Thèse : Lettres : Zurich : 1987-88. / Bibliogr. p. 229-236.

Entre 1853 et 1870, de multiples quartiers de la ville sont éventrés pour permettre la mise en place de nouveaux boulevards par le baron Haussmann, préfet de Paris sous Napoléon III. Ces travaux majeurs ont frappé l’imaginaire social et constitué un objet de fascination pour la littérature. Le mémoire se situe sur le terrain de la sociocritique. La chercheuse cherche à comprendre comment des textes de Verne, Hugo et Zola lisent la nouvelle configuration urbaine parisienne. Dans Paris au XXe siècle (1863), Jules Verne projette la destruction dans le futur et, en retour, imagine les rémanences d’un passé étrangement constructif. Bien qu’il soit en exil, Victor Hugo est très au courant des changements urbains et sociaux en cours. Dans Paris (1867), son écriture travaille à rendre compatibles les idées de ruine et de progrès. Émile Zola, avec Paris (1898), exprime les contradictions accompagnant le changement urbain par le biais de métaphores médicales et organiques proches de « l’esprit de décadence » qui caractérise la fin du siècle. En conformité avec les visées de l’approche sociocritique, c’est à partir d’une lecture interne des oeuvres, mettant à profit les ressources de l’analyse de texte, de la poétique et de la narratologie, que la recherche se développe. L’étude mobilise également les ressources des travaux consacrés aux relations de la littérature et de la ville, ainsi que celles des ouvrages de synthèse produits dans les champs de l’histoire générale et de l’histoire de l’urbanisme. / Between 1853 and 1870, many areas of the French capital are torn down to allow the establishment of new avenues by Baron Haussmann, Paris’ prefect under Napoleon III. These major urban projects have struck the social imaginary and became an object of fascination for literature. This essay is located on the grounds of sociocriticism and seeks to understand how Verne’s, Hugo’s and Zola’s texts interpret the Paris’ new urban conformation. In Paris au XXe siècle (1863) Jules Verne is planning future destructions and, in turn, imagines the strange constructiveness of residual past. Although in exile, Victor Hugo is very aware of urban and social changes under way. In Paris (1867) his writing works to make compatible the ideas of ruin and progress. Émile Zola with Paris (1898) reflects the contradictions accompanying urban change through medical and organic metaphors close to "the decadence’s spirit" that characterizes the end of the century. In accordance with the aims of the sociocriticism’s approach, the research develops itself from an internal reading of works, drawing on the resources of texts’ analysis, poetics and narratology. The essay also mobilizes diverse works on relations between literature and the city, as well as works of synthesis produced in the fields of general history and of urban planning history.

Habilitationsschrift--Westfälische Wilhelms-Universität, 1980. / Includes bibliographical references (p. 247-256).

Habilitationsschrift--Westfälische Wilhelms-Universität, 1980. / Includes bibliographical references (p. 247-256).

Le personnage du forçat est omniprésent dans la littérature française du XIXe et du début du XXe siècle. La représentation du monde des travaux forcés dans les bagnes portuaires et plus tard extra-métropolitains est à la croisée de la représentation plus large de la criminalité au XIXe siècle, selon un développement historique concomitant avec l’expansion coloniale. Les faits divers, ces petits bulletins d’alerte lancés comme une basse continue sur la cité, changent la manière de percevoir la criminalité. Obéissant à une structure particulière, le fait divers va remodeler la représentation littéraire de la criminalité. C’est ici qu’intervient le personnage du forçat. En effet, jouissant d’un statut particulier (mort/vivant/revenant), il offre aux romanciers des « conditions de possibilité » inédites jusque-là dans le monde des lettres. Jean Valjean, Monte-Cristo et Chéri-Bibi, pour ne citer que les plus connus, sont devenus des modèles dans ce qu’on peut appeler le « roman de la chiourme », (sous)-genre qui se développe en France à partir de 1830. Ainsi, Valjean donnera l’archétype du « forçat innocent », le converti miraculé et la réincarnation de Jésus-Christ. Monte-Cristo sera le Vengeur par excellence, dont le parcours donnera le modèle du genre – la vengeance étant un topos inévitable de la littérature populaire du XIXe siècle et jusqu’à nos jours. Chéri-Bibi quant à lui, au début du XXe siècle, incarne un tournant dans l’histoire du genre ; il serait au roman de la chiourme ce que Don Quichotte fut pour le roman de chevalerie : une somme et un dépassement. L’étude que nous proposons, centrée sur la « genèse et la structure » du roman du bagne, est un voyage à rebours dans l’histoire de ce genre qui ne dit pas son nom. / The character of convict is omnipresent in French literature of the nineteenth and early twentieth centuries. The representation of the world of hard labor in metropolitan and colonial prisons is at the crossroads of the broader representation of crime in the nineteenth century, according to a concomitant historical development with colonial expansion. The miscellaneous news, these little newsletters launched continually on the city, change the way of perceiving crime. Obeying a specific structure, this type of news will reshape the literary representation of crime. This is where the character of the convict comes in. Indeed, enjoying a special status (dead/alive/revenant), it offers novelists "conditions of possibility" unseen until then in the world of letters. Jean Valjean, Monte-Cristo and Chéri-Bibi, to name only the well known, have become models in what we can call the "novel of the convicts", literary (sub)-genre which develops in France from 1830 onwards. Thus, Valjean will give the archetype of the "innocent convict", the miraculous convert and the reincarnation of Jesus Christ. Monte-Cristo will be the Avenger par excellence, whose course will be the model of the genre - revenge being an inevitable topos of popular literature of the nineteenth century and until today. As for Chéri-Bibi, at the beginning of the twentieth century, embodies a turning point in the history of gender; it would be to the novel of the convict what Don Quixote was for the chivalric romance: a sum and a surpassing. The study we propose, oriented on the "genesis and structure" of the prison novel, is a reverse journey in history of this literary genre that does not say its name.

Pendant cinquante ans, de 1833 à 1883, Juliette Drouet écrivit environ vingt-deux mille lettres à Victor Hugo. Le corpus étudié, composé de 653 lettres plus une enveloppe, propose la lecture continue des lettres, transcrites et annotées. Il s’inscrit dans un projet de l’édition intégrale de cette correspondance, dont Florence Naugrette, Professeur à l’Université Paris-Sorbonne, est la directrice. Ces lettres ont un triple intérêt : biographique, historique et littéraire. Juliette Drouet décrit la nouvelle vie de famille de Victor Hugo qui a décidé de réunir ses petits-enfants, sa belle-fille ainsi que Juliette Drouet, dans le même immeuble du 21 de la rue de Clichy, à des étages différents. Ce déménagement est annoncé dès le début de l’année 1874 et occupe nombre de lettres, tout comme l’aménagement du second étage où habite Juliette Drouet et où Victor Hugo travaille et reçoit ses invités lors de ses dîners et ses soirées. De plus, ces lettres sont un témoignage de la vie quotidienne d’une maîtresse de maison à la fin du XIXe siècle, et de ses domestiques. Elles évoquent aussi la proximité avec les animaux, l’usage des médicaments et donnent des renseignements précieux sur les relations entre les malades, la santé et la médecine. Leur intérêt littéraire se révèle dans les comptes rendus de l’accueil de Quatre-vingt-treizième et des lectures du Rappel, en plus du genre hybride de journal épistolaire que ces lettres possèdent. Beaucoup plus que la maîtresse, Juliette Drouet apparaît comme l’épouse de Victor Hugo. Il légitime cette relation par les cinq lettres qu’il lui écrit chaque année et montre que Juliette Drouet est bien la pierre angulaire de son existence. / For fifty years, from 1833 to 1883, Juliette Drouet wrote about twenty-two thousand letters to Victor Hugo. The corpus studied, 653 letters more one envelope, offers the continuous reading of the letters, transcribed and annotated. It is part of a project of the complete edition of this correspondence, which Florence Naugrette, Professor at the University Paris-Sorbonne, is the Director. These letters have a triple interest : biographical, historical and literary. Juliette Drouet describes new family life of Victor Hugo who decided to meet her grandchildren, daughter-in-law and Juliette Drouet, different floors in the same building of the 21 street of Clichy. This move is announced early in the year 1874 and occupies number of letters, just as the development of the second floor where lives of Juliette Drouet and where Victor Hugo works and receives his guests at his dinner and his evenings. Moreover, these letters are a testimony of the daily life of a housewife at the end of the 19th century, and her servants. They also evoke the proximity with animals, the use of drugs and give valuable information on the relationships between patients, health and medicine. Their literary interest is revealed in the reviews of Quatrevingt-Treize and the readings of Le Rappel, in addition to the hybrid kind of epistolary diary that these letters have. Victor Hugo legitimate this relationship with the five letters that he write her every year and shows that Juliette Drouet is the cornerstone of his existence.

Among the various studies written on the voluminous artistic production relating to the clownish figure in the XIXth century, more specifically on its melancholic form in the second half of the century, very few have carried interest to the novel. The objective of this master's thesis is to study the clown as a novel character, through Gavroche (Victor Hugo, Les Miserables ), Kenwell and Cox (Jules Claretie, Le Train 17) and the brothers Zemganno (Edmond de Goncourt, Les Freres Zemganno ). We will focus on the way those hyperbolic figures spread out their marginality, their laughter and their illusions within the novel, thus providing information on this one. Our analysis of the clown's passage through the novel, which always deploys in three phases (the marginal entrance, the ascension and the fall), demonstrates the incompatibility between the realistic material from the XIXth century and this nevertheless infinitely novelistic being.

No description available.

This project explores how literary authors used religious discourses in the sociointellectual climates of late nineteenth-century Catholic cultures. It takes its premise from a tacit paradox of Western European modernization: unlike other Western European nations, nations such as France and Spain modernized without adopting Protestantism or doctrines of anti-Catholicism or anticlericalism--and, thus, without a strict break into national secular discourses. Addressing how various religious discourses were used in modernizing France and Spain (respectively, from 1848 and from 1868 to the early twentieth century), I take a cultural-historical approach to representative religiously themed novels and short fiction of the periods. I contend that non-institutionalized traditional Catholic culture (a culture's “religious imaginary” or “Catholic imaginary”) offered authors a plural and, thus, strategic source for making cultural critiques. These critiques would have resonated widely with contemporaneous readerships, and often without overt confrontations (as anticlericalism has historically done). I point to the presence of such critiques specifically in canonical authors’ religious works--works often considered to be aberrational or “too Catholic” to be valued as modern vis-à-vis the landmarks of Western literature. Taking as my key example a novel by the “father of the modern Spanish novel,” Benito Pérez Galdós’s Misericordia or Compassion (1897), I unfold progressive readings of this text based on discourses borrowing historical, thematic, and stylistic elements from the archives of a Catholic imaginary. Thereafter, I broaden my argument by considering how comparable, but distinct, discourses inform social-critical readings of Victor Hugo’s Les Misérables or The Underclass (1862), Gustave Flaubert’s “Un Coeur simple” or “A Simple Heart” (1877), and Emilia Pardo Bazán’s “Un destripador de antaño” or “The Heart Lover” (1900). Overall, the project challenges a critical status quo that has chosen to identify canonical literature in reference to a secular aesthetic program, without allowing for the possibility that cultural-religious discourses might also carry weight for cultures that were modernizing. Additionally, it re-characterizes the modernizing intellectual, seen typically as spiritually cynical or atheist, as one acknowledging the populist force of the religious imaginary freed from church limits. / text

Made available in DSpace on 2015-04-14T13:37:52Z (GMT). No. of bitstreams: 1 418243.pdf: 1534461 bytes, checksum: 963bca97503dd29aee82c441ea002b4d (MD5) Previous issue date: 2009-09-30 / Esta disserta??o apresenta um estudo descritivo e cr?tico do drama hist?rico Lucr?cia Borgia, de Victor Hugo, ? luz de teorias desenvolvidas por Anne Ubersfeld, Patrice Pavis, Constantin Stanislavski, Grotowski, Pierre Albouy, Jurij Alschitz. Escrita sob a perspectiva do ator, a disserta??o objetiva evidenciar que, a partir da leitura do texto dram?tico, com o conhecimento dos signos c?nicos, os temas presentes na obra emergem, produzindo novos sentidos. Eles constituem as potencialidades contidas no texto. A obra de Victor Hugo ? compreendida pelo escritor como um todo indivis?vel. Por isso, a pesquisa abrange a hist?ria de vida e a obra de Hugo, fatores fundamentais para se realizar o cotejo com Lucr?cia Borgia e para efetivar a tradu??o do drama hist?rico, escrito originalmente em l?ngua francesa.