Relevant bibliographies by topics / Lais (Marie, de France)

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

Academic literature on the topic 'Lais (Marie, de France)'

Author: Grafiati
Published: 28 February 2023
Last updated: 1 March 2023

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Journal articles on the topic "Lais (Marie, de France)"

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Nelson, Jan A. "Abbreviated Style andLes Lais de Marie de France." Romance Quarterly 39, no. 2 (May 1992): 131–43. http://dx.doi.org/10.1080/08831157.1992.10544979.

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Pickens, Rupert T. "Midpoints in the Lais of Marie de France." Romance Philology 72, no. 2 (September 2018): 353–76. http://dx.doi.org/10.1484/j.rph.5.116510.

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Rothschild, Judith Rice, and Glyn S. Burgess. "The Lais of Marie de France: Text and Context." South Atlantic Review 54, no. 3 (September 1989): 108. http://dx.doi.org/10.2307/3200189.

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Pensom, Roger, and Glyn S. Burgess. "The Lais of Marie de France: Text and Context." Modern Language Review 84, no. 2 (April 1989): 463. http://dx.doi.org/10.2307/3731608.

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Quereuil, Michel. "Subordination et parataxe dans Les Lais de Marie de France." L Information Grammaticale 68, no. 1 (1996): 1–5. http://dx.doi.org/10.3406/igram.1996.3014.

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Andrieu, Éléonore. "Milena Mikhaïlova-Makarius, Le Présent de Marie. Lecture des Lais de Marie de France." Littératures, no. 80 (June 1, 2019): 187–90. http://dx.doi.org/10.4000/litteratures.2303.

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Roccati, G. Matteo. "Milena Mikhailova-Makarius, Le présent de Marie, Lecture des “Lais” de Marie de France." Studi Francesi, no. 188 (LXIII | II) (August 1, 2019): 330. http://dx.doi.org/10.4000/studifrancesi.19367.

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Dolgorukova, Natalia M., and Alesya A. Lyubavina. "Semantic and Connotations of the Word “Surplus” in French and Provencal Literature of the 12th Century." Studia Litterarum 7, no. 1 (2022): 70–87. http://dx.doi.org/10.22455/2500-4247-2022-7-1-70-87.

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The article examines the semantic transformations of the Old French word surplus in French and Provencal literature of the 12th century. In the dictionaries of Godefroy and Tobler-Lommatzsch, surplus is defined as “the rest,” “what is left,” “(all) the rest.” It is in this sense that the word appears in historiography, and then in courtly literature. However, when analysing the novels of Chrétien de Troyes and lais of Marie de France, a semantic shift is revealed: in some fragments, the word surplus becomes an erotic euphemism, denoting “the highest favour of a lady.” There is reason to believe that the origins of this euphemistic meaning go back to the lyrics of the troubadours, in which the words plus and sobreplus were used to denote the highest erotic pleasure. In lai of Nightingale, Marie de France places in a similar context not surplus, but plus. Thus, it can be assumed that the poetess was the first to discover the euphemism among the troubadours, and Chrétien used it under the influence of lais. In the prologue to the lais, written after all twelve texts, Marie de France gives the word surplus a new meaning. It turns into a metaphor of cognition and interpretation, introducing new, additional meanings in the ancient text.
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Mikhaïlova, Milena. "L'espace dans les Lais de Marie de France : lieux, structure, rhétorique." Cahiers de civilisation médiévale 40, no. 158 (1997): 145–57. http://dx.doi.org/10.3406/ccmed.1997.2680.

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Flori, Jean. "Seigneurie, noblesse et chevalerie dans les Lais de Marie de France." Romania 108, no. 430 (1987): 183–206. http://dx.doi.org/10.3406/roma.1987.1831.

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Dissertations / Theses on the topic "Lais (Marie, de France)"

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Zahn, Ulrike. "Liebeskonzeption und Erzählverfahren in den Lais der Marie de France /." [S. l.] : [s. n.], 1987. http://catalogue.bnf.fr/ark:/12148/cb39909668m.

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Dunkel, Sharon Lynn. "Displacement and redemption in the Lais of Marie de France." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28040.

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In the endless cycle of life and death, the issues of love and marriage are a constant and recurrent theme of literature. The man, as a foreigner, comes to court the woman with the intent of taking her away from her parents and bringing her into his own home. He must first convince the woman to leave the paternal location. The hearth, the center of the new home and the symbol of his wife, constitutes the one constant and stable aspect of the man's otherwise nomadic existence. The tensions and conflict inherent in this masculine struggle serve to mold and prepare the man for his future role as the protector and provider of his home and society. The woman, for her part, must also undergo -a spatial displacement. Not only must she travel to the new domicile, but she must also be prepared to change and adapt herself to the idea of leaving her birthplace. The vertical movement from the tower to the grove by way of the bedroom constitutes the process of maturation for the lady. Once she has proven herself capable of adulthood, the woman will assist her mate in gaining access to the society he had originally rejected in his search for self. Thus the woman serves as the instrument of God in redeeming the man while maintaining her own individuality, seen in the parallel process of displacement which she experiences. The reader response to the text of the Lais is based upon the realization that the reader also experiences a type of spatial displacement similar to that of the protagonists. Marie, through the use of a variety of literary mechanisms, forces the recipients of the text to go back in time and space to the mythic locale of Bretaigne. The purpose of this narrative technique is that, through identification with the various characters, each reader learns the proper methods of social interaction. In other words, the twelve stories form a manual of courtly etiquette. The Lens of Marie de France are not only for entertainment but for edification as well.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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Van, Heerden Helga Dieta. "Function and meaning of metamorphosis in the Lais of Marie de France." Doctoral thesis, University of Cape Town, 2007. http://hdl.handle.net/11427/10818.

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The primary object of this dissertation is to explore the concept and the manifestations of Metamorphosis, with special reference to the Lais of Marie de France. In Chapter 1 the all-pervasive nature of Metamorphosis is examined. Attention is focused on the fact that Metamorphosis occurs in all spheres: it may be seen in Nature, in physical development and in many less visible forms such as emotional, attitudinal and moral transformations and transgressions in which it plays a fundamental role. Chapter 2 focuses on the Twelfth Century Renaissance. This chapter serves to emphasize a further aspect of Metamorphosis, that of social change and intellectual development. It thus situates Marie de France in a historical context and clarifies the Zeitgeist to which she was exposed, which influenced her writing and which she in turn influenced. In Chapter 3 I analyze the individual Lais. Marie de France's approach to her material is that her interest lies in the exploration of the emotional, spiritual, moral and attitudinal Metamorphosis which her characters undergo. The analysis reveals the beginnings of a change in genre. A further Metamorphosis of these tales becomes evident when an addition is made to the purely anecdotal material: the authoress adds a Christian dimension and inserts a subtle moral message. In Chapter 4 the findings of the analyses of the individual lais are grouped in order to gain a more precise understanding of the kind of Metamorphosis the various topoi have undergone in the course of the tale. Chapter 5 is devoted to the elucidation of the narratological Metamorphosis the traditional tales undergo in the process.
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Steffler, Micah. "La Mesure: Relationships of Love and Communication in the "Lais" of Marie de France." Thesis, University of Ottawa (Canada), 2010. http://hdl.handle.net/10393/28812.

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This project examines the Lais of Marie de France with specific focus on "Chevrefoil," "Laustic," "Milun," and "Eliduc." The view of the relationship between orality and textuality as a linear chronological development is called into question in the light of Marie's devotion to mesure. The association between the oral and written traditions of storytelling is shown to be based on mutual co-dependency instead of a hierarchy by which the written tradition is deemed a superior mode of communication. Mesure is crucial to the maintenance of balance in this relationship, and appears in further aspects of the Lais, including the language; the connections between writing, reading, and performance; and relationships between characters. To achieve the status of fine amur, the partners in a romantic relationship must possess mesure. Lovers must value each other as equals, or a hierarchy introduces demesure into the relationship. This project reveals Marie's dedication to the importance of sustaining mesure in the face of temptation to indulge in demesure.
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Dolgorukova, Natalia. "La réception de la matière de Bretagne aux XIIe-XIIIe siècles : Marie de France et ses contemporains." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040151.

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Les auteurs qui vivaient à la cour des Plantagenêt, créaient une sorte de mythe historique et culturel, appelé à contribuer à la consolidation politique et sociale de leur royaume. Les Lais de Marie s’inscrivent dans ce contexte. La première partie montre pourquoi et comment Marie s’adresse à l’œuvre historiographique de Wace. L’influence de cet écrivain transparaît incontestablement dans l’œuvre de Marie et il n’est pas impossible que son projet littéraire, consistant à créer un recueil des douze lais, puisse être inspiré par la chronique de l’historiographe. La seconde partie dégage de nombreux liens intertextuels entre Marie et Chrétien de Troyes. Les contes d’origine celtique portant sur les transformations des personnes en animaux, « métamorphoses bretonnes », furent aux yeux de Marie une sorte de version des Métamorphoses antiques, un monument littéraire adapté par le jeune Chrétien. Celui-ci n’hésitait pas à faire dans ses romans des allusions plus au moins claires aux lais. La troisième partie étudie les notions-clés de la poésie des troubadours, ainsi que certains genres de la lyrique provençale qui auraient pu influencer les Lais. La quatrième partie met en lumière l’aspect parodique de la réception de la matière bretonne, ainsi que des lais de Marie par les auteurs anonymes. Marie transforme radicalement le statut culturel et littéraire des contes bretons, en imprégnant leurs adaptations françaises des réminiscences des écrits créés par ses contemporains et en ennoblissant les personnages conformément à la nouvelle morale de la société courtoise. Le genre de lai acquiert des contours précis, le chronotope breton se fixe en tant qu’élément essentiel du lai
Authors who lived at the Plantagenet court created a historical and cultural myth that was meant to contribute to the political and social consolidation of the kingdom. Marie de France’s Lais are situated in this context. The first part of my thesis focuses on how and why Marie addresses the historiographical work of Wace. Not only is his influence visible in the lais but his voluminous poetical chronicle might have inspired in Marie the very idea of composing a collection of twelve lais. The second part brings to light a significant number of intertextual connections between Marie de France and Chrétien de Troyes. It is argued that Marie saw some similarities between the tales of Celtic origin about the transformation of humans into animals and Ovid’s Metamorphoses, translated by young Chrétien de Troyes. In his turn, Chrétien did not hesitate to allude to Marie’s Lais, more or less openly. The third part centers on the key notions and certain genres of troubadour poetry as a potential source of Marie’s Lais. The fourth part examines the parodic aspect in the reception of the Matter of Britain and of Marie’s Lais by anonymous authors. The results of my research have lead me to the conclusion that Marie radically transformed the cultural and literary status of Breton tales, filling them with reminiscences of her contemporaries’ writings, ennobling the characters of her tales in accordance with the new moral code of the court, and endowing them with the gloss of a fairy-tale ideality. Her immediate successors made this gloss even more pronounced. Thus the genre of the lai acquired a precise shape, and the Breton chronotope became an essential element of the lai
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Bastante, Pamela. "Milagros de Nuestra Señora by Gonzalo de Berceo and Lais by Marie de France, similarities and differences." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61407.pdf.

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Sass, Monica A. "Seeing Double: Marie de France's Use of Twins and Hybrids in her Lais." University of Toledo Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1418907558.

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Alonso-Sierra, Maria Elena. "Treason and trial : consuetudines and law in the romances of Chrétien de Troyes and the lais of Marie de France." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1113.

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Treason, in the romances of Chrdtien de Troyes and the lais of Marie de France, is explored more often as afin' amor problem than as a legal issue with its concomitant sociopolitical ramifications. It is precisely the historical function of literature within the ambit of court culture that appears to have shaped the legal context of the poems of Chrdtien de Troyes and the lais of Marie de France. Counterpoising the literary treatment of treason in Le Chevalier au Lion and Lanval with actions and definitions of treachery by contemporary, twelfth-century chronicle and customary law sources reveals that the conceptualized, fictional world of Chrdtien's Yvain closely reflects the workings of the Capetian society Chretien experienced. Marie's Lanval reflects as well the historical impressions of the Angevin court with which she had familiarity, a court whose concept of treason leaned more toward the maiestas concept found in Roman jurisprudence tradition.
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Bruno-Meylan, Stéphanie. "Les exilés d'Outre-Monde : Représentation idéalisée de l'amant dans l'imaginaire féminin : Etude contrastive entre les Lais de Marie de France et le Genji Monogatari de Murasaki Shikibu." Grenoble 3, 2007. http://www.theses.fr/2007GRE39017.

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Les Lais de Marie de France datent du XIIe siècle et présentent la particularité alors inédite d'avoir pour auteur une femme. Le Genji Monogatari de Murasaki Shikibu (une femme également), écrit au Xe siècle au Japon de Heian-kyô (la période où la Cour impériale était implantée dans la "Capitale de la paix", Kyoto) fait aussi figure d'exception dans un paysage scriptural majoritairement masculin, et pour une oeuvre d'une telle ampleur. Cette étude propose une approche contrastive et mythocritique mettant en regard ces deux oeuvres afin d'observer la représentation par l'imaginaire féminin de l'amour et de l'Autre. Elle cherche également à distinguer, parmi les motifs communs aux deux textes, ceux qui relèvent d'une universalité (contextuelle) de ceux qui révèlent une commune origine eurasiatique. La notion d'amour courtois, quoique d'essence occidentale, est applicable à l'éthique amoureuse déployée dans le Genji Monogatari dans une acception élargie et centrée sur la codification et le raffinement du comportement amoureux décrits dans la littérature. Il s'agit de plus d'observer les articulations de récits archétypiques eurasiatiques, tels que celui de la femme-cygne au bain et de son pendant masculin les hommes-animaux (autour ou serpent). Ces derniers se comportent également comme des revenants allant et venant, selon les cycles lunaires et agraires donc saisonniers, de l'Autre Monde au monde humain. Finalement, cet imaginaire féminin s'articulerait autour de ces figures d'exilés et d'une écriture en exil et sur l'exil, manifestant son intrinsèque marginalité
In the twelfth century, Marie de France was the first female author when she wrote The Lays. The Genji Monogatari of Murasaki Shikibu (a woman as well), written in the tenth century in Heian-Kyô Japan (a time when the imperial Court was located in the "Peace Capital", Kyoto) is exceptional too due to a male-dominated literary landscape and for such a voluminous. This study suggests a contrastive and mythocritical approach comparing the two works in the observation through a feminine imaginary of love and the Other. The main objective of this study is to determine if the common motives indicate the universality defined by the context, or reveal a common eurasiatic origin. The notion of "courtly love", a western creation, is applicable to the loving ethic developped in the Genji Monogatari. However, it necessitates an enlarged conception centered on codification and refinement of loving behaviour, as described in literature. In addition, we looked into the connexions of both texts with archetypal eurasiatic narratives, as the swan-maiden bathing, or a male version about men-animals (falcon or snake). The latter behave as "dead-alives", going and coming according to lunar and agrarian (therefore seasonal) cycle, between the Other World and the human world. Finally, this feminine imaginary is based on the representation of the exiles, and the writing in exile, demonstrating its intrinsic marginality
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Baril, Agnès. "Etude sur le traitement des décors dans l'épopée et le roman - XIIème siècle : la chanson de Roland, la chanson de Guillaume, la chanson d'Aspremont, le roman de Thèbes, les Lais de Marie de France." Rouen, 1986. http://www.theses.fr/1986ROUEL014.

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Cinq analyses sur l'espace et les décors dans l'épopée (la chanson de Roland, la chanson de Guillaume, la chanson d'Aspremont) et le roman (le roman de Thebes, les Lais de Marie de France) au 12eme siècle, qui s'attachent à l'étude de l'espace représenté - les décors - et à la façon dont il l'est - la "poétique" (qui recouvre tout autant les procédés rhétoriques ou la description formulaire épique que la structure même du chant épique et du texte romanesque). Sont ainsi étudiés les décors extérieurs : la nature, la ville, les champs de bataille, et intérieurs : la cour royale, le cadre architectural, mais aussi le degré de vraisemblance avec lequel les auteurs font évoluer leurs personnages dans les paysages (expression de leurs points de vue, de leur perception spatiale) et surtout les implications esthétiques, idéologiques, intertextuelles de ces décors : le traitement de la lumière; l'expression de l'horreur et du sacre dans l'épopée; les différentes représentations de la royauté; la signification profonde de mises en scène éminemment symboliques
Here are five analyses of space and settings in epic (the chanson de Roland, the chanson de Guillaume, the chanson d'Aspremont) and novel (the roman de Thebes, the Lais of Marie de France) in 12th century; they concern the study of depicted space - settings - and the way it is really depicted - "poetic" (which at once covers rhetorical pro- cesses or epic description, based on obvious phrases, and the structure itself of epic canto and novelistic text). So, outer settings are studied : nature, town, battlefields, and inner settings : the court, architectural surroundings, and also the plausibility stage the authors use to make their characters live in landscapes (expression of their points of view, of their spatial perception) and above all aesthetic, ideological, intertextual implications of these settings : the treatment of light; the expression of horror and sacred in epic; the different representations of kingship and power; the deep significance of emmently symbolical productions
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Books on the topic "Lais (Marie, de France)"

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Laurence, Harf-Lancner, and Warnke Karl, eds. Lais de Marie de France. Paris: Librairie Générale Française, 1990.

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Alexandre, Micha, Bourguignon Jean-Marie, and Parienty Laurent, eds. Lais de Marie de France. [Paris]: Flammarion, 1997.

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Keith, Busby, and Marie, de France, 12th cent., eds. The lais of Marie de France. Harmondsworth, Middlesex, England: Penguin Books, 1986.

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1927-, Laurion Gaston, ed. Les lais de Marie de France. Outremont, Québec: Lanctôt, 1997.

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L'origine celtique des lais de Marie de France. Genève: Librairie Droz, 2014.

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Marie, de France, 12th cent., ed. The Lais of Marie de France: Text and context. Athens: University of Georgia Press, 1987.

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The Lais of Marie de France: Text and context. Manchester: Manchester University Press, 1987.

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Architectural structure in the Lais of Marie de France. New York: P. Lang, 1995.

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Oyez ke dit Marie: Étude sur les Lais de Marie de France (XIIe siècle). [Paris]: Libr. J. Corti, 1987.

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Ménard, Philippe. Les Lais de Marie de France: Contes d'amour et d'aventure du Moyen Age. 2nd ed. Paris: Presses universitaires de France, 1995.

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Book chapters on the topic "Lais (Marie, de France)"

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KLL. "Marie de France: Les lais." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13056-1.

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Diaconu, Luminiţa. "Identité et anonymat dans les Lais de Marie de France." In Miroirs Arthuriens entre images et mirages, 381–92. Turnhout, Belgium: Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.csm-eb.5.117136.

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Méla, Charles. "Lire à plus haut sens: lecture du prologue des lais de Marie de France." In Culture et société médiévales, 763–69. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.csm-eb.3.374.

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Wild, Gerhard. "Marie de France." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_13055-1.

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Kroll, Renate. "Marie de France." In Metzler Autorinnen Lexikon, 332–33. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_232.

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Morgan, Amy Louise. "Marie de France." In The Palgrave Encyclopedia of Medieval Women's Writing in the Global Middle Ages, 1–5. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-76219-3_30-1.

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Robinson Kelly, Molly. "Sex and Fertility in Marie de France’s Lais." In Sexuality in the Middle Ages and Early Modern Times, 241–56. Berlin, New York: Walter de Gruyter, 2008. http://dx.doi.org/10.1515/9783110209402.241.

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Vidailhet, Marie. "VIDAILHET, Marie: Paris/France." In Leadership in Movement Disorders, 169–71. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-12967-5_42.

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Wright, Monica L. "Marie de France at Play." In Courtly Pastimes, 51–63. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003306672-5.

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Edwards, Robert R. "Marie De France and Le Livre Ovide." In The Flight from Desire, 85–103. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-05701-3_5.

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Conference papers on the topic "Lais (Marie, de France)"

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García Fernández, Manuel Ángel. "Les représentations de l’eau dans les lais merveilleux bretons." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2978.

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La Nature et les éléments qui se rapportent à elle font partie de l’imaginaire breton par excellence. La lande, la forêt et l’eau sous différentes formes, fontaine, rivière, lac ou encore mer, sont les espaces privilégiés dans lesquels ou près desquels va avoir lieu l’aventure qui met en contact une personne du monde féodal avec une autre de l’Autre monde celte. L’eau est un espace constituant une frontière qui permet l’accès à l’autre monde d’où provient l’être issu du merveilleux celte. Il s’agit d’un espace intermédiaire que seulement certains humains tombés dans le désespoir peuvent franchir et près duquel se trouve cet autre monde celte où habitent ces êtres des légendes celtiques intervenant pour le bonheur de ces humains malheureux monde des vivants. L’on retrouve ce shéma dans quelques lais bretons anonymes et quelques lais de Marie de france. Nous nous proposons de nous interroger sur la présence de cette « frontière humide », sa représentation et sa fonction dans la structure spatiale de ces quelques lais appartenant au merveilleux breton.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2978
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Giovannacci, D., V. Detalle, D. Martos-Levif, J. Ogien, E. Bernikola, V. Tornari, K. Hatzigiannakis, et al. "Case study of Sainte-Marie Chapel, Fontaine Chaalis (France): complementarity of different optical techniques." In SPIE Optical Metrology, edited by Luca Pezzati and Piotr Targowski. SPIE, 2015. http://dx.doi.org/10.1117/12.2184600.

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dos Santos, Camila, and Andreia Machado Oliveir. "Zonas de acción comunicativa en el arte y la tecnología - ZACAT." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.101.g141.

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Zonas de Acción de Comunicación en Arte y Tecnología (ZACAT) es una investigación de maestría desarrollada dentro del Programa de Posgrado en Artes Visuales de la Universidade Federal de Santa Maria (PPGART-UFSM), dentro del área de concentración de Arte Contemporáneo y de investigación en Arte y Tecnología, bajo la supervisión de la Dra. Andrea Machado Oliveira. ZACAT es un conjunto de poéticas sonoras y visuales que consiste en una investigación sobre prácticas comunicacionales artísticas de carácter activista. En primer lugar, a través de estrategias y propuestas diversificadas para diferentes interlocutores experimentadas en 2019 en diferentes espacios de la ciudad de Santa María —calles, museos, galerías de arte, universidad, escuela, redes sociales, espacios de ondas de radio—. Posteriormente, debido al escenario mundial presentado desde 2020, con la pandemia del virus SARS-CoV-2, que provocó la enfermedad del Nuevo Coronavirus, COVID-19, la poética sufrió transformaciones significativas. Además de las estrategias artísticas y comunicacionales que experimentaron cambios de enfoque, el espacio de Santa María se trasladó al del Clube Naturista Colina do Sol (CNCS), ubicado en el municipio de Taquara, también en Rio Grande do Sul. Se trata de un espacio no urbanizado, inmerso en un medio salvaje y menos interferido por la acción humana, lo que proporciona otras formas de escucha y conexión, además de la relación con el cuerpo, la comunicación y la tecnología, así como el uso de plataformas de realidad virtual online para compartir el trabajo llevado a cabo. Para abordar la construcción de esta investigación se utilizan los estudios sobre metodología de la investigadora y artista Sandra Rey (1953). Como fundamento teórico se hace referencia a la idea de micropolítica, concepto que remite a los filósofos Michel Foucault (1926-1984) y Gilles Deleuze (1925-1995) y a la crítica de arte Suely Rolnik (1948). Las prácticas artísticas activistas se basan en las experiencias de los colectivos brasileños desde la década de 1990 hasta la actualidad, como se ve en la historiografía del Activismo Artístico de la década de 1950, con filósofos autonomistas italianos como Giorgio Agamben (1942) y Franco Berardi (1949). Para apoyar la noción de Arte y Comunicación partimos de autores como Mario Costa (1936), Fred Forest (1933), Mônica Tavares, Priscila Arantes, Christine Mello y Giselle Beiguelman. El concepto de dispositivo surge de la investigación teórica y es un mediador de las prácticas artísticas, teniendo como referencia a Agamben, Foucault, Vilém Flusser (1920-1991) y Gilbert Simondon (1924-1989). Desde performances, pasando por instalaciones, audio, video y experiencias interactivas en persona o vía redes virtuales, esta investigación busca dar visibilidad a la micropolítica cotidiana, con sus recuerdos, afectos e impulsos de vida formalizados o efímeros en momentos de encuentros.
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Connan-Pintado, Christiane. "Métamorphoses d’une histoire d’eau en littérature de jeunesse (1865-2004) Perspectives scientifiques/ littéraires/pédagogiques." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2489.

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En lien avec l’axe littéraire du colloque, la présente contribution à la réflexion s’attachera à trois « histoires d’eau » publiées en France pour la jeunesse, en l’espèce trois fictions qui ont en commun de prendre pour protagoniste une goutte d’eau : Métamorphoses d’une goutte d’eau, de Zulma Carraud (Hachette, « Petite Bibliothèque rose illustrée », 1864), Histoire de Perlette goutte d’eau de Marie Colmont (Flammarion, « Père Castor », ill. Béatrice Appia, 1936 et Gerda Muller, 1960) et Histoire courte d’une goutte de Beatrice Alemagna (Autrement jeunesse, 2004). Dans la mesure où la littérature pour la jeunesse se caractérise séculairement par la double visée d’instruire et de plaire, on pourra s’interroger sur la manière dont elle accomplit cette mission en jouant de l’anthropomorphisation de l’inanimé et de la fictionnalisation des phénomènes naturels. La perspective diachronique adoptée invite à observer l’évolution de l’édition et de la création pour la jeunesse sur le long terme. Individualisée, humanisée, féminisée, la goutte d’eau devenue personnage prend la parole pour raconter son histoire avec le soutien d’une iconographie de plus en plus prégnante au cours de l’itinéraire qui conduit du livre illustré à l’album contemporain. Si nombre de ressources littéraires sont convoquées pour rendre le savoir plus aimable et le mettre à la portée des enfants, la leçon scientifique semble peu à peu marquer le pas au profit d’un projet poétique, esthétique et/ou idéologique où l’imaginaire de l’eau prend toute sa place. Cette étude prendra appui sur nombre de travaux qui se penchent sur la production pour la jeunesse, afin de mettre en valeur son intérêt historique, littéraire, artistique et pédagogique.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2489
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Lojo Tizón, Mª del Carmen. "El imaginario del agua en Rachilde (1860-1953)." In XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia: Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.2952.

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Rachilde, escritora francesa que desarrolló su carrera literaria desde finales del siglo XIX hasta mediados del siglo XX, introduce de manera recurrente elementos acuáticos en sus novelas. La mare aux grenouilles, estanque situado muy cerca de la casa donde la escritora nació, es crucial para la formación del imaginario del agua en Rachilde, y muy a menudo este está presente en su producción literaria. En el prefacio de su obra À mort (1886), la escritora narra las pesadillas que sufría durante la adolescencia en las que un ahogado salía de dicho estanque e iba a su encuentro. En su novela autobiografíca Les Rageac (1921), Rachilde cuenta cómo su madre ahoga a sus mascotas en el mismo estanque. En consecuencia, Rachilde desarrolla una temprana asociación entre el agua y la muerte, debido a las primeras y negativas experiencias que mantiene con el universo acuático. Además, Rachilde perteneció a la corriente decadente de finales del siglo XIX, por lo que el agua siempre representa la impureza, el mal y la destrucción en las novelas publicadas durante tal periodo. Durante la Decadencia, la máxima representación del mal es la femme fatale. La femme fatale es la figura por excelencia del imaginario rachildiano, y en la obra de Rachilde existe una estrecha relación entre el agua y la mujer. Prueba de ello es La Tour d’Amour, novela publicada en 1899. En dicha novela, Rachilde lleva a cabo una personificación del mar que invierte la asociación tradicional mer/mère, pues en el caso de Rachilde, el mar se convierte en símbolo de la no maternidad. En conclusión, el agua nunca es para Rachilde fuente de vida, sino fuente de destrucción y muerte.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.2952
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Crispino, Domenico. "The Hameau de la Reine at Versailles and the reproduction of vernacular architecture." In HERITAGE2022 International Conference on Vernacular Heritage: Culture, People and Sustainability. Valencia: Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/heritage2022.2022.15154.

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The proposed paper analyses the system of small buildings that compose the Hameau de la Reine in the Petit Trianon gardens in the park of the royal palace of Versailles. The complex of architectural artefacts, built at the end of the 18th century, emulates the features of vernacular architecture typical of the villages of Normandy. The main interest lies in the analysis of the masonry which reproduces the signs of wear caused by the salty coastal climate of northern France using the trompe-l'oeil technique. The study of the architectural elements found in this part of the park of Versailles, using the tools of the restoration discipline, makes possible the highlighting of the specific qualities that confer recognizability on both the vernacular architecture and its reproductions. The design of this section of Queen Marie-Antoinette's Domaine identifies an ideological root in eighteenth-century Enlightenment thinking from which came the physiocratic theories expressed by Quesnay and the Marquis de Mirabeau. The contribution intends to underline, through the analysis of the method of imitation of vernacular architecture, the importance that this architectural typology assumes in the process of rediscovery and fruition of the territory. The analysis of the Hameau complex testifies how vernacular architecture, not yet codified according to this terminology, was already identified at the end of the 18th century as an example of high quality value that found its effective collocation within the boundaries of the royal park of Versailles. The characteristics of this architecture allow it to find an effective place even inside the perimeter of the royal park of Versailles. It is possible to identify the prodromes of the modern architectural sensibility that recognizes and codifies the values of vernacular architecture within the site studied by this paper proposal.
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Hockberger, William A. "The Quadrimaran Reexamined." In SNAME 13th International Conference on Fast Sea Transportation. SNAME, 2015. http://dx.doi.org/10.5957/fast-2015-026.

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The Quadrimaran was invented in France in the mid-1980s by Daniel Tollet. It was an inspired design and a radical departure from traditional ship design by a man from outside the marine industry unconstrained by industry technical practices and education. Technical experts could see it would entail more structure and subsystems than other high-performance vessels, but its promise was that those penalties would be more than offset by its claimed low power and fuel consumption. A prototype/demonstrator, Alexander, was built in 1990 and operated for five years carrying and impressing many hundreds of riders. Alexander performed beautifully and appeared to bear out what was claimed. Contracts for several Quadrimarans of different sizes came quickly, especially considering how conservative an industry this is. That was significantly due to Tollet's personal charisma and skill in selling riders on the dream of carrying passengers and freight over the water fast and in comfort, yet economically. Great skepticism prevailed in some quarters, especially among naval architects knowledgeable about AMVs (advanced marine vehicles) and early-stage whole-ship design. At technical meetings, one Quadrimaran principal would comment, for example, "Why would you carry freight across the Atlantic at 38 knots on 230,000 horsepower (a reference to the planned Fastship Atlantic TG-770) when you could do it at 60 knots on only 65,000 horsepower?" Listeners would ask how this could be possible, and he would assert again that the Quadrimaran could do it, but would decline to explain. Respected technical people were working with Tollet and his company and becoming convinced of the Quadrimaran's merit. Along with the contracts came engineers with experience in ship detail design and construction (very different from early-stage whole-ship design), or responsibilities for assessing and approving ships for service. Others were with engine and equipment suppliers. Their opinion that there was something unique and special about the Quadrimaran gave it credibility and influenced more people to accept the major claims made for it. Some dismissed the most extreme claims but still accepted the idea that the Quadrimaran was capable of unusually high performance - considerably less than was being claimed, perhaps, but high nevertheless. In hindsight it is clear the skeptics were right. Results never met expectations, nor could they have. In reality, the Quadrimaran has aspects that inherently prevent it from achieving the characteristics and performance its inventor believed attainable. It cannot be built in a commercially useful size and actually perform as intended. Why this is so will be explained. A crucial fact in the Quadrimaran's history is that Daniel Tollet and his close associates believed strongly that naval architects and engineers who had been immersed in working with the existing ship types would be unable to give the Quadrimaran the very different treatment they believed it required. (Their own educations and professional work were nontechnical.) Such people were excluded from the development of Quadrimaran designs, and the belated discovery of many fundamental technical problems can be attributed to this. The company Tollet established had a number of names over the years, and other associated entities were created at times for various purposes. In this paper they are referred to collectively as QIH (Quadrimaran International Holdings) so as not to confuse things unnecessarily. In 2004 QuadTech Marine LLC was established and acquired the Quadrimaran patent (US Patent No. 5,191,849) and related intellectual property from QIH. QuadTech laid out an extensive R&D program to close gaps in the technical background and address identified issues. In the process, additional information on earlier QIH projects and products was obtained and studied, which brought to light problems that significantly compromised the Quadrimaran's prospective performance and utility. The resulting much-reduced set of potential uses and users led the company to effectively stop pursuing Quadrimaran projects after 2009. (Note: The author was Chief Technology Officer for QuadTech Marine during 2006-9, studying the Quadrimaran and planning the R&D.)
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D'Aprile, Marianela. "A City Divided: “Fragmented” Urban and Literary Space in 20th-Century Buenos Aires." In 2016 ACSA International Conference. ACSA Press, 2016. http://dx.doi.org/10.35483/acsa.intl.2016.22.

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When analyzing the state of Latin American cities, particularly large ones like Buenos Aires, São Paolo and Riode Janeiro, scholars of urbanism and sociology often lean heavily on the term “fragmentation.” Through the 1980s and 1990s, the term was quickly and widely adopted to describe the widespread state of abutment between seemingly disparate urban conditions that purportedly prevented Latin American cities from developing into cohesive wholes and instead produced cities in pieces, fragments. This term, “fragmentation,” along with the idea of a city composed of mismatching parts, was central to the conception of Buenos Aires by its citizens and immortalized by the fiction of Esteban Echeverría, Julio Cortázar and César Aira. The idea that Buenos Aires is composed of discrete parts has been used throughout its history to either proactively enable or retroactively justify planning decisions by governments on both ends of the political spectrum. The 1950s and 60s saw a series of governments whose priorities lay in controlling the many newcomers to the city via large housing projects. Aided by the perception of the city as fragmented, they were able to build monster-scale developments in the parts of the city that were seen as “apart.” Later, as neoliberal democracy replaced socialist and populist leadership, commercial centers in the center of the city were built as shrines to an idealized Parisian downtown, separate from the rest of the city. The observations by scholars of the city that Buenos Aires is composed of multiple discrete parts, whether they be physical, economic or social, is accurate. However, the issue here lies not in the accuracy of the assessment but in the word chosen to describe it. The word fragmentation implies that there was a “whole” at once point, a complete entity that could be then broken into pieces, fragments. Its current usage also implies that this is a natural process, out of the hands of both planners and inhabitants. Leaning on the work of Adrián Gorelik, Pedro Pírez and Marie-France Prévôt-Schapira, and utilizing popular fiction to supplement an understanding of the urban experience, I argue that fragmentation, more than a naturally occurring phenomenon, is a fabricated concept that has been used throughout the twentieth century and through today to make all kinds of urban planning projects possible.
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