Le théâtre de Yasmina Reza s’inscrit dans le cadre du théâtre contemporain. La présente étude aborde la problématique de la quête identitaire. Dans cet espace conflictuel, les personnages rezaldiens – écrivains en manque d’inspiration, critiques ou historiens – sont en perte d’identité. Ces protagonistes souffrent de l’angoisse de la mort, de la disparition d’un proche ou de leur vieillissement, vécu comme un naufrage. Ils ne peuvent que subir les circonstances qui leur sont imposées et vivent une vie vouée à la répétition des scénarios du passé. Dans ce théâtre sans action, le drame intérieur transparaît à travers l’absurdité d’une vie remplie d’actes dérisoires et de paroles insignifiantes ou d’un retour vers le passé familial. Seul le langage est le lieu de l’action constituant la clé qui va résoudre le nœud dramatique. Dans cette quête d’unification identitaire, chacun essaie douloureusement, par le récit, d’accepter son passé et ce qu’il est devenu, loin de ce qu’il aurait rêvé d’être. Cette fragilité identitaire se montre un moteur de la création. L’écriture théâtrale de Reza, pleine de contradictions, conduit vers la pacification. C’est dans une écriture du quotidien que l’auteur invente son style et son identité. Une telle quête théâtrale montre la volonté de Reza d’emmener ses personnages vers une quête de sécurité, d’identité et du sens de leur vie. / Yasmina Reza’s theatre is a part of the contemporary theatre. This study approaches the identity’s quest. In this theatre of conflict, the rezaldians ─ writers lacking in inspiration, critics or historians ─ are in loss of identity. These protagonists suffer from fear of death, of living in the memory of close relative or of the fact of getting older, experienced as a shipwrecked. They can only suffer of the imposed circumstances upon them and live a life doomed of a repeat scenarios of the past. In this kind of theatre without action, the inner drama transpires through the absurdity of a life filled with ridiculous acts and insignificant words or remembering family’s history. In this kind of plays, the language is the only action as the key which solves the dramatic plot. In this quest for unification of identity, each one tries painfully, through the story, to accept his past and the fact how he becomes now, far away from what he can imagine himself. This fragility of the identity is thus tending to end up as an engine creation. Reza’s writing, full of contradictions, is a looking for pacification. The author of this play invents her own style and identity by describing the quotidian life of her character. Such quest theatrical shows how Reza wants to make her character doing his quest of security, of his own identity and looking for a meaning in his life.

Title: Monologue in contemporary drama of the French-speaking Switzerland Author: Alžběta Tichá Department: Institute of Romance studies Supervisor: doc. PhDr. Eva Voldřichová Beránková, Ph.D. Keywords: Drama, Switzerland, monologue, French, literatures of French speaking countries Abstract: The main aim of the present thesis is to present monological works of authors from the French part of Switzerland. Due to the fact that French Switzerland shares a large part of its literary development with neighbouring France, this thesis is divided into two parts. The first one is concerned with monologue in French theatre in general. There are three chapters that present issues related to the definition of theatrical monologue, the development of monologue as an individual form, main questions that arise in connection with contemporary monological plays, as well as several French dramatists that have had a significant influence on this specific genre. The second part is focused on works of three authors coming from French Switzerland. Each of them has written and published at least three monological plays. Namely, these are Robert Pinget, Jacques Probst and David France Jakubec. They all represent completely different creative approaches therefore each of them is presented in a separate chapter. The main objective...

The problem that Groenewald (1995: 4) mentions in connection with the Sepedi drama is that, it is not performable and that it is actually not a drama in the true sense of the word. In the African languages there is actually no theatre tradition and the written dramas are, with the exception of a few, plays that should be read. The few exceptions are small works that were written for schoolchildren and that were performed once or twice by them. Groenewald emphasises the fact that school and university syllabi demand that there be dramas in the these languages, but that they are never performed. This dissertation wants to scrutinise the main shortcomings related to performance so that the findings can serve as an incentive to prospective playwrights to improve on what already exists. In order to limit the magnitude of such an investigation, a specific drama, namely Nkadimeng's Ntšhutelele (1985) is concentrated on. This work is choosen because almost all shortcomings with regard to performance appear in it. Two authors have already discussed this drama and have pointed out a few problems. The first investigator is Mohlala who comments mainly on the dialogue and monologue. The second person is Mokwebu, and in his report he obliquely touches on the aspects of time and place in the course of events. Although they do bring up certain problems related to performability, their discussions deal mainly with the drama as a literary work. This dissertation, however, does not only want to discuss the problem related to the performability of the Sepedi drama, but also wants to explain why each specific problem hampers the performability of the work. In this discussion, the drama is discussed as a work that has two modes of existence, i.e. that it is a literary work as well as a stage play. As a drama it thus exists thanks to (a) the author and (b) a producer who is responsible only for the performance. The latter, amongst other things, must make sure that the performance does not take too long and that the stage that he uses has enough space to accommodate the reality that is being presented. The problems related to performance that will be discussed are classified under the following: time and place of the events that are presented, the dialogue and the monologue, and the role played by the author's directions. Structural errors that have implications for the performance are also pointed out in the work. The concepts that are used in the analysis of Ntšhutelele are defined comprehensively in advance. It stands to reason that literary concepts that are relevantto the discussion like content, structure and the author's vision are amongst these concepts. However, the concept of performance is explained in the greatest detail so that the requirements in such a case can be sketched clearly and that they can be used as evaluation criteria in the discussion of the drama Ntšhutelele. In the following analysis, the shortcomings with regard to performance as listed above are discussed comprehensively and critically. In a few cases, one or more merits are indicated in addition to the pointing out of the shortcomings. The concept of time is examined in the widest sense of the word, as is the duration of the performance as such. / Dissertation (MA (African Languages))--University of Pretoria, 2007. / African Languages / MA / unrestricted

À première vue, le monologue intérieur et le roman d’aventures semblent antinomiques. Si le monologue intérieur explore l’intériorité d’un personnage, le roman d’aventures se présente plutôt comme le théâtre d’événements extérieurs procédant d’une confrontation, au moins implicite, avec la mort (Vladimir Jankélévitch). L’écriture d’un monologue intérieur donnant voix au personnage de Mrs. Aouda, héroïne silencieuse du roman Le tour du monde en 80 jours de Jules Verne, constituait une forme de pari : l’ajout d’un monologue intérieur à un roman d’aventures préexistant peut-il apporter un éclairage sur cette «entrée dans le domaine de la mort» (Simone Vierne) qui caractérise le parcours du personnage aventurier? Les objectifs de la recherche sont donc d’identifier les liens qui peuvent être tissés entre le monologue intérieur et l’aventure. Nous constaterons que la notion de roman initiatique permet de mettre en lumière le rôle essentiel de la mort dans le roman d’aventures, et ce même dans le cadre d’un récit fondé sur l’intériorité d’un personnage donné. La présente étude suggère que l’hybridation du roman d’aventures permettrait de révéler le processus de transformation du personnage en voie d’initiation, questionnant ainsi la pertinence des frontières implicites entre les notions d’aventure et d’«aventure intérieure».

The "dramatic monologue" is curiously named, given that poems of this genre often feature characters not only listening to the speakers but responding to them. While "silent auditors," as such inscribed characters are imperfectly called, are not a universal feature of the genre, their appearance is crucial when it occurs, as it turns monologue into dialogue. The scholarly attention given to such figures has focused almost exclusively upon dramatic monologues by Robert Browning, Alfred Tennyson, and other male poets and has consequently never illustrated how gender influences the attitudes toward and outcomes of communication as they play out in dramatic monologues. My dissertation thus explores how Victorian and modernist female poets of the dramatic monologue like Elizabeth Barrett Browning, Augusta Webster, Amy Levy, and Charlotte Mew stage the relationships between the female speakers they animate and the silent auditors who listen to their desperate utterances. Given the historical tensions that surrounded any woman's speech, let alone marginalized women, the poets perform a remarkably empathetic act in embodying primarily female characters on the fringes of their social worlds--a runaway slave, a prostitute, and a modern-day Mary Magdalene, to name a few--but the dramatic monologues themselves end, overwhelmingly, in failures of communication that question the ability of dialogue to generate empathetic connections between individuals with radically different backgrounds. Silent auditors often bear the scholarly blame for such breakdowns, but I argue that the speakers reject their auditors at pivotal moments, ultimately participating in their own marginalization. The distrust these poems exhibit toward the efficacy of speaking to others, however, need not extend to the reader. Rather, the genre of the dramatic monologue offers the poets a way to sidestep dialogue altogether: by inducing the reader to inhabit the female speaker's first-person voice--the "mobile I," in Èmile Benveniste's terms--these dramatic monologues convey experience through role-play rather than speech, as speaker and reader momentarily collapse into one body and one voice. Such a move foregrounds sympathetic identification as a more powerful means of conveying experience than empathetic identification and the distance between bodies and voices it necessitates.

This literary work has been chosen to focus on a novel called Fräulein Else and is written by Arthur Schnitzler. The author has chosen to focus the work on comparing the work with theera of the time the book was written and analyze the plot and character Else from apsychoanalytic perspective. The title of the paper is therefore ”Fräulein Else-Textanalyse aus epochentypischer Perspektive und Analyse der Hauptfigur auspsychologischer Sicht”. By collecting and reading student literature that touches on factsabout literature of the era: the millennium literature and literature on psychoanalysis, theauthor has been able to begin the analysis of the book, Fräulein Else and then be able toanswer her questions. The sources for the work come mainly from student literature but alsofrom copywriters who intend to spread knowledge. This study results in a deep characteristicanalysis of the main character as well as a comparison of the book and epoch-makingfeatures.

Ce mémoire étudie l’influence du monologue intérieur sur l’immersion d’un spectateur lorsqu’il audiovisionne une œuvre filmique narrative. Plus particulièrement, il s’intéresse à décrire les différents mécanismes perceptifs impliqués lors du traitement de l’information sensorielle et de quelles façons ces derniers influencent la production et la perception d’un discours intérieur chez le spectateur. S’inscrivant dans une perspective cognitiviste fonctionnaliste, ce mémoire explore différentes hypothèses et concepts rattachés aux processus attentionnels, mémoriels et langagiers chez l’être humain, eux-mêmes fortement impliqués lors du décodage d’une œuvre fictive et narrative. La recherche proposée permet de revisiter la théorie générale du PECMA flow développée par Torben Grodal (1997), qui conçoit l’expérience cinématographique en tant que flux de traitement sensoriel. L’approche transhistorique et intersectorielle préconisée dans le cadre de ce mémoire permet d’aborder certaines conceptions matérialistes liées aux fonctionnements physiologique et neurologique du cerveau humain, en les combinant à différentes théories issues des sciences humaines et des sciences sociales rattachées au soi dialogique, au soi narratif, de même qu’aux processus de traitement ascendant et descendant. Enfin, l’analyse d’un extrait tiré de The Tree of Life (2011), du réalisateur Terrence Malick, démontre comment l’expérience d’audiovisionnement d’un film peut concourir à mettre en place un recul nécessaire avec le récit, qui s’avère primordial dans l’actualisation et la perception d’un monologue intérieur « immertiel » chez le sujet. À l’aide des notions développées au cours des différents chapitres et s’appuyant sur le modèle du PECMA flow, le mémoire illustre comment une œuvre filmique peut concourir à faire émerger, en parallèle de l’audiovisionnement, une conversation intérieure toute particulière dans l’esprit du spectateur, qui participe directement à son immersivité filmique. Une attention particulière sera accordée à l’usage de la voix-over au cinéma, afin de démontrer comment son traitement dans l’œuvre à l’étude en fait un élément du langage cinématographique qui favorise l’élaboration d’un trialogue entre le sujet pensant confronté à son propre monologue intérieur et sa position de spectateur récepteur du ou des discours transmis par le film. / This master’s thesis studies the influence of the inner monologue on the immersion of a spectator when he/she audioviews a narrative film work. More specifically, it is interested in describing the different perceptual mechanisms involved in the processing of sensory information and the ways in which these influence the production and perception of an inner speech in the viewer. From a functionalist cognitive perspective, this dissertation explores different hypotheses and concepts related to attentional, memory and language processes in humans, which are themselves strongly involved in the decoding of a fictional and narrative work. The proposed research allows us to revisit the general theory of PECMA flow developed by Torben Grodal (1997), which conceives the cinematic experience as a sensory processing flow. The transhistorical and intersectorial approach adopted in this dissertation allows us to address certain materialist conceptions related to the physiological and neurological functioning of the human brain, by combining them with different theories from the humanities and social sciences related to the dialogical self, the narrative self, as well as bottom-up and top-down processing. Finally, the analysis of an excerpt from The Tree of Life (2011), by director Terrence Malick, demonstrates how the experience of audio-viewing a film can contribute to the establishment of a necessary distance from the narrative, which proves to be essential in the actualization and perception of an “immertial” inner monologue in the subject. Using the notions developed in the different chapters and based on the PECMA flow model, the master’s thesis illustrates how a filmic work can contribute to the emergence, in parallel to the audiovisioning, of a very particular inner conversation in the spectator's mind, which directly participates in his filmic immersiveness. A particular attention will be paid to the use of the voice-over in cinema, to demonstrate how its treatment in the work under study makes it an element of the cinematographic language that favors the elaboration of a trialogue between the thinking subject confronted with its own inner monologue and its position of receiver of the discourse(s) transmitted by the film.

Made available in DSpace on 2016-08-10T11:07:16Z (GMT). No. of bitstreams: 1 ANA PAULA RIBEIRO DE CARVALHO.pdf: 862129 bytes, checksum: 9893bcd7e62e6c3151909aae8a5d437f (MD5) Previous issue date: 2016-03-01 / This work aims to study the contemporary work, The hedgehog elegance , by Muriel Barbery, of renewing composition model, whose overall objective is to verify the compositional model of a specific mode of reception in this work, being that the reader is the subject to the reading process through a deductive and bibliographic study. The predominant theory to establish these modes of reception and your senses from the reader was the theory of reception, by Wolfgang Iser (1996). In Chapter 1, it was presented a brief history of the origin of the novel. Then, complementary theories were used, as the one of Norman Friedman (1967) and Ligia Leite (2002) that analyzed the narrative focus in the novel. In Chapter 2, it was commented on: contemporary critical currents; the narrative point of view, from Jean Pouillon (1974); the subject-reader and immersion of the senses, by Rita Costa (2003) and Mikhail Bakhtin (1992); the techniques of stream of consciousness, especially of the inner monologue, by Robert Humphrey (1954), and the adoption of the diary, by Philippe Lejeune (2008). In Chapter 3, there was a study of the symbols in the work, as it moves something common to the symbolic. The authors Jean Chevalier e Alain Geerbrant Chevalier (2009) served as a support for this chapter, besides Carl Jung (1954). The hedgehog elegance , so, is a renowned work of high value that reflects the new novel composition for the world literature. / Este trabalho visa ao estudo da obra contemporânea, A elegância do ouriço, de Muriel Barbery, de modelo de composição renovador, cujo objetivo geral é verificar o modelo compositivo ensejador de um modo específico de recepção nesta obra, tendo o leitor como sujeito do processo de leitura, por meio de um estudo dedutivo e bibliográfico. A teoria predominante para se estabelecer esses modos de recepção e seus sentidos a partir do leitor foi a teoria da recepção, de Wolfgang Iser (1996). No capítulo 1, apresentou-se um breve histórico sobre a origem do romance. Em seguida, fez-se uso de teorias complementares, como a de Norman Friedman (1967) e Ligia Leite (2002), que analisaram o foco narrativo no romance. No capítulo 2, comentou-se sobre: as correntes críticas contemporâneas; o ponto de vista narrativo, a partir de Jean Pouillon (1974); o sujeito-leitor e a imersão de sentidos, por Rita Costa (2003) e Mikhail Bakhtin (1992); as técnicas do fluxo da consciência, em especial do monólogo interior, por Robert Humphrey (1954), e a adoção do diário, por Philippe Lejeune (2008). No capítulo 3, fez-se um estudo sobre os símbolos na obra, em que se transita algo comum para o simbólico. Os autores Jean Chevalier e Alain Geerbrant (2009) serviram como suporte para a desenvoltura desse capítulo, além de Carl Jung (1954). A elegância do ouriço, assim, é uma obra renomada de alto valor que traduz a nova composição romanesca para a literatura universal.

No description available.

Édouard Dujardin (1861-1949), fondateur de la Revue wagnérienne et de la Revue Indépendante de littérature et d’art, n’a pas été seulement un théoricien du symbolisme, il en a été le praticien. Son œuvre littéraire entre 1885 et 1893 explore aussi bien le vers que la prose, en retrace les questionnements. Résolument engagée dans l’avant-Garde, elle ne s’attaque pas seulement à l’édifice du réalisme, elle remet en cause le modèle de la mimèsis dans une recherche formelle intense. Ainsi l’œuvre de Dujardin se fait-Elle, de manière exemplaire, témoin de cette crise du vers que traversait l’univers des lettres. Genres, formes et confrontation entre les arts délimitent ce parcours en trois parties, qui ne suit pas un plan linéaire ou chronologique, mais un questionnement spécifique déterminé par chaque ouvrage. Pour cette raison, nous avons commencé par son théâtre, qui soulevait la question de l’identité du personnage. Le prénom Antonia nous a ainsi servi de fil conducteur pour aborder la relation vers et prose, telle qu’elle se manifeste soit dans le poème en prose soit dans le vers libre. Dans une seconde partie, nous avons interrogé les formes, la prose poétique de ses nouvelles et de son roman, qui répondent partiellement aux critères définissant le poème en prose. Enfin, dans le cadre de la confrontation entre les arts, nous nous sommes intéressés au phénomène textuel Les Lauriers sont coupés, considéré par la critique comme un procédé de « monologue intérieur », puis au rapport entre poésie et musique par l’étude de l’ouvrage Litanies mélopées pour chant et piano, qui met en vis-À-Vis poème et musique. / Edouard Dujardin (1861-1949), the founder of Revue wagnérienne (the Wagnerian Journal) and Revue Indépendante de littérature et d’art (the independent journal of literature and art) has not only been a theoretician on symbolism but also a practitioner. His literary work between 1885 and 1893 explores verse as well as prose and traces back its questionings. Being resolutely engaged in the avant-Garde, it does not only tackle the structure of realism but also questions the model of mimesis in a sort of formal and intense research. It thus happens that Dujardin’s literary work testifies, in an exemplary way for that matter, to the crisis in verse that the literary universe was undergoing. Genres, forms and confrontations of different forms of arts define this course in three parts which does not follow a linear plan nor a chronological one but rather a specific questioning determined by each literary work. This is the reason why we started by studying his drama which raised the question of the character’s identity. The name of Antonia was thus used as a thread to tackle the relationship between prose and verse, as shown in the poem in prose or in free verse.In a second part, we questioned the forms-The poetic prose of his short stories and of his novel- which partly fulfil the criteria of the poem in verse. Lastly, in the context of the confrontation between the different types of arts, we focused on the text viewed as a phenomenon- Les Lauriers sont coupes- considered by critics as a form of “stream of consciousness” then on the connection between poetry and music through the study of the work Litanies, “mélopées” for piano and song, which confronts poem and music.