Although the Maximes as we know them are the original work of the duc of La Rochefoucauld, Jacques Esprit and Mme de Sable contributed to the first versions of the text. At one time, the three friends even talked of regrouping their contributions in one volume. However, little by little, the "common collection" seems to contain only the reflexions of La Rochefoucauld, and Mme de Sable and Jacques Esprit decide to become writers in their own right. So, while the marquise chooses also to write "maximes", Esprit prefers a moral treatise on the falseness of human vertus, La Faussete des vertus humaines. Having become writers, Esprit and Mme de Sable nonetheless produce second-rate works, while only La Rochefoucauld produces the masterpiece known as the Maximes. Our study traces the phenomenon of the artistic literary work which emerges from what began as a collective effort. Through a historical, thematic and stylistic approach, we establish different elements which contribute to the fundamental originality of La Rochefoucauld's Maximes.

In 1750, the architect Giovanni Niccolo Servandoni built a Temple of Love in Gennevilliers, just north of Paris for the notorious libertine, the Duc de Richelieu. The new social freedom gained by the decline of the ancien regime gave birth to a democratic space that first appeared in the theatre and a personal freedom which changed the currents of thought on love. Servandoni's work as a painter, theatre designer and engineer of spectacles are promoted in the theory of Jacques-Francois Blondel and later Nicolas Le Camus de Mezieres as prime examples of architecture in their theories of sensation. Libertine love, read through the literature of the time, clearly understands the limit of sensation and the "terrible state/loss of freedom" produced by real love. By general consensus an agreement to operate within the realm of sensation governs the ethics of libertine love and architecture. Servandoni's Temple of Love provides an ironic statement on love in the eighteenth century.

Orientador : / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-07-28T17:36:40Z (GMT). No. of bitstreams: 1 Monteiro_PedroMeira_D.pdf: 52519703 bytes, checksum: e0eb3c28c31dfa2006d5c6b109592fbd (MD5) Previous issue date: 2001 / Résumé: Voici une enquête sur Ia présence des maximes de La Rochefoucauld dans Ia Constituição moral, e deveres do cidadão (1824-1825), de José da Silva Lisboa. La thêse expose le croisement de deux textes dont les significations s' éc1airent par l'intervention moralisatrice de l'auteur brésilien, qui ne voit dans les maximes qu'une "morale mondaine", contre laquelle il va opposer sa propre "morale chrétienne". Lisboa aura assez bien compris le fond sombre sur lequel est dressé l' empire de l' amour-propre, de telle façon que son message civilisateur va offrir une sorte de contre-poison pour Ia littérature haissable du duc moraliste. Aussi aura-t-il construit l'idéal de Ia nouvelle civilisation brésilienne, en l'érigeant contre Ia machine infernale des passions, qu'il va identifier soit dans les ruines laissées par Ia Révolution, soit dans les ruines de Ia nature humaine, toute plongée dans Ia tromperie et dans l'illusion des vertus, si l' on entend les maximes du XVIr siecle / Resumo: Tem-se aqui uma pesquisa sobre a presença das máximas de La Rochefoucauld na Constituição moral, e deveres do cidadão (1824-1825), de José da Silva Lisboa. A tese procura expor o cruzamento de dois textos cujas significações se esclarecem por meio da intervenção moralizadora do autor brasileiro, que vê, nas máximas francesas, a "moral mundana", contra a qual oporá sua própria "moral cristã". Lisboa terá tão bem compreendido o fundo sombrio sobre o qual se desenha o império do amor-próprio, que sua mensagem civilizadora terminará por oferecer uma espécie de contra-veneno para a literatura odiosa do duque moralista. Assim sendo, terá ele imaginado o ideal de uma nova civilização brasileira, erigindo-se contra a máquina infernal das paixões, que identifica ora nas ruínas deixadas pela Revolução, ora nas ruínas da natureza humana, mergulhada no engano e na ilusão das virtudes, se dermos ouvidos às máximas do século XVll / Doutorado / Teoria e Critica Literaria / Doutor em Teoria e História Literária

Comment peut-on transformer un Je réel en œuvre ? À quoi peut-on reconnaître dans une œuvre l’identité de ce Je et de l’auteur ? Dans cette recherche, nous voudrions tenter d’explorer un espace autobiographique dans le domaine cinématographique, à partir de la présence d’un double filmique du cinéaste, d’un autre moi dont l’identité se construit et se prolonge de film en film.Dans le cinéma français, nous pouvons relever trois types de double filmique : l’« Orphée-poète » de Jean Cocteau, l’« Antoine Doinel » de François Truffaut, et cet « ancien militant de la génération 68 » de Romain Goupil. Au travers de ces figures de l’image de soi, les trois cinéastes, dont les univers filmiques se différencient radicalement les uns des autres, parviennent à se raconter eux-mêmes au-delà de toute référence biographique.Afin de mettre en lumière certaines caractéristiques de l’expression du Je, nous voudrions étudier les diverses facettes du regard porté sur soi : nous y verrons ce regard croisé avec un moi-autre, qui nous mènera jusqu’au regard impossible sur sa propre mort. Tous ces regards seront aussi étudiés au travers des diverses modalités de la façon dont nous entendons la voix du cinéaste. Le regard de l’auteur se dédouble sans cesse dans une inlassable dialectique entre le moi réel et un autre moi. De ce dédoublement du regard résulte d’ailleurs une forme de polyphonie. Si nous parvenons à reconnaître une œuvre comme autobiographique, c’est du fait de ce dédoublement du regard et de la voix, qui s’opère à l’intérieur de l’œuvre elle-même. / In which way does a cineaste transforme his or her reel self into works? How can we recognize this self-image in the films? This study concerns the autobiographical expression in the films of sevral french cineastes, such as Jean Cocteau, François Truffaut, and Romain Goupil, those who intended constantly to create their own cinematic double all over their works. We will see the distinctive character of self-expression films through the various aspects of cineastes’ introspective gaze : those toward his « another self », toward his own death, etc. These gazes might be also examined in relations with the various ways that we can hear the polyphonic voices of cineastes.

This thesis deals with the development of the political environment and society in the Union of South Africa between 1939 and 1948. This period is characterized not only by close cooperation with Great Britain during World War II, the temporary suppression of nationalist opposition and the dominance of the United Party led by Jan Smuts in the South African political scene, but also social tensions and escalating conflict between the mainly Afrikaner "white" populations in the Union and non- European ethnic groups. Regardless of the fact that the Union was in World War II on the side of the victors and the sacrifice that had to bring in comparison with many other belligerent countries was relatively small, Smuts and his United Party suffered a fatal defeat in the first post-war elections in 1948. These elections not only meant the actual end of Smuts' political career and departure of United Party to permanent opposition, but also the beginning of the rule of Afrikaner nationalists for more than forty years. This paper aims to analyse the changes in society and the political climate in the Union during World War II and in the first three years after the war and the reasons that led to long-term dominance of nationalists in South Africa. Key Words Union of South Africa, Second World War, Union...

Sonatas for oboe in the classical period are classified as 'solo sonatas.' These 'solo sonatas,' which originated in the baroque period, consist of a melody instrument and basso continuo. Solo sonatas for oboe, which account for a sizeable repertory in the baroque period, continued to be composed in the classical period but in the baroque style. The basso continuo setting for sonatas gradually disappeared toward the end of the period, developing into the duo sonata in which a solo instrument and piano played an equal role in presenting melodic material. While the fully developed classical sonata was written for piano alone, and duos for violin and piano and cello and piano, the sonatas for oboe did not make this transition. The duo sonatas for oboe and piano by Jacques Christian Michel Widerkehr are exceptions to the baroque style 'solo sonatas.' Widerkehr's sonatas are the only true 'duo sonatas' for oboe and piano written in the classical period. François Devienne's sonatas deserve special recognition as the only 'solo sonatas' for oboe written predominantly in the classical style. In addition to presenting an overview of sonatas for oboe, biographical information on Widerkehr and Devienne, current state of research of Widerkehr's sonatas, changes in performance venue and instrumental design of the oboe, an examination of Widerkehr's Duos for Oboe and Piano in E Minor and C Major will follow. Examples of classical style elements and procedures are identified in each analysis with an emphasis on the duo setting. Devienne's Sonata in G Major, Op. 71, No. 1, serves as an example of his six oboe sonatas. Although the work is composed in a basso continuo setting, examples of classical style characteristics are identified in an analysis of the three movements.

À partir de 1635, le Japon de la dynastie des Tokugawa se replie sur lui-même en officialisant sa fermeture aux échanges avec l’étranger, avec la mise en place de la politique isolationniste du sakoku, et seuls les marchands opérant pour le compte de la Compagnie néerlandaise des Indes orientales sont désormais autorisés à commercer au pays, de manière limitée. C’est dans ce contexte que fut rédigée, en 1636, la Vraie description du puissant royaume du Japon, par un marchand hollandais protestant du nom de François Caron. L’ouvrage, un bref document administratif, qui n’était d’abord pas destiné à être publié, connût néanmoins un vif succès à partir de 1661, et fut traduit dans plusieurs langues. Dans le cadre de ce mémoire, nous étudierons l’influence de la Vraie description sur les représentations des Japonais dans la France du XVIIe siècle, à travers les riches descriptions faites par son auteur de la société et de la culture du Japon de l’ère Edo. Pour ce faire, nous allons dans un premier temps analyser les écrits des Jésuites, qui sont les premiers à construire une image particulière des Japonais et en influencer durablement les représentations. Dans un second temps, nous analyserons en détail la Vraie description pour en dégager l’image qu’a pu avoir un marchand hollandais du Japon du XVIIe siècle. Dans un troisième et dernier temps, nous nous intéresserons à l’influence de la Vraie description sur la manière dont les auteurs français écrivirent sur le Japon à la fin du XVIIe siècle et au début de l’époque des Lumières. / From 1635 onward, Tokugawa Japan closed itself to any type of foreign trade, with the establishment of the isolationist policy of sakoku, and only merchants operating on behalf of the Dutch East India Company were permitted to trade in the country, on a limited basis. It was in this context that the True Description of the Mighty Kingdoms of Japan and Siam was written, in 1636, by a Protestant Dutch merchant known as François Caron. The work, a brief administrative document, which was not initially intended for publication, was a great success from its first publication in 1661, and was translated into several languages. As part of this thesis, we will study the impact of the True Description on perceptions of the Japanese in 17th century France, through the rich descriptions made by its author of the society and culture of Edo Japan. To do this, we will first analyze the writings of the Jesuits, who were the first to build a particular image of the Japanese and to have a lasting influence on the way they were described and perceived. Secondly, we will analyze in detail the content of the True Description in order to determine the image that a Dutch merchant of the 17th century may have had of Japan and its people. As a conclusion, we will examine the influence of the True Description on the way French authors wrote about Japan from the end of the 17th century to the beginning of the Enlightenment.

Portés par un imaginaire hérité des récits de voyage ou d’exploration, ainsi que du roman de la route américain et québécois, les romans contemporains Six degrés de liberté de Nicolas Dickner et Document 1 de François Blais subvertissent l’écriture du voyage en mettant en cause ses conventions et ses présupposés, de même qu’en ébranlant une compréhension stable de l’espace. Ces deux textes mettent en scène des déplacements insolites : que ce soit à bord d’un conteneur réfrigéré ou sur le web, traversant de vastes territoires ou choisissant plutôt d’être cloîtrés, les protagonistes y transforment la visée cartographique du voyage. Tout en reprenant et en déplaçant une écriture du voyage codifiée, car marquée par nombre de topoï et de clichés qui apparaissent comme une véritable matière à s’approprier et à travailler, ces deux textes déploient des cartographies singulières, lesquelles mêlent invention et réalité, espaces géographiques et lieux imaginaires. Aussi ce mémoire entend-t-il s’intéresser à la représentation des lieux et du voyage dans ces deux récits, et ce, en portant une attention particulière au jeu que les romanciers instaurent avec leur lecteur, car c’est par le biais d’une ironie ludique que Document 1 et Six degrés de liberté observent et écrivent la réalité contemporaine. / Influenced by travel and exploration stories, as well as the American and Quebec road narratives, the contemporary novels Six Degrees of Freedom by Nicolas Dickner and Document 1 by François Blais subvert travel writing by challenging its conventions and assumptions, while interrogating a stable understanding of space. These two novels feature unusual journeys: whether on board a refrigerated container or through the web, crossing vast territories or confined, Blais and Dickner’s protagonists transform the cartographic purpose of travel. As they rewrite codified travel narratives and take over a number of topoï and clichés, these two texts deploy singular cartographies, which mix invention and reality, geographical spaces and imaginary places. This thesis therefore intends to focus on the representation of space and travel in these two novels, with a particular attention to the way novelists play with their reader, for it is through a ludic irony that Document 1 and Six degrees of freedom observe and record today’s reality.

This thesis examines the French translation of the 224 neologisms in Harry Potter and the Deathly Hallows, the seventh book in J.K. Rowling’s fantasy series. By analyzing the original neologisms and their French equivalents, this research compares the word formation processes used by both the author and the translator, Jean-François Ménard. Additionally, to categorize Ménard’s translation techniques, this study adapts a framework designed by Jacqueline Henry to classify translations of word play. While Ménard uses the same types of word formation as Rowling to create his lexicon, this study reveals that he often chooses a different neological process or distinct lexemes to recreate the effect of the original neologism. To achieve this, Ménard relies on his own creativity and embraces the norms of the French language to give his audience a reading experience comparable to that offered to the readers of the original text. / Graduate

Misgendering as a phenomenon is currently analyzed mainly from the perspective of gender studies, where it is generally considered a hostile and morally contestable practice. The aim of the presented work is the analysis of misgendering from a completely different position - misgendering as an issue of reference. This type of analysis brings novel insights both to the debates in the field of gender studies and to the debates concerning reference as such. As an interpretative framework I am using Récanati's account on mental files; I am using this conceptual base for evaluating whether given reference and/or coreference may be considered (un)successful. In this framework I examine several model situations, where misgendering takes place, and based on this inquiry I propose a two-level typology of the misgendering phenomenon. The first level takes place only at the perceptual level, where the speaker forms singular thoughts about an object she's perceiving. At the second level, which includes interpersonal reference, I distinguish between three types of misgendering - unintentional, considerate intentional, and hostile intentional misgendering. In the text I oppose the conception of misgendering as only a hostile practice, as it is inevitable or even desirable in certain situations from a reference...