Agrégation Externe : annales des sujets de leçon de littérature

Un article de Wiki Agreg-Ink.

Cette page regroupe les sujets de leçon de littérature à l'agrégation externe depuis 2000.

Sommaire 1 Roman/nouvelles 1.1 Addison et Steele 1.2 Austen 1.3 Barnes 1.4 Brontë (Charlotte) 1.5 Brontë (Emily) 1.6 Burney 1.7 Carver 1.8 Cather 1.9 Chaucer 1.10 Conrad 1.11 Cooper 1.12 DeLillo 1.13 Defoe 1.14 Desai 1.15 Dickens 1.16 Eliot 1.17 Faulkner 1.18 Fielding 1.19 Fitzgerald 1.20 Ford (Ford Maddox) 1.21 Ford (Richard) 1.22 Forster 1.23 Frame 1.24 Gaddis 1.25 Gaines 1.26 Gordimer 1.27 Greene 1.28 Hardy 1.29 Hawthorne 1.30 Hemingway 1.31 Ishiguro 1.32 James 1.33 Jewett 1.34 Joyce 1.35 Lawrence 1.36 McCarthy 1.37 McEwan 1.38 Melville 1.39 Millhauser 1.40 Morrison 1.41 Munro 1.42 Nabokov 1.43 O'Connor 1.44 Okri 1.45 Phillips 1.46 Quincey 1.47 Roth 1.48 Roy 1.49 Smollett 1.50 Steinbeck 1.51 Sterne 1.52 Stoker 1.53 Styron 1.54 Swift 1.55 Wharton 1.56 Wright 2 Théâtre 2.1 Beckett 2.2 Everyman 2.3 Shakespeare 2.4 Stoppard 2.5 Webster 2.6 Wilde 2.7 Williams 3 Poésie 3.1 Ashbery 3.2 Bishop 3.3 Burns 3.4 Dickinson 3.5 Donne 3.6 H.D. 3.7 Hugues 3.8 Keats 3.9 Lais bretons 3.10 MacNeice 3.11 Walcott 3.12 Whitman 3.13 Wordsworth et Coleridge 3.14 Yeats

Roman/nouvelles

Addison et Steele

• La réticence dans Selections from The Spectator
• L'éphémère et le permanent dans Selections from the Spectator

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

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

• 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

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)

Cooper

• Marks and scars in The Last of the Mohicans
• "The signs of the forest" (p. 264) in The Last of the Mohicans
• Wildness in The Last of the Mohicans
• Staging war in The Last of the Mohicans
• Guides and guidance in The Last of the Mohicans
• The ties of language in The Last of the Mohicans
• Performance in The Last of the Mohicans
• "So serious savages" in The Last of the Mohicans
• "The tract of wilderness" (p. 367) in The Last of the Mohicans

DeLillo

• La désintégration dans Falling Man
• The art of remembering in Falling Man
• Ordinariness in Falling Man
• Stillness in Falling Man
• Intimacy in Falling Man
• Testimony in Falling Man
• The aesthetics of destruction in Falling Man
• Loss in Falling Man
• The language of objects in Falling Man
• Walking in Falling Man
• "Even in New York - I long for New York" (p. 34) in Falling Man
• Art and terror in Falling Man

Defoe

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

Desai

• Rituals in In Custody
• Vicariousness in In Custody
• The lofty and the lowly in In Custody
• Decay in In Custody
• The absent text(s) in In Custody
• Alienation in In Custody
• Sound and sense in In Custody

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

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

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)

• 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

• 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

Gaddis

• Jeux de construction dans Carpenter's Gothic
• L'architecture dans Carpenter's Gothic
• Le malentendu dans Carpenter's Gothic

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"

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

• Récit et déterminisme dans Far From the Madding Crowd
• Taming nature in Far from the Madding Crowd
• "feeling balanced between poetry and practicality" (p. 28) in Far from the Madding Crowd
• "a world made up so largely of compromise" (p. 34) in Far from the Madding Crowd
• "[T]he coarse meshes of language" (p. 21) in Far from the Madding Crowd
• "The "silent workings of an invisible hand" (p.217)in Far from the Madding Crowd
• "The exuberant ideological confidence of the opening [of Far from the Madding Crowd] is chastened along with its characters in the course of the narrative." (Penny Boumelha, "The Patriarchy of Class", in The Cambridge Companion to Thomas Hardy, Dale Kramer ed., Cambridge, Cambridge University Press, 1999, p.140. Discuss, with reference to the novel and the film
• The "poetry of motion" (p. 12) in Far From the Madding Crowd

Hawthorne

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

• 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

Ishiguro

• La troisième personne dans The Remains of the Day
• Histoire et histoires dans The Remains of the Day

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

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

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

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

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

McEwan

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

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

Millhauser

• Le jeu dans The Knife Thrower and Other Stories
• "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

Munro

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

Nabokov

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

O'Connor

• Une dialectique de la condamnation et du pardon 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

Okri

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

Phillips

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

Quincey

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

Roth

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

Roy

• L'obscurité dans The God of Small Things
• Les enjeux de pouvoir dans The God of Small Things
• Progresser, transgresser, régresser dans The God of Small Things
• Le suintement du secret dans The God of Small Things
• Le sens de l'histoire dans The God of Small Things
• "However, for practical purposes, in a hopelessly practical world..." (p. 34)

Smollett

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

Steinbeck

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

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

Styron

• L'impensable dans Sophie's Choice
• Le corps dans Sophie's Choice
• Idéalisme et matérialisme dans Sophie's Choice

Swift

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

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

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

Théâtre

Beckett

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

Everyman

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

Shakespeare

• L'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

Stoppard

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

Webster

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

Wilde

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

Williams

• Le paradis perdu dans A Streetcar Named Desire
• La division dans A Streetcar Named Desire
• Le mensonge dans A Streetcar Named Desire
• Dérives dans A Streetcar Named Desire

Poésie

Ashbery

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

Bishop

• Le prosaïque dans The Complete Poems

Burns

• L'art du chant et du conte dans les Selected Poems
• L'impertinence dans les Selected Poems
• Burns : barde patriote ?

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"

Donne

• La passion dans The Complete English Poems

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

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

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

Lais bretons

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

MacNeice

• Voices and Traces in The Burning Perch
• Forgetting and Remembering in The Burning Perch
• "[A] living language" (p. 9) in The Burning Perch
• "a small I Am" ("Budgie", p. 37) in The Burning Perch
• "[M]y far-near country, my erstwile" (p. 38) in The Burning Perch
• "[M]oments caught between heart-beats" (p. 47) in The Burning Perch
• "I twitter am" in The Burning Perch
• The persistence of the lyric in The Burning Perch
• The possibility of love in The Burning Perch
• "Idols of the age" (p. 42) in The Burning Perch
• Memory and anticipation in The Burning Perch

Walcott

• "either I’m nobody, or I’m a nation" (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"

Whitman

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

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

Wordsworth et Coleridge

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

Yeats

• "Weaving olden dances" in the Selected Poems
• Loss in the Selected Poems
• Water in the Selected Poems
• Orientalism in the Selected Poems