Dissertationen zum Thema „Fado - Histoire et critique“
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Pellerin, Agnès. „Représenter le peuple : la chanson dans le cinéma portugais“. Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Der volle Inhalt der QuelleQuestioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Guingané, Jean-Pierre. „Théâtre et développement culturel en Afrique : le cas du Burkina Faso“. Bordeaux 3, 1987. http://www.theses.fr/1987BOR30009.
Der volle Inhalt der QuelleMost of the projects carried out by african countries in the field of economics, politics and culture, since independence, are ended in failure with, as a consequence, a situation of a generalized social crisis engendering misery and suffering far the populations. The question here then, is to show, from the example of burkina faso, the place and the role of theatre in the implemented policies. The study of the social, economic and political conditions, as well as that of the development policy conceived from critera unknown to the social and physical environments, allows us to conclude that the maladjustment of that conception of development to the local realities constitutes the main cause of "under-developement", because it doses not adequately associate the populations to the realization of the projects and does not take into consideration their actual needs. The theatre appears as a means of social communication capable of helping the populations to be more aware politically and of aiding the social integration. For that reason, the theatre, more than the other arts, is a means of development. If one does not limit development to the production and accumulation of material goods as it is the case now, it is possible to envisage a policy, different from that which exists based on local realities and access to the world outside. The results of such policy would be less spectacular but more relevant to the advancement of the populations
Ouedraogo, Adama. „L'image de l'enfant et de son milieu dans les manuels de lecture au Burkina Faso“. Paris 5, 1997. http://www.theses.fr/1997PA05H052.
Der volle Inhalt der QuelleIn Burkina Faso, which is a former French colony, two series of reading handbooks are used in primary education. The first one, +Mamadou et Bineta, published since the colonial period, is officiously used simultanously with a new series currently called + lire au Burkina ;which appeared in the middle of the 1980's. The interest of a comparative study of the content of these books lies in the difference between the ideological contextes in which they have been conceived. When + Mamadou et Bineta ; seems to be part of a vision of africa and Africans consistent with the undertaking of domination initiated since late c19 th , the series + lire au Burkina ;, issued from nationalist an identity claims in Africa, conveys other concerns. The orientation of the two series of handbooks diverges at first sight, and their contents mainlly reflect the underlying ideologies. Which kind of ideology and which kind of social values, the education system proposes to the Burkina pupils through its handbooks ? The analysis of the caracteristics and the value attributed to the characters who stand as models according to their sexe, age, ethnical group or race, points out important differences of course, but also some similarities. The two meet in the promotion of a stereotyped image of both sexes to the detriment of feminin characters. The differences noted at the level of the other categories of belonging show evidence of obvious anachronism of the + Mamadou et Bineta ; series, which requires deep modifications whatever should be the reasons justifying some teachers' bias towards it. The main orientation of this work is to point out the conformity (or non conformity) of the curriculum in particular the social representations, the values or the projects of the society beared by the education system in the interest of the learners and those of their socio-cultural environment
Maler, Henri. „Convoiter l'impossible. Critique marxienne de l'utopie et critique de l'utopie marxienne“. Paris 8, 1992. http://www.theses.fr/1992PA080690.
Der volle Inhalt der QuelleImmanent criticism of marx's theory, based upon the internal speading of its own discourse, hereby subjects it to a double reading the purpose of which is to take marxian criticism of utopia as the leading strand of criticism of marxian utopia. The first reading aims at undoing the standard commentary of criticism of utopia by marx, then at mapping out its itinerary, i. E. Scanning its genesis all over, redrawing its figures, throwing light on its forecats, assessing its deadlocks. What was not thought of in criticism of utopia then lets us have an inkling of the utopian unthought-of in the theory. Then a second reading makes it possible to define the dialectical figures that operate a displacement of utopia: a promised utopia, revealed first, then oblkiterated rather than passed over. And yet, together with those negatively utopian dimensions, one can find a required utopia. Thus the itinerary of marx's theory may teachy us the rescue of utopia: to accept to renounce the impossible so that it may be possible, with no promised land but not without compass, to hanker for the impossible. The impossible, i. E. What the power of established societies forbid to seek in order to prevent to rise
Durel, Alain. „Réification et histoire“. Paris 8, 2002. http://www.theses.fr/2002PA082065.
Der volle Inhalt der QuelleKoh, Won. „Braudel : histoire et structure“. Paris 10, 2003. http://www.theses.fr/2003PA100108.
Der volle Inhalt der QuelleWe study the history of Braudel in two parts. The first part is a consideration on the formation and the developement of history of Braudel. The second part is a clarification of the concept of "longue durée" of Braudel
Poulat, Émile Dupront Alphonse. „Histoire, dogme et critique dans la crise moderniste... /“. Paris : A. Michel, 1996. http://catalogue.bnf.fr/ark:/12148/cb35804834x.
Der volle Inhalt der QuelleElkaissi, Abdellah. „Roman et cinéma : l'adaptation et ses problèmes“. Toulouse 2, 1993. http://www.theses.fr/1993TOU20058.
Der volle Inhalt der QuelleCinema is a great "swallower" of stories. To satisfy its audience, it draws copiously on the techniques of novel. When transcribing a literary text into a film, the film-maker prints his own personal reading of that literary that. As a matter of fact, the idea of faithfulness can be approached only in subjective terms. The passage from a literary text into a film implies no act of translation. This kind of adaptation is both a reading and a personal interpretation that bring into contact the film-maker and the novelist. Accordingly, the notion of faithfulness sounds subjective and hard to define. No film can be a faithful copy of the novel that has inspired it; for a film always has something more or less than the novel it has drawn on. However, it would be wise to point out three concepts that have a significant bearing to the passage from the novel to the stage: the first concept is the passive adaptation which seeks uniformity and faithful reproduction of the initial literary material; the second is the free adaptation which seeks to establish a shade of distance between the film and the literary text. Unlike these two concepts, active adaptation seeks a conspicuous detachment, without for that matter, overlooking the specifics of film-making
Menegaldo, Gilles. „Fantastique et représentation : littérature et cinéma“. Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10007.
Der volle Inhalt der QuelleChemali, Raymond. „Structuralisme et critique littéraire : 1945-1980“. Paris 10, 1992. http://www.theses.fr/1992PA100105.
Der volle Inhalt der QuelleStructuralism based upon the notion of structure used in Saussure’s linguistics (under the denomination of system) and cl. Levi-Strauss’s anthropology, spreads, after the second world war, to other human sciences, especially to literature. In opposition to academic critics, judged as historistic and psychologist, structuralism's purpose is to transpose to literary text the methods of analysis applicable to linguistics’ curpus or to primitive myth. Its declared ambition is to reach a scientific status which guarantees a greater and more objective intelligibility of the text. Its process leans on a set of principles and appropriate rules. Its scientificist tendancy includes structuralism in a lineage which dates back to the second half of nineteenth centuty. It reaches its paroxism in the middle of the sixties under the influence of some "schools of thought" of which, other then structural linguistics and anthropology, we find the "formalists". Some of them have gone so far as to propose equations and schemes supposed to replace critical judgment and which remind, in certain respects, those of algebric sciences. In effect, structuralism is a method as much as a philosophy. It postualtes a world vision whereby man as subject and conscience is radically excluded for the benefit of the system. This attitude questions some important notions of traditional criticism: the genesis of the work, its meaning, its truth, its moral, historical, esthetic, psychological value. . . The literary text is conceived as a closed system of signs. The critic's taks is reduced to decompose the text and then to recompose it for indicating it’s functioning. In short, if structuralism may be recognized as an approach of text, amont many other approaches, it ceases to be admissible as soon as it claims to behave as a science aiming to pierce the mystery of literary creation an, by consequence, the mystery of the mann the mystery of"humor, love and faith"
Briens, Sylvain. „Ingénieurs lyriques - train, téléphone et génie littéraire“. Paris 4, 2003. http://www.theses.fr/2003PA040014.
Der volle Inhalt der QuelleThis thesis on modern Swedish literature proposes a study of the correlation between technical innovation and literary creation. Sweden, a nation of engineers, also boasts a number of authors fascinated and fashioned by technological developments. The historical study of a literature - which for the purposes of this study I have entitled " tentacular " - and one which was determined by the advent of universal communication networks, reveals a significant relationship between major literary movements and the evolution of the rail and telephone networks. These writers gave profound literary meaning to technical inventions. The literature centred around trains and telephones presents three fundamental traits : the development of certain themes, the constitution of the stuff of legends and the assimilation of technical objects with literary language. This literature reveals an essential characteristic of Sweden's own particular genius for literature, the development of poetic engineers
Rivalan, Guégo Christine. „La littérature (romans et nouvelles) populaire et légère en Espagne : 1894-1936“. Rennes 2, 1995. http://www.theses.fr/1995REN20013.
Der volle Inhalt der QuelleBased on the novels and novelettes by twelve authors (in alphabetical order, J. Belda, J. M. Carretero, J. Frances, A. Hernandez Cata, A. De Hoyos y Vinent, A. Insua, R. Lopez de Haro, P. Mata, A. Retana, F Sassone, F. Trigo et E. Zamacois), this study proposes to examine the birth, rise and decline of a movement in popular literature in Spain between 1894 and 1936 in relation to the new publishing deal, French literary influences and the centres of interest of the Spanish reading public of the time. The first part includes a presentation of the authors (through their biographies) and the magazines and publishing houses that brought out their writings. This panorama of Spain’s publishing world is supplemented with a survey of the circulation of these works abroad - essentially in France as well as the cinema adaptation of some of them. There follows a chapter entitled ' the book as an object ', which deals with the elements directly peripheral to the text - titles, covers, jacket flaps, back covers, illustrations, advertisement etc. Secondly, the analysis bears upon the contents of these works through a study of themes and characters, bringing to the fore the recurrent and permanent features in the writing of those pages together with their French literary inspiration. Their close links with the concerns of contemporary readers - among which the questioning about sexuality and the position of women in society hold a dominating place - is also examined
Keyrouz, Marian. „Rôle et fonction du chant cultuel dans les deux Églises orientales Maronite et Mélkite“. Paris 4, 1991. http://www.theses.fr/1991PA040048.
Der volle Inhalt der QuelleGayou, Évelyne. „Le GMR, Groupe de Recherches Musicales : des racines de la musique concrète à l'électroacoustique des années 2000 : histoire, oeurvres, concepts, outils: une synthèse“. Paris 4, 2006. http://www.theses.fr/2006PA040014.
Der volle Inhalt der QuelleOriginating in radio at the beginning of the 1940's, the GRM was officially launched in 1958 by Radio Television Française. The first part of this research reconstructs the history, starting with the most visible manifestations: opuses, publications, technological developments. The research traces also the elaboration of new concepts and evolution of the movement. Beginning with 1948, the official birth date of the Concrete Music, the chronology is divided into seven chapters, one for each decade. The first chapter, however, moves back in time, delineating the roots of Concrete Music by recounting the events that preceded 1948 and eventually led to the dadaism and surrealism of the twentieth century. The second part of the research traces the themes of the GRM history. The first chapter identifies the emergence of this new musical genre and its slow progression from the Groupe de Recherche de Musique Concrete of the Paris Studio to its role as a musical School in 1951. The second chapter examines the concepts (reduced listening, sound object, typomorphological analysis. . . ). It traces the pedagogy and the tools (from the first phonogènes to the final software called GRM-Tools and Acousmographe) developed in the last fifty years. The third chapter studies the problems of space, concert presentation and connection with the audience. The fourth chapter explores the boundary between the Musical and the Visual, across the question of writing, a major issue in all the media arts today
Bordenave, Dominique. „Contribution à l'étude de la formation de la nouvelle en France, en Espagne et en Italie (1250 - 1466)“. Bordeaux 3, 1994. http://www.theses.fr/1993BOR30056.
Der volle Inhalt der QuelleExamining the literary tradition of the short narrative genre, in france, spain, and italy, between 1250 and 1466, this thesis analyses the early short-story genesis. This study points out the so-called "miror" pieces of work, that stand out as landmarks and that will bring to define a new litarary form. Outlining the narrative constants, this research aims at enlightning on the structural isotopes and on the links between texts, belonging to different cultures and periods. The elaboration of the genre aesthetic code is being analysed through time and space datas, characters and narrative trajectories. This work baselines evidence the structural specifications of the genre, and underline the highly functional marked features, and the originality of a narration built on a "swing point". Beyond the marrative techniques, the medioeval short narrative prose, annoncing therefore the "novella" to come, is characterized by the objective, emotionless view through which the writer paints man and society. Following the historical and culturel changes of the short narrative prose, this thesis shows the emersion, as early as the medioeval period, of aesthetics based on the concept of distance, that the "novella" will bear out, and that will bloom out through the modern short-story
Magdelaine, Caroline, und Hippocrate. „Histoire du texte et édition critique, traduite et commentée, des Aphorismes d'Hippocrate“. Paris 4, 1994. http://www.theses.fr/1994PA040217.
Der volle Inhalt der QuelleThe aphorisms, the most famous treatise of the hippocratic corpus, are presented in the form of a collection of 412 short propositions which summarize the basic points of the medical hippocratic doctrine. Because of its form, thebook has always occupied the front scene in medical studies, in the western azs well in the arabic world, and inspired a great number of greek commentaries (galen, stephanus, theophilus and damascius), and also of latin, syrian, arabic and hebrew translations. The introduction presents the work (exact delimitation, structure, medical theories, style, dialect) and especially tries to set the book among other hippocratic treatises and greek scientific literazture. Then its recounts its history from the hellenistic alexandria until the first editions of the 16th century. The edition itself includes, for the first time, all the testimonies (greek manuscripts and commentaries, papyri, latin, arabic and syrian translations) and is based on a new classification of all the greek manuscripts (57 for the book, to which we must add 120 manuscripts of the different commentaries) and on a study of latin translations until the 16th century. The greek text is accompanied by a french translation and a philological and historical commentary
Vandenberghe, Frédéric. „Une histoire critique de la sociologie allemande. aliénation et réification /“. Paris : Éd. la Découverte : MAUSS, 1997. http://catalogue.bnf.fr/ark:/12148/cb36697456h.
Der volle Inhalt der QuelleVauleon, Maud. „Anthropologie et littérature : le cas du conte (breton et martiniquais)“. Cergy-Pontoise, 2006. http://biblioweb.u-cergy.fr/theses/06CERG0293.pdf.
Der volle Inhalt der QuelleWe consider that anthropology and literature are linked, especially in the particular case of folk tales. We will take an interest in the Center of Brittany and Martinique, through field studies and a corpus of tales, fictional texts and monographs. The folk tale is seen as a means of conveying information testifying to ways of lives and thinking. It finds its way through social sciences, mainly towards anthropology. Any act of writing is considered as an act of creation : indeed, anthropologists use literary processes while storytellers and novelists get their inspiration from methods of anthropological analysis. The folk tale shows the strength of the word that make storytellers become owners of power and that allows the creation of worlds. It takes part in the making of a memory of the future. Thus it fits in with the cultural revival and it becomes a vector of cultural identity in those two regions
Fardet, Eric. „Le jazz et les groupes vocaux : (groupes, écritures et enseignements)“. Strasbourg 2, 2006. https://publication-theses.unistra.fr/public/theses_doctorat/2006/FARDET_Eric_2006.pdf.
Der volle Inhalt der QuelleFrom the early twentieth century onwards and in every style, vocal jazz relied on jazz instrumental music as is shown by the particular techniques of writing and improvisation such as vocalese and all sorts of scat singing. This study proves that vocalese evolved in larger frames than those inside its initial context and that today it can be accepted as the appropriate designation qualifying any vocal jazz transcription. The way these vocal practices developed shows that they should necessarily be integrated into educational structures, as the Anglo-Saxon model tends to assert. The fact that nowadays, political power is transferred to local authorities incites to offer a true part to art education and choral singing teaching more particularly, in French music teaching
Tackels, Bruno. „Histoire d'aura. Benjamin, brecht, adorno, heidegger“. Université Marc Bloch (Strasbourg) (1971-2008), 1994. http://www.theses.fr/1994STR20043.
Der volle Inhalt der QuelleTam, Wai-Chun. „Histoire de l'opéra cantonais“. Paris 7, 1992. http://www.theses.fr/1991PA070122.
Der volle Inhalt der QuelleCantonese opera is one of the most important of chinese main opera types. It uses the cantonese language and is spread throughout Guandong, Guangxi and a among overseas cantonese - speaking chinese in South - Asia and north and North America. Opera performances in the canton area can be traced to as early as the fourteenth century. Since the eighteenth and nineteenth centuries, although opera flourished, the language used was still manderin, it is impossible to speak of it as "cantonese opera". At the beginning of this century "idealistic opera troupes" (called zhish) launched a reform mouvement in canton, Hong-Kong and Macao, singing and speaking in the cantonese language on original revolutionary themes. Their reform gained local troupes who helped spread the use of cantonese in opera. In the 20's the troupes form canton and HongKong were influenced by western drama, stage production and cinema, giving birth to modern cantonese opera which reached its peak in the 20' and 30's and began its decline as early as the 40's. This thesis also discusses cantonese opera in rural communities and its present conditions
Picazos, Raphaël, und Gautier d'Épinal. „Gautier d'Épinal: édition critique et commentaire“. Paris 4, 2004. http://www.theses.fr/2004PA040053.
Der volle Inhalt der QuelleThe goal of our research is a new edition of the poems of Gautier d'Epinal to replace the old edition Ugo Lindelöf and Axel Wallensköld, published in 1901. Following a fresh and direct study of the complete manuscript tradition, we chose U as the reference text. Among the most ancient songbooks in langue d'oïl, the structure of the U manuscript is complex, consisting of no less than three principle sections, of which the first is very old, dating no later than the 1240s. The introduction provides a description and analysis of the corpus of Gautier d'Epinal contained in the three sections, as well as situating it with the other songbooks of the tradition. Each song is preceded by a description of the metrical and musical schemas, as well as an introductory analysis of the textual tradition of each piece. The lyrics are provided with a negative critical apparatus, distributed on two levels. The upper level deals with the faults and main variations, while the lower level is dedicated to the graphical variations. The commentary aims to highlight the most notable links with the “classical" trouvères who were Gautier's contemporaries, along with some remaks of a grammatical and stylistic nature. Each piece is accompanied with a transcription of the melodies and the work is concluded with a short, selective glossary of the included 15 pieces
Danilenco, Mariana. „La poésie contemporaine bessarabienne et la quête de l'identité culturelle“. Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX10006.
Der volle Inhalt der QuelleBiu, Hélène, und Honoré Bouvet. „"L'Arbre des batailles" d'Honorat Bovet : étude de l'oeuvre et édition critique des textes français et occitan“. Paris 4, 2004. http://www.theses.fr/2004PA040219.
Der volle Inhalt der QuelleDealing in a remarquable way with the laws of war, "L'Arbre des batailles", written at the end of the XVIth century by Honorat Bovet, had a great diffusion attested by at least hundred french manuscripts and seven medieval traductions in four languages (Occitan, Catalan, Spanish and Scottish). Only five French manuscripts have been traced wich contain an interpolated vision whose author is Bovet himself. Written in oi͏̈l, this copies of good textual quality reveal numerous occitanisms and called for a study and a critical edition. The oc version indeed contains many gallicisms and a close scrutiny shows that the autorship of this traduction can't be attributed to Bovet, in spite of his provençal origines
Guillaume, Astrid. „Ponthus et la belle Sidoyne et les rédactions a et b de Pontus und Sidonia : étude comparée“. Paris 4, 2000. http://www.theses.fr/2000PA040042.
Der volle Inhalt der QuelleVidal, Robert. „Etude historique et critique de méthodes de démonstration en arithmétique“. Lyon 3, 2005. https://scd-resnum.univ-lyon3.fr/out/theses/2005_out_vidal_r.pdf.
Der volle Inhalt der QuelleBianchini, Michelle. „L'artiste peintre de lui-meme - ecrit autobiographiques et autoportraits d'artistes de la renaissance italienne (xve et xvie siecles)“. Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10090.
Der volle Inhalt der QuelleGonzales, Antonio. „Images et imaginaires cinéma et histoire au service d'une "néo-mythologie"“. Besançon, 1990. http://www.theses.fr/1990BESA1022.
Der volle Inhalt der QuelleMortelette, Yann. „Histoire du Parnasse“. [S. l.] : Y. Mortelette, 2002. http://catalogue.bnf.fr/ark:/12148/cb38958723k.
Der volle Inhalt der QuelleMirza-Hessabi, Jafar Jahangir. „Étude comparative des contes français et persans“. Paris 4, 1998. http://www.theses.fr/1998PA040112.
Der volle Inhalt der QuelleSapiega, Jacques. „Regard(s) documentaire(s) à la télévision et dans le cinéma français et stratégies du souvenir : la matrice des années 1939-1945“. Aix-Marseille 1, 2000. http://www.theses.fr/2000AIX10008.
Der volle Inhalt der QuelleJaje, Ameer. „La célébration de ̀Ashūrā̕ chez les musulmans chiites irakiens“. Strasbourg, 2010. http://www.theses.fr/2010STRA1020.
Der volle Inhalt der QuelleAshūrā̕ is the name of a famous and highly dramatic religious feast, celebrated in Iraq every year, on the tenth of the lunar month of Muḥarram, by the Shiite community. It commemorates the "martyrdom" of Husayn, grandson of Muḥammad, the prophet of Islam, in 680 A. D. .
BALZAMO, ORLOVSKAIA ELENA. „Le conte litteraire suedois : evolution d'un genre“. Lille 3, 1987. http://www.theses.fr/1987LIL30026.
Der volle Inhalt der QuelleThe present study deals with the transformation of the fairy-tale generic models in the swedish hildrens' literature during the period of the 19th - 20th cent. , and the relationship betwee tthe li- terary fairy-tale and its' "ancestor", the folktale. The first chapter considers the collections of folktales by the brothers grimm, asbjornsen and moe, hylten-cavalius et stephens, and shows the transformation of an oral folktale into a written text which means the folktales' integration into literature. The second chapter describes how the traditional model was used by h. -c. Ander- sen in his fairy-tales; the third chapter relates how the type of fairy-tale created by h. -c. Andersen was assimilated in sweden and developed by authors like w. A. Backman and z. Topelius. The forth chapter describes the most prolific period in the history of the li- terary fairy-tale in sweden (end of the 19th - beginning of the 20th cent. ) and examines some of the recurrent narrative mechanisms. The fifth chapter contains a detailed analysis of two important writers of this period, e. Beskow and s. Lagerlof, whose tales offer a good example of the genre's acquisitions and its latent problems. The sixth
Emion, François. „La Saga de Hákon le Bon : texte, traduction, notes et index précédés d'une étude de la saga“. Paris 4, 1992. http://www.theses.fr/1992PA040149.
Der volle Inhalt der QuelleThis text, written in Iceland in the thirteenth century, is studied in the perspective of the cultural, political and literary background. It relates the first attempt at Christianising Norway, in the tenth century. The author derives his information chiefly from written tradition, but he gives his own version of the story. He doesn't make use of his material in the same way throughout the saga, and in describing the heathen opposition and the resulting apostasy of the king (the climax in the narrative), he supplies the reader (or rather the audience) with keys which allow a clearer understanding of his following account of the ultimate conversion of the country some decades later
Mohamed, Majoub Mohamed Moctar. „Contribution à l'histoire littéraire de la Mauritanie de la pénétration coloniale à nos jours“. Paris 3, 1989. http://www.theses.fr/1990PA030043.
Der volle Inhalt der QuelleThe history of the mauritanian literature was created and has developped itself within a society where the press and the writing about political history were almost inexistant. Poetry is the main instrument available to keep track of the overall memory of the people. Its two essential forms of expression are the classical arabic and the "ghna" which uses the popular language "hassanya". At the beginning, peotry was used by the poet for the tribe; its function changed and it became a tool of resistance during the colonial era, and turned later into a mean of spreading revolutionnary ideas about progress and national unity. With the democratic opposition's integration within the party in power in 1975 the democratic poetry gave way to a more restrained one. The essay presented herewith is composed by seven chapters. The first one deals with the historical and sociological background of this poetry; the remaining chapters with its political evolution in mauritania as well as the different forms it acquired as the outcome of social changes and political trends. However, despite its present restrain this poetry could be roused if faced with new circumstances
El-Ouarzazi, Abdellatif. „Evolution de la satire tribale des origines jusquà la fin de l'époque umayyade“. Bordeaux 3, 1994. http://www.theses.fr/1994BOR30030.
Der volle Inhalt der QuelleThe object of this study is the evolution of the tribal satire from the origins till the end of the ymayyad era. This poetic genre appears as an art that characterizes in particular the life of the arab beouins of that era, a life based on nomadism, razzias and wars. The methods adopted in this study aims mainly at bringing out the reasons that caused the satires to be composed by the poets of the tribes against other tribes. It also aims at the thematic and formal study of poetic texts that interest our topic, in order to determine the characteristics of the tribal satiric poetry
Bozzetto, Roger. „Deux genres des littératures de l'imaginaire : la science-fiction, le fantastique“. Aix-Marseille 1, 1988. http://www.theses.fr/1988AIX10036.
Der volle Inhalt der QuelleThe scope of the literature of the imaginary has been restructured according to the upheaval which took place regarding a representation of the world taking into account scientific progress. The emergence of new genres, the fantastic and science fiction, perturbed the hitherto valid opposition between what was gratuitously marvellous and the referential mimetic. The science fiction genre, which was formed by integrating the contributions of imaginary travels and the utopia, resulted in a speculative fiction, imitating a virtual. With the fantastic genre, the relation between the conceivable and the representable, hitherti considered as obvious, is open to question. These genre can be considered as two heterogeneous attempts to master alterity : science fiction, metaphorically giving a perception on the mode of "if" ; the fantastic, tending to present it metonymically as unnameable and yet existent - thus engendring an off-centring of reason. These two new genres are presented in their emergence - in relation to the earliest texts (textes fondateurs) and seminal authors ; in their evolution - according to the periods and cultures ; in their thematic development ; in their relations to mythologies, and in the history of their reception
Bellaiche, Anne-Cécile. „Procédés narratifs et signification dans des nouvelles écritse par des femmes en France et en Angleterre de 1985 à 1995“. Aix-Marseille 1, 2001. http://www.theses.fr/2001AIX10001.
Der volle Inhalt der QuelleBen, Saïd Samiha. „Le Maqâm irakien : Contexte, éléments du langage. Transcription et analyse“. Paris 4, 2003. http://www.theses.fr/2003PA040008.
Der volle Inhalt der QuelleThe Iraqi maqam is the most important heritage in the domain of Iraqi music. The Iraqi maqam , whether recited as a literary poetic text or a dialect, represent a musical form of songs that has a major influence on Iraqis regardless of their religion, ethnic affiliation or dialect. The Iraqi maqam represent a cultural heritage in the collective memory of the Iraqis. It is sang by a singer called "reciter" accompanied by an orchestral formation called "tchalghi". Such formation constitutes some instruments the most important of which are "al-santur" and "al-joza". The maqam has many remarkable characteristics: it is never associated with a precise poetic literary text or dialect, the reciter is always free to choose the text le likes and it is never recited in the same fashion even by the same reciter. The creative side is always present through the recitation of the maqam
Bazzi, Rachid. „Le conte de l'étymologie à la métaphore : quelques thèmes et leurs transformations dans les deux littératures classiques iranienne et arabe“. Paris, EHESS, 2000. http://www.theses.fr/2000EHES0023.
Der volle Inhalt der QuelleOh, Sang-Eun. „La musique pour piano d'Olivier Messiaen: technique et esthétique“. Paris 4, 2004. http://www.theses.fr/2004PA040082.
Der volle Inhalt der QuelleWhile many composers in the 20th century considered the work itself to be the most important factor in making admirable music rather than inspiration, Olivier Messiaen has regarded the inspiration as equally important to the work itself for his composition. We can say that he has bridged the era of classical music toward that of modern music. While pioneering in the creation of his own musical language, he fabulously applied all the traditional elements from the past to his composing. He has always encouraged his students to advance music by enlightening them with new vision. Undoubtedly, everything changes so fast these days especially due to the rapid advancement of technology. This is the same in musical domain, as well. Therefore, one of the major issues for the majority of contemporary composers is the advancement of technology. But, Messiaen used new musical elements adopted from his various inspirations. He has generated his inspirations by keeping his eyes and ears to the nature (the symbol of liberty), the faith (the object we cannot see) and the glory of God (the stature we cannot reach). Thanks to the hands of composer, we are able to feel as if they are in front of us. Exploring the evolution of his technique with piano, we can better understand his musical development from the beginning to the end of his life. The piano is the primary instrument he chose to express his desire to approach the world on the earth and the Heaven at the same time
Gugura, Stefan. „Histoire et historicité : Heidegger et le problème de l'histoire“. Paris 12, 2002. https://athena.u-pec.fr/primo-explore/search?query=any,exact,990002535230204611&vid=upec.
Der volle Inhalt der QuelleElfassi, Jacques. „Les Synonyma d'Isidore de Séville : édition critique et histoire du texte“. Paris, EPHE, 2001. http://www.theses.fr/2001EPHE4036.
Der volle Inhalt der QuelleValencia, Gustavo. „Alexandre Koyré, critique du positivisme en histoire des sciences“. Paris 1, 1988. http://www.theses.fr/1988PA010574.
Der volle Inhalt der QuelleMartheleur, Aude. „Le rock psychédélique anglais et américain (1966-1970)“. Université Marc Bloch (Strasbourg) (1971-2008), 2008. http://www.theses.fr/2008STR20034.
Der volle Inhalt der QuelleThe Sixties appears in rock music history as a kind of a Golden Age. This period is marked by social and political upheavals whose echo is found in popular music. Psychedelic rock is one of the artistic expressions born in the creative boiling from the time. Taking as pretexts the catch of hallucinogenic drugs, rock musicians see this time of creativity as an occasion to enlarge and to diversify their language by integrating new elements. Thus psychedelic rock composes its universe by mixing all the references which pass to its range, literature, comics, oriental music…without establishing hierarchy between them. This work tries to set psychedelic movement in its historical and artistic context, and to establish the principal musical characteristics of the psychedelism while being interested in the various aspects of this music: bands, musical plays influenced by the catch of hallucinogens, texts, shows…in order to understand which elements are found today in the current rock language and in which proportions
Huchet, Jean-Charles. „Du poème au roman : genèse et fortune du roman occitan médiéval“. Paris 4, 1990. http://www.theses.fr/1990PA040027.
Der volle Inhalt der QuelleIn medieval Occitany, there was few novels, as show manuscripts and words used by the writers to designate their texts. We try to explain the reasons of this lack: the dependence on troubadours’ poetry, and we negate the common opinion that believes that medieval novels were born before in Occitania than in France and that most of them were lost. We learn the nature of the strict dependence with the troubadours’ poetry and we show that the novel is a manner of "theoric fiction" of poetry which appears at the beginning of the XIIIth century, a period of literary and cultural crisis. The poetry is also a looking glass in which the novel tries to catch his own identity and clears - throw a fiction - his own theory. Against a common opinion, we maintain that the relations between French and Occitan medieval novels are not imitation but literary struggle (rewriting. . . )
Soustre, Robert. „Art et nature dans quelques romans de l'insularité“. Poitiers, 1992. http://www.theses.fr/1992POIT5007.
Der volle Inhalt der QuelleMouëllic, Gilles. „Jazz et cinéma : convergences esthétiques“. Rennes 2, 1999. http://www.theses.fr/1999REN20009.
Der volle Inhalt der QuelleJazz was born out of the meeting of two cultures, African culture, supposedly more spontaneous, and western culture, founded on the idealism inherited from classical Greece. What was New Orleans folk music at the beginning of the 20th century became universally known as an art form through the use of new technical developments, including the cinema, which played an important role in this movement. With the presence of musicians in movie theatres and on silent film screens, the influence of swing and the big bands on the major American cinema genres during the nineteen thirties and forties, and the creation of Hollywood jazz which took over during the following decade, film making was permanently inspired by the new aesthetic which gradually left its mark on all aspects of the arts this century while at the same time and even up to the present refusing to recognize the great black film directors. While black American cinema, marginal but fascinating, tried to give jazz its rightful place, a few white film makers began to take this music as a model. This is the case for John Cassavetes in his first film Shadows (1959) where two aesthetics, jazz and the cinema, came together at last. Other directors became inspired, consciously or not, by jazz: Shirley Clarke in the US, but also Jean-Luc Godard and Jean Rouch in Europe. Most of this activity took place in the late nineteen fifties in works marked by the desire to work differently in film making. For Gilles Deleuze it was during those years that the reversal between "time-image" and "movement-image" became perfectly visible. If modern jazz was present at that time, it was no accident: great musicians were also trying to subordinate movement to time. Conquering a new space: that was then the joint ambition of jazz and the cinema, found also in the most innovating currents in
Lavocat, Françoise. „Princes et poètes en Arcadie : le roman pastoral en Italie, en Espagne et en France de la renaissance du genre à sa décadence : son rôle dans la transformation du roman“. Paris 7, 1993. http://www.theses.fr/1993PA070064.
Der volle Inhalt der QuelleThis study compares the development and the disappearance of the pastoral in prose,codified in the first part of the sixtheenth century,in italy, spain and france between,approximately,1580 and 1630. This essay examines the different ways narration develops. The evolution takes major directions: first,the main character,being at the same time the narrator and the author,is going to prevail in the novel,and to be the center of it through the use of the first person; this trend being assorted with the heroization of the bucolic universe. The way those two directions either combine or exclude one another is different in the three countries. The evolution of the pastoral novel has also been connected with the expression of an ideal of sociability inspired by the academic life,that was both closed and opposed to the utopic model. Those first person narrations, paradoxically associated with the praise of unanimity,are linked with both the change of the representation and the status of the writer,particularly in his relations with power and history. This pattern of the bucolic code reveals a link between pastoral and autobiography in the eighteenth century. Eventually,the novel,in its origin,partly develops through the transformation of the pastoral novel,associated with the disappearance of the
Danchin, Sebastian. „Earl Hooker (1929-1970) : vie et mort d'un héros du ghetto“. Nancy 2, 1985. http://www.theses.fr/1985NAN21017.
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