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Showing 101 to 110 of 110 (0.037 seconds)| 101 |
Surviving childhood : trauma and maturation in J.D. Salinger's "The catcher in the Rye", S.E. Hinton's "The outsiders", and Stephen Chbosky's "The perks of being a wallflower"Roy, Aurélie 24 April 2018 (has links)
Ce mémoire de maîtrise propose une étude détaillée des répercussions sociales et psychologiques des évènements traumatiques sur le développement de l’enfant en utilisant trois Bildungsromane importants, The Catcher in the Rye de J.D. Salinger, The Outsiders de S.E. Hinton et The Perks of Being a Wallflower de Stephen Chbosky. En me basant sur les études de Cathy Caruth, Shoshana Felman, Ronald Granofsky, Dominick LaCapra, Dori Laub et Judith Lewis Herman, je démontre que les expériences traumatiques ont des effets contradictoires, mais indissociables sur l’évolution psychologique de l’enfant, à savoir de ralentir et d’accélérer le passage de l’enfance au monde adulte. J’explique que Holden Caulfield, Ponyboy Curtis et Charlie font preuve de comportements qui dévoilent la paralysie que peuvent entraîner les traumatismes psychologiques et qui peut forcer l’enfant à demeurer immature et innocent. Ensuite, j’illustre que ces mêmes expériences traumatiques, et l’acceptation de celles-ci peuvent finir par pousser l’enfant à brusquement atteindre la maturité. Ce mémoire souligne également l’importance du témoignage dans la guérison et dans l’éventuel passage de l’enfance à l’âge adulte. Considérant son omniprésence dans les romans pour jeunes adultes, le témoignage et ses ramifications seront analysés dans chaque chapitre. Au fil des trois chapitres, j’analyse chaque roman de façon indépendante, j’évalue la réaction de chaque personnage face aux expériences traumatiques et j’établis la nomenclature et les liens qui permettent une conversation entre les trois romans. Bien que les trois œuvres étudiées proposent différents modèles de réponses psychologiques aux traumatismes, chaque roman entre en dialogue avec l’autre. L’objectif de ce mémoire est donc d’offrir de nouvelles perspectives sur les trois histoires, tout en démontrant les corrélations qui les unissent et qui contribuent à la compréhension de chaque œuvre. Ainsi, ce mémoire se veut un outil pour établir une conception globale du rôle des expériences traumatiques dans la littérature pour jeunes lecteurs. / This thesis examines the psychological and social repercussions of trauma on a child’s maturation process using three landmark novels of the Bildungsroman genre, J.D. Salinger’s The Catcher in the Rye, S.E. Hinton’s The Outsiders, and Stephen Chbosky’s The Perks of Being a Wallflower. Grounding my analysis on the findings of trauma theorists Cathy Caruth, Shoshana Felman, Ronald Granofsky, and Dominick LaCapra, and psychiatrists Dori Laub and Judith Lewis Herman, I demonstrate that trauma can occupy two contradictory but inextricably linked functions in the maturation process, that of both hindering and catalyzing a child’s coming-of-age. I demonstrate that Holden Caulfield, Ponyboy Curtis, and Charlie all display behaviours that suggest the paralyzing nature of trauma and its initial ability to prevent the child from growing up. I then argue that trauma, or the acceptance of one’s traumatic past, has the potential to accelerate the maturation process. My study also highlights the importance of the testimonial process in the recovery from trauma and the character's ensuing maturity. Because of the omnipresence of testimony in young people’s literature, its ramifications and implications are explored in each chapter of this thesis. Through the use of close reading, I study each work independently, evaluate each character’s individual response to trauma, and establish the thematic vocabulary and the interlinks that allow a conversation between the three novels. Although the studied works propose different types of traumatic negotiation and response, each novel is dialogically linked with the other. This thesis offers new readings of each novel, while establishing insightful comparisons between the three works. The intent of this thesis is therefore to contribute to the assessment of each narrative and to a general understanding of the role of trauma in young people’s literature.
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Material Objects as Means of Portraying Female Characters' Personality in the 20th century : As Exemplified in the three Short Stories by J. D. Salinger, V. Woolf and F. WeldonZelenenkaya, Ekaterina January 2013 (has links)
The world we live in is full of material objects that serve as signs and thus are an important tool in literary texts. The purpose of the present essay is to illustrate how material objects are used to portray personalities of female characters, their inner world and attitudes, their ways of life and position in society. It is especially interesting in the context of the 20th century in the Western world, when the culture of consumption was gaining momentum and the role of a woman was gradually changing. The short stories analysed in the essay are written in the Western context in the 20th century, which are “A Perfect Day for Bananafish” by J.D. Salinger, “Moments of Being: ‘Slater’s Pins Have no Points’” by V. Woolf and “The Bottom Line and the Sharp End” by F. Weldon. The material objects mentioned in the texts are classified and analysed due to their role and purpose in the short stories.
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Duas representações de família : "Os Glass", de J. D. Salinger, e "Os Tenenbaum", de Wes Anderson & Owen WilsonRollo, André Corrêa January 2006 (has links)
O presente trabalho analisa o tema das famílias desajustadas no sistema ficcional norte-americano. Os corpora estudados são os contos sobre a família Glass, de J. D. Salinger, e o roteiro do filme The Royal Tenenbaums, escrito por Wes Anderson e Owen Wilson. O enfoque comparatista aqui desenvolvido é duplo: de um lado, o diálogo temático entre a obra dos diferentes autores, de outro lado, a investigação sobre os modos em que os contos de Salinger e o filme dialogam com as demais artes. Desta forma, a leitura crítica aqui efetuada rastreia as estratégias intertextuais e inter-artísticas presentes nos corpora. A análise temática é desenvolvida a partir da definição de um conceito de desajuste. A inadaptação pode ser vista como uma inadequação ou reação do indivíduo ao grupo ou comunidade a que pertence, aos pensamentos, valores e modos de agir desta. Tanto os Glass quanto os Tenenbaums são irmãos que, quando crianças, foram destacadamente brilhantes em atividades comumente desempenhadas por adultos. Ao amadurecer tornaram-se pessoas problemáticas com dificuldades de relacionamento pessoal. Para chegar à síntese da leitura comparativa visualizamos três elementos comuns em ambos os corpora: o conflito do indivíduo com o mundo; a dificuldade da comunicação pessoal (além de discorrermos sobre as estratégias da comunicação ficcional) e a dificuldade em lidar com a instabilidade. Ao final, examino como tais problemas são superados pelos personagens. Além disso, também tentamos descrever como tais obras inserem-se na tradição ficcional norte-americana de produção obras cujo tema principal são as problemáticas relações familiares. / The present work analyses the theme of maladjusted families in the American fictional system. The corpora consists of the short stories about the Glass family, by J. D. Salinger, and the screenplay for The Royal Tenenbaums, written by Wes Anderson and Owen Wilson. The comparative approach here developed is twofold: on the one hand, a thematic dialogue between the different authors' works, on the other hand, a research about the ways in which Salinger's stories and the film dialogue with another arts. Thus, the critical reading searches the intertextual and interartistic strategies present in the corpora. The thematic analysis is developed from a definition of a concept of maladjustment. Maladjustment can be seen as an individual's inadequacy or reaction to the group or community to which he/she belongs, to the thoughts, to the values and ways of behaviour. Both Glass and Tenenbaums are siblings which, when children, were outstandingly brilliant in activities mainly fullfilled by adults. Coming of age they become problematical with difficulties in personal relationship. To summarize the comparative reading we highlight three elements in common to both corpora: the individual's conflict with the world; the difficult of the personal communication (besides the strategies of fictional communication) and the difficulty in deal with instability. Finally, I examine how such problems are overcome by the characters. Besides this, I also try to describe how such works are inserted in the American fictional tradition of producing works whose main theme is the problematic family relationship.
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Duas representações de família : "Os Glass", de J. D. Salinger, e "Os Tenenbaum", de Wes Anderson & Owen WilsonRollo, André Corrêa January 2006 (has links)
O presente trabalho analisa o tema das famílias desajustadas no sistema ficcional norte-americano. Os corpora estudados são os contos sobre a família Glass, de J. D. Salinger, e o roteiro do filme The Royal Tenenbaums, escrito por Wes Anderson e Owen Wilson. O enfoque comparatista aqui desenvolvido é duplo: de um lado, o diálogo temático entre a obra dos diferentes autores, de outro lado, a investigação sobre os modos em que os contos de Salinger e o filme dialogam com as demais artes. Desta forma, a leitura crítica aqui efetuada rastreia as estratégias intertextuais e inter-artísticas presentes nos corpora. A análise temática é desenvolvida a partir da definição de um conceito de desajuste. A inadaptação pode ser vista como uma inadequação ou reação do indivíduo ao grupo ou comunidade a que pertence, aos pensamentos, valores e modos de agir desta. Tanto os Glass quanto os Tenenbaums são irmãos que, quando crianças, foram destacadamente brilhantes em atividades comumente desempenhadas por adultos. Ao amadurecer tornaram-se pessoas problemáticas com dificuldades de relacionamento pessoal. Para chegar à síntese da leitura comparativa visualizamos três elementos comuns em ambos os corpora: o conflito do indivíduo com o mundo; a dificuldade da comunicação pessoal (além de discorrermos sobre as estratégias da comunicação ficcional) e a dificuldade em lidar com a instabilidade. Ao final, examino como tais problemas são superados pelos personagens. Além disso, também tentamos descrever como tais obras inserem-se na tradição ficcional norte-americana de produção obras cujo tema principal são as problemáticas relações familiares. / The present work analyses the theme of maladjusted families in the American fictional system. The corpora consists of the short stories about the Glass family, by J. D. Salinger, and the screenplay for The Royal Tenenbaums, written by Wes Anderson and Owen Wilson. The comparative approach here developed is twofold: on the one hand, a thematic dialogue between the different authors' works, on the other hand, a research about the ways in which Salinger's stories and the film dialogue with another arts. Thus, the critical reading searches the intertextual and interartistic strategies present in the corpora. The thematic analysis is developed from a definition of a concept of maladjustment. Maladjustment can be seen as an individual's inadequacy or reaction to the group or community to which he/she belongs, to the thoughts, to the values and ways of behaviour. Both Glass and Tenenbaums are siblings which, when children, were outstandingly brilliant in activities mainly fullfilled by adults. Coming of age they become problematical with difficulties in personal relationship. To summarize the comparative reading we highlight three elements in common to both corpora: the individual's conflict with the world; the difficult of the personal communication (besides the strategies of fictional communication) and the difficulty in deal with instability. Finally, I examine how such problems are overcome by the characters. Besides this, I also try to describe how such works are inserted in the American fictional tradition of producing works whose main theme is the problematic family relationship.
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Duas representações de família : "Os Glass", de J. D. Salinger, e "Os Tenenbaum", de Wes Anderson & Owen WilsonRollo, André Corrêa January 2006 (has links)
O presente trabalho analisa o tema das famílias desajustadas no sistema ficcional norte-americano. Os corpora estudados são os contos sobre a família Glass, de J. D. Salinger, e o roteiro do filme The Royal Tenenbaums, escrito por Wes Anderson e Owen Wilson. O enfoque comparatista aqui desenvolvido é duplo: de um lado, o diálogo temático entre a obra dos diferentes autores, de outro lado, a investigação sobre os modos em que os contos de Salinger e o filme dialogam com as demais artes. Desta forma, a leitura crítica aqui efetuada rastreia as estratégias intertextuais e inter-artísticas presentes nos corpora. A análise temática é desenvolvida a partir da definição de um conceito de desajuste. A inadaptação pode ser vista como uma inadequação ou reação do indivíduo ao grupo ou comunidade a que pertence, aos pensamentos, valores e modos de agir desta. Tanto os Glass quanto os Tenenbaums são irmãos que, quando crianças, foram destacadamente brilhantes em atividades comumente desempenhadas por adultos. Ao amadurecer tornaram-se pessoas problemáticas com dificuldades de relacionamento pessoal. Para chegar à síntese da leitura comparativa visualizamos três elementos comuns em ambos os corpora: o conflito do indivíduo com o mundo; a dificuldade da comunicação pessoal (além de discorrermos sobre as estratégias da comunicação ficcional) e a dificuldade em lidar com a instabilidade. Ao final, examino como tais problemas são superados pelos personagens. Além disso, também tentamos descrever como tais obras inserem-se na tradição ficcional norte-americana de produção obras cujo tema principal são as problemáticas relações familiares. / The present work analyses the theme of maladjusted families in the American fictional system. The corpora consists of the short stories about the Glass family, by J. D. Salinger, and the screenplay for The Royal Tenenbaums, written by Wes Anderson and Owen Wilson. The comparative approach here developed is twofold: on the one hand, a thematic dialogue between the different authors' works, on the other hand, a research about the ways in which Salinger's stories and the film dialogue with another arts. Thus, the critical reading searches the intertextual and interartistic strategies present in the corpora. The thematic analysis is developed from a definition of a concept of maladjustment. Maladjustment can be seen as an individual's inadequacy or reaction to the group or community to which he/she belongs, to the thoughts, to the values and ways of behaviour. Both Glass and Tenenbaums are siblings which, when children, were outstandingly brilliant in activities mainly fullfilled by adults. Coming of age they become problematical with difficulties in personal relationship. To summarize the comparative reading we highlight three elements in common to both corpora: the individual's conflict with the world; the difficult of the personal communication (besides the strategies of fictional communication) and the difficulty in deal with instability. Finally, I examine how such problems are overcome by the characters. Besides this, I also try to describe how such works are inserted in the American fictional tradition of producing works whose main theme is the problematic family relationship.
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Le modèle de la vierge consacrée au VIe siècle : l’exemple du De consolatoria castitatis laude d’Avit de VienneDomingos Pimentel, Caroline 05 1900 (has links)
Au VIe siècle, dans le royaume des Burgondes, Avit de Vienne compose une lettre pour sa sœur, la moniale Fuscine. Cette œuvre consolatoire et élogieuse se nomme De consolatoria castitatis laude. Ce texte permet de comprendre la situation particulière dont bénéficie la virgo dans la société chrétienne tardo-antique.
Au niveau de son contenu, l’objectif de ce livre sert à montrer à la monacha que le choix virginal représente une forme d’échappatoire et de liberté. Il s’agit d’une réalité que ne connaît pas l’épouse. Les devoirs du mariage, les dangers de la maternité, les tracas du siècle, le veuvage, le deuil, tout cela est inconnu à la vierge parce qu’elle s’écarte des obligations terrestres. L’utilisation de la Bible et de plusieurs références patristiques constituent l’héritage des mentalités religieuses dont s’inspire Avit dans la construction d’un discours orienté sur la distinction socioreligieuse de la virgo. / In the 6th century, in the kingdom of the Burgundians, Avitus of Vienne composes a letter for his sister, the nun Fuscina. This consoling and eulogistic artwork is called De consolatoria castitatis laude. This text generates in us an understanding of the particular context of the virgo in the Christian society of Late Antiquity.
Regarding the text, the purpose of the book is to show to the monacha that the virginal choice represents a way of escape and freedom, a reality that the spouse is unaware of. The duties of marriage, the dangers of motherhood, the troubles of the century, the widowhood and the mourning are all unknown to the virgin because she excludes herself to worldly obligations. The use of the Bible and several patristic references shape the legacy of religious mentalities which inspires Avitus in making an oriented speech on the virgo’s socio-religious distinctness.
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ヒエロニュムスの「ヘブライ的真理」の研究 : その聖書翻訳論と旧約引用理解とを手がかりに / ヒエロニュムス ノ「ヘブライテキ シンリ」ノ ケンキュウ : ソノ セイショ ホンヤクロン ト キュウヤク インヨウ リカイ トオ テガカリ ニ / ヒエロニュムスのヘブライ的真理の研究 : その聖書翻訳論と旧約引用理解とを手がかりに加藤 哲平, Teppei Kato 02 March 2017 (has links)
ギリシア語訳旧約聖書である七十人訳の擁護者たちに対し、ヒエロニュムス（347–420）はヘブライ語原典の優越性、すなわち「ヘブライ的真理」を主張した。しかし、その聖書翻訳論と旧約引用理解とを考慮すると、ヒエロニュムスが「ヘブライ的真理」と言うとき、彼はヘブライ語テクストと七十人訳との文献学的な問題に留まらず、これら二者と新約聖書における旧約引用との神学的な問題をも解決しようとしていたと言える。 / Against many defenders of the Septuagint, namely, the Greek translation of the Old Testament, Jerome (347–420) claims the superiority of the original Hebrew text. Jerome names this idea Hebraica veritas, or "Hebrew Truth." Considering his theory of biblical translation and his understanding of Old Testament quotations in the New Testament, this study concludes that Jerome's real purpose concerning Hebraica veritas is to solve not only the philological problem between the Hebrew text and the Septuagint, but also the theological problem between these two texts and the Old Testament quotations. / 博士(神学) / Doctor of Theology / 同志社大学 / Doshisha University
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William Cave (1637-1713) and the fortunes of Historia Literaria in EnglandWright, Alexander Robert January 2018 (has links)
This thesis is the first full-length study of the English clergyman and historian William Cave (1637-1713). As one of a number of Restoration divines invested in exploring the lives and writings of the early Christians, Cave has nonetheless won only meagre interest from early-modernists in the past decade. Among his contemporaries and well into the nineteenth century Cave’s vernacular biographies of the Apostles and Church Fathers were widely read, but it was with the two volumes of his Scriptorum Ecclesiasticorum Historia Literaria (1688 and 1698), his life’s work, that he made his most important and lasting contribution to scholarship. The first aim of the thesis is therefore to build on a recent quickening of research into the innovative early-modern genre of historia literaria by exploring how, why, and with what help, in the context of late seventeenth-century European intellectual culture, Cave decided to write a work of literary history. To do so it makes extensive use of the handwritten drafts, annotations, notebooks, and letters that he left behind, giving a comprehensive account of his reading and scholarly practices from his student-days in 1650s Cambridge and then as a young clergyman in the 1660s to his final, unsuccessful attempts to publish a revised edition of his book at the end of his life. Cave’s motives, it finds, were multiple, complex, and sometimes conflicting: they developed in response to the immediate practical concerns of the post-Restoration Church of England even as they reflected some of the deeper-lying tensions of late humanist scholarship. The second reason for writing a thesis about Cave is that it makes it possible to reconsider an influential historiographical narrative about the origins of the ‘modern’ disciplinary category of literature. Since the 1970s the consensus among scholars has been that the nineteenth-century definition of literature as imaginative fictions in verse and prose – in other words literature as it is now taught in schools and universities – more or less completely replaced the early-modern notion of literature, literae, as learned books of all kinds. This view is challenged in the final section of this thesis, which traces the influence of Cave’s work on some of the canonical authors of the English literary tradition, including Johnson and Coleridge. Coleridge’s example, in particular, helps us to see why Cave and scholars like him were excluded lastingly from genealogies of English studies in the twentieth century, despite having given the discipline many of its characteristic concerns and aversions.
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Evangeliar. Aarbechtsgrupp "Iwwersetzung vun der Bibel op Lëtzebuergesch" (2009) : Luxembourg : Archevêché / Saint-Paul : considérations historiques, théologiques et exégétiques appliquées à la traduction de l'évangéliaire en luxembourgeois / Evangeliar. Work-group 'Translation of the Bible into Luxembourgish' (2009) : Luxembourg : Archbishopric / Saint-Paul : historical, theological and exegetical considerations applied to the translation of the evangeliary into LuxembourgishBiver-Pettinger, Francoise 24 September 2015 (has links)
En 2009 fut édité l’Evangeliar, la première traduction en luxembourgeois des évangiles lus pendant la liturgie de l’Église latine. Dans l’introduction, la présente thèse décrit le contexte historique, ecclésial et national, et la situation des langues dans laquelle les fidèles catholiques ont pratiqué leur religion de 1815 à nos jours. Ensuite, cette étude s’enquiert de l’influence de l’institution Église sur les traductions bibliques liturgiques actuelles, y compris l’Evangeliar. Cette influence peut s’exercer par le Magistère, par la tradition scripturaire ou par l’usage liturgique.Dans le deuxième chapitre, la traduction de Mc 1, 1-45 est revue verset par verset pour discuter la méthode et les critères retenus dans son élaboration. Ceci afin de déceler les pièges linguistiques, exégétiques, théologiques, voire culturels et de sonder les limites d’une traduction des évangiles en luxembourgeois. Dans la conclusion, où convergent les différentes pistes suivies dans la thèse, sont intégrés certains éléments en vue d’une recherche ultérieure sur la traduction de μετανοέω et de μετάνοια en général et dans l’Evangeliar plus particulièrement. / In 2009, the Evangeliar was published in Luxembourgish for the first time, containing the most-read Gospels of the Roman-Catholic liturgical tradition.In the introductory part, this thesis describes the historical, ecclesiastical, national, as well as linguistic background within which the faithful practised their religion from 1815 to the present day. Following on from there, it elucidates the influence of the Roman-Catholic church, as an institution, on contemporary biblical and liturgical translations, including the Evangeliar. This influence can originate from within the practice of Magisterium, scriptural tradition, or liturgical usage.In the second chapter, the translation of Mark 1, 1-45 is revised verse for verse in order to discuss the method as well as the criteria used in its development, with the aim of revealing traps of various kinds: linguistic, exegetical, theological, maybe even cultural, and furthermore to sound out the limitations of a translation into Luxembourgish of the Gospels. The conclusion, in which the various inquiry elements converge, also contains several elements conducive to further research on the translation of μετανοέω and of μετάνοια in general and in the Evangeliar in particular.
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L’auteur au temps du recueil : repenser l’autorité et la singularité poétiques dans les premiers manuscrits à collections auctoriales de langue d’oïl (1100-1340).Stout, Julien 04 1900 (has links)
Cette thèse entend proposer une analyse originale du phénomène connu mais polémique que constitue l’introduction de la notion d’auteur dans la littérature de langue française au Moyen Âge. Il s’agira d’essayer de contribuer à repenser la signification poétique, culturelle et historique de ce moment particulier où l’auteur – c’est-à-dire l’attribution d’un texte ou d’une série de textes à un nom propre donné – s’est imposé pour la première fois comme un critère structurant et primordial dans la production et surtout la transmission des textes de langue française dans les manuscrits médiévaux. Usant du concept foucaldien de fonction-auteur, des théories de la réception et du paratexte, ainsi que de la « Nouvelle Codicologie », l’approche déployée ici aborde l’auteur en tant que construction textuelle et éditoriale signifiante au sein d’un corpus de recueils littéraires de langue d’oïl où la volonté de construire des figures d’auteurs par les éditeurs de ces ouvrages est à la fois claire et indiscutable. Partie à l’origine d’un examen systématique de la tradition manuscrite d’environ 320 noms de poètes de langue d’oïl actifs entre 1100 et 1340, l’analyse se concentre principalement sur 25 manuscrits contenant des collections auctoriales dédiées à 17 poètes, dont le nom est associé avec insistance à une série de textes copiés les uns à la suite des autres. Parmi ces auteurs, on trouve les célèbres Chrétien de Troyes, Rutebeuf et Adam de la Halle, mais aussi Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin et Nicole Bozon.
La présente analyse tente de nuancer et de dépasser la lecture répandue selon laquelle ces manuscrits à collections auctoriales individuelles constitueraient, de concert avec les fameuses biographies de troubadours et les chansonniers de trouvères, souvent présentés comme leurs « ancêtres », les débuts balbutiants d’une vaste épopée de l’avènement de l’« auteur moderne », annonciateur tout à la fois d’une « subjectivité littéraire », d’une « esthétique autobiographique » et d’un contrôle accru des auteurs historiques, réels, sur la transmission manuscrite de leurs propres œuvres. Tout en offrant une mise à jour contextuelle et matérielle – données originales à l’appui – concernant la dimension collaborative de la genèse de ces recueils et le caractère modulaire de leur transmission, on montrera qu’ils sont le fruit d’un dialogue nourri avec le modèle livresque latin et pluriséculaire de l’auctor – qui est à la fois un auteur, un garant de la vérité (auctoritas) et un ambassadeur prestigieux de la grammaire –, ainsi qu’avec l’antique exemple d’œuvres dites « biobibliographiques », qui décrivent la vie et l’œuvre d’auteurs illustres et exemplaires, comme le fait le De viris illustribus de saint Jérôme. Les manuscrits étudiés usent à répétition de ce modèle ancestral de la biobibliographie (« la vie et l’œuvre ») pour mettre en scène un face-à-face entre auteurs de langue d’oïl et auctores. Or cette mise en regard s’avère d’autant plus intéressante que, contrairement à ce qu’on observe pour les troubadours, considérés très tôt comme de nouveaux auctores illustres en langue vulgaire, dignes de cautionner l’excellence de la poésie et de la grammaire d’oc, elle ne prend pas uniquement, en français, la forme d’une imitation ou d’une adaptation de modèles anciens. En fait, l’analogie avec les auctores donne lieu à des exercices savants, autoréflexifs et parfois ironiques sur la fabrique éditoriale, poétique et épistémologique du type d’auteur et d’auctoritas qui peuvent (ou non) être bâtis dans des recueils en langue d’oïl, idiome qui était encore dépourvu à l’époque (1100-1340) de véritable grammaire, et où fleurissaient en revanche les genres littéraires de divertissement comme le roman, où l’on explorait la porosité des frontières entre le vrai et le faux, entre le bien et le mal. Plus qu’un pas pris dans la direction d’un sacre inéluctable, l’« invention de l’auteur français » à laquelle procèdent les recueils étudiés est un geste pétri des incertitudes et des interrogations de ceux qui le posaient, et qui en mesuraient la profonde vanité au regard de Dieu et de la mort. / This thesis aims to provide an original analysis on an often studied yet controversial issue: the introduction of the notion of authorship in French language medieval literature. The objective here is to reconsider the poetic, cultural, and historical signification of the particular moment when the author – understood here as the attribution of a text or of a series of texts to a proper noun – first became an essential structuring criteria in the production, and more importantly, in the transmission of French-language texts through medieval manuscripts. Using Michel Foucault’s concept of fonction-auteur, theories of reception and of the paratext, as well as New Codicology, this thesis will consider the author as a signifying textual and editorial construction within several literary collections written in langue d’oïl, in which the editors clearly and undeniably sought to construct figures of the author. Based on the systematic examination of the manuscript tradition of approximately 320 names of langue d’oïl poets, who were active between 1100 and 1340, this analysis will focus primarily on 25 manuscripts containing authorial collections dedicated to 17 poets, whose names are strongly associated with a series of texts that are copied one after the other. Among these authors are the famous Chrétien de Troyes, Rutebeuf and Adam de la Halle, as well as Philippe de Thaon, frère Angier, Guillaume le clerc de Normandie, Pierre de Beauvais, Philippe de Remi, Gautier le Leu, Jacques de Baisieux, Geoffroi de Paris, Jean de l’Escurel, Baudouin de Condé, Jean de Condé, Watriquet de Couvin and Nicole Bozon.
This thesis attempts to question and ultimately discard the common conception according to which the manuscripts containing individual authorial collections constituted – along with the famous biographies of the troubadours and the chansonniers of the trouvères, often considered as their « ancestors » – the timid beginnings of the rise of the « modern author », himself a prequel to « literary subjectivity », « autobiographical aesthetics » and an ever stronger control exerted by actual empirical authors over the manuscript transmission of their own works. While offering contextual and material updates – supported by original data – regarding the collaborative process that went into the creation of these collections, as well as the modular aspect of their reception, this thesis will show that these collections were formed through a rich dialogue with the centuries-old latin model of the auctor – who is at once an author, a guardian of truth (auctoritas) and a prestigious ambassador of grammar –, as well as with the antique tradition of « biobibliographical » texts, dealing with the life and works of famous and exemplary authors, such as De viris illustribus, by saint Jerome. The manuscripts studied here repeatedly used this ancient model of biobibliography (« the life and works ») in order to stage a competition between authors writing in langue d’oïl and auctores. This confrontation is particularly interesting when one considers that – contrary to what may be observed in the case of the troubadours, who were quickly seen as the new illustrious vernacular auctores, worthy of vouching for the excellency of langue d’oc poetry and grammar – , we are not simply dealing here with a form of imitation or adaptation in French of ancient models. In fact, the analogy with auctores allows for autoreflexive and sometimes ironic learned exercises, dealing with the editorial, poetic and epistemological creation of the type of author and auctoritas in manuscript collections in langue d’oïl, an idiom which at the time (1100-1340) lacked a true grammar, yet was used in various literary genres meant for entertainment, such as romance, which explored the evanescent barriers between truth and lies, good and evil. Rather than a small step in the long path towards an inevitable coronation, the « invention of the French author » undertaken by these collections constitutes an action that reflects all the uncertainty and interrogations of those who undertook it, while being fully convinced of its utter vanity in the eyes of God and death.
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