Literatura académica sobre el tema "Poétique – 19e siècle"
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Artículos de revistas sobre el tema "Poétique – 19e siècle"
Vámos, Violetta. "Vörösmarty Mihály gimnáziumi latintankönyveinek azonosítása Ovidius-fordításai alapján". Magyar Könyvszemle 136, n.º 2 (30 de diciembre de 2020): 125–37. http://dx.doi.org/10.17167/mksz.2020.2.125-137.
Texto completoDmitrieva, Ekaterina. "Les prémisses du transfert culturel dans les sciences humaines russes du XXe siècle: la contribution de Vladimir Stasov". Jangada: crítica | literatura | artes 1, n.º 17 (6 de agosto de 2021): 270–90. http://dx.doi.org/10.35921/jangada.v1i17.402.
Texto completoÖzkan, Hakan. "L’émancipation du zaǧal oriental de ses modèles andalous à l’ère mamelouke". Asiatische Studien - Études Asiatiques 72, n.º 3 (25 de octubre de 2018): 819–62. http://dx.doi.org/10.1515/asia-2017-0074.
Texto completoGrage, Joachim. "Entre amis : réseaux poétiques dans les ouvrages danois du 17e siècle". La Revue de la BNU, n.º 8 (1 de noviembre de 2013): 44–51. http://dx.doi.org/10.4000/rbnu.1981.
Texto completoWalkden, Andrea y Jean Paul Barbier. "Ma bibliothèque poétique: Éditions des 15e et 16e siècles des principaux poètes français, vol. 4, De La Gessée à Malherbe". Sixteenth Century Journal 35, n.º 4 (1 de diciembre de 2004): 1166. http://dx.doi.org/10.2307/20477176.
Texto completoTakács, László. "Az Officium Rákóczianum Szent Imre-himnuszai, avagy megjegyzések a szerzőség kérdéséhez". Magyar Könyvszemle 133, n.º 1 (7 de mayo de 2017): 55–66. http://dx.doi.org/10.17167/mksz.2017.1.55.
Texto completoRezende Heleno, Alex. "MARGUERITE YOURCENAR - PROFISSÃO: ESCRITORA". IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 25, n.º 1 (30 de diciembre de 2021): 118–29. http://dx.doi.org/10.34019/1982-0836.2021.v25.35184.
Texto completoDebaene, Vincent. "Anthropologie et littérature". Anthropen, 2019. http://dx.doi.org/10.17184/eac.anthropen.090.
Texto completoTesis sobre el tema "Poétique – 19e siècle"
Vallas, Jean-Louis. "L'œuvre poétique d'Auguste Angellier". Paris 10, 1986. http://www.theses.fr/1986PA100079.
Texto completoDionne, Ugo. "La voie aux chapitres : poétique de la disposition romanesque, 1650-1870". Paris 3, 2002. http://www.theses.fr/2002PA030020.
Texto completoThe subject of this dissertation is the disposition, the physical and material organization of the novel. Our main focus is on seventeenth- and eighteenth-century prose fiction, but we occasionnally overstep these boundaries, by discussing works of the Middle Ages, the Renaissance or the (early) nineteenth century. What we hope to establish is a historical poetics of novelistic division, where the formalist tendencies of traditional structural poetics are counterbalanced by an unremitting stress on " real " texts and novels, considered in all their historical specificity. The domain of the disposition include four different phenomena. There is the dispositif, the way a novel is divided into parts, books and chapters ; but there is also the archidispositif, where the single work (the opus) is federated in a larger ensemble (like the cycle or the sequence) ; the paradispositif, which appears when a novel is published in serial form ; and the quasidispositif, which occupies the same space as the dispositif (the volume), and appears in three main kinds : the collection, the anthological novel, and mimetic fiction. .
Terrier, Agnès. "L'opéra français et la modernité poétique au tournant du XXe siècle". Paris 12, 2002. http://www.theses.fr/2002PA120047.
Texto completoAt the end of the 19th century, the cultural context in France provides new challenges for the lyric art. The fascination for Wagner is linked to a nationalist feeling of rivalry. As musicians become closer to poets, thanks to the developement of melody, some of them look for a model for French lyric art in poetry and revisite the traditional opera libretto. The "Parnassians" Mendès and Saint-Sae͏̈ns want to promote poetry in the lyric theater. Independent musicians (Holmès, d'Indy, Chausson, Magnard, Charpentier) become authors of their own librettos. The librettist Gallet modernizes his style for Massenet. Bruneau, Debussy and Dukas look for the symbolist suggestion and a means of orchestral freedom in the rhythmed prose of Zola and Maeterlinck. .
Letourneux, Matthieu. "Poétique du roman d'aventures entre civilisation et sauvagerie : 1860-1920". Paris 4, 2001. http://www.theses.fr/2001PA040180.
Texto completoThe romance of adventure was a major popular genre during the XIXth and XXth centuries in western countries where, despite national specificities, some common properties clearly appeared, belonging to the romance tradition : violent events organized according to the structure of misadventures and Adventure, which provides its shape and themes, and exotism. .
Juneau, Véronique. "Poétique et fictionnalisation du reportage de guerre sous le Second Empire". Thesis, Université Laval, 2011. http://www.theses.ulaval.ca/2011/28645/28645.pdf.
Texto completoScepi, Henri. "Sujet et langage : contribution à la poétique de Jules laforgue (1860-1887)". Clermont-Ferrand 2, 1996. http://www.theses.fr/1996CLF20097.
Texto completoEntirely placed under the sign of the never-ending quest for originality, and subordinated to the principles of a philosophically and scientifically jointed aesthetics, jules laforgue's poetic work is first and foremost remarkable for its capacity to place the creative subject in the position of a critic in front of the issue of language and henceforth that of expression. Indeed, denying one after the other all the thesis which dogmatically promote clarity of expression and good taste as well as the timeless beautiful, laforgue ventures the hypothesis of an aesthetics in the making which focusses on the absolute need to develop an idiosyncratic speech. Of course, such a position merges with the imperative of modernity launched by the "decadent" generation; but it also comes across the field of the linguistic theory of the 19 th century, which tends to problematise, according to two different axes, the position of the speaking subject within language. Thus laforgue's poetic stance reflects two apparently contradictory positions: on the one hand, the right to total subjectivity and poetic autonomy is claimed, as principles ordering discourse; on the other hand, a large part is devoted to the doctrines, inherited from darwin and prolonged by hartmann, which subordinate the subject to the hegemony of an evolution which transcends him. But those two perspectives merge in the achievement of a poetics which purports to include the accidents of enpiricism as well as the unceasing movement of life. Thereof, individual discourse circumscrites the locus of a rupture and ascribes to speech a radical function which both deconstructs the cliches and conventions of poetic medium and the lifeless structures of language
Diong, Maneume. "Aventures et avatars de la modernité poétique : de Baudelaire , Rimbaud, Mallarmé, Breton et Bonnefoy". Tours, 2004. http://www.theses.fr/2004TOUR2001.
Texto completoKarpouzou, Panagiota K. "La poétique de l'ironie dans la nouvelle du XIXe siècle". Paris 3, 2001. http://www.theses.fr/2001PA030089.
Texto completoThe aim of the present thesis is the elaboration of a poetics of ironic discourse in short stories and short story collections of the 19th c. , a poetics also applicable to any literary text in general. Our research is based on a corpus of classic short stories from Anglophone (T. Hardy, H. Melville, E. A. Poe), french (G. De Maupassant, P. Merimée, A. De Villiers de l'Isle Adam) and Greek (A. Papadiamantis, G. Vizyenos) literature
Bacard, Haloul. "Poétique de la langue française chez Remy de Gourmont". Paris 8, 2011. http://octaviana.fr/document/160871034#?c=0&m=0&s=0&cv=0.
Texto completoPoetics questions a practice of the speech as a manner of language. From this point of view, we wonder how Remy de Gourmont's new critical and poetic language becomes a value in the french literature and culture. Remy de Gourmont, as an original critic, never loses sight of its double French and Symbolist condition, which is never a partisan or a nationalist attitude of criticism. Defending art as disinterestedness, exhibiting the immediate or later discussion of the ideas, Remy de Gourmont creates its dissociating method to put criticism, french and its literature forward. This critical principle has main purpose to discover or restore the value of the literary effort by seeking to reject the "lieux communs" and the "clichés" which cover it up. This new criticism of the ideas, which is always an invention of the discourse, is indissociable, in its poetic practice even, of an attention to the symbolism, and, each time, to the language. Hence, an original "vers libre" (symbolism free verse) having the capacity to make see and hear what the poet made with the ordinary language, that is to say with the usually words. Thus, the poem becomes an observation post of a historicity of the language. It shows in particular a feeling of the french language, which is this poetic-even, and which Remy de Gourmont initially created, then worked to make personal and individual, as much as the free art Symbolist which includes it in the mass of discursive individualities
Arden, Charles. "Vers une critique musicale créatrice : une redéfinition du concept de critique comme rapport entre le discours sur l’œuvre et la poétique musicale". Paris 8, 2013. http://www.theses.fr/2013PA083939.
Texto completoThis research starts from an historical adequacy in the nineteenth century between the development of the press as a medium of expression including music, the advent of a method with the disciplines related to art discourse, and a particular artistic production: programmatic music and the symphonic poem that reveal a new link between the sound and the verb. Our choice of music criticism as subject is therefore oriented towards a place of revelation of all these issues. The critical text is in fact based on a method of judgement that respects its own object classes and provides an awareness of the context of his speech: critical discourse then becomes meta-discourse, enhancing the analysis and understanding of the work by all that can be said, all that is offered as a way of working with linguistic expression of a feeling. In order to enable this work to better understand the music that finds its inspiration and explanation of literary criticism to inspire the pen, we start from the knowledge acquired of a musical work and observe how this knowledge evolves progressively with the concepts that we present in out historical course of the discipline. Hermeneutics, heuristics, epistemology, structuralism, formalism, linguistic tools are used to focus on musicology and demonstrate that, leaving the musical, we come back after the text's critical study with more evidences, details, strengths. This, according to the same logic based on which critique reinforces musicology by multidisciplinary scopes. Our contribution is intended as a review and prospective ways that have been found in the speech to understand the musical: giving the listener the tools to build a language that reinforces his artistic experience, giving the creator a material discursive aesthetic that it can compare his work with to deepen its aesthetic, amend its production, continue to produce; giving the mediator a list of criteria which will enhance his speech tools corresponding to the identity of the work and those it links
Libros sobre el tema "Poétique – 19e siècle"
Allemand, Maurice. Anthologie Poétique Française 18e Siècle. Creative Media Partners, LLC, 2018.
Buscar texto completoBertho, Sophie y Thomas Klinkert. Proust in der Konstellation der Moderne Proust dans la constellation des modernes. Erich Schmidt Verlag GmbH & Co. KG, 2013. http://dx.doi.org/10.37307/b.978-3-503-13789-3.
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