Littérature scientifique sur le sujet « Passage de frontière dans la littérature »
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Articles de revues sur le sujet "Passage de frontière dans la littérature"
Giliberti, Luca. « Frontières et « crise de l’accueil » : les pratiques de solidarité envers les migrants à la frontière entre la France et l’Italie ». Migrations Société N° 196, no 2 (10 juin 2024) : 43–58. http://dx.doi.org/10.3917/migra.196.0045.
Texte intégralBrisset, Frédérique. « Le doublage, à la frontière entre traduction et adaptation ? » TranscUlturAl : A Journal of Translation and Cultural Studies 9, no 2 (22 septembre 2017) : 32. http://dx.doi.org/10.21992/t9gw8m.
Texte intégralBarbaux, Laurène. « Territoires émotionnels et engagement : un regard sur la rencontre et la relation homme-animal dans Le Lion de Joseph Kessel ». Thélème. Revista Complutense de Estudios Franceses 37, no 1 (3 juin 2022) : 41–49. http://dx.doi.org/10.5209/thel.78835.
Texte intégralFournier, Michel. « Le développement de la littérature pour la jeunesse et l’affirmation de la culture moderne de la fiction au Québec ». Étude 39, no 1 (24 février 2014) : 121–36. http://dx.doi.org/10.7202/1022997ar.
Texte intégralKansa, Timothé, et Guy Chiasson. « La gouvernance dans un contexte de décentralisation « en action » : le cas de la régionalisation de la forêt en Outaouais ». Articles 36, no 1 (23 janvier 2017) : 93–120. http://dx.doi.org/10.7202/1038762ar.
Texte intégralBrun del Re, Ariane. « Habiter en ville : la maison urbaine dans le roman franco-canadien ». Tangence, no 117 (6 mai 2019) : 83–99. http://dx.doi.org/10.7202/1059420ar.
Texte intégralDupont, Alexandre. « Entre réseau et territoire. Passages clandestins à travers la frontière franco-espagnole dans les années 1870 ». Source(s) – Arts, Civilisation et Histoire de l’Europe, no 17 (5 octobre 2022) : 127–42. http://dx.doi.org/10.57086/sources.120.
Texte intégralLushenkova-Foscolo, Anna, et Luba Jurgenson. « L’écriture bilingue comme « le projet de l’auto-création » ». Voix Plurielles 12, no 2 (12 décembre 2015) : 234–49. http://dx.doi.org/10.26522/vp.v12i2.1284.
Texte intégralLibasci, Fabio. « Introduction : EXTRÊME/S ». HYBRIDA, no 5(12/2022) (27 décembre 2022) : 11. http://dx.doi.org/10.7203/hybrida.5(12/2022).25763.
Texte intégralRevelle, Anthony. « De l’autre côté de la barrière. Franchir la frontière entre l’homme et l’animal avec le Roman de Renart ». Investir la frontière, no 4 (15 juin 2021) : 29–36. http://dx.doi.org/10.35562/frontieres.599.
Texte intégralThèses sur le sujet "Passage de frontière dans la littérature"
Juge, Carole. « De l'innocence à l'expérience : la quête initiatique du cow-boy dans The Border Trilogy de Cormac McCarthy ». Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040258.
Texte intégralThis dissertation undertakes the study of Cormac McCarthy's characterization of the cowboy hero,from his early state of innocence in the modern American West to his understanding of the first greatAmerican tragedy, the closing of the frontier. John Grady and Billy, the two main protagonists of thisBorder Trilogy, try to follow in the old pioneers' footsteps, attempting to achieve heroic status throughpublic display of bravery in a modern world that ignores them. Through their meditation, theirinitiatory journeys, and attempts to perform rites they define an ethics of experience making whichhelps justify the violence at the core of McCarthy's novels, a topic very popular in McCarthian studies.This dissertation hopes to shed light on the bond that ties initiation to violence and offers to discussproblems of experimentation and unfulfilled rituals, the hero's solitude and finitude, as well as thenarrative finitude of the book that always ends and the artistic finitude of the storyteller who also seeksanswers on his responsibility in the (hi)story
Hopkins, Fleur. « Aux frontières de l'invisible : culture visuelle et instruments optiques dans le récit merveilleux-scientifique au passage du siècle (1894-1930) ». Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H067.
Texte intégralIn parallel with X-rays, aura photography and attempts to communicate with the planet Mars, the writer Maurice Renard shaped, between 1909 and 1930, a movement, unrecognized today: the “merveilleux-scientifique”. Its plot is rationally designed, with the exception of a scientific law that is invented or modified, allowing human beings to perform prodigies only found in fairy tales: shrinking or mind-reading. There is ample evidence in Maurice Renard’s various manifestos his literary model was conceived as an “optical machine”. As such, based on more than 00 stories, 100 authors and illustrators and nearly 800 illustrations, our study maps the obsession for the extension of the visible (seeing inside, seeing beyond, seeing the other side). To do this, we mobilized throughout our work new resources and concepts. Visual studies, on the one hand, highlight the changes made in the scopic regimes of the time (endoscopic view, panoptic view, optogrammic eye, etc.). They reveal new visual artifacts, such as “récits sous images”, suggestive advertising or illustrations of popular novels, valid as historical evidence of the historical construction of gaze, vision and visuality. Media Archaeology, on the other hand, gathers media that are forgotten, discarded, late or too far ahead of their time. This field of research collects a significant number of “imaginary media”, highly inventive: “psychograph“, “ondogene”, “electroscope”
Chabot, Anne-Lise. « Henri Michaux : une expérience du passage ». Paris 8, 1994. http://www.theses.fr/1994PA080873.
Texte intégralThe purpose here is to study the stakes and charactarestics of the philosophical concept of "passage" (drawed by g. Deleuze) mainly through henri michaux's literary works. It first deals with three of the main sketches : the stranger process of becoming, the intensive process of becoming and the flying process of becoming. The death of michaux's young wife faces the passage to the death of the beloved. The evolution from la ralentie to l'espace aux ombres shows a link between mourning and passage. To check this hypothesis, quelque chose noir by jacques roubaud and jean-louis giovannoni's work are studied. It's obvious then that the refusal of mourning stands as an obstacle to "passage". The second meeting of death and passage is the hardship of his own death jean revezy' novel : le passage gives the clearest explanation : the acceptance of his own death shows the way, meeting death while alive. There is the same link in pierrealbert jourdan's essay between the acceptance of his own loss and passage. The search for passage through the use of drugs makes michaux face the hardship of this death. By accepting it, the being is revealed to him. Death becomes the instrument of passage and the real dimension of passage is discovered : the contemplation of the infinite being without identity nor name
Puig, Catherine. « L'oeuvre fictionnelle de Manuel Rivas : une poétique de la frontière ». Grenoble 3, 2007. http://www.theses.fr/2007GRE39022.
Texte intégralA major writer in contemporary Spanish literature, Manuel Rivas was born in Galicia. Through and inside his writing he has aimed at tightening the bonds of a diaspora that was scattered all over the world due to political and economic exile, and make his universe known to both hispanophones and non-Spanish speakers. Wandering at the borders of differents territories-short stories, novels, presse articles, photographs- he has explored one specific space: the past and present of Galicia and its traumatic history. This study aims at establishing the connections between the authors's representation of the diasporic process and his writing techniques and narrative strategies. Lndeed, the construction of fictional space and time reveals a double dialectic : the tension between scattering and seettling, between past and present appears at the very heart of the texts. Ln terms of heritage, transmission, traces, contamination and transgression, passages-from one generation or one language to another- constitute the main axis of his writing. As to borders, seen through their crossings and interférences, they seem to be part of a dual-process : rehabiliting a people and his culture, along with claiming an innovative creation space where reading rules and semiotic codes tend to dissolve, but also, where plural memories, voices and silences are found again. The poetics of the frontier, conjures up the terms: hybrid, heteogeneous and crossbreeding, which take an active part in the renovation of contemporary Spanish fiction, and lay the foundations of a man, a citizen, and a writer
Gagneret, Diane. « Explorer la frontière : folie et genre(s) dans la littérature anglophone contemporaine ». Thesis, Lyon, 2019. http://www.theses.fr/2019LYSEN056/document.
Texte intégralTraditionally conceptualised as the underside or the outside of reason, madness most often rhymes with excess; as such, it continually threatens to transgress all definitional or conceptual limits set by rational thought. Indeed, at the core of rationality is an impulse to delimit and classify, of which categories of genre and gender are quintessential examples. Starting from the observation that depicting madness regularly entails crossing, questioning and redefining genre and gender boundaries, this work investigates how literary representations of madness relate to the classification and conceptualisation of gender and genre in a selection of novels, short stories and plays by six different writers – Janet Frame, Jenny Diski, Sarah Kane, Ian McEwan, Anthony Neilson, and Will Self – published between 1951 and 2004. With the subversion of established categories as their central aim and dynamics, these works call for an exploration of the specific way in which depictions of madness, by using the border as one of their core motifs, impact the conceptualisation of borders. No longer a mere demarcation or dividing line between spaces, or simply a meeting point, the border becomes a full-blown space for individuals and texts to inhabit. Indeed, through their representations of madness, the borderline stories under study seem to embrace and promote both an aesthetics and an epistemology of the in-between. This work therefore focuses on the images and uses of liminality in stories of madmen and madwomen that, by remapping textual and sexual identities, have begun to chart these “lands to come” which, according to Deleuze and Guattari, are the true destination of all writing
Marckert, Marie. « L'imaginaire de la frontière franco-navarraise et son évolution dans la littérature française et espagnole ». Bordeaux 3, 2009. http://www.theses.fr/2009BOR30006.
Texte intégralBy means of the research and analysis of varied texts related to the notion of movement, in a wide temporary perspective, which covers from the Middle Ages to the beginning of the XX century, the main objective of this thesis is to study the construction of the imaginary literacy of the french-navarre frontier and its evolution. From a not only deacon but also synchronic point of view, the great axes of the performance appear, according to an hypothesis which examines the perturbing intervention of the frontier in the process of the imaginary of the place. This constantly ranges indeed between its two main and inseparable components: the notions of joining and division. In this way, we are witness of the creation, the maintenance, the abandon and the renewal of stereotypes which affect not only the natural setting but also the social structures and the inhabitants. Although the character of physical and spiritual obstacle of the frontier prevails in the Middle Ages, this turns into the place where, later, the historical relations between France and Spain stage, before being the door which is opened towards exotic destinies and also the space where the ideologies are shown and the identities are strengthened. I’d like to point out too that the study of the novels highlights the capacity of movement of the frontier concept towards social, individual and metaphoric senses
Raimbault, Elodie. « Figures de l'espace et de la frontière dans la fiction de Rudyard Kipling ». Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030128.
Texte intégralRudyard Kipling was a traveller all his life and a champion of the British Empire at the time when its territorial stability was put at risk; he knew India, the U.S.A., South Africa and Sussex intimately. His direct and physical experience of the globe frames the thematic, narrative and stylistic characteristics of his novels and short story collections. Through the notion of borderline, relationships of differentiation, opposition, contact and exchange are built up thematically, in the narrative and in the style: the traveller is represented as a conqueror, an adventurer or a wanderer and global space is apprehended either politically or poetically. Imperial space is necessarily delineated and Kipling conceives of an Empire federating a mosaic of nations. Likewise, Kipling’s sentences stylistically patch up diverse languages, dialects and registers without endangering their textual unity and his narration hinges on the relation between separate elements and the whole text. The narrative authority creates converging lines between stories and networks appear between books, building up a coherent fictional world which suggests the possibility of an opening in this highly demarcated space. In their internal organisation, the books are at once composite and unified, the main narrative interacting with poems and illustrations in the short story collections and with micro narratives in the novels. Text becomes truly figurative in the annotated maps and when the typographical space is modern and significant. Kipling’s literary space dynamically confronts physical territories and a linguistic representative space, the textual organisation and the narrative world it depicts
Richard-Principalli, Patricia. « La semaine sainte d'Aragon : un roman du "passage" ». Paris 8, 1995. http://www.theses.fr/1995PA080964.
Texte intégralIn 1968, aragon elaborates a theory about parenthesis and novel. La semaine sainte is part of it as the origin of a practice which will become systematic later. In fact the parenthesizing practice illustrates aragon's move towards a different discourse and a different style. He changes his approach towards the two driving forces of life and writing according to him, till then, history and love. Thus history is characterized by the eternal recurrence and the two sides of men and events, in spite of the flickering light of a hope which tries to persist. Likewise, the amorous relationship always fails. Woman remains the stranger, basically ambivalent and elusive, all the more since man's crystalling look keeps her at a distance. Consequently all the characters in the novel are radically affected by the loss of markers since it causes their death. Death also appears in the fantasizing build-up of two murderous figures. But the act of murder remains hanging, a symbolic suspension : these figures stage the inexpressible, the only resort left against the double incertainty of history and love. Thus, la semaine sainte does not suggest a univocal vision of the world but is searching a "kaleidoscopic" reality. So the sun, of the end of the novel, has an artistic value. Writing whose question is the only resort against "human contradiction" becomes an act of doubt
Salas, Irène. « À la frontière du corps : l’imaginaire de la peau à la Renaissance ». Paris, EHESS, 2014. http://www.theses.fr/2014EHES0138.
Texte intégralDuring the Renaissance, the skin – which has often been overlooked in recent studies on the body – allowed new approaches, initiated new speculations and contributed to a new knowledge. Our purpose is to show how this singular organ became a privileged theoretical object in a time when thought was structured by conceptual couples such as surface and depth, interiority and exteriority, being and appearing, the visible and the invisible, the sensible and the intelligible, the corporeal and the spiritual. In this survey, which also takes into account vegetable and animal skins (membrane, bark, fur, leather, shell) and “second skins” such as clothing, make-up or armours, our guides were not only philosophers and physicians, but mostly writers and painters, who brought the skin into light while it seemed to disappear under the blades of anatomists. Its “epiphany” can be seen in Montaigne, Ronsard and Shakespeare, as well as in Leonardo da Vinci, Michelangelo or Titian. . . Not to mention those whose imagination was nourished by the legendary stories of the flaying of Marsyas and Saint Bartholomew – or by the myth of Epimetheus that questions the human nature. Particular attention was paid to the skin as “support-surface” of writing and painting, because it offered writers and artists the opportunity to reflect on their own practice, on the materiality of language and images, on visual and tactile qualities of representation
Rioux-Watine, Marie-Albane. « La voix dans l'oeuvre romanesque de Claude Simon : la transparence et la frontière ». Paris 4, 2004. http://www.theses.fr/2004PA040064.
Texte intégralAlthough structuralist criticism promotes it as the text's main subject, speach is constantly hindered in Claude Simon's novels. Through the systematic analysis of the noises that affect the different communicational posts, it will appear that the intersubjective boundaries coexist with a direct contact fantasy which could do without cultural or semiotic detour. This transparency is built on the pattern of the live voice. Appears then the figure of a “phonocentrist” writer, who denies the writing and presents the voice as the vehicle of a perfect communication, without the sign's bypass. The text should therefore embed the voice in itself, through the artifacts of reported speech and voices' descriptions. The systematic study of RS shows a constant oscillation between the highlighting of the heterogeneous and the inclusion of vocal alterity. The descriptions show moreover a certain fading of the voices : the link with the present and the speaker seems to vanish. The analysis of characterizing adjectives shows the aporia of the voice of the self, dissolved in an atopic rumour. The coexistence of a voice with no contour and the transparent vocal circulation resurges in the descriptions of the mouth, the organ of speech. As a heuristic organ, it reveals the other's body, but takes part at the same time in the subject's hollowing. The mouth nullyfies the langage and thus the link to the outside world. The existence of a boundary is actually what makes any contact possible. The dual nature of voice (living and faded) reflects the effect of the novels have on the reader, both a sense of presence, and one of distance
Livres sur le sujet "Passage de frontière dans la littérature"
Cho, Ŭn-ae. Tiasŭp'ora ŭi wido : Nam-Puk-Il naengjŏn kujo wa wŏlgyŏng hanŭn chaeil Chosŏnin munhak = The diasporic latitude : the cold war structure of South and North Korea and Japan and border-crossing in the literature of Zainich Koreans. Sŏul-si : Somyŏng Ch'ulp'an, 2021.
Trouver le texte intégralLaLonde, Christopher A. William Faulkner and the rites of passage. Macon, Ga : Mercer University Press, 1996.
Trouver le texte intégralVenir en ce lieu : Essai. Québec : L'Instant même, 1997.
Trouver le texte intégralS, Duncan James, et Gregory Derek 1951-, dir. Writes of passage : Reading travel writing. London : Routledge, 1999.
Trouver le texte intégralTobin, Daniel. Passage to the center : Imagination and the sacred in the poetry of Seamus Heaney. Lexington : University Press of Kentucky, 1999.
Trouver le texte intégralPostmodern tales of slavery in the Americas : From Alejo Carpentier to Charles Johnson. New York : Garland Pub., 2001.
Trouver le texte intégralGrenze als Erfahrung und Diskurs : Literatur- und geschichtswissenschaftliche Perspektivierungen. Tübingen : Narr Francke Attempto, 2018.
Trouver le texte intégralHauser, Claude, Sylviane Messerli et Laurent Tissot. Un foyer intellectuel et artistique dans le Jura bernois, 1780-1850. Charles-Ferdinand Morel et Isabelle Morel-de Gélieu. Éditions Alphil-Presses universitaires suisses, 2021. http://dx.doi.org/10.33055/alphil.03166.
Texte intégralWrites of Passage : Reading Travel Writing. Routledge, 1999.
Trouver le texte intégralTobin, Daniel. Passage to the Center : Imagination and the Sacred in the Poetry of Seamus Heaney. University Press of Kentucky, 2021.
Trouver le texte intégralChapitres de livres sur le sujet "Passage de frontière dans la littérature"
Robillard, Guillaume. « La parole d’Édouard Glissant dans le « cinéma antillais » ». Dans Littérature Hors Frontière, 207–17. Presses universitaires de Vincennes, 2020. http://dx.doi.org/10.3917/puv.noude.2020.01.0207.
Texte intégralGauvin, Lise. « « Il est donné, dans toutes les langues, de construire la tour » ». Dans Littérature Hors Frontière, 41–50. Presses universitaires de Vincennes, 2020. http://dx.doi.org/10.3917/puv.noude.2020.01.0041.
Texte intégralSuter, Patrick. « Poétique de la frontière dans la littérature française ». Dans Poétique des frontières. MetisPresses, 2021. http://dx.doi.org/10.37866/0563-94-51.
Texte intégralBaron, Philippe. « Médecins et malades dans Le Passage et dans Place des Angoisses de Jean Reverzy ». Dans Littérature et médecine, 269–78. Presses universitaires de Franche-Comté, 2000. http://dx.doi.org/10.4000/books.pufc.1309.
Texte intégralFavrot, Matthieu. « Le passage du parlé au chanté dans La Belle Hélène d’Offenbach ». Dans Musique et littérature, 191–200. Presses universitaires de Provence, 2011. http://dx.doi.org/10.4000/books.pup.20502.
Texte intégralGreco Larson, Stephanie. « Le passage de la frontière vu par l’Australian : étude de l’opinion publique dans l’affaire du Tampa ». Dans D’une frontière à l’autre, 159–68. Presses universitaires du Midi, 2007. http://dx.doi.org/10.4000/books.pumi.35703.
Texte intégralSAMPAGNAY, Louise. « Entretien avec Denis Lachaud. « L’idée de départ pour J’apprends l’allemand n’était pas du tout l’Allemagne, ni même les langues ; c’était d’écrire un roman sur la place du silence dans l’héritage familial » ». Dans L'enfant plurilingue en littérature, 249–62. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.7824.
Texte intégralNichols, Ashton. « La métaphore du passage de la frontière dans les œuvres de J.M. Coetzee, Salman Rushdie et Derek Walcott ». Dans D’une frontière à l’autre, 19–31. Presses universitaires du Midi, 2007. http://dx.doi.org/10.4000/books.pumi.35603.
Texte intégralGourmelen, Laurent. « Imposture ou dualité : que faut-il penser de la naissance d’un centaure ? Sur un curieux passage du Banquet des Sept Sages (Plutarque, Moralia, 149 C-F) ». Dans L'imposture dans la littérature, 217–34. Presses universitaires de Rennes, 2011. http://dx.doi.org/10.4000/books.pur.12177.
Texte intégralHAYATOU, Guedeyi Yaeneta. « Nouvel imaginaire de la frontière dans le roman contemporain francophone d’Afrique subsaharienne ». Dans Les Annales du Sud, No. 1, 69–82. Editions des archives contemporaines, 2023. http://dx.doi.org/10.17184/eac.7168.
Texte intégralActes de conférences sur le sujet "Passage de frontière dans la littérature"
M'selmi, Sana. « Lecture croisée du désir dans Hable con ella de Pedro Almodóvar et La Macération de Rachid Boudjedra à travers le motif de l’eau ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2969.
Texte intégralCorsin, Julie. « Silvia Baron-Supervielle ou la poétique de l’eau. » Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2933.
Texte intégralGuillén, Santiago. « Des Dieux aux hommes et de la Terre à Gaïa. Transitions dans les mythes et dans certains discours contemporains : éléments pour une caractérisation sémiotique de la transition ». Dans Actes du congrès de l’Association Française de Sémiotique. Limoges : Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8481.
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