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Artykuły w czasopismach na temat "Fado - Histoire et critique"
Buc, Philippe. "Anthropologie et Histoire (Note Critique)". Annales. Histoire, Sciences Sociales 53, nr 6 (grudzień 1998): 1243–49. http://dx.doi.org/10.3406/ahess.1998.279723.
Pełny tekst źródłaDebray-Genette, Raymonde. "Histoire littéraire et critique génétique". Revue d'histoire littéraire de la France o 95, nr 7 (1.07.1995): 157–62. http://dx.doi.org/10.3917/rhlf.g1995.95n7.0157.
Pełny tekst źródłaSchaub, Jean-Frédéric. "Une histoire culturelle comme histoire politique (note critique)". Annales. Histoire, Sciences Sociales 56, nr 4-5 (październik 2001): 981–97. http://dx.doi.org/10.3406/ahess.2001.279997.
Pełny tekst źródłaSchaub, Jean-Frédéric. "Une histoire culturelle comme histoire politique (note critique)". Annales. Histoire, Sciences Sociales 56, nr 4-5 (październik 2001): 981–97. http://dx.doi.org/10.1017/s0395264900033333.
Pełny tekst źródłaJouhaud, Christian. "Histoire et histoire littéraire : naissance de l'écrivain (Note critique)". Annales. Histoire, Sciences Sociales 43, nr 4 (sierpień 1988): 849–66. http://dx.doi.org/10.3406/ahess.1988.283526.
Pełny tekst źródłaNordman, Daniel. "Frontière, histoire et écologie (Note critique)". Annales. Histoire, Sciences Sociales 43, nr 1 (luty 1988): 277–84. http://dx.doi.org/10.3406/ahess.1988.283484.
Pełny tekst źródłaLartillot, Françoise. "François Bédarida, Histoire, critique et responsabilité". Questions de communication, nr 8 (1.12.2005): 434–36. http://dx.doi.org/10.4000/questionsdecommunication.5748.
Pełny tekst źródłaMénissier, Thierry. "Innovation et Histoire. Une critique philosophique". Quaderni, nr 91 (5.10.2016): 47–59. http://dx.doi.org/10.4000/quaderni.1009.
Pełny tekst źródłaCalvié, Lucien. "Arnold Ruge. Histoire et critique littéraires". Études Germaniques 311, nr 3 (21.09.2023): 455–70. http://dx.doi.org/10.3917/eger.311.0455.
Pełny tekst źródłaJones, Gareth Stedman. "Une Autre Histoire Sociale ? (note critique)". Annales. Histoire, Sciences Sociales 53, nr 2 (kwiecień 1998): 383–94. http://dx.doi.org/10.3406/ahess.1998.279671.
Pełny tekst źródłaRozprawy doktorskie na temat "Fado - Histoire et critique"
Pellerin, Agnès. "Représenter le peuple : la chanson dans le cinéma portugais". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080054.
Pełny tekst źródłaQuestioning the “popular” anchoring of the song, this dissertation aims to shed light on the dynamics of the people’s representation, throughout the history of Portuguese cinema, from silent cinema of the 1920’s to contemporary productions. Eclectic song sequences (fado, etc.) punctuate this cinematography, triggering different representations of the people, depending on its political moments. On the one hand, this work proposes to bring to light the construction, often incomplete and contradictory, of the supposedly topos of the “portugality”, inherited from the XIXe century and relayed by the regime’s propaganda. On the other hand, it analyses the ways these stereotypes have been criticized, particularly through the quest for modernity of the late 1950’s cinema, which tries to show the people in relation to the “real country”, as opposed to the essentialist age-old nation that will be undermined by the Carnation revolution (1974). Covering thirty films, the chronological case analysis contributes to the sound studies of Portuguese cinema, and highlights some particularly significant contemporary films like those of Miguel Gomes. This thesis, which falls within the recent renewal of Portuguese cinema studies, bases its approach on Sound studies contributions and aesthetic theories (Rancière, Deleuze). It aims to broaden the tools of song politics applied to film music, beyond the strictly textual, aesthetic or script issues, which often reduce these “musical moments” to a conformist entertainment, spreading the image of a sentimentalist and depoliticized people, in spite of their complexity and ability to empowerment (Amy Herzog)
Guingané, Jean-Pierre. "Théâtre et développement culturel en Afrique : le cas du Burkina Faso". Bordeaux 3, 1987. http://www.theses.fr/1987BOR30009.
Pełny tekst źródłaMost of the projects carried out by african countries in the field of economics, politics and culture, since independence, are ended in failure with, as a consequence, a situation of a generalized social crisis engendering misery and suffering far the populations. The question here then, is to show, from the example of burkina faso, the place and the role of theatre in the implemented policies. The study of the social, economic and political conditions, as well as that of the development policy conceived from critera unknown to the social and physical environments, allows us to conclude that the maladjustment of that conception of development to the local realities constitutes the main cause of "under-developement", because it doses not adequately associate the populations to the realization of the projects and does not take into consideration their actual needs. The theatre appears as a means of social communication capable of helping the populations to be more aware politically and of aiding the social integration. For that reason, the theatre, more than the other arts, is a means of development. If one does not limit development to the production and accumulation of material goods as it is the case now, it is possible to envisage a policy, different from that which exists based on local realities and access to the world outside. The results of such policy would be less spectacular but more relevant to the advancement of the populations
Ouedraogo, Adama. "L'image de l'enfant et de son milieu dans les manuels de lecture au Burkina Faso". Paris 5, 1997. http://www.theses.fr/1997PA05H052.
Pełny tekst źródłaIn Burkina Faso, which is a former French colony, two series of reading handbooks are used in primary education. The first one, +Mamadou et Bineta, published since the colonial period, is officiously used simultanously with a new series currently called + lire au Burkina ;which appeared in the middle of the 1980's. The interest of a comparative study of the content of these books lies in the difference between the ideological contextes in which they have been conceived. When + Mamadou et Bineta ; seems to be part of a vision of africa and Africans consistent with the undertaking of domination initiated since late c19 th , the series + lire au Burkina ;, issued from nationalist an identity claims in Africa, conveys other concerns. The orientation of the two series of handbooks diverges at first sight, and their contents mainlly reflect the underlying ideologies. Which kind of ideology and which kind of social values, the education system proposes to the Burkina pupils through its handbooks ? The analysis of the caracteristics and the value attributed to the characters who stand as models according to their sexe, age, ethnical group or race, points out important differences of course, but also some similarities. The two meet in the promotion of a stereotyped image of both sexes to the detriment of feminin characters. The differences noted at the level of the other categories of belonging show evidence of obvious anachronism of the + Mamadou et Bineta ; series, which requires deep modifications whatever should be the reasons justifying some teachers' bias towards it. The main orientation of this work is to point out the conformity (or non conformity) of the curriculum in particular the social representations, the values or the projects of the society beared by the education system in the interest of the learners and those of their socio-cultural environment
Maler, Henri. "Convoiter l'impossible. Critique marxienne de l'utopie et critique de l'utopie marxienne". Paris 8, 1992. http://www.theses.fr/1992PA080690.
Pełny tekst źródłaImmanent criticism of marx's theory, based upon the internal speading of its own discourse, hereby subjects it to a double reading the purpose of which is to take marxian criticism of utopia as the leading strand of criticism of marxian utopia. The first reading aims at undoing the standard commentary of criticism of utopia by marx, then at mapping out its itinerary, i. E. Scanning its genesis all over, redrawing its figures, throwing light on its forecats, assessing its deadlocks. What was not thought of in criticism of utopia then lets us have an inkling of the utopian unthought-of in the theory. Then a second reading makes it possible to define the dialectical figures that operate a displacement of utopia: a promised utopia, revealed first, then oblkiterated rather than passed over. And yet, together with those negatively utopian dimensions, one can find a required utopia. Thus the itinerary of marx's theory may teachy us the rescue of utopia: to accept to renounce the impossible so that it may be possible, with no promised land but not without compass, to hanker for the impossible. The impossible, i. E. What the power of established societies forbid to seek in order to prevent to rise
Durel, Alain. "Réification et histoire". Paris 8, 2002. http://www.theses.fr/2002PA082065.
Pełny tekst źródłaKoh, Won. "Braudel : histoire et structure". Paris 10, 2003. http://www.theses.fr/2003PA100108.
Pełny tekst źródłaWe study the history of Braudel in two parts. The first part is a consideration on the formation and the developement of history of Braudel. The second part is a clarification of the concept of "longue durée" of Braudel
Poulat, Émile Dupront Alphonse. "Histoire, dogme et critique dans la crise moderniste... /". Paris : A. Michel, 1996. http://catalogue.bnf.fr/ark:/12148/cb35804834x.
Pełny tekst źródłaElkaissi, Abdellah. "Roman et cinéma : l'adaptation et ses problèmes". Toulouse 2, 1993. http://www.theses.fr/1993TOU20058.
Pełny tekst źródłaCinema is a great "swallower" of stories. To satisfy its audience, it draws copiously on the techniques of novel. When transcribing a literary text into a film, the film-maker prints his own personal reading of that literary that. As a matter of fact, the idea of faithfulness can be approached only in subjective terms. The passage from a literary text into a film implies no act of translation. This kind of adaptation is both a reading and a personal interpretation that bring into contact the film-maker and the novelist. Accordingly, the notion of faithfulness sounds subjective and hard to define. No film can be a faithful copy of the novel that has inspired it; for a film always has something more or less than the novel it has drawn on. However, it would be wise to point out three concepts that have a significant bearing to the passage from the novel to the stage: the first concept is the passive adaptation which seeks uniformity and faithful reproduction of the initial literary material; the second is the free adaptation which seeks to establish a shade of distance between the film and the literary text. Unlike these two concepts, active adaptation seeks a conspicuous detachment, without for that matter, overlooking the specifics of film-making
Menegaldo, Gilles. "Fantastique et représentation : littérature et cinéma". Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10007.
Pełny tekst źródłaChemali, Raymond. "Structuralisme et critique littéraire : 1945-1980". Paris 10, 1992. http://www.theses.fr/1992PA100105.
Pełny tekst źródłaStructuralism based upon the notion of structure used in Saussure’s linguistics (under the denomination of system) and cl. Levi-Strauss’s anthropology, spreads, after the second world war, to other human sciences, especially to literature. In opposition to academic critics, judged as historistic and psychologist, structuralism's purpose is to transpose to literary text the methods of analysis applicable to linguistics’ curpus or to primitive myth. Its declared ambition is to reach a scientific status which guarantees a greater and more objective intelligibility of the text. Its process leans on a set of principles and appropriate rules. Its scientificist tendancy includes structuralism in a lineage which dates back to the second half of nineteenth centuty. It reaches its paroxism in the middle of the sixties under the influence of some "schools of thought" of which, other then structural linguistics and anthropology, we find the "formalists". Some of them have gone so far as to propose equations and schemes supposed to replace critical judgment and which remind, in certain respects, those of algebric sciences. In effect, structuralism is a method as much as a philosophy. It postualtes a world vision whereby man as subject and conscience is radically excluded for the benefit of the system. This attitude questions some important notions of traditional criticism: the genesis of the work, its meaning, its truth, its moral, historical, esthetic, psychological value. . . The literary text is conceived as a closed system of signs. The critic's taks is reduced to decompose the text and then to recompose it for indicating it’s functioning. In short, if structuralism may be recognized as an approach of text, amont many other approaches, it ceases to be admissible as soon as it claims to behave as a science aiming to pierce the mystery of literary creation an, by consequence, the mystery of the mann the mystery of"humor, love and faith"
Książki na temat "Fado - Histoire et critique"
Millogo, Louis. Nazi Boni, premier écrivain du Burkina Faso: La langue bwamu dans Crépuscule des temps anciens. Limoges: Presses universitaires de Limoges, 2002.
Znajdź pełny tekst źródłaMillogo, Louis. Nazi Boni, premier écrivain du Burkina Faso: La langue bwamu dans Crépuscule des temps anciens. Limoges: Pulim, 2002.
Znajdź pełny tekst źródłaSalmon, Pierre. Histoire et critique. Wyd. 3. Bruxelles: Éditions de l'Université de Bruxelles, 1987.
Znajdź pełny tekst źródłaSalmon, Pierre. Histoire et critique. Wyd. 3. Bruxelles: Editions de l'Université de Bruxelles, 1990.
Znajdź pełny tekst źródłaBédarida, François. Histoire, critique et responsabilité. Bruxelles: Editions Complexe, 2003.
Znajdź pełny tekst źródłaLatraverse, François. La pragmatique: Histoire et critique. Bruxelles: P. Mardaga, 1987.
Znajdź pełny tekst źródłaPeyrat, Alphonse. Histoire élémentaire et critique de Jésus. Wyd. 2. Paris: Michel Lévy Frères, 1985.
Znajdź pełny tekst źródłaBiny, Traoré. FESPACO 1995: Cinéma et histoire : critique cinématographique. [Ouagadougou?: s.n., 1995.
Znajdź pełny tekst źródłaGrelot, Pierre. Evangiles et histoire. Paris: Desclée, 1986.
Znajdź pełny tekst źródłaVoltaire. Micromégas: Histoire philosophique. Paris: Gallimard, 2006.
Znajdź pełny tekst źródłaCzęści książek na temat "Fado - Histoire et critique"
Tallon, Alain. "L’histoire «officielle» de la papauté du xve au xviie siècle, les Vitae pontificum romanorum de Platina, Panvinio, Ciaconius: critique et apologétique". W Liber, Gesta, histoire, 199–213. Turnhout: Brepols Publishers, 2009. http://dx.doi.org/10.1484/m.stmh-eb.3.2501.
Pełny tekst źródłaKhayati, Loubna. "Usages de l’oeuvre d’Abraham Ecchellensis dans la seconde moitié du xviie siècle : controverses religieuses et histoire critique". W Orientalisme, science et controverse : Abraham Ecchellensis (1605-1664), 203–13. Turnhout: Brepols Publishers, 2010. http://dx.doi.org/10.1484/m.behe-eb.5.100408.
Pełny tekst źródłaNägele, Rainer. "Texte, histoire et sujet critique". W L’Acte critique, 40–72. Presses universitaires du Septentrion, 1985. http://dx.doi.org/10.4000/books.septentrion.82591.
Pełny tekst źródłaFravalo, Fabienne. "Histoire de l’art et critique". W Faire l'histoire de l'art en france (1890-1950), 91–105. Presses universitaires de Strasbourg, 2023. http://dx.doi.org/10.4000/books.pus.35957.
Pełny tekst źródłaHobsbawm, Eric, Patrick Hersant i Jean-Jacques Rosat. "Sociologie critique et histoire sociale". W La liberté par la connaissance, 281–92. Odile Jacob, 2004. http://dx.doi.org/10.3917/oj.bouve.2004.01.0281.
Pełny tekst źródłaEl Gammal, Jean. "Léon Daudet critique : histoire, littérature, politique". W Maurrassisme et littérature. Volume IV, 55–68. Presses universitaires du Septentrion, 2012. http://dx.doi.org/10.4000/books.septentrion.48923.
Pełny tekst źródłaBollack, Jean. "Histoire et orientations de la critique". W L’Œdipe Roi de Sophocle. Tome 4, 1157–90. Presses universitaires du Septentrion, 2010. http://dx.doi.org/10.4000/books.septentrion.67419.
Pełny tekst źródłaLloze, Évelyne. "Un « écrire ouvert » poétique et critique : Jabès, Glissant et Chamoiseau". W Imagination et histoire : enjeux contemporains, 219–28. Presses universitaires de Rennes, 2014. http://dx.doi.org/10.4000/books.pur.49624.
Pełny tekst źródłaOgien, Albert. "Une critique sans institutions et sans histoire ?" W Les sociologies critiques du capitalisme, 161. Presses Universitaires de France, 2002. http://dx.doi.org/10.3917/puf.lokji.2002.01.0161.
Pełny tekst źródła"Karl Marx et la critique de l’économie politique". W Histoire de la pensée économique, 213–41. Les Presses de l’Université de Montréal, 2020. http://dx.doi.org/10.1515/9782760641525-013.
Pełny tekst źródłaStreszczenia konferencji na temat "Fado - Histoire et critique"
De Angelis, Rossana. "Lire, écrire, co-écrire, partager, référencer les écrits. Transitions linguistiques au sein de la culture numérique". W Actes du congrès de l’Association Française de Sémiotique. Limoges: Université de Limoges, 2024. http://dx.doi.org/10.25965/as.8608.
Pełny tekst źródłaHamus-Vallée, Réjane. "Comment détecter la présence de harcèlement sexuel au cinéma ? L’exemple de la catégorie « Sexual Harassment » d’IMDb.com". W Webinaire AVISA (Historiciser le harcèlement sexuel). MSH Paris-Saclay Éditions, Université Paris-Saclay, 2023. http://dx.doi.org/10.52983/psnj3478.
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