Dissertationen zum Thema „Anthologique“
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Le, Chêne Ludivine. „L'âge du roman anthologique. Formes et enjeux de la digression dans l'écriture romanesque du premier XVIIe siècle“. Electronic Thesis or Diss., Université Grenoble Alpes, 2024. http://www.theses.fr/2024GRALL002.
Der volle Inhalt der QuelleAn object of confusion and disdain, the reputation of the digression since its origins is not in good shape. However, despite this rejection, novelists happily use it. Whether the digression occurs occasionally throughout the story or whether it spares the layout of the work, its presence affects all the compositional layers of the novel, in such a way as to reconsider the question of coherence. The smallest digressive units are inserted into the story in the manner of authorial interventions or construct sequences which combine the pleasure of the detour with a scholarly function. In the same way, on a larger scale, longer sequences alternate pieces of bravery and narrative pieces which accumulate and are interspersed in the work, so as to postpone its outcome. Digression therefore constitutes a strategic poetic tool, which novelists use in order to arrange and bring together the different parts of the novel, under the aegis of a new unity and coherence.Interpolated into the frame story, these strategic pieces profoundly modify the structure of the novel, sometimes to the point of causing its incompleteness, whether intended or not by the authors. The variety of digressive pieces thus leads us to reconsider the question of incompleteness, opening the way to authorial and editorial recompositions. As such, the study of the composition of novels from the first 17th century (1600-1600) considers digression as a privileged device, making it possible to bring together under a single generic category called anthology, both works in long format and those in shorter. To this end, our corpus examines comic novels and anti-novels (Bergerac, Furetière, L'Hermite, Scarron, Sorel); edifying, devout, tragic and sentimental novels (Camus, Nervèze, Rosset); then the Long novels, which bring together the heroic-gallant models and the pastoral (Desmarets, Gomberville, La Calprenède, Urfé, Scudéry); up to the continuations and abridged novels after 1660
Christian, de Mare CSSp. „Anthologie spiritaine“. Congregazione dello Spirito Santo, 2010. http://digital.library.duq.edu/u?/cdm-antholog,1170.
Der volle Inhalt der QuelleBrummert, Ulrike, und Bernadette Malinowski. „Chemnitzer Stadtgeschichte_n: Eine Anthologie“. Universitätsverlag Chemnitz, 2019. https://monarch.qucosa.de/id/qucosa%3A33185.
Der volle Inhalt der QuelleThe twenty best results of the competition Stadtgeschichte_n [stories of town] on the occasion of the 875th anniversary of Chemnitz.
Walter, Robert. „Beatus Rhenanus, 1485-1547 anthologie de sa correspondance“. Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37595236t.
Der volle Inhalt der QuelleTuleu, Vincent. „Approche dialogique des genres littéraires : suivie d'une anthologie dialogique“. Paris 3, 2006. http://www.theses.fr/2006PA030048.
Der volle Inhalt der QuelleLiterary theory tackles the notion of genre from within a traditional space bordered by four poles: form, theme, register, and utterance. Studies of genre have sprung from a constant desire to ground the supremacy of one particular genre as a means for finding a basis for literariness. A dialogical approach, however, is based on the hypothesis that a relational strategy is at work within the text and that literary genres are able to zero in on the dialogical nature of this relationship. If we question Jakobson’s schema of communication, we are thereby enabled to leave behind a unilateral conception of informational transmission in favour of the dialogical principle underlying all communication. With the help of possible world semantics, it then becomes possible to embark upon a description of the referential processes at play within the literary text. By defining three major dialogical strategies, we are then in a position to discuss the communicational functioning of certain literary genres
DUNTZE, JEROME. „Langage medical populaire : anthologie des expressions relatives a la medecine“. Reims, 1990. http://www.theses.fr/1990REIMM039.
Der volle Inhalt der QuellePerrot, Jean-Luc. „L'Orgue en France de 1789 à 1860 : Présentation d'une anthologie“. Lyon 2, 1989. http://www.theses.fr/1989LYO20020.
Der volle Inhalt der QuelleBetween 1789 to 1860, the french organ undergoes a remarkable evolution; it can be noticed in organ-chests and their manufacturing as well as in the registration which progressively leaves the stereotyped patterns of the eighteenth century to become a kind of scoring of the musical piece. The instrument is affected by a multitude of contradictory tendencies which spread from the revolutionary music to the opera (the italian bel canto), from the obsolete plain-song to the military band. In churches, during the services, the interventions of the organ which are carefully codified in ritual books, are strangely influenced by these forms. Nevertheless, the renewal of the repertoire roughly begins in 1850 with the publishing of german composers. With the inaugurations of instruments, the notion of concert organs is dawning whereas the religious repertoire is losing some of its interest. Through an anthology of utterly unknown but representative organ pieces from the literature of the time, balbastre and franck are smoothly and progressively linked. While some forms are dying, some others (such as the simphonies and sonatas) are coming in life. A few works will only have an ephemeral existence (such as the battles) and are typically related to this transitory period. These pages duly analysed ans commented upon, prove the savoir-faire, the knowledge in the possibilities of the organ which batiste, lasceux, fessy had
Lambin, Hélène. „La Photographie (en France) de 1970 à 2000. Anthologie de textes“. Paris 8, 2002. http://www.theses.fr/2002PA082176.
Der volle Inhalt der QuelleBy grouping together and undertaking analysis of a hundred and thirty-eight texts, published between 1970 and 2000, for the most part in France, this thesis discusses the upheavals that have taken place in the status of photography over the last thirty years. Photography has undergone some far-reaching transformations since 1970. Its instrumental function have diminished, and photography has been confronted with the contemporary phenomenon of unexplored worlds of images. A phase of autonomisation is beginning, which can be seen in the growing assertion that art is the exclusive end of the photographic process. A cultural field is developing that draws its identity " from " and " for " photography. This autonomisation process is, however, not yet complete since art is not the goal of all photographic production. Since photography cannot be reduced to questions of art, the issue is that of a history that encompasses the plurality of fields and practices
Itier, César. „Le théâtre moderne en quechua à Cuzco: (1885-1950) : étude et anthologie“. Aix-Marseille 1, 1990. http://www.theses.fr/1990AIX10048.
Der volle Inhalt der QuelleBetween the years 1885 and 1950, cuzco city (peru) saw the flowering of a theatre in quechua language, developed by the local dominant social class. This literature, almost unpublished, with a mostly incaic thematic, has never been studied and we try first to rebuild a story of the performances. Then, we contemplate what, in their social and ideological context, favoured their birth, development and decline, and that we have to take into account to understand the texts themselves : sociolinguistic composition of the cuzquenian society of cvtime, economic expansion of the local dominant social class, their keen regionalism in facing limenian oligarchic power, incaist identity affirmation legitimating their aspirations, notions about culture, language anbd society etc. . . This theatre inherits from a creaole linguistic and poetic tradition which goes b2ck tot he xvie century and wghose traces can be followed through a specific vocabulary and poetic characteristics that we analyse. An anthology of quechua texts with translation takes up about half of this volume
Höschele, Regina. „Die blütenlesende Muse Poetik und Textualität antiker Epigrammsammlungen“. Tübingen Narr, 2007. http://d-nb.info/1000446409/04.
Der volle Inhalt der QuelleBlanchard, Olivier. „Die Aufnahme der Maximes La Rochefoucaulds bei seinen Zeitgenossen : kommentierte Anthologie der Rezeptionszeugnisse /“. [S.l. : s.n.], 1995. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB4594376.
Der volle Inhalt der QuelleBlanchard, Olivier. „Die Aufnahme der "Maximes" von La Rochefoucauld bei seinen Zeitgenossen kommentierte Anthologie der Rezeptionszeugnisse /“. [S.l.] : Universität Konstanz , Philosophische Fakultät, Fachgruppe Literaturwissenschaft, 1995. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB8501071.
Der volle Inhalt der QuelleCartron, Maxime. „L'Invention du Baroque. Les anthologies de poésie française du premier XVIIe siècle (1844-2009)“. Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3035.
Der volle Inhalt der QuelleIf the question of the Baroque has generated – and still generates – many reactions, the criticism had not yet bent close on the specific methods of invention of this historiographical category. This thesis aims to link the appearance of such a notion in literary history and the strong ideological burden it bears to the editorial predominance of the anthologies of French seventeenth-century poetry from in the 20th century. In fact, this form diffuses questions about the validity of the traditional discourse of literary history, which established classicism as the focal point of French letters. Therefore, whether through the material specificities of the object-book, or through a historiographical discourse assumed as such, or through a poetic of the Baroque that makes anthology its archetypal receptacle and method of publication, compilers constantly strive to recreate and imitate the writing of their objects. Thus, their purpose is to redefine the nature of the heritage, but also to accredit themselves as a literary genre in its own right
Nekmouche, Jugurta. „Droit et dialogue social en Algérie : genèse, évolution et mutation de 1830 à 1988 : anthologie d'un combat social“. Paris, EHESS, 2008. http://www.theses.fr/2008EHES0154.
Der volle Inhalt der QuelleTo evoke the Communication within the company, and singularly in Algeria, constitutes a exercise three times over delicate. It initially supposes to resort in same time to traditional philosophical concepts sometimes contradictory, with evolutionary economic concepts socio like with relative political criteria in space and time. It also forces to employ them together, within the framework of an analysis focused on an Algerian company, itself in full change, at one moment when the relationship between social interlocutors in the world is have perpetuaI dynamic. The illustration of the Algerian experiment is completely likely to arouse the interest, taking into account its originality making it possible to differently put the question of the communication and the relationship between social interlocutors. Thus, we intentionally, put it in the middle of our analysis in order to try to as well show the accuracy of the traditional analyses relating to the difficulty of communication of social interlocutors, as the relevance in a new manner of questioning these same reports/ratios, per hour of the changes which take place today
Caetano, Marie-Laurentine. „"Moy qui suis, ô Dieu, ton humble chanteresse" : anthologie de la poésie spirituelle et féminine du XVIe siècle en français“. Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20028.
Der volle Inhalt der QuelleThis anthology gathers spiritual poems written by women from the sixteenth century, suggesting a new way of discovering the poetry from the Renaissance ; indeed, we have chosen texts written by women in preference to texts written by men which have usually been strongly emphasized throughout literary history, and also by choosing the spiritual inspiration which is different from the much better-known romantic Petrarchan inspiration. We have made a selection among Catholic works as well as reformed works, in order to show what the sixteenth century French spiritual life really was. We have added a study of the corpus to our anthology in order to justify our choice and to clear up the different important points in women's way of writing, this idea of spirituality and the use of the different forms of poetry, while mentioning research results at the same time, taking into account the most significant progress which has been made concerning the publishing of women's works
Menon, Sandrine. „Repenser l'anthologie en traduction : réflexion sur les enjeux de la constitution d'une anthologie de nouvelles latino-américaines traduites d'un nouveau genre“. Thesis, Université d'Ottawa / University of Ottawa, 2014. http://hdl.handle.net/10393/31785.
Der volle Inhalt der QuelleBergasa, Ingrid. „Traduction et commentaire de poèmes de l’Anthologie latine“. Paris 10, 2011. http://www.theses.fr/2011PA100064.
Der volle Inhalt der QuelleThe thesis work I did consists in a translation of poems from the Latin Anthology with a commentary. The corpus is composed of texts from Luxorius, Symphosius, Coronatus, Caton, Felix, Florentinus and some anonymous authors. Those poems have been written in Africa, under the reign of the Vandals, between Hildiric and Geiseric’s times, and have been gathered in an anthology by the years 530-534, just before the Byzantine conquest. They were writtten in a troubled period that saw a lot of political and social changes and therefore give us many information on those times. They emphasize a sure vitality of the Latin litterature under the reign of the last Vandal kings. The translated poems are of various genres : epigrams strongly inspired from Martial, fictive declamations, riddles, cento, locus uergilianus, poems glorifying kings. Some of the poetic genre represented have obviously been created at that time. The poems reveal a high level degree of latin culture, no doubt taught in the numerous schools of rethoric of this part of the world. The poets imitate, quote or adapt the great latin authors, especially Vergil. The quality of the Latin language employed is most of the time quite close to the classical Latin. Those adaptations are a way for the poets to celebrate the glory and the magnificence of Rome beyond its end, and to declare themselves are Roman poets in front of a “barbarian” world. Furthermore the poems reveal links far more complex than it seems to be, between poets obviously belonging to rich roman and scholastic community. This community used to rule Roman Africa before the Vandals as well as the settle political power
Derive, Jean. „Fonctionnement sociologique de la litterature orale. L'exemple des dioula de kong (cote d'ivoire)“. Paris 3, 1986. http://www.theses.fr/1986PA030105.
Der volle Inhalt der QuelleAn analysis of the collected genres of the verbal folklore belonging to an african black society of oral culture (the dioulas from kong). It is regarded as a general system of speech, in which each type of wording finds its social function in its relation to others. These tradition reports are put forward in a corpus of fourty-five distinct genres (book 2 and 3), translated in french (whit a bilingual sample for each) and issued in a critical edition. Its original feature lies in its composition which complies with the specific native manner of representing tradition wording and in its oral literature being taken from the life - it has been performed in whole sessions that have been publi- shed whenever it might be done. This anthology can be used as reference to the study (book 1) that starts from an individual case and raises general thinking over relation between oral literature and society, thus following three main directions: - criteria for a more relevant definition of oral literature and a more suitable structure of the speech (theory of the genres in the field of oral tradition) - elements for a reflection upon oral expression art (creativity, variability, peculiarity of style, stress on the "session" concept) - propositions for a sociology of wording in oral tradition (ideological func- tion of the system made by the different genres, in the economy of social relations)
Slimani, Aït Saada El Djamhouria Achour Christiane. „Géographie, imaginaire, fiction, la plaine du Chélif à travers les textes : tome1 ; Anthologie régionale, la plaine du Chélif à travers les textes : Chlef, Miliana, Ténès tome 2“. [S.l.] : [s.n.], 2008. http://biblioweb.u-cergy.fr/theses/07CERG0321.pdf.
Der volle Inhalt der QuelleHoffmann, Daniel. „Anne-Christin Saß/Verena Dohrn/Britta Korkowsky (Hg.): „… die Nacht hat uns verschluckt“. Poesie und Prosa jüdischer Migrant*innen im Berlin der 1920er und 30er Jahre. Eine Anthologie“. HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2019. https://slub.qucosa.de/id/qucosa%3A36492.
Der volle Inhalt der QuelleHoffmann, Daniel. „Michael Brocke/Jobst Paul (Hrsg.): Gotteserkenntnis und Menschenbild. - (Deutsch-jüdische Autoren des 19. Jahrhunderts. Schriften zu Staat, Nation, Gesellschaft : Anthologie ; 1). - (Schriften zur Jüdischen Sozialethik ; 1) [rezensiert von] Daniel Hoffmann“. Universität Potsdam, 2012. http://opus.kobv.de/ubp/volltexte/2012/6161/.
Der volle Inhalt der QuelleWang, Yu. „La réception des anthologies de poésie chinoise classique par les poètes français (1735-2008)“. Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040041.
Der volle Inhalt der QuelleThis thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry
Rodrigues, Daniel. „Les démonstrations du corps. L'œuvre poétique de Herberto Helder“. Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030166/document.
Der volle Inhalt der QuelleOur thesis analyses the presence of the body in the works of the Portuguese poet Herbert Helder, which is often considered obscure and hermetic. We study his last anthology, Ofício Cantante, published in 2009. It is our opinion that the characteristics we mentioned, in general considered an obstacle to the reading, allow, conversely, the understanding of Helder’s poetic creation, as they can be read as a corporal experience. Our starting point is divided into two hypotheses: the first proposes that the body confounds itself with the text. The second proposes that the body is a category prior to the text, or a textual construct. In both cases, the body is an “inexplicable demonstration”, if we use the words of the poet. We thus follow the evolution of the poet’s different anthologies to show that they offer the reading of the totality of his writings, or their evolution, and that, in fact, they inscribe a discontinuity in the body of his writing. We also try to redeem the persona by studying the poetic voice and the definition of its masculinity. We also propose an analysis of the body as an actor, which is similar to the diseased body and the animal body
Gorichon-Herren, Alexandra. „Les Amours d'Antiochus et Stratonice : un motif légendaire à la croisée des savoirs, des images et des formes, de l'Antiquité à l'Âge classique. Présentation générale et anthologie de textes annotés et commentés“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040183.
Der volle Inhalt der QuelleThe work herein is the careful establishment of an anthology, non-exhaustive yet as representative as possible, of circumstantial stories or connivance allusions occurring in fictional, moral, or medicine text from ancient times to the classical Age, dealing with the legendary motif of the Loves of Antiochus and Stratonice. This prolific legend has the major advantage of using medical-moral knowledge about love-sickness to feed a theatrical and mystifying fable, combining the ancient imaginary with the literary history of exemplary anecdotal narratives. The comparative analysis of the motif's treatment allows us to highlight the joint evolution of love-sickness psychology, poetic exempla, and reflections on the shared knowledge and its dissemination in enlightened opinion, over a millennium. This long term, over which this novel corpus is discussed, reveals a central figure in the European collective imagination, that of lovers in suffering, point of origin of varied narrative, poetic, and dramatic developments. The study flourishes in a logic both diachronic and synchronic: diachronic passage from the pagan world to the Christian world, from the ancient world to the modern world, from the time of "legends" to the age of "reason" ; synchrony on the other hand of a story simple enough to seep into universal memory, and nevertheless rich enough to bear all the complexity and evolutions of a major theme of the Occident: love melancholy
Tresch, Odile. „Rites et pratiques religieuses dans la vie intime des femmes d'après la littérature et les inscriptions grecques“. Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4051.
Der volle Inhalt der QuelleKlein-Zolty, Muriel. „Contes et récits humoristiques du monde juif : chez les Juifs du Maghreb, d'Alsace et d'Europe orientale, installés dans l'Est de la France /“. Paris : Éd. l'Harmattan, 1991. http://catalogue.bnf.fr/ark:/12148/cb369556130.
Der volle Inhalt der QuelleDurosoir, Georgie. „L'air de cour en france (1571-1655) : contribution a l'histoire de la musique dans la societe francaise du xviie siecle : volume 1. catalogue bibliographique de l'air de cour : volume 2. anthologie de l'air de cour polyphonique, volume 3“. Paris 4, 1986. http://www.theses.fr/1986PA040089.
Der volle Inhalt der QuelleFirst part: the time of henry the forth and marie de medicis: chapter 1: the historical and cultural space of the twenty first years. Chapter 11: the books printed before guedron: about thirty, all polyphonic, in the tradition of ronsard's poetry and baif's ideal. (caietain, le blanc, bonnet, planson, the tessier). From 1602 to 1620, (chapter 111), guedron's personnality reaches the firts place, with 6 polyphonics books; they show guedron as the pionneer of french recitative. Chapter iv: gabriel bataille, the queen's lute player, transcribes number of the most famous polyphonic airs for lute and voice, which are printed by pierre ballard in 6 books (1608-1615). The first part ends with a study about guedron's contemporaries. Second part: the time of louis xiii: historical and culturel space, religious ideas and "libertinage" (chapter v). Chapter vi, the royal printers of music, ballard family and their great collections of court airs. Chapter vii, anthoine boesset, the most gifted artist of this period, brings his airs de cour to the climax of baroc aesthetics, and makes them closely dependant on the royal ballet de cour. General bass appes then. Chapter viii: etienne moulinie, at the court of gaston d'orleans, writes many kinds of airs: serious, drinking, comic, spanish and italian; his style shows italian influence. Polyphonic and 5 lute tablature books). Chapter ix is a thought about interpretation, almost instrumental accompaniement and vocal ornament, and about the problem of human passions and their expression, according to the vews of philosophs and theoricians. The conclusion insists on relations between baroc aesthetics and air de cour, and on the conservatism of french composers in the first aprt of the 17th century
Vincent, Manon. „Les animaux dans la littérature hellénistique“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040225.
Der volle Inhalt der QuelleOur study focuses on animals in Hellenistic literature. We deliberately chose to work on a large text corpus in order to highlight the multiple representations of the animal appearing in the texts of the period. The first part of this study is devoted to animal imagery through which the authors describe the characters and human qualities, exposing, to a lesser extent, the analogue relationship between animals. The second part aims to show existing relationships, symbolic or real, between man and animal. The staging of the animals in the story reflects thepractices and ways of thinking of the Hellenistic society towards the animal. The last part of this study presents the attempts to objectify the behaviours and qualities of the animal. In that sense, it shows the rise of philosophical schools and sciences of the period by the philosophical and didactic approach to animal nature. In texts, Hellenistic thought reveals the continual tension between belief and knowledge, between cultural representations and "scientific data" of the animal. If the authors conceive man as belonging to the animal biological continuum, they stand out by the assertion of their superiority in an intellective perspective
Mansour, Rym. „L'utilisation du piano dans la musique arabe du XXème siècle : organologie et analyse“. Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2093.
Der volle Inhalt der QuelleArabic music is characterized by a rich modal diversity. For its quarter tones included in several modes, ornamentation made while playing special stamps, its execution becomes a kind of disability forced by its particular modes that are often outside the tempered musical system. This does not preclude the presence and use of piano in arabic music whether in accompaniment (instrumental or vocal) in a group or arabic "takht" or even solo. This issue was addressed more comprehensively. The study of the relationship between West and East is a challenge to list the details of a very broad and multidisciplinary acculturation (music, theater, film, social, political ...) In several books and several research projects, musical interaction between these two worlds has been treated in general. Therefore, we find that specific and targeted treatment of our research is presented in the study of the insertion of the piano in the Arab civilization at first and then in arabic music. The merger between an icon of the West and a music modal character, even ethnic, is impressive which brings us to treat this phenomenon in a thesis
Sieffert, Mathias. „L'écriture de la voix. Poétique du rondeau sans musique à la fin du Moyen Âge (1350-1465)“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA066.
Der volle Inhalt der QuelleNherited from the 13th-Century rondet de carole, the rondeau became a polyphonic musical genre at the age of the ars nova, and tends to be used, in 14th and 15th Centuries manuscripts, as a textual lyric. This thesis uncovers how, from Guillaume de Machaut to Charles d’Orléans, a short and redundant poetical text, which was supposed to be sung became non musical poetry. In the first part of this study we consider the textual rondeau as a rhetorical « ghost of a voice » : we study the history and genealogy of the form from a musical and rhetorical perspective, show how the absence of music impacts the layout and how fiction and narrative relocate the interpolated textual rondeaux in a vocal, musical or epistolary horizon. The next part investigates the way scribes and poets gather collections of rondeaux from a codicological perspective. We offer a typology that distinguishes « hybrid collections », « sections » and « canzonieri ». Through these three kinds of « mises en recueil », we analyze the use of the rondeau in manuscripts from Machaut, Froissart, Christine de Pizan, Eustache Deschamps, Oton de Granson and Jean de Garencières, which finally leads to a detailed analysis of the chançons by Charles d’Orléans, written c. 1440 in the BnF fr. 25458. The last part examines the rise of a scriptural genre : the poetical evolution of the rondeau reveals a rhetorical shift from the ornatus facilis to the ornatus difficilis, especially with Charles d’Orléans who initiates a fully bloomed literary genre. We then analyze, in the last two chapters, collective practices of quoting and rewriting to show how the rondeau becomes a scriptural game, consisting in expanding and recycling ambiguous formulas, especially in a new kind of collections we call « creative anthologies »
Berra, Aurélien. „Théorie et pratique de l'énigme en Grèce ancienne“. Phd thesis, Ecole des Hautes Etudes en Sciences Sociales (EHESS), 2008. http://tel.archives-ouvertes.fr/tel-00674183.
Der volle Inhalt der QuelleLecostey, Isolde. „La littérature à l'épreuve du sourire : éléments pour une étude de l'humour noir au XXe siècle“. Thesis, Paris 10, 2018. http://www.theses.fr/2018PA100107.
Der volle Inhalt der QuelleThis dissertation offers new elements for the description and the analysis of the literary register that is dark humour. It is based on the considerations that André Breton developed in his Anthologie de l’humour noir (1966), and at the same time, it replaces them within the surrealist theories, in order to demonstrate that the author creates a register perfectly suited to the defence of his opinions about art and Modernity. The selection that is made in the Anthologie can henceforth be approached with a fresh eye and analyzed from a literary point of view : dark humour would then be defined as a bipolar register, built on a confrontation between two tendencies, a hermeneutic one and a terrorist one, but which both question the value of the speeches that pretend to represent reality. The literary features of dark humour can thus be analyzed, as well as its evolutions after the Second World War. Indeed, at that time, dark humour becomes more popular in the media, and the authors who use it take into account its acquaintances with literary genres that lack legitimacy. The evolutions of the register are studied through the work of three writers : Joyce Mansour, Roland Topor and Jean-Pierre Martinet. Their narratives follow similar patterns which, on the whole, aim to dismantle the traditional narrative schemes. Thus, dark humour questions the reader about his reading habits and breaks the contract entered into with the author, in order to call into question the possibility of a community unified by the – unequal – share of a common culture and language. Dark humour thereby postulates the existence of a community that cannot be found by literature, within narratives that claim their illegitimacy
Hussenet, Olivier. „À la fois théâtre et musique : la chanson, ars d'incarnation“. Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0080.
Der volle Inhalt der QuelleHow can one, how does one trace the contours of ‘song’? Acknowledging the elusive nature of the object ‘s essence (because of its highly disparate and heterogeneous nature), we propose to deal with the issue of the object’s delineation in a pragmatist perspective. In the first part of this dissertation, the attempt to delineate the object called “chanson” (song) encounters a series of miscellanous obstacles. The successive definitory attempts build and reproduce essentialist presuppositions (the song-in-itself) and formal standards or thematic norms which prevent them from framing the object and create leftovers. The arbitrariness of definitions found in dictionaries and books on the history of song is compounded by the heterogeneous nature of ‘chanson’ on different levels : artifact, style and situated occurrence. The use of the term “chanson” followed by a series of adjectives creates a categorization leading to a generic labyrinth dominated by a priori hierarchy and normative presuppositions. Considering “chanson” as a hypergenre (in the sense of Maingueneau) might provide a solution.In a second section, the importance of considering the different ‘moments’ of song becomes more apparent. Depending on the moment considered, the patrimonialization processes differ: the constitution of a corpus, anthologization, establishment of a repertory (repertoire). Heritage and the objects that compose it are interdependent. Exclusively institutional forms of patrimonialization, such as Fortoul’s 1852 survey or the musical folklore mission in Lower Brittany in 1939, do not construct the same object as the joint initiative of the French Museum of Popular Arts and Traditions and radio station Europe 1, to create a ‘Musée de la Chanson’ – “Song Museum” – in the early 1960s. Patrimonialization through repertory (which is the choice of ‘Le Hall de la chanson’ – "Song Hall of Fame" –, founded in 1990) would appear to be more inclusive because it is multidirectional. Unfortunately, it runs the double risk of trying to defend an objet seen as inferior and having to steer clear of the trope of the threat of extinction.In a third section, the adoption of a pragmatist perspective renders possible a dramatic change of perspective : the object is no longer seen as a semantic structure to be interpreted; rather it attains the status of “organizational object” (Garfinkel 2001). From there, the inquiry goes on to discuss song’s agency viewed in terms of its delivery in singing mode and its deployment in acting mode, firstly through the example of the constitution of a prescriptive apparatus in the context of 17th- and 18th-century Catholicism, then through the analysis of an ordinary theory developed in a treatise whose author was herself a singer : Yvette Guilbert. Two series of song-implementation trials are then examined: : those of the characterization of the object and those of a given song’s actual materialization. Finally, the ‘chanson’ object is approached from the standpoint of involving the performer’s skills and studying the pedagogical setting in which the art of song performance is handed down
Cunningham, Mélanie. „Anthologie des sonnets au Québec“. Thèse, 2009. http://hdl.handle.net/1866/6459.
Der volle Inhalt der QuelleFirmbach-Dassing, Heidemarie. „Paratexte von Sagenbüchern“. Doctoral thesis, 2003. https://nbn-resolving.org/urn:nbn:de:bvb:20-opus-6606.
Der volle Inhalt der QuelleThe book "Seuils" written by the French literature specialist Gérard Genette was translated into German under the title "Paratexte". Genette describes the paratext as "all the ways in which a text makes itself a book and presents itself as such to its readers, and more generally to the public." (Genette, Gérard: Paratexte. Das Buch vom Beiwerk des Buches. Frankfurt a.M., 2001, p. 10.) In this dissertation the paratexts of 47 books of legends are investigated. The corpus is divided into the following two periods of time: a) Corpus containing books of legends from 1851 to 1925. b) Corpus containing books of legends from 1946 to 1998. The analysed paratexts, for example, are: the publisher's name, the title, the preface, the script, illustrations and the cover
Meddeb, Nader. „La modernisation de Tunis : un urbanisme et une architecture d’État au miroir d’une anthologie de la percée dans la médina (1881-1987)“. Thèse, 2015. http://hdl.handle.net/1866/14028.
Der volle Inhalt der QuelleThis thesis deals with some key moments in the modern urban and architectural history of Tunis, in conjunction with the problematic of building a straight avenue through the historical core of the city : the Medina.This intervention in ancient urban fabric has its origins in an urban modernization project launched by the Beys of Tunis during the 19th century, pursued by the French coloniser from 1881 to 1956 and then by the independent government from 1956 to 1987. The research is organised in three time periods with main focus on the project called “la percée de la Casbah” adopted by the first president Habib Bourguiba at the end of 1959. For several reasons, it has been quoted in a sketchy way in the literature despite its importance in understanding the actual urban and architectural face of the Tunisian capital. In order to understand this chapter more thoroughly, we had to go back to the first attempts of urban improvement of the city conducted by the French coloniser since 1887. Studying further, we were able to identify the direct ancestor of what we called “la Percée Bourguibienne” appearing in the master plan of Tunis in 1948. From the first period (1881-1956), we highlighted the colonial strategies in managing the territory and their relationship to the process of valorisation/devalorisation of the Arab-Islamic heritage. The second period (1956-1964), coinciding with the initiation of decolonization conducted by the independent government since 1955, is being marked by an “open International competition for studying the development of the city of Tunis” organized by the Secretariat of State for public works in collaboration with the International Union of architects. Studying this event and the following seminar, the real political and economic reasons could be unveiled, concealed behind the trivial arguments concerning hygiene, traffic and beautification of Tunis. In order to reinforce this conclusion, the third period (1964-1987) has been dedicated to studying the main projects following the competition. The approach of the authorities focusing on the symbols of power and the obsessive desire to take ownership of them, reduced this improvement plan to a simple redistribution of the symbols of national sovereignty in favor of centralization and personification of the political power. This thesis belongs to the postcolonial studies. It projects a critical point of view on the decolonization in relation to what we named “urbanisme d’état” (urbanism of State). Propelled by a certain perception of Modernity, this urbanism is closely related to the political instrumentalization that puts emphasis on the question of identity and heritage, insists on rupture with the past simultaneously and tends to distract the public conscience from the issues related to territory development and preservation of collective memory. By using both of the methods: the contextual analysis of historical facts and the typomorphological analysis, this research draws attention to the magnitude of some governmental decisions regarding the development of urban space and the conservation of the architectural heritage throughout the time. It also informs about the role of communities, the elite and the professionals in channeling these decisions for or against their right to the city.
: تتطرق هذه الأطروحة إلى فترات معينة من التاريخ المعماري و الهندسي الحديث لمدينة تونس و تتناولهن إنطلاقا من مشكل شق المدينة العتيقة المبرمج ضمن مشروع تحديث البلدة الذي أسس إليه البايات في أواخر القرن التاسع عشر و واصلته الحماية الفرنسية ما بين 1881 و 1956 ثم الحكومة المستقلة طيلة الفترة المتراوحة بين 1956 و 1987. إستنادا لهذا، ينقسم البحث إلى ثلاث فترات يتوسطها ما يسمى بمشروع شق القصبة الذي تبناه الرئيس بورقيبة في أواخر 1959.غالبا ما يتم ذكر هذا الحدث سطحيا في النصوص رغم أهميته في فهم الوجه الحالي للعاصمة التونسية. لاستعابه، قمنا بالرجوع إلى أولى محاولات شق المدينة من طرف المستعمر في 1887، و من هنا تدرجنا نحو أصل المشروع البورقيبي الذي تضمنه المثال الرئيسي لتونس في 1948. من خلال دراستنا لهذه الفترة الأولى، تجلت لنا السياسات الإستعمارية في التهيئة العمرانية وعلاقتها بعملية الترقية/ التخفيض من شأن تراث الحضارة العربية الإسلامية. تتخلل الفترة الثانية الموافقة لعملية القطع مع النظام الإستعماري التي شرعت فيها الدولة المستقلة منذ 1955، "مناضرة عالمية مفتوحة لدراسة التهيئة العمرانية لمدينة تونس" نظمتها إدارة الدولة للأشغال العامة بالتعاون مع الإتحاد العالمي للمهندسين المعماريين. دراستنا لهذا الحدث و الندوة التي تبعته أزاحت الغطاء عن مسبباته السياسية و الإقتصادية التي غالبا ما تخفيها مشاكل النظافة، التجوال و تجميل تونس الكبرى. لمزيد دعم هذه النتائج، إهتممنا في الفترة الثالثة والأخيرة بالأشغال في تونس إثر المناظرة. التركيز على الأماكن الرامزة للسلطة والرغبة الملحة من السلطات للتملك بها جعلا من هذه الأشغال مجرد إعادة توزيع لرموز السيادة الدولية و العمل على مركزة السلطة و تشخيصها هذا العمل يندرج ضمن "دراسات ما بعد الإستعمار" ويقترح نظرة نقدية لعملية القطع مع النظام الإستعماري في علاقتها بما سميناه "تعمير الدولة (أو السلطة)". يدعم هذا التعمير تصور معين للحداثة لا يمكن فصله عن بعض الحسابات السياسية المرتكزة على قضايا الهوية و التراث، على الفصل التام مع الماضي و إقصاء الرأي العام من جل المسائل المتعلقة بالتهيئة العمرانية و صيانة الذاكرة العامة. بتحليلها لبعض الوقائع التاريخية وقراءتها التيبومورفولوجية لعملية شق القصبة، هذه الدراسة تحسس بجسامة بعض القرارات الحكومية في ما يخص تهيئة المجال العمراني و الحفاظ على الموروث المعماري في الأمد القريب، المتوسط والبعيد. وتوضح أيضا أهمية دور المجتمعات المحلية، النخبة المثقفة والمهنيين في توجيه هذه القرارات لصالح أو ضد حقهم في المدينة
Kuret, Primoz. „MUSICA NOSTER AMOR - Slowenische Musik von ihren Anfängen bis heute. Eine Anthologie der slowenischen Musik (16 CD). Text (slowenisch und englisch) von Ivan KIemeneie, Ljubljana 2000 [Rezension]“. 2002. https://ul.qucosa.de/id/qucosa%3A15893.
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