Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.

Thesis (Doctoral)--Université de Bordeaux III-Michel de Montaigne, U.F.R. des lettres-littérature comparée, 2000. / Includes bibliographical references and indexes.

Eighteenth-century Paris was the cultural capital of Europe and home to a vibrant network of theatres, not all of which are equally present in modern scholarship. The Comédie-Italienne in particular has frequently been downplayed in historical accounts, and there is no existing work outlining its relationship with its authors. This thesis aims to address this gap through a case study of the Italian author Carlo Goldoni, who began work for the Comédie-Italienne in 1762. His thirty years in Paris hold an ambiguous place in his career: the preface to his autobiography draws attention to France as the site of his authorial glory, but his work for the Comédie-Italienne is dismissed as a failure; a view echoed by many modern critics. This study therefore also sets out to explore this apparent contradiction. Substantial original work on the Comédie-Italienne archives sheds new light on the administration of this theatre, building up the most comprehensive existing account of its finances, audiences and author relations in the 1760s, and situating it in the contemporary cultural field. Dramatic authors are revealed to be at the heart of tensions between symbolic and financial concerns across eighteenth-century theatrical Paris. This re-evaluation also provides a new context for understanding Goldoni’s equivocal account of his Parisian career. He desired a glorious image in posterity, yet the Comédie-Italienne’s collaborative production and lack of publication thwarted the reputation-shaping tactics he had developed in Italy. The only weapon that remained was his French Mémoires (1787), in which he consciously constructed his image and the claim of Parisian glory. Goldoni’s case also raises broader questions about the creation of literary gloire, and the fate of the cosmopolitan artist in a strange land. In modern France, Goldoni is remembered as a famous foreigner, not the Frenchman he believed he had become. The thesis concludes that this failure in posterity stems from his misunderstanding of how to achieve gloire in his French context: to rely on artificially created image alone is not enough, and yet Goldoni had no choice.

<p>Предмет нашег истраживања су француски,<br />италијански и српски фраземи који садрже<br />кулинарску терминологију (лексеме које<br />означавају различите намирнице (нпр.<br />јабука, јаје), поједине врсте једноставнијих<br />јела (нпр. кајгана, каша), месне прерађевине<br />(нпр. кобасица, салама) итд.). Циљ<br />истраживања је да компаративно-<br />контрастивном анализом установимо<br />лексичка и семантичка (не)подударања<br />одабраних фразема француског,<br />италијанског и српског језика. Поред тога,<br />циљ је да фраземе тематски групишемо<br />према концептима које изражавају и да<br />утврдимо на који начин је кулинарска<br />терминологија учествовала у изградњи<br />фразеолошког значења.<br />Први део рада представља теоријски оквир<br />истраживања, док други део рада садржи<br />анализу корпуса и обухвата две целине &ndash;<br />анализу мотивације фразема и концептуалну<br />анализу фразема. У делу рада у којем<br />анализирамо мотивацију фразема грађу ћемо<br />разврстати по компонентама које су носиоци<br />значења, док ћемо у оквиру концептуалне<br />анализе фраземе тематски груписати и<br />придружити им одговарајуће дескрипторе<br />који их прецизније описују и представљају<br />односе сличности међу њима.</p> / <p>Predmet našeg istraživanja su francuski,<br />italijanski i srpski frazemi koji sadrže<br />kulinarsku terminologiju (lekseme koje<br />označavaju različite namirnice (npr.<br />jabuka, jaje), pojedine vrste jednostavnijih<br />jela (npr. kajgana, kaša), mesne prerađevine<br />(npr. kobasica, salama) itd.). Cilj<br />istraživanja je da komparativno-<br />kontrastivnom analizom ustanovimo<br />leksička i semantička (ne)podudaranja<br />odabranih frazema francuskog,<br />italijanskog i srpskog jezika. Pored toga,<br />cilj je da frazeme tematski grupišemo<br />prema konceptima koje izražavaju i da<br />utvrdimo na koji način je kulinarska<br />terminologija učestvovala u izgradnji<br />frazeološkog značenja.<br />Prvi deo rada predstavlja teorijski okvir<br />istraživanja, dok drugi deo rada sadrži<br />analizu korpusa i obuhvata dve celine &ndash;<br />analizu motivacije frazema i konceptualnu<br />analizu frazema. U delu rada u kojem<br />analiziramo motivaciju frazema građu ćemo<br />razvrstati po komponentama koje su nosioci<br />značenja, dok ćemo u okviru konceptualne<br />analize frazeme tematski grupisati i<br />pridružiti im odgovarajuće deskriptore<br />koji ih preciznije opisuju i predstavljaju<br />odnose sličnosti među njima.</p> / <p>The subject of this research are French, Italian<br />and Serbian idioms comprising the culinary<br />terminology (lexemes that denote groceries (e.g.<br />apple, egg), certain types of simple meals (e.g.<br />omelette, porridge), meat products (e.g.<br />sausage, salami), etc.). The aim of this study is<br />to determine the lexical and semantic<br />similarities and differences of the chosen idioms<br />by using comparative-contrastive analysis.<br />Furthermore, our objective is to classify the<br />idioms into groups based on the concepts which<br />they express and to determine the way in which<br />the culinary terminology motivates the<br />phraseological meaning.<br />The first part of this work presents the<br />theoretical frame of the research, while the<br />second part contains the analysis of the corpus<br />and consists of two parts &ndash; analysis of the<br />motivation of the idioms and conceptual<br />analysis of the idioms. In the part where we<br />analyse the motivation of the idioms, the corpus<br />is classified according to components which are<br />the carriers of meaning, while in the conceptual<br />analysis we will classify the idioms into<br />thematic groups and we will associate the<br />idioms with appropriate descriptors which<br />describe them more precisely and represent the<br />relations of similarity between them.</p>

The diachronic view what was the development of French loan words in the Italian language is the main subject of this thesis and it´s focused on all French loan words in the Italian language with first occurrences documented from the 12th century to the beginning of the 20th century. The thesis is divided in two parts. The firts one is comprised of the theoretical introduction to the language contact that results in the possibility of language enriching by foreign language material that loan words should also be. The next chapter deals with the comprehensive overview of all French loan words from their first documented occurrances in the Italian language to the beginning of the 20th century. All the chapter is focused on the information providing the language contact between both languages, French and Italian one. In the second part, there are analysis of limited number of loan words because of high total sum of all occurrences so the final number of analised loan words is reduced and delimited by the 19th century. All these selected French loan words are analyzed according to various criterions that are for example the classification in word classes or the classification of adaptation. Finally, the occurences of selected loan words are analysed in detail comparing occurrances extracted from two different Italian corpuses. To outline a diachronic perspective on the language contact between the French and Italian language since teh first loan words documented in the Italian language to the beginning of the 20th century is the aim of this thesis. The other aim is to confirm the theoretical assumption that completely adapted lexical loan words predominate what is given by the character of the analysed sample, all done on the basis on detailed analysis.

Chaque cadre doit contenir un résumé de 1000 caractères maximum, espaces compris. En casde dépassement, la coupure sera automatique.Le doctorant adressera son texte sous forme électronique (disquette, etc.)Pour les modalités pratiques, contactez votre bibliothèques.L'objet de la thèse est de mettre en évidence l'importance de la« vive représentation» dans le renouvellement poétique initié au milieu du siècle, autour de Ronsard et de Du Bellay, par un groupe de jeunes poètes qui se désignera comme « la Pléiade ». Dans un contexte d'émulation et de rivalité avec les arts picturaux, mais aussi avec les poésies néo-latine et italienne, la poétique de la « vive représentation » ou « vive description », expressions empruntées aux poètes et théoriciens des années 1550, est étroitement liée à la volonté d'« illustrer » et d'enrichir la langue française en valorisant le pouvoir d'expression de la poésie. Si elle constitue un héritage de l'enargeia des anciens, c'est par l'emploi de figures spécifiques, comme l'ekphrasis et l'hypotypose, et par le développement d'un langage orné que la vive représentation s'impose dans la poésie lyrique des années 1550, où elle introduit des motifs caractéristiques du style héroïque. Notre travail consiste donc à définir les enjeux et les procédés liés à cette poétique en étudiant son élaboration et sa mise en pratique dans les textes théoriques et poétiques français publiés entre 1547 et 1560, et en retraçant les origines de cette notion dans les arts poétiques et dans les traités d'art italiens. / The purpose of this thesis is to emphasize the importance of "vivid description" in the poeticalrevival, which was started in the middle of the sixteenth century around Ronsard and Du Bellay by a group of young poets, who will name themselves "la Pléiade". The poetics of "vivid representation", or "vivid description", expressions borrowed from poets and theoreticians of the years around 1550, is, in a context of competition and rivalry not only with pictorial arts, but also with neolatin and italian poetry, closely bound to the wish to illustrate and enrich the french language by means of enhancing poetry's power of expression. Although vivid description represents a heritage of the energeia of the Ancients, it is by employing specifical figures of speach, such as ekphrasis and hypotyposis, and by developing a florid language, that it asserts itself in the lyrical poetry of the years 1550, where it introduces the typical patterns of heroic style. Our work consists in a definition of the issues and processes linked to this poetry by studying its elaboration and the way it was put into practice in poetical and theoretical french writings published between 1547 and 1560, and by retracing the origins of this notion to italian arts of poetry and treatises.

La tesi è divisa in tre parti: la prima parte offre un panorama delle principali teorie della valenza sviluppate in Francia e in Italia, con particolare attenzione allo statuto sintattico dei complementi preposizionali (argomenti o aggiuntivi); la seconda parte presenta lo studio contrastivo di 103 verbi francesi tratti dal "Dictionnaire de la Complémentation Verbale" di Salkoff-Valli (in preparazione); la terza parte presenta lo studio contrastivo di due gruppi preposizionali francesi di particolare interesse traduttivo: "de N" con valore di causa e "contre N". / This Thesis is divided into three parts : the first one gives an overview of the main valency theories, which have been developed in France and Italy, particularly paying attention to the problem of prepositional complements ambiguity (objects or modifiers of the verb) ; second part proposes a contrastive study of 103 French verbs, taken from Dictionnaire de la Complémentation verbale of Salkoff-Valli (in progress); third part proposes a contrastive study of two French prepositional phrases "de N" indicating a cause, and "contre N", object or specific modifier of the verb , very interesting topic under the point of view of the translation into Italian.

Issue d’une volonté démocratique d’émancipation du citoyen et d’élaboration d’une société nouvelle, l’institution théâtrale publique, en France comme en Italie, apparaît à nouveau, depuis le tournant des années 2000, comme en proie à une triple crise (politique, structurelle et artistique) qui permet d’interroger les rapports politiques et symboliques qui se jouent entre l’art et la société à l’intérieur d’un cadre institutionnel aiguillé par une mission de service public. À travers les exemples du Théâtre National de Strasbourg, du Théâtre National Populaire et du Piccolo Teatro de Milan, il s’agit donc d’envisager l’institution théâtrale publique dans l’ensemble de ses acteurs et de ses composantes (esthétiques, politiques, économiques, symboliques, architecturales et sociales) via le prisme des processus et stratégies de justification de leurs directeurs respectifs afin de déterminer et d’interpréter l’évolution des institutions et la transformation des fonctions qu’elles revendiquent et mettent en œuvre. En distinguant les différentes stratégies élaborées par les directeurs, se dessinent les postures adoptées par les artistes et les pouvoirs publics vis-à-vis de la société néo-libérale et des enjeux institutionnels, postures qui s’articulent et répondent à une contamination de la sphère culturelle par la sphère économique. Elles révèlent une scission, accentuée par le rôle donné au spectateur, entre les institutions qui cherchent à compenser cette contamination par la recherche d’interactions et d’expérimentations avec la société et celles qui la déplorent et y répondent par une mise à distance du réel et une concentration sur leur conception de l’art théâtral. / Stemmed from a democratic will of emancipation of the citizen and of working out of a new society, the public Theater, in France as well as in Italy, seems again to be a prey to a triple crisis (political, structural and artistic), since the turning point of 2000. This allows to question the political and symbolic connections which are at stake between art and society within institutional limits led by a public service mission. Through the examples of the “Théâtre National de Strasbourg” (TNS), Villeurbanne’s “Théâtre National Populaire” (TNP) and Milano’s “Piccolo Teatro”, the point is to consider the public Theater with the whole of its participants and constituents (esthetic, political, economic, symbolic, architectural and social) via the prism of their respective managers’ process and strategies of justification, in order to determine and explain the evolution of the institutions and the transformation of the duties they assume and implement. By distinguishing between the various strategies elaborated by the managers, we can give shape to the positions, held by the artists and the authorities towards the neo-liberal society and the institutional issues. These positions are linked and answer a contamination of the cultural sphere by the economic sphere. They reveal a division, increased by the role given to the audience, between the institutions, which try to compensate this contamination by ways of interactions and experimentations with the society, and those, which deplore this situation and answer it by standing aloof from reality and focusing on their conception of dramatic art.