The diploma thesis is focused on the grammar teaching in the context of a literary work. The aim of the thesis is to introduce possible positives coming out of the combination of the two relatively remote parts of the foreign-language teaching that are grammar as a language component and the development of a reading skill thanks to the presence of the literary text. The theoretical part firstly deals with the phenomena of presence of a literary text in an educational process. Second part focuses on grammar and especially the way of teaching it with the help of a literary text. The last part states the reasons of the choice of a particular novel - Les Misérables. The practical part of the work deals with worksheets where we want to demonstrate how to work with the text in favour of both - grammar and reading skill - in the same time. Key words: grammar, reading, literary text, V. Hugo, Les Misérables, language components, language skills

From the 1820s, forçats were widely portrayed in French culture across a variety of fictional and non-fictional genres. This thesis analyses this ‘convict tradition’, and relates it to the emergence of industrial literature in France, with its resolutely reader-centred approach. It argues that convicts acquired a central cultural importance in the nineteenth century because they embodied a form of transgressive individualism which fascinated bourgeois readers. Convicts functioned as screens onto which readers could project their own forbidden desires. The study analyses canonical novels by Sand, Balzac, Hugo and Zola alongside a large corpus of non-fiction, including biographies, penological or philanthropic texts, physiologies and travel literature. The circulation of stereotypes and stylistic tropes between these different genres shows the constant interaction between mainstream and elite writing, and the influence of literary representations on the perception of criminals, which shaped political decisions and penal policy. The first chapter of the study suggests that convicts gave a face to nineteenth-century concerns about the proliferation of the criminal classes, thereby allowing readers to explore these fears. At the same time, descriptions of crime were a source of scopophilic pleasure, allowing readers to indulge repressed transgressive desires, while partaking in a potentially subversive celebration of carnivalesque disorder. Chapter 2 shows how these dynamics inform Balzac’s writing in his ‘Vautrin cycle’, drawing readers into a game of open secrets and deferred recognition, which mirrors contemporary concerns about urban illegibility and illegitimate social promotion. Chapter 3 explores a competing tradition which portrayed convicts as sublime, betraying the ambiguity of nineteenth-century attitudes to imprisonment, which could be a sign of infamy or of martyrdom. Sublime convicts reassured readers about the human ability to overcome trials, and to attain salvation through spiritual means (ataraxia) or physical resistance (escape). These differing traditions show that narratives tended to be centred upon their readers’ concerns, which may explain why criminals themselves were discouraged from writing. Chapter 4 presents the obstacles to convict self-expression as well as various attempts by inmates to ‘write back’, culminating with Genet’s and Charrière’s subversive reappropriation of literary discourse. Chapter 5 examines the ways in which the interplay between political events, commercial imperatives, literary evolutions (the rise of the detective novel) and new cultural practices like the cinema changed twentieth-century representations of convicts. This thesis analyses a large corpus of understudied material and fills a gap in existing scholarship, but more importantly it uses convicts to explore nineteenth-century reading practices, and to probe cultural fault lines in post-revolutionary French society. Convicts exemplify the ambiguity of nineteenth-century attitudes to social marginality, and highlight the conflicted nature of bourgeois identity. Their portrayal also draws attention to the important structural changes undergone by the literary field from the 1830s onwards, which paved the way for the advent of mass culture in the twentieth century.

De la fin du XIXe siècle aux premières décennies du XXe siècle, la Corée connaît un engouement sans précédent pour la découverte de l’Occident. L’acte de traduire en Corée fut un véritable acte d’accueil dans un pays à l’histoire complexe, en recherche d’identité culturelle voire nationale. Si l’on devait dessiner une frise imaginaire de l’histoire littéraire coréenne, nous serions interpellés par une sorte d’ellipse temporelle entre le passage de la littérature ancienne à la littérature moderne et contemporaine. En effet, sans l’introduction d’œuvres étrangères notamment françaises en Corée, et donc sans la traduction-création, la littérature moderne aurait probablement émergé difficilement. C’est donc grâce au transfert culturel d’une littérature européenne dite classique que la littérature moderne s’est façonnée dans le paysage littéraire coréen, résultat fulgurant d’un besoin d’évolution impulsé par un désir fort de rattraper et réveiller les esprits d’un peuple longtemps bridé par une conjoncture géopolitique particulière. La littérature en traduction de cette période est le point culminant d’une pensée littéraire, d’une notion sur la littérature elle-même qui, du système d’écriture jusqu’au transfert terminologique, n’a cessé de questionner ce qu’est la littérature. Cette étude propose de retracer ces enjeux à la fois comparatifs, historiques et littéraires par le biais des œuvres romanesques françaises du XIXe siècle en traduction publiées dans les revues et dans un journal et d’examiner, des versions des Misérables à celles du Comte de Monte-Cristo, un ensemble de romans français en traduction qui tous participent à l’acte de lire, traduire, écrire. / From the late nineteenth century to the first decades of the twentieth century Korea experienced an unprecedented craze for the discovery of Western culture. The act of translating in Korea was a real act of welcome in a country with a complex history and in search of a cultural or even a national identity. If we were to draw an imaginary frieze of Korean literary history, we would be challenged by a sort of temporal ellipse between the passage from ancient literature to modern and contemporary literature. Because, in fact, without the introduction of foreign works, especially French ones into Korea, and therefore without the process of translation-creation, modern Korean literature would most likely only have emerged with considerable difficulty. It is therefore thanks to the cultural transfer of classical European literature that modern literature has shaped itself in the Korean literary landscape, a result of a need for evolution driven by a strong desire to catch up and awaken the spirits of a people long constrained by a particular geopolitical situation. The translation literature of this period is the culmination of a literary idea, a notion about literature itself, which, from the writing system to terminological transfer, has constantly questioned what literature is. This study proposes to trace these issues - at once comparative, historical and literary - through translations of French fictional works of the nineteenth century published in magazines and in newspapers and to compare versions of “Les Misérables”, and those of “Le Comte de Monte-Cristo”, French novels in translation that all entail the act of reading, translating, writing.

La reprise par Victor Hugo en 1861, sous le titre "Les Misérables", du projet des "Misères" amorcé en 1845 marquait deux étapes de l’énonciation. Nous avons néanmoins choisi de considérer cette oeuvre comme un discours homogène – au sens linguistique du terme – c’est-à-dire comme une suite d’énoncés, pour en analyser le vocabulaire politique et social, considérant que la publication avalisait l’expression. L’énonciation en fait un discours dans le cadre de la communication, discours adressé à un destinataire concerné plus que quiconque, le peuple. Le projet de l’oeuvre lui confère le rôle de testament, bilan d’une expérience et d’une vie. Le facteur politique est primordial pour l’auteur et le rappel des principes républicains l’amène à en étudier les racines dans la Révolution française, particulièrement dans les années 1792-1793, quand Robespierre et le Comité de Salut Public ont dirigé la France. Les héritiers de la République de l’An I sont, dans l’oeuvre, les insurgés de la barricade de la rue de la Chanvrerie en juin 1832, inspirée à Victor Hugo par la barricade historique de Saint-Merry. L’importance donnée à l’Histoire comme élément structurant du récit nous a fait étendre le corpus lexical aux lieux et aux acteurs du récit et de la réalité historique. Le recensement du vocabulaire politique des systèmes, des événements, des formes de gouvernement, des institutions, des catégories et phénomènes sociaux et des valeurs philosophiques et idéologiques fait l’objet de la deuxième partie. Les méthodes des linguistiques distributionnelle et transformationnelle, la notion de « fonction linguistique », empruntée à Roman Jakobson, et de « discours plurivoque », héritée de Julien Greimas, permettent l’analyse des mots dans leur contexte restreint. C’est l’objet de la troisième partie intitulée « Ce que valent les mots ». / Victor Hugo’s resumption in 1861 under the title “Les Misérables” of the project of “Les Misères” started in 1845 characterized two steps of enunciation. Nevertheless, we have chosen to consider this work like a homogeneous discourse – in the linguistic sense of the term – i.e. like a series of utterances in order to analyze its political and social vocabulary considering that the publishing guaranteed the expression. The expression makes of it a discourse in the frame of communication; a discourse directed to a recipient more concerned than anyone else : the people. The project of the work gives it the part of a will. The political factor is most important for the writer and the reminder of republican principles leads him to study the roots of the French Revolution, particularly in the years 1792-1793 when Robespierre and the committee of Public safety led France. The inheritors of the Republic of An I, in the work, are the insurrectionists of the barricade of the street of La Chanvrerie in June 1832 inspired to Victor Hugo by the historical barricade of Saint Merry. The importance given to history as a structuring element of the narrative led us to extend the lexical corpus to the places and characters of the narrative and to the historical veracity. The inventory of the political vocabulary of the systems, events, forms of government, institutions, categories and social phenomena, and ideological and philosophical values is the matter of the second part. The methods of distributional and transformational linguistics, the notion of “linguistic function” borrowed from Roman Jakobson and “multivocal speech” inherited from Julien Greimas, permit the analysis of the words in their restrictive context. This is the topic of the third part entitled “What words mean”.

Cette thèse a pour objet l’ensemble des manifestations festives que donnent à lire trois romans de Victor Hugo : Notre-Dame de Paris, Les Misérables et Quatrevingt-treize. Son hypothèse générale est que la fête, lorsqu’elle est envisagée comme rite collectif, prend en charge les différentes tensions qui, au XIXe siècle, escortent l’évolution des statuts du citoyen, du devenir historique et des rapports entre le peuple et le pouvoir. La récurrence de certains motifs tend à montrer que la thématisation et l’écriture de la fête chez Hugo sont soumises à deux lois. La première consiste en la cohabitation sociale du sublime et du grotesque. La deuxième repose sur le détournement des ressources scripturales, formelles, rhétoriques du carnavalesque vers un tableau sinistre et funèbre. L’étude sociocritique de ces différentes scènes met en lumière les relations que les romans hugoliens entretiennent avec l’imaginaire social de la Révolution française, de la Restauration et du Second Empire, tout particulièrement à l’égard des débats sur la misère, sur le sens du pouvoir et sur la notion de progrès. / This thesis focuses on the festive events in three novels by Victor Hugo : Notre-Dame de Paris, Les Misérables and Quatrevingt-treize. Its general hypothesis is that the festival, when considered as a collective rite, takes charge of the different tensions in the nineteenth century that escort the evolution of the status of the citizen, of the historical future and of the relationship between the people and the power. The recurrence of certain motifs tends to show that the thematization and the writing of the festival in Hugo’s work is subject to two laws. The first consists in the social cohabitation of the sublime and the grotesque. The second is based on the detour of the scriptural, formal and rhetorical resources of the carnival towards a sinister and funereal picture. The sociocritical study of these different scenes highlights the links that novels maintain with the social imaginary of the French Revolution, the Restoration and the Second Empire, particularly with regard to the debates on misery, the meaning of power and the notion of progress.