Relevant bibliographies by topics / Cocteau, Jean

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  2. Dissertations / Theses
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Academic literature on the topic 'Cocteau, Jean'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Cocteau, Jean"

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Leahy, S. "Jean Cocteau." French Studies 61, no. 3 (July 1, 2007): 398–99. http://dx.doi.org/10.1093/fs/knm113.

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Knowles, K. "Jean Cocteau." French Studies 63, no. 3 (June 24, 2009): 357. http://dx.doi.org/10.1093/fs/knp050.

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ANDERSON, LAURA. "Musique concrète, French New Wave cinema, and Jean Cocteau'sLe Testament d'Orphée(1960)." Twentieth-Century Music 12, no. 2 (August 26, 2015): 197–224. http://dx.doi.org/10.1017/s1478572215000031.

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AbstractJean Cocteau (1889–1963) is recognized as one of France's most well-known film directors, directing six films over a thirty-year period. This article argues that his film soundscapes occupy a unique position in the history of French film sound, providing a key link between contemporary experimentation in art music and the sonic experimentation of the New Wave filmmakers. This argument is best exemplified byLe Testament d'Orphée(1960), which represents the apotheosis of Cocteau's artistic output as well as the stage at which he was most confident in handling the design of a film soundscape. Indeed, Cocteau was comfortable with the selection and arrangement of sonic elements to the extent that his regular collaborator Georges Auric became almost dispensable. Nevertheless, Auric's willing support enriched the final film and Cocteau created a highly self-reflexive work through his arrangement of the composer's music with pre-existing musical borrowings. Cocteau's engagement with contemporary developments in film and art music can be heard throughout this film, highlighting his position as a poet simultaneously establishing himself in the canon of art and looking to the future.
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Deaville, James, and Simon Wood. "Synchronization by the Grace of God? The Film/Music Collaboration of Jean Cocteau and Georges Auric." Canadian University Music Review 22, no. 1 (March 4, 2013): 105–26. http://dx.doi.org/10.7202/1014501ar.

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Jean Cocteau's relationship with music has never been explored in detail with regard to his films. Given his well-known statements against synchronization, Cocteau appears upon first glance not to have paid much attention to the relationship between image, word and music, entrusting the music to his long-term friend Georges Auric. However, a closer examination of Auric's scores in the context of their films reveals a much closer corraboration of music and film than previously thought by specialists (or admitted by Cocteau). Analysis of musical and filmic elements in Le Sang d'un poète (1932), La Belle et la Bête (1946) and Orphée (1949) presents a complex and rich yet traditional approach to film scoring both by Auric and Cocteau.
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Baquero, Gaston, Greg Simon, and Steven F. White. "Homage to Jean Cocteau." Callaloo 29, no. 2 (2006): 296–97. http://dx.doi.org/10.1353/cal.2006.0085.

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Baquero, Gaston. "Homenaje a Jean Cocteau." Callaloo 29, no. 2 (2006): 298–99. http://dx.doi.org/10.1353/cal.2006.0086.

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Vinogradov, Vladimir Vyacheslavovich, and Zh Kokto. "Jean Cocteau. Trilogy about Death, or Between Dionysius and Apollo." Journal of Flm Arts and Film Studies 2, no. 3 (October 15, 2010): 74–88. http://dx.doi.org/10.17816/vgik2374-88.

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The article is devoted to three films made by Jean Cocteau - Le Sang d'un poиte, Orphйe, Le Testament d'Orphйe, that form a trilogy of a kind. The author analyses the main image system of the trilogy in Apollonic and Dyonisic terms and comes to certain typological conclusions about Cocteau's mythology. Beside exploring the "modern" myth of Poet and Death, the article describes the cultural context around each of the mentioned ilms
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de Cossart, Michael, and Erik Aschengreen. "Jean Cocteau and the Dance." Dance Research: The Journal of the Society for Dance Research 5, no. 1 (1987): 73. http://dx.doi.org/10.2307/1290667.

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Phillips, Ian. "The poetry of Jean Cocteau." Lancet 356, no. 9235 (September 2000): 1117. http://dx.doi.org/10.1016/s0140-6736(00)02745-8.

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Somerville, Kristine. "Jean Cocteau: Master of Disguise." Missouri Review 38, no. 4 (2015): 63–73. http://dx.doi.org/10.1353/mis.2015.0061.

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Dissertations / Theses on the topic "Cocteau, Jean"

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Fermi, Elena. "Jean Cocteau et l'Italie." Montpellier 3, 2005. http://www.theses.fr/2005MON30075.

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La thèse Jean Cocteau et l'Italie porte – comme en témoigne son titre - sur l'analyse des relations de Jean Cocteau avec l'Italie. Elle s'inscrit ainsi dans le sillage des études qui, surtout dans ces dernières années, se sont occupées de la dimension européenne de Jean Cocteau, en mettant en relief l'influence que le poète a eu sur la culture européenne de la première moitié du XXe siècle. Jean Cocteau et l'Italie essaie de reconstruire un panorama des relations du poète avec la péninsule. Elle s'articule sur quatre chapitres qui traitent, chacun, un aspect du problème : les voyages et les séjours du poète, les liens, l'Italie dans l'œuvre, la réception de l'œuvre et le jugement sur le personnage de la part des italiens. En annexe, une série d'inédits (notamment des correspondances) est présentée, qui montre la profondeur et l'importance des relations humaines et artistiques du poète avec ses contemporains italiens : de Giorgio de Chirico à Alberto Savinio, de Gabriele d'Annunzio à Fabrizio Clerici. Cette étude représente une première tentative d'offrir une synthèse d'un sujet qui se révèle très intéressant et très riche. Son importance est témoignée surtout par les résultats de la recherche archéologique qui, conduite dans plusieurs archives (françaises mais surtout italiennes), a révélé l'importance, non seulement pour ce qui est de l'histoire littéraire mais aussi, plus spécialement, pour l'évolution de la personnalité et de l'œuvre de Cocteau, du rapport avec l'Italie
As the title underlines, the thesis Jean Cocteau et l'Italie deals with the analysis of the relations between J. C. And Italy. It becomes part of the trend of studies which, mainly during last years, have been dealing with Jean Cocteau European dimension, underlining the influence the poet had on the European culture in the first part of XXth century. Jean Cocteau et l'Italie tries to reconstruct an outline of the relations between the poet and the peninsula. The thesis is devided into four chapters, each of them dealing with a particular side of the problem: the journeys of the poet, his relations, the image of Italy in his work, how people aknowledge it and how italians judge the character. The appendix contains a series of unpublished textes (in particular some correspondence letters), showing the depth and the importance of the human and artistic relations between the poet and his Italian contemporaries: from Giorgio De Chirico to Alberto Savino, from Gabriele D'Annunzio to Fabrizio Clerici. This research is a first way to offer a synthesis of a very rich and interesting subject. Its importance is witnessed, above all, by the results of the archeological research dealt in different archives (French and Italian especially), which showed the importance of the relationship between Italy and the poet, for his literary history, personality and works
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Rivière, Hélène Elisabeth. "L'Univers poétique de Jean Cocteau." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609409r.

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Du, Chambon Bertrand. "Le roman de Jean Cocteau /." Paris ; Budapest ; Torino : l'Harmattan, 2001. http://catalogue.bnf.fr/ark:/12148/cb38808956w.

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Jih, Jong-Hyun Burgelin Claude. "Jean Cocteau le corps-écriture /." Lyon : Université Lumière Lyon 2, 2006. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2006/jih_jh.

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Jourdan, Gledel Marie Françoise. "Jean Cocteau : danse et poésie." Rennes 2, 1998. http://www.theses.fr/1998REN20018.

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Jean Cocteau, poète aux écritures multiples, intègre très tôt l'art chorégraphique dans sa création poétique. Ainsi, réalités quotidiennes sublimées, décalages rythmiques, figures emblématiques et autres thèmes ou motifs récurrents se répondent de poésies en ballets. Cette interaction danse poésie a un retentissement certain dans son oeuvre, lui assurant une profonde cohésion. La poésie devient chez Cocteau une force vitale imprégnant le monde, force que seul le poète medium peut capter. Puisant aux diverses sources du mysticisme, jean Cocteau développe une vision d'un univers pluridimensionnel de mondes emboîtés à l'infini, abolissant toute notion de temps, simple reflet de l'emboîtement des espaces. Hésitant entre secret et explications, l'attitude paradoxale de Cocteau déroute la critique et donne naissance a de nombreux malentendus. Cocteau, fascine par la création chorégraphique, perpétue pourtant à sa manière une tradition française du ballet théâtre. A son exemple d'autres écrivains (Claudel, Cendrars, Picabia, Valery, Gide) vont tenter l'aventure et ce mouvement, particulièrement manifeste dans l'entre-deux guerres ravive les questionnements sur la relation entre danse et poésie et sur la pureté en art
Jean Cocteau, poet with numerous types of writing, very early integrated choregraphic art into his poetic creation. That way sublimated daily reality, symbolic characters and many other recurrent themes and patterns can be found again and again both in his poems and ballets. This interaction between poetry and dance had definite repercussions in his works leading to a deep cohesion. Poetry became in Cocteau's works a strength that filled the whole world and that only the poet as a medium could fully grasp. Drawing from the various sources of mysticism, Cocteau develops a view of a 'pluridimensional' universe made of worlds that endlessly fit together, abolishing the concept of time, reflecting merely the interlocking of space. Vacillating between secrecy and explanations, Cocteau's paradoxical choices dismayed the critics and gave birth to many misunderstandings. And yet in his own way Cocteau, fascinated by the choregraphic creation, carried on the French traditions of 'ballet-theatre'. Following his example, other writers (Claudel, Cendrars, Picabia, Valery, Gide) tried the adventure and this movement which was most patent between the two wars reopens the debate on the relation between dance and poetry and on the purity in art
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Rivière, Hélène Elisabeth. "L'Univers poétique de Jean Cocteau." Aix-Marseille 1, 1987. http://www.theses.fr/1987AIX10087.

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L'univers poetique de jean cocteau regroupe plusieurs mondes qui s'entre-penetrent et se completent. L'enfance y joue un role primordial car s'y melent etroitement la famille, la nature, les animaux et la feerie. L'amour, decouvert lors de l'adolescence, devient tres vite ambigu et sombre dans un pessimisme qui ne mene qu'a la mort. La poesie, moyen de s'exprimer, reflete l'envers de la vie, la mort et l'amour, et se manifeste a travers les dieux et le miroir. La creation contraint le poete a se concentrer dans la solitude et a connaitre les affres d'un veritable accouchement. Ces divers elements se fondent pour engendrer un monde circulaire ou tout vit en perpetuelle mutation. L'originalite qui en decoule fait apparaitre -si besoin etaitl'extraordinaire singularite de son createur
Jean cocteau's poetical world refers to several elements which melt together and give birth to one single entity. Childhood plays a prominent part with family, nature, animals and enchantment. Love, early discovered, gets quickly ambiguous and falls into pessimism leading to death. Poetry embodies life reverse, death and love through gods and the mirror. With creation, the poet has to retire within himself in solitude and suffer a real delivery. Those different aspects show-if necessary- the author's extraordinary singularity
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Jih, Jon-Hyun. "Jean Cocteau : le corps-écriture." Lyon 2, 2006. http://theses.univ-lyon2.fr/documents/lyon2/2006/jih_jh.

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L’univers poétique de Jean Cocteau est fascinant lorsqu’il parle du corps humain, celui de l’auteur bien évidemment, mais aussi le nôtre. Quel autre approche pourrait impliquer aussi instinctivement, émotionnellement et pour ainsi dire si directement un lecteur au cœur d’une écriture ? Chaque mot de Cocteau désignant une partie symbolique de son propre corps, nous incite à redécouvrir le rapport intime, réel et complexe de l’homme avec son habitacle charnel, primordial. Ce que nous voudrions avant tout exposer dans cette thèse et faire connaître aux autres lecteurs, est bien cette figure qui reste encore méconnue de l’œuvre de Cocteau. Chemin faisant, nous sommes aussi invités à déceler la présence obsédante d’un deuxième corps dans cette même écriture : c’est un corps éthéré, fantomatique, invisible à l’œil nu mais rêvé, sublimé et puissamment parlant de poète. C’est à travers ce corps idéal que Cocteau tente de nous transmettre son message unique : la poésie est. L’écriture de Cocteau représente en fin de compte un corps des mots, né du mariage symbolique du corps humain et du corps inhumain, de la chair mortelle et de l’essence poétique prodigieuse et immortelle
Poetic universe of Jean Cocteau is fascinating when he talks about the human body, that of the author of course, but also our own. What other approach could involve so instinctively, emotionally, as it were, so directly a reader in the depth of the writings. Each Cocteau’s word designating a symbolic part of his body, incite us to go in search of the intimate, real and complex connection of the human being with his vital, carnal tabernacle. In this thesis, we want, first of all, to expound and to have a view of this unknown figure of Cocteau’s writings. On this way, we’re also requested to detect an obsessive presence of a second body, vaporous, invisible and almost a phantom. In fact, it represents a poet’s whole mind structure, his psychic organ dreamed, sublimated and specially meaningful. Through this ideal mind body, Cocteau tries to transmit us his unparalleled message : the poetry does be. All things considered, the writings of Cocteau show a body-writings composed by words, human body and undying poetic essence
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Bonnafous, Saurine. "Jean Cocteau et la photographie." Montpellier 3, 2002. http://www.theses.fr/2002MON30056.

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Jean Cocteau est connu pour son œuvre polymorphe : littérature, cinéma, dessin. La photographie représente cependant un nouvel aspect de la recherche du poète. Photographe dans la première partie de sa vie, il fut aussi un modèle omniprésent devant l'objectif des plus célèbres, multipliant les séances de pose en quête du portrait idéal. Jean Cocteau ne s'est jamais désintéressé du médium, mais c'est sans nul doute dans l'écriture qu'il occupe une place prépondérante. En étudiant les préfaces des livres de photos, le discours critique et les œuvres de fiction, la photographie se révèle chez le poète et devient un nouveau " véhicule de poésie "
Jean Cocteau is well known for his polymorphic work : literature, cinema, drawing. Photography however represents a new aspect of the poets research. Photographer in the first part of his life, he was also an omnipresent model and faced the objectives of the most famous, multiplying his sittings in search of the ideal portrait. Jean Cocteau never tired of this medium, although, without any doubt, it is in writing that he occupies a dominating place. By studying the forewords of books dedicated to photographer, critical speach and fiction, photography is revealed to the poet and becomes a new " vehicle for poetry "
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El, Gharbie Rana. "Les journaux de Jean Cocteau." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040055.

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Dans cette thèse, nous proposons d’étudier l’ensemble de l’œuvre diaristique de Jean Cocteau. Le poète tient huit différents journaux personnels de 1928 jusqu’à sa mort en 1963 : Opium. Journal de désintoxication, Tour du monde en 80 jours, Journal 1942-1945, La Belle et la Bête. Journal d’un film, La Difficulté d’être, Maalesh. Journal d’une tournée de théâtre, Journal d’un inconnu et Le Passé défini. D’abord, nous présenterons la pratique du journal chez l’auteur et définirons l’approche qu’il a du genre. Il s’agit d’une part, de démontrer l’importance de cette activité pour le poète et, d’autre part, de relever l’originalité de cette forme d’écriture chez le diariste. Ensuite, nous nous attarderons sur deux éléments essentiels de sa conception du genre : la publication et la destination. Dans un premier temps, nous nous intéresserons au travail éditorial de l’écrivain, afin de comprendre comment il inscrit l’ensemble de ses journaux dans le champ de la production littéraire. Dans un deuxième temps, nous définirons le lecteur modèle du diariste et distinguerons les différentes stratégies de captation auxquelles recourt le poète. C’est à travers le regard du futur lecteur, qui s’oppose à celui du critique contemporain à Cocteau, que ce dernier aspire à immortaliser son âme démasquée
In this thesis, we take on Jean Cocteau’s full body of diaristic work. The poet has eight different diaries to his name spanning from 1928 until his death in 1963 : Opium. Journal de désintoxication, Tour du monde en 80 jours, Journal 1942-1945, La Belle et la Bête. Journal d’un film, La Difficulté d’être, Maalesh. Journal d’une tournée de théâtre, Journal d’un inconnu and Le Passé défini.We will begin by presenting the author’s diaristic practice and defining his approach to the genre. The aim is to demonstrate this activity’s importance to the poet on the one hand, and reveal the diarist’s originality in this form of writing on the other.Then, we will focus on two essential elements in his conception of the genre: publication and readership. We will firstly attend to the writer’s editorial work in order to understand where he positions the sum of his diaries within the field of literature. Secondly, we will define the typical diary reader and identify the different harnessing strategies the poet resorts to. It is with an eye on the potential reader, who is in direct opposition with Cocteau’s contemporary critic, that the writer aspires to immortalize his unmasked soul
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Prpić, Maya. "Jean Cocteau : la morale du poète." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59382.

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The work of Jean Cocteau (1889-1963), the poet, while extremely diverse, presents nonetheless a coherence and a unity of tone which transmit his artistic vision and at the same time reveal his creative process.
Three works in particular, Opium--Journal d'une desintoxication, La difficulte d'etre et le Journal d'un inconnu, permit us to retrace his poetic course.
Cocteau's art rests on the notion he has of poetry. With the help of the example set by Erik Satie, Raymond Radiguet and Pablo Picasso, he understood at an early age that poetry resided within him and that only by exploring himself and by following a set of morals--in this instance, morals signifies behaviour which conforms to the demands of poetry--would he attain a level of pure poetry.
All of this is evident as much in the ideas the poet conveys as in his style. The personality of the poet, his "ligne" to use Cocteau's words, becomes apparent the more the idea is accurate and the word chosen significant. As a result of this "ligne", of its presence in the work, the poet approaches immortality.
According to Cocteau, the work of a poet cannot flourish within human limits. The poet must transcend such limits to embody universal activity. It is for this reason that the poet must redefine religion and create for himself a personal mythology, that he must reconstruct the world starting from a play of spatial and temporal perspectives. His role thus proves essential to human survival. In effect, the poet fills the cosmic void in which man is evolving.
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Books on the topic "Cocteau, Jean"

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Philippe, Claude-Jean. Jean Cocteau. [Courbevoie, France]: Le Club des stars, 1989.

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Jean Cocteau. London: Reaktion, 2008.

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Touzot, Jean. Jean Cocteau. Lyon: Manufacture, 1989.

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Jean Cocteau. [Paris]: Gallimard, 2003.

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Jean Cocteau. Boston: Twayne Publishers, 1989.

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Mauriès, Patrick. Jean Cocteau. New York: Assouline, 2003.

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Jean Cocteau. London: Thames and Hudson, 1998.

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Lannes, Roger. Jean Cocteau. Paris: Seghers, 1989.

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Gidel, Henry. Jean Cocteau. [Paris]: Flammarion, 1997.

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Jean Cocteau. New York: Assouline, 2003.

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Book chapters on the topic "Cocteau, Jean"

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Wild, Gerhard. "Cocteau, Jean." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3181-1.

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Nievers, Knut. "Jean Cocteau." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 80–82. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_12.

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Nievers, Knut. "Cocteau, Jean: Orphée." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3185-1.

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Botond, Anneliese. "Cocteau, Jean: Bacchus." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3190-1.

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Nievers, Knut, and KLL. "Cocteau, Jean: Le Potomak." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3182-1.

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Mog, Paul. "Cocteau, Jean: Thomas l'imposteur." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3184-1.

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Knapp, Bettina L. "Jean Cocteau (1889–1963)." In French Theatre 1918–1939, 115–24. London: Macmillan Education UK, 1985. http://dx.doi.org/10.1007/978-1-349-17985-5_8.

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Campe, Joachim. "Jean Cocteau (1889–1963)." In Frauenliebe Männerliebe, 123–27. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_28.

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Henschen, Hans-Horst. "Cocteau, Jean: Le grand écart." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3183-1.

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Botond, Anneliese. "Cocteau, Jean: Les enfants terribles." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3186-1.

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