Auswahl der wissenschaftlichen Literatur zum Thema „Études sur le genre – 17e siècle“
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Zeitschriftenartikel zum Thema "Études sur le genre – 17e siècle"
Tabaki, Anna. „Η Émilie du Châtelet ανάμεσα στον ορθό λόγο και τον ευδαιμονισμό“. Gleaner, Nr. 30 (03.01.2024): 287–324. http://dx.doi.org/10.12681/er.36102.
Der volle Inhalt der QuelleBirolli, Viviana, Camille Bloomfield, Mette Tjell und Audrey Ziane. „Manart : une base de données sur les manifestes artistiques et littéraires au XXe siècle“. Études littéraires 44, Nr. 3 (09.06.2014): 149–50. http://dx.doi.org/10.7202/1025487ar.
Der volle Inhalt der QuelleBataillon, Louis-Jacques. „Similitudines et Exempla dans les Sermons du XIIIe Siècle“. Studies in Church History. Subsidia 4 (1985): 191–205. http://dx.doi.org/10.1017/s0143045900003628.
Der volle Inhalt der QuelleJean, Bruno. „Les études rurales québécoises entre les approches monographiques et typologiques“. Recherche 47, Nr. 3 (09.03.2007): 503–29. http://dx.doi.org/10.7202/014656ar.
Der volle Inhalt der QuelleAmâncio, Lígia. „Reflections on science as a gendered endeavour: changes and continuities“. Social Science Information 44, Nr. 1 (März 2005): 65–83. http://dx.doi.org/10.1177/0539018405050444.
Der volle Inhalt der QuelleVeríssimo Serrão, Adriana. „O Adeus à Essência. Natureza, Cultura e Carácter na Antropologia Filosófica da Época Moderna“. Philosophica: International Journal for the History of Philosophy 8, Nr. 15 (2000): 135–49. http://dx.doi.org/10.5840/philosophica200081510.
Der volle Inhalt der QuelleHarton, Marie-Eve. „Les rapports de genre et de génération au sein des ménages : une double influence sur la fécondité effective des Canadiennes françaises au début du xxe siècle1“. Articles 30, Nr. 2 (12.03.2018): 59–79. http://dx.doi.org/10.7202/1043922ar.
Der volle Inhalt der QuelleHarton, Marie-Ève. „Veuvage et remariage à Québec à la fin du xixe siècle : une analyse différentielle selon le genre1“. Articles 37, Nr. 1 (06.04.2009): 13–34. http://dx.doi.org/10.7202/029638ar.
Der volle Inhalt der QuelleMinaca, Monique. „La Charte européenne des femmes dans la cité. Pour un droit de cité des femmes“. Dossier : Droit de cité : actions et réseaux féministes 10, Nr. 2 (12.04.2005): 155–79. http://dx.doi.org/10.7202/057941ar.
Der volle Inhalt der QuelleLinos, Marie, Mélanie Fabre und Margot Elmer. „Des mécanismes genrés dans la production scientifique : une histoire sociale et transnationale des femmes dans les sciences de l’homme (fin xix e – mi xx e siècle)“. Les Études Sociales 178, Nr. 2 (19.02.2024): 5–34. http://dx.doi.org/10.3917/etsoc.178.0005.
Der volle Inhalt der QuelleDissertationen zum Thema "Études sur le genre – 17e siècle"
Bonnefoy, Aurélie. „Portraits et rhapsodie : les figures de femmes dans Les Historiettes de Tallemant des Réaux“. Electronic Thesis or Diss., Montpellier 3, 2023. http://www.theses.fr/2023MON30033.
Der volle Inhalt der QuelleOur thesis proposes to shed light on the composition of Tallemant des Réaux's Historiettes, between portraits and rhapsody, through the prism of the figuration of women. This is not a juxtaposition of meaning that would be fortuitous or contingent : our postulate is on the contrary that the relationship of the two modes of narrative and representation is essential and profoundly dynamic.. Tallemant des Réaux is certainly the product of a metis culture and the attendance of social salons, spaces where the empire of women is exercised, partly determines it ; women abound in the Historiettes, but in return female figures nourish and legitimize the word of an author who seeks his voice.The issue at hand is to show that female figures, as they are evoked, highlight the representations and contradictory voices that form the threads of the contexture of the text. Deeply ambiguous, the Historiettes oscillate between beautiful gallantry, the art of pleasing women, and the more masculine Gauloiserie that gladly mocks their weaknesses. Such tensions raise the question of gallantry anew and question the role of women in regime change in modes of representation. Set in the middle of the century, the Historiettes operate a gallant adaptation of the ancient tradition of lives, essentially masculine that does not go without tensions. One cannot imagine that only Gauloiserie dominates in the work and if obscenity is not absent, it is a question of looking for the invisible correspondences woven with the epic. Indeed, the use of figures of evidence and the transfiguration of a triad of women models of gallant aesthetics implies Tallemant's reconfiguration of androcentric and androcratic social cartography
Foucher, Charlotte. „Un symbolisme enfoui : les femmes artistes dans les milieux symbolistes en France au passage du siècle (XIXe-XXe)“. Paris 1, 2012. http://www.theses.fr/2012PA010707.
Der volle Inhalt der QuelleNdami, Chantal. „Agricultures familiales et dynamiques de genre au Cameroun, de la fin du XIXeme siècle aux indépendances“. Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCC070/document.
Der volle Inhalt der QuelleThe development of commercial crops such as cocoa and coffee exclusively for export at the end of the nineteenth century deeply transformed Cameroon's rural areas as well as the social and economic structures of the societies that adopted them. In the Bamileke and Beti societies, agriculture was based on the principle of a sexual division of labor in which women had a central role in food production. Agricultural work was one of the components of female identity and gave women a major economic role in these societies. The introduction of export crops during the colonial period led to a transformation of agrarian systems that affected the role of women. This study analyzes the evolution of gender relations, notably through the coexistence of food (female) and export (male) cultures on family farms. It explores the way in which colonial policies influenced both family systems of agricultural production and social relations (elders-cadets, men-women), especially with regard to access to productive resources. It highlights the ways Bamileke women struggled to preserve their social and economic rights at the end of the colonial period
Li, Xin. „Entre scène et hors scène : étude sur l’espace dans la tragédie française de l’âge classique“. Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040082.
Der volle Inhalt der QuelleThe 17th century has witnessed the full bloom of the creation of the tragedies in France. My thesis proposes a research on a less studied component in this theatre—space. The first chapter of my study tries to draw the geography of the classical age tragedy and establish the possible links between places and themes, then I address myself to the different spaces represented by the stage and their characteristics. The second chapter quits the stage to discover the offstage topography. We shall see the function of these offstage spaces, their exchanges with the stage and the dynamisms that come from these exchanges. Conforming to a purified aesthetics, the classical tragedy relegates numerous events behind the scene. In the second part of this chapter, I try to classify these events and question why they happen offstage. The third chapter approaches the space in speech, the space as it is experienced by the characters. I analyze how the characters associate the spaces (on stage or offstage) with different human experiences and destinies. In certain plays, space itself can be at stake. The stakes implicated in space will be analyzed. The fourth chapter focuses on the characters’ body and objects on stage. Characters’ movements and theatrical objects contribute to the creation of theatrical space. The tragic scene is overall a stripped space where the heroes are primordially ‘speaking beings’. Gestures and objects, when they exist, are highly significant on the tragic scene. Lastly I conclude that space is far from being an inert set in the 17th century French tragedy. It is an element that maintains different dynamics with characters
Legrand, Amélie. „Les romancières sous la Restauration : réception, construction des identités de genre, histoire du roman“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040195.
Der volle Inhalt der QuelleFrom the end of the XVIIIth century, women had access to reading and writing on a much broader scale, and they began to take over the public scene, which was until then mainly reserved to men. Under the Restoration particularly, the number of women novelists and their works increased. However, few of these women who were very successful in their time are known nowadays. Their production is associated to a sentimental novel considered a feminine subgenre, less noteworthy than the realist novel which appeared around 1930. The present work offers to reconstruct the literary field of the Restoration era in order to question this representation. This consists first in observing how women novelists are received, at a time when the government tries to reassert a traditional division of gender roles and identities, in order to give France a new stability after the sociohistorical upheavals resulting from the French Revolution. Understanding the historical background of the literary field will then enable us to understand the determinations hanging over the ethos of women novelists and their aesthetic strategy. In the light of their theoretical positioning, the analysis of their works will finally be aimed at reevaluating to what extent they contributed to the constitution of the history of the novel, and measuring, within this history, the influence of gender relations
Kallenberg, Vera. „Entre extrême et quotidien : les Juives et les Juifs face à la juridiction pénale francfortoise (1780-1814)“. Paris, EHESS, 2016. http://www.theses.fr/2016EHES0054.
Der volle Inhalt der QuelleFor the first time in the field, this dissertation explores,systematiccaly and praxeologically by way of qualitative: analysis, the treatment of Jews by and their agency within Christian authoritarian criminal jurisdiction at the turn of the 19th century. The study looks at the criminalization of Jews within penal and regulatory law (Policeyrecht) as well as within specific legislation pertaining to Jews and judicial praxi between 1780 und 1814. Due to a decreased body of source material after 1806 and due to the fact that shift between 1780 and 1814 are particularly visible within agent's discursive negotiation processes, I drew on microanalyses of selected cases in order to trace the ambivalent status of Jews in penal and regulatory law (Policeyrecht) within judiciary praxis. Drawing on quantitative analyses and qualitatively analyzed case studies I contextualize these cases. The project focuses on the two following areas of conflict: "Jewish maleness(es), honour, and violence" and "gender, menial relations and Jewish households", and illuminate them with the aid of microanalyses. Analyzing six case studies I elaborate on how Jewish women and men came before, or went to court, how they acted there, and along which lines lawyers and judges made their cases and assessed penalties. In so doing, I exhibit the interplay between penal law, juridical factors and their respective offender's actions and social status, particularly their being Jewish, and the impact this had on their treatment and agency in court
Ritz-Guilbert, Anne. „Autour du Bréviaire de Marie de Savoie (Chambéry, Bibliothèque municipale, ms. 4) : étude sur l'enluminure en Lombardie dans la première partie du XVe siècle“. Paris, EPHE, 2005. http://www.theses.fr/2005EPHE4054.
Der volle Inhalt der QuelleThe breviary in the municipal library of Chambéry, Ms4, was made at the request of Marie de Savoie (1411-1469), the daughter of the Duke Amadeus VIII and the wife of Filippo Maria Visconti, Duke of Milan. Each of the 106 textual in the book is marked by an initial with a religious scene; the margins, on the other hand, are transformed into a playground for secular motifs (naturalistic animals, Putti, etc. ) lodged on spiralling tendrils. P. Toesca and later art historians have distinguished two main painters in the book, the master of the vitae imperatorum, assisted by a collaborator who imitates his style, and Belbello da Pavia who appears on four folios. Although the manuscript has long been recognized as one of the masterpieces of Lombard illumination, providing both a fine example of the style of the duke of Milan's preferred painter and a display of naturalistic animal-painting, it has never been fully studied in terms of its make-up, style or iconography. Since 1969 the manuscript, which is painted by several artists closely related in style, has been embroiled in an often nebulous debate launched by A. Stones concerning the distinction between the styles of the master of the vitae imperatorum and the Olivetan master. The system of marginalia, however, which is quite exceptional in Lombard illumination of the period, has never been studied and forms the centrepiece of this thesis. The study proposes as sources of inspiration for the marginalia a thirteenth-century north French manuscript in the duke's library as well as a model-book on animal studies, then regroups and traces the history of the relatively few manuscripts that prolong the tradition
Bastin-Hélary, Fleur. „Le Roman viril : fictions et dictions du féminin chez Zola : des Contes à Ninon à Justice“. Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC007.
Der volle Inhalt der QuelleThe Zolian novel is eminently talkative. It is not easy to point out where the voice comes from ; who gives and takes the right to speak, be it the narrator or his doubles – men of the Church or of the State, men of business, letters or science. What is obvious however, is that this voice which permeates the officially objective narrative of the realistic novel is infallibly a masculine one. Informed, authorized, even authoritarian, the masculine discourse takes on the feminine one by either silencing it, or allowing it to approve of, sometimes to reiterate obediently, the elementary “truths” about itself. This is not only about chasing the stigmatizing tendencies of a discourse typical of certain characters, but also about grasping the effects of this discourse on the female readers ; the dumb, fancied listeners to the tyrannical pedagogy of a writer who was both influenced by the stereotypes of his time and stirred by an original reformist spirit
Bardelmann, Claire. „Musique et théâtre en Angleterre, c. 1580-1642 : une convergence des arts à la Renaissance“. Paris 4, 2000. http://www.theses.fr/2000PA040187.
Der volle Inhalt der QuelleBeer, Cécile. „La rivalité amoureuse entre père et fils sur la scène française du XVIIe siècle : un schème transgénérique (1631-1685)“. Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040086.
Der volle Inhalt der QuelleThis thesis questions the scheme of the amorous rivalry between father and son which was used for the first time in all genres in seventeenth century French theatre. The research is based on a representative corpus of three dramatic genres of the period – comedy, tragi-comedy and tragedy – and includes about forty plays. The objective of this study is to demonstrate that this dramatic structure is doubly subversive in the period of the seventeenth century. On the aesthetic level, this conflict overcomes the stage even though the theoretic discourses of the period aimed to separate and classify dramatic genres according to a hierarchical system. The thesis studies the strategies developed by dramatists to adapt this dramatic scheme to aesthetic rules specific to each dramatic genre. On the ideological level, this type of conflict brings out the rivalry between the two representative males of the lineage. In the particular context of the seventeenth century, defined by historians as “l’âge d’or des pères”, this leads to reconsideration of the sociopolitical and religious functioning of the so-called “Ancien Regime”. Through the triumph of the rival son, is the authority of the patriarch challenged, and consequently, the one of the king in the state? Or, on the contrary, does the highlighting of the victory of the rival father reassert the legitimacy of the well-founded system? Would the rivalry between father and son, under its gallant appearances, bring a more serious speech and reveal an evolution in society? How does the gallantry, by transcending the limits of the dramatic genres, question politics? This study is based on these two aesthetic and ideological questions
Bücher zum Thema "Études sur le genre – 17e siècle"
Camille, Esmein, Hrsg. Poétiques du roman: Scudéry, Huet, Du Plaisir et autres textes théoriques et critiques du XVIIe siècle sur le genre romanesque. Paris: Honoré Champion, 2004.
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