Auswahl der wissenschaftlichen Literatur zum Thema „Personnage noir“
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Zeitschriftenartikel zum Thema "Personnage noir"
Belo, André. „Language as a Second Skin: The Representation of Black Africans in Portuguese Theatre (Fifteenth to Early-Seventeenth Century)“. Renaissance and Reformation 36, Nr. 1 (22.08.2013): 3–29. http://dx.doi.org/10.33137/rr.v36i1.20018.
Der volle Inhalt der QuelleCoutelet, Nathalie. „La musique dans la peau? du personnage noir“. Présence Africaine 179-180, Nr. 1 (2009): 215. http://dx.doi.org/10.3917/presa.179.0215.
Der volle Inhalt der QuellePaulet Dubois, Françoise. „Humour, justice et terrorisme : Le Voyage d’hiver d’Amélie Nothomb et Les Justes d’Albert Camus“. ALTERNATIVE FRANCOPHONE 2, Nr. 1 (06.11.2017): 37–55. http://dx.doi.org/10.29173/af29330.
Der volle Inhalt der QuelleDupré, Louise. „Anatomie d’un personnage : la folle d’Elvis“. Études 18, Nr. 3 (30.08.2006): 553–62. http://dx.doi.org/10.7202/201049ar.
Der volle Inhalt der QuelleNiedokos, Judyta. „Derniers télégrammes de la nuit : le théâtre de Vera Feyder et son double“. MLN 138, Nr. 4 (September 2023): 1321–36. http://dx.doi.org/10.1353/mln.2023.a920093.
Der volle Inhalt der QuelleCasares, Aurelia Martín, und Marga G. Barranco. „Popular Literary Depictions of Black African Weddings in Early Modern Spain“. Renaissance and Reformation 31, Nr. 2 (01.01.2008): 107–21. http://dx.doi.org/10.33137/rr.v31i2.9187.
Der volle Inhalt der QuelleTAKAM, Omer. „Le Noir et le nègre. Une synonymisation antonymisée de la coréférentialité sémiotisée en autoréférentialité et en hétéroréférentialité. Une analyse stylistique dans La Croix du Sud de Joseph NGOUÉ“. Revue plurilingue : Études des Langues, Littératures et Cultures 7, Nr. 2 (30.12.2023): 71–88. http://dx.doi.org/10.46325/ellic.v7i2.112.
Der volle Inhalt der QuelleVidal, Bernard. „Le vernaculaire noir américain : Ses enjeux pour la traduction envisagés à travers deux oeuvres d’écrivaines noires, Zora Neale Hurston et Alice Walker“. TTR : traduction, terminologie, rédaction 7, Nr. 2 (13.03.2007): 165–207. http://dx.doi.org/10.7202/037185ar.
Der volle Inhalt der QuelleElmaleh, Éliane. „Art afro-américain, stéréotypes et ethnicisation dans les œuvres de Robert Colescott“. Migrations Société N° 193, Nr. 3 (05.10.2023): 95–112. http://dx.doi.org/10.3917/migra.193.0095.
Der volle Inhalt der QuelleAndrès, Bernard. „Jacques Grasset de Saint-Sauveur (1757-1810), aventurier du livre et de l'estampe“. Zone libre, Nr. 56 (29.02.2012): 193–215. http://dx.doi.org/10.7202/1008094ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Personnage noir"
Branche, Philippe. „Attitudes et identités du personnage noir dans le cinéma noir américain, 1910-1950“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376122985.
Der volle Inhalt der QuellePascal, Anne-Marie. „Le personnage du noir dans le theatre portugais du dix-huitieme siecle“. Paris 4, 1991. http://www.theses.fr/1991PA040168.
Der volle Inhalt der QuelleA traditional figure of the spanish and portuguese theatre since the fifteenth century, the black character belongs to the popular repertoire in the eighteenth century - a repertoire published in cheap pamphlets and preserved in various libraries of lisbon and coimbra as the "teatro de cordel". Based on referential features pertaining to its professional status (servant, street vendor, musician), the black character represents a socio-cultural archetype - a metonymy for the sub-society of blacks in eighteenth century lisbon. Its characteristic language had first burlesqued the actual pidgin - a cross between portuguese and african tongues that emerged as soon as the end of the fifteenth century and evolved into creoles - but then it gave way to a more stylised form based mainly on phonetic traits. It is a secondary laughing stock character whose dramatization relies on both traditional techniques - dance, brawl and insult motifs - and newer parodic fonctions - in love plots and social satires. Rooted in the previous perios, it will also follow the evolution of dramatic esthetics and herald the ideological change that will - thanks to its anti-slavery stance - make it a tragic hero in the nineteenth century
Vernet, Marc. „Narrateur, personnage et spectateur dans le film de fiction à travers le film noir“. Paris 3, 1985. http://www.theses.fr/1985PA03A061.
Der volle Inhalt der QuelleDiallo, Ibrahim Hamza. „Les rémanences mélodramatiques du personnage noir dans les littératures francophones d’Afrique subsaharienne du XXe siècle“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030028.
Der volle Inhalt der QuelleWith Sélico, ou les nègres généreux (1793), Pixerécourt, who is considered the first French melodrama playwright, places an original representation of the black character at the heart of a new theatrical genre. From the beginning of the 20th century, with the creation of the first colonial schools, the training of the first black writers and the emergence of Africanism, the melodramatic genre appears as the essential ingredient for the development of an African literature. Melodrama finds new life on another continent, through this persistence of the black melodramatic character in sub-Saharan literatures.The first stage of my research questions this association of a theatrical form and the representation of Africa from a geo-critical point of view. Considered sometimes as Eden-like, sometimes as perilous, the African continent favours the appearance of conflicting situations which fuel melodrama.In the second phase, the status of the melodramatic black character is examined. His perception follows the dichotomy noted about the African environment: it is divided between compassion and rejection.The rich abundance of coloured protagonists in French and African melodramatic literatures makes melodrama a committed theatrical genre. The third step of my reflection focused on the political, social and ethical functions of a melodrama that seeks to take its place in a world in disarray
مع Sélico ، ou les nègres généreux (1793) ، يضع Pixerécourt " سيليكو , أو الزنوج الكرماء " بيكسركورت الذي يعتبر أول كاتب مسرحي ميلودرامي فرنسي يمثل تمثيلًا حقيقياً الشخصية السوداء في قلب النوع المسرحي الجديد - منذ بداية القرن العشرين مع بداية إنشاء المدارس الاستعمارية الأولى وتدريب الكتاب السود الأوائل وظهور النزعة الأفريقية ظهر النوع الميلودرامي كمكون أساسي لتطوير الأدب الأفريقي لتجد الميلودراما حياة جديدة في قارة أخرى من خلال استمرار الطابع الميلودرامي الأسود في آداب أفريقيا جنوب الصحراء -تتساءل المرحلة الأولى من بحثي عن هذا الارتباط بالشكل المسرحي وتمثيل إفريقيا في هذا الشكل المسرحي من وجهة نظر جيو-نقدية. تعتبر القارة الأفريقية أحيانًا شبيهة بجنةعدن ، وأحيانًا محفوفة بالمخاطر ، وتفضل هذه الدراسة إظهارالمواقف المتضاربة التي تغذي الميلودراما -في المرحلة الثانية من الدراسة يتم فحص حالةالشخصيةالسوداءالميلودرامية تتبع الدراسة في هذه المرحلة تصور الشخصية السوداء للإنقسام الملحوظ بالبيئة الأفريقية فهي منقسمة في مواقفها بين التعاطف والرفض. توفُّر الأبطال الملونين في الأدب الميلودرامي الفرنسي والأفريقي يجعل الميلودراما نوعًا مسرحيًا ملتزمًا بمواصفات هذا النوع الأدبي - ركزت الخطوة الثالثة من الدراسة على الوظائف السياسية والاجتماعية والأخلاقية لميلودراما تسعى إلى أخذ مكانها في عالم تسوده الفوضى -
Guillaume, Isabelle. „Le personnage noir dans le cinéma américain : entre remise en question et rémanence des formes classiques“. Paris 8, 2011. http://www.theses.fr/2011PA083975.
Der volle Inhalt der QuelleThe subject matter of this doctoral work is the process by which black characters have become stereotypes in American cinema. The work shows how, very early on, American cinema, the first appearances of black people on screen gave rise to stereotypical black characters. The purpose of this work is to try and show that these very first caricatured, stereotypical, reductive and set images of black people have endured thereafter, in more or less varied forms, throughout American cinema’s history. The work is based on the five major stereotypical black figures listed by American historian Donald Bogle. The categories of stereotypes drawn by Bogle form the backbone of this work. Throughout the work, these black figures will be used as a benchmark to show that American cinema has both, tried to improve its portrayal of black characters while, at the same time, given in to the easy endless repetition of traditional figures. The aim of this dissertation being to provide an overview of black identity’s evolution in American cinema from the early days up until now, it will, therefore, focus on several genres, black and white actors and directors, and independent films, as well as films financed by Hollywood’s movie industry. By way of conclusion, the journey of black characters throughout this study is a long, arduous one. Inequalities remain. American audiences must, therefore, be wary of the persistence of classical representations of black characters, as such representations bring back ghost images that will continue to haunt American cinema for many years
Lafif, Mohamed Selim. „Personnage et rapports interpersonnels dans "Le Coup de grâce", "Mémoires d'Hadrien" et "L'Œuvre au Noir" de Marguerite Yourcenar“. Thesis, Tours, 2009. http://www.theses.fr/2009TOUR2031.
Der volle Inhalt der QuelleWe have founded our analysis on the existence of a special conception of the character in our corpus, encourage the recourse to the Character theory in the singular reading. Our corpus is justified by the seminal choice of these three works: Coup de grâce (1939), Mémoires d'Hadrien (1951) and L'Œuvre au Noir (1968),that were introduced during three bygone periods of time considered to be three turning points in History: The Baltic wars, The Greek Roman empire and The Renaissance Century. We approach these works through a textual proceeding that takes the work as a starting point to end up with a character study. Our reflection will take as a support Philippe Hamon's fundamental book: Le Personnel du roman, which uses Greimas' grid and distinguishes three levels of description while pinpointing the conditions of knowledge, power and goodwill. We find it relevant to apply this grid of analysis to the notions conveyed by the characters in Youcenar's works
Laferrière, Marie-Christine. „De diariste à écrivaine fictive : l'évolution du personnage de Céline Poulin dans Le cahier noir, Le cahier rouge et Le cahier bleu de Michel Tremblay“. Thesis, Université Laval, 2012. http://www.theses.ulaval.ca/2012/29015/29015.pdf.
Der volle Inhalt der QuelleMouzet, Aurélia. „Moïse : un prophète noir transatlantique ? : enjeux du mythe biblique de Moïse et de la Terre promise dans les romans de Zora Neale Hurston, Sylvia Wynter, Ngugi wa Thiong’o, et Pius Ngandu Nkashama“. Thesis, Paris 10, 2020. http://faraway.parisnanterre.fr/login?url=http://bdr.parisnanterre.fr/theses/intranet/2020/2020PA100016/2020PA100016.pdf.
Der volle Inhalt der QuelleBlack writers in Africa and in the African diaspora drew heavily on biblical stories, which have thus become a part of the development of the literary imagination in Sub-Saharan Africaand the Americas. Of all of the forms taken by Moses, it is the image of a liberating hero bringing his people to the gates of the promised land after having delivered them from theenslavement that has been privileged in the Black Atlantic imaginary. Drawing upon thisfigure, Zora Neale Hurston, Sylvia Wynter, Ngugi wa Thiong’o and Pius Ngandu Nkashama question the role of the literary work as it relates to religion, politics, and community in theUnited States during Jim Crow, in Kenya and Jamaica during the colonial era, and more generally in post-colonial African societies. The themes that mark Mosaic stories form thebasis of the denunciatory posture adopted by the authors. The prophetic imaginary allows them, moreover, to interrogate the status of the word, be it literary, political, or religious.Through the written word, these authors trace the contours of true emancipation of the Black ethos and situate writing as a metaphor for the promised land
Dahan, Patricia Irène. „Psychanalyse et film noir américain“. Paris 3, 1988. http://www.theses.fr/1988PA030003.
Der volle Inhalt der QuelleOne can that cinema, as any art, is a witness of its time in the sense that it reflects contemporary interests of its society. Considering that each period of time delivers a message, my work is an attempt to determine what type of message is conveyed by american film noir through an analysis of this cinema; its codes; archetypes; origins; economical, social and historical context. One of the processes chosen to higlight these films is psychoanalysis, as it enables the use of universal principles regarding the conscious unconscious functioning of the individual, between what is sent out (the director) and what is received (the audience). Because the drama each individual may experience in reality or fiction can be traced in the set up of these films. Another process of analysis is given by a recently developed science : semiology, which unites various parameters to organize the sense, it interests me as it integrates all that distinguishes a civilisation (economics, architecture, fashion,. . . ). My work aims at demonstrating in what way american film noir can reproduce and systematize some analytical concepts, determine which ones and why, and vulgarize them
Tremblay, Francine. „«Lame noire», roman policier, suivi de l'ambiguïté axiologique du personnage dans le roman policier“. Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/28953/28953.pdf.
Der volle Inhalt der QuelleBücher zum Thema "Personnage noir"
Graal noir. Paris: Flammarion, 2011.
Den vollen Inhalt der Quelle findenVézina, Michel. Disparues: Roman noir. Montréal: Coups de tête, 2014.
Den vollen Inhalt der Quelle findenPeggy Sue et les fantômes. [5], Le château noir. [Paris]: Plon, 2004.
Den vollen Inhalt der Quelle findenWiebe, Trina. Les hamsters ne brillent pas dans le noir. Repentigny, Quebec: Les Presses d'or, 2001.
Den vollen Inhalt der Quelle findenLidsky, Paul. Le rouge et le noir (1830): Stendhal : résumé, personnages, thèmes. Paris: Hatier, 1992.
Den vollen Inhalt der Quelle findenLidsky, Paul. Le Rouge et le noir (1830) Stendhal: Résumé, personnages, thèmes. Paris: Hatier, 1992.
Den vollen Inhalt der Quelle findenPatrick, Spaziante, und Girard-Audet Catherine, Hrsg. Noir total! Montréal: Presses Aventure, 2006.
Den vollen Inhalt der Quelle findenBanville, John. La blonde aux yeux noirs: Roman. Paris: R. Laffont, 2015.
Den vollen Inhalt der Quelle findenHunter, Stephen. Sept contre Thebes. [Monaco]: Éditions du Rocher, 2007.
Den vollen Inhalt der Quelle findenStilton, Gerónimo. Le secret de la tulipe noire. Paris: Albin Michel jeunesse, 2015.
Den vollen Inhalt der Quelle findenBuchteile zum Thema "Personnage noir"
Dottin, Hélène. „La chipie au livre noir, un personnage de tragi-comédie“. In Autour de Julien Green au cœur de Léviathan, 221–34. Presses universitaires de Franche-Comté, 2000. http://dx.doi.org/10.4000/books.pufc.2221.
Der volle Inhalt der QuelleBellot, Eva. „Le personnage du Noir esclave dans le théâtre de la Révolution : un héros politique ?“ In Diversité et modernité du théâtre du XVIIIe siècle, 61–81. Hermann, 2014. http://dx.doi.org/10.3917/herm.marot.2014.01.0061.
Der volle Inhalt der QuelleBouloumié, Arlette. „L'alchimiste, astrologue, chirurgien au xvie siècle : le personnage de Zénon dans L'Œuvre au noir, de Marguerite Yourcenar“. In Métiers et marginalité dans la littérature, 85–93. Presses universitaires de Rennes, 2004. http://dx.doi.org/10.4000/books.pur.11814.
Der volle Inhalt der QuelleLonongo, Édouard, und Didier Arcade Loumbouzi. „Présence Noire dans le Yoknapatawpha“. In Didactique des langues, plurilinguisme et sciences sociales en Afrique francophone : quelles places à l’interdisciplinarité ?, 57–74. Observatoire européen du plurilinguisme, 2020. http://dx.doi.org/10.3917/oep.agbef.2020.01.0057.
Der volle Inhalt der QuelleWilson, Emma. „̒La Chair ouverte, blessée’: Tournier, the Body, and the Reader“. In Sexuality and the Reading Encounter, 130–62. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198158851.003.0005.
Der volle Inhalt der QuelleKonferenzberichte zum Thema "Personnage noir"
Benoit Morinière, Claude. „Images de l’eau dans l’œuvre yourcenarienne“. In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3180.
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