La notion de « partie faible » n'est pas conceptualisée en droit français des contrats. Elle est pourtant fréquemment invoquée, au point d’avoir été à l'origine de la création de pans entiers du droit, comme le droit de la consommation. La situation est donc paradoxale. Par ailleurs, les protections du consentement de ces contractants présumés faibles sont multiples, éparpillées et souvent peu efficaces. Cette spécialisation extrême conduit même parfois à desservir la partie protégée. Aussi convient-il de conceptualiser la notion de partie faible, et par là même de clarifier la protection de son consentement. Ces créations doivent, au reste, être intégrées dans le Code civil, afin de constituer un véritable droit commun bénéficiant à tous, plutôt qu’une série d’exceptions ne profitant qu’à certains. / The notion of « weak contracting party » is not conceptualized in French contract law. However, it is frequently invoked to the point of having been behind the creation of entire sections of law, such as consumer law. Therefore, the situation is paradoxical. Besides that, the protection of those presumed « weak contracting parties » are multiple, scattered and often ineffective. It is consequently appropriate to conceptualize this notion, and thereby clarify the protection of its consent. Moreover, these creations should be incorporated in the Civil Code, in order to constitute a genuine common law benefiting all, rather than a series of exceptions benefiting only some contractors.

Habilitationsschrift--Sprach- und Literaturwissenschaftliche Fakultät--Katholische Universität Eichstätt, RFA, 1990.

No description available.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal.

The manuscript of the medieval morality play The Castle of Perseverance contains an illustration commonly understood as the earliest example of a medieval stage plan. Yet The Castle is an allegory, an extended metaphor, the meaning of which comes from the exegetical tradition. Medieval drama is didactic, and education, like exegesis and metaphor, operates on many levels. The Castle plays on the meaning of play: to read it solely as a play is to read merely the first level of meaning. This thesis considers The Castle not in its usual dramatic context but in that of devotional literature: specifically, exegesis, mysticism, and the monastic practice of lectio divina, divine reading. It focuses on the text and diagram as the verbal and visual illustration of classical and biblical metaphors: among these, the pilgrimage of life, the castle of the mind, the treasure chest of the heart, and the river of the soul. Gregory the Greats Moralia in Job is discussed as the likeliest source of the metaphors found in The Castle; the Moralia serves as an exemplar of allegory as a systematic metaphor and a metaphoric system. The Castle allegorizes and actualizes an abstraction, the process of temptation; depicting the mind as a stage on which players become prayers. Morality plays concern the ethics of salvation: one is the sum of ones choices. Thus, the manuscripts goal is to foster contemplation or Christian Socratism, the examination of conscience, as a prerequisite to salvation and the mystical union with God.

The manuscript of the medieval morality play The Castle of Perseverance contains an illustration commonly understood as the earliest example of a medieval stage plan. Yet The Castle is an allegory, an extended metaphor, the meaning of which comes from the exegetical tradition. Medieval drama is didactic, and education, like exegesis and metaphor, operates on many levels. The Castle plays on the meaning of play: to read it solely as a play is to read merely the first level of meaning. This thesis considers The Castle not in its usual dramatic context but in that of devotional literature: specifically, exegesis, mysticism, and the monastic practice of lectio divina, divine reading. It focuses on the text and diagram as the verbal and visual illustration of classical and biblical metaphors: among these, the pilgrimage of life, the castle of the mind, the treasure chest of the heart, and the river of the soul. Gregory the Greats Moralia in Job is discussed as the likeliest source of the metaphors found in The Castle; the Moralia serves as an exemplar of allegory as a systematic metaphor and a metaphoric system. The Castle allegorizes and actualizes an abstraction, the process of temptation; depicting the mind as a stage on which players become prayers. Morality plays concern the ethics of salvation: one is the sum of ones choices. Thus, the manuscripts goal is to foster contemplation or Christian Socratism, the examination of conscience, as a prerequisite to salvation and the mystical union with God.

Thèse numérisée par la Division de la gestion de documents et des archives de l'Université de Montréal

Condensation of Thesis (Ph. D.)--Vanderbilt University, 1946. / "Private edition, distributed by the Joint university libraries, Nashville, Tennessee." Includes bibliographical references.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior, CAPES

Le naturalisme prétendant inclure tous les aspects de la vie, la question de la monstruosité omniprésente dans l’œuvre de Zola peut se traiter sous l’approche du monstre en tant qu’être exceptionnel comme sous celle du monstrueux applicable à chaque nuance de physiologie, de caractère, de comportement ou de sensibilité. La présence des monstres chez l’auteur est concurrencée par son usage plus général du monstrueux lui permettant de concilier une poétique de l’ordinaire et un objet narratif qui ne l’est pas pour tout dire de la complexité de l’existence. Si le monstre désigne d’abord l’être biologique contrefait, l’influence du milieu et de l’hérédité conditionne son apparition : face à différents règnes naturels monstrueux l’homme est menacé de succomber ou de le devenir à son tour ; les anomalies physiques se transmettent d’un parent à son descendant mais même guettent n’importe qui à tout âge. L’œuvre de Zola met ainsi en lumière les aveux des corps mais exprime déjà un changement de regard porté sur les malheureux affublés de tares et leurs juges improvisés. Puis, dans une lecture morale, la quasi-totalité des personnages est susceptible d’être le monstre d’un autre tant c’est là un concept peignant les angoisses et les méfiances inhérentes aux rapports humains, à moins de cibler des mécanismes pernicieux comme ceux de bêtise ou d’hypocrisie pour montrer que n’est pas toujours monstrueux celui que l’on croit ; la mythologie zolienne où monstres et monstrueux occupent un rôle central permet à ce titre de reprendre des thématiques ancestrales et de les adapter au monde contemporain. Approprié par l’écrivain, le monstrueux en régime zolien devient alors un véritable sujet esthétique. Le plus grand monstre aux yeux de qui peine à créer, c’est en définitive l’œuvre d’art elle-même qu’il faut maîtriser par un labeur patient : c’est l’œuvre problématique, trop exigeante, et le monstrueux qualifie ce qu’on rejette en elle comme le laid, l’obscène, le mensonger. Zola en a été lui-même la victime, qu’il s’agisse de ses textes ou de sa propre personne déformés par des parodies, des caricatures ou des attaques ad hominem. / Naturalism claiming to include all aspects of life, Zola’s work can be treated from the angle of the monster as outstanding being or of the monstrous as applicable concept to each nuance of physiology, temperament, behavior or sensitivity. Monster’s presence in author’s work is competed with his more general use of the monstrous, allowing him to reconcile a poetic of the ordinary and an extraordinary narrative object to say all the complexity of existence. If the monster first means distorted biological being, the influence of environment and heredity determines its appearance: confronted with monstrous natural kingdoms, man is threatened to succumb or metamorphose in his turn; abnormalities are passed from parents to descendants, but also affect anyone at any age. So Zola’s work highlights the confessions of the body, but already expresses a change of look on the unfortunates whose physical defects are showed and their improvised judges. Then, in a moral reading, almost all of the characters may be others’ monster, as this is a concept which reveals anxieties and mistrusts inherent in human relationships, unless are targeted pernicious mechanisms such as those of stupidity or hypocrisy in order to prove that isn’t always the monster that is believed; Zola’s mythology whose monsters and monstrous occupy a central role allows, in this capacity, to resume ancestral themes and adapt them to the contemporary world. Appropriated by the writer, the monstrous becomes a veritable aesthetic subject. The biggest monster in the eyes of the one who hardly writes is ultimately the work of art itself which must be mastered with a patient labor: the work is problematic, too demanding, and monstrous describes what is dismissed in it as the ugly, the obscene, the false. Zola was himself victim, through his texts or in his own person deformed by parodies, caricatures or ad hominem attacks.