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Academic literature on the topic 'Giono, Jean (1895-1970) – Religion'
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Journal articles on the topic "Giono, Jean (1895-1970) – Religion"
Lopes da Costa, Lorena. "JEAN GIONO E A REINVENÇÃO DA ODISSEIA NA LITERATURA FRANCESA DO PÓS-GUERRA." História: Questões & Debates 67, no. 2 (July 31, 2019): 199. http://dx.doi.org/10.5380/his.v67i2.56348.
Full textLópez Mújica, Montserrat. "La esperanza de Jean Giono. Una lectura ecocrítica de su relato L'homme qui plantait des arbres." Çédille 4 (April 1, 2008): 151. http://dx.doi.org/10.21071/ced.v4i.5386.
Full textDissertations / Theses on the topic "Giono, Jean (1895-1970) – Religion"
Brown, Llewellyn. "Giono et la Bible : intertextualité et imaginaire." Paris 3, 1989. http://www.theses.fr/1989PA030131.
Full textThe biblical motifs undergo important transformations when they are transposed into the univers of the novel. However we can notice the presence of biblical names, titles and quotations. Three rhetorical figures characterise giono's "biblical" writing ; the metaphore for the religious values ; the catalogue, typical of the modern world's infernal babels ; the exhortation for the "prophetic" style. The study of the paradise-hell dichotomy is followed by motifs of bursting (apocalypse and deluge). A central character often plays the role of messiah. Angles represent the paradisiac state or otherwise they become involved in a fight with "jacob". Giono's religion is one which is completely involved in the act of writing
Perrin, David. "Le poids du ciel : itinéraires de l'homme sans Dieu dans l'oeuvre romanesque de Jean Giono." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30019.
Full textMany critics spotted in Giono’s novels (1895-1970) the presence of a kind of emptiness which affected both his main topic and his poetry. Boredom « this sudden and drastic consciousness of nothingness », lie « which rebuilts a world on top of despair » (R. Ricatte) or « the work of sensations » (S. Vignes) felt as « a barrier against nothingness » reflect a void and a defining absence among other effects. This emptiness gives an explanation to his characters’ anonymity and gaps in biography, to the many gaps and silences, narrative and semantic ellipses, narrative caesura and discontinuities. Acknowledging the existence of a void, of an original emptiness, was not enough, its specific nature must be defined. What is missing in Giono’s world ? What is his world made of ? Paradoxically speaking the answer lies in what the author struggled not to describe or more precisely in what he described « en blanc » (J. Giono). Analysing what is described in his novels without really being described, I have realized that the One who is missing is God. God is conspicuous by his absence in his works. He is the one he refuses to describe positively as he is « the absolute absence ». The theology expressed is a ‘‘white theology’’. His view of the world and his vision of mankind, are always and in their tiniest details a vision without God. As the narrator of Le Déserteur puts it when he alludes to his main character’s votive offerings : « God is absent from all this. » Studying Giono’s works in the light of this absence, four collections of novels emerged according to an uncommon classification : on the one hand between a first and a second « manner » and on the other hand between « le Cycle du Hussard » and « les Chroniques romanesques ». These four collections of novels are routes taken by mankind without God. I have set apart : « a pagan humanist » route, a « sublime heroic » route, the tragic if ever tragicomic route of mankind doomed to their downfall, the last one the route of « strong souls » who strive to turn gods without God. The huge « quest for happiness » which is at the heart of Giono’s novels is related to heaven but a heaven without God
Amano, Yukiyo. "Un nouveau réalisme de Jean Giono : Chroniques romanesques." Paris 4, 2005. http://www.theses.fr/2005PA040165.
Full textThe aim of this thesis is to investigate what is novel in Giono's style after the Second World War, because his “Chroniques” series, created since 1945, is completely different in style from his works before the War. His diary, notes and correspondence have been searched in order to follow his efforts to change his style. And then the “Chroniques” have been analysed to see how “reality” is fictionalized in them. The “Chroniques” don't aim to create the “reality”, like the novels of the 19th century. They rather hide or erase it, with narration full of blanks or with many baroque images. But through this absence of reality, appears what common sense won't see : the aspect of darkness in the human mind. The new realism of Giono means this paradoxical system that represents the truth of human beings in “imaginary reality”, re-created in his readers
Moon-Kim, Soo-hyun. "Les images de Jean Giono dans Angelo et Le Hussard sur le toit." Paris 4, 1997. http://www.theses.fr/1997PA040014.
Full textOur research is a study of figures that we call "images": figures of analogy, figures of contiguity, and so forth. The familiar forms of these discovered images in "Angelo" and in "Le Hussard sur le toit" are simple. The comparison introduced by "comme" without a predicate: "a is like b" and the nominal metaphor of form: the substantive. A plus "de" plus the substantive b are remarkable. The verbal or adjectival metaphors are often surrounded by a comparison. The images referring to the natural framework are characterized by an impressionist vision. In most cases, they reflect the vision of the main character, Angelo, who frequently travels on horseback. The narrator is rarely present as an autonomous point of view. The author often views an animated being in the natural objects as in his first novels. But the role of the natural framework in our two works, especially in "Angelo", is reduced to that of a background of a drama. In "Le Hussard sur le toit", the images referring to the natural framework can be a premonition of the drama that the main character will meet. The characters are often drawn in a caricaturized fashion. The external aspects are often catalysts of a reflexion on society. In "Angelo", the psychology of the characters has a greater […] vices of the author, thanks to his virtues. In "Angelo" and in "Le Hussard sur le toit", Giono concretizes his vision of the world and his ideological and ethical positions in the reactions of his characters
Romestaing, Alain. "Le corps dans l'oeuvre de Jean Giono." Paris 4, 2000. http://www.theses.fr/1999PA040256.
Full textLabouret, Denis. "Le monstrueux dans les Chroniques de Jean Giono." Paris 4, 1992. http://www.theses.fr/1992PA040121.
Full textMonstrosity is an essential feature in the works of Jean Giono,operating not only at the level of the representation of Nature or of characterisation,but also in the treatment of novelistic writing. .
Poirier, Karine. "Influence de l'opéra baroque sur l'imagination romanesque de Jean Giono." Aix-Marseille 1, 1999. http://www.theses.fr/1999AIX10015.
Full textBriot, Eric Ernst Gilles. "Le Tangible et l'intangible La tentation de l'anéantissement et l'esthétique de la liturgie dans les Chroniques romanesques de Jean Giono /." Nancy : Université Nancy 2, 2001. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc231/2001NAN21005.pdf.
Full textBarstad, Guri Ellen. "Stratégies narratives dans les chroniques romanesques de Jean Giono." Aix-Marseille 1, 1993. http://www.theses.fr/1993AIX10049.
Full textBrunel, Dominique. "La fonction phatique dans la production romanesque de Jean Giono." Aix-Marseille 1, 1990. http://www.theses.fr/1990AIX10002.
Full textAs it reinforces the circuit of communication by means of specific linguistic signs, the phatic function of language denotes a tendency to wish to communicate. When it is transferred to literature, it necessitates also taking into account, on the one hand, the social and cultural life of the signs and, on the other hand, the dynamic forces of the text. An analysis of giono's novelistic output does indeed reveal the importance of these two factors in establishing and maintaining a close relationship between the author and the reader: by means of the symbolism of texts, different narrative techniques and paradoxically - the use of what is unstated, giono makes his presence know in the stories he writes and engages us implicitely. What is more, the writer achieves the prodigious recreation of a new phatic communion based, in these modern times, on the loss of natural communication between people
Books on the topic "Giono, Jean (1895-1970) – Religion"
Goodrich, Norma Lorre. Giono: Master of Fictional Modes. Princeton University Press, 2015.
Find full textGoodrich, Norma Lorre. Giono: Master of Fictional Modes. Princeton University Press, 2015.
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