Dissertations / Theses on the topic 'Miguel Gomes, Critique et interprétation'
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Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais." Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Questioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Durantou, Patrick. "Le meme et l'autre." Toulouse 2, 1994. http://www.theses.fr/1994TOU20070.
The question of the same and of the other concernes also in the individual that in general all the moments of life and in all of its angles. So we examine the confrontation to the death of the subject and of the othei like in unamuno. We find too, this, in the three creations studed of unamuno and the themes in the poetic creations of machado. The question of the same and of the other is inseparable of the one of a theory of knowledge and of the scepticism of machado. It's also in the time which is a composant of the dasein of heidegger that the same is opposate to the other. All of this come to a metaphysic of peace and to a theory of eros of unamuno and machado which brings many novations. We examine in the third part, after a prolepsis and some prolegomens, the face central of christ, the aspect messianic of the redeemer, his contribution of a religion revealed, then we compare three degrees of study, of poesis, of mathesis and of religere of the both creators. The examen ended with "variantes" above the deity
Andjouomo, Rosalie. "La foi chrétienne de Miguel Hernandez à travers son oeuvre." Perpignan, 2009. http://www.theses.fr/2009PERP1278.
The spanish author, Miguel Hernandez owes his christian faith to his education. In fact, in his ounger days, the author's parents and the Jesuits taught him catholic principles. Hernandez's catholic education allows him not only to mould his character, but it also becomes a main source of inspiration for him. And even though his encounter with the poets gathered around Pablo Neruda in Madrid leads him to change his ideology, his faith remains unchanged
Igual, Arroyo María Jesús. "Pensée et existence : Kierkegaard et Unamuno." Paris 1, 2000. http://www.theses.fr/2000PA010514.
Perrot-Corpet, Danielle. "Georges Bernanos et Miguel de Unamuno : deux écrivains devant l'absolu." Paris 3, 2000. http://www.theses.fr/2000PA030020.
Ngolo, Michel. "Essai d'interprétation idéologique du problème indien dans l'œuvre de Miguel Angel Asturias." Paris 4, 1987. http://www.theses.fr/1987PA040238.
Al, Shamary Atta K. Shatha. "La première partie des Guerras civiles de Granada de Giné̀s Pérez de Hita (Zaragoza, Miguel Jemino Sanchez, 1595 : étude préliminaire, édition et notes." Tours, 2003. http://www.theses.fr/2003TOUR2005.
Kohn-Pireaux, Laurence. "Etude de phénomènes de brouillage narratif : du "Don Quichotte" de Cervantès aux récits du XXè siècle (J.L. Borgès, I. Calvino, J. Barth, T. Ben Jelloun)." Nancy 2, 1994. http://www.theses.fr/1994NAN21022.
Don Quixote by Cervantes (1605-1615) is the first novel linking together a narrative pattern inherited from the tales of chivalry and narrative interferences making the narrator hard to discover. Some twentieth century authors who are often said to be involved into a "literature of exhaustion", use these techniques in self-reflexive works which question the role of the writer as the full creator of a fictional world. The play of influences cannot be taken into account between works which are radically different as far as their period, their form and their themes are concerned. In some short stories by Borges which are chosen between 1930 and 1975, suggested or developed narrative chains often refer to a pre-text : the author defines himself as a craftsman who tries to find a place in a world where the essential points have already been written. In L’Enfant de sable (1985) and la nuit sacrée (1987) by Tahar. Ben Jelloun, a single story is narrated eight times by different Moroccan storytellers. In Se una notte d'inverno un viaggiatore (1979) by Italo Calvino, a chain of fictional authors and narrators is organized but their narrative is always interrupted at the beginning. In an American novel by John Barth's, sabbatical, the origin of the narrative is skillfully confusing. These modern narrative techniques show several functions. First, they reveal that modern literature is linked to the literature of the past. Narrative chains symbolize a quest for the author. The effects of narrative interferences show upset narrators who have difficulties to write. But the master of illusion in modern novels who is identified behind the narrators, found the meaning of his task in his awareness to work on a digenetic matter, somewhat restricted in modern literature, but which can be organized according to unlimited combinations
De, Casabianca Foata Lelia. "Jean Giono et Miguel Delibes, romanciers de la terre." Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030019.
The works of Jean Giono (1895-1970) and Miguel Delibes (1920-2010) are respectively set against the backdrop of hinterland Provence and rural Castile, laying the emphasis on the land. This PhD thesis mainly dwells on their novelistic productions, which share numerous recurring themes and figures, despite some aesthetic differences and nuances. After addressing the question of how to characterize these novels – are they novels of the “soil”, “rustic” novels or novels of the “land”? –, this study concentrates on the specific relationships between male characters and their land: peasants at work, all those who live among nature, without forgetting town-dwellers in search of their roots or rural people transplanted to city life, but whose sense of belonging endures.In these works of fiction, the land theme is dealt with in various ways; the emphasis is first placed on the harmonious relationship and close bonds that unite the land with its creatures, whether human or animal. This organic whole is imbued with myths that refer to the origins of mankind. But modernity ruptures this primeval unity, the cycles of its rhythms and the order of its harmonies. Resisting such oppression, the earth rebels, turns against men and threatens them with destruction. From then on, men try to create a restored relationship with the land so that a lost balance might be re-established
Lapisse-Sola, Christel. "Corps et discours dans les Novelas ejemplares de Cervantes : organicité, dislocation." Paris 4, 2005. http://www.theses.fr/2005PA040240.
This study explores the way in which the theme of the body permeates the discourse in Cervantes's Novelas ejemplares. There are countless references to the body in the network of motifs contained in the prologue, ranging from images of unity to representations of dislocation. The ancillary issues of the visibility and the invisibility of the body also come into play, at a time when there was a proliferation of images in Spain and the visible came to predominate. Based on the double polarity exposed in the prologue, this study attempts to unveil the relationship between the representations of the characters' bodies and their discourse in the short stories. The occurrences of the human body, either glorious in its beauty or verging on monstrosity, precisely delineated or indeterminate, defy the language. They suspend the narration in order to give eyesight pride of place. The cosmos, being made up of distinct parts belonging to a whole, is a traditional image for organicity, and is here examined by analogy with the body, as the latter was conceived at the time of Cervantes. Studying the “cosmic matter” is a way to touch the grain of the physical world in the work. The collection as a form is also rhetorically impregnated with the body as a motif. Indeed Cervantes's presentation of his compilation is marked by the striking image of the “pepitoria”. The “pulpo” metaphor, in El coloquio de los perros, offers another metadiscursive as well as corporeal vision of language. It expresses the plasticity of a narrative discourse based on “surfeit”, its refusal of endings, its constant wish for continuing itself in spite of the necessity for neat denouements imposed by the “novela” genre. Cervantes tends to copy, through this dislocated discourse, the endless displaying of life itself
Gomez, Corredera Maria del Puerto. "Fortune et infortunes du théâtre d'Unamuno : péripéties et avatars de "Fedra" et de "El Otro"." Pau, 2005. http://www.theses.fr/2005PAUU1008.
In a first part, we endeavoured to present the historical, political and especially theatrical context of the beginning of the XXe century in Spain and Europe: the relationship between the theatres, the authors, the critics and the public, and the various attempts at restoration. After that, we analyzed two of the parts most representative of the theatre of Unamuno, "Fedra" and "El Otro", because they tackle the problem of the identity and the complementary double in a complementary way. In a second part, we analyzed 20 performances of "Fedra" and 15 of "El Otro", from the beginning of the century until 2003 for most recent, in order to clarify if the choices of the successive directors as regards decorations, costumes, musics and lights, or even the possible modifications of the text, were effectively put at the service of the original message contained in each part or if on the contrary they betrayed them
Mfoula, Nadège. "Miguel de Unamuno et la presse hispano-américaine (1898-1936)." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA080/document.
The object of this study is "Miguel de Unamuno and the Spanish-American Press (1898-1936)". From countless articles published in the Ibero-American press in the first third of the twentieth century but also its abundant private and public correspondence, we attempted to identify the evolution of political thought, social and religious intellectual face of this cultural history of an entire continent and particularly countries like Argentina and Chile. The purpose of this work is to redefine human relationships, social and political relations between the Spanish and Hispanic Americans from the immediate post disaster of 1898 until the Civil War of 1936. The Americanist vision of Miguel de Unamuno is based on the unifying concept of "Hispanidad" that brings together all the Hispanic peoples around a common language, Spanish. Unamuno intends to fight against the reactionary and traditionalist vision of a "homeland" Spanish sclerotic meet its Hispano-American children; through intense intellectual and cultural exchanges he wants to impose on the public a progressive and innovative vision of a new relationship between America and Spain: the "Hermandad", that is to say, fraternity, equality for all around a common language and culture, "el dia de la lengua" versus "el dia de la raza" (12 October)
Faure-Gignoux, Sophie. "Le théâtre anthropophage de Miguel Romero Esteo ou le cycle grotescomachique infernal." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3035.
The theatrical universe of Miguel Romero Esteo, undoubtedly one of the most influential spanish playwrights of the second half of the 20th century, opens up spaces that emerge as unknown worlds no one has ever explored. In his work, consisting of plays he himself calls « grotescomachies », he invents a new dramaturgy, festive, ritual and baroque, which draws on various literary, theatrical, pictorial and musical traditions. The abundant usage of intertextuality in this polymorphous and hybrid theater, post-modern ahead of his time – where the researcher can gather traces of a cultural anthropology – underlines what the Self owes to the Other in every aesthetic and ideological perception of the world. Our primary focus will deal with the treatment of language, as the creation of the dramatic speech ventures off the beaten path and outlines routes that are unusual. Romero Esteo engages in a true deconstruction of speech and thus creates an unprecedented imaginary space, where poetry and music hold a central place. The author creates a celebration of sense and senses, at once loud and lyrical, but also critical and grotesque, where every single element of the dramatic structure falls within a specific form of play which, far from just materializing a unique playground, redefines the boundaries of the theatrical space-time.« Free-range » theater, theater of freedom… this unrivalled language, which mingles animal and human, spiritual and physical, insanity and reason, earth and sky, builds a timeless universe that allows for better appreciation and constant mockery of the distinctive features of the human condition
Coadou, Bénédicte. "Recherches sur l’écriture de l’imaginaire dans La Galatée et le Persiles de Miguel de Cervantès (1585-1617)." Thesis, Rennes 2, 2012. http://www.theses.fr/2012REN20034/document.
La Galatea and Persiles, two romances written by Cervantes, are frequently misunderstood because they do not establish the same relation with reality as in Don Quixote. They explore an imaginary space and seem to work in contradiction with the rule of verisimilitude and what we consider to be the foundation of the modern novel. After this assessment, the present study has been elaborated in order to understand the reasons for these special features in Cervantes's first and last books, a writer whose “ingenio” has often been praised. That is why, for a start, I will focus on the similarities between them and, first and foremost, I will contextualise them: the imagination and the imaginary will be the guiding principles. This work tries to show how these books are able to meet the readership's and the theoreticians' expectations. At the same time they explore an imaginary space, proving that it is possible to invent a free writing
Alvarez, Roblin David. "Pratiques de l' apocryphe dans le roman espagnol au début du XVIIe siècle : approche comparée du Guzmán de Luján et du Quichotte d' Avellaneda." Bordeaux 3, 2010. http://www.theses.fr/2010BOR30037.
This work deals with a specific mode of literary borrowing – the apocryphal practice – envisaged through two singular cases: Mateo Luján’s Guzmán de Alfarache (Valencia, 1602) and Avellaneda’s Quixote (Tarragona, 1614). The first part of our work focuses on the relationship between the First Parts of the original Guzmán and Quixote, written by Mateo Alemán and Miguel de Cervantes, and their respective continuators’ texts. We first scrutinize the elements from the initial novels that would have allowed or even encouraged apocryphal continuations (chapter 1), and then proceed to examine how this predisposition has been textualized in Luján and Avellaneda’s works (chapter 2), in order to determine whether they had an actual novelistic project (chapter 3). The second part of this study concentrates on the way Alemán and Cervantes counterattack in their own continuations (in 1604 and 1615), in which they retort to their competitors. We first suggest a typology of the different levels of counterattack (chapter 4), then study how the apocryphal continuations in turn become sources of inspiration for the original authors (chapter 5) whose authentic Second Parts finally emerge as deeply infused with the influence of the rival novels (chapter 6). The third part of this investigation offers a crossed approach of our corpus’s novels that studies, on the one hand, the literary affinities between Luján and Cervantes (chapter 7) and, on the other hand, those concerning Alemán and Avellaneda (chapter 8). This double-crossed analysis is the corner stone that leads us to a theorization of the literary apocryphal practice
Ben, Ezzedine Zitouna Bedis. "Mythes fondateurs, mythes reconstructeurs : étude de Don Quichotte, Don Juan et La Célestine chez Azorín (1873-1967), Miguel de UNAMUNO (1864-1936) et Ramiro de MAEZTU (1874-1936)." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2011. http://tel.archives-ouvertes.fr/tel-00743958.
Vincent, Carine. "La voix textuelle : En torno al casticismo de Miguel de Unamuno, Las sonatas de Ramòn del Valle-Inclàn, La lluvia amarilla de Julio Llamazares." Pau, 2007. http://www.theses.fr/2007PAUU1010.
This research work is aimed at updating the places of writing where come to be embodied the elements of textual voice. The corpus chosen to complete successfully this quest speech for object in a compared perspective and it is made up of three works of Spanish literature written in different epochs and / or marked by distinct discursive tonalities. First of all, “En torno al casticismo”, philosophical work of Miguel de Unamuno still marked by certain stylistic cannons of the XIXth century, then “Las sonatas” de Ramón del Valle-Inclán, work hinge of the beginning of the XXth century and which constituted a break, at its time, with the writing of the previous century; finally, we end by “La lluvia amarilla” of Julio Llamazares, a contemporary work of the end of the XXth century. The called tools of analysis for the approach textual voice within these three works are various. In traditional terms, they could be lined up in the broad category of stylistic, on the condition of hearing this last as the eclectic grouping of phenomena being recovering from a synergy between the linguistic mechanisms, of enunciation, of narration, of semio-pragmatic, of rhetoric and graphic format of speech, notably by means of punctuation. Our postulate it is that textual voice results precisely from a synergy, from a conglomerate of phenomena, which seem insulated at first but in reality “make system” within a given speech
Meyer, Christine. "Canetti, lecteur de Cervantès, Gogol, Stendhal : formes de l'intertextualité dans l'oeuvre romanesque et autobiographique d'Elias Canetti." Paris 3, 1997. http://www.theses.fr/1997PA030066.
The relationship between auto-da-fe and don quixote is based on the hero's appearence, his obsession with books and the resulting "blindness", both comic and tragic. Kien also inherited don quixote's age, sex and disposition. The same parallelism is to be found regarding the minor charaters (therese/dulcinea, fischerle/sancho) and on the pragmatical level ("setting out", chivalrous mission, mystification, insanity). There are too many similarities to simply allow us to treat auto-da-fe as a variation on the topos "reading leads to madness" (cf. Antinovel) : it is an "aggravation" of don quixote, with numerous consequences for semantics and poetics. Gogol's imprint is less concerned with the textual form of auto-da-fe than with the symbolic structure ("myth") which supports the "comedie humaine of fools". The gogolian universe suffers from pathological inconsistency and a distorted attitude towards death. The nexus money/survival/power, the central theme of dead souls, anticipated the "reality to be" : the devaluation of humans, which functions in gogol in a metaphoric form, is now concretized. Canetti picks up such balzacian themes as the mythical million, the hidden crime, the "passions", and treats them with gogolian irreality. Despite formal differences, the story of a life develops a "personal mythology" similar to that of brulard. The role of history is rendered in a subjective form : what counts is its impact on the protagonist. The descriptions of family and the system of models and countermodels are also subjective. This manicheism is part of an ideology that requires the full acceptance of one's past. Neither a confession nor a settling of scores, autobiography attempts to illuminate the essence of personality
Sevilla, Llisterri Inés. "El Retablo de Maese Pedro de Manuel de Falla : un diálogo entre música, literatura y política." Paris, EHESS, 2016. http://www.theses.fr/2016EHES0011.
In this research project, we analyzed Manuel de Falla's opera Master Peter's Puppet Show (1923) as an interpretation of Cervantes' Don Quixote (1605 and 1615), focusing on the relations established by the composer between music, literature and politics. Our project is, therefore, a comparative study between both works, even if it focuses on defining the dialogus established by the composer with Miguel de Cervantes. To this end, we consider Don Quixote's importance and connotations (specially in the episode of Master Peter's puppet show) in Spain in the early 20th century. What is the significance of the composition and its reception, of choosing Don Quixote as the subject of the opera? What does Master Peter's episode represent? From this perspective, we have proposed, developed and put to the test the following three hypotheses : First, we claim that in Master Peter's Puppet Show Falla carries out a reconstruction of the musical imaginary of Cervantes' work. Second, based on Falla's conception of Master Peter's Puppet Show as a tribute to Cervantes, we interpret that Falla's music succeeds in imitating and conveying many of Cervantes' stylistic features. Third, we consider that in Master Peter's Puppet Show Falla develops his ideal vision of Spain (thus advancing a politics proposal), which he sees as a Catholic nation from the angle of a Castile-centered Spanish nationalism, nonetheless respectful of cultural and linguistic diversity of regions such as Catalonia, aligned in Europe with the Allies and from a Europeanist stance
Rolland, Jean-Brice. "Roman, néoplatonisme et pastorale dans l'Astrée d'H. D'Urfé et ses sources espagnoles (La Diane de J. De Montemayor, La Diane amoureuse de G. Gil Polo, La Galatée de M. De Cervantès)." Paris 4, 2007. http://www.theses.fr/2007PA040271.
L’Astrée is considered to be the novel that put amorous politeness in the literature and customs of the Seventeenth Century. H. D’Urfé gave the aristocracy an approach to Neoplatonic love previously reserved for a few intellectuals : his fiction was a rhetorical contrivance that served a definite theory. His work, however, received an ambiguous reception. Was this a result of the way it was read or was it intentional ? The fact that the roman was unfinished, either accidentally or deliberately, does not provide a definite answer. Questioning the Neoplatonic basis of d’Urfé’s novel, this thesis focuses on a textual interpretation and relies on Spanish precedents to show how philosophical discourse is embedded in the novelistic genre and the pastoral esthetic
Lassaca, Aurelià. "L'oeuvre théâtrale de François de Cortète (1586-1667) . Edition critique." Thesis, Montpellier 3, 2012. http://www.theses.fr/2012MON30018.
This doctoral thesis comprises the critical edition, translation and analysis of the entire dramatic oeuvre of François de Cortète (1585-1667). This Agenais lord moved in the circles of Adrien de Monluc, patron and protector of numerous French and Occitan-language writers. Cortète’s plays, in part published posthumously by his sons, include two pastorals distinguished by a certain « concern for reality » in their representation of shepherds living on his seigneurial lands. LaMiramondo explores the three classical unities; in Ramonnet Cortète treats the comic ethnotype of the Gascon braggart (matamore), inverting its ridiculous characteristics by drawing one of the first portraits in Occitan literature of the francimand. A third play, Sancho al palays del Duc, a comedy in the style of Guérin de Bouscal, adapts for the stage a dozen chapters of the second book of Don Quixote. Following the example of the Toulouse poet Pierre Godolin, Cortète exploits the possibilities of the langue d’oc to produce dramatic works in the style of those of Europe’s elite contemporary playwrights. His three plays reflect the richness and diversity of the Theatre in France between 1630 and 1650, as well as the upheavals it lived through. This edition of the texts, based on the original manuscripts, tries to be as faithful as possible to them while preserving their readability. It also constitutes the first French translation of Cortète de Prades’ dramatic oeuvre. In the light of there being no indication of dating by the author of the chronology of composition of his plays and, moreover, thecritical bibliography being extremely small, the analysis undertaken in the introduction approaches the plays transversely and attempts to answer this chronological problem by specifying and exploring the major issues that define the uniqueness of this body of work
Guimarães, Pedro Maciel. "Créer ensemble : l'apport des collaborateurs de création à l'oeuvre de Manoel de Oliveira." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030127.
A film is a collaboration work that feeds on the different sensibilities of the professionals who make it and contribute, more or less significantly, to its author. This study focuses on the key moment of every work of art, its creation. The study of the poetics of film – the making of film – allows for a more profound understanding of the aesthetic challenges involved. Specifically addressing the collaborative relationships of Portuguese filmmaker Manoel de Oliveira, involves inquiring how the ideological, personal and professional relationships the filmaker has with his collaborators determines his concepts of image, editing, his choice of actors and the process of adapting a literary work. The chosen professionals are Portuguese actor Luis Miguel Cintra, French editor Valerie Loiseleux, Swiss Cinematographer Renato Berta and Portuguese novelist Agustina Bessa-Luis. By analyzing these bilateral relationships, this study questions how the presence of the collaborators influences the concept of Oliveira’s scene setting, as well as how being a privileged interlocutor of the Portuguese filmmaker influences the careers of these collaborators. Without calling the author’s work into question, we believe in collaborative cinema, a cinema that says « us » instead of « me ». A cinema where the collaborator is not only a witness to the making of films, but also a sensitive surface and an active presence put to the test in the creation process which he integrates and integrates him