none

Les philosophes des Lumières recourent fréquemment à la fiction brève dans leurs textes littéraires. Il s'agit d'un outil qui est employé pour penser "dans" et "par" le récit, autant que pour essayer d'emporter l'adhésion du lecteur. L'anecdote compte au nombre de ces micro-récits. Pourtant, il semblerait qu'on ne puisse pas résoudre ce registre littéraire à ces deux emplois en contexte épistolaire. Notre thèse a donc pour ambition d'étudier les contextes et les enjeux du recours à l'anecdote en fonction des différents destinataires, ainsi que le rôle qu'elles occupent dans la relation épistolaire qu'entretient Diderot avec sa maîtresse, Sophie Volland. / The Enlightenment philosophers use frequently brief fiction in their literary texts. It is a tool that serves to think in and through the narrative or to win the reader's adhesion. The anecdote is part of this register of fictions. Yet, within the framework of a correspondence, one can not solve the anecdotes to these two stakes. Therefore, our thesis has as amibition to study the contexts and the stakes which motivate the use of an anecdote according to the recipient, as well as the role that they have in the epistolary relationship between Diderot and Sophie Volland.

No description available.

Cette étude consiste à embrasser dans un même mouvement les différents récits courts stendhaliens. Elle s'articule en cinq temps. Les trois premiers moments consistent à analyser, séparément, les anecdotes, nouvelles et récits inachevés stendhaliens. Une fois ces différentes typologies établies, l'étude se focalise sur la notion d'énergie, dénominateur commun de l'ensemble des récits courts composés par Stendhal. Enfin, le dernier chapitre cherche à montrer aussi bien la portée que la place de ces textes hétérogènes dans le vaste ensemble de la création stendhalienne. L'un des principaux intérêts de ce travail est de réhabiliter des textes qui, pour des raisons aussi bien génériques qu'éditoriales, n'ont pas encore été l'objet d'une étude exhaustive. Notre réflexion vise également à montrer tout à la fois la permanence et l'unité du genre bref dans l'œuvre de Stendhal, malgré l'existence d'indéniables différences entre les textes. Notre étude établit également une continuité entre récits courts et récits longs, ce qui permet de mieux comprendre des phénomènes stendhaliens aussi essentiels que l'inachèvement, la réécriture ou encore l'intertextualité. / This study is to embrace in the same movement the various short stories Stendhal. It is divided into five times. The first three stages are to analyze separately the anecdotes, news stories and unfinished Stendhal. After these established typologies, the study focuses on the concept of energy, the common denominator of all short stories composed by Stendhal. The last chapter seeks to show both the extent that instead of these heterogeneous texts in the broad set of Stendhal's creation. One of the main interests of this work is to rehabilitate texts that, for reasons both generic editorial, have not yet been subject to a comprehensive study. Our thinking is also intended to show the permanence and unity of the short kind in Stendhal's work, despite the undeniable existence of differences between the texts. Our study also establishes continuity between short stories and long stories, allowing a better understanding of phenomena as essential as Stendhal incompleteness, rewriting or intertextuality.

L’étude diachronique des écrits en français de Cioran montre que le dynamisme de cette œuvre a pour source la manière d’écrire. L’univers idéel est statique. La manière de dire est en mouvement. La volonté de s’imposer sur la scène culturelle française pousse « le métèque » à mettre fin à son lyrisme. La frivolité qui consiste à jouer avec les idées en est la conséquence. Elle est à l’antipode de l’écriture philosophique dont la principale raison d’être est l’appréhension de l’essence des choses. Après l’échec des Syllogismes, Cioran s’est rendu compte qu’il a mal misé sur la frivolité des Français. A partir de La Tentation d’exister, il cherche à créer un texte relativement suivi. Un sceptique ne peut endurer cette corvée qu’en recourant à la fiction. La sécheresse des concepts abstraits est adoucie grâce à un langage métaphorique. La narration rompt avec les principaux procédés de l’écriture philosophique comme l’analyse et l’argumentation. Le texte évolue par contiguïté sémantique. Le conflit entre vérité et littérature devient moins intense. Le vieux Cioran, en proie au compte-gouttes de la vieillesse, souffre de ne plus pouvoir se manifester. Recourir à ses expériences quotidiennes ou à des passages lus est une source de matière verbale. Les scènes de la vie quotidienne rafraîchissent la conscience desséchée par la recherche exclusive de l’idée. La citation participe du même travail de concrétisation. La vie quotidienne a une valeur cognitive supérieure à celle du raisonnement philosophique. De même, les écrits des maîtres spirituels, des mystiques et des poètes sont plus pénétrants que les ouvrages philosophiques. Littérature et vérité se sont réconciliées. / The diachronic study of the writings in French of Cioran shows that the dynamism of this work has for manner source to write. The ideal universe is statistical. The manner to say is in movement to meet different challenges. The willingness to impose itself on the French cultural scene pushes the "Wog" to put an end to his lyricism. The frivolity of playing with ideas to create unusual forms is the consequence. It is the antithesis of the philosophical writing whose primary purpose to be the understanding of the essence of things. After the failure of Syllogismes, Cioran realized that he bet badly on the frivolity of the French people. From The Temptation to exist, it seeks to create a relatively tracking text. A skeptic cannot endure this chore than through fiction. The drought of abstract concepts is eased thanks to a metaphorical language. The narrative breaks with the main processes of philosophical writing as deduction, induction, analysis, synthesis and arguing. The text evolves by semantic contiguity. The conflict between truth and literature becomes less intense. The old Cioran, in prey to the dropper of the old age, suffer of more power to appear. To resort to its daily experiences or read passages is a source of verbal matter. The scenes of daily life refresh the dry conscience by exclusive research idea. The quote participates the same search for concrete. The daily life has a cognitive value than the philosophical reasoning. Similarly, the writings of spiritual teachers, mystics, poets and writers are more penetrating than philosophical work. Literature and truth are reconciled.

В работе рассмотрены анекдоты, публиковавшиеся в официальных периодических изданиях юмористического профиля («Литературная газета», журналы «Перец» и «Крокодил») в период 1964-82 гг. Посредством применения контент-аналитического подхода и интерпретации полученных данных через призму концепции «мифа» сделаны выводы о специфике отражаемого изданиями образа окружающей действительности. Так же выявлены характерные для каждого издания особенности, влияющие на формы её отражения для своей целевой аудитории. / The paper deals with anecdotes, published in the official periodical of humorous profile ("Literary Gazette", magazine "Pepper" and "Crocodile") during the 1964-82 biennium. Through the use of content-analytical approach and interpretation of the data obtained through the prism of the concept of "myth" conclusions about the specific editions reflected the image of reality. As revealed characteristic features of each edition, affecting its forms to reflect their target audience.

Heitere Anekdoten um Prominente und weniger Prominente aus Schleswig-Holstein.

Medicine has been called a science, as well as an art or a craft, among other terms that express aspects of its practical nature. Medicine is not the abstract pursuit of knowledge. Medical researchers and clinical practitioners aim primarily to help people. As a first approximation then, given its practical focus on the person, the most important question in medicine is: what works? To answer that question, however, we need to understand how we know what works. What are the standards, methods and limits of medical knowledge? That is the central focus and subject of this inquiry: how we know what works in medicine. To explore medical knowledge and its limits, this thesis examines the common notion that laughter is the best medicine. Focusing on laughter provides a robust case study of how we know what works in medicine; it also, in part, reveals the thin, perhaps even non-existent, distinction in medicine between empirically-grounded knowledge and intuition. As there is no single academic discipline devoted to laughter in medicine, the first chapter situates and charts the course of this unusual project and explains why inquiry into laughter in medicine matters. In the following chapters, we encounter claims from distinguished sources that laughter and humor are the best medicine. These claims are examined from a variety of perspectives including not only the orthodox view of evidence-based medicine, but also from narrative, evolutionary and complexity views of medicine. The rarely explored serious negative side of laughter is also examined. No view provides a firm foundation for belief in laughter medicine. A general conclusion from this inquiry is that none of the approaches effectively tame the complexity of medical phenomena; indeed each starkly reveals a greater complexity than found at first glance. A narrower conclusion is that providing a basis for claims about laughter in medicine poses its own specific challenges. A third conclusion is that, as things stand, none of the existing approaches seems up to the task of determining whether something such as laughter is the best medicine.

Medicine has been called a science, as well as an art or a craft, among other terms that express aspects of its practical nature. Medicine is not the abstract pursuit of knowledge. Medical researchers and clinical practitioners aim primarily to help people. As a first approximation then, given its practical focus on the person, the most important question in medicine is: what works? To answer that question, however, we need to understand how we know what works. What are the standards, methods and limits of medical knowledge? That is the central focus and subject of this inquiry: how we know what works in medicine. To explore medical knowledge and its limits, this thesis examines the common notion that laughter is the best medicine. Focusing on laughter provides a robust case study of how we know what works in medicine; it also, in part, reveals the thin, perhaps even non-existent, distinction in medicine between empirically-grounded knowledge and intuition. As there is no single academic discipline devoted to laughter in medicine, the first chapter situates and charts the course of this unusual project and explains why inquiry into laughter in medicine matters. In the following chapters, we encounter claims from distinguished sources that laughter and humor are the best medicine. These claims are examined from a variety of perspectives including not only the orthodox view of evidence-based medicine, but also from narrative, evolutionary and complexity views of medicine. The rarely explored serious negative side of laughter is also examined. No view provides a firm foundation for belief in laughter medicine. A general conclusion from this inquiry is that none of the approaches effectively tame the complexity of medical phenomena; indeed each starkly reveals a greater complexity than found at first glance. A narrower conclusion is that providing a basis for claims about laughter in medicine poses its own specific challenges. A third conclusion is that, as things stand, none of the existing approaches seems up to the task of determining whether something such as laughter is the best medicine.

An analysis was made of the personal and non-personal post-Soviet political anecdotes. It is argued that post-Soviet political anecdotes have been created during 2000–2019. The starting point is that the Russian word анекдот carries particular, cultural information and does not have a systematic equivalent in Swedish ot English, i.e. it can not be directly translated to English as anecdote or joke or to Swedish as anekdot, skämt, or vits. This was demonstrated in a brief comparison with Swedish jokes and anecdotes.  Using three text corpora with a total of 3,170 political anecdotes, I examined: (a) how events and politicians are described and how this can be decoded (corpus 1 and 3); (b) what topics are most common (corpus 2 and 3).  A more in-depth analysis of cultural references, pragmatics, semantics and deixis was made of 33 selected anecdotes, which were considered to be representative for the genre. The analysis showed that the thematics tend to be recurring, that few new anecdotes are added, old anecdotes are repeated and that the genre has undergone considerable changes during the past two decades. Such a change is the abscense of post-Soviet anecdotes with significant critique against politicians or sensitive political topics, as compared to earlier anecdotes, and a simplification of the genre. This development is a possible result of that anecdotes are no longer told as often as during previous decades, as well as the new Russian law § 282 implemented as of spring 2019, which affects the creation and distribution of anecdotes. By extrapolation, the observed changes could lead to parts of the most common anecdotes becoming tematic jokes in the future.