Agrégation Externe : annales des sujets de leçon de littérature

Un article de Wiki Agreg-Ink.

(Différences entre les versions)
Jump to: navigation, search
Version du 31 janvier 2014 à 10:17
Nicolas (Discuter | contribs)

← Différence précédente
Version du 25 juillet 2020 à 16:45
Nicolas (Discuter | contribs)

Différence suivante →
Ligne 1: Ligne 1:
-=Littérature =+Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2003.
-==Roman ==+==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''
 +* "Domestic felicity" (p. 289) in ''Sense and Sensibility''
 +* Romance in ''Sense and Sensibility''
 +* Silence in ''Sense and Sensibility''
 +* Pretence in ''Sense and Sensibility''
 +* Taste in ''Sense and Sensibility''
 +* Nature and art in ''Sense and Sensibility''
===Brontë=== ===Brontë===
-* Erring in Jane Eyre +* Erring in ''Jane Eyre''
-* The didacticism of Jane Eyre +* The didacticism of ''Jane Eyre''
-* Reading the other and writing the self in 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+* “They were under a yoke: I could free them” (p.328) in ''Jane Eyre''
-* Giving “furious feelings uncontrolled play” (p.31) 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)
 + 
 +===Cather===
 +* Loss and wonder in ''My Ántonia''
 +* The miracle of ordinariness in ''My Ántonia''
 +* The burden of the past in ''My Ántonia''
 +* Coming home in ''My Ántonia''
 +* "[C]oming home to myself" (p. 196) in ''My Ántonia''
 + 
 +===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''
 +* The ties of language in ''The Last of the Mohicans''
 +* Performance in ''The Last of the Mohicans''
 +* "So serious savages" in ''The Last of the Mohicans''
 +* "The tract of wilderness" (p. 367) 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''
 +* Loss in ''Falling Man''
 +* The language of objects in ''Falling Man''
 +* Walking in ''Falling Man''
 +* "Even in New York - I long for New York" (p. 34) in ''Falling Man''
 +* Art and terror in ''Falling Man''
 + 
 +===Defoe===
 +* Counterfeiting in ''Roxana''
 +* Opacity in ''Roxana''
 +* Omission in ''Roxana''
 +* Knight-errantry is over"
 +* [N]ot to preach, but to relate” (p. 49)
 +* A new thing in the world” (p. 153)
 +* [T]his orderly lye’ (p. 319)
===Desai=== ===Desai===
-* Rituals in In Custody +* Rituals in ''In Custody''
-* Vicariousness in In Custody+* Vicariousness in ''In Custody''
-* The lofty and the lowly 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=== ===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 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,+* "''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).
-and on the meaning of resurrection” » (Andrew Sanders, Charles Dickens, Oxford, OUP, 2009+* "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)
-(2003), p. 35).+* "[T]he reality of mist and rain" (p. 19)
-- « What connexion can there have been between many people in the innumerable histories of this+* "[U]nseen force[s]" (p. 235)
-world, who, from opposite sides of great gulfs, have, nevertheless, been very curiously brought+* "The substance of the shadow" (p. 306)
-together! » (Charles Dickens, Bleak House, Chapter 16, London, Penguin, 2003 (1853), p. 256)+* “The popular and picturesque means of understanding that terrible time", Preface to ''A Tale of Two Cities'', 2008 (1859), p.3
-- « [T]he reality of mist and rain », (p. 19).+* Seeing in ''A Tale of Two Cities''
-- « [U]nseen force[s] », (p. 235).+* "The murmuring of many voices" (p. 360) in ''A Tale of Two Cities''
-- « The substance of the shadow », (p. 306).+* Roles and disguises in ''A Tale of Two Cities''
-- “The popular and picturesque means of understanding that terrible time », Preface to A Tale of+* "Sublime and Prophetic" (p. 360) in ''A Tale of Two Cities''
-Two Cities, 2008 (1859), p.3)+ 
 +===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''
 + 
 +* Science in ''Middlemarch''
 +* "Foolish expectations" (p. 247) in ''Middlemarch''
 +* Hidden Lives in ''Middlemarch''
 + 
 +===Faulkner===
 +* Figures de l'absence dans ''The Sound and the Fury''
 + 
 +* Disappearances in ''As I Lay Dying''
 +* "He said [...] without words" (p. 17)
 +* "[A]n unrelated scattering of components" (p. 33)
 +* "Dynamic immobility" (p. 44)
 + 
 +===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''
 + 
 +===Forster===
 +* Old and new in ''Howards End''
 +* Play[ing] the game in ''Howards End''
 +* Entrapment in ''Howards End''
 + 
 +===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''
 + 
 +===Gordimer===
 +* Privacy in ''Jump and Other Stories''
 +* Sensing in ''Jump and Other Stories''
 +* Closure and openness in ''Jump and Other Stories''
 + 
 +===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''
-===Ford===+===Hawthorne===
-* Expectations in A Multitude of Sins +* 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=== ===Hemingway===
-- Celebration and lament+* L'art de la perte dans ''Fiesta: The Sun Also Rises''
-- « I don’t film well », (p. 44).+* "[P]urity of line" (p.146) in ''Fiesta: The Sun Also Rises''
-- Artlessness.+* Dereliction in ''Fiesta: The Sun Also Rises''
-- Immediacy.+* Potency in ''Fiesta: The Sun Also Rises''
-- Ceremonial action.+* Celebration and lament in ''Fiesta: The Sun Also Rises''
-- Disenchantment.+* "I don’t film well" (p. 44) in ''Fiesta: The Sun Also Rises''
-- Emotions and sensations.+* 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''
 + 
 +===McEwan===
 +* Secrets in ''Atonement''
 +* A sense of self in ''Atonement''
 +* Loss in ''Atonement''
 +* Voices in ''Atonement''
 +* "Yearning fantasies" (p. 4)
 + 
 +===Melville===
 +* "Fictious estrangement" (p. 185) in ''The Confidence Man''
 +* Wicked art in ''The Confidence Man''
 +* Transactions in ''The Confidence Man''
 +* Appearances and apparitions in ''The Confidence Man''
 +* Charity Business in ''The Confidence Man''
 +* Objects on ''The Confidence Man''
 +* "A ship of fools" in ''The Confidence Man''
 +* Bodies in ''The Confidence Man''
 +* "Confidence in distrust (p. 113) in ''The Confidence Man''
 +* Circulation in ''The Confidence Man''
 + 
 +===Millhauser===
 +* Le jeu dans ''The Knife Thrower and Other Stories''
 + 
 +===Morrison===
 +* Naming in ''Song of Solomon''
 +* Home in ''Song of Solomon''
 +* Voices in ''Song of Solomon''
 + 
 +===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=== ===Nabokov===
-* Enchantment in Lolita+* The lyricism of ''Lolita''
-* Pictorialism in Lolita+* Enchantment in ''Lolita''
 +* Pictorialism in ''Lolita''
* “Lolita is a tragedy”. Vladimir Nabokov, Letter to Morris Bishop, 6 March, 1956 * “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=== ===Okri===
-- « [A] delirium of stories » (p. 213).+* « [A] delirium of stories » (p. 213).
-- « [T]he winds of recurrence » (p. 220).+* « [T]he winds of recurrence » (p. 220).
-- « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist+* « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist Interdisciplinary Research”, History in Africa 25, 1998, p. 318).
-Interdisciplinary Research”, History in Africa 25, 1998, p. 318).+* « It is terrible to remain forever in-between” (p. 6).
-- « It is terrible to remain forever in-between” (p. 6).+* Possession in ''The Famished Road''
-- Possession.+* « Like a strange fairyland in the real world. », (p. 242).
-- « Like a strange fairyland in the real world. », (p. 242).+* « Time is not what you think it is », (p. 554).
-- « Time is not what you think it is », (p. 554).+* «[W]eird delirium » (p. 228).
 +* Interruption in ''The Famished Road''
 + 
 +===Phillips===
 +* Emancipation in ''Crossing the River''
 +* Embodying history in ''Crossing the River''
 +* "In a strange country" (p. 229) in ''Crossing the River''
 +* "The many-tongued chorus" (p. 1) in ''Crossing the River''
 +* "Broken off, like limbs from a tree" (p. 2) in ''Crossing the River''
 + 
 +===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=== ===Roth===
-- « [A]ll that rose to the surface was more surface » (p. 23) in American Pastoral.+* Heroes and hero worship in ''American Pastoral''
-- « The man within the man » (p. 30) in American Pastoral.+* Wasteland and wonderland in ''American Pastoral''
-- « Layers and layers of misunderstanding » (p. 64) in American Pastoral.+* "Reprehensible" lives (p. 423) in ''American Pastoral''
-- « Of course I was working with traces », (p. 76).+* "[A] biography in perpetual motion" (p.45) in ''American Pastoral''
-- The curse of perfection.+* “[G]enealogical aggression” (pp. 382-383) in ''American Pastoral''
-- Introspection and retrospection.+* « [A]ll that rose to the surface was more surface » (p. 23) in ''American Pastoral''
-- Opacity+* « 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=== ===Smollett===
-* Appearances in The Adventures of Roderick Random+* Theatricality in ''The Adventures of Roderick Random''
-* Progress in The Adventures of Roderick Random+* The Contrivance of Plot in ''The Adventures of Roderick Random''
-* “The knavery of the world” (p.47) 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=== ===Steinbeck===
-* « maybe that is the Holy Sperit - the human sperit » in The Grapes of Wrath+* "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''
-==Théâtre==+===Stoker===
 +* Les codes de la représentation dans ''Dracula''
 +* Signes et symptômes dans ''Dracula''
-===Beckett===+===Styron===
-* The end of art in Endgame+* L'impensable dans ''Sophie's Choice''
-* Seeing and being seen in Endgame+* Le corps dans ''Sophie's Choice''
-* “Nothing is funnier than unhappiness” (p.20) in Endgame+
-===Everyman===+===Swift===
-* Théâtre et théologie dans Everyman+* L'humanisme de ''Gulliver's Travels''
-* Form and reform in Everyman +* La curiosité dans ''Gulliver's Travels''
-* Individuality and exemplarity in Everyman+* L'inventaire dans ''Gulliver's Travels''
 +* L'étrange et l'étranger dans ''Gulliver's Travels''
-===Shakespeare===+===Wharton===
-* Contradictions and paradoxes in King Lear +* "The dramatic contrasts of life" (p. 119) in '' The House of Mirth''
-* Order, rule and hierarchy in King Lear +* Night and day in ''The House of Mirth''
-* “The promised end” (5.3.261) in King Lear+* "Ever-narrowing perspective(s)" (p. 248) in ''The House of Mirth''
-* Erring in King Lear+* Transitions in ''The House of Mirth''
-* Hierarchies in King Lear+* "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''
-- « [F]iguring diseases », I, ii, 49 in Measure for Measure+==Théâtre==
-- « [D]evilish mercy », III, i. 64.+
-- « [T]he liberty of the prison », IV, ii, 145-146.+
-- Power and authority.+
-- Exposure and concealment.+
-- Confessions.+
-- « My business is a word or two », III, 1. 48.+
-===Stoppard===+===Beckett===
-- Landscapes of the mind.+* "I simply cannot understand why some people call me a nihilist. There is no basis for that." (Samuel Beckett) Discuss with reference to ''Endgame''.
-- Designs.+* The end of art in ''Endgame''
-- Transformation.+* Seeing and being seen in ''Endgame''
-- « To make sense of nature’s senselessness » in Arcadia (Stephen Schiff, « Full Stoppard », in+* “Nothing is funnier than unhappiness” (p.20) in ''Endgame''
-Tom Stoppard in Conversation, Paul Delaney & Ann Arbor (eds.), The University of Michigan+* "Technique, you know" (p.36)
-Press, 2001 (1994), p. 224.+* Redefining the tragic in ''Endgame''
-- « [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).+
-- Music and silence.+
 +===''Everyman''===
 +* Théâtre et théologie dans ''Everyman''
 +* Form and reform in ''Everyman''
 +* Individuality and exemplarity in ''Everyman''
 +* Humour in ''Everyman''
-==Poésie==+===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''
-===Dickinson===+* The lamentable tale of me dans ''Richard II''
-* “Trust in the Unexpected” (p.270) in The Complete Poems of Emily Dickinson+* La perspective dans ''Richard II''
-* “Gem-Tactics” (p.151) in The Complete Poems of Emily Dickinson+* La mystification dans ''Richard II''
-* Liminality in The Complete Poems of Emily Dickinson+* 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)
-===Wordsworth et Coleridge===+* Le public et le privé dans ''The Tragedy of Coriolanus''
-- Simplicity.+* Language and silence in ''The Tragedy of Coriolanus''
-- « Strange power of speech » p. 77, l. 620.+* The one and the many in ''The Tragedy of Coriolanus''
-- « [T]he sympathies of men » (Preface to Lyrical Ballads [1800], 2005, (p. 290).+* Words and swords in ''The Tragedy of Coriolanus''
-- The sense of community.+* Dismemberment in ''The Tragedy of Coriolanus''
-- Dramatic narrative.+
-- Motion and Emotion.+
-- The Poetics of Discovery.+
 +*"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''
-===Yeats===+* ''The Winter’s Tale'' and the « poetics of incomprehensibility » (Stephen Orgel, ''Shakespeare Quarterly'', Vol. 42, No. 4, 1991, p. 431-437)
-* « Weaving olden dances » in the Selected Poems of W.B. Yeats +* "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''
-=Civilisation=+* « [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''
-==Civilisation britannique==+* 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''
-===Débat sur l'abolition de l'esclavage===+* "Much virtue in if" (V, 4, 88) in ''As You Like It''
 +* "The very wrath of love" (V, 2, 32) in ''As You Like It''
 +* Paradox in ''As You Like It''
 +* "Twas I,but 'tis not I" in ''As You Like It''
 +* Adversity in ''As You Like It''
 +* "[T]ruest poetry" (III, 4, 14) in ''As You Like It''
-* The end of slavery in Britain: Parliament's or the people's victory?+===Stoppard===
-* "[...] the more the character of the planters is raised, the lower is sunk and depressed the system; for it is a fact sworn to by the planters themselves, that, notwithstanding their merciful conduct, in ten years one-sixth of the whole population has perished not murdered by the planters, but murdered by the system. There is no instance, I am ready to admit, of unnecessary oppression, but there have been instances of necessary oppression; and the system is shewn to be so destructive to human life, that it ought to be abolished." (Mr. Fowell Buxton, in Report of the Debate in the House of Commons, on Friday, the 15th of April, 1831; on Mr. Fowell Buxton's motion to consider and adopt the best means for effecting the abolition of colonial slavery. Extracted from the Mirror of Parliament, Part LXXXIII [London, 1831, p. 7]) +* The staging of ideas in ''Arcadia''
-* “Anti-slavery provided the opportunity for elevating Britain by seizing the initiative and restoring the British belief that they, above all others, were a people wedded to liberty. After all, which institution seemed more violent and more thoroughly a denial of liberties than the Atlantic slave trade?”, James Walvin, Britain’s Slave Empire. Stroud, Tempus, 2007 (2000), 96+* 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''
-===Décolonisation===+===Webster===
-‘Decolonization was not a process but a clutch of fitful activities and events, played out in conference rooms, acted out in protests mounted in city streets, fought over in jungles and mountains.’ Raymond F. Betts. Decolonization. New York: Routledge, 1998, p. 1.+* Measure in ''The Duchess of Malfi''
-‘The quintessential problem of the post-1964 period was no longer (except in certain outstanding instances) that of whether and how to decolonize, but rather how to graft the plethora of ‘new’ underdeveloped states into western interests.’ Robert Holland. European Decolonization, 1918-1981. An Introductory Survey, London: Macmillan, 1985, p.269.+* "a perspective / That shows us hell" in ''The Duchess of Malfi''
-Internationalism and nationalism in British decolonisation (1919-1984)+* Men's justice in ''The Duchess of Malfi''
 +* "... such a deformed silence"(III, 3, 58) in ''The Duchess of Malfi''
 +* Perspective(s) in ''The Duchess of Malfi''
 +* Artifice in The ''Duchess of Malfi''
 +* Blood in ''The Duchess of Malfi''
 +* "A thing of sorrow" in ''The Duchess of Malfi''
 +* Innocence in ''The Duchess of Malfi''
 +* Madness in ''The Duchess of Malfi''
 +* "Do not rise, I entreat you" (V, 4, 7) in ''The Duchess of Malfi''
-===Ferguson===+===Wilde===
-The paradox of progress in Adam Ferguson, An Essay on the History of Civil Society+* Identity in ''The Importance of Being Earnest''
-Ferguson was well aware of the role of unintended consequences in the process of social change.» Craig Smith, «Ferguson and the active Genius of Mankind» in Adam Ferguson: History, Progress and Human Nature. Edited by Eugene Heath and Vincenzo Merolle. London, Pickering & Chatto, n° 4, 2008, p. 165+* "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''
-===Milton===+===Williams===
-* Freedom and knowledge in Miltonřs Areopagitica+* Le paradis perdu dans ''A Streetcar Named Desire''
-* "[Milton] appears first as a regicide rather than as a republican." (Thomas N. Corns, 1995) +
-==Civilisation américaine==+==Poésie==
-===Contre-culture===+===Ashbery===
-Analysez et discutez la citation suivante : “The 1960s [...] legitimized civil disobedience as a tactic on the part of loyal citizens excluded from the conventional channels of power and social change.” John P. Diggins, “Civil disobedience in American political thought”, in Luther S.+* "all things are palpable, none are known" ("Poem in Three Parts") in ''Self-Portrait in a Convex Mirror''
-Luedtke (ed.). Making America. The Society and Culture of the United States. Washington: USIA, 1987, p. 353.+* Vision in ''Self-Portrait in a Convex Mirror''
-‘Everyone knows about the peace, love, grass and groovy music but the counterculture was always more complicated – edgier, darker, and more tied to the dominant culture – than most anyone at the time could see.’Alice Echols. Shaky Ground, the Sixties and its Aftershocks. New York: Columbia University Press, 2002, p. 18.+
-===L'Empire de l'exécutif===+===Burns===
-* The Reagan Presidency: restoration, renovation, revolution? +* L'art du chant et du conte dans les ''Selected Poems''
-* "presidents are set too far above the people to be at one with them" (Bruce Miroff, 2006)+* L'impertinence dans les ''Selected Poems''
-===Le Sud de l'après-Guerre de Sécession===+===Dickinson===
-* Analysez et discutez : “Rather than simply emphasizing conservatism and continuity, a coherent portrait of Reconstruction must take into account the subtle dialectic of continuity and change in economic, social, and political relations as the nation adjusted to emancipation.” Eric FONER, “Reconstruction Revisited,” Reviews in American History, Vol. 10, December 1982, p. 87.+* "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''
-* “Rather than passive victims of the action of others or simply a ‘problem’ confronting white society, blacks were active agents in the+* "Earthquake Style" in ''The Complete Poems'' (p. 295)
-making of the Reconstruction.” Eric Foner, Reconstruction: America’s Unfinished Revolution, 1863-1877, New York Harper and Row, 1988, xxiv+* Dramatizing the Self in Emily Dickinson’s Poetry.
-* Re-visions of Reconstruction+* “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"
-===The Federalist Papers===+===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''
-* “To the Federalists, the move for a new central government became the ultimate act of the entire Revolutionary era; it was both a progressive attempt to salvage the Revolution in the face of its imminent failure and a reactionary effort to restrain its excesses.” Gordon Wood, The Creation of the American Republic, 1776-1787, Chapel Hill, The University of North Carolina Press, 1969, p.475. +===Lais bretons===
-* Division in The Federalist Papers +* 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''
-=Linguistique=+===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''
 +* "I twitter am" in ''The Burning Perch''
 +* The persistence of the lyric in ''The Burning Perch''
 +* The possibility of love in ''The Burning Perch''
 +* "Idols of the age" (p. 42) in ''The Burning Perch''
 +* Memory and anticipation in ''The Burning Perch''
-==Segments de tronc commun==+===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''
-* A tiny hamburger is what the fungus resembles+===Whitman===
-* He'd seen arrive+* Tools and instruments in ''Leaves of Grass''
-* Humiliated awareness+* Flux in ''Leaves of Grass''
-* It's not an easy skill to learn+* The lyrical and the prosaic in ''Leaves of Grass''
-* Might+* "A kaleidoscope divine" (p. 204)
-* Must be doing+- "For the great idea / That, O my brethren, that is the mission of poets" (p.293)
-* No Saturday-night drunk+
-* thought '''it''' rather comical+
-==Option C==+===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''
-===Passif===+===Yeats===
- +* « Weaving olden dances » in the ''Selected Poems''
-* The passive voice and transitivity. +* Water in the ''Selected Poems''
-* Although the choice of passive over active is not open, there are different discourse motivations which are conditioned by the immediate contextual environment. With the option of packaging the information differently in the passive, the speaker can use, the beginning or the end-position of a clause to emphasize his or her statements. (Anika Onken, "Bare passives and Relative Clauses" in Be-passive Forms as Modifiers, 2008, p.4).+
-* The fact that a difference of meaning expressed by copula + complement vs the passive compound is discernible without difficulty in most cases, raises the question of how the two constructions differ. (Walter Hirtle, Lessons on the English Verb, 2007, p. 262). +
-* The Passive is one type of construction that modifies the verbřs argument structure. +
-* The passive auxiliary is normally be. Its only serious contender is get, which however is not, by most syntactic criteria, an auxiliary at all. Moreover, get tends to be limited to constructions without an expressed animate agent. (R. Quirk, S.Greenbaum et al., A Comprehensive Grammar of the English Language, 1985, pp.160-161). +
-* The be-passive is stylistically neutral but get-passives are a mark of informal style. They are used for describing situations where the subject-referent is involved in bringing the situation about, or where there is an adverse or beneficial effect on the subject-referent. If no such factor is present, only the be-passive is acceptable. (Huddleston & Pullum, Introduction to English Grammmar, 2005, p. 245).+
-* Concerning agentless passives, Huddleston (1984, p. 441) observes: ŖThe agent is a freely omissible element of clause structure: there are no cases where the rules of syntax require an agent to be present. In this respect, it is quite different from the subject of the activeŗ. +
- +
- +
-===Prépositions===+
-* "Many place prepositions have abstract meanings which are clearly related, through metaphorical connection, to their locative uses." (R. Quirk, A Comprehensive Grammar of the English Language, 1985, p. 685). Discuss.+
-* Prepositions are either static or dynamic. Discuss.+
-* Infinitive nominal clauses and potentiality. Discuss.+
-* Concerning prepositions of time, R. Quirk et al. remarks : "At, on, and in as prepositions of 'time location' are to some extent parallel to the same items as positive prepositions of position, although in the time sphere, there are only two 'dimension-types', viz. 'point of time'+
-and 'period of time'. (A University Grammar of English, R. Quirk et al., Longman, 1st edition, 1973, p. 154)+
-* In Cognitive English Grammar (2007: 307-27), Radden & Dirven note that "notions of spatial dimension are expressed in English by topological, or dimensional prepositions":+
-zero dimensional: at the corner [point]+
-one-dimensional: on the border [line]+
-two-dimensional: on the table [surface]+
-three-dimensional: in the bottle [container]+
-Later they remark that topological prepositions may also refer to "domains other than physical space", like "time", "circumstance", "cause", "reason" and "purpose" (i.e. "abstract space"). Discuss.+
- +
-===Subordonnées nominales en TO===+
-* [T]he infinitive evokes an event, and to, the movement from an instant situated before this event up to the instant at which the event begins. (P. Duffley, The English Infinitive, 1992, p.17). +
-* Nominal clauses function in a way similar to noun phrases, in that they may function as subjects or objects/complements in the main clause. (Ronald Carter & Michael McCarthy, Cambridge Grammar of English, 2007, p.565). +
-* On pourrait dire que ce qui sépare to des membres de la classe des modaux, cřest le fait que to ne dit rien sur les chances de réalisation de la prédication alors que les modaux, par nature, sont des instruments de modalisation interne, qui renferment un certain programme sémantique en plus de leur rôle plus formel au niveau de la prédication prédicative. Bref, it est absolument neutre quant à la réalisation effective de la soudure prédicationnelle. (Henri Adamczewski, Grammaire linguistique de l‟anglais, 1982, p.16). +
-* The TO-infinitive clause usually has no subject, although its subject is implied by the context."+
-(G. Leech, A Glossary of English Grammar, 2006, p. 113). Discuss.+
-* L'absence de sujet devant la forme non finie est généralement ramenée à un phénomène de co-référence, mais la non co-référence est tout à fait licite après certains verbes. Un exemple de non co-référence avec TO et l'infinitif apparaît dans des exemples qu'on peut considérer+
-comme des exemples de discours rapporté, say étant avant tout un prédicat qui introduit un contenu propositionnel sans que les relations intersubjectives soient prépondérantes." (A. Deschamps, in Morphosyntaxe du lexique 1, Travaux du Cerlico n°15, 2002, p. 31-46).+
-Comment.+
-* I propose that all readings come from the inherent intentional reading of the [to]-complement interacting with contextual semantic factors such as governing predicate, modality and time." (J. Bresnan, 1979, Theory of Complementation in English Syntax, p.88). Comment.+
-* In Syntax, Vol. 2 (2001: 40), Givón writes: "Defined in the broadest semantic terms, verbal complements (V-Comp) are clauses that function as subject or object arguments of other clauses. But the resemblance between verbal complements and nominal arguments is only partial. At best, one may say that verbal complements are constructed by analogy with clausal subjects and objects. +
-a. She wanted an apple +
-b. She wanted to eat an apple +
-Since the prototype subject or object is nominal, it is only natural that complement clauses, even when not fully nominalized, should display some facets of non-finite, nominalized syntax." +
-Explain, discuss and exemplify using relevant examples from the corpus. +
-* By definition, assertion is exclusively a function of finite verbs; and whatever is done by non-finites - e.g. by that non-finite called Řinfinitive,ř such as to leave, to rain - will not be called assertion. (Joos, The English Verb, 1964, p. 14).+
-[[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]]+[[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]][[Category:Littérature]]

Version du 25 juillet 2020 à 16:45

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
  • "Domestic felicity" (p. 289) in Sense and Sensibility
  • Romance in Sense and Sensibility
  • Silence in Sense and Sensibility
  • Pretence in Sense and Sensibility
  • Taste in Sense and Sensibility
  • Nature and art 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)

Cather

  • Loss and wonder in My Ántonia
  • The miracle of ordinariness in My Ántonia
  • The burden of the past in My Ántonia
  • Coming home in My Ántonia
  • "[C]oming home to myself" (p. 196) in My Ántonia

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
  • The ties of language in The Last of the Mohicans
  • Performance in The Last of the Mohicans
  • "So serious savages" in The Last of the Mohicans
  • "The tract of wilderness" (p. 367) 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
  • Loss in Falling Man
  • The language of objects in Falling Man
  • Walking in Falling Man
  • "Even in New York - I long for New York" (p. 34) in Falling Man
  • Art and terror in Falling Man

Defoe

  • Counterfeiting in Roxana
  • Opacity in Roxana
  • Omission in Roxana
  • Knight-errantry is over"
  • [N]ot to preach, but to relate” (p. 49)
  • A new thing in the world” (p. 153)
  • [T]his orderly lye’ (p. 319)

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
  • Science in Middlemarch
  • "Foolish expectations" (p. 247) in Middlemarch
  • Hidden Lives in Middlemarch

Faulkner

  • Figures de l'absence dans The Sound and the Fury
  • Disappearances in As I Lay Dying
  • "He said [...] without words" (p. 17)
  • "[A]n unrelated scattering of components" (p. 33)
  • "Dynamic immobility" (p. 44)

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

Forster

  • Old and new in Howards End
  • Play[ing] the game in Howards End
  • Entrapment in Howards End

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

Gordimer

  • Privacy in Jump and Other Stories
  • Sensing in Jump and Other Stories
  • Closure and openness in Jump and Other Stories

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

McEwan

  • Secrets in Atonement
  • A sense of self in Atonement
  • Loss in Atonement
  • Voices in Atonement
  • "Yearning fantasies" (p. 4)

Melville

  • "Fictious estrangement" (p. 185) in The Confidence Man
  • Wicked art in The Confidence Man
  • Transactions in The Confidence Man
  • Appearances and apparitions in The Confidence Man
  • Charity Business in The Confidence Man
  • Objects on The Confidence Man
  • "A ship of fools" in The Confidence Man
  • Bodies in The Confidence Man
  • "Confidence in distrust (p. 113) in The Confidence Man
  • Circulation in The Confidence Man

Millhauser

  • Le jeu dans The Knife Thrower and Other Stories

Morrison

  • Naming in Song of Solomon
  • Home in Song of Solomon
  • Voices in Song of Solomon

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

Phillips

  • Emancipation in Crossing the River
  • Embodying history in Crossing the River
  • "In a strange country" (p. 229) in Crossing the River
  • "The many-tongued chorus" (p. 1) in Crossing the River
  • "Broken off, like limbs from a tree" (p. 2) in Crossing the River

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
  • "Much virtue in if" (V, 4, 88) in As You Like It
  • "The very wrath of love" (V, 2, 32) in As You Like It
  • Paradox in As You Like It
  • "Twas I,but 'tis not I" in As You Like It
  • Adversity in As You Like It
  • "[T]ruest poetry" (III, 4, 14) in As You Like It

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

Webster

  • Measure in The Duchess of Malfi
  • "a perspective / That shows us hell" in The Duchess of Malfi
  • Men's justice in The Duchess of Malfi
  • "... such a deformed silence"(III, 3, 58) in The Duchess of Malfi
  • Perspective(s) in The Duchess of Malfi
  • Artifice in The Duchess of Malfi
  • Blood in The Duchess of Malfi
  • "A thing of sorrow" in The Duchess of Malfi
  • Innocence in The Duchess of Malfi
  • Madness in The Duchess of Malfi
  • "Do not rise, I entreat you" (V, 4, 7) in The Duchess of Malfi

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

Ashbery

  • "all things are palpable, none are known" ("Poem in Three Parts") in Self-Portrait in a Convex Mirror
  • Vision in Self-Portrait in a Convex Mirror

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
  • "I twitter am" in The Burning Perch
  • The persistence of the lyric in The Burning Perch
  • The possibility of love in The Burning Perch
  • "Idols of the age" (p. 42) in The Burning Perch
  • Memory and anticipation 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

Whitman

  • Tools and instruments in Leaves of Grass
  • Flux in Leaves of Grass
  • The lyrical and the prosaic in Leaves of Grass
  • "A kaleidoscope divine" (p. 204)

- "For the great idea / That, O my brethren, that is the mission of poets" (p.293)

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