Agrégation Externe : annales des sujets de leçon de littérature

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Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2003.

Sommaire

Roman/nouvelles

Austen

  • Repetition in Pride and Prejudice
  • Interference in Pride and Prejudice
  • Design in Pride and Prejudice
  • Trust in Sense and Sensibility
  • Pleasure in Sense and Sensibility
  • Theatricality in Sense and Sensibility
  • Affection and affectation in Sense and Sensibility
  • Intimacy in Sense and Sensibility
  • "The business of self-command" (p. 79) in Sense and Sensibility
  • "[T]he appearance of secrecy" (p. 181) in Sense and Sensibility

Brontë

  • Erring in Jane Eyre
  • The didacticism of Jane Eyre
  • Reading the other and writing the self in Jane Eyre
  • “They were under a yoke: I could free them” (p.328) in Jane Eyre
  • Giving “furious feelings uncontrolled play” (p.31) in Jane Eyre
  • "Conducting one's narrative and one's life"
  • Voices in Jane Eyre

Burney

  • Conversation in Evelina
  • Confusion in Evelina
  • "Romance and nature" (p. 10) in Evelina
  • Art and artlessness in Evelina
  • Authority in Evelina
  • Agitation in Evelina
  • Address and Subtlety in Evelina
  • "I cannot journalisze" (p. 255)
  • Innocence and ignorance in Evelina
  • ["W]riting with any regularity" (p. 23)

Chaucer

  • Le profane et le sacré dans The Canterbury Tales
  • "Teche us yonge men of youre praktike" (The Wife of Bath's Prologue, l. 187): innocence et expérience dans The Canterbury Tales

Conrad

  • L'autre dans Lord Jim
  • Quête et enquête dans Lord Jim
  • "It is impossible to see him clearly - especially as it is through the eyes of others that we take our last look at him." (Lord Jim, p. 201)
  • Le secret dans Lord Jim
  • "The power of sentences has nothing to do with their sense" (Lord Jim)

Cooper

  • Marks and scars in The Last of the Mohicans
  • "The signs of the forest" (p. 264) in The Last of the Mohicans
  • Wildness in The Last of the Mohicans
  • Staging war in The Last of the Mohicans
  • Guides and guidance in The Last of the Mohicans

DeLillo

  • La désintégration dans Falling Man
  • The art of remembering in Falling Man
  • Ordinariness in Falling Man
  • Stillness in Falling Man
  • Intimacy in Falling Man
  • Testimony in Falling Man
  • The aesthetics of destruction in Falling Man

Desai

  • Rituals in In Custody
  • Vicariousness in In Custody
  • The lofty and the lowly in In Custody
  • Decay in In Custody
  • Absent texts in In Custody
  • Alienation in In Custody

Dickens

  • "A wonderful fact to reflect upon, that every human creature is constituted to be that profound secret and mystery to every other." (p. 16), in A Tale of Two Cities
  • "A Tale Two Cities as a "profound meditation on strangeness, on the principle of reconciliation, and on the meaning of resurrection” (Andrew Sanders, Charles Dickens, Oxford, OUP, 2009(2003), p. 35).
  • "What connexion can there have been between many people in the innumerable histories of this world, who, from opposite sides of great gulfs, have, nevertheless, been very curiously brought together!" (Charles Dickens, Bleak House, Chapter 16, London, Penguin, 2003 (1853), p. 256)
  • "[T]he reality of mist and rain" (p. 19)
  • "[U]nseen force[s]" (p. 235)
  • "The substance of the shadow" (p. 306)
  • “The popular and picturesque means of understanding that terrible time", Preface to A Tale of Two Cities, 2008 (1859), p.3
  • Seeing in A Tale of Two Cities
  • "The murmuring of many voices" (p. 360) in A Tale of Two Cities
  • Roles and disguises in A Tale of Two Cities
  • "Sublime and Prophetic" (p. 360) in A Tale of Two Cities

Eliot

  • Le mélodrame dans The Mill on the Floss
  • L'inné et l'acquis dans The Mill on the Floss
  • La dérive dans The Mill on the Floss
  • La servitude volontaire dans The Mill on the Floss
  • L'histoire naturelle dans The Mill on the Floss
  • "Things have got so twisted round and wrapped up i' unreasonable words" (p. 20): mots et maux dans The Mill on the Floss

Faulkner

  • Figures de l'absence dans The Sound and the Fury

Ford (Ford Maddox)

  • Identité et identification dans The Good Soldier
  • Silences dans The Good Soldier
  • L'écriture de la mémoire dans The Good Soldier
  • "It is difficult to give an all-round impression of any man" (The Good Soldier, p. 101)
  • Affaires de coeur dans The Good Soldier
  • Le corps à l'oeuvre dans The Good Soldier
  • La duplicité dans The Good Soldier

Ford (Richard)

  • Expectations in A Multitude of Sins
  • Opacity in A Multitude of Sins

Frame

  • The art of conversation in The Lagoon and Other Stories
  • Narrative frames and textual spaces in The Lagoon and Other Stories
  • "[T]he wrong way of looking at Life" (p.183) in The Lagoon and Other Stories
  • "[P]utting a wise ear to the keyhole of [the] mind" (p.131) in The Lagoon and Other Stories
  • Finding a voice in The Lagoon and Other Stories
  • Self-consciousness in The Lagoon and Other Stories

Gaines

  • "There had to be a story" (The Autobiography of Miss Jane Pittman, p. V)
  • Pères et fils dans The Autobiography of Miss Jane Pittman
  • L'émancipation dans The Autobiography of Miss Jane Pittman
  • Story and History in The Autobiography of Miss Jane Pittman
  • The Autobiography of Miss Jane Pittman - an epic?
  • "I have tried my best to retain Miss Jane's language" (p. vii)
  • Narrating Miss jane's inner life in The Autobiography of Miss Jane Pittman

Greene

  • Passion in The Power and the Glory
  • Pleasure and pain in The Power and the Glory

Hardy

  • Récit et déterminisme dans Far From the Madding Crowd
  • Taming nature in Far from the Madding Crowd
  • "feeling balanced between poetry and practicality" (p. 28) in Far from the Madding Crowd
  • "a world made up so largely of compromise" (p. 34) in Far from the Madding Crowd
  • "[T]he coarse meshes of language" (p. 21) in Far from the Madding Crowd
  • "The "silent workings of an invisible hand" (p.217)in Far from the Madding Crowd
  • "The exuberant ideological confidence of the opening [of Far from the Madding Crowd] is chastened along with its characters in the course

of the narrative." (Penny Boumelha, "The Patriarchy of Class", in The Cambridge Companion to Thomas Hardy, Dale Kramer ed., Cambridge, Cambridge University Press, 1999, p.140. Discuss, with reference to the novel and the film

  • The "poetry of motion" (p. 12) in Far From the Madding Crowd

Hawthorne

  • Ethique et esthétique dans The Scarlet Letter
  • Miroirs et reflets dans The Scarlet Letter
  • Masques dans The Scarlet Letter
  • Obliquity in The Scarlet Letter
  • Perception in The Scarlet Letter
  • Reversibility in The Scarlet Letter

Hemingway

  • L'art de la perte dans Fiesta: The Sun Also Rises
  • "[P]urity of line" (p.146) in Fiesta: The Sun Also Rises
  • Dereliction in Fiesta: The Sun Also Rises
  • Potency in Fiesta: The Sun Also Rises
  • Celebration and lament in Fiesta: The Sun Also Rises
  • "I don’t film well" (p. 44) in Fiesta: The Sun Also Rises
  • Artlessness in Fiesta: The Sun Also Rises
  • Immediacy in Fiesta: The Sun Also Rises
  • Ceremonial action in Fiesta: The Sun Also Rises
  • Disenchantment in Fiesta: The Sun Also Rises
  • Emotions and sensations in Fiesta: The Sun Also Rises

Millhauser

  • Le jeu dans The Knife Thrower and Other Stories

Munro

  • Narrator and Narratee in Dance of the Happy Shades
  • The signs of invasion in Dance of the Happy Shades
  • "Darkening and turning strange" in Dance of the Happy Shades
  • Thresholds in Dance of the Happy Shades
  • Surface and depth in Dance of the Happy Shades
  • The individual and the community in Dance of the Happy Shades
  • Transgression in Dance of the Happy Shades
  • Houses in Dance of the Happy Shades
  • "The ordinary world" (p. 160) in Dance of the Happy Shades
  • Naming in Dance of the Happy Shades

Nabokov

  • The lyricism of Lolita
  • Enchantment in Lolita
  • Pictorialism in Lolita
  • “Lolita is a tragedy”. Vladimir Nabokov, Letter to Morris Bishop, 6 March, 1956
  • Monsters in Lolita

O'Connor

  • Une dialectique de la condamnation et du pardon
  • L'inhumain
  • La grâce et le grotesque
  • L'écriture du moment
  • L'animalité
  • Le mystère
  • La confrontation
  • L'imprévu
  • L'être et le néant
  • La conversion

Okri

  • « [A] delirium of stories » (p. 213).
  • « [T]he winds of recurrence » (p. 220).
  • « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist Interdisciplinary Research”, History in Africa 25, 1998, p. 318).
  • « It is terrible to remain forever in-between” (p. 6).
  • Possession in The Famished Road
  • « Like a strange fairyland in the real world. », (p. 242).
  • « Time is not what you think it is », (p. 554).
  • «[W]eird delirium » (p. 228).
  • Interruption in The Famished Road

Quincey

  • Erudition et imagination dans Confessions of an Opium-Eater
  • Progression et digression dans Confessions of an Opium-Eater
  • Marges et vagabondages dans Confessions of an Opium-Eater
  • La dualité dans Confessions of an Opium-Eater
  • Confessions of an Opium-Eater : les illuminations
  • "Familiar objects" dans Confessions of an Opium-Eater
  • L'écriture de la chute dans Confessions of an Opium-Eater
  • Vagabondages dans Confessions of an Opium-Eater

Roth

  • Heroes and hero worship in American Pastoral
  • Wasteland and wonderland in American Pastoral
  • "Reprehensible" lives (p. 423) in American Pastoral
  • "[A] biography in perpetual motion" (p.45) in American Pastoral
  • “[G]enealogical aggression” (pp. 382-383) in American Pastoral
  • « [A]ll that rose to the surface was more surface » (p. 23) in American Pastoral
  • « The man within the man » (p. 30) in American Pastoral
  • « Layers and layers of misunderstanding » (p. 64) in American Pastoral
  • « Of course I was working with traces » (p. 76).
  • The curse of perfection in American Pastoral
  • Introspection and retrospection in American Pastoral
  • Opacity in American Pastoral

Roy

  • L'obscurité dans The God of Small Things
  • Les enjeux de pouvoir dans The God of Small Things
  • Progresser, transgresser, régresser dans The God of Small Things
  • Le suintement du secret dans The God of Small Things

Smollett

  • Theatricality in The Adventures of Roderick Random
  • The Contrivance of Plot in The Adventures of Roderick Random
  • « Monsters of the imagination » (John Cleland, The Monthly Review 4, March 1751, p. 355) in The Adventures of Roderick Random
  • Appearances in The Adventures of Roderick Random
  • Progress in The Adventures of Roderick Random
  • “The knavery of the world” (p. 47) in The Adventures of Roderick Random

Steinbeck

  • "maybe that is the Holy Sperit - the human sperit" in The Grapes of Wrath
  • Storytelling in The Grapes of Wrath
  • Preaching and teaching in The Grapes of Wrath
  • Authority in The Grapes of Wrath

Sterne

  • High and low in The Life and Opinions of Tristram Shandy
  • Digressions, interruptions, disconnection in The Life and Opinions of Tristram Shandy
  • Intelligibility in The Life and Opinions of Tristram Shandy
  • Laughter in The Life and Opinions of Tristram Shandy

Stoker

  • Les codes de la représentation dans Dracula
  • Signes et symptômes dans Dracula

Styron

  • L'impensable dans Sophie's Choice
  • Le corps dans Sophie's Choice

Swift

  • L'humanisme de Gulliver's Travels
  • La curiosité dans Gulliver's Travels
  • L'inventaire dans Gulliver's Travels
  • L'étrange et l'étranger dans Gulliver's Travels

Wharton

  • "The dramatic contrasts of life" (p. 119) in The House of Mirth
  • Night and day in The House of Mirth
  • "Ever-narrowing perspective(s)" (p. 248) in The House of Mirth
  • Transitions in The House of Mirth
  • "A structure of artifice" in The House of Mirth
  • "This picture of loveliness in distress" in The House of Mirth
  • "A kind of permanence" in The House of Mirth

Théâtre

Beckett

  • "I simply cannot understand why some people call me a nihilist. There is no basis for that." (Samuel Beckett) Discuss with reference to Endgame.
  • The end of art in Endgame
  • Seeing and being seen in Endgame
  • “Nothing is funnier than unhappiness” (p.20) in Endgame
  • "Technique, you know" (p.36)
  • Redefining the tragic in Endgame

Everyman

  • Théâtre et théologie dans Everyman
  • Form and reform in Everyman
  • Individuality and exemplarity in Everyman
  • Humour in Everyman

Shakespeare

  • L'économie de l'amour dans A Midsummer Night's Dream
  • Ordre et désordre des passions dans A Midsummer Night's Dream
  • "Wand'ring in the wood" (II. 2. 41) dans A Midsummer Night's Dream
  • The lamentable tale of me dans Richard II
  • La perspective dans Richard II
  • La mystification dans Richard II
  • Langage et violence dans Richard II
  • Le mensonge des mots dans Richard II
  • "His words come from his mouth, ours from our breast" : rhétorique et sincérité dans Richard II
  • Langage et trahison dans Richard II
  • Guerre et paix dans Richard II
  • "Thus play I in one person many people" (V, 5)
  • Le public et le privé dans The Tragedy of Coriolanus
  • Language and silence in The Tragedy of Coriolanus
  • The one and the many in The Tragedy of Coriolanus
  • Words and swords in The Tragedy of Coriolanus
  • Dismemberment in The Tragedy of Coriolanus
  • "Reason in madness" in King Lear
  • Contradictions and paradoxes in King Lear
  • Order, rule and hierarchy in King Lear
  • “The promised end” (V, 3, 261) in King Lear
  • Erring in King Lear
  • Hierarchies in King Lear
  • Sight and insight in King Lear
  • Kingship and kinship in King Lear
  • The Winter’s Tale and the « poetics of incomprehensibility » (Stephen Orgel, Shakespeare Quarterly, Vol. 42, No. 4, 1991, p. 431-437)
  • "Th’ argument of Time" in The Winter’s Tale (IV, 1, 29)
  • "recreation" (III, 2, 238) in The Winter’s Tale
  • "Seeming and savour all the winter long" (IV, 4, 75) in The Winter's Tale
  • In The Winter's Tale, "Nature is made better by no mean / But Nature makes that mean" (IV, 4, 89-90)
  • "[T]ransformations" (IV, 4, 31) in The Winter's Tale
  • « [F]iguring diseases » (I, 2, 49) in Measure for Measure
  • « [D]evilish mercy » (III, 1, 64) in Mesaure for Measure
  • « [T]he liberty of the prison » (IV, 2, 145-146) in Measure for Measure
  • Power and authority in Measure for Measure
  • Exposure and concealment in Measure for Measure
  • Confessions in Measure for Measure
  • « My business is a word or two » (III, 1, 48) in Measure for Measure
  • Excess in Measure for Measure
  • Subordination in Measure for Measure
  • Resistance in Measure for Measure
  • Shadows in Measure for Measure
  • Fast and Feasting in Love's Labour's Lost
  • The scene of foolery in Love's Labour's Lost
  • Melancholy in Love's Labour's Lost
  • Studying and learning in Love's Labour's Lost
  • "Living art" in Love's Labour's Lost
  • The "judgement of the eye" (II, 1, 15) in Love's Labour's Lost
  • " Heavenly rhetoric" (IV, 3, 52) in Love's Labour's Lost
  • Diplomacy in Love's Labour's Lost
  • Scripts in Love's Labour's Lost

Stoppard

  • The staging of ideas in Arcadia
  • Vistas in Arcadia
  • "Nothing is impressive but the scale" (p.3) in Arcadia
  • Landscapes of the mind in Arcadia
  • Designs in Arcadia
  • Transformation in Arcadia
  • "To make sense of nature’s senselessness" in Arcadia (Stephen Schiff, « Full Stoppard », in Tom Stoppard in Conversation, Paul Delaney & Ann Arbor (eds.), The University of Michigan Press, 2001 (1994), p. 224)
  • "[C]rossing boundaries between scandal and propriety" in Arcadia (Russell Twisk, "Stoppard Basks in Late Indian Summer", in Tom Stoppard in Conversation, Paul Delaney & Ann Arbor (eds.), The University of Michigan Press, 2001 (1994), p. 253)
  • "The exaltation of knowledge" (p. 108) in Arcadia
  • Music and silence in Arcadia

Wilde

  • Identity in The Importance of Being Earnest
  • "Adopting a strictly immoral attitude to life" in The Importance of Being Earnest
  • "Style, not sincerity, is the vital thing" in The Importance of Being Earnest
  • Positions and displacements in The Importance of Being Earnest
  • Modern culture in The Importance of Being Earnest
  • "Romantic origin" (p. 23)
  • Imitation in The Importance of Being Earnest
  • Inversion in The Importance of Being Earnest
  • Codes in The Importance of Being Earnest
  • Excess in The Importance of Being Earnest
  • Repetition in The Importance of Being Earnest

Williams

  • Le paradis perdu dans A Streetcar Named Desire

Poésie

Burns

  • L'art du chant et du conte dans les Selected Poems
  • L'impertinence dans les Selected Poems

Dickinson

  • "The Universe is the externization of the soul." (R.W. Emerson, "The Poet" [1847], Emerson’s Prose and Poetry, New York and London: Norton, 2001, p. 185) in The Complete Poems
  • "Earthquake Style" in The Complete Poems (p. 295)
  • Dramatizing the Self in Emily Dickinson’s Poetry.
  • “Trust in the Unexpected” (p. 270) in The Complete Poems
  • “Gem-Tactics” (p.151) in The Complete Poems
  • Liminality in The Complete Poems
  • Mindscape in The Complete Poems
  • The Lyrical in The Complete Poems
  • "[O]nly Mutability certain"

H.D.

  • “We are the keepers of the secret” (p. 24) in Trilogy
  • “Collect[ing] the fragments of the splintered glass” (p. 63) in Trilogy
  • "It was not a dream/ yet it was a vision, / it was a sign", "Tribute to the Angels", [23], p. 87
  • "I testify", "Tribute to the Angels" [43]
  • Initiation in Trilogy
  • Beginnings and endings in Trilogy
  • Voices in Trilogy
  • The "inquiring soul"in Trilogy
  • "A new sensation" in Trilogy

Lais bretons

  • Disenchantment in Sir Launfal
  • Voices in the Middle English Breton Lays and The Franklin’s Tale
  • Quest(s) in Sir Degare
  • Text and textiles in the Middle English Breton Lays
  • Transgression in the Middle English Breton Lays and The Franklin's Tale
  • Deliveries in the Middle English Breton Lays
  • Returning in the Middle English Breton Lays
  • Narrative enchantment in the Middle English Breton Lays

MacNeice

  • Voices and Traces in The Burning Perch
  • Forgetting and Remembering in The Burning Perch
  • "[A] living language" (p. 9) in The Burning Perch
  • "a small I Am" ("Budgie", p. 37) in The Burning Perch
  • "[M]y far-near country, my erstwile" (p. 38) in The Burning Perch
  • "[M]oments caught between heart-beats" (p. 47) in The Burning Perch

Walcott

  • "either I’m nobody, or I’m a nation"
  • L'hybridité dans The Collected Poems
  • Crossing the gulf in The Collected Poems
  • Landscape and seascape in The Collected Poems

Wordsworth et Coleridge

  • "[A]wakening the mind's attention from the lethargy of custom" in Lyrical Ballads (S.T. Coleridge, Biographia Literaria, Chap. XIV)
  • Anecdotes in Lyrical Ballads
  • Simplicity in Lyrical Ballads
  • « Strange power of speech » p. 77, l. 620.
  • « [T]he sympathies of men » (Preface to Lyrical Ballads [1800], 2005, (p. 290).
  • The sense of community in Lyrical Ballads
  • Dramatic narrative in Lyrical Ballads
  • Motion and Emotion in Lyrical Ballads
  • The Poetics of Discovery in Lyrical Ballads

Yeats

  • « Weaving olden dances » in the Selected Poems
  • Water in the Selected Poems