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Eulenspiegel est une des rares figures littéraires du XVIe siècle à jouir jusqu’à aujourd’hui d’une renommée considérable en Allemagne. Pourquoi et comment Eulenspiegel demeure-t-il particulièrement présent dans le paysage littéraire allemand après 1945 ? Ce travail se concentre sur des réécritures du recueil de farces Ein kurtzweilig Lesen von Dil Ulenspiegel, l’oeuvre la plus ancienne dans laquelle apparaît Eulenspiegel. L’étude préalable de ce recueil montre que, tel Janus, il présente deux visages : l’un promeut les normes établies, relevant de l’ordre juridique, religieux ou social, tandis que l’autre incite à transgresser ces dernières. L’ambivalence du recueil est due à sa composante comique et à l’absence d’une délimitation claire entre l’autorisé et l’interdit, entre le souhaitable et le répréhensible. L’analyse des transpositions du recueil produites par Bertolt Brecht, Christa et Gerhard Wolf et Thomas Brasch met au jour les procédés employés relevant de l’inter- et de l’hypertextualité, tels que les définit Gérard Genette. L’étude de la Ballade de Günther Weisenborn éclaire les textes de B. Brecht, nourris par l’échange entre les deux auteurs. Cette pièce sert de contrepoint aux autres réécritures pour distinguer les transpositions du recueil et les adaptations de la figure. Les réécritures analysées attribuent à Eulenspiegel, dans des contextes historiques différents, une fonction de résistance combinée à une fonction identitaire. Les métamorphoses d’Eulenspiegel s’inscrivent dans une veine comique de la littérature allemande qui plonge ses racines dans la farce médiévale. / Eulenspiegel is one of the rare literary figures of the 16th century to enjoy until today a significant celebrity in Germany. Why and how does Eulenspiegel remain particularly present in the German literary landscape after 1945? This work concentrates on rewritings of the chapbook Ein kurtzweilig Lesen von Dil Ulenspiegel, the most ancient work in which appears Eulenspiegel. The preliminary study of this collection of pranks shows that, such Janus, it presents two faces: the one promotes the established norms, related to the legal, religious or social order, whereas the other one incites to break these last ones. The ambivalence of the chapbook is due to its comic component and to the absence of a clear demarcation between what is authorized and what is prohibited, between the desirable and the reprehensible. The analysis of the transpositions of the chapbook produced by Bertolt Brecht, Christa and Gerhard Wolf, and Thomas Brasch brings to light the employed processes related to inter- and hypertextuality, such as Gérard Genette defines them. The study of the Ballad of Günther Weisenborn sheds light on the texts of B. Brecht, fed by the exchange between both authors. This play acts as counterpoint to the other rewritings to distinguish the transpositions of the chapbook and the adaptations of the figure. The analyzed rewritings attribute to Eulenspiegel, in different historic contexts, a function of resistance combined with a function of identity. The metamorphoses of Eulenspiegel belong to a comic vein of the German literature which plunges its roots into the medieval prank.

À la fin du XIXème siècle, la médecine prend en charge de manière prégnante le phénomène homosexuel, à l'aune des découvertes en psychopathologie. Le personnage est non seulement identifié physiquement sur la base d'un certain nombre de critères dits scientifiques, mais plus encore, on dresse sa cartographie mentale. Bien que cette classification des comportements sexuels se fasse dans une intention moins punitive que curative, les pratiques sexuelles minoritaires sont encore stigmatisées. Au niveau juridique, les lois françaises sont réputées clémentes puisque les pratiques homosexuelles ne constituent plus un délit dans le code pénal de 1810. L'usage détourné de l’outrage public aux moeurs permet cependant de contrôler les comportements tandis qu’on observe une recrudescence des procès pour outrage aux moeurs en fin de siècle. Notre travail, qui s'inscrit explicitement dans le cadre des Gender studies et de la Queer theory, est d’abord épistémologique : il vise à analyser la construction d’un savoir sur l’homosexualité dans la seconde moitié du xixème siècle à travers le corpus médical,dont le rôle est souvent considéré comme majeur dans les études, et à travers les corpus juridiques et littéraires, parfois minimisés. Nos analyses relèvent également de l’histoire des représentations : il s’agit de proposer une définition de l’esthétique décadente à laquelle nous intégrons le signifiant homosexuel. Notre propos est enfin d’entrer dans l’étude détaillée des textes par le biais de trois thématiques majeures démontrant l’usage décadent d’une homotextualité : la symbolique des fleurs, la figure de l’androgyne et le mythe de Narcisse. / By the end of the 19th century, medicine overwhelmingly took hold of the homosexual phenomenon, basing itself on new findings related to psychopathology. Not only were characters physically identified thanks to a series of so-called scientific criteria, but they were also analysed through mental mapping. Although the aim of the classification of sexual behaviours was to cure rather than punish, the practices of sexual minorities were still stigmatized. As far as the judiciary system was concerned, French laws were considered to be quite lenient in so far as homosexual relationships had no longer been regarded as offences since the 1810 penal code. Nevertheless, the distorted use of the affront to public decency enabled to control people's behaviours and, by the end of the century, an increase of the trials focusing on cases of indecent exposure could be noticed. Our work, that definitely ascribes itself within the field of Gender Studies and Queer theory, is first and foremost epistemological and seeks to analyze how a body of expertise about homosexuality emerged in the second half of the 19th century, through the medical corpus that turned out to be prevalent in the studies that were conducted then, as well as through both legal and literary texts, although they were quite overlooked then. Our analyses also pertain to the history of representations, as we offer to define the aesthetics of decadence by adding a signifier: homosexuality. Finally, we also plan on scrutinizing texts by relying on three main themes that are meant to emphasize the decadent use of a homotextuality : the symbol of flowers, the figure of the androgyne and the myth of Narcissus.

The present paper has the intention of making an appreciation of the Portuguese romance Vicios e Virtudes by Helder Macedo, from a process reading of intertextuality and trustworthiness. As theoretical material the conceptions by Julia Kristeva about the bakhitinian dialogism model were used. The analysis is done taking into account the relations established by the romance with elements from the History of Portugal and with the Lusitanian literary and cultural tradition itself. Due to these relations, notes of the effects of the trustworthiness that are found in the narrative technique levels, the actions and the characters are proposed. Besides that, it is aimed at elaborating the themes and reference functions, here classified as motives, in the articulation of the different levels in which the narrated stories work. / O presente trabalho tem o intuito de fazer uma apreciação do romance português Vícios e virtudes, de Helder Macedo, a partir de uma leitura dos processos de intertextualidade e verossimilhança. Como material teórico são utilizadas as concepções de Julia Kristeva acerca do modelo bakhithiniano de dialogismo. A análise se efetua levando em conta as relações que o romance estabelece com elementos da História de Portugal e com a própria tradição literária e cultural lusitana. Em função dessas relações, propõe-se o apontamento dos efeitos de verossimilhança que se acham nos níveis da técnica narrativa, das ações e das personagens. Afora isso, procura-se elaborar a função de temas e referências, classificados aqui como motivos, na articulação dos diferentes níveis em que opera a história narrada.

A digital writing was incorporated in to web journalistics practices and to our everyday surfing for digital spaces. The links became part of the websites and blogs reading. Observe how these links, as mechanisms of intertextuality, organize themselves in posts blogs concerning to their disposition, direction and function in approaching of a specific event is the aim of this research. In order to do this, we constructed a theoretical trajectory toward to the discussion of blogs as spaces of digital writing that was formed by multilinearity, dispersion and textual openness, besides the intertextuality which constitutes the digital media language. In this context, the hypertext elements that structure the messages, links and their different uses present themselves as paths of intertexts and intertextuality organizers. Our conceptual overview also discussed the relations of blog with journalism starting from the contribution of Digital Journalism in Databases for the development of dynamic products that exploit content aggregation and memory until the specificities that shape blogs like personalization and subjectivity in textual style, the network content filtering function and the critical position in relation to media. The methodology used to study the posts links was content analysis with the creation of categories based on typologies already developed and the adaptation of others. Our empirical study was composed by 26 posts of Luis Nassif Online, Conversa Afiada and O Biscoio Fino e a Massa blogs. These posts were published between 21 and 28 October 2010 and refer to an alleged aggression against the ex-candidate of presidential election, José Serra, in an event that was popularly known as bolinha de papel case. Besides other results, the links mapping showed that the most of the linked texts of the posts regarded to external materials and the predominant functions of these links were highlight the references of used contents and complement the information exposed in the posts writings. / A escrita digital incorporou-se às práticas jornalísticas da internet e ao nosso cotidiano de navegação pelos espaços digitais. Os links passaram a fazer parte da leitura de sites e blogs. Observar como esses links, enquanto mecanismos de intertextualidade, se organizam nas postagens dos blogs, em relação a sua disposição, destino e função na abordagem de um evento específico foi o objetivo deste trabalho. Para isso, construímos um percurso teórico direcionado à discussão dos blogs como espaços de escrita digital formados pelos aspectos da multilinearidade, da dispersão e abertura textual, além da intertextualidade constitutiva da linguagem dos meios digitais. Neste contexto, os elementos hipertextuais que estruturam as mensagens da escrita digital, os links e seus mais diversos usos apresentam-se como caminhos para os intertextos, como articuladores da intertextualidade. Nosso apanhado conceitual também abordou as relações dos blogs com o jornalismo a começar pela contribuição do Jornalismo Digital em Base de Dados para a elaboração de produtos mais dinâmicos que explorem a agregação de conteúdos e a memória, até as especificidades que conformam o formato blog como a personalização e a subjetividade no estilo textual, a função de filtragem de conteúdos da rede e a postura crítica em relação à mídia. A metodologia empregada para o estudo dos links das postagens foi a Análise de Conteúdo com a criação de categorias de análise baseadas em tipologias já elaboradas e com a adaptação de outras. Nosso estudo empírico foi composto de 26 postagens dos blogs Luis Nassif online, Conversa Afiada e O Biscoito Fino e a Massa, publicadas entre 21 e 28 de outubro de 2010, referentes a uma suposta agressão ao então candidato à presidência, José Serra; evento que ficou popularmente conhecido como o caso da bolinha de papel . Entre outros resultados, o mapeamento realizado mostrou que a maioria dos textos linkados nas postagens referiram materiais externos aos blogs e que as funções predominantes desses links foram de referenciar os conteúdos utilizados e complementar as informações expostas nos textos dos posts.

Issu de la fin du Moyen Âge, le Roman de Perceforest est la plus longue œuvre que le Moyen Âge nous ait laissé. Il entend décrire la vie des ancêtres préchrétiens d’Arthur et de ses chevaliers en les faisant descendre d’Alexandre le Grand. Au fil de son récit, l’auteur met en place une véritable poétique de la reprise, tant externe qu’interne. Il multiplie les références à des textes préexistants issus de différentes matières et va même jusqu’à en intégrer des morceaux entiers. Il reprend par ailleurs des morceaux de sa propre œuvre, n’hésitant pas à reproduire des schémas, voire des séquences narratives précises. Cette esthétique répétitive a plusieurs conséquences, tant sur l’appartenance générique du texte, sur sa construction, que sur sa réception par le lecteur. Elle est au cœur de notre étude. Nous nous intéressons plus spécifiquement à un phénomène particulier de reprise que nous qualifions d’emprunt et qui montre l’intégration d’une séquence préexistante dans un contexte distinct de son apparition d’origine. Notre travail s’organise autour d’un examen successif des différents types d’emprunts qui apparaissent au sein du texte, tant intertextuels qu’intratextuels. À terme, c’est la cohérence et l’individualité du Perceforest, ainsi que la conception de l’écriture qui anime son auteur que nous mettons en avant, tout en proposant des jalons pour une théorie générale de l’emprunt. / The Roman de Perceforest, the longest known text from the Middle Ages, aims to describe the life of Arthur's pre-christian ancestors and knights, presenting them as descendants of Alexander the Great. Along the storytelling, a genuine poetics of external and internal repetition takes place: the Perceforest's authors multiply the references to previous texts belonging to several materials, integrating sometimes entire parts of other texts. Furthermore the narrative reproduces its own patterns and particular sequences in different places of the text. Throughout this research, we consider the influence of such repetition aesthetics on the literary genre definition, on its construction as well as on the reader's reception. In this dissertation, we explore a specific category of repetitions where pre-existing sequences are embedded in a narrative context that differs from the original context of occurrence, which we called emprunt(s). Reviewing the species of inter- and intra-textual recurrences occurring within the text, we reveal some overlooked aspects of the consistency, the specificity of the Perceforest and its author's idea of writing, striving to groundwork on general theory of «emprunts» that shall thereby be laid.

Les cycles romanesques sont ces œuvres formées par la réunion de plusieurs récits autonomes : sommes “à la Balzac”, suites, séries, trilogies, etc. Il s’agit d’un type spécifique de “transtextualité” (Genette), où s’exprime un désir ambigu de totalisation, qui affirme à la fois l’ouverture et la clôture du texte. Selon une démarche de poétique historique, nous analysons les formes de ces cycles, tout en les inscrivant dans l’histoire de long terme du genre romanesque. D’où un corpus large, s’étendant du XIXe siècle à nos jours : La Comédie humaine de Balzac, le Manuscrit trouvé à Saragosse de Potocki, les trilogies de Dumas, Les Rougon-Macquart, les Trois Villes et les Quatre Evangiles de Zola, le Cycle du Hussard de Giono, les cycles de science-fiction d’Asimov, et les romans « post-exotiques » de Volodine. L’examen des procédés de connexion entre les récits montre que le cycle n’est pas fondé sur la cohérence du monde qu’il représente, mais sur la cohésion des textes qu’il rassemble. Chaque cycle est une totalisation singulière de textes, traversée de tensions et de dysfonctionnements.Mais ces œuvres sont autant de réponses à une question qui subsiste pendant ces deux siècles : comment retrouver une totalité épique adéquate au monde moderne né de la Révolution ? Les cycles romanesques réactivent la « racine épique » du roman (Bakhtine). Cette visée épique, et ses transformations, sont un aspect de ce que serait une histoire de l’idée de totalité en littérature. / Novel cycles are the works formed by the reunion of several independent stories : balzacian cycles, sequels, series, trilogies, etc. In this specific type of “transtextuality” (Genette), an ambiguous desire for totalization appears, tending simultaneously towards the openness and the closure of the text. A historical poetics approach allows to analyze the cycle’s forms by connecting them to the long-term history of the novel as a genre. Hence the wide corpus studied, spanning from 19th century to our days : Balzac’s Comédie humaine, Potocki’s Manuscrit trouvé à Saragosse, several trilogies by Dumas, Zola’s Les Rougon-Macquart, Trois Villes and Quatre Evangiles, Giono’s Cycle du Hussard, Asimov’s science-fiction cycles,and Volodine’s « post-exotic » novels. A study of the connecting devices that tie novels together shows that the cycle does not rely on the consistency of the world that it represents, but on the cohesion of the texts it is made of. Each cycle is a unique totalization of texts, where tensions and dysfunctions abound.Still, in the long-term history of the novel, these works can be seen as many different answers to the same question : how is it possible to bring back an epic totality that would fit the modern world, born from the French Revolution ? Novel cycles reactivate the “epic root” of the novel (Bakhtin). This epic root, and its transformations, are a part of a more general history of the idea of totality in literature.

The aim of the thesis called Thematic constants of Pirandello's literary production through intertextuality is to illustrate inner thematic and mental interconnection of Pirandello's writing with intertextuality quotations which can be found in whole production of Luigi Pirandello across all genres to which he devoted. The main text will be the essay On humor, particularly the second part, wherein the author declares his poetics. The dissertation will observe the inception of his poetics in the texts preceding the essay (e.g. The Late Mattia Pascal) but also developing of the essay in texts created in period between two versions of On humor (e.g. So It Is, If You Think So), and also texts which were written after 1921 (Six Characters In Search of an Author, Henry IV, One, No one and One Hundred Thousand). In this work, we will focus on thematic constants which come from Pirandello's poetics of humour. I will also pay attention to exceeding or demolishing of borders between the genres: essay-prose-drama and also shifts as a result of transition (rewrite) from one genre to another one (e.g. short story Leonora, addio! → drama Tonight We Improvise; novel The Notebooks of Sarafino Gubbio, Cinematograph Operator → drama Each In His Own Way, and the like).

Les relations d'intertextualité dans Les Amours jaunes témoignent d'un jeu de correspondances et d'allusions littéraires que l'on peut nommer la poétique de l'habit d'Arlequin. Notre recherche porte sur les différentes expressions de la révolte dans le recueil. L'art de la dérision et la parodie contribuent au dialogue intertextuel avec d'une part des auteurs du passé tels que Shakespeare, La Fontaine, Villon et du Bellay. D'autre part, le poète se réfère à l'œuvre de Hugo, aux romans de son père, Edouard Corbière, et fait allusion à la poésie de Baudelaire, de Gautier et de Vigny. Dans le sillage de ses prédécesseurs il dénonce la peinture factice de l'Italie et de l'Espagne littéraires dans la poésie de Lamartine et de Musset. Par ailleurs, Les Amours jaunes illustrent la recherche d'une poétique nouvelle. En effet, Corbière s'interroge à propos de l'échec auquel il attribue une dimension positive qui contribue à la négativité de sa poésie. L'impossible dialogue amoureux le conduit à entrevoir dans l'amour maternel un dédommagement. En outre, le poète recourt à la théâtralité et projette sur la scène du spectacle imaginaire du recueil des figures de la marginalité, emblèmes de la sagesse populaire qui illustrent le renversement des valeurs sociales. Corbière transpose les paysages de la Bretagne dans son univers poétique et rend hommage au monde des marins dont il révèle la vision de la mort. / The intertextuality relations in Amours Jaunes indicate a game of correspondences and of Iilerary allusions that we can call the poetic makeup of Harlequin. Our research deals with the different expressions of the revolt in the anthology. The art of the derision and the parody contribute to the dialogue intertextuel with, on one hand, past authors such as Shakespeare, La Fontaine, Villon, and du Bellay. On the other hand, the poet is inspired by the work of Hugo, his father's novels, Edouard Corbière, and alludes to the poetry of Baudelaire, de Gautier, and de Vigny. Like his predecessors, Corbière denounces the artificial painting of the Italian and Spanish literary in the poetry of Lamartine and de Musset. Besides, Les Amours Jaunes iIIustrate the search for a new poetics. ln fact, Corbière wonders about failure to which he attributes a positive dimension, which contributes to the negativity of his poetry. The impossible love dialogue leads him to discover a rewarding feeling in maternal love. ln addition, the poet resorts to the theatrality and projects on the scene of the imaginary spectacle of the anthology of the faces of the marginality, emblems of popular wisdom that illustrate the overthrow of the social values. Corbière transposes Brittany's landscape into his poetic universe and pay homage to the world of the sailors from whom he takes the vision of death.

The diploma thesis "The linguistic analysis of headlines in daily papers Hospodářské noviny and Blesk" deals with the analysis of headlines in articles that include the commentary genre, specifically in Hospodářské noviny and Blesk. In this work, there is analyzed the form of headlines, how they are set up, and how they relate to the content of the message. The thesis consists of theoretical and analytical parts. The theoretical parts describe the analyzed material, the method of linguistic analysis is described there and also the characteristic of headlines. It is followed by analysis which is divided into two parts. In the first part, there is observed the difference of using the types of sentences and also the kinds of modality in the headlines of observed daily papers and the second part of analysis studies the general headlines and the occurrence of metaphorical expression. It analyses occurring cases of metaphor, metonymy, personification and paraphrase and compares, if there are some differences between the daily papers in observing phenomena. The premise is that the type of tabloid newspaper has a higher proportion of headlines including the metaphorical expression. There are analyzed also 10 year-old headlines of these daily papers, for the comparison, if the daily papers differ only among...