Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

The Celts, as a distinct and culturally-unified people, are a social construction as much as an historical reality, endowing Celtic antiquity with a certain availability of outline, and a certain scope. When the Celtic world began to be scrutinised in the eighteenth century, its borders could, therefore, be filled with concepts drawn from other antiquities. Classical antiquity, and particularly its Greek variety, was a vital coordinate in this navigation of the past. This thesis explores the history of these Graeco-Celtic negotiations. Using Reinhart Koselleck's theory of asymmetric counterconcepts, it calculates the precise angles of the relation between Greek and Celt in antiquarianism, comparative mythology and folklore, Classics and Celtic Studies, from the early eighteenth and to the late nineteenth centuries. The thesis then puts forward one particular writer as an original and unique interpreter of the tradition of Graeco-Celtic relations, the Irish playwright J.M. Synge. Through archival research, it demonstrates quite how deeply Synge was immersed in this scholarly tradition; in the last years of the nineteenth century and the first years of the twentieth, he followed a deliberate path of reading in antiquarianism, Classics, Celtic Studies, comparative linguistics, mythology and folklore. It then argues that Synge transformed such Graeco-Celtic scholarship into a formidable authorial strategy, in his prose account of his travels on the Aran Islands and his famous, controversial plays. By identifying this strategy, it reveals how Synge's work exploits the continued presence and power of antiquity. Most studies of the reception of Greek antiquity in Irish literature in the twentieth and twenty-first centuries assume a straightforward, inherent connection between Ireland and Greece. This thesis complicates that connection by identifying the powerful history of Graeco-Celtic relations and, particularly, its transformation at the hands of J.M. Synge. This will allow for scrutiny of what actually happens at the crux between Greece and Ireland in literary texts.

Most scholars agree that meaning and intelligibility are central to Heidegger’s account of Dasein and Being-in-the-world, but there is some confusion about the nature of this intelligibility. In his debate with McDowell, Dreyfus draws on phenomenologists like Heidegger to argue that there are two kinds of intelligibility: a basic, nonconceptual, practical intelligibility found in practical comportment and a conceptual, discursive intelligibility. I explore two possible ways that Dreyfus might ground this twofold account of intelligibility in Heidegger: first in the distinction between the hermeneutic and apophantic “as”, and second in the presence and absence of the as-structure. I argue that neither approach succeeds because practical intelligibility is always already discursive and discursive articulation is a condition of practical comportment.

Notwithstanding the disparity in their age, nationality and background, both Hubert Parry (1848–1918) and Max Reger (1873–1916) were subject to a common heritage of European musical art that informed and shaped their compositional development. This can be seen in its most striking form in their shared reverence for and debt to Johann Sebastian Bach. While there is a considerable volume of literature on Reger and Bach, Parry’s response to the Leipzig master is less widely known outside Britain. In drawing some parallels between the organ music of the two composers, focusing in particular on the chorale-based compositions, I shall show how the spirit of Bach infused Parry’s organ works in a similar way to Reger’s, relating this to issues of universality and nationalism. In the process I shall touch on Reger’s reception in Britain during the latter part of Parry’s life.

No description available.

No description available.

No description available.

Ce mémoire constitue une analyse et une mise en lumière des liens existants entre la pensée d'Hubert Aquin et le situationnisme. Bien que ces liens soient perceptibles dans un nombre important de textes d'Aquin, le roman Prochain épisode demeure l' œuvre au sein de laquelle les idées situationnistes sont les plus présentes. Outre les pratiques du détournement, de la dérive, de la psychogéographie, de l'urbanisme unitaire et de la construction de situation, Prochain épisode contient, tout comme les textes de Debord et de l'Internationale situationniste, une importante réflexion critique sur les rapports entre l'individu, l'art, l'histoire, le langage et la culture. Enfin, cette démarche se veut une façon d'observer plusieurs caractéristiques de Prochain épisode sous un même éclairage tout en re-situant le roman dans un contexte davantage international.

Cette thèse prend son point de départ d'une théorie élaborée par Linda Hutcheon. Elle propose que la métafiction est souvent exploitée à travers quatre genres. L’un deux est l'érotisme. Ainsi, à partir de cette idée, cet ouvrage va examiner plus profondément les liens et les implications entre ce concept de la métafiction, qui sera revu et résumé, et l'érotisme. Les trois romans choisis, A Sport and a Pastime de James Salter, Teorema de Pier Paolo Pasolini et Trou de mémoire de Hubert Aquin, serviront de lieux d'analyse afin de révéler le rapport étroit qu'entretiennent la métafiction et l'érotisme. / This thesis takes as its point of departure a theory elaborated by Linda Hutcheon. She proposes that metafiction is often made use of across four genres. One of these is eroticism. Thus, starting from this point, this work will examine in greater detail the ties and the implications inherent in this concept of metafiction -- which will be reviewed and summarized -- and eroticism. The three selected novels, A Sport and a Pastime by James Salter, Teorema by Pier Paolo Pasolini and Trou de mémoire by Hubert Aquin, will serve as sites of analysis with a view to reveal the intimate connection that is fostered by metafiction and eroticism.

Cette thèse prend son point de départ d'une théorie élaborée par Linda Hutcheon. Elle propose que la métafiction est souvent exploitée à travers quatre genres. L’un deux est l'érotisme. Ainsi, à partir de cette idée, cet ouvrage va examiner plus profondément les liens et les implications entre ce concept de la métafiction, qui sera revu et résumé, et l'érotisme. Les trois romans choisis, A Sport and a Pastime de James Salter, Teorema de Pier Paolo Pasolini et Trou de mémoire de Hubert Aquin, serviront de lieux d'analyse afin de révéler le rapport étroit qu'entretiennent la métafiction et l'érotisme. / This thesis takes as its point of departure a theory elaborated by Linda Hutcheon. She proposes that metafiction is often made use of across four genres. One of these is eroticism. Thus, starting from this point, this work will examine in greater detail the ties and the implications inherent in this concept of metafiction -- which will be reviewed and summarized -- and eroticism. The three selected novels, A Sport and a Pastime by James Salter, Teorema by Pier Paolo Pasolini and Trou de mémoire by Hubert Aquin, will serve as sites of analysis with a view to reveal the intimate connection that is fostered by metafiction and eroticism.