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Dupouy, Christine. "La question du lieu en poésie, du surréalisme à nos jours". Paris 4, 1995. http://www.theses.fr/1995PA040004.
Pełny tekst źródłaThe question of place is essential in poetry, for whom who wants to understand the passage from surrealism to the following generation. It is connected with heideggerian and therefore phenomenological problematics, wondering about our being-in-the-world, but also it is conveyed stylisticaly in texts, by interrogations. One is chosen by place, and its native quality is mostly symbolic. Place is not space, of which it constitues nothing but a point and to which it is opposed, as concrete to abstract, singular to general. However place is a center, from which the world emanates. All naturaly memory relies on the support of place, and in order to go back in time perhaps one just has to move a bit in space. Then comes the temptation of immemorial, which is linked with the sacred, but asks also the question of the denial of history : in such a case cannot place be reactionary? as to the problem of image, specific of surrealism, the writings of the poets of place is much more subtile than the peremptory assertions they might have done, and for them too it is important. Poetry of place hesitates between short forms like the haiku and a wider singing, which often uses a line of fourteen syllables and more: prose and poetry tend then to mix, as reflexion and description
Martinez-Chauvin, Andrea. "L’empreinte du surréalisme en Espagne dans l'œuvre de Juan Larrea, Vicente Aleixandre, José María Hinojosa et Joan Miró (1918-1932)". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL162.pdf.
Pełny tekst źródłaIs it possible to « do » surrealism without necessarily being a surrealist? The scope and aim of this thesis is to locate the course of writing for three contemporary poets and a painter-poet – Juan Larrea (1895-1980), Vicente Aleixandre (1898-1984), José María Hinojosa (1904-1936), Joan Miró (1893-1983) –, between 1918 and 1932, beyond those debates recounted through literary history. This period in time allows to consider the singularity from their first work in relation to their creative process. Despite the birth of the surrealist adventure in 1924 under the aegis of Breton, that doesn’t kindle any engagement from their side, the disinterest is only apparent. While translation from French to Spanish gains importance in ultraist magazines and papers, Larrea, Miró and Hinojosa turn themselves to the French capital and are thought of as transient figures from 1925. Through their readings, the four creators know first-handedly the multiple productions from a newly born surrealism, building their work through echoes and shared formal characteristics. To this is added an altered reception of the movement in Spain: its modalities allow to discern the dialogue that is developed, between the first surrealist texts and their approach, unique to the creator, in works that single them out in the Spanish literature scene. This connection to surrealism, deliberate but tacitly entertained, allows to discern a questioning about the practice of automatism, slipping into a cosmic register. Thereby, the frontiers are blurred and leave room to the architectonic conception of a poetic work in perpetual formation, in a necessary and constant renewal, to leave new marks on both language and canevas
Arfouilloux, Sébastien. "La musique, entre pratiques et théorie littéraire, de Dada au surréalisme". Paris 4, 2007. http://www.theses.fr/2007PA040061.
Pełny tekst źródłaThis study puts to the test facts the theoretical declarations of Dada and surrealism about music, proposing to read them again in their historical and cultural context. It is about to know in what music has a role to play into surrealism, taking into account the texts that announce a refusal, and to measure the difference between the announced theory and the achievements concluded. Taking as starting point the spectacles and the musical theories of the avant-garde of the time of Dada, which carry in germ what will be surrealism, it examines then the whole of the declarations of Andre Breton on the music. It finally questions the idea that there was no musical surrealism. Far from the postromantism, well off the return to the classicism of France at the beginning of the twentieth century, new musics are worked out. Certain news musical tendencies will be able to hold the attention of the surrealist poets and to constitute an inspiration. Others will be impelled by composers having dependent part with the surrealist movement
Coale, Robert. "Le Prix national de littérature en Espagne, 1922-1995". Paris 4, 1999. http://www.theses.fr/1998PA040333.
Pełny tekst źródłaRoig-Sanz, Diana. "La réception de la littérature espagnole à presse de Barcelone pendant la Seconde République". Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10065.
Pełny tekst źródłaRivalan, Guégo Christine. "La littérature (romans et nouvelles) populaire et légère en Espagne : 1894-1936". Rennes 2, 1995. http://www.theses.fr/1995REN20013.
Pełny tekst źródłaBased on the novels and novelettes by twelve authors (in alphabetical order, J. Belda, J. M. Carretero, J. Frances, A. Hernandez Cata, A. De Hoyos y Vinent, A. Insua, R. Lopez de Haro, P. Mata, A. Retana, F Sassone, F. Trigo et E. Zamacois), this study proposes to examine the birth, rise and decline of a movement in popular literature in Spain between 1894 and 1936 in relation to the new publishing deal, French literary influences and the centres of interest of the Spanish reading public of the time. The first part includes a presentation of the authors (through their biographies) and the magazines and publishing houses that brought out their writings. This panorama of Spain’s publishing world is supplemented with a survey of the circulation of these works abroad - essentially in France as well as the cinema adaptation of some of them. There follows a chapter entitled ' the book as an object ', which deals with the elements directly peripheral to the text - titles, covers, jacket flaps, back covers, illustrations, advertisement etc. Secondly, the analysis bears upon the contents of these works through a study of themes and characters, bringing to the fore the recurrent and permanent features in the writing of those pages together with their French literary inspiration. Their close links with the concerns of contemporary readers - among which the questioning about sexuality and the position of women in society hold a dominating place - is also examined
Egger, Anne. "Place, rôle et importance de la non-spécialisation dans l'histoire du surréalisme et de la peinture". Paris 1, 1999. http://www.theses.fr/1999PA010570.
Pełny tekst źródłaThis work is based on the catalogue raisonné that inventories the plastic works of the first generation of French surrealist poets (1919-1966), as well as that of their women partners, at the time they belonged to the movement. Thus, more than 920 examples, every form of technique included, have been found in 21 non-plastician artists. The quantity and the diversity of these realisations - neither works of art, nor aesthetic objects nor simple forms of leisure have brought us to wonder about the existence and the efficiency of non specialisation in surrealism. The corpus is based on the one hand on an obvious practice systematised by the poets, and on the other hand, on the individual characteristics of the realisations of each author. These individual and collective creations, oscillating between the serious and the non serious often mix verbal and visual signs and reveal a double course of action, both ludicrous and experimental. These products, which are omnipresent in the supports of the movement and which are legitimised by the latter, confirm a diffusion strategy. But this apparently characteristic approach of the movement - like foreign formations - does not appear in the theoretical texts of surrealism. Our research focuses on this original ambiguity. To understand the absence of an official discourse, delimit the space of non specialisation and define the status of these amateur practices, we had to re-examine the history of surrealism in its general outlines this study brings us to a parallel history of the movement which used to advocate, in the name of a poetry made by everyone, the mixture of the genres and the reversibility of the roles. . . If surrealism offers a first approach of the eclecticism and the explosion of the artistic courses of action as well as a movement of unique synergy between poetry and art, we can therefore say that the absence of a consensus combined with the impossibility to totally abolish the specificity of talent may explain the historical marginalization of non specialisation among the french movement itself
Beylard, Catherine. "Etude sur "la liberté ou l'amour" de Robert Desnos dans l'éclairage des précurseurs du surréalisme". Aix-Marseille 1, 1989. http://www.theses.fr/1989AIX10043.
Pełny tekst źródłaDesnos and the surrealists, following great authors like sade, rimbaud. . . Have tried to desacralize love. They considered eros a subversive force. Desnos actively participed in the movement from 1922 on. He became a recogniced authority on erotic litterature following research into the subject which he began in 1923. Desnos's works were inspired by "second range" writings. Therefore the work our study refers to can be analized in the light of the precursors of surrealism. We could not, however, disgregard the author's actual experiences, which are closely linked to his writing. As "la liberte ou l'amour" speaks above all of love desnos own emotional life is reflected in it. The principal characters of this erotic narrative are based on existing people. It follows that the author's preoccupation with the themes explored in this book endows them with divinity. Immortalised in this work, desnos's love goes beyond his human condition to eternity. In this "religion of love", desnos celebrated all the women he's adored whilst annoncing youki : with whom he had the overwelming encounter and to whom he bound his life in 1928. But it is only in litterature that desnos reaches his much hoped for ideal in litterature where all dreams are true
Sclippa, Jean-Claude. "L'évolution du sens esthétique et l'interrogation sur le beau dans les Avant-gardes de 1905 à 1935". Brest, 1997. http://www.theses.fr/1997BRES1005.
Pełny tekst źródłaThe evolution of the aesthetic sense is a movement that has been engendered by a constant succession of innovations from 1905 to 1935. From cubism to surrealism, literary or poetical creations and productions have been observed, appreciated, contemplated and submitted to critical activity, revealing new techniques, news ways or devices, a new sensibility, which not only move away from classical aesthetics but actually break away from it. Common traits, new theories, a modernity which keeps being outdated, connect the avant-garde movements and are outlined in the uninterrupted sequence of three decades. Three main stages (1905-1914,1915-1924, 1925-1935) are defined which testity to this ineluctable evolution within the sphere of the avant-garde movements, the latest taking over the innovations of its predecessors, so that the base of the new aesthetics cannot exist but in a factual order, in an actual organic development. The aesthetic intention of each poet or writer is confirmed by the singularity of the work which fits into the continuous evolution of the avant-garde movements and stands out in a typology of the xxth century's aesthetics. Beauty reveals itself in surprising shapes since the aesthetic jugement is no longer based on taste but fully takes up the field of cognitive appreciation
Le, Bigot Claude. "La poésie politique dans l'Espagne républicaine (1931-1939) : essai sur les formes d'une rupture idéologique". Rennes 2, 1990. http://www.theses.fr/1990REN20004.
Pełny tekst źródłaIs there a language pertaining to political poetry? If one relies on a sociocritical analysis, one notices that the beginning of the Spanish republic occurred along with an ideological break in Spanish literature which is essentially prevailing in poetry. The commitment of writers as militant intellectuals led them to alter their artistic practice. If, at the beginning, political poetry tends to become propaganda, as the war goes on, its persuasive role hides behind the archetype that constitute the backbone of epic romancero. The linguistic analysis which tries to entrance a rhetoric of persuasion in accordance with the obvious of the message, equally helps to demonstrate that the notion of political poetry isn't a homogeneous whole ; nor is it a literary genre, since it fuses into already existing literary genres. Political poetry is grounded on using speech strategies and can be traced thanks to its didactic and polemical functions. When its persuasive function faces away, its poetical function takes its place again. Without giving up any of their ideological choices, the most advanced authors among them have created a "wartime lyricism" which enables them to combine their political speech with literary speech
Gourio, Anne. "L' imaginaire de la pierre dans la poésie française du vingtième siècle". Paris 3, 2001. http://www.theses.fr/2001PA030150.
Pełny tekst źródłaThis journey in 20th century poetry proposes a history of the imaginary of the stone and states the different expression from the last developments of symbolism to the margins of contemporary poetry. The evolution of this century's poetics actually finds one of its favourite reflections in the different transformations of this imaginary. If the precious stone perfectly mirrors the metaphysical and aesthetic hesitations of the "fin-de-siècle" spirit, the rough stone invades the poetical landscape of the fifties and thus, testifies to a progressive assumption of the matter and to a radical questioning of the human and of the meaning. From sparkling symbolism to crystal clear surrealism, from black surrealism to bare and succinct modernity, the metamorphosis of the stone do reveal the poetical stakes of this century. .
Sermet, Joëlle de. "Michel Leiris poète surréaliste : de la lyre au miroir". Paris 7, 1994. http://www.theses.fr/1994PA070022.
Pełny tekst źródłaMichel Leiris, a member of the surrealist group from 1924 to 1929, is generally known for his autobiography, however, he considered himself above all a poet : poetry is at the basis of his entire body of work. The aim of this thesis is to shed light on the origins of a poetically oriented oeuvre, by means of a study of Michel Leiris's surrealist texts works which have been neglected by critics. Each of the three parts focuses on one of the poetics that Leiris experimented with, from his early lyrical essays up to the foundations for his autobiographical project in the beginning of the thirties. The first section deals with his attempts at semiautomatic depersonalisation as sketched in Simulacre, Glossaire : J'y serre mes gloses and Le forcat vertigineux. The thesis underlines the definition of a paradoxical lyricism one finds there behind the neutral voice characteristic of these texts which leave the initiative to the words themselves. On the other hand, three oneiric narrations, "le pays de mes reves", Le point cardinal and Aurora, form a triptych where the relating of dreams is a pretext for an introspective and fantasizing quest for the sources of inspiration. Poetic enunciation blurs generic limits and subverts unstable narrative frames. The third path, perceptible in Grande fuite de neige, failles and la Nereide
Jimenez, Lidia. "L'adolescente dans la littérature espagnole de la "Posguerra"". Toulouse 2, 1996. http://www.theses.fr/1996TOU20076.
Pełny tekst źródłaIn spanish fiction and particularly in the kind of written fiction by women-novelists after the civil war, teenagers are often drawn. We feel we are confronted with real, genuine portraits while, before readers had to be content with mere tentative sketches ; indeed in the fiction published, at that time, the very young girls and also the young ladies they often had grown into,take up stances which are surprisingly new. Infact their creators thus achieve a kind of perfection in that respect, insisting, as they do, on the adolescent period of their fictitions feminine characters. Spanish women-writers often insists on the particular period of time of adolescence for their heroins, often imparted their own most intimate hidden, convictions, and are naturally nourished with foreign models but it was also fraught with their own knowledge of death, and love, acquired during the various wars they had gone through. The consequence is the portraying of adolescent characters as drawn by spanish fiction writers ans the reader feels that many personal memories break through the bedrock of the tales that are told. For instance, rosa chacel during all that period does draw such a character in teresa and memorias de leticia valle. In nada and la isla y los demonios carmen laforet renews the genre making conveying to them the shock it was for most people. Ana maria matute writes short stories and in luciernagas tells the memories of a teenager of that time. Carmen martin gaite writes short stories about meregirls and young ladies while reflecting
Maria, Charlotte. "Correspondances de Claude Cahun : la lettre et l'oeuvre". Caen, 2013. http://www.theses.fr/2013CAEN1710.
Pełny tekst źródłaThis study is concerned with the correspondence of Claude Cahun. It is an important body of work that includes most of the letters received and sent by Cahun, to which we have access. Additionally, this corpus can be seen as a cross- correspondence, including dialogue with Henri Michaux, André Breton and Robert Desnos. There are also letters addressed to Peter Champion, Andre Gide, Pierre Albert-Birot, Charles-Henri Barbier, Gaston Ferdière Jean Humbert, Léo Malet, Roger Roussot Ryeul Jean, Jean Legrand, Jean Schuster, George Schwob, Marianne Schwob and Jacques Viot. And, finally, there are other letters addressed to Claude Cahun from by Nicolas Calas, Jacques B. Brunius, René Crevel, Mops Sternheim-Ripper and Paul Éluard. The thesis is organized in two essential parts. The first part includes the ensemble of Cahun's correspondence, which we have organized, presented and annotated, so as to elucidate circumstances warranting the writing of the letters. These notes also work to give a unique perspective of the literary and political aspects that underly Cahun's dialogue with so many of the major authors of the twentieth century. The second part of this study attempts to situate, in a socio- historical manner, an artist who underwent a transformation from fin-de-siècle modernism (inherited from her uncle, Marcel Schwob) to the politically engaged avant-garde of the 1920s and 30s. This second part of the study also pursues the problematic of autobiographical writing and its relation to the communicational problems associated with personal letters. In other words, this study takes poetic approach toward Cahun's epistolary and other writings, which have too often been seen as subordinate to her more shocking photographic production
Hilsum, Mireille. "Aragon ou le roman des préfaces croisées". Paris 7, 1992. http://www.theses.fr/1992PA070066.
Pełny tekst źródłaThe first section of "oeuvres romanesques croisees" offers an autonomous corpus of late prefaces. The Aragon of the sixties introduces his former novels - from surrealism to "la semaine sainte". But the notion of fiction focuses on the functions the preface discourse fails to fulfil, the refusal to situate the works in their contexts, recount a process or a project contemporary with the realistic cycle and more generally guide the reader the thesis falls into two parts. In the first one the strategies to avoid referential history, the former writer's look and novel signifiance are studied trough the prefaces to or around "le monde reel". In the second one tensions withing preface discourse are analysed trouh two prefaces which elude a defense system elsewhere prevailling and replace to both critics and readers by comments on the genesis. Aethetic, political, ideo logical stakes are thus studied within the frame work of an approach which aims at delimiting the specificity of the crossed prefaces in comparison with other aragonian comments either anterior or posterior. The crossed prefaces offer a gap system, based on indirection, transfer, substitution and paralipsis, which does not challenge autobiographical and historical narratives only; trough the indexes, established from the prefaces, silences, the preface writer's great reserve. .
Kerhali, Wafa. "Joyce Mansour, une vision du monde ou le surréalisme au féminin". Paris 3, 2007. http://www.theses.fr/2007PA030099.
Pełny tekst źródłaMy purpose is to shed some new light on the links between surrealist poet Joyce Mansours world and other writers of her generarion in terms of content and form. It’s also to pick out sketches and itinireraies in the way the writing takes form, to find out similar principles and different expressions resulting from each writer’s singularity. These processes are referend to surrealism as esthetic and ethic movement, a dialectic thinking that rejects the separation between the real from the imagimary, and poetry from politics. Two perspectives help to clarify the field and make all kinds of questionnig fly out. The writing, first, how defines a critical and esthetic attitude from the litterary theory, in terms of silence,“ indicidble” and cry. Secondly, a feminine approch that takes into count the specifity of creative womens experience. Here the surrealism offers both a specific and paradoxal field, where it’s structures appear in the most varied forms. We are there fore going to raise questions about some referents and see the ways they are outwitted by that writer
Lecherbonnier, Bernard. "Francophonie et surréalisme : la chair du verbe : historique, dialectique, éthique, poétique, herméneutique des surréalistes de langue française". Paris 4, 1987. http://www.theses.fr/1987PA040224.
Pełny tekst źródłaHistory : subjects studied : surrealist writings in the French language in Europe, the American continent including the west indies, and the near east, from 1924 to 1960. Approach: history of French-language surrealist movements outside France, their development and their relation to the surrealist movement in France. Specific topics examined: magic art; the surreal in black African art ; the cobra movement. Dialectic: the influence of Hegel on Breton’s thought. Dialectic used in texts. The study of four fundamental surrealist texts in French : Cahier d'un retour au pays natal (the journal of a return to the homeland) (Césaire) ; Refus global (global denial) (Borduas) ; dialectique de la dialectique (the dialectic of dialectic) (Luca and Trost) ; Ma revolution (my revolution) (Chazal) ; the conflict of dialectic in surrealism (Hegel and Marx) in surrealism. Ethics: the question of individual ethics: revolt and catharsis (Gauvreau, Giguere), the problem of action and political involvement, revolutionary surrealism (Henault, Chavee, Henein), surrealist ethics towards a liberating poetry (Césaire). Poetics: definition of poetics as a dialectic of speech and life, surrealist poetics and the question of language. Two facets of surrealist poetics: combinational poetry (Belgian), automaticist poetry (Gauvreau). Study of shapes meaning in Gauvreau and Nouge. Hermeneutics: definition of hermeneutics as interpretation of a double meaning text. The conflict between hermeneutics and surrealism; psychoanalysis phenomenology, semiology semantics. The main question: the process of the transfert of meaning (metaphors). Work in terms of resemblances and analogies. The hermeneutics approach of Césaire and Chazal. Surrealism and the question of ontology. Surrealism and Heidegger
Serra, Georges. "Le mythe littéraire de Barcelone". Toulon, 2000. http://www.theses.fr/2000TOUL3001.
Pełny tekst źródłaThis thesis intends to analyse the picture of Barcelona as it was drawn by foreign writers and artists, but also by Spanish and Catalan ones (photographers, plastic-artists) between 1909 and 1992; those two dates refer to two major historic events in Catalonia : the rebellion of the so called "Tragic week" and the Olympic Games. This work is in keeping with that of such specialists in comparative literature as Daniel-Henri Pageaux who showed how the image can reveal the "witnessing" culture. That approach enables one to use a variety of criticism tools : Sociological Approach of Literature (Lukacs), Symbolism of space (Bachelard), mythological criticism (Pierre Brunei). In book 1, our purpose is to show how the myth of Barcelona is linked with the topography (both an old underground city with its labyrinths and a modern one designed to be a Garden-City) and how writers, mainly foreign ones, pursued their search of Orient, according the XTXth century tradition, on a truly epic journey. By referring to the worst parts of the city (Barrio chino) and thence putting them forward, writers turned Barcelona into a damned city like Babylon or Ninive. In book II, we underline how Barcelona became the original city for narrators and protagonists and in the meantime the city of decay in the tradition of both Huysmans and Lorrain : the city of full freedom. The status of the hero is indeed that of a runaway in search of a shelter in a fancied « somewhere else». In that book we also understand how Catalan writers and artists approach that world. Eventually, in book IIT, we can study the impact of history on the city. Barcelona seen as a libertarian city by foreign writers (first third of the XXth century) or as a city that was deprived of its own memory by Barcefonian writers after the Civil War; it is also perceived as a post-modern, uniform city (during the 80's) deprived of its myths by detective novels as the Olympic Games approached, but it keeps its identity, its way of being Catalan
Fournier, Josiane. "Les voix poétiques d'Audiberti : projet épique et écriture dans l'œuvre poétique de Jacques Audiberti". Paris 10, 1994. http://www.theses.fr/1994PA100180.
Pełny tekst źródłaThe purpose of this work is to stress the consciousness of the rhetorical stakes in the work of an author of the 20th century. His poetry work has been published after surrealism. Born in Antibes, Audiberti learnt at school cultural myths inherited from Mediterranean regions and heard about napoleon era. He memories literary models and particularly Hugo. His inheritance comes from several types of the history of epic. . . Arriving in Paris in 1924, he meets the disturbing Parisian literary movements. He is easily surprised by anything and able of all type of cultural assimilation. He persists in his way and makes his all discoveries. Although a friend of Benjamin Peret, he doesn't join surrealism but doesn't neglect it anyway. He has the privilege of conversations with jean Paulhan, helpful to remote poets. Suburbs walks, married life, inspire him poems not at all as a picturesque realism, but mostly as a fantastic and dreamlike world. Views come superimposing. Woman's image crystalizes around a creole type linked with his West Indian wife and mother of his daughters. The "rampart", a metaphorisation of the harbor and military town, already symbolic in relation with the sea and the epic type of the navigator, progressively becomes an allegory of the poetic language. The poet finds here a way to reflect his own speech, brought back to his original setting: the one of a childhood persisting in the person of the writer. White Audiberti's literature moves from poetry and epic novels to theatre (which gave him fame), poetry remain as his constant reference. He eventually defines his work as an epic one, this thought being parallel with a mediation on changes of epic writing
Touton, Isabelle. "L'image du Siècle d'or dans le roman historique espagnol du dernier quart du XXe siècle". Toulouse 2, 2004. http://www.theses.fr/2004TOU20037.
Pełny tekst źródłaSpanish fascist propaganda has relied on historical myths in order to legitimate the National-Catholic ideology of the regime. What have these myths become after Franco's death ? This thesis investigates the image of the Golden Age offered in Spanish historical novels written after 1975. Considering that the relationship between a literay text and ideology can only be grasped through a process of recontextualization, we offer an overview of several interpretations of the Golden Age itself, as those that can be found in the history of ideas, in the Spanish historical novel prior to 1975 and we also try to sketch a general picture of the social-historical context of postmodernity and postfranquism. We then examine in a sociological approach the vision transmitted by the paratext of sixty novels as well as by the interviews we conducted with about fifteen authors. Finally, we offer an analysis of six novels representative of the last quarter of the Twentieth Century
Thermou, Maria. "Les revues surréalistes entre Littérature et Minotaure : espaces d'échos". Paris 7, 2012. http://www.theses.fr/2012PA070093.
Pełny tekst źródłaUnlike anhologies, a posteriori compilations of selected fragments, which are sharing similar characteristics and are organized in a way to create the impression of a chorus in unison, the surrealist journals, just like collages, are types of heterogeneous objects allowing the reader to play both on their harmonies and their contrasts. This study attempts to firmly analyze, in an aesthetic, historical as well as poetical - in the etymological sense - way, and in a sociological perspective closer to socio-criticism than to Pierre Bourdieu's approach, a subject that has already been studied through several, though allusive or fragmentary, works. Physical items, on paper, therefore spaces of echoes and plastic and textual resonance, areas reflecting controversies rooted in history, as well as, finally, places from where emerges a new collective sensibility, the journals of the surrealist movement depict a dynamic topology of being-in common. Within this study, the "echo" is thus apprehended both as a media term and as a figure, that is to say, as the result of the textual "weaving" that invite us to perform the journals of this movement which rose the encounter up to an aesthetico-ethical principle. Among these journals, four are mainly analyzed, those who cover the interwar period : Litterature, La Révolution surréaliste, Le Surréalisme au service de La Révolution and Minotaure
Leclercq, Sophie. "Les surréalistes face à la question coloniale : 1919-1962". Versailles-St Quentin en Yvelines, 2006. http://www.theses.fr/2006VERS024S.
Pełny tekst źródłaIn th 1920s and 1930s, as the colonial idea finally becomes consensual, the young surrealists are among the rare poets and writers to criticize imperialism, along with the French Communist Party who is elaborating its anticolonial programme. Fascinated by primitive arts, to which they try to identify, some of them elaborate a poetic of the "Savage" that echoes their criticism of colonialism and disrupts stereotypes. This cultural dimension given to their anticolonialism is quite unusual compared to the anticolonial positions of the time. In the 1940s, some of them discovered the Indian, Negro and revolutionary America, and get to meet the authors of the negritude and the indigenism movements who where denouncing the cultural alienation the surrealists condemned in the 1920s. With the independence movement and especially with the Algerian war, anticolonialism becam a shared position among left-wing intellectuals represented by Jean-Paul Sartre. But he "immediate evacuation of the colonies" these intellectuals were calling for had been requested by the surrealists in the 1920s already. Because of their radical and singular position condemning colonialism's principe and because of their avant-gardism lying at a crossroads between the political and the cultural realms, surrealists belong to the anticolonialist intellectuals' history
Gobbé-Mévellec, Euriell. ""Habiter l'image" : jeux et enjeux du visuel dans l'album de jeunesse illustré et le théâtre jeune public contemporains en Espagne". Toulouse 2, 2010. https://acces.bibliotheque-diderot.fr/login?url=https://doi.org/10.15122/isbn.978-2-8124-2937-8.
Pełny tekst źródłaChildren's literature nowadays asserts the predominance of an iconic logic and clears away the former conception of the illustration subjected to the text. Today the whole book presents itself as a visual object and requires to be analyzed as such. This is no episodic characteristic, but rather a phenomenon to be linked with the evolution of media practices in the post-modern videosphere, and an echo of certain questionings in modern art. What are the direct consequences within the book of the several moving, multimedia and interactive images society targets at children? In becoming more and more aware of the psychological specificities of its readers, children's literature explores the ways to get an even more direct, immediate and attractive contact with children, re-using the modes of representation of other artistic fields, notably theater's apparatus. Picture books thus turn out to be a perfectly apt base to adjust to such alien apparatus and adapt it to their own codes, always highlighting the importance of communication. Their pages show the world to the children while mirroring their personal experience and emotions, and invite them to explore and people the image. The image thus becomes a mental landscape, a protective frame screening the relationship between the self and the world, and adapting its shape to the children. Paradoxically, the image is most visually powerful when its visibility is slightly altered and its own disappearance carefully staged. It thus gives birth to new forms of writing such as traces and clues, requiring great attention from the young investigator-reader
Roux, Pascale. "Georges Henein : écritures polémiques". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030160/document.
Pełny tekst źródłaThe Egyptian, French-speaking writer and leader of the surrealist movement in Cairo, Georges Henein [1914-1974] was one of the most subversive spirits of pre-Nasser Egypt. The whole of his literary trajectory is crossed by the idea that the artist, in order to be modern, must plunge entirely and unconditionally into the great “social fray”: literature is a political weapon with which to carry out social battles and the author must seek assiduously and in all his forms, polemic debates. Approached most of the time from the angle of the history of ideas, or under that of linguistics and rhetoric, polemical writings occupy, in the field of the literary studies, largely a secondary place. This study, which is based on an extremely diversified corpus and which is grounded on a transversal approach to the texts, would like to contribute to forge relevant tools for analysis beyond any singular work herein. In addition, if the adopted point of view is principally literary, the study would like to also propose the bases for an interdisciplinary model useful in the study of the polemical writings, taking approach into account, primarily, the contributions of linguistics and the socio-criticism. Our analysis distinguishes itself from a purely internal approach, which regards the text as a closed structure, as well as from purely external approaches, which approach it like a simple reflection of an external reality. The principal question that the study endeavors to answer deals thus with the way in which the polemical text organizes its articulation with regards to the extra-textual via the central concepts of polemical scene and representation
Payre, Karine. "Représentations et fonctions de l’exil espagnol en France et de l’émigration économique vers l’Allemagne au XXe siècle dans la littérature espagnole du XXIe siècle". Besançon, 2010. http://www.theses.fr/2010BESA1037.
Pełny tekst źródłaThis work means to study the representations that are illustrated in novels about the exile from Spain to France and about economic emigration (1960-1970) to France and especially to Germany. Those themes have been mostly dealt with in Spanish literature since the Javier Cercas’ best seller publication, Soldados de Salamina. Javier Cercas greatly influenced the narratives about exile and emigration thanks to such use as investigation method for example. Those works afford an essential additional information with regard to historians research on exile and emigration. Finally, these narrative representations, sometimes in harmony and other times in discrepancy concerning those found in previous literature, aim at the same purpose: understanding the present immigration to Spain, and therefore, understanding the Other and their own identity
HERVIOU, NGUYEN MARTINE. "L'espagne dans l'oeuvre romanesque des ecrivains espagnols d'expression francaise : jose luis de vilallonga michel del castillo, agustin gomez arcos". Paris 3, 1998. http://www.theses.fr/1998PA030039.
Pełny tekst źródłaOUR research WORK IS BASED ON TWO ASPECTS : A VISION OF SPAIN, WRITTEN BY SPANISH NOVELISTS, JOSE LUIS DE VILALLONGA, MICHEL DEL CASTILLO AND AGUSTIN GOMEZ ARCOS, BUT THESE AUTHORS HAVE DECIDED TO EXPRESS THEMSELVES IN FRENCH. JOSE LUIS DE VILALLONGA, MICHEL DEL CASTILLO AND AGUSTIN GOMEZ ARCOS CHOSE TO LIVE IN FRANCE, IN EXILE FOR POLITICAL REASONS, AFTER THE SPANISH CIVIL WAR FROM 1936 UNTIL 1939 AND THE FRANQUISM ERA WHICH FOLLOWED. HOWEVER, THEIR EXILE IS A CULTURAL EXILE TOO, BECAUSE IT CONTAINS A REJECTION OF THE SPANISH LANGUAGE. OUR STUDY IS BOTH THEMATIC AND LITERARY. WE ANALYSE THE VISION OF SPAIN IN THEIR NOVELS AND THE CHARACTERISTICS OF THEIR STYLE. OUR THEMATIC ANALYSIS IS COMPARATIVE AND THE THESIS IS DIVIDED IN FOUR CHAPTERS. THE FIRST CHAPTER "LE DRAME DE L'HISTOIRE" EVOCATES THE VISION OF THE CIVIL WAR AND THE STAKES OF WRITING ABOUT THESE EVENTS. THE SECOND CHAPTER, "DES GUERRES FAMILIALES" CONCERNS THE SPANISH FAMILY. THE THIRD CHAPTER, "AU-DELA DES MAUX" IS AN INVESTIGATIONS OR THEIR STYLE. WAR IS PRESENT IN EACH CHAPTER OF THE NOVELS OF THE STUDIED AUTHORS BUT FINALLY THE SPANISH THEMATIC IS EXCEEDED IN THEIR LAST NOVELS WHILE THEY CONTRIBUTE TO ENRICH THE FRENCH NOVEL WITH INNER VISIONS OF SPAIN
Patricio, Mulero Maria. "La ciudad literaria, Representación urbana y creación literaria en Barcelona (1970 – 2015)". Electronic Thesis or Diss., Paris 8, 2017. http://www.theses.fr/2017PA080074.
Pełny tekst źródłaBarcelona owns a heritage and a solid and relevant literary production to be fully considered a literary city. This condition is associated with a literary identity proper of Barcelona, which is reflected in the Barcelona literature and has been built intensely throughout the XXth century. The writers' relationship with the city, as well as the interactions of the different literary actors and the local, regional or national literary policies, influence the process of creation of the literary works. Based on an analysis of literary works selected in a Barcelona corpus covering publications between 1970 and 2015, together with qualitative interviews with writers and literary actors operating in Barcelona, this thesis tries to approach the subject of the city in literature: starting from the characteristics of the city that inspire the writers, and observing the cultural policies that disseminate this literary imaginary and its authors, we define the process of creation of the literary works of Barcelona and the way in which writers portray their spaces and their society. In the first part, we study the Barcelona literary world to analyze how the regional and municipal institutions, together with the publishing sector, bookstores and libraries, disseminate the literary heritage of the city. From this perspective, the project for the candidacy of Barcelona as UNESCO City of Literature illustrates this coordinated efforts. In the second part, we present the results of the interviews on the writing process of the works of Barcelona and the interaction of writers with space. To conclude, we analyze the social themes and spaces present in the Barcelona literary imaginary according to the corpus of works studied
Barcelona cuenta con un patrimonio y una producción literaria sólida y relevante para ser considerada plenamente una ciudad literaria. Esta condición está asociada con una identidad literaria característica de Barcelona, que se ve plasmada en la literatura barcelonesa y que se ha ido construyendo intensamente a lo largo del siglo XX. En el proceso de creación de las obras influye la relación de los escritores con la ciudad, así como las interacciones de los diferentes actores literarios y las políticas literarias locales, regionales o nacionales. A partir de un análisis de las obras literarias seleccionadas en un corpus barcelonés que abarca publicaciones entre 1970 y 2015, junto a las entrevistas cualitativas realizadas a los escritores, por un lado, y a los actores literarios que operan en Barcelona, esta tesis intenta aproximarse al fenómeno de la ciudad en la literatura: partiendo de las características de ésta que inspiran a los escritores, y observando las políticas culturales que difunden ese imaginario literario y sus autores, definimos el proceso de creación de las obras literarias barcelonesas y la forma en qué los escritores retratan sus espacios y su sociedad. En una primera parte estudiamos el mundo literario barcelonés para analizar cómo las instituciones regionales y municipales, junto al sector editorial, las librerías y las bibliotecas difunden el patrimonio literario de la ciudad. Desde esta óptica se analiza paralelamente el proyecto de candidatura de Barcelona como Ciudad UNESCO de la literatura. A continuación presentamos los resultados de las entrevistas sobre el proceso de escritura de las obras barcelonesas y la interacción de los escritores con el espacio. Para concluir, analizamos los temas sociales y los espacios presentes en el imaginario literario barcelonés según el corpus de obras estudiadas
Gonzalez-Benevent, Silvina. "Le regard d'une génération : formes d'incomplétude chez Carlos Saura et Juan Marsé". Montpellier 3, 2008. http://www.theses.fr/2008MON30033.
Pełny tekst źródłaThe notion of generation, wich is large and sometimes still difficult to define, is a starting point to establish a connection between a famous film-maker : Carlos Saura, and an equally renowned novelist : Juan Marsé. Both were born during the Spanish civil war, yet they did not come from the same social background and they had different career paths. It is thus necessary to focus on the relevant elements of their careers and to study their works in parallel. Such fields as psychology and sociology are the basis of an analysis which deals with two emblematic works by Carlos Saura Cría cuervos and by Juan Marsé –Si te dicen que caí. Drawing a parallel between these two works clearly reveals the resonance of the context on their authors' creations. However, belonging to a generation cannot be limited to sharing historical experiences. The impregnation of actually lived history is carried on and restructures over a whole period of time. The end of the Franco regime logically disrupts the act of creation by establishing a new space for freedom. Nevertheless, this optimism remains unfulfilled when Carlos Saura and Juan Marsé's last works make unclear feelings resurface, feelings that were not satisfied during the political and social transition of the authors' country
Guibbert, Sylvie. "Les representations d'isabelle la catholique dans l'espagne du xxeme siecle". Montpellier 3, 1991. http://www.theses.fr/1991MON30029.
Pełny tekst źródłaIsabel the catholic is one of the most famous characters of the spanish history. In the xxth century, her representations are numerous in the mass media which have an effect on the largest audience : school and cinema. When studying school books a great steadiness can be noticed in her representations although writers use various formes to depict the queen's life. However, this smooth and sometimes unaffected portrait is not deprived of moral and political inducement. The cinema shows such a perfect picture of the queen, but the temporal variations are much more perceptible. These representations face each other or complete each other. From this harmonious or incompatible union - some pictures conveyed by songs or popular tales act a catalyst - the characters of the national mythology are born in the popular imagination. The investigation in the particular case of isabel the catholic is very revealing. Her character is of an extraordinary plasticy and richness. Her faith, her nationalism, her intransigence, her freedom and her emancipation have been many a time put forward, so that she has been a symbol for the feminists in the beginning of the century as well as during the government of general franco
Giustiniani, Eve. "Une biographie intellectuelle de José Ortega y Gasset pendant l'exil (1936-1946) : silence politique ou collaboration passive ?" Aix-Marseille 1, 2008. http://www.theses.fr/2008AIX10094.
Pełny tekst źródłaBoulay, Charlette. "Paul morand et l'espagne". Toulouse 2, 1992. http://www.theses.fr/1992TOU20048.
Pełny tekst źródłaPaul morand is mainly known for his short stories and his books telling about travels which allow to know society of the begining of the century, and all the social, tecnical and artistics changes, created and generated by the contemporary artists. This thesis explains that an important part of writer's works, his poetry, his main novels, had their origins in the approach of the spanish civilisation. In fact, spain knew how to reserve till the fifties' period, tragic and dark attachment to pain and honour, inherited from both her flemish and arab origins. Morand, on his side, regretted, since the end of the first world war, europe's decline, that europe which lighted up the world, like charles the fifth, king of spain, who dominated his whole immense empire. Morand, from his personnal experiences, discovered that he was similar to these people who are no proud but still victims. The european history and morand's, both a diplomat and a traveller, are closely linked
Marín, Lacarta Maialen. "Mediación, recepción y marginalidad : las traducciones de literatura china moderna y contemporánea en España". Doctoral thesis, Universitat Autònoma de Barcelona, 2012. http://hdl.handle.net/10803/96261.
Pełny tekst źródłaThis dissertation aims to study the translations and the reception of twentieth-century Chinese literature in Spain. Two main interrelated hypotheses are presented: the marginality of Chinese modern and contemporary literature in the Spanish reception and the mediation of the Anglophone and Francophone literary systems in this reception. These hypotheses are tested through the analysis of the history of translations and a case study scrutinising the reception of Mo Yan’s (莫言) work and the indirect translation from the English into Spanish of his novel Tiantang suantai zhi ge (天堂蒜薹之歌). The marginality of this literature in the Spanish context exhibits numerous symptoms: the profusion of indirect translations, the recourse to editing, the preference for the documentary value of the novels, the emphasis on the radical otherness, etc. Moreover, indirect translation provides the main evidence of the mediation of the Anglophone and Francophone literary systems in this process. One hundred translations are presented, the examination of which enables us to study the evolution of the types of translations, the mediating languages, the channels for choosing the works to be translated, the homogenisation and temporal proximity of translations in English, French and Spanish, the typology of the translated texts, etc. Special attention has been paid to paratexts and reviews in the study of the reception of these texts. Furthermore, the dissertation examines the role played by the mediation of the Anglophone and Francophone literary systems in the incomplete assessment of this literature. The analysis of the reception of Mo Yan’s work and of the translation of one of his most prominent novels offers concrete examples that support this thesis.
Patricio, Mulero Maria. "La ciudad literaria, Representación urbana y creación literaria en Barcelona (1970 – 2015)". Thesis, Paris 8, 2017. http://www.theses.fr/2017PA080074.
Pełny tekst źródłaBarcelona owns a heritage and a solid and relevant literary production to be fully considered a literary city. This condition is associated with a literary identity proper of Barcelona, which is reflected in the Barcelona literature and has been built intensely throughout the XXth century. The writers' relationship with the city, as well as the interactions of the different literary actors and the local, regional or national literary policies, influence the process of creation of the literary works. Based on an analysis of literary works selected in a Barcelona corpus covering publications between 1970 and 2015, together with qualitative interviews with writers and literary actors operating in Barcelona, this thesis tries to approach the subject of the city in literature: starting from the characteristics of the city that inspire the writers, and observing the cultural policies that disseminate this literary imaginary and its authors, we define the process of creation of the literary works of Barcelona and the way in which writers portray their spaces and their society. In the first part, we study the Barcelona literary world to analyze how the regional and municipal institutions, together with the publishing sector, bookstores and libraries, disseminate the literary heritage of the city. From this perspective, the project for the candidacy of Barcelona as UNESCO City of Literature illustrates this coordinated efforts. In the second part, we present the results of the interviews on the writing process of the works of Barcelona and the interaction of writers with space. To conclude, we analyze the social themes and spaces present in the Barcelona literary imaginary according to the corpus of works studied
Barcelona cuenta con un patrimonio y una producción literaria sólida y relevante para ser considerada plenamente una ciudad literaria. Esta condición está asociada con una identidad literaria característica de Barcelona, que se ve plasmada en la literatura barcelonesa y que se ha ido construyendo intensamente a lo largo del siglo XX. En el proceso de creación de las obras influye la relación de los escritores con la ciudad, así como las interacciones de los diferentes actores literarios y las políticas literarias locales, regionales o nacionales. A partir de un análisis de las obras literarias seleccionadas en un corpus barcelonés que abarca publicaciones entre 1970 y 2015, junto a las entrevistas cualitativas realizadas a los escritores, por un lado, y a los actores literarios que operan en Barcelona, esta tesis intenta aproximarse al fenómeno de la ciudad en la literatura: partiendo de las características de ésta que inspiran a los escritores, y observando las políticas culturales que difunden ese imaginario literario y sus autores, definimos el proceso de creación de las obras literarias barcelonesas y la forma en qué los escritores retratan sus espacios y su sociedad. En una primera parte estudiamos el mundo literario barcelonés para analizar cómo las instituciones regionales y municipales, junto al sector editorial, las librerías y las bibliotecas difunden el patrimonio literario de la ciudad. Desde esta óptica se analiza paralelamente el proyecto de candidatura de Barcelona como Ciudad UNESCO de la literatura. A continuación presentamos los resultados de las entrevistas sobre el proceso de escritura de las obras barcelonesas y la interacción de los escritores con el espacio. Para concluir, analizamos los temas sociales y los espacios presentes en el imaginario literario barcelonés según el corpus de obras estudiadas
Arnaud, Simon. "La transition vers un autre théâtre jeune public : écrire, éditer et mettre en scène en Espagne de 1960 à 1978". Thesis, Rennes 2, 2018. http://www.theses.fr/2018REN20039/document.
Pełny tekst źródłaAfter the progress seen in spanish children’s theatre between 1920 and 1936, the arrival of the Franco dictatorship resulted in cultural activity being taken into state control. Children’s theatre became an educational tool to serve the interests of the regime, and during the 1960’s was the object of particular attention from the Ministry of Tourism and Information, which at the time was responsible of cultural affairs, and from the Sección Femenina (troupe Los Títeres , 1959 ; Asociación Española para el Teatro Infantil y Juvenil, 1966). Within the general context set by these political policies and cultural practices, this work aims to demonstrate the role played by certain dramatists, whose origins were in social realism, the Teatro Independiente and the Nuevo Teatro, in promoting a new kind of theatre for young audience. Although they did not work together in any organised way, at the similar time they all sporadically turned their attention towards a young audience. They gave witness to the element of risk inherent in any attempt to transgress aesthetic and cultural norms, and also to desire to create a new kind of theatre writing which aimed to combine awareness raising with an element of play. This thesis is written from an interdisciplinary perspective (theatre studies, literature, sociology of entertainment, cultural history, anthropology…). It brings together literary analysis and the study of historic and cultural records in order to give an account of the aesthetic, ethical an practical issues which influenced the dramatic work
Mitaine, Benoit. "Suso de Toro : de l'altérité galicienne à l'identité narrative". Grenoble 3, 2004. http://www.theses.fr/2004GRE39019.
Pełny tekst źródłaPallares, Emma. "La Fuite autobiographique dans les récits de Philippe Soupault". Montpellier 3, 2003. http://www.theses.fr/2003MON30001.
Pełny tekst źródłaThe autobiographical avoidance in Philippe Soupault's narratives. The reading of the narratives, short stories and novels written by Philippe Soupault, enlightened by his more traditionally autobiographical texts - diaries, memoirs, interviews - reveals an original practice of autobiography. An experienced reader only can foil the trays of concealment Soupault has instituted. Beyond the procedures of avoidance - the myth of failure, the refusal of remembrance, the model-characters - a self-centred writing arises. The works echoe as a manifesto on oblivion ; the notion of “ autofiction ” provides an interpretative framework. Thus, one can detect in the novelistic attemp - stamped by its time and by surrealist aftermaths - a fictionalization of the author's self. The reader becomes the interpreter of the one who, even under varied masks, remains present in his works
Miehé, Christian. "Michel Butor et la critique d'art". Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30065.
Pełny tekst źródłaThis thesis explores the relationship between Michel Butor's writing and the visual arts. Butor is well known for his role in the "Nouveau roman", but his very personal contribution to art criticism together with his poetic approach to artistic creation have received scant attention. The structure of this thesis is tripartite. The first deals with "sources of influence". It analyses Butor's biography, pinning down the notion of art critic and examining his links with the writings on art of Diderot, Baudelaire, Claudel, Breton and Sartre. The second part, entitled "A critical shift", analyses texts of criticism or art history dealing with well-known artists, be they classical, modern or contemporary. It reveals the importance of Butor's approach in this domain and opens out into the notion of dialogue in the broad sense of the term. The third part, entitled "After criticism or transposition" examines the poetic transposition which takes over from art criticism. Texts undergo a rearrangement of their original writing to become encompassed in larger entities, ushering in a new approach to art criticism. This study thereby traces a development in Michel Butor's attitude to artists and their work, mirrored by a shift in his own writing moving from pure art criticism to a poetic transposition
Desvaux, Marie-Francine Mansour. "Le surréalisme à travers Joyce Mansour : peinture et poésie, le miroir du désir". Thesis, Paris 1, 2014. http://www.theses.fr/2014PA010520/document.
Pełny tekst źródłaJoyce Manour 's work is a striking, sometimes anguishing example of Breton's concept of « communicating vessels » : the subconscious's hidden wounds seep into her writing leaving traces of desire, death and an inextinguishable yet desparate will to live. Parallel to this, the very visual, camal nature of her words provides a « mirror of desire » which enables the intimate echoing between her poetry and the works of her artist friends. Through their collaborations, they sublimate, enhance, comment on and illustrate each other. Each in their own way, they share the same anguish. commit the same transgressions, exercise the sa me freedom. Art and poetry connect deeply. This thesis aims to follow the symbiosis between images, words and experiences which characterises Joyce Mansours work. It reveals itself in the collection of Oceanic art she built up with her husbanc, Samir Mansour ; in the Objets méchants she created using material gleaned from scrapyards or bought at the BHV ... which express a need to intensify daily life, seek its essence in order to escape tedium ; in the elective affinities she shares with with the artists that enrich her works, as she does theirs. This « mirror of desire» is both personal - an expression of the poetess' s destiny, haunted by death and its traumas - and collective, as it seems to reflect the phantasmagorical landscape of a generation hungry for freedom, but haunted, like Joyce Mansour, by the mass graves of successive wars, and in rebellion against the non-life of the living
Moca, Matteo. "Figures du surréalisme italien : (Les mots, les corps, les métamorphoses, les animaux et les monstres)". Thesis, Paris 10, 2019. http://www.theses.fr/2019PA100024.
Pełny tekst źródłaIn this work, the issue about the existence of Surrealist Literature in Italy will be analysed. It is obvious that, differently from the French environment where it was born and developed following precise theoretical rules, Surrealism has never taken a clear shape in Italy. Having said that, some influences and a certain affinity to Surrealist poetics is evident in some authors. In this work, the possible existence of an Italian Proto-surrealism which anticipates the 'French explosion' is taken into consideration. In particular, the works of Alberto Savinio, Antonio Delfini and Tommaso Landolfi, have been studied together with the artistic and literary experience of the Metaphysical 'School' which plays an important role in the definition of theoretical standards of Surrealism both in France and in Italy. In every author taken into consideration, the contact points and the adherence to Surrealist Literature, specifically in relation with André Breton's theoretical works, have been highlighted. It is clear that, for every author, the study followed autonomous lines. There was no intention, indeed, to theorise a possible belonging of these writers to a close and harmonious groups as in France. There was, instead, the aim of considering the possible impact of Surrealist poetic on the works of these authors. At the end of the work, it might be stated that, despite the several differences, there was a moment in Italy in which a certain group of authors produced a Surrealist Literature. They did not completely follow Breton's theoretical treatise, but they surely knew it and explored some of its elements
In questo studio ci siamo proposti di rispondere alla questione concernente l'esistenza, in Italia, di una letteratura surrealista. É fuori di dubbio che il surrealismo in Italia non ha mai preso una forma definita, differenziandosi in questo rispetto alla Francia dove è nato e si è sviluppato seguendo delle regole teoriche precise; nonostante questo, alcune influenze e una certa vicinanza alla poetica surrealista è evidente in alcuni autori. In questa tesi si prova a dimostrare che, in certi momenti, è possibile parlare anche di un protosurrealismo italiano che anticipa l'esplosione francese. Si sono studiate, in particolare, le opere di Alberto Savinio, Antonio Delfini e Tommaso Landolfi, ma anche l'esperienza artistica e letteraria della scuola metafisica che gioca un ruolo importante nella definizione dei paradigmi teorici del surrealismo sia in Francia che in Italia. In ognuno degli autori che si sono studiati, abbiamo messo in luce i punti di contatto e l'adesione alla letteratura surrealista, in particolare in relazione ai lavori teorici di André Breton. È evidente che, per ognuno degli autori, il discorso ha seguito delle linee autonome e, in effetti, non si aveva l'intenzione di teorizzare un'appartenenza ipotetica di questi scrittori a un gruppo unito e affiatato come in Francia, ma di valutare il possibile impatto della poetica surrealista nelle opere di questi autori. Malgrado tutte le differenze, si pensa di poter affermare, alla fine del lavoro, che c'è stato, in Italia, un momento dove un certo gruppo di autori ha prodotto una letteratura surrealista. Essi non hanno ripreso pienamente il dettato teorico di Breton, ma certo conoscendolo e esplorando alcuni elementi
Demestre, Marie. "Georges Henein, la quête de l'absolu : une poétique de l’illumination contrariée". Thesis, Rennes 2, 2013. http://www.theses.fr/2013REN20057.
Pełny tekst źródłaJournalist, poet, essay-writer whose writing has paced itself on rebellion, Georges Henein, son of Cairo between the two wars, has tried to redefine his status as a man. Affiliated to the surrealist movement through Trotski and Breton's "Fédération Internationale pour un Art Révolutionnaire", Henein has made writing his ally, the only one able to touch what is still pure in this world. As a writer of assertive sharp theories, with convincing aphorisms, he has given his writing some nihilistic aspects, in a refusal of the world organized around the real. Yet, after the study of his 40-yearsrange corpus, a hidden dimension appears, almost coded, spread here and there through enigmas. Translating the desire to rethink the sacred into something that would link the being to itself, Henein offered a transgeneric poetics meant to explore the consciousness. Relying on a spiritual terminology reinvested in a deaf anger, the writer examined all enemies of the thought, leaving the reader appreciate a pact with the impossible
Henrique, da Costa-Amalric Cristina. "João Cabral de Melo Neto : de l'homme qui vient à l'image". Montpellier 3, 2002. http://www.theses.fr/2002MON30057.
Pełny tekst źródłaEberz, Ingrid. "L'imagination surréaliste dans son rapport avec l'automatisme". Paris 7, 1992. http://www.theses.fr/1992PA070067.
Pełny tekst źródłaIn the surrealist study od the actual process of thinking, all notions of traditional philosophy - the ego, mind and body, nature, transcendance, representation - will be deconstructed and replaced by notions which mark the rupture with dualist and idealistic philosophy. The psychophysical field, the inner ear, the wild eye, the automatic message, the magical dicatation announce a pictural and poetic thinking which is not based on the cogito, ergo sum, but on a est, ergo cogito. It is the automatic dimension who gives us to think and who is, in pursuance of that, the ontological dimension of surrealism, the availability for automatism opens the widest field at human imagination. The fundamental solidarity of imagination and automatism determines the surrealis:m as an ontology of imagination based on automatism. It is imagination who is putting into motion the magical and revolutionary power of desire, in order that her movement does not lead onto the nihil, onto imptiness, but onto creation, onto action, onto a world according to our most noble projects and desires
Chartier, Jean. "Philippe Soupault : le choix de la prose durant la décennie 1917-1927". Paris 8, 1994. http://www.theses.fr/1994PA080960.
Pełny tekst źródłaThis thesis establishes three cycles for the dialogical writing of philippe soupault with louis aragon and andre breton. Prose is used as the language of the unconscious, but also as the language of the writing interpolated by the other, addressed tp him, provoking him too. During a dsecade, there is a continual interaction between the writing of the three co-authors. The repositionning of one with regard to the other is really the fiction's subject matter. We will start from the first text published, one referring to rimbaud, also from a manifesto-poem written in intertextuality with apollinaire, and from a narrative expressing the forbidden and the unknown. We will consider the automatic writing of philippe soupault with regard to that of andre breton, but also what other is writen elsewhere by the three writers ins this regard, during this time period. All soupault's fiction appears to be fiction about auto0matic writing and its consequences. The fiction concerns three texts which were written in duality and the depossession of these texts. Poetry is used to introuce each new cycle of dialogical writing but only prose is allowed to state the reality of the inexpressible and the unknown. And when the rext ceases to take the two other authors in consideration, the prose becomes silent in soupault's final reference to rimbaud
Courthieu, Christian. "Les fictions policières de Manuel Vázquez Montalbán : vingt-cinq ans de chronique sociale et de création littéraire, 1972-1997". Toulouse 2, 2001. http://www.theses.fr/2001TOU20050.
Pełny tekst źródłaThis work which questions the whole of detective stories from the Carvalho series, seen from the angles of the social chronicle and the literary creation, emphasizes the transfiguration of reality through writing. The first part (History of writing) focuses on the reasons of the emergnece of that unexpected genre, the « thriller » genre, as the dictatorship is drawing to a close. There are considered, from the literary evolution of the writer, the passage from a « subnormal » writing to the detective story writing via the American Black novel, and then its surpassing, as well as the choice of narrative mode : poetical realism as an aesthetics of unveiling. The study of Lo literario, second part of Montalban's plan after the chronicle, reveals reading paths, the aesthetics of entertainment being then doubled by a network of significations thrown in more particularly through the relationships that intertextuality establishes between the cinema and literature. Intertextual character if any, mainspring of the representations, both focused upon and focusing, the detective Pepe Carvalho is considered from the point of view of his literary birth, of his problematic identity of the symbolical scope of his biblioclasty and of his role in the series. The second part (From objective reality. . . ) deals with the authenticatable reality which roots the chronicle : places, Barcelona, its geography, its history and its metamorphoses ; the time, the Spain of late Francoism (1972) when the right wing was coming back into power (1996), marked by the cultural, social, economic and political disruptions and by the evolution of the mentalities caused by the passage to democracy. The last but not least part (. . . To imagined reality) shows how reality, used and manipulated, weaves three patterns that are intricately linked – Francoism as a base of the spanish society, the failure of the left wing in its desire to change the world, the urban world as an alienating system – in fictions that try to explain History
Ferreira, Adão Ana. "Alexandre O'Neill : du surréalisme tardif à la poétique du réel". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040179.
Pełny tekst źródłaThis research focuses on the analysis of the poetry of Alexandre O’Neill, a Portuguese poet from the second half of the twentieth century. O’Neill began his career as founder of the Surrealist Movement of Lisbonin 1947, an artistic and literary movement created thirty years after the French school, in opposition to theSalazar dictatorship. In 1951, with the publication of Tempo de Fantasmas, his first collection of poems,O’Neill radically detaches himself from the movement and creates an original form of poetry. Yet the criticswill, for a long time, consider him a surrealist poet. His project to transform reality is characterised by a singular approach to daily life. The transformation of reality through bursts of language, the transgression ofofficial discourse as an attack towards the political system and the morals of Portuguese society, the humorous attack against his country’s entire literature canon: O’Neill uses elements of surrealist writing and directs it towards a specific transgression. He refuses to limit language to an ordinary usage; his exploitation of everydayness, along with his observation of people, of their identity and of social matters, forge a singular poetical material with an emancipatory horizon: it is necessary to reach possibilities of building a different reality through poetry. As a liberator and a catalyst of thought, he shows, through his poetry, other ways in which the use of language is possible. This language is capable of transforming the world: by challenging the normative system of the normative system of representing reality, O’Neill creates the poetics of humans
Nadim, Roxana. "Regards croisés sur Barcelone, ville mythique dans les littératures d'expression française, castillane et catalane : du franquisme aux années 2000". Paris 3, 2008. http://www.theses.fr/2008PA030072.
Pełny tekst źródłaThis research examines Barcelona’s image in three different languages and cultures, and seeks to highlight the process in which a literary myth was created and expressed in writing. Indeed, Barcelona is a palimpsest city ; a support for a series of created myths. Beginning in the 19th century – the era of major realist and naturalist works – Barcelona became a city impossible to avoid in Spanish and Catalan literature. However, fiction at the time did not project Barcelona’s image beyond Spain’s borders. The capital of Catalonia only gained international literary recognition after World War I, when the topoi associated with it were also renewed. French writers played a key role in creating and spreading Barcelona’s new image as a cultural and cosmopolitan capital. They shaped an urban image which was subsequently taken up and up-dated by Spanish and Catalan writers. The corpus here is trilingual and covers in particular the works of Jean Genet, André Pieyre de Mandiargues, Georges Bataille, or Claude Simon, and fiction written in Castilian by Juan Marsé, Juan Goytisolo, Eduardo Mendoza, Manuel Vázquez Montalbán, Carmen Laforet, etc. , as well as works in Catalan such as the novels by Mercè Rodoreda, Victor Mora and Montserrat Roig. From a methodological point of view, the imagological content of the subject draws on human sciences – the history of mentalities and cultural anthropology – and raises problems linked to notions of interculturality and intertextuality
Hourdin, Gaëlle. "L'étincelle et la plume : une poétique de l'entre-deux dans l'œuvre de César Moro". Toulouse 2, 2010. http://www.theses.fr/2010TOU20035.
Pełny tekst źródłaContradiction typifies the bilingual poetical works of Peruvian author César Moro (1903-1956): widely appreciated in Latin-American literary circles, Moro’s works have however been relatively overlooked by publishers and scholars alike. This paradox may partly stem from the contrast between the profusion of images and sounds which appeals to the reader and fills him with poetical emotion, and the cryptic nature of a web of visual effects which seem to defy understanding. How thus can we define an interpretative method when the text itself seems to oppose it? If the poetics of Moro’s works oscillates between opaqueness of meaning and direct sensorial experience, between abstruseness and obviousness, an original approach of the materiality of the works should be set. This new analytical strategy should favour the combination of “micro-textual” examinations –through the study of the numerous plays on sounds and repetitions of phonemes– with “macro-textual” ones –taking into account how the poems relate to each other and also based on the diverse contexts of writing. Concealed behind the obsession with desire, a series of amorous or intertextual landscapes revealing the lyrical subject emerge. This lyrical subject finds answers to his questions about identity and existence by making a detour via the issues of otherness, the evocation and reconstruction of the images of his beloved and the appropriation of motives and references to the poetic tradition. The lover’s discourse and the metaphorical one thus concur in the writing of the self haunted by the issues of recognition, memory and death
Mathios, Bénédicte. "Le sonnet espagnol à l'époque franquiste : fixité, transtextualité, métatextualité". Paris 4, 1998. http://www.theses.fr/1998PA040264.
Pełny tekst źródłaThis study deals with the Spanish sonnet at the time of the pro-Franco dictatorship. In the first part, chapter 1 refers to the collective space-time of an autarkical Spain, confined in the fixed codified form of the sonnet, whose poets use much in the first 40's. The national space is represented by symbols such as the stone or the bull. Chapter 2 depicts fusion phenomena existing -during the same period or later on and according to the evolution of each poet- between the individual speaker and his intimate space-times, which are often Spanish geographic places. Among certain poets, the return to the space-time of infancy or of adolescence in also a return to the structuring form of the sonnet. Similarly, some mystical aspirations materializing in religions buildings the architecture of the sonnet. Chapter 3 tackles the notion of the formal transgression of the sonnet, which is the embodiment of the certain speakers' commitment of protest. This practice concerns the 50's and the 60's. The second part consists in the study of a corpus of love sonnets at the same period. One has attempted to give a definition of the speaker in the sonnet after giving prominence to the intertextual dependence of this form and to its capacity of evolution. In the third part, the metapoetic essence of the sonnet is revealed through a specific corpus dating back to the Italian 16th century- whose structure derives from the dialectics of repetition and of differentiation suggested before. The sonnet gains the double function, both contradictory and crucial, of "container" confining its own form in itself and of "diffuser" of poeticity
Konaté, Diola. "Réflexions poétiques de l'Afrique dans l'oeuvre d'un écrivain ethnologue surréaliste : Michel Leiris". Clermont-Ferrand 2, 1993. http://www.theses.fr/1993CLF20048.
Pełny tekst źródłaThe narrator-poet and ethnographer at the same time-in his literary creations and ther works structures around the theme about africa a theory giving a new dynamic value to the authentic reflections expresin, the spiritual and cultural values and the africa heritage-a theory doubly throun into relief in our study on account of michel leiris' double vocation. According to the ethngrapher all aspects described in his travel book as manners and customs, rites and apparent sources of beliefs, exploitation of magic knouledges and resorts to mythical survivals deserve to be taken into account, for they represent basis from which the africa black explains and integrates his naturel environment but also throngh which be states his attachment to his origins. According to the poet the travel throngh the complex circonvolutions of these irrational wealths, beyond the passion for myths and cultures unknoun of that time, becomes a means of being objective towards the rational logic and to reach a better acquaintance of oneself and the then - a poetic experimentation that he carries on even in his dreams (image of the ethnographe
Jankovic, Lisa. "La comédie de magie espagnole (1840-1930) : Le spectaculaire flamboyant". Thesis, Paris 3, 2014. http://www.theses.fr/2014PA030118.
Pełny tekst źródłaLa pata de cabra (1829) by Grimaldi was a turning point in the history of Spanish Magical Theater. My dissertation is enquiry into 19th and 20th-Century Post- Grimaldian enchanting comedies. I use a cultural historical approach to shed light on this genre’s specific search for a “spectacular dimension” and to examine it from an aesthetic and artistic point of view, as well as a technical and budgetary one. This Magical Theatre was very prolific and successful at the time (despite harsh critics), but it has largely been forgotten since. Although Magical Comedy seems to be a minor genre, it is nonetheless part of a long “neo-ritualistic” Spanish and European tradition and, because of its extensive optimization of on-stage possibilities, it has undoubtedly influenced more renowned genres. I discuss the performance aspect of this cultural object and I argue that it is a workshop for Spanish Avant-Garde theatre. I show how Magical Comedy fostered theatrical creativity among artists and I discuss to which extent this singular cultural phenomenon shaped specific representative techniques (scenery, costumes, machinery and other devices) in Spanish theatre