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11	Le vivant dans la Correspondance de Madame de Sévigné / Life as a process in Sévigné's Letters Vanackere, Mathilde 02 December 2017 (has links) La Correspondance de Sévigné retrace la vie quotidienne, émotionnelle et morale de l'épistolière, dont on a souvent collecté et interprété les aléas dans une perspective biographique ou socio-littéraire. À travers le "vivant", notion transversale et unifiante, nous nous proposons de mettre au jour les articulations entre l'existence sévignéenne et la lettre, entre formes de vie et formes d'écriture, et ainsi d'envisager à nouveaux frais la puissance de réflexion et de transformation de l'écriture sévignéenne. / Mme de Sévigné's letters inform us on her daily life as well as on her emotional and moral life, the circumstances of which have often been commented upon through a biographical or sociological lense. Leaning on an interdisciplinary and unifying notion of life as a dynamic process, we propose to uncover the articulations between Sévigné's life and her letter-writing, between life forms and modes of writing, and thus, to offer a new reading of the meditative and transformative powers of Sévigné's writing. Vivant Écriture de soi Émotions Éthique Living Writing of the self Emotions Ethics 846.4 VAN
12	Creativity and embodied learning : a reflection upon and a synthesis of the learning that arises in creative expression, with particular reference to writing and drama, through the perspective of the participant and self organising systems theory / Wright, David George. January 1998 (has links) Thesis {Ph.D.) -- University of Western Sydney, Nepean, 1998. / Bibliography : p. 328-344.
13	Performing the not-me ethos in four student portfolios / Banks, William Paul. Neuleib, Janice. January 2003 (has links) Thesis (Ph. D.)--Illinois State University, 2003. / Title from title page screen, viewed Jan. 6, 2005. Dissertation Committee: Janice W. Neuleib (chair), Kenneth J. Lindblom, Julie M. Jung. Includes bibliographical references (leaves 278-289) and abstract. Also available in print.
14	A escrita de si e as representações do escritor em Cristovão Tezza / The writing of the self and representations writer in Cristovão Tezza Amanda Farriá Jacques 31 March 2014 (has links) Esta dissertação se detém em duas das principais características da literatura brasileira contemporânea: a profusão de escritas de si e a recorrência de personagens-escritores na produção romanesca. Nesse contexto, a discussão concentra-se em algumas das obras de um dos mais consagrados escritores brasileiros da atualidade: Cristovão Tezza. Em se tratando das escritas de si, discutimos a respeito do premiado romance O filho eterno (2007), por ser uma narrativa que congrega elementos factuais e criação ficcional. Nesse sentido, fazer da relação com o próprio filho Down a matéria-prima de um romance significa enveredar pelos caminhos dos gêneros autobiográficos, estabelecendo um novo paradigma em relação a suas obras anteriores, já que, até então, nenhum espaço para a abordagem de elementos referenciais havia sido aberto. Na discussão dessa obra, consideramos que, apesar de se inclinar à autobiografia, o autor lhe distribui índices de ficcionalidade que colocam em xeque a veracidade do discurso, o que impossibilita a delimitação do gênero entre autobiografia e romance. Nesse caso, o que passa a estar em jogo é a ficcionalização do eu frente à criação literária. Num segundo momento, refletimos sobre a inserção de personagens-escritores na escrita tezziana, recurso amplamente utilizado pelo autor em diversas obras ficcionais, investigando os motivos e implicações dessa recorrência. Para empreender tal análise, recorremos às noções de metaficção e gesto literário, visto que a tematização do universo íntimo do escritor na esfera ficcional evidencia o ato de escrever e seu caráter problematizador. Por último, fazemos uma leitura comparada entre o romance de matiz biográfico O filho eterno e a autobiografia literária O espírito da prosa, tendo por premissa que esta pode funcionar como peça-chave na recepção daquele / This work wants to look for two main characteristics of the brazilians contemporary literature: profusion of written of the self and the recurrence of writer-character in the romanesque production. In this context, the discussion focus in some works of the most acclaimed brazilian news writers: Cristovão Tezza. Talking about it writings, it discusses about the prizewinner romance O filho eterno (2007), cause it is a narrative which brings together factual elements and fictional creation. In that case, makes the relationship with his own son Down's syndrome the base material of a romance means engage the ways of autobiographical genres, establishing a new paradigm autobiographical between his previous works, since until then any space for approach of referential elements had been opened. The discussion of this work consider that despite lean the autobiography, the author distributive indices of functionality that puts in check the veracity of the speech, making it impossible for the delimitation of the genus between the autobiography and romance. Thus, what is at stake is the fictionalization of I front of literary creation. In another moment, we have established a discussion on inserting the writer-character in tezziana writing, widely used resource by author in various fictional works, investigating the reasons and implications of this recurrence. To undertake such analysis, we resort to notions of metafiction and literary gesture. Since the thematization of the intimate universe of the writer in the fictional ball highlights evidence the act of write and its inquisitive character. Last but not least, do a comparative reading between romance of hue biographical O filho eterno e O espírito da prosa, once the autobiography works as a key at the front desk of the fictional narrative Personagem-escritor Escritas de si Literatura brasileira contemporânea Cristovão Tezza Brazilian contemporary literary Writing of the self Writer-character LITERATURA BRASILEIRA
15	A escrita de si e as representações do escritor em Cristovão Tezza / The writing of the self and representations writer in Cristovão Tezza Amanda Farriá Jacques 31 March 2014 (has links) Esta dissertação se detém em duas das principais características da literatura brasileira contemporânea: a profusão de escritas de si e a recorrência de personagens-escritores na produção romanesca. Nesse contexto, a discussão concentra-se em algumas das obras de um dos mais consagrados escritores brasileiros da atualidade: Cristovão Tezza. Em se tratando das escritas de si, discutimos a respeito do premiado romance O filho eterno (2007), por ser uma narrativa que congrega elementos factuais e criação ficcional. Nesse sentido, fazer da relação com o próprio filho Down a matéria-prima de um romance significa enveredar pelos caminhos dos gêneros autobiográficos, estabelecendo um novo paradigma em relação a suas obras anteriores, já que, até então, nenhum espaço para a abordagem de elementos referenciais havia sido aberto. Na discussão dessa obra, consideramos que, apesar de se inclinar à autobiografia, o autor lhe distribui índices de ficcionalidade que colocam em xeque a veracidade do discurso, o que impossibilita a delimitação do gênero entre autobiografia e romance. Nesse caso, o que passa a estar em jogo é a ficcionalização do eu frente à criação literária. Num segundo momento, refletimos sobre a inserção de personagens-escritores na escrita tezziana, recurso amplamente utilizado pelo autor em diversas obras ficcionais, investigando os motivos e implicações dessa recorrência. Para empreender tal análise, recorremos às noções de metaficção e gesto literário, visto que a tematização do universo íntimo do escritor na esfera ficcional evidencia o ato de escrever e seu caráter problematizador. Por último, fazemos uma leitura comparada entre o romance de matiz biográfico O filho eterno e a autobiografia literária O espírito da prosa, tendo por premissa que esta pode funcionar como peça-chave na recepção daquele / This work wants to look for two main characteristics of the brazilians contemporary literature: profusion of written of the self and the recurrence of writer-character in the romanesque production. In this context, the discussion focus in some works of the most acclaimed brazilian news writers: Cristovão Tezza. Talking about it writings, it discusses about the prizewinner romance O filho eterno (2007), cause it is a narrative which brings together factual elements and fictional creation. In that case, makes the relationship with his own son Down's syndrome the base material of a romance means engage the ways of autobiographical genres, establishing a new paradigm autobiographical between his previous works, since until then any space for approach of referential elements had been opened. The discussion of this work consider that despite lean the autobiography, the author distributive indices of functionality that puts in check the veracity of the speech, making it impossible for the delimitation of the genus between the autobiography and romance. Thus, what is at stake is the fictionalization of I front of literary creation. In another moment, we have established a discussion on inserting the writer-character in tezziana writing, widely used resource by author in various fictional works, investigating the reasons and implications of this recurrence. To undertake such analysis, we resort to notions of metafiction and literary gesture. Since the thematization of the intimate universe of the writer in the fictional ball highlights evidence the act of write and its inquisitive character. Last but not least, do a comparative reading between romance of hue biographical O filho eterno e O espírito da prosa, once the autobiography works as a key at the front desk of the fictional narrative Personagem-escritor Escritas de si Literatura brasileira contemporânea Cristovão Tezza Brazilian contemporary literary Writing of the self Writer-character LITERATURA BRASILEIRA
16	À la chute de la plume : l'atelier de Sylvia Plath et d'Alejandra Pizarnik Labelle, Sarah 04 1900 (has links) Alejandra Pizarnik et Sylvia Plath, poètes prolifiques et figures frôlant le mythe, ont forgé au cours de leurs carrières voix uniques et œuvres riches. Elles se partagent une vaste sensibilité artistique, un goût pour la démesure, ainsi qu’une volonté, celle d’être artiste avant tout, de laisser une marque, une trace. Outre leurs œuvres narratives et poétiques, Plath et Pizarnik sont reconnues pour leurs journaux (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971). Ces textes sont fréquemment lus comme des journaux intimes, mais gagnent à être approchés autrement : comme une part intégrale de la création. Ils sont un appui à l’œuvre à venir, un lieu de travail du geste et de l’idée, un atelier. Omniprésents depuis la fin du 19e siècle, indissociables de la modernité littéraire, les journaux d’écrivain·es ont aujourd’hui encore un statut instable. Ils restent difficilement classables, empruntent à la fois les réflexes d’une longue tradition spirituelle et philosophique, tout comme des procédés uniques à la pratique écrivaine. Ce mémoire cherche à réfléchir leur rôle dans la création, prenant comme base la tradition des exercices spirituels (définis par Hadot) ou des techniques de soi (théorisées par Foucault), puis développant une réflexion grâce à l’idée d’atelier d’écriture. Telles des artistes visuelles, pour avancer jusqu’à Ariel ou Infierno musical, Plath et Pizarnik s’appuieront sur un atelier, un lieu d’expérimentation, de liberté – constellation de carnets, d’ébauches tapées à la machine, de recueils de notes. Ce lieu de langage réunit deux versants : l’entraînement (très vaste, à la manière de l’askesis antique) et l’ouverture vers la création (progression vers la poiesis, l’idée neuve). L’atelier permet d’œuvrer sur le langage et le soi. Avec toujours en vue la quête de la poésie, née de l’intime puis se dépliant, depuis la chute de la plume jusqu’à l’œuvre entière, multicolore. Dans les mots de Plath : « to invent on the drop of a feather, a whole multicolored bird » . / Alejandra Pizarnik and Sylvia Plath, prolific writers and almost mythical figures, have built throughout their careers a unique voice and a rich body of work. They share a broad artistic sensitivity, a taste for excess, and the need to become an artist above all else, to make their mark, leave a trace. Besides their narrative and poetic production, Plath and Pizarnik are known for their journals (The Unabridged Journals, 1950-1962 ; Diarios, 1954-1971), which are often interpreted as intimate texts, as diaries – but who should be primarily seen as an integral part of their creation process. They are a support, a place to work on craft and ideas, an atelier (workshop and studio). Essential since the end of the 19th century, linked to literary modernity, writers’ diaries are still today hard to categorize. They inherit from a long spiritual and philosophical tradition, as well as create their own unique methods. This thesis aims to understand their role in literary creation, with the help of the tradition of the “spiritual exercises” defined by Hadot and of the “techniques of the self” theorized by Foucault, then expanding further with the idea of atelier. Like visual artists, to progress towards Ariel or Infierno musical, Plath and Pizarnik use their atelier, a space of experiment, of freedom – a collection of notebooks, drafts and typescripts, and notes. This space made of language has two purposes : practice (a vast training, like the askesis of Antiquity) and creation (progression towards poiesis, the new idea). The atelier helps working on language and the self. Always searching for this breach that is poetry, born from an intimate place and then unfolded, from the drop of a feather to a whole, multicolored oeuvre. Or as Plath puts it : “to invent on the drop of a feather, a whole multicolored bird”. atelier poésie écriture de soi askesis création expérience écriture de l'intime Sylvia Plath Alejandra Pizarnik atelier poetry writing of the self askesis creation experience personal writing
17	Énergie et mélancolie : les entrelacs de l'écriture dans les Notebooks de S.T. Coleridge Volume 1, 2 et 3 Page-Jones, Kimberley 13 September 2013 (has links) Durant toute sa vie, Samuel Taylor Coleridge, poète et philosophe romantique anglais, a consigné ses pensées et ses réflexions sous forme de fragments dans des Notebooks, aujourd’hui regroupés dans cinq volumes. Derrière cette écriture mosaïque se dessine l’histoire d’un esprit nourri d’une insatiable curiosité pour le monde naturel et la psyché humaine. Libre de toute contrainte de structure et de genre, l’espace des Notebooks est peut-être celui qui s’ajuste le mieux au rythme si particulier de la pensée du poète. Ces textes se donnent ainsi à lire comme le reflet d’une pensée en constante évolution, qui sans cesse digresse, explore des possibles, ouvre des voies inexplorées. Cette thèse se propose donc de tenter d’en saisir les variations par une approche rythmanalytique du corpus d’étude. L’écriture des premiers carnets est essentiellement nomade, elle témoigne d’un plaisir de pérégriner, de s’ouvrir à la texture du monde. Elle se nourrit de l’énergie d’un corps en mouvement et d’une volonté d’habiter poétiquement l’espace. Toutefois, au fil du temps, le regard du poète semble peu à peu substituer le diffus et le nocturne à l’espace géopoétique ; l’écriture des Carnets se replie sur l’intime de l’être et se teinte de mélancolie. L’écriture de la mélancolie ne serait-elle pas dès lors l’envers sombre de l’écriture nomade, une écriture qui se nourrit de l’énergie du désir et de l’angoisse, et qui ne cesse de s’enrouler sur elle-même pour tendre vers ce point obscur ? Néanmoins, la mélancolie des Carnets n’est jamais synonyme d’effondrement ou de néant, elle n’appelle pas le vide mais, bien au contraire, trouve sa source d’inspiration dans une formidable vitalité pour faire advenir au jour de la parole ce qui ne se donne à voir que dans l’obscurité de la nuit. / During all his life, the English poet and romantic philosopher Samuel Taylor Coleridge secretly kept his thoughts and reflections in his Notebooks, which have been published in five volumes. This mosaic writing tells the story of a mind fed on an insatiable appetite and curiosity for the natural world and the human mind. Freed from any structural or generic constraint, the Notebooks certainly offered the poet a scriptural space well-suited for the rhythm of his thought. These texts can thus be read as the reflection of a mind constantly evolving, digressing, exploring new areas and opening new vistas. This work is an attempt to seize the variations of the Coleridgian thought by approaching rhythmically the first three volumes of the Notebooks. The writing of his first notebooks is essentially nomadic and asserts the pleasure of wandering through the natural world and delving into its texture. It feeds upon the energy of a body exploring space and of a mind struggling to inhabit the world poetically. Yet, as time passes, the poet’s gaze seems to linger more on the nocturnal sky than on the natural space. The writing of the Notebooks is then no longer the poetic substrate of the early days; it turns inward, loaded with melancholy. The writing of melancholy could therefore be seen as the darker side of the nomadic writing, one that feeds upon the energy of desire and anxiety, that takes a circumvoluted path towards this “dark spot”. Nevertheless, melancholy does not mean the annihilation of the self nor does it call for hollowness. Its source of inspiration resides in the vital force of creation which strives to bring to the light of speech that which can only be glimpsed at in the darkness of the night. Écriture de soi Journal intime Carnet Romantisme Entrelacs Errance Recueil Relation Rhyzome Polype Lieu Espace Géopoétique Marche Nomadisme Rythme Polyrythmie Rythmanalyse Imagination Énergie Désir Descriptif Spirale Image Mélancolie Acédie Vortex Fancy Nocturne Writing of the self Diary Notebook Romanticism Interlacing Wandering Collection Relation Rhizome Polypus Place Space Geopoetic Walk Nomadism Rhythm Polyrhythm Rhythmanalysis Imagination Energy Desire Descriptive Eddy Image Melancholy Acedia Vortex Fancy Nocturnal

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