Auswahl der wissenschaftlichen Literatur zum Thema „Surréalisme (littérature) – Espagne – 20e siècle“
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Zeitschriftenartikel zum Thema "Surréalisme (littérature) – Espagne – 20e siècle"
Wallace, David. „À propos du Chili et de l'évolution du roman. Entretien avec Roberto Gac“. Sens public, 04.06.2015. http://dx.doi.org/10.7202/1052139ar.
Der volle Inhalt der QuelleDissertationen zum Thema "Surréalisme (littérature) – Espagne – 20e siècle"
Dupouy, Christine. „La question du lieu en poésie, du surréalisme à nos jours“. Paris 4, 1995. http://www.theses.fr/1995PA040004.
Der volle Inhalt der QuelleThe question of place is essential in poetry, for whom who wants to understand the passage from surrealism to the following generation. It is connected with heideggerian and therefore phenomenological problematics, wondering about our being-in-the-world, but also it is conveyed stylisticaly in texts, by interrogations. One is chosen by place, and its native quality is mostly symbolic. Place is not space, of which it constitues nothing but a point and to which it is opposed, as concrete to abstract, singular to general. However place is a center, from which the world emanates. All naturaly memory relies on the support of place, and in order to go back in time perhaps one just has to move a bit in space. Then comes the temptation of immemorial, which is linked with the sacred, but asks also the question of the denial of history : in such a case cannot place be reactionary? as to the problem of image, specific of surrealism, the writings of the poets of place is much more subtile than the peremptory assertions they might have done, and for them too it is important. Poetry of place hesitates between short forms like the haiku and a wider singing, which often uses a line of fourteen syllables and more: prose and poetry tend then to mix, as reflexion and description
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
Arfouilloux, Sébastien. „La musique, entre pratiques et théorie littéraire, de Dada au surréalisme“. Paris 4, 2007. http://www.theses.fr/2007PA040061.
Der volle Inhalt der QuelleThis study puts to the test facts the theoretical declarations of Dada and surrealism about music, proposing to read them again in their historical and cultural context. It is about to know in what music has a role to play into surrealism, taking into account the texts that announce a refusal, and to measure the difference between the announced theory and the achievements concluded. Taking as starting point the spectacles and the musical theories of the avant-garde of the time of Dada, which carry in germ what will be surrealism, it examines then the whole of the declarations of Andre Breton on the music. It finally questions the idea that there was no musical surrealism. Far from the postromantism, well off the return to the classicism of France at the beginning of the twentieth century, new musics are worked out. Certain news musical tendencies will be able to hold the attention of the surrealist poets and to constitute an inspiration. Others will be impelled by composers having dependent part with the surrealist movement
Coale, Robert. „Le Prix national de littérature en Espagne, 1922-1995“. Paris 4, 1999. http://www.theses.fr/1998PA040333.
Der volle Inhalt der QuelleRoig-Sanz, Diana. „La réception de la littérature espagnole à presse de Barcelone pendant la Seconde République“. Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10065.
Der volle Inhalt der QuelleRivalan, 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
Egger, Anne. „Place, rôle et importance de la non-spécialisation dans l'histoire du surréalisme et de la peinture“. Paris 1, 1999. http://www.theses.fr/1999PA010570.
Der volle Inhalt der QuelleThis work is based on the catalogue raisonné that inventories the plastic works of the first generation of French surrealist poets (1919-1966), as well as that of their women partners, at the time they belonged to the movement. Thus, more than 920 examples, every form of technique included, have been found in 21 non-plastician artists. The quantity and the diversity of these realisations - neither works of art, nor aesthetic objects nor simple forms of leisure have brought us to wonder about the existence and the efficiency of non specialisation in surrealism. The corpus is based on the one hand on an obvious practice systematised by the poets, and on the other hand, on the individual characteristics of the realisations of each author. These individual and collective creations, oscillating between the serious and the non serious often mix verbal and visual signs and reveal a double course of action, both ludicrous and experimental. These products, which are omnipresent in the supports of the movement and which are legitimised by the latter, confirm a diffusion strategy. But this apparently characteristic approach of the movement - like foreign formations - does not appear in the theoretical texts of surrealism. Our research focuses on this original ambiguity. To understand the absence of an official discourse, delimit the space of non specialisation and define the status of these amateur practices, we had to re-examine the history of surrealism in its general outlines this study brings us to a parallel history of the movement which used to advocate, in the name of a poetry made by everyone, the mixture of the genres and the reversibility of the roles. . . If surrealism offers a first approach of the eclecticism and the explosion of the artistic courses of action as well as a movement of unique synergy between poetry and art, we can therefore say that the absence of a consensus combined with the impossibility to totally abolish the specificity of talent may explain the historical marginalization of non specialisation among the french movement itself
Beylard, Catherine. „Etude sur "la liberté ou l'amour" de Robert Desnos dans l'éclairage des précurseurs du surréalisme“. Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10043.
Der volle Inhalt der QuelleDesnos and the surrealists, following great authors like sade, rimbaud. . . Have tried to desacralize love. They considered eros a subversive force. Desnos actively participed in the movement from 1922 on. He became a recogniced authority on erotic litterature following research into the subject which he began in 1923. Desnos's works were inspired by "second range" writings. Therefore the work our study refers to can be analized in the light of the precursors of surrealism. We could not, however, disgregard the author's actual experiences, which are closely linked to his writing. As "la liberte ou l'amour" speaks above all of love desnos own emotional life is reflected in it. The principal characters of this erotic narrative are based on existing people. It follows that the author's preoccupation with the themes explored in this book endows them with divinity. Immortalised in this work, desnos's love goes beyond his human condition to eternity. In this "religion of love", desnos celebrated all the women he's adored whilst annoncing youki : with whom he had the overwelming encounter and to whom he bound his life in 1928. But it is only in litterature that desnos reaches his much hoped for ideal in litterature where all dreams are true
Sclippa, Jean-Claude. „L'évolution du sens esthétique et l'interrogation sur le beau dans les Avant-gardes de 1905 à 1935“. Brest, 1997. http://www.theses.fr/1997BRES1005.
Der volle Inhalt der QuelleThe evolution of the aesthetic sense is a movement that has been engendered by a constant succession of innovations from 1905 to 1935. From cubism to surrealism, literary or poetical creations and productions have been observed, appreciated, contemplated and submitted to critical activity, revealing new techniques, news ways or devices, a new sensibility, which not only move away from classical aesthetics but actually break away from it. Common traits, new theories, a modernity which keeps being outdated, connect the avant-garde movements and are outlined in the uninterrupted sequence of three decades. Three main stages (1905-1914,1915-1924, 1925-1935) are defined which testity to this ineluctable evolution within the sphere of the avant-garde movements, the latest taking over the innovations of its predecessors, so that the base of the new aesthetics cannot exist but in a factual order, in an actual organic development. The aesthetic intention of each poet or writer is confirmed by the singularity of the work which fits into the continuous evolution of the avant-garde movements and stands out in a typology of the xxth century's aesthetics. Beauty reveals itself in surprising shapes since the aesthetic jugement is no longer based on taste but fully takes up the field of cognitive appreciation
Le, Bigot Claude. „La poésie politique dans l'Espagne républicaine (1931-1939) : essai sur les formes d'une rupture idéologique“. Rennes 2, 1990. http://www.theses.fr/1990REN20004.
Der volle Inhalt der QuelleIs there a language pertaining to political poetry? If one relies on a sociocritical analysis, one notices that the beginning of the Spanish republic occurred along with an ideological break in Spanish literature which is essentially prevailing in poetry. The commitment of writers as militant intellectuals led them to alter their artistic practice. If, at the beginning, political poetry tends to become propaganda, as the war goes on, its persuasive role hides behind the archetype that constitute the backbone of epic romancero. The linguistic analysis which tries to entrance a rhetoric of persuasion in accordance with the obvious of the message, equally helps to demonstrate that the notion of political poetry isn't a homogeneous whole ; nor is it a literary genre, since it fuses into already existing literary genres. Political poetry is grounded on using speech strategies and can be traced thanks to its didactic and polemical functions. When its persuasive function faces away, its poetical function takes its place again. Without giving up any of their ideological choices, the most advanced authors among them have created a "wartime lyricism" which enables them to combine their political speech with literary speech