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Статті в журналах з теми "Art oratoire dans la littérature"
Gotteland, Sophie. "Le Contre Timarque d'Eschine : prolégomènes à un Art rhétorique ?" Rhetorica 39, no. 4 (2021): 410–31. http://dx.doi.org/10.1525/rh.2021.39.4.410.
Повний текст джерелаPierron, Jean-Philippe. "Interpréter est un art." Les Cahiers de la Justice N° 2, no. 2 (June 12, 2024): 207–18. http://dx.doi.org/10.3917/cdlj.2402.0207.
Повний текст джерелаBalint-Babos, Adina, and Antonio Viselli. "L’inachevé dans la modernité : littérature, art et musique." Voix Plurielles 11, no. 2 (December 3, 2014): 3–8. http://dx.doi.org/10.26522/vp.v11i2.1095.
Повний текст джерелаGordon, Alex L. "Au service de l'argumentation : le classement des figures chez Guillaume Tardif." Études littéraires 24, no. 3 (April 12, 2005): 37–47. http://dx.doi.org/10.7202/500984ar.
Повний текст джерелаMcDonald, Christie. "Ethnographie, littérature et art dans l’oeuvre d’Anne Eisner (Putnam)." Anthropologie et Sociétés 28, no. 3 (September 12, 2005): 105–26. http://dx.doi.org/10.7202/011285ar.
Повний текст джерелаHermand-Schebat, Laure. "Formation initiale et formation continue de l’orateur : les exercices rhétoriques dans les livres I, II et X de l’Institution oratoire de Quintilien." Vita Latina 195, no. 1 (2017): 232–48. http://dx.doi.org/10.3406/vita.2017.1851.
Повний текст джерелаKibédi Varga, Aron. "Réflexions sur le classicisme français: littérature et société au XVIIe siècle." Revue d'histoire littéraire de la France o 96, no. 6 (June 1, 1996): 1063–68. http://dx.doi.org/10.3917/rhlf.g1996.96n6.1063.
Повний текст джерелаSaouter, Catherine. "Le téléroman, art de nouveaux conteurs: formes et influences de récit téléromanesque." Recherche 33, no. 2 (April 12, 2005): 259–76. http://dx.doi.org/10.7202/056693ar.
Повний текст джерелаMbwangi, Julien Mbwangi. "Littérature Orale et Société. La Chanson ‘Attention Au Sida’ et la Vie Sociale en rd Congo." Afrika Focus 33, no. 1 (February 27, 2020): 105–23. http://dx.doi.org/10.1163/2031356x-03301007.
Повний текст джерелаThéry, Chantal, and Claudia Raby. "Jeanne Lapointe : un art et une éthique du dialogue." Articles 21, no. 1 (June 26, 2008): 59–78. http://dx.doi.org/10.7202/018309ar.
Повний текст джерелаДисертації з теми "Art oratoire dans la littérature"
Conte, Sophie. "Action oratoire et écriture du corps de Quintilien à Louis de Cressoles." Paris 4, 2000. http://www.theses.fr/1999PA040292.
Повний текст джерелаViellard, Delphine. "Les liminaires dans les oeuvres latines des IVe et Ve siècle." Paris 4, 2004. http://www.theses.fr/2004PA040088.
Повний текст джерелаIn the introductions to their works, the 4th and 5thcenturies' authors, be they pagan or christian, reveal their faith to the traditional rhetoric and mainly to Ciceron's "De inuentione". The introductory texts called in latin "exordium", "prologus", "prooemium", "praefatio" and "praefatiuncula" take on forms as varied as the oratory "exordium", the poetical "prooeminium, the dedicatory epistle and preface, which all imitate the oratory "exordium" codified from the poetic tradition. As we have demonstrated, the choice of an introductory text depends on the genre of work because the each literary genre corresponds a specific kind of text. Besides, the presence of some elements which are external to the "exordium" testifies more to our author's will to go beyond the mere presentation of the work rather than to a rejection of the rhetoric of th "exordium". The introductory text then becomes a text open not only to the external events but also to different people: dedicatees and interlocutors. Hence the emergence of the preface increasingly used by the Christiens, who are fond of justifications and consequently develop this introductory genre following thus in the steps of Jerome
Coulon, Laurent. "Le discours en Égypte ancienne : éloquence et rhétorique à travers les textes de l'Ancien au Nouvel Empire." Paris 4, 1998. http://www.theses.fr/1998PA040060.
Повний текст джерелаThis thesis deals with the discourse in ancient Egypt and the various shapes of valorization which matter is the discourse itself as a social activity as well as a literary shape and topic. The question, thus, relates to the way in which the ancient Egyptians have been picturing to themselves the discourse and its applications, its importance, its functions and its aesthetic value. The method adopted is built upon a pragmatic approach in which the texts from the ancient kingdom to the new kingdom that mention the dimension of the discourse (autobiographies, teachings, royal inscriptions, literary or religious texts) are related to their sociological and historical context. It is then possible to draw out, for each period, the place given to eloquence: thus, in the times of united monarchic power, the existence of court eloquence is stated, which is the means of distinction above all. On the contrary, during the first intermediate period, with the local withdrawal of the provinces, an unprecedented spreading out of political eloquence appears in assemblies where the community's future is committed. The literary discourse forms also the subject of a study in so far as it builds a reflection on the part taken by the discourse. During the middle kingdom, productions such as "the eloquent peasant" or "the lamentations of khakheperreseneb" are questioning deeply the lack of social communication or the loss of reference in an official discourse which fairness is fallacious. During the new kingdom, the literature, which had become more autonomous in the sphere of the discourse, appears as an all-powerful rhetoric that trifles with the truth and the false. The study eventually opens on an endeavor to evaluate the Egyptian rhetoric in itself, especially through what links the latter to the magic discourse
Andriamasinalivao, Rajaofera Beby Alyette. "Gender and female empowerment in Malagasy folktales and oratory." Thesis, Université de Paris (2019-....), 2020. http://www.theses.fr/2020UNIP7142.
Повний текст джерелаGender relations in the Malagasy context are often conceptualised in terms of complementarity with a relative denial of the existence of overt male dominance and female oppression and a marked insistence on female superiority. Nevertheless, the diversity of the representations of gender relations in the different regions of Madagascar does not always reflect this generalised pattern, which points to the necessity of a contextual analysis of the representation of men and women and the power relations that structure their interactions. The present study focuses on the notions of masculinity and femininity as well as the power relations between men and women in a selection of Malagasy folktales that were written and published from the 19th century to the present and the contemporary performance of oratory discourses by orators from Antananarivo and Paris. Drawing on surveys and interviews with a selection of storytellers and orators, as well as the observation of storytelling and oratory performances, the study highlights the ways in which gender differences are translated into gender inequality, which tend to limit the possibilities for female empowerment. The main arguments that are presented in the research stress the prevalence of male dominance and female subordination as can be observed in the variety of the male and female characters’ experiences in the selected folktales and the current experiences of female orators in the field of oratory performance. Two possible itineraries for female empowerment are explored based on contemporary storytellers’ perceptions and representations of gender in their works and the audience’s responses to the latter
Balique, Florence. "Étude rhétorique des discours dans Les Fables de La Fontaine." Paris 4, 2002. http://www.theses.fr/2002PA040156.
Повний текст джерелаAt the crossroads of several disciplines - literature, rhetoric, philosophy,- our study of La Fontaine's Fables explains how the apologue, a minor genre with a didactic purpose, grows into a poem with a powerful style viewed as a hypothesis of meditation through fiction. The investigation goes beyond the apparent passage from "body" to "soul" to consider the fable, a cryptic speech, as a complex web with manifold polyphonic effects. The survey of rhetorical components leads us to an analysis of the oratory strategies displayed by the narrator, the discursive varietas, wich substitutes fictional speech to moral teaching, shaping a non-systematic thought. The "lecteur modèle", who falls in with feigning, enters the fiction to find there a questioning about his own outlook on the world. The omnipresent narrator enables the writer to ironically stand back, keep away from lyricism, a call to find our bearings along the puzzling paths the fable offers
Labbate, Ettore. "Horror vocis / horror vacui : formes du vide dans la langue et l'oeuvre de Giacomo Lubrano." Caen, 2009. http://www.theses.fr/2009CAEN1551.
Повний текст джерелаCosma, Olivier. "Recherches sur le grand style dans les discours de Cicéron." Lyon 3, 2001. http://www.theses.fr/2001LYO31018.
Повний текст джерелаKërtusha-Tartari, Eriona. "Lire et traduire "Émile ou de l'éducation" de Jean-Jacques Rousseau." Montpellier 3, 2008. http://www.theses.fr/2008MON30090.
Повний текст джерелаPreliminary research on preceding flow of translations, reception and their use in Albanian Literature served as a starting phase for accomplishing the translation of ‘Emile, or on Education’. It included reflection on epistemological problems which emphasize the reaction of societies to certain writing works depending on time and culture. Every translation has its own value as long as it fulfills the minimum scientific convention and competence. Our complete translation of the writing work strives not to simply represent the thoughts of Jean Jacques Rousseau but also the writing style which involve images and rhythm, his attention to explain to the French readers the methodological selections of this work. In conclusion, a critic instrument of the proposed translation will allow a systematic approach destined to comprehend the work of Jean Jacques Rousseau and modalities of its reception in 21st Century Albania
Pierre, Maxime. "La poétique du carmen : étude d'une énonciation romaine des douze tables à l'époque d'Auguste." Paris 7, 2008. http://www.theses.fr/2008PA070114.
Повний текст джерелаOur study is an analysis of how the term carmen was used in rome to refer to a specific act of speech. The first part broaches the uses of the word when related to three types of agents - birds, instruments, and cantores - showing the unity of a category which, although not an equivalent, embraces the modern notions of song and music. The carmen is thus defined as an act incorporating the properties of the uox, perceived as sonorous matter that provokes physical, emotional and semantic effects. Part 2 and 3 deal with the uses of the word in the field of religion and law: they show a semantic evolution of the word which, after having referred to "magical" speech acts competing with the law, is renewed at the beginning of the roman empire as an archaising category designating any type of speech act where words are supposed to have an intrinsic efficiency: prayers, laws, or prophecies. Flnally, part 4 and 5 outline the gradual use of carmen as a word of poetic self-reference: first referring to the performance of an actor as opposed to the poema, which is a text, the word carmen is later reconsidered by Catullus and Lucretius as a fictive act of speech. Virgil, Horace and Propertius broaden this novelty by using carmen and canere to refer to the poetic act: it becomes a global speech act category, unifying heterogeneous greek practices, designating either iambos, melos, epos or elegy. This unifying speech act allows the new roman poets to import greek poetry as a significant form qf cultural renewal, which is typical of the augustan age
Bierce, Vincent. "Le sentiment religieux dans La Comédie Humaine d'Honoré de Balzac. Foi, ironie et ironisation." Thesis, Lyon, 2017. http://www.theses.fr/2017LYSEN045.
Повний текст джерелаThe present work endeavours to demonstrate in Balzac’s Comédie humaine just how the representation of faith, considered as a religious feeling, is based upon an active principle of reversal that we will call « ironisation ». Distinct from irony and inherently non-comical, « ironisation » is bound to the issue of value and seems to be, in the early 19th-century society faced with disorder and the instability of meaning, the only form able to convey the unsteadiness of the real and to manifest the rift between the order of the subject and the order of the world. As a narrative, an aesthetic and a poetic dynamic, « ironisation » consists in a displacing and unsettling force, in a new critical mode which puts the reversibility of interpretations at the heart of stories, denies every axiological hierarchy and entails a worldview where truth isn’t tied to transcendence anymore, be it the transcendence of God, of meaning or of truth. Accepting the radical aloneness to which it condemns the reader, « ironisation » troubles our standards, constantly overturns significations and refuses all attempts at systematic unity: as such, it is a true confrontation with reality and it undermines beliefs while forming a third way escaping from the fruitless dialectic between nihilism and spiritualism.If Balzac invents his very personal and original theology, which he expands and exemplifies especially in Le Livre mystique, and if he makes room in his novels for recurring scenes where characters are faced with the appearance of the sacred, he nevertheless tries to represent the religious felling within the bounds of history and to situate his ideas about the spiritual inside of a general framework based upon a materialist project and « realist » poetics. These two premises lead to « ironisation » which, by creating tension between pairs of opposites, the religious and the materialistic, doubt and spirituality, gives birth to a resolutely polyphonic unity, inviting us to rethink the representation of faith in the contemporary world in light of new categories. Since it makes meaning undecidable and forces conflicting realities to cohabit, the gesture of « ironisation » shapes a new relation to time and questions the religious phenomenon as well as the becoming of the modern individual and history
Книги з теми "Art oratoire dans la littérature"
Boisclair, Isabelle. Femmes désirantes: Art, littérature, représentations. Montréal, Quebec: Éditions du remue-ménage, 2013.
Знайти повний текст джерелаFontaine, Alexia. Étoffes & littérature: La littérature dans les indiennes aux XVIIIe et XIXe siècles. Cinisello Balsamo, Milano: Silvana editoriale, 2021.
Знайти повний текст джерелаTnifass, Azzouz. Esprit de Marakech dans la peinture et la littérature. [Morocco?]: Alentours, 2011.
Знайти повний текст джерелаAlain, Montandon, ed. Marie-Madeleine: Figure mythique dans la littérature et les arts. Clermont-Ferrand: Presses universitaires Blaise-Pascal, 1999.
Знайти повний текст джерелаLabouret, Mireille. De Gethsémani au Golgotha: La Passion dans l'art et dans la littérature. Rennes: Presses universitaires de Rennes, 2021.
Знайти повний текст джерелаMilton and the preaching arts. Pittsburgh: Duquesne University Press, 2001.
Знайти повний текст джерелаPierre, Arnaud, and Angel-Perez Elisabeth, eds. Le regard dans les arts plastiques et la littérature (Angleterre, États-Unis). Paris: Presses de l'Universite de Paris-Sorbonne, 2003.
Знайти повний текст джерелаAntonio, Domínguez Leiva, Détrie Muriel, and Université de Bourgogne, eds. Le supplice oriental dans la littérature et les arts. Neuilly-les-Dijon: Murmure, 2005.
Знайти повний текст джерелаMuriel, Détrie, and Dominguez Leiva Antonio, eds. Le supplice oriental dans la littérature et les arts. Neuilly-lès-Dijon: les Editions du Murmure, 2005.
Знайти повний текст джерелаL'intime et le politique dans la littérature et les arts contemporains. Paris: M. Houdiard, 2011.
Знайти повний текст джерелаЧастини книг з теми "Art oratoire dans la littérature"
"Art oratoire et argumentation dans le Livre de job." In New Chapters in the History of Rhetoric, 523–35. BRILL, 2010. http://dx.doi.org/10.1163/ej.9789004175020.i-656.117.
Повний текст джерела"L’oeuvre d’art dans les récits de voyage de pasteurs germanophones à la fin du XVIIIe siècle : jeux d’images et d’influences." In Art et littérature, 195–215. BRILL, 2006. http://dx.doi.org/10.1163/9789401203272_009.
Повний текст джерела"Itinéraire d’un “viator pictor” : Le regard de Corneille Le Brun dans son Voyage du Levant (1674–1693) et la mise en image de Smyrne/Izmir." In Art et littérature, 169–94. BRILL, 2006. http://dx.doi.org/10.1163/9789401203272_008.
Повний текст джерелаFISHER, Dominique D. "L’esthétique et la politique du réel dans la littérature aujourd’hui." In Art et politique, 59–74. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.2307/j.ctv18pgkgm.6.
Повний текст джерелаFisher, Dominique D. "L’esthétique et la politique du réel dans la littérature aujourd’hui." In Art et politique, 59–73. Presses de l'Université du Québec, 2011. http://dx.doi.org/10.1515/9782760529779-004.
Повний текст джерелаErrecade, Ollivier. "Merlin dans le Lancelot propre : digression et art poétique." In La digression dans la littérature et l’art du Moyen Âge, 153–61. Presses universitaires de Provence, 2005. http://dx.doi.org/10.4000/books.pup.2592.
Повний текст джерелаAyed, Kawthar. "Dans les méandres de la littérature dystopique: le pouvoir de l’art contre l’art du pouvoir." In L’art de vivre, de survivre, de revivre. Approches littéraires. Le 50e anniversaire des études romanes à l’Université de Łódź. Wydawnictwo Uniwersytetu Łódzkiego, 2022. http://dx.doi.org/10.18778/8220-877-1.16.
Повний текст джерелаPretalli, Michel. "11 - Le « secret » dans la littérature militaire italienne du XVIe siècle : entre art de la guerre et promotion sociale." In Le partage du secret, 239. Armand Colin, 2013. http://dx.doi.org/10.3917/arco.darb.2013.01.0239.
Повний текст джерелаHiddleston, Jane. "The Artist’s Journey, or, the Journey as Art." In Abdelkébir Khatibi, 305–26. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789622331.003.0014.
Повний текст джерелаSib, Bebe. "Théâtre du réel, construction d’une fresque politique dans la dramaturgie de Kossi Efoui." In Aux carrefours de la langue, de la littérature, de la didactique et de la société : la recherche francophone en action, 59–72. Observatoire européen du plurilinguisme, 2021. http://dx.doi.org/10.3917/oep.agbef.2021.01.0059.
Повний текст джерелаТези доповідей конференцій з теми "Art oratoire dans la littérature"
Corbí-Sáez, María Isabel. "Le symbolisme de la mer dans Les Plages d’Agnès Varda au miroir de la littérature." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3069.
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