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 2000. |
| - | ==Roman/nouvelles == | + | ==Roman/nouvelles== |
| - | ===Brontë=== | + | ===Addison et Steele=== |
| - | * Erring in Jane Eyre | + | * La réticence dans ''Selections from The Spectator'' |
| - | * The didacticism of Jane Eyre | + | * L'éphémère et le permanent dans ''Selections from the Spectator'' |
| - | * Reading the other and writing the self in Jane Eyre | + | |
| - | * “They were under a yoke: I could free them” (p.328) in Jane Eyre | + | ===Austen=== |
| - | * Giving “furious feelings uncontrolled play” (p.31) in Jane Eyre | + | * Repetition in ''Pride and Prejudice'' |
| + | * Interference in ''Pride and Prejudice'' | ||
| + | * Design in ''Pride and Prejudice'' | ||
| + | * Decency in ''Pride and Prejudice'' | ||
| + | * Matrimony in ''Pride and Prejudice'' | ||
| + | * The body in ''Pride and Prejudice'' | ||
| + | * "Powers of conversation" in ''Pride and Prejudice'' | ||
| + | * Wits and wisdom in ''Pride and Prejudice'' | ||
| + | |||
| + | * La retenue dans ''Sense and Sensibility'' | ||
| + | * 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'' | ||
| + | |||
| + | ===Barnes=== | ||
| + | * La polyglossie dans ''Flaubert's Parrot'' | ||
| + | * Thème et variations dans ''Flaubert's Parrot'' | ||
| + | |||
| + | ===Brontë (Charlotte)=== | ||
| + | * 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'' | ||
| + | |||
| + | ===Brontë (Emily)=== | ||
| + | * Descent in ''Wuthering Heights'' | ||
| + | |||
| + | ===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) | ||
| + | |||
| + | ===Carver=== | ||
| + | * L'indicible dans ''Short Cuts'' | ||
| + | * Le doux et l'amer dans ''Short Cuts'' | ||
| + | * "Dramatic moments" (p. 48) dans ''Short Cuts'' | ||
| + | |||
| + | ===Cather=== | ||
| + | * L'apprentissage dans ''Death Comes for the Archbishop'' | ||
| + | * Le cuit et le mijoté dans ''Death Comes for the Archbishop'' | ||
| + | |||
| + | * 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=== | ||
| - | * Le profane et le sacré dans The Canterbury Tales | + | * 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) | + | * "Teche us yonge men of youre praktike" (The Wife of Bath's Prologue, l. 187): innocence et expérience dans ''The Canterbury Tales'' |
| + | * L'esprit et la chair dans ''The Canterbury Tales'' | ||
| + | * La diversité dans ''The Canterbury Tales'' | ||
| ===Conrad=== | ===Conrad=== | ||
| - | * L'autre dans Lord Jim | + | * L'autre 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) | + | * Quête et enquête dans ''Lord Jim'' |
| - | * Le secret dans Lord Jim | + | * L'échange dans ''Lord Jim'' |
| - | * "The power of sentences has nothing to do with their sense" (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'' | ||
| + | * The absent text(s) in ''In Custody'' | ||
| + | * Alienation in ''In Custody'' | ||
| + | * Sound and sense 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. | + | * Nourriture(s) dans ''Great Expectations'' |
| - | * "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). | + | * Inversions et répétitions : ressorts romanesques de ''Great Expectations'' |
| - | * "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) | + | * La fascination dans ''Great Expectations'' |
| - | * "[T]he reality of mist and rain" (p. 19). | + | * "Ours was the marsh country, down by the river" (p. 9) : l'eau et la boue dans ''Great Expectations'' |
| - | * "[U]nseen force[s]" (p. 235). | + | * Croissance et déclinaison dans ''Great Expectations'' |
| - | * "The substance of the shadow" (p. 306). | + | * ''Great Expectations'' : roman social ? |
| - | * “The popular and picturesque means of understanding that terrible time », Preface to A Tale of Two Cities, 2008 (1859), p.3) | + | |
| + | * "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=== | ===Eliot=== | ||
| - | * L'histoire naturelle dans The Mill on the Floss | + | * Le mélodrame 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 | + | * 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'' | ||
| + | * "The mysterious complexity of our life is not to be emnbraced by maxims " (p. 498) | ||
| + | * La valeur attend-elle le nombre des années dans ''The Mill on the Floss'' ? | ||
| + | * La résolution dans ''The mill on the Floss'' | ||
| + | * L'allégorie dans ''The Mill on the Floss'' | ||
| + | * La comparaison dans ''The Mill on the Floss'' | ||
| - | ===Ford (Ford Maddox)=== | + | * Science in ''Middlemarch'' |
| - | * Identité et identification dans The Good Soldier | + | * "Foolish expectations" (p. 247) in ''Middlemarch'' |
| - | * Silences | + | * Hidden Lives in ''Middlemarch'' |
| - | * L'écriture de la mémoire | + | * Mobility and Permanence in ''Middlemarch'' |
| - | * "It is difficult to give an all-round impression of any man" (Good Soldier, p. 101). | + | * "The entanglements of of human action" (p. 415) in ''Middlemarch'' |
| - | * Affaires de coeur dans The Good Soldier | + | * Connections in ''Middlemarch'' |
| - | * Le corps à l'oeuvre dans The Good Soldier | + | * Self and community in ''Middlemarch'' |
| + | * "This stupendous fragmentariness" in ''Middlemarch'' | ||
| + | * Perspectives in ''Middlemarch'' | ||
| + | ===Faulkner=== | ||
| + | * Figures de l'absence dans ''The Sound and the Fury'' | ||
| + | * La commémoration dans ''The Sound and the Fury'' | ||
| + | * "A sound meaningless and profound" : insignifiance et profondeur dans ''The Sound and the Fury'' | ||
| + | |||
| + | * Disappearances in ''As I Lay Dying'' | ||
| + | * "He said [...] without words" (p. 17) in ''As I Lay Dying'' | ||
| + | * "[A]n unrelated scattering of components" (p. 33) in ''As I Lay Dying'' | ||
| + | * "Dynamic immobility" (p. 44) in ''As I Lay Dying'' | ||
| + | |||
| + | ===Fielding=== | ||
| + | * Humour et humeurs dans ''Joseph Andrews'' | ||
| + | * Peut-on dire que dans ''Joseph Andrews'' les voyages forment la jeunesse ? | ||
| + | * ''Joseph Andrews'' ou le lecteur apostrophé | ||
| + | * L'autorité dans ''Joseph Andrews'' | ||
| + | |||
| + | ===Fitzgerald=== | ||
| + | * Beauty in ''Tender is the Night'' | ||
| + | * Cracks in ''Tender is the Night'' | ||
| + | * ''Tender is the Night'' and the pursuit of happiness | ||
| + | |||
| + | ===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'' | ||
| + | * "spots of colour on an immense canvas" | ||
| ===Ford (Richard)=== | ===Ford (Richard)=== | ||
| - | * Expectations in A Multitude of Sins | + | * Expectations in ''A Multitude of Sins'' |
| + | * Opacity in ''A Multitude of Sins'' | ||
| + | * Multiplicity in ''A Multitude of Sins'' | ||
| + | * ''A Multitude of Sins'' as a "series of insignificant questions" | ||
| + | * "It’s hard to know a thing that did not completely begin" | ||
| + | |||
| + | ===Forster=== | ||
| + | * Le sens de l'histoire dans ''Howards End'' | ||
| + | * Old and new in ''Howards End'' | ||
| + | * Play[ing] the game in ''Howards End'' | ||
| + | * Entrapment in ''Howards End'' | ||
| + | * End(s) in ''Howards End'' | ||
| + | * "Chance collisions" (p. 21) in ''Howards End'' | ||
| + | * "How tangled things are" (p. 123) in ''Howards End'' | ||
| + | * Views in ''Howards End'' | ||
| + | * Transmission in ''Howards End'' | ||
| + | * "talk[ing] theories" (p.53) in ''Howards End'' | ||
| + | * Inside and outside 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'' |
| + | |||
| + | ===Gaddis=== | ||
| + | * Jeux de construction dans ''Carpenter's Gothic'' | ||
| + | * L'architecture dans ''Carpenter's Gothic'' | ||
| + | * Le malentendu dans ''Carpenter's Gothic'' | ||
| ===Gaines=== | ===Gaines=== | ||
| - | * "There had to be a story" (The Autobiography of Miss Jane Pittman, p. V) | + | * "There had to be a story" (''The Autobiography of Miss Jane Pittman'', p. V) |
| - | * Pères et fils dans The Autobiography of Miss Jane Pittman | + | * Pères et fils dans ''The Autobiography of Miss Jane Pittman'' |
| - | * L'émancipation | + | * 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) | ||
| + | * Voicing desires in ''The Autobiography of Miss Jane Pittman'' | ||
| + | * Narrating Miss jane's inner life in ''The Autobiography of Miss Jane Pittman'' | ||
| + | * "Every time I asked her she told me there was no story to tell" | ||
| + | |||
| + | ===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'' | ||
| + | * Ideology and faith in ''The Power and the Glory'' | ||
| + | * Innocence and experience in ''The Power and the Glory'' | ||
| + | * Contamination and corruption in ''The Power and the Glory'' | ||
| + | * "Martyrs are not like me" | ||
| + | * Escape routes 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=== | ===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'' | ||
| + | * Light and darkness in ''The Scarlet Letter'' | ||
| + | * "''The Scarlet Letter'' [...] is a sort of parable, anearthly story with a hellish meaning", D. H. Lawrence, "Hawthorne’s Scarlet Letter", p. 984 | ||
| ===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'' |
| - | ===Millhauser=== | + | ===Ishiguro=== |
| - | * Le jeu dans The Knife Thrower and Other Stories | + | * La troisième personne dans ''The Remains of the Day'' |
| + | * Histoire et histoires dans ''The Remains of the Day'' | ||
| - | ===Nabokov=== | + | ===James=== |
| - | * The lyricism of Lolita | + | * "the refinements of impression" (p. 90) in ''The Wings of the Dove'' |
| - | * Enchantment in Lolita | + | * Value(s) in ''The Wings of the Dove'' |
| - | * Pictorialism in Lolita | + | * Indirection in ''The Wings of the Dove'' |
| - | * “Lolita is a tragedy”. Vladimir Nabokov, Letter to Morris Bishop, 6 March, 1956 | + | * "the light in which Milly was to be read" (p. 84) in ''The Wings of the Dove'' |
| + | * "the sense of having lived" (p. 3) in ''The Wings of the Dove'' | ||
| + | * Acting in ''The Wings of the Dove'' | ||
| + | * The law of silence in ''The Wings of the Dove'' | ||
| + | * "the personal question" (p. 176) in ''The Wings of the Dove'' | ||
| + | * Surrender in ''The Wings of the Dove'' | ||
| + | * "the wheels of the system" in ''The Wings of the Dove'' | ||
| + | * Exchanges in ''The Wings of the Dove'' | ||
| + | * Recognition in ''The Wings of the Dove'' | ||
| - | ===O'Connor=== | + | ===Jewett=== |
| - | * Une dialectique de la condamnation et du pardon | + | * Places in ''The Country of the Pointed Firs'' |
| - | * L'inhumain | + | * The hidden fire of enthusiasm in ''The Country of the Pointed Firs'' |
| - | * La grâce et le grotesque | + | - "her poor insistent human nature" in ''The Country of the Pointed Firs'' |
| - | * L'écriture du moment | + | - Observation in ''The Country of the Pointed Firs'' |
| - | * L'animalité | + | - Assembling in ''The Country of the Pointed Firs'' |
| + | - "the power of contrast" in ''The Country of the Pointed Firs'' | ||
| - | ===Okri=== | + | ===Joyce=== |
| - | - « [A] delirium of stories » (p. 213). | + | * La clôture dans ''Dubliners'' |
| - | - « [T]he winds of recurrence » (p. 220). | + | * Le visible et l'invisible dans ''Dubliners'' |
| - | - « [I]nterstitial realities » (Ato Quayson, “Means and Meanings: Methodological Issues in Africanist | + | * La vanité dans ''Dubliners'' |
| - | Interdisciplinary Research”, History in Africa 25, 1998, p. 318). | + | * "I puzzled my head to extract meaning from his unfinished sentences" (p. 3) dans ''Dubliners'' |
| - | - « It is terrible to remain forever in-between” (p. 6). | + | * Vides et silences dans ''Dubliners'' |
| - | - Possession. | + | |
| - | - « Like a strange fairyland in the real world. », (p. 242). | + | |
| - | - « Time is not what you think it is », (p. 554). | + | |
| - | ===Quincey=== | + | ===Lawrence=== |
| - | * Erudition et imagination dans Confessions of an Opium-Eater | + | * Le beau et le bon dans ''Women in Love'' |
| - | * Progression et digression dans Confessions of an Opium-Eater | + | * L'apollinien et le dionysiaque dans ''Women in Love'' |
| - | * Marges et vagabondages dans Confessions of an Opium-Eater | + | * Le minéral, le végétal et l'animal dans ''Women in love'' |
| - | * La dualité | + | |
| - | * Confessions of an Opium-Eater : les illuminations | + | |
| - | "Familiar objects" | + | |
| - | ===Roth=== | + | ===McCarthy=== |
| - | * Heroes and hero worship in American Pastoral | + | * Nature in ''No Country for Old Men'' |
| - | * Wasteland and wonderland in American Pastoral | + | * "glassing" in ''No Country for Old Men'' |
| - | * "Reprehensible" lives in American Pastoral (p.423) | + | * Accounting in ''No Country for Old Men'' |
| - | * "[A] biography in perpetual motion" (p.45) in American Pastoral | + | * Expecting in ''No Country for Old Men'' |
| - | * “[G]enealogical aggression” (pp. 382-383) in American Pastoral | + | * "the end of it" in ''No Country for Old Men'' |
| - | - « [A]ll that rose to the surface was more surface » (p. 23) in American Pastoral. | + | * The art of details in ''No Country for Old Men'' |
| - | - « 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=== | + | ===McEwan=== |
| - | * Theatricality in The Adventures of Roderick Random | + | * Secrets in ''Atonement'' |
| - | * The Contrivance of Plot in The Adventures of Roderick Random | + | * A sense of self in ''Atonement'' |
| - | * « Monsters of the imagination » (John Cleland, The Monthly Review 4, March 1751, p. 355) in The Adventures of Roderick Random | + | * Loss in ''Atonement'' |
| - | * Appearances in The Adventures of Roderick Random | + | * Voices in ''Atonement'' |
| - | * Progress in The Adventures of Roderick Random | + | * "Yearning fantasies" (p. 4) |
| - | * “The knavery of the world” (p.47) in The Adventures of Roderick Random | + | |
| - | ===Steinbeck=== | + | ===Melville=== |
| - | * "maybe that is the Holy Sperit - the human sperit" in The Grapes of Wrath | + | * Le non-dit dans ''The Piazza Tales'' |
| - | ===Stoker=== | + | * La métamoprhose dans ''The Confidence Man'' |
| - | * Les codes de la représentation dans Dracula | + | * "Fictious estrangement" (p. 185) in ''The Confidence Man'' |
| - | * Signes et symptômes dans Dracula | + | * 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'' | ||
| - | ===Styron=== | + | ===Millhauser=== |
| - | * L'impensable dans Sophie's Choice | + | * Le jeu dans ''The Knife Thrower and Other Stories'' |
| - | * Le corps dans Sophie's Choice | + | * "What we know" |
| + | ===Morrison=== | ||
| + | * Naming in ''Song of Solomon'' | ||
| + | * Home in ''Song of Solomon'' | ||
| + | * Voices in ''Song of Solomon'' | ||
| + | * Love and Death in ''Song of Solomon'' | ||
| + | * Fluids in ''Song of Solomon'' | ||
| + | * Belonging in ''Song of Solomon'' | ||
| + | * Polyphony in ''Song of Solomon'' | ||
| + | * Femininity in ''Song of Solomon'' | ||
| - | ==Théâtre== | + | ===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'' | ||
| - | ===Beckett=== | + | ===Nabokov=== |
| - | * "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 lyricism of ''Lolita'' |
| - | * The end of art in Endgame | + | * Enchantment in ''Lolita'' |
| - | * Seeing and being seen in Endgame | + | * Pictorialism in ''Lolita'' |
| - | * “Nothing is funnier than unhappiness” (p.20) in Endgame | + | * "''Lolita'' is a tragedy." Vladimir Nabokov, Letter to Morris Bishop, 6 March, 1956 |
| + | * Monsters in ''Lolita'' | ||
| - | ===Everyman=== | + | ===O'Connor=== |
| - | * Théâtre et théologie dans Everyman | + | * Une dialectique de la condamnation et du pardon dans ''The Complete Stories'' |
| - | * Form and reform in Everyman | + | * L'inhumain dans ''The Complete Stories'' |
| - | * Individuality and exemplarity in Everyman | + | * La grâce et le grotesque dans ''The Complete Stories'' |
| + | * L'écriture du moment dans ''The Complete Stories'' | ||
| + | * L'animalité dans ''The Complete Stories'' | ||
| + | * Le mystère dans ''The Complete Stories'' | ||
| + | * La confrontation dans ''The Complete Stories'' | ||
| + | * L'imprévu dans ''The Complete Stories'' | ||
| + | * L'être et le néant dans ''The Complete Stories'' | ||
| + | * La conversion dans ''The Complete Stories'' | ||
| - | ===Shakespeare=== | + | ===Okri=== |
| - | * "Wand'ring in the wood" (II. 2. 41) dans A Midsummer Night's Dream | + | * « [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'' | ||
| - | * The lamentable tale of me dans Richard II | + | ===Phillips=== |
| - | * La perspective dans Richard II | + | * Emancipation in ''Crossing the River'' |
| - | * La mystification dans Richard II | + | * Embodying history in ''Crossing the River'' |
| - | * Langage et violence dans Richard II | + | * "In a strange country" (p. 229) in ''Crossing the River'' |
| - | * Le mensonge des mots dans Richard II | + | * "The many-tongued chorus" (p. 1) in ''Crossing the River'' |
| - | * "His words come from his mouth, ours from our breast" : rhétorique et sincérité dans Richard II | + | * "Broken off, like limbs from a tree" (p. 2) in ''Crossing the River'' |
| - | * Langage et trahison dans Richard II | + | |
| - | * Guerre et paix dans Richard II | + | |
| - | * The Winter’s Tale and the « poetics of incomprehensibility » (Stephen Orgel, Shakespeare Quarterly, Vol. 42, No. 4, 1991, p. 431-437) | + | ===Quincey=== |
| - | * "Th’ argument of Time" in The Winter’s Tale (IV, i, 29) | + | * Erudition et imagination dans ''Confessions of an Opium-Eater'' |
| - | * "recreation" (III, ii, 238) in The Winter’s Tale | + | * Progression et digression dans ''Confessions of an Opium-Eater'' |
| - | * "Seeming and savour all the winter long" (IV.4.75) in The Winter's Tale | + | * Marges et vagabondages 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) | + | * La dualité dans ''Confessions of an Opium-Eater'' |
| - | * "[T]ransformations" (IV.4.31) in The Winter's Tale | + | * ''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'' | ||
| + | * L'opium comme héros de l'œuvre | ||
| - | * 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. | + | * Le sens de l'histoire dans ''The God of Small Things'' |
| - | - « My business is a word or two », III, 1. 48. | + | * "However, for practical purposes, in a hopelessly practical world..." (p. 34) |
| - | ===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. | + | |
| - | ===Williams=== | + | ===Steinbeck=== |
| - | * Le paradis perdu dans A Streetcar Named Desire | + | * "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'' | ||
| + | * The factual and the mythical in ''The Grapes of Wrath'' | ||
| + | * Of men and machines in ''The Grapes of Wrath'' | ||
| + | * The wild 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'' | ||
| + | * Control in ''The Life and Opinions of Tristram Shandy'' | ||
| + | * Attack and defence in ''The Life and Opinions of Tristram Shandy'' | ||
| + | * Laughter in ''The Life and Opinions of Tristram Shandy'' | ||
| + | * Polyphony in ''The Life and Opinions of Tristram Shandy'' | ||
| - | ==Poésie== | + | ===Stoker=== |
| + | * Les codes de la représentation dans ''Dracula'' | ||
| + | * Signes et symptômes dans ''Dracula'' | ||
| + | * Pouvoir et limitation dans ''Dracula'' | ||
| + | * La représentation de la femme dans ''Dracula'' | ||
| - | ===Burns=== | + | ===Styron=== |
| - | * L'art du chant et du conte dans les Selected Poems | + | * L'impensable dans ''Sophie's Choice'' |
| - | * L'impertinence dans les Selected Poems | + | * Le corps dans ''Sophie's Choice'' |
| + | * Idéalisme et matérialisme dans ''Sophie's Choice'' | ||
| - | ===Dickinson=== | + | ===Swift=== |
| - | * "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 | + | * L'humanisme de ''Gulliver's Travels'' |
| - | * "Earthquake Style" in The Complete Poems (p. 295) | + | * La curiosité dans ''Gulliver's Travels'' |
| - | * Dramatizing the Self in Emily Dickinson’s Poetry. | + | * L'inventaire dans ''Gulliver's Travels'' |
| - | * “Trust in the Unexpected” (p.270) in The Complete Poems of Emily Dickinson | + | * L'étrange et l'étranger dans ''Gulliver's Travels'' |
| - | * “Gem-Tactics” (p.151) in The Complete Poems of Emily Dickinson | + | * Le maître dans ''Gulliver's Travels'' |
| - | * Liminality in The Complete Poems of Emily Dickinson | + | * L'optique dans ''Gulliver's Travels'' |
| + | * Misunderstanding in ''Gulliver's Travels'' | ||
| + | * Monsters in ''Gulliver's Travels'' | ||
| + | * Comparison in ''Gulliver's Travels'' | ||
| + | * "Littleness" (p. 107) in ''Gulliver's Travels'' | ||
| + | * "the Weakness of mine Eyes" (p. 32) in ''Gulliver's Travels'' | ||
| + | * Relations in ''Gulliver's Travels'' | ||
| + | * Parts in ''Gulliver's Travels'' | ||
| + | * ""framed in the Style peculiar to that People" (p. 92) in ''Gulliver's Travels'' | ||
| + | * "plain matter of fact" in ''Gulliver's Travels'' | ||
| + | * Diversions in ''Gulliver's Travels'' | ||
| + | * "all the little knowlege I have of any Value" in ''Gulliver's Travels'' | ||
| - | ===Walcott=== | + | ===Wharton=== |
| - | * "either I’m nobody, or I’m a nation" | + | * L'outrance dans ''The Custom of the Country'' |
| - | * L'hybridité dans The Collected Poems | + | * La liquidité dans ''The Custom of the Country'' |
| + | * "He stood still in the middle of the room, casting a slow pioneering glance about its gilded void" (p. 11) | ||
| + | * Ambition et vanité dans ''The Custom of the Country'' | ||
| + | * Le merveilleux dans ''The Custom of the Country'' | ||
| - | ===Wordsworth et Coleridge=== | + | * "The dramatic contrasts of life" (p. 119) in '' The House of Mirth'' |
| - | "[A]wakening the mind's attention from the lethargy of custom" in Lyrical Ballads (S.T. Coleridge, Biographia Literaria, Chap. XIV) | + | * Night and day in ''The House of Mirth'' |
| - | Anecdotes in Lyrical Ballads | + | * "Ever-narrowing perspective(s)" (p. 248) in ''The House of Mirth'' |
| - | - Simplicity. | + | * Transitions in ''The House of Mirth'' |
| - | - « Strange power of speech » p. 77, l. 620. | + | * "A structure of artifice" in ''The House of Mirth'' |
| - | - « [T]he sympathies of men » (Preface to Lyrical Ballads [1800], 2005, (p. 290). | + | * "This picture of loveliness in distress" in ''The House of Mirth'' |
| - | - The sense of community. | + | * "A kind of permanence" in ''The House of Mirth'' |
| - | - Dramatic narrative. | + | |
| - | - Motion and Emotion. | + | |
| - | - The Poetics of Discovery. | + | |
| + | ===Wright=== | ||
| + | * Trespassing in ''Carpentaria'' | ||
| + | * Aboriginal places in ''Carpentaria'' | ||
| + | * "this new creation taking shape" in ''Carpentaria'' | ||
| + | * The appearance of the surreal in ''Carpentaria'' | ||
| + | * "Stories that know no boundaries" in ''Carpentaria'' | ||
| + | * The transparency of images in ''Carpentaria'' | ||
| + | * The flesh of the earth in ''Carpentaria'' | ||
| - | ===Yeats=== | + | ==Théâtre== |
| - | * « Weaving olden dances » in the Selected Poems of W.B. Yeats | + | |
| - | =Civilisation= | + | ===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'' | ||
| - | ==Civilisation britannique== | + | ===''Everyman''=== |
| + | * Théâtre et théologie dans ''Everyman'' | ||
| + | * Form and reform in ''Everyman'' | ||
| + | * Individuality and exemplarity in ''Everyman'' | ||
| + | * Humour in ''Everyman'' | ||
| - | ===Débat sur l'abolition de l'esclavage=== | + | ===Shakespeare=== |
| + | * L'empire des sens dans ''Antony and Cleopatra'' | ||
| + | * La guerre des sexes dans ''Antony and Cleopatra'' | ||
| + | * "I’ th’ common showplace where they exercise" (III, 6, 12) : la mise en scène dans ''Antony and Cleopatra'' | ||
| + | * La fidélité dans ''Antony and Cleopatra'' | ||
| - | * The end of slavery in Britain: Parliament's or the people's victory? | + | * L'économie de l'amour dans ''A Midsummer Night's Dream'' |
| - | * "[...] 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]) | + | * Ordre et désordre des passions 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 | + | * Le changement dans ''A Midsummer Night's Dream'' |
| + | * "Wand'ring in the wood" (II, 2, 41) dans ''A Midsummer Night's Dream'' | ||
| + | * L'instabilité 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=== | + | * Les femmes dans ''Richard III'' |
| - | * Discuss the following statement: “Ferguson was neither distrustful of wealth nor did he believe that it invariably retarded social virtue | + | * Le dire et le faire dans ''Richard III'' |
| - | and a free society”. Ronald Hamowy, The Political Sociology of Freedom: Adam Ferguson and F.A. Hayek, Cheltenham: | + | * "Thus hath the course of justice whirled about" (IV, 4, 105) dans ''Richard III'' |
| - | 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 | + | |
| - | ===Locke=== | + | * Le public et le privé dans ''The Tragedy of Coriolanus'' |
| - | * La force de l'habitude dans Some Thoughts Concerning Education | + | * 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'' | ||
| + | * Bodies and power in ''The Tragedy of Coriolanus'' | ||
| + | * Identity in ''The Tragedy of Coriolanus'' | ||
| + | * "Like a dull actor now/I have forgot my part" | ||
| - | ===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'' | ||
| - | ===Morris=== | + | * ''The Winter’s Tale'' and the « poetics of incomprehensibility » (Stephen Orgel, ''Shakespeare Quarterly'', Vol. 42, No. 4, 1991, p. 431-437) |
| - | * Culture du peuple et culture de l'élite | + | * "Th’ argument of Time" in ''The Winter’s Tale'' (IV, 1, 29) |
| - | * News from Nowhere : le mariage | + | * "recreation" (III, 2, 238) in ''The Winter’s Tale'' |
| - | * News from Nowhere : romantisme ou révolution ? | + | * "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'' | ||
| - | ===Parti libéral=== | + | * "[F]iguring diseases" (I, 2, 49) in ''Measure for Measure'' |
| - | * “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. | + | * "[D]evilish mercy" (III, 1, 64) in ''Mesaure for Measure'' |
| - | * The Liberal Party, 1906-1924: division and unity | + | * "[T]he liberty of the prison" (IV, 2, 145-146) in ''Measure for Measure'' |
| - | * Discuss the following statement: “Unless Liberalism is to be sterilized for effective action, it is therefore manifest that Liberals must now | + | * Power and authority in ''Measure for Measure'' |
| - | ‘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. | + | * Exposure and concealment in ''Measure for Measure'' |
| - | * “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. | + | * Confessions in ''Measure for Measure'' |
| - | Discuss the following statement: | + | * "My business is a word or two" (III, 1, 48) in ''Measure for Measure'' |
| - | * “[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.” | + | * Excess in ''Measure for Measure'' |
| - | 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. | + | * Subordination in ''Measure for Measure'' |
| + | * Resistance in ''Measure for Measure'' | ||
| + | * Shadows in ''Measure for Measure'' | ||
| - | ===Schisme d'Henri VIII=== | + | * Fast and Feasting in ''Love's Labour's Lost'' |
| - | * "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. | + | * The scene of foolery in ''Love's Labour's Lost'' |
| - | * Pragmatisme et dogmatisme dans la Réforme henricienne | + | * Melancholy in ''Love's Labour's Lost'' |
| - | * "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) | + | * Studying and learning in ''Love's Labour's Lost'' |
| - | * Le schisme et la politique étrangère de l'Angleterre (1521-1540) | + | * "Living art" in ''Love's Labour's Lost'' |
| - | * “ 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 "judgement of the eye" (II, 1, 15) in ''Love's Labour's Lost'' |
| - | * “ 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.) | + | * "Heavenly rhetoric" (IV, 3, 52) in ''Love's Labour's Lost'' |
| - | * “ The piecemeal Reformation was a peaceful Reformation. ” (Christopher Haigh, The English Reformation Revised, 1987.) | + | * Diplomacy in ''Love's Labour's Lost'' |
| - | * “ 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.) | + | * Scripts in ''Love's Labour's Lost'' |
| - | * “ 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== | + | * "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'' | ||
| - | ===Contre-culture=== | + | * High and low in ''King Henry V'' |
| - | * Discuss the following statement: “To start with a banality: a lot happened in the 1960s. And the historiography of the era has come to | + | * Duplication in ''King Henry V'' |
| - | 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 | + | * Alliances in ''King Henry V'' |
| - | 1960s (New York: Oxford University Press, 2009), in Reviews in American History 39 (2011), pp. 712-717. | + | * "every man" (p. 98) in ''King Henry V'' |
| - | * Sexual Politics in the counterculture. | + | * "Most truly falsely" (p. 211) in ''King Henry V'' |
| - | * 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. | + | * "I think the king is but a man as I am" (IV, 1, 97, p. 161) in ''King Henry V'' |
| - | * "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. | + | * Faith and treason in ''King Henry V'' |
| - | * Discuss the following statement: “The counterculture was a way of life, a community, an infrastructure, and even an economy, not just a | + | * "you see them perspectively" (V, 2) in ''King Henry V'' |
| - | 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. | + | * Crown(s) in ''King Henry V'' |
| + | * "English monsters" in ''King Henry V'' | ||
| + | * Bodies in ''King Henry V'' | ||
| + | * "many things, having full reference / To one consent, may work contrariously" in ''King Henry V'' | ||
| + | * "the mirror of all Christian kings" in ''King Henry V'' | ||
| - | ===L'Empire de l'exécutif=== | + | * "Hold, hold, my heart" (Act I) in ''Hamlet'' |
| - | * The Reagan Presidency: restoration, renovation, revolution? | + | * Whirling words in ''Hamlet'' |
| - | * "presidents are set too far above the people to be at one with them" (Bruce Miroff, 2006) | + | * Pretence in ''Hamlet'' |
| - | ===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'' | ||
| - | ===Mencken=== | + | ===Webster=== |
| - | * Mencken: the sage of Baltimore | + | * Measure in ''The Duchess of Malfi'' |
| - | * Mencken sociologue | + | * "a perspective / That shows us hell" in ''The Duchess of Malfi'' |
| - | * H.L. Mencken : un réactionnaire ? | + | * 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'' | ||
| - | ===The Federalist Papers=== | + | ===Wilde=== |
| - | * “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 | + | * Identity in ''The Importance of Being Earnest'' |
| - | 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. | + | * "Adopting a strictly immoral attitude to life" in ''The Importance of Being Earnest'' |
| - | * Pragmatism in The Federalist | + | * "Style, not sincerity, is the vital thing" in ''The Importance of Being Earnest'' |
| - | * “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. | + | * Positions and displacements in ''The Importance of Being Earnest'' |
| - | * Division in The Federalist Papers | + | * 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'' | ||
| - | ===Thomas Jefferson et l'ouest=== | + | ===Williams=== |
| - | * L'expédition de Lewis et Clark : une épopée américaine ? | + | * Le paradis perdu dans ''A Streetcar Named Desire'' |
| + | * La division dans ''A Streetcar Named Desire'' | ||
| + | * Le mensonge dans ''A Streetcar Named Desire'' | ||
| + | * Dérives dans ''A Streetcar Named Desire'' | ||
| - | =Linguistique= | + | ==Poésie== |
| - | ==Segments de tronc commun== | + | ===Ashbery=== |
| - | * A great many of my patients | + | * "all things are palpable, none are known" ("Poem in Three Parts") in ''Self-Portrait in a Convex Mirror'' |
| - | * A Lancashire comedian's face | + | * Vision in ''Self-Portrait in a Convex Mirror'' |
| - | * A silence | + | * Satire in ''Self-Portraint in a Convex Mirror'' |
| - | * A tiny hamburger is what the fungus resembles | + | * Reflection in ''Self-Portraint in a Convex Mirror'' |
| - | * He'd seen arrive | + | * Space(s) in ''Self-Portraint in a Convex Mirror'' |
| - | * He seems to have concluded that you are in excellent shape | + | * Perplexity in ''Self-Portraint in a Convex Mirror'' |
| - | * Humiliated awareness | + | * Deferral in ''Self-Portraint in a Convex Mirror'' |
| - | * I '''do''' want to know what you propose to '''do''' | + | * "No one has the last laugh' (p. 28) in ''Self-Portraint in a Convex Mirror'' |
| - | * I '''insist''' | + | * "The reflecion once removed" (p. 68) in ''Self-Portraint in a Convex Mirror'' |
| - | * It's not an easy skill to learn | + | |
| - | * may not really be | + | |
| - | * Might | + | |
| - | * Must be doing | + | |
| - | * must have | + | |
| - | * No Saturday-night drunk | + | |
| - | * Preparing our little home for us | + | |
| - | * she has never wished she '''were''' anyone other than herself | + | |
| - | * That's what frigthens me | + | |
| - | * the room she grew up in | + | |
| - | * thought '''it''' rather comical | + | |
| - | * what they want | + | |
| - | * when everything was right | + | |
| - | * You''''re not inviting''' | + | |
| - | ==Option C== | + | ===Bishop=== |
| + | * Le prosaïque dans ''The Complete Poems'' | ||
| - | ===Ellipse et anaphore=== | + | ===Burns=== |
| - | « Un segment de discours est dit anaphorique lorsqu’il est nécessaire, pour lui donner une interprétation | + | * L'art du chant et du conte dans les ''Selected Poems'' |
| - | (même simplement littérale), de se reporter à un autre segment du même discours. | + | * L'impertinence dans les ''Selected Poems'' |
| - | » Ducrot et Todorov, Dictionnaire encyclopédique des sciences du langage, 1972, | + | * Burns : barde patriote ? |
| - | 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. | + | |
| - | ===HAVE=== | + | ===Dickinson=== |
| - | Pour Larreya, have exprime une relation à trois termes : un ‘contenant – c’est-à-dire | + | * "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'' |
| - | l’univers du sujet – et deux ‘contenus’. Lorsqu’il utilise le terme d’empathie, entendu comme | + | * "Earthquake Style" in ''The Complete Poems'' (p. 295) |
| - | rattachement à la sphère personnelle’, c’est pour parler de la relation qui existe entre les deux | + | * Dramatizing the Self in Emily Dickinson’s Poetry. |
| - | ‘contenus’ : ‘Have, contrairement à be, ne peut pas servir à localiser n’importe quel objet : | + | * “Trust in the Unexpected” (p. 270) in ''The Complete Poems'' |
| - | pour que l’emploi de have soit possible, il faut qu’il y ait une certaine ‘empathie’ ent re le | + | * “Gem-Tactics” (p.151) in ''The Complete Poems'' |
| - | référent du sujet de have et l’objet ‘localisé’. » | + | * Liminality in ''The Complete Poems'' |
| - | Discutez. | + | * Mindscape in ''The Complete Poems'' |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | * The Lyrical in ''The Complete Poems'' |
| - | Pierre Cotte, reprenant des analyses de A. Wierzbicka et R. Dixon, propose que dans les | + | * "[O]nly Mutability certain" |
| - | constructions have + a + verbe (have a drink, have a walk, etc.) le procès est réduit | + | |
| - | quantitativement : il ne désigne jamais une aptitude ou une activité générale, mais un | + | |
| - | événement ; par ailleurs le procès évoqué doit avoir une certaine durée, mais celle-ci est | + | |
| - | nécessairement réduite ; le procès lui- même doit donc être simple et la construction ‘have a | + | |
| - | verbe’ représenterait un échantillon où se concentre l’essence du procès. | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | L’idée d’un lien de type transformationnel entre des constructions ‘locatives’ comme ‘there is | + | |
| - | an engine in the car’ et des constructions ‘possessives’ comme ‘the car has an engine in it’ a | + | |
| - | été exploitée aussi bien par des générativistes, que par des énonciativistes. | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | La valeur de localisation serait, pour certains linguistes, la valeur première pour toutes les | + | |
| - | constructions avec BE ou avec HAVE. | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | 13 | + | |
| - | Pour certains linguistes anglo-saxons, tels que R. McCoard, HAVE auxiliaire dans la | + | |
| - | construction have –EN n’hérite quasiment pas des traits sémantiques du HAVE ‘lexical’, mais | + | |
| - | véhicule simplement un sémantisme d’antériorité ou de résultat : « What is the particular | + | |
| - | contribution of have as an auxiliary? […] Those who bother themselves with this question | + | |
| - | tend to speak either in terms of a meaning of ‘anteriority’ to a contextually designated | + | |
| - | temporal locus, or else in terms of ‘completion’ or ‘result’.” | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | "Dynamic have. | + | |
| - | This is a lexical verb in all varieties of English: | + | |
| - | He had a swim / he had it painted. | + | |
| - | It has none of the auxiliary properties. As the label ‘dynamic’ indicates, it expresses an event | + | |
| - | rather than a state.” | + | |
| - | Huddleston & Pullum, The Cambridge Grammar of the English Language, p.111. | + | |
| - | Le candidat discutera ces affirmations en se fondant sur le corpus ci-joint. | + | |
| - | « Have permet de spécifier une propriété « logée » dans le sujet grammatical ». | + | |
| - | H. Adamczewski, Grammaire linguistique de l’anglais, p. 113. | + | |
| - | Le candidat discutera cette affirmation en se fondant sur le corpus ci- joint. | + | |
| - | « [Avoir] a, hors sa fonction d’auxiliaire, une construction libre qui est celle d’un verbe actif | + | |
| - | pareil à tous les autres, avec une rection transitive d’objet. » | + | |
| - | Cette affirmation de Benveniste (PLG1 194) concernant avoir vaut-elle pour have ? | + | |
| - | Le candidat traitera cette question en se fondant sur le corpus ci-joint. | + | |
| - | “In colloquial English I have got (I’ve got) has to a great extent lost the meaning of an | + | |
| - | ordinary perfect and has become a real present with the same meaning as I have (‘have in my | + | |
| - | possession’) ; and in the same way the pluperfect I had got (I’d got) has come to be a notional | + | |
| - | preterit.[…] Have got cannot, however, be used everywhere instead of have.” | + | |
| - | O. Jespersen, A Modern English Grammar, part IV, 4.2(1) & 4.3(1) p. 103. | + | |
| - | Le candidat discutera cette affirmation en se fondant sur le corpus ci- joint. | + | |
| - | « Il existe un certain nombre d’emplois dans lesquels HAVE exprime non pas un état mais | + | |
| - | une action » | + | |
| - | Larreya et Rivière, Grammaire explicative de l’anglais, 3e édition, 3.6 (p. 28). | + | |
| - | Le candidat discutera cette affirmation en se fondant sur le corpus ci- joint. | + | |
| - | “Both [10iii], Ed asked to read the report, and [10iv], Ed had read the report, have only a | + | |
| - | single subject, but there is nevertheless a major difference between them. In the semantic | + | |
| - | interpretation of [iii] we understand Ed to be an argument of both the verbs […] but we | + | |
| - | cannot similarly attribute two distinct roles to Ed in [IV]. […] Ask takes an argument subject, | + | |
| - | whereas have takes a non-argument subject. | + | |
| - | Huddleston & Pullum, The Cambridge Grammar of the English Language, p.1211. | + | |
| - | Le candidat discutera cette affirmation en se fondant sur le corpus ci- joint. | + | |
| - | Comment peut-on rendre compte des différences de sens et d’emploi des expressions | + | |
| - | obtenues à partir des mêmes éléments HAVE SOMETHING TO DO / HAVE TO DO | + | |
| - | SOMETHING ? | + | |
| - | 14 | + | |
| - | Le candidat s’appuiera sur le corpus joint pour répondre à la question posée. | + | |
| - | Selon un linguiste français, have marque une relation entre un élément repère thématisé qui | + | |
| - | est le sujet, et un élément repéré qui est le COD syntaxique. Have invite le co-énonciateur à | + | |
| - | considérer l’incidence pour le sujet de cette mise en relation. | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | E. Benveniste affirme, dans Problèmes de linguistique générale, vol. 1, p. 194 : | + | |
| - | « [...] hors de la fonction d’auxiliaire, la construction de être est prédicative ; celle d’avoir | + | |
| - | transitive. » | + | |
| - | A la page 200 du même article, il affirme : | + | |
| - | « La construction transitive de avoir le sépare de être. Mais cette construction est toute | + | |
| - | formelle, elle ne classe pas avoir dans les verbes transitifs. » | + | |
| - | Ces propos sont- ils contradictoires? | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | "Called to the ‘auxiliarihood’ because of their semantic content these verbs must respond to | + | |
| - | this call in a curious fashion : by getting rid, to a greater or lesser extent, of this very semantic | + | |
| - | matter." | + | |
| - | W. H. Hirtle, 'Auxiliaries and Voice in English', Les Langues Modernes (4), 1965, p. 25. | + | |
| - | Dans quelle mesure cette remarque s'applique-t-elle à have ? | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | "Si have attribue une inclusion statique ou dynamique à un référent thématisé on comprend | + | |
| - | maintenant qu'il se passive peu. Il n'a plus de raison d'être si celui- ci n'est pas le sujet de | + | |
| - | l'énoncé." | + | |
| - | Cotte, Grammaire linguistique, p.50 | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | ===IT=== | + | ===Donne=== |
| - | Les emplois de IT dans les énoncés suivants ont parfois été qualifiés d'"explétifs" : They doubt | + | * La passion dans ''The Complete English Poems'' |
| - | it very much that you will go / it is obvious that the world is round. Dans quelle mesure cette | + | |
| - | étiquette métalinguistique vous paraît-elle appropriée ? | + | |
| - | LLG1B Dans quelle mesure peut-on soutenir que IT dans les phrases clivées et extraposées a une | + | |
| - | valeur cataphorique ? | + | |
| - | LLG2A Quand IT réfère, il réfère à du non humain, discutez. | + | |
| - | LLG3A Est-il possible de dire que le IT, que certains grammairiens anglophones nomment "prop IT", | + | |
| - | "dummy IT", ou encore "expletive IT" ne réfère vraiment pas ? | + | |
| - | LLG5A Certains linguistes, comme Dwight Bolinger dans Meaning and Form (1977:76), rejettent la | + | |
| - | notion de “IT explétif” : 'expletive' it retains at least some valuebeyond that of plugging a | + | |
| - | grammatical hole.' Dans quelle mesure peut-on considérer cette position comme justifiée ? | + | |
| - | LLG7A Dans quelle mesure peut-on penser que IT est la trace d'un contenu sémantique minimal ? | + | |
| - | LLG8A Le IT de l’extraposition est-il dépourvu de toute valeur référentielle ? | + | |
| - | LLG8B Un linguiste a pu dire : « Avec he, she et it le référent est distingué (catégorisation du genre), | + | |
| - | abstrait (reprise minimale) et il est reconstruit en une seule opération. La particularité de it est | + | |
| - | de rendre le réfèrent anonyme. ». | + | |
| - | LLG9B | + | |
| - | A | + | |
| - | On a pu dire que : | + | |
| - | "[…/…] The word IT is a third person singular pronoun. However, this word also has other | + | |
| - | roles which are not related to its pronominal use. […/…] When we talk about time or the | + | |
| - | weather, we use sentences such as: What time is it? Here, we cannot identify precisely what | + | |
| - | it refers to. It has a rather vague reference, and we call this DUMMY IT or PROP IT. Dummy | + | |
| - | it is also used, equally vaguely, in other expressions: Take it easy!" | + | |
| - | http://www.ucl.ac.uk/internet-grammar/minor/dummy.htm | + | |
| - | Discutez. | + | |
| - | LLG10A Dans quelle mesure peut-on penser que IT a une fonction essentiellement syntaxique ? | + | |
| - | LLG10B On trouve chez Quirk et al. (1985) l'étiquette anticipatory IT dans le cas des clivées et des | + | |
| - | extraposées. De leur côté, Larreya et Rivière (1999 : 226) parlent, pour des exemples comme | + | |
| - | It's no use telling him et He found it difficult to open the door, d'un IT qui "annonce une | + | |
| - | proposition". | + | |
| - | Discutez cette position. | + | |
| - | 73 | + | |
| - | LLG11A Dans Meaning and Form (1977:75) Dwight Bolinger, affirme que "IT is the pronominal | + | |
| - | neuter counterpoint of the definite article". | + | |
| - | Discutez. | + | |
| - | LLG12A Dans quelle mesure peut-on, à l’instar de THERE, qualifier IT d’élément « postiche » | + | |
| - | (dummy element) ? | + | |
| - | LLG13A Selon les linguistes Paul et Carol Kiparsky, "The pronoun it serves as an optional reduction of | + | |
| - | the fact. […] This it […] should be distinguished from the expletive it, a semantically empty | + | |
| - | prop which is automatically introduced in the place of extraposed complements." ('Fact' dans | + | |
| - | Semantics, 1970: 361) | + | |
| - | Discutez. | + | |
| - | LLG14A Dans quelle mesure le genre du pronom IT permet-il d’expliquer ses emplois textuels ? | + | |
| - | LLG14B Dans Meaning and Form (1977 : 67), Bolinger affirme que "to be anaphoric, IT must refer to | + | |
| - | some fact already broached". | + | |
| - | Discutez. | + | |
| - | LLG15B « Les verbes sans actant expriment un procès qui se déroule de lui-même, sans que personne | + | |
| - | ni rien y participe. C’est essentiellement le cas de ceux qui désignent des phénomènes | + | |
| - | météorologiques. [...] On ne saurait tirer objection des phrases françaises, il pleut, il neige, où | + | |
| - | il semble être un actant. Car il n’est en réalité que l’indice de la 3ème personne et ne désigne | + | |
| - | nullement une personne ou une chose qui participerait d’une façon quelconque au phénomène | + | |
| - | de la pluie » [L. Tesnière. Éléments de syntaxe structurale. 1988. p. 106.] | + | |
| - | Dans quelle mesure cette réflexion relative au français peut-elle s’appliquer à l’anglais ? | + | |
| - | LLG17A “A cleaving of a sentence by means of it is (often followed by a relative pronoun or | + | |
| - | connective) serves to single out one particular element of the sentence and very often, by | + | |
| - | directing attention to it and bringing it, as it were, into focus, to mark a contrast. [...] it is and | + | |
| - | the following connective are considered as a special kind of extraposition.” (O. Jespersen. A | + | |
| - | Modern English Grammar, VII, Allen, 1965 [1942], p. 147-48) | + | |
| - | Discutez | + | |
| - | LLG18A Discutez cette affirmation de A. Radford (Transformational Grammar. A First Course, | + | |
| - | C.U.P., 1988), à propos des exemples It is raining / It is a long way to Dallas / It’s time to | + | |
| - | leave / It is obvious that you’re right, ainsi que, entre autres, de There must have been some | + | |
| - | mistake : | + | |
| - | “These Pronouns are called ‘pleonastic’ (which means ‘redundant’) in traditional grammar | + | |
| - | because (in their pleonastic use, but not in other uses) they are felt to be (in some vague | + | |
| - | intuitive sense) ‘semantically empty’ and thus cannot have their reference questioned (cf. | + | |
| - | *What is raining? *Where must have been some mistake?)” | + | |
| - | LLG21A On a pu dire que IT it opère une reprise allégée à distance » et qu’à ce moment-là, « le | + | |
| - | référent est totalement acquis et intériorisé par l’énonciateur ». | + | |
| - | Discutez | + | |
| - | LLG22B Selon un linguiste français, le prédicat « DO IT est […] la marque de la reprise de la notion du | + | |
| - | prédicat antérieur ». Dans quelle mesure cette assertion vous semble-t-elle éclairer le fonctionnement de IT ? | + | |
| - | ===Passif=== | + | ===H.D.=== |
| + | * Le sens dans ''Trilogy'' | ||
| + | * “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'' | ||
| - | * The passive voice and transitivity. | + | ===Hugues=== |
| - | * 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). | + | * La sauvagerie dans ''New Selected 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). | + | * L'image et le verbe dans ''New Selected Poems'' |
| - | * The Passive is one type of construction that modifies the verbřs argument structure. | + | * "Their selves were not woven into a voice" dans ''New Selected Poems'' |
| - | * 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). | + | * Le primitivisme dans ''New Selected 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). | + | * Métaphore et métamorphose dans ''New Selected 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. | + | * Le feu dans ''New Selected Poems'' |
| + | ===Keats=== | ||
| + | * "I live in the eye" | ||
| + | * Animation in Keats's ''Poetry and Prose'' | ||
| + | * "the poetry of earth" in Keats's ''Poetry and Prose'' | ||
| + | * The poetics of mourning in Keats's ''Poetry and Prose'' | ||
| + | * "language strange" in Keats's ''Poetry and Prose'' | ||
| + | * Transformations in Keats's ''Poetry and Prose'' | ||
| + | * "this living hand" in Keats's ''Poetry and Prose'' | ||
| + | * "the wakeful anguish of the soul" in Keats's ''Poetry and Prose'' | ||
| - | ===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" (p. 346) |
| - | * 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": | + | * "I had entered the house of literature" |
| - | 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. | + | |
| - | ===Structures causatives=== | + | ===Whitman=== |
| - | “In the have causative, the causer assumes the causee’s ‘readiness to serve’; the | + | * Tools and instruments in ''Leaves of Grass'' |
| - | causee is treated here as a cooperative performer of the causer’s will, as | + | * Flux in ''Leaves of Grass'' |
| - | someone to whom the causer’s will can be communicated (either directly or by | + | * The lyrical and the prosaic in ''Leaves of Grass'' |
| - | an intermediary) and who will be neither unable to understand it or unwilling to | + | * "A kaleidoscope divine" (p. 204) |
| - | perform it.” | + | - "For the great idea / That, O my brethren, that is the mission of poets" (p.293) |
| - | Cette assertion, de A. Wierzbicka (The Semantics of Grammar, 1988) | + | |
| - | s'applique-t-elle à toutes les structures causatives ? | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | D’après un linguiste français, « HAVE exprime bien la causalité : le Sujet S1 fait | + | |
| - | se réaliser la deuxième relation Sujet/Prédicat [...]. Avec HAVE, le causateur | + | |
| - | (Sujet1) est un animé humain. La causation est intentionnelle. HAVE signale | + | |
| - | (comme dans son emploi en tant qu’auxiliaire) que le sujet grammatical se | + | |
| - | trouve affecté par ce qui suit. | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | La sémantique générative a avancé l’idée qu’un certain nombre de constructions | + | |
| - | verbales aurait, en structure profonde, un prédicat sémantique abstrait CAUSE. | + | |
| - | Ainsi, un verbe transitif comme kill serait analysé comme un verbe causatif | + | |
| - | classique : | + | |
| - | KILL: [CAUSE (x, [BECOME (y, [DEAD])])] | + | |
| - | MAKE: [CAUSE (x, [DO (y, [SOMETHING])])] | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | 1/4 | + | |
| - | Rapport2005_leçonLG | + | |
| - | “On distingue parfois le factitif, qui exprime une action que l’on fait faire à | + | |
| - | quelqu’un, spécifié ou non, et le causatif, qui exprime un état résultant de | + | |
| - | l’action que l’on a fait.” Dictionnaire de linguistique, Dubois et al, Larousse, | + | |
| - | 1973 | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | « Une structure causative peut être définie comme la transformée d’un énoncé | + | |
| - | simple, de forme SV(O), par addition d’un argument supplémentaire qui sera vu | + | |
| - | comme le sujet déclencheur de la relation prédicative de départ » . | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | D'après un linguiste français, have, contrairement à be, ne peut pas servir à | + | |
| - | localiser n'importe quel objet. : pour que l'emploi de have soit possible, il faut | + | |
| - | qu'il y ait une certaine ‘empathie’ entre le référent du sujet de have et l'objet | + | |
| - | ‘localisé’. | + | |
| - | Discutez cette affirmation. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | Peut-on dire que dans les énoncés dits “causatifs”, HAVE ne marque pas luimême | + | |
| - | la causation ? | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | Elisabeth Cottier conclut son article sur « Les opérateurs causatifs de l’anglais : | + | |
| - | make, cause, have et get » par la remarque suivante : | + | |
| - | […] Chaque opérateur n’est pas représentatif, de façon univoque, d’un type de | + | |
| - | valeur et d’un seul, mais il est potentiellement associable à un faisceau de | + | |
| - | valeurs (plus ou moins restreint selon l’opérateur – make étant le plus | + | |
| - | polyvalent). page 125, (1991) in Cahiers de Recherche T.5 Grammaire | + | |
| - | anglaise, Ophrys, p.85-126 | + | |
| - | Commentez à la lumière des données fournies par le corpus proposé. | + | |
| - | Si les structures causatives ont des caractéristiques communes, ces | + | |
| - | caractéristiques sont-elles toutes des caractéristiques formelles ? | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | « Si le nombre des actants est augmenté d’une unité, on dit que le nouveau | + | |
| - | verbe est causatif par rapport à l’ancien. (…) Le nouvel actant est toujours, | + | |
| - | sinon l’agent immédiat du procès, du moins, (…) son instigateur. » L. Tesnière, | + | |
| - | Éléments de syntaxe structurale, Klincksieck, 1959. | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | De nombreux linguistes affirment que la “diathèse causative” se réalise sous | + | |
| - | diverses formes, analytiques ou synthétiques. Quels sont, selon vous, les | + | |
| - | critères qui fondent ce point de vue ? Etayez votre réponse à l’aide du corpus | + | |
| - | joint. | + | |
| - | Dans les constructions causatives, le choix du verbe causatif et la construction | + | |
| - | du prédicat reflètent le degré de coercition exercé. | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | 1/4 | + | |
| - | Rapport2005_leçonLG | + | |
| - | D’après un linguiste français, « Comme avec make suivi d’une proposition | + | |
| - | infinitive, le sujet de cause est l’origine véritable de la validation de la relation | + | |
| - | prédicative, mais cette origine est non-volontaire. [...] Figureront donc en | + | |
| - | position sujet d’énoncé des non-animés non humains. [...] avec cause, on | + | |
| - | s’intéresse à l’origine du procès, et non au résultat comme avec make. | + | |
| - | L’orientation est donc contraire. » | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus joint. | + | |
| - | “In English, the morphological reflex of “causativization” (adding a causative | + | |
| - | argument) happens to be Ø, but what it does is add an external argument to the | + | |
| - | verb.” | + | |
| - | www.bu.edu/linguistics/UG/course/ lx700-s01/handouts/lx700-7-achains.ppt | + | |
| - | Discutez. | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | Causative constructions refer to complex predicates formed by the combination | + | |
| - | of a causative event with an underlying predicate. The addition of the causative | + | |
| - | verbal element also adds a new participant (a causer), which initiates or controls | + | |
| - | the event of the underlying predicate. Typologically, several diverse methods | + | |
| - | are used for forming causatives[…/…]. Some causative constructions appear as | + | |
| - | a single morphological word, while others are formed periphrastically by | + | |
| - | adding a causative verb to the base predicate. Structurally, certain causative | + | |
| - | predicates behave as mono-clausal constructions denoting direct causation, | + | |
| - | while others display properties of a biclausal construction and represent an | + | |
| - | indirect causation of the underlying event. | + | |
| - | Karine Megerdoomian http://ling.ucsd.edu/~karinem/. University of California | + | |
| - | San Diego | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | Quelles contraintes s’exercent sur le choix du sujet causateur et du sujet | + | |
| - | causativé dans les structures causatives ? Vous répondrez en vous appuyant sur | + | |
| - | le corpus joint. | + | |
| - | Dans The Right Word, Vuibert, 1959, Lionel Guierre affirme que le choix entre | + | |
| - | les différentes constructions causatives se réduit, en fin de compte, à la | + | |
| - | difference entre un sens ‘actif’ – She made her brother read the book – et un | + | |
| - | sens ‘passif’ : He had his watch fixed. Dans quelle mesure est-ce que cette | + | |
| - | affirmation vous semble justifiée par les faits de l’anglais ? | + | |
| - | Le candidat traitera le sujet ci-dessus en s’appuyant sur le corpus joint. | + | |
| - | English causative verbs are governed by two different causative models, viz. the | + | |
| - | transitive and the ergative model. These models presuppose different participant | + | |
| - | constellations, which determine the constructional possibilities. | + | |
| - | Maarten Lemmens http://www.univ-lille3.fr/silex/equipe/lemmens/research-1- | + | |
| - | 2.htm | + | |
| - | Discutez | + | |
| - | Le candidat traitera le sujet ci-dessus en s'appuyant sur le corpus ci-joint. | + | |
| - | ===Subordonnées nominales en TO=== | + | ===Wordsworth et Coleridge=== |
| - | * [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). | + | * "[A]wakening the mind's attention from the lethargy of custom" in ''Lyrical Ballads'' (S.T. Coleridge, ''Biographia Literaria'', Chap. XIV) |
| - | * 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). | + | * Anecdotes in ''Lyrical Ballads'' |
| - | * 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). | + | * Simplicity in ''Lyrical Ballads'' |
| - | * The TO-infinitive clause usually has no subject, although its subject is implied by the context." | + | * « Strange power of speech » p. 77, l. 620. |
| - | (G. Leech, A Glossary of English Grammar, 2006, p. 113). Discuss. | + | * « [T]he sympathies of men » (Preface to Lyrical Ballads [1800], 2005, (p. 290). |
| - | * 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 | + | * The sense of community in ''Lyrical Ballads'' |
| - | 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). | + | * Dramatic narrative in ''Lyrical Ballads'' |
| - | Comment. | + | * Motion and Emotion in ''Lyrical Ballads'' |
| - | * 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. | + | * The Poetics of Discovery 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. | + | |
| - | a. She wanted an apple | + | |
| - | b. She wanted to eat an apple | + | |
| - | Since the prototype subject or object is nominal, it is only natural that complement clauses, even when not fully nominalized, should display some facets of non-finite, nominalized syntax." | + | |
| - | Explain, discuss and exemplify using relevant examples from the corpus. | + | |
| - | * By definition, assertion is exclusively a function of finite verbs; and whatever is done by non-finites - e.g. by that non-finite called Řinfinitive,ř such as to leave, to rain - will not be called assertion. (Joos, The English Verb, 1964, p. 14). | + | |
| - | ===Sujet=== | + | ===Yeats=== |
| - | Discutez cette affirmation du linguiste français A. Gauthier (Opérations énonciatives et | + | * "Weaving olden dances" in the ''Selected Poems'' |
| - | apprentissage d'une langue en milieu scolaire, Les Langues Modernes, 1981), à propos de la | + | * Loss in the ''Selected Poems'' |
| - | relation paraphrastique entre There are fish in the pond et The pond has fish in it : | + | * Water in the ''Selected Poems'' |
| - | "Dans les tournures locatives, la non-coïncidence entre RE [repère énonciatif] et TD [terme de | + | * Orientalism in the ''Selected Poems'' |
| - | départ / thème] se manifeste dans le positionnement linéaire sous forme d'une dissociation | + | |
| - | […] justifiée par l'absence […] d'un élément suffisamment déterminé pour servir de repère | + | |
| - | constitutif à l'ensemble de l'énoncé." | + | |
| - | LLG3B Selon le linguiste Otto Jespersen, "It is no wonder that after all this purposeless talking about | + | |
| - | logical [semantic] and psychological in [topic] subjects some writers have tried to avoid the | + | |
| - | term subject altogether […]. Nothing, however, is gained by this. It is much better to retain the | + | |
| - | traditional terms, but to restrict them to domains where everybody knows what they import, | + | |
| - | i.e. to use subject and predicate exclusively in the sense of grammatical subject and predicate, | + | |
| - | and to discountenance any proposals to attach to these words the adjuncts 'logical' and | + | |
| - | 'psychological'". (The Philosophy of Grammar, 1992 (1924), p.150). Discutez cette affirlation. | + | |
| - | LLG4A Peut-on dire que la présence d’un sujet est une condition nécessaire à la bonne interprétation | + | |
| - | d’un énoncé ? | + | |
| - | Le candidat traitera le sujet ci-dessus en prenant en compte le corpus ci-joint. | + | |
| - | 71 | + | |
| - | LLG4B "The identity of the subject can be tested in an independent declarative clause through a whquestion | + | |
| - | with who or what. The subject is the element that can be replaced in its normal | + | |
| - | position by the wh- item […] Other elements require fronting, and subject-operator | + | |
| - | inversion." | + | |
| - | Quirk et al, A Comprehensive Grammar of the English Language, 1985, p. 726 | + | |
| - | Discutez cette affirmation. | + | |
| - | LLG5B Nous pouvons dire que le sujet relève d’une problématique sémantique : « Le sujet est | + | |
| - | l’argument obligatoire qui instancie les traits sémiques fondamentaux du verbe. [...] Cette | + | |
| - | définition sémantique est liée au fait que le contenu sémique du verbe est donné | + | |
| - | minimalement par le nombre d’arguments qu’il a et par le fait que l’adjonction ou le retrait | + | |
| - | d’un argument modifie le contenu sémique. [...] Cette définition notionnelle du sujet doit | + | |
| - | s’enrichir d’une réflexion sur les rôles sémantiques, c’est-à-dire la part que prend le référent | + | |
| - | du sujet et des autres « actants » au processus. » [Geneviève Girard. « La notion de sujet : une | + | |
| - | notion à définir ». 2003.] | + | |
| - | Discutez. | + | |
| - | LLG6A « Parmi les nombreuses études de [la] structure (there + be + syntagme nominal), plusieurs | + | |
| - | sont consacrées plus précisément à l’organisation thématique de ces phrases — souvent | + | |
| - | considérée comme une ré-organisation — , laissant entendre que la forme syntaxique de cette | + | |
| - | structure est le résultat d’un processus d’extraposition qui permet de modifier la linéarité de la | + | |
| - | forme canonique (SVO) de la phrase anglaise. » [Nigel Quayle. « Sujet et support dans les | + | |
| - | phrases existentielles en anglais ». 2003] | + | |
| - | Discutez. | + | |
| - | LLG6B Dans leur grammaire de 1985, Quirk et al. affirment à la page 724 : “Of the clause elements | + | |
| - | other than the verb, the subject is the most important in that (except for the verb) it is the | + | |
| - | element that is most often present.” | + | |
| - | Discutez ce point de vue. | + | |
| - | LLG7B Selon le linguiste R. Huddleston "The grammar makes available a variety of different ways of | + | |
| - | expressing the same proposition so that at a particular point in a spoken discourse or written | + | |
| - | text we can select a form that is appropriate in the light of our assumptions about what | + | |
| - | information the addressee(s) will already possess, of what parts of our message we wish to | + | |
| - | emphasise or focus upon, of the contrasts we wish to draw, and so on". | + | |
| - | Discutez. | + | |
| - | LLG9A Le sujet doit-il toujours être exprimé pour qu’il y ait « prédication » ? | + | |
| - | LLG11B Discutez l’affirmation suivante du linguiste Daniel Kies : | + | |
| - | "Traditional grammar books and school grammars often define the subject along semantic | + | |
| - | lines: they refer to the subject as “what the sentence is about” or as “the topic of the sentence” | + | |
| - | or as the “actor performing the action described by the verb”. […/…] However, such | + | |
| - | definitions are misleading, since those older definitions blend and conflate different ideas that | + | |
| - | are best understood if kept apart." | + | |
| - | http://papyr.com/hypertextbooks/engl_126/clause.htm | + | |
| - | LLG12A Selon le linguiste M.A.K. Halliday, "There is a close semantic relationship between | + | |
| - | information structure and thematic structure. Other things being equal, a speaker will choose | + | |
| - | the Theme from what is Given, and locate the focus, the climax of the New, somewhere | + | |
| - | within the Rheme. | + | |
| - | But although they are related, Given+New and Theme+Rheme are not the same thing. The | + | |
| - | Theme is what I, the speaker, choose to take as my point of departure. The Given is what you, | + | |
| - | the listener, already know about or have accessible to you. Theme+Rheme is speaker-oriented, | + | |
| - | while Given+New is listener-oriented. | + | |
| - | But both are, of course, speaker-selected". | + | |
| - | M.A.K. Halliday, 1985, An Introduction to Functional Grammar, p.299 | + | |
| - | Dans quelle mesure ces remarquent se rattachent-elles à l aproblématique du sujet. | + | |
| - | LLG13B Selon l’Encyclopédie Bartleby (http://www.bartleby.com), "English sentences usually have a | + | |
| - | subject and a predicate; subjects are nouns or other nominals, and in the most typical English | + | |
| - | sentence pattern, the subject will precede the verb and will agree with it in number. In active | + | |
| - | voice sentences, the subject is the doer of the action indicated by the verb". | + | |
| - | Discutez. | + | |
| - | LLG15A Dans quelle mesure un sujet peut-il être considéré comme non canonique ? | + | |
| - | LLG16A Dans quelle mesure la fonction sujet est-elle associée au nominatif ? | + | |
| - | 72 | + | |
| - | LLG16B “At the general level the subject may be defined as that functional element in the structure of | + | |
| - | the clause that prototypically expresses : (i) the semantic role of agent, and (ii) the | + | |
| - | presentational status of topic.” [Huddleston and Pullum. The Cambridge Grammar of the | + | |
| - | English Language. Cambridge: CUP. 2002. p. 235] | + | |
| - | Discutez | + | |
| - | LLG17B Selon les linguistes Christine Cheepen et James Monaghan, "Any utterance must | + | |
| - | communicate to the hearer something he doesn't know in terms of something he does know". | + | |
| - | Cheepen & Monaghan,1990, Spoken English, a Practical Guide, p.26 | + | |
| - | Dans quelle mesure cette remarque se rattache-t-elle à la problématique du sujet? | + | |
| - | LLG18B Dans quelle mesure peut-on penser que l'interprétation du rôle sémantique du sujet dépend du | + | |
| - | sémantisme du verbe ? | + | |
| - | LLG21B “… The acual use of an inversion is often far from being a choice ; under many contextual | + | |
| - | conditions an inverted sentence is almost unacceptable, while only others, quite specific ones, | + | |
| - | make the choice of an inversion really preferable. ” (Dorgdeloh,Heidrun, 1977 “Inversion in | + | |
| - | Modern English, Form and Function”, John Benjamin ed. SiDag, 6, Amsterdam/Philadelphia, | + | |
| - | p.97) | + | |
| - | Discutez | + | |
| - | LLG22A Dans leur grammaire de 1960 (p. 26), Thomson et Martinet décrivent la forme des pronoms en | + | |
| - | ces termes : | + | |
| - | Nominative pronouns are used: | + | |
| - | i) as subjects of a verb. | + | |
| - | ii) as complements of the verb to be. | + | |
| - | The accusative form is used: | + | |
| - | i) as direct object of a verb. | + | |
| - | ii) after prepositions. | + | |
| - | Discutez | + | |
| - | [[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]] | + | [[Category: Concours - Agrégation ]] [[Category: Concours - Archives ]][[Category:Littérature]] |
Version actuelle
Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2000.
[modifier]
Roman/nouvelles
[modifier]
Addison et Steele
- La réticence dans Selections from The Spectator
- L'éphémère et le permanent dans Selections from the Spectator
[modifier]
Austen
- Repetition in Pride and Prejudice
- Interference in Pride and Prejudice
- Design in Pride and Prejudice
- Decency in Pride and Prejudice
- Matrimony in Pride and Prejudice
- The body in Pride and Prejudice
- "Powers of conversation" in Pride and Prejudice
- Wits and wisdom in Pride and Prejudice
- La retenue dans Sense and Sensibility
- 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
[modifier]
Barnes
- La polyglossie dans Flaubert's Parrot
- Thème et variations dans Flaubert's Parrot
[modifier]
Brontë (Charlotte)
- 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
[modifier]
Brontë (Emily)
- Descent in Wuthering Heights
[modifier]
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)
[modifier]
Carver
- L'indicible dans Short Cuts
- Le doux et l'amer dans Short Cuts
- "Dramatic moments" (p. 48) dans Short Cuts
[modifier]
Cather
- L'apprentissage dans Death Comes for the Archbishop
- Le cuit et le mijoté dans Death Comes for the Archbishop
- 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
[modifier]
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
- L'esprit et la chair dans The Canterbury Tales
- La diversité dans The Canterbury Tales
[modifier]
Conrad
- L'autre dans Lord Jim
- Quête et enquête dans Lord Jim
- L'échange 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)
[modifier]
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
[modifier]
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
[modifier]
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)
[modifier]
Desai
- Rituals in In Custody
- Vicariousness in In Custody
- The lofty and the lowly in In Custody
- Decay in In Custody
- The absent text(s) in In Custody
- Alienation in In Custody
- Sound and sense in In Custody
[modifier]
Dickens
- Nourriture(s) dans Great Expectations
- Inversions et répétitions : ressorts romanesques de Great Expectations
- La fascination dans Great Expectations
- "Ours was the marsh country, down by the river" (p. 9) : l'eau et la boue dans Great Expectations
- Croissance et déclinaison dans Great Expectations
- Great Expectations : roman social ?
- "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
[modifier]
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
- "The mysterious complexity of our life is not to be emnbraced by maxims " (p. 498)
- La valeur attend-elle le nombre des années dans The Mill on the Floss ?
- La résolution dans The mill on the Floss
- L'allégorie dans The Mill on the Floss
- La comparaison dans The Mill on the Floss
- Science in Middlemarch
- "Foolish expectations" (p. 247) in Middlemarch
- Hidden Lives in Middlemarch
- Mobility and Permanence in Middlemarch
- "The entanglements of of human action" (p. 415) in Middlemarch
- Connections in Middlemarch
- Self and community in Middlemarch
- "This stupendous fragmentariness" in Middlemarch
- Perspectives in Middlemarch
[modifier]
Faulkner
- Figures de l'absence dans The Sound and the Fury
- La commémoration dans The Sound and the Fury
- "A sound meaningless and profound" : insignifiance et profondeur dans The Sound and the Fury
- Disappearances in As I Lay Dying
- "He said [...] without words" (p. 17) in As I Lay Dying
- "[A]n unrelated scattering of components" (p. 33) in As I Lay Dying
- "Dynamic immobility" (p. 44) in As I Lay Dying
[modifier]
Fielding
- Humour et humeurs dans Joseph Andrews
- Peut-on dire que dans Joseph Andrews les voyages forment la jeunesse ?
- Joseph Andrews ou le lecteur apostrophé
- L'autorité dans Joseph Andrews
[modifier]
Fitzgerald
- Beauty in Tender is the Night
- Cracks in Tender is the Night
- Tender is the Night and the pursuit of happiness
[modifier]
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
- "spots of colour on an immense canvas"
[modifier]
Ford (Richard)
- Expectations in A Multitude of Sins
- Opacity in A Multitude of Sins
- Multiplicity in A Multitude of Sins
- A Multitude of Sins as a "series of insignificant questions"
- "It’s hard to know a thing that did not completely begin"
[modifier]
Forster
- Le sens de l'histoire dans Howards End
- Old and new in Howards End
- Play[ing] the game in Howards End
- Entrapment in Howards End
- End(s) in Howards End
- "Chance collisions" (p. 21) in Howards End
- "How tangled things are" (p. 123) in Howards End
- Views in Howards End
- Transmission in Howards End
- "talk[ing] theories" (p.53) in Howards End
- Inside and outside in Howards End
[modifier]
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
[modifier]
Gaddis
- Jeux de construction dans Carpenter's Gothic
- L'architecture dans Carpenter's Gothic
- Le malentendu dans Carpenter's Gothic
[modifier]
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)
- Voicing desires in The Autobiography of Miss Jane Pittman
- Narrating Miss jane's inner life in The Autobiography of Miss Jane Pittman
- "Every time I asked her she told me there was no story to tell"
[modifier]
Gordimer
- Privacy in Jump and Other Stories
- Sensing in Jump and Other Stories
- Closure and openness in Jump and Other Stories
[modifier]
Greene
- Passion in The Power and the Glory
- Pleasure and pain in The Power and the Glory
- Ideology and faith in The Power and the Glory
- Innocence and experience in The Power and the Glory
- Contamination and corruption in The Power and the Glory
- "Martyrs are not like me"
- Escape routes in The Power and the Glory
[modifier]
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
[modifier]
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
- Light and darkness in The Scarlet Letter
- "The Scarlet Letter [...] is a sort of parable, anearthly story with a hellish meaning", D. H. Lawrence, "Hawthorne’s Scarlet Letter", p. 984
[modifier]
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
[modifier]
Ishiguro
- La troisième personne dans The Remains of the Day
- Histoire et histoires dans The Remains of the Day
[modifier]
James
- "the refinements of impression" (p. 90) in The Wings of the Dove
- Value(s) in The Wings of the Dove
- Indirection in The Wings of the Dove
- "the light in which Milly was to be read" (p. 84) in The Wings of the Dove
- "the sense of having lived" (p. 3) in The Wings of the Dove
- Acting in The Wings of the Dove
- The law of silence in The Wings of the Dove
- "the personal question" (p. 176) in The Wings of the Dove
- Surrender in The Wings of the Dove
- "the wheels of the system" in The Wings of the Dove
- Exchanges in The Wings of the Dove
- Recognition in The Wings of the Dove
[modifier]
Jewett
- Places in The Country of the Pointed Firs
- The hidden fire of enthusiasm in The Country of the Pointed Firs
- "her poor insistent human nature" in The Country of the Pointed Firs - Observation in The Country of the Pointed Firs - Assembling in The Country of the Pointed Firs - "the power of contrast" in The Country of the Pointed Firs
[modifier]
Joyce
- La clôture dans Dubliners
- Le visible et l'invisible dans Dubliners
- La vanité dans Dubliners
- "I puzzled my head to extract meaning from his unfinished sentences" (p. 3) dans Dubliners
- Vides et silences dans Dubliners
[modifier]
Lawrence
- Le beau et le bon dans Women in Love
- L'apollinien et le dionysiaque dans Women in Love
- Le minéral, le végétal et l'animal dans Women in love
[modifier]
McCarthy
- Nature in No Country for Old Men
- "glassing" in No Country for Old Men
- Accounting in No Country for Old Men
- Expecting in No Country for Old Men
- "the end of it" in No Country for Old Men
- The art of details in No Country for Old Men
[modifier]
McEwan
- Secrets in Atonement
- A sense of self in Atonement
- Loss in Atonement
- Voices in Atonement
- "Yearning fantasies" (p. 4)
[modifier]
Melville
- Le non-dit dans The Piazza Tales
- La métamoprhose dans The Confidence Man
- "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
[modifier]
Millhauser
- Le jeu dans The Knife Thrower and Other Stories
- "What we know"
[modifier]
Morrison
- Naming in Song of Solomon
- Home in Song of Solomon
- Voices in Song of Solomon
- Love and Death in Song of Solomon
- Fluids in Song of Solomon
- Belonging in Song of Solomon
- Polyphony in Song of Solomon
- Femininity in Song of Solomon
[modifier]
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
[modifier]
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
[modifier]
O'Connor
- Une dialectique de la condamnation et du pardon dans The Complete Stories
- L'inhumain dans The Complete Stories
- La grâce et le grotesque dans The Complete Stories
- L'écriture du moment dans The Complete Stories
- L'animalité dans The Complete Stories
- Le mystère dans The Complete Stories
- La confrontation dans The Complete Stories
- L'imprévu dans The Complete Stories
- L'être et le néant dans The Complete Stories
- La conversion dans The Complete Stories
[modifier]
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
[modifier]
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
[modifier]
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
- L'opium comme héros de l'œuvre
[modifier]
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
[modifier]
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
- Le sens de l'histoire dans The God of Small Things
- "However, for practical purposes, in a hopelessly practical world..." (p. 34)
[modifier]
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
[modifier]
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
- The factual and the mythical in The Grapes of Wrath
- Of men and machines in The Grapes of Wrath
- The wild in The Grapes of Wrath
[modifier]
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
- Control in The Life and Opinions of Tristram Shandy
- Attack and defence in The Life and Opinions of Tristram Shandy
- Laughter in The Life and Opinions of Tristram Shandy
- Polyphony in The Life and Opinions of Tristram Shandy
[modifier]
Stoker
- Les codes de la représentation dans Dracula
- Signes et symptômes dans Dracula
- Pouvoir et limitation dans Dracula
- La représentation de la femme dans Dracula
[modifier]
Styron
- L'impensable dans Sophie's Choice
- Le corps dans Sophie's Choice
- Idéalisme et matérialisme dans Sophie's Choice
[modifier]
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
- Le maître dans Gulliver's Travels
- L'optique dans Gulliver's Travels
- Misunderstanding in Gulliver's Travels
- Monsters in Gulliver's Travels
- Comparison in Gulliver's Travels
- "Littleness" (p. 107) in Gulliver's Travels
- "the Weakness of mine Eyes" (p. 32) in Gulliver's Travels
- Relations in Gulliver's Travels
- Parts in Gulliver's Travels
- ""framed in the Style peculiar to that People" (p. 92) in Gulliver's Travels
- "plain matter of fact" in Gulliver's Travels
- Diversions in Gulliver's Travels
- "all the little knowlege I have of any Value" in Gulliver's Travels
[modifier]
Wharton
- L'outrance dans The Custom of the Country
- La liquidité dans The Custom of the Country
- "He stood still in the middle of the room, casting a slow pioneering glance about its gilded void" (p. 11)
- Ambition et vanité dans The Custom of the Country
- Le merveilleux dans The Custom of the Country
- "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
[modifier]
Wright
- Trespassing in Carpentaria
- Aboriginal places in Carpentaria
- "this new creation taking shape" in Carpentaria
- The appearance of the surreal in Carpentaria
- "Stories that know no boundaries" in Carpentaria
- The transparency of images in Carpentaria
- The flesh of the earth in Carpentaria
[modifier]
Théâtre
[modifier]
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
[modifier]
Everyman
- Théâtre et théologie dans Everyman
- Form and reform in Everyman
- Individuality and exemplarity in Everyman
- Humour in Everyman
[modifier]
Shakespeare
- L'empire des sens dans Antony and Cleopatra
- La guerre des sexes dans Antony and Cleopatra
- "I’ th’ common showplace where they exercise" (III, 6, 12) : la mise en scène dans Antony and Cleopatra
- La fidélité dans Antony and Cleopatra
- L'économie de l'amour dans A Midsummer Night's Dream
- Ordre et désordre des passions dans A Midsummer Night's Dream
- Le changement dans A Midsummer Night's Dream
- "Wand'ring in the wood" (II, 2, 41) dans A Midsummer Night's Dream
- L'instabilité 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)
- Les femmes dans Richard III
- Le dire et le faire dans Richard III
- "Thus hath the course of justice whirled about" (IV, 4, 105) dans Richard III
- 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
- Bodies and power in The Tragedy of Coriolanus
- Identity in The Tragedy of Coriolanus
- "Like a dull actor now/I have forgot my part"
- "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
- High and low in King Henry V
- Duplication in King Henry V
- Alliances in King Henry V
- "every man" (p. 98) in King Henry V
- "Most truly falsely" (p. 211) in King Henry V
- "I think the king is but a man as I am" (IV, 1, 97, p. 161) in King Henry V
- Faith and treason in King Henry V
- "you see them perspectively" (V, 2) in King Henry V
- Crown(s) in King Henry V
- "English monsters" in King Henry V
- Bodies in King Henry V
- "many things, having full reference / To one consent, may work contrariously" in King Henry V
- "the mirror of all Christian kings" in King Henry V
- "Hold, hold, my heart" (Act I) in Hamlet
- Whirling words in Hamlet
- Pretence in Hamlet
[modifier]
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
[modifier]
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
[modifier]
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
[modifier]
Williams
- Le paradis perdu dans A Streetcar Named Desire
- La division dans A Streetcar Named Desire
- Le mensonge dans A Streetcar Named Desire
- Dérives dans A Streetcar Named Desire
[modifier]
Poésie
[modifier]
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
- Satire in Self-Portraint in a Convex Mirror
- Reflection in Self-Portraint in a Convex Mirror
- Space(s) in Self-Portraint in a Convex Mirror
- Perplexity in Self-Portraint in a Convex Mirror
- Deferral in Self-Portraint in a Convex Mirror
- "No one has the last laugh' (p. 28) in Self-Portraint in a Convex Mirror
- "The reflecion once removed" (p. 68) in Self-Portraint in a Convex Mirror
[modifier]
Bishop
- Le prosaïque dans The Complete Poems
[modifier]
Burns
- L'art du chant et du conte dans les Selected Poems
- L'impertinence dans les Selected Poems
- Burns : barde patriote ?
[modifier]
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"
[modifier]
Donne
- La passion dans The Complete English Poems
[modifier]
H.D.
- Le sens dans Trilogy
- “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
[modifier]
Hugues
- La sauvagerie dans New Selected Poems
- L'image et le verbe dans New Selected Poems
- "Their selves were not woven into a voice" dans New Selected Poems
- Le primitivisme dans New Selected Poems
- Métaphore et métamorphose dans New Selected Poems
- Le feu dans New Selected Poems
[modifier]
Keats
- "I live in the eye"
- Animation in Keats's Poetry and Prose
- "the poetry of earth" in Keats's Poetry and Prose
- The poetics of mourning in Keats's Poetry and Prose
- "language strange" in Keats's Poetry and Prose
- Transformations in Keats's Poetry and Prose
- "this living hand" in Keats's Poetry and Prose
- "the wakeful anguish of the soul" in Keats's Poetry and Prose
[modifier]
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
[modifier]
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
[modifier]
Walcott
- "either I’m nobody, or I’m a nation" (p. 346)
- L'hybridité dans The Collected Poems
- Crossing the gulf in The Collected Poems
- Landscape and seascape in The Collected Poems
- "I had entered the house of literature"
[modifier]
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)
[modifier]
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
[modifier]
Yeats
- "Weaving olden dances" in the Selected Poems
- Loss in the Selected Poems
- Water in the Selected Poems
- Orientalism in the Selected Poems
