L’eau a creusé son chemin jusqu’au cœur des discussions sur le développement durable. Les discours autour de la gestion des eaux soulignent à la fois son abondance dévastatrice et son absence critique : la montée des eaux se juxtapose à la désertification ; les tornades et les inondations répondent à des périodes de sécheresse prolongées. Alors que nous polluons, canalisons et dessalinisons à un rythme toujours croissant, la nature ambiguë de notre relation avec l’eau devient visible. Pendant que nous continuons d’endommager ce qui, par-dessus tout, rend la vie possible, la précarité augmente pour l’ensemble de la population. Il n’est donc pas étonnant qu’un changement de paradigme dans notre compréhension des eaux, devant engendrer une modification dans leur utilisation, soit présenté comme l’un des plus grands et plus pressants défis de notre époque. Ma recherche répond à ce défi. Elle porte sur la poétique de l’espace, c’est-à-dire sur l’étude de la manière dont les êtres humains vivent et interagissent avec leur environnement à travers les arts. Plus précisément, j’explore les relations entre les humains, les eaux et les sons (à la fois propres et générés par les humains) dans la Lower Murray Country (Australie Méridionale). Mon but est de révéler et théoriser ces relations qui évoluent en parallèle afin d’élaborer une cartographie mettant à jour toute une gamme de manières de percevoir et de comprendre ces eaux, et d’être ensuite à même d’utiliser cette pluralité pour remettre en question—et potentiellement imaginer à nouveau—leur construction et représentation culturelles. Afin d’atteindre ce but, j’érige “les eaux” en leitmotiv qui me permet d’unifier ma recherche et me déplacer entre des espaces physiques et théoriques pour mettre en dialogue les individus et leur environnement, tant au niveau local que général. En particulier, je me sers du mouvement des eaux que forment le courant et la résonance pour opérer cette synthèse, mouvement que j’associe à la rythmanalyse et la réverbération (d’après les philosophes Henri Lefebvre et Fran Dyson, respectivement). Je me suis également inspirée du travail du philosophe et poète Édouard Glissant. En particulier, son concept de Relation est une clef pour me permettre de traduire textuellement ces mouvements des eaux. J’applique cette méthodologie aqueuse à presque deux siècles de production musicale—allant des pratiques ngarrindjeri et des ballades coloniales à la musique classique contemporaine et l’art sonore ; et presque deux siècles de modifications touchant au “caractère sonore” des eaux de la Lower Murray Country—matérialisée à travers la déforestation défigurante, la retenue des eaux, l’irrigation mais aussi la salinité croissante des eaux comme des sols. Ainsi, cette thèse se construit selon le principe d’accumulation d’exemples prôné par Glissant (Poetics of Relation 172-4). Elle est structurée autour de quatre sections—quatre visions punctiformes des eaux écrites comme un prélude à une potentielle infinité d’autres. Furtives, partielles, orientées et fragmentées, ces visions procèdent de périodes particulièrement significatives : de périodes pouvant subir des changements, de périodes charnières où des altérations radicales peuvent poindre ou apparaître effectivement. / Waters are contested entities that are currently at the centre of most scientific discussions about sustainability. Discourse around water management underlines both the serious absence and devastating overabundance of water: rising sea levels compete against desertification; hurricanes and floods follow periods of prolonged drought. As we increasingly pollute, canalise and desalinate waters, the ambiguous nature of our relationship with these entities becomes visible. And, while we continue to damage what most sustains us, collective precarity grows. It is therefore unsurprising that shifting our understanding, and subsequent use, of water has been described as one of the biggest—and most pressing—challenges of our time.My research answers to this challenge. It centres on spatial poetics, that is, on the manner in which people engage and interact with their environment through art. More precisely, I explore the relationships between humans, waters and sound—both intrinsic and human-produced—in Lower Murray Country (South Australia). My aim is to unveil, theorise and create maps of these co-evolving relationships to reveal an array of manners to perceive and relate to these waters; and then draw on this plurality to question—and potentially reimagine—their cultural construction and representation. In order to do so, I transform waters into a leitmotif which enables me to weave my investigation together and move in-between theoretical and physical spaces to bring people and their environments into dialogue, both at the local and global levels. In particular, I draw on the watery movements of flow and resonance to operate this weaving, and associate these with rhythmanalysis and resounding (after philosophers Henri Lefebvre and Fran Dyson, respectively). I am also inspired by the work of philosopher and poet Édouard Glissant and use his concept of Relation as a key to enable me to translate these watery movements textually.I apply this aqueous theoretical frame to nearly two centuries of sonic production—ranging from Ngarrindjeri performance and colonial ballads through to contemporary classical music and sound art; and to nearly two centuries of evolution in the sonic character of Lower Murray Country’s waters—ranging from disfiguring deforestation and damming through to rising salinity and irrigation. As such, this thesis is built on the “accumulation of examples” advocated by Glissant (Poetics of Relation 172-4). It is structured around four sections—four punctiform visions of waters written as a prelude to a potential infinity of others. Furtive, partial, oriented and fragmented, these visions denote times of particular significance: times open to challenge; times of hinges and articulations where radical alteration (can) occur.

In this study on literature and thought from the early 20th century, I examine techniques of organization – including rhetoric, poetics and citation – across the work of the German philosopher Ernst Cassirer (1874-1945) and the Austrian writer Robert Musil (1880-1942). With particular attention to Cassirer’s Philosophy of Symbolic Forms and Musil’s The Man Without Qualities, this dissertation analyzes the prose strategies, by which the authors develop a poetics of orientation. Responding to shifts in the epistemological foundations of the empirical sciences, the authors reimagine genre and style as a way to direct the reader in the interpretive process. Although the inflection of this poetics of orientation differs in Cassirer’s cultural philosophy and Musil’s essays and narrative, they both follow dynamic moments in thought, the drama that unfolds as the interpersonal experience of making sense of the world. The displacement of substance by function in the sciences provides the shared ground against which the patterns of their prose emerge. In the first section, “Ernst Cassirer. Problemgeschichte: from genre to texture”, I engage Cassirer’s shift from a critique of reason to a critique of culture, in which language and myth are treated alongside theoretical knowledge as interfaces for knowing the world. His mode of thought develops in a mode of writing, modifying the philosophical genre Problemgeschichte, which developed in the 19th century and was the dominant mode of philosophy among Neo-Kantians at the turn of the 19th to 20th century. He extends the genre’s diction of direction, such as the ubiquitous terms Richtung and Weg, with a decidedly mathematical accent. This figural register reflects the epistemic shift from substance to function, which also typifies his characterization of problems as sites of discursive interference. Building on this discussion of the philosophical genre Problemgeschichte, I then analyze narrative aspects of Cassirer’s writing, such as focalization, in order to understand how his play of citation demonstrates functional thinking. In the second section, “Orientation: Robert Musil’s Reise vom Hundertsten ins Tausendste”, I follow Musil’s prose detours as an intentional gambit, connecting heterogeneous intellectual inquiry. Arguing that his prose innovation cannot be exhausted by a discussion of his essayistic style, I challenge standard accounts of the dissolution of narrative in Musil’s writing. The shift from substance to function as the epistemological foundation in the empirical sciences informs Musil’s displacement of narrative schema by narrative impulses, which preserves traces of traditional story telling as devices for helping the reader find their way in a textual space. Both Cassirer’s and Musil’s poetics of orientation demonstrate engagement with the tumultuous Interwar period, which counters anti-Enlightenment tendencies of intellectual inquiry, common in the German-language cultural production of the early 20th century. The authors’ prose strategies are the vehicle for an intellectual vision, which maintains the potential for an open future.

À partir de La Dernière Bande, la scène beckettienne est envahie d’êtres solitaires qui tentent de se raconter et de se prendre comme objets de leurs discours, afin de meubler le vide angoissant dans lequel ils se trouvent. S’orientant vers la représentation de l’intériorité, le second théâtre est ainsi marqué par le développement de la narration au cœur du spectacle dramatique. Parfois surnommées « dramaticules » par Beckett lui-même, les courtes pièces qui le constituent reposent sur des scénographies saisissantes, faites d’ombres, de corps démembrés ou de voix désincarnées. Écrites aussi bien pour la scène, la radio ou la télévision, ces œuvres mêlent les modes narratif et dramatique et brouillent les frontières entre les genres. Elles témoignent de l’influence de l’écriture romanesque de Beckett sur son œuvre dramatique. À travers elles, Beckett met en scène la narration et contribue à renouveler le langage dramatique. Il porte au théâtre la quête qu’il mène en parallèle dans son œuvre romanesque, dans une tentative pour forger un véritable théâtre de l’innommable. / From Krapp’s Last Tape, Beckett’s stage is invaded by solitary beings who try to narrate themselves and to be the object of their speeches when faced with the frightening emptiness of their condition. Turning toward the representation of interiority, the late theatre is thus marked by the development of the narrative at the heart of the dramatic spectacle. Sometimes named “dramaticules” by Beckett himself, the short plays that make it up rest on striking scenographies, composed of shadows, dismembered bodies or disembodied voices. Written as much for the stage as for the radio or television, these works mix narrative and drama and blur the boundaries between genres. They show the impact of Beckett’s narrative writing on his dramatic work. Though them, Beckett stages narration and contributes to renewing the dramatic language. He stages the quest that he simultaneously conducts in parallel in his novels, in an attempt to create a true theatre of the Unnamable.

The thesis deals with the realization of three narratives -"Virtuous Young Man", "Divine Lover", and "Sacrifice of a Child"- in diverse literatures of East and West. Basic form, characters/(arche)types, and motifs and their possible variations depending on cultural, literary, and religious/mythological setting are presented for each plot. Using historical and comparative poetics, each plot is analysed from the first extant adaptations in European and non-European literatures to the modern ones. The thesis puts an emphasis on specification and configuration of particular motifs, variations depending on the religious-mythological context, and tension between the same and different, general pattern and specific realization, type and character.

Les quarante "Miracles de Nostre Dame par personnages" constituent l'immense majorité du corpus dramatique de langue française du XIVe siècle. Malgré cette importance historique majeure, ces pièces n'ont jusqu'à aujourd'hui pas fait l'objet d'une étude littéraire spécifique. Victimes du manque de légitimité poétique que l'on prête au théâtre médiéval en général, mais aussi tributaires de leur apparente simplicité, ces drames présentent pourtant de nombreuses similarités qui témoignent de l'homogénéité stylistique du corpus. Envisageant tour à tour le corpus en tant que texte, spectacle et livre, le présent travail vise donc à rendre raison de sa concertation dramaturgique. L'étude se donne d'abord pour objet de repérer les lois implicites du recueil : tandis qu'une analyse en synchronie permet de dégager les lois structurelles et discursives du corpus, une étude en diachronie permet de comprendre ses lois de composition, élaborées au fil du temps et des expériences scéniques. C'est finalement dans le dialogue incessant entre la scène et les spectateurs que s'élabore la spécificité du Miracle dramatique, dont la dramaturgie propose une approche singulièrement subtile de son public. Cette relation étroite entre la scène et les spectateurs se poursuit lors du passage des pièces de l'espace scénique à l'espace du livre. Mises en drame, en scène et en texte, ces quarante histoires miraculeuses offrent finalement l'évidence de la profonde cohérence de leurs transpositions successives. Témoignages de la vocation éducative des confréries, elles s'avèrent être de riches et étonnants objets de théâtre, dont la portée esthétique ne s'est pas tout à fait éteinte. / The forty "Miracles de Nostre Dame par personnages" stand for the immense majority of the dramatic French-language corpus of the fourteenth century. Despite this major historical importance, these plays have not been the subject of a specific literary study. Despised for the lack of poetic legitimacy attributed to medieval theater in general and for their apparent simplicity, these dramas present many similarities which show the evidence of the stylistic homogeneity of the corpus. Considering in turns the corpus as a text, a show and a book, this work aims to reveal the dramaturgical project behind the plays. First of all, this study intends to identify the implicit laws of the collection. A synchronic analysis allows to identify the structural and discursive laws of the corpus, while a diachronic study reveal its laws of composition, created by succesives scenic experiences. Finally, the specificity of the dramatic Miracle appears to be based on this constant dialogue between the stage and its audience. This close relationship continues as the pieces move from the stage space to the book space. Dramas, stagings and texts, these forty miraculous stories offer the evidence of the deep coherence of their successive transpositions. As these plays are proofs of the brotherhoods' educational vocation, they turn out to be amazing theater objects, whose aesthetic significance has not quite extinguished.

Still House is a poetry manuscript that explores the relationship between traditional gender roles and traditional poetic forms. The poems in this collections seek to revise the role of the homemaker and interrogate whether it is okay to take comfort and pleasure in tasks that are often labeled as feminine (i.e. cooking, baking, decorating, organizing, shopping, choosing outfits) while rejecting other parts of the homemaker archetype, such as subservience to and dependence upon men. Limited gender roles, patriarchy, sexist comments, capitalism, toxic masculinity, the cis-hetero-white-male gaze, trauma, physical pain, illness—these all can make it feel like we are not fully in control and ownership of our bodies, like something is encroaching. The poems in Still House are invested in using the poetics of embodiment (a poetics centered around telling stories about the body through immersive sensory details) to reclaim the body from trauma, patriarchy, and chronic pain and illness.

In this paper, I propose translation as a main tool for a sensualistic and hermeneutical approach to texts. In agreement with the writer and thinker Euphrase Kezilahabi, who claims that the text has to be considered as a living event, I propose to look at a text not as an object but as a living body. I ague that this approach reduces the distance between the body of the text and that of the reader. Perception can thus be used as a means to know and critique a literary text. I present a multifocal sensualistic analysis based on an analogical idea of knowledge, taking translation as a tool to push the critic to focus on the text word for word (not excluding the paratext or the context). The translations discussed here are poems by Kezilahabi and a proposal for a Swahili translation of the poem L’infinito by the Italian poet Giacomo Leopardi.

Keywords: João Guimarães Rosa, Brazilian letters, translation poetics The aim was to translate the Brazilian language innovator's novel, add an interpretative commentary and draw conclusions pertinent to Rosaean studies and translation poetics. An introductory first chapter proposes an interpretation of the work in the literary history context. The translation itself attempts to reflect the musicality of the original while maintaining its semantic content. The third chapter analyzes its text with respect to the translation methods and strategies used, and is concluded with an overview stemming from critical reflection. Emphasis is placed on the problematics of poetic language and its translatability, the Mallarméan chance and necessity as well as motivation and arbitrariness of the lansign, and on the ratio of intentionality in translation. The text is analyzed in the light of Saussurean anagrams and the ensuing paragramatic theory as well as Derridaean différance, while the best appropriate to translating seems to be Meschonnic's concept of rhythm as well Mukařovský's semantic gesture. A proof has been established concerning closeness of the Benjaminean concept of translation and Rosa's quest for a "language of metaphysics". The Czech translation published in book form has won the Jungmann Prize...

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La poésie de Lorand Gaspar, par la constance de sa variété même et sa réticence à cultiver une forme fixe, semble autoriser l’hypothèse d’une "poétique du mouvement", qui se découvre en résonance avec toute une conception immanentiste du monde, advenue dès l’enfance du poète et cultivée au fil de l’expérience. Fortement indicative d’une relation analogique avec le système neuronal ― d’où la lecture que nous proposons d’une "neuropoétique" ―, cette poétique cinétique, tissée dans la tension stylistique d’une "continuité discontinue", serait pénétrée d’une poétique adverse, à la fois contraire et complémentaire, qui semble incliner vers les formes spécifiques d’une géographie élective. Fondée par une puissante thématique du relief et par l’expérience, fondamentale dans la vie de Gaspar, de la nature, cette théorie "géotropique" entend déployer la construction esthétique, dans l’œuvre, d’un "relief poétique", ou encore, pour dire en un mot l’instillation de la géologie dans la forme du poème, d’une géopoétique. La poétique de Lorand Gaspar, essentiellement contrastive, serait la conjugaison de ces deux mouvements linguistiques, de cette tension entre finitude et infini, qui montre que le poème de Gaspar n’est pas un élan simple dans le monde, mais un monde où le sujet, à travers l’invention poétique, tend, aussi bien, à se dégager de l’infini "mouvement" où il est engagé. / Lorand Gaspar’s poetry bears a constant variety that resists the development of a fixed form. It thereby seems to allow for the hypothesis of a "poetics of motion" which echoes the poet’s immanence-based conception of the world, occurred to him since his childhood and fostered over the years of experience. Strongly pointing at an analogical relationship with the neuronal system, which accounts for our reading of a "neuropoetics", this kinetic poetics, woven in the intricate stylistics of a "discontinuous continuity", is likely infused with an adverse poetics, both contradicting and complementing it, which seems to tend towards the specific forms of a peculiarly chosen geography. Informed by a forceful theme of the relief and the fundamental experience of nature in Gaspar’s life, this "geotropic" theory means to display the aesthetic making up of a "poetic relief", or, of a geopoetics, a word that conveys the ingraining of geology into the form of the poem. Lorand Gaspar’s poetics, which is essentially contrastive, would bring together those two linguistic movements, this tense interplay between the finite and the infinite, which shows that Gaspar’s poem does not merely spring up to the world, but is, in itself, a world where the subject, through the poetic invention, also tends to break free from the infinite "movement" in which he is involved.