noblemen and women, it is in fact the power of nature and christianity that is constructed.

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Le but de ce travail est d’étudier le parcours mythologique qui structure l’œuvre poétique de Charles Baudelaire. Envisager les diverses occurrences textuelles renvoyant à la tradition gréco-romaine aussi bien que biblique permet de dégager un corpus mythologique qui confère à la poésie baudelairienne une dimension symbolique et incontestable.Notre propos est d’analyser ce corpus dans une œuvre où imagerie biblique et mythes antiques se mêlent et se complètent, dans un intéressant syncrétisme. Cette analyse mytho-critique nous permettra de déceler des archétypes majeurs sous-jacents à l’écriture et d’observer l’ambiguïté d’un langage complexifié mais en même temps structuré par ces schèmes archétypaux.Ce corpus mythologique répond-il à une exigence spécifique du poète ? Acquiert-il un statut particulier dans un XIX ème siècle par ailleurs riche en efflorescences mythiques ?Il s’agira donc d’observer comment ce corpus fonctionne dans le texte baudelairien et comment le poète procède à une réécriture singulière pour élaborer sa propre mythologie.Cette dernière prenant forme et sens dans une écriture poétique dont elle souligne les enjeux essentiels. / The aim of this work is to explain the mythological plan which structures Charles Baudelaire's poetic work. Considering the various texts that refer to the Greco-Roman tradition, as well as the biblical one, will enable us to release a mythological corpus which confers to Baudelaire's poetry a symbolic and irrefutable dimension. Our purpose is to analyse this corpus in his poetic work where a biblical imaging and ancient myths mix and complement each other within an interesting syncretism. This mythocritical analysis will enable us to reveal some major archetypes underlying the style and to observe the ambiguity of a convoluted language which is at the same time structured around this archtypal plan. Does this mythological corpus respond to a specific requirement of the poet? Does it acquire a particular status in a 19th century which is also rich in mythical efflorescences? Therefore, we should observe the way this corpus works within Baudelaire's text and how the poet rewrites it in order to elaborate its own mythology. Thus acquiring a form and a sense within a poetic style of which it highlights the essential stakes.

Les Chétifs is an episode in the twelfth century Crusade Cycle describing the fictitious adventures of a group of prisoners captured during the First Crusade. The present edition is based on all the known verse manuscripts, one manuscript in prose and a medieval Spanish translation. These versions have been compared in an analysis of the manuscript tradition and in detailed notes on the text. The edition itself has been laid out with the base text on one page, ard the variants on the facing page, whilst the prose version has been edited separately in an appendix. The texts have been provided with paleographic and literary notes, a full Table of Proper Names and a selective glossary. A full description of each manuscript is followed by an examination of a few facts preserved concerning some further manuscripts now lost. In the introduction all the major problems regarding the origins and development of the branch have been re-examined. The extant poem can be divided into three distinct episodes, each dominated by a different "Chétif". In the first, Richard de Chaumont fights a judicial duel on behalf of Corbaran, the captor of the prisoners, thereby securing their release. The second section sees Baudouin de Beauvais ridding the country of a terrible dragon, while in the third, Harpin de Bourges rescues Corbaran's nephew from a series of abductions. We have shown how the second of these episodes was interpolated after the composition of the other two. It has been claimed by many that Les Chétifs was written entirely, or mainly, in the orient. It is the contention of this thesis that this claim is unjustified and that the branch was composed in North Eastern France. Our refutation of the theory of oriental composition begins with a study of the provenance of the heroes, which illustrates how the original tale did indeed recount a real captivity, but that of a party of pilgrims from Fécamp, in Normandy, to Jerusalem, well before the First Crusade, The tale commemorating this event, long since lost, was to be incorporated, along with distant reminisceneas of the "Arrière-croisade" of 1101, into an early Cycle of the Crusade, which was later cast into a new cycle by Graindor de Douai in about 1190. Despite the oriental appearance of these original first and third episodes, it is certain that both were composed in Prance and based on medieval feudal and folk themes. Nevertheless there was no doubt a conscious effort on the part of successive authors and remanieurs to colour their work with genuine details of oriental life. The poem also includes certain topographical features of Syria and the Holy Land, but the overall impression is that they are vague and were probably borrowed from the Chanson d' Antioche and the Chanson de Jérusalem. In the early thirteenth century the cycle was subject to a further revision (probably at the time when the originally independent Swan-knight Cycle was affixed to it), and the episode of Baudouin de Beauvais and the dragon, which is of Armenian origin, was interpolated into it. It is this remaniement (and not that of Graindor de Douai, as has been hitherto supposed) that has survived and which is given in this edition. The general conclusion is that the branch of Les Chétifs was composed in various stages in Northern Prance. The language of the poet and that of most of the scribes localises the extant version to Picardy. The combined Swan-knight and Crusade Cycles, including Les Chétifs, were later abridged into a prose version, translated into Spanish and were recast into a final reworking known as the Second Cycle of the Crusade, in the mid-fourteenth century. The relationship between these three versions and the original verse redaction is the subject of one chapter, whilst another examines the extent to which Les Chétifs has left any influence on other works of the period.

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Intrinsèquement polyphonique, l’œuvre romanesque de Bernanos s’enracine dans la relecture d’un vaste corpus carmélitain et transfigure une intuition mystique venue de l’expérience pour créer une poétique de l’abandon capable de comprendre et d’apaiser les inquiétudes métaphysiques de son siècle. L’enjeu n’est rien moins que la réinvention simultanée d’une rhétorique incarnée et d’un rapport au monde engagé, lorsque naît une esthétique théologique fondée sur une éthique de la douceur. Réécrire la nuit obscure ou figurer l’élévation spirituelle sont dès lors deux entreprises référentielles qui ne se séparent pas de la volonté de créer une langue romanesque singulière, humble et sublime à la fois, et de figurer ce climat d’abandon de Dieu et d’abandon à Dieu qui représente la problématique majeure de l’écriture bernanosienne. Le présent travail se propose ainsi d’observer la « dramatique » qui soutient l’inspiration romanesque et lui donne tout son souffle narratif. / Intrinsically polyphonic, Bernanos’ novels seem to be established in a Carmelite world and develop a mystic intuition, from the experience to the creation of a writing of the abandonment. The novelist wishes to understand and calm the metaphysical questions of his century. The purpose is to create an embodied rhetoric and its relationship to the world. A theological aesthetics is also established on an ethics of the sweetness. To rewrite the dark night or to represent the spiritual rise : it is a question of creating a singular, humble and sublime language who represents the idea of abandonment of God and abandonment to God.

Sûrement parce qu'il n'a rien écrit, Socrate a fait couler beaucoup d'encre. Dès après sa mort en 399 avant J.-C., mort ressentie comme une injustice tragique actant la naissance de la philosophie, ses disciples écrivirent des dialogues pour continuer à le faire vivre. Le genre appelé "dialogues socratiques" fut si florissant qu'il fit entrer la figure dans le monde des mythes littéraires et philosophiques. C'est dans la modernité néanmoins que semble s'épanouir pleinement le mythe de Socrate, saint laïc, concurrent du Christ, héraut d'une morale appelée à se passer de Dieu et de ses ministres, incarnant les idées de justice et de liberté jusqu'au sacrifice. Le théâtre est un des lieux privilégiés, sinon le lieu rêvé, réputé idéal autant que difficile, où s'exprime ce mythe. Héritières des dialogues socratiques qui constituent souvent leur principale source de connaissance au sujet de Socrate, les pièces de théâtre, dont une centaine est ici étudiée, expérimentent, au fil de l'évolution des genres, les différentes façons de mettre en scène la philosophie jusqu'à tenter de retrouver l'inspiration socratique qui fait du dialogue avec Socrate une invitation à accoucher soi-même. / Surely because he wrote nothing, Socrates is much written about. Immediately after his death in 399 B.C., a death felt as a tragic injustice, his pupils wrote dialogues to keep him alive. The so called "Socratic dialogues" were so flourishing that it makes Socrates go down in the world of litterary and philosophical muths. Modernity is however the time in which blossomed the lyths of Socrates, a secular saint, rival of Christ, herald of a morality called to do without God and priests, embodying the ideas of justice and freedom to the sacrifice. Theater is one of the favourite places, if no the perfect but difficult place where this myth is expressed. Heir of the socratic dialogues, the plays try out to philosophize on stage till finding the socratic inspiration which, trough the art of dialogue, invites each one to find himself.