No description available.

<p> Le fran&ccedil;ais repr&eacute;sente une langue dominante au Qu&eacute;bec et aux Antilles. Cependant, il n'arrive pas toujours &agrave; exprimer les r&eacute;alit&eacute;s de ces peuples. Alors, pour rendre compte des valeurs ch&egrave;res aux populations locales, les auteurs qu&eacute;b&eacute;cois et antillais ont recours &agrave; l'int&eacute;gration du joual et du cr&eacute;ole dans leurs textes respectifs. Etant donn&eacute; que ces langues sont plus souvent utilis&eacute;es par les couches d&eacute;favoris&eacute;es, les milieux populaires offrent, du coup, un cadre id&eacute;al pour un tel proc&eacute;d&eacute;. Il s'agit, dans cette &eacute;tude, de proc&eacute;der par une analyse sociolinguistique, sociohistorique et socioculturelle du joual et du cr&eacute;ole, en partant des espaces choisis, en l'occurrence le Qu&eacute;bec et les Antilles. Lesdits espaces partagent des r&eacute;alit&eacute;s semblables quant &agrave; l'utilisation de la langue comme moyen de d&eacute;fense et de revendication culturelle et identitaire. En outre, &eacute;tant donn&eacute; que le joual et le cr&eacute;ole sont deux langues orales, il se pose la question de la transcription de l'oral &agrave; l'&eacute;crit, ses m&eacute;canismes et ses fondements. Entendu que les &eacute;crivains Qu&eacute;b&eacute;cois et Antillais ont un rapport &eacute;troit avec la langue, comment l'utilisent-ils pour affirmer leur identit&eacute; ? Devant les nombreux d&eacute;fis &agrave; relever, notamment la pr&eacute;servation du fran&ccedil;ais au Qu&eacute;bec et l'affirmation d'une identit&eacute; communautaire, ainsi que la cr&eacute;olisation des Antilles, les &eacute;crivains ont recours &agrave; des techniques particuli&egrave;res qu'il convient de d&eacute;couvrir, dans un contexte de diversit&eacute; et d'affirmation identitaire. Aujourd'hui, l'&eacute;volution des pratiques langagi&egrave;res am&egrave;ne les auteurs et leurs lecteurs &agrave; parler l'anglais et le cr&eacute;ole car d&eacute;sormais, la mixit&eacute; des langues est un facteur &agrave; consid&eacute;rer dans l'affirmation de l'identit&eacute; des Qu&eacute;b&eacute;cois et des Antillais.</p>

This study focuses on the literary subgenre of Mirrors for Princes. A number of twelfth-century works from three genres of Old French literature are examined in order to ascertain what forms any didacticism takes, and whether the texts can be read as Mirrors for Princes. The three genres studied are epic, romance and pseudo-historical chronicle. From epic, I discuss La Chanson de Roland, Le Voyage de Charlemagne, La Chançun de Willame and Le Couronnement de Louis. Chrétien de Troyes forms the study of Mirrors for Princes in romance, and for pseudo-historical chronicle I examine Wace’s Roman de Brut. The didacticism present in the studied texts assumes two forms. The first is direct didacticism, in which the narrator or a character portrays an instruction or moral lesson through “speech”. This gives extra emphasis to the message, whether addressed directly to the audience or to another character within the narrative. The second form is indirect didacticism, which is more common in these texts. It consists of exemplary characters, their actions, behaviour and reputations. The Mirrors for Princes aspects of these texts provide not only examples of successful kings, but also of excellent vassals and queens. The mirrors for the women involve virtuous characteristics, where they fulfil their wifely and noble duties. They are addressed to regents and queens consort more so than to queens regnant, who were uncommon figures in the twelfth century. As well as providing examples and lessons on what is optimal behaviour for the ruling class, there are characters who supply examples of behaviour that is to be avoided. With these ignoble characters, common methods of transmitting the didactic messages are through their lasting reputation, the consequences of their actions, or the nature of their deaths. The study concludes that the examined texts can be read as Mirrors for Princes, despite most of them not being originally conceived as belonging to this subgenre. Lessons for vassals, noblemen and noblewomen, queens and kings are present to varying extents throughout these works using both forms of didacticism outlined above.

Existing critical response to the question of Baudelaire's influence is confined almost exclusively to isolated assumptions articulated by critics who make little attempt, if any, to substantiate their claims, and who, thereby, show scant regard for the burden of proof associated with the study of causal influence. This study proposes to test the validity of such assumptions, and to formulate a more structured appraisal of the issue than has been made hitherto. To this end, it has sought to assemble pertinent evidence and to assess its value as an indication of a real literary debt. Enquiry is structured accordingly. The thesis begins with an exploration of methodological considerations designed to establish the conceptual basis of enquiry (Part One). It then proceeds to study the diffusion of Baudelaire's work in Spain between 1857 and 1910, and, subsequently, to examine critical reaction to the poet during the same period (Part Two). Finally, it studies the theme of Baudelaire's influence in modernismo with reference to the work of six poets whose work is representative of or which, in one case, prefigures the modernista movement in Spain: Manuel Reina, Rubén Darío, Francisco Villaespesa, the brothers Machado and Juan Ramón Jiménez. The particular objective of each case study varies according to the evidence available and the extent of existing critical response, but basically these objectives are three in number. First, to analyse unequivocal influences. Second, to ascertain, where no conclusive proof of influence exists, the extent to which the possibility of influence may be entertained. Third, to indicate, where pertinent, that the question merits more detailed examination than is possible in a general survey of this kind. The study concludes that although Baudelaire's work was reasonably well-diffused, his direct influence was slight and can be proven far less than existing preemptory claims suggest.

No description available.

Doctor of Philosophy(PhD) / N/A

Thesis (Ph. D.)--Duke University, 2008.

Thesis--Hamburg. / "Literaturverzeichnis": p. 205-218.

Thesis (Ph. D.)--Columbia University, 1945. / Published also without thesis note. Vita. Bibliography: p. [400]-438.

Thesis (Doctoral)--Université de Paris X-Nanterre, U.F.R. de lettres.