Auswahl der wissenschaftlichen Literatur zum Thema „Larrea, Juan – Critique et interprétation“
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Zeitschriftenartikel zum Thema "Larrea, Juan – Critique et interprétation"
Rozik, Eli. „Intertextualité et déconstruction“. Protée 27, Nr. 1 (12.04.2005): 111–16. http://dx.doi.org/10.7202/030551ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Larrea, Juan – Critique et interprétation"
Rodri̇guez, Cerezales Mari̇a. „Juan Larrea y Gerardo Diego : poesi̇a en traducción“. Bordeaux 3, 2011. https://extranet.u-bordeaux-montaigne.fr/memoires/diffusion.php?nnt=2011BOR30073.
Der volle Inhalt der QuelleEn esta tesis se estudian los aspectos de la poesia de Juan Larrea (1895-1980) relacionados con la traduccion. Se presenta un corpus exhaustivo de las traducciones de Gerardo Diego (1896-1987) de poemas de Juan Larrea constituido a partir de textos publicados y textos conservados en el archivo personal de Diego. Se analizan los mecanismos de la escritura francesa de Larrea intervenidos por la doble presencia del francès y el espanol y los aspectos de la misma que representan una especial dificultad en traduccion, y se ofrece asimismo un analisis de las traducciones de Gerardo Diego y una aproximacion a los presupuestos de la teoria creacionista vinculados con la traduccion poetica. Se dedica un estudio al ultraismo con el objetivo de contextualizar los comienzos poéticos de Juan Larrea y Gerardo Diego en la poésia de vanguardia y reconocer la naturaleza renovadora de esta en el panorama poético espanol de los anos veinte. Igualemente, se ofrece un estudio sobre la experiencia universitaria de Juan Larrea en Cordoba (Argentina) como parte del analisis de su poesia
RIESTRA, RODRIGUEZ LOSADA BLANCA. „ALa genèse de l'oeuvre poétique de Juan Larrea : une matrice sonore“. Dijon, 2000. http://www.theses.fr/2000DIJOL027.
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
Benmiloud, Karim. „Vertiges du roman mexicain contemporain : Salvador Elizondo, Juan García Ponce, Sergio Pitol“. Paris 3, 2000. http://www.theses.fr/2000PA030172.
Der volle Inhalt der QuelleWalker, Carlos. „El horror como forma : Juan José Saer, Roberto Bolaño“. Paris 8, 2013. http://www.theses.fr/2013PA083935.
Der volle Inhalt der QuelleOverall, this dissertation proposes to think horror as a literary construction. To that end, the research develops an extensive reflection on the narrative works of Juan Jose Saer and Roberto Bolaño. The aim is, first, to carry out a theoretical study to formulate hypotheses about the relevance of using horror as critical notion, and secondly, to point out a problematic semantic field, whose banner is the constant allusive reference to horror as a source of meaning for the representation of historical and political disasters in literature. The importance given to the notion of form determines the perspective in which horror is conceived in this dissertation. At the same time, it indicates that horror as a form is usually presented as an unthought-of notion in the literary criticism field, particularly in the studies that have analyzed the works studied here. Within this context of analysis, two major areas on which both literatures build their variation, expansion and reflection of the literary representation of horror are identified. These refer specifically to the importance of the visual register and to the repeated episodes that narrate violent interventions on human bodies. Horror is a formal effect displayed as part of the process of dialogue and reflexivity inherent to writing. Put another way, -from the corpus selected to study the movements of horror as form- it can be asserted that it is around a concern about the visual aspect and the arrangement of bodies, that the textual trajectories confer horror the form-theme that is dear to these fictions
Thimonnier, Charlotte. „Pratiques et enjeux du détail dans les romans de Juan José Saer, Jean Echenoz et Daniele del Giudice“. Paris 7, 2009. http://www.theses.fr/2009PA070076.
Der volle Inhalt der QuelleAlthough the concept of detail is at the heart of a history of aesthetics, it generally remains elusive from a theoretical point of view. Such theoretical negligence or powerlessness is startling. Our first intuition was that the end of the XX century novel writing has inherited this great history of detail and draws its own resources from it. The novels of the Argentinean Juan Jose Saer, of the French Jean Echenoz and the Italian Daniele Del Guidice bear witness of the vitality of the uses of detail and their narrative, semiological and poetic stakes. Defined as what appears while it could or should have remained unnoticed, detail upsets, or even brings about a crisis in the order of representation and narration, as well as in the construction of meaning. Derived from an act of detailing (that we called in French détaille) on the part of the novelist, the narrator or the reader, through which they appropriate the text, it is the minimal but fondamental meeting point of attention and intention and the place where the rhythms of writing and reading take shape. We began our analysis by focusing on the perceptive act of detailing depicted through the eyes of the characters of the novel, we then turned to the textual act of detailing, le. The effort of the novelist and narrator to draw attention to such or such detail, but also to the personal involvement of the reader. We then focused on the question of meaning and insignifiance of detail by studying the indication and detail that convey a reality effect. Finally we dealt with the question of the place, measure and functions of detail in the narrative economy and, more generally, in the poetics of these three novelists
CUEVAS, MENDOZA CARLOS. „Les labyrinthes de la transgression. Genese de l'oeuvre de juan benet“. Lyon 2, 1998. http://www.theses.fr/1998LYO20070.
Der volle Inhalt der QuelleIn our work, we are essentially studying the early works published by juan benet : the short stories being part of the volume nunca llegaras a nada and of the novel volveras a region. Our work is three-plashed. The first phase is about the fragmentation of the narrative and time-markers and we ask ourselves about the status of the benetian narrator. Thus, we can notice that chronological time and the inner time of the characters intertwine constantly in an over-elaborated narrative which is itself fragmented. Secondly, we explore the maze of region, this mythical and poor territory which emerges for the first time in the short story + baalbec ; where benet's are doomed to live and takes greater importance in volveras a region we try to show that benet's experience in the mountains of leon (spain) and his reading of os sertoes by the brazilian writer euclides da cunha, have been fundamental in the constitution of this territory. We stress the fact that in is territories minutely elaborated, all markers disappear, even the must basic ones like left / right, up / down etc. In the third part, we try to find markers that guide us round this made. So carefully constructed by benet we analyse in particular a few recurring themes : debt, whether private or atavistic, women and death, the mother and the father figures we try to show that the transgressions and the repression of all natural urges go beyond the individual frame of the characters to fit into collective history and the socio-economic context of the franco era. Eventually we ask ourselves about the carnival-like aspects of benet's works and the wonder if through parody, this author doesn't try to free himself from a crushing reality
Friolet, Philippe. „La poétique de Juan Gelman : une écriture à trois visages (figures, formes poétiques et rythmes prosodiques“. Paris 3, 2004. http://www.theses.fr/2004PA030060.
Der volle Inhalt der QuelleJuan gelman's poetics is organized in connection with three fundamental poles : emotion, indispensable element for the genesis of the poem ; memory, stock of personal pictures and literary forms which are taken on or questionned ; creative " obsession ", first and necessary condition to poetic writing. Through a limited number of obsessional themes, the poet is going to construct an original universe which characterize intertextuality, linguistic and poetic creation, rhythm of verse, heteronyms, commitment, loss and exile, sorrow or enjoyment of moment, showing free and renewed aesthetics by its constant eclecticism. Inward quest and formal search will alternate in an endless tension, to become reconciled in the final exercise of writing and to bring a greater serenity to being
Gonzalez-Benevent, Silvina. „Le regard d'une génération : formes d'incomplétude chez Carlos Saura et Juan Marsé“. Montpellier 3, 2008. http://www.theses.fr/2008MON30033.
Der volle Inhalt der QuelleThe notion of generation, wich is large and sometimes still difficult to define, is a starting point to establish a connection between a famous film-maker : Carlos Saura, and an equally renowned novelist : Juan Marsé. Both were born during the Spanish civil war, yet they did not come from the same social background and they had different career paths. It is thus necessary to focus on the relevant elements of their careers and to study their works in parallel. Such fields as psychology and sociology are the basis of an analysis which deals with two emblematic works by Carlos Saura Cría cuervos and by Juan Marsé –Si te dicen que caí. Drawing a parallel between these two works clearly reveals the resonance of the context on their authors' creations. However, belonging to a generation cannot be limited to sharing historical experiences. The impregnation of actually lived history is carried on and restructures over a whole period of time. The end of the Franco regime logically disrupts the act of creation by establishing a new space for freedom. Nevertheless, this optimism remains unfulfilled when Carlos Saura and Juan Marsé's last works make unclear feelings resurface, feelings that were not satisfied during the political and social transition of the authors' country
Llored, Yannick. „Etude herméneutique du texte goytisolien : au cours de la période 1980-1993“. Lyon 2, 2002. http://theses.univ-lyon2.fr/documents/lyon2/2002/llored_y.
Der volle Inhalt der QuelleThe purpose of this study is an analysis of the writing of Juan Goytisolo (Barcelona, 1931). It centres on the critical aspect of the writer's intellectual and literary project, and therefore on the way in which the sense of his texts is constructed in close relation to the Spanish literary tradition. It also presents a reconsideration of previous approaches to this writer's work, in order to examine, from a hermeneutic perspective, the work on language and the signification procedures developed by the author in accordance with precise objectives. The concepts of interpretation, reflexivity and reworking are thus at the centre of the demonstration, the purpose of which is to propose a new reading of this literary creation based on the renewal of aesthetic forms and on poetic expression which is open to the dialogue between cultures and traditions. The signification of the continuous movement of the repetitions which articulate Juan Goytisolo's writing technique, is compared to the thinking of the author and his view of the implications of the return to collective history and to cultural heritage, in order to question ideological discourses and the representations
Bücher zum Thema "Larrea, Juan – Critique et interprétation"
Margenot, John B. Zonas y sombras: Aproximación a Región de Juan Benet. Madrid: Editorial Pliegos, 1991.
Den vollen Inhalt der Quelle findenPope, Randolph D. Understanding Juan Goytisolo. Columbia: University of South Carolina Press, 1995.
Den vollen Inhalt der Quelle findenMayor, Zenaida M. Suárez. Palabras ya escritas: Relecturas de La nueva novela de Juan Luis Martínez. Santiago: RIL Editores, 2019.
Den vollen Inhalt der Quelle findenMolière. Dom Juan, ou, Le festin de Pierre: Comédie, 1665 : texte intégral. [Paris]: Nathan, 2006.
Den vollen Inhalt der Quelle findenKallinikos, Christina Komi. Digressions sur la métropole: Roberto Arlt, Juan Carlos Onetti, autour de Buenos Aires. Paris, France: L'Harmattan, 2006.
Den vollen Inhalt der Quelle findenEsquerro, Milagros. Milagros Esquerro : Juan Rulfo. L'Harmattan, 1986.
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