Thesis (M.A.)--University of Wisconsin--Madison, 1966. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 232-237)

Texte remanié de: Th. État--Paris IV-Sorbonne. / Bibliogr. p. 357-380. Index.

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This dissertation undertakes to examine the dramatic prixis and the ideological systems which shape Voltaire’s tragic oeuvre. This study takes the position that these texts are multi-voiced, open-ended and performance-directed. The analytical approach taken draws from semiotic, Marxist and feminist critical techniques. Thirteen plays were chosen for analysis: "Artémire" (1720), "Hérode et Mariamne" (1724, 1725, 1763), "Eriphile" (1732), "Zaïre" (1732), "Adélaïde du Guesclin" (1734, 1751, 1765), "Zulime" (1740, 1762), "Mahomet" (1741), "Sémiramis" (1748), "Oreste" (1750), "Rome sauvée" (1752), "Olympie" (1760), "Le Triumvirat" (1764) and "Les Guèbres" (1769). Chapter I undertakes the analysis of the textual codes, largely concentrating on the language which resulted from or which perisisted despite external reaction to the text, in order to reconstruct the rules by which language operated in the tragic form. Tragedy's requirement of "noble" language and action restrict it to those who had the classical education necessary to understand and manipulate its rules, thereby establishing a gender and class privilege within the text. Chapter II begins with the premise that performance is not external or incidental but integral to the texts under examination. It details the impact which performance and performers had on the text and on public response to that text. It also brings to light Voltaire's profound ambivalence towards this influence on "his" texts. The desire to control performance led Voltaire to become a "director" of his plays in the modern sense, as he sought to impose his ideas of decor, costume, staging and declamation. Chapter III defines ideology as the system or systems of belief which underlie and inform the texts. The analysis is organized around three broad areas of social organization: government, religion and the family. Special attention is paid to the status and treatment of women within these areas. The chapter examines whether the systems revealed are static or dynamic over time, personal to Voltaire or drawn from a wider social group, radical or conservative in content. The Appendix to this study furnishes a chronological table of textual transformations for each play studied, giving the source, location, date, extent, speaker, content and function of changes.

This dissertation undertakes to examine the dramatic prixis and the ideological systems which shape Voltaire’s tragic oeuvre. This study takes the position that these texts are multi-voiced, open-ended and performance-directed. The analytical approach taken draws from semiotic, Marxist and feminist critical techniques. Thirteen plays were chosen for analysis: "Artémire" (1720), "Hérode et Mariamne" (1724, 1725, 1763), "Eriphile" (1732), "Zaïre" (1732), "Adélaïde du Guesclin" (1734, 1751, 1765), "Zulime" (1740, 1762), "Mahomet" (1741), "Sémiramis" (1748), "Oreste" (1750), "Rome sauvée" (1752), "Olympie" (1760), "Le Triumvirat" (1764) and "Les Guèbres" (1769). Chapter I undertakes the analysis of the textual codes, largely concentrating on the language which resulted from or which perisisted despite external reaction to the text, in order to reconstruct the rules by which language operated in the tragic form. Tragedy's requirement of "noble" language and action restrict it to those who had the classical education necessary to understand and manipulate its rules, thereby establishing a gender and class privilege within the text. Chapter II begins with the premise that performance is not external or incidental but integral to the texts under examination. It details the impact which performance and performers had on the text and on public response to that text. It also brings to light Voltaire's profound ambivalence towards this influence on "his" texts. The desire to control performance led Voltaire to become a "director" of his plays in the modern sense, as he sought to impose his ideas of decor, costume, staging and declamation. Chapter III defines ideology as the system or systems of belief which underlie and inform the texts. The analysis is organized around three broad areas of social organization: government, religion and the family. Special attention is paid to the status and treatment of women within these areas. The chapter examines whether the systems revealed are static or dynamic over time, personal to Voltaire or drawn from a wider social group, radical or conservative in content. The Appendix to this study furnishes a chronological table of textual transformations for each play studied, giving the source, location, date, extent, speaker, content and function of changes. / Arts, Faculty of / French, Hispanic, and Italian Studies, Department of / Graduate

Call number: LD2668 .T4 1965 B79 / Master of Science

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Den här uppsatsen undersöker hur Voltaires idéroman Candide och ett urval av romanens motiv kan analyseras och kopplas till en nutida samhällsdiskurs. Den ger även förslag på hur verket, mot bakgrund av en didaktisk diskussion, kan användas i undervisningssammanhang. Uppsatsen behandlar Voltaire och hans kritiska förhållande till Leibniz optimistiska och deterministiska världsåskådning. Här orienteras läsaren i den filosofiska motsättning som ligger till grund för verkets kärna: Voltaires polemik mot en okritisk acceptans av tesen Vi lever i den bästa av världar. Uppsatsen siktar på att levandegöra verkets tema optimismen och ett tänkbart huvudmotiv: människans utsatthet (i tillvaron), genom att koppla detta till dagsaktuella och till synes seglivade fenomen, t.ex. religiöst och militärt maktmissbruk, och social och sexuell exploatering av kvinnan. Uppsatsen demonstrerar bl.a. att ohyggliga krigsbrott i Kongo och Bosnien tangerar Candides upplevelser på de nordeuropeiska slagfälten; att sexuella övergrepp i religiösa kontexter inte är isolerade till historien, utan fortlever bland annat via katolska kyrkans företrädare; att det faktiskt finns beröringspunkter i ståndstanken bakom Kunigundas giftermålsplaner och kronprinssessan Victorias bröllop. Uppsatsen utmynnar i en litteraturdidaktisk diskussion som, med stöd av ledande forskare och pedagoger, resonerar kring hur man i praktiken kan arbeta med litteraturanalys i gymnasieskolan. Texten avrundas med explicita redovisningsförslag kopplade till tema och motiv i Candide.

Inaug-diss. - Göttingen. / Lebenslauf. "Literaturverzelehnis": p. [vii]-viii.