"Starry Night" and words shining as an "evergreen"
"I stared dizziness" Rimbaud 
"Night ungracious plenary where the dream stops flashing, keep me alive that I love" , Rene Char
"Art does not reproduce the visible but makes visible" Klee
Literature and commitment: self-portraits and portraits through the ages and genres
"Art is not a question of technique but of vision ', Proust, Time Regained
novels, drama, poetry perspective cross argumentation and literary movements
The moralists of the seventeenth century:
portraits of La Bruyere, La Fontaine's fables, the comic character of the comedies of Molière,
the hubris Cornelian heroes and racinian
Visions of man and the world "The Human Comedy" de Balzac:
Goriot , a novel by learning?
Poetry and commitment among the poets of the nineteenth century:
Baudelaire and Rimbaud, symbolist poets?
"Lover alternaive Camenae" , Virgil
(intertextuality and singularity of literary texts)
2 texts will be offered the choice.
10 minutes of preparation (from a question on the selected text) + 10 minutes of oral
Papers presented:
The indirect argument: praise and blame (between caricature and satire)
Portrait of Arrias La Bruyere (p. 328)
Rat who withdrew from the world La Fontaine
Theatre (comedy and tragedy): a "force field "
The monologue Emilie I 1, Cinna, Corneille
Britannicus, Racine II, 6
The tirade Dom Juan , Molière: V, 2 (p.76)
Tartuffe, Molière: I, 4
Poetry and Commitment: functions of the poet and poetry
"L'Albatros Baudelaire
" The Sleeper in the Valley " Rimbaud
The novel and its characters (visions of man and the world) : Goriot of Balzac, a bildungsroman nineteenth century
The incipit: the first paragraph
The portrait of Madame Vauquer: of "This piece is in all its glory" to "And foreshadows the residents'
The tirade Mrs. Beauseant: of " - Well, Mr. Rastignac " to " We women, we have our battles to fight. "
The end of the novel: from "The two priests, the altar boy and clerk came"
*****
Revision schedule of oral
Week from May 25 to 28: theater
=> study of two scenes from Molière; revision scenes of tragedy Theatre (comedy and tragedy): a "field forces "
The tirade Dom Juan , Molière: V, 2 (p.76)
Tartuffe, Molière: I, 4
The monologue Emilie I, 1, Cinna, Corneille
Britannicus, Racine II, 6
Tuesday, May 25: 's tirade Dom Juan, Molière: V , 2 (p.76) read: I, 1, 2 and 3 + also provide Tartuffe and Goriot
Thursday, May 26: Tartuffe, Molière: I 4
Friday, May 28: revision scenes of tragedy of Corneille, Racine
=> risk: myths of Oedipus and Antigone
*****
The conglobation for a dramatic heuristic, hermeneutic, epistemological reading a literary text:
" everything is a sign, and every sign is message " Proust
" Night ungracious plenary where the dream stops flashing, keep me alive that I love " Rene Char
The flower of rhetoric: a evergreen " (Ronsard)
anthologies (or anthologies) poetic www.tempoepoesie.blogspot.com
" Blessed is he who can wing a strong
Charging into the light fields and serene
man whose thoughts, like larks,
Towards the morning sky take flight,
Who hovers over life and understands effortlessly
The language of flowers and silent things! "
Baudelaire " Elevation " , " Spleen and Ideal " , The Flowers of Evil
" What they say about the poet flowers " Rimbaud ( Poems 1870-1871)
I. Quid? Quis? Ubi? Quando? Quomodo?
Poetics generic and typological: 1st = first reading discovery hypothesis of reading
Intertextuality singularity and studied the text: what is there a generic identity and typological common with other texts of a literary movement or even different periods of literature? What stands there texts that have the same typological characteristics, generic, aesthetic?
2. Cur? Quibus auxiliis? Quomodo?
Poetics critical second reading discovery hypothesis = 2nd Reading
Intertextuality and singularity of the text studied: the text says? How and why this text has it been made? What are the main lines of convergence (conglobation effects)? How the study of artistic device makes it appear the lines of force in the composition of this text, a match between a form (in the etymological sense) and sense (direction)?
3. Cur? Quis? (3rd axis or conclusion)
Poetic criticism of an artist: what is the particular style of the artist? his artistic commitment? How this commitment manifests itself there in a particular aesthetic? What is his artistic universe? His poetic rest on such an ethic? This commitment is it matched with that of other artists of the same generation? What is special?
"Style (...) is the revelation, which would be impossible by means of direct and conscious of qualitative difference there in how the world appears to us, difference that if there was no art, would remain the eternal secret of each. "
Proust, Time Regained
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"Art does not reproduce the visible but makes visible" Klee
"The question true art [...], was to find , to regroup, to inform us of this reality far from where we live, where we deviate more and more as and when it takes more thickness and impermeability conventional knowledge we substitute him, this reality that we are in danger of dying without having known and is simply our life ".
" Real life is missing " Rimbaud
" Through art we can only come from us, know what another sees of this universe is not the same as ours, and whose landscapes we would have remained as unknown as there may be in the moon. Thanks to the lart, instead of seeing one world, ours, we see it multiplied and as many as there are original artists, as we have at our disposal worlds, each more different than those roll in the infinite and which, after many centuries is extinguished the home which he originated, he was called Rembrandt or Vermeer, send us their unique rays . "
Proust, Time Regained
" Silence of the The work that speaks the word of the man who listens "
Roland Barthes, On Racine
as" evergreen " ...
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