Th. : Harvard University. / Contient aussi un choix de poèmes en italien et en espagnol avec la trad. en anglais. Titre provenant de l'écran-titre. Ouvrage mis en ligne par eScholarship. Bibliogr.. Index.

The dissertation explores traditions of expressing the body and sexuality in nineteenth-century Russia and how these traditions affect the literature of Russia’s Silver Age (1890-1921). The period's modernizing intellectuals had at their disposal two strategies: – a tradition of silence, which is used to avoid the very theme of sex and eroticism; – a tradition of representation associated with the burlesque, in which the author presents carnality and eroticism in a deliberately ludicrous, grotesque way. European literatures of the era were developing highly nuanced representations of sexuality, often in relation to social functions. Conversely, the Russian authors confront notable deficits as they revert to indigenous traditions of expression. How these authors move beyond these defi-cits is the core of the project. Chapter 1 explores three historical determinants for the “strategy of silence” and the “strategy of burlesque” marking the history of Russia's literary representation. The first is a set of profound differences between Western and Russian medical science, sexology and psychopathology. The second is a divide in perceptions of sexuality between Roman Catholic and Russian Orthodox traditions. The third is embodied in some of the earliest canonical representations of sexuality in literary history, including the Archpriest Avvakum’s Life (1682). Chapter 2 begins by taking up Aleksandr Pushkin and Nikolai Gogol as exemplars for Russian approaches to sexuality – with Pushkin exemplifying pro-erotic expression, and Gogol the opposite. The chapter concludes with analyses from late-nineteenth-century texts by Leskov, Tolstoy, Chekhov and Dostoevsky. Chapter 3 is focused on the ways some of the most emblematic works of the Silver Age (e.g., Sanin by Mikhail Artsybashev) emerge as deconstructions of the term “literary pornography” and as attempts to find new social representations of sexuality. Chapters 4 and 5 take up some major post-Silver Age texts and then Vladimir Nabokov’s Lolita (1955). The Conclusion argues that during the Silver Age, Russian popular culture found itself in direct confrontation with the high cultures of the nation’s upper classes and intelligentsia. This Russian version of modernization is described as a full-blown Foucauldian “bio-history” of Russian culture: a history of indigenous representations of sexuality and the eroticized body. / text

Thèse--Lettres--Paris IV, 1978. / Bibliogr. p. 743-763. Index. Thèse soutenue sous le titre : "L'Art romanesque dans les histoires comiques du XVII] siècle"

Lacing Skates and Unlacing Corsets: Gender Play and Multiple Femininities in Roller Derby and Neo-Burlesque. Contemporary roller derby and neo-burlesque, as an athletic sport and a framed staged performance respectively, each provide a space that encourages gender play through interactions between participants and audience and the role of physical body. In this thesis, I discuss how each activity allows for a multiplicity of feminine identities and commentary by performers on the social and cultural expectations of women. Drawing on performance theory, ritual theory, and gender studies, along with fieldwork, I explore how this commentary comes from participants simultaneously critiquing and embracing those expectations in their performances through costuming, use of the body, and the presence of an audience who interpret the events.

Challenging the common notion that mythological comedies simply burlesque stories found in epic and tragedy, this dissertation shows that comic poets were active participants in creating and transmitting myths and argues that their mythical innovations influenced accounts found in tragedy and prose mythography. Although no complete Greek mythological comedy survives, hundreds of fragments and titles reveal that this type of drama was extremely popular; they were staged in Greece, Sicily, and Southern Italy and make up about one-half of all comedies produced in some periods. These fragments, supplemented by Plautus' Amphitruo (the only nearly complete mythological comedy), vase-paintings, and ancient testimonia, shed light on the vibrant tradition of comic mythology. In chapter one, I argue that ancient scholars' and prose mythographers' citations of comedies invite us to view comedians as authoritative myth-makers. I then survey the development of mythological comedy throughout the fifth and fourth centuries BCE. The plays' titles reveal common mythical topics as well as a number of comic myths that survived independent of the tragic tradition. In chapter two, I argue that Cratinus' Dionysalexandros and Epicharmus' Odysseus the Deserter are wildly innovative comedies that challenge previous accounts for mythological authority. In chapter three, Epicharmus' Pyrrha and Prometheus, Pherecrates' Antmen, and Cratinus' Wealth Gods are studied to show how comedians created new stories by fusing myths together and by combining myth and historical reality. In chapter four, I look at the affairs of Zeus to show the dramatists' different approaches to the same mythical material. While tragedians tend to focus on the suffering of Zeus' victims, comedians feature Zeus' humorously outlandish and usually harmless seductions. In chapter five, on the Amphitruo, I show how Plautus has transformed a myth about the birth of Heracles into a story about Jupiter's long-term affair with a pregnant woman. In chapter six, I enter the debate about comedy's influence on tragedy and argue that mythical variants invented by the comic poet Cratinus have been incorporated into Euripides' Trojan Women and Helen, which demonstrates that, as early as the fifth century, comic poets were seen as mythological authorities. / 2017-06-30T00:00:00Z

Le Père Jésuite François Garasse reste un écrivain du premier XVIIe siècle assez connu et peu étudié en dépit de son abondante production polémique, publiée entre 1614 et 1626. Son œuvre est réputée illisible, par les valeurs qu’elle défend et la violence qu’elle déploie, par sa longueur et son manque de consistance, par son style même, enfin. Cependant, les travaux sur le libertinage ont conduit à s’intéresser à la figure du libertin telle qu’il la dessine dans sa Doctrine curieuse. De telles études invitent à reconsidérer le Père Garasse, qui apparaît comme le jésuite polémiste le plus lu et le plus connu entre 1617 et 1626, et comme un prédicateur à succès. L’ensemble de son œuvre, cependant, ne fait encore à ce jour l’objet d’aucune étude spécifique. Le Père Garasse, qui participe à l’ensemble des querelles de son temps, est étudié ponctuellement, de façon fragmentaire, et n’est que très peu analysé en tant que tel. Ce projet se propose d’inverser les perspectives, en s’intéressant au Père Garasse, non pas sous l’angle du libertinage ou du jansénisme naissant, mais sous l’angle qui est le sien, celui de la Réforme catholique et de ses combats, celui de la Compagnie de Jésus et de ses intérêts. Il s’agit d’envisager son œuvre polémique dans son ensemble et pour elle-même, d’un point de vue double, philosophique, théologique et moral d’une part, littéraire d’autre part ; il s’agit de s’attacher à établir s’il existe une pensée du Père Garasse, et à déterminer les formes par lesquelles elle s’énonce. Son œuvre, essentiellement polémique, est également à étudier dans le rapport qu’elle tisse avec les autres œuvres de son temps, qu’il s’agisse de rapports d’opposition, ou de filiation. Ce projet vise donc à mettre en perspective l’œuvre du Père Garasse, à la replacer dans le contexte de son époque, polémique et rhétorique, pour mieux en dégager la spécificité littéraire et philosophique. / Father François Garasse remains a jesuit writer of the first seventeenth century quite known and little studied, despite its abundant controversy production, published between 1614 and 1626.His work is deemed illegible, by the values it defends and the violence it deploys, by its length and lack of consistency, by its style, finally. However, works on libertinism led to interest in the figure of the libertine as he draws it in his Doctrine curieuse . Such studies invite to reconsider Father Garasse, which appears as the jesuit polemicist most read and most famous between 1617 and 1626, and as a successful preacher. His work, however, has not been studied yet in a whole. Father Garasse, who participates in all the quarrels of his time, is the subject to intermittent, piecemeal analysis. This project aims to reverse perspectives, focusing father Garasse, not in terms of libertinism or nascent Jansenism, but from his angle : Catholic Reformation and its fighting, Society of Jesus and its interests. His polemical work will be considered as a whole and for herself, in a double point of view, philosophical, theological and moral on one hand, and literary on the other hand ; the aim is to establish if there is a thought of Father Garasse, and to identify the ways in which it is stated. The link between his work, essentially polemical, and other works of his time will also be considered, whether adversarial or affiliation. This project aims to put into perspective the work of Father Garasse, to replace it in the polemic and rhetoric context of his time, in order to better identify his literary and philosophical aspect.

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L'expression poétique semble inhérente au théâtre classique. Pourtant, les pièces de la seconde moitié du XVIIe siècle, en particulier les tragédies, sont le fruit de principes « réguliers » qui ont cherché à dépoétiser le théâtre et ont largement réussi dans cette entreprise. Pour rendre compte de ce processus, il est nécessaire de retracer l'histoire de la poésie au théâtre depuis la naissance de la tragédie humaniste, au milieu du XVIe siècle, jusqu'à l'instauration de ce que la postérité appellera le classicisme. Il apparaît ainsi que l'élocution lyrique s'est progressivement déplacée au fil du temps du genre tragique vers le genre comique en suivant l'évolution de la poésie lyrique depuis le style sublime de la Pléiade jusqu'à l'expression burlesque de Scarron en passant par la simplicité malherbienne, l'ingéniosité mariniste ou l'enjouement galant. L'expression lyrique glisse ainsi progressivement des chœurs et des discours pathétiques de la tragédie humaniste vers les soupirs, les chansons et les pointes des amants de la tragi-comédie et de la pastorale avant d'être parodiée dans la parlure ridicule des personnages de la comédie burlesque. Parallèlement à ce mouvement, les penseurs réguliers théorisent l'opposition fondamentale du langage poétique et du langage dramatique, rendant ainsi presque impossible le développement d'une tragédie régulière poétique. / Poetical expression seems to be an inherent aspect of classical theatre. However, plays written in the second half of the seventeenth century, particularly the tragedies, were conceived to adhere to regular standards of form which tended towards the removal of poetic expression from theatre and which largely succeeded in doing so. To summarise this process, it is necessary to recount the history of poetic expression in plays from the advent of humanist tragedy in the mid-sixteenth century to the establishment of what would be later called « classicism ». It can then be demonstrated that lyrical elocution shifted over time from tragedy to comedy, following the same evolution as lyrical poetry which evolved from the noble style of the Pleiade all the way to Scarron’s burlesque expression, through the simplicity of Malherbe’s expression, the ingenuity of marinism, or the preciosity of the gallant style. Poetical expression thus progressively shifted from the choirs and pathetic discourses of the humanist tragedy, towards the sighs, songs, and conceits of the lovers of tragi-comedy and pastorales, before being parodied in the ridiculous manner of speech of the characters in burlesque comedy. Simultaneously, theorists of regularity theorised the fundamental opposition between poetic and dramatic language, thus making the development of a regular poetical tragedy nearly impossible.

Cette étude propose de questionner les correspondances entre l’architecture apparente ou non des premiers romans de Marcel Aymé (1902-1967) et la présence des nombreux « faits d’oralité » à l’œuvre ou mis en œuvre. L’approche ethnocritique de ces récits permet de croiser une poétique du romanesque et une anthropologie du symbolique. Nous nous appuyons tout d’abord sur la théorie du « roman parlant » liée à l’entre-deux guerres, période même de l’arrivée de Marcel Aymé dans le champ littéraire. Nous cartographions ensuite la présence et la conscience de la raison graphique en observant les jeux et enjeux d’une écriture composite. En effet, nous percevons à la fois les échos intertextuels avec la littérature classique mais aussi un intérêt pour d’autres formes de langages littéraires et cinématographiques. L’attention particulière à la voix narrative, le recours au burlesque et à l’ironie participent à la compréhension des choix esthétiques du jeune romancier et au style culturel de ces romans. Au centre de cette analyse, les personnages sont interrogés dans leur quête d’identité et dans leurs façons d’être en prise avec des systèmes étatiques et sociaux qui se concrétisent en particulier dans l’état-civil. Le rapport à l’image et la puissance de la numératie complètent la dynamique complexe de cette recherche identitaire. Voix publiques ou privées, singulières ou collectives, sonnantes ou dissonantes se font entendre dans la narration et sont examinées alors comme témoins des tensions culturelles internes aux communautés représentées. Une dernière partie lit les belligérances et/ ou les coalescences de l’habitus littératien et des oralités vivaces telles qu’elles apparaissent dans les romans de notre corpus (Brûlebois, Aller retour, La Table-aux-Crevés). Cette étude se veut aussi ouverte sur le monde ayméen dans son ensemble, attentive aux passerelles entre toutes les publications de l’auteur des articles de presse aux pièces de théâtre. / This study proposes to examine the relationship between the visible or non-visible structure of the first novels by Marcel Aymé (1902-1967) and the presence of numerous aspects of orality in the novels. An ethnocritical approach to these narratives makes it possible to combine a poetics of the novel with an anthropology of symbols. We base our study first of all on a theory of the “talking novel” (“roman parlant”) related to the period between the two world wars, which corresponds to the period when Marcel Aymé began publishing his work. Then we trace the presence and awareness of writing (as opposed to orality) through an examination of the stylistic effects of what could be called a composite form of writing and the role of these effects in the overall strategy of the author. In effect, we perceive intertextual echoes of the classics but also an interest in new forms of literary and cinematographic expression. The particular attention to narrative voice, but also the presence of the burlesque and of irony, are elements that help one to understand the aesthetic choices of the young author and the cultural style of his novels. In the central part of this analysis the characters are studied in the perspective of their search for identity and of their way of coming to terms with the public and social systems with which they are confronted through events involving their civil status (marriage, death, etc.). Their relationship with the image and power of numeracy is another important dimension of the complex dynamics of this search for identity. The voices that one hears in the narration, public or private, individual or collective, consensual or dissenting, are examined for the clues they yield concerning the cultural tensions present within the communities represented in the novels. The last part of the thesis examines the conflict and convergence between literacy as a “habitus” and the living traces of orality as they appear in the novels of the corpus (Brûlebois, Aller retour, La Table-aux-Crevés). This study also aims at being open to the world of Marcel Aymé as a whole and at being attentive to the interrelations between all the publications of the author, including his newspaper articles and his plays.

The French Quarter of New Orleans and its famous Bourbon Street receive millions of visitors each year and are the subjects of both scholarly study and the popular imagination. Bourbon Street’s history of striptease has largely been untouched by scholars. In the post-World War II period, nightclubs featuring striptease entertainment drew the attention of reform-minded city and police officials, who attempted to purge striptease from the city’s historic district in an effort to whitewash the city’s main tourist area and appeal to potential outside economic industrial opportunities. Through news articles, correspondence, tourism brochures, and published reports, this thesis explores how striptease endured on Bourbon Street despite various reform campaigns against it and shows that striptease was an integral part of the New Orleans tourist economy in the postwar period.