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Reproduction de : Thèse de doctorat : Littératures françaises et comparée : Paris 4 : 2006. / Titre provenant de l'écran titre. 152 références bibliographiques.

The death penalty occupies an essential place in Victor Hugo's work, notably in his narrative work where he emphasizes the rhetoric resources in attempts to convince his reader of the necessity of abolishing this practice which he considers "barbaric". This memoir suggests a reading of this rhetoric, concentrating on various specific Hugolian arguments and suggesting a global vision of his reasoning. The first chapter demonstrates that the opposition between law and his application lies at the root of the judicial criticism according to Hugo, from which also stems the question of death penalty to begin with. We then study the genesis and the functioning of multiple arguments depicting the consistency and persistency of Hugo's reasoning, these arguments being interpreted from novel to novel. Finally, in the third chapter, we analyze history's role as a meta-argument of the abolishment; the historical development often structuring the opposition of Hugo's theory regarding the excessive use of capital punishment.

Ceux qui s'intéressent à la littérature savent que la période la plus fructueuse de la carrière de Victor Hugo est celle des dix-huit années qu'il passa en exil aux îles de Jersey et Guernesey. Pendant ce temps son génie littéraire est en pleine floraison: il donne La Légende des Siècles, Les Contemplations, et Les Misérables. [...]

This thesis studies the theme of laughter in the works of Victor Hugo, distinguishing two topical networks: that of perverse gaiety and that of forced laughter. Part One (La Gaiete perverse) shows how Hugo, drawing various commonplaces related to cruel laughter in the gothic novel, creates a first family of characters whose laugh derives from their demented nature (the monster, the headsman, the priest, the outlaw, the mob, the court jester). Part Two (La Tristesse des justes) concerns the Hugo which, between 1845 and 1862, fashions a mythology of the People renewing with commonplaces related to perverse gaiety, which he now links to characters seen as pillars of the Second Empire (the tyrant, the soldier, the police officer). While the wicked laugh, the just man cries, and the laughter of the oppressed (the convict, the prostitute, the street urchin) is constrained. Part Three (Le Rire de force) considers three works dating from Hugo's exile, including L'Homme qui rit, where the author clearly defines what constitutes forced laughter: a victim's exultation caused by the perversity of his social torturer, the tyrant. This transition from perverse gaiety (which stems from individual perversion) to forced laughter (the result of society's perversion) will be interpreted as the reflexion of a shift in the identity of Hugo's implied reader. While the first Hugo wrote about the people, the later Hugo aspires to write for the people, which considerably affects the meaning conferred to various commonplaces used throughout his writing career.

Thesis (Ph. D.)--Bryn Mawr College, 1946. / Includes bibliographical references (p. 203. Bibliographical footnotes).

Thesis (Ph. D.)--Berne. / "Bibliographie": p. [199]-207.

Made available in DSpace on 2015-03-03T11:52:21Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-30Bitstream added on 2015-03-03T12:07:27Z : No. of bitstreams: 1 000809956.pdf: 11088567 bytes, checksum: f61da15ba3a27fcc67b4127bc0f80c4a (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O objetivo deste estudo é analisar a categoria da espacialidade e o procedimento grotesco nos romances Notre-Dame de Paris (1831) de Victor Hugo e A tale of two cities (1859) de Charles Dickens, mostrando como esses procedimentos narrativos auxiliam na projeção das ações das personagens e como produzem efeito de sentido, revelando assim uma das infinitas leituras oferecidas pelas referidas obras. Em Notre-Dame de Paris (1831), Victor Hugo revela a miséria humana por meio da marca dos sentimentos opostos que habitam no homem; as contradições desses sentimentos existentes uma ao lado da outra, e não no predomínio de uma sobre a outra. Os espaços da narrativa hugoana são configurações de um novo tempo-espaço marcado pela modernidade da época, e representam uma extensão dos personagens desse romance. Em A tale of two cities (1859), Charles Dickens expressa a miséria que permeia as cidades em crise diante da mesma modernidade, evidenciando que a fome, a ausência de liberdade e de condições de vida adequadas para se viver na urbe moderna transformam o homem em um ser irracional e insensível / This study aims to analyse the spatiality category and the grotesque procedure in the novels Notre-Dame de Paris (1831) written by Victor Hugo and A tale of two cities (1859) written by Charles Dickens, the intention is to show how these narrative procedures help in the projection of the characters actions and how they can produce meaning effect, thereby revealing infinite readings which are offered by the referred works. In Notre-Dame de Paris (1831), Victor Hugo reveals the human misery through the opposite feelings which inhabit the human mind; the contradictions of those feelings exist one alongside another and not on the dominance of one over the other. The spaces in Hugo’s narrative are configurations of a new time-space defined by the modernity era, and they represent an extension of the characters in this novel. In A tale of two cities (1859), Charles Dickens expresses the misery that permeates the cities facing crisis in the same modernity, emphasizing that hunger, the lack of freedom and the appropriate living conditions in order to inhabit the modern metropolis transform man into an irrational and insensitive human being