Qu’est-ce que l’« ironie » ? Les multiples définitions de ce concept renvoient à des phénomènes si divers qu’il est impossible d’opérer une classification raisonnée, englobant toutes les manifestations possibles de ce que l’on nomme « ironie ». L’on peut cependant constater que la recherche sur l’ironie se décline en trois grandes orientations, correspondant aux trois domaines d’étude distincts que sont la linguistique, la littérature et la philosophie. Il nous a semblé intéressant de tenter d’approcher cette notion de manière plus globale en vérifiant si les différentes définitions de l’ironie ne peuvent pas, sinon trouver un dénominateur commun, du moins entrer en interaction. Ce travail croise ainsi les différents champs d’étude consacrés à l’ironie, afin d’aboutir à une conception plus globale du phénomène. Nous avons tâché de surmonter les contradictions qu’entraîne la confrontation des diverses définitions théoriques particulières du concept en privilégiant une approche empirique du phénomène dans une œuvre particulière : L'Homme sans qualités de Robert Musil. Notre travail a pour objectif de déterminer s'il est possible de mettre en évidence l’existence de « signaux » linguistiques de l’ironie comme « rapport au réel » au niveau du texte littéraire où elle s’exprime. Nos recherches s’articulent ainsi autour de trois grands axes: l'analyse pluridisciplinaire de la notion d’ironie, l'analyse du contexte historique et culturel de L'Homme sans qualités comme « rapport ironique au réel » puis, enfin et surtout, l'analyse des signaux linguistiques et stylistiques propres à rendre l’ironie du texte. Les résultats de cette démarche se montrent particulièrement fructueux dans la mesure où le croisement des diverses approches possibles de l’ironie permet de cerner de façon plus exacte le sens de l’ironie musilienne mais aussi de comprendre de façon générale, à partir du texte de Musil, les mécanismes linguistiques de cette ironie. / What is « irony »? The multiple definitions of this concept given throughout history present such different phenomena that it is impossible to incorporate all the ideas of what we call « irony » into one. However we have come to the conclusion that it is in fact possible to divide the research carried out on this subject into three main fields which correspond with three distinct study domains: linguistic, literary and philosophical. We have found it interesting to try to approach this notion of irony globally, maybe not by finding a common denominator, but by verifying whether the different definitions of it can at least interact with one another. This study also covers the various perspectives of irony with the aim of reaching a more global concept of the phenomenon. We have tried to overcome the contradictions of the various theoretical definitions of the concept by giving priority to the empirical approach of the phenomenon given in the novel: The Man without qualities. The aim of our study is to determine whether it is possible to find evidence of linguistic « signs » of irony in the novel as a « relation to what is real ». Our research is based around three main axes: the multidisciplinary analysis of the notion of irony, an analysis of the historical and cultural context of The Man without qualities as an « ironical relation to what is real », and most importantly, an analysis of the linguistic and stylistic signs which add irony to the text. The result of this research is fruitful in so far as cross referencing the various possible approaches of irony has allowed us to not only determine more precisely the musilian meaning of irony but also to understand, based on Musil’s text, the linguistic mechanisms of irony in a more general sense.

nÃo hà / O presente trabalho se propÃe a analisar o protagonista da obra O vampiro de Curitiba do escritor Dalton Trevisan, o personagem Nelsinho, que pode ser encontrado nos quinze contos do livro. A anÃlise serà feita sob a perspectiva dos estudos de gÃnero, EstilÃstica e histÃria social, dividindo-se em trÃs capÃtulos: Sendo o primeiro capÃtulo intitulado âMulheres, homens e vampirosâ, o segundo âUm vampiro em Curitibaâ e o terceiro âA seduÃÃo em movimentoâ / This study aims to examine the protagonist of the book The vampire of Curitiba, of the writer Dalton Trevisan, the character Nelsinho, which can be found in the fifteen stories of the book. The analysis will be made under the perspective of the studies of gender, Stylistic and social history, and is divided into three chapters: Being the first chapter entitled "Women, men and vampires," the second "A vampire in Curitiba" and the third "The seduction in movement"

L’étude se fonde sur l’hypothèse que le possible est un critère fondateur du roman médiéval. Le corpus est donc constitué d’œuvres romanesques ou qui peuvent être considérées comme des précurseurs du roman : les chroniques de Wace, le roman antique, les romans tristaniens et les romans de Chrétien de Troyes. Ces œuvres ont été explorées suivant une double approche. La première approche, linguistique, a essayé de dégager pour trois faits de langue (futur, futur II, propositions hypothétiques) une racine sémantique et, surtout, un éventail de significations ; l’étude a permis de dégager des phénomènes stylistiques : d’une part, les auteurs peuvent se singulariser dans leur emploi des formes (on dégage alors des traits idiolectaux) ; d’autre part, certaines formes ont des emplois marqués qui peuvent, en contexte, être considérés comme expressifs. La seconde approche est littéraire ; elle permet de dégager comment ces formes linguistiques sont investies dans une œuvre. En se concentrant sur des segments brefs et saillants (formules et interventions narratoriales), il a été possible d’identifier des traits singularisant l’œuvre de chaque auteur, mais aussi des éléments spécifiques au genre du roman. En étudiant d’une manière plus large le possible, défini comme la confrontation au futur contingent, certains éléments d’ordre générique ont été dégagés. Tout d’abord, le roman motive systématiquement l’action : le possible sert à exprimer une volonté, un projet, une verbalisation initiale précédant la réalisation de l’action ; l’écriture romanesque semble insister sur l’investissement individuel dans l’accomplissement de l’acte. Ensuite, un processus se révèle au plan chronologique. En effet, toute forme de prédestination ou de fatalité s’efface progressivement dans les textes ; ceux-ci se focalisent désormais plus sur la liberté humaine. Cette focalisation se fait selon deux procédés : le premier consiste à présenter la volonté du héros comme problématique, et le second à développer le principe d’incertitude : le possible relève d’une impossibilité à saisir entièrement le réel. / This study is based on the hypothesis that possibility is an essential criterion of medieval romance. So, the corpus contains romances or works which can be considered as precursors of romance : Wace’s chronicles, the « romans antiques », tristanian romances et Chrétien de Troyes’s romances. These works had been studied in two directions. The first part of the study relies on linguistic analysis in order to identify, for three linguistic facts (future, future II and conditionnals) a semantic root and, mostly, the different significations it can have. Stylistic phenomena had been identified by doing so : first, author can have a specific way to use these forms (idiolectal facts) ; then, theses forms have marked uses which can, contextually, be considered as expressive. The second part of the study is a literary analysis, in order to see how linguistic forms are used in works. By considering brief and prominent segments (formulas and narratorial interventions), it had been possible to identify facts which differentiate each author’s works, but also facts which are specific to romance. By studying possibility at a larger scale, defined as confrontation to contingent future, generic specificities had been identified. Firstly, romance expresses systematically the motivation of the action : possibility is used to express a will, a plan, an initial verbalisation preceding the realisation of the action ; so, romance writing seems to insist on the personal implication in the accomplishment of the act. Then, from a chronological point of view, a process is at work. Indeed, all form of predestination or fatality is gradually erased in the texts ; human freedom is now the focus. This focalisation is made in two ways ; the first is the description of the hero’s will as problematic ; the second is the development of uncertainty : possibility is linked to the incapacity to apprehend completely reality.

In Sepedi, there is a problem of using irony instead of satire in reference to literary genres. The difference between the two concepts is that irony is a figure of speech and satire is a text type. To bring clarity on this issue, an attempt was made to give a thorough explanation of these concepts. In addition to this, emphasis was on the indication of how irony is employed in writing satire , explanation of structure of genres classified as irony, the correct name for such writings and an indication of how style differentiates those genres. Satire as a literary genre, like moral and didactical narratives has the aim of exposing evil in the society. In the light of this, an attempt was made to differentiate between satire as a literary genre and as a didactical narrative. In an attempt to clarify this, use was made of narratological model which emphasises content, plot and style in genre analysis. Irony as a figure of speech is embedded in the analysis of style in a text. This implies contrast which may be vertical or horizontal, depending on the position of words, sentences or morphemes in a sentence. When used vertically, it gives a meaning different from the reality, thus saying the opposite of what one means. To give a thorough explanation of the concept of satire, it was differentiated from moral stories by using two short stories namely, ‘Nna nka se je dipute…’ from Mantšhaotlogele (1985) by S.N. Nkadimeng and ‘Nka se sa boeletša’ from Medupi ya megokgo (1985) by D.L.M Mpepele. The two short stories were preferred in this study because of remarkable resemblances in respect of their content. They both outline the conflict between the child and a parent and they are similar in setting and milieu. The differences of these concepts as outlined in the summary of this work lies in their style. In his work, Nkadimeng stated the conflict in such a way that it is resolved by introducing a new character, the father in this case, who seemed to be passive all along. He intervenes in the conflict to act as the conscience of the mother, jolting her to her senses on time. Nkadimeng’s style is cool and calm, thus creates a pleasant atmosphere. Mpepele outlined the conflict until the parent acknowledges his wrong behaviour and confesses that he will never do it again. The father thus learned a hard way. Mpepele’s style is sharp, self – biting and spells out venom which effectively intercepts the lesson the father must learn. / Thesis (DLitt)--University of Pretoria, 2012. / African Languages / unrestricted

This essay has examined the children’s book author Sven Nordqvist’s use of rhetorical visual stylistic figures in four of his books: Var är min syster?, Hattjakten, Pannkakstårtan and Minus och stora världen. The main focus of the essay has been investigating aspects of his visual style that may have contributed to his great success. Some of the stylistic figures that we looked into are metaphor, synecdoche and paradox. The analysis has showed that the stylistic figures reinforce and invigorate the pictures as they are creating a fruitful visual reading experience for the readers. The results indicate that the rhetoric of Nordqvist’s visual stylistic figures probably has much to do with his success, being valuable sources of imaginative reading.

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The aim of the thesis is to provide a comprehensive view of the works of Samuel Beckett from the beginning to the novel Molloy. It is based on analysis of individual works and the subsequent attempt to uncover their interconnections. The thesis is divided into three parts: theory, poetry and prose. The first part deals mainly with the concept of incoherent reality which Beckett speaks about for the first time in his essay Proust and then returns to in other texts. In the novel Dream of Fair to Middling Women he makes it the basis of his own aesthetic. Behind the phenomena of the outer world lies chaos and nothingness and the artist's task is to integrate it into his work. The second part discusses the changes in the subject of the poems, his being or not being in particular surroundings, the amount of literary allusions, the themes and the form of the poems, above all the particular techniques Beckett uses and the degree of their regularity and elaboration. The third part raises similar questions about prose. The unquestionable centre of Beckett's poems and prose is the subject of the poems and the main character, characterized by tension between inside and outside. The change in the character is caused by outweighing of the tendency to stay inside. This also results in the reduction in allusions...

Les relations qui unissent le savoir scientifique et la poésie de la seconde moitié du XIXe siècle sont complexes. Longtemps fort minoré par l’histoire littéraire, le dialogue qu’entretiennent ces deux entités oscille entre modernité scientifique et modernités poétiques. Tour à tour conflictuelles ou fraternelles, ces modalités de dialogues multiples et contradictoires se révèlent pourtant symptomatiques d’une époque en crise vis-à-vis à la fois du genre poétique et d’un scientisme en voie d’essoufflement. L’analyse stylistique – systématiquement informée par le contexte de production – et l’épistémocritique permettent de rendre compte d’une histoire parallèle et longtemps éclipsée de la modernité : tandis que le poème moderne se proclame de plus en plus autonome, tandis que la science a tendance à se spécialiser au point de n’être plus transmissible, le dialogue de la science et de la poésie, loin de disparaître, se complexifie. Le poète ne se contente plus d’exposer thématiquement des éléments de savoirs, sur les modèles antérieurs de Lucrèce et Jacques Delille. L’influence de la science se fait plus profonde et plus structurelle : le poème emprunte sa langue savante pour exprimer les angoisses du sujet lyrique, la poétologie entre dans le laboratoire de l’expérimentation. Ce faisant, l’impact de la science sur le travail poétique, quoique souterrain, devient déterminant dans les reformulations innovantes de la poésie de la seconde moitié du XIXe siècle. Deux modernités s’observent alors, se détournent parfois l’une de l’autre, s’entrecroisent ailleurs. C’est l’histoire des modalités de cette cohabitation difficile que la présente étude a cherché à mettre au jour / The links between scientific knowledge and poetry during the second half of the 19th century are complex. Whereas literary history has downplayed its importance for a long time, the dialogue between those two entities wavers between scientific and poetic modernities. And yet, the multiple and contradictory forms of that dialogue, both conflictual and fraternal, turn out to be symptomatic of an era in crisis, where poetry as well as scientism seemed to be running out of steam. Stylistic analysis – systematically informed by the historical context – and epistemocritic allow to tell the parallel story of an hidden modernity: while the modern poem claims increasing autonomy, while science tends to specialize so much that it is no longer communicable, the dialogue between science and poetry, far from disappearing, becomes more complex. The poet is no longer satisfied with thematically exhibiting elements of knowledge, according to previous models of Lucretius and Jacques Delille. The influence of science becomes deeper and more structural: the poem borrows its scientific language to express the anxieties of the lyrical subject, poetics enters the laboratory of experimentation. As a result, the impact of science on poetical work, albeit underground, plays a determinant role in the innovative reformulations of the poetry of the second half of the 19th century. Two modernities then observe each other, sometimes turn away from each other, sometimes intersect. The story of this difficult cohabitation is what this study has attempted to uncover

No / Being the first ever English-language title devoted exclusively to the controversial and influential mondo documentary film cycle, this revised edition of Sweet and Savage remains the only serious study of mondo as a global film phenomenon, and includes a detailed examination of the key films of this cult genre. Sweet and Savage identifies the principle stylistic aspects of the mondo genre through a fascinating ‘non-linear’ approach that echoes the collage shock effects of the original films. In so doing it features exclusive interviews and many unique material contributions. It is lavishly illustrated with rare photographs, stills, posters, and record sleeves.

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