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The purpose of this research paper is to study the circulation of discourses in Le Moyen de parvenir. To do so, we will consider two types of circulation in Beroalde de Verville's book. / The first type of circulation that we will study is the generic circulation. In the first part of our study, we will try to seize this circulation by identifying all the different genres that appear in Le Moyen de parvenir. Through this analysis, we will see that the book contains a multiplicity of genres which are sometimes in contradiction. Furthermore, we will establish that Beroalde de Verville's work doesn't belong to any defined genre and this is why it is so ambiguous from a generic point of view. / The second type of circulation, the circulation of enounciation, will be approached through Bakhtin's theory of dialogism and Gerard Genette's notion of transtextuality. By analysing this mode of circulation, it will be possible to see that this type of circularity corresponds aesthetically and epistemologically to a plurivocal awareness which corroborates the generic ambiguity noticed in the first part of our text.

The use of quotation is a crucial element in Bernd Alois Zimmermann's (1918-1970) creative thinking. This thesis explores the evolution of Zimmermann's compositional approach to the use of this procedure. The first chapter defines four categories of borrowing which correspond, although in a non-exclusive manner, to the features which characterize four compositional periods: stylisation, homage, teleological genesis and pluralism (A compositional technique defined by the composer around 1960 and aiming at representing a spherical conception of time). The second chapter considers the nature, source and content of the quotations and focuses on the recurrence of the identical fragments, themes and types of writing common to several works. It also establishes that the same logic--where theological concerns and the concept of time function as essential points in a network of reference--unifies older works with more recent ones. The third chapter analyzes the strategic role of passages containing quotations with respect to global form and as solution to compositional problems which confronted the composer. The fourth chapter deals with methods of construction which characterize passages with quotations and demonstrates the composer's fascination with Franco-Flemish polyphonic techniques (cantus firmus, proportional canon and isorhythm). In these contexts, borrowed fragments tend not only to have a historical association with such structural types, but also stem from a repertoire supposedly universal. This permits the creation of textures charged with meaning and allows the listener to perceive different superimposed layers.

This doctoral thesis analyzes the plays of Tristan Tzara, specifically La Premiere Aventure Celeste de Monsieur Antipyrine (1920), La Deuxieme Aventure Celeste de Monsieur Antipyrine (1920), Coeur a Gaz (1921) et Mouchoir de Nuages (1924). / In the first part of our study we examine the production of (dramatic) language in its oral, graphic and written qualities. The dada language of the two drama-manifestoes tends to adopt a syllabic writing which defines itself as a sonorousness free of syntaxico-semantic contingencies. The writing in Coeur a Gaz is more graphic in that it defines linear writing in terms of its inscription in a bidimensional frame (list, table) which caracterizes theatre in itself. And while Mouchoir de Nuages adhers more closely to dramatic writing of a metadiscursive nature, the apparent linearity of the writing of this drama leads to the subversion of the stage writing (scenography) and therefore of theatre itelf. / In the second part of our thesis we study the question of language reception, indispensable for the understanding of the Dada phenomenon in particular and theatrical in general. The aleatory vocality La Premiere Aventure Celeste de Monsieur Antipyrine provoked a violent reception by the historical spectator of 1920, whose esthetic parameters (horizon of expectation) are analyzed. Insofar as Coeur a Gaz is concerned the performance of 1923 consecrated the rupture of Andre Breton with the Dada group and led to the birth of the surrealist movement. Finally, the revolutionary scenographic work of Mouchoir de Nuages radically modifies the scenic perception of the spectator and announces the pluralist art of the twentieth century.

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