WorldCat Identities

École doctorale Littératures françaises et comparée (Paris)

Overview
Works: 202 works in 206 publications in 1 language and 210 library holdings
Genres: Criticism, interpretation, etc 
Roles: 996, Degree grantor
Publication Timeline
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Most widely held works by École doctorale Littératures françaises et comparée (Paris)
La reine de Saba des traditions au mythe littéraire by Aurélia Hetzel( Book )

2 editions published between 2009 and 2014 in French and held by 3 WorldCat member libraries worldwide

The Queen of Sheba plays an important role in the traditions of the three monotheist religions as well as in literature and arts. The paths that take us from the religious texts to the literary myth show the various figures that she embodies, from wisdom to lust. The exploration of the types of intertextual relationships and of the relationships between arts, reveals the variations undergone since the initial scenario, the persistent aspects of the myth, as well as the way in which the mythical potential of the founding texts operates in the structure and the literacy of the texts. The analysis of the modalities of appearance of the Queen of Sheba allows us to consider works as relays, circumlocutions and variations, and reveals that in the imagination the queen of Sheba is an ideal model and her myth is an exemplary story
Les derniers feux de la tragédie classique : étude du genre tragique en France sous la Restauration et la Monarchie de Juillet by Maurizio Melai( )

1 edition published in 2011 in French and held by 2 WorldCat member libraries worldwide

This study concerns the practice of the genre of classical tragedy in the nineteenth century, particularly during the Restoration and the July Monarchy. It focuses on the last developments of tragedy in France and documents the evolution and the progressive decline of this genre during the first half of the nineteenth century; that is until its disappearance from French theatres, which took place around 1850. By considering a corpus of eighty plays, this work aims to give a clear picture of the tragic genre and tragic authors of the Restoration and the July Monarchy, or more exactly of the forty years from 1814 to 1854. This work is conceived as the study of a literary code and is divided into two parts: in the first part, we try to define the tragic code of the post-Napoleonic era on the basis of the formal constants which characterise it, showing the evolution of the stylistic, structural and dramaturgic features of tragedy. In the second part, we look at the thematic constants of this code, studying the strategies that tragedy uses to transpose - through the historical and highly allusive subjects that it treats - the principal social and political problems of its time. Finally, by showing the continuity which exists between the declining tragic genre and the romantic drama, we try to valorise the texts in our corpus and to underline their modern features. This leads us to look for the reasons behind the persistence of a traditional genre like the classical tragedy and for the factors which revitalise it in the nineteenth century
Fénélon et le rhétorique de la direction spirituelle au XVII ème siècle by Pauline Chaduc( Book )

1 edition published in 2009 in French and held by 2 WorldCat member libraries worldwide

Fénelon fut l'un des directeurs spirituels les plus célèbres de son temps. Une large partie de son œuvre, composée de lettres et d'entretiens, est consacrée à ce ministère, en vogue au début du XVIIe siècle dans le contexte de la reconquête catholique du monde avant de connaître un déclin durable. La direction spirituelle est pour Fénelon un art de gouverner qui suppose la mise en œuvre d'une rhétorique adéquate fondée sur l'adaptation et sur une pédagogie de l'ordre. Elle est aussi un art du dialogue où les principes éthiques et spirituels s'articulent à des impératifs pragmatiques d'efficacité. Cette rhétorique poursuit une finalité : amener les hommes à voir clair en eux-mêmes afin qu'ils s'abandonnent à Dieu
Belles de Jazz. Voix et violence des figures féminines dans le théâtre de Koffi Kwahulé by Fanny Le Guen( )

2 editions published in 2012 in French and held by 2 WorldCat member libraries worldwide

Koffi Kwahulé est l'héritier d'une culture littéraire, artistique et théâtrale ivoirienne.Exilé en France depuis trente ans, son écriture s'élabore dans une tensiontransatlantique et se veut constitutive d'une mythologie contemporaine, féminine etnoire. L'ambition rhapsodique de cette dramaturgie est de déconstruire, à travers lavoix et la violence de puissantes figures féminines héritées des personnagesarchétypiques du Théâtre Ivoirien, tant le drame classique que les représentationshistoriques et culturelles qui gangrènent les relations internationales. Les figuresféminines en Belles de jazz donnent le tempo à cette dramaturgie qui comme le ThéâtreNoir nord-américain du milieu du siècle dernier, développe une rhétorique du jazz aucoeur de la mythologie de l'auteur
L'enfant protagoniste : Naissance, mouvances et paradoxes d'une figure clé du théâtre contemporain pour la jeunesse en France et en Italie (1959-2015) by Sibylle Lesourd( )

2 editions published in 2016 in French and held by 2 WorldCat member libraries worldwide

Theatre for young people is experimental-the desire for and the modalities of an encounter between creators and a specific audience undergo redefinition with each performance. This PhD thesis sheds light on how theatre for young people came to be in France and Italy throughout history, as well as on the experiments carried out by the pioneers in the field. The focus is on the emergence of the child as a new protagonist within the theatrical field and on attempting to determine whether he indeed lies at the core of the creative process. In the first part, the emphasis is on the significance of the role of theatrical animation at the turn of the 1960s. The idea of a natural transition from artistic experiences involving young people to theatrical works designed for them was passed on from France to Italy ; by identifying the child as a potential partner in the creative process, theatrical animation prefigured the onset of new aesthetic forms directed to young audiences. In the second part, the aim is to show how artistic research has been crystallizing on the child as a spectator, who has become a specific target for stage directors and playwrights from the 1980s onwards. While reflecting on how to emancipate him, artists have taken ownership of various textual materials-some of which unexpected-and a path can therefore be traced from adaptation to creation. In France, a theatrical repertoire which belongs to youth literature in its own right has been emerging. At the same time, in both countries, the child as a character has been earning his way in play scripts and on stages. Thus, a specular relationship can be established between the child as a spectator and his double
La revue Souffles (1966-1973), espoirs de révolution culturelle au Maroc by Kenza Sefrioui( )

1 edition published in 2010 in French and held by 2 WorldCat member libraries worldwide

La revue Souffles, créée en 1966 par de jeunes poètes et artistes-peintres, a été la tribune de l'avant-garde littéraire et culturelle au Maroc, et a eu un rayonnement dans tout le Maghreb et le Tiers-Monde. Elle prônait la décolonisation de la culture à une époque où l'indépendance était jugée inachevée et menacée par le néocolonialisme. Produite par des intellectuels de gauche, elle était aussi une tribune d'opposition indirecte qui, par le biais de la culture et des valeurs symboliques, constituait une réaction à la dictature traditionnaliste que la monarchie imposait. Marquée par les idéologies de son époque (tiers-mondisme et marxisme-léninisme), elle est devenue de plus en plus ouvertement politique. Souffles, et surtout son doublet en arabe Anfâs, a été la revue commune des deux organisations du mouvement marxiste-léniniste marocain, Ilal Amam (En Avant) et 23 Mars. Après l'arrestation de ses animateurs en 1972, de nouvelles séries ont été publiées par les militants à Paris jusqu'en 1973. Souffles est restée dans la mémoire collective comme une date importante dans l'histoire littéraire et politique du Maroc
Les pensées de Pascal dans la tradition apologétique by Alexander Chistyakov( )

1 edition published in 2013 in French and held by 2 WorldCat member libraries worldwide

Our dissertation looks at two corpuses of apologias, both analysed almost in their entirety, in relationship with Pascal's Pensées : they are the Roman and Greek apologists up to 450 AD, and the French seventeenth century apologists (until 1662). We made an assumption that the Pensées' fragmentary form might have had literary models in that period when Christianity began to defend itself against the philosophers' attacks. Our research studies the apologists' literary choices in comparison with Pascal's in view of discontinuity, disposition and, secondarily, content of main arguments. It appears that the Pensées do inherit from the early apologists their literary form as well as their themes. Clement of Alexandria's Stromata and the Sentences of Sextus have emerged as possible sources and specific models of fragmented apologies. No such models were to be found in seventeenth century France, but the substance of Pascal's apology has a lot to do with the works of contemporaries. Is has also become clear that what is generally assumed as borrowed by Pascal from a few contemporaries, belongs in fact to the general apologetic tradition, as maintained by a vast number of insufficiently well-known authors, and cannot be traced back to one apologist in particular. The Pensées' discontinuity, perceived at the time as a flaw and hailed since as unique, and a key to the book's success, stems from Pascal's deliberate decision to follow where the Church Fathers had led, in line with the Contre-Réforme's return to early christian roots
Les Déserts de l'Amour d'A. Rimbaud : codicologie, généricité, textualité by Christophe Bataillé( )

1 edition published in 2010 in French and held by 1 WorldCat member library worldwide

Cette thèse propose une approche globale des Déserts de l'Amour de Rimbaud. Étant donné les nombreuses incertitudes véhiculées par l'œuvre, une étude de son manuscrit autographe s'impose tout d'abord, étude visant à établir l'ordre des feuillets, l'établissement du texte, la date de transcription par une expertise en écritures, mais encore à évaluer son degré d'achèvement, l'éventualité de détenir en l'état un manuscrit complet et déterminer enfin l'auteur de la numérotation atypique des feuillets. L'approche générique, après être revenue sur la notion même de genre et ses implications, s'appliquera à définir le caractère générique du récit de rêve puis problématisera le genre formel des Déserts de l'Amour à partir d'une réflexion sur le poème en prose. Dans le souci d'une approche générique contextuelle seront abordés plusieurs auteurs représentatifs de nos deux genres (Nodier, Bertrand, Nerval) et plus particulièrement le Baudelaire des Petits Poëmes en prose. Nous proposerons enfin une lecture, un commentaire littéraire détaillé des Déserts de l'Amour
La Chronique de Maupassant : éléments de psycholecture by Jean Tissier( )

1 edition published in 2012 in French and held by 1 WorldCat member library worldwide

La chronique de Maupassant reste le genre problématique par excellence dansl'oeuvre de l'écrivain, sa part d'ombre, sa part maudite.Celui-ci ne les regroupa pas de son vivant comme il le fit pour ses contes et sesnouvelles qu'il exhuma des pages du Gaulois et de Gil Blas pour les publier enlibrairie. Car la chronique porterait la marque d'une certaine mauvaise conscienced'un auteur tiraillé par un surmoi littéraire flaubertien s'inscrivant dans le texte commeun symptôme.Dès lors, cette chronique dont l'indéniable vitesse d'écriture dictée par les contrainteset les impératifs journalistiques favorisa l'affleurement de l'inconscient dans le texte,déclinera les matériaux scripturaires de l'inconscient.Douées d'une énergie propre, les chroniques de Maupassant, outre le fait qu'ellesdévelopperaient des perspectives narratives interactives entre le lecteur et l'écrivain,brosseraient un portrait intérieur de son auteur en proie à ses fantasmes, à sesphobies et à ses angoisses. Ces textes s'ouvriraient ainsi à une herméneutiquespécifique, relevant de la psychanalyse freudienne
Le lieu, l'histoire, le sang : l'hispanité des musulmans d'Espagne dans les littératures arabe, espagnole et française (15ème - 17ème siècles) by Émilie Picherot( )

1 edition published in 2009 in French and held by 1 WorldCat member library worldwide

The Hispanic identity of Spanish Muslims is at the center of a recurring debate on the collective identity of Spaniards. By treating the political presence of the Muslims as a simple historical parenthesis which lasted for eight centuries, the Romancero excludes Spanish Muslims not only from the peninsula but also from Hispanic identity itself and heralds the final expulsion of the Moriscos in 1609. A different attitude was developed during the hundred years following 1492, as witnessed by the Hispano-Arabic and Aljamiada, but also sometimes the Castilian literature. The French Spanish-Moorish novel, a century later, redefines the character of the Spanish Muslim, which then becomes the basis for a fantasized Hispanic identity characterised by its contact with the Arab-Muslim world via the Mediterranean. The Moor of Granada becomes a literary model that provides Europe with a positive image of the Arab-Muslim world. Idealized, tolerant and generous, the Moro is no longer simply a Spaniard, but a pretext for reflecting on religious diversity and the link between a people and a place
Un duel en figures. Imaginaire héroïque et théâtral dans les ouvrages français consacrés au combat singulier (1568-1658) by Julien Perrier-Chartrand( )

1 edition published in 2016 in French and held by 1 WorldCat member library worldwide

From the second half of the 16th century to the personal reign of Louis XIV, there was an increase in the number of clandestine duels in France. Through this practice, nobility sought to affirm its class identity in reaction to structural and political changes which affected the Old Regime. This proliferation of combats gave rise to a vast production of works dedicated to this very phenomenon. One group of authors attached to aristocratic values tried to persuade the royal authority to re-establish a legal form of duel, similar to what existed in medieval times. It would create, they argued, an official space for the expression of nobiliary honour and would permit the end of the clandestine duels. An opposite group of authors who belonged to the constituted bodies dedicated to the defense of the structures of the State - magistrates and clergymen - proposed rather to inflict grave punishments on the combatants. This thesis will demonstrate, though the analysis of stylistic processes, of intertextual loans and of the system of references employed in these texts, that the reflection on the duel revolves around heroic imagery, used differently by each group of authors in accord with their own interests. Through an ensemble of recurring figures borrowed from fictional literature or fictionalized history - figures which reinforce a series of key-notions at the heart of the intellectual debate on the duel (such as virtue, honour
Le plaisir dans À la recherche du temps perdu by Aude Briot( )

1 edition published in 2009 in French and held by 1 WorldCat member library worldwide

De multiples plaisirs sont présents dans À la recherche du temps perdu. Ils sont importants pour les personnages en ce que, bien souvent, ils dirigent leur vie, mais aussi parce qu'ils participent à la constitution de portraits : observer les plaisirs d'un personnage permet de le peindre. L'importance du plaisir dépasse le niveau individuel pour atteindre celui du récit (diégèse et narration). Malgré une présence qui tend à l'omniprésence, le plaisir peine à être vécu au présent par des personnages qui le conjuguent plus facilement au passé ou au futur, et en ont une image très négative. C'est que les sens ne sont pas aptes à véhiculer le plaisir, et n'apportent que culpabilité, punition et déception. Il faut alors explorer d'autres voies : apparaissent artifices et perversions, qui finissent aussi par échouer à procurer un plaisir pur. Le héros proustien le trouve dans l'imaginaire, notamment la création littéraire. Paradoxalement, de l'échec du plaisir vient la fertilité créatrice
Les symboliques de l'ange dans l'art et la littérature de 1850 à 1950 by Bérengère Chapuis( )

1 edition published in 2010 in French and held by 1 WorldCat member library worldwide

The angel was never as present as during the modernist era, that is at a time when thereligious figure, in its expression, its form, and even in its substance, its objects, waschallenged by the intense philosophical reflection and by the scientific and technicaldiscoveries stemming from the Enlightenment era. It is this acknowledgement basedon an omnipresence of angels, in nineteenth and twentieth art and literature alike,which led us to ask a simple question - what is the angel a sign of? What does itsymbolize? What meaning may be given its large presence?We have decided, to understand it, to get back to the sources of the angel in order toshed light onto the foundations of that which, quite obviously, establishes itself asone of the most important myths in the present-day imagination. We have alsodecided to show how the mutation from a biblical figure to a profane myth hadmanaged to happen and what were the mechanisms through which thismetamorphosis had taken place; we have also tried to know what was at stake in thisprocess.This study proposes to examine the representations of angels in art and literaturefrom 1850 to 1950 in order to discover how these traditional figures came to becomemodern myths. How can their contemporary representations testify of a newrelationship with the divine ? We'll try to answer this question by studying two majorsymbolics - the inspiring angel and the guardian angel - and by revealing the processin which the angel becomes a personal myth of the individual and especially of thecreator
Fins tragiques : poétique et éthique du dénouement dans la tragédie pré-moderne en Italie, en France et en Espagne by Enrica Zanin( )

1 edition published in 2010 in French and held by 1 WorldCat member library worldwide

The poetics of early modern denouement in Italian, Spanish and French tragedies implies an ethical issue. The ending of the plot is the expected climax which reveals the meaning and the moral of the story. The aim of the tragic denouement is twofold: it concludes the play and it reverses the hero's fate. In order to conclude the tragedy, the denouement restores a moral balance; in order to reverse the plot, it gives rise to a pathetic excess. Two divergent theoretical models underlie this dual requirement: the logic of exemplarity and the poetics of pathos. I propose to examine the strategies displayed by theorists and dramatists in order to bring together these two theoretical models. I therefore consider the three main features of the denouement (its direction, mode and structure) and the ethical issues to which they give rise (the sequence of causality, the tragic flaw and its atonement). The conciliation between exemplarity and pathos proves an impossibility: Italian, Spanish and French tragedy, despite their differences, denounce the logic of exemplarity as inadequate and unfit to justify, through the expression of a theoretical rule, the experience of misfortune, injustice and chaos. The tragic denouement leads the spectator to a hermeneutic deciphering that may uncover the reasons for the hero's inexplicable misfortunes
Lire la ville de Jacques Poulin avec l'œil d'Italo Calvino by Stefania Cubeddu( )

1 edition published in 2010 in French and held by 1 WorldCat member library worldwide

Composée jusqu'à présent de douze romans écrits entre 1967 et 2009, l'œuvre de Jacques Poulin entretient avec la ville de Québec une relation tout à fait particulière. Or, ce n'est pas la ville tout entière qui intéresse cet auteur québécois, mais le quartier historique du Vieux-Québec. Dans cet univers, protégé par les remparts de la ville et par le fleuve Saint-Laurent, un personnage-type poulinien se promène, traverse la ville, en sort quelquefois - en répondant tantôt à l'appel de l'ouest, du côté de l'Amérique, tantôt à l'appel de l'est, vers les origines françaises - mais toujours pour y revenir. Nous allons étudier la relation qui s'instaure entre la ville et le personnage qui la traverse. Cette ville, qui n'est jamais décrite au sens propre du terme, reste pourtant reconnaissable pour le lecteur poulinien. Afin d'explorer comment se construit son image, Les Villes invisibles d'Italo Calvino s'avèrent une clé précieuse. À travers l'œil de cet auteur italien, nous allons prêter attention au dialogue qui se noue entre lecteur et narrateur dans la création de la ville littéraire. Les nombreux mouvements d'entrée et de sortie, la présence d'un parcours cyclique permettent de repérer une certaine analogie de la ville avec l'œuvre. En essayant de repérer les enjeux qui travaillent l'espace de la ville, nous nous proposons de mettre en évidence la poétique dont le Vieux-Québec est chargé dans l'œuvre de Jacques Poulin et d'analyser la quête identitaire, collective et personnelle, qui s'y joue, mais pour laquelle il est tout aussi bien un répondant symbolique
Les voyages de Maurice Barrès by Jessica Desclaux( )

1 edition published in 2016 in French and held by 1 WorldCat member library worldwide

L'enjeu de cette étude est de défiger l'image du patriote lorrain enraciné dans sa petite patrie, qui l'emporta dans l'histoire littéraire : à Barrès, défenseur de l'enracinement, répondrait Gide, le voyageur. De 1887 à 1923, Maurice Barrès effectua une quarantaine de voyages à l'étranger. En repartant du chapitre qu'Albert Thibaudet consacra au voyageur dans La Vie de Maurice Barrès, oninterrogea l'hypothèse selon laquelle Barrès se forma un itinéraire esthétique et intellectuel à partir de ses voyages. Contre la dualité diachronique de l'écrivain, qui passa du Culte du Moi au Roman de l'énergie nationale, on dégagea une trajectoire en quatre temps : Barrès se mit à l'école de l'Italie, de l'Espagne, de l'Orient, et, durant la période de définition de son nationalisme, interrogeaparticulièrement la leçon de la Grèce. En plus de considérer le voyage comme un lieu éduquant l'esthète et l'écrivain, on analysa l'instruction apportée par l'étranger à l'homme politique. À cette fin, on fonda la réflexion sur les manuscrits du fonds Barrès de la BnF et on privilégia une approche génétique, qui remette en mouvement l'écrivain. Par l'intermédiaire de Barrès, on entend saisir larenaissance que connut le voyage d'écrivain, sous l'influence du modèle des esthètes anglais, dans le contexte des redécouvertes artistiques et de la montée des tensions internationales
La Légitimité visible. L'usurpation du pouvoir dans le théâtre français du XVIIe siècle (1636-1696) by Ruoting Ding( )

1 edition published in 2017 in French and held by 1 WorldCat member library worldwide

This piece of work studies the mobilization of concepts relating to legitimacy and usurpation in classical French theater. The corpus includes all plays (tragedies, tragi-comedies and heroic comedies) representing state-level disruptions linked to usurpation from 1630 to the end of the seventeenth century. If the representation of extraordinary political disorders makes the subject of a play more elevated, it also implies a referential dimension that could give rise to a complication, especially in a France where absolutism was taking shape. Yet it is precisely this problem that warrants the value of the theme of usurpation. Once dramaturgically mobilized, the ideological and moral reference constitutes a structural element that creates the dramatic effect, which ensures the circle of the action and echoes a poetic vision. At the same time, through these dramaturgical features, the plays construct their meaning, which besides reflecting absolutist ideology can sometimes deviate from contemporary political thought. This study hinges on three concepts - the right to rule, the duty to rule and the will to rule. The analysis of the concrete means of their implementation is followed by a reflection on the evolution of the treatment of the theme throughout the century as well as on the complex relationship between ideology and dramaturgy
L'évolution de la figure littéraire de Ponce Pilate (XIXème-XXIème siècle) by Caroline Perry( )

1 edition published in 2014 in French and held by 1 WorldCat member library worldwide

This dissertation is dedicated to Pontius Pilate's figure and to his evolution in Western literature (French, English, and Spanish) from the 19th century. The study examines his role in literature under the light of Pierre Brunel's mythocriticism, and analyzes how his portrayal developed over time. From his wake to his rise, Pontius Pilate becomes a real object of interest, a fictional subject on his own. This work concludes that he does not correspond to the actual definition of a myth. Rather, he has some aspects of it and even carries some mythemes of his own such as the symbolic gesture of washing his hands or his wife's glowing presence. Lastly, if Pilate belongs to Jesus of Nazareth's narrative format, he is then a mythical figure, and therefore his partial or even total rehabilitation must necessarily pass through the character's political aspect. Modern writers seek for the man underneath the legend. Between Romanism and Christianity, modern time voices place Pilate against his own humanity
Savoir par cœur : enjeux de la mémorisation des textes pour les études littéraires by Fabrice Nowak( )

1 edition published in 2015 in French and held by 1 WorldCat member library worldwide

Why would it be worthwhile for literary studies to reintroduce learning by heart of literary texts? Learning by heart now appears to be an old-fashioned method, only practiced by nostalgic, reactionary teachers. It has been criticized for its lesser learning efficiency and velocity as compared to what technology has made available for fewer efforts. Another reason why it has been condemned is that it would impede the development of intelligence, as it is thought to be a parrot-like, mechanical exercise requiring very little understanding or critical thinking. These seemingly well-founded criticisms are, we argue, the product of three logics - or thoughts - dominating the Western thought, namely: the materialist thought, the mercantile logic, and the logic of the domination of the masculine over the feminine. Our beliefs and outlines of thought are so imbued with these three principles, that we are reluctant to depart from their influences to think. In this dissertation, we confront the three above-mentioned logics to the "learning-by-heart" issue. By questioning their presuppositions and shedding light on some of their flaws, we find out that learning by heart, depending on how it is carried out, helps revitalize literary studies
La construction et les fonctions de l'intrigue chez le théâtre de Jean Anouilh by Yan Zhang( )

1 edition published in 2012 in French and held by 1 WorldCat member library worldwide

Le siècle dernier et notre siècle connaissent un nouvel intérêt pour l'intrigue. L'intrigue, se rapportant non seulement aux événements, mais aussi à leur structuration, à leur superposition et à leur ordonnance, est en fait une perception du monde. En outre, mettre en intrigue, c'est se mettre en intrigue, c'est entrer en relation avec l'Autre. Impliquant par elle-même la liaison, l'implication et l'intrication, l'intrigue nous sert également à examiner la relation entretenue par le sujet à l'égard de soi-même et de l'Autre. Il devient donc possible de mettre en rapport l'intrigue et le temps vécu, l'intrigue et l'existence. La thèse analyse la construction et les fonctions de l'intrigue chez le théâtre de Jean Anouilh sous les perspectives historique, poétique et anthropologique. Replacer Jean Anouilh dans son époque et prendre la pièce bien faite comme point de repère nous aident à découvrir la valeur et le poids de la tradition ainsi que les caractéristiques dramaturgiques de l'œuvre anouilhienne. Repérer les liens existant entre la façon de construire l'intrigue et la vision théâtrale de l'auteur, qui considère le théâtre comme un jeu de l'esprit, poétique et artificiel, ouvre la possibilité de dévoiler comment l'auteur, avec l'artifice, la fantaisie et le jeu dans le jeu, joue avec le jeu, afin d'affirmer ce qu'est le théâtre et à quoi il nous est utile. Hormis la construction de l'intrigue, les fonctions de l'intrigue nous permettent enfin de sonder les tensions existentielles qui animent ce théâtre spécifique
 
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WorldCat IdentitiesRelated Identities
Alternative Names
École doctorale 019

École doctorale 19

ED 019

ED 19

ED019

ED19

Languages
French (23)