This Master's thesis proposes to examine the place of space in five works by Andre Breton which are: Nadja (1928); Les Vases communicants (1932); L'Amour fou (1937); Arcane 17 (1945); Martinique charmeuse de serpents (1948). The first chapter of this thesis deals with the problem of space and its definitions through a sequence of seven authors who propose different perspectives. The second chapter explores the literary, the imaginary and the textual spaces in the aforementionned works while taking into account numerous surrealist concepts proposed by Breton.

European integration has increasingly shaped the political opportunity structure of minority nationalism. This thesis studies the attitudes and responses to European union of nationalist and regionalist parties from Brittany, Flanders, Scotland and Wales, in addition to cooperation between the parties and the emergence of transnational regionalism through the development of the European Free Alliance. Whilst nationalist and regionalist parties responded to the broad themes of European integration, and demonstrated preferences for an integovernmental or federal Europe, the EC has brought a range of specific opportunities and resources to aid minority nationalism and self-determination. This involved the EC's challenge to traditional national sovereignty, responses to EC policies and participation in European elections. However, the most significant effect of European integration was its ability to shape and influence party goals and strategies for self-determination. The goals of the nationalist parties of Scotland and Wales became heavily Europeanised to fit the new European context that emerged in the 1980s with the Single European Act. This led to a reversal of policy and attitudes towards the EC, and a relaunch of the idea of self-government in the new Europe. Attitudes towards the Maastricht Treaty also demonstrated the flexible responses of nationalist parties to economic and political sovereignty in contrast to the inflexible attitudes of the 1970s. Regionalist parties in contrast showed more stable attitudes to European union. They used the issue to complement demands for regional autonomy and federalism by linking domestic demands to European developments. Though regionalists demonstrated strong affective links to European union, they were less able to turn the issue to their advantage in political debate or elections. They increasingly Europeanised their autonomy position, often using arguments associated with nationalism rather than regionalism. This mixing of agendas brought a blurring of distinctions between nationalist and regionalist political positions.

This thesis explores the ways in which linguistic diversity is represented, articulated and theorised in the context of the promotion of Breton, a minority or lesser-used language spoken in the region of Brittany in western France. In doing so it seeks to provide a critical analysis of the changing practice of Breton and the different ways in which the language is mobilised as a vehicle for personal and collective identity. It provides a historical reading of the development of a sense of Breton identity through the language, locating the changing practice of Breton, particularly following the revival movement that began in the 1960s, in a socio-political and socio-cultural context. In tracking these functional and symbolic transformations of Breton, the thesis takes a theoretical approach that can broadly be described as belonging to the discipline of critical language studies. Working from this critical perspective, it explores the way different language ideologies frame issues of linguistic diversity and examines the way notions of language, linguistic diversity and identity are epistemologically constructed. In doing so it argues the need for greater critical awareness of the effects these ideologies may have on diversity, with a view to developing more effective ways of promoting diverse language practices and linguistic identities in Brittany.

Texte remanié de: Th. Etat--Brest, 1993. Titre de soutenance : L'évolution de la pratique du breton de la fin de l'Ancien régime à nos jours. / Bibliogr. p. 455-485.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1974. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

No description available.

No description available.

Ce mémoire a pour sujet d’étude Le surréalisme et la peinture d’André Breton. Nous cherchons à montrer de quelle manière Breton redéfinit le mouvement surréaliste à la lumière des arts visuels. Nous avons pour postulat qu’il s’agit du texte central de Breton pour comprendre la peinture surréaliste, et qu’il pourrait même s’agir là d’un manifeste de la peinture surréaliste. Nous étudions de quelle manière Breton s’inscrit dans une lignée d’écrivains qui abordent les arts visuels dans leurs textes, et qu’il fait cela tout en se détachant des critiques d’art de son époque. Nous croyons que Le surréalisme et la peinture est un texte qui allie à la fois un discours critique et poétique. De plus, en nous penchant sur d’autres textes sur l’art de Breton, nous montrons l’évolution de ses idées sur les arts visuels. Nous nous penchons aussi sur des concepts comme le modèle intérieur et l’automatisme pour comprendre avec quels paramètres Breton tente de définir la peinture surréaliste.

L’objectif de cet essai est d’interroger l’absurde en tant que catégorie esthétique dans le théâtre Dada et pré-surréaliste français, entre 1916 et 1923, et ce dans trois textes : La Première aventure céleste de Monsieur Antipyrine, de Tristan Tzara (1916), S’il vous plaît, d’André Breton et Philippe Soupault (écrit en 1919) et Les Mystères de l’amour, de Roger Vitrac (écrit en 1923).L’absurde en tant que catégorie de théâtre a été notamment interrogé à la moitié du siècle dernier par le critique de théâtre britannique Martin Esslin, auteur de la conception d’un « théâtre de l’absurde », mise en place afin de caractériser et d’expliquer l’oeuvre des avant-gardes contemporaines. Cette contribution jouit à la fois d’une grande popularité et a été l’objet de vives critiques, qui la qualifient d’imprécise sinon vague. À ce titre, la présente thèse, afin de définir l’absurde, ne reprend pas les propositions de M. Esslin, mais s’efforce de procéder de manière indépendante. Dans la conclusion, elle effectue une comparaison avec la conception de cet auteur.La première section de cette thèse définit l’absurde en tant qu’une catégorie esthétique et de théâtre ; puis, elle s’intéresse à l’évolution de l’absurde esthétique (formulé comme tel ou intuitif) dans l’histoire du théâtre, notamment en France dans la période postclassique. La deuxième section étudie l’absurde dans le corpus concerné en examinant les structures narratives ainsi que discursives. / The aim of this doctoral dissertation is to analyze the absurd as an aesthetic category in French Dada and pre-surrealist theatre between 1916 and 1923, dealing with three texts : La Première aventure céleste de Monsieur Antipyrine by Tristan Tzara (1916), S’il vous plaît, by André Breton et Philippe Soupault (written in 1919) and Les Mystères de l’amour by Roger Vitrac (written in 1923).The absurd as a theatre and drama category was examined especially at the half of the last century by the British drama critic Martin Esslin, author of the conception of the ‘theatre of the absurd’, created in order to caracterize and explain the avant-garde theatre of the 1950´s. This contribution has reached both popularity and deep critics, being considered as poignant as well as imprecise and vague. Thus, this dissertation does not use M. Esslin´s propositions as its starting point, bur attempts to define the category of the absurd in drama and theatre independently. In the conclusion, it proceeds to a comparison with M. Esslin´s contribution.The first chapter of the thesis defines the absurd as an aesthetic and theatre category. Then, it observes the evolution of the aesthetic absurd (named as such or intuitive) in theatre history, before all in France of the post-classical period. The second part analyzes the absurd elements in my corpus, as regards narrative and also discursive structures.