Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Sugawara no Michizane était un lettré du 9e siècle qui fut élevé au rang de kami et qui inspira un culte qui demeure encore extrêmement vivace de nos jours. Le personnage historique et sa forme divinisée inspirèrent quantité d’histoires qui furent, entre autres raisons, créées pour justifier l’édification de sanctuaires voués à son culte, expliquer l’origine d’un fait religieux local ou d’un toponyme. Dans ce travail, nous nous proposons d'étudier les récits fictifs qui mettent en scène le personnage historique de Sugawara no Michizane et d’aborder le sujet sous trois angles différents. La première partie de notre étude consistera en l’établissement d’une énumération de ces légendes au moyen d’un large appareil de documents (récits de fondation, monographies, journaux de voyage…) qui nous permettra d’identifier leurs particularités, leur répartition dans l’espace et dans la vie de Sugawara no Michizane. Cette liste permettra de faire ressortir l’existence d’un certain nombre de « valeurs constantes » que l’on retrouve en fait non seulement dans les histoires de Sugawara no Michizane mais aussi dans celles qui mettent en scène d’autres personnages historiques. La seconde approche de ces légendes consistera à étudier précisément ces « valeurs constantes » et à tenter d’en déterminer l’origine. La troisième et dernière approche des légendes aura pour but d’étudier leurs « valeurs variables » et de voir ce qu’elles peuvent, à leur tour, nous apprendre sur leurs auteurs ainsi que les circonstances de leur création. / Sugawara no Michizane was a 9th century scholar who was turned into a god and inspired a cult still popular nowadays. His human and divine forms both inspired countless legends which were told, amongst other reasons, in order to justify the building of shrines devoted to his cult, and to explain the origin of local customs and places’ names. This dissertation will focus on the legends built around the historical figure of Sugawara no Michizane and analyze them under three different perspectives. The first perspective consists of an enumeration of legends using a large array of documents such as foundation stories, monographs and travelers’ journals. This is the first time such a list has been compiled. This list enables us to identify particularities and distributions in both space and span of Sugawara no Michizane’s life. This list also allows us to establish the existence of a certain number of “constant patterns” which not only appear in Sugawara no Michizane’s stories but also in stories involving other historical figures. The second perspective of the study examines these “constant patterns” and suggests possibilities for their possible origin. The third and last perspective of our study will deal with the so-called “variable patterns” of the stories and will suggest who created these stories and the reasons for their creation.

Mon travail de recherche consiste à comparer les formes du merveilleux dans deux oeuvres, génériquement, culturellement et linguistiquement tout à fait distinctes et qui pourtant ne sont pas sans liens. Le roman de Jaufré est un roman arthurien écrit en occitan probablement au début du XIIIème siècle, tandis que les Narty Kaddžytæ sont le trésor dupeuple ossète, légendes recueillies aux XIXème et XXème siècles auprès des conteurs (kadæggændžytæ) et publiées notamment par des savants tels que Vs. Miller et V.I. Abaev. G. Dumézil a montré combien le cycle des Nartes, bien que rapporté par la tradition orale, s’enracinait très profondément dans le passé au-delà du peuple ossète lui-même. Dansles légendes de ce petit peuple, dernier locuteur d’une langue nord-est iranienne (la branche scythique), on retrouve maintes accointances avec les coutumes et croyances des Scythes, tels que décrits par Hérodote. [etc.] / My research concentrates on the comparison of the shapes taken by ‘merveilleux’ motives in two works truly different as far as literary genres, cultural and linguistic backgrounds are concerned, and yet not totally lacking connections.The roman de Jaufré is an Arthurian romance written in Occitan, probably from the beginning of the XIIIth century, while the Narty Kaddžytæ (Nart legends) are the treasure of Ossetian people, legends collected during the XIXth and XXth centuries from kadæggændžytæ (oral storytellers), and published by Russian, Ossetian or European scholars such as Vs. Miller, V.I. Abaev. Miller and later Dumézil proved how the Nart Legends, though coming from oral tradition, was rooted in a past far beyond the ethnogenesis of the Ossetian people. A lot of striking connections are to be found between the epic of these people - last speakers of a language from the Northeast Iranian group (or Scythian branch) - and the habits or the faith ofthe Scythian people, such as Herodote described them. [etc.]

<p>Inferno constitutes a turning point in Strindberg's literary production in that scriptural quotations appear more frequently and a new style emerges. This thesis presents the characteristics of the scriptural quotations appearing in Inferno (1897) and Jacob Wrestles (a fragment following Légendes, written in French and in Swedish in 1898). Comparative, discourse, textual and intertextual approaches are used to define the place and role of scriptural quotations in this literary corpus.</p><p>From a historical point of view, both novels are part of the religious history of late 19th century France, where religion played a more important role than during the scientific, rationalist era characterizing the preceding decades. Strindberg adopts a new style corresponding to the spirit of his time. The art of "quoting the Bible at random" is a rhapsodic style, which appears mainly in Strindberg’s correspondence, in his Occult Diary (writings contemporary with Inferno) and in the work of some French 19th century writers. This style originates, above all, in the occult tradition, but it is also a means of imitating the Bible and identifying with a prophetic figure.</p><p>The research discussed in this dissertation has made it possible to determine, for the first time, what Bible translations are used in the two novels by Strindberg (translations by Ostervald and Martin / Roques). Five different types of rewritings of quotations were found: omissions, cutting of verses, substitutions, typographical changes and inversions. These variations were aimed at harmonising the Biblical text and the Strindbergian text, while removing contextual and theological elements that bothered the writer. The discourse analysis has concentrated on the quotations viewed as reported speech, distinguishing different ways of introducing Biblical verses in the novel. It was found that the narrator's subjectivity is present in the comments leading up to the quotations. The polyphonic character of some quotations has stressed the importance of identification play between the narrator and certain quotations characters such as Christ, Job and the psalmist.</p><p>The intertextual analysis has revealed a large number of similarities in the scriptural quotations in the literary production of Strindberg, Swedenborg and French 19th century literature. It is shown that Inferno contains various quotations that appear in Occult Diary and in other writers’ works, such as those of Swedenborg, Péladan, Zola, Huysmans and Chateaubriand. Jacob Wrestles, on the other hand, does not include as many intertextual elements but instead reassembles many scriptural quotations that were underlined in the Bible translation used for this novel: La Sainte Bible, Ostervald's translation from 1890, which can be found in Blå Tornet (The Strindberg Museum in Stockholm). Strindberg is consequently recycling Biblical material when he writes Inferno, while resorting to the French Bible of Ostervald from 1890 to write Jacob Wrestles.</p><p>The quotations strewn in Inferno constitute a crescendo and reveal the narrator’s unsuccessful attempt at conversion, at the same time forming the structure of a complaint psalm in which the narrator cries out his suffering and awaits liberation. In the French text of Jacob Wrestles, the writer offers a package of scriptural quotations in order to identify the narrator as "a religious man", imploring God's mercy like Moses and Job. In the Swedish text of Jacob Wrestles, a new perspective is introduced as a result of the change in language, the change from Old to New Testament, the new spiritual disposition of the narrator and the sudden intrusion of the writer in the narrator’s space. The role of scriptural quotations in the entire fragment of Jacob Wrestles is a true linguistic, thematic and theological revolution, which accounts for the narrator's extraordinary religious evolution. The misery of the narrator in Inferno allows a ray of Christian hope, which will persist in Strindbergs’s literary production post-Inferno.</p>

Inferno constitutes a turning point in Strindberg's literary production in that scriptural quotations appear more frequently and a new style emerges. This thesis presents the characteristics of the scriptural quotations appearing in Inferno (1897) and Jacob Wrestles (a fragment following Légendes, written in French and in Swedish in 1898). Comparative, discourse, textual and intertextual approaches are used to define the place and role of scriptural quotations in this literary corpus. From a historical point of view, both novels are part of the religious history of late 19th century France, where religion played a more important role than during the scientific, rationalist era characterizing the preceding decades. Strindberg adopts a new style corresponding to the spirit of his time. The art of "quoting the Bible at random" is a rhapsodic style, which appears mainly in Strindberg’s correspondence, in his Occult Diary (writings contemporary with Inferno) and in the work of some French 19th century writers. This style originates, above all, in the occult tradition, but it is also a means of imitating the Bible and identifying with a prophetic figure. The research discussed in this dissertation has made it possible to determine, for the first time, what Bible translations are used in the two novels by Strindberg (translations by Ostervald and Martin / Roques). Five different types of rewritings of quotations were found: omissions, cutting of verses, substitutions, typographical changes and inversions. These variations were aimed at harmonising the Biblical text and the Strindbergian text, while removing contextual and theological elements that bothered the writer. The discourse analysis has concentrated on the quotations viewed as reported speech, distinguishing different ways of introducing Biblical verses in the novel. It was found that the narrator's subjectivity is present in the comments leading up to the quotations. The polyphonic character of some quotations has stressed the importance of identification play between the narrator and certain quotations characters such as Christ, Job and the psalmist. The intertextual analysis has revealed a large number of similarities in the scriptural quotations in the literary production of Strindberg, Swedenborg and French 19th century literature. It is shown that Inferno contains various quotations that appear in Occult Diary and in other writers’ works, such as those of Swedenborg, Péladan, Zola, Huysmans and Chateaubriand. Jacob Wrestles, on the other hand, does not include as many intertextual elements but instead reassembles many scriptural quotations that were underlined in the Bible translation used for this novel: La Sainte Bible, Ostervald's translation from 1890, which can be found in Blå Tornet (The Strindberg Museum in Stockholm). Strindberg is consequently recycling Biblical material when he writes Inferno, while resorting to the French Bible of Ostervald from 1890 to write Jacob Wrestles. The quotations strewn in Inferno constitute a crescendo and reveal the narrator’s unsuccessful attempt at conversion, at the same time forming the structure of a complaint psalm in which the narrator cries out his suffering and awaits liberation. In the French text of Jacob Wrestles, the writer offers a package of scriptural quotations in order to identify the narrator as "a religious man", imploring God's mercy like Moses and Job. In the Swedish text of Jacob Wrestles, a new perspective is introduced as a result of the change in language, the change from Old to New Testament, the new spiritual disposition of the narrator and the sudden intrusion of the writer in the narrator’s space. The role of scriptural quotations in the entire fragment of Jacob Wrestles is a true linguistic, thematic and theological revolution, which accounts for the narrator's extraordinary religious evolution. The misery of the narrator in Inferno allows a ray of Christian hope, which will persist in Strindbergs’s literary production post-Inferno.

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

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Aide à la conception de légendes personnalisées et originales : proposition d'une méthode coopérative pour le choix des couleurs Les utilisateurs s'approprient aisément les outils cartographiques numériques pour se construire leur propre carte. Cependant, l'accès aux outils ne suffit pas pour concevoir une légende cartographique de qualité. Il est nécessaire de savoir comment faire de bons choix de représentation graphique, en particulier de bons choix de couleurs. Une expertise cartographique comportant des connaissances en sémiologie graphique et en perception des couleurs (contrastes et harmonies) est nécessaire : soit l'utilisateur possède ces connaissances, soit les outils doivent les lui apporter. Dans ce contexte, nous cherchons à aider les utilisateurs à concevoir des légendes personnalisées et originales, en nous concentrant sur l'aide au choix des couleurs. Nous proposons une méthode de conception coopérative en quatre phases reposant sur des interactions homme-machine : 1- choix d'une source d'inspiration, 2- acquisition des préférences de l'utilisateur sur les sources d'inspiration, 3- interprétation des préférences et construction de légendes adaptées, 4- retouche de légendes. Deux stratégies de conception sont envisagées en utilisant deux types de sources d'inspiration : des échantillons de carte et des toiles de maîtres. En partant du constat que des désaccords entre l'utilisateur et le système peuvent se produire, nous proposons d'utiliser des techniques de dialogue homme-machine pour améliorer l'adaptation du système à l'utilisateur. Le modèle de dialogue ainsi proposé est implémenté dans le prototype COLorLEGend (COLLEG) / Helping users to make on-demand and original legends : proposition of a cooperative method to choose colours Current cartographic tools allow technically novice and expert users to make maps. However resulting legends may be of poor quality because users do not know how to make good choices of graphic representation and especially good choices of colours. Cartographic expertise including semiologic rules and colour perception knowledge (contrasts and harmony) is required. If users are not experts, cartographic tools should other them this expertise. In this context, we want to help users to design customized and original legends, by helping them to select suitable colours. We propose a cooperative method in four stages : 1- selection of an inspiration source, 2- identification of user's colour preferences on inspiration sources, 3- interpretation of preferences and design of suitable legends, 4- refinement of legends. Two legend design strategies, based on map samples and master paintings, are used. However, conflicts between the user and the system may appear. Therefore we propose to rely on human-machine dialog techniques in order to better adapt the process to the user. A dialog model is implemented and the prototype COLorLEGend (COLLEG) is presented

This thesis aims to approach the representation of the death in the Britannic folklore throughout the work of three important Britannic folklorists: Marie-François Luzel (1824- 1895), his disciple Anatole Le Braz (1859-1926) and abbé François Cadic (1864-1929). The work describes how the vison oh the death developed historically in the Celtic mythology and in Christianism. To give a more complex idea of Britannic folklore the thesis treats its typical aspects, describes the genesis and the transformation of its emblematic character, Ankou, and briefly presents the world of deceased souls, commonly called Anaon. It aims furthermore to introduce the life and the motivation of the three authors and to portray the socio-cultural context in contemporary Brittany. The second part is firstly based on the analysis of some chosen mythological tales and the courteous novel Lancelot ou le Chevalier de la charrette by Chrétien de Troyes, examining its characters by means of the archetypal triangle proposed by Daniela Hodrová and the initiatory journey of the main characters. Secondly, the work explains what the "veillée" represents in the oral literature, as well as its connection to the "récit légendaire" (developed by Le Braz) which is later compared to the Luzel tale. This part treats also the style of...