Добірка наукової літератури з теми "Temps fictionnel"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "Temps fictionnel".
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 "Temps fictionnel"
Blum, Bilha. "Le temps et la construction du sens." Protée 27, no. 1 (April 12, 2005): 29–32. http://dx.doi.org/10.7202/030536ar.
Повний текст джерелаMartín Rodríguez, Mariano. "Poema en prosa y mundos especulativos: en torno a Les chasseurs du temps de Daniel Walther." Çédille 12 (April 1, 2016): 224. http://dx.doi.org/10.21071/ced.v12i.5622.
Повний текст джерелаCousineau1, Sophie, and Sylvie Frigon. "Les femmes détenues d’Unité 9 : entre espace fictionnel et réalité." Criminologie 49, no. 2 (December 19, 2016): 323–47. http://dx.doi.org/10.7202/1038427ar.
Повний текст джерелаSaint-Onge, Simon. "Le temps contemporain ou le Jadis chez Pascal Quignard." Études françaises 44, no. 3 (December 9, 2008): 159–72. http://dx.doi.org/10.7202/019538ar.
Повний текст джерелаMathieu, Patrick. "L'agressivité de Saint-Loup comme dispositif fictionnel dans À la Recherche du Temps perdu." Littérature 155, no. 3 (2009): 54. http://dx.doi.org/10.3917/litt.155.0054.
Повний текст джерелаAuger, Manon. "LE TEMPS IMMOBILE DU HÉROS CONTEMPORAIN (Fortier, Chen, Huglo)." Dossier 44, no. 2 (May 8, 2019): 67–83. http://dx.doi.org/10.7202/1059516ar.
Повний текст джерелаBénit, André. "Lalande, écrivaine de passions et de combats." ALTERNATIVE FRANCOPHONE 2, no. 3 (September 1, 2018): 3–54. http://dx.doi.org/10.29173/af29358.
Повний текст джерелаCavallero, Claude. "Les florilèges du quotidien de Philippe Delerm." Analyse 37, no. 1 (June 7, 2007): 145–56. http://dx.doi.org/10.7202/012831ar.
Повний текст джерелаLord, Michel. "Claire Martin et l’espace nouvellistique." Dossier 29, no. 1 (January 28, 2004): 65–75. http://dx.doi.org/10.7202/007539ar.
Повний текст джерелаCavallero, Claude. "J.-M. G. Le Clézio et le sable des mots." Hors dossier, no. 82 (October 18, 2007): 121–34. http://dx.doi.org/10.7202/016626ar.
Повний текст джерелаДисертації з теми "Temps fictionnel"
Mejía, José. "Polyphonie du discours fictionnel : les mirages de la voix et du temps étudiés chez quelques écrivains ibéro-américains." Paris, EHESS, 1993. http://www.theses.fr/1993EHES0330.
Повний текст джерелаRather than narrating a fantastic experience in the world of the characters, the examples of our corpus provide us with an experience which is fantastic only in the reading itself. These exceptional cases amount to a true fantastic enunciatioin. They are examined within the context of the polyphonic theory of enunciation of o. Ducrot. Our own investigations have induced us to revise the status of the narrator. We do not conceive of him as an omnipresent and single origin, different from the author in view of the fictitious nature of what is related. We do not conceive of him either as non-existent --a non-existence explained as an utterance without a speaker. Within our theoretical context, getting an imaginary "i" to speak or getting "nobody" to speak invariably leads to setting up enunciators. Therefore, our narrator is multiple. This "narrating crowd" can only be dealt with by a linguistic approach. It allows for subtle observation which brings out all the specificity and richness of the textual objects
Ferré, Vincent. "L'essai fictionnel chez M. Proust, H. Broch et J. Dos Passos (A la recherche du temps perdu, Les Somnambules et U. S. A. )." Rennes 2, 2003. http://www.theses.fr/2003REN20040.
Повний текст джерелаThis PhD. Deals with theory in three novels - "A la recherche du temps perdu" by M. Proust, "Die Schlafwandler" by H. Broch and "U. S. A. " by J. Dos Passos - and establishes the fictional nature of such sequences usually considered by critics as essays. The first part focuses on the reasons for this confusion, through a comparison between French, German and American essays of the 1910s-1930s, and the essayistic sequences. This emphasizes that the essays and the essayistic sequences have a common basis, without though considering that the latter belongs to a specific genre other than the novel. The second part then presents them as fictional essays, through an analysis of laws, of the interaction between the story and the essayistic sequences, of the unique I - which is in charge of the story and the essayistic discourse -, among others. The last part will question the importance of the fictional essay thanks to its relationship to modernity, to its movement towards totality and knowledge
Picard, Manon. "La smartfiction : une fiction interactive à lire, un rôle à incarner ou une partie à jouer sur son smartphone ?" Electronic Thesis or Diss., Compiègne, 2022. http://www.theses.fr/2022COMP2681.
Повний текст джерелаA smartfiction is a story to be read and played on the smartphone. Taking the technical, aesthetic, social and cultural codes of the smartphone to reinvest them in the framework of a fiction, smartfiction relies on a reflexive dimension in relation to the smartphone. By using the conventions of ordinary smartphone practices, the user of a smartfiction must project themself as a smartphone user when reading, interpreting and acting out a fictional life story. Indeed, the very nature of the story is to tell a life that is no longer mine or that is not mine. Me listening, I coincide with a telling time which projects me in the told time. The writing of the story and the devices make the telling time a construction of the reading self. Within the framework of the smartfictions, this game on time relies in particular on the instant (fictional) chat and the notifications (which I name notifictions to indicate fictional notifications). That way, the user has a framework for blending into the time of the story by articulating it to a reading time. But they interpret this story as an actor interprets a role in the theater. By embodying the role assigned to him, the user lives the time of the story as a time played in the first person. To do this, they must approach their role as if they were playing a game and thus transform the time of the story into a time of play. They must “play the ga.Me”. Narrative, theater and game are then three temporal modalities of the lived time that are reset by the smartfiction : a story that one plays and that one incarnates. A smartfiction has thus a double status, phenomenological and semiotic. Indeed, the reader-actor-player interacts with the smartfiction and synchronizes their flow of consciousness with the different objects composing it in order to live the experience of reading in the first person. They synchronize their living time with the time of the fiction. This synchronization is punctuated by the interaction with the specific codes related to the use of a smartphone, which becomes the semiotic and pragmatic framework of the smartfiction. This framework allows both the contextualization of the smartfiction and functions as a defamiliarization of the smartphone. The study, based on a corpus of eleven smartfictions, thus articulates a double phenomenological and semiotic approach. A smartfiction is a story on a smartphone that happened to someone, a story that is a game in which the user plays as an actor. With the smartfiction, we witness the birth of a format, even of a genre. The emergence of a new genre invites us to question its articulation with existing genres, or even their reconfiguration: does smartfiction correspond to another way of telling, another form of staging, another practice of acting? These questions also refer to the role of the device which stands out in these creative modes. In particular, smartfiction invites us to objectify the role of a smartphone in a narrative. Smartfiction is thus a laboratory for the analysis of creative genres and for the understanding of the role of the medium and the devices
Gordon, David Raymond. "In and around the text : fictional dimensions and the reader's place on 'A la recherche du temps perdu'." Thesis, Queen's University Belfast, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.356916.
Повний текст джерелаCloarec, Nicole. "Peter Greenaway : cinéaste de la reproduction : étude narratologique deslongs métrages fictionnels : de "The Draughtslan's contract" (1982) à "The pillow book" (1996)." Rennes 2, 2000. http://www.theses.fr/2000REN20042.
Повний текст джерелаThe present study offers a guide line to enter the complex and profuse work of Peter Greenaway. It focuses on his fictional features, from " the Draughtsman's contract " (1982) to " the Pillow Book " (1996). We try to demonstrate that Greenaway's films are structured by an inherent dichotomy that is conveyed by a fascination /repulsion towards reproduction. This dichotomy is illustrated by sexual reproduction which confines humans in the antagonism of the sexes as well as in the biological cycle uniting birth and death. But the notion of reproduction itself is dealt with in a dual way. The duality of sexual reproduction is counterbalanced by a monism characterising a " cerebral " reproduction, which would allow humans to escape their biological cycle, thus denying time. This mental reproduction is a constant temptation for the male characters, the more so as it corresponds to their artistic preoccupations. However, the tension established by these two modes of reproduction conditions not only the set of themes, but also the narrative structures , which respond to the dual movement of inner repetition and outer references, as well as the medium of the cinema itself, which proves to be a place of tension between the establishment of a spatial order in a fixed moment and the constant flow of film progress
Alves, Cristiane da Silva. "Novos tempos, vozes antigas : os narradores velhos na narrativa ficcional brasileira do século XXI : ou de como ficou difícil ouvir os velhos ou de como a ficção enfrenta o tabu da velhice." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2016. http://hdl.handle.net/10183/148946.
Повний текст джерелаThis research seeks to examine the presence of protagonist-narrators in old age and his performance in Brazilian fictional narratives published in the first decade of this century. The aim is to investigate the contemporary Brazilian fictional narrative that gives voice to the old people, allowing them to act as main character and narrator of the story, revealing their path, their aging and their gaze on society. To this end, we take as the main corpus the books Heranças, by Silviano Santiago, Leite Derramado, by Chico Buarque, Órfãos do Eldorado, by Milton Hatoum and O arroz de Palma, by Francisco Azevedo, whose subject is a kind of autobiography of the fictional character that, old and experienced, takes stock of his life, showing to the reader his history, while allowing a glimpse of certain passages of national history. It is intended to verify the similarities, approximations and differences that such works have among themselves as well as possible links with other narratives. It will also be examined the novel Milamor, by Livia Garcia-Roza, that, unlike others, brings a character-female narrator, in the process of becoming old. From the corpus of analysis, an attempt is made to ascertain to what extent the voice of the old is present, as well as issues related to aging, along with themes and facts concerning the historical development of the country and the inclusion ( or exclusion) of the old people in the current scenario. Despite the population growth of older individuals in Brazil and other parts of the world, your voice is heard not satisfactorily; still rules their silencing. The presence of different works bringing up old narrators, however, looks an indication of new prospects with regard to the understanding and representation of aging and old age.
Esta investigación busca estudiar la presencia de protagonistas-narradores en edad avanzada y su actuación en las narrativas de ficción brasileñas publicadas en la primera década de este siglo. El objetivo es investigar la narrativa de ficción brasileña contemporánea que les da voz a los viejos, permitiendo que actúen como sujeto y narrador de la historia, revelando su trayectoria, su envejecimiento y su mirada sobre la sociedad. Para eso, tomamos como corpus principal los libros Heranças, de Silviano Santiago, Leite Derramado, de Chico Buarque, Órfãos do Eldorado, de Milton Hatoum y O arroz de Palma, de Francisco Azevedo, cuyo tema es un tipo de autobiografía del personaje de ficción que, viejo y experimentado, hace un balance de su propia vida, presentando al lector su historia, al mismo tiempo que nos permite vislumbrar algunos momentos de la historia nacional. Se pretende verificar las similitudes, diferencias y aproximaciones que dichas obras tienen entre sí, como también la posible relación con otras narraciones. También se examinará la novela Milamor, de Livia Garcia-Roza, que a diferencia de las otras tiene un personaje-narrador femenino, en camino de convertirse en vieja. A partir del análisis del corpus, se intenta determinar en qué medida la voz del anciano está presente, como las cuestiones relacionadas con la vejez y/o el envejecimiento, junto a los temas y los hechos relacionados con la evolución histórica del país y la inclusión (o exclusión) de personas viejas en el escenario actual. A pesar del crecimiento demográfico de individuos viejos en Brasil y en otras partes del mundo, su voz no se hace oír de modo satisfactorio. Sin embargo, la presencia de diferentes obras que sacan a la luz a los narradores ancianos se muestra como una señal de nuevas perspectivas en cuanto a la comprensión y la representación del envejecimiento y la vejez.
Книги з теми "Temps fictionnel"
Maria, Remarque Erich, and Michel Tournier. Un temps pour vivre, un temps pour mourir. Paris, France: Mémoire du livre, 2000.
Знайти повний текст джерелаMangin, Annick. Temps et écriture dans l'œuvre narrative de Silvina Ocampo. Toulouse: Presses universitaires du Mirail, 1996.
Знайти повний текст джерелаMarcel, Proust. Le temps retrouvé. Paris: Gallimard, 1990.
Знайти повний текст джерелаMarcel, Proust. Le temps retrouvé. Paris: Flammarion, 1986.
Знайти повний текст джерелаHaruki, Murakami. La fin des temps: Roman. Paris: Editions du Seuil, 1992.
Знайти повний текст джерелаWharton, Edith. Le Temps de l'innocence. [Paris]: Flammarion, 1987.
Знайти повний текст джерелаWharton, Edith. Le temps de l'innocence. Paris: J'ai lu, 2003.
Знайти повний текст джерелаProust, Marcel. A la recherche du temps perdu. Paris: Laffont, 1988.
Знайти повний текст джерелаProust, Marcel. A la recherche du temps perdu. Paris: R. Laffont, 1987.
Знайти повний текст джерелаMarquez, Gabriel Garcia. L'amour aux temps du choléra: Roman. Paris: France Loisirs, 1987.
Знайти повний текст джерелаЧастини книг з теми "Temps fictionnel"
Guagnini, Elvio. "Una città, il viaggio, le frontiere, un’identità letteraria." In Biblioteca di Studi di Filologia Moderna, 27–34. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-338-3.07.
Повний текст джерелаBreatnach, Mary. "Music in Proust: The Evolution of an Idea." In The Edinburgh Companion to Literature and Music, 532–43. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693122.003.0054.
Повний текст джерелаArmstrong, Alison. "Ableton Overture (Intermediate)." In The Music Technology Cookbook, 119–28. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0019.
Повний текст джерелаJones, Gwyneth. "Joining the Cultural Minority." In Joanna Russ, 109–32. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042638.003.0006.
Повний текст джерелаТези доповідей конференцій з теми "Temps fictionnel"
González Hernández, Ana Teresa. "La femme au colt 45: un parcours dans imaginaire aquatique de Marie Redonnet." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3111.
Повний текст джерела