Добірка наукової літератури з теми "Noir américain"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Noir américain".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "Noir américain":
Vauthier, Simone. "When the dummy speaks : The example of William Alexander Caruthers." Recherches anglaises et nord-américaines 35, no. 1 (2002): 35–52. http://dx.doi.org/10.3406/ranam.2002.1649.
Vidal, Bernard. "Le vernaculaire noir américain : Ses enjeux pour la traduction envisagés à travers deux oeuvres d’écrivaines noires, Zora Neale Hurston et Alice Walker." TTR : traduction, terminologie, rédaction 7, no. 2 (March 13, 2007): 165–207. http://dx.doi.org/10.7202/037185ar.
Leblanc, André. "Le film noir et les valeurs américaines." Questions internationales 98, no. 3 (August 21, 2019): 120–23. http://dx.doi.org/10.3917/quin.098.0120.
Wacquant, Loïc. "(Re)poser le problème noir américain." Actes de la recherche en sciences sociales 111-112, no. 1 (March 1, 1996): 122–24. http://dx.doi.org/10.3917/arss.p1996.111n1.0122.
Wacquant, Loïc J. D. "(Re)poser le problème noir américain." Actes de la recherche en sciences sociales 111, no. 1 (1996): 122–24. http://dx.doi.org/10.3406/arss.1996.3173.
Lavoie, Judith. "Problèmes de traduction du vernaculaire noir américain : le cas de The Adventures of Huckleberry Finn." TTR : traduction, terminologie, rédaction 7, no. 2 (March 13, 2007): 115–45. http://dx.doi.org/10.7202/037183ar.
Bak, Hans. "Flights to Canada : Promised lands and imaginary homelands in Jacob Lawrence, Ishmael Reed and Lawrence Hill." Recherches anglaises et nord-américaines 46, no. 1 (2013): 57–74. http://dx.doi.org/10.3406/ranam.2013.1445.
Elmaleh, Éliane. "Art afro-américain, stéréotypes et ethnicisation dans les œuvres de Robert Colescott." Migrations Société N° 193, no. 3 (October 5, 2023): 95–112. http://dx.doi.org/10.3917/migra.193.0095.
Kihm, Alain. "Créole ou dialecte : les tribulations du vernaculaire noir américain." Langages 26, no. 108 (1992): 79–89. http://dx.doi.org/10.3406/lgge.1992.1652.
Bruneaud-Wheal, Karen. "Le vernaculaire noir-américain : quels enjeux pour la traduction ?" Éla. Études de linguistique appliquée 172, no. 4 (2013): 453. http://dx.doi.org/10.3917/ela.172.0453.
Дисертації з теми "Noir américain":
Dahan, Patricia Irène. "Psychanalyse et film noir américain." Paris 3, 1988. http://www.theses.fr/1988PA030003.
One can that cinema, as any art, is a witness of its time in the sense that it reflects contemporary interests of its society. Considering that each period of time delivers a message, my work is an attempt to determine what type of message is conveyed by american film noir through an analysis of this cinema; its codes; archetypes; origins; economical, social and historical context. One of the processes chosen to higlight these films is psychoanalysis, as it enables the use of universal principles regarding the conscious unconscious functioning of the individual, between what is sent out (the director) and what is received (the audience). Because the drama each individual may experience in reality or fiction can be traced in the set up of these films. Another process of analysis is given by a recently developed science : semiology, which unites various parameters to organize the sense, it interests me as it integrates all that distinguishes a civilisation (economics, architecture, fashion,. . . ). My work aims at demonstrating in what way american film noir can reproduce and systematize some analytical concepts, determine which ones and why, and vulgarize them
Bindika, Germain. "Le roman noir américain et la famille." Paris 10, 1985. http://www.theses.fr/1985PA100120.
Loukam, Saba. "La morale de l'action dans le roman noir américain." Paris 4, 2003. http://www.theses.fr/2003PA040118.
By reducing the art of writing to a factual description of the world, the hard-boiled novel has created new ways of reading, and experiencing reading also leads the reader to new innumerable but limited sapces of interpretation, spaces in wich philosophical concepts, signs, images, anxiety and primary emotions are linked. Its vernacular and visual language which is based upon a realistic and sensitive apprehension of action, uncovers a rich array of moral reflections on the problems of justice, iddentity and the meaning of life and action. This study intends to show that the American hard-boiled novel does not only consist in a thematic presentation of tge morality of action but also in a representation of its modes of expression. I have thus chosen to propose a two-part analysis of the morality, the other one deals with the link between the hero's perception of reality and violence, and his hermeneutical and existential quest. The goal of my study is to demonstrate the improtance of such moral and stylistic concepts in the hard-boiled fiction, and also to analyse the way they are related in order to go beyond the general French critical stance wich considers the American hard-boiled novel solely as a realistic genre dealing with political or social issues
Martin, Florence. "La chanteuse de blues et le roman féminin noir américain contemporain." Paris 3, 1987. http://www.theses.fr/1987PA030109.
Classic blues recordings transcribe the expression of an oral tradition with the means of a written one. This tradition shows a continuity in form: from the african tribal epics or narratives to the work-songs, religious hymns or entertainment songs on american plantations, its songs have always been performed according to a precise musical structure and specific harmonic and rhythmic patterns allowing the soloist to improvise and the audience to participate in the performance. The artist of the twenties, promoted black show-business star, would use the traditionnal oratory devices of her group in her songs (e. G. Reiteration and double-entendre) and deliver a coded message only the initiated could understand. The development of mass culture killed the classic blues; its contents and language were too intimate, too specific for the multi-ethnic audience of the united states. The classic blues singer was no longer heard at the beginning of the thirties. Yet neither the ancestral tradition of black american women's oral transmission, nor the process of encoding -- inherent to the composition and performance of every song -- disappeared. Today, the black american woman novelist draws her inspiration from the classic blues singer and becomes in turn, the present-day incarnation of the spokeswoman or singing woman of her community. The stars of the twenties are revived in her works of fiction while she writes according to a system of codes, giving the access keys only to her attentive readers
Decottignies, Isabelle. "La mort dans le film noir américain classique (1940-1960)." Lille 3, 2005. http://www.theses.fr/2005LIL30035.
Donatien-Yssa, Patricia. ""Africobra" : esthétique et idéologie de l'expression plastique noire-américaine." Tours, 1995. http://www.theses.fr/1995TOUR2009.
Africobra, aesthetics and ideology of afro-american visual arts relates the evolution of painting and sculpture in the black community of the united states from slavery to 1960. It particularly insists on the aesthetic changes that took place during the Harlem renaissance and the revolutionary period of the 60's and 70's. This work examines the aesthetics and the ideology of the afro-american visual arts, essentially between the 60's and the 80’s. More precisely through the study of the works of the Africobra group, a group of then black artists who were deeply involved in the political struggle of the 60's and 70's and in the search for new aesthetic concepts. It also takes an active interest in the problem of the cultural identity and in the relation that exists between the ideological discourse and the pictural language, showing how the members of Africobra urged by their philosophical and political convictions have drawn from the afro-american and african traditions to create an art opened on contemporaneousness and reflecting their aesthetic aspirations
Crémieux, Anne. "Conditions de production et évolution thématique et esthétique du cinéma noir américain contemporain 1986-1997." Paris 10, 2002. http://www.theses.fr/2002PA100041.
By looking at a decade of African American directed films, this study encompasses a very diverse body of work. A fundamental hypothesis is that the power relations between the Black director and his or her investors, producers and distributors are a determinant factor of the content and style of the films produced. The first part is a historical survey of African American cinema. . . The second part looks at the revival of the "urban movie" in the early 90s. . . The third part focuses on independent Black cinema, which offers a space to African American filmmakers not fitting the Hollywood mold. . . The fourth part illustrates how certain Black filmmakers eventually convinced major producers to finance more diverse films while retaining artistic control, largely through presence of Black producers employed by Hollywood studios. .
Tsibah-Madzou, Norbert. "W. E. B. Du Bois : quête de la vérité : comment être noir et américain." Lyon 3, 1996. http://www.theses.fr/1996LYO31002.
Cariou, Gwennaëlle. ""Say it Loud !" : la création d'un contexte culturel noir à travers la fondation des musées africains américains." Paris 7, 2014. http://www.theses.fr/2014PA070037.
This thesis is examining the issues of the creation of a black cultural context in the USA through African-American museums founded during the second half of the 20th century. Those museums are the result of a long process within the black American community since the 19th century, at first with the establishment of a black culture (historical societies, art collections) which allowed then the creation of black exhibitions. Those exhibitions came out in a white dominating cultural context, especially with the setting of segregated exhibitions during national and international exhibitions in the USA, then with independent exhibitions. Those different exhibitions are the base of the first black museums founded in different American cities from the 1960s. The movement of creation of African American museums went on throughout the 20th century until today with the project of the National Museum of African American History and Culture scheduled to open in 2015. African American museums are presenting in a positive way the experience of African-Americans in the USA and their place in American history and culture. They are in general the only space in which this culture is displayed and show varied themes (sciences and techniques, art, religion, work) and historical periods (the Middle Passage and slavery, the Civil Rights movement)
Zabunyan, Elvan. "Une histoire des arts visuels afro-americains depuis les annees 1960." Paris, EHESS, 1999. http://www.theses.fr/1999EHES0A36.
The tradition of african american visual arts has developed in relation to a number of parameters linked to the place occupied by african american artistic practices as regards the social and art history of the united states from the end of the 19th century onwards. From the 1950s, african american artists began to incorporate elements of the social and cultural claims being made by the emerging political force of the civil rights movement into their artistic production. This became even more prevalent during the 1960s and 1970s as the history of the civil rights movement progressed. In order to establish an historical understanding of african american art up until the present it is necessary to consider several points: the affirmation of a cultural visibility through the constitution of an african american cultural identity; the desire to produce an authentic art in response to 20th century european art practices that drew sources from the so-called 'primitive arts' (pablo picasso for example); the desire to affirm the value of a visual culture considered for so long to be secondary in its reception to the african american music tradition. From the 1980s onwards, the debate in relation to multiculturalism has developed as an important current affair in the united states and the various research shows that marginalization may be turned back on itself, permitting the creation of an artistic form anchored in a perceptive observation of daily life. A stronger emphasis has been placed on the questioning of cultural identity. The notion of 'invisibility' and the wish to make it visible has contributed a great deal to african american visual arts over the last thirty years, notably in the use of the body in performance in the public and/or urban sphere, but also its representation as a principal artistic model in painting, sculpture
Книги з теми "Noir américain":
Pinckney, Darryl. Noir, marron, beige. Paris: Payot et Rivages, 1992.
Gotteri, Nicole. Le film noir américain: 1940-1955. Anet: Atelier Fol'fer, 2010.
Borde, Raymond. Panorama du film noir américain, 1941-1953. Paris: Flammarion, 1988.
Abrahams, Roger D., and Daniel Blanchard. Jack le Noir et Jack le Blanc: Contes afro-américains. Paris: Éd. du Seuil, 1997.
Pigoullié, Jean-François. Le rêve américain à l'épreuve du film noir. Paris: Houdiard, 2011.
Guillon, Roland. Anthologie du hard bop: L'éclat du jazz noir américain. Paris: Harmattan, 2005.
Brion, Patrick. Le film noir: L'âge d'or du film criminel américain, d'Alfred Hitchcock à Nicholas Ray. Paris: La Martinière, 2004.
Brion, Patrick. Le film noir: L'âge d'or du film criminel américain, d'Alfred Hitchcock à Nicholas Ray. 4th ed. Paris: Martinière, 2004.
Mellet, Laurent. Étudier l'adaptation filmique: Cinéma anglais, cinéma américain. Rennes: Presses universitaires de Rennes, 2010.
Lewis, Samella S. Barthé, his life in art. Los Angeles, Calif: Unity Works, 2009.
Частини книг з теми "Noir américain":
VanEynde. "La dialectique de la proximité et de la distance : la ville dans le film noir américain." In Ville et proximité, 81–122. Presses de l'Université Saint-Louis, 2011. http://dx.doi.org/10.4000/books.pusl.3719.
Tadié, Benoît. "Métaphysique du roman noi." In Le Frisson métaphysique du roman policier/The Metaphysical Shudder of the Detective Novel, 93–103. Éditions de l'Université de Lorraine, 2024. http://dx.doi.org/10.62688/edul/b9782384510467/c08.
Chivallon, Christine. "Chapitre VI. Trois conceptions de la diaspora pour trois thèses relatives à l’univers culturel afro-américain." In La diaspora noire des Amériques, 150–62. CNRS Éditions, 2004. http://dx.doi.org/10.4000/books.editionscnrs.5026.
Bandry, Michel. "“Them”, ou la place des noirs dans l'œuvre d'Elizabeth Spencer." In Regards croisés sur les Afro-Américains, 163–75. Presses universitaires François-Rabelais, 2003. http://dx.doi.org/10.4000/books.pufr.4183.
Chasteen, John Charles. "Prologue: why americanos?" In Americanos, 1–3. Oxford University PressNew York, NY, 2008. http://dx.doi.org/10.1093/oso/9780195178814.003.0001.
Hotte, Lucie. "Transtextualité anglo-américaine. Volkswagen Blues de Jacques Poulin et L’Écureuil noir de Daniel Poliquin." In Littératures francophones, 105–16. ENS Éditions, 2013. http://dx.doi.org/10.4000/books.enseditions.2449.
Raynaud, Claudine. "Sexualité et écriture autobiographique : militants nationalistes noirs nord-américains (1960-1970)." In Sexualités occidentales, 445–60. Presses universitaires François-Rabelais, 2014. http://dx.doi.org/10.4000/books.pufr.31862.
Julien, Claude. "Les Noirs et le Vietnam, ou la voix de la conscience rejetée." In La Guerre du Vietnam et l’opinion publique américaine (1961-1973), 121–32. Presses Sorbonne Nouvelle, 1991. http://dx.doi.org/10.4000/books.psn.5049.
Lavou Zoungbo, Victorien. "Le noir ou le différé des consciences et pratiques discursives latino-américaines : ébauche d’une recherche à venir." In Les formes de reconnaissance de l’autre en question, 543–52. Presses universitaires de Perpignan, 2004. http://dx.doi.org/10.4000/books.pupvd.28774.
Lavou Zoungbo, Victorien. "Le noir ou le différé des consciences et pratiques discursives latino-américaines : ébauche d’une recherche à venir." In Du « Migrant nu » au citoyen différé, 177–87. Presses universitaires de Perpignan, 2003. http://dx.doi.org/10.4000/books.pupvd.27564.