Literatura académica sobre el tema "Littérature photographique"
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Artículos de revistas sobre el tema "Littérature photographique"
Paigneau, David. "« Sauver l’imaginaire » : littérature et photographie face à face". e-Scripta Romanica 6 (28 de diciembre de 2018): 30–43. http://dx.doi.org/10.18778/2392-0718.06.03.
Texto completoLavoie, Vincent. "Le fardeau des mots, le choc des photos". Hors dossier 36, n.º 3 (14 de enero de 2009): 89–97. http://dx.doi.org/10.7202/019637ar.
Texto completoPinard, Marie-Josée. "Du pictural au photographique. Une rencontre re-visitée". Protée 28, n.º 3 (12 de abril de 2005): 23–29. http://dx.doi.org/10.7202/030601ar.
Texto completoDefraeye, Julien. "Paris dans l’optique : cadre photographique et cadre littéraire chez Philippe Delerm". Voix Plurielles 13, n.º 1 (14 de mayo de 2016): 2–12. http://dx.doi.org/10.26522/vp.v13i1.1365.
Texto completoDe Jesus, Samuel. "L’image-saudade : iconographie photographique d’un sentiment ambigu". Voix Plurielles 11, n.º 1 (30 de abril de 2014): 12–19. http://dx.doi.org/10.26522/vp.v11i1.913.
Texto completoLéger, Benoit. "Traduction négative et traduction littérale : les traducteurs de Poe en 1857". Études françaises 43, n.º 2 (1 de octubre de 2007): 85–98. http://dx.doi.org/10.7202/016475ar.
Texto completoAuboiron, Pierre. "La lumière, un agent particulier de l’histoire des arts". Figures de l'Art. Revue d'études esthétiques 17, n.º 1 (2009): 249–57. http://dx.doi.org/10.3406/fdart.2009.882.
Texto completoMavrikakis, Catherine. "L’apparition du disparu". Études françaises 42, n.º 2 (25 de octubre de 2006): 47–60. http://dx.doi.org/10.7202/013863ar.
Texto completoGrojnowski, Daniel. "Littérature et photographie". Critique 678, n.º 11 (2003): 865. http://dx.doi.org/10.3917/criti.678.0865.
Texto completoSoulages, François. "Littérature et Photographie". Neohelicon 35, n.º 1 (junio de 2008): 85–95. http://dx.doi.org/10.1007/s11059-008-3006-x.
Texto completoTesis sobre el tema "Littérature photographique"
Monjour, Servanne. "La littérature à l’ère photographique : mutations, novations et enjeux (de l’argentique au numérique)". Thèse, Rennes 2, 2015. http://hdl.handle.net/1866/13614.
Texto completoSchincariol, Andrea. "Naturalisme et photographie : l'influence invisible du dispositif photographique sur le roman d'Emile Zola, Guy de Mautpassant, Joris-Karl Huymans et Henry Céard". Toulouse 2, 2010. http://www.theses.fr/2010TOU20097.
Texto completoThis study consists in an analysis of the relationships between the photographic dispositive and five of the most significant works of the literary movement of Naturalism. In the first section of his thesis, the PhD student has analyzed two texts related with the literary genre of the “Fantastic”: the short story Le Horla (1887), written by Guy de Maupassant and Joris-Karl Huysmans's novel Là-bas (1891). The second section is entirely dedicated to the study of Nana (1880), by Émile Zola, and the influence of the photographic dispositive on the theme of “nude” with respect to the heroin of the novel, Nana. The third section consists in a photo-literary analysis of some of the poetic and aesthetic aspects characterizing the novels of Henry Céard, Une belle journée (1881) and Terrains à vendre au bord de la mer (1906). The candidate has operated a meticulous analysis of those literary works, with a focus, in the first place, on those textual marks suggesting the presence of the photographic medium; secondly, he has developed his photo-literary study trying to explore, on the deeper level of the literary enunciation, the function of the photographic dispositive with respect to the construction of the text. Besides, the candidate has proposed, starting from the novels that he has studied, some iconic references reflecting the photographic production contemporary to the authors of his corpus and also some photographic examples of present time
Morand-Dupuis, Marie-Hélène. "L'ekphrasis photographique et le rapport au biographique chez Annie Ernaux et Patrick Modiano : le cas d'Une femme et de Chien de printemps". Master's thesis, Université Laval, 2017. http://hdl.handle.net/20.500.11794/28082.
Texto completoWiener, Elise. "Trace d'existence et énigme de la présence : du photographique à l'oeuvre dans l'écriture de Patrick Modiano". Thesis, Paris, EHESS, 2020. http://www.theses.fr/2020EHES0018.
Texto completoPhotography is a major topic in Patrick Modiano’s writing, it mingles together presence and absence, inscription and withdrawal, Being and non-Being. In many of his novels, photographs are documents that help the character to evolve in his quest to find the tracks of a missing relative or a forgotten memory. Futhermore, photography is a conceptual model in the narrative : the author examines the past and explores reality in a way that has a lot to do with the paradoxal characteristics that defines photography. The narrative construction does neither bring back the past nor those who disappeared, but instead builds up a poetic of memory that brings up the context of his disappearance. Digging for fragments and traces of anonymous persons, Modiano's narrative gives them back their subjectivity and their dignity, constructing thus a philosophical thought on existence. The story progresses recollecting disparate details build up together to enlight dust of stars that shimmers from the dark matter of the memory
Nachtergael, Magali. "Esthétique des mythologies individuelles : le dispositif photographique de Nadja à Sophie Calle". Phd thesis, Université Paris-Diderot - Paris VII, 2008. http://tel.archives-ouvertes.fr/tel-00640863.
Texto completoCastro, da Cunha Luiz Manoel. "Les drailles féminines de « Grande Sertão Veredas » de João Guimarães Rosa, dans la traduction intersémiotique photographique de Maureen Bisilliat". Thesis, Grenoble, 2014. http://www.theses.fr/2014GRENL017/document.
Texto completoThis thesis conducted an analysis of the relationship between literature and photography, with the object of study the work: the novel Grande Sertão: Veredas (1956) by João Guimarães Rosa, which has translated for the photography of Maureen Bisilliat in the work, A João Guimarães Rosa (1969). Since its inception, photography rehearsed some steps in the dialogue with the literature. However, were the vanguard of movements that showed greater interaction, leading questions about the artistic work not only on the picture that tried to consolidate as art as well as art by itself in general. Surrealism can be considered as a landmark dialogue, innovation, artistic pioneer among these languages. In the literature, the study of the interaction with writers provided a brief knowledge of some names in the literature that dialogued with photography in his works, lovers of the photographic medium, were also considered photographers. In this work, we treat photography as a inter-semiotic translation, or even creative transposition. The photographic image is not only meant to illustrate the words of the writer. It dialogues with the text, and this construction does not occur randomly and direct way. The research demonstrated that the creative process is similar on both artists the diversity of its aesthetic. The two express their specificities, but at the same time, they nevertheless share equivalents, either convergences or divergences, enabled through metaphorized pictures of backcountry environment and its inhabitants. In intersemiotic dialogue built on João Guimarães Rosa, it was necessary to fragment the novel Grande Sertão: Veredas in captions for the picture to explore the latent feminine in this work. This femininity has been revealed through literary theory that presents a critical rich fortune about the female in Grande Sertão: Veredas. The photographic essay is driven in that the characters perceive the images surfacing through their legends, in addition to several female members silently emerge from images which related durandiano universe belonging to the nocturnal regime. Maureen Bisilliat, makes us believe in the possibility of reframing of Rosa's work, the relationships between reality and fiction, such as duality present from the surrealism that communes with the Imaginary of Gilbert Durand
Esta tese realizou uma análise das relações existentes entre literatura e fotografia, tendo como objeto de estudo a obra literária Grande Sertão: Veredas (1956) de João Guimarães Rosa, traduzida em fotografias de Maureen Bisilliat na obra A João Guimarães Rosa (1969). Apesar de a fotografia ensaiar passos na interação com a literatura desde o seu surgimento em 1849, os movimentos de vanguarda é que propiciaram questionamentos sobre o fazer artístico não só na fotografia, bem como da própria arte em geral. O diálogo entre essas linguagens enfatizou-se sobretudo na escola surrealista, considerada como um marco de inovação e pioneirismo artístico nessa inter-relação. Essa interação propiciou um breve conhecimento de alguns nomes da literatura que dialogaram com a fotografia em suas obras, escritores amantes da fotografia, alguns considerados também fotógrafos. Neste trabalho ocorre uma tradução intersemiótica, ou ainda, uma transposição criativa. A imagem fotográfica não serve apenas para ilustrar as palavras do escritor. Ela dialoga com o texto, e essa construção não se dá de maneira aleatória nem direta. A pesquisa demonstrou que o processo criativo de ambos os artistas é o mesmo na diversidade de suas estéticas. Os doisexpressam suas especificidades, mas, ao mesmo tempo, revelam equivalências, seja por convergências ou por divergências, viabilizadas por intermédio de imagens metaforizadas do ambiente sertanejo e em seus habitantes. No romance, foi necessária a fragmentação, em forma de legendas, por parte da fotógrafa para dialogar com as imagens, ao menos num primeiro momento. A feminilidade latente na obra é desvendada através da teoria literária, que apresenta um rica fortuna crítica acerca do feminino em Grande Sertão: Veredas. O ensaio fotográfico é acionado ao tempo que se percebe as personagens aflorando nas imagens literárias em suas legendas, além de diversos elementos que emergem, como as imagens relacionadas com o universo durandiano: o elementofeminino, pertencente ao regime noturno. Maureen Bisilliat faz acreditar na possibilidade de ressignificação da obra rosiana, das relações entre a realidade e a ficção, dualidade tão presente desde o surrealismo, que comunga com o Imaginário de Gilbert Durand
Chauvet, Émeline. "Littérature, photographie et pornographie : Questions de temporalités". Thesis, Limoges, 2019. http://www.theses.fr/2019LIMO0060.
Texto completoThrough the aesthetic similarities between French and American literature and photography, this research work intends to analyse the discourse on pornography (which we will call "metapornography") staged by postmodern art and its repercussions on the pornographic body. This work is based on three photographic series, A History of Sex by Andrés Serrano (1995), Sex Pictures by Cindy Sherman (1992) and Pornography by Édouard Levé (2002), as well as three novels, Souvenirs du triangle d'or by Alain Robbe-Grillet (1978), Blood and Guts in High School by Kathy Acker (1978) and Les particules élémentaires by Michel Houellebecq (1998). A secondary corpus borrowed from literature and photography as well as from films or performance will also support the analysis. The heterogeneity of the corpus of study allowed the search for homogenizing criteria that could guide the whole analysis, namely: the crisis of the subject, the de-hierarchization, the importance of metatextuality with the rejection of the cult of the unique and the permanence of discourses on the end. The demonstration therefore takes these invariants into account by systematically linking them to the expression of a particular temporality and its effects on the pornographic body: we are witnessing a successive deformation of the pornographic body which, by way of hybridity, crossing boundaries and fragmentation, has only one solution left: to rebuild itself. But this reconstruction, intimately linked to a process of diversion, is marked by an aesthetic of the too much and the kitsch. All that remains is a cold, worn-out body, on the edge of death, calling for its own outcome
Ligios, Caterina <1984>. "Un parcours entre littérature et photographie: Michel Tournier, Arthur Tress". Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1752.
Texto completoEdwards, Paul. "Littérature et photographie : la tradition de l'imaginaire (1839-1939, Royaume-Uni et France)". Université Paris-Est Créteil Val de Marne (UPEC), 1996. http://www.theses.fr/1996PA120051.
Texto completoIt is possible to trace the history of relations between literature and photography in england and france (1839-1939) de received opinion grounded on a narrow definition of photography. The major encounters between writers and photographers reveal a photo-literary tradition where photography leads not to the real world objectively transcribed by the camera bu the imaginary, in accordance with idealist preoccupations (neoplatonism, christianity), and show the inadequacy of contemporary theory, centred on the supposed "ontology" of the photographic image that makes it a reminder of death. In england, literary photography (robinson,cameron,coburn) gives rise not to simple illustration but, when interpreted in the context of the whole work in which they are inserted - an interpretation till now unattempted -, to subjective readings, where the photographs create their own fictions or represent what the characters see. In france, marey's chronophotography led valery to use an objective, scientific photography to relinquish the immobile time of symbolism and approach subjective time ; whilst breton, using freudian psychoanalysis and, even more, the remains of christian idealism, invests ordinary photography with all the powers of dream. The popular photo-novel reveals, on the contrary,a misuse of photography's reality-effect. Rodenbach's undervalued work serves to demonstrate, in le regne du silence, through the use of photographic metaphors and situations, the suspect idealism of the "theory of spectres", and to suggest in bruges-la-morte, where text and photographs together constitute a totally new kind of novel - revealed by the first ever analysis of the negatives, vari and retouching -, the pathological nature of the association between photography on the one hand, and melancholy and the reminder of death on the other
Couvidat, David. "La collection "terre humaine" de Jean Malaurie (1955-2015) : littérature, anthropologie et photographie". Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC030/document.
Texto completo“Terre Humaine” Publishers’ Series (1955-2015), which is supervised by a French explorer and geographer, Jean Malaurie, may be examined as a heuristic space of diffusion of ideas, objects and practices to explore, in the 2nd half of the twentieth century, the tightness of the literary field in contact with anthropology and photography. The diversity of the authors’ backgrounds, writing genres, spaces and periods of time, masks the underground unity of an editorial and self-claimed universal enterprise which aims at understanding the most diverse populations, both in time and space, to uncover the mysteries of the human existence. Networking testimonials on societies scattered around the globe discloses a parallel worldview. In connection with the Annales review and the 19th century realism and naturalism, early reflections on writing in social sciences end up spawning an ethnographic literature grounded in exploring ways of living and thinking among marginalized groups worldwide. Ethnography is not anymore only considered as a scientific method to collect data but more broadly as a textual, visual and audiovisual writing genre relating the tragic metamorphosis of a society in contact with a civilization
Libros sobre el tema "Littérature photographique"
Centre culturel international de Cerisy-la-Salle, ed. Littérature et photographie. Rennes: Presses universitaires de Rennes, 2008.
Buscar texto completoGarnier, Marie-Dominique. Jardins d'hiver: Littérature et photographie. Paris: Presses de l'Ecole normale supérieure, 1997.
Buscar texto completoSoulages, François. Portrait anonyme: Peinture, photographie, cinéma, littérature. Paris: L'Harmattan, 2013.
Buscar texto completoPaul, Edwards. Soleil noir: Photographie & littérature des origines au surréalisme. Rennes: Presses universitaires de Rennes, 2008.
Buscar texto completoUniversité de Picardie. Centre d'études du roman et du romanesque, ed. Photographie et romanesque. Amiens: Centre d'études du roman et du romanesque, Université de Picardie-Jules Verne, 2006.
Buscar texto completoGironde, Michel. Les mémoires de la violence: Littérature, peinture, photographie, cinéma. Paris: Harmattan, 2009.
Buscar texto completoFlinz, Carolina, Elena Carpi y Annick Farina, eds. Le guide touristique: lieu de rencontre entre lexique et images du patrimoine culturel. Vol. I. Florence: Firenze University Press, 2018. http://dx.doi.org/10.36253/978-88-6453-693-4.
Texto completo1947-, Heron Liz y Williams Val 1949-, eds. Illuminations: Women writing on photography from the 1850s to the present. London: I.B. Tauris Publishers, 1996.
Buscar texto completoAlbers, Irene. Claude Simon, moments photographiques. Villeneuve d'Ascq: Presses Universitaires du Septentrion, 2007.
Buscar texto completoIII, Université de Paris, ed. Littérature et photographie: Crise et utopie de la représentation au XIXème siècle. Lille: A.N.R.T. Université de Lille III, 1996.
Buscar texto completoCapítulos de libros sobre el tema "Littérature photographique"
Rumeau, Delphine. "Walt Whitman et le développement photographique". En Littérature comparée et correspondance des arts, 281–93. Presses universitaires de Strasbourg, 2014. http://dx.doi.org/10.4000/books.pus.3194.
Texto completoStamelman, Richard. "Poésie et photographie : Baudelaire, Rimbaud, Mallarmé, Bonnefoy". En Littérature comparée et correspondance des arts, 295–307. Presses universitaires de Strasbourg, 2014. http://dx.doi.org/10.4000/books.pus.3200.
Texto completoSoraru, Isabelle. "W. G. Sebald : littérature et photographie face aux hantises de l’Histoire". En Littérature comparée et correspondance des arts, 309–22. Presses universitaires de Strasbourg, 2014. http://dx.doi.org/10.4000/books.pus.3203.
Texto completoGalang, David. "Jean Arrouye (sous la dir. de) : La photographie au pied de la lettre". En Errance et marginalité dans la littérature, 261–62. Presses universitaires de Rennes, 2007. http://dx.doi.org/10.4000/books.pur.12078.
Texto completoQuinton, Sandra. "Le mythe de Méduse et la photographie dans La Goutte d’or de Michel Tournier". En Figures mythiques féminines dans la littérature contemporaine, 173–85. Presses universitaires de Rennes, 2002. http://dx.doi.org/10.4000/books.pur.64305.
Texto completo"Photographie et littérature : la relation privilegiée de Michel Tournier avec Édouard Boubat". En L'Art Français et Francophone depuis 1980 / Contemporary French and Francophone Art, 53–62. BRILL, 2005. http://dx.doi.org/10.1163/9789004501393_008.
Texto completoKopeleva, Galina. "La civilisation française dans le cadre des événements culturels étudiants à l’Institut de la culture d’État de Saint-Pétersbourg". En Quelles compétences en langues, littératures et cultures étrangères ?, 41–50. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.3880.
Texto completoActas de conferencias sobre el tema "Littérature photographique"
Chapuis, Bérengère. "Ce que le document fait à la photographie". En Ce que le document fait à la littérature (1860-1940). Fabula, 2012. http://dx.doi.org/10.58282/colloques.1760.
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