Relevant bibliographies by topics / Jean Genet

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Jean Genet'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "Jean Genet"

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Marty, Éric. "Jean Genet, tabou." Les Temps Modernes 632-633-634, no. 4 (2005): 84. http://dx.doi.org/10.3917/ltm.632.0084.

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Creech, James. "Outing Jean Genet." Yale French Studies, no. 91 (1997): 117. http://dx.doi.org/10.2307/2930377.

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Marty, Éric. "Jean Genet à Chatila." Les Temps Modernes 622, no. 1 (2003): 2. http://dx.doi.org/10.3917/ltm.622.0002.

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KÜZECİ, Deniz. "Mécène de Jean Genet." International Journal of Languages' Education 1, Volume 6 Issue 1 (January 1, 2018): 154–62. http://dx.doi.org/10.18298/ijlet.2718.

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Thody, Philip, and Ian Magedera. "Jean Genet: 'Les Bonnes'." Modern Language Review 95, no. 2 (April 2000): 521. http://dx.doi.org/10.2307/3736199.

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Cliche, Anne Élaine. "L'atelier de Jean Genet." Tangence, no. 54 (1997): 41. http://dx.doi.org/10.7202/025936ar.

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Sandarg, Robert. "Jean Genet in Chicago." Romance Quarterly 38, no. 1 (February 1991): 39–47. http://dx.doi.org/10.1080/08831157.1991.11000512.

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Miller, Judith G. "Splendid’s by Jean Genet." L'Esprit Créateur 35, no. 1 (1995): 80. http://dx.doi.org/10.1353/esp.1995.0044.

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Richter, Florence. "Jean Genet, poète et voyou." Histoire de la justice 23, no. 1 (2013): 235. http://dx.doi.org/10.3917/rhj.023.0235.

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Corrado, Jean-Christophe. "Jean Genet et la trahison." Roman 20-50 65, no. 2 (2018): 175. http://dx.doi.org/10.3917/r2050.065.0175.

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Dissertations / Theses on the topic "Jean Genet"

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Unger, Bettina. "Das Lied der Liebe bei Jean Genet /." München [u.a.] : Fink, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2952572&prov=M&dok_var=1&dok_ext=htm.

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Pang, Ka-wing Steven, and 彭家榮. "Schizophrenia / androgyny: mapping Jean Genet." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B31952793.

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Dahan, Chantal. "Jean Genet, le captif imaginaire." Paris 7, 1991. http://www.theses.fr/1991PA070118.

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Ce travail comporte une etude des deux premieres oeuvres de jean genet. Notre-damedes-fleurs et miracle de la rose, contenant, a notre avis, la genese et la legende de l7ecrivain. Il s'attache a l'etude de l'alchimie qui consiste a dissoudre et a recomposer l'object d'une origine et d'une appartenance, et cela en trois points. Le premier analyse les differents effets de la mise en scene de l'acte d'ecriture a partir d'une cellule carcerale. Le deuxieme s'attache a la structure du recit en tant que "miroir" de la structure imaginaire de l'auteur. Le troisieme etudie la "conversion" esthetique de l'abjection a travers les enjeux litteraire et linguistiques. Lieu de l'engendrement d'un sujet de l'ecriture. Ces oeuvres enregistrent la naissance d'un ecrivain. En lui donnant une filiation litteraire, elles vont inscrire jean genet dans le monde social et symbolique<br>This essay involves a study of the two first works of jean genet which include, we believe, the work's genesis and the author legend. It studies, in three points, the alchemy consisting in dissolving and recombining, through an esthetical elaboration, the abject of an origine and of a belonging. The first point analyses the different effects of directing the writing act from a prison cell. The second point keeps close to the structure of the "miror" tale, of the writer's imaginary structure. The third point studies the esthetical "conversion" of the abject through the litterary and linguistic stakes. Place of the begetting of a writing subject, these works register the birth of a writer. While giving him a litterary filiation, they are registering him in the symbolical world
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Corrado, Jean-Christophe. "Le lyrisme de Jean Genet." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL112.

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L’enjeu de cette thèse est de replacer l’œuvre de Jean Genet dans la tradition lyrique. Les traits définitionnels du lyrisme peuvent être ramenés à quatre grandes entrées à partir desquelles nous lirons l’œuvre de Jean Genet. En premier lieu, l’écriture du moi et l’expression de la subjectivité : tout dans l’écriture de Genet renvoie à Genet lui-même, au point que la diégèse devient prétexte à l’exposition des sentiments du narrateur Jean Genet. Ensuite, l’écriture amoureuse. Jean Genet revendique l’héritage de Ronsard, mais déplace le pétrarquisme et la lyrique courtoise du côté des vespasiennes et des cellules de prison au travers d’une écriture qui marie la pornographie la plus osée et les effusions sentimentales les plus transportées. La célébration et les procédés stylistiques d’exagération, de grandissement, constituent une troisième entrée pour étudier le lyrisme de Genet. La quatrième entrée relève de la constitution de l’ethos du poète que Genet revendique invariablement, même dans des textes qui paraissent relever du genre romanesque : Genet apparaît poète grâce à des stratégies d’autoreprésentation, à un consciencieux travail métalittéraire visant à présenter ses œuvres romanesques comme de longs poèmes – ainsi le « chant » est l’image préférentielle qu’il emploie pour parler de son écriture – et grâce à l’inclusion dans l’écriture en prose de certains traits formels empruntés à la poésie<br>This thesis tackles the task of reading Jean Genet’s works through the notion of lyricism. The defining features of lyricism can be distributed into four main categories through which this thesis addresses Genet’s works. First and foremost, subjectivity and the writing of the I : everything in Genet’s writing directs attention towards Genet himself, so that the diegesis appears to be no more than a mere pretext to write about the feelings of the narrator Jean Genet. The second category encompasses love writing and the expression of desire. Genet claims to walk in the footsteps of Ronsard, but petrarchism and medieval lyrics are relocated in prisons cells and gay cruising areas through books that bring together the most daring pornography and the sappiest sentimentality. The third category consists in laudation, along with the rhetoric devices of exaggeration and magnification, and the last one in the poet ethos that Genet establishes in his books even though he wrote more novels than verses. Genet appears as a poet by means of self-representation strategies, by virtue of a thorough metaliterary effort aiming at presenting his novels as long prose poems, and by the use, in his novels, of several formal characteristics borrowed from the poetic genre
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Basri, Aïcha El. "L'écriture carcérale de Jean Genet." Chambéry, 1996. http://www.theses.fr/1996CHAML003.

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L'oeuvre de Jean Genet est ici analysée à la lumière de la poétique de l'imaginaire. Description des mouvements de passage de la prison réelle à la prison imaginaire à travers la métamorphose de l'espace et le rapport au temps. Espaces et temps sont soumis aux forces centripètes (réduction, rétraction, descente. . . ) en butte aux forces centrifuges (expansion, ascension. . . ) au point de rupture entre le dedans et le dehors, le fermé et l'ouvert, le visible et l'invisible, l'infinitude du temps et la fugacité de l'instant. Dans cette expérience des limites, tout concourt pour un refuge imaginaire. Le corps apparait un des lieux de refuge ultime, cosmos-théâtre de tous ces mouvements. De même, l'espace du texte, dans son agencement syntaxique, s'ordonne selon ces mouvements. Le texte s'étire pour se contracter dans la concision poétique. Il ressort de la dynamique de cette écriture que tous les espaces, dans leur contraction, empruntent leurs motifs à la prison. C'est ainsi que l'être Genet se forge sa propre identité carcérale dans le doux enfermement du refuge, débarrassé de tous ses déterminants carcéraux<br>The work of Jean Genet is analysed here in the light of the poetic of the imaginary : description of passage movements of the real prison to the imaginary prison through the metamorphosis of space and the report to the time. Space and time are submitted to centripetal forces (reduction, retraction, descent. . . ) in hillock to centrifugal forces (expansion, ascension. . . ) to the point of rupture between the inside and the outside, the closed and the open, the visible and the invisible, the infinity of the time and the fugacity of the moment. In this experience of limits, all competes with the construction of an imaginary refuge. The body appears as one of the ultimate refuge, cosmos-theater of all these movements. Similarly, the space of the text, in his syntactic arrangement, is wrought by all these movements. From the dynamics of this writing that all spaces, in their contraction, borrow their motives from the prison. That is as well as the being of Genet forges his clean identity of prison life in the confinement of the refuge
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Campos, Daniel Correa Felix de. "A paixão segundo Jean Genet." Florianópolis, SC, 2002. http://repositorio.ufsc.br/xmlui/handle/123456789/83694.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Gaduação em Literatura.<br>Made available in DSpace on 2012-10-20T02:27:56Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T01:42:36Z : No. of bitstreams: 1 182183.pdf: 5652635 bytes, checksum: 840c4c26d130d57b06f219aa0df9ea2b (MD5)<br>Esta dissertação tem como título: A Paixão segundo Jean Genet: Labirintos e Barroquismos e se estende em dois intentos principais: o primeiro, consiste no estudo da arte e da estética de Genet pelo qual se procura dar fundamentação ou sustentação ao pressuposto de que sua arte revela certa tendência barroquizante. Esse intento contém também duas compreensões a saber: a do processo de escrita denominado - O labirinto de Genet e a análise dessa arte cotejando diferentes conceitos relativos ao Barroco, sobretudo aqueles fundamentados em Walter Benjamin, Heinrich Wölfflin e Eugenio D'Ors e, ainda, contemplando a poética e a estética de Genet sob o pensar filosófico de Hegel, Gaston Bachelard e Herbert Marcuse. Essas duas compreensões correspondem respectivamente aos três primeiros capítulos. O segundo intento, a leitura da paixão, se faz alicerçada em Foucault e em Bataille. Trata-se então do erotismo, da transgressão e da paixão presentes na Arte de Genet, em que os jogos de sedução, desejo e poder se realizam nas relações eróticas, ou simplesmente na intimidade e na cumplicidade entre homens. Considera-se que esse segundo intento atravessa toda a dissertação. E, ainda, no desdobre desse propósito se compõe e se atinge o quarto capítulo, nele se reflete de modo particular o homoerotismo em Genet. Segue-se a conclusão, que se apresenta antes como um descortino da arte, da paixão e do erotismo em Genet do que como concluimento ou mero desfecho.
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Bolouki, Mahtab. "Jean Genet et l'architecture du vide." Paris 3, 2004. http://www.theses.fr/2004PA030140.

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Daviron, Caroline. "Elles : les femmes dans l'oeuvre de Jean Genet /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb411912818.

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Lambert, Emmanuelle. "Jean Genet : le travail du texte théâtral." Paris 7, 2003. http://www.theses.fr/2003PA070051.

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L'œuvre de Jean Genet repose sur son nom ; dès une naissance stigmatisée par la bâtardise, ce dernier fonctionne comme le ferait un pseudonyme : ce principe social ou éditorial est converti en principe ou en morale esthétiques, et c'est la construction de l'auteur qui devient la première fondation, au sens architectural, de l'œuvre narrative. Avec le théâtre Genet passerait une autre frontière par-delà laquelle la question du nom reste aux marges de sa production, potentiellement exclue d'une nouvelle esthétique. Pourtant, le théâtre de Genet n'est pas un ensemble uniforme, la formule désignant les différents états d'une production changeante, présentée comme telle et dans ses étapes au lectorat. La concomitance comme la mise en relation de ces différences fondent un nouveau texte, celui du travail produit par la matière théâtrale. Et au cœur de ce travail, de façon de plus en plus insistante au cours des années, réapparaît la figure de l'auteur ; ce qui avait permis à l'œuvre de s'édifier est alors manifesté, dans le travail du texte théâtral, comme un principe paradoxalement productif et destructeur à la fois, révélateur de la tension irréductible au combat de Genet avec le théâtre<br>The works of Jean Genet began with the self-construction of his name and his figure as an author. With the access to the theatrical form, this aesthetic imperative is supposed to be exceeded by the rules of this new poetic genre. But the expression "the theatre of Jean Genet" refers to a moving production, changing during the years, and showing its movements or its processes offered to the act of reading. To observe the differences and the correspondences enable to read what we call a new text - the "working process of the dramatic text"; within this work reappears the supposed outside figure of the author, invading his proper production in a paradoxical way, productive and destructive at the same time, as an image of the fight between Jean Genet and the Theatre
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Seys, Elisabeth. "Violette Leduc, Jean Genet : poétique du désastre." Paris 7, 2003. http://www.theses.fr/2003PA070059.

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Marginalisés, Leduc et Genet voulurent modifier leur image et créèrent une stratégie originale d'écriture de soi: hors-normes, ils ne pouvaient s'écrire selon des règles, même littéraires. L'autobiographie, les concepts de temps et de sujet en furent bouleversés : la problématique est existentielle et poétique qui force à reforger le langage même. C'est la création de deux poétiques du désastre, signes que l'écart tragique dénoncé alors n'est pas entre Leduc ou Genet et la société, mais, sans cesse recommencé, entre une lecture et le texte lu qui, création d'une langue toujours renaissante, exige une lecture toujours nouvelle. Leduc et Genet soulignent que la lecture est problématique qui porte sur un texte qui ne se conforme pas à un minimum de conventions, et plus généralement que toute lecture gauchit un texte quand elle le lit avec des outils déjà préparés, quand il faudrait qu'elle lui fût isomorphe : la posture requise est celle d'une ascèse qui laisse les mots respirer<br>Marginalized, Leduc and Genet wanted to shape a new image of themselves, and created an original strategy of self-writing : out of norms, they could not obey any roles, even though literary. Thus they modified autobiography, and such concepts as Time and Subject. There, problematic is existential and poetic since it forces them to shape a new language. Then appear two poetics of disaster, who signify that the gap is not between Leduc or Genet and society, but an always started again gap between reading and text. The last, creating a new language, requires a new reading. Leduc and Genet 'show that it is problematic to read a text that does not obey the common roles, and, more generally, that any reading distorts a text if it uses tools that were prepared yet: on the contrary, it should be isomorphic to the text: the required position is here one df an. Asceticism that keeps words breathing
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Books on the topic "Jean Genet"

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Fichte, Hubert. Jean Genet. Aachen: Rimbaud, 1992.

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Magedera, Ian. Jean Genet, Les bonnes. Glasgow: University of Glasgow French and German Publications, 1998.

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Winkler, Josef. Flowers for Jean Genet. Riverside, Calif: Ariadne Press, 1997.

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Tafta, Nicolae. Jean Genet: Une plurilecture. Saint-Claude de Diray: Editions Hesse, 2000.

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Tagung "Jean Genet und Deutschland" (2010 Freie Universität Berlin). Jean Genet und Deutschland. Gifkendorf: Merlin Verlag, 2014.

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Magedera, Ian H. Jean Genet, Les bonnes. Glasgow: University of Glasgow French and German Publications, 1998.

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Shukrī, Muḥammad. Jean Genet in Tangier. New York: Ecco Press, 1990.

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Musée des civilisations de l'Europe et de la Méditerranée à Marseille, ed. Jean Genet, l'échappée belle. Paris: Éditions Gallimard, 2016.

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1949-, Webb Richard C., ed. File on Genet. London: Methuen Drama, 1992.

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Choukri, Mohamed. Jean Genet (suite et fin). Bruxelles: Devillez, 1996.

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Book chapters on the topic "Jean Genet"

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Botond, Anneliese, and KLL. "Jean Genet." In Kindler Kompakt: Drama des 20. Jahrhunderts, 135–37. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04526-3_29.

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Wild, Gerhard. "Genet, Jean." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3759-1.

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Boselli, Stefano. "Jean Genet." In The Routledge Companion to Absurdist Literature, 207–16. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003422730-26.

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Schulman, Sarah. "Jean genet." In My American History, 161–62. Second edition. | Abingdon, Oxon;: Routledge, 2018. http://dx.doi.org/10.4324/9781315121765-35.

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Botond, Anneliese. "Jean Genet." In Kindler Kompakt Französische Literatur 20. Jahrhundert, 121–22. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05533-0_26.

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Botond, Anneliese, and KLL. "Genet, Jean: Les bonnes." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3760-1.

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Botond, Anneliese, and KLL. "Genet, Jean: Le balcon." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3763-1.

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Nievers, Knut, and KLL. "Genet, Jean: Les nègres." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3764-1.

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Nievers, Knut, and KLL. "Genet, Jean: Les paravents." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_3765-1.

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Jobst, Peter. "Jean Genet (1910–1986)." In Frauenliebe Männerliebe, 179–83. Stuttgart: J.B. Metzler, 1997. http://dx.doi.org/10.1007/978-3-476-03666-7_40.

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Conference papers on the topic "Jean Genet"

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Dreyer, Sylvain. "Filmer Jean Genet." In Mémoire audiovisuelle de la littérature. Fabula, 2023. http://dx.doi.org/10.58282/colloques.9207.

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Erdal Öztopanlar, Zeynep. "Jean Genet Oyunlarını Simülasyon ve Simülatif Gerçeklik İle Düşünmek." In 4th International Symposium on Innovative Approaches in Architecture, Planning and Design. SETSCI, 2019. http://dx.doi.org/10.36287/setsci.4.7.051.

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ADIGÜZEL, Ahmet. "ALİ BİN İSHAK’IN BÂHNÂMESİNDE FİİL ÇEKİMLERİ VE YAPILARI." In International Research Congress of Language and Literature of Language and Literature. Rmar Academy, 2021. http://dx.doi.org/10.47832/languagecongress978-605-065876-5.

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Bâh-nâmeler’in ana teması, konusu ve fikir yapısı, sağlıklı bir cinsellik, cinsel hastalıklar ve bu hastalıkların tedavisi için geleneksel çözüm arayışlarıdır. Bu eserler, içerdiği cinsel bilgilerin yanında ayrıca genel sağlık ve genel sağlıkla ilişkili olan bilim disiplinlerini de kapsayan birer genel sağlık ansiklopedileridir. Bāh-nāmeler, aslında geleneksel tedavi yöntemlerinin bilimsel tedavi yöntemlerine uyarlanmasıdır. Bu eserler, ayrıca cilt bakımı ve beden temizliğinin yaşam için gerekliliğini ve önemini de değerlendirmektedir. Genel ve cinsel sağlık alanlarında birçok bilim disiplinin malzemesini, unsurlarını barındıran bâh-nâmeler özellikle dil açısından da oldukça önemli ve zengin bir malzemeyle yazılmıştır. Bâh-nâmeler, Eski Türk dil unsurların yanında dil gelişim seyrini izleme açısından önemli eserler, kaynaklardır. Yaşam kalitesinin artması, ekonomik, sosyokültürel ilerlemeler, gelişmeler ve toplumsal değişimler konuşurların ölçünlü dillerinin ve dil gelişimine ve oluşmasına yardımcı olur. Teknoloji ve bilimde ilerleme, beraberinde bir dil zenginliği getirir. Fiiller, hareket, oluş, durum ve tavır bildiren yapılardır. Yapılan yeni icatlar, keşifler ve kullanılan yeni kavramlar, fiilleri daha işlevsel hale getirir ve cümlenin anlam yükünü taşıyan fiillerin çekimini daha önemli kılar. Türkçedeki kelimeler yapı, köken ve özellikleri bakımından üç temel birim olarak değerlendirilir: isimler, fiiller ve edatlar. Her ne kadar Banguoğlu ve Jean Deny gibi bazı dilbilimciler ünlem ve bağlaçları edattan ayrı yapılar olarak ele almışlarsa da Türk dilindeki kelime yapılarının tabii tasnifi açısından: 1. İsimler (Sıfatlar, zamirler ve zarflar) 2. Fiiller, 3. Edatlar (Bağlaçlar ve ünlemler) olarak üç ana bölümde toplanmaktadır. Türkçe fiil zengini bir dildir. Fiillerin haber ve dilek kipleri çekimleri ve bu zenginliği işlevsel hale getiren bir diğer husus fiil çekiminin esnekliğidir. Fiillerden türetilen fiilimsiler (Sıfat-fiil ve zar-fiiller cümle içerisinde geçici kelimeler üretir.) yüklem olarak kullanılabildiği gibi bir fiil çekime girdiğinde; fiilin kendisi, biçim ve zaman, şahıs unsurlarıyla çekimli fiil yapısını oluşturur. Çekimli fiiller cümlenin anlam bölümünü oluşturur. Fiil çekimi Türkçe cümle yapısında en az dört unsuru karşılar: hareket, biçim, zaman ve kişi. Cümlenin aslî unsuru olan çekimli fiil, tek başına cümlede ifade edilmek istenen anlamı taşıyabilir. Fiil çekimleri Türkçeye sonsuz anlam kazandırabilmektedir. Türkçede fiillerin yapıları incelendiğinde onları yapısal olarak da bir tasnife tabi tutmak gerekir: Kök fiiller, Türemiş fiiller ve Birleşik fiiller. Bu fiil yapıları da anlam içeriklerine göre farklılıklar teşkil etmektedirler: Hareket, iş oluş ve tavır bildirenler vd. Bâh-nâmede geçen fiiller tespit edilerek bu fiiller, hem çekimleri hem de yapıları bakımından incelendi
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