Littérature scientifique sur le sujet « Stylistique historique »
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Articles de revues sur le sujet "Stylistique historique"
Poujat, Sandra. « Quand les écrivains du XIXe siècle se font les historiographes du changement stylistique : conception idiosyncrasique du style et imaginaire national de la langue ». SHS Web of Conferences 138 (2022) : 05007. http://dx.doi.org/10.1051/shsconf/202213805007.
Texte intégralCÔTÉ, MARIE-HÉLÈNE. « La liaison en diatopie : esquisse d'une typologie ». Journal of French Language Studies 27, no 1 (31 janvier 2017) : 13–25. http://dx.doi.org/10.1017/s0959269516000302.
Texte intégralKushner, Eva. « L'histoire littéraire peut-elle être expérimentale ? » Historical Review/La Revue Historique 1 (20 janvier 2005) : 9. http://dx.doi.org/10.12681/hr.167.
Texte intégralPeeters, Kris. « Retraduction, réaccentuation, redialogisation : stratégies éditoriales et stratégies de traduction dans les traductions néerlandaises des Liaisons dangereuses ». RELIEF - Revue électronique de littérature française 15, no 1 (7 juillet 2021) : 10–26. http://dx.doi.org/10.51777/relief10828.
Texte intégralGuimarães, Eduardo. « Os estudos da significação no Brasil ». Cadernos de Estudos Lingüísticos 42 (8 août 2011) : 71–88. http://dx.doi.org/10.20396/cel.v42i0.8637141.
Texte intégralBallard, Michel. « Histoire et didactique de la traduction ». TTR : traduction, terminologie, rédaction 8, no 1 (23 février 2007) : 229–46. http://dx.doi.org/10.7202/037203ar.
Texte intégralHerschberg Pierrot, Anne. « Stylistique historique et style des œuvres. À propos de Gilles Philippe : Pourquoi le style change-t-il ? » Littérature N° 204, no 4 (7 décembre 2021) : 114–23. http://dx.doi.org/10.3917/litt.204.0114.
Texte intégralCifarelli, Paola. « Autour de quelques personnages féminins dans la mise en prose de Ciperis de Vignevaux ». Visages de femmes dans la littérature bourguignonne (XIVe-XVIe siècles), no 36 (1 octobre 2021) : 125–36. http://dx.doi.org/10.54563/bdba.84.
Texte intégralParker, John. « Les nouvelles du recueil C’est arrivé un jour ! et l’évolution stylistique et thématique de Jean-Claude Castex ». Articles 28, no 1 (15 juin 2016) : 101–18. http://dx.doi.org/10.7202/1036750ar.
Texte intégralMarcel, Jean. « Le bon usage des québécismes. Analyse historique et stylistique de la langue littéraire avant 1960 par Árpád Vígh ». University of Toronto Quarterly 87, no 3 (août 2018) : 110–13. http://dx.doi.org/10.3138/utq.87.3.sh.03.
Texte intégralThèses sur le sujet "Stylistique historique"
Bertho, Carole. « Lili Boulanger, l'œuvre intime : étude historique et stylistique ». Montpellier 3, 2006. http://www.theses.fr/2006MON30073.
Texte intégralLili Boulanger is the first woman to get the Fisrt Great Prize of Rome in musical composition in 1913, at the age of nineteen, and after only two years of intensive studies at the Conservatoire of Paris. Although she died five years later following a long illness, the young composer leaves us an important production of works. From examining manuscripts as well as studying her compositions, one is fascinated all through her works by the richness of her writing, the research of colour, the poetry of sounds, which convey an astounding expressiveness. Our various analyses also bring to light her mastery of the diverse musical styles of her time together with an incredible maturity in the use of languages. Born in a family of musicians, Lili Boulanger’s education has been boosted by an environment constituted in great part by the parisian musical elite. The biographical data, set in parallel to this research, underline the importance of such works. So this study allows to build closed links between the music and its author because Lili Boulanger's work is absolutely inmost
Grassi, Marie-Claire. « Correspondances intimes (1700-1860) : étude littéraire, stylistique et historique ». Nice, 1985. http://www.theses.fr/1985NICE2023.
Texte intégralChoi, Jung Min. « Signification historique et signification stylistique dans l'art contemporain : (de la légitimisation historique dans l'art contemporain) ». Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010685.
Texte intégralIn this study, we have two principal terms : history and style, but the goal which wewant to reach is the legitimation of art or the legitimation of the creation of ourtime called, “the contemporary art”. If the question of legitimation is differently presented, it is to look for a way in this confused situation of the contemporary art. This work starts from two terms which the title of the thesis mentions. And just asone knits a fabric, these two terms “the style” and “the history” horizontally laidout cross with the problem of the image laid out vertically. It means that the research on “the history” and “the style” covers the philosophical and sociologicalaspects. We thus at the same time will evoke the discussion on the problems of the direction of style and the history using the theory of Danto and will seek the link with the visual art. This last will be carried out through the research on “the image” of Hans Belting. We will find a similarity in the historical steps analyzed by A. Danto and the point of view of H. Belting
Preiss, Nathalie. « Les physiologies en France au XIXe siècle : étude historique, littéraire et stylistique / ». Mont-de-Marsan : Éd. Interuniversitaires, 1999. http://catalogue.bnf.fr/ark:/12148/cb37042286r.
Texte intégralBouloré, Vincent. « Les masques baoulé dans la Côte-d'Ivoire centrale : (approches historique et stylistique comparées) ». Paris 1, 1996. http://www.theses.fr/1996PA010525.
Texte intégralThe Baule are famous for their masquerades and masks. Around 1700 migrations waves of Akan coming from Ghana arrived in central Ivory Coast, they integrated autochtonous, south-mande and senufo peoples, then creating baule culture. Contrary to the present non-Akan Baule's neighbors (guro, wan, yaure and senufo) wich form with them central Ivory Coast area the Akan usually do not have any masks. A brief analyze of the three baule masquerades (Goli, Bonu Amuen and Ngblo) and the ones of their neighbors shows formal and functional similarities. This thesis starts from the assumption that baule art has built-in on gradually from different sources and borrowings since the XVIIIe century during bade culture was developing. Its purpose is to comparatively understand how and when the style of the baule's masks has flourished, how can this style had becoming aesthetically and culturally independent from the other styles of central Ivory Coast. Comparisons take place in three ways: from the artistic context to the locating of the different relationships between Baule's masks and those of their neighbors', going through an analysis of forms. Regarding the colonialism statement that one style does correspond to one tribe, one must had created a more realistic an opening view of the African people and their art's styles. Thus after studying the formal meanings of the art works, searching and sometime discovering their own personal style (one of a specific artist), looking for the iconographic tendencies, one have tried to explore and go back to the routes of borrowings. By this way, we give an extremely contrastive and very complex spectrum of the stylistic relationships. Datings, as the evolutive account of the styles and their aesthetic characterizations -three themes who has been developed in conclusion- are very essential datas in history of art. In central Ivory Coast as in other areas of black Africa, history and styles, history and arts are undoubtedly linked. Also in order to analyze them there is an absolute necessity to recognize history of African art as a complete and genuine discipline this last aspect making up the ultimate topic of these research
Baradel-Vallet, Catherine. « Les toitures polychromes en Bourgogne : étude historique, technique, stylistique et symbolique du XIVe siècle au XXe siècle ». Dijon, 2007. http://www.theses.fr/2007DIJOL032.
Texte intégralThe aim of this thesis is to study the historical, technical, stylistic, and symbolic evolution of the polychromatic roofs found in Burgundy between the 14th and the 20th centuries. The different iconographic, archaeological and written testimonies make it possible to analyse the place of the polychromatic pattern in the architecture, the choice of patterns and colours, the use of differently-shaped tiles (whether lead- or tin-glazed), the type of production (traditional or industrial), the sociological analysis and the symbolic readings, the influence received or given as well as the overuse of the “Burgundian roofs” to promote the image of the region during the 20th century. The synthesis of the historical data shows the existence of two cycles: the first one, brought on by the Gothic constructions in Ile-de-France during the 12th and 13th centuries, began with the first Burgundian evidence in the 14th century and lasted until the decline in the 18th century; it includes the apogee represented by the architecture of 17th century. The second cycle, which has started around 1840, found its origin in the ancient constructions and in the revival of the European interest for the ceramic architectural elements. This creativity petered out after 1914, with the last productions of the second cycle occurring between 1935 and 1940. Eventually, the development of tourism and the search for regional identities led to the metonymical use of these polychromatic roofs in the 20th century
Peerapornpisal, Supamon. « Décors des résidences seigneuriales en Viennois et Grésivaudan du XIIIe au XVIe siècle : étude archéologique, stylistique et historique ». Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE2055/document.
Texte intégralThere are nowadays many studies about aristocratic houses and their decoration. This study on decoration was achieved from the huge corpus of seignorial residences dated between the 13th and the 16th Centuries in the region of Viennois and Grésivaudan where a number of seignorial residences was found. Fifty-three selected sites gathered from a wide investigation were organized in two ways: firstly by documentary research in the archives, the libraries and the center of document resource, secondly by intervention in the studied area. This research focused on different categories of decoration: architectural, figurative, sculptural and painted decor. The research aims to establish the corpus of seigniorial residences which will enable it to study the entire decorative aspect of the selected sites. This will also allow for a new perspective of aristocratic house research.The castles and the fortified manor houses are known today as the existing aristocratic accommodation, which are in quite a large number and are unique in their architectural elements. The similarity of the two seignorial residences lies in their architectural characteristics. The quantity of them allows for an extension of the research framework for determining a sufficient number in terms of the studied sites. On the contrary, the difference of status between the castles and the fortified manor houses permits a comparison of their decorative aspects. Le Dauphiné has a great number of seignorial residences. The territory of Grésivaudan has been recognized for suitable settlement with fertile land in the mountains of Chartreuse and Belledonne. As for Viennois, this territory has a geographical variation which caused different characteristics of houses. Moreover, the history of Dauphiné presents a long period of independence with the succession of several Counts. The conquest policy was applied for defending the enemies in the surrounding areas and also for conquering more land. A great number of seignorial residences was included in this research. The study period from the 13th to the 16th Centuries is known as the transitional time from the end of the Middle Ages to the beginning of the Renaissance, there were many changes in different domains. These changes reflect the evolution of the decoration of aristocratic houses. The study of decoration of the respective seignorial residences will enable us to learn about the characteristics of the architectural and figurative decoration. Understanding the architectural decor involves a study of the architectural elements: doors, windows, turrets, watch-turrets, brattices, arrow holes and chimneys. The figurative decoration means a study of figurative presentation. The elements concerned are painting motifs and mural painting, sculptural motifs and figures. Molding in architectural decor emphasizes the structure of decorative elements. The frames of the doors and windows can be noticed by volumetric and symmetrical effects which can be seen on the lintel and the lower part of the frames of the structure. The appearance of sculpted shields above the doors and windows help complete the decorative aspect of the elements. The chimney has the same decorative effect but the molded decor would be on the upper part and the corbel or side posts. As for the figurative decoration, the presence of different figures like trees, animals, men create an in-depth dimension and more narration or a narrative scene. The painting motifs and the mural painting form a narrative which show a series of pictures which tell the sequence of an event or several successive scenes. Besides, as the corpus of the research assembles a great number of several types of decoration dating from 13th to 16th Centuries, it consequently reflects a stylistic evolution of decorative elements
Bonnan-Garçon, Camille. « L'épigramme et la lettre d'Ausone à Ennode de Pavie : étude stylistique, littéraire et historique d'une contiguïté générique dans l'antiquité tardive ». Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3070/document.
Texte intégralFrom Ausonius to Ennodius of Pavia, including Paulinus of Nola, Symmachus and Sidonius Apollinaris, many men of letters, in late Antiquity, wrote both letters and epigrams. Besides, Ennodius himself has organized his complete work alternating epigrams and letters, and highliting the close connection between those two genres. However, despite theirs numerous common features, the critics did not bother to draw a parrallel between them. Thus, we want to devote ourselves to this original point of view. First of all, we study the stylistic aspect of this generic connection, through two main common criteria. One the one hand, the breuitas and the humilitas, and in the other hand, the predominance of a certain form of mannerism. Then, considering the social and communicational aspects of those genres, we bring them together as medias adopting a common communicationnal system, and using the same places of creation. Finally, we include our reflexion in a broader one, about the phenomenon of genre-switching in Late Antiquity. This final movement consists in a studic of hybrid forms, in an ecdotic, stylistic point of view, but also in the study of latin-grec bilingualism
Guo, Yanna. « Lu Xun en France (1926-2015) : étude historique et critique des traductions françaises de l'œuvre de Lu Xun ». Nantes, 2016. http://www.theses.fr/2016NANT3018.
Texte intégralAt the dawn of the twentieth century, turning point in the intellectual and literary history to the Middle Kingdom, Lu Xun (1881-1936) is clearly the iconic Chinese writer: he is the modern author most translated outside borders, and particularly in France. Therefore it seems interesting to study, through a historical and translatological review, the almost century-old course of the work of this author in France. First, the textual and contextual research allows to open a new access road to his work and to shed a new light on the question of translation of his work. In a second step, it is to establish the panorama of French translations from 1926 to the present. Since then and still today, translations appear with the joint efforts of Chinese and French translators and, in various media publications and in a rhythm different. The reasons that these ferrymen of languages and cultures are interested in the work of Lu Xun differ greatly, mainly because of the politicization then the call for the depoliticization of the writer. Indeed, we will see that the "translators-introducers", the official interpreters, the supporters of political ideology and those who stick are far from aim the same translation purposes. Moreover, their translation projects differ from one another due to the evolution of translative thought and literary exchanges during near a century. Finally, the different trends will be highlighted through the comparative analysis of translations that update the issues and challenges of the style of Lu Xun. We ask, in this regard, to what extent and by what strategy the dynamism of textuality can be transmitted in the target text
Blanchard, Catherine. « Les statues dites "Anyi de Krinjabo" dans la statuaire en terre cuite du quart sud-est de la Côte d'Ivoire : étude stylistique et historique ». Paris 1, 1998. http://www.theses.fr/1998PA010692.
Texte intégralThis stylistic and historical study of the statues called "Anyi de Krinjabo" is an attempt to reunite and give sense to a set of objects which have been cut off from their original environement and dispersed all over the world. The study focuses on a specific type of statues, the Mma Anyi, which are anthropomorphic funerary figures in terra cotta whose production was stopped at the turn of the century. It almost replaces them on a more general framework that of the traditional portraiture in terra cotta of the south-east of the ivory coast and the south-west of ghana. The "Krinjabo-Anyi" style does exist, it is a royal art found in the kingdom of sanwi whose capital is Krinjabo. But this traditional practice was also found in other population before the anyi's arrival in the region. Thus this art does not belong exclusively to the latter and it is not the trace of their cultural and political hegemony. It was whide-spread on the whole forest area of "Akan", it covers three centuries and offers a great variety of styles. The study is made up of an ethnographic part which describes how the information and the corpus were collected. A stylistic part which analyses the shapes and sizes of the figures. Two historical parts which set this tradition one in the local history, the other in the regional and the international history and questions their possible interactions and influences
Livres sur le sujet "Stylistique historique"
Matthey, Jean Louis. Les cymbales : Approche historique, pédagogique et stylistique. [S.l : s.n.], 1996.
Trouver le texte intégralGiot, Fabrice. Stuc et stucateurs en Belgique : Première approche historique et stylistique. Liège : Commission Royale des Monuments, 2017.
Trouver le texte intégralBrucker, Charles. Sage et sagesse au Moyen Age (XIIe et XIIIe siècles) : Étude historique, sémantique et stylistique. Genève : Libr. Droz, 1987.
Trouver le texte intégralD, Sell Roger, et Verdonk Peter 1935-, dir. Literature and the new interdisciplinarity : Poetics, linguistics, history. Amsterdam : Rodopi, 1994.
Trouver le texte intégralCottle, Basil. The language of literature. New York : St. Martin's Press, 1985.
Trouver le texte intégralThe language of literature : English grammar in action. Houndmills, Basingstoke, Hampshire : Macmillan, 1985.
Trouver le texte intégralBolton, W. F. Shakespeare's English : Language in the History Plays (Language Library). Blackwell Publishers, 1992.
Trouver le texte intégralShakespeare's English : Language in the History Plays (Language Library). Blackwell Pub, 1992.
Trouver le texte intégralChapitres de livres sur le sujet "Stylistique historique"
Claire, Lucie. « De ratione scribendae historiae : modèles et contre-modèles antiques selon Famiano Strada ». Dans Rhétorique, poétique et stylistique, 119–29. Presses Universitaires de Bordeaux, 2015. http://dx.doi.org/10.4000/books.pub.16878.
Texte intégralActes de conférences sur le sujet "Stylistique historique"
Grudzinska, Agnieszka. « Les écrits au cœur de la Shoah : Archives Ringelblum, écriture intacte, enjeux historiques et stylistiques, et « arrangement » littéraire dans les Médaillons de Zofia Nałkowska ». Dans Les écritures des archives : littérature, discipline littéraire et archives. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6330.
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