Littérature scientifique sur le sujet « Javier Cerca »
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Articles de revues sur le sujet "Javier Cerca"
Dommann, Monika. « Javier Cercas’ 23-F. » Zeitschrift für Medien- und Kulturforschung 8, no 2 (2017) : 29–46. http://dx.doi.org/10.28937/1000107969.
Texte intégralTaormina, Alizé, et Kristine Vanden Berghe. « El Roberto Bolaño de Javier Cercas ». Anales de Literatura Hispanoamericana 49 (18 décembre 2020) : 241–54. http://dx.doi.org/10.5209/alhi.73127.
Texte intégralOgno, Lia. « Novela y relato real en Javier Cercas ». Monteagudo 24 (23 octobre 2019) : 113–26. http://dx.doi.org/10.6018/monteagudo.400181.
Texte intégralFlores Espinoza, Isabel. « EXCAVACIONES EN EL MIRADOR, PACOPAMPA ». Arqueología y Sociedad, no 16 (30 décembre 2005) : 125–40. http://dx.doi.org/10.15381/arqueolsoc.2005n16.e12713.
Texte intégralPérez Facio, Magdalena. « Javier Cercas, Terra Alta, Barcelona, Planeta, 2019, 384 pp. Javier Cercas, Independencia, Barcelona, Tusquets, 2021, 400 pp. » Olivar 21, no 34 (1 novembre 2021) : e113. http://dx.doi.org/10.24215/18524478e113.
Texte intégralMoreno, Ramón. « ¿Políticos o escritores ? ¿República o monarquía ? » Internaciones, no 20 (31 mai 2020) : 61–74. http://dx.doi.org/10.32870/in.vi20.7151.
Texte intégralRademacher, Virginia Newhall. « Truth and Circumstantiality in Javier Cercas’ Biofictions ». American Book Review 39, no 1 (2017) : 6–27. http://dx.doi.org/10.1353/abr.2017.0125.
Texte intégralEnnis, Juan Antonio, et Néstor Bórquez. « El escritor, la Historia y la imagen : en torno a "Anatomía de un instante", de Javier Cercas ». Aletria : Revista de Estudos de Literatura 20, no 2 (30 août 2010) : 37–55. http://dx.doi.org/10.17851/2317-2096.20.2.37-55.
Texte intégralVila Sánchez, José Antonio. « La autoficción como dialéctica entre lo histórico y lo biográfico en la obra de Javier Cercas ». Pasavento. Revista de Estudios Hispánicos 3, no 1 (1 mars 2015) : 123–35. http://dx.doi.org/10.37536/preh.2015.3.1.974.
Texte intégralCárcamo, Silvia. « Destino e caráter na literatura espanhola atual : do ensaio de Rafael Sánchez Ferlosio à ficção de Javier Cercas ». Aletria : Revista de Estudos de Literatura 17, no 1 (28 octobre 2015) : 117–28. http://dx.doi.org/10.17851/2317-2096.17.1.117-128.
Texte intégralThèses sur le sujet "Javier Cerca"
TAGLIANI, ALLEGRA. « Storie private e destini collettivi. Prospettive sul romanzo storico del terzo millennio ». Doctoral thesis, Università di Siena, 2021. http://hdl.handle.net/11365/1171175.
Texte intégralThe thesis aims to address the way in which historical novels written in the 2000s stage the relationship between individual stories and collective destinies. The work is divided into three parts, the first two are concerned with theory and the third is dedicated to the analysis of three novels. The first part addresses the issue of Memory Studies and traces the steps that lead to the definition of this field of study. I choose to tackle this issue because of the paramount relevance accorded to memory in the construction of identity, both individual and collective. Maurice Halbwachs’ work on collective memory, L’Histoire Collective (1925), marks the beginning for the development of the studies that lead to the so-called memory boom in the ‘80s. The second part of the thesis deals with literature and analyzes some of the most prominent aspects of the contemporary historical novel as a genre. The first half of the examination opens remarking how authors of historical novels seem to focus their attention on how individuals interact with collective groups. Remarkably, most historical novels seem to deal with narratives related to microhistory (Carlo Ginzburg, 1976) and counterhistory. . In order to outline the status of the link between individual stories and collective destinies I discuss the essay I Destini Generali (2015) by Guido Mazzoni. The second half of the chapter is devoted to draw a brief genealogy of the historical novel genre in its most recent years. Linda Hucheon’s Historiographic Metafiction (1988) and Amy Elias’ Metahistorical Romance are shortly discussed, along with Stephen Greenblatt’s New Historicism (Greenblatt, Cathrine Gallagher, Practicing New Historicism, 2000), a school born out of Hayden White’s Metahistory (1973). From Greenblatt’s interpretation of the work of Clifford Geertz (The Interpretation of Culture, 1973) many authors have derived a vision of historical fiction as a means of “communication with the dead”, a sort of necromancy which seem to imbue many of the narratives that are concerned with history in the last twenty years, aimed at reinstating a connection between the present and the past. The authors employ archive documents and family album photos to support their narratives, therefore raising the issue of the distinction between fact and fiction and between factual and fictional narratives. The contemporary historical novel seems to be marking a sharp turn toward factual or nonfictional narratives, thus creating space for hybrid forms like docu-drama, metafiction and fact-fiction where the two dimensions fruitfully interact with each other. One of the most prominent features in the genre is the modulation of the narrator’s voice. To address this issue directly I chose to consider two novels namely Jonathan Littell’s Les Bienveillantes (2006) and Filippo Tuena’s Le Variazioni Reinach (2005/2015). Another issue which I put under scrutigny is the relationship between family novel and historical novel. Both genres appear to be in a renaissance phase, gaining praise from audience and literary critics alike. Also, both genres deal with the problem of how to relate with the past; finally, both imply the use of similar stylistic features such as autofiction or characters tracing down long-lost relatives using archive information. The last part of the work focuses on the analysis of three novels, namely El Monarca de las Sombras by Javier Cercas (2017), Le rondini di Montecassino by Helena Janeczek (2010) and 4321 by Paul Auster (2017) and highlights how the authors have put in place narrative strategies designed to create a link between history and the present by connecting individual stories and collective destinies. In my work historical novel as a genre is shown as moving toward a more engaged relationship with the public sphere by helping raise moral questions that compel the reader to reflect on her possibility to act in the real world.
Silva, Marcos Roberto da. « A obra literária de Javier Cercas ». reponame:Repositório Institucional da UFSC, 2016. https://repositorio.ufsc.br/xmlui/handle/123456789/176704.
Texte intégralMade available in DSpace on 2017-06-27T04:12:21Z (GMT). No. of bitstreams: 1 345848.pdf: 2582428 bytes, checksum: 4f2359f6a3c828ff3ef2c62666e032bb (MD5) Previous issue date: 2016
A composição da obra literária de Javier Cercas pode ser compreendida como romances que participam do gênero autoficção, isto é certo, mas não dá conta da problemática que o autor suscita com seus textos. Pois em Cercas, mesmo o que aparentemente não se adequa ao gênero ficcional pode, em certa medida, ser atribuído à sua obra literária. Exemplo disso são suas crônicas e ensaios, que reclamam a participação em mais de um gênero. É nesse movimento que o autor funde a dimensão romanesca à histórica e à jornalística. Para acomodar essa promiscuidade genérica, mas já desacomodando com isso seu leitor, Cercas desenvolve o conceito de ?relato real?, que tem como ponto de partida o real e como princípio a verdade fatual, no entanto o ?relato real? não está isento de ficção. E é essa ambiguidade que perpassa a obra de Javier Cercas permitindo que outros gêneros, tidos como não literários, conformem sua obra literária. Como um autor de autoficção, Cercas é personagem de si mesmo e assim performa suas criações fora do espaço ficcional dando uma dimensão literária à sua vida. Nesta tese problematizo a diluição das fronteiras, que nunca desaparecem por completo, entre os gêneros literários e procuro estabelecer a ideia de gênio à função autor-escritor, que oferece subsídios para que determinado texto seja lido com vistas à dissolução dos gêneros, buscando, assim, sustentar a ideia de que o gênero depende de como se lê e de como se escreve. Na mesma proporção está a fundição entre vida e literatura e entre vida e crítica.
RODRIGUEZ, DE ARCE Ignacio. « Postmodernidad y praxis transescritural en la narrativa de Javier Cercas ». Doctoral thesis, Università degli studi di Bergamo, 2015. http://hdl.handle.net/10446/32802.
Texte intégralDos, Santos Marie-Hélène. « Génétique de l'intertextualité dans "El vientre de la ballena" de Javier Cercas ». Dijon, 2000. http://www.theses.fr/2001DIJOL002.
Texte intégralCarvalho, Guilherme Cunha de. « Efeitos literários e níveis de pertinência : o papel da literatura na obra Anatomia de um instante, de Javier Cercas ». Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-29062016-140920/.
Texte intégralThis dissertation is a study on the effects of meaning caused by literary works from the perspective of greimasian semiotics. The corpus analyzed more closely Anatomia de um instante by Javier Cercas; They are also analyzed for comparison of the works 23-F: El golpe del CESID, Jesús Palacios, and The Three Musketeers by Alexandre Dumas. Starting with a reflection on the literary object from the point of view of an unscientific meta-language, it created a bridge between the non-scientific metalanguage and the scientific metalanguage of greimasian semiotics, based on the concepts developed in the two dictionaries semiotics. The concepts were complemented by the development of a new line of semiotics, the relevance levels. The corpus was analyzed according to the relevance levels, especially text, object, practice and strategy. The literary meaning effect will be considered as dependent on different levels of relevance and gradually, can a work be established as more or less literary within a continuum.
Merlos, Lucas. « L’Espagne face à son passé : écriture romanesque et stratégies documentaires ». Thesis, Université Grenoble Alpes (ComUE), 2019. http://www.theses.fr/2019GREAL023.
Texte intégralThis thesis aims to outline a new way of dealing with the past that has appeared in Spanish letters at the beginning of the 21st century: the documentary novel of memory. A significant number of realistic, and sometimes factual, literary narratives deal with the past of contemporary Spain, generally in its most traumatic aspects - Civil War, Francoism, violence during the Transition -. To access and represent this past, they mobilize the document and documentary forms such as the archive document or the testimony. We propose the hypothesis that this mobilization and staging of historical sources in a literary context amounts to constructing narratives on the origin of contemporary Spain capable of participating in the elaboration of a common memory narrative and, in the same movement, to question and claim the place of literature in the constitution of knowledge. In this perspective, documentary novels of memory would constitute the place of a tension between document and monument, between knowledge and recognition. To test this double identity hypothesis of a reconfiguration of memory and an expansion of the field of literature, we analyze the various documentary strategies at work in four documentary novels of memory that represent the ideological and aesthetic diversity of this narrative subgenre (Isaac Rosa, El vano ayer, 2004 ; Benjamín Prado, Mala gente que camina, 2006; Javier Cercas, Anatomía de un instante, 2009; Andrés Trapiello, Ayer no más, 2012). We first describe and interpret the documentary modalities at work in these narratives under the prism of the notion of document effect. We see that novels mobilize the document and mobilize factual narrative codes to create memorable documents. We then turn to the figure of the narrator-investigator, who, animated by an “archive fever”, return to the sources of contemporary Spain and engage the reader to identify with their quests and the narratives they induce. Finally, we show in a third step how these texts, through documentary montages and the partial or total reuse of codes from the roman à thèse , are integrated, in a counter-discursive mode, in a broad interdiscourse and thus question the place of literature and the writer in the discursive field on reality
DiGiovanni, Lisa Renee. « Longing for resistance : nostalgia and the novel in postdictatorial Spain and Chile / ». Connect to title online (ProQuest), 2008. http://0-proquest.umi.com.janus.uoregon.edu/pqdweb?did=1678702801&sid=1&Fmt=2&clientId=11238&RQT=309&VName=PQD.
Texte intégralTypescript. Includes vita and abstract. Includes bibliographical references (leaves 194-206). Also available online in Scholars' Bank; and in ProQuest, free to University of Oregon users.
Lobina, Matteo. « Más allá del realismo sucio. Ruido, Nocilla, historia y puntos ciegos en la novela española contemporánea. Desde Mañas hasta Cercas, pasando por Fernández Mallo ». Doctoral thesis, Universitat de Girona, 2019. http://hdl.handle.net/10803/668198.
Texte intégralEl objetivo del presente estudio es llevar a cabo un análisis sobre la novela española contemporánea a partir de los años noventa del siglo XX. La novela Historias del Kronen (Mañas, 1994) y sus cuatro secuelas representan el punto de partida de la investigación mediante textos literarios “punk” que desafían al presente retratado como cíclico. La rebelión literaria de Mañas se conecta al Proyecto Nocilla (Fernández Mallo, 2013) donde los objetos se convierten en protagonistas, y el presente perpetuo es ritmado por medio de hipertextos. El recurso metaliterario en Mañas y Mallo conecta con la estética de Javier Cercas, que, a partir de Soldados de Salamina (2001), investiga sobre el rol del pasado en el presente, confundiendo los límites entre biografía e imaginación. El análisis del trabajo de Cercas se extiende hasta El punto ciego (2016), y El impostor (2014), para acercarse a conceptos como “verdad literaria” y memoria histórica
Noriega, Ramiro. « Entre Histoire et mémoire. Un aspect du roman espagnol et hispano-américain à l'aube du XXIème siècle (R. Piglia, R Bolano, J. Cercas) ». Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2013. http://tel.archives-ouvertes.fr/tel-00977958.
Texte intégralFauquet, Isabelle. « L'exemplarité de la fiction dans le roman espagnol contemporain ». Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00766393.
Texte intégralLivres sur le sujet "Javier Cerca"
Trabal, Francesc. El hombre que se perdio. / Traduccion de Javier Cercas. Barcelona : Sirmio, 1992.
Trouver le texte intégralCrítica de la obra literaria de Javier Cercas : Una execración razonada de la figura del intelectual. Vigo : Editorial Academia del Hispanismo, 2014.
Trouver le texte intégralKlinkert, Thomas, dir. Gegenwartsliteratur aus Spanien. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967075311.
Texte intégralSoldados de Salamina : Basado en el guión de David Trueba (basado en la novela de Javier Cercas). Madrid : Edinumen, 2011.
Trouver le texte intégralChapitres de livres sur le sujet "Javier Cerca"
Tschilschke, Christian von. « Cercas, Javier ». Dans Kindlers Literatur Lexikon (KLL), 1. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11590-1.
Texte intégralTschilschke, Christian von. « Cercas, Javier : Soldados de Salamina ». Dans Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart : J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_11591-1.
Texte intégralToffoli, Lara. « Tra “roman documentaire” e “relato real” alle soglie degli anni Zero : L'Adversaire (2000) di Emmanuel Carrère e Soldados de Salamina (2001) di Javier Cercas ». Dans Re-Konstruktion des Realen, 217–36. Göttingen : V&R unipress, 2021. http://dx.doi.org/10.14220/9783737013529.217.
Texte intégral« Javier Cercas ». Dans Gegenwartsliteratur aus Spanien, sous la direction de Thomas Klinkert, 15–29. edition text + kritik im Richard Boorberg Verlag, 2021. http://dx.doi.org/10.5771/9783967075311-15.
Texte intégral« Javier Cercas, or, The Triumph of Kitsch ». Dans Memory Battles of the Spanish Civil War, 192–206. Vanderbilt University Press, 2018. http://dx.doi.org/10.2307/j.ctv16759c1.17.
Texte intégralPozuelo Yvancos, José María. « Interdiscursividad : cine y literatura en Javier Cercas ». Dans Docta y sabia Atenea. Studia in honorem Lía Schwartz, 671–81. Universidade da Coruña ; IULCE ; Hispanic Seminary of Medieval Studies ; Queen Sofía Spanish Institute ; SIELAE, 2019. http://dx.doi.org/10.17979/spudc.9788497497046.671.
Texte intégral« Capítulo IV. Soldados De Salamina De Javier Cercas ». Dans La guerra civil española en la novela actual, 105–36. Vervuert Verlagsgesellschaft, 2010. http://dx.doi.org/10.31819/9783964561732-006.
Texte intégral« AMOR Y LITERATURA EN EL VIENTRE DE LA BALLENA (JAVIER CERCAS) ». Dans El amor, esa palabra…, 109–28. Vervuert Verlagsgesellschaft, 2005. http://dx.doi.org/10.31819/9783964565419-008.
Texte intégralBenson, Ken. « La paradójica literariedad de Anatomía de un instante, de Javier Cercas ». Dans 2021 : la odisea del 23-F, 155–84. Iberoamericana Vervuert, 2021. http://dx.doi.org/10.31819/9783968691145-009.
Texte intégralSarna, Marcin. « CAPÍTULO VI REALIDADES DE LA FICCIÓN : MANIOBRAS LITERARIAS DE JAVIER CERCAS ». Dans Imposturas hispánicas, 147–68. Iberoamericana Vervuert, 2022. http://dx.doi.org/10.31819/9783968692135-007.
Texte intégralActes de conférences sur le sujet "Javier Cerca"
Hernández Guerrero, María José. « Retraducción y calidad : el caso de Madame Bovary ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3021.
Texte intégralDelage, Agnès. « Javier Cercas historien. Pour une approche critique de la fiction d’archive contemporaine. » Dans Les écritures des archives : littérature, discipline littéraire et archives. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6328.
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