In the context of a renascent interest in the thought of Jean-Paul Sartre, this thesis proposes a close examination of one of his less studied texts, the study of Gustave Flaubert, L'Idiot de la famille (1971-72). The analysis focuses on theoretical developments that emerge from Sartre's biographical enquiry, pursuing an interdisciplinary approach combining a consideration of literary theory and literary history with the perspective of Sartre's philosophy of subjectivity. L'Idiot is situated amongst a wide variety of texts by Sartre, from Qu'est-ce que la littérature? (1948) to the Critique de la raison dialectique (1960), identifying theoretical innovations within Sartre's understanding of the subject (ch. 1), his social theory (ch. 2), his theory of the imaginary (ch. 3), of literary production (ch. 4) and of reading (ch. 5). Additionally, hitherto largely unexplored passages highlight Sartre's reflections on the situation of the late 1960s. Previous analyses of the philosophical innovations presented in L'Idiot have often focused on the strictly theoretical passages in the biography. The present thesis also concentrates on the 'imagined' scenes presented throughout the text. Read as an integral part of Sartre's method, it is suggested that the dramatization facilitated by the biographical format is an integral part of the theoretical enquiry. Despite the lack of explicit referencing provided by Sartre, the biography is explored in its open character, identifying a series of resonances and similarities with a diverse range of authors. The different chapters consider thinkers whose relationship with Sartre has received little or no attention (such as Pierre Bourdieu and Walter Benjamin), or whose work resonates with Sartre in ways that have so far gone unnoticed (Roland Barthes, Maurice Merleau-Ponty and Maurice Blanchot).

The musical compositions known collectively as the French cantata have remained relatively unknown since their popularity waned in the middle of the 18th century. In order to establish a foundation for their systematic study and to bring them to the attention of a wider audience, this survey and catalog have been prepared. The cultural mileu in which the cantatas were written, their formal structure, and principles related to their performance have been presented along with pertinent biographical and bibliographical information.

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This thesis is a study of the works of the historian Flodoard of Rheims (893/4–966), author of two substantial prose narratives (Annales and Historia Remensis ecclesiae) and an epic verse history (De triumphis Christi). Flodoard is the only major Frankish chronicler of his day, so his accounts of the political history of the West Frankish, Ottonian and Italian kingdoms are of paramount importance to modern scholars. Flodoard's Annales have been considered a reliable and neutral account of contemporary affairs, so historians have been content to mine them for ‘facts' informing wider debates concerning the history of late Carolingian Europe. Additionally, he has been judged a conscientious, source-driven archivist: his Historia Remensis ecclesiae preserves an abundance of otherwise-lost documentary sources which has been used by scholars to illuminate the church of Rheims' illustrious history. However, Flodoard was an actor on the highest political stage. He spent time at royal courts, travelled to Rome, and regularly communicated with the leading political and intellectual figures of his day. He was also deeply enmeshed in the affairs of the powerful archbishopric of Rheims. This study demonstrates that Flodoard's histories are not easily extricated from the context of his own turbulent career. It argues that Flodoard cannot be understood without reference to the vicissitudes of the complex political environment in which he operated. By taking Flodoard on his own terms and situating his historical works in their appropriate political and intellectual contexts, this thesis challenges the conventional way we read Flodoard, asking what kind of information we can reliably interrogate him for, whom his audiences were, why he wrote history at all and whether he is truly representative of his age.

Fondée en 1863,la Vie parisienne est une revue illustrée, galante et mondaine qui connut, jusqu'aux années 1930, un très grand succès. La thèse ici présentée s'attache à en retracer l'histoire, à en étudier le discours social, notamment sur les femmes, et son implication - problématique - dans le champ littéraire.<p> / Doctorat en Langues et lettres / info:eu-repo/semantics/nonPublished