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"Emilia Galotti" de Lessing : la femme et son imageGauthier, Guylaine. January 1999 (has links)
No description available.
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The tyranny of coherence /Laviolette, Carole. January 1996 (has links)
No description available.
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La correspondance sur la tragédie entre Lessing, Mendelssohn et Nicolai. Contribution à une genèse de l’esthétique allemande / The correspondence about tragedy between Lessing, Mendelssohn and Nicolai. Contribution to a historical genesis of German aestheticsRialland, Nicolas 16 November 2013 (has links)
Ce travail prend pour objet la correspondance sur la tragédie échangée par Lessing, Mendelssohn et Nicolai entre 1755 et 1757 selon une double approche. Un volume propose une traduction intégrale des lettres, accompagnées de textes qui en permettent une meilleure contextualisation. Un autre volume en établit une première interprétation, afin de la situer dans la genèse de l’esthétique philosophique en Allemagne. Il s’appuie donc sur une thèse liminaire : l’esthétique n’est pas d’abord une doctrine, mais le résultat, dans le milieu philosophique, du grand mouvement de constitution du système des arts qui traverse l’Europe au XVIIIe siècle. Il montre comment, en se rapportant chaque fois de manière différente à l’héritage baumgartenien et à la théorie de l’art française, chaque auteur se détache de la poétique classique de Gottsched qui constitue la référence intellectuelle en Allemagne à cette période. Abandonnant toute stratégie de légitimation du genre, Nicolai développe une approche critique, qui fait valoir l’autonomie du champ littéraire dans la détermination des règles d’écriture de la tragédie et en réfute toute fonction morale. Lessing, en revanche, développe une approche poétique et critique renouvelée, qui veut défendre à la fois l’autonomie du champ littéraire et l’utilité morale de la tragédie. Elle implique de redéfinir la pitié de manière inédite, puis finalement la nature de la moralité. Mendelssohn, enfin, défend contre Lessing une perspective esthétique : l’autonomie du champ et son absence d’ambition morale. Il en établit alors la légitimité grâce à la notion de plaisir esthétique, plus élevé en dignité que le plaisir sensible car intellectuel. / The topic of the thesis is the 1755-1757 correspondence between Lessing, Mendelssohn and Nicolai about tragedy. One volume does not only contains a full translation of the letters but also some other texts in order to better sketch its historical context. Another volume contains an interpretation of the corpus that aims to highlight its place in the historical genesis of philosophical aesthetics in Germany. This work relies on a preliminary basis : aesthetics is not a doctrine, but rather the result, in the philosophical field, of the constitution of the system of arts that goes through the entire Europe in the XVIIIth century. It shows how each of them leaves the classic poetics of Gottsched – the reference in Germany at that time – and how each of them does it by referring in a different way to the legacy of Baumgarten and the French art theory. Hence, Nicolai gives up any strategy of recognition regarding the tragedy and takes a critical perspective. He underlines the autonomy of the literary field concerning the rules of tragedy. He denies any moral function. Lessing takes a poetical and critical perspective in a new sense. He stresses the autonomy of the literary field as much as the moral function of tragedy. This implies to redefine pity in a way never seen before, if not the essence of morality itself. As for Mendelssohn, he fights Lessing and adopts an aesthetical perspective. The aesthetical field is autonomous and has no moral ambition. What makes it legitimate is then the aesthetical pleasure for it has more dignity than the simple sensitive pleasure as it is more intellectual.
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Narration visuelle et récit iconique : raconter une histoire en une image / Visual narration and iconic narrative : telling a story with a pictureSpeidel, Klaus 29 November 2013 (has links)
A l’occasion de l'analyse de la question des capacités de l’image immobile isolée de « raconter une histoire », l’auteur développe les bases d’une narratologie fondamentale renouvelée, revisite la sémiotique du texte et les théories de l’image et réalise un déplacement méthodologique qui remplace l’approche sémiotique de la question du récit et de la narrativité par une approche en termes d’effets et de réception. La réflexion croise plusieurs disciplines : l’histoire de l’art, la narratologie, la sémiotique, mais aussi la philosophie et l’esthétique. Si l'auteur se propose bien de reconstruire les fondements même de la théorie de la narration visuelle, il ne cherche pas cependant à remplacer les théories existantes par un nouveau paradigme construit ex nihilo. Les bases nouvelles émergent au fil d’un travail sur les théories développées à ce jour ainsi qu'un corpus divers d'images narratives. Les théories critiquées se voient intégrées plutôt que niées dans le déplacement opéré. Pour résoudre le principal problème pour le récit iconique, celui du temps, l'auteur propose une nouvelle conceptualisation de la structure temporelle de l'image fixe unique. Celle-ci prend en compte le temps représenté et la durée perceptive. La dernière partie de l'ouvrage est consacrée à une relecture du Laocoon (1766) de G. E. Lessing, ouvrage largement responsable de la conception actuelle selon laquelle le récit iconique serait impossible. L'auteur montre que le débat autour des thèses de Lessing a été faussé par une confusion entre la question des possibilités/impossibilités de l’image comme telle et celle des « fins propres » de l’image dès lors qu’elle est artistique. / Based on his analysis of the possibility of iconic narrative – « telling a story » with a single still picture – Klaus-Peter Speidel develops a new foundation for visual narratology based on cognitive theory and reception aesthetics. Speidel's work is at the intersection of various disciplines : art history, literary theory, semiotics, philosophy of art and picture theory. While the thesis aims at reconstructing the foundations of a theory of visual narrative, the author does not try to replace the existing approaches with a new theory created ex nihilo. The new foundations emerge from his analysis of existing theories as well as a diverse array of pictures which play an important role in the argument. Classical theories of narrative are absorbed rather than rejected. In order to solve the main problem for visual narrative, the problem of time, the author offers a new conceptualisation of the temporal structure of still images. His taxonomy takes into account both the chronology of the story being told and perception time. The final part of the work offers a reinterpretation of G. E. Lessing's Laocoon (1766) a work that has played a major role for modern scepticism concerning the possibility of telling a story with a picture. The author shows that the discussion around Lessing has been biased by a confusion between the possibilities of the picture as such and the aims of artistic pictures. According to Speidel, Lessing's theory has lost much of its value as a theory of art but is still valuable as a theory for certain kinds of pictures, namely pictures that aim at “transparency”.
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Martha's Unhomely Quest for the Homely : A Postcolonial Reading of the Protagonist Martha in Doris Lessing's Martha Quest / Marthas o-hemlika sökande efter det hemlika : En postkolonial tolkning av huvudpersonen Martha i Doris Lessings Martha QuestSalisbury, Annika January 2019 (has links)
The protagonist Martha in Doris Lessing’s Martha Quest is born to white British settler parents and grows up in a British colony in southern Africa in the 1930s. Although officially the coloniser rather than the colonised, Martha tries to reject this role mentally, verbally, and physically. This essay aims to show that a postcolonial reading of Martha in relation to the colonial context helps in understanding her double consciousness and, more specifically, her inability to find a real or lasting sense of home. Using Homi Bhabha’s concept of unhomeliness, the essay argues that Martha does not truly feel at home anywhere, because the “unhomely” always disturbs the “homely.” Through close reading of the text, it shows how Martha tries to find a sense of home in four areas of her life: her physical home, nature, her body, and her mind. This essay finds that despite Martha’s efforts in moving from her family home to rented accommodation, from the bush to the city, from girlhood to womanhood, and from her individual thoughts to the solidarity of others, she still does not feel at home anywhere. Whenever she starts to feel comfortable in a place or situation, unhomely moments, such as reminders of her nationality, race, or class, always disturb the homely feelings of belonging. Ultimately, Martha cannot escape her unhomeliness. / Huvudpersonen Martha i Doris Lessings Martha Quest är dotter till vita brittiska bosättare och växer upp i en brittisk koloni i södra Afrika på 1930-talet. Trots att hon formellt sett är kolonisatören snarare än den koloniserade, försöker Martha att avvisa denna roll mentalt, verbalt och fysiskt. Denna uppsats syftar till att visa att en postkolonial tolkning av Martha i förhållande till det koloniala sammanhanget bidrar till en förståelse av hennes dubbla medvetande och mer specifikt hennes oförmåga att hitta en verklig, eller bestående, känsla av hemma. Med hjälp av Homi Bhabhas koncept gällande o-hemlikhet argumenterar uppsatsen för att Martha inte känner sig riktigt hemma någonstans, eftersom det ”o-hemlika” alltid stör det ”hemlika.” Genom en noggrann läsning av texten visar den hur Martha försöker hitta känslan av ett hem inom fyra områden av sitt liv: sitt fysiska hem, naturen, sin kropp och sitt sinne. Denna uppsats konstaterar att trots Marthas ansträngningar att flytta från sitt familjehem till ett hyresrum, från land till stad, från ung flicka till kvinna och från sina individuella tankar till solidaritet med andra, känner hon sig fortfarande inte hemma någonstans. När hon börjar känna sig bekväm på ett ställe eller i ett läge, stör o-hemlika ögonblick i form av påminnelser om hennes nationalitet, ras eller klass alltid hennes hemlika känslor av tillhörighet. I slutändan kan Martha inte undgå sin o-hemlikhet.
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Das Motiv der Verführung : Verführer und "Verführte" als dramatische Entwürfe moralischer Wertordnung in Trauerspielen von Gryphius, Lohenstein und Lessing / von Werner Nolle.Nolle, Rolf Werner. January 1976 (has links)
Inaug. _ Diss.: Philosophische Fakultät: Mannheim: 1976. _ Bibliogr. p. 378-405.
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Toleranz und historische Gleichgültigkeit: zur Geschichtsauffassung der AufklärungSchneider, Ulrich Johannes 17 February 2015 (has links)
Die Schwierigkeit eines geistesgeschichtlichen Verständnisses der aufklärerischen Geschichtsauffassung besteht in der grundsätzlichen Schwierigkeit, die Kritik des aufklärerischen Denkens als Argumentationszusammenhang zu verstehen und nicht als Meinung zu banalisieren. Es fällt schwer, nicht einzelne Aussagen zu einzelnen Gebieten abzutrennen, nicht retrospektiv den ursprünglichen Zusammenhang zu disziplinieren. Auch wenn sie insgesamt als Äußerungen eines Werkes, eines Autors genommen werden, sind die ins bloße Gesagtsein zersplitterten Gedanken mißverstanden. Das zeigt sich hier gerade auch an den traditionellen Verteidigern des historischen Denkens im 18. Jahrhundert: Zuletzt wird als individuelle Einsicht gelobt (Cassirer) oder als geistige Tiefe bewundert (Dilthey), was tatsächlich Protest gegen illegitime Herrschaft, Klage auf gleiches Recht und Wille zur Vorurteilslosigkeit war. Ein Denken, das sein Bewußtsein behauptend und zugleich frei überlegend artikuliert (wie Lessing gymnastikos und dogmatikos zu sprechen beanspruchte), kann
weder vordergründig als geniale Meinung noch hinterrücks als Äußerung
des Zeitgeistes gewertet werden.
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White skin under an African Sun : (white) women and (white) guilt in J.M. Coetzee's Disgrace, Barbara Kingsolver's The Poisonwood Bible and Doris Lessing's The Grass is SingingHorrell, Georgina Ann 06 1900 (has links)
In the aftermath of the Truth and Reconciliation Commission in South Africa
J.M.Coetzee writes of the "system" of guilt and shame, debt and retribution which
operates throughout society. He and writers like Doris Lessing and Barbara
Kingsolver tell stories which traverse and explore the paths tracked by society's quest
for healing and restitution. (White) women too, Coetzee's protagonist (in Disgrace)
muses, must have a place, a "niche" in this system. What is this "niche" and what role
do the women in these texts play in the reparation of colonial wrong? How is their
position dictated by discourses which acknowledge the agency of the (female) body in
epistemologies of guilt and power?
This mini-dissertation attempts to trace the figure of the white woman in three late
201h-/early 21 51-century postcolonial literary texts, in order to read the phrases of
meaning that have been inscribed on her body. The novels read are J.M.Coetzee's
Disgrace, Barbara Kingsolver's The Poisonwood Bible and Doris Lessing's The
Grass is Singing. / English Studies / M. Eng. (Gender, Identity and Embodiment)
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Čest a počestnost in signo temporis. Na příkladu ženských protagonistek textů G. E. Lessinga, F. Hebbela a A. Schnitzlera. / Honour and virtue in signo temporis. On examples of female figures in G. E. Lessings's, F. Hebbel's and A. Schnitzler's works.Poláčková, Zuzana January 2011 (has links)
The subject of this thesis was virtue and honour in signo temporis. It means that I've tried to focus on the concept of virtue and honour in a certain time period. I have chosen three different literary periods and three works as their representatives. It was the bourgeois tragedy "Emilia Galotti" by Gotthold Ephraim Lessing, as the representative of the Enlightenment. For the first half of the 19th century I've chosen also a bourgeois tragedy "Maria Magdalena" by Friedrich Hebbel. And as the third example I analysed the novella "Fräulein Else" by Arthur Schnitzler. All of the three heroines are daugthers, who are strongly influenced by this fact. All of them find a tragic end. Two of them commit suicide and one persuades her own father to kill her. The fathers are also an important part of the plot, because their largely contribute to death of their daughters. Emilia in "Emilia Galotti" is stabbed by her own father, after she persuades him to kill her, because she is afraid of losing her virtue, which is at that times related with religion and identified with chastity. In the first half of the 19th century the religious aspect was still a part of the concept of virtue and honour. But the honour was now perceived more in the way of reputation. Klara in "Maria Magdalena", who lost her virtue by...
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Der Deus ex machina in der deutschen Literatur Untersuchungen an Dramen von Gryphius, Lessing und Goethe.Lefèvre, Manfred. January 1968 (has links)
Inaug.-Diss.--Freie Universität Berlin. / Bibliography: p. 3-12.
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