Auswahl der wissenschaftlichen Literatur zum Thema „Grotesque dans la musique“
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Zeitschriftenartikel zum Thema "Grotesque dans la musique"
Lagacé, Claude. „Musique tonale et musique d’aujourd’hui“. Positions 7, Nr. 1 (25.02.2010): 36–39. http://dx.doi.org/10.7202/902153ar.
Der volle Inhalt der QuelleLegrain, Laurent. „Être dans la musique“. Recherches sociologiques et anthropologiques 40, Nr. 1 (15.04.2009): 39–58. http://dx.doi.org/10.4000/rsa.291.
Der volle Inhalt der QuelleCranston, Mechthild, und Gérard Engelbach. „Peupliers dans ma musique“. World Literature Today 62, Nr. 2 (1988): 246. http://dx.doi.org/10.2307/40143546.
Der volle Inhalt der QuelleSlaby, Alexandra. „Musique savante, musique populaire en Irlande : l’autre partition“. Recherches anglaises et nord-américaines 39, Nr. 1 (2006): 189–200. http://dx.doi.org/10.3406/ranam.2006.1768.
Der volle Inhalt der QuellePaiva, Roberta Kelly. „O universo do grotesco e do monstruoso retratado no Ciclope de Eurípides e na Centauromaquia de Ovídio“. Nuntius Antiquus 3 (30.06.2009): 136–54. http://dx.doi.org/10.17851/1983-3636.3..136-154.
Der volle Inhalt der QuelleChaachoo, Amin, Zakaria Charia und Abdelfattah Lahiala. „L’INNOVATION DE L’ENSEIGNEMENT DE LA MUSIQUE ANDALOUSE“. Conhecimento & Diversidade 15, Nr. 39 (06.11.2023): 156–75. http://dx.doi.org/10.18316/rcd.v15i39.11164.
Der volle Inhalt der QuelleJambrina, Nina. „fiction à l’épreuve du grotesque dans La Paranoïa de Rafael Spregelburd“. PAPELES 9, Nr. 18 (12.04.2017): 34–44. http://dx.doi.org/10.54104/papeles.v9n18.491.
Der volle Inhalt der QuellePaiva, Roberta Kelly. „O universo do grotesco e do monstruoso retratado no Ciclope de Eurípides e na Centauromaquia de Ovídio“. Nuntius Antiquus 3 (30.06.2009): 136. http://dx.doi.org/10.17851/1983-3636.3.0.136-154.
Der volle Inhalt der QuelleRea, John. „Reflets dans l’eau… bénite“. Deux compositeurs québécois 1, Nr. 2 (29.01.2010): 71–80. http://dx.doi.org/10.7202/902018ar.
Der volle Inhalt der QuelleDeltombe, Camille. „La musique dans India Song“. Roman 20-50 Horsséri2, Nr. 3 (2006): 65. http://dx.doi.org/10.3917/r2050.hs2.0065.
Der volle Inhalt der QuelleDissertationen zum Thema "Grotesque dans la musique"
Mullen, Elizabeth. „Malaise masculin, grotesque et adaptation filmique dans le cinéma américain des années soixante-dix“. Phd thesis, Université de Bretagne occidentale - Brest, 2013. http://tel.archives-ouvertes.fr/tel-00925781.
Der volle Inhalt der QuelleMonnier, Jean. „Le grotesque dans l'œuvre de Céline“. Tours, 1996. http://www.theses.fr/1996TOUR2033.
Der volle Inhalt der QuelleIt attempts to demonstrate that the work of Céline into whole belongs to the esthetics of the grotesque, and tries to define the literary grotesque in an historical context the question of the grotesque is presented through the novelistics themes of Céline which are analysed with the theories of Mikhail Bahktine presented in parallel with that of Wolfgang Kayserthe clash between these two theories of the grotesque permits to better see the grotesque quality of Céline's work which is situated at the synthesis of those two theories. This study reveals the hidden facets of the work of Céline which happens to be the sacred joined to the comical through the emotive style. It advances the hypothesis that the grotesque is an art form expressing the primal origin of arts. In decipheving this new aspect of the literature of Céline this thesis uses a rave problematic which can be of great importance for modern thought, since it touches the relationship that exist between post-modernity and the origine
Marleau, Tania. „Le grotesque dans Les diaboliques de Barbey d'Aurevilly /“. Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=33301.
Der volle Inhalt der QuelleIndeed, Wolfgang Kayser's theory of the grotesque is based on the idea of a world that has suddenly become "estranged". Barbey's "diabolical" characters are peculiar beings, both passionate and inscrutable, who by their actions and attitudes manage to overwhelm most characters of their universe. By their very mystery, the diaboliques remain deeply present in others' minds, thereby changing their existence forever. In Barbey's stories, there are no mythical beasts, no monstrous grotesque per se. However, when examined from Kayser's perspective, light is shed on the grotesque aspect of their characters.
Fauconnier, David. „L'esprit grotesque dans le cinéma espagnol, 1960-1965“. Paris 8, 2003. http://www.theses.fr/2003PA082253.
Der volle Inhalt der QuelleIn Spanish cinema there are movies characterised by a representation of the world and a form of derision which are unusual. They can be found in art history and Spanish literature. Several critical commentaries refer to the grotesque to describe the subject which are represented and to analyse the aesthetic of those art works. This thesis consists in showing that, from Buñuel to Almodovar, significant films of Spanish cinema comes within a grotesque spirit. It was particularly expressed from 1960 to 1965. It was at the beginning of this decade that were directed El cochecito (Marco Ferreri, 1960), Viridiana (Luis Buñuel, 1961), El verdugo (Luis G. Berlanga, 1963) and El extraño viaje (Fernando Fernan-Gomez, 1964). Therefore, the analyse of those works aims at studying the set of production through which the grotesque spirit in cinema is expressed
Lachaud, Maxime. „Le grotesque sudiste dans l'œuvre romanesque de Harry Crews“. Toulouse 2, 2003. http://www.theses.fr/2003TOU20043.
Der volle Inhalt der QuelleBetween grotesque realism and Gothic strangeness, Harry Crews's novels transform the post-Faulknerian Southern tradition into an aesthetic manifesto. The author goes beyond the Cartesian conflict between mind and body to present characters who find, or try to find, the spiritual through the corporeal. Crews's grotesque can be felt in this "theology of the body" aund in a physicality inspired by his white trash education. In response to the domination of the body in the characters's lives, two attitudes can be found : a feeling of alienation, that brings us back to Kayser's theories, or acceptance (Bakhtin). Thus, Crews's work would be a kind of reconciliation between the medieval and the Romantic grotesque. Through "carnivalesque" rituals, the characters want to impose order and discipline on their lives and translate this Bakhtinian concept into a personal conflict, an alienation. The fictions of Crews enlighten in a challenging way the grostesque tradition through a metaphysics of abjection in a South "haunted" by Faith
Lee, Jae-Geol. „Le Grotesque contemporain : une catégorie de l’émotion dans l’art“. Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040212.
Der volle Inhalt der QuelleThe word grotesque has never been accurately defined. As a noun and an adjective, it covers disparate concepts. Therefore how could it be used to designate a coherent representational system? What is the common point between all the forms of the grotesque?Firstly we’ll present a comprehensive overview of the references necessary to the description of grotesque patterns. In this process, two analysis have been particularly stimulating : those of w k and m b. These analysis are less than fifty years and are respectively based on Kafka and Rabelais’ body of literature.We’ll then talk about the ins and outs of the grotesque depending on both the possibilities and the constraints of contemporary artistic mediums. We’ll also explain how literary critical tools can help understand the art forms of the grotesque. Secondly we’ll see how the human body - as well as its social, cultural and psychological acceptions - have become predominant in the artistic production of the 20th century. How have these acceptions sooner or later edified a conceptual body around the notion of grotesque ?Thirdly we’ll try and produce a typology of the manifestations of the grotesque as well as a typology of the reactions it has generated. To what extent have these emotions played a part in the understanding of the human being and its lifestyle? Finally we’ll see how the grotesque tends to loose its meaning when we attempt to define it. It is especially the case when those attempts try to provide aesthetic benchmarks. However, could it be possible to consolidate those analysis and turn them into several distinctive theories?The forms of the grotesque are diverse, disparate and in constant evolution. However a theory of these forms is a tool not only indispensable to the comprehension of contemporary art but also necessary to the understanding of its patterns
Gorodski, Fabio. „L'articulation dans la musique contemporaine“. Paris 8, 2006. http://www.theses.fr/2006PA083280.
Der volle Inhalt der QuelleThis work seeks to present a discussion about the dispersion of the composing practices visible since the second half of the 20th century. Aiming to elucidate general questions pertaining to the writing and the appreciation of the musical fact, this dissertation explores several analytical instruments mainly underlying the idea of ‘articulation’. Understood in its broadest sense, this concept of articulation comprehends several steps of the creative process, which goes from the apprehension of basic elements by the composer (whether it is a series, a chord, an objet sonore, an abstract concept, etc. ), until the way she/he constructs a given musical discourse from those very same elements: the choice of the material itself will make possible the construction of specific formal relations according to the internal characteristics of that very same material and will therefore define a certain way of listening, motivate the creation of a ‘sense’ and frame that music in its own space
Grué, Mélanie. „Grotesque "queer" et savoirs abjects dans l'oeuvre de Dorothy Allison“. Phd thesis, Université Paris-Est, 2013. http://tel.archives-ouvertes.fr/tel-00958245.
Der volle Inhalt der QuelleGrué, Mélanie. „Grotesque «queer» et savoirs abjects dans l’oeuvre de Dorothy Allison“. Thesis, Paris Est, 2013. http://www.theses.fr/2013PEST0013.
Der volle Inhalt der QuelleBorn in a white trash milieu, a victim of incest, lesbian and queer, Dorothy Allison belongs to the new generation of writers who, since the 1980s, have troubled the American literary and political landscape. Overflowing with grotesque characters, whose physical deformity mirrors the social, sexual and gender norms underlying the dominant discourses that silence the deviant individual, the author’s work is nevertheless a space where inferior subjects (the poor, women, the abused child, homosexuals), defined by society as being abject, can speak. This research focuses on the connections between literature and theory, and on the political significance of Dorothy Allison’s testimony, here considered as a theorizing narrative. Using subject theory, class and race studies, autobiography criticism and queer theory, we shall explain how the literary text passes on the inferior individual’s claims, enacts the subject’s self-assertion, and transmits the “abject knowledge” which disrupts the norms. This research aims at re-reading and rethink various theories through the literary work which appropriates the grotesque mode of representation and grants the material body and the senses a central place. The fictionalized testimony makes bodily language paramount, interrogates established hierarchies and glorifies the intense humanity of discredited individuals
Sillamy, Jean-Claude. „La Musique dans l'ancien Orient“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376099183.
Der volle Inhalt der QuelleBücher zum Thema "Grotesque dans la musique"
Sheinberg, Esti. Irony, satire, parody, and the grotesque in the music of Shostakovich: A theory of musical incongruities. Aldershot, England: Ashgate, 2000.
Den vollen Inhalt der Quelle findenBrown, Julie. Bartók and the grotesque: Studies in modernity, the body and contradiction in music. Aldershot, England: Ashgate, 2007.
Den vollen Inhalt der Quelle findenHalen, Pierre, und Rémi Astruc. Le grotesque dans les littératures africaines. Metz: Université de Lorraine, Centre de Recherches "Écritures", 2012.
Den vollen Inhalt der Quelle findenTours, Université de, Hrsg. Le grotesque dans l'œuvre de Céline. Lille: A.N.R.T. Université de Lille III, 1996.
Den vollen Inhalt der Quelle findenPeupliers dans ma musique. Marseille: Sud, 1987.
Den vollen Inhalt der Quelle findenRessicaud, Robert. La musique dans l'éducation. Paris: Magnard, 1988.
Den vollen Inhalt der Quelle findenOui à la musique: La musique dans la Bible et dans l'Église. St.-Légier: Emmaüs, 1986.
Den vollen Inhalt der Quelle finden1953-, Pineau marcel, Hrsg. Histoire de la musique, la musique dans l'histoire. [Paris]: Hatier, 1987.
Den vollen Inhalt der Quelle findenRosen, Elisheva. Sur le grotesque: L'ancien et le nouveau dans la réflexion esthétique. Saint-Denis: PUV, 1991.
Den vollen Inhalt der Quelle findenFrançois-Sappey, Brigitte. La musique dans l'Allemagne romantique. [Paris]: Fayard, 2009.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Grotesque dans la musique"
Muzelle, Alain. „Représentations de la musique dans l’écriture hoffmannienne“. In E. T. A. Hoffmann, 1822–2022, 217–30. Berlin: Frank & Timme GmbH, 2023. http://dx.doi.org/10.57088/978-3-7329-9075-7_10.
Der volle Inhalt der QuelleShiloah, Amnon. „Notions D'Esthetique Dans Les Traités Arabes Sur La Musique“. In Music and its Virtues in Islamic and Judaic Writings, XV:51—XV:58. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417378-18.
Der volle Inhalt der QuelleStockhausen, Karlheinz. „Musique dans l’espace“. In Comment passe le temps, 217–44. Éditions Contrechamps, 2017. http://dx.doi.org/10.4000/books.contrechamps.3119.
Der volle Inhalt der QuelleAl-shawan Castelo-Branco, Salwa. „Mutations dans la musique égyptienne“. In Musique arabe, 41–49. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.1997.
Der volle Inhalt der QuelleSchnebel, Dieter. „La forme dans les formes du temps : Compositio“. In Musique visible, 66–80. Éditions Contrechamps, 2019. http://dx.doi.org/10.4000/books.contrechamps.3321.
Der volle Inhalt der QuelleGuettat, Mahmoud. „La Tunisie dans les documents du Congrès du Caire“. In Musique arabe, 69–86. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.2017.
Der volle Inhalt der QuelleSchnebel, Dieter. „Musique du langage – langage de la musique dans l’œuvre d’Adorno“. In Musique visible, 303–22. Éditions Contrechamps, 2019. http://dx.doi.org/10.4000/books.contrechamps.3392.
Der volle Inhalt der QuelleMele, Flora. „Présence des dieux dans l’œuvre de Favart“. In Musique et littérature, 103–8. Presses universitaires de Provence, 2011. http://dx.doi.org/10.4000/books.pup.20427.
Der volle Inhalt der QuelleKamel, Mahmûd. „Interprètes et formes musicales égyptiennes dans les enregistrements du Congrès du Caire“. In Musique arabe, 105–8. CEDEJ - Égypte/Soudan, 1992. http://dx.doi.org/10.4000/books.cedej.2047.
Der volle Inhalt der QuelleMeurée, Christophe. „Du singe qui pleure le matin : analyse de la matière grotesque dans Quai ouest et Le retour au désert de Bernard-Marie Koltès“. In Le grotesque, 197–216. Presses de l’Université Saint-Louis, 2004. http://dx.doi.org/10.4000/books.pusl.21504.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Grotesque dans la musique"
Froidefond, Marik. „Commentaires sur la place des études de prosodie poético-musicale dans la recherche musico-littéraire“. In Littérature et musique. Fabula, 2010. http://dx.doi.org/10.58282/colloques.1258.
Der volle Inhalt der QuelleGribenski, Michel. „Prosodie et poésie. Place des études sur la prosodie poético-musicale dans la recherche musico-littéraire (bilan et perspectives)“. In Littérature et musique. Fabula, 2010. http://dx.doi.org/10.58282/colloques.1254.
Der volle Inhalt der QuelleVanel, Edith. „L’influence de la notion de musique dans le discours critique symboliste et post-symboliste sur la littérature : compte rendu de trois études anglo-saxonnes récentes“. In Littérature et musique. Fabula, 2010. http://dx.doi.org/10.58282/colloques.1282.
Der volle Inhalt der QuelleCourt, Jean-Michel. „La musique mixte dans la décennie 1950 : les balbutiements de l'intermédialité“. In Création, intermédialité, dispositif. Fabula, 2017. http://dx.doi.org/10.58282/colloques.4456.
Der volle Inhalt der QuelleBarkataki, Siba. „Etude de la narrativisation des sons dans Présence de la mort.“ In Charles Ferdinand Ramuz, silence(s), bruit(s), musique(s). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5908.
Der volle Inhalt der QuelleLaborie, Laura. „À l’écoute des bruits de la nature dans Derborence : animisme, chaos originel et crise de l’expression“. In Charles Ferdinand Ramuz, silence(s), bruit(s), musique(s). Fabula, 2019. http://dx.doi.org/10.58282/colloques.5912.
Der volle Inhalt der QuelleSaldarriaga, Alejandro. „La musique dans la relation ville/campagne : Cartagena et son Palenque de San Basilio“. In La Ville au pluriel. Fabula, 2007. http://dx.doi.org/10.58282/colloques.506.
Der volle Inhalt der QuelleAngot, Sophie. „L’instrument de musique dans l’œuvre de Pascal Quignard : un substitut du corps, intermédiaire entre la vie et la mort“. In Figure(s) du musicien. Corps, gestes, instruments en texte. Fabula, 2016. http://dx.doi.org/10.58282/colloques.4073.
Der volle Inhalt der QuelleBerselli, Silvia. „Une correspondance architecturale: Ionel Schein "enfant" de Le Corbusier“. In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.1042.
Der volle Inhalt der QuelleBerichte der Organisationen zum Thema "Grotesque dans la musique"
Accordez votre cerveau: Le fait de profiter et de s'impliquer dans la musique favorise le vieillissement sain, le bien-être mental et les liens sociaux: Infographique. Washington, DC: Global Council on Brain Health, August 2020. http://dx.doi.org/10.26419/pia.00103.004.
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