Auswahl der wissenschaftlichen Literatur zum Thema „Art et littérature d'avant-garde“
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Zeitschriftenartikel zum Thema "Art et littérature d'avant-garde"
Kibédi Varga, Aron. „Réflexions sur le classicisme français: littérature et société au XVIIe siècle“. Revue d'histoire littéraire de la France o 96, Nr. 6 (01.06.1996): 1063–68. http://dx.doi.org/10.3917/rhlf.g1996.96n6.1063.
Der volle Inhalt der QuelleLesbats, Cl. „La démarche "excentrique" de "La N.R.F." de Jacques Rivière“. Revue d'histoire littéraire de la France o 87, Nr. 5 (01.05.1987): 826–36. http://dx.doi.org/10.3917/rhlf.g1987.87n5.0826.
Der volle Inhalt der QuelleAsholt, Wolfgang. „Entre esthétique anarchiste et esthétique d'avant-garde: Félix Fénélon et les formes brèves“. Revue d'histoire littéraire de la France o 99, Nr. 3 (01.03.1999): 499–514. http://dx.doi.org/10.3917/rhlf.g1999-99n3.0499.
Der volle Inhalt der QuelleDagen, Philippe. „Le "moderne" et l'"abstrait": Rivière entre Cézanne et Matisse“. Revue d'histoire littéraire de la France o 87, Nr. 5 (01.05.1987): 858–74. http://dx.doi.org/10.3917/rhlf.g1987.87n5.0858.
Der volle Inhalt der QuelleArbour, Rose Marie. „Arts visuels et espace public. L’apport de deux femmes artistes dans les années 60 au Québec, Micheline Beauchemin et Marcelle Ferron“. Articles 2, Nr. 1 (12.04.2005): 33–50. http://dx.doi.org/10.7202/057533ar.
Der volle Inhalt der QuelleForestier, G. „Une dramaturgie de la gageure“. Revue d'histoire littéraire de la France o 85, Nr. 5 (01.05.1985): 811–19. http://dx.doi.org/10.3917/rhlf.g1985.85n5.0811.
Der volle Inhalt der QuelleBrown, Kathryn. „Attention Seeking: Tristan Tzara's Art Critical Prose Poetry“. Nottingham French Studies 62, Nr. 2 (Juli 2023): 193–209. http://dx.doi.org/10.3366/nfs.2023.0380.
Der volle Inhalt der QuelleGodard, Barbara. „La traduction comme réception : les écrivaines québécoises au Canada anglais“. TTR : traduction, terminologie, rédaction 15, Nr. 1 (29.07.2003): 65–101. http://dx.doi.org/10.7202/006801ar.
Der volle Inhalt der QuelleBergeron-Foote, Ariane. „Le livre de raison de Guillaume Tabourot et Jeanne Bernard, notables bourguignons (Heures à l’usage de Rome, Université McGill, MS 154)“. Renaissance and Reformation 39, Nr. 4 (05.04.2017): 169–98. http://dx.doi.org/10.33137/rr.v39i4.28162.
Der volle Inhalt der QuelleWallace, David. „À propos du Chili et de l'évolution du roman. Entretien avec Roberto Gac“. Sens public, 04.06.2015. http://dx.doi.org/10.7202/1052139ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Art et littérature d'avant-garde"
Dumoulin, Gilles. „Du collage au cut-up (1912-1959) Procédures de collage et formes de transmédiation dans la poésie d'avant-garde“. Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00943454.
Der volle Inhalt der QuelleMartinez-Chauvin, Andrea. „L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)“. Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
Der volle Inhalt der QuelleIs it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
Montabord, Karine. „Dada et la danse : dans les interstices de l'interdisciplinarité (1913-1924)“. Electronic Thesis or Diss., Bourgogne Franche-Comté, 2023. http://www.theses.fr/2023UBFCH032.
Der volle Inhalt der QuelleThe backbone of this study is the fact that dance, even if not continuous, is a constant in dada events. Past researches focus on the meeting in Zurich, between the dadaists, Rudolf Laban dance school and Mary Wigman, however dance itself has never been the central point of a global study, taking into account a larger group of Dada locations. This thesis studies the events that took place between 1913 and 1924 in the four major hearts of Dada : New York, Zurich, Berlin and Paris as well as Geneva and the Dada Tour in the Netherlands. The argument of this work is approached from two angles: first, an emphasis on identifying (who dances, what, when and why? How does dance take place in the events? ) and second, putting the emphasis on the impact that dance within the dada movement had on artistic production, especially for the visual arts. Dance is not approached as an isolated event but instead is linked with other dada activities, in the context of an interdisciplinary exchange. Dadaists meet in cafes, private lounges, concert halls and ballrooms, dance is part of their everyday life and is thus approached initially as a social practice, as entertainment meaning leisure but also the diversion of forms of expression. Dance is also used as a medium favoring interdisciplinary exploration, kinesthetic experiences that artists can then transpose in their works, thanks to common elements between dance and visual arts. Thereafter, the traces of dance can be explored, as a subject as well as a metaphor. Finally, dadaists call for a renewal of the materials of art. However, during the events, the body is seen as a crucial material, readily available for artists. Hence, the interest taken in materiality and plasticity of the body also establishes a path towards dance
Rondinelli, Maria Francesca. „Histoire littéraire, artistique et culturelle de la naissance des avant-gardes surréalistes en Égypte francophone, des années 1920 aux années 1940“. Thesis, Université Grenoble Alpes, 2020. https://thares.univ-grenoble-alpes.fr/2020GRALL007.pdf.
Der volle Inhalt der QuelleIn Egypt from the end of the thirties to the post-war period, a group of young intellectuals led the collective "Art et Liberté / Al-Fann w-al-Hurryiah". From an artistic, literary and political point of view it conveyed libertarian, revolutionary and egalitarian messages that were almost unique in the Middle East.The collective was inspired by the principles of the Fédération Internationale de l’Art Révolutionnaire et Indépendant, created in 1938 by André Breton and Léon Trotski, it gathered around the French-speaking polemicist Georges Henein and the artist and theorist Ramses Younane. The group was the cultural center that led to the introduction of the surrealism in Egypt, through five art exhibitions during the Second World War, cultural magazines, also in Arabic and publishers publishing authors that at the time were little known to the general public.Through the analysis of the cultural and artistic context of the period preceding the activities of "Art and Liberty / Al-Fann w-al-Hurryiah", we retraced the circumstances of its emergence and the presence of the futuristic avant-garde and surrealists in Egypt, a territory of welcome and cultural animation which gave birth to autonomous artistic centers.The debate accompanying the nascent Egyptian art torn between calls for an ideal "Egyptianity" and a limitless admiration of everything coming from Europe is symptomatic of the recent artistic practices of the first country of Muslim tradition to have "imported" the European Beaux-Arts.It is in this context that "the surrealist group of Egypt" inscribes its manifestos and its struggles against the state monopoly of culture and art. Proclaiming the freedom of art and its rightful place in an Egypt with set and backward cultural conceptions, the manifestos, conferences, debates, editorial companies and exhibitions that the group animates are all milestones of a cultural revolution to which a part of the Egyptian youth aspires, in a period where one lives the imminent danger of the war and a great intellectual effervescence
Oggero, Elisa. „Une cinématographie et une scénographie d’avant-garde : Carlo Levi et le cinéma (1930-1950)“. Thesis, Besançon, 2012. http://www.theses.fr/2012BESA1036.
Der volle Inhalt der QuelleIn recent years there have been many in depth studies and publications on Carlo Levi's literary and artistic works. However, a section of his work, in particular his work in set design, script writing and film making in general, has been largely neglected by critics. Carlo Levi's association with the film industry started at the beginning of the nineteen thirties and extended to the beginning of the nineteen fifties. During these years, Carlo Levi had the opportunity to work not only with famous artists like Enrico Paulucci, Italo Cremona and Carlo Mollino, with whom he designed the film sets of Patatrac and Pietro Micca, but also with men of letters of the stature of Mario Soldati, Rocco Scotellaro and Alberto Moravia. The aim of this study is to trace Carlo Levi's career in cinema using information found in archived documentation of various types and from various sources: from sets, synopses and story-boards but also in previously unpublished commercial contracts. The films that he produced cover all genres: from comedy to drama and from documentaries to musicals. Our work makes a hereto unknown section of Carlo Levi's work accessible, thereby contributing to the rediscovery of a major 20th century author
Peyré, Yves. „Généalogie des modernités : poésie et peinture, de la différence au même“. Paris 1, 2008. http://www.theses.fr/2008PA010510.
Der volle Inhalt der QuelleFrezzato, Sylvain. „De la fin du siècle à la naissance d'un art: littérature fin-de-siècle et premier cinéma (1850-1910) : étude des éléments thématiques et poétiques d'une convergence esthétique“. Versailles-St Quentin en Yvelines, 2014. http://www.theses.fr/2014VERS020S.
Der volle Inhalt der QuelleFollowing the evolution of contemporary research, which is eager to reconsider the various orientations of fin-de-siècle artistic expressions according to a shared renewal, and sees fin-de-siècle art as affected by generic and formal fluctuation as well as by a constant blending of influences, this thesis intends to show that the first years of the cinematographic art bear the influence of fin-de-siècle literary movements. This influence is examined in themes and in the cinema’s construction of its own distinct imagination, as well as in the aesthetics and poetic challenges faced by movie directors who, indirectly or not, take part in the transformations initiated by a new generation of authors and artists. Through the exploration of various points, we attempt to closely understand the various analogies that early cinema and fin-de-siècle literature share with the notion of movement. To do so, the thesis is developed around four main features, that is, paradox, diversion, multiplicity and metamorphosis
Farah, Alain. „La possibilité du choc : invention littéraire et résistance politique dans les oeuvres d'Olivier Cadiot et de Nathalie Quintane“. Thèse, Lyon, Ecole normale supérieure, 2009. http://www.archipel.uqam.ca/2331/1/D1835.pdf.
Der volle Inhalt der QuelleRicaud, Lucy. „Esprit d'avant-garde, esthétique et idéologie du vorticisme“. Bordeaux 3, 1997. http://www.theses.fr/1997BOR30044.
Der volle Inhalt der QuelleThis thesis aims at determining to what extent the vorticist movement can be considered to be an avant-garde movement. Does it indeed merit this title? for, it is not enough for it to be merely contemporary in time with other movements, that do comply with the definition of the avant-garde, for us to be able to affirm that vorticism complies too. The movement must thus be considered from three essential standpoints. First, our study of vorticism must be developed with the characteristics and practices of other avant-garde movements in mind. There will therefore be a discussion of movements that are contemporary with vorticism, like imagism or post-expressionism, or those that precede vorticism, such as expressionism, fauvism, dada, suprematism or rayonism. Or again, movements that follow on from vorticism, like surrealism and unanimism. Above all, the discussion will involve the two pet hates of vorticism, two other roughly contemporary movements, futurism and cubism. With these sister movements, vorticism shares a sense of aggresivity, which results no doubt from the military etymology of the term avant-garde, and with this a sense of artistic experimentation at all costs, insipred by the technological developments of the historical context of the time. However, beneath this apparently ultra-modern wrapping a central oxymoron becomes clear : vorticism is a reactionary avant-garde movement. Beneath its avant-garde facades and posturing lies an authoritarian and anti-democratic ideology which runs against the tide, which refuses to go forwards, in true avant-garde style, butwhich wants to go back in time, to an art of strict classical formalism accompanied by a corresponding political theory. The stylistic experimentation of the vorticists, their obsession for the formal exactitude and severity of a geometric style and of abstraction, reflects the intolerance and anti-humanism of their political and moral standpoint. This anti-humanism is aimed particulary against, first women, then homosexuals, and finally the common man and the common reader. It is expressed not only through the contents of the pamphlets and philosophical essays of the members of the group, but also through the feeling of indifference that dominates their portraits or character portrayl. We can thus conclude that the desire to include vorticism within the defined bounds of a rigourous study
Veloupoulé, Aurélie. „Les mouvements de la "Réforme de la Vie" au contact de la culture et des traditions corporelles indiennes“. Thesis, La Réunion, 2017. http://www.theses.fr/2017LARE0043.
Der volle Inhalt der QuelleFrom the end of the 19th century, the Lebensreform (Life reform) covers three aspects which are modernity (industrial era), crisis in values, and the emergence of new artistic, cultural and social practices in German-speaking countries. The Lebensreform is a response to the break with modernity; new collective lifestyles are born. Hosting places build their own lifestyle around a program of renewals and reconciliation with nature, adopting several reforms of life. At the same time, artistic and spriritual India evolved and influenced modern Western art from whence grew cross-cultural gateways and bridges. Artists from the Lebensreform adopted new corporal forms of expression inspired by Indian art (mudrâs, rythm, etc.). This thesis concerns itself with the « esthetic performative » with the knowledge that the art of modern dancing, viewed from the angle of the performative concept, may be said to have emerged as a global mode of communication, and a non verbal language. Modern art as developed in German-speaking community has also led to a new quest, a search for our own identity through an exploratory movement
Bücher zum Thema "Art et littérature d'avant-garde"
Taminiaux, Pierre. Littératures modernistes et arts d'avant-garde. Paris: Honoré Champion éditeur, 2013.
Den vollen Inhalt der Quelle findenBertozzi, Gabriele-Aldo. "Une heure de littérature nouvelle": Projet et réalisation. Paris: L'Harmattan, 2013.
Den vollen Inhalt der Quelle findenBriend, Christian, und Clément Chéroux. Man Ray, Picabia et la revue Littérature. Paris: Centre Pompidou, 2014.
Den vollen Inhalt der Quelle findenSilverberg, Mark. The New York School poets and the neo-avant-garde: Between radical art and radical chic. Farnham, Surry, [England]: Ashgate, 2010.
Den vollen Inhalt der Quelle findenLiliane, Meffre, und Salazar-Ferrer Olivier, Hrsg. Carl Einstein et Benjamin Fondane: Avant gardes et émigration dans le Paris des années 1920-1930. Bruxelles: Lang, 2008.
Den vollen Inhalt der Quelle findenOlson, Marilynn Strasser. Children's culture and the avant-garde: Painting in Paris, 1890-1915. New York: Routledge, 2012.
Den vollen Inhalt der Quelle findenSweet, David LeHardy. Savage sight, constructed noise: Poetic adaptations of painterly techniques in the French and American avant-gardes. Chapel Hill: U.N.C. Dept. of Romance Languages, 2003.
Den vollen Inhalt der Quelle findenRaymond, Williams. The politics of modernism: Against the new conformists. London [England]: Verso, 1989.
Den vollen Inhalt der Quelle findenSweet, David LeHardy. Savage sight/constructed noise: Poetic adaptations of painterly techniques in the French and American avant-gardes. Chapel Hill, NC: University of North Carolina Press, 2003.
Den vollen Inhalt der Quelle findenJouffroy, Alain. Le monde est un tableau: Textes sur l'art moderne et d'avant-garde. [Nîmes]: J. Chambon, 1998.
Den vollen Inhalt der Quelle findenKonferenzberichte zum Thema "Art et littérature d'avant-garde"
Corbí-Sáez, María Isabel. „Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature“. In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
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