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Статті в журналах з теми "Théorie romanesque":
Cueille, Julien. "La suspension de l’incrédulité." Multitudes 91, no. 2 (June 19, 2023): 97–103. http://dx.doi.org/10.3917/mult.091.0097.
Mozo Martín, Borja. "¡Deshagan juego! Paradojas de una lectura cómplice de la ficción policíaca en L’absolue perfection du crime de Tanguy Viel." Çédille 12 (April 1, 2016): 278. http://dx.doi.org/10.21071/ced.v12i.5625.
Zbinden, Karine. "Mikhaïl Bakhtine et le Formalisme russe : une reconsidération de la théorie du discours romanesque." Cahiers du Centre de Linguistique et des Sciences du Langage, no. 14 (April 9, 2022): 339–53. http://dx.doi.org/10.26034/la.cdclsl.2003.1658.
Gengembre, Gérard. "Mémoires de deux jeunes mariées ou Bonald contredit par le romanesque." L'Année balzacienne 24, no. 1 (January 22, 2024): 333–45. http://dx.doi.org/10.3917/balz.024.0333.
Parent, Thierry. "Le hasard à l’oeuvre chez Milan Kundera." Études françaises 41, no. 2 (September 28, 2005): 117–34. http://dx.doi.org/10.7202/011382ar.
Chung, Ye Young. "Le complexe de Brulard et son devenir." Littérature N° 214, no. 2 (May 29, 2024): 38–50. http://dx.doi.org/10.3917/litt.214.0038.
DEMBELE, Yézouma Sivin. "Le dialogisme littéraire dans Kroh ! Les femmes ont déserté la maison de Yacouba Traoré." ALTRALANG Journal 5, no. 2 (November 15, 2023): 125–35. http://dx.doi.org/10.52919/altralang.v5i2.325.
Ayati, Akram. "Des mondes simulés, des identités brouillées:L’œuvre de Michel Houellebecq dans la lignée du postmodernisme." ALTERNATIVE FRANCOPHONE 1, no. 8 (November 10, 2014): 1–17. http://dx.doi.org/10.29173/af22333.
KIM, Woong-Kwon. "Relations de correspondance entre l'univers romanesque et Les Voix du silence dans l'établissement de la vision de l'art d'André Malraux: autour de La Voie royale." Societe d'Etudes Franco-Coreennes 101 (April 30, 2023): 5–39. http://dx.doi.org/10.18812/refc.2023.101.5.
KIM, Woong-Kwon. "Relations de correspondance entre l'univers romanesque et Les Voix du silence dans l'établissement de la vision de l'art d'André Malraux: autour de La Voie royale." Societe d'Etudes Franco-Coreennes 101 (April 30, 2023): 5–39. http://dx.doi.org/10.18812/refc.2023.101.5.
Дисертації з теми "Théorie romanesque":
Grotowska, Eva. "Discours romanesque, théorie litteraire et théorie du monde dans l’œuvre d’Édouard Glissant et d’Ernesto Sábato." Thesis, Antilles-Guyane, 2014. http://www.theses.fr/2014AGUY0742/document.
Édouard Glissant and Ernesto Sábato are both well-known for their work as writers and philosophers. Their theoretical reflection, which analyses questions pertaining to language, history and identity, nourishes their novelistic production. In fact their novels mark the crossroads of theory and fiction. The latter are a forum for thought where the theoretical bases of their reflection are applied to reality. This perception of the novel as strictly related to their essay work leads us to consider the use of metafiction, a technique that encompasses both types of creation. The search for different metafiction strategies will allow us to analyze the construction of “guiding fictions”. At the same time, it will lead us to consider the role of a writer in the process of constructing a “national conscience” through literature
Parisot, Fabrice. "Les épigraphes dans l'oeuvre romanesque d'Alejo Carpentier : théorie et analyse." Aix-Marseille 1, 1994. http://www.theses.fr/1995AIX10032.
Jouini, Asma. "Théorie et pratique du naturalisme dans l'ɶuvre romanesque de Joris-Karl Huysmans (1874-1883)". Thesis, Nice, 2013. http://www.theses.fr/2013NICE2049.
This thesis deals with the work of Huysmans ranging from his first writings until the eve of his disagreement with Zola; À Rebours being the point of disjunction between an initial period of setting up and a series of multiple literary experiences where the naturalistic method is the guarantor of unity. For if naturalistic writing was, at some point in the life of Huysmans, a form of initiation, it has not ceased to be a way of thinking and the author claims this naturalist part even in his most mystical novels. Huysmans therefore wants to write a book while avoiding idealizing the world, that is to say, a non-fiction book. Through this, he takes part in the naturalist movement. For, to banish the intrusions of the author, in the name of experimental objectivity, is one of the foundations of the naturalist current. But paradoxically, by pushing the theoretical discourse of the experimental novel to the end of its logic, Huysmans' writing will lead to a sort of break-up of the traditional structure of the novel, as evidenced some years later the writing of À Rebours. Indeed, Huysmans draws in his own way Zola's naturalist theory. He quickly realized that this theory will lead to a dead end and that we must go to the edge of this experience in order to be able to pass on to others. But this stage of its formation definitely marked it, especially as a method of documentation. The literary experience of Huysmans during this decade is symptomatic of a more general state and makes it clear that the novel rests on a moving field
Zhu, Hong Adèle. "Le Chiendent ou le mécanisme de la fiction romanesque." Paris 8, 2000. http://www.theses.fr/2000PA081761.
Leyicka, Bissanga Gisèle. "Michel Butor : du roman à l'effet romanesque." Thesis, Bordeaux 3, 2014. http://www.theses.fr/2014BOR30010/document.
Michel Butor’s work is different from the others by its crossing genres which it shows the limits of. Referring to the generic classification inherited from the nineteenth century, literary criticism often divides the work in poems, novels, and unclassifiable texts, while maintaining the idea that he had neglected the novelistic form after 1960. Still, the choice of the work that includes several forms of a hybrid text will now determine the genre.The first part deals with the mutation of the literary forms in the work of Michel Butor. We will examine the question of the choice of novelistic form by the author. Generic hybridization will be Butor’s favorite means of artistic expression, because the search of new aspects of Butor’s poetics reveals that it is corrupted by dramatic metaphor. So, we will see the interaction between the novel and radio drama through the reading of Mobile: study for a representation of the United States, Airline Network and Niagara.The second part is about the drama and shows radiophonic aspects of the postnovelistic work through different levels of reading set up by Patrice Pavis (Discursive, Narrative, Actantial, Ideological and Unconscious), and the production system in relation with the recording studio. The notion of “novelistic effect” will therefore be the result of an obsession of novelistic form produced by reading.The third part analyses poetic prose of radio drama and the unconscious and ideological structures of the work, based on the importance of oral discourse which reveals the ambiguity between the form (radio drama) and the individual attitude and the group, marked by the inability to pass on a coherent perception of the world because of their prejudices
Watier, Louis. "La traduction fictive : motifs d’un topos romanesque (1496-1617)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040165.
A fictitious translation (or pseudo-translation) is a text written in a peculiar language but introduced as a real or imaginary translation in a foreign language. While such fictitious translations did not go through frequent studies until the end of the twentieth century, they are quite common and regularly illustrated by many famous works, among which Don Quijote, Le Manuscrit trouvé à Saragosse and The Castle of Otranto to name a few. For long translation as fiction has only been considered as literary device to entertain. Hence, this attitude towards the fictitious translation may partially explain why such literary phenomenon was never perceived within its historical context, notwithstanding it was explicitly used as a literary convention by many authors. Therefore, we should devote ourselves to discern the motivations that drove the emergence of pseudo-translation in the novel ’genre. Besides, it is also important to highlight the course it took to finally become known as topos. From this perspective, this research, which is a genealogical one as defined by Nietzsche, explores the role of translation from the first medieval novels to their last echo in Cervantes’s work; in an attempt to reinject a historical dynamic in a common place long unchanged
Moran, Patrick. "Lectures cycliques : le réseau inter-romanesque dans les cycles du Graal du XIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040020.
The thirteenth-century Arthurian prose cycles (mainly Robert de Boron’s trilogy and the Vulgate or Lancelot-Grail Cycle) are groupings of a peculiar nature. Defined both by the autonomy and the interconnection of their constituent romances, they differ from the individualised verse romances which precede them as well as from the massive yet more homogenous prose narratives which follow. These formal characteristics go hand-in-hand with a coherent world-building project, which aims to formulate a definitive Arthurian canon. The brevity of the production period (ca. 1200-1240) is counterbalanced by the lasting success of these texts throughout the Middle Ages; cyclicity is an experimental form which creates a new take on the matter of Britain, and most of all, gives birth to new modes of reading. Defined by centrifugal as well as centripetal tendencies, cyclical romances generate a network which the reader may explore at will, either partially or completely, in an orderly or disorderly manner. By linking romances which may have different aims yet accept their basic connectivity, cycles allow their readers to navigate them in constantly renewed ways, while at the same time preserving their coherence in spite of localised contradictions. This cross-romance network is the subject of the present study: cyclical romances, far from existing in isolation, thrive in an interconnected narrative environment; in conjunction with the reader’s own structuring powers, they interact to build multifarious narrative worlds
Lovito, Giuseppe. "La dialectique interprétative entre texte et lecteur dans l'oeuvre théorique et romanesque d'Umberto Eco : la (més)interprétation de la réalité par la fiction." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0378/document.
Our doctoral thesis intends to show, from a historical and analytical perspective, that all the theoretical and novelistic works by Umberto Eco can be read, in an originally organic and problematic way, through the theme of the interpretative dialectic between the text and the reader. The theme is present in all his different books. It leads us to establish a rich, critical, intertextual and intratextual dialogue and allows us to argue that it is possible, even significant, to consider the various aspects of his work in a coherent and complementary manner. In fact, our conviction is that, even though Eco’s semiotic books mainly focus on the fundamental rules and modalities of a fruitful interpretative cooperation between the reader and the text – in order to define a shared meaning of the latter –, his novels, far from being understood as a simple didactic illustration of his theoretical conceptualizations, should rather be regarded as forms of their successive enrichment. Indeed, through the allegorical representation of the dramatic consequences of hermeneutic practises pushed to the extreme – related to the interpretative relationship between the text and the reader –, Eco precisely uses narrative fiction to criticize the use of semiotics for the purposes of intellectual abstraction and to anchor it, on the contrary, in the concrete realm of history, thus highlighting its critical, social and cultural role
Léonard, Cécile. "Salman Rushdie et la création romanesque : Jeux, autorités, théories." Paris 7, 2006. http://www.theses.fr/2006PA070022.
This dissertation explores salman rushdie's novelistic creation by reading his texts written from 1981 to 2005 (novels, short stories, but also essays and a selection of articles and interviews). The "passage" characterizes the poetics 0f rushdie, who, in turns, theorizes it. At once a storyteller, a historian and a satirist, the novelist creates a protean novel in order to question representations (especially history, arts and sacred texts). This poetics builds itself around a tension between the novelistic work and rushdie's status as an intellectual in the contemporary world. A cross-reading between novels and essays shows how the "poetics of the passage" renews itself in the studied time period. Internally, the multiplicity of authoritarian figures (political, familial and religious) in the fiction reveals two different modes (playful and satiric) according to which authority is at once admired, hated, subverted and replaced. Externally, rushdie's texts can be read according to the principles of affiliation and consecration, to which the author contributes when he reviews, edits an anthology or consecrates other writers in order to influence the course of literary history
St-Onge, Simon. "La fille d'en face : création romanesque et réflexion théorique." Thesis, University of Ottawa (Canada), 2001. http://hdl.handle.net/10393/6269.
Книги з теми "Théorie romanesque":
Baudry, Marie. Lectrices romanesques: Représentations et théorie de la lecture aux XIXe et XXe siècles. Paris: Classiques Garnier, 2014.
Irwin, John T. The mystery to a solution: Poe, Borges, and the analytic detective story. Baltimore: Johns Hopkins University Press, 1994.
Koné, Vamara. De la théorie de l'art romanesque: Une étude comparée de l'écriture de Carson McCullers et de Flannery O'Connor. L'HARMATTAN, 2020.
Koné, Vamara. De la théorie de l'art romanesque: Une étude comparée de l'écriture de Carson McCullers et de Flannery O'Connor. L'HARMATTAN, 2020.
Koné, Vamara. De la théorie de l'art romanesque: Une étude comparée de l'écriture de Carson McCullers et de Flannery O'Connor. L'HARMATTAN, 2020.
Grivel, Charles. Production de l'intérêt Romanesques: Un état du Texte , un Essai de Constitution de Sa Théorie. De Gruyter, Inc., 2018.
Irwin, John T. The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story. The Johns Hopkins University Press, 1996.
Irwin, John T. The Mystery to a Solution: Poe, Borges, and the Analytic Detective Story. The Johns Hopkins University Press, 1993.
Частини книг з теми "Théorie romanesque":
"Léon Bloy, démolisseur romanesque." In Théorie des textes possibles, 187–200. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207867_015.
Pavis, Patrice. "Chapitre VII. Le personnage romanesque, théâtral, filmique." In Vers une théorie de la pratique théâtrale, 129–40. Presses universitaires du Septentrion, 2007. http://dx.doi.org/10.4000/books.septentrion.13729.
Weinberg, Alexis. "Le « romanesque » selon Bernard Pingaud : théorie et pratique." In La machine à histoires, 75–86. Presses universitaires du Septentrion, 2022. http://dx.doi.org/10.4000/books.septentrion.139564.
Rescia, Laura. "XVIII. Entre théorie et pratique romanesque : le rôle de la rhétorique dans Le berger extravagant de Charles Sorel." In Charles Sorel. Polygraphe, 327–44. Hermann, 2017. http://dx.doi.org/10.3917/herm.bury.2017.01.0327.
Kavwahirehi, Kasereka. "Les régimes énonciatifs poétique, romanesque et théorique." In V.Y. Mudimbe et la ré-invention de l'Afrique, 115–23. BRILL, 2006. http://dx.doi.org/10.1163/9789401202237_009.
"Le naturalisme selon Zola: Discours théorique et genèse romanesque." In Anfänge vom Ende, 49–60. Wilhelm Fink Verlag, 2014. http://dx.doi.org/10.30965/9783846756782_006.