Agrégation Externe : annales des sujets de leçon de littérature

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-Ces annales proviennent des rapports de jury de concours.+Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2003.
-=Littérature =+
==Roman/nouvelles == ==Roman/nouvelles ==
===Austen=== ===Austen===
 +* Repetition in ''Pride and Prejudice''
 +* Interference in ''Pride and Prejudice''
 +* Design in ''Pride and Prejudice''
 +
* Trust in ''Sense and Sensibility'' * Trust in ''Sense and Sensibility''
* Pleasure in ''Sense and Sensibility'' * Pleasure in ''Sense and Sensibility''
Ligne 10: Ligne 13:
* Affection and affectation in ''Sense and Sensibility'' * Affection and affectation in ''Sense and Sensibility''
* Intimacy 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===
Ligne 17: Ligne 28:
* “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=== ===Burney===
Ligne 27: Ligne 40:
* Address and Subtlety in ''Evelina'' * Address and Subtlety in ''Evelina''
* "I cannot journalisze" (p. 255) * "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=== ===Chaucer===
Ligne 34: Ligne 56:
===Conrad=== ===Conrad===
* L'autre dans ''Lord Jim'' * 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) * "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'' * Le secret dans ''Lord Jim''
* "The power of sentences has nothing to do with their sense" (''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=== ===DeLillo===
Ligne 42: Ligne 76:
* The art of remembering in ''Falling Man'' * The art of remembering in ''Falling Man''
* Ordinariness 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===
Ligne 48: Ligne 99:
* 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===
Ligne 69: Ligne 123:
* L'histoire naturelle 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'' * "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=== ===Faulkner===
* Figures de l'absence dans ''The Sound and the Fury'' * 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)=== ===Ford (Ford Maddox)===
Ligne 80: Ligne 143:
* Affaires de coeur dans ''The Good Soldier'' * Affaires de coeur dans ''The Good Soldier''
* Le corps à l'oeuvre dans ''The Good Soldier'' * Le corps à l'oeuvre dans ''The Good Soldier''
 +* La duplicité dans ''The Good Soldier''
===Ford (Richard)=== ===Ford (Richard)===
* Expectations in ''A Multitude of Sins'' * 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=== ===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''
Ligne 96: Ligne 166:
* Pères et fils dans ''The Autobiography of Miss Jane Pittman'' * Pères et fils dans ''The Autobiography of Miss Jane Pittman''
* L'émancipation 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===
Ligne 102: Ligne 185:
* "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=== ===Hawthorne===
* Ethique et esthétique dans ''The Scarlet Letter'' * Ethique et esthétique dans ''The Scarlet Letter''
* Miroirs et reflets 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===
Ligne 123: Ligne 211:
* Disenchantment in ''Fiesta: The Sun Also Rises'' * Disenchantment in ''Fiesta: The Sun Also Rises''
* Emotions and sensations 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=== ===Millhauser===
* Le jeu dans ''The Knife Thrower and Other Stories'' * 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=== ===Munro===
Ligne 135: Ligne 247:
* The individual and the community in ''Dance of the Happy Shades'' * The individual and the community in ''Dance of the Happy Shades''
* Transgression 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===
Ligne 141: Ligne 256:
* Pictorialism 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=== ===O'Connor===
Ligne 148: Ligne 264:
* L'écriture du moment * L'écriture du moment
* L'animalité * L'animalité
 +* Le mystère
 +* La confrontation
 +* L'imprévu
 +* L'être et le néant
 +* La conversion
===Okri=== ===Okri===
Ligne 154: Ligne 275:
* « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist Interdisciplinary Research”, History in Africa 25, 1998, p. 318). * « [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). * « It is terrible to remain forever in-between” (p. 6).
-* Possession.+* Possession in ''The Famished Road''
* « 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). * «[W]eird delirium » (p. 228).
* Interruption in ''The Famished Road'' * 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=== ===Quincey===
Ligne 167: Ligne 295:
* ''Confessions of an Opium-Eater'' : les illuminations * ''Confessions of an Opium-Eater'' : les illuminations
* "Familiar objects" dans ''Confessions of an Opium-Eater'' * "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===
Ligne 194: Ligne 324:
* Appearances in ''The Adventures of Roderick Random'' * Appearances in ''The Adventures of Roderick Random''
* Progress 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''+* “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''
===Stoker=== ===Stoker===
Ligne 220: Ligne 359:
* "A structure of artifice" 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'' * "This picture of loveliness in distress" in ''The House of Mirth''
-* " A kind of permanence" in ''The House of Mirth''+* "A kind of permanence" in ''The House of Mirth''
==Théâtre== ==Théâtre==
Ligne 229: Ligne 368:
* Seeing and being seen in ''Endgame'' * Seeing and being seen in ''Endgame''
* “Nothing is funnier than unhappiness” (p.20) in ''Endgame'' * “Nothing is funnier than unhappiness” (p.20) in ''Endgame''
 +* "Technique, you know" (p.36)
 +* Redefining the tragic in ''Endgame''
===''Everyman''=== ===''Everyman''===
Ligne 234: Ligne 375:
* Form and reform in ''Everyman'' * Form and reform in ''Everyman''
* Individuality and exemplarity in ''Everyman'' * Individuality and exemplarity in ''Everyman''
 +* Humour in ''Everyman''
===Shakespeare=== ===Shakespeare===
Ligne 248: Ligne 390:
* Langage et trahison dans ''Richard II'' * Langage et trahison dans ''Richard II''
* Guerre et paix dans ''Richard II'' * Guerre et paix dans ''Richard II''
 +* "Thus play I in one person many people" (V, 5)
-* ''The Winter’s Tale'' and the « poetics of incomprehensibility » (Stephen Orgel, ''Shakespeare Quarterly'', Vol. 42, No. 4, 1991, p. 431-437)+* Le public et le privé dans ''The Tragedy of Coriolanus''
-* "Th’ argument of Time" in ''The Winter’s Tale'' (IV, 1, 29)+* Language and silence in ''The Tragedy of Coriolanus''
-* "recreation" (III, 2, 238) in ''The Winter’s Tale''+* The one and the many in ''The Tragedy of Coriolanus''
-* "Seeming and savour all the winter long" (IV, 4, 75) in ''The Winter's Tale''+* Words and swords in ''The Tragedy of Coriolanus''
-* In ''The Winter's Tale'', "Nature is made better by no mean / But Nature makes that mean" (IV, 4, 89-90)+* Dismemberment in ''The Tragedy of Coriolanus''
-* "[T]ransformations" (IV, 4, 31) in ''The Winter's Tale''+
 +*"Reason in madness" in ''King Lear''
* Contradictions and paradoxes in ''King Lear'' * Contradictions and paradoxes in ''King Lear''
* Order, rule and hierarchy in ''King Lear'' * Order, rule and hierarchy in ''King Lear''
Ligne 261: Ligne 404:
* Erring in ''King Lear'' * Erring in ''King Lear''
* Hierarchies 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'' * « [F]iguring diseases » (I, 2, 49) in ''Measure for Measure''
Ligne 279: Ligne 431:
* Studying and learning in ''Love's Labour's Lost'' * Studying and learning in ''Love's Labour's Lost''
* "Living art" in ''Love's Labour's Lost'' * "Living art" in ''Love's Labour's Lost''
-* The judgement of the eye 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=== ===Stoppard===
Ligne 292: Ligne 454:
* "The exaltation of knowledge" (p. 108) in ''Arcadia'' * "The exaltation of knowledge" (p. 108) in ''Arcadia''
* Music and silence 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=== ===Wilde===
Ligne 301: Ligne 476:
* "Romantic origin" (p. 23) * "Romantic origin" (p. 23)
* Imitation in ''The Importance of Being Earnest'' * Imitation in ''The Importance of Being Earnest''
 +* Inversion in ''The Importance of Being Earnest''
* Codes 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=== ===Williams===
Ligne 307: Ligne 485:
==Poésie== ==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=== ===Burns===
Ligne 316: Ligne 498:
* "Earthquake Style" in ''The Complete Poems'' (p. 295) * "Earthquake Style" in ''The Complete Poems'' (p. 295)
* Dramatizing the Self in Emily Dickinson’s Poetry. * Dramatizing the Self in Emily Dickinson’s Poetry.
-* “Trust in the Unexpected” (p.270) in ''The Complete Poems'' +* “Trust in the Unexpected” (p. 270) in ''The Complete Poems''
* “Gem-Tactics” (p.151) in ''The Complete Poems'' * “Gem-Tactics” (p.151) in ''The Complete Poems''
* Liminality 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.=== ===H.D.===
Ligne 344: Ligne 529:
* Voices and Traces in ''The Burning Perch'' * Voices and Traces in ''The Burning Perch''
* Forgetting and Remembering in ''The Burning Perch'' * Forgetting and Remembering in ''The Burning Perch''
-* "[M]y far-near country, my erstwile" (p. 38)+* "[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=== ===Walcott===
* "either I’m nobody, or I’m a nation" * "either I’m nobody, or I’m a nation"
* L'hybridité dans ''The Collected Poems'' * 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=== ===Wordsworth et Coleridge===
Ligne 363: Ligne 565:
===Yeats=== ===Yeats===
* « Weaving olden dances » in the ''Selected Poems'' * « Weaving olden dances » in the ''Selected Poems''
 +* Water in the ''Selected Poems''
-=Civilisation=+[[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]][[Category:Littérature]]
- +
-==Civilisation britannique==+
- +
-===Débat sur l'abolition de l'esclavage===+
- +
-* The end of slavery in Britain: Parliament's or the people's victory?+
-* "[...] 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]) +
-* “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+
- +
-===Décolonisation===+
-* "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.+
-* "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.+
-* Internationalism and nationalism in British decolonisation (1919-1984)+
-* "Postwar imperial ideologies remained and remain progressivist and arrogantly ethnocentric; they did not and do not remain specifically colonial." F. Cooper and A.L. Stoler, "Tensions of Empire: Colonial Control and Visions of Rule", 1989+
- +
-===Ferguson===+
-* Discuss the following statement: “Ferguson was neither distrustful of wealth nor did he believe that it invariably retarded social virtue and a free society”. Ronald Hamowy, ''The Political Sociology of Freedom: Adam Ferguson and F.A. Hayek'', Cheltenham: Edward Elgar, 2005, p. 83.+
-* The State of Nature in Adam Ferguson, ''An Essay on the History of Civil Society''+
-* 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+
- +
-===Grande Famine en Irlande===+
-* "It is stated by many practical persons that the management of land under such circumstances becomes impossible, and that an enforcement of the most ordinary legal right is attended with personal risks to life and to property." House of Lords Colonization from Ireland, Report of the Select Committee, session 1847.+
-* "There was no conspiracy theory to destroy the Irish nation. The scale of the actual outlay to meet the famine and the expansion of the public relief system are in themselves impressive evidence that the state was by no means always indifferent to Irish needs". Robert Dudley Williams and Thomas Desmond Williams, The Great Irish Famine: Studies in Irish History, 1845-52 [1956], ed. Cormac O'Grada. Dublin: Lilliput Press, 1994+
-* "The Christian duty of charity continued to dominate the actions of groups like the Quakers, but for many in Britain, philanthropic feelings existed alongside a strong desire to see the fundamental changes in Ireland they believed would prevent the need for continuous private generosity." Peter Gray, "The Triumph of Dogma: Ideology and Famine Relief", ''History Ireland'', Vol. 3, No. 2 (Summer 1995), p. 29+
-*"... the British authorities could and did make choices, and those were all dictated by the ideologically-based conviction that centralisation of the Irish relief institutions and an open border policy was the best option to achieve the intertwined goals of ending the famine, restructuring [...] Irish society and making the Irish people pay for what was regarded as "their" crisis." Eric Vanhaute, Richard Paping, and Cormac O Grada, "The European subsistence crisis of 1845-1850: a Comparative Perspective" in E. Vanhaute, R. Paping and C. O Grada (eds), ''When the Potato Failed: Causes and Effects of the Last European Subsistence Crisis, 1845 -1850'', Turnhout, Brepols, 2007, p.31.+
-*“The Poor Law appears to be thoroughly naturalized in Ireland. Your lordship would have been delighted to have heard it spoken of as I have done, and that by persons who did not know me, and who praised it as having been the salvation of the country, exclaiming ‘what should we have done without it!’” Sir George Nicholls to Lord John Russell, letter dated Dublin, 16th September 1853, quoted in Sir George Nicholls, ''A History of the Irish Poor Law, in connexion with the Condition of the People'', first edition London: John Murray, 1856; this reprint New York: Augustus M. Kelley, 1967, p. 398+
-*The Irish Famine of 1847 had results, social and political, that constitute it one of the most important events in Irish history for more than two hundred years. It is impossible for anyone who knew the country previous to that period, and who has thoughtfully studied it since, to avoid the +
-conclusion that so much has been destroyed, or so greatly changed, that the Ireland of old times will be seen no more.” Alexander Martin Sullivan, ''New Ireland'', London: S. Low, Marston, Searle & Rivington, 1877 (Alexander Martin Sullivan was the sole proprietor and editor of ''The Nation'' from 1855 to 1876.)+
-*“The introduction of the poor laws was followed at no distant interval by the fearful calamity of the Irish famine, a calamity which taught the proprietors what a terrible burthen a numerous tenantry might become. The abolition of the protective duty on corn introduced another element of disturbance in the arrangements of the Irish farms. Never had so many causes combined in so short a time to effect vital changes in the circumstances of the land occupiers of a country.”Isaac Butt, ''Land Tenure in Ireland; a plea for the Celtic race''. Dublin: J. Falconer, 1866 (third edition)+
-*“The danger remains that much current and future scholarship on the Famine will make its mark in academic circles but not in the wider world where images of genocide will persist.” Mary Daly, ‘Revisionism and the Great Irish Famine’, in D. George Boyce & Alan O’Day (eds.), ''The Making of Modern Irish History: Revisionism and the Revisionist Controversy'', London: Routledge, (1996) +
-*The experience of the famine, both then and later, became inextricably linked with the question of the Union and its reality, even its viability.” D. George Boyce, ''Nineteenth-Century Ireland: The Search for Stability'', Dublin: Gill & Macmillan, revised ed. 2005, p. 126+
-*“The predominant academic view until the early 1990s was that while the official response to the Famine had often been shortsighted, nevertheless, the Famine was an unavoidable Malthusian catastrophe, a view underlying the contemporary official response.”Patrick Maume, “Irish political history: guidelines and reflections”, in M. McAuliffe, K. O’Donnell and L. Lane (eds), ''Palgrave Advances in Irish History'', Palgrave Macmillan, 2009, p. 14+
-*Poverty and morality in the Great Irish Famine+
-*"Esquimaux and New Zealanders are more thrifty and industrious than these people who deserve to be left to their fate instead of the hardworking people of Englang being taxed for their support, but can we do so ? We shall be equally blamed for keeping them alive or letting them die and we have only to select between the censure of the Economists or the Philanthropists - which do you prefer?" Letter from Lord Clarendon to Lord John Russell, 10 Aug. 1847, quoted in Peter Gray, ''Famine, Land, and Politics: British Government and Irish Society 1843-1850'', Dublin: Irish Academic Press, 1999, p.292+
-*Providence and the Great Famine+
-*Reform and revolution in the Great Irish Famine+
-*Philanthropy and the Great Irish Famine+
-*Entitlement and the Famine+
-*Silence during the Great Irish Famine+
- +
-===Locke===+
-* La force de l'habitude dans ''Some Thoughts Concerning Education''+
- +
-===Milton===+
-* Freedom and knowledge in Milton's ''Areopagitica''+
-* "[Milton] appears first as a regicide rather than as a republican." (Thomas N. Corns, 1995) +
- +
-===Morris===+
-* Culture du peuple et culture de l'élite+
-* ''News from Nowhere'' : le mariage+
-* ''News from Nowhere'' : romantisme ou révolution ?+
- +
-===Parti libéral===+
-* “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.+
-* The Liberal Party, 1906-1924: division and unity+
-* Discuss the following statement: “Unless Liberalism is to be sterilized for effective action, it is therefore manifest that Liberals must now+
-‘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.+
-* “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.+
-* “[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.+
- +
-===Schisme d'Henri VIII===+
-* "Henricianism was not simply a call to England ti disown Rome's jurisdiction but, in its largest terms, a promise of radical and necessary renewal of the whole commonwealth." J.J. Scarisbrick, ''Henry VIII'', Methuen, 1968, p.327.+
-* Pragmatisme et dogmatisme dans la Réforme henricienne+
-* "So far from attempting to build a despotism in England, Thomas Cromwell was that country’s first parliamentary statesman." (G.R.Elton, ''England under the Tudors'', 1955)+
-* Le schisme et la politique étrangère de l'Angleterre (1521-1540)+
-* “ I am very sorry to know and hear, how unreverently that most precious jewel the word of God is disputed, rhymed, sung and jangled in every alehouse and tavern, contrary to the true meaning and doctrine of the same. ” (Henry VIII’s speech to Parliament, December 1545, in Edward Hall, Henry VIII, 1548.)+
-* “ The [Henrician] Reformation is part of the laymen’s revolution. For centuries the Church had dominated every part of the nation’s life, even its military activity. Now the laymen were determined to bring that domination to an end. ” (Stephen Neill, ''Anglicanism'', 1958, p. 34.)+
-* “ The piecemeal Reformation was a peaceful Reformation. ” (Christopher Haigh, ''The English Reformation Revised'', 1987.)+
-* “ The English Reformation was emphatically a political revolution, and its author King Henry VIII resisted, for a time ferociously, many of the religious consequences which accompanied the legal changes everywhere else in Europe. ” (Owen Chadwick, ''The Reformation'', 1964.)+
-* “ The Henrician Reformation and the creation of the royal supremacy turned the Church in England (…) into the Church of England. ” (G.R. Elton, ''England under the Tudors'', 1955.)+
-* La Réforme henricienne : un catholicisme sans le pape ?+
-* Via media et raison d’Etat+
-* Henri VIII et la raison d'Etat+
-* Henri VIII et la propagande+
- +
-==Civilisation américaine==+
- +
-===Années Roosevelt===+
-*Discuss the following statement: “Enough help had been given to enough people to make Roosevelt a hero to millions, but the same system that had brought depression and crisis—the system of waste, of inequality, of concern for profit over human need— remained.” Howard Zinn, ''A People’s History of the United States'', New York: Harper Collins, 2005 (1980), pp. 403-4.+
-*Centralization in the Roosevelt years.+
-*Discuss the following statement: “Above all, the New Deal gave to countless Americans who had never had much of it a sense of security, and with it a sense of having a stake in their country. And it did it all without shredding the American Constitution or sundering the American people.” David M. Kennedy, ''Freedom From Fear: The American People in Depression and War, 1929-1945'', New York: Oxford University Press, 1999, p. 379. +
-*Discuss the following statement: “Most obviously, the liberalization of the Democratic Party under Roosevelt and the New Deal realignment led to the development of a modern welfare state and a transition from legislative to executive-oriented legislation.” Sidney M. Milkis, “Roosevelt and the Transcendence of Partisan Politics”, ''Political Science Quarterly'', Vol. 100, No. 3 Autumn 1985,p. 498. +
-*Discuss the following statement: “In making a state of procedures that organized political life at home, and in creating an assertive state that crusaded almost without limit for American power and values, the New Deal proved to be a rejuvenating triumph.” Ira Katznelson, ''Fear Itself: The New Deal and the Origins of Our Time'', New York: Liveright, 2013, p. 475. +
-*Discuss the following statement: “Principal legacies of the New Deal have been a massive expansion of government power and loss of liberty.” Jim Powell, ''FDR’s Folly: How Roosevelt and his New Deal Prolonged the Great Depression'', New York: Three Rivers Press, 2003, p. xiv. +
-*Discuss the following statement: “By using the new materials of social justice we have undertaken to erect on the old foundations a more enduring structure for the better use of future generations.” Franklin D. Roosevelt, Second Inaugural Address, January 20, 1937. +
-*Discuss the following statement: “As wartime commander in chief, Roosevelt could exert power over the American economy and society transcending any he had previously wielded, even in the first heady days of the New Deal.” James MacGregor Burns, ''Roosevelt: the Soldier of Freedom'', New York: Harcourt, 1970, p. 417. +
-*Discuss the following statement: “From an ideological standpoint, the New Deal was illogical. But from a political standpoint it was marvelous. Its very inconsistency facilitated its appeal to a broad range of otherwise mutually hostile groups.” Thomas K. McCraw, “The New Deal and the Mixed Economy,” in ''Fifty Years Later: The New Deal Evaluated''. Harvard Sitkoff, ed. New York: McGraw-Hill, 1985,p. 63. +
-*Inter-partisan conflict in the Roosevelt years.+
-*Innovation in the Roosevelt years.+
-*"One of the most lasting contributions was to open up the political process to previously excluded groups of interests and voters. As such, historians often speak of a New deal for blacks or labor, or various ethnic groups. Equally, there was a New Deal for women." Susan Ware, "Women and the New Deal", in ''Fifty Years Ltaer: The New Deal Evaluated'', 1985.+
-*"The truth is that the experimentatlism of the new deal was an ineffective mess that further tangled the knot of the great depression. After years of unprecedented economic intervention by Roosevelt, competition was stifled, investment plummeted, restrictive cartelization abounded, industrial production stagnated, and budget deficit skyrocketed. Wage controls and new union contracts limited the number of workers private-sector employers could hire, leaving unemployment to hover around 20%." Jay Wiley, "The Nex Deal Myth", ''American Thinker'', October 31st 2010+
- +
-===Contre-culture===+
-* Discuss the following statement: “To start with a banality: a lot happened in the 1960s. And the historiography of the era has come to 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 1960s'' (New York: Oxford University Press, 2009), in ''Reviews in American History'' 39 (2011), pp. 712-717.+
-* Sexual Politics in the counterculture.+
-* 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.+
-* "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.+
-* Discuss the following statement: “The counterculture was a way of life, a community, an infrastructure, and even an economy, not just a+
-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.+
- +
-===L'Empire de l'exécutif===+
-* The Reagan Presidency: restoration, renovation, revolution? +
-* "presidents are set too far above the people to be at one with them" (Bruce Miroff, 2006)+
- +
-===Le Sud de l'après-Guerre de Sécession===+
-* “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, 1935), p.728+
-* Violence in the South after the Civil War.+
-* 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.+
-* “Rather than passive victims of the action of others or simply a ‘problem’ confronting white society, blacks were active agents in the making of the Reconstruction.” Eric Foner, ''Reconstruction: America’s Unfinished Revolution, 1863-1877'', New York: Harper and Row, 1988, xxiv+
-* Re-visions of Reconstruction+
- +
-===Mencken===+
-* Mencken: the sage of Baltimore+
-* Mencken sociologue+
-* H.L. Mencken : un réactionnaire ?+
- +
-===Olmsted===+
-*Nation, Union and Landscape in Frederick Law Olmsted’s thought and action. +
-*Discuss the following statement: “[...] Olmsted’s parks seemed to offer an attractive remedy for the dangerous problem of discontent among the urban masses. In contrast with other reforms put forward by the gentry, they visibly affected the everyday habits of large numbers of people. By providing pleasant and uplifting outlets in the narrow lives of city-dwellers, they promised a measure of social tranquillity”. Geoffrey Blodgett, “Frederick Law Olmsted: Landscape Architecture as Conservative Reform”, ''Journal of American History'', Vol. 62, No. 4, March 1976, p. 877. +
-*Discuss the following statement: “Olmsted’s great urban, pastoral-style public parks, from Louisville to Buffalo, from Boston to Brooklyn, stand as living monuments to and embodiment of the idealist proposition that there is a pre-established harmony between the forms of nature and the human heart and mind and that proper character formation as well as individual and collective human happiness are dependent upon that synergism.” George L. Scheper, “The Reformist Vision of Frederick Law Olmsted and the Poetics of Park Design”, ''The New England Quarterly'', Vol. 62, No. 3, September 1989, p. 372. +
-*Discuss the following statement: “One of the great ills of modern society, [Olmsted] argued, is a nervous disability caused by the stress of urban life and exacerbated by the artificiality of the city environment. The most effective antidote to this sickness, he was convinced, was a certain kind of scenery. The purpose of the urban park (as opposed to the whole range of other kinds of public recreation grounds that he designed) was to provide the scenery that most effectively counteracts and cures this nervous affliction.” Charles E. Beveridge and Carolyn F. Hoffman, “Introduction” in Charles E. Beveridge and Carolyn F. Hoffman (eds.), ''The Papers of Frederick Law Olmsted, Supplementary Series'', volume I, The Johns Hopkins University Press: Baltimore and London, 1997, pp. 5-6. +
-*Democracy, progress and parks in Frederick Law Olmsted’s thought and action.+
-"Thus without means are taken by government to withhold them from the grasp of individuals, all places favorable in scenery to the recreation of the mind and body will be closed against the great body of the people. For the same reason that the water of rivers should be guarded against private appropriation and the use of it for the purpose of navigation and otherwise protected against obstruction, portions of natural scenery may therefore properly be guarded and cared for by Government. To simply reserve them from monopoly by individuals, however, it will be obvious, is not all that is necessary. It is necessary that they should be laid open to the use of the body of the people." Frederick Law Olmsted, ''Yosemite and the Mariposa Grove: A Preliminary Report'' (1865)+
-*"As a park maker, environmentalist, and abolitionist, Olmsted helped shape modern America" - Justin Martin, ''Genius of Place: The Life of Frederick Law Olmsted, Abolitionist, Conservationist, and Designer of Central Park'', 2011, p.4.+
-*"Parks have plainly not come as the direct result of any of the inventions or discoveries of the century. They are not, with us, simply an improvement on what we had before growing out of a general advace of the arts applicable to them. It is not evident that the movement was taken up in any country from any other however it may have been influenced or accelerated. It did not run lie a fashion It would seem rather to have been a common, spontaneous movement of that sort which we conveniently refer to the "Genius of Civilisation." Frederick Law Olmsted, "A Consideration of the Justifying Value of a Public Park", 1881+
- +
-===''The Federalist Papers''===+
-* “''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+
-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.+
-* Pragmatism in ''The Federalist''+
-* “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. +
-* Division in ''The Federalist Papers'' +
- +
-===Thomas Jefferson et l'ouest===+
-* L'expédition de Lewis et Clark : une épopée américaine ?+
- +
-[[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]]+

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