Literatura académica sobre el tema "Hypotextes"
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Artículos de revistas sobre el tema "Hypotextes"
Pasquier, Anne. "Nag Hammadi : repenser les notions et catégories usuelles". Tangence, n.º 74 (30 de septiembre de 2004): 9–23. http://dx.doi.org/10.7202/009203ar.
Texto completoCowling, David y Alba Ceccarelli Pellegrino. "Le 'Bon Architecte' de Philibert de L'Orme: hypotextes et anticipations". Modern Language Review 93, n.º 2 (abril de 1998): 500. http://dx.doi.org/10.2307/3735400.
Texto completole Calvez, Eric. "Génétique et hypotextes descriptifs (La forêt de Fontainebleau dansL'Éducation sentimentale)". Neophilologus 78, n.º 2 (abril de 1994): 219–32. http://dx.doi.org/10.1007/bf00999654.
Texto completoScheichl, Sigurd Paul. "Tonnerre et Tunnöl. Nestroy et l'esprit de ses hypotextes français". Austriaca 75, n.º 1 (2012): 81–94. http://dx.doi.org/10.3406/austr.2012.4963.
Texto completoMcGOWAN, M. M. "Review. Le 'Bon Architecte' de Philibert de l'Orme: Hypotextes et anticipations. Pellegrino, Alba Ceccarelli". French Studies 52, n.º 1 (1 de enero de 1998): 82. http://dx.doi.org/10.1093/fs/52.1.82.
Texto completoCarré, Martine. "« Heureux qui comme [Ambros] a fait un long voyage » ou : « Ambros Adelwarth » et le pays natal dans Les Émigrants de W. G. Sebald". Chroniques allemandes 13, n.º 1 (2009): 351–60. http://dx.doi.org/10.3406/chral.2009.940.
Texto completoGervais, Bertrand. "Les terres dévastées de Pierre Yergeau". Études 32, n.º 1 (17 de abril de 2007): 117–32. http://dx.doi.org/10.7202/014708ar.
Texto completoLatham, Monica. "Textual subversion and elitist recuperation in Jeanette Winterson’s Sexing the Cherry". Recherches anglaises et nord-américaines 43, n.º 1 (2010): 111–26. http://dx.doi.org/10.3406/ranam.2010.1394.
Texto completoPascal, Marie. "L’espace filmique abject : Naked Lunch et A History of Violence de David Cronenberg". Transcr(é)ation 4, n.º 1 (25 de marzo de 2024): 1–26. http://dx.doi.org/10.5206/tc.v4i1.17165.
Texto completoJACOB, CARMÉLIE. "LA REINE EST MORTE". Dossier 43, n.º 3 (4 de septiembre de 2018): 57–73. http://dx.doi.org/10.7202/1051086ar.
Texto completoTesis sobre el tema "Hypotextes"
Bartolucci, Fabiola. "Alchimia e astrologia nei libri centrali del Baldus di Teofilo Folengo, tra le edizioni Toscolanense (1521) e Cipadense (1535?)". Electronic Thesis or Diss., Université Paris sciences et lettres, 2024. http://www.theses.fr/2024UPSLP016.
Texto completoUnder the pseudonym of Merlin Cocaio, a Liber macaronices, a heroic-comic poem in 17 books, narrating the adventures of Baldo, was published in Venice in 1517. The author hidden behind this pseudonym was the Benedictine monk Theophilus Folengo, who wrote in macaronic hexameters. The poem is inscribed in the sphere of literature in the Macaronic language, which at the time had operettas without great ambitions. The Macaronea folenghiana is, in contrast, a much more elegant and refined product with a whole apparatus of glosses attributed to a certain Aquario Lodola, in ironic-burlesque homage to tradition. Three other editions were published later: the Toscolanense in 1521, the Cipadense (undated, but probably issued between 1534 and 1536) and the Vigasio Cocaio, posthumous (1552). There are important variants between the four versions, prompting attention to the poem's character in fieri. Of particular interest, following the vein of variant studies, is the problem of the underlying motives behind the publication of the Cipadense. The present work focuses on the analysis of the classical and medieval hypotheses - of a scientific or poetic nature - found in the three central books of the Baldus, taking the Toscolanense and Cipadense editions as reference. The subject matter of these three books - which act as a hinge between the first part (which narrates the hero and his companions' terrestrial adventures) and the second (an adventurous sea voyage that will lead the brigade to fight witches and devils in Hell) - is represented by an alchemical episode and an astrological one. These two editions are the most interesting, from my point of view, both because of their formal diversity and because they show the burgeoning character of Folengo's Macaroni in two different moments of the author's life. Folengo was a Benedictine monk of the Congregation of Santa Giustina and from 1525 to 1534 he left the monastery due to unclear disagreements with the order. The Macaronic work was seen as subversive to traditional monastic culture, which is why the Cipadense edition was seen as a palinodia compared to the disruptive form of the earlier Toscolanense edition. But from the analysis performed in this work, a much more complex situation emerges, whereby the Macaronic comes to be configured as a language of art in which imitation, parody and interference of hypotheticals play the same role as linguistic mescidance. It is evident that the Folengo who writes the Cipadense is no longer the young monk of 1521, he has had other experiences, travelled and met people from other backgrounds. It is evident that the spirit of curiosity and desire for knowledge, which we can observe in the characters of the Baldus, is the same that animates the humanist Folengo. The encyclopaedic character of medieval works is present in both digressions, but in the Cipadense we can see that the interference between sources is more subtle and refined to the extent that it betrays more of the reader's horizon of expectation. Similarly, the ambivalence of the places described: the cavern protected by a fairy, where there is an alchemical planetarium; the sea voyage that turns into a voyage into the celestial spheres, are both the result of a creative imagination that relies on a vast written tradition. Moreover, both episodes are led by masks of dubious morality who occupy more space on the scene than the protagonist: a herbolical curator of glosses in the Toscolanense (who disappears in the Cipadense), an astrologer gypsy, a jester and a troubadour who acquire more and more space in the narrative structure of the Cipadense. What is certain is that the entire architecture of the poem rests on these uncertain foundations, so we cannot be sure what Folengo's true intention is: to reveal hidden knowledge to us, or simply, to make fun of the bookish models evoked
Monnier, Pierre-Emmanuel. "Représentations post-coloniales de l'Afrique et des Africains dans les oeuvres de Urs Widmer et Hans Christoph Buch, à la lumière des hypotextes coloniaux de Joseph Conrad et de Richard Kandt". Paris 12, 2003. http://www.theses.fr/2003PA120035.
Texto completoThe following dissertation is an imagological, comparative and postcolonial research about the representations of Africa and Africans in different works of contemporary German literature, which are hypertextually connected to works of European colonial literature. By taking 1m Kongo by Urs Widmer and Kain und Abel in Afrika by Hans Christoph Buch, it scrutinizes, on an exemplary basis and in new ways, the relationship of these post-colonial hypertexts to their underlying colonial subtexts: Heart of Darkness by Joseph Conrad and Caput Nili by Richard Kandt. It is focused on evaluating, with the help of criteria developed within the postcolonial criticism, whether the selected writings succeed in overcoming the ethnocentric tendencies that characterise the literary reflexes of the ethnographie encounter with the Other abroad, there by producing images that contribute to the renewal of the representations of otherness and foreignness within the contemporary German literature
Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique". Thesis, Toulon, 2018. http://www.theses.fr/2018TOUL3003/document.
Texto completoZola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
Ngone, Dzene Delphine Dielle. "Les pastiches - Zola : poétique et critique". Electronic Thesis or Diss., Toulon, 2018. http://bu.univ-tln.fr/userfiles/file/intranet/travuniv/theses/lettres/2018/These_Ngone.pdf.
Texto completoZola-pastiches are a sign of reception of Zola’s literary works. More than a centuryafter his death, his style is still targeted by the authors of this type of rewriting. Our researchposes the problem of mimetic or differential appropriation of Zola-pastiches posterior to hisdeath. How the author of Les Rougon-Macquart is imitated in these pastiches is our mainresearch question. A pastiche is a writing that implies a textual repeat characterized by theexistence of two types of texts: the hypertext (derived text) and the hypotext (source text). Acomparative approach linked to the theories of intertextuality and hypertextuality has enabledus to discover that the imitators of Zola draw inspiration from his writings and also from thewritings of other authors. They thus produce pastiches with single, double or multiplehypotexts. The distinction between Zola-pastiches is also based on their internal (literary) orexternal (political, advertising) aim. The authors of pastiches with external aims documentthe social facts of their era just like Zola did in his novels. Some authors show a literaryengagement by attacking political leaders but indirectly. In addition to their aims, theirrepresentation of Zola’s style diversifies their writings. Each writer conforms to someimitation rules which are generally related to the principles of similarities and differences.Some pastiches are therefore move creative and/or more representative of Zola’s style thanothers. The study of the imitative ways of pastiches’ writers implies a reflection on theconcept of style whose definitions seem unclear. These writers no longer focus only onZola’s thematic which has been highly criticized during his life time and even after his death.They blend themes and stylistic devices, thus acknowledging the poetic quality of the literaryworks of the naturalism founder. The Zola-pastiches written during the 20th and at thebeginning of the 21st centuries therefore appear to be a critical analysis of these works as wellas the criticism of the partial or one-sided criticism that preceded the renewed interest in thereading of the author of Medan’s texts. The imbrication of stylistic devices and themesborrowed from Zola and adapted to new contexts shows that the literary style convokes theidiosyncratic and sociologic dimensions of an author’s specific way of writing, given that,style is not an abstract phenomenon but a series of formal and thematic choices which arehistorically located and whose imitation is highly determined by representations
Bahsoun, Jihad. "Du sens et de l'utilité des réécritures dans la littérature comparée. Maryse Condé, Assia Djebar, Nédim Gürsel, Abdelwahab Meddeb". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040211.
Texto completoIn this work, we have attempted to highlight the meaning and usefulness of rewriting in comparative literature, whether this literature is European or is derived from French-speaking countries in other parts of the world. Why and how do writers seize a work or text in general (sacred text, for example) and transform it ? We recall that the French-speaking (or inhabited by French) writers of the 20th and 21st centuries are inspired by models of rewriting present in classical literature; they nevertheless bring hypotexts to a great wealth on several levels: cultural, philosophical and aesthetic. A parallel between the arts of the verb and the image is established, the latter being supposed to shed light on the first, to help better grasp the passage from one work of creation to another in continuity and rupture. Several authors - including Maryse Condé, Assia Djebar, Nedim Gürsel and Abdelwahab Meddeb - use rewriting - which can be interpretation or aesthetic work on writing itself (pastiche, parody) - to express their thoughts and pass messages that matter to them. It is these thoughts and messages that our thesis proposes to unveil and try to understand by bringing out the motives of writers
Mercati, Elena <1962>. "A COMPARISON BETWEEN JOHN WEBSTER’S THE DUCHESS OF MALFI AND LOPE DE VEGA’S EL MAYORDOMO DE LA DUQUESA DE AMALFI AS A RESULT OF THE VARIOUS HYPOTEXTS OF THE RENAISSANCE NOVELLA". Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17110.
Texto completoGöthe, Cecilia. "Dealing with Dragons - parodi eller travesti på de klassiska sagorna?" Thesis, Stockholm University, Stockholm University, Stockholm University, Stockholm University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-26977.
Texto completoUppsatsen är en närläsning av Patricia C. Wredes bok Dealing with Dragons och undersöker huruvida boken i fråga är en parodi eller travesti på de klassiska sagorna, t.ex. Törnrosa och Askungen. Jag tar också reda på om det går att läsa boken på olika sätt beroende på hur stor förkunskap man har om de gamla sagorna. Gérard Genette har skrivit boken Palimpsestes: La littérature au second degré, och jag har med hjälp av en svensk översättning använt mig av hans teorier om hypotext - hypertext, parodi, travesti och transformation. Jag tar även hjälp av Jack Zipes och hans bok The Brothers Grimm - From Enchanted Forests to the Modern World. Dessutom används Barbara Walls bok The Narrator's Voice - The Dilemma of Children's fiction för att reda ut begreppet dubbelt tilltal.
Uppsatsen är indelad i tre delar med tillhörande underrubriker: Inledning, analys och slutdiskussion. Under analysdelen tar jag upp Wredes sätt att använda sig av direkt och indirekt transformation samt om hänvisningarna till bl.a. Grimms sagor är inslag av parodi eller travesti. Metoden jag använder mig av är att visa och analysera utdrag ur boken som är direkt eller indirekt transformerade från sedan länge befintliga sagor eller legender.
Resultatet av analysen når sitt syfte och svarar på frågeställningen. Slutsatsen är att boken Dealing with Dragons till största delen är en parodi på kända sagor, men att inslagen av travesti är nödvändiga och behövs för den roliga och lite snälla tonen som boken tillhandahåller.
Libros sobre el tema "Hypotextes"
Ceccarelli, Alba Pellegrino. Le " bon architecte" de Philibert de L'Orme: Hypotextes et anticipations. Fasano (Br-Italia): Schena, 1996.
Buscar texto completoPellegrini, Ernestina, Federico Fastelli y Diego Salvadori, eds. Firenze per Claudio Magris. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.
Texto completoDenis Diderots le Neveu de Rameau Als Hypotext Von Thomas Bernhards Wittgensteins Neffe. GRIN Verlag GmbH, 2011.
Buscar texto completoHattnher, Álvaro. Zombies Are Everywhere. Editado por Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.21.
Texto completoCapítulos de libros sobre el tema "Hypotextes"
Windleburn, Maurice. "The Hypotexts of Sound Blocks". En John Zorn’s File Card Works, 52–81. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003321361-3.
Texto completoVentura, Héliane. "The Question of Sources: Teaching Texts Versus Hypotexts". En Alice Munro, 117–22. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-24061-9_10.
Texto completoEbrahim, Ranja. "Der Hypotext: Offenbarungsanlässe (asbāb an-nuzūl)". En Im Diskurs mit dem Qurʼān, 131–66. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-29596-7_5.
Texto completoUsula, Nicola. "«La forza del naturale tradotta dallo spagnolo»: su un’ignota riscrittura italiana de La fuerza del natural di Agustín Moreto e Jerónimo de Cáncer a Vienna". En Studi e saggi, 381–98. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.23.
Texto completoResta, Ilaria. "Le gare d’amicizia e d’amore de Arcangelo Spagna: una posible refundición de Duelo de honor y amistad". En Studi e saggi, 343–62. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.21.
Texto completoLombardi, Marco. "Dal Desdén di Moreto ai Plaisirs di Molière". En Studi e saggi, 59–76. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.6.
Texto completoTrecca, Simone. "Da La celosa de sí misma di Tirso a La gelosa di se stessa, melodramma di Arcangelo Spagna". En Studi e saggi, 327–42. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.20.
Texto completoLEONTARIDOU, Dora. "Les différents aspects de la réception des mythes dans les réécritures du théâtre français et francophone du XXIe siècle". En Théâtre Mythologique, 13–28. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4771.
Texto completoLarrue, Christophe. "Textes, hypotextes et péritextes : réflexion sur la violence politique dans El Hacedor de Jorge Luis Borges". En Lire Borges aujourd’hui, 103–17. Éditions Rue d’Ulm, 2016. http://dx.doi.org/10.4000/books.editionsulm.5200.
Texto completoLAJOS, Katalin. "A transztextualitás alakzatai J-K. Rowling A karácsonyi malac című regényében. Átjárók a gyermekirodalom és a felnőttirodalom között". En Diskurzus, kultúra, reprezentáció / Discurs, cultură şi reprezentare, 139–53. Scientia, 2024. http://dx.doi.org/10.47745/sapvol.2024.09.
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