Vers l’an Mille, nous lisons les premières occurrences dans lesquelles le mot Werwolf cesse d’être un anthroponyme pour désigner un homme-loup. Peu de temps après « apparaît » le mot garou. Le Moyen Âge est donc une époque charnière pour l’histoire de ce monstre. S’il n’est, bien entendu, pas question d’affirmer que le loup-garou n’existait pas avant ces premières mentions, nous nous sommes posés la question de savoir si la généralisation d’une dénomination de la créature a contribué à fixer des constantes, au-delà de la diversité des manifestations particulières du monstre. La fixation d’un nom par l’écrit, qui existait sûrement déjà dans la tradition orale, a-t-elle mené à l’élaboration d’une dimension mythique du loup-garou ? En combinant le comparatisme, les études littéraires et les cultural studies, nous avons cherché, d’un côté, à déterminer les spécificités du corpus médiéval du loup-garou, dont les garous féminins semblent, a priori, absents. De l’autre, en adoptant une perspective diachronique, nous avons tenté de dégager une unité derrière la multiplicité que nous avons recensée des cas de loup-garou, de ce montre dévorant dont l’incarnation est problématique etinstable. / Around the year 1000 AD, the word Werwolf ceased to be used as an antroponym to describe a man-wolf. Shortly afterwards, the French word garou appeared. The Middle Ages, then, constituted a turning point in the history of this monster. While werewolves had obviously existed prior to these early references, they have prompted me to enquire as to whether the generalisation of textual naming had participated in the development of a common definition of the monster which transcended the diversity of its representations. Did the recording in pen and ink of a name which had surely existed previously in the oral tradition contribute to the elaboration of the werewolf myth ? Relying on comparatism, literature and cultural studies, this thesis first seeks to explore the specificities of mediaeval werewolf literature, in which the figure of the werewolf seems to be exclusively gendered as male. Second, while recognising the incarnations of the blood-thirsty monster as problematic and unstable, this work adopts a diachronic perspective in order to reveal the commonality which underlies the multiplicity of werewolf figures.

Thèse (M.A.)--Université Laval, 2003. / Bibliogr.: f. [165]-170. Publié aussi en version électronique.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

L’Autorité dissimulée – l’autorité manifeste. L’écriture de la violence chez Yasmina Khadra. (Dissimulated authority – manifest authority. Yasmina Khadra’s representation of violence.)  This study examines the representation of violence in two novels by Algerian author Yasmina Khadra (1955 - ): Les Agneaux du Seigneur (1998) and À quoi rêvent les loups (1999). The narrative techniques employed in these texts and, more directly, the assertions made by the author in interviews and autobiographical works give the impression of a writer aiming to impose on the reader a specific view of the Algerian civil war (1992-1998) while at the same time asserting that the novels are objective representations of the same historical period.   This authoritative position, it is argued, is surprising in the light of two discourses. According to the first, events of extreme violence are fundamentally inexpressible and therefore any work of art dealing with such events must find a way to express this inexpressibility. Secondly, many historians, journalists and writers argue that the civil war in Algeria was particularly ungraspable, and eludes being rendered affirmatively in any work, fictional or not.   The study aims to explain how Yasmina Khadra construes his authority in the fictional texts and via his performance in the media. The concepts of a dissimulated authority and a manifest authority are conceived in order to elucidate the ambiguous discourse created by Khadra in which we find both a need to convince the reader of the legitimacy of his rendering of the violent events and a tendency to explicitly take control of and guide our interpretation of the novels.   The final chapter of the dissertation argues that Khadra’s prolific use of animal vocabulary at once dissimulates and makes manifest the idea of an author wanting to impose certain ideas and ‘truths’ on the reader. In the conclusion it is suggested that the violence of the novels extends beyond the subject matter into Khadra's very approach to writing: that the two novels do not so much reflect the idea of the violence as a creator of chaos, but rather, in browbeating the reader into a passive role, end up imitating the very forcefulness and single-mindedness of violence itself.   The methodological approach of the study consists of a close reading as well as a thorough contextualization of the novels. The classical narratological concepts established by Gérard Genette are used to examine the dominant narrative modes of the stories. In explaining the ways in which Khadra proceeds to persuade the reader of the truth-value of the texts the theory on realistic discourse developed by Philippe Hamon constitutes an important reference.

My grandfather 's name is Adolf Šprincl . Over 12 years he was a professional coach hockey teams in France (with various interruptions from 1971 to 1994 ) , where he trained teams in Tours, Villard de Lans and Grenoble. The last named team is most associated with him. Les Loups de Brleurs - Wolves in the burner. My father's name is Milan Šprincl . From the age of 5 years he`s playing hockey. From the age of 18 years it played at a professional level in the Czech first league . The most important places in his life are hockey stadiums in Jihlava and Hodonin. Both stadiums stands on the site of a old cemetery in neighborhood there is a Baroque cemeterychapel. I tried to play hockey, but I failed. I continue in the family tradition of hockey and also the grandfather's work in Grenoble. Documentary film with elements of experimental manipulations and fiction passages will map to the development of French hockey and also the mystique associated with hockey . Attempts to reveal a seemingly random connections between hockey and sacred land for the rest of the dead. At the same time this film plans to close a series of films with the theme of my personal family history, to which I perceive in abstract forms. The film is shot on VHS camcoder. I shoot hockey stadiums (especially in Hodonin and Jihlava ) in which interests me as architectural monumentality of these sports , but also the context in which they are found (hockey arena on former cemeteries , etc. ) . The next part takes place in France , near Grenoble, where he focuses on the current state of French hockey (interviews with prominent personalities of French hockey - Jean Leblond / Vice President of the French hockey , Dany Grandor / former player Grenobelu - officer team, Stéphane Bailles / first hockey scout in France, Jean - Luc Dalaison / journalist Le Dauphiné and others) and link to my grandfather , who is one of the most important figures in the history of the hockey team Bruleurs Les Loups de Grenoble . Another important part is i work with historical documents ( articles in French and Czech press about his grandfather , his personal correspondence , notebooks with notes for training and game strategy , and also relics of his time in France) and a part takes place on the ice rink , where you will be using the other game lines and projections manipulated match in hockey (tells the legend of the mountain Vercors of wolves who ate people ) . Part of the film is the creation of costumes (especially hockey jerseys ) and props.

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A Old Crow, petite communauté de Vuntut Gwich’in située aux confins du Yukon, s’étend un vaste territoire à la population multiple et variée. Parmi eux se trouve un impitoyable stratège : le loup. Il est aussi difficile de suivre ses traces que celles qu’il laisse chez les humains qui le côtoient. Le loup se révèle alors de multiples manières, à condition que le chercheur s’éloigne de ses idées préconçues et qu’il adopte une certaine flexibilité. Flexibilité d’autant plus nécessaire que le principal intéressé, ici les loups, ne se montre pas. Nous nous retrouvons alors non seulement à faire l’ethnographie d’individus à l’altérité radicale, mais invisible qui plus est. En face, se trouve pourtant un autre, à l’altérité insoupçonnée : le chien. Réputé comme étant le fidèle ami de l’homme depuis des siècles, ce sont pourtant des chiens bien différents qui errent dans les allées d’Old Crow. Indépendants et opportunistes, ces chiens n’ont pas grandchose à voir avec ces animaux de compagnies qui occupent les foyers à travers l’Occident. Des chiens autrement chiens. Des loups autrement loups. Un terrain à la croisée des chemins, de l’humain à l’animal, du tangible à l’intangible. Ces animaux n’usent pas de mots, et pourtant cette expérience ethnographique nous plonge dans un univers sensible, riche de sens et d’informations, nous invitant ainsi à reconsidérer la place de ces animaux dans nos ethnographies.