Letteratura scientifica selezionata sul tema "Dansk dramatik"
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Articoli di riviste sul tema "Dansk dramatik"
Nielsen, Poul Erik. "Film og TV-produktion i USA og Danmark". MedieKultur: Journal of media and communication research 11, n. 23 (2 settembre 1995): 15. http://dx.doi.org/10.7146/mediekultur.v11i23.1047.
Testo completoBallebye, Marlene. "Sproget i Line Knutzons dramatik". Peripeti 2, n. 3 (14 marzo 2024): 81–88. http://dx.doi.org/10.7146/peri.v2i3.143735.
Testo completoChristoffersen, Erik Exe. "Redaktionelt forord". Peripeti 2, n. 3 (14 marzo 2024): 4–11. http://dx.doi.org/10.7146/peri.v2i3.143731.
Testo completoThygesen, Mads. "Making it new". Peripeti 2, n. 3 (14 marzo 2024): 12–30. http://dx.doi.org/10.7146/peri.v2i3.143732.
Testo completoBentzon, Karl-Henrik, Niels-Aage Nielsen e Erik Nordahl Svendsen. "Ligheder og forskelle. En sammenligning af DR og TV2´s programudbud, seertal og vurdering i 1990 ud fra et public-service perspektiv". MedieKultur: Journal of media and communication research 8, n. 17 (29 agosto 1992): 20. http://dx.doi.org/10.7146/mediekultur.v8i17.909.
Testo completoGalal, Lise Paulsen, e Garbi Schmidt. "Indedning: Islam, muslimer og forskningen". Tidsskrift for Islamforskning 10, n. 1 (28 novembre 2016): 7. http://dx.doi.org/10.7146/tifo.v10i1.24868.
Testo completoToft, Mette. "Dramatisk dansk". Sprogforum. Tidsskrift for sprog- og kulturpædagogik 8, n. 22 (1 gennaio 2002): 58–61. http://dx.doi.org/10.7146/spr.v8i22.112405.
Testo completoPhilipson, Lotte. "Kronik". Magasin fra Det Kongelige Bibliotek 6, n. 3 (1 dicembre 1991): 41–56. http://dx.doi.org/10.7146/mag.v6i3.66281.
Testo completoKragebæk, Thomas D., e Thomas Rosendal Nielsen. "Dramatiske refleksioner". Peripeti 5, n. 10 (1 gennaio 2008): 151–57. http://dx.doi.org/10.7146/peri.v5i10.110803.
Testo completoHorton, David. "Social deixis in the translation of dramatic discourse". Babel. Revue internationale de la traduction / International Journal of Translation 45, n. 1 (23 luglio 1999): 53–73. http://dx.doi.org/10.1075/babel.45.1.05hor.
Testo completoTesi sul tema "Dansk dramatik"
Tjerned, Veronica. "Granatäppleblomknopp : rytm som dramatisk båge". Thesis, Stockholms konstnärliga högskola, Institutionen för skådespeleri, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-492.
Testo completoWest, Sarah. "Say It: The Performative Voice in the Dramatic Works of Samuel Beckett". Doctoral thesis, Universitat Pompeu Fabra, 2008. http://hdl.handle.net/10803/7483.
Testo completoEl estudio de la 'performative voice' abarca las siguientes áreas:
·La génesis de la 'performative voice' en las primeras obras de ficción de Beckett.
·La manera en que la voz es tratada en medios distintos como el teatro, la radio y la televisión.
·La personificación de la voz y de que manera la voz como 'personaje' está en relación con otros elementos dramáticos.
·La relación entre voces habladas y escritas y la adaptación de un tipo de prosa específico para el escenario.
The investigation centres on the 'performative voice' in Beckett's dramatic oeuvre. The term 'performative' is used to cover: (a) the 'intentionality' of voices, the will that drives them to speak, and (b) the 'materiality' of these voices, how they actually sound. Both dramatic speech and technical aspects of sound reproduction are included in the analysis.
The study of the performative voice covers the following areas:
·The genesis of the performative voice in Beckett's early fiction.
·The way in which voice is treated in the different performance media of the stage, radio and television.
·The personification of voice and how voice as a 'character' relates to other dramatic elements.
·The relationship between spoken and written voices and the adaptation of a prose work for the stage.
N'heri, Touhami. "La poétique des éléments dans le théâtre de Jean Racine". Thesis, Paris Est, 2014. http://www.theses.fr/2014PEST0004.
Testo completoNgo, Bilong Ate Elise. "Etude de l'action dans la dramaturgie de Montherlant". Thesis, Paris Est, 2010. http://www.theses.fr/2010PEST0019/document.
Testo completoAccording to Montherlant, the dramatic turn of events and the external twists are a disturbance to the simplicity of the action which lone guiding force may aim at the exploration of the movements of the human soul. The main critics which are made to these plays are that they lack substance and dramatic intensity. This work which objective is to identify and analyse the action in Montherlant's dramatic art, originates from the antic theory of the dramatic art, in order to tackle the action as the plot. The next part shows how the external action stacked to the movement, is supplanted by the speech. This part completes the study of the action by three approacheas: the pragmatic approach and the communicative approach in the one hand, and the actancial analysis in the other hand. The last part deals with time and space as constituent of the dramatic action
Auboyneau, Garance. "Mises en scène de la favorite dans la littérature du "Grand Siècle" (1665-1715)". Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:4269672b-0cfa-42b0-9bd1-628983c7c9d9.
Testo completoDernis, Beatrice. "La voix des revenants dans l'oeuvre de Patrick Kermann : étude d'une écriture contemporaine dans son rapports à la scène". Thesis, Grenoble, 2011. http://www.theses.fr/2011GRENL027/document.
Testo completoThe study of Patrick Kermann's work makes it possible to draw up the contours of a drama in which the words of the dead endanger the mimesis and become a real wager on absence. The different voices give presence to the departed, forming the framework of the drama through very condensed, intermittent and heterogeneous sound material. The rhythmic composition opens up on a polyphony of voices which produces a desperate appeal from the dead who have found no place among the living. A first part deals with the dramatic effects of what follows, when those who disappeared come back to relate their intimate disaster and the barbarity of the world. A second part moves the analysis to the angle of sonorous dramatic art and examines the way in which the textual score causes the language to resound, privileging auditory reception, which is not without questioning the reader's position and, perhaps, even more, that of the spectator. Thus it is that these abandoned voices meet producers who greet them with offers of unexpected areas intended to be an answer to the confusion resulting from listening to absent bodies
Godard, Patricia. "Poétique du temps dans les tragédies de Sophocle : la construction de l'effet tragique". Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCC027/document.
Testo completoBy nature, theatre and time are linked. In Sophocles’ seven remaining tragedies, χρόνος is in the heart of the characters’ speeches, as a subject of their thought about human life, but first of all, as an agent of the progressing plot. On the first level, his action is destructive, because Sophocles’ hero, “a man of one day” (Aj. 399 and Ant.790), is afflicted by the brutal nature of time, made of arbitrary reversals to which he tries to resist to, as much he can, unless he makes light of them. But, on the second level, action in progress, time is also constructive of the tragic effect. This is attested by many and diverse words, showing fate going through the tragedy. So, time, that is impossible to represent on stage, because it is outside of the mimesis, reveals the hidden tension, commonly named the tragic, a woolly concept, never really defined by the texts, which will find here a poetic consistency and a new definition by the observation of the playwright’s choices. Thus, it is Sophocles’ creative reasoning that is analysed. According to the vocabulary in some passages selected, his reputation of not being a very spectacular author is belied: delay, haste, reversals, luck, opportunity… are highlighted in the texts, as major indicators of the action progressing to its end. And then, by crossing the lexical data, the enunciation marks and elements of civic rituals showed on the surface of the texts, we can then clearly distinguish the logical sequences of events making the tragedies’ coherence and the own temporality of each work. Sophocles builds his tragedies like a “carpenter” of the tragic effect. He makes up a dramatic present scattered with a plenty of signs showing χρόνος going through. At the end, Sophoclean tragedies are conscious of their own structure, because they develop a performative language to speak about the sensitive relation between man and time, and also, about their relation with time making of their poetic organization.KEYWORDS: tragedy-tragic effect-deixis-time-temporality
Bouaka, Charles-Lucien. "Le missionnaire a l'epoque coloniale. Dramatis persona chez mongo beti et rene philombe. Lecture multiple des proses romanesques : le pauvre christ de bomba, le roi miracule et un sorcier blanc a zangali". Paris 3, 1990. http://www.theses.fr/1991PA030001.
Testo completoThe missionary at the colonial time is depicted negatively in our corpus. The personage, who has the onus of going to teach the message of the begotten of god to the black people of africa, could he find the suitable conditionsnfor conducting an independant and unselfish action without to compromise himself? our research work shows still more that the personage acted not only for the church but also for his country, contrarily to the pontifical directives. Nevertheless, the colonial system which leans on high-handed actions organizes the enslavement and the exploitation of the colonized people. At the same, he denies his cultural and philosphical patrimony. In this social and historical context, the imbrication of the religious and the political matter, or in the better, the collusion between the missionary clergy and the administration offera to mongo beti and rene philombe arguments to (sharphy) denry the unselfish claims of the apostolate
Ben, Lazreg Feten. "La scène de reconnaissance dans les nouveaux genres dramatiques au XVIIIe siecle, de la comédie au drame". Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030016/document.
Testo completoRecognition is essentially theorized by Aristotle about the tragedy. In comedy, recognition assumes only a secondary role. In both genres, it is essentially dependent on the final dénouement. In the eighteenth century, the authors have been interested in this dramatic principle which they have used massively in the new dramatic genres born in that century. Marivaux, Destouches, Nivelle de La Chaussée, Diderot, Mercier and Beaumarchais have all transposed the Aristotelian notion of anagnorisis in their plays. The differences with the theoretical basis enabled by Poetics and the place of recognition in classical theater are obvious. Being no longer necessarily linked to dénouement, recognition in the new comedies is concerned with all stages of the action. The authors claim the use of this dramatic principle despite the heavy bias against it, as well as they claim the use of the pathetic as a new way to explore drama. Recognition scenes are symptomatic of this desire to go beyond the strict division of gender, as they reflect new aspirations and new pathways for drama to explore. They provide information on the renewal of forms and new kinds of challenges facing the new genres, while embodying the Enlightenment project aiming, above all, to create a relationship that is both intimate and solid with the viewer. Now it is the efficiency of the dramatic effect that conditions the success of new genres and the efficient transmission of the moral, philosophical and political messages which recognition that tries to convey
Nkonene-Benha, Fortuné. "Dialogue et dialogisme dans les romans de Raymond Queneau". Paris 3, 2007. http://www.theses.fr/2007PA030144.
Testo completoIn Raymond Queneau’s novels, dialogue is a principle which is going to be widespread. On the surface of texts, characters gladly boasters, less concerned by acting that to chat, multiply exchanges. Aiming at the credibility of a popular word, the writing of these dialogues organizes the telling interventions and the linguistic means connoting the oralite: phonetic spelling, didascalies, elliptic, even slang constructions. From an interactionnal point of view, the exchanges singularize by the incapacity of the interlocutors to communicate because of the denial of the other one posted by the characters. This particularity brings us to put in perspective the romantic dialogue and the other aspects of the of Queneau’s texts placed under the sign of the dialogical interaction and confronting the novel with the otherness: pushed aside agreements, mix genres, dramatic quality, and intertextuality
Libri sul tema "Dansk dramatik"
1946-, Lucas Ib, e McClymont Anne, a cura di. Ny dansk dramatik. [Denmark]: Dansklærerforeningen, 1998.
Cerca il testo completo1946-, Seidel Claus, a cura di. Fra scenekanten: 50 år med dansk dramatik. [Højbjerg]: Hovedland, 2009.
Cerca il testo completoDam, Birgitte. 90'ernes teater: Tendenser i dansk teater og dramatik. [Copenhagen]: Dansklærerforeningen, 1993.
Cerca il testo completoShakespeare's storytellers: Dramatic narration. London: Peter Owen, 1996.
Cerca il testo completoCousin, Geraldin. Women in Dramatic Place and Time. London: Taylor & Francis Group Plc, 2004.
Cerca il testo completoClark, Sandra. The plays of Beaumont and Fletcher: Sexual themes and dramatic representation. New York: Harvester Wheatsheaf, 1994.
Cerca il testo completoDethurens, Pascal. Claudel et l'avènement de la modernité: Création littéraire et culture européenne dans l'œuvre théâtrale de Claudel. Paris: Diffusion Les Belles lettres, 1996.
Cerca il testo completoLafon, Dominique. Le chiffre scénique dans la dramaturgie moliéresque. Ottawa: Presses de l'Université d'Ottawa, 1990.
Cerca il testo completoLe tragique dans le théâtre de Bernard Binlin Dadié. Abidjan: Editions Falh Sy-Nani, 1999.
Cerca il testo completoThe women of Ben Jonson's poetry: Female representations in the non-dramatic verse. Aldershot, England: Scolar Press, 1995.
Cerca il testo completoCapitoli di libri sul tema "Dansk dramatik"
Ciliberti, Anna. "Dramatic self-disclosing and the staging of identity". In Confidence. Dévoilement de soi dans l'interaction / Confiding. Self-disclosure in Interaction, a cura di Catherine Kerbrat-Orecchioni e Véronique Traverso, 359–76. Berlin, Boston: DE GRUYTER, 2007. http://dx.doi.org/10.1515/9783110935103.359.
Testo completo"Johannes Ewalds middelalderistiske dramatik". In Middelalderisme i dansk romantisk litteratur, 137–70. Aarhus University Press, 2023. http://dx.doi.org/10.2307/jj.4145178.8.
Testo completoNorland#Professor, Howard. "The Dramatic Spectacle of Wit’s Progress". In Spectacle & image in Renaissance Europe / Spectacle & image dans l'Europe de la Renaissance, 80–93. BRILL, 1993. http://dx.doi.org/10.1163/9789004617162_007.
Testo completo"A Writer “dans le temps”: Dramatic Time and Timing in Joyce’s Aesthetics". In Reading Joycean Temporalities, 11–30. Brill | Rodopi, 2017. http://dx.doi.org/10.1163/9789004342514_003.
Testo completoMONTIBELLER, Clara. "Fermina Márquez (1910) de Valery Larbaud ou le récit d’une adolescence plurilingue". In L'enfant plurilingue en littérature, 145–58. Editions des archives contemporaines, 2024. http://dx.doi.org/10.17184/eac.7816.
Testo completoVian, Giovanni. "Le pape François et la mondialisation". In Le pontificat romain dans l’époque contemporaine | The Papacy in the Contemporary Age. Venice: Edizioni Ca' Foscari, 2018. http://dx.doi.org/10.30687/978-88-6969-239-0/012.
Testo completoRapporti di organizzazioni sul tema "Dansk dramatik"
Thor, Peter, Karin Olsson, Håkan Wennhage, Karl Lundström, Mattias Sköld, Andrea Belgrano, Matti Åhlund et al. Marina miljön i 8+fjordar – nuvarande kunskap om ekosystemet och de mänskliga belastningarna. Department of Aquatic Resources, Swedish University of Agricultural Sciences, 2023. http://dx.doi.org/10.54612/a.utn1p1g09m.
Testo completo