This dissertation offers a revaluation of Walter de la Mare's poetry; it counters two common critical misconceptions; escapism and lack of development. The overall pattern of imagery in the poetry reflects de la Mare's understanding of reality. It outlines a universe of four interpenetrating "worlds": this world, the other world, the child world and the adult world. This pattern is used as a frame of reference. Key poems are closely read so the complexity beneath apparent simplicity is pointed up. The poetry divides into three chronological stages, with two peaks of maturity. In the early peak, The Listeners (1912) and Peacock Pie, (1913) a distinctive, dense symbolic mode is perfected. After a transitional period of formal experimentation, a late peak is achieved with Bells and Grass (1941) and The Burning-Glass (1945), where symbolic imagery forms the core for a quiet, reflective, conversational mode. Throughout, the children's and adult poetry are considered as a unit.

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This thesis studies the use of rhetoric, poetics and logic in thirteenth-century Italian poetry, specifically that of Guido Cavalcanti. The poetic production of Cavalcanti is examined as an example of the synthesis of science and poetry, and secondly as an example of the use of persuasive techniques. / In particular, I examine his so-called minor poems as examples of the theory of love expressed in "Donna me prega". My work hinges on two aspects: the fact that the central metaphor in the poetry of Cavalcanti represents the phenomenology of love as a passion of the body using medical terminology from Avicenna, and that the radical Aristotelianism (marginalised by the ecclesiastical condemnations) defines Cavalcanti's philosophical and scientific discourse. Cavalcanti combats the opposition of his readership to his radical Aristotelianism with persuasive techniques, rhetorical and poetic, and with logic found in Aristotle, his commentators Gundisalvus, al-Farabi, Avicenna, Averroes, and Roger Bacon.

Julien Gracq est un écrivain relativement jeune dont l'oeuvre n'a pas encore touché le grand public. Pour cette raison il nous semble utile de donner quelques indications sur la vie du romancier. [...]

Most Swiss writers participate actively in the affairs of their country: they take sides on political and economic issues and, like all other Swiss male citizens, cast their votes several times a year. In the tradition of Swiss Literature, the figure of the energetic or didactic writer predominates. Most writers are active in another profession in addition to writing. It could even be said that they consider their art only as a secondary profession. Until recently, the Swiss had a tendency to respect those writers only who had proved their qualities in business or industry before they took to writing. [...]

Recording in her diary her last interview with Samuel Johnson, Fanny Burney relates that the Doctor spoke "with as much fire, spirit, wit, and truth of criticis and judgement, as ever yet I have heard him," and that he declared, "'Genius is nothing more than knowing the use of tools, but there must be tools for it to use.'" Throughout his literary career, Johnson had frequently pondered over the components of genius, but never before had he given it so succinct a definition. Three immediate questions come to mind. What are the tools of genius? On what materials should they be used? To what ultimate purpose should the genius work? [...]

Quand Molière est revenu à Paris en 1658, la farce y était quelque peu en défaveur depuis une dizaine d'années. Elle était considérée par les gens de lettres et par ceux qui fréquentaient les salons comme un simple divertissement provincial, et le théatre sérieux était à la mode. Pourtant, appelé à jouer devant le roi, Molière a décidé de terminer sa représentation de Nicomède par le Docteur amoureux, une des farces dont il avait régalé son public provincial. La manoeuvre réussit et la pièce plut au roi. Le bon accueil fait au Docteur a dû encourager Molière. Désormais il ne cesse pas d'écrire et de jouer des farces; elles obtiennent de vifs succés. C'est, en fait, Les Précieuses ridicules, sa première pièce composée à Paris, qui fait sa réputation d'auteur-acteur. [...]

Ein Jahrzehnt ist seit Thomas Manns Tod am 12. August 1955 vergangen. Mit dem Erlöschen seiner dichterischer, essayistischer oder polemisch-publizistischer, Rundfunkvorträge. [...]

Le XVIIIe siècle, en France, peut être considéré comme le siècle le plus riche en changements. Tout le long du siècle, de nouveaux projets s'ébauchent continuellement dans tous les domaines: expériences philosophiques, scientifiques, littéraires, toutes témoignent d'une intense activité intellectuelle. L'oeuvre de Diderot reflète l'esprit de son siècle. Notre étude portera sur un des nombreux domaines, abordés par cet écrivain: le roman. [...]