Auswahl der wissenschaftlichen Literatur zum Thema „Littérature expérimentale – Espagne“
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Zeitschriftenartikel zum Thema "Littérature expérimentale – Espagne"
Alfaro Amieiro, Margarita. „La enseñanza del francés en España durante los siglos XVII y XVIII : el Colegio Imperial y el Real Seminario de Nobles“. Documents pour l'histoire du français langue étrangère ou seconde 18, Nr. 1 (1996): 95–101. http://dx.doi.org/10.3406/docum.1996.1146.
Der volle Inhalt der QuelleW. Francis, Cécilia. „L’autofiction de France Daigle. Identité, perception visuelle et réinvention de soi“. ÉTUDES 28, Nr. 3 (17.07.2003): 114–38. http://dx.doi.org/10.7202/006758ar.
Der volle Inhalt der QuelleBERTOUT, J., J. LEPINASSE, A. BRASDEFER und C. PERNIN. „Systèmes de sols urbains perméables, adaptés au changement climatique et favorisant la biodiversité“. Techniques Sciences Méthodes, Nr. 10 (20.10.2021): 85–97. http://dx.doi.org/10.36904/tsm/202110085.
Der volle Inhalt der QuelleAntonio Dominguez. „Faire face à l'usure : soins et mécanismes palliatifs pour la fatigue de compassion“. INFLUENCE : International Journal of Science Review 3, Nr. 3 (14.10.2021): 100–106. http://dx.doi.org/10.54783/influence.v3i3.163.
Der volle Inhalt der QuelleEl Guarmah, El Mahdi, Abdelkhalek Cheddadi und Mejdi Azaier. „Spectral Procedure with Diagonalization of Operators for 2D Navier-Stokes and Heat Equations in Cylindrical Geometry“. Revue Africaine de la Recherche en Informatique et Mathématiques Appliquées Volume 5, Special Issue TAM... (07.08.2006). http://dx.doi.org/10.46298/arima.1860.
Der volle Inhalt der QuelleDissertationen zum Thema "Littérature expérimentale – Espagne"
Martinez-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
Briand, Maryvonne. „Poétique de l'espace et du temps dans l'œuvre narrative de Vincenzo Consolo“. Caen, 2004. http://www.theses.fr/2004CAEN1399.
Der volle Inhalt der QuellePegorari, Céline. „Le jeu dans le miroir : étude de l'œuvre poétique de Rafael Lasso de la Vega (1890-1959)“. Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30064.
Der volle Inhalt der QuelleThis study deals with the dramatization of the lyric subject in the work of Rafael Lasso de la Vega (1890-1959), and is based on an analysis of the various traces in the poetic text of the discourse and mise en abyme of the poematic voice. Yet such dialogue between outer reality and fiction does not proceed from any reflection on the nature of the literary text, of language or enunciation authorities, however manifest this reflection might have been at the time when Rafael Lasso de la Vega composed his work. On the contrary it is indicative of a conception of art the end of which is nothing but itself, and that pretends only to return to the origins of the creative process¾to shape fictitious universes in which an equally fictitious poet may watch himself in the throes of creation. Such a view of art sheds light on the artist’s conception of existence. As the fin de siècle dandies, Rafael Lasso de la Vega would do his best to turn his life into something out of a novel, falsifying a huge part of his biography to create delightful legends about himself. This dimension is tackled in the first part of the study, which then offers a more structural analysis of the texts and their poetic language
Marti, Laurent. „Le théâtre de Gonzalo Torrente Ballester : des avant-gardes à Aristore“. Thesis, Dijon, 2010. http://www.theses.fr/2010DIJOL012.
Der volle Inhalt der QuelleGonzalo Torrente Ballester (1910-1999), one of the main figures of the Spanish literature of the 20th century, is best known for his narrative. However, theatre is his greatest passion – and also the very first one – since he devoted the first twenty years of his literary career to theatre. The theatrical activity of the Galician author during the 1930s and the 1940s, hectic and steady, gives us an outstanding account of the Spanish stage during the Second Republic: the coexistence of a commercial and bourgeois theatre appreciated by the public since the end of the 19th century, and a minor avant-garde theatre aspiring to reform the theatrical stage with extensive innovations in the form. The two first plays of Torrente Ballester are in the line of this latest approach but a historical event, the war of Spain, leads to a major thematic and aesthetic change. The playwright meets up with a group of intellectuals of the Spanish Phalanx, the Grupo de Escorial, where literature mingles with politics, a mixture which determines the plays – but also the essays and articles – of our author at the very beginning of the 1940s. The dream of an ideal society educated by theatre ends up in 1943 and Torrente turns away from the dogmatism characteristic of the 1937-1942 period. The Galician author recovers then a creative freedom which allows him to compose his best plays just when, in the absence of staging, he decides to give up dramatic writing to dedicate himself exclusively to narrative. The theatrical adventure of Torrente stops at the end of the 1940s but the literary, political and human experience collected during this stage turns out to be essential to his later brilliant career as a novelist
Fourrel, de Frettes Cécile. „L'évolution du rapport à l'image de Vicente Blasco Ibáñez (1908-1928)“. Thesis, Toulouse 2, 2012. http://www.theses.fr/2012TOU20081.
Der volle Inhalt der QuelleIn 1916, the Valencia-born Spanish writer V. Blasco Ibáñez (1867-1928) started a career in cinema and shot Sangre y arena (Blood and Sand), a film adapted from his 1908 novel. Shortly after, the author left for Latin America where he stopped writing novels until 1913. This hiatus, considered by literary critics to be the result of a lack of inspiration, brought about an opening to new artistic ventures in which the image held center stage. Then, during World War I, the writer designed a quantity of film projects; in terms of writing, these coincided with the elaboration of the "cinematographic novel". Finally, the last years of his life were devoted to writing for Hollywood (scenarios, novels, stories). Film studies have recently looked into the Blasquian contribution to the history of Spanish cinematography, but literary critics have scarcely taken an interest in the aesthetic evolution entailed by the novelist's orientation towards the big screen. Moreover, if the Hollywood adaptations of his stories are well-known, the relation of the writer to the cinematography of the WWI era is overlooked despite the fact that it is crucial to the understanding of the evolution of Blasco Ibáñez's writing. In the same way, his relation to the production line in Hollywood should be clarified in the light of unpublished documents. This thesis, based on the analysis of textual and iconographic elements found in French, Spanish and American collections, proposes to throw light on the way in which the advent of the new cinematographic medium may have motivated V. Blasco Ibáñez to rethink his novel writing practice and the distribution of his narratives
En 1916, el escritor español de origen valenciano, V. Blasco Ibáñez (1867-1928), se lanzó al cine y adaptó Sangre y arena, novela publicada en 1908, poco antes de su salida a América Latina donde interrumpió su actividad novelística hasta 1913. Este período interpretado por la crítica literaria como una carencia de inspiración resultó ser una apertura a nuevas vías artísticas en que la imagen ocupaba un lugar central. Luego, durante la Gran Guerra, el escritor concibió numerosos proyectos fílmicos que coincidieron, al nivel de la escritura, con la elaboración de la “novela cinematográfica”. Por fin, se dedicó, en los últimos años de su existencia, a la redacción de historias para el cine hollywoodiense (guiones, novelas, relatos).Los estudios fílmicos se interesaron recientemente por la aportación blasquiana a la historia del cine español; en cambio, la crítica literaria no se preocupó demasiado de la evolución estética que suponía tal orientación del novelista hacia la pantalla. Además, se sabe mucho de las adaptaciones hollywoodienses de sus relatos, pero muy poco de la relación del escritor con el cine de la Gran Guerra ; ahora bien, el conocimiento de este período es crucial para entender la evolución de la escritura blasquiana; lo mismo, hace falta profundizar su vinculación con la cadena de producción hollywoodiense, a la luz de documentos inéditos.Esta tesis – fundada en el análisis de elementos textuales e iconográficos sacados de fondos francés, español y americano – pretende dilucidar en qué medida la llegada del nuevo medio cinematográfico pudo llevar a V. Blasco Ibáñez a reconsiderar su forma de escribir novelas y de difundir historias
Schiau-Botea, Diana. „Le texte et le lieu du spectacle de La Plume au Mur. Stéphane Mallarmé parmi les avant-gardes“. Thesis, Paris 3, 2010. http://www.theses.fr/2010PA030043/document.
Der volle Inhalt der QuelleAs Peter Sloterdijk writes, the development of mass media such as lowcost popular newspapers challenges radically the humanist conception of the book as letter generating friendship. Citizens of the newborn republic can no longer share the same values thanks to canonical, national, or universal readings. At the end of the 19th century, for that reason, journalists and writers attempt to create new opportunities which allow them to abolish the distance and meet their public. This dissertation examines and compares four different artistic journals – L’Hydropathe, Le Chat Noir, La Plume et Le Mur – whose creators organize literary gatherings or shadow theater shows in different venues designed for this purpose : cafés, small auditoriums in the Latin Quarter, and cabarets in Montmartre. Nomad students « settle down », create new texts, and decorate the walls, and this work becomes a very important part of their identity. However, one will be surprised to discover similar concerns in the work of a solitary writer, who did not particularly like to speak in public. Stéphane Mallarmé is indeed a writer, as Jacques Rancière says, « infinitely aware of his time ». We shall see that both Mallarmé and the avant-gardes studied in this dissertation produce democratic performances which atttempt to transpose the irreducible contradictions of modern times into exemplary figures. In a joyful, carnivalesque way mostly, the staging of fragmentary writing and of artistic frames invites us visibly to imagine communities
Thiérard, Hélène. „"Hylé I" et "Hylé II" de Raoul Hausmann : des ensembles textuels autobiographiques en mouvement“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA043.
Der volle Inhalt der QuelleThis thesis discusses Raoul Hausmann's work in progress, Hyle, whose genesis lasted over 30 years (1926-1958). "Hyle I" (unpublished) and "Hyle II" (2006) both have strong autobiographical character and deal with the years 1926-33 (Germany) and 1933-36 (Ibiza). Each consists of approximately a hundred units combined together into a textual ensemble, which goes beyond traditional genre classifications and produce a transgeneric, plural and mobile textual identity. Taking into account Hausmann's crucial importance in Berlin Dada both on the theoretical field and for his artistic and poetical production, this thesis looks into the question of the continuation of an avant-garde project within "Hyle". In order to understand what remains of Hausmann's utopian project of an enlargement of human perception, it is most helpful to explore the intermedial relations between the work in progress and Hausmann's practice of photomontage, visual poetry and photography. The comparative analysis of "Hyle I" and "Hyle II" is based on an extensive genetic enquiry using the two principal Hausmann archives in Germany and France. It first focusses on the macrostructural level and highlights how the technique of textual montage creates a spatial and dynamic coherence mode, which is conflicting with that of narrative linearity – this being supported in "Hyle II" by a comprehensive poetics of space. The analysis then sheds some light on the ambiguity of an autobiographical project which forms itself in the course of the genesis and oscillates between retrospective subject constitution and subject fragmentation or dissolution. It finally analyses the language experiment in Hyle as a utopian attempt to shift the verbal bondaries which limit our understanding – culminating in "Hyle II" with the multilingual writing influenced by the exile years
Die Dissertation untersucht Raoul Hausmanns Work-in-progress "Hyle" unter Berücksichtigung seiner mehr als 30 Jahre umfassenden Textgenese (1926-1958). "Hyle I" (unveröffentlicht) und "Hyle II" (2006) handeln von Hausmanns Leben in den Jahren 1926-33 (Deutschland) und 1933-36 (Ibiza). Diese jeweils aus ca. 100 zusammenmontierten Einheiten bestehenden Textensembles gehen über traditionelle Gattungszugehörigkeit hinaus zugunsten einer transgenerischen, pluralen und beweglichen Identität. Ausgehend von Hausmanns wesentlicher Rolle in Dada-Berlin – im theoretischen wie im künstlerischen und poetischen Bereich – wird in dieser Arbeit der Frage nach der Fortschreibung eines Avantgarde-Projekts in "Hyle" nachgegangen. Das vielfach intermediale Verhältnis des Schreibprojekts zu den Ausdrucksformen der Fotomontage, der visuellen Poesie und der Fotografie wird herausgearbeitet und in Beziehung zu Hausmanns utopischem Projekt einer Erweiterung der menschlichen Wahrnehmung gesetzt. Die vergleichende Analyse von "Hyle I" und "II" erfolgt anhand einer fundierten, sich auf den beiden Haupt-Nachlässen in Deutschland und Frankreich stützenden Rekonstruktion der Textgenese. Sie zeigt zuerst auf makrostruktureller Ebene, wie die Text-Montage einen räumlich-dynamischen, im Spannungsfeld mit einem linear-narrativen stehenden Kohärenzmodus stiftet, und wie sich dies zudem in "Hyle II" in einer umfassende Raumpoetik artikuliert. Die Analyse hebt dann das Ambivalente eines autobiographischen Unternehmens hervor, das sich erst im Laufe der Genese entwickelt und zwischen retrospektiver Ich-Konstitution und Subjekt-Auflösung bzw. -Fragmentierung oszilliert. Sie befasst sich schließlich mit dem Sprachexperiment als einem utopischen Projekt, das den starren, unsere Erkenntnis beschränkenden Grenzen der Sprache erneut Beweglichkeit zu verleihen sucht – und im mehrsprachigen, durch Exil-Erfahrung geprägten Schreiben in "Hyle II" seinen Höhepunkt erreicht