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Rozprawy doktorskie na temat "Cortázar, Julio (1914-1984) – Appréciation – Argentine"
Claude, Manon. "Regards croisés : Rayuela et la Beat Generation : du lecteur à l’écrivain : approche transtextuelle du roman cortazarien". Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL037.
Pełny tekst źródłaThe aim of this work is to reveal the links between Julio Cortázar's novel Rayuela and the Beat Generation and thus to put into perspective the literature of a continent as a whole. Taking into account text genetics, letters and interviews of Cortázar, as well as his book collection, leads one to study the reader and writer that he was. Thanks to a global analysis of these sources, we were able to trace the various steps of the writing process of Rayuela and detailed the phenomenon of literary reappropriation undertaken by Cortázar. We noticed that Rayuela shared corresponding themes and literary forms with several other works from the Beat Generation. One may therefore ask the following question: did the Beat Generation lay the ground for the reception of the cortazarian novel? To answer this question, we focused first on the poetics of these writers and on the expectations that they generate; we then focused on the editorial role the city of Paris played, with regards to the popularization of these works. Finally, we provide concrete data on the reception of the texts in our study in Argentina, the USA and France by relying on specialist and non-specialist readers from either side of the Atlantic. In other words, putting the American continent into perspective showed the existence of bridges between North and South, not only through transtextuality but also thanks to a network of editors and readers willing to create a dialogue between texts from different countries
Cuadra-Rojas, Alvaro Rodolfo. "Pour lire le fantastique : Huit histoire fantastiques de Julio Cortázar". Paris 4, 1996. http://www.theses.fr/1996PA040044.
Pełny tekst źródłaThis study argues against interpretations of fantastic literature as mere imagination and seeks to define it as distinct kind of language. This study is confined to the effects of the text - that we call crisis - ; and the means of its operation. Characteristic of the fantastic literature is the double bind; that is to say, to receive two messages at the same time. In fantastic literature, the reader cannot interpret the text. The fantastic, then, pushes towards an area of uncertainty. The fantastic texts in Cortazar's short stories show that there is a discursive strategy based on speech acts
Héricault-Mullaly, Laurence. "Julio Cortázar et Manuel Antin : littérature et cinéma argentins des années 60 : la problématique de l'adaptation". Paris 4, 2006. http://www.theses.fr/2005PA040107.
Pełny tekst źródłaThis work proposes an analysis of three feature films directed by Manuel Antin between 1961 and 1964, adapted from four of Julio Cortázar’s fantastic short stories. The analysis is based on the regrouping of various methodologies dealing with the study of the adaptation of a literary work to cinema. After a study of the cultural context of the production of these films and the approach to the specificity of Cortazarian writing, the thesis defines both the pact between the writer and director for each of the three films as well as the context in which the films were welcomed by the critics and the public. This study will allow us to identify the ethical and aesthetic tensions underlining the passage from a form of literary expression to a cinematographic expression. The analysis will concentrate on the progressive materialisation of two systems of thought that share a fascination for the ineffable
Ghariani, Lucien. "Les jeux de Cortazar". Rennes 2, 1996. http://www.theses.fr/1996REN20029.
Pełny tekst źródłaThis dissertation rests on two observations : the omnipresence of the notion of game and play in Julio Cortazar's works and the slight use made of it by academic critics. If the game is worth the candle, what light does it cast on the conscious or subconscious ontological narrative and political stakes which are in direct relation with the individual and society with men of letters and inner selves ?. The first part intitled "Modèle à monter" lists the various theories about the notion of game, from Sigmund Freud to Jean Leveque, and confront them to texts from cortazar's miscellaneous and chronicle of "Les autonautes de la cosmoposta" the second part intitled "Tous les jeux, le jeu" is an attempts to define the concept and its scope and to outline the argentine's pattern from his novels and short stories. The conclusion evaluates the relevance of play as a viewpoint in comparison with that provided by the fantastic and assesses the dangers of the Cortazian venture
Germain, Yves. "L'invention de l'espace dans la littérature argentine (1921-1963) : Borges, Bioy Casares, Cortazar". Rennes 2, 1993. http://www.theses.fr/1993REN20008.
Pełny tekst źródłaThe treatment of space in argentine fantastic literature, from the forties to the sixties, and particularly its abstract quality, are to be related to a problematic relationship with space, traditional in Argentina. The first part provides a synthetically approach of this relationship, and of its evolution up to the nineteen-thirties, when it is expressed in a series of critical essays. The second part is dedicated to Borges, his critical approach of the representation of space, and his promotion of abstract spaces in his short stories of the forties. The last part deals with the figures of space in the early works of his followers, Bioy Casares and Cortazar, from utopia closed spaces to a surrounded, insecure space, reflecting both traditional fears and modern anxieties, connected, for instance, with the context of peronism
Alves, Fernanda Andrade do Nascimento 1983. "As entonações de algumas metaforas cortazarianas : em torno da fotografia e do ato de narrar". [s.n.], 2009. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270127.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-15T01:59:54Z (GMT). No. of bitstreams: 1 Alves_FernandaAndradedoNascimento_M.pdf: 1216703 bytes, checksum: 4c357b667d8c2b8b85de2aab513db830 (MD5) Previous issue date: 2009
Resumo: O presente estudo está pautado pela possibilidade de leitura da obra cortazariana com base em um aspecto relevante de sua trajetória: a dedicação não apenas à ficção, mas também à crítica. Partindo da poética de Cortázar acerca do conto, surgem algumas metáforas e comparações para definir o gênero e para tratar do ato de narrar. Essas metáforas têm diversas entonações ao longo da obra, configurando não apenas uma recorrência temática que atravessa textos ensaísticos e narrativos, mas também uma contaminação dos registros ficcional e crítico. As referências à fotografia e ao jazz, como parâmetros para a construção literária, são temas de reflexão em ensaios que assumem alguns traços ficcionais e são motivos narrativos em contos perpassados pela dimensão crítica. Os contos assumem o discurso crítico dentro de sua própria estrutura, questionando o ato de narrar; os ensaios, muitas vezes, têm a estratégia argumentativa baseada na constituição de uma imagem e no recurso ao anedótico; os textos que compõem os livros-almanaque transitam entre a ficção, o autobiográfico e o ensaístico. Desse modo, a comparação entre conto e fotografia, discutida em "Algunos aspectos del cuento" (1962), já havia sido ficcionalizada no conto "Las babas del diablo" (1959) e é retomada em "Apocalipsis de Solentiname" (1977) e em "Ventanas a lo insólito (1978); a busca por uma linguagem desautomatizada, proposta no ensaio "Para una poética" (1954), é trabalhada em "Las babas del diablo" e em "Diario para un cuento" (1982); o princípio analógico explicitado em "Para una poética" culmina no conceito de figura - uma nova forma de percepção da realidade e um efeito buscado nos contos -, retomado em "Cristal con una rosa dentro" (1969), texto cujo gênero é difícil definir e que compõe um dos livrosalmanaque cortazarianos; os "takes", propostos em "Melancolía de las maletas" (1967) como parâmetro para a literatura, parecem definir o movimento narrativo de "Las babas del diablo" e de "Diario para un cuento".
Abstract: This work aims at identifying the reading possibilities in Cortázar's works, based on an important aspect of the author?s path: his commitment not only to fiction, but also to literary criticism. From Cortázar's poetics regarding short stories, it is possible to identify metaphors and similes created in order to define the literary genre and to address the narrative act. Such metaphors assume several intonations throughout the author's work, configuring not only the recurrence of themes which is present in essays and narratives, but also the traces of contamination of fictional writings and critiques. The references to photography and to jazz as parameters for the literary construction are the object of analysis in essays that assume some fictional traces and constitute narrative motifs in short stories which span the dimension of criticism. Cortázar's short novels assume the critical discourse in its own structure, questioning the narrative act; the essays, many times, adopt an argumentative strategy based on the constitution of an image and resort to the anecdotal; the texts that compose the "almanac" books shift between fiction, autobiography and essay. Therefore, the comparison between short story and photography, which is discussed in "Algunos aspectos del cuento" (1962), had already been turned into fiction in the short story entitled "Las babas del diablo" (1959) and is discussed again in "Apocalipsis de Solentiname" (1977) and in "Ventanas a lo insólito" (1978); in "Las babas Del diablo" and "Diário para um cuento", Cortázar is in the quest for a language that is not automated, and such quest is also present in the essay "Para una poética" (1954); the analogy principle shown in "Para una poética" reaches its highest point with the concept of figure - a new form of perception of reality and effect which Cortázar looks for in his short stories -, which is recurrent in "Cristal con una rosa dentro" (1969), a text whose genre cannot be easily defined and that is part of one of Cortázar's "almanac" books; the "takes" proposed in "Melancolía de las maletas" (1967) as literary parameter seem to establish the narrative movement in "Las babas del diablo" and "Diario para un cuento".
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
Escande, Isabelle. "Migrations politiques et création littéraire dans la seconde moitié du XXe siècle : Allemagne, Espagne, Argentine". Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040261.
Pełny tekst źródłaSince Ancient Times, thinkers and writers have in large numbers been struck by political exile. In return, this situation has influenced their work and literature as a whole. In the second half of the 20th Century, this literary tradition has been deeply transformed by the surge of totalitarian regimes, and the struggle with democracies which these regimes have provoked. This new political context has induced a large increase of writers in exile, but also important structural transformations, forcing the exiles to modify their own images, the themes of their work and their communication strategies, and also the nature of their writings. The comparative study of the works of Jorge Semprún, Christa Wolf, Julio Cortázar and Alicia Dujovne Ortiz allows us to discover common aesthetic changes between these politically committed writers, who have flown respectively from Spain, Germany, and Argentina, and to note the birth of a new form of writing
Petersen, Diego. "Les textes de tango dans la production littéraire argentine (1960-1980) : retrouver la voix de l'autre". Montpellier 3, 2003. http://www.theses.fr/2003MON30042.
Pełny tekst źródłaFinding the voice of the others through borrowings, quotations of and references to the tango was what many among Argentine writers wanted to do from 1960 to 1980. Making use of lines and excerpts from the most emblematic songs of Gardel, Discépolo, Manzi. (" Mi Buenos Aires querido ", " Anclao en París ", " Cambalache ", " Volver "), novelists like Julio Cortázar, in " Libro de Manuel ", Manuel Puig in " Boquitas pintadas ", and Daniel Moyano in " Libro de navíos y borrascas " together with poets such as Juan Gerlman for instance, managed through an intertextuality that establishes a lineage revealing like-mindedness with the tango, to achieve a literature which reconciles the erudite with the popular, the local with the universal and makes familiar words that political, economic and social events seemed to have driven apart
Książki na temat "Cortázar, Julio (1914-1984) – Appréciation – Argentine"
Herráez, Miguel. Julio Cortázar: Una biografía revisada. Barcelona: Alreves, 2011.
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