Academic literature on the topic 'French literature catalog'
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Journal articles on the topic "French literature catalog"
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Motten, J. P. Vander, and Sien Uytterschout. "The Earliest Dutch-Language Translations of Poe’s Tales, 1845–1900." Edgar Allan Poe Review 23, no. 2 (2022): 171–208. http://dx.doi.org/10.5325/edgallpoerev.23.2.0171.
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Abstract Whereas Poe’s influence on many national literatures has been the subject of serious scholarly investigation, no attention has been paid to the nineteenth-century Dutch-language imitations, adaptations, and translations of his tales in the Netherlands and Flanders. Based on unexplored evidence in contemporary journals and newspapers, this contribution fills this gap by examining the earliest of such translations, published in the first seventeen years after the author’s death. The appendix provides the first-ever catalog of recoverable translations and adaptations of Poe’s tales until 1900. While even before 1860 Poe’s name featured in literary surveys, reference works, and newspaper items, Dutch-language versions of his tales throughout the nineteenth century appeared only sporadically. For various sociolinguistic, political, and educational reasons, the versions published in the Netherlands antedated and outnumbered those produced in Flanders. Usually offered to the reading public in condensed form, the earliest translations and adaptations were derived from both intermediate source texts—French, German, and British—and from original Poe editions. Plans for the publication of selections of Poe’s prose works in the 1850s and 1860s foundered; not until the late nineteenth century were Dutch-language audiences given access to more than a sprinkling of Poe’s tales.
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Pastor Briones, Vicent. "Les edicions catalanes del Pierres de Provença: Estat de la qüestió." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 7, no. 7 (June 29, 2016): 52. http://dx.doi.org/10.7203/scripta.7.8055.
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Resum: La novel·la anònima Pierres de Provença ens arriba des d’un original francès escrit a mitjan segle XV passant per algunes traduccions castellanes i catalanes que van fer-se des de principis del segle XVI. Malgrat la poca atenció que li ha dedicat la crítica literària en general, les aventures del cavaller Pierres i la gentil Magalona han comptat amb lectors de forma continuada fins al segle XIX. Aquest relat cavalleresc és un dels pocs títols que conformen el catàleg de la prosa impresa en català en l’època moderna, i és, per tant, força convenient fer una adequada catalogació de les edicions per tal de confegir un cens acurat que permeta estudiar l’obra i bastir-ne una edició crítica. Hem pogut establir un llistat d’onze edicions verificades pels bibliògrafs, de les quals només se’n conserven nou. La cronologia de les edicions és, a hores d’ara, aproximada, exceptuant-ne les que fan constar la data d’impressió a la portada: 1650, 1683 i 1908. Paraules clau: Pierres de Provença, edicions, català, segles XVII-XVIII Abstract: The anonymous novel Pierres de Provença has come to us from a French original written in the mid-fifteenth century through some of the Spanish and Catalan translations carried out since the beginning of the sixteenth century. Despite the little attention that it has received from most historians of literature, the adventures of the knight Pierres and the beautiful Magalona have had readers uninterruptedly up to the nineteenth century. This short chivalric story is one of the few works that make up the catalog of the Catalan prose of the modern period, and therefore it is quite convenient to make a thorough cataloguing of the editions made in order to establish an accurate census that allows to study the work and build up a critical edition. We have been able to establish a list of eleven editions verified by the bibliographers, of which only nine have been preserved. The chronology of most of the editions is, by now, just approximate, except those that have a specified date print on the cover: 1650, 1683 and 1908. Keywords: Pierres de Provença, editions, Catalan, XVII-XVIIIth centuries
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Simón, Paula. "Catalan editions in resistance: The publication of testimonial narrative about French concentration camps in Catalan during Franco’s dictatorship." International Journal of Iberian Studies 34, no. 2 (June 1, 2021): 151–70. http://dx.doi.org/10.1386/ijis_00050_1.
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As part of its repressive programme, Franco’s regime significantly limited the publication of literature in Catalan, a language that was pejoratively reduced to the category of dialect. In that context, the decision of writing and editing books in Catalan during the military dictatorship (1939‐75) was itself an act of resistance. This article studies a series of testimonial narratives that were published in the late 1960s and early 1970s in Spain about French concentration camps, including Crist de 200.000 braços. Refugiats catalans als camps de concentració francesos (1968), by Agustí Bartra; El desgavell (1969), by Ferran Planes; and Cartes des dels camps de concentració (1972), by Pere Vives i Clavé. Testimonial narratives about French concentration camps already circulated in the countries where Spanish intellectuals were exiled. However, writers such as Bartra, Planes, Vives i Clavé (survivors of Argelès-sur-Mer, Saint-Cyprien and other French concentration camps) and some Catalan editors committed to the Republican cause were interested in telling their traumatic experiences to Spanish and Catalan readers living in Spain. Therefore, they undertook the task of editing these works although in many cases they were strongly censored. Taking this into account, the purpose of this article is to analyse some aspects of these editions in order to consider how their testimonial narratives remain in constant tension between two forces: Republican writers’ intention to show their own version of recent history and the Spanish government’s imposition of its own institutional and conservative official discourse.
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Hinzelin, Marc-Olivier. "Die Stellung der Objektpronomina in frühen okzitanischen und katalanischen Texten im Vergleich." Zeitschrift für Katalanistik 17 (July 1, 2004): 111–29. http://dx.doi.org/10.46586/zfk.2004.111-129.
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The article stresses mainly the comparison of the position of the clitic object pronouns with respect to finite verbs in two languages from the (Eastern) Pyrenees, Catalan and Occitan. The position of the weak pronoun in relation to the finite verb in Old Occitan and Old Catalan shows interesting differences to the modern varieties of these languages and to Old French. Both languages allow, like contemporary European Portuguese, the positioning of the object pronoun directly after the finite verb in unmarked main sentences. Unlike in Old French this applies irrespective of verb-first-constructions with the verb in the absolute front position (socalled Tobler-Mussafia Law), where in all medieval Romance languages a postposition occurs.
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Blanchard, Nelly. "Évolution du phénomène de traduction dans le domaine littéraire de langue bretonne." Nottingham French Studies 60, no. 2 (July 2021): 206–22. http://dx.doi.org/10.3366/nfs.2021.0317.
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Arguing that the concept of littérature-monde conceals unequal relations between literary cultures, this article examines the socio-economic contexts of literary translation from and into Breton from the fifteenth to the twenty-first century. The value of translation across the corpus of 1025 texts lies primarily in creating intercultural relationships and promoting cultural diversity. Translation into Breton represents a vital defence of a language with dwindling speaker numbers: in the late 1970s it increases dramatically, with littérature de jeunesse spearheading a change in state policy allowing regional languages to be taught in schools. Yet translation can also reinforce an existing power imbalance, highlighting the central role played by French in the linguistic and literary construction of Breton society. Poetry, songs and contes translated from Breton often perpetuate stereotypes of a bardic, oral culture, while nationalist writers reject self-translation into French as capitulation before the dominant culture. Since the 1980s, many have chosen to bypass French by translating into languages such as Welsh, Scottish, Irish or Catalan, creating a network of minority literatures. Since the market for Breton translation is so small, however, such texts serve as valuable identity markers, a symbolic, affective force articulating a quest for socio-political legitimacy via literature.
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Soler, Maridès. "Els codis socioculturals de la «viuda desheretada» a <i>Pilar Prim</i> de Narcís Oller i a <i>Middlemarch</i> de George Eliot." Zeitschrift für Katalanistik 19 (July 1, 2006): 103–17. http://dx.doi.org/10.46586/zfk.2006.103-117.
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The motive of the «disinherited widow» has found until now little consideration in literature. Therefore it is interesting to study two novels published within a few decades of each other and which address this problem: Middlemarch (1871/1872), one of the well-known novels by George Eliot, and Pilar Prim (1906) by Narcís Oller. Although it has not been proven, it seems plausible that Oller knew the English novel, because he read a lot of contemporary literature and, besides this, maintained close contact with French literary circles, where the French translations of Eliot’s novels were familiar. This article studies the socio-cultural differences, analogies and consequences of the forced renunciation of the deceased husband’s fortune of two wealthy widows, because a codicile in testament hinders a second marriage. The main problem is not this renunciation, but that the sec ond husband is poor, and so the widow must choose love, poverty and social isolation or wealth, loneliness and social appreciation.
Keywords: Disinherited widow ; Oller, Narcís: Pilar Prim; Eliot, George: Middlemarch; English novel; influence on Catalan novel; socio-cultural codes in English novel 19. c.; socio-cultural codes in Catalan novel 19. c.
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PIERA, MONTSERRAT. "L’IMPACTE DE VIOLANT DE BAR EN LA CULTURA HUMANÍSTICA DE CATALUNYA: UNA REVOLUCIÓ A LA FRANCESA?" Catalan Review 22, no. 1 (January 1, 2008): 293–308. http://dx.doi.org/10.3828/catr.22.18.
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It has often been noted that Violant de Bar, wife of Joan I and Queen of Aragon 1387-96, played an important role in the diffusion of humanistic or pre-humanistic culture in the Crown of Aragon. Indeed, Violant encouraged the spread of French customs throughout the kingdom, particularly the new literary currents that contributed to the study of classical authors, and in so doing appears to have caused a true cultural revolution. Her influence continued even after the death of King Joan in 1396. This essay attempts to determine the real cultural impact of Violant de Bar’s presence in the Crown of Aragon by answering the following questions: Did Catalan literary culture undergo a renewal in the 14th century brought about by Violant? Did Catalan humanism originate from a French rather than an Italian model? Was Violant’s legacy truly revolutionary, and what changes did it occasion in the literature produced in the peninsula between the late 14th and mid-15th centuries?
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TEMME, NICO M. "ASYMPTOTICS OF A 3F2 POLYNOMIAL ASSOCIATED WITH THE CATALAN–LARCOMBE–FRENCH SEQUENCE." Analysis and Applications 04, no. 04 (October 2006): 335–44. http://dx.doi.org/10.1142/s0219530506000802.
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The large n behavior of the hypergeometric polynomial [Formula: see text] is considered by using integral representations of this polynomial. This 3F2 polynomial is associated with the Catalan–Larcombe–French sequence. Several other representations are mentioned, with references to the literature, and another asymptotic method is described by using a generating function of the sequence. The results are similar to those obtained by Clark (2004) who used a binomial sum for obtaining an asymptotic expansion.
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Volkov, Ivan O. "American literature in the library of I.S. Turgenev." Philological Sciences. Scientific Essays of Higher Education, no. 3 (May 2022): 143–50. http://dx.doi.org/10.20339/phs.3-22.143.
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The article is devoted to the study of a particular aspect of the dialogue between Ivan Turgenev and the literature of the United States of America. The piece of research focuses on the Russian writer’s book collection, namely that part of it, which contains the works of American authors in English and French. According to the existing catalogs and inventories all the surviving copies of Turgenev’s library have been identified with maximum details. As a result, the “American Foundation” today consists of four representatives of romanticism: J. Cooper, W. Irving, N. Hawthorne and E. Poe. All discovered books of American literature are carefully described. The object of the description is the publication history of the book, the features of its external design and, which is especially important, the traces left by the reader on the pages, i. e. nail marks and underlines and notes made by a pencil. Thus, the earliest by the date of publication in Turgenev’s library is the novel by J. Cooper “The Pioneers”, published in French as part of the fourth volume of the massive series of Cooper’s works. Several nail marks were left on the pages of the novel, which certainly belong to Turgenev’s reading style. In addition, in the process of studying Turgenev’s library, it was possible to establish that the collection of fantastic fiction stories by E. Poe, translated by S. Baudelaire, which stands farthest in the chronology of publication, did not really belong to a Russian writer and could not be the subject of his reading. As a result, the works of American authors preserved in Turgenev’s library make it possible to reproduce a picture of the direct acquaintance of the Russian writer with the literature of the United States, and the marks and notes on particular books open up the prospect of setting and solving new problems (“I. Turgenev and N. Hawthorne”, “I. Turgenev and J. Cooper”) in the aspects of both the reader’s acquaintance and subsequent creative reflection.
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Mensching, Guido. "On “partitive dislocation” in Sardinian: A Romance and Minimalist perspective." Linguistics 58, no. 3 (May 26, 2020): 805–35. http://dx.doi.org/10.1515/ling-2020-0087.
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AbstractThe traditional philological literature on Sardinian claims that Sardinian has a “partitive object” construction, arguing that it is either inherited from Latin or due to Catalan influence. Under closer examination, however, the construction at issue turns out to be a common Romance clitic right dislocation (CLRD) structure involving the preposition de and a partitive clitic. The article presents the syntactic distribution of this Sardinian construction and its clitic left dislocation (CLLD) counterpart and compares it to similar structures in French, Catalan, and Italian. The result is that the structure appears in all these languages when a bare NP is dislocated, including split-QP/NumP/NP constructions: In all these languages, the dislocated indefinite NP is marked by de/di and a partitive clitic (Sardinian nde, French en, Italian ne, Catalan en/ne) shows up. The article ends with a Minimalist analysis, in which clitics are the spell-out of a probe in v that triggers movement of a complement to the specifier of vP to overcome a phase boundary. In this account, a probe that targets indefinite NPs assigns partitive case, while the probe itself is spelled out as a partitive clitic. While taking Sardinian as a starting point, the article bears on more general issues and unveils a common mechanism in one group of Romance languages.
Dissertations / Theses on the topic "French literature catalog"
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Kim, Lauren J. "French royal acts printed before 1601." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/463.
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This thesis is a study of royal acts printed in French before 1601. The kingdom of France is a natural place to begin a study of royal acts. It possessed one of the oldest judicial systems in Europe, which had been established during the reign of St Louis (1226-1270). By the sixteenth century, French kings were able to issue royal acts without any concern as to the distribution of their decrees. In addition, France was one of the leading printing centres in Europe. This research provides the first detailed analysis of this neglected category of texts, and examines the acts’ significance in French legal, political and printing culture. The analysis of royal acts reveals three key historical practices regarding the role of printing in judiciary matters and public affairs. The first is how the French crown communicated to the public. Chapters one and two discuss the royal process of dissemination of edicts and the language of royal acts. The second is how printers and publishers manoeuvred between the large number of royal promulgations and public demand. An overview of the printing industry of royal acts is provided in chapter three and the printers of these official documents are covered in chapter four. The study of royal acts also indicates which edicts were published frequently. The last two chapters examine the content of royal decrees and discuss the most reprinted acts. Chapter five explores the period before 1561 and the final chapter discusses the last forty years of the century. An appendix of all royal acts printed before 1601, which is the basis of my research for this study, is included. It is the first comprehensive catalogue of its kind and contains nearly six thousand entries of surviving royal acts printed before 1601.
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Gutt, Blake Ajax. "Rhizomes, parasites, folds and trees : systems of thought in medieval French and Catalan literary texts." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278413.
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This thesis investigates conceptual networks —systems of organising, understanding and explaining thought and knowledge— and the ways in which they underlie both text and its mise en page across a range of thirteenth- and fourteenth-century French and Catalan literary texts and their manuscript witnesses. Each of the three chapters explores a separate corpus of texts, using two of four interrelated network theories: Michel Serres’ notion of parasites and hosts as the basic interconnecting units that combine to constitute all relational networks; the ubiquitous organizational tree; Gilles Deleuze’s concept of the fold as the primary factor in producing differentiation and identity; and Gilles Deleuze and Félix Guattari’s unruly, anti-hierarchical and anti-arborescent rhizomatic systems. The first chapter engages primarily with parasites and trees; the second with trees and folds; and the third with folds and rhizomes. However, resonances with the other network theories are discussed as they occur, in order to demonstrate the fundamentally interconnected and often interchangeable nature of these systems. Each chapter includes close analysis of manuscript witnesses of the texts under discussion. The first chapter, ‘Saints Denis and Fanuel: Parasitism and Arborescence on the Manuscript Page’, examines parasitic and arboreal networks in two hagiographic texts: late thirteenth- and early fourteenth-century prose redactions of the Vie de Saint Denis, and the thirteenth‐century hagiographic romance Li Romanz de Saint Fanuel. The second chapter, ‘Ramon Llull’s Folding Forests: The World, the Tree and the Book’, addresses arborescent and folding structures in Llull’s encyclopaedic Arbre de ciència [Tree of Science], composed between 1295 and 1296. The third chapter, ‘Transgender Genealogy: Turning, Folding and Crossing Gender’, considers three characters in medieval French texts who can be read as transgender: Saint Fanuel; the King of Torelore in Aucassin et Nicolette; and Blanchandin/e in Tristan de Nanteuil. The chapter explores the ways in which these characters’ queer trajectories can be understood through conceptions of directionality which relate to the fold and the rhizome.
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Nadim, Roxana. "Regards croisés sur Barcelone, ville mythique dans les littératures d'expression française, castillane et catalane : du franquisme aux années 2000." Paris 3, 2008. http://www.theses.fr/2008PA030072.
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Ce travail de recherche interroge l’image de Barcelone dans trois langues et cultures différentes et vise à mettre en valeur les processus de constitution et d’écriture d’un mythe littéraire. En effet, Barcelone est une ville palimpseste, support d’une série de mythifications. A partir du XIXe siècle, à l’heure des grandes œuvres réalistes et naturalistes, Barcelone devient une ville incontournable de la littérature hispano-catalane. Cependant, les ouvrages de cette période ne font pas réellement connaître Barcelone au-delà des frontières espagnoles. Il faut attendre les lendemains de la Première guerre mondiale pour que la capitale de la Catalogne acquière un véritable rayonnement international dans le monde des lettres et pour que se renouvellent les topoï qui lui sont liés. Or les écrivains français jouent un rôle de premier plan dans la création et la diffusion d’une nouvelle image de Barcelone, capitale culturelle et cosmopolite. Ils façonnent une image de la ville qui sera reprise et actualisée par les écrivains hispano-catalans. Notre corpus est trilingue et englobe, notamment, des œuvres de Jean Genet, André Pieyre de Mandiargues, Georges Bataille, ou Claude Simon, ainsi que des ouvrages écrits en castillan par Juan Marsé, Juan Goytisolo, Eduardo Mendoza, Manuel Vázquez Montalbán, Carmen Laforet… et des ouvrages en catalan tels que les romans de Mercè Rodoreda, Victor Mora ou Montserrat Roig. D’un point de vue méthodologique, la teneur imagologique de ce sujet nous invite à recourir à différentes sciences de l’homme – histoire des mentalités, anthropologie culturelle – et à interroger les problèmes liés aux notions d’interculturalité et d’intertextualitéThis research examines Barcelona’s image in three different languages and cultures, and seeks to highlight the process in which a literary myth was created and expressed in writing. Indeed, Barcelona is a palimpsest city ; a support for a series of created myths. Beginning in the 19th century – the era of major realist and naturalist works – Barcelona became a city impossible to avoid in Spanish and Catalan literature. However, fiction at the time did not project Barcelona’s image beyond Spain’s borders. The capital of Catalonia only gained international literary recognition after World War I, when the topoi associated with it were also renewed. French writers played a key role in creating and spreading Barcelona’s new image as a cultural and cosmopolitan capital. They shaped an urban image which was subsequently taken up and up-dated by Spanish and Catalan writers. The corpus here is trilingual and covers in particular the works of Jean Genet, André Pieyre de Mandiargues, Georges Bataille, or Claude Simon, and fiction written in Castilian by Juan Marsé, Juan Goytisolo, Eduardo Mendoza, Manuel Vázquez Montalbán, Carmen Laforet, etc. , as well as works in Catalan such as the novels by Mercè Rodoreda, Victor Mora and Montserrat Roig. From a methodological point of view, the imagological content of the subject draws on human sciences – the history of mentalities and cultural anthropology – and raises problems linked to notions of interculturality and intertextuality
Books on the topic "French literature catalog"
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Léglu, Catherine. Multilingualism and mother tongue in medieval French, Occitan, and Catalan narratives. University Park, Pa: Pennsylvania State University Press, 2010.
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Valencia), Congrés Internacional de Literatura Comparada (2nd 2000 Universidad de. Les literatures catalana i francesa: Postguerra i engagement. Barcelona: Publicacions de l'Abadia de Montserrat, 2000.
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Canadian Institute for Historical Microreproductions., ed. Langue et littérature canadiennes-françaises: Catalogue = French Canadian language and literature : catalogue. Ottawa: Institut canadien de microreproductions historiques = Canadian Institute for Historical Microreproductions, 1996.
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Chadwyck-Healey, Charles. Literature of the liberation: The French experience in print 1944-1946. Cambridge: Cambridge University Library, 2014.
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Matoušková, Jiřina. Francouzské tisky v arcibiskupské zámecké knihovně v Kroměříži: Miscellanea. Olomouc: Univerzita Palackého v Olomouci, 2016.
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Picard, Audap, Solanet & Associés. Biblioth`eque. Lettres et manuscrits autographes: Dont la vente aux ench`eres publiques aura lieu `a Paris, H^otel Droust, salle no. 9, mardi, novembre 2000. Paris: Picard, Audap, Solanet & Associés, 2000.
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León, Carmen Suárez. Biblioteca francesa de José Lezama Lima: Bibliografía. Ciudad de La Habana: Centro de Investigación y Desarrollo de la Cultura Cubana Juan Marinello, 2003.
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Nigel, Wilkins, and Corpus Christi College, Cambridge. Parker Library., eds. Les Manuscrits français de la Bibliothèque Parker (Parker Library, Corpus Christi College, Cambridge): Actes du colloque, 24-27 mars, 1993. Cambridge: Parker Library Publications, 1993.
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Cole, William. First and otherwise notable editions of medieval French texts printed from 1742 to 1874: A bibliographical catalogue of my collection. Sitges [Spain]: Cole & Contreras, 2005.
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SA, Sotheby's France. Collection littéraire Pierre Leroy, grands écrivains surréalistes et de l'après-guerre. Paris: Sotheby's, 2002.
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Cabal Guarro, Miquel. "More Than a Century of Dostoevsky in Catalan." In Translating Russian Literature in the Global Context, 25–44. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0340.02.
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This essay explores the factors that shaped the introduction and dissemination of Dostoevsky’s works in the Catalan cultural sphere, focussing on several different stages of the author’s translations into Catalan. In the late 1800s, Russian literature was largely unknown in Catalonia; interest grew due to the public’s fascination with Russian political movements and the fin de siècle avant-garde, as well as the agitational political climate in Spain. The Catalan intelligentsia typically accessed new aesthetic forms through French publications, including Russian literature: the first translations from Russian to Catalan were thus made through French. However, surprisingly, Dostoevsky’s works entered the Catalan literary world through German translations, with his first translator, Juli Gay, using German texts as source material for his Catalan versions of ‘An Honest Thief’ and ‘The Landlady’ in 1892. This resulted in less stylistic distortion from the original than in other language versions translated from French. In the early 1900s, other works by Dostoevsky were translated into Catalan using French pivot texts; the first direct translations were published in 1929, namely Crime and Punishment by Andreu Nin and The Eternal Husband by Francesc Payarols, two of the most prominent names in Russian-Catalan translation history. During Franco’s dictatorship, literature and cultural expressions in Catalan were banned, reducing new translations. In recent decades, the number and quality of direct translations of Dostoevsky into Catalan have grown, though some major works still await translation.
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Gemicioglu, Sarah Feryal. "A comparison of the early grammaticalization of vado + INF in Catalan, Spanish and French." In IVITRA Research in Linguistics and Literature, 115–30. Amsterdam: John Benjamins Publishing Company, 2022. http://dx.doi.org/10.1075/ivitra.31.06gem.
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Racioppi, Pier Paolo. "Scuole Italiane or Scuola Italiana? Art Display, Historiography, Cultural Nationalism, and the Newly Founded Pinacoteca Vaticana (1817)." In Art and Its Geographies. Amsterdam University Press, 2024. http://dx.doi.org/10.5117/9789463728140_ch20.
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The inaugural arrangement of the Pinacoteca Vaticana, instituted in 1817, after the restitution of the artworks confiscated by the French army in 1797, aimed to celebrate the ‘Italian school’. The notion of a singular scuola italiana was revealed through the choice and arrangement of specific paintings, as well as through the Pinacoteca’s catalogue and the literature of the time. This notion matured during and after the French rule of the Italian peninsula as a result of growing Italian cultural nationalism.
Conference papers on the topic "French literature catalog"
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Martín, Sergio. "Ensayistas: cartografías de la experimentación y las experiencias fílmicas." In II Congreso Internacional Estéticas Híbridas de la Imagen en Movimiento: Identidad y Patrimonio. Valencia: Universitat Politàcnica de València, 2021. http://dx.doi.org/10.4995/eshid2021.2021.13236.
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El ensayo fílmico ha sido largamente subordinado como un destilado de otros géneros como el documental o la literatura. A pesar de que ello ha sentado las bases sobre las que comenzar a analizar estos formatos, otros han errado en olvidar el carácter audiovisual frente a la herencia literaria (Lopate, 2007). Por este motivo, cabe repensar la naturaleza de esta categoría, la cual excede las tipologías clásicas por su capacidad de experimentación en las formas, así como su maleabilidad plástica a la hora de trabajar con las imágenes en movimiento. Este hecho se refleja en cómo fluctua narratológicamente entre la ficción, la no-ficción y la experimentación (Weinrichter, 2007). Al crítico André Bazin se le ha considerado uno de los primeros en hablar de la posibilidad de lo ensayístico en el cine (García, 2006), idea pareja a la caméra-stylo que proponía Alexandre Astruc (Rascaroli, 2017) y coincidiendo en el mismo punto de inflexión: una representación de la capacidad del autor de representarse en pro de una propuesta íntima y de corte personal. Es por ello, que en su propia capacidad híbrida se le conozca como un hiper-género (Catala, 2005) capaz de explorar las complejidades de las relaciones rizomáticas del pensamiento, mediante el registro videográfico (Rodriguez, 2011), a la hora de enfrentarse a las decisiones de estructuración de los vídeos (Amiel, 2005). Por otro lado, esto es posible debido a su carácter asistemático, lo que provoca encuentros dialécticos que singularizan las discontinuidades y, de ese modo, se unifican mediante las rupturas que se abren en el proceso del montaje (Provitina, 2014). Así pues, este dispositivo ha demostrado ser una herramienta crítica, hereje del pensamiento (Adorno, 2003), que no se deja dogmatizar a la hora de enfrentarse al acto de cartografiar las diferentes economías visuales, las cuales suelen basarse en las experiencias personales y su vinculación con sus contextos culturales. Así pues, esta comunicación trata de acercar qué se consideraría un ensayo audiovisual y cómo funcionaría mediante la exploración de las identidades reflejadas sobre el montaje. Para ello, se tomarán como punto de partida diferentes propuestas que ahonden en estos paradigmas de la experimentación discursiva y formal. Por ende, este análisis se llevará a cabo a través de piezas que se mueven entre el videoarte y la práctica cinematográfica de autoras como Dara Birnbaum, María Cañas, el colectivo O.R.G.I.A. o Florencia Alberti.