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Artykuły w czasopismach na temat "Mise en abyme"
Henry, Karen. "Mise En Abyme". Afterimage 28, nr 1 (lipiec 2000): 13. http://dx.doi.org/10.1525/aft.2000.28.1.13.
Pełny tekst źródłaDowling, Finuala. "Mise-En-Abyme". Scrutiny2 19, nr 1 (2.01.2014): 154. http://dx.doi.org/10.1080/18125441.2014.906247.
Pełny tekst źródłaVisy, 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.
Pełny tekst źródłaNatividade, 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.
Pełny tekst źródłaCohn, 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.
Pełny tekst źródłaHwang, 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.
Pełny tekst źródłaZalewski, Andrzej. "Unveiling the frame of philosophy". Philosophical Discourses 2 (2020): 123–31. http://dx.doi.org/10.16926/pd.2020.02.08.
Pełny tekst źródłaRinon, 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.
Pełny tekst źródłaJeha, 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.
Pełny tekst źródłaCorvacho, 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.
Pełny tekst źródłaRozprawy doktorskie na temat "Mise en abyme"
Allegue, Fuschini Ludivine. "Mise en abyme de l'oeuvre et perception esthétique". Paris 1, 2003. http://www.theses.fr/2003PA010542.
Pełny tekst źródłaMundler, Helen Esther. "Le texte dans le texte dans l'oeuvre d'a. S. Byatt (1978-1996)". Strasbourg 2, 1998. http://www.theses.fr/1998STR20023.
Pełny tekst źródłaThe 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
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.
Pełny tekst źródłaSnow, Marcus. "Into the abyss : a study of the mise en abyme". Thesis, London Metropolitan University, 2016. http://repository.londonmet.ac.uk/1106/.
Pełny tekst źródłaFortin, 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.
Pełny tekst źródłaAccompagné 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
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.
Pełny tekst źródłaConselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
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
Alonso, Mariângela. "Da receita à paixão : a mise en abyme em Clarice Lispector /". Araraquara, 2015. http://hdl.handle.net/11449/126607.
Pełny tekst źródłaBanca: Maria das Graças Gomes Villa da Silva
Banca: Silvana Vieira da Silva
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
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.
Pełny tekst źródłaGoes, 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.
Pełny tekst źródłaEste 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.
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.
Pełny tekst źródłaAn 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"
Barry, Judith. Projections: Mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.
Znajdź pełny tekst źródłaEduardo Batarda: Mise en abyme. Lisboa: Galerias Municipais, EGEAC, 2016.
Znajdź pełny tekst źródłaHelga, Pakasaar, Wallis Brian 1953- i Presentation House Gallery, red. Judith Barry: Projections = mise en abyme. North Vancouver, B.C: Presentation House Gallery, 1997.
Znajdź pełny tekst źródłaFévry, Sébastien. La mise en abyme filmique: Essai de typologie. Liège: Editions du CEFAL, 2000.
Znajdź pełny tekst źródłaDonatella, Izzo, red. Il Racconto allo specchio: Mise en abyme e tradizione narrativa. Roma: Nuova Arnica editrice, 1990.
Znajdź pełny tekst źródłaBerta, Luca. Oltre la mise en abyme: Teoria della metatestualità in letteratura e filosofia. Milano: FrancoAngeli, 2006.
Znajdź pełny tekst źródłaCutrona, Alessandro. L'attualità della mise en abyme nelle opere di Peter Greenaway e Charlie Kaufman. Milano: Mimesis, 2016.
Znajdź pełny tekst źródłaL'expérience du roman: Lecture et mise en abyme chez Melville, Faulkner et Welles. Paris: Harmattan, 2011.
Znajdź pełny tekst źródłaMakkonen, Anna. Romaani katsoo peiliin: Mise en abyme -rakenteet ja tekstienvälisyys Marko Tapion Aape Heiskasen viikatetanssissa. Helsinki: Suomalaisen Kirjallisuuden Seura, 1991.
Znajdź pełny tekst źródłaHolmes, Jonathan. Mise en abyme and the suspension of dissent in "The taming of the shrew". Birmingham: University of Birmingham, 1999.
Znajdź pełny tekst źródłaCzęści książek na temat "Mise en abyme"
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.
Pełny tekst źródłaFerraro, 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.
Pełny tekst źródłaJosephs, 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.
Pełny tekst źródłaCraven, 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.
Pełny tekst źródłaStone, 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.
Pełny tekst źródłaFranchini, 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.
Pełny tekst źródłaPuma, 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.
Pełny tekst źródła"Mise en Abyme:". W The Baroque Technotext, 51–76. Intellect Books, 2020. http://dx.doi.org/10.2307/j.ctv36xw070.9.
Pełny tekst źródła"Mise En Abyme". W First Crack, 34. McGill-Queen's University Press, 1998. http://dx.doi.org/10.1515/9780773583894-025.
Pełny tekst źródłaLetalleur-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.
Pełny tekst źródła