L’œuvre chengienne est traversée de bout en bout par des interrogations existentielles qui découlent des trois formes élémentaires du désir que François Cheng distingue en l’homme : « désir de réalisation, désir de dépassement, désir de transcendance. » (Cinq méditations sur la mort, p. 56). Ces interrogations, qui se retrouvent sans surprise dans son oeuvre romanesque, conduisent ses personnages à entreprendre une véritable quête spirituelle, terme que nous entendons à la fois comme quête de l’esprit et comme élancement de l’âme vers la surnature. Nous tâchons dans notre étude d’en dégager les tenants et les aboutissants, en montrant comment l’auteur parvient à relier de manière cohérente des spiritualités a priori différentes et sans oublier que les héros chengiens sont tous ancrés dans la culture chinoise qui n’a pas établi de distinction radicale entre transcendance et immanence, horizontalité et verticalité. Parce qu’il est fondamentalement en quête de sens, le héros est irrésistiblement poussé à entreprendre un cheminement (à la fois physique et intérieur), qui lui permet de se réconcilier à la fois avec lui-même et avec le monde, tout en faisant l’expérience d’une certaine Transcendance. Cette quête a pour corollaire une quête du féminin qui lui est indissociable, car la Femme, telle que la conçoit Cheng, est par excellence celle qui mène l’homme vers la spiritualité. C’est pourquoi l’éros chengien est un éros mystique, naturellement porté à se muer en Agapè. En somme, ce sont les trois ordres pascaliens qui se trouvent unifiés au terme de cette aventure, le troisième ordre ne supprimant pas les deux autres, mais leur permettant au contraire de se réaliser pleinement. C’est-à-dire que l’œuvre romanesque de François Cheng, de même que son œuvre poétique, n’est au fond qu’une célébration de la reliance / Questions of existence are running throughout Cheng’s works, from beginning to end. These questions derive from the three elementary forms of desire which François Cheng tells apart in human : desire to accomplish, desire to exceed and desire to transcend (Five Meditations on Death, p.56). These questions, which can be found unsurprisingly in his novel works, lead his characters to a true spiritual quest, a term we understand as a quest of spirit, and at the same time, as a march from soul to supernature. In our study, we try to analyse all the relevant factors, to show how the author had succeeded in relating the a priori different spiritualities in a coherent way, without neglecting the fact that Cheng’s heros are all rooted in a Chinese culture background, where the basic distinctions between transcendance and immanence, between horizontality and verticality have not been established yet. Because of his fundamental quest on meanings, the hero is irresistibly pushed to go through a progress (both physical and interior), which allows him to reconciliate with himself and with the world, while experiencing a certain kind of transcendance. This quest has resulted in the quest of the female, which is inseparable from him. Because according to Cheng, the women are the ones who excellently lead the men to spirituality. That’s why Cheng’s Eros is a mystical Eros, and is naturally turned into Agape. In summary, the three Pascal rules are unitied in the end of the adventure, the third one does not supress the two others, in contrary, it helps them to full fulfillment. This means that Cheng’s novel works as long as his poetry works, are in fact nothing but a celebration of connection

This thesis aims to approach the representation of the death in the Britannic folklore throughout the work of three important Britannic folklorists: Marie-François Luzel (1824- 1895), his disciple Anatole Le Braz (1859-1926) and abbé François Cadic (1864-1929). The work describes how the vison oh the death developed historically in the Celtic mythology and in Christianism. To give a more complex idea of Britannic folklore the thesis treats its typical aspects, describes the genesis and the transformation of its emblematic character, Ankou, and briefly presents the world of deceased souls, commonly called Anaon. It aims furthermore to introduce the life and the motivation of the three authors and to portray the socio-cultural context in contemporary Brittany. The second part is firstly based on the analysis of some chosen mythological tales and the courteous novel Lancelot ou le Chevalier de la charrette by Chrétien de Troyes, examining its characters by means of the archetypal triangle proposed by Daniela Hodrová and the initiatory journey of the main characters. Secondly, the work explains what the "veillée" represents in the oral literature, as well as its connection to the "récit légendaire" (developed by Le Braz) which is later compared to the Luzel tale. This part treats also the style of...

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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

François Gervais né à Blois en 1885, reçu bachelier en lettres et philosophie, commença très tôt des études musicales, obtenant, dès 1905, le second prix de violoncelle au Conservatoire de Paris. Entré en 1913 à l’orchestre des Concerts Lamoureux dirigé alors par Paul Paray, il était en tournée aux Pays bas quand il apprit la déclaration de la guerre. F. Gervais fut d’abord mobilisé au 313ème régiment d’infanterie, puis au 329ème jusqu’à la fin de la guerre. Malgré le fait qu’il soit parti au front sans instrument, il se distingue comme musicien jusqu’à la fin de l’année 1914. Mais au printemps de l’année 1915, F. Gervais qui souffre de l’absence de pratique instrumentale réclame auprès de ses supérieurs la permission de réaliser un violoncelle. L’instrument, fabriqué à partir des rares matériaux collectés, s’avère de qualité étonnante sur le plan acoustique. Néanmoins, il a été conçu pour obvier à toute avarie due à la vie de soldat, peu sédentaire et exposée aux intempéries. Pendant les périodes de repos à l’arrière, F. Gervais anime les troupes (concerts, revues et spectacles) et ne tarde pas à gagner l’estime de ses camarades et de ses supérieurs. Le plaisir de la pratique musicale quasi quotidienne retrouvé, F. Gervais, seul ou en formation avec d’autres camarades musiciens, jouera tout au long de la guerre, pour la détente des soldats entre deux montées en ligne. Démobilisé, il rentre au foyer avec ses souvenirs et son violoncelle. Survivant de cette guerre, il réintègre l’orchestre des Concerts Lamoureux dont il sera violoncelle solo en 1920. Il enseignera, par la suite comme professeur indépendant, (P. Tortelier sera son élève) et dans ses dernières années, il sera professeur au Conservatoire de Tours. Après sa mort en 1956, sa fille aînée Françoise Gervais conservera pieusement à son domicile, documents et violoncelle avant d’en faire don en 1999 à l’Historial de la Grande Guerre de Péronne (80) ... / François Gervais was born in Blois in 1885. High school graduated in literature and philosophy he early started musical studies and obtained in 1905 the second prize of cello at the Conservatoire of Paris. In 1913 he joined the ochestra of the Concerts Lamoureux directed by Paul Paray. He was on tour in Netherlands when he heard the declaration of war. F. Gervais was first mobilized at the 313th infantry regiment then at the 329th till the end of the war. Above the fact that he went to the front without instrument, he’s distinguished as musician till the end of the year 1914. But in the spring of 1915, F. Gervais who’s suffering of the absence of music pratical, demand to his superiors the permission to build a cello. The instrument carried out with few collected material, reveals it’s surprising acoustic quality. Nevertheless, it’s been designed to obviate all damages caused by soldier’s living, quite sedentary and exposed to bad weather. During rest time behind the lines, F. Gervais entertains the troups (concerts, revues and shows) and rise in his friends and superiors’s estimation. The pleasure of pratical music regained nearly dayly, F. Gervais alone or in group with others musicians buddies, will play all during the war for the soldier’s relax between two moves to first line. Demobilized, he goes back home with his memories and his cello. Survivor of this war, he returns to the orchestra of Concerts Lamoureux and will become soloist cello in 1920. Later on, he will teach as independant professor (P. Tortelier will be his student) and in his last years, he will be professor at the conservatoire of Tours. After his death in 1956, his elder daughter Françoise Gervais will piousely keep at her domicile, the documents and the cello before to do a donation in 1999 to the french great war museum : l’Historial de la Grande Guerre de Péronne (80) ...

Le sculpteur François Rude (1784-1855), auteur du relief universellement connu de La Marseillaise qui orne l’un des piédroits de l’arc de triomphe de l’Étoile à Paris, est l’un des artistes majeurs de la période romantique. Pourtant, depuis 1904, aucune étude d’envergure ne lui a été consacrée. Cette thèse propose de réévaluer son œuvre par le prisme de la question stylistique. Qu’est-ce que le romantisme de Rude et comment s’inscrit-il dans le mouvement romantique en sculpture ? À partir d’un catalogue raisonné, la totalité de sa carrière est interrogée : ses années de formation à Dijon puis à Paris sous l’Empire ; son exil à Bruxelles dans les années 1820 où il développe la leçon néoclassique ; son retour à Paris où il devient une figure centrale du mouvement romantique avec le Jeune Pêcheur Napolitain au Salon de 1833 ; l’accomplissement de ce qui restera son chef-d’œuvre, Le Départ des volontaires inauguré en 1836 et qui sous le titre La Marseillaise va devenir une icône nationale ; son investissement politique au travers de ses nombreuses statues de Grands Hommes, qu’il réalise en interrogeant les codes académiques ; enfin, la part plus intime de son travail dans les autres genres majeurs de la statuaire que sont les œuvres religieuses et mythologiques. Cette étude réaffirme la place centrale de Rude dans le paysage artistique du premier XIXe siècle. Elle démontre qu’il n’a pas été l’artiste d’une seule œuvre, mais qu’il a bien réformé en profondeur la pratique statuaire, devenant ainsi un maître pour plusieurs générations de sculpteur tant classiques que d’avant-garde, comme Carpeaux, Rodin ou Bourdelle. On peut ainsi donner raison à Apollinaire qui avait vu en lui le père de la statuaire moderne. / The sculptor François Rude (1784-1855), known for his work La Marseillaise which decorates the Arc de Triomphe in Paris, is one of the major artists of the romantic period. Yet there have been no major studies focused on his work since 1904. This thesis reevaluates Rude's oeuvre through a stylistic lens. What was romanticism for Rude, and how did he influence the Romantic Movement in sculpture? Based on a catalogue raisonné, the thesis investigates his full career—his years of training in Dijon and then in Paris under the Empire, his exile in Brussels in the 1820s where he internalized the lessons of Neo-classicism, his return to Paris where he became one of the central figures of the Romantic Movement with the exhibition of his Neapolitan fisherboy at the 1833 Salon, the completion of what remains his primary masterpiece and a national icon, La Marseillaise, unveiled in 1836 under the name Le Départ des volontaires, his sense of political engagement as demonstrated through his numerous Great Men statues, built with a constant questioning of the academic codes, and finally, the more intimate side to his work represented by his religious and mythological statues.This thesis confirms Rude’s central position in the artistic field of the first part of the 19th century. It demonstrates that, more than just the creator of a single masterpiece, Rude contributed profoundly to reforming sculptural practice, becoming a master for multiple generations of sculptors both classical and avant-garde, such as Carpeaux, Rodin or Bourdelle. In this way, the thesis validates Apollinaire, who saw in Rude the Father of Modern Sculpture.

A presente pesquisa se propõe a investigar os diferentes modos com que a criança se expressa musicalmente, entendendo a brincadeira e o brincar como fontes de aprendizado, evidenciando a forte relação entre a descoberta do som, a ludicidade, a inquiribilidade, a criação musical e o desenvolvimento musical a partir das suas experiências sonoro-criativas. Procuramos especificar como o lúdico e a criação se apresentam no processo de aprendizado musical e a sua fundamental relação com as ideias, propostas musicais e educacionais de FRANÇOIS DELALANDE (1995 e 2013) em diálogo com pesquisadores na área da Educação Musical, fazendo com esta pesquisa um paralelo à minha práxis educacional a partir de observações de alunos durante as aulas de música. Sendo a ludicidade o meio de interação da criança com o mundo, ao brincar com a música através da experimentação e da vivência, da inquiribilidade e da criatividade, a criança constrói seu conhecimento musical numa interação com o sonoro, consigo mesma, com o outro e com o ambiente. Compreendemos que o fazer musical infantil a partir do lúdico e da fruição não se desvincula do ser inteiro, não se torna externo e, com isso, a criança pode buscá-lo dentro de si para que chegue a um desenvolvimento musical pleno. / The present research aims to investigate the different ways in which the children expresses himself musically, how they understand the musical playing and the musical playing as sources of learning, specifying the strong relation between the discovery of sound, ludicity, inquiribility, musical creation and musical development from their sound-creative experiences. We seek to show how the act of playing and the creativity present themselves in the process of musical learning and its fundamental relation with the ideas, musical and educational proposals of FRANÇOIS DELALANDE (1995 and 2013) in dialogue with researchers in the area of Music Education. We make a parallel to my praxis derived from students observations during music lessons. Ludicity is the child\'s interaction with the world, playing with music through experimentation and experience, inquiribility and creativity, are the instruments with the child constructs his musical knowledge in an interaction with the sonorous, with himself, with the other and with the environment. We understand that the childlike musical making is not separate from the playful and fruition, the external sources and the child whole being. The child can seek it within itself so that it reaches a musical full development.

Le présent travail interroge l’œuvre de Goffredo Parise (Vicenza, 1929 – Treviso, 1986) à partir du primat qu’il accorde à la vue dans chacun de ses écrits. Une recherche des causes au fondement d’une telle poétique ainsi que des implications qui en découlent a ainsi été menée dans un cadre d’interprétation dépassant les frontières purement littéraires au profit d’instruments méthodologiques empruntés à la philosophie (Maurice Merleau-Ponty, en ce qui concerne les liens avec la phénoménologie, et François Jullien, pour ce qui est du rapport à l’Orient), à l’anthropologie visuelle et à la critique d’art (Georges Didi-Huberman). Cette étude s’est développée selon deux axes principaux : d’une part, l’analogie entre la réflexion philosophique et la poétique de l’auteur, qui a montré la validité d’une relecture de l’œuvre de Parise à travers le prisme du primat de la perception ; d’autre part, les affinités qu’entretient l’écriture de Parise avec la pratique picturale, qui ont, une fois de plus, prouvé à quel point la production de l’auteur ne peut être contenue dans des frontières strictement littéraires mais exige le recours continuel à des instruments interprétatifs issus d’autres champs de recherche. / This research focuses on the work of Goffredo Parise (Vicenza, 1929 – Treviso, 1986) seen under the perspective of the primacy of the visual element, which can be traced in every text he has ever written. Drawing on Maurice Merleau-Ponty’s phenomenology, François Jullien’s thinking and Georges Didi-Huberman’s visual anthropology, the thesis aims to trace the origins of Parise’s poetics and its relationships with philosophy and visual arts. The first strand of the research deals with the intersections between Parise’s work and the philosophy of perception, while the second one investigates the similarities between Parise’s poetics and painting. This leads to the conclusion that Parise’s work requires broader instruments of analysis than traditional literary critique.

A presente pesquisa se propõe a investigar os diferentes modos com que a criança se expressa musicalmente, entendendo a brincadeira e o brincar como fontes de aprendizado, evidenciando a forte relação entre a descoberta do som, a ludicidade, a inquiribilidade, a criação musical e o desenvolvimento musical a partir das suas experiências sonoro-criativas. Procuramos especificar como o lúdico e a criação se apresentam no processo de aprendizado musical e a sua fundamental relação com as ideias, propostas musicais e educacionais de FRANÇOIS DELALANDE (1995 e 2013) em diálogo com pesquisadores na área da Educação Musical, fazendo com esta pesquisa um paralelo à minha práxis educacional a partir de observações de alunos durante as aulas de música. Sendo a ludicidade o meio de interação da criança com o mundo, ao brincar com a música através da experimentação e da vivência, da inquiribilidade e da criatividade, a criança constrói seu conhecimento musical numa interação com o sonoro, consigo mesma, com o outro e com o ambiente. Compreendemos que o fazer musical infantil a partir do lúdico e da fruição não se desvincula do ser inteiro, não se torna externo e, com isso, a criança pode buscá-lo dentro de si para que chegue a um desenvolvimento musical pleno. / The present research aims to investigate the different ways in which the children expresses himself musically, how they understand the musical playing and the musical playing as sources of learning, specifying the strong relation between the discovery of sound, ludicity, inquiribility, musical creation and musical development from their sound-creative experiences. We seek to show how the act of playing and the creativity present themselves in the process of musical learning and its fundamental relation with the ideas, musical and educational proposals of FRANÇOIS DELALANDE (1995 and 2013) in dialogue with researchers in the area of Music Education. We make a parallel to my praxis derived from students observations during music lessons. Ludicity is the child\'s interaction with the world, playing with music through experimentation and experience, inquiribility and creativity, are the instruments with the child constructs his musical knowledge in an interaction with the sonorous, with himself, with the other and with the environment. We understand that the childlike musical making is not separate from the playful and fruition, the external sources and the child whole being. The child can seek it within itself so that it reaches a musical full development.