Literatura académica sobre el tema "Épique (esthétique) – 19e siècle"
Crea una cita precisa en los estilos APA, MLA, Chicago, Harvard y otros
Índice
Consulte las listas temáticas de artículos, libros, tesis, actas de conferencias y otras fuentes académicas sobre el tema "Épique (esthétique) – 19e siècle".
Junto a cada fuente en la lista de referencias hay un botón "Agregar a la bibliografía". Pulsa este botón, y generaremos automáticamente la referencia bibliográfica para la obra elegida en el estilo de cita que necesites: APA, MLA, Harvard, Vancouver, Chicago, etc.
También puede descargar el texto completo de la publicación académica en formato pdf y leer en línea su resumen siempre que esté disponible en los metadatos.
Artículos de revistas sobre el tema "Épique (esthétique) – 19e siècle"
Hakim, Nader. "Un tableau juridique de la nature: Le discours juridique ou l’esthétique de la vérité". LawArt 1, n.º 1 (30 de enero de 2020): 51–61. http://dx.doi.org/10.17473/lawart-2020-1-3.
Texto completoKhapaeva, Dina. "L'Occident Sera Demain". Annales. Histoire, Sciences Sociales 50, n.º 6 (diciembre de 1995): 1259–70. http://dx.doi.org/10.3406/ahess.1995.279430.
Texto completoSuso López, Javier. "Littérature française et formation esthétique et morale dans les manuels de français de la fin du 19e siècle". Documents pour l'histoire du français langue étrangère ou seconde, n.º 24 (1 de diciembre de 1999): 205–21. http://dx.doi.org/10.4000/dhfles.3025.
Texto completoBottex-Ferragne, Ariane. "Lire le roman à l’ombre de l’« estoire » : Tradition manuscrite et programmes de lecture des romans d’antiquité". Florilegium 29, n.º 1 (enero de 2012): 33–63. http://dx.doi.org/10.3138/flor.29.002.
Texto completoPrendergast, Maria Teresa Micaela. "The Aesthetics of Railing: Troilus and Cressida and Coriolanus". Renaissance and Reformation 31, n.º 3 (1 de enero de 2008): 69–101. http://dx.doi.org/10.33137/rr.v31i3.9169.
Texto completoKeller, Thomas. "Neue identitäre Diskurse in deutsch-französischen Akkulturationsprozessen". Revue d’Allemagne et des pays de langue allemande 28, n.º 4 (1996): 495–525. http://dx.doi.org/10.3406/reval.1996.6480.
Texto completoTesis sobre el tema "Épique (esthétique) – 19e siècle"
Beneteau, Olivier. "L’Ascension suprême : poétique de l’épopée mystique de Jean-Baptiste Cousin de Grainville à Victor Hugo (1805-1891) »". Electronic Thesis or Diss., Angers, 2024. http://www.theses.fr/2024ANGE0003.
Texto completoFrom the perspective of poetics, the science of the principles of literary forms, the main goal of our study is to enhance the epic sphere in 19th century by studying the structural and thematic development of the heroic genre through the mystical theology. Working from some twenty rare pieces in an abundant corpus (most of them, unfairly forgotten by posterity, are the result of minores), we intend to prove that the epic of the 19thcentury, far from being confined to the classical tradition of the great totemic models from Antiquity, undergoes, after the Revolution, what we consider as a change of paradigm. Moving from a “heroic” epic, referring to Henry Corbin, to a so-called “mystical” epic, influenced by the revaluation of Dante, Milton and Klopstock’s works, the new romantic triad, the epic of the 19th century, supposed to organize society from a founding event, become exclusively prophetic by shifting its perspective from earth to heaven, from politics to metaphysics.Here is to be encountered the keystone of our dissertation, regarding the “critical relation” between literature and mysticism, which demonstrates the evolution of a genre henceforth dedicated to eschatological revelation and reintegration of the fallen soul. Beyond german idealism, we wish to emphasise that the authors of our corpus, educated in the purest catechetical tradition and affected by the new occult and illuminist currents, make the epic no longer a work of war, focused on the historical memory of national battles, but a mystagogic form that draws on mystical concepts to clarify its own running. Related to the revival of mystical studies in Europe since the late 20th century, our subject highlights the dialectic between mysticism, traditionally individual and intimate, and the epic, by global and universal definition, exploring the transformation and limits of the poetic form through the three ways defined by Neo-Platonic theology – purgative, illuminative and unitive– until the ultimate apocatastasis
Loiseleur-Foglia, Aurélie. "L'harmonie selon Lamartine, dans sa poésie épique et lyrique (1820-1869) : utopie d'un lieu commun". Paris 4, 2003. http://www.theses.fr/2003PA040128.
Texto completoThe publication of the Meditations, written by Alphonse de Lamartine, in 1820, produces the revival of lyricism in French litterature. These verses make a silent revolution in the poetics of the Enlightenment, although they keep carefully the ancient rules, because the notion of harmony proposes another conception of the world and of the words. Harmony consists in semantic diversity, linking together many fields that modernity has now separated : poetry, music, politics and faith. The poem is thus the mirror of History and shows the progress of humanity. Through the life of Lamartine, poet and statesman at the same time, the dream of harmony becomes present and possible and offers a commonplace idea. Utopia ? Maybe it has only taken place into the poem itself, when Lamartine's poetry aims to speak to anybody in the heart's langage, and even to God with the music of the words
Leclercq, Armelle. "Portraits croisés : l'image des Francs et des musulmans dans les textes sur la première croisade (chroniques latines et arabes, chansons de geste françaises des XIIe et XIIIe siècles)". Paris 3, 2006. http://www.theses.fr/2006PA030158.
Texto completoThis study focuses on the image of the other in French and Arab texts of the 12th and 13th centuries dealing with the First Crusade (1095-1099). The crusade brought people from East and West into direct contact with each other, and with the new contact came a gradual change in their perception of alterity. Writers from both camps share similar attitudes : they hesitate between curiosity about the enemy, a taste for ideological argument and a predilection for the rhetoric of holy war. After a survey of the conditions of creation of the works, this study gives full analyses oriented in four directions : the discovery of the other, religious polemics, self-sacralisation and alterations of alterity. Finally, it pays close attention to a peculiarly Western development – the creation of a fictional but long-lived figure – the historical enemy transformed into a proselytizing convert
Neveux, Marguerite. "Construction et proportion : apports germaniques (de la section d'or au nombre d'or) dans une théorie de la peinture française de Seurat à Le Corbusier". Paris 1, 1991. http://www.theses.fr/1991PA010590.
Texto completoMid nineteenth century in Germany some scholars using science proceedings endeavour to found the beautiful on single and universal rules. They contend that the geometric figures possess the ability of expressing these rules. Out of the multiplicity of the proposed solutions Zeising's golden section will lead because of and with the caution security added thereto by the scientists G. T. Fechner and W. Wundt. In France there is a similar attempt undertaken by Charles Henry to developp a scientific aesthetics wherein the golden section will be privileged of an outstanding position. Ch. Henry is supposed to have made it known successively to Seurat, Purists, Ozenfant and Le Corbusier, and Severini. The golden section is also a part of the holy measures outlined by the sacred art school of Beuron whose theories inscribe their mark on Paul Sérusier and Maurice Denis. At last the golden section will be favoured by Matila Ghyka who shall describe its mathematical proprieties emphasize on its aesthetic qualities add a pythagorician esoteric meaning and create the golden number which shall thereafter remain solely used
Bouchardon, Marianne. "Théâtre-poésie : limites non-frontières entre deux genres du symbolisme à nos jours". Paris 10, 2004. http://www.theses.fr/2004PA100127.
Texto completoThe object of this work is to show that the dramatic form, entered in crisis from the end of the XIXth century and during all XXth century, was not only renewed by means of an opening of the theatrical genre as for the romantic genre, that is by means of a "romanisation" or of an "épicisation" already abundantly theorized, but also by the way of a decompartmentalization of the theatrical genre towards the poetic genre, suggesting the invention of a sort of "theater-poetry". This problem prompt to interrogate the report of the dramatic and of poetics in various times hinges of the history of the theater, the symbolism, the avant-gardes and the contemporary time, and to analyze, for each of these periods, one or two dramatic arts with exemplary value, in this particular case, those of Villiers de l'Isle-Adam and Maurice Maeterlinck, those of Guillaume Apollinaire and Roger Vitrac, that finally Valère Novarina
Gramfort, Valérie. "L'année 1869". Paris 3, 2005. http://www.theses.fr/2005PA030033.
Texto completoThis research has been done through a synchronic study of the literary life in 1869, through the perusal of Paris daily press as well as analysis of novels, plays and poems from that period. First and foremost, we tried to take stock of the literary production taking into account the historical, economic, scientific and artistic context of the time. Why chose 1869 ? Because this date is both a sign and an inevitable landmark. Just one year before the war broke out between France and Prussia and the third republic was proclaimed, 1869 was marked by the opening of the Suez canal, the centenary of Napoléon I But also by the results general election that revealed already the weakness of Napoleon III reign. From a literary viewpoint, 1869 is a transition year when Balzac's entire works were republished, the framework of the Rougon-Macquart cycle was set up and were published the Education sentimentale, l'Homme qui rit, Madame Gervaisais, Vingt mille lieues sous les mers or Les Chants de Maldoror
Auger-Sergent, Anne-Sophie. "Les graffiti marins de Normandie (13e siècle- 19e siècle)". Paris 1, 1991. http://www.theses.fr/1991PA010544.
Texto completoNormandy is extremely rich in ship graffiti, but we haven't any regional and synthetical studies about these iconographic sources. The inventory of Normand graffiti allows to have a corpus of some 500 documents dated from 13th to 19th centuries. The documents present essentialy ships, but also elements of ship (anchor, flag, rigging, head) or elements of navigation (sea-mark), animals (fisch, sea-bird), and maritime inscriptions. Their major value ist that graffiti give representations of boats of merchant navy and fisching navy, on which we haven't any iconographic source before the 18th century, and contribute to the repacement of naval iconographic material. The geographic repartition of ship graffiti follows the maritime and fluvial zones. They are omnipresent on the soft calcareous and plaster of the churchs, castles and traditionnal houses. In spite of their value for ship archaeology, graffiti pose a problem and particulary for determination and dating. The use of sails as leading thread allows at the same time a classification of ships graffiti, their typing according iconographic comparaisons, and their datation. Normand graffiti present merchant and coast ships. Barges are rare
Bourlier, Pierre. "Style, temps, architectureOu L'éternel retour de l'enjeu stylistique". Paris 8, 2006. http://www.theses.fr/2006PA082743.
Texto completo“Style is time first” writes Léonce Reynaud in his Traité d’architecture (1850). This quotation is later echoed by this other declaration of Peter Behrens: “making architecture is to give body to the spirit of the time” (1913). Both share this idea of time embodied in architecture conceived as a product of a Zeitwille as Ludwig Mies van der Rohe also calls it. But while the style for one is the vector of the expression of temporality, it is the “making” that is intended to give such a temporal existence for the other. Moreover, Behrens belongs to a “modern” generational movement which, precisely, recognizes itself through a unanimous and international rejection of the stylistic problems. How can we explain that the question of the historicity of architecture was tackled once with the idea of style, then a second time in radical opposition to it? Generally speaking, what does the debate on style tell us about the relationship between architecture and time? This thesis would like to give some answers to these questions with the help of a genealogical investigation on the modern concept of style
Dromby, Jean-Jacques. "La musique dans les Ardennes de 1790 à 1914 : étude institutionnelle, sociologique et esthétique". Paris 4, 1986. http://www.theses.fr/1986PA040087.
Texto completoMusical life in the French Ardennes and in the bordering Belgian areas. First line of research: to reveal the musical life amongst the Ardennes society from the sociological, institutional, political and religious points of view. Second line of research: aesthetical analysis of popular music and the works of some composers who made the area famous before 1914, in order to reveal the possibility of a specific "ardennais" musical style. The choice of the period was given by the fact that it is the end of a world- the world of traditions- and the beginning of a new one: the world of technological progress. In a geographical context, the study is made more complicated because of the existence of a border that divides the population between the Belgian and the French ardennais. Although in fact the French revolution of 1789 created a political and social instability that lasted until 1905, a certain musical taste remained in France and in Belgium during all this period of time. Even though the research of musical life in the Ardennes can be considered as completed and positive, the research of a musical style particular to the Ardennes can not. Indeed, it seems that the repertoires of the Ardennes can be linked by their origins and inspirations, on the French side as much as on the Belgian side, to the aesthetics of the Paris area and the north of France
Vigneron, Denis. "Nouveaux discours, nouveaux regards sur la création artistique en Espagne de la fin du dix-neuvième siècle à 1931". Lille 3, 2006. http://www.theses.fr/2006LIL30016.
Texto completo