Agrégation Externe : annales des sujets de leçon de littérature
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| - | =Littérature = | + | Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2003. |
| ==Roman/nouvelles == | ==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, and on the meaning of resurrection” (Andrew Sanders, Charles Dickens, Oxford, OUP, 2009(2003), p. 35). | + | * "''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) | + | * "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). | + | * "[T]he reality of mist and rain" (p. 19) |
| - | * "[U]nseen force[s]" (p. 235). | + | * "[U]nseen force[s]" (p. 235) |
| - | * "The substance of the shadow" (p. 306). | + | * "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) | + | * “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'' | ||
| - | ===Ford=== | + | ===Forster=== |
| - | * Expectations in A Multitude of Sins | + | * Old and new in ''Howards End'' |
| + | * Play[ing] the game in ''Howards End'' | ||
| + | * Entrapment in ''Howards End'' | ||
| ===Frame=== | ===Frame=== | ||
| - | * The art of conversation in The Lagoon and Other Stories | + | * The art of conversation in ''The Lagoon and Other Stories'' |
| - | * Narrative frames and textual spaces 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 | + | * "[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 | + | * "[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 | + | * Finding a voice in ''The Lagoon and Other Stories'' |
| - | * Self-consciousness 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=== | ===Hardy=== | ||
| - | * Récit et déterminisme dans Far From the Madding Crowd | + | * Récit et déterminisme dans ''Far From the Madding Crowd'' |
| - | * Taming nature in 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 | + | * "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 | + | * "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 | + | * "[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 "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 | + | * "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 | + | 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=== | ===Hemingway=== | ||
| - | * L'art de la perte dans Fiesta: The Sun Also Rises | + | * L'art de la perte dans ''Fiesta: The Sun Also Rises'' |
| - | * "[P]urity of line" (p.146) in Fiesta: The Sun Also Rises | + | * "[P]urity of line" (p.146) in ''Fiesta: The Sun Also Rises'' |
| - | • Dereliction in Fiesta: The Sun Also Rises | + | * Dereliction in ''Fiesta: The Sun Also Rises'' |
| - | • Potency in Fiesta: The Sun Also Rises | + | * Potency in ''Fiesta: The Sun Also Rises'' |
| - | * Celebration and lament | + | * Celebration and lament in ''Fiesta: The Sun Also Rises'' |
| - | * "I don’t film well" (p. 44). | + | * "I don’t film well" (p. 44) in ''Fiesta: The Sun Also Rises'' |
| - | * Artlessness. | + | * Artlessness in ''Fiesta: The Sun Also Rises'' |
| - | * Immediacy. | + | * Immediacy in ''Fiesta: The Sun Also Rises'' |
| - | * Ceremonial action. | + | * Ceremonial action in ''Fiesta: The Sun Also Rises'' |
| - | * Disenchantment. | + | * Disenchantment in ''Fiesta: The Sun Also Rises'' |
| - | * Emotions and sensations. | + | * Emotions and sensations in ''Fiesta: The Sun Also Rises'' |
| - | ===Nabokov=== | + | ===McEwan=== |
| - | * The lyricism of Lolita | + | * Secrets in ''Atonement'' |
| - | * Enchantment in Lolita | + | * A sense of self in ''Atonement'' |
| - | * Pictorialism in Lolita | + | * Loss in ''Atonement'' |
| - | * “Lolita is a tragedy”. Vladimir Nabokov, Letter to Morris Bishop, 6 March, 1956 | + | * Voices in ''Atonement'' |
| + | * "Yearning fantasies" (p. 4) | ||
| - | ===Okri=== | + | ===Melville=== |
| - | - « [A] delirium of stories » (p. 213). | + | * "Fictious estrangement" (p. 185) in ''The Confidence Man'' |
| - | - « [T]he winds of recurrence » (p. 220). | + | * Wicked art in ''The Confidence Man'' |
| - | - « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist | + | * Transactions in ''The Confidence Man'' |
| - | Interdisciplinary Research”, History in Africa 25, 1998, p. 318). | + | * Appearances and apparitions in ''The Confidence Man'' |
| - | - « It is terrible to remain forever in-between” (p. 6). | + | * Charity Business in ''The Confidence Man'' |
| - | - Possession. | + | * Objects on ''The Confidence Man'' |
| - | - « Like a strange fairyland in the real world. », (p. 242). | + | * "A ship of fools" in ''The Confidence Man'' |
| - | - « Time is not what you think it is », (p. 554). | + | * Bodies in ''The Confidence Man'' |
| + | * "Confidence in distrust (p. 113) in ''The Confidence Man'' | ||
| + | * Circulation in ''The Confidence Man'' | ||
| - | ===Roth=== | + | ===Millhauser=== |
| - | * Heroes and hero worship in American Pastoral | + | * Le jeu dans ''The Knife Thrower and Other Stories'' |
| - | * Wasteland and wonderland in American Pastoral | + | |
| - | * "Reprehensible" lives in American Pastoral (p.423) | + | |
| - | * "[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. | + | |
| - | - Introspection and retrospection. | + | |
| - | - Opacity | + | |
| - | ===Smollett=== | + | ===Morrison=== |
| - | * Theatricality in The Adventures of Roderick Random | + | * Naming in ''Song of Solomon'' |
| - | * The Contrivance of Plot in The Adventures of Roderick Random | + | * Home in ''Song of Solomon'' |
| - | * « Monsters of the imagination » (John Cleland, The Monthly Review 4, March 1751, p. 355) in The Adventures of Roderick Random | + | * Voices in ''Song of Solomon'' |
| - | * 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=== | + | ===Munro=== |
| - | * "maybe that is the Holy Sperit - the human sperit" in The Grapes of Wrath | + | * 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'' | ||
| - | ==Théâtre== | + | ===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 | ||
| - | ===Beckett=== | + | ===Okri=== |
| - | * "I simply cannot understand why some people call me a nihilist. There is no basis for that." (Samuel Beckett) Discuss with reference to Endgame. | + | * « [A] delirium of stories » (p. 213). |
| - | * The end of art in Endgame | + | * « [T]he winds of recurrence » (p. 220). |
| - | * Seeing and being seen in Endgame | + | * « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist Interdisciplinary Research”, History in Africa 25, 1998, p. 318). |
| - | * “Nothing is funnier than unhappiness” (p.20) in Endgame | + | * « 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'' | ||
| - | ===Everyman=== | + | ===Phillips=== |
| - | * Théâtre et théologie dans Everyman | + | * Emancipation in ''Crossing the River'' |
| - | * Form and reform in Everyman | + | * Embodying history in ''Crossing the River'' |
| - | * Individuality and exemplarity in Everyman | + | * "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'' | ||
| - | ===Shakespeare=== | + | ===Quincey=== |
| - | * The Winter’s Tale and the « poetics of incomprehensibility » (Stephen Orgel, Shakespeare Quarterly, Vol. 42, No. 4, 1991, p. 431-437) | + | * Erudition et imagination dans ''Confessions of an Opium-Eater'' |
| - | * "Th’ argument of Time" in The Winter’s Tale (IV, i, 29) | + | * Progression et digression dans ''Confessions of an Opium-Eater'' |
| - | * "recreation" (III, ii, 238) in The Winter’s Tale | + | * Marges et vagabondages dans ''Confessions of an Opium-Eater'' |
| - | * "Seeming and savour all the winter long" (IV.4.75) in The Winter's Tale | + | * La dualité dans ''Confessions of an Opium-Eater'' |
| - | * In The Winter's Tale, "Nature is made better by no mean / But Nature makes that mean" (IV.4.89-90) | + | * ''Confessions of an Opium-Eater'' : les illuminations |
| - | * "[T]ransformations" (IV.4.31) in The Winter's Tale | + | * "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'' | ||
| - | * Contradictions and paradoxes in King Lear | + | ===Roth=== |
| - | * Order, rule and hierarchy in King Lear | + | * Heroes and hero worship in ''American Pastoral'' |
| - | * “The promised end” (5.3.261) in King Lear | + | * Wasteland and wonderland in ''American Pastoral'' |
| - | * Erring in King Lear | + | * "Reprehensible" lives (p. 423) in ''American Pastoral'' |
| - | * Hierarchies in King Lear | + | * "[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'' | ||
| - | - « [F]iguring diseases », I, ii, 49 in Measure for Measure | + | ===Roy=== |
| - | - « [D]evilish mercy », III, i. 64. | + | * L'obscurité dans ''The God of Small Things'' |
| - | - « [T]he liberty of the prison », IV, ii, 145-146. | + | * Les enjeux de pouvoir dans ''The God of Small Things'' |
| - | - Power and authority. | + | * Progresser, transgresser, régresser dans ''The God of Small Things'' |
| - | - Exposure and concealment. | + | * Le suintement du secret dans ''The God of Small Things'' |
| - | - Confessions. | + | |
| - | - « My business is a word or two », III, 1. 48. | + | |
| - | ===Stoppard=== | + | ===Smollett=== |
| - | * The staging of ideas in Arcadia | + | * Theatricality in ''The Adventures of Roderick Random'' |
| - | * Vistas in Arcadia | + | * The Contrivance of Plot in ''The Adventures of Roderick Random'' |
| - | * "Nothing is impressive but the scale" (p.3) in Arcadia | + | * « Monsters of the imagination » (John Cleland, ''The Monthly Review'' 4, March 1751, p. 355) in ''The Adventures of Roderick Random'' |
| - | * Landscapes of the mind. | + | * Appearances in ''The Adventures of Roderick Random'' |
| - | * Designs. | + | * Progress in ''The Adventures of Roderick Random'' |
| - | * Transformation. | + | * “The knavery of the world” (p. 47) in ''The Adventures of Roderick Random'' |
| - | * "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). | + | |
| - | * Music and silence. | + | |
| + | ===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'' | ||
| - | ==Poésie== | + | ===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'' | ||
| - | ===Dickinson=== | + | ===Stoker=== |
| - | * "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 | + | * Les codes de la représentation dans ''Dracula'' |
| - | * "Earthquake Style" in The Complete Poems (p. 295) | + | * Signes et symptômes dans ''Dracula'' |
| - | * Dramatizing the Self in Emily Dickinson’s Poetry. | + | |
| - | * “Trust in the Unexpected” (p.270) in The Complete Poems of Emily Dickinson | + | |
| - | * “Gem-Tactics” (p.151) in The Complete Poems of Emily Dickinson | + | |
| - | * Liminality in The Complete Poems of Emily Dickinson | + | |
| - | ===Wordsworth et Coleridge=== | + | ===Styron=== |
| - | "[A]wakening the mind's attention from the lethargy of custom" in Lyrical Ballads (S.T. Coleridge, Biographia Literaria, Chap. XIV) | + | * L'impensable dans ''Sophie's Choice'' |
| - | Anecdotes in Lyrical Ballads | + | * Le corps dans ''Sophie's Choice'' |
| - | - Simplicity. | + | |
| - | - « 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. | + | |
| - | - Dramatic narrative. | + | |
| - | - Motion and Emotion. | + | |
| - | - The Poetics of Discovery. | + | |
| + | ===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'' | ||
| - | ===Yeats=== | + | ===Wharton=== |
| - | * « Weaving olden dances » in the Selected Poems of W.B. Yeats | + | * "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'' | ||
| - | =Civilisation= | + | ==Théâtre== |
| - | ==Civilisation britannique== | + | ===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'' | ||
| - | ===Débat sur l'abolition de l'esclavage=== | + | ===''Everyman''=== |
| + | * Théâtre et théologie dans ''Everyman'' | ||
| + | * Form and reform in ''Everyman'' | ||
| + | * Individuality and exemplarity in ''Everyman'' | ||
| + | * Humour in ''Everyman'' | ||
| - | * The end of slavery in Britain: Parliament's or the people's victory? | + | ===Shakespeare=== |
| - | * "[...] 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]) | + | * L'économie de l'amour dans ''A Midsummer Night's Dream'' |
| - | * “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 | + | * 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'' | ||
| - | ===Décolonisation=== | + | * The lamentable tale of me dans ''Richard II'' |
| - | * "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. | + | * La perspective dans ''Richard II'' |
| - | * "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. | + | * La mystification dans ''Richard II'' |
| - | Internationalism and nationalism in British decolonisation (1919-1984) | + | * 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) | ||
| - | ===Ferguson=== | + | * Le public et le privé dans ''The Tragedy of Coriolanus'' |
| - | * Discuss the following statement: “Ferguson was neither distrustful of wealth nor did he believe that it invariably retarded social virtue | + | * Language and silence in ''The Tragedy of Coriolanus'' |
| - | and a free society”. Ronald Hamowy, The Political Sociology of Freedom: Adam Ferguson and F.A. Hayek, Cheltenham: | + | * The one and the many in ''The Tragedy of Coriolanus'' |
| - | Edward Elgar, 2005, p. 83. | + | * Words and swords in ''The Tragedy of Coriolanus'' |
| - | * The State of Nature in Adam Ferguson, An Essay on the History of Civil Society. | + | * Dismemberment in ''The Tragedy of Coriolanus'' |
| - | * The paradox of progress in Adam Ferguson, An Essay on the History of Civil Society | + | |
| - | * "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 | + | |
| - | ===Milton=== | + | *"Reason in madness" in ''King Lear'' |
| - | * Freedom and knowledge in Miltonřs Areopagitica | + | * Contradictions and paradoxes in ''King Lear'' |
| - | * "[Milton] appears first as a regicide rather than as a republican." (Thomas N. Corns, 1995) | + | * 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'' | ||
| - | ===Parti libéral=== | + | * ''The Winter’s Tale'' and the « poetics of incomprehensibility » (Stephen Orgel, ''Shakespeare Quarterly'', Vol. 42, No. 4, 1991, p. 431-437) |
| - | * “Lloyd George’s attempt to perpetuate the politics of coalitionism and national unity [after the war] was ultimately doomed by developments external to the Coalition and by its disintegration from within”, David Powell, British Politics, 1910-1935: The Crisis of the Party System. London, Routledge, 2004, 90. | + | * "Th’ argument of Time" in ''The Winter’s Tale'' (IV, 1, 29) |
| - | * The Liberal Party, 1906-1924: division and unity | + | * "recreation" (III, 2, 238) in ''The Winter’s Tale'' |
| - | * Discuss the following statement: “Unless Liberalism is to be sterilized for effective action, it is therefore manifest that Liberals must now | + | * "Seeming and savour all the winter long" (IV, 4, 75) in ''The Winter's Tale'' |
| - | ‘face the music’. We have to destroy the power of the Lords to kill, mutilate or unduly delay Liberal measures.” J.A. Hobson, The Crisis of Liberalism: New Issues of Democracy. London, P.S. King and Son, 1909, p. 20. | + | * In ''The Winter's Tale'', "Nature is made better by no mean / But Nature makes that mean" (IV, 4, 89-90) |
| - | * “The war and its aftermath uprooted the political world that Liberals had understood and substituted something which seemed by comparison brash, cheap and contemptible”. Michael Bentley, The Liberal Mind 1914-29, Cambridge: Cambridge University Press, 1977, p. 1. | + | * "[T]ransformations" (IV, 4, 31) in ''The Winter's Tale'' |
| - | Discuss the following statement: | + | |
| - | * “[Lloyd George and Asquith] may be accused of dividing their party in its later years of decline. Equally clearly, together they generated the authority that transformed the fractious ranks of post-Gladstone Liberals for several years into an incomparable party of government.” | + | |
| - | Kenneth O. Morgan, “Asquith and Lloyd George: Architects or Assassins?”, p. 122-136 dans Revue Française de Civilisation Britannique, volume 16.2, 2011, p. 136. | + | |
| - | ==Civilisation américaine== | + | * « [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'' | ||
| - | ===Contre-culture=== | + | * Fast and Feasting in ''Love's Labour's Lost'' |
| - | * Discuss the following statement: “To start with a banality: a lot happened in the 1960s. And the historiography of the era has come to | + | * The scene of foolery in ''Love's Labour's Lost'' |
| - | mirror that banal observation. The Sixties had become a capacious subject, so much so that, I have come to think, we have lost the “Sixties” in writing about the Sixties.” David Farber, review of Robert Cohen’s Freedom’s Orator: Mario Savio and the Radical Legacy of the | + | * Melancholy in ''Love's Labour's Lost'' |
| - | 1960s (New York: Oxford University Press, 2009), in Reviews in American History 39 (2011), pp. 712-717. | + | * Studying and learning in ''Love's Labour's Lost'' |
| - | * Sexual Politics in the counterculture. | + | * "Living art" in ''Love's Labour's Lost'' |
| - | * 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. Luedtke (ed.). Making America. The Society and Culture of the United States. Washington: USIA, 1987, p. 353. | + | * The "judgement of the eye" (II, 1, 15) in ''Love's Labour's Lost'' |
| - | * "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. | + | * " Heavenly rhetoric" (IV, 3, 52) in ''Love's Labour's Lost'' |
| - | * Discuss the following statement: “The counterculture was a way of life, a community, an infrastructure, and even an economy, not just a | + | * Diplomacy in ''Love's Labour's Lost'' |
| - | few lifestyle accoutrements like long hair and an occasional toke on illegal substances.” David Farber, The Age of Great Dreams, America in the 1960s, New York: Hill and Wang, 1994, p. 169. | + | * Scripts in ''Love's Labour's Lost'' |
| - | ===L'Empire de l'exécutif=== | + | * "Much virtue in if" (V, 4, 88) in ''As You Like It'' |
| - | * The Reagan Presidency: restoration, renovation, revolution? | + | * "The very wrath of love" (V, 2, 32) in ''As You Like It'' |
| - | * "presidents are set too far above the people to be at one with them" (Bruce Miroff, 2006) | + | * 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'' | ||
| - | ===Le Sud de l'après-Guerre de Sécession=== | + | ===Stoppard=== |
| - | * “One reads the truer deeper facts of reconstruction with a great despair. It is at once so simple and human, and yet so futile. There is no villain, no idiot, no saint. There are just men.” W. E. B. Du Bois, Black Reconstruction in America, New York: S. AL Russell, | + | * The staging of ideas in ''Arcadia'' |
| - | 1935), p.728 | + | * Vistas in ''Arcadia'' |
| - | * Violence in the South after the Civil War. | + | * "Nothing is impressive but the scale" (p.3) in ''Arcadia'' |
| - | * 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. | + | * Landscapes of the mind in ''Arcadia'' |
| - | * “Rather than passive victims of the action of others or simply a ‘problem’ confronting white society, blacks were active agents in the | + | * Designs in ''Arcadia'' |
| - | making of the Reconstruction.” Eric Foner, Reconstruction: America’s Unfinished Revolution, 1863-1877, New York Harper and Row, 1988, xxiv | + | * Transformation in ''Arcadia'' |
| - | * Re-visions of Reconstruction | + | * "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'' | ||
| - | ===The Federalist Papers=== | + | ===Webster=== |
| - | * “The Federalist then was able to claim that the Constitution of 1787 was ‘republican,’ by changing the concept of republicanism from notions of smallness and personal citizenparticipation into an idea of ‘responsibility’ of elected magistrates, into an idea of personal | + | * Measure in ''The Duchess of Malfi'' |
| - | accountability for all actions committed in office, into an idea of government somehow representative and responsible in all of its parts, not just in its legislature.” Patrick Riley, “Martin Diamond’s View of ‘The Federalist’”, Publius, Vol. 8, No. 3, Dimensions of the Democratic Republic: A Memorial to Martin Diamond (Summer, 1978), p.94. | + | * "a perspective / That shows us hell" in ''The Duchess of Malfi'' |
| - | * Pragmatism in The Federalist | + | * Men's justice in ''The Duchess of Malfi'' |
| - | * “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. | + | * "... such a deformed silence"(III, 3, 58) in ''The Duchess of Malfi'' |
| - | * Division in The Federalist Papers | + | * 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'' | ||
| - | =Linguistique= | + | ===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'' | ||
| - | ==Segments de tronc commun== | + | ===Williams=== |
| - | * A great many of my patients | + | * Le paradis perdu dans ''A Streetcar Named Desire'' |
| - | * A silence | + | |
| - | * A tiny hamburger is what the fungus resembles | + | |
| - | * He'd seen arrive | + | |
| - | * He seems to have concluded that you are in excellent shape | + | |
| - | * Humiliated awareness | + | |
| - | * I '''insist''' | + | |
| - | * It's not an easy skill to learn | + | |
| - | * may not really be | + | |
| - | * Might | + | |
| - | * Must be doing | + | |
| - | * No Saturday-night drunk | + | |
| - | * That's what frigthens me | + | |
| - | * thought '''it''' rather comical | + | |
| - | ==Option C== | + | ==Poésie== |
| - | ===Ellipse en anaphore=== | + | ===Ashbery=== |
| - | « Un segment de discours est dit anaphorique lorsqu’il est nécessaire, pour lui donner une interprétation | + | * "all things are palpable, none are known" ("Poem in Three Parts") in ''Self-Portrait in a Convex Mirror'' |
| - | (même simplement littérale), de se reporter à un autre segment du même discours. | + | * Vision in ''Self-Portrait in a Convex Mirror'' |
| - | » Ducrot et Todorov, Dictionnaire encyclopédique des sciences du langage, 1972, | + | |
| - | p.358. Discuss. | + | |
| - | - “Anaphora is often treated as if it were an inter-sentence level occurrence subject to the criterion | + | |
| - | of grammaticality. […] But it is arguable that this procedure results in a quite serious distortion | + | |
| - | of the facts of discourse level anaphora as well as deixis. First anaphora, even of the | + | |
| - | ‘bound’ variety, is an utterance-level phenomenon, not a sentence-level one (or ‘intersentence’, | + | |
| - | in the case of discourse anaphora). For it is particularly sensitive to aspects of the | + | |
| - | context of utterance of the segment in which the anaphor at issue occurs, as well as to its lefthand | + | |
| - | and right-hand co-text.” Cornish, Anaphora, Discourse and Understanding. Evidence | + | |
| - | from English and French, 1999, p.1. Discuss. | + | |
| - | - From the fact that a full noun phrase cannot be bound by an antecedent (in the sense given to | + | |
| - | the word in Binding Theory), Liliane Haegeman concludes that unlike personal pronouns and | + | |
| - | bound anaphors, “a full nominal expression refers independently. […] We can say informally | + | |
| - | that a lexical NP is able to select a referent by virtue of its inherent properties.” Haegeman, Introduction | + | |
| - | to Government and Binding Theory, 1991, p.190.Discuss. | + | |
| - | - In The Cambridge Grammar of the English Language, Huddleston and Pullum remark: “Do so | + | |
| - | is an idiom: its meaning and syntactic properties cannot be derived by combining those of do | + | |
| - | and so. Do it and do that/this, however, are not idioms: their meaning and properties can be | + | |
| - | predicted from those of do and the NP as used in other combinations.” Huddleston and | + | |
| - | Pullum, The Cambridge Grammar of the English Language, 2002, p.1532. Discuss. | + | |
| - | - “[L]orsque le même nom pourrait apparaître une deuxième fois dans une phrase, il est remplacé | + | |
| - | par ONE après un déterminant ou adjectif. | + | |
| - | Take this chair, I’ll sit on that one” | + | |
| - | Roggero, Grammaire anglaise, 1979, p.181. Discuss. | + | |
| - | - “People often avoid repeating words when they are referring back. This is called ellipsis.” John | + | |
| - | Sinclair et al. Collins Cobuild English Grammar, 1992, p.335. Discuss. | + | |
| - | ===Passif=== | + | ===Burns=== |
| + | * L'art du chant et du conte dans les ''Selected Poems'' | ||
| + | * L'impertinence dans les ''Selected Poems'' | ||
| - | * The passive voice and transitivity. | + | ===Dickinson=== |
| - | * 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 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'' |
| - | * 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). | + | * "Earthquake Style" in ''The Complete Poems'' (p. 295) |
| - | * The Passive is one type of construction that modifies the verbřs argument structure. | + | * Dramatizing the Self in Emily Dickinson’s Poetry. |
| - | * 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). | + | * “Trust in the Unexpected” (p. 270) in ''The Complete Poems'' |
| - | * 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). | + | * “Gem-Tactics” (p.151) in ''The Complete Poems'' |
| - | * 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. | + | * 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'' | ||
| - | ===Prépositions=== | + | ===Lais bretons=== |
| - | “It has often been noticed that prepositions of time are on the whole identical to spatial expressions | + | * Disenchantment in ''Sir Launfal'' |
| - | and that temporal PPs are attached to sentences in the same way as PPs of location." | + | * Voices in the ''Middle English Breton Lays'' and ''The Franklin’s Tale'' |
| - | JACKENDOFF 1983, 189. | + | * Quest(s) in ''Sir Degare'' |
| - | Discuss. | + | * Text and textiles in the ''Middle English Breton Lays'' |
| - | “The ideal meaning of a preposition is a geometrical idea, from which all uses of that preposition | + | * Transgression in the ''Middle English Breton Lays'' and ''The Franklin's Tale'' |
| - | derive by means of various adaptations and shifts” | + | * Deliveries in the ''Middle English Breton Lays'' |
| - | A.Herskovits, Language and Spatial Cognition, Cambridge: Cambridge University Press, 1986, p. 39. | + | * Returning in the ''Middle English Breton Lays'' |
| - | Discuss. | + | * Narrative enchantment in the ''Middle English Breton Lays'' |
| - | “It is a challenge for any theory of word meaning to explain why a polysemous word such as on has | + | |
| - | the variety of physical and figurative uses that it has. One might argue that figurative uses of on such | + | |
| - | as Pam is on a diet, The lunch is on George, The bus is on schedule, etc., are just ‘dead metaphors’, | + | |
| - | 97 | + | |
| - | in other words arbitrary unmotivated uses that are not related in any way to each other or to the | + | |
| - | physical uses of on.” | + | |
| - | D. Beitel, A. Gibbs, W. Raymond, Paul Jr. & SANDER, “The embodied approach of the polysemy of | + | |
| - | the spatial preposition on” in H. Cuykens, B. Zawada, (eds), Polysemy in cognitive linguistics, Oxford: | + | |
| - | Amsterdam, Benjamins,, 2001, p. 241-260. Discuss. | + | |
| - | « To est une préposition d’origine déictique à fonctionnement spatial (PIE *do- : « to/toward ») qui est | + | |
| - | utilisée pour conférer au SN qui suit une valeur télique. Son rôle est de désigner le référent de | + | |
| - | l’argument régi comme un point d’aboutissement. Elle s’oppose en cela à from, qui dénote l’origine, et | + | |
| - | les deux prépositions permettent de borner le procès. » | + | |
| - | Dominique Boulonnais, « Les emplois prépositionnels de To et de For, Grammaticalisation et | + | |
| - | subjectification », ANGLOPHONIA/SIGMA 24, 2008. Discuss. | + | |
| - | In A Grammar of Contemporary English, Quirk & al. remark : “A sentence like He looked at the girl | + | |
| - | can be given two analyses. In one, there is a prepositional phrase (at the girl) as adverbial; in the | + | |
| - | other, looked at is a prepositional verb with girl as prepositional object. (We use the shorter term | + | |
| - | ‘prepositional object’ for what should properly be termed ‘object after a prepositional verb’.) | + | |
| - | ANALYSIS 1: V A | + | |
| - | He [looked] [at the girl]. | + | |
| - | ANALYSIS 2: prep-V prep-O | + | |
| - | He [looked at] [the girl]. | + | |
| - | The two analyses can be regarded as different, but equally valid and complementary ways of looking | + | |
| - | at the same structure.” | + | |
| - | A Grammar of Contemporary English, Quirk & al. London: Longman, 1972, pp. 818-9. | + | |
| - | Discuss. | + | |
| - | In the Longman Grammar of Spoken and Written English, Douglas Biber & al. remark: « An important | + | |
| - | distinction can be drawn between free v. bound prepositions. Free prepositions have an independent | + | |
| - | meaning; the choice is not dependent upon any specific words in the context. In contrast, bound | + | |
| - | prepositions often have little independent meaning, and the choice of the preposition depends upon | + | |
| - | some other word (often the preceding verb). The same prepositional form can function as a free or a | + | |
| - | bound preposition: | + | |
| - | Free prepositions: | + | |
| - | But the only other thing perhaps, he’ll go with one of the kids, and that’s a possibility. | + | |
| - | […] | + | |
| - | Bound prepositions: | + | |
| - | They’ve got to be willing to part with that bit of money. | + | |
| - | […]. » | + | |
| - | Longman Grammar of Spoken and Written English. Biber, Douglas & al. London: Longman, 1999, p. | + | |
| - | 74.Discuss. | + | |
| - | In his grammar (Grammaire anglaise, [1981] 1988), Jacques Roggero remarks « les verbes transitifs | + | |
| - | et prépositionnels […] peuvent être suivis d’un complément direct ET d’un complément prépositionnel. | + | |
| - | La structure du groupe verbal est alors V – GN – Prép. – GN. | + | |
| - | He borrowed / a little aspirin / from the nurse. | + | |
| - | He thanked / the nurse / for the aspirin. | + | |
| - | The sent / the boy / to a comprehensive school. | + | |
| - | a. Certains de ces verbes, dont le type est GIVE, présentent deux possibilités : ou bien conserver | + | |
| - | la structure GN – Prép. – GN, ou bien la transformer en déplaçant le second complément | + | |
| - | avant le premier, et en supprimant la préposition. Ci-dessous les exemples (b) sont à relier | + | |
| - | aux exemples (a) et ont la même signification : | + | |
| - | (a) He gave a lot of money to the school. | + | |
| - | (b) He gave the school a lot of money. | + | |
| - | (a) The nurse read a story to the children. | + | |
| - | (b) The nurse read the children a story. | + | |
| - | Ce déplacement de la préposition est également possible lorsque la préposition est FOR. | + | |
| - | I will book a seat for you. | + | |
| - | 98 | + | |
| - | I will book you a seat. » | + | |
| - | Grammaire anglaise. Paris : Nathan, [1981] 1988, p. 19. | + | |
| - | Discuss. | + | |
| + | ===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'' | ||
| - | * "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. | + | ===Walcott=== |
| - | * Prepositions are either static or dynamic. Discuss. | + | * "either I’m nobody, or I’m a nation" |
| - | * Infinitive nominal clauses and potentiality. Discuss. | + | * L'hybridité dans ''The Collected Poems'' |
| - | * 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' | + | * Crossing the gulf in ''The Collected Poems'' |
| - | and 'period of time'. (A University Grammar of English, R. Quirk et al., Longman, 1st edition, 1973, p. 154) | + | * Landscape and seascape in ''The Collected Poems'' |
| - | * 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=== | + | ===Whitman=== |
| - | * [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). | + | * Tools and instruments in ''Leaves of Grass'' |
| - | * 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). | + | * Flux in ''Leaves of Grass'' |
| - | * 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 lyrical and the prosaic in ''Leaves of Grass'' |
| - | * The TO-infinitive clause usually has no subject, although its subject is implied by the context." | + | * "A kaleidoscope divine" (p. 204) |
| - | (G. Leech, A Glossary of English Grammar, 2006, p. 113). Discuss. | + | - "For the great idea / That, O my brethren, that is the mission of poets" (p.293) |
| - | * 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). | + | ===Wordsworth et Coleridge=== |
| - | Comment. | + | * "[A]wakening the mind's attention from the lethargy of custom" in ''Lyrical Ballads'' (S.T. Coleridge, ''Biographia Literaria'', Chap. XIV) |
| - | * 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. | + | * Anecdotes in ''Lyrical Ballads'' |
| - | * 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. | + | * Simplicity in ''Lyrical Ballads'' |
| - | a. She wanted an apple | + | * « Strange power of speech » p. 77, l. 620. |
| - | b. She wanted to eat an apple | + | * « [T]he sympathies of men » (Preface to Lyrical Ballads [1800], 2005, (p. 290). |
| - | 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." | + | * The sense of community in ''Lyrical Ballads'' |
| - | Explain, discuss and exemplify using relevant examples from the corpus. | + | * Dramatic narrative in ''Lyrical Ballads'' |
| - | * 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). | + | * 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'' | ||
| - | [[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.
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
