Academic literature on the topic 'Carmen (Mérimée)'
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Journal articles on the topic "Carmen (Mérimée)"
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Ponzetto, Valentina. "Prosper Mérimée, Carmen." Studi Francesi, no. 176 (LIX | II) (August 1, 2015): 388. http://dx.doi.org/10.4000/studifrancesi.885.
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Arrous, Michel. "Thierry Ozwald, Mérimée-Bizet. Sauver Carmen." Studi Francesi, no. 187 (LXIII | I) (July 1, 2019): 175–76. http://dx.doi.org/10.4000/studifrancesi.16539.
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어순아. "Étude comparative entre Carmen de Mérimée et Prénom Carmen de Godard." Etudes de la Culture Francaise et de Arts en France 39, no. ll (2012): 83–114. http://dx.doi.org/10.21651/cfaf.2012.39..83.
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Tabrizi, A. A. "Carmen de Prosper Mérimée, parodie de Manon Lescaut?" Les Lettres Romanes 50, no. 1-2 (1996): 53–59. http://dx.doi.org/10.1484/j.llr.4.00939.
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Robin, Mathilde. "Approche narratologique à la transmodalisation de "Carmen": du récit littéraire à l’opéra." Anales de Filología Francesa 28, no. 1 (2020): 555–80. http://dx.doi.org/10.6018/analesff.401511.
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Este artículo presenta un estudio entre la novela Carmen de Mérimée y la ópera de Bizet desde una perspectiva comparatista. Ello permitirá entender el proceso de transmodalización y de mitificación, así como la diferencia de éxito entre hipotexto e hipertexto. Para ello, se analizará el tratamiento de los actantes de la ópera en comparación con los de la novela. Se incidirá sobre todo en el enriquecimiento aportado por la transmodalización. This article presents a study between the Mérimée’s novel Carmen and its Bizet’s homonym opera from a comparatist perspective, to understand the transmodalisation and mythification process, and also the difference of success between hypotext and hypertext. To that end, it analyses the treatment of the opera’s actants in comparison with the novel’s actants, but it highlights above all the enhancement brought by the transmodalisation. Cet article présente une étude entre la nouvelle Carmen de Mérimée et l'opéra homonyme de Bizet depuis une perspective comparatiste. Cela permettre de comprendre le processus de transmodalisation et de mythification, ainsi que la différence de succès entre l'hypotexte et l'hypertexte. Dans ce but, nous analyserons le traitement des actants de l'opéra en comparaison avec celui de la nouvelle. Nous démarquerons surtout l'enrichissement apporté par la transmodalisation.
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Edwards, A. G. "Mérimée, Prosper. Carmen. Saint Paul, Minnesota: EMC Publishing: 1983Mérimée, Prosper. Carmen. Saint Paul, Minnesota: EMC Publishing: 1983. Pp. 64." Canadian Modern Language Review 41, no. 3 (1985): 578b. http://dx.doi.org/10.3138/cmlr.41.3.578b.
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Leandro, Anita. "Godard contra a adaptação: Carmen e outras histórias do cinema." Aletria: Revista de Estudos de Literatura 8 (March 2, 2018): 60–71. http://dx.doi.org/10.17851/2317-2096.8..60-71.
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Resumo: Através do estudo da obra cinematográfica de Jean-Luc Godard e de seus escritos sobre o cinema, esse texto procura colocar em relevo certos aspectos do pensamento do cineasta que constituem uma verdadeira teoria da adaptação. Privilegia-se a análise de seu filme Prénom Carmen (1983), uma adaptação livre do conto homônimo de Prosper Mérimée.Palavras-chave: adaptação literária; roteiro; imagem e texto; Godard.Abstract: This study on Jean-Luc Godard’s movies and cinematographic critical writings intends to emphasizes some aspects of the movie director’s thought that constitute a real theory of literary adaptation. We mainly analyse the film Prénom Carmen (Godard, 1983), a free adaptation of Prosper’s Mérimée novel.Keywords: litterary adaptation; screen-play; image and texte; Godard.
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Leandro, Anita. "Godard contra a Adaptação." Aletria: Revista de Estudos de Literatura 8 (December 31, 2001): 60. http://dx.doi.org/10.17851/2317-2096.8.0.60-71.
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<p>Resumo: através do estudo da obra cinematográfica de Jean-Luc Godard e de seus escritos sobre o cinema, esse texto procura colocar em relevo certos aspectos do pensamento do cineasta que constituem uma verdadeira teoria da adaptação. Privilegia-se a análise de seu filme Prénom Carmen (1983), uma adaptação livre do conto homônimo de Prosper Mérimée.</p><p>Palavras-chave: adaptação literária, roteiro, imagem e texto, Godard</p>
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SIMONARI, ROSELLA. "Bringing Carmen Back to Spain: Antonio Gades's Flamenco Dance in Carlos Saura's Choreofilm." Dance Research 26, no. 2 (2008): 189–203. http://dx.doi.org/10.3366/e0264287508000182.
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Carmen was published as a novella in 1845 by Prosper Mérimée and in 1875 the composer Georges Bizet transformed it into what would become a universally known opera. It is a French myth of a Spanish Gypsy whose sensual beauty leads men to perdition. As such it makes use of recurring elements of Spanish culture which are often reduced to stereotypical images. The 1983 film directed by Carlos Saura, with choreography by Antonio Gades, questions the cliché associated with the figure of Carmen by focussing on two principal issues: the story's multi-linear structure and Gades's flamenco dance. The structure is characterised by a story within a story: a choreographer who is looking for a dancer to perform Carmen falls in love with the performer of his choice, thus following the storyline he is supposed to represent in his choreography. Gades's flamenco dance is revealed as a work in progress, reconnecting the Carmen myth with its roots and, at the same time, deconstructing it from within. In this paper I shall analyse Antonio Gades's flamenco dance in Saura's Carmen in the light of current postcolonial perspectives. As Ermanna Carmen Mandelli has observed, Gades's style was inspired by the poor people of his childhood background and in contrast with the españolada (a performance which exaggerates the Spanish character) promoted by the Francoist regime. The analysis will be concluded with a close reading of the tabacalera scene which exemplifies Gades's style and his vision of Carmen.
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Sentaurens, Jean. "Carmen: de la novela de 1845 a la zarzuela de 1887. Cómo nació "la España de Mérimée"." Bulletin Hispanique 104, no. 2 (2002): 851–72. http://dx.doi.org/10.3406/hispa.2002.5136.
Full textDissertations / Theses on the topic "Carmen (Mérimée)"
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Zhao, Yue. "La réception de Prosper Mérimée en Chine." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040053.
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L’étude que nous nous proposons de mener porte sur la réception de l’œuvre de Prosper Mérimée en Chine depuis 1916. En empruntant le concept de fusion des horizons, nous examinons les contextes intra-littéraire et extra-littéraire dans le but d’expliquer les causes de cas concrets de la réception dans les différentes époques et l’influence de l’écrivain français sur quelques-uns de ses homologues chinois. Prosper Mérimée est considéré tantôt comme un écrivain artistique, tantôt comme un partisan du réalisme critique, tantôt comme un grand nouvelliste érudit. L’évaluation de l’écrivain se modifie avec les changements sociaux et politiques. La réception de Prosper Mérimée en Chine reflète, dans une certaine mesure, la situation de la réception de la plupart des écrivains occidentaux ordinaires dans le pays. C’est dans ce cadre que nous avons essayé d’éclairer les facteurs qui exercent une influence sur la réception de la littérature étrangère dans une culture tout à fait différente<br>This work tackles with the history of the reception of Prosper Mérimée in China since 1916. Based on the concept of fusion of horizons, we examine the literary and extra-literary contexts in order to explain the reasons that lead to the reception during different periods and influence of Mérimée’s works on some Chinese writers. Prosper Mérimée is sometimes considered a supporter of the critical realism, sometimes as a great knowlegeable novelist. The evaluation of the writer changes with social and political circumstances. The reception of Prosper Mérimée in China reflects situation of the reception of many ordinary western writers to some degree. In this context we have tried to clarify the factors which influence the reception of foreign literature in a very different culture
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Baux, Pierre-Marie. "Carmen : l'adaptation." Toulouse 2, 1991. http://www.theses.fr/1991TOU20012.
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L'étude de "Carmen : l'adaptation" se répartit en 3 volumes. La 1e partie étudie le passage de la nouvelle à l'opéra et au cinéma. Elle observe des solutions précises, en particulier dans les films de 1983, aux différentes étatpes suivantes : adaptation littéraire, visuelle musicale, et adaptation mise en scène. La 2e partie propose une réflexion didactique et des séquences précises sur l'enseignement de l'image, de la nouvelle et du groupement de textes. Quelle serait la place de Carmen dans les instructions et les recherches actuelles du cours de français, comme la lecture méthodique ? Comment construire une démarche progressive ? Comment intégrer l'étude de l'adaptation dans une théorie de l'acte de lire et quel rapport établir avec la construction de sens ? La 3e partie est une approche historique et comparatiste de la notion d'adaptation d'après "Carmen". Elle donne tous les résultats de l'enquête menée dans les cinémathèques sur tous les films, les réalisateurs, les actrices et les acteurs de "Carmen" du muet à aujourd'hui. Elle analyse l'intertextualité dans "La femme et le pantin" ainsi que l'exposition "Seita, photo gitanes". Conclusion sur le personnage de Carmen, l'évolution de la notion d'adaptation et les rapports de la littérature et du cinéma<br>The study is divided into 3 parts. The first part focuses on the adaptation of thee short story for the opera and the screen. Based more secularly on the four films shot in 1983, it shows several possible solutions to the different stages of the development of a film: literary adaptation, visual adaptation, musical adaptation and adaptation to the screen. The second part is a didactic approach structured around sequences on the teaching of image, short story and their study of French. A far as official instructions and research on the teaching of language are concerned, what place could be given to "Carmen"? How to build a progressive learning process? How to integrate a study of the adaptation into a reading and what link could be established with the construction of the meaning? The third part is an historical and comparative approach. It gives the results of a survey conducted in the film libraries, on all the films (from the silent ones) on the film-directors, the actors and the actresses involved in a Carmen adaptation. It analyses an example of intertextuality ("The woman and the puppet") and the exhibition "Seita, photo gitanes". Conclusion on the character of Carmen, the changes in the adaptation, literature and cinema
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Collier, Mary Blackwood. "La Carmen essentielle et sa réalisation au spectacle." Paris 4, 1990. http://www.theses.fr/1990PA040104.
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La première partie de cette thèse traite des analyses littéraire et musicale de la Carmen de Prosper Mérimée et de la Carmen de Georges Bizet. Notre intérêt se concentre sur la qualité mythique de Carmen telle que Mérimée la créa et son expression musicale transposée par Bizet. Dans la deuxième partie de cette étude, sept représentations, au vingtième siècle, du personnage de Carmen, sous une forme théâtrale, sont présentées et analysées par rapport à la multiplicité des points de vue sur le personnage principal comme phénomène culturel et social. Quatre adaptations de Carmen ont été choisies pour cette étude : la Carmen Jones d'Oscar Hammerstein, la Carmen de Roland Petit, la Carmen de Peter Brook, et celle de Carlos Saura; et trois interprétations de la Carmen de Bizet et nos jours sont étudiées : celles de Bodo Igesz, de Francesco Rosi, et de Peter Hall<br>The first part of this thesis focuses on literary and musical analyses of prosper Merimee’s and of Georges Bizet’s Carmen. We are concentrating on the mythical quality with which Merimee imbued Carmen and for which Bizet created an expression in purely musical terms. In the second part; seven twentieth-century representations of the character of Carmen in theatrical form are presented and analyzed in regard to the multiplicity of viewpoints on the main character as a cultural and social phenomenon. Four adaptations of Carmen have been chosen for this study: Oscar Hammerstein’s Carmen Jones, Roland Petit's Carmen, Peter Brook's and Carlos Saura's Carmen; and three contemporary interpretations of Bizet’s Carmen are examined : the Carmens by Bodo Igesz, Francesco Rosi, and Peter Hall
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Rodriguez, Christine. "Du récit à l'opéra : enjeux d'une transposition dans Manon (l'abbé Prevost/Massenet), (F. Mistral/Gounod), Carmen (Mérimée/Bizet)." Toulouse 2, 2008. http://www.theses.fr/2008TOU20031.
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Quel est l’objet réel d’une transposition ? On le recherchera en explorant les différents niveaux du récit transposé et non pas seulement son « histoire ». En passant des structures narratives à l’organisation de la fiction jusqu’au niveau du discours, on peut voir que chaque palier narratif fait l’objet d’une transposition qui reconstruit pour l’opéra un conflit pathétique. La dramaturgie lyrique fait d’abord subir à l’histoire une triple opération de simplification, de stéréotypie et d’invraisemblance, qui repose cependant sur la logique stable d’un schéma narratif à partir duquel une relation de défi rhétorique s’instaure entre le discours du récit et celui de l’opéra. Sur ce dernier niveau, trois scènes de la passion sont analysées, au seul plan textuel, pour prouver que l’abolition du discours narratif n’entrave pas la transposition des émotions qu’il suscite – ce que montrent des correspondances entre les formes narratives (description, dialogue) et les formes lyriques (l’air, le duo). Pour l’opéra, le récit est donc un modèle pathétique complet et performant<br>What is the underlying objective when an artist creates an adaptation? To approach this, one has to explore the different levels of the transposed narrative, not merely the "story" or "storyline". Successive examinations of the narrative structures, the ayering of the fiction, and the finished discourse reveal that each level of narration involves transposing a pathetic conflict into the operatic form. The act of musical (lyrical) dramatization imposes upon the narrative a transformation in three ways: simplification, stereotyping and a final process which deconstructs verisimilitude. These processes are founded on a highly consistent narrative structure, which sets in motion a rhetorical tension between the narrative discourse and that of the opera itself. The present work takes this function as its starting point in order to conduct a purely textual analysis of three scenes of passion – the objective being to demonstrate that subsuming or even, abolishing, the narrative discourse, does not dilute or corrupt the emotions originally conveyed – this process is shown by structural correspondances between the narrative (description and dialog) and lyrical forms (aria and duet). Thus, when transposed into the operatic form, the narrative remains a complete and convincing model of pathos
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Medrano, García Salomé. ""Carmen", de la literatura a la imagen." Doctoral thesis, Universitat de Barcelona, 1990. http://hdl.handle.net/10803/48491.
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El primer capítulo trata de la dificultad que supone encuadrar un tema de estudio por lo que comporta de excluir y se justifican múltiples opciones que no se siguen.
Del capítulo dos, dedicado a la novela, se recoge el carácter iniciático que para el autor supuso este viaje al Sur, visto como un lugar anárquico, en busca del orden interno que lo sustenta. Y la identificación de Carmen con este Sur en el que el espíritu/intelecto del autor se aproxima a la materia/naturaleza, a la madre tierra que le atrae pero a la que no sabe dominar, y porque le da miedo, la destruye.
Carmen representa el eterno enfrentamiento entre los pares de opuestos irreconciliables: Norte/Sur, Vasco/Gitana, Hombre/Mujer, Orden/Anarquía, y la constante búsqueda del individuo para encontrar su conciliación.
En la base de la investigación está la elección de la pasión, la muerte, la libertad y el destino que, simbolizados por la flor, el cuchillo, el anillo y las cartas, recorren la mayoría de las reinterpretaciones.
En el tercer capítulo, dedicado a la ópera, se recoge el efecto amplificador que la música y el libreto han proporcionado a la novela. En la traslación de códigos que supone el paso de la novela a la escena el elemento decisivo es el hecho de que se convierte en espectáculo: cada Carmen que canta está representando el rito y reviviendo el sacrificio, sacralizándolo.
Los tres personajes alrededor de los cuales gira la novela: el viajero, Carmen y Don José se convierten en cuatro. Micaela y Escamillo aportan la dimensión espacio temporal en tanto que parejas ideales para D. José y Carmen respectivamente; si no hubiera aparecido la FATALIDAD alterando el orden del espacio social y provocando la tragedia. El elemento trágico equilibrado por otros cuatro secundarios, Frasquita, Mercedes, Remendado y Dancaire, aportando el elemento ligero y cómico, mientras que los coros confirman el carácter mítico y la dimensión social: Don José puede matar a Carmen pero no a las cigarreras que cantan al placer que sienten al fumar, ni a los bandoleros que exaltan su libertad en las montañas, ni a los niños que parodian a los soldados. La música de Bizet es un ingrediente importante en la popularización de la anécdota y en su devenir mítico.
El capítulo cuarto está dedicado principalmente al cine. La colocación de la cámara, la ausencia/presencia de sonido y cromatismo, la utilización de una u otra música, son, junto con la estructura narrativa que se elija en cada caso, así como las respectivas presencias físicas de los protagonistas, elementos que tienden a diversificar la obra. Se demuestra que las inferencias sociales que se traducen en ciertas aportaciones anecdóticas traslucen mucho más de lo que en apariencia representan.
La pasión amorosa para Carmen es su forma de vida, el Amor para Carmen no puede ser sino búsqueda y juego. Y como en todo juego, el riesgo forma parte de lo inevitable. La "infidelidad" de Carmen es libertad en el hecho de amar y por tanto fidelidad hacia su propia concepción del amor. Don José no entiende estos códigos y se siente víctima de un sortilegio, del que sólo podrá librarle el "sacrificio" de la culpable.
El aire de libertad que respira Carmen, la mujer que no obedece, que no está sometida, es la destilación del aire de libertad colectiva de los pueblos que han aprendido a rebelarse contra la Monarquía en la Revolución Francesa y siguen haciéndolo contra Napoleón, la República, o la Comuna.
Al ser esta tesis pluridisciplinar, ha sido acompañada por un trabajo videográfico que la ilustra y la completa.<br>A study of the novel Carmen by Prosper Mérimée and, more especially, of its protagonist and the subsequent transmutations she has inspired in other creative artists in various media.
The thesis is divided into five chapters and also includes a bibliography and six appendices.
The first chapter explains the concept and methodology employed. The second deals with the genesis of Mérimée's novel. It starts with a view on life and politics in Spain, from 1830 to 1870 and continues with an approach on Mérimée's life and interests and a description of the novel and its literary precedents. The third chapter refers to Bizet's opera. It starts with a view on the impressions left by travelers visiting Spain in the 1850's, presents Bizet and the librettists Meilhac and Halévy, a functional analysis of the opera and concludes with opinions and commentaries about the work by some of the artists who have interpreted it. The fourth chapter provides a panoramic view on the 50 films on the subject for which there are entries in the filmogra¬phy, and analyses 15 of them. There is a view on the productions by Peter Brook in Theatre and T.V., and on some of the known choreography in ballet, and the work in theatre of Antonio Gala in Carmen, Carmen. The fifth chapter is devoted to the conclusions.
The appendices are:
1. The technical script and literary commentary on the videocassette which accompany and complete the thesis.
2. A discography of recordings of the opera from 1908 to 1984.
3. A filmography of over 50 films on the theme from 1904 to 1990.
4. Ephemera: a collection of articles from newspapers and magazines in French, English and Spanish from 1980 to 1990.
5. The text of Les Bohémiens by Pushkin in its translation into French by Mérimée, which is used in the thesis
6. The catalogue of two books illustrated by Picasso which relate to two editions of Carmen.
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Léandro, Anita. "Le personnage mythique au cinéma : étude des représentations de Carmen." Paris 3, 1997. http://www.theses.fr/1998PA030012.
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Cette these propose une definition du personnage mythique, analyse dans sa specificite cinematographique. L'etude se concentre sur le personnage de carmen, qui a inspire un nombre considerable de films. Creee par prosper merimee en 1845 dans la nouvelle homonyme, carmen devient personnage d'opera en 1875, dans l'adaptation de bizet. Trente ans plus tard, le cinema se l'approprie et ne cesse depuis de l'actualiser, en forme d'adaptations traditionnelles ou modernisees, de citations d'arias d'opera et de references plus ou moins explicites au celebre prenom du personnage et au type qu'il incarne. Plus qu'une comparaison des manifestations de carmen dans ces differents arts, cette etude se centralise prioritairement sur la variete des representations de ce personnage au cinema. Une recherche aupres de cinematheques et archives de films constitue le point de depart de ce travail. Les films sont regroupes selon leurs programmes de representation et l'analyse privilegie l'etude de la reproduction ou de l'effacement de stereotypes lies au personnage de carmen. La recherche s'etend au cours de six chapitres, dont un theorique et cinq d'analyse de films. Le premier chapitre fait la mise au point theorique de quelques notions qui sous-tendent la definition du personnage mythique dans sa valeur de recit, developpee au long des chapitres suivants<br>This study offers a definition of the mythical character, analysed in its cinematographic specificities. The study focuses upon the character of carmen, which inspired a great number of films. After being created by prosper merimee in 1845 in the homonymous short story, carmen became an opera character in 1875, in bizet's adaptation. Thirty years later, the cinema appropriated it and has constantly updated it since then, be it under the guise either of traditional or modernised adaptations, or of quotations of opera arias, or of more or less explicit references to the famous first name of the character and to the type it embodies. More than a comparison of the occurences of carmen in these different arts, this study centers mainly around the variety of the representations of the character in films. The stepping stone of this work was a research in film archives. The films have been grouped according to the ways they represent carmen and the analysis favours the study of the reproduction or of the obliteration of the stereotypes linked to the character of carmen. The research is divided into six chapters, including one theoretical and five of film analyses. The first chapter clarifies, from a theoretical point of view, a few notions which inderlie a definition of mythical character in its narrative value, as developed along the following chapters
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Molina, Quintana Carmen Paola. "Carmen : la heroína trágica que recorre su camino dramático hacia la inevitabilidad del hado en tres adaptaciones cinematográficas." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2015. http://tesis.pucp.edu.pe/repositorio/handle/123456789/6125.
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Lo héroes trágicos son los seleccionados para llevar una vida extraordinaria llena de
aventuras y retos. Sin embargo, hacia el cumplimiento de su objetivo, ellos deben seguir
un camino dramático, uno que no pueden elegir, sino que estará impuesto por el hado.
Es por ello que ningún héroe trágico es portador de la felicidad ni de la buena ventura,
su final siempre ha de ser funesto. Por ello, nos preguntamos: ¿todos los héroes trágicos
seguirán el mismo camino hacia la inevitabilidad de su desdicha? La muerte es la
culminación del camino recorrido por el héroe trágico y es, al mismo tiempo, la
redención de sus faltas, pues a lo largo de su camino dramático ha cometido muchas: es
soberbio y tirano, y conoce el alcance de su poder y lo maneja a su conveniencia.
Es así que la imagen de los héroes trágicos ha ejercido fascinación en nosotros,
desde un comienzo con el mito de Edipo. Su representación teatral nos demuestran lo
temible que es el destino. El hado está marcado y mientras más se alejen los héroes de
su destino, más próximos estarán de encontrar su desgarrador final. Es así que Edipo se
ha convertido en el arquetipo del héroe trágico por excelencia.<br>Tesis
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Castay-Roubeau, Nathalie. "Bodas de Sangre, Carmen : de l'écrit à l'écran." Montpellier 3, 2009. http://www.biu-montpellier.fr/florabium/jsp/nnt.jsp?nnt=2009MON30097.
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Cette thèse veut être une analyse du passage du texte à l’image de Bodas de sangre et Carmen. La première partie présente le contexte sociohistorique de Carlos Saura, et propose de parcourir son oeuvre en ciblant des éléments significatifs qui seront analysés lors de l’étude plus approfondie des films choisis. L’objet de la deuxième partie est l’analyse conjointe des textessources qui souligne plus qu’une homologie structurale, un rapport étroit entre les deux auteurs, les deux oeuvres et les deux héroïnes. Cette étude du texte révèle aussi la naissance du mythe à partir de Carmen. La troisième partie concerne le transfert iconique. Pour ce faire, l’étude de la temporalité apporte un éclairage supplémentaire sur le texte et l’image. Alors, la technique cinématographique maîtrisée prouve qu’elle peut être l’alliée de la littérature et de la danse. L’importance accordée à la photographie, au réalisme, au décor et à la bande sonore, donne à voir une nouvelle lecture des textes. Dans les deux cas, le spectateur assiste à la projection d’un film qui représente la répétition ou la création d’un ballet. La mise en abyme est donc un choix de création ; la superposition des récits oblige le spectateur à jongler de l’un à l’autre, dynamisant ainsi la lecture du film<br>This thesis is a study of the passage from text to pictures in Bodas de sangre and Carmen. The first part is a presentation of the Carlos Saura sociohistorical context, followed by a survery of his work focusing on significative points which will be analysed in the deeper investigation of the chosen films. The second part aims at analysing the original texts, which highlights more than equivalent structures but also a close link between the two authors, the two novels and the two heroines. That study of the text also reveals the birth of the myth about Carmen. The third part deals with the transfer of the icon. To develop that point, the study of temporality brings the text and the picture under a different light. So, the controlled cinema technique proves that it can be on ally to literature and choregraphy. The importance given to photography, realism, scenery and sound track puts some new light on the text. In both cases, the member of the audience watches a film that represents the rehearsal on the creation of a ballet, the mise en abyme is, in fact, a choice of creation; the superposition of stories requires from the audience to juggle from one to the other, stimulating the playing of the film
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Angelone, Concetta. "La femme du Midi dans les nouvelles de Stendhal et Mérimée ˸ nature, caractère et passions." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA055/document.
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Les études sur les personnages féminins stendhaliens et mériméens sont certainement nombreuses. Toutefois, notre travail envisage une nouvelle approche qui a pour objectif de mettre en évidence les rapports que Stendhal et Mérimée entretiennent avec les théories qui prédominent dès le XVIIIe siècle. Nous nous référons en particulier à la théorie des quatre tempéraments et la théorie des climats et leur influence sur la création des figures féminines, protagonistes des histoires qui constituent le corpus des Chroniques italiennes et des nouvelles de Mérimée, c’est-à-dire La Vénus d’Ille, Colomba et Carmen. Notre propos est de découvrir un nouvel aspect de la problématique féminine en analysant le type humain de la femme du Midi étudié sous la perspective de l’influence des théories susmentionnées. Nous avons également mis en relation la forme littéraire adoptée par les deux écrivains (la nouvelle, le petit roman) avec les sujets qu’ils abordent et l’effet qu’ils veulent produire sur le lecteur. En quoi, en effet, la forme brève qu'ils choisissent contribue-t-elle à l'effet de violence que la représentation du Sud est supposée produire ? Le récit court sert, à l'évidence, l'efficacité d'un propos à la fois esthétique, ethnologique et éthique. L’étude s’articule en trois temps. Dans un premier temps, nous nous intéressons à l’évolution de la théorie des tempéraments et la théorie des climats, ensuite, au contexte historique et culturel de la période à cheval entre le XVIIIe et XIXe siècles qui influence aussi la création littéraire de Stendhal et de Mérimée. Dans un deuxième temps, nous nous occupons de la poétique stendhalienne et mériméenne par rapport aux récits courts. Enfin, nous analysons les figures féminines par rapport aux études préliminaires que nous avons faites dans les parties précédentes<br>Studies about female characters in Stendhal’s and Mérimée’s works are in no doubt numerous. However, the aim of our work is to highlight the relationship between these authors and the theories that prevailed from the eighteenth century onwards. We refer in particular to both the four temperaments theory and the climate the theory and their influence on the creation of female characters, protagonists in the stories we chose for our corpus: the Chroniques italiennes of Stendhal and the shorts stories La Vénus d’Ille, Colomba and Carmen of Mérimée. Our purpose is to unveil a new aspect of the female problematic by analysing Southern Europe woman human type observed from the perspective of the influence of the above-mentioned theories. We also linked the form chosen by the two writers (short story, little novel) with the themes they address and the effect they want to produce on the reader. To which extent is the short story type contributing to the effect of violence supposed to be produced by the depiction of the South? Short stories serve the efficiency of a purpose at the same time aesthetic, ethnological and ethical. This study consists of three parts. First of all, we examine the the evolution of both four temperaments theory and climate theory, as well as the eighteenth, beginning of the nineteenth century historical and cultural background which also influences Stendhal and Mérimée literary creation. Secondly, we reflect upon Stendhal’s and Mérimée’s poetics in relation to short stories. Finally, we analyse the female characters in relation to the preliminary studies previously mentioned<br>Gli studi sui personaggi femminili di Stendhal e Mérimée sono sicuramenti numerosi. Ciò nonostante, il nostro lavoro prevede un nuovo approccio che ha come obiettivo di mettere in evidenza l’influenza che le correnti di pensiero, che predominano a partire dal diciottesimo secolo, hanno sulla produzione letterario di Stendhal e Mérimée. In particolare, ci riferiamo alla teoria dei quattro temperamenti e alla teoria dei climi rispetto alla creazione dei personaggi femminili, protagonisti delle storie che costituiscono il corpus delle Cronache italiane e delle novelle di Mérimée, ossia La Venere d’Ille, Colomba et Carmen. Il nostro scopo è quello di mettere in luce un nuovo aspetto della problematica femminile, analizzando il tipo umano della donna meridionale studiato sotto la prospettiva delle teorie sopra menzionate. Abbiamo anche messo in relazione la forma letteraria adottata dai due scrittori (la novella, il piccolo romanzo) con l’argomento che trattano e l’effetto che vogliono produrre sul lettore. Concretamente, in che modo la forma breve che scelgono contribuisce all’effetto di violenza che la rappresentazione del Sud è presupposta produrre? La novella serve a rendere efficace un pensiero estetico, etnologico et etico. Lo studio si divide in tre parti. In un primo momento, ci interessiamo all’evoluzione della teoria dei temperamenti e alla teoria dei climi, in seguito, al contesto storico-culturale del periodo a cavallo tra diciottesimo e diciannovesimo secolo che influenza anche la creazione letteraria di Stendhal et Mérimée. In un secondo momento, ci occupiamo della poetica di Stendhal et Mérimée rispetto alla novella. Infine, analizziamo i personaggi femminili in rapporto agli studi preliminari effettuati nelle parti precedenti della nostra tesi
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Gasparini, Tania Cristina Ferreira. "A expressividade do discurso flamenco: um diálogo entre as Carmens de Mérimée, Saura e Godard." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2364.
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Previous issue date: 2009-08-07<br>This research develops a dialogue between Prosper Mérimée s novella Carmen and two contemporary filmic adaptations, one by Jean-Luc Godard and the other by Carlos
Saura. The purpose of this study is to analyze the main character (Carmen) by means of the dance and the red and black colors, which are the colors both of Flamenco and of
Carmen as a character. Another aim is to present the diachronic evolution of Flamenco as a dance and comment the role of the gestures as part of the code of the Flamenco dance. This study has resulted in the production of a peformance called A dialogue among Carmens, which testifies the development of the theme we have chosen to study. Mikhail Bakhtim has been elected as the basis to study dialogism, Antonio Candido has helped in the study of the characters, Eugenio Borba for the study of the gestures and Agnes Heller has offered us material to study colors in general.<br>Esta pesquisa desenvolve um diálogo entre a obra Carmen, de Prosper Mérimée e as adaptações de Carlos Saura e Jean-Luc Godard. Tem o intuito de analisar a personagem principal por meio da dança flamenca e das cores vermelha e preta. Apresenta ainda a evolução diacrônica do Flamenco e comenta a importância da gestualidade típica desta dança. O trabalho resultou na produção de um espetáculo em três atos, intitulado Um diálogo entre Carmens, cuja representação mostra, na prática, o tema estudado. Escolhemos Mikhail Bakhtin para estudar o dialogismo, Antonio Candido para estudar a personagem, Eugenio Barba para a gestualidade e Agnes Heller para o estudo das cores, entre outros.
Books on the topic "Carmen (Mérimée)"
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Christoforidis, Michael. The Spains of Paris, Mérimée, and Bizet’s Carmen. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780195384567.003.0001.
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The Prelude briefly situates the creation of Carmen within a long tradition of Spanish entertainment in Paris, from its incarnation as a novella by Prosper Mérimée (in the 1840s) to the opera by Georges Bizet and his librettists Henri Meilhac and Ludovic Halévy (1875). The fashions of the Second Empire; the influence of the Spanish-born Empress Eugénie, who fostered a taste for Spanish music and dance; and the growing community of Spanish performers and artists in Paris formed a cultural landscape that informed the local color of the opera. This Hispanic milieu in the French capital also conditioned and shaped Bizet’s musical depiction of Spain in Carmen.
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André, Naomi. Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.001.0001.
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This is a book about thinking, interpreting, and writing about music in performance that incorporates how race, gender, sexuality, and nation help shape the analysis of opera today. Case-study operas are chosen within the diaspora of the United States and South Africa. Both countries had segregation policies that kept black performers and musicians out of opera. During the civil rights movement and after apartheid, black performers in both countries not only excelled in opera, they also began writing their own stories into the genre. Featured operas in this study span the Atlantic and bring together works performed in the West (the United States and Europe) and South Africa. Focal works are: From the Diary of Sally Hemings (William Bolcom and Sandra Seaton), Porgy and Bess, and Winnie: The Opera (Bongani Ndodana-Breen). A chapter is devoted to the nineteenth-century Carmens (novella by Mérimée and opera by Bizet) and black settings in the United States (Carmen Jones, Carmen: A Hip Hopera) and South Africa (U-Carmen eKhayelitsha). Woven within the discussions of specific works are three rubrics for how the text and music create the drama: Who is in the story? Who speaks? and Who is in the audience doing the interpreting? These questions, combined with a historical context that includes how a work also resonates in the present day, form the basis for an engaged musicological practice.
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Furman, Nelly. Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.001.0001.
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Since 1875 the heroine of the most performed opera in the world, Carmen has become a universal cultural icon. She has appeared in a multitude of ballets, on stage as well as ice rinks, and in some eighty international films. The success of Bizet’s opera owns a lot to the libretto’s singular accounting of the 1845 short story on which it is based. In her close textual analyses of Ludovic Halévy’s and Henri Meilhac’s libretto and Prosper Mérimée’s novella, the author strives to account for the multiple aspects of Carmen’s attraction that support Georges Bizet’s acclaimed musical score.
Book chapters on the topic "Carmen (Mérimée)"
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Möller, von Kirsten. "Prosper Mérimées Carmen Eine französisch-spanische Beziehungsgeschichte." In Carmen. Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412213541.13.
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Tacke, von Alexandra. "Carmen im Blick Die Funktion der Rahmungen in Prosper Mérimées Novelle & Georges Pichards Comic." In Carmen. Böhlau Verlag, 2011. http://dx.doi.org/10.7788/boehlau.9783412213541.25.
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Furman, Nelly. "For the Love of Science." In Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.003.0003.
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In Carmen, the narrator is a French historian who tells us his adventures in Spain and his meeting the famous bandit José and his lover, Carmen. The novella published in 1845 consisted of three chapters. In the last chapter, which is the basis of the opera’s plot, José himself recounts his relationship with Carmen and her death. In 1847, two years after the first publication of Carmen, Mérimée adds a fourth chapter to the original novella. This fourth chapter presents itself as a study of Romany, the language of the Roma, then called Gypsies. This fourth chapter, under the guise of being a scientific study of Romany, underscores the misogyny and racism already apparent in the earlier chapters.
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"5. Mérimée, Bizet, and Rosi The Consummation of Meridionalism: Carmen (1984)." In Masters of Two Arts. University of Toronto Press, 2002. http://dx.doi.org/10.3138/9781442677111-008.
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Robinson, Peter. "Mérimée's Carmen." In Georges Bizet: Carmen. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9781139166416.002.
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André, Naomi. "Carmen." In Black Opera. University of Illinois Press, 2018. http://dx.doi.org/10.5622/illinois/9780252041921.003.0005.
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This chapter follows the character of Carmen from her genesis in the middle of the nineteenth century with Prosper Mérimée’s novella (1845-46) through Bizet’s opera (1875), the film adaptation of Carmen Jones (1954), the MTV hip hopera (2001), and the South African U-Carmen eKhayelitsha (2005). With a transnational lens, this chapter brings together the same story as it moves across the Atlantic from Europe to the United States to South Africa and becomes a focal point for looking at text and genre. The emphases are on the intricacies of representation across the parameters of race, gender, expressions of hypersexuality, class, and nation while they are juxtaposed and held in dialogue with each other.
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Pasco, Allan H. "Sequence Framed in Mérimée’s “Carmen”." In The Nineteenth-Century French Short Story. Routledge, 2019. http://dx.doi.org/10.4324/9780429319006-5.
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Furman, Nelly. "Conclusion." In Georges Bizet's Carmen. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190059149.003.0005.
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Attraction, seduction, frustrated loves, crimes of passion, inform the plots of countless stories, films, and plays. These themes, while time worn, are also alluring challenges for creative artists. It explains the unending popularity of the story of Carmen and its modern remakes. Passion, once considered an illness, has since the eighteenth century gained acceptance and marriages of the heart are now commonplace and these have displaced the social stratification and sexual regulations that once defined marriage. The story of Carmen speaks to these societal changes in intimate human relations. Many of themes found in Bizet’s opera and Mérimée’s novella (seduction, sacrifice, law and lawlessness, racism, misogyny to name but a few) offer sources of inspiration to many artists. But the often-told story of Carmen also raises the question of originality in art.
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"Perdue en traduction: Translation, Betrayal and Death in Mérimée’s Carmen." In Birth and Death in Nineteenth-Century French Culture. Brill | Rodopi, 2007. http://dx.doi.org/10.1163/9789401204866_006.
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