DOCSLIB.ORG

Les Hauts De Hurlevent

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Les Hauts De Hurlevent Wuthering Heights Ttuushcross Grange ~\ NOVEL, Mr, Earnshaw Mrs. Earnshaw Mr..Linton Mrs. Linton +Okt, 1777 +Frühlahr 1773 tHerbst 1780 tHerbst 1780 BY 001783 LLIS BELI~, Frances Hindley Catherine Edgar Isabella Heathcliff t1778 *Sommer 1757 *Sommer 17165 *1762 *1765 *1764 tSept 1784 t20. Màrz 1784 tSept 1801 tJuli 1797 tApril1802 ao1803 THREE VO[ ..UMRS. Hareton Catherine Linton *Juni 1778 *Mârz 1784 *Sept. 1784 tSept. 1801 VOL. 1. LONDON: HOMAS CAUTLEY NEWBY, PUBLISHER 72, MORTIMER ST., CAVE NDISH Sq, 1847. • ilms [ modifier 1modifier le code • 1920 : Les Hauts de Hurlevent (Wuthering Heig'hts) de Albert Victor Bramble (film muet) • 1939 : Les' Hauts de Hurle vent (Wuthering Heights) de William Wyler Adapté par les scénaristes vedettes Ben Hecht et Charles MacArthur; le film, qui offre aux yeux de certains une vision trop édulcorée du roman, est Interprété par Laurence Olivier (Heathcliff), Merle Oberon (Cathie), David Niven (Edgar Linton) et Geraldine Fitzgerald (Isabella). Il reçoit huit nominations aux Oscars dont celle du meilleur film. Il remporte le trophée de la meilleure photographie noir et blanc remis à l'opérateur Grega Toland, • 1954 : Les Haluts de Huneven: (Abismos de pasi6n) de Luis Buriuel Transposition du récit d'Emily Brontë dans un contexte hlspanlque. • 1964 : Les Hauts de Hurlevent, série téléfilm ,de Jean-Paul Carrère • 1970 : Les Hauts de Hurlevent (Wuthering Heights) de Rob'ert r-ue • 1986 : Hurlevent de Jacques Rivette 'action du livre est transposée en Haute-Provence pendant les années 1'930 dans cette adaptation libre dont la sortie fut confidentielle. • 1988 : Les Hauts de Hurlevent (Arashi ga ,oka) de Yoshishige Yoshida • 1992 ,:Les Hauts de Hurlevent (Wuthering Heights) de Peter Kosminsky, avec Ralph Fiennes et Juliette 8inoche • 1998 : Les Hauts de Hurlevent (Wuthering Heights) de David Skynner (téléfilm) • 2003 : Wuthering Heights de Suri Krishnamma (téléfilm) • 2009 : Les Heuts de Hurlevent (Wuthering Heights) de Coky Giedroyc • 2011 : Les Hauts de Hurlevent (Wuthering Heights) de Andrea Arnold • 2015 ': Wuthering High School d'Anthony DiBlas .. Adaptation moderne déplaçant l'intrigue au XXle siècle Assez souvent, ces films (celui de William Wyler, par exemple), ne couvrent pas les quarante années de l'histoire, mais traitent uniquement de la premier ,génération de personnages. AUTHOR BOOKS OTHER WRITING/PROJECTS VISUAL WORK HOME Other Writing/Projects Essays Balthus' Picture- Book Balthus' Picture-Book, four essays on that painter's immersion in narrative, offers a reading of the major paintings and some minor ones, as weil as two sets of illustrations. 1wrote these essays in response to the retrospective at the Metropolitan Museum of Art in 1984, and to satisfy myself that the unusually widespread puritanical reaction to the work (revived in Metropolitan's 2013 exhibition title, "Balthus: Cats and Girls- Paintings and Provocations") was invalid. The first essay presents the scaffolding of ideas that Balthus used and upon which he endlessly elaborated. The second qoes further along that road, dealing primarily with his "self-portraits." The third essay analyzes his illustrations for Emily Brontë's Wuthering Heights, and the fourth looks at his childhood production, the picture book Mitsou, while using it as a lens to consider some more palntinqs. My attempts over the years to publish these essays failed partly over the prohibitive cost of image reproduction. 1 have tried to obviate the problem here by making the work available but not for sale, and by providing URLs for ail the images discussed, insofar as that was possible. The images discussed in each essay and their URLs are listed at the end of each essay. An abbreviated version of the first essay, without images was published in Ironwood. Download Balthus' Picture-Book, Chapter 1: Parsing the Enigma Download Balthus' Picture-Book, Chapter 2: The Self-Portraits Download Balthus' Picture-Book, Chapter 3: The Illustrations for Wuthering Heights Balthus' Picture-Book, Chapter 4 to follow 1 1 a iourney ucr e ss time and cultures on film & television.
Load more

Recommended publications
  • Appendix Wuthering Heights Screen Adaptations
    Appendix Wuthering Heights Screen Adaptations Abismos de Pasión (1953) Directed by Luis Buñuel [Film]. Mexico: Producciones Tepeyac. Arashi Ga Oka (1988) Directed by Kiju Yoshida [Film]. Japan: Mediactuel, Saison Group, Seiyu Production, Toho. Cime Tempestose (2004) Directed by Fabrizio Costa [Television serial]. Italy: Titanus. Cumbres Borrascosas (1979) Directed by Ernesto Alonso and Karlos Velázquez [Telenovela]. Mexico: Televisa S. A. de C. V. Dil Diya Dard Liya (1966) Directed by Abdul Rashid Kardar [Film]. India: Kary Productions. Emily Brontë’s Wuthering Heights (1992) Directed by Peter Kosminsky [Film]. UK/USA: Paramount Pictures. Emily Brontë’s Wuthering Heights (1998) Directed by David Skynner [Television serial]. UK: ITV, Masterpiece Theatre, PBS. Hihintayin Kita Sa Langit (1991) Directed by Carlos Siguion-Reyna [Film]. Philippines: Reynafilms. Hurlevent (1985) Directed by Jacques Rivette [Film]. France: La Cécilia, Renn Productions, Ministère de la Culture de la Republique Française. Ölmeyen Ask (1966) Directed by Metin Erksan [Film]. Turkey: Arzu Film. ‘The Spanish Inquisition’ [episode 15] (1970). Monty Python’s Flying Circus [Television series]. Directed by Ian MacNaughton. UK: BBC. Wuthering Heights (1920) Directed by A. V. Bramble [Film]. UK: Ideal Films Ltd. Wuthering Heights (1939) Directed by William Wyler [Film]. USA: United Artists/ MGM. Wuthering Heights (1948) Directed by George More O’Ferrall [Television serial]. UK: BBC. Wuthering Heights (1953) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1962) Directed by Rudolph Cartier [Television serial]. UK: BBC. Wuthering Heights (1967) Directed by Peter Sasdy [Television serial]. UK: BBC. Wuthering Heights (1970) Directed by Robert Fuest [Film]. UK: American International Pictures. Wuthering Heights (1978) Directed by Peter Hammond [Television serial].
    [Show full text]
  • Wuthering Heights and Jane Eyre: Deadly Versus Healing Fantasy in the Lives and Works of the Brontes
    The Review: A Journal of Undergraduate Student Research Volume 1 Article 7 1997 Wuthering Heights and Jane Eyre: Deadly Versus Healing Fantasy in the Lives and Works of the Brontes Jeanne Moose St. John Fisher College, [email protected] Follow this and additional works at: https://fisherpub.sjfc.edu/ur Part of the English Language and Literature Commons How has open access to Fisher Digital Publications benefited ou?y Recommended Citation Moose, Jeanne. "Wuthering Heights and Jane Eyre: Deadly Versus Healing Fantasy in the Lives and Works of the Brontes." The Review: A Journal of Undergraduate Student Research 1 (1997): 49-66. Web. [date of access]. <https://fisherpub.sjfc.edu/ur/vol1/iss1/7>. This document is posted at https://fisherpub.sjfc.edu/ur/vol1/iss1/7 and is brought to you for free and open access by Fisher Digital Publications at St. John Fisher College. For more information, please contact [email protected]. Wuthering Heights and Jane Eyre: Deadly Versus Healing Fantasy in the Lives and Works of the Brontes Abstract In lieu of an abstract, below is the article's first paragraph. Dreams and fantasies provide humans with a means of escape from everyday reality. According to Sigmund Freud, dreams carry one "off into another world" (Strachey, 1900, 7). Their aim is to free us from our everyday life (Burdach, 1838, 499) and to provide us with the opportunity to fantasize about how we would like our lives to be or to imagine our lives as worse than they are so that we can cope with our current situation.
    [Show full text]
  • 1 Wuthering Heights (William Wyler, 1939; Robert Fuest, 1970; Jacques
    1 Wuthering Heights (William Wyler, 1939; Robert Fuest, 1970; Jacques Rivette, 1985; Peter Kosminsky, 1992) Wyler’s ghastly sentimental version concedes nothing to the proletariat: with the exception of Leo G. Carroll, who discards his usual patrician demeanour and sports a convincing Yorkshire accent as Joseph, all the characters are as bourgeois as Sam Goldwyn could have wished. Not even Flora Robson as Ellen Dean – she should have known better – has the nerve to go vocally downmarket. Heathcliff may come from the streets of Liverpool, and may have been brought up in the dales, but Olivier’s moon-eyed Romeo-alternative version of him (now and again he looks slightly dishevelled, and slightly malicious) comes from RADA and nowhere else. Any thought that Heathcliff is diabolical, or that either he or Catherine come from a different dimension altogether was, it’s clear, too much for Hollywood to think about. Couple all this with Merle Oberon’s flat face, white makeup, too-straight nose and curtailed hairstyles, and you have a recipe for disaster. We’re alerted to something being wrong when, on the titles, the umlaut in Emily’s surname becomes an acute accent. Oberon announces that she “ is Heathcliff!” in some alarm, as if being Heathcliff is the last thing she’d want to be. When Heathcliff comes back, he can of course speak as high and mightily as one could wish – and does: and the returned Olivier has that puzzled way of looking straight through a person as if they weren’t there which was one of his trademarks (see left): for a moment the drama looks as if it might ratchet up a notch or two.
    [Show full text]
  • The Opposition and Integration Between Civilization and Nature ―Analysis of Wuthering Heights from the Perspective of Eco-Criticism
    Advances in Literary Study, 2014, 2, 143-146 Published Online October 2014 in SciRes. http://www.scirp.org/journal/als http://dx.doi.org/10.4236/als.2014.24022 The Opposition and Integration between Civilization and Nature ―Analysis of Wuthering Heights from the Perspective of Eco-Criticism Junhong Tang, Yan Liu Foreign Language Department, Baoding University, Baoding, China Email: [email protected] Received 25 July 2014; revised 27 August 2014; accepted 25 October 2014 Copyright © 2014 by authors and Scientific Research Publishing Inc. This work is licensed under the Creative Commons Attribution International License (CC BY). http://creativecommons.org/licenses/by/4.0/ Abstract Eco-criticism offers a new perspective for us to study Wuthering Heights. In Wuthering Heights, the place of Wuthering Heights and the residents are the representatives of nature, while the place of Thrushcross Grange and the residents are the spokesmen of civilization. The history of the chang- ing relationship between the human beings and the nature is reflected in the relationships of the main characters in Wuthering Heights. Long ago the human beings lived in awe of the nature and admired it and then they exploited the nature excessively. At last they return to respect the nature and form a harmonious relationship between the human beings and the nature under the guid- ance of the eco-ethic. With the deterioration of the environment, the relationship between the human beings and the nature reflected in Wuthering Heights drives the modern people to think deeply. Keywords Nature, Civilization, Nature, Wuthering Heights, Thrushcross Grange 1. Introduction Wuthering Heights published in 1847 is the only novel of Emily Bronte.
    [Show full text]
  • The Affect on Plot and Character in the Brontë Sisters' Novels
    East Tennessee State University Digital Commons @ East Tennessee State University Undergraduate Honors Theses Student Works 5-2014 Motherless Women Writers: The Affect on Plot and Character in the Brontë Sisters’ Novels Laci J. Baker Follow this and additional works at: https://dc.etsu.edu/honors Part of the Literature in English, British Isles Commons, and the Literature in English, North America Commons Recommended Citation Baker, Laci J., "Motherless Women Writers: The Affect on Plot and Character in the Brontë Sisters’ Novels" (2014). Undergraduate Honors Theses. Paper 187. https://dc.etsu.edu/honors/187 This Honors Thesis - Withheld is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Motherless Women Writers: The Affect on Plot and Character in the Brontë Sisters’ Novels Thesis submitted in partial fulfillment of Honors By Laci Baker The Honors College Midway Honors Program East Tennessee State University April 11, 2014 Laci Baker, Author Dr. Judith B. Slagle, Faculty Mentor Dr. Michael Briggs, Faculty Reader Dr. Phyllis Thompson, Faculty Reader 2 Introduction to Thesis: The idea that an author’s heritage and environment can be reflected in the plotline of his/her narratives and in the development of each character is thought-provoking; while it is true that an author’s voice may not be the same as the narrator’s voice, the work is still influenced by the author and his/her perception of the characters, their world, and their journey.
    [Show full text]
  • A Production Spring 2011 | Follies Chicago Shakespeare Theater About CST
    A production Spring 2011 | Follies CHICAGO SHAKESPEARE Theater About CST Chicago Shakespeare Theater (CST) is a leading international theater company, known for vibrant productions that reflect Shakespeare’s genius for intricate storytelling, musicality of language and depth of feeling for the human condition. Recipient of the 2008 Regional Theatre Tony Award, Chicago Shakespeare’s work has been recognized internationally with three of London’s prestigious Laurence Olivier Awards, and by the Chicago theater community with 62 Joseph Jefferson Awards for Artistic Excellence. Under the leadership of Artistic Director Barbara Gaines and Executive Director Criss Henderson, CST is dedicated to producing extraordinary productions of classics, new works and family fare; unlocking Shakespeare’s work for educators and students; and serving as Chicago’s cultural ambassador through its World’s Stage Series. At its permanent, state-of-the-art facility on Navy Pier, CST houses two intimate theater spaces: the 500-seat Jentes Family Courtyard Theater and the 200-seat Carl and Marilynn Thoma Theater Upstairs at Chicago Shakespeare. Through a year-round season encompassing more than 600 performances, CST leads the community as the largest employer of Chicago actors and attracts nearly 200,000 audience members annually—including 40,000 students and teachers through its comprehensive education programs. n BOARD OF DIRECTORS Raymond F. McCaskey William L. Hood, Jr. Glenn R. Richter Chair Stewart S. Hudnut Mark E. Rose Mark S. Ouweleen William R. Jentes Sheli Rosenberg Treasurer Gregory P. Josefowicz John W. Rowe James J. Junewicz Robert Ryan Frank D. Ballantine Jack L. Karp Carole B. Segal Brit J. Bartter John P.
    [Show full text]
  • Silsbee 1 Wuthering Heights ​ : a Tale of Romantic Horror The
    Silsbee 1 Wuthering Heights: A Tale of Romantic Horror ​ The Romantic literary tradition has long been difficult to pin down and describe accurately. Arthur Lovejoy noted the variety and conflict of opinion amusingly in his 1923 address to an annual meeting of the Modern Language Association of America. He listed experts who attributed the rise of Romanticism variously to Rousseau, Kant, Plato, and the Serpent in the Garden of Eden, and noted “that many of these originators of Romanticism...figure on other lists as initiators or representatives of tendencies of precisely the contrary sort” (230). Movements in th the middle of the 20 ​ century—most notably led by René Wellek—tried to create a ​ homogenized sense of European Romanticism, but more recent efforts have once again fractured that paradigm (McGann). Wuthering Heights is, however, generally described as a Romantic ​​ work, often in the colloquial as well as literary sense, and Heathcliff is often considered the epitome of a Byronic hero. In spite of the prevalence of these labels, Emily Brontë's treatment of Heathcliff, Catherine and the relationship between them seems more like a critique of both traditions than an endorsement or glorification of either. The suggestion of Heathcliff as a Byronic hero is introduced before the reader has a chance to really understand who he is. Lockwood's description of him upon their first meeting is our first glimpse: He is a dark-skinned gypsy in aspect, in dress and manners a gentleman...rather slovenly, perhaps, yet not looking amiss with his negligence, because he has an erect and handsome figure—and rather morose—possibly some people might suspect him of a degree of under-bred pride...I know, by instinct, his reserve springs from an Silsbee 2 aversion to showy displays of feeling...He'll love and hate, equally under cover..
    [Show full text]
  • Bruce Walker Musical Theater Recording Collection
    Bruce Walker Musical Theater Recording Collection Bruce Walker Musical Theater Recording Collection Recordings are on vinyl unless marked otherwise marked (* = Cassette or # = Compact Disc) KEY OC - Original Cast TV - Television Soundtrack OBC - Original Broadway Cast ST - Film Soundtrack OLC - Original London Cast SC - Studio Cast RC - Revival Cast ## 2 (OC) 3 GUYS NAKED FROM THE WAIST DOWN (OC) 4 TO THE BAR 13 DAUGHTERS 20'S AND ALL THAT JAZZ, THE 40 YEARS ON (OC) 42ND STREET (OC) 70, GIRLS, 70 (OC) 81 PROOF 110 IN THE SHADE (OC) 1776 (OC) A A5678 - A MUSICAL FABLE ABSENT-MINDED DRAGON, THE ACE OF CLUBS (SEE NOEL COWARD) ACROSS AMERICA ACT, THE (OC) ADVENTURES OF BARON MUNCHHAUSEN, THE ADVENTURES OF COLORED MAN ADVENTURES OF MARCO POLO (TV) AFTER THE BALL (OLC) AIDA AIN'T MISBEHAVIN' (OC) AIN'T SUPPOSED TO DIE A NATURAL DEATH ALADD/THE DRAGON (BAG-A-TALE) Bruce Walker Musical Theater Recording Collection ALADDIN (OLC) ALADDIN (OC Wilson) ALI BABBA & THE FORTY THIEVES ALICE IN WONDERLAND (JANE POWELL) ALICE IN WONDERLAND (ANN STEPHENS) ALIVE AND WELL (EARL ROBINSON) ALLADIN AND HIS WONDERFUL LAMP ALL ABOUT LIFE ALL AMERICAN (OC) ALL FACES WEST (10") THE ALL NIGHT STRUT! ALICE THROUGH THE LOOKING GLASS (TV) ALL IN LOVE (OC) ALLEGRO (0C) THE AMAZING SPIDER-MAN AMBASSADOR AMERICAN HEROES AN AMERICAN POEM AMERICANS OR LAST TANGO IN HUAHUATENANGO .....................(SF MIME TROUPE) (See FACTWINO) AMY THE ANASTASIA AFFAIRE (CD) AND SO TO BED (SEE VIVIAN ELLIS) AND THE WORLD GOES 'ROUND (CD) AND THEN WE WROTE... (FLANDERS & SWANN) AMERICAN
    [Show full text]
  • Class and Gender Identify in the Film Transpositions of Emily Brontë's
    Seijo Richart 1 Appendix II: Transpositions of Wuthering Heights to other Media 1. Television 1.1. TV - films 1948 Wuthering Heights. Adapt. John Davidson (from his stage play). BBC TV. 1948 Wuthering Heights. Kraft Television Theatre, NBC (USA). TV broadcast of a performance of Rudolph Carter’s theatre transposition. Only the first half of the novel. 1950 “Wuthering Heights”. Westinghouse's Studio One. Perf. Charlton Heston. USA. 1953 Wuthering Heights. Perf. Richard Todd and Yvonne Mitchell. BBC TV (UK). Script by Nigel Kneale, based on Rudolph Carter’s theatre transposition. 1958 Wuthering Heights. Perf. Richard Burton and Rosemary Harris. UK 1962 Wuthering Heights. Perf. Keith Mitchell and Claire Bloom. BBC TV (UK). Script by Nigel Kneale, based on Rudolph Carter’s theatre transposition. 1998 Wuthering Heights. Dir. David Skynner. Perf. Robert Kavanah, Orla Brady. Script by Neil McKay. London Weekend Television. 2003 Wuthering Heights. Dir. Suri Kirshnamma. Writ. Max Enscoe. Perf. Erika Christensen, Mike Vogel. MTV Films. 1.2. TV Series 1956 Cime tempestose. Dir. Mario Landi. Italy. 1963. Cumbres Borrascosas. Dir & Prod. Daniel Camino. Perú. 1964 Cumbres Borrascosas. Dir. Manuel Calvo. Prod. Ernesto Alonso (Eduardo/ Edgar in Abismos). Forty-five episodes. México. 1967 Wuthering Heights. Dir. Peter Sasdy. Adapt. Hugh Leonard. Perf. Ian McShane, Angela Scoular. Four parts serial. BBC TV (UK). 1967 O Morro dos Ventos Uivantes. Adap. Lauro César Muniz. TV Excelsior (Brasil). 1968 Les Hauts de Hurlevent. Dir. Jean-Paul Carrère. France. Two parts. Early 1970s A serialised version in the Egyptian television. 1973 Vendaval. Adapt. Ody Fraga. Perf. Joana Fomm. TV Record (Brasil). 1976 Cumbres Borrascosas.
    [Show full text]
  • Shail, Robert, British Film Directors
    BRITISH FILM DIRECTORS INTERNATIONAL FILM DIRECTOrs Series Editor: Robert Shail This series of reference guides covers the key film directors of a particular nation or continent. Each volume introduces the work of 100 contemporary and historically important figures, with entries arranged in alphabetical order as an A–Z. The Introduction to each volume sets out the existing context in relation to the study of the national cinema in question, and the place of the film director within the given production/cultural context. Each entry includes both a select bibliography and a complete filmography, and an index of film titles is provided for easy cross-referencing. BRITISH FILM DIRECTORS A CRITI Robert Shail British national cinema has produced an exceptional track record of innovative, ca creative and internationally recognised filmmakers, amongst them Alfred Hitchcock, Michael Powell and David Lean. This tradition continues today with L GUIDE the work of directors as diverse as Neil Jordan, Stephen Frears, Mike Leigh and Ken Loach. This concise, authoritative volume analyses critically the work of 100 British directors, from the innovators of the silent period to contemporary auteurs. An introduction places the individual entries in context and examines the role and status of the director within British film production. Balancing academic rigour ROBE with accessibility, British Film Directors provides an indispensable reference source for film students at all levels, as well as for the general cinema enthusiast. R Key Features T SHAIL • A complete list of each director’s British feature films • Suggested further reading on each filmmaker • A comprehensive career overview, including biographical information and an assessment of the director’s current critical standing Robert Shail is a Lecturer in Film Studies at the University of Wales Lampeter.
    [Show full text]
  • Wuthering Heights on the Screen: Exploring the Relations Between Film Adaptation and Subtitling
    WUTHERING HEIGHTS ON THE SCREEN: EXPLORING THE RELATIONS BETWEEN FILM ADAPTATION AND SUBTITLING Paula Ramalho Almeida, Sara Cerqueira Pascoal, Suzana Noronha Cunha Instituto Superior de Contabilidade e Administração do Porto ISCAP Portugal [email protected]/[email protected]/[email protected] Abstract This essay aims to confront the literary text Wuthering Heights by Emily Brontë with five of its screen adaptations and Portuguese subtitles. Owing to the scope of the study, it will necessarily afford merely a bird‘s eye view of the issues and serve as a starting point for further research. Accordingly, the following questions are used as guidelines: What transformations occur in the process of adapting the original text to the screen? Do subtitles update the film dialogues to the target audience‘s cultural and linguistic context? Are subtitles influenced more by oral speech than by written literary discourse? Shouldn‘t subtitles in fact reflect the poetic function prevalent in screen adaptations of literary texts? Rather than attempt to answer these questions, we focus on the objects as phenomena. Our interdisciplinary undertaking clearly involves a semio-pragmatic stance, at this stage trying to avoid theoretical backdrops that may affect our apprehension of the objects as to their qualities, singularities, and conventional traits, based on Lucia Santaella‘s interpretation of Charles S. Peirce‘s phaneroscopy. From an empirical standpoint, we gather features and describe peculiarities, under the presumption that there are substrata in subtitling that point or should point to the literary source text, albeit through the mediation of a film script and a particular cinematic style.
    [Show full text]
  • Des Hauts De Hurlevent À La Migration Des Coeurs : L'émergence D'une Identité Composite
    Mémoire de Master Université de Limoges Faculté des Lettres et Sciences Humaines Département d'études anglophones Littérature anglophone présenté et soutenu par Sultana NEZIRI le 22 septembre 2017 Des Hauts de Hurlevent à La Migration des Coeurs : l'émergence d'une identité composite Mémoire dirigé par Bertrand ROUBY Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 2 Remerciements En premier lieu, j'aimerais remercier Bertrand Rouby, pour ses conseils en tant que directeur de recherche, mais surtout pour m'avoir permis de découvrir les œuvres de Jean Rhys et de Maryse Condé. Ces univers m'ont touchée par leur richesse et leurs spécificités, m'offrant la possibilité d'aborder des romans qui m'ont marquée, ceux des sœurs Brontë, sous un angle différent. Je remercie les amis dont le soutien m'a aidée, surtout au cours des dernières étapes: Mathilde, Anaïs, Marion et Louise. Merci à Garance d'avoir pris en charge un aspect qui est hors de ma portée : la mise en page de ce mémoire, ce qui me décharge d'un poids considérable. Enfin, avoir un frère qui soit en mesure de comprendre les petits maux et les grands tracas que peut engendrer la cécité au cours d'un processus de rédaction a été essentiel. Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 3 Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 4 Droits d'auteurs Cette création est mise à disposition selon le Contrat : « Attribution-Pas d'Utilisation Commerciale-Pas de modification 4.0 International » disponible en ligne : http://creativecommons.org/licenses/by-nc-nd/4.0/ Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 5 Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 6 Table des matières Introduction......................................................................................................................................9 Partie I : Unité et fragmentation......................................................................................................13 I.1.
    [Show full text]