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Dans les rapports familiaux, les mécanismes de la responsabilité paraîssent s’appliquer plus difficilement qu’ailleurs. Qu’il s’agisse d’engager la responsabilité des époux, ou bien celle d’un parent envers son enfant, ou même encore de juger un délinquant passionnel, il peut être malaisé de déterminer les parts de responsabilité et de culpabilité qui reviennent à chacun. L’élément affectif, qui n’est pas regardé en principe comme un objet possible du droit, est susceptible d’expliquer cette difficulté. L’objet de cette thèse est donc de découvrir ce que peut être cet affect, et s’il intervient effectivement de façon significative dans les responsabilités familiales. Dans la pensée classique, l’affect n’a pas d’autonomie, en ce sens qu’il est toujours assimilé et réduit à d’autres notions, telles que l’émotion ou la volonté. En le dégageant de ces réductions, pourtant, l’affect peut être un élément isolable, qui est clairement identifiable dans le lien conjugal ou dans la filiation. L’affect est ainsi un élément concret, mais aussi dynamique, en ce sens qu’il est doté d’une valeur normative. Il est donc capable, non seulement d’éclairer des situations familiales pour lesquelles la responsabilité, civile ou pénale, doit être mise en oeuvre, mais encore de porter une valeur, que le droit peut découvrir et protéger. / In family relations, responsibility mechanism seems to apply themselves with much more difficulty then elsewhere. Whether it engages the responsibility of the married couple, or the one of a parent towards his child, or even to judge a crime of passion, it can be difficult to determine the responsibility or guilt of each party. The affectif element, that is usually not considered like a text of law, is likely to explain this difficulty. Therefore, the purpose of this thesis is to discover what can be this affect, and if it indeed intervenes in a significant way in family responsibilities. In the classical thought, the affect has no autonomy, in a way that it is always assimilated and reduced to other notions such as emotion or free will. Removing these simplifications, the affect can be an element which can be isolated and clearly identified in the conjugal link or in filiation. Consequently, the affect is a concret element, but also dynamic, in the way it is doted by a normative value. It is therefore able, not only to enlighten family situations for which, civil or penal responsibility must be applied, but must also carry a value, that law may discover and protect.

Ses principaux lecteurs n’ont cessé de concevoir le Haut Livre du Graal comme un roman des confins de la barbarie. L’éclatement des cadres de l’écriture arthurienne est prégnant dans ses épisodes les plus emblématiques, qui révèlent un hiatus irréductible entre une « haute écriture » et l’exaltation de la matérialité des êtres. Le roman semble soumis à une double postulation vers le haut et le bas, vers les convulsions du monde sublunaire et une mystique aussi présente que ténue. L’étude des manifestations et senefiances de la mort s’applique à saisir l’écriture de cet entre-deux, tout en privilégiant l’approfondissement de deux traits majeurs : la dimension visuelle inhérente à la représentation de la mort et les procédés d’écriture propres à esquisser les linéaments d’une « écriture funèbre ». Le paradigme visuel relaie la puissance évocatoire des morts narrées, tandis que la dominante funeste du récit semble être l’un des gages les plus viables de l’unité d’une œuvre dont les structures narratives se dérobent. Le parcours herméneutique de cette étude considère tout d’abord le vocabulaire de la mort, avant d’aborder les circonstances de l’instant mortel, les deux versants spirituel et temporel de la mort, et le lien toujours puissant qui unit les vivants et les morts. Après des considérations à la fois stylistiques, rhétoriques, historiques et anthropologiques, la deuxième partie déplace vers le champ de la poétique du texte la problématique d’une mort fondamentalement ubiquitaire. / The main scholars always depicted the High Book of the Grail as a novel which borders on barbarism. The bursting of the frames of arthurian writing is significant in its most iconic episodes as well, which reveal a huge gap between "High Scripture" and a glorification of the materiality of beings. The novel seems based on a double postulation up and down, towards materiality and spirituality. The study of events and senefiances of death applies to grasp the writing of in-between, while emphasizing the study of two major elements: the inherent visual dimension to the representation of death and methods of its own writing which sketches the outlines of a "funeral writing." Visual paradigm relays the evocative power of the dead narrated while that fateful dominant narrative seems to be one of the most efficient guarantee of the unit of a work whose structure is relevent to illusion or arcana. The hermeneutic thought process of this study considers at first the vocabulary of death, before addressing the circumstances of the "instant mortel", the two spiritual and temporal sides of death, the always powerful unity of the living and the dead. After some stylistic considerations, as well as rhetorical, historical and anthropological ones, the last chapters move to the field of poetics, in a world where death appears fundamentally ubiquitous.

For Unto Us is a one movement work for soprano and orchestra. The text, by the composer, describes the thoughts and feelings of Mary, the mother of Jesus, as she watches the crucifixion. Mary's process of faith is traced through the sequence of dramatic events which proceed and follow the crucifixion. The work explores symbolic instrumentation, juxtaposition of harmonic languages, and extended techniques for performance and notation. The setting of the text combines traditional operatic idioms with new elements in the music. The duration of this dramatic, quasi-operatic scene is approximately nine minutes.

This dissertation explores the use of romance across religious poetry in late medieval England. Medieval devotional poems frequently borrow motifs and devices from romance; they might, for example, figure Jesus as a knight jousting with the devil or adopt the romance technique of interlace to narrate the Passion. Critics most frequently read these borrowings as a popularizing method, arguing that the poets of these religious texts turn to romance in order to appeal to their secular audience. I argue instead that late 14th century Middle English poets use romance to explore difficult theological paradoxes and Christian practices. In Pearl, the romance descriptio personae helps articulate the paradoxes of divine reward, at once hierarchical and egalitarian. In Piers Plowman, the romance incognito demonstrates the shifting and multivalent nature of the Trinity. In St. Erkenwald, the slow indulgence of romance wonder stands in contrast to God’s time, which is simultaneously immediate and drawn-out. In the Canterbury Tales, the romance parody of Thopas primes the reader for the prudential lessons of Melibee. This dissertation adds to a growing body of scholarship that reads medieval romance, and in particular Middle English romance, as a genre that does not simply entertain audiences but also interrogates, challenges, or reiterates medieval values and ideas. However, this project adds to current scholarship by examining romance out of its native context and inside or beside religious genres instead. In the first three chapters, I argue that by triggering a romantic reading, the Middle English poems Pearl, Piers Plowman, and St. Erkenwald enact and demonstrate the conceptual difficulties of certain theological paradoxes. In these poems, romance serves as a contemplative tool by demonstrating the reader’s comprehensive limits in the face of the divine. My fourth chapter, which explores Chaucer’s romance parody Sir Thopas alongside his pedagogical treatise Melibee, instead considers the Christian virtue of prudence; here, the exaggerated romance tropes of Sir Thopas prepare the pilgrims to pay penance prudentially by feeling and contemplating time in daily Christian life. While romance does not articulate a paradox about God in Thopas-Melibee, it still prompts contemplation about a difficult Christian virtue, prudence. In all four chapters, I find that romance serves as a vehicle for spiritual contemplation because of its own modes of thinking, whether that be social, economic, or temporal. Whether romance is set within or beside devotional texts, the secular genre allows the reader to contemplate difficult Christian theology and practices and to experience them as difficult in contemplation. Romance, I argue, is a critical tool in the vernacular theologian’s toolkit.

Faisant partie du septénaire des péchés capitaux, la paresse semble posséder un statut particulier puisqu’elle ne consiste pas comme les autres vices à commettre ou désirer un acte coupable. Elle est plutôt inaction, immobilité, absence de désir. C’est qu’à ses origines qui remontent au 4e siècle de notre ère le concept de paresse est alors acédie, manque de soin, désintérêt allant jusqu’à la tristesse face au bien divin et à l’acte moral qu’il commande. Il s’agit là d’un important obstacle à la vie morale de l’agent puisque l’acédie vient à poser la possibilité d’une aversion propre à la notion du bien. Le présent mémoire a pour but d’investiguer les mécanismes psychologiques et affectifs qui président à ce désintérêt sous la plume du premier penseur à établir une réflexion théorique méthodique au sujet des péché capitaux, Évagre Pontique, et sous celle du philosophe qui semble résoudre la tension qui existe entre attraction et répulsion face au bien, Thomas d’Aquin. L’enquête proposée sur l’acédie portera donc sur les débuts énigmatiques d’une théorisation des péchés fortement marquée par l’univers ascétique et monastique profondément intellectualiste dans lequel elle émerge, fera le détail des transformations qui consacrent sa survivance jusqu’au 13esiècle et tentera de saisir les subtilités de la réponse thomasienne au problème d’un bien indésirable. / Part of the septenary of cardinal sins, sloth stands out as an anomaly; contrarily to other sins, sloth does not reside in the desire for or the perpetration of a reprehensible act. It is instead portrayed as inaction, immobility, lack of desire. Marked by its 4th century origins, the concept of sloth is then understood as acedia, a lack of care or an absence of interest for the divine good and the moral acts it commands so strong it may veer into sadness. Acedia constitutes an important obstacle to the moral life of the agent because it embodies the problem of a disgust for the notion of good itself. This memoir proposes to investigate the psychological and affective mechanisms standing behind this disinterest by scrutinizing the theorical reflections of the first thinker to produce a methodical analysis on deadly sins, Evagrius Ponticus, and those of the philosopher who seems to solve the tension that dwells in between the desire and the aversion for good, Thomas of Aquinas. The present inquiry on acedia will thus lend itself to a study of the enigmatic beginnings of a theorization of cardinal sins deeply embedded in the intellectualism of the ascetical and monastic universe that saw its birth, will detail the transformations acedia endured to survive to the 13th century and will attempt to grasp the subtleties of Aquinas’ answer to the problem of an undesirable good.

This study investigates the view of some students and a teacher’s attitudes towards the learning possibilities of the integration of personal interests to the teaching of English. The research carried out at one of the largest profile schools in Sweden, with an aesthetic subject-orientation. These subjects are referred to as “passion subjects”. Qualitative interviews and observation were the methods used for data collection. The research questions were about students’ and teachers attitudes towards the involvement of their passion subject in the formal education process, as well as their views on integrating English as a foreign language in the teaching/learning process of their passion subject. The results show that the teacher and the students view the involvement of students’ personal interests in the formal education as a key source for motivation. Regarding the involvement of English as a foreign language in the passion subject, the results are both positive and negative: positive in the sense that it is viewed as getting extra lessons in English and negative in the sense that information can be overlooked as the students not always understand the input.

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