This paper explores the appearance of three of Moliere's character types in Stendhal's novels The Red and the Black and The Charterhouse of Parma. Moliere had dealt in many types to which the titles of his plays provide a reasonably inclusive index--the Don Juan, the miser, the misanthrope, the hypochondriac. Those which have been singled out for comparison with Stendhal's characters in this work are the physician, the hypocrite, and the social climber, each of which is treated extensively by Stendhal, with the qualification that Moliere's physicians become Stendhal's priests. Chapter One identifies Julien Sorel of The Red and the Black and Fabrizio del Dongo of The Charterhouse of Parma with the physicians of Le Medecin Malgre Lui and Le Malade Imaginaire. Chapter Two identifies Julien with T artuffe. Chapter Three identifies him with Jourdain of Le Bourgeois Gentilhomme.

The purpose of this thesis is to examine evidences of dramatic technique in Diderot's three major fictional works, "La Reliieuse," "Le Neveu de Rameau," and "Jaccues le fataliste." The management of dialogue, setting, and gesture is of particular concern, along with style and structure and the recurrent theme of the actor. The conclusion reached is that the influence of dramatic technique is everywhere present in the three works under consideration. Diderot enlists the reader's visual and auditory participation by the use of fast-paced dialogue, striking gestures, and dynamic settings. He also borrows certain stylistic and structural devices from the theater and enhances the dramatic impression by presenting many of his main characters as actors playing their own special roles.

The basic question underlying this thesis concerns the identification of the fundamental elements constituting the Western religious tradition and the way in which these elements manifest themselves in the writings of French writers and philosophers Jean-Paul Sartre and Albert Camus, authors chosen as the subject of this work not only because of their historical and biographical resemblance to one another but also because both are inscribed within the same existentialist and pseudo-existentialist literary tradition emerging in post-war Europe during the nineteen-forties. In the case of both Sartre and Camus, this tradition is particularly characterised by a literature seeking to affirm itself as resolutely atheist on the one hand yet infused with an unshakeable moral imperative on the other, obliging not only an active engagement by their readers in the cause of those less fortunate, but also a continuous effort by the two authors themselves to justify this imperative in the face of their maintained conviction that the universe has neither creator, nor existential reason, nor inherent meaning. It is precisely the contradiction between these two characteristics, and particularly the fact that the first cannot be logically derived from the second, which leads me to propose that the atheism affected by both writers might not be as absolute, as natural or as real as it seems, and that, despite their efforts throughout their work to show to what extent they reject the notion of divine existence, the moral imperative both support with such fervour is actually derived from a lingering religious faith so psychologically primal that neither of them ever manages to rid himself of it entirely. Of course this faith is not based on any true intellectual conviction, but rather the result of two distinct factors: firstly, the adherence of both authors to a cultural and intellectual tradition wholly constructed on religious thought, thus forcing their art to reflect this thought and its constituent elements despite their own conscious objectives and desires, and secondly the irresistible influence of such personal and particularly psychological factors as prohibits either from partaking of an authentic atheist conviction. However, as both continue throughout their lives to deny the existence of this faith whose influence neither is capable of escaping, I also propose that this influence on their writing is necessarily opaque, and the god itself on which it is based, a hidden god. / Thesis (DLitt)--University of Pretoria, 2010. / Modern European Languages / unrestricted

L’hypothèse d’une théorie littéraire du sujet transcendant le territoire et le soi vers un Ouvert postule que l’on peut éclairer certaines problématiques de l’existence humaine à la lumière de la réception des romans écrits par des écrivains français d’origine chinoise dans un monde en constant mouvement. A partir de quatre écrivains chinois exilés en France, nous opérons dans la première partie une relecture de leurs œuvres, en lien avec leur vie et leur déplacement. Notre projet invite une démarche de la compréhension de la création à partir d’un cheminement personnel. En retour, leur création s’éclaire grâce à une conception propre de l’espace-temps dans le roman, sans rupture avec les traditions chinoises et occidentales. Leur poétique transculturelle force à envisager autrement la littérarité dans la littérature produite par cette diaspora chinoise. La deuxième partie est consacrée à une comparaison de la réception de leurs romans en France et en Chine populaire visant à faire apparaître la complexité et la transversalité des enjeux culturels, sociaux et les différentes perceptions du monde. La prégnance de cette manifestation artistique renforce l’hypothèse selon laquelle la quête circulaire et la transcendance au moyen du dialogue tant scripturaire qu’imaginaire, peuvent fonctionner comme une différente voix/voie de compréhension du sujet humain en permettant aux auteurs de devenir des résonateurs d’un monde caractérisé par l’incertitude et l’instabilité. / The hypothesis of a literary theory of the subject beyond the territory and the self towards Open postulates that we can clarify certain issues of human existence in the light of the reception of the novels written by Chinese Francophone writers in the world in perpetual motion. From four Chinese writers exiled in France, in the first part we reread their works, relating to their life and displacement. Our project invites a approach of the comprehension of the creation from a personal path. In return, their creation is illuminated owing to the concept of space-time in the novel, without the disruption with the Chinese and Western traditions. Their transcultural poetic forces to consider differently the literariness in the literature produced by the Chinese diaspora. The second part is devoted to a comparison of the reception of their novels in France and in mainland China to show the complexity and the transversality of the cultural, social stakes and the different perceptions of the world. The significance of this artistic manifestation reinforces the hypothesis that the circular quest and transcendence through the scriptural and imaginary dialogue, can function as a different voice /way of understanding the human subject by allowing authors to become resonators of the world characterized by uncertainty and instability.

Avec leur entrée en guerre en 1917, les États-Unis s’imposent rapidement comme la principale force économique, industrielle et guerrière au monde. Avec les soldats, ce sont aussi la musique américaine (le rag-time puis le jazz), le cinéma (Charlot en tête, et bientôt les films noirs), ses légendes, ses propres mythes. Alors que la France traverse une crise de civilisation, parler des États-Unis ne saurait être anodin. Les discours sur les États-Unis se chargent alors d’enjeux existentiels, idéologiques mais aussi esthétiques. Aux inquiétudes d’époque qui traversent l’abondante production littéraire sur l’Amérique, se mêlent les sentiments personnels des auteurs. Se font entendre une pluralité de voix et de points de vue qui mettent sérieusement à mal l’idée reçue d’une France unaniment « antiaméricaine ». Rares sont les auteurs qui ne s’expriment pas à un moment ou un autre sur les États-Unis, qu’ils y voient la préfiguration de la vie future, ou l’avant-garde de la décadence, un marqueur de modernité ou l’occasion d’amitiés transatlantiques, un contre-modèle politique ou l’occasion d’une utopie démocratique… Ainsi a lieu l’avènement d’un foisonnant imaginaire français des États-Unis, bien loin d’un prétendu discours monologique, qui est l’occasion d’un formidable élargissement de l’horizon des écrivains, ou au contraire d’un repli européen ou national, parfois même nationaliste. Notre thèse se propose donc de rendre compte de la position centrale des États-Unis dans l’existence et la réflexion des écrivains français de l’entre-deux-guerres à travers les multiples formes de résonances et de déflagrations du mot et de la chose « Amérique » dans leur vie imaginative. On aura compris qu’il n’est pas nécessaire, pour parler d’Amérique, d’avoir traversé l’Atlantique. Les États-Unis apparaissent comme un terrain propice à la fiction entendue dans le sens large de mythologies, fantasmes, clichés, représentations symboliques… Il faudra donc débusquer le stéréotype, le cliché, la projection d’un imaginaire personnel dans les œuvres, sans en sous-estimer la pertinence. Les textes littéraires évoluant dans un rapport ambigu à la réalité, il est possible que la ligne de partage traditionnelle entre le vrai et le faux ne soit pas des plus adéquates. Car il est vrai que l’Amérique des textes semble bien souvent être celle des fantasmes (personnels ou collectifs), ceci n’excluant d’ailleurs pas, par moments, le pressentiment d’une vérité ou la compréhension. La crise succédant au 11 septembre est le moment propice pour restituer dans sa complexité l’histoire plurielle d’un regard sur l’autre, au-delà de l’aversion et de la fascination trop souvent présentées comme les deux seules voies empruntées par les écrivains français / When they entered World War I in 1917, the USA rapidly established themselves as the main economic, industrial and military power in the world. Alongside the soldiers, it was also about American music (rag-time and jazz), cinema (the Tramp to begin with and very soon the film noir), legends and their own myths. While France was undergoing a civilisation crisis, talking about the USA could not be insignificant. Talks about the USA became then full of existential, ideological, but also aesthetic stakes. On the top of the worries of the time going through the abundant literary production about America, came the personal feelings of the authors.The many voices and points of view that could be heard seriously undermined the common idea of France being completely anti-American. The authors not talking at some point or another about the USA were very rare, whether they saw in it the foresight of a future life, the avant-garde of decadence, a landmark of modernity or the opportunity for Franco-American friendship, a countermodel in politics or the occasion to see in it a democratic utopia... It was hence the coming of age of a proliferating French imaginary about the USA, quite far from a monological speech which consisted in an amazing broadening of the writer's horizon, or, on the contrary, in a European withdrawal, sometimes even nationalist. Our thesis offers then to account for the central position of the USA in the being and reflection of French writers of the interwar period through the multiple shapes of resonance and deflagration of the word and the thing « America » in their imaginary life.We have understood by now that it is not necessary, in order to talk about America, to have actually crossed the atlantic. The USA appear as a favorable place to foster fiction-in its broad meaning encompassing mythology, fantasy, clichés, symbolic representations… Our job will be then to hunt down the stereotypes, clichés, the personal projection of the imagination in the works without underestimating its relevance. Since the literary texts evolve with an amibiguous relationship with reality, it is possible that the traditional division between true and false may not be adequate. It is true indeed that the « America » in the texts seems quite often to be the product of fantasies (personal or collective), it does not however exclude, sometimes, the feeling of a truth or understanding. The post 9/11 crisis is the right time to re-establish, within its full complexity, the plural history of a look on the other, beyond the avertion or fascination so often introduced as the only two paths taken by the French writers.

<p>У дисертацији је приказана рецепција велике француске књижевности у српским књижевним новинама и часописима до почетка Другог светског рата, у Летопису Матице српске, Српском књижевном гласнику, Мисли, Страном прегледу, Бранковом колу, Босанској вили, Зори, Звезди, Зениту, Данасу и др.<br />Рад се бави културно - књижевним везама између Србије и Француске преко српске књижевне периодике, па је примењен компаративни и књижевно - историјски приступ.<br />Уредници часописа, као и преводиоци и критичари окупљени око часописа, дали су вредан допринос осветљавању појединих француских писаца и њихових дела, као и књижевних праваца у француској књижевности. То су углавном били људи из културног и јавног живота Србије: Јован Јовановић Змај, Ђорђе Поповић Даничар, Богдан Поповић, Јован Скерлић, Миодраг Ибровац, Светислав Петровић. Они су упућивали на поједине француске писце или дела из француске књижевности процењујући потребу и могућности наше средине да та дела прихвати и могућности тих дела да позитивно утичу на нашу књижевност или чак на развој наше друштвене средине. Рад разматра како је наша читалачка публика<br />5<br />прихватала француску књижевност и како је француска књижевност утицала на формирање укуса читалаца.<br />Дошло се до закључка да су у овом периоду у нашим новинама и часописима најзаступљенији били француски писци XIX века: Виктор Иго, Ги де Мопасан и Алфонс Доде. Најмања пажња је посвећивана француској књижевности средњег века и ренесансе.<br />Очигледно је да су се многа значајна француска књижевна дела у Србији појављивала најпре у часописима. Заступљеност француске књижевности зависила је од периода излажења часописа, од програма самих часописа, као и од уредника часописа.<br />Досадашња истраживања на ову тему фокусирала су се углавном на поједине часописе, а овај рад доводи до првих систематизација у овом домену, тј. приказује присуство француске књижевности у великом броју српских новина и часописа. Резултати истраживања дају јасну слику заступљености француске књижевности у нашој књижевној периодици од XIX века до почетка Другог светског рата.<br />Кључне речи: Француска књижевност, српске књижевне новине и часописи, француски писци, преводиоци, читалачка публика, рецепција, интеркултуралност</p> / <p>U disertaciji je prikazana recepcija velike francuske književnosti u srpskim književnim novinama i časopisima do početka Drugog svetskog rata, u Letopisu Matice srpske, Srpskom književnom glasniku, Misli, Stranom pregledu, Brankovom kolu, Bosanskoj vili, Zori, Zvezdi, Zenitu, Danasu i dr.<br />Rad se bavi kulturno - književnim vezama između Srbije i Francuske preko srpske književne periodike, pa je primenjen komparativni i književno - istorijski pristup.<br />Urednici časopisa, kao i prevodioci i kritičari okupljeni oko časopisa, dali su vredan doprinos osvetljavanju pojedinih francuskih pisaca i njihovih dela, kao i književnih pravaca u francuskoj književnosti. To su uglavnom bili ljudi iz kulturnog i javnog života Srbije: Jovan Jovanović Zmaj, Đorđe Popović Daničar, Bogdan Popović, Jovan Skerlić, Miodrag Ibrovac, Svetislav Petrović. Oni su upućivali na pojedine francuske pisce ili dela iz francuske književnosti procenjujući potrebu i mogućnosti naše sredine da ta dela prihvati i mogućnosti tih dela da pozitivno utiču na našu književnost ili čak na razvoj naše društvene sredine. Rad razmatra kako je naša čitalačka publika<br />5<br />prihvatala francusku književnost i kako je francuska književnost uticala na formiranje ukusa čitalaca.<br />Došlo se do zaključka da su u ovom periodu u našim novinama i časopisima najzastupljeniji bili francuski pisci XIX veka: Viktor Igo, Gi de Mopasan i Alfons Dode. Najmanja pažnja je posvećivana francuskoj književnosti srednjeg veka i renesanse.<br />Očigledno je da su se mnoga značajna francuska književna dela u Srbiji pojavljivala najpre u časopisima. Zastupljenost francuske književnosti zavisila je od perioda izlaženja časopisa, od programa samih časopisa, kao i od urednika časopisa.<br />Dosadašnja istraživanja na ovu temu fokusirala su se uglavnom na pojedine časopise, a ovaj rad dovodi do prvih sistematizacija u ovom domenu, tj. prikazuje prisustvo francuske književnosti u velikom broju srpskih novina i časopisa. Rezultati istraživanja daju jasnu sliku zastupljenosti francuske književnosti u našoj književnoj periodici od XIX veka do početka Drugog svetskog rata.<br />Ključne reči: Francuska književnost, srpske književne novine i časopisi, francuski pisci, prevodioci, čitalačka publika, recepcija, interkulturalnost</p> / <p>In this PhD thesis it is shown the reception of the great French literature in Serbian literary newspapers and magazines until the beginning of the Worl War II, in the &ldquo;Letopis Matice srpske&ldquo;, &ldquo;Srpski književni glasnik&ldquo;, &ldquo;Misli&ldquo;, &ldquo;Strani pregled&ldquo;, &ldquo;Brankovo kolo&ldquo;, &ldquo;Bosanksa vila&ldquo;, &ldquo;Zora&ldquo;,&ldquo;Zvezda&ldquo;, &ldquo;Zenit&ldquo;, &ldquo;Danas&ldquo; etc.<br />The work deals with cultural-literary connections between Serbia and France across Serbian literary periodicals, so that the comparative and literary-historical approaches are applied. The editors of magazines, as well as translators and critics gathered around the magazines, contributed greatly to the illuminating of some French writers and their works, as well as the literary trends in the French literature. They were mostly people from the cultural and public life of Serbia: Jovan Jovanović Zmaj, Đorđe Popović Daničar, Bogdan Popović, Jovan Skerlić, Miodrag Ibrovac, Svetislav Petrović. They pointed to certain French writers or works from the French literature estimating the needs and possibilities of our environment to accept those works and the possibilities of those works to influence our literature positively or even the development of our social environment.<br />The work examines how our readership accepted the French literature and how the French literature influenced the forming of readers&rsquo; taste.<br />It was concluded that in our newspapers and magazines of that period the most common were the French writers of the nineteenth century: Victor Hugo, Guy de Maupassant and Alphonse Daudet. The least attention was paid to the French literature of the Middle Ages and Renaissance. It is obvious that numerous significant French literary works in Serbia appeared in magazines first. Presence of the French literature depended on the periods of issuing magazines, on the programmes of the magazines themselves, as well as on the editors of magazines.</p><p>All previous researches on this topic focused mostly on certain magazines, and this work brings to the first sistematizations in this domain, i.e. it shows the presence of the French literature in a great number of Serbian newspapers and magazines.The results of the research should give a clear picture of the presence of the French literature in our literary peiodicals from 19th century to the beginning of the Second World War.<br />Key words: French literature, Serbian literary newspapers and magazines, French writers, translators, readership, reception, interculturalism.</p>