Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

Deux cent soixante-quinze années se sont écoulées depuis la parution du conte « La Belle et la Bête » (1740), écrit par Mme de Villeneuve, qui a été repris par Mme Leprince de Beaumont en 1756. La notoriété de ce conte ne s’est jamais démentie. Au début du XXIe siècle, quatre auteurs de langue française ont proposé des réécritures de « La Belle et la Bête ». Dans le cadre de cette thèse, nous analysons ce corpus formé de deux romans (Le Roman de la Belle et la Bête de Bernard Simonay et Là où la mer commence de Dominique Demers), une pièce de théâtre (La Belle et la Bête de Laurent Péan) et deux albums pour enfants (Annabel et la Bête de Dominique Demers et Lisebelle & la Bête de Jean-Pierre Kerloc’h). Nous cherchons à montrer comment ces œuvres ont réactualisé l’histoire de « La Belle et la Bête » en développant les trois grands thèmes qui sont au cœur de ce conte : le monstrueux, le merveilleux et l’intrigue amoureuse.

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

DOMINIQUE VIVANT DENON - FROM TRAVELS IN ITALY TO THE LOUVRE MUSEUM. TOWARD A TYPOLOGY OF THE 18TH CENTURY TRAVELOGUE. Keywords: travelogue, 18th century, libertine culture, Italy, Egypte, Napoleon, Louvre. Number of characters: 121 846 (68 pages) The present thesis, Dominique Vivant Denon - From travels in Italy to the Louvre Museum is divided into two parts. The first one is a monograph on baron Vivant Denon, an important figure of the cultural life in the late eighteenth and early nineteenth centuries, the author of Point de Lendemain, two travelogues, Voyage dans la Basse et la Haute Égypte and Voyage en Sicile, but, primarily, Napoleon's advisor in the field of fine art and the first director of The Louvre. The introductory pages of the thesis deal with the reception of Denon's works. There is a certain flux in the perception of Denon's oeuvre which has given rise to a range of interesting issues. One of them, the popularity of the libertine culture of pre-revolutionary France in the second half of the twentieth century, accounts for the fact that the novella Point de Lendemain is today the best known piece among Denon's extensive and multifaceted writings. A shift in the perception of the travelogue as a literary genre in our time, when the remotest of places are accessible in hours, may be...

Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2013-2014. / Le présent mémoire porte sur le traitement médiatique de trois affaires (affaire Nagy, affaire Banon et affaire du Sofitel) concernant des allégations de violence sexuelle à l’endroit de Dominique Strauss-Kahn (DSK), ancien directeur du Fonds monétaire international (FMI) et homme politique français. À partir de l’analyse d’articles parus en France et aux États-Unis entre 2008 et 2012, aux moments-clés de ces affaires, plusieurs constats ont été effectués. D’abord, le cadrage des évènements et des protagonistes a changé avec le temps. Ensuite, plusieurs débats ont été soulevés dans le contexte de ces affaires, notamment sur le féminisme et sur la distinction privé/public. Enfin, on observe des similitudes et des différences entre les médias français et américains dans le traitement de ces affaires. Le mémoire propose une réflexion sur la distinction privé/public et sur le concept de « scandale sexuel ». / This thesis is about the media coverage of three scandals (“affaire Nagy”, “affaire Banon” and “affaire du Sofitel”) in which allegations of sexual violence were brought against Dominique Strauss-Kahn (DSK), former Managing Director of the International Monetary Fund (IMF) and French politician. Articles published in newspapers in France and the United States from 2008 to 2012, at the key moments of those scandals, were analyzed. From these, several conclusions were made. First, the framing of the events and of the protagonists changed over time. Second, many topics were debated in the context of those scandals, including feminism and the distinction between the public and the private. Third, similarities and differences were observed between the French and the American media. This thesis offers a reflection on the distinction between the public and the private and on “sex scandals”.

This thesis addresses aspects of Romanian society and cinema, by analyzing post-communist films through the perspective of marginality. The central hypothesis of this study refers to the ways in which films illustrate conditions of post-communist Romanian society, as they consider representations of the periphery through the angle of allegories of marginality. Following a long tradition, especially in literary studies, where it refers to the overt insertion of symbolic meanings, allegory refers in this study to a less noticeable delivery, by using a postmodern interpretation of the concept. This translates to detecting a latent meaning in films, by interpreting them in a broader context pertaining both to the film's circumstances (production, distribution and reception), and to the broader framework of the film's content. What connects post-communist Romanian films is a concern for matters of marginality, as they focus on dissensions in society, intergenerational conflicts, youth and limited opportunities of social movement, and the use of satire as a way of handling the bleak conditions of life. Aiming to provide a realistic representation of post-communist life, new wave Romanian films focus on the mundane reality of everyday life. The films discussed in this thesis expand beyond the scope of the new wave, and present a diversity of aesthetic approaches and relating perspectives on allegory—from distinct to obscure—defined by the contextual conditions of post-communism.

1 Abstract The thesis describes the reception and Czech translations of Story of O by Pauline Réage, an erotic novel which was considered scandalous in its time (1954) and became part of the canon of French contemporary prose. In the first part, the thesis characterizes the structure and style of Story of O. It then presents the specific context of its first publication and places the novel in the evolution of French literature. In this part, the thesis also attempts to describe the reception context in the fifties and compares the situation with how the novel is perceived by the current literary scene and cultural domain in general. In this part of the reception analysis, the thesis relies on critical reviews in French periodicals and reactions on the internet. It also mentions the perspective of literary theoreticians on similarly themed works. In the second part, the thesis introduces two Czech translations and attempts to recreate the reasons which led to the publication of the first translation Příběh O.: krásná z Roissy, Tabu, 1991 by Lucie Erbenová and the second translation Příběh O; Návrat do Roissy, Host, 2005 by Matěj Turek. Furthermore, it presents the reasons for the republication in Host in 2013. The analysis of the current reception in the target culture preceeds the focal part of this thesis...

The thesis is devoted to the work of the French writer and philosopher Donatien Alphonse François de Sade and three female 20th-century French novelists Laure, Pauline Réage and Jeanne de Berg, whose work draws inspiration from Sade's. In the first part of the thesis we focus on the Marquis de Sade. First, we recount the key events in Sade's adolescence and family life, his sexual indulgences and particularly his lengthy imprisonment, as these had profound influence on his work. Next we highlight the relevant historical incidents of his time and discuss the position of his work within the so- called libertin literary movement. Then we proceed to analyze the themes and motifs of Sade's three pivotal books: 120 Days of Sodom (Les Cent Vingt Journées de Sodome), Justine (Justine ou les Malheurs de la vertu), and Juliette (Histoire de Juliette). Our analysis points out a deeper philosophical message that can be found behind erotic themes of Sade's work. In the final sections we describe the fate of Sade's legacy in the 19th century and also his rehabilitation in the 20th century, when his writings have finally been critically studied and his collective works published. The second part of the thesis concentrates on Sade's female followers in the 20th century: Collette Peignot alias Laure (Laure: Écrits),...

Made available in DSpace on 2016-04-26T18:17:07Z (GMT). No. of bitstreams: 1 Fabiana Amelio Faleiros.pdf: 1035369 bytes, checksum: 645568e91e00d3beb6c485f2dba5ca75 (MD5) Previous issue date: 2008-04-18 / This study discusses the ways in which the technologies of communication create ways of life resulting in forms of subjectivity. In the first part of the work, we discuss the concepts of subjectivity and its links with the viewing technology, in light of concepts and studies of Michel Foucault and society of the spectacle of Guy Debord. In the second part, from the concept of Relational Aesthetics of Nicolas Bourriaud, in dialogue with the work of Dominique Gonzalez-Foerster, seeking to show how this artist create the singularization of the relationship with the spaces shared through your project in video and film Parc Central. In the third part of the work, dialoguing with On Kawara, with focus on the work I am still alive - series of telegrams made from 1969. Thus, it is sought to understand how these two artists, each one in their own way, are interrelated the singularization of subjectivation processes from speaking in first person. In the fourth part we intended to create tensions between that sentence of On Kawara in the context of permanent connection of the subject in the contemporary through an "action" of the author in the city of Sao Paulo, which included posters with the phrase "I am still alive" and distribution of a video by e-mail. Confronting this "action" with the authors and artists studied, the conclusions indicates that it is through interventions in the ways of life homogenous created by the new technologies of communication that we can create spaces for singularization of contemporary subjectivity / Esta pesquisa discute as formas pelas quais as tecnologias de comunicação criam modos de vida implicando em formas de subjetividade. Na primeira parte do trabalho, discutimos as noções de subjetividade e seus vínculos com tecnologias de visualização, a luz de conceitos e estudos de Michel Foucault e da sociedade do espetáculo de Guy Debord. Na segunda parte, a partir do conceito de Estética Relacional de Nicolas Bourriaud, em diálogo com a obra de Dominique Gonzalez-Foerster, buscamos mostrar a forma como esta artista singulariza a relação com os espaços compartilhados através de seu projeto em vídeo e película Parc Central. Na terceira parte do trabalho dialogamos com On Kawara, com foco na obra I am still alive - série de telegramas feita a partir de 1969. Assim, buscou-se compreender como esses dois artistas, cada um a sua maneira, articulam processos de subjetivação singularizadores a partir da fala em primeira pessoa. Na quarta parte pretendeu-se criar tensões entre essa frase de On Kawara no contexto de conexão permanente do sujeito na contemporaneidade através de uma "ação" da autora na cidade de São Paulo, que incluiu cartazes com a frase "Eu ainda estou vivo" e a distribuição de um vídeo via correio eletrônico. Confrontando esta "ação" com os autores e artistas estudados, as conclusões indicam que é através de intervenções nos modos de vida homogeneizantes criados pelas novas tecnologias de comunicação que se pode criar espaços de singularizarão da subjetividade contemporânea