Comment vivre ensemble ? Molière nous divertit à la fois en peignant les mœurs de son temps et en donnant à réfléchir à cette question. La civilité est une de ses réponses. Elle fleurit au XVIIe siècle, où les « honnêtes gens » suivent les traités qui enseignent les bonnes manières et cherchent à plaire et à rendre la société mondaine plus raffinée. La civilité camoufle délibérément les différences entre les personnes et les rangs, et donne délicatement une place à tout le monde dans la société. Mais cette civilité est en même temps dénoncée comme une forme d’hypocrisie et comme un masque qui dissimule la violence. Peut-on mieux vivre ensemble en refusant d’adopter ce comportement civil ? En principe, la civilité doit servir à éviter le recours à la violence. Mais civilité et violence peuvent aussi se rejoindre, car la violence n’est pas forcément physique : elle peut prendre la forme d’agressions verbales ou morales, de moqueries et de discriminations. Notre objectif est donc avant tout de comprendre ce en quoi consistent civilité et violence par le truchement des personnages de Molière, puis d’analyser les rapports que la civilité entretient avec la violence, et enfin de découvrir la proposition de Molière pour mieux vivre ensemble en couple et en société. / How to live together? Molière entertains us by depicting the customs of his age and by giving pause to reflect on this issue. Civility is one of his answers. It bloomed in France during the 17th century when the "honnête homme" complied with the rules of guide books teaching good manners and strove to please and make the smart society more refined. Civility deliberately conceals the differences between people and ranks, and delicately includes everyone in society. Meanwhile civility is denounced as a form of hypocrisy and as a mask concealing violence. Could we live better together by rejecting this civil behavior? Civility ought to be used to avoiding violence. But civility and violence can overlap as well, as violence is not necessarily physical violence: it can also result in verbal and moral abuse, derision and discrimination. The aim of this dissertation is to first understand what civility and violence involve through the characters of Molière, then to analyze the relation between civility and violence, and eventually to find out Molière’s insights to better live together as couples and as a society.

L’histoire littéraire connaît Jean Donneau de Visé (1638-1710) pour trois raisons : il a fondé le Mercure galant, a pris part à des débats théâtraux autour de Molière et de Corneille et a collaboré avec Thomas Corneille. Pour le reste, les étiquettes de « polygraphe » ou de « journaliste » ont confiné sa production au purgatoire de la critique. Ce travail se propose de réétudier cette production afin de lui donner sens et de comprendre l’apparente étrangeté de ces ouvrages. Donneau de Visé serait ainsi un entrepreneur des lettres, toujours à l’affût de l’occasion, entreprenant différents projets éditoriaux et recyclant, en « fripier du Parnasse », des matériaux textuels disponibles. Centré sur la période allant de sa première incursion dans le monde des lettres (1660) à la mise en place d’une formule pérenne pour le Mercure galant (1678), ce travail aborde les ouvrages de Donneau de Visé comme autant d’entreprises. Il en déconstruit la mécanique, étudie les marchés qu’ils visent (notamment celui de l’actualité) et révèle les actions qu’ils réalisent. Les résultats doivent éclairer non seulement l’activité de l’entrepreneur des lettres, mais également, des pratiques paradigmatiques pour le livre et la librairie au XVIIe siècle. / Jean Donneau de Visé (1638-1710) is still known for three main achievements: he founded the Mercure galant, took part in theatrical quarrels about the plays of Molière and Corneille and collaborated with Thomas Corneille on some machine plays. Labeled a « polygraphe » or a « journalist » he has long been condemned to critical limbo. This research would like to provide a new outlook on Donneau de Visé. The purpose is to shed light on the wide variety of the production of Donneau de Visé and to explain the reasons behind the complex structure of his books. This dissertation aims to show that Donneau de Visé can be considered a literary entrepreneur, perpetually seeking business opportunities, undertaking massive editorial projects and recycling available materials (he was nicknamed « le fripier du Parnasse »). This work is dedicated to a period spanning from 1660 to 1678 (from his first publication to the creation of a lasting business model for the Mercure galant) and approaches Donneau de Visé’s books as business ventures. It deconstructs the mechanics of these works by studying them through the lense of book history, studies the target market (especially, current events) and reveals which actions the books aim to undertake. The results should shed light not only on Donneau de Visé’s activities as a literary entrepreneur, but also on some widespread practices in the seventeenth century.

En 1647, dans ses Remarques sur la langue française, Vaugelas oppose « la richesse et la beauté » de la langue française aux « langues pauvres » où les équivoques « abondent ». Au XVIIe siècle en France, l’écriture familière est une pratique de la langue propre à l’espace particulier qui assume délibérément une pauvreté de langage et son équivocité. Quels enjeux les contemporains attachent-ils à ce qui est, non pas un style, mais, comme l’exprime Dominique Bouhours, un état « immature » de la langue ?Dans une première partie (chap. 1 et 2), nous nous attachons au principal modèle de l’écriture familière qui organise la discussion au XVIIe siècle : le sermo (cicéronien ou augustinien). Nous mettons alors au jour une fiction politique sous la théorisation de l’écriture familière : ce qui est en jeu dans le sermo, c’est le passage du langage des communautés primitives, langage considéré comme simple mesure affective des relations humaines à un langage différencié propre aux sociétés avancées et fondé sur la représentation et le partage du sens.Notre seconde partie (chap. 3-6) explore les bouleversements que l’autonomisation progressive de l’espace privé provoque dans la compréhension de l’écriture familière au XVIIe siècle. Aux yeux des contemporains, les usages familiers de la langue constituent à la fois une opportunité favorisant le sentiment du commun et une menace sur les ambitions civiles qui y sont attachées.Les traités sur la conversation essaient d’en limiter les dangers ; les textes libertins en exacerbent les pouvoirs de césure.Notre dernière partie (chap. 7) se consacre au théâtre de Molière. A la suite des réajustements apportés aux notions de style et de représentation par notre exploration de la théorisation classico-baroque de l’écriture familière, comment interpréter le langage comique moliéresque ?Quelles conséquences sur notre compréhension du ridicule ? / In Seventeenth-Century France, familiar writing was a language practice unique to the particular space that intentionally assumed a poverty of form and multiplicity of meanings. What issues did 17th century contemporaries see at stake in what is not a “style”, but as described by Dominique Bouhours, an “immature” state of language? In the first part (chapters 1 & 2), we will focus on the principal model of familiar writing that centers the discussion in the 17th century: the “sermo” (Ciceronian or Augustinian). Thus we will shed light on a political fiction under the theorization of familiar writing: what is at stake in the “Sermo” is the passage from a language attached to primitive communities and understood as simply an affective measure of human relations to a differentiated language,unique to societies and built on the representation and sharing of meaning.The second part (chapters 3-6) will explore the disruptions that progressive empowerment of the private space provokes in the understanding of familiar writing in the 17th century. In the eyes of those who lived in the 17th century, familiar usage of language constituted both anoccasion that preferred the feeling of community, as well as a threat to civil ambition to which it is attached. Treaties on conversation tried to limit its dangers. Libertine texts exacerbated the power of its disruptions.The last part (chapter 7) is devoted to the theatrical works of Molière. Following readjustments brought to notions of style and representation by our exploration of the classico-baroque familiar writings, how does one interpret Molière’s comic language? What are the consequences for our understanding of “le ridicule”?

Made available in DSpace on 2017-07-10T18:55:30Z (GMT). No. of bitstreams: 1 Maricelia.pdf: 841634 bytes, checksum: bbfe6537f1e9c2fffbf682ca74b487cb (MD5) Previous issue date: 2014-02-07 / Esta investigación consiste en el estudio acerca de la constitución de los personajes avarientos que figuran en las piezas teatrales Aulularia (siglo II a.C.), de Plauto, El avaro (1668), de Molière, y O santo e a porca (1957), de Ariano Suassuna. Proponemos el estudio de las representaciones estéticas de tales personajes a partir del presupuesto de que el avariento se caracteriza como uno de los muchos elementos oriundos del cómico. En ese sentido, al atentar para las variaciones de aquel, pretendemos también proceder a la comprensión de las modulaciones de este, entendiéndolo bajo la perspectiva de la ambivalencia, tomada de Mijaíl Bajtín (1999). Para tanto, buscamos percibir en qué medida el avariento criado por Suassuna se acerca/aleja de los avarientos representados por Plauto y Molière; atentamos para la representatividad de los personajes avarientos como elementos del cómico; y destacamos la influencia de aspectos de orden ideológico-cultural que permean las trasformaciones histórico-sociales del occidente, en las representaciones estéticas de la avaricia. Nuestra investigación parte de los presupuestos de la Literatura Comparada y se apoya en los estudios bajtinianos, en lo que se refiere a la ambivalencia cómica y a la noción de dialogismo, en las consideraciones de Kristeva (1974), relativamente al concepto de intertextualidad, y en Aristóteles (1984), Brandão (1999), Bergson (1980), Propp (1992), Monois (2003), entre otros, que tratan del cómico y de su representatividad en diversos contextos. Acerca de los resultados alcanzados, destacamos que los tres personajes avarientos de que tratamos se caracterizan como personajes cómicos, en la perspectiva de la ambivalencia, pero en ellos son acentuadas características distintas y tales características hacen con que la ambivalencia cómica asuma proporciones diversas en cada una de las producciones artísticas. / Esta pesquisa consiste no estudo acerca da constituição das personagens avarentas que figuram nas peças teatrais Aulularia (séc. II a. C.), de Plauto, O avarento (1668), de Molière, e O santo e a porca (1957), de Ariano Suassuna. Propomos o estudo das representações estéticas de tais personagens a partir do pressuposto de que o avarento se caracteriza como um dos muitos elementos oriundos do cômico. Nesse sentido, ao atentarmos para as variações daquele, pretendemos também proceder à compreensão das modulações deste, entendendo-o sob a perspectiva da ambivalência, tomada de Mikhail Bakhtin (1999). Para tanto, buscamos perceber em que medida o avarento criado por Suassuna se aproxima/distancia dos avarentos representados por Plauto e Molière; atentamos para a representatividade das personagens avaras como elementos do cômico; e destacamos a influência de aspectos de ordem ideológico-cultural que permeiam as transformações histórico-sociais do ocidente, nas representações estéticas da avareza. Nossa pesquisa parte dos pressupostos da Literatura Comparada e se apoia nos estudos bakhtinianos, no que diz respeito à ambivalência cômica e à noção de dialogismo, nas considerações de Kristeva (1974), relativamente ao conceito de intertextualidade, e em Aristóteles (1984), Brandão (1999), Bergson (1980), Propp (1992), Minois (2003), entre outros, que tratam do cômico e de sua representatividade em diferentes contextos. No que se refere aos resultados alcançados, destacamos que as três personagens avarentas de que tratamos se caracterizam como personagens cômicas, na perspectiva da ambivalência, mas nelas são acentuadas características distintas e tais características acabam por fazer com que a ambivalência cômica assuma proporções diversas em cada uma das produções artísticas.

Dans la seconde moitié du XIXe siècle, les comédies de Molière devinrent une source féconde pour les Ottomans qui cherchaient à renouveler les arts dramatiques populaires et à créer ainsi un nouveau théâtre national. Ce travail se concentre sur les deux grands vecteurs de la transmission à l’étranger du répertoire français au XIXe siècle (les pièces qui voyagent dans leur langue originale et les traductions et autres adaptations des pièces françaises en vogue) et poursuit le but d’analyser dans sa complexité la transmission du théâtre moliéresque dans l’Empire ottoman à l’Âge des réformes. Ce travail se propose de réécrire sous un nouvel angle l’histoire de la modernité théâtrale turque en mettant l’accent sur les changements que subirent les arts du spectacle populaires face à la popularité grandissante du théâtre moliéresque dans la capitale ottomane et sur les grandes tournées dramatiques des vedettes françaises dans une Constantinople très vivante et cosmopolite. / In the second half of the nineteenth century, Molière's comedies were seen as a fertile source of material for Ottoman playwrights eager to bring new ideas to the popular dramatic arts and to create a new form of national theater. This dissertation concentrates on two primary ways that French theater was transmitted to the theater-going public in the nineteenth century : First, plays that traveled in their original language ; and secondly, translations and adaptations of the French plays most popular at the time. This dissertation aims to analyze Molière's theater in all the complex ways it was transmitted throughout the Ottoman Empire during the Age of Reforms. This dissertation proposes a new perspective on the history of modern Turkish theater, underlining the transformation that the popular dramatic arts went into in the midst of the growing popularity of Molière's theater in the capital and the effect of French theater stars coming to what was a lively and cosmopolitan Istanbul.

Master of Arts / Department of Modern Languages / Melinda Cro / In this comparative analysis of Molière’s, L’École des Femmes and Marivaux’s, Le Jeu de l’amour et du hasard, I examine the potential for agency on the part of the female protagonists Agnès and Silvia. Despite the limitations placed upon women in the patriarchal society of seventeenth and eighteenth century France, each character overcomes various obstacles in order to assert freedom of choice and expression in matters of the heart. The first chapter of this study, “L’amour et le mariage” focuses on love and marriage and the representation of these two concepts in terms of feminine power. These plays offer the opportunity to observe different types of perceptions regarding love and marriage and suggest that marriage based on mutual love is advantageous for women and tends to reinforce her power, as love is a strong motivation for appropriate partner choice. The second chapter, “La relation entre l’homme et la femme” analyses the relationship between the feminine and masculine figures of each play. Both authors give multiple cases of male-female interaction and suggest that men’s behavior is an important part of feminine power as women can make the decision about the appropriateness of the partner based on their observed behavior. While Molière gives the example of the negative and ignorant father-lover figure, Marivaux presents the ideal father image who encourages his daughter to make decisions based on her own best interests. The third chapter, “Le Masque: Le déguisement et le pouvoir féminins” examines the way in which the female protagonist is capable of improving her own situation. In each work, one can observe the woman’s creative behavior as a means by which she accomplishes her goal, to be able to choose a partner based on mutual love independently, supported by a benevolent father.

The subject of medicine in the works of Moliere has been traditionally treated as a matter of satire. While it is important to consider this view and while biographical approaches relating Moliere's personal illness to the content of his medical comedy are illuminating, this study proposes that a plurality of views offers a more complete picture. Such analysis discovers that Moliere's medical comedy is much more than satire, that it contains elements of black humor and even approaches the theater of cruelty in its treatment of sickness and death. The metaphor in this approach is in the perception of a composite image of this part of Moliere's theater, much like the pattern that a kaleidoscope discloses. As we may sort out the various elements that compose the kaleidoscopic impression--light and shadow, color, form, change of image through manipulation of the instrument--there is a similarity in the division of elements in Moliere's medical theater. Light and shadow correspond to the opposition of fact and fantasy in seventeenth-century French medicine and constitute the historical view of his work; color corresponds to the notion of Galenic humor theory and suggests that the comedy of character may be analyzed according to humoral temperaments; form corresponds to the language Moliere used in his medical plays; the change of image occurs in Moliere with the passage of time--his medical comedy being farcical at the beginning of his career and much darker towards the end of his life. The purpose of this approach is to identify these separate elements in order to better understand their function as an organic whole. For this reason, the notion of organic unity is also treated. In an effort to relate Moliere's theater to the present day, this study compares Moliere's work with Artaud's notion of the nature and function of theater, with the two meanings of semiology--sign theory and symptomatology, and using an archetypal approach, concludes with the suggestion that sexuality, death, and medicine form a hidden mythology in these plays.

Cette thèse a pour objectif de démontrer la richesse et la variété des dispositifs scéniques utilisés par Molière à Paris, à partir de 1658. Sur ce thème, il n’y eut guère jusqu’ici que des travaux peu convaincants basés sur l’étude iconographique des frontispices. Cette étude s’ouvre sur un rappel circonstancié du contexte technique, matériel et scénographique au XVIIe siècle avec notamment les descriptions précises des grandes innovations dues aux Italiens ; puis, à l’aide de notes, de manuscrits ou de contrats, les spécificités architecturales du théâtre du Palais-Royal, qui fut pour Molière le principal espace de création, sont détaillés. Enfin, l’ensemble des comédies du dramaturge est regroupé en deux grandes catégories : les comédies données à la Ville, comme L’École des femmes, Le Tartuffe ou L’Avare ; celles-ci n’ont pas bénéficié de commentaires qui puissent éclairer sur le dispositif scénique. Mais le décryptage minutieux du texte a pallié cette lacune ; il met en évidence un rapport quasi constant entre action et décoration, et confirme l’intérêt manifeste de l’auteur-comédien pour la mise en scène. La seconde catégorie concerne les comédies données pour la Cour, souvent appelées « comédies-ballets » ou comédies « mêlées de danse et de musique » ; celles-ci ont fait l’objet d’amples relations contemporaines. Bénéficiant de moyens financiers considérables, elles furent caractéristiques par leur débordement de luxe et d’invention. / This thesis aims to demonstrate the richness and variety of scenic devices used by Molière in Paris beginning in 1658. On this subject, there have been only a few unconvincing works to date, and these have been based on iconographic study and frontispieces. The thesis begins with an account of the detailed technical background, materials and stage design in the seventeenth century. It is particularly committed to locating and describing in detail the major innovations resulting from Italian influence. Through an examination of notes, manuscripts and unpublished theater contracts, it has sometimes even been possible to specify the architectural characteristics of the theater of the Palais-Royal, which was Molière's main creative space. The thesis then groups all of the comedies of the playwright into two broad categories. The first category, comedies played “à la Ville” (e.g., L’École des femmes, Tartuffe and L’Avare) has not benefited from commentaries that could clarify the settings that were used. Detailed textual analysis helps to overcome this problem; it highlights an almost constant ratio between action and decoration, and confirms the author-actor Molière’s obvious interest in staging. The second category concerns comedies played for the Court, often called "comedies-ballets" and comedies of "mingled music and dance," which have received more thorough contemporary commentary. These comedies benefited from considerable financial resources and are characterized by their overflowing luxury, scenic writing and invention.

anglicky: Title of the thesis: Molière in modern Czech theatre Keywords: Molière, preciousness, classicism, baroque, comedy, commedia dell'arte, comedy-ballet. Abstract: The thesis treats the works of Jean-Baptiste Poquelin also known as Molière and their legacy in modern Czech theatre. It characterizes French society of the seventeenth century and the main features of contemporary philosophical and artistic styles, focusing on the dramatic creation of classicism. It also summarizes the life of Molière and his work, subdividing it according to generic, formal and thematic criteria. Within this frame, it gives a detailed analysis of the most important plays, representing the individual categories. It also studies the modern Czech theatrical stage. Focusing on the historical context, it explores the development of the stage from the end of the Second World War until nowadays. It gives a complex outline of Molière's plays presented during the different periods, evaluating the influence of cultural and historical context on the particular interpretation. This evaluation is based on the information presented in contemporary press and promotional materials of the given theatres and thus examines Molière's plays performed on Czech theatre stages in the present. On the basis of a questionnaire...

Submitted by Edisangela Bastos (edisangela@ufpa.br) on 2012-06-01T12:35:53Z No. of bitstreams: 2 Dissertacao_AvarentoMoliereMão.pdf: 3662946 bytes, checksum: 11e3630a220ca4e54fb360b35a29b477 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Approved for entry into archive by Edisangela Bastos(edisangela@ufpa.br) on 2012-06-01T12:36:28Z (GMT) No. of bitstreams: 2 Dissertacao_AvarentoMoliereMão.pdf: 3662946 bytes, checksum: 11e3630a220ca4e54fb360b35a29b477 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) / Made available in DSpace on 2012-06-01T12:36:28Z (GMT). No. of bitstreams: 2 Dissertacao_AvarentoMoliereMão.pdf: 3662946 bytes, checksum: 11e3630a220ca4e54fb360b35a29b477 (MD5) license_rdf: 23898 bytes, checksum: e363e809996cf46ada20da1accfcd9c7 (MD5) Previous issue date: 2011 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Cette recherche présente la lecture et l‟étude de L’avare, de Molière, dans la mise-en-scène O mão de vaca, réalisé par le Palhaços Trovadores, avec douze ans d'actuation à Belém dans l‟état de Pará. Le but avec la thèse, c‟est de révéler les moyens du texte de théâtre dans un processus de montage, dont la proposition de la réalisation de ce montage a été fondée sur le processus de collaboration, un nouveau type de création qui s'est développée au Brésil, environ le décennie 90. Ce type de processus « découle de la nécessité d'un nouveau contrat entre les créateurs à la recherche de l'horizontalité dans les rapports de création » (Pavis, 2007, p. 253). Ainsi, le groupe a suivi dans son montage lors des répétitions fermées, ouvertes et véhiculéés dans le cyberespace, en permettant un dialogue plus étroit entre les acteurs, metteur en scène et public / internautes, ce qui rend le montage d'une création collective et publique. C‟est important dire que les Palhaços Trovadores ont fait un travail d‟adaptation du texte à partir de leurs propres besoins, à la poursuite de l'innovation et maintenance de leurs recherches basées sur le langage du clown e des manifestations populaires. / A presente pesquisa apresenta uma leitura e um estudo de O avarento do dramaturgo francês Molière, na montagem teatral O mão de vaca, concebida pelo grupo Palhaços Trovadores, com doze anos de atuação na cidade de Belém do Pará. Para isso, parte-se primeiro de um panorama da época de Molière e da sociedade para a qual escreveu suas comédias, focalizando, em seguida na dissertação, os caminhos pelos quais passou o grupo de palhaços na adaptação e montagem da peça de Molière, cuja proposta de realização fundamentou-se nos princípios do Processo Colaborativo, um novo modo de criação que se instaurou no Brasil, por volta dos anos 1990. Esse tipo de processo “surge da necessidade de um novo contrato entre os criadores na busca da horizontalidade nas relações criativas” (PAVIS, 2007, p.253). Assim, a montagem do grupo seguiu, em ensaios fechados, abertos e veiculados no ciberespaço, permitindo o diálogo mais estreito entre atores, diretor e público/internautas, tornando a montagem uma criação pública e coletiva. É importante ressaltar que os Palhaços Trovadores procuraram fazer um trabalho de adaptação do texto a partir das suas próprias necessidades, na busca de inovação e manutenção de suas pesquisas com a linguagem do palhaço e dos folguedos populares.