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Artykuły w czasopismach na temat "Mise en abyme"
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Henry, Karen. "Mise En Abyme". Afterimage 28, nr 1 (lipiec 2000): 13. http://dx.doi.org/10.1525/aft.2000.28.1.13.
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Dowling, Finuala. "Mise-En-Abyme". Scrutiny2 19, nr 1 (2.01.2014): 154. http://dx.doi.org/10.1080/18125441.2014.906247.
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Visy, Beatrix. "A fénykép mint mise en abyme – „prózafordulat”, fotó a mise en abyme tükröződésében". Per Aspera ad Astra 9, nr 1 (24.10.2022): 113–31. http://dx.doi.org/10.15170/paaa.2022.09.01.06.
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A tanulmány az eredetileg képzőművészethez kapcsolódó jelenség, a mise en abyme szépirodalmi működését vizsgálja. A fogalmi, elméleti megközelítés rávilágít arra is, hogy a mise en abyme mint a narráción belüli öntükröző alakzat gyakran vizuális narrációként vagy képleírásként, ekphrasziszként van jelen a műben. A fotográfiában a valóság és „tükröződése” még bonyolultabb kérdéseket vet fel, a fénykép irodalmi művekben való felbukkanása pedig gyakran hatással van a narrációra, a próza egyes jegyeire. A fényképek több alkalommal is a szöveg öntükröző alakzataiként ragadhatók meg, a képen látható kiragadott pillanat (punctum) a mű csomópontját adja, s a fotó nem egyszer metaforikus, szimbolikus erővel sűríti magába az egész történet lényegét, elvont-lényegi jelentését. Különösen fontos és termékeny összefüggéseket mutat mindez a magyar irodalomban a 70-es, 80-as évek prózai átalakulásával, az úgynevezett prózafordulat jelenségeivel és intermediális vonásaival.A tanulmány három különböző szerző (Mészöly Miklós, Bereményi Géza, Závada Pál) művében vizsgálja a fénykép szerepét, jelentőségét. Mindhárom csoportkép, és mindhárom, más-más tartalmi, gondolati kérdést mozgósítva, a regény mise en abyme-jaként értelmezhető.
Kép forrása: Fortepan / Gádoros Lajos
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Natividade, Everton. "A 'mise en abyme' como recurso eniano nos anais". Aletria: Revista de Estudos de Literatura 19, nr 3 (31.12.2009): 47–56. http://dx.doi.org/10.17851/2317-2096.19.3.47-56.
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Resumo: No fragmento 22 do primeiro canto dos Anais (ed. Valmaggi), Quinto Ênio (239—ca. 169 a.C.) apresenta a sua versão da concepção dos gêmeos Rômulo e Remo, numa cena em que a narrativa do poeta contém o discurso de Ília, mãe dos gêmeos, recém-acordada de um sonho bastante agitado. Na fala de Ília, insere-se a fala do seu pai, um discurso dentro de outro discurso. O procedimento do récit enchâssé cria um efeito de mise en abyme que tem especial relevância para a leitura interpretativa do fragmento, por sua vez criador de uma segunda mise en abyme nos Anais. Outro sonho narrado no primeiro canto, o de Ênio com Homero (fr.2-8), liga-se ao de Ília também pela mise em abyme, gerando novas leituras intratextuais.Palavras-chave: Ênio; Anais; mise en abyme.Abstract: In fragment 22 from the first book of the Annals (ed. Valmaggi), Quintus Ennius (239–ca. 169 BC) provides us with his version of the twins’ Romulus and Remus conception, in a scene in which the poet’s narrative contains the twins’ mother’s speech, Ilia’s, the description of the dream she’s just had. In Ilia’s line, we hear her father speak–a speech within a speech. This récit enchâssé produces the effect of a mise en abyme that bears special relevance to the interpretative reading of the fragment, which in its turn creates a second mise en abyme through its insertion in the Annals. Narrated in the first book, another dream, in which Ennius sees Homer (fragments 2-8), is also connected to Ilia’s through the mise en abyme’s effect, thus generating new intratextual reading possibilities.Keywords: Ennius, Annals, Mise en abyme.
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Cohn, Dorrit, i Lewis S. Gleich. "Metalepsis and Mise en Abyme". Narrative 20, nr 1 (2012): 105–14. http://dx.doi.org/10.1353/nar.2012.0003.
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Hwang, Hyeyoung. "A study on ‘mise en abyme’ in Dongin Kim’s Gwanghwasa". Korean Society of Culture and Convergence 45, nr 2 (28.02.2023): 227–35. http://dx.doi.org/10.33645/cnc.2023.02.45.02.227.
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The purpose of this paper is to analyze the aspects of ‘mise en abyme’ in Dongin Kim’s Gwanghwasa which is one of the representative works of the artist's esthetic tendency. First of all, the work consists of a story about a painter that the narrator creates. The portrait of the painter Solgeo is also introduced as ‘mise en abyme’, which is overlapped with the story created by the narrator. The name of the painter in the novel, which is the same as that of Solgeo, a great painter in the Shilla Dynasty, reminds us of the pursuit of living painting. The pupil of the portrait of an absolute beauty that the painter in the novel tried to complete with a blind girl as a model is completed with ink splashed from an inkstone that the model bumped into while dying. The pupil of the portrait becomes a dramatized image of ‘mise en abyme’, which opens the abyss to the work as a dynamic qualitative change from a lifeless painting to a absolute living portrait.
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Zalewski, Andrzej. "Unveiling the frame of philosophy". Philosophical Discourses 2 (2020): 123–31. http://dx.doi.org/10.16926/pd.2020.02.08.
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Philosophy in this text is considered under the model of mise en abyme, which is used in particular in the art of fiction narration. A novel about the process of novel writing is an example of mise en abyme. A film about movie directing is also an example of mise en abyme. A painting showing the artist working on the work of art also has features of mise en abyme. Likewise, mise en abyme philosophy is philosophy that discusses how philosophy is created. Philosophy in such a shape is no longer understood as an endless space “inhabited” by situations, concepts, assertions, philosophical theses which are, however, perceived as if from the inside of that space; by contrast, it starts to be perceived from the outside, from the perspective of activities that form its frame, that frame it. For example, two such framing activities are considered – refining situations which is responsible for the “splendor of truth” that shines forth in them and defying the passage of time when constructing situations which is decisive for their isolation from the stream of life. Philosophy that notices its own frame is anchored in the foundations of everyday life which is something irrefutable in relation to the very inside of philosophy; as a consequence, the idea of epistemological foundationalism may be renewed and recovered for philosophy.
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Rinon, Yoav. "Mise en abyme and Tragic Signification in the Odyssey: The Three Songs of Demodocus". Mnemosyne 59, nr 2 (2006): 208–25. http://dx.doi.org/10.1163/156852506777069673.
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AbstractThis essay highlights some aspects of the tragic conception of the Odyssey in assertion of its generic identity, focusing on the three songs of the bard Demodocus recounted in Book 8 of the epic and using mise en abyme as the primary exegetical tool. Mise en abyme, a narratological term denoting a certain part of a literary work of art that represents the work as a whole, functions in Demodocus' first song to mark the Odyssey as an epic in dialogue with the Iliad. The second song functions as a mise en abyme of both the content of the Odyssey and its poetic form. The last of the bard's songs enhances the perception of mise en abyme, viewing the Odyssey as an act of communication between poet and audience where the song and its responding listeners suggest emotional and cognitive reactions to the narratees of the Odyssey. This song also reflects the two earlier ones, and it is this dialogical relationship that leads to the epic's tragic signification.
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Jeha, Júlio César. "The mirror in the mirror in the mirror". Estudos Germânicos 7, nr 1 (31.12.1986): 99. http://dx.doi.org/10.17851/0101-837x.7.1.99-122.
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This is an analysis of the mise en abyme effect in E.A. Poe's "The fall of the house of Usher." The paper starts with the identification of the Nietzschean concepts of the Apollinian and Dionysian facets of art, relates them to Gnostic forces of attraction and repulsion, and then compares them to elements of Poe's philosophy of composition. The paper goes on to point out a pre-Formalist notion of arrangement in Poe, and eventually focuses on the mirroring effect which is central to the tale. André Gide'8 comments on mise en abyme, and Lucien Dallenbach's study of Gide's concept, are submitted to close scrutiny. This examination shows that both the French writer and the systematizer of his ideas were wrong when they dismissed "The fall of the house of Usher" as an imperfect example of mise en abyme.Esta é uma análise do efeito de mise en abyme no conto "The fall of the house of Usher," de E.A. Poe. O artigo começa com a identificação dos conceitos nietzscheanos das facetas apolínea e dionisíaca da arte, relaciona-as às forças gnósticas de atração e repulsão, e então compara-as a elementos da filosofia de composição de Poe. O artigo releva uma noção de arranjo pré-formalista em Poe, e termina por focalizar o efeito de espelho que é central no conto. Os comentários de André Gide sobre mise en abyme e o estudo de Lucien Dallenbach sobre o conceito de Gide são submetidos a um exame cuidadoso. Tal exame mostra que ambos o escritor francês e o sistematizador de suas idéias estavam errados ao rejeitarem "The fall of the house of Usher" como um exemplo imperfeito de mise en abyme.
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Corvacho, Suely. "Graciliano Ramos e aspectos da estética modernista". Scripta 26, nr 58 (28.02.2023): 54–78. http://dx.doi.org/10.5752/p.2358-3428.2022v26n58p54-78.
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O artigo defende que Graciliano Ramos, ainda que crítico em relação à Semana de Arte Moderna de 1922, acompanha e adota novidades estéticas de seu tempo. Seu primeiro romance, Caetés, apresenta indícios de modernidade: a mise en abyme e o jogo intermidiático com a participação do leitor. A mise en abyme é a principal responsável pelos efeitos irônicos do livro, e o jogo intermidiático, uma de suas estratégias. No romance, o protagonista depara-se com um quadro cujo assunto desconhece; trata-se de Marino Faliero, tema que, no Brasil, vem enlaçado com a antropofagia. Comparando o tema e a vida do protagonista, o leitor encontra vários pontos de contato, mas “apequenados” em Caetés, o que provoca efeitos irônicos. Os resultados da análise – a radicalização da mise en abyme, a participação do leitor no jogo intermidiático e a metaforização da antropofagia – são interpretados sob a perspectiva de Antonio Candido, em seu ensaio “Literatura e subdesenvolvimento”, para quem algumas obras brasileiras afinam “os instrumentos recebidos” dos países centrais.
Rozprawy doktorskie na temat "Mise en abyme"
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Allegue, Fuschini Ludivine. "Mise en abyme de l'oeuvre et perception esthétique". Paris 1, 2003. http://www.theses.fr/2003PA010542.
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La mise en abyme est une mise en scène de la perception esthétique qui implique le spectateur dans le processus de création artistique. Une union naît ainsi entre l'artiste, l'oeuvre, le spectateur et aboutit souvent à une ambigui͏̈té quant à leur distinction et celle des réalités. Nous examinons d'abord la transgression du cadre par l'image peinte dans la miniature persane, qui a pour particularité de mettre le spectateur face à la création picturale et ce qui lui précède: la page blanche. Puis nous étudions l'improvisation dans la musique tzigane, car ce procédé nous permet d'assister à une composition musicale en temps réel. Nous interrogeons là le rapport entre l'espace-temps et l'art. Enfin nous entrons dans les sculptures de Jaume Plensa et expérimentons la perception de l'oeuvre, au moyen de la réalisation d'un court-métrage: a propos de chaos-saliva. Dans la mise en abyme culmine un mouvement introspectif, à travers un fait physique: la perception de l'image ou du son.
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Mundler, Helen Esther. "Le texte dans le texte dans l'oeuvre d'a. S. Byatt (1978-1996)". Strasbourg 2, 1998. http://www.theses.fr/1998STR20023.
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L'oeuvre d'a. S. Byatt (nee 1938), auteur prolifique et erudite, a ete etonnamment negligee par les etudes du roman britannique contemporain, ne suscitant que quelques aticles. Cette these constitue une premiere longue etude de sa fiction. Notre corpus se compose de la fiction entre 1978 et 1996. Notre etude porte sur les procedes auto-reflexifs romanesques intertextuels et intratextuels, que nous cherchons a examiner a travers l'analyse du 'texte dans le texte' afin d'etablir une poetique de l'oeuvre byattienne et de la situer dans l'ethique et l'esthetique postmodernes. Byatt double les niveaux diegetiques, inclue la mise en abyme du personnage- ecrivain, utilise toute une gamme de textes intercalaires fictifs et authentiques, et invente de nouvelles formes hybrides, en faisant preuve notamment d'un pastiche brillant neo-victorien dans possession, son ouvrage le plus applaudi. Ce travail se divise en trois parties, correspondant approximativement a ce que nous avons nomme l'intertextualite canonique, aux formes d'intertextualite autres que canoniques (tels le conte, le tableau, que nous avons reunis en analysant leur aspect emblematique dans le romanesque), et a l'innovation dans le deploiement du texte dans le texte dans le dernier roman de byatt, babel tower, ou la nature du texte et les limites de la textualite sont remises en question. La structure de cette these est donc chronologique, et suit l'evolution naturelle de l'oeuvre de byatt. Dans chaque chapitre nous etablissons dans un premier temps les rapports entre les diverses parties du texte afin d'eclairer le projet de l'ouvrage entier; ainsi se definit l'etude hermeneutique, etude qui s'etend, se complique et se complete par l'etude d'une seconde categorie de 'texte dans le texte', que nous nommons 'la forme double', se composant des modes tels l'ironie et la parodie, ainsi que des tropes rhetoriques tels la metaphore, l'allegorie, ou, ce qui represente un depart de la rhetorique traditionnelle et une etape vers l'innovation postmoderne, l'illustration 'intersemiotique'The work of a. S. Byatt (born 1938) has been surprisingly neglected by many studies of the contemporary british novel. This thesis constitutes the first full-length study of her fiction. I have concentrated on the self- reflexive processes used by byatt, particularly tne intertextual and the intratextual, which are examined in order to establish a poetics of byatt's work, and to situate this in the postmodern ethic and esthetic. Byatt multiplies diegetic levels, includes the mise en abyme of the writing character, uses a wide range of inserted texts, real and fictional, and invents new hybrid forms, making a particular feature of brilliant neo- victorian pastiche in possession her most acclaimed work. The thesis falls into 3 parts, corresponding approximately to what have termed (1) canonic intertextuality, (2) forms of intertextuality other than the canonic (such as reference to the fairy tale or to the painting, which i have united by analysing their emblematic aspects in the novel), and (3) the degree of innovation in the deployment of the text in the text in byatt's most recent novel, babel tower. The structure of the thesis is thus roughly chronological, and follows the natural evolution of byatt's work. In each chapter i have begun at the hermeneutic level, establishing the relationship between the various levels of the text in order to elucidate the project of the work as a whole. This basic analysis is then rendered more complex and is completed by the study of what i have termed the 'double form', which consists of modes such as irony and parody, as well as rhetorical tropes such as metaphor and allegory, or - representing amn innovation - intersemiotic illustration
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Merrison, Jonathan Paul. "Mise en abyme in three novels by Claude Simon". Thesis, University of Exeter, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421554.
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Snow, Marcus. "Into the abyss : a study of the mise en abyme". Thesis, London Metropolitan University, 2016. http://repository.londonmet.ac.uk/1106/.
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As no single English study of the mise en abyme with its examples in our late-modern world has been undertaken, this thesis concerns the mise en abyme in English literature. In approximately the last third of the twentieth century, the concept has increasingly been associated with ‘postmodernism’ and the essential groundlessness of all claims to general or universal truth. In this thesis, I argue that the mise en abyme has become such a broad staple of character and narrative study that its meaning is diffuse in the extreme. First celebrated in the 1980s and 1990s, by several literary thinkers as a figure capturing the spirit of postmodernism, the eventual symptomatic dissipation of the mise en abyme in literary studies resulted from critical suggestions that the mise en abyme was after all, perhaps, bogus. It subsequently became associated with aesthetic phenomena far beyond its initial characterisation by André Gide in 1893. I argue that it has now become a trope of things wider than Gide’s initial allusion and has become a metaphor for abyssal - and abysmal - things. This thesis seeks to consider the history of the mise en abyme and to offer a contemporary account of what it might mean: it does this by uncovering the latent rhetorical figures which preceded the name ‘mise en abyme’. Formal readings of the play within the play in Hamlet and the gothic story read in The Fall of the House of Usher are both starting points to relink Gide’s idea to its, more common, metaphorical applications. Thus, metaphors of the abyss, the dark, the occulted, the uncanny and, most precisely, the ‘sinister’ are examined in this dissertation. The thesis first evaluates the theoretical inheritance of Gide’s work and then, in the second part, applies, through close reading, the meaning of Gide’s idea to recent, and representative literary examples. The thrust of the argument is that the reason many definitions, and applications, of the mise en abyme are such a source of problems, is because the mise en abyme, as an English literary phenomenon supporting the broad thesis of postmodern Gothic aesthetics, is concerned with representing abyssal metaphors. A clear delimitation of the mise en abyme is difficult whenever connotations of the abyss, the dark, the occult and the sinister are overlooked. So, this dissertation gives a circumspect view of what is designated as mise en abyme, and argues that, in late-modernity, its meaning is closest to the rhetorical figures named ekphrasis, metalepsis, and epanalepsis. This study concludes that, realistically, there is probably no such thing as the mise en abyme and instead, there are only rhetorical figures and metaphors of the sinister and of the abyss.
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Fortin, Martine. "L'expérience du divertissement, ou, Mise en abyme : autoportrait d'un personnage /". Thèse, Chicoutimi : Universite du Quebec à Chicoutimi, 1995. http://theses.uqac.ca.
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Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995.Accompagné d'une vidéocassette, sous la cote +N-16038. Le titre de la vidéocassette varie. Martine Fortin et Guy Bonneau ont utilisé le même film dans la rédaction de leur communication. CaQCU CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU
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Alonso, Mariângela [UNESP]. "Da receita à paixão: a mise en abyme em Clarice Lispector". Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/126607.
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Résumé: Les récits de Clarice Lispector s'étendent au-delà des espaces fictifs et se caractérisent par le refus du récit fermé et achevé, en quête de formes liquides et inconcluses qui perpétuellement se rompent pour de nouveau se rétablir, dans un mouvement circulaire et scorpionique, l' auteur ne devant que tisser et détisser le texte dans un entrelacement continu. Aussi la masse textuelle signale-t-elle l' intersection en abyme d' enchaînements significatifs divers, c'est-à-dire un jeu narratif spéculaire dans lequel chaque oeuvre qui se termine, tend à fermer un cycle qui sera repris par l' oeuvre suivante, et ainsi de suite, comme les éternelles poupées russes ou les emblématiques boîtes chinoises. C'est dans ce sens que cette recherche propose l' étude de l' écriture moderne de Clarice Lispector, en utilisant comme corpus les récits de Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história et A paixão segundo G.H. L'objectif du travail c' est d' examiner les relations entre les textes mentionnés qui s' insèrent dans les études d' intertextualité, processus défini comme la reprise d'un texte par un autre et, ainsi, les relations entre des textes différents d'auteurs divers. Toutefois, cette investigation est centrée sur des textes d' un même auteur et se fonde sur ce que Gérard Genette a conçu comme autotextualité ou intratextualité, phénomène caractérisé par la remise de l'auteur à son oeuvre même. Pour cela, on cherche d'entreprendre une voie possible d' analyse des textes mentionnés à travers les études de Lucien Dällenbach (1979), Gérard Genette (1982), Jean Ricardou (1978), parmi d'autres
As narrativas de Clarice Lispector expandem-se para além dos espaços ficcionais, caracterizando-se pela recusa à narrativa fechada e acabada ao buscar formas líquidas e inconclusas, que perpetuamente se desmancham para novamente se construir, num movimento circular e escorpiônico, restando à autora tecer e destecer o texto num contínuo entrelaçamento. Assim, a massa textual assinala a intersecção en abyme de encadeamentos significativos diversos, isto é, um jogo narrativo especular no qual cada obra que se encerra tende a fechar um ciclo que será retomado pela obra seguinte e assim sucessivamente, como as eternas bonecas russas ou as emblemáticas caixas chinesas. Nesse sentido, a presente pesquisa propõe o estudo do processo de escrita moderna de Clarice Lispector, utilizando como corpus as narrativas de Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história e A paixão segundo G.H. O escopo do trabalho é examinar as relações entre os textos mencionados, inserindo-se nos estudos de intertextualidade, processo definido como a retomada de um texto por outro e, assim, as relações entre diferentes textos de autores diversos. Porém, esta investigação centra-se em textos de um mesmo autor, pautando-se no que o teórico Gérard Genette concebeu como autotextualidade ou intratextualidade, fenômeno caracterizado pela remissão à própria obra. Para tanto, buscamos empreender um caminho possível de análise aos textos mencionados, guiando-nos pelos estudos de Lucien Dällenbach (1977), Gérard Genette (1982), Jean Ricardou (1978), entre outros
Clarice Lispector's narratives expand beyond the fictional spaces, characterized by refusal to closed and finished narrative to seek liquid and unfinished forms, which perpetually fall apart to be built again in a circular motion, then the author weaving and unweaving the text in a continuous entanglement. Thus, the textual mass en abyme indicates the intersection of several major chains, i.e., a narrative mirror game in which each work ending tends to close a cycle, resuming the next operation and so on, as the eternal Russian dolls or flagship Chinese boxes. In this sense, this research proposes the study of modern writing of Clarice Lispector process, using as corpus the narratives Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história and A paixão segundo G.H. The scope of work is to examine the relationships between the above texts, according to studies of intertextuality. The process indicated before is defined as the resumption of a text on the other and thus the relationships between different texts by different authors. However, this research focuses on texts by the same author, basing on what the theoretical Gérard Genette conceived as autotextuality or intratextuality, a phenomenon characterized by reference to the work itself. Therefore, we seek to undertake a possible way of analysis of the mentioned texts, guiding us by Lucien Dällenbach (1977) studies, Gérard Genette (1982), Jean Ricardou (1978), among others
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Alonso, Mariângela. "Da receita à paixão : a mise en abyme em Clarice Lispector /". Araraquara, 2015. http://hdl.handle.net/11449/126607.
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Banca: Arnaldo Franco-Júnior
Banca: Aparecida Maria Nunes
Resumo: As narrativas de Clarice Lispector expandem-se para além dos espaços ficcionais, caracterizando-se pela recusa à narrativa fechada e acabada ao buscar formas líquidas e inconclusas, que perpetuamente se desmancham para novamente se construir, num movimento circular e escorpiônico, restando à autora tecer e destecer o texto num contínuo entrelaçamento. Assim, a massa textual assinala a intersecção en abyme de encadeamentos significativos diversos, isto é, um jogo narrativo especular no qual cada obra que se encerra tende a fechar um ciclo que será retomado pela obra seguinte e assim sucessivamente, como as eternas bonecas russas ou as emblemáticas caixas chinesas. Nesse sentido, a presente pesquisa propõe o estudo do processo de escrita moderna de Clarice Lispector, utilizando como corpus as narrativas de Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história e A paixão segundo G.H. O escopo do trabalho é examinar as relações entre os textos mencionados, inserindo-se nos estudos de intertextualidade, processo definido como a retomada de um texto por outro e, assim, as relações entre diferentes textos de autores diversos. Porém, esta investigação centra-se em textos de um mesmo autor, pautando-se no que o teórico Gérard Genette concebeu como autotextualidade ou intratextualidade, fenômeno caracterizado pela remissão à própria obra. Para tanto, buscamos empreender um caminho possível de análise aos textos mencionados, guiando-nos pelos estudos de Lucien Dällenbach (1977), Gérard Genette (1982), Jean Ricardou (1978), entre outros
Abstract: Clarice Lispector's narratives expand beyond the fictional spaces, characterized by refusal to closed and finished narrative to seek liquid and unfinished forms, which perpetually fall apart to be built again in a circular motion, then the author weaving and unweaving the text in a continuous entanglement. Thus, the textual mass en abyme indicates the intersection of several major chains, i.e., a narrative mirror game in which each work ending tends to close a cycle, resuming the next operation and so on, as the eternal Russian dolls or flagship Chinese boxes. In this sense, this research proposes the study of modern writing of Clarice Lispector process, using as corpus the narratives Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história and A paixão segundo G.H. The scope of work is to examine the relationships between the above texts, according to studies of intertextuality. The process indicated before is defined as the resumption of a text on the other and thus the relationships between different texts by different authors. However, this research focuses on texts by the same author, basing on what the theoretical Gérard Genette conceived as autotextuality or intratextuality, a phenomenon characterized by reference to the work itself. Therefore, we seek to undertake a possible way of analysis of the mentioned texts, guiding us by Lucien Dällenbach (1977) studies, Gérard Genette (1982), Jean Ricardou (1978), among others
Résumé: Les récits de Clarice Lispector s'étendent au-delà des espaces fictifs et se caractérisent par le refus du récit fermé et achevé, en quête de formes liquides et inconcluses qui perpétuellement se rompent pour de nouveau se rétablir, dans un mouvement circulaire et scorpionique, l' auteur ne devant que tisser et détisser le texte dans un entrelacement continu. Aussi la masse textuelle signale-t-elle l' intersection en abyme d' enchaînements significatifs divers, c'est-à-dire un jeu narratif spéculaire dans lequel chaque oeuvre qui se termine, tend à fermer un cycle qui sera repris par l' oeuvre suivante, et ainsi de suite, comme les éternelles poupées russes ou les emblématiques boîtes chinoises. C'est dans ce sens que cette recherche propose l' étude de l' écriture moderne de Clarice Lispector, en utilisant comme corpus les récits de Meio cômico, mas eficaz; Receita de assassinato (de baratas); A quinta história et A paixão segundo G.H. L'objectif du travail c' est d' examiner les relations entre les textes mentionnés qui s' insèrent dans les études d' intertextualité, processus défini comme la reprise d'un texte par un autre et, ainsi, les relations entre des textes différents d'auteurs divers. Toutefois, cette investigation est centrée sur des textes d' un même auteur et se fonde sur ce que Gérard Genette a conçu comme autotextualité ou intratextualité, phénomène caractérisé par la remise de l'auteur à son oeuvre même. Pour cela, on cherche d'entreprendre une voie possible d' analyse des textes mentionnés à travers les études de Lucien Dällenbach (1979), Gérard Genette (1982), Jean Ricardou (1978), parmi d'autres
Doutor
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Schleicher, Harald. "Film-Reflexionen : autothematische Filme von Wim Wenders, Jean-Luc Godard und Federico Fellini /". Tübingen : M. Niemeyer, 1991. http://catalogue.bnf.fr/ark:/12148/cb357437462.
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Goes, Alan Eduardo dos Santos. "O cinema nos filmes de David Lynch: uma anÃlise sobre a reflexividade e mise en abyme em Mulholland Drive e Inland Empire". Universidade Federal do CearÃ, 2016. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=18659.
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CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel SuperiorEste trabalho se propÃe a analisar os modos de agenciamento do cinema reflexivo proposto pelo artista estadunidense David Lynch, com atenÃÃo maior para as obras Mulholland Drive e Inland Empire. Para isso, serÃo resgatadas discussÃes sobre o dispositivo cinematogrÃfico, desde a proposiÃÃo por Baudry, passando por atualizaÃÃes como as propostas por Metz e noÃÃes mais recentes como as apresentadas por Andrà Parente. As perspectivas sobre o dispositivo sÃo relacionadas com o conceito de mise en abyme; operacionalizado por Andrà Gide, posteriormente desenvolvido por DÃllenbach, e aplicados aos filmes de David Lynch por FÃtima Chinita; bem como os de reflexividade metacinematogrÃfica e reflexividade metafÃlmica, apresentados por Metz. SÃo ainda trabalhadas algumas questÃes que costumam orbitar a filmografia do cineasta e as pesquisas referentes ao tema, sendo estes: a desterritorializaÃÃo das linguagens artÃsticas, os conflitos entre um cinema de gÃnero e um cinema independente e o surrealismo. Estas discussÃes nos ajudam a compreender traÃos secundÃrios de nossa pesquisa que perpassam tanto a trajetÃria do autor quanto os filmes em observaÃÃo. As anÃlises dos filmes sÃo fundamentadas nos percursos apresentados acima e, quando possÃvel, articuladas com pensamentos transdisciplinares que nos possibilitem explorar aspectos especÃficos, principalmente com estudos da cibercultura, das teorias cinematogrÃficas e da psicanÃlise. A relaÃÃo dessas diferentes correntes teÃricas nos munem de artifÃcios para aprofundar instÃncias narrativas, tÃcnicas e estÃticas de Mulholland Drive e Inland Empire. O ordenamento desses aspectos aparentemente fragmentados, na teoria e nas obras do cineasta estadunidense, traduzem-se na prÃpria estrutura do trabalho, com capÃtulos referentes a cada tema e nÃo-cumulativos e sequenciais. Por fim, as operaÃÃes conceituais propostas à anÃlise das imagens em movimento do corpus escolhido nos permitem defender que a reflexividade à um elemento estruturante nos trabalhos do cinema de David Lynch e, de modo geral, em partes do cinema contemporÃneo.
This study aims to analyze the agency modes of reflective films proposed by the north-american artist David Lynch, with greater attention to both movies Mulholland Drive and Inland Empire. Besides, some discussions will be redeemed on cinematic apparatus, since its conceptual proposition by Baudry, through updates as proposed by Metz and some recent notions such as those presented by Andrà Parente. The outlook on the cinematic apparatus are related to the concepts of mise en abyme, operated by Andrà Gide and subsequently developed by DÃllenbach, and applied to the films of David Lynch by the work of Fatima Chinita; and the metacinematographic reflectivity and metafilmic reflectivity, presented by Metz, as well. It will present another issues that orbit the filmography of the director and researches on the topic oftenly, namely: the dispossession of artistic languages, conflicts between a genre cinema and an independent film and the surrealistic art movement. These discussions help us to understand some secondary traits of our research that pervade both the trajectory of the author as the films under our observation. The analyze of both movies are based on the routes listed above and, where possible, articulated with transdisciplinary thoughts that allow us to explore specific aspects, especially with cyberculture, studies of film theory and psychoanalysis. The relationship of these different theoretical perspectives endow the artifices to deepen narrative, technical and aesthetic instances of Mulholland Drive and Inland Empire. The management of those aspects apparently fragmented, in theory and in the works of the north-american filmmaker, are reflected in the structure of this work, with noncumulative and non-sequential chapters for each treated subject. Finally, the conceptual operations proposed to analyze the chosen corpus of moving images allow us to defend that reflectivity is a structural element in the David Lynch film works and, in general, in some parts of contemporary cinema.
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Craciun, Marinela-Denisa. "La technique de la mise en abyme dans l'oeuvre romanesque d'Umberto Eco". Thesis, Clermont-Ferrand 2, 2016. http://www.theses.fr/2016CLF20006/document.
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À la fois procédé artistico-littéraire et réflexion intellectuelle, la mise en abyme est une des stratégies de création favorites du romancier Umberto Eco. Certains auteurs ont utilisé cette technique uniquement pour de créer de « simples » jeux de miroirs (comme c’est le cas des Nouveaux Romanciers). Chez Umberto Eco, la mise en abyme est destinée à faire saillir aussi bien l’intelligibilité que la structuration de l’oeuvre. Elle est un principe récursif de la génération de figures et de formes narratives fractales : elle est pour ainsi dire le raisonnement servant comme base dans la création d’un univers romanesque par excellence autoréflexif. Selon une représentation très succincte (mais essentielle), la mise en abyme est ce dispositif narratif consistant à insérer un (ou plusieurs) récit(s) dans le Récit, qui, en reproduisant les caractéristiques de ce dernier va (vont) l’illustrer, l’expliquer et mettre en évidence le/les thème(s) de l’oeuvreAn artistic and literary procedure and, at the same time, an intellectual reflexion, mise en abyme is one of the favorite strategies of creation of the novelist U. Eco. Certain authors have used this technique just to create "simple" games of mirrors (such as the French writers called "Nouveaux Romanciers"). In the case of Umberto Eco, mise en abyme is destined to emphasize both the intelligibility of his work, as well as its being structured in multiple layers of narrativity. We reckon that this is the recursive principle, serving at the generating of fractal shapes and characters: this is therefore the reasoning laying at the foundation of creating a fictional universe self-reflective par excellence. If we want a very concise (but essential) representation, we will say that the mise en abyme is that device consisting of the insertion of one or many more stories into The Story, which, by reproducing the characteristics of the latter, provides us with an explanation and will shed light on the theme / themes of the work
Książki na temat "Mise en abyme"
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Barry, Judith. Projections: Mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.
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Eduardo Batarda: Mise en abyme. Lisboa: Galerias Municipais, EGEAC, 2016.
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Helga, Pakasaar, Wallis Brian 1953- i Presentation House Gallery, red. Judith Barry: Projections = mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.
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Févry, Sébastien. La mise en abyme filmique: Essai de typologie. Liège: Editions du CEFAL, 2000.
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Donatella, Izzo, red. Il Racconto allo specchio: Mise en abyme e tradizione narrativa. Roma: Nuova Arnica editrice, 1990.
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Berta, Luca. Oltre la mise en abyme: Teoria della metatestualità in letteratura e filosofia. Milano: FrancoAngeli, 2006.
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Cutrona, Alessandro. L'attualità della mise en abyme nelle opere di Peter Greenaway e Charlie Kaufman. Milano: Mimesis, 2016.
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L'expérience du roman: Lecture et mise en abyme chez Melville, Faulkner et Welles. Paris: Harmattan, 2011.
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Makkonen, Anna. Romaani katsoo peiliin: Mise en abyme -rakenteet ja tekstienvälisyys Marko Tapion Aape Heiskasen viikatetanssissa. Helsinki: Suomalaisen Kirjallisuuden Seura, 1991.
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Holmes, Jonathan. Mise en abyme and the suspension of dissent in "The taming of the shrew". Birmingham: University of Birmingham, 1999.
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Bernard, Mark. "The Mise en Abyme of Youth". W Halloween, 75–92. London ; New York : Routledge, 2020. | Series: Cinema and youth cultures: Routledge, 2019. http://dx.doi.org/10.4324/9781315185453-4.
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Ferraro, Estella. "Synthesis of Thoughts: Mise en Abyme". W Wilful Blindness, 225–49. Wiesbaden: Springer Fachmedien Wiesbaden, 2021. http://dx.doi.org/10.1007/978-3-658-32654-8_9.
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Josephs, Herbert. "The Ambiguity of Baroque Enchantment: Operatic Mise en Abyme". W The Orchestration of the Arts — A Creative Symbiosis of Existential Powers, 53–63. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-017-3411-0_4.
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Craven, Alice Mikal. "Invisible Whiteness mise en abyme: J’irai cracher sur vos tombes". W Visible and Invisible Whiteness, 159–82. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-76777-2_8.
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Stone, Jonathan. "Decadent Style with a Symbolist Worldview: Palimpsest, Mise en abyme, and the Perils of Profound Superficiality". W Decadence and Modernism in European and Russian Literature and Culture, 29–63. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-34452-8_2.
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Franchini, Giorgia, Mathilde Galinier i Micaela Verucchi. "Mise en abyme with Artificial Intelligence: How to Predict the Accuracy of NN, Applied to Hyper-parameter Tuning". W Proceedings of the International Neural Networks Society, 286–95. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16841-4_30.
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Puma, Giulia. "Mise en abyme dans la peinture italienne du xve siècle : La Manne de saint André de Carlo Braccesco (vers 1490)". W Images, signes et paroles dans l’Occident médiéval, 129–42. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.cem-eb.5.132266.
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"Mise en Abyme:". W The Baroque Technotext, 51–76. Intellect Books, 2020. http://dx.doi.org/10.2307/j.ctv36xw070.9.
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"Mise En Abyme". W First Crack, 34. McGill-Queen's University Press, 1998. http://dx.doi.org/10.1515/9780773583894-025.
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Letalleur-Sommer, Séverine. "La mise en abyme". W Comprendre la mise en abyme, 85–101. Presses universitaires de Rennes, 2019. http://dx.doi.org/10.4000/books.pur.180336.
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